By Katrin Kohl, Ritchie Robertson
20th-century Austrian literature boasts many extraordinary writers: Schnitzler, Musil, Rilke, Kraus, Celan, Canetti, Bernhard, Jelinek. those and others function in broader bills of German literature, however it is fascinating to work out how the Austrian literary scene -- and Austrian society itself -- formed their writing. This quantity therefore surveys Austrian writers of drama, prose fiction, and lyric poetry; relates them to the unique heritage of contemporary Austria, a democratic republic that used to be overtaken via civil warfare and authoritarian rule, absorbed into Nazi Germany, and re-established as a impartial kingdom; and examines their reaction to debatable occasions resembling the collusion with Nazism, the Waldheim affair, and the increase of Haider and the intense correct. as well as confronting controversy within the family members among literature, background, and politics, the quantity examines pop culture based on present tendencies. individuals: Judith Beniston, Janet Stewart, Andrew Barker, Murray corridor, Anthony Bushell, Dagmar Lorenz, Juliane Vogel, Jonathan lengthy, Joseph McVeigh, Allyson Fiddler. Katrin Kohl is Lecturer in German and a Fellow of Jesus collage, and Ritchie Robertson is Taylor Professor of German Language and Literature and a Fellow of The Queen's collage, either on the collage of Oxford.
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Extra resources for A History of Austrian Literature 1918-2000 (Studies in German Literature, Linguistics, and Culture)
Blitz drein. Kehrfrauen verschwinden. GROSSER SCHIEBER springt auf. Mit Messer und Gabel in Händen. Reckt sich in wildem Übermut nach oben: Da. Straf mich. Gott. Blitz nieder: Hunger schrein Ist mir Tafelmusik. (FIRST WOMAN STREET-SWEEPER stretches her scrawny arms heavenwards: Lord God, if You are there, let it rain gunpowder. Strike him down with a lightning bolt. The street-sweepers disappear. BIG-TIME PROFITEER jumps up. Brandishing his knife and fork. Stretches out his arms in a gesture of ferocious arrogance: Go on.
FIRST WOMAN STREET-SWEEPER stretches her scrawny arms heavenwards: Lord God, if You are there, let it rain gunpowder. Strike him down with a lightning bolt. The street-sweepers disappear. BIG-TIME PROFITEER jumps up. Brandishing his knife and fork. Stretches out his arms in a gesture of ferocious arrogance: Go on. Punish me. God. Smite me down. ) In juxtaposing the plight of the victims with the selfish hedonism of the profiteer, Schönherr focuses attention firmly on the socio-economic rather than spiritual dimension of poverty.
Wildgans’s sympathy is unmistakably with the schoolleaver as he rejects both his father’s bourgeois cultural legacy (Bildung) and his mother’s more mercantile values, with the play ultimately pleading against selfish and thoughtless procreation. Like Moritz in Frank Wedekind’s Frühlings Erwachen (Spring Awakening, 1891), the son is offered a final chance to embrace life in the form of sexual experience, but his beloved Rosl has more in common with Goethe’s Gretchen than with the good-time-girl Ilse and suicide ensues.
A History of Austrian Literature 1918-2000 (Studies in German Literature, Linguistics, and Culture) by Katrin Kohl, Ritchie Robertson