By Neil H. Donahue
Greater than the other avant-garde flow, German Expressionism captures the innovative depth of twentieth-century modernity in all its contrasts and conflicts. In non-stop eruptions from 1905 to 1925, Expressionism disillusioned reigning practices within the arts: in its such a lot consultant style of portray and the visible arts, strong figurations and dynamic abstractions supplanted placid realism, and a palette of vividly luminescent colours eclipsed subdued earth tones. In literature, the switch was once both stark: a heady intellectualism mixed with dramatic gesture, picture visions, exuberant feelings and pressing proclamations --along with a brand new feel of the unexplored efficiency and capability of uncooked language -- to forge forceful varieties of verbal expression. Expressionism brought into artwork, either visible and verbal, an incredibly new depth with many points and plenty of faces. This quantity offers German Expressionism when it comes to its literature, that is a ways much less recognized within the English-speaking international, with essays via top students on Expressionism's philosophical origins, its thematic preoccupations, and its divergent stylistic manifestations in and throughout assorted genres through writers whose universal bond is depth and whose traces at the web page learn just like the gouges of a woodcut. An interdisciplinary part addresses Expressionism's gender family members, how ladies seemed within the literature after which disappeared from literary historical past, and the way the classy impulses of Expressionism entered into movie as a brand new expertise of expression, a brand new type of visible narrative. This quantity demonstrates how, among its origins in philosophy and its afterlife in movie, Expressionism's aesthetic energies stretched and revised the bounds of traditional literary genres into enormously new and various kinds: in lots of methods, the margins are relevant to the experimental artwork of Expressionism. This quantity gains figures resembling Georg Kaiser, Walter Hasenclever, and Ernst Toller in drama; Gottfried Benn, Georg Heym, Else Lasker-Sch?ler, and Georg Trakl in poetry; Alfred D?blin, Carl Einstein, and Carl Sternheim in prose, to call quite a few. opposed to the history of the journals, exhibitions, and anthologies, the caf? assembly areas and public lifetime of Expressionism, the volume's hugely targeted, intrinsic analyses of texts and finished overviews of extrinsic contexts (and of the main updated study) indicates the fervor and complexity of the interval and its effulgent literary formations. Neil H. Donahue is Professor of German and Comparative Literature at Hofstra college.
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Additional info for A Companion to the Literature of German Expressionism (Studies in German Literature Linguistics and Culture)
Corngold, Stanley. ” In Franz Kafka: The Necessity of Form, 250–88. Ithaca and London: Cornell UP, 1988. Crockett, Dennis. German Post-Expressionism: The Art of the Great Disorder, 1918–1924. University Park, PA: The Pennsylvania State UP, 1999. Denkler, Horst, ed. Einakter und kleine Dramen des Expressionismus. Stuttgart: Reclam, 1968. Diebold, Bernhard. Anarchie im Drama. Frankfurt am Main: Frankfurter Verlagsanstalt, 1921. 32 NEIL H. DONAHUE Dierick, Augustinus P. German Expressionist Prose: Theory and Practice.
Rumold, Rainer. Janus Face of the German Avant-garde: From Expressionism to Postmodernism. Evanston, IL: Northwestern UP, 2002. Scheunemann, Dietrich. Expressionist Film: New Perspectives. Rochester, NY: Camden House, 2003. Schmitt, Hans-Jürgen, ed. Die Expressionismusdebatte: Materialien zu einer marxistischen Realismuskonzeption. Frankfurt am Main: Suhrkamp, 1973. Schürer, Ernst, ed. German Expressionist Plays. New York: Continuum, 1997. Serke, Jürgen. Die verbrannten Dichter: Berichte, Texte, Bilder einer Zeit.
See the studies by Torgovnick, Rubin, Jill Lloyd, Berman, and Pan. ” The term “pathos” had many cognates and paraphrases in the journalistic literature of the day, and derives from theories of Erlebnis (Dilthey) and Einfühlung (Lipps; Riegl), and relates also to primitivism in the period, and to the notion of the Expressionist Schrei, leading ultimately to the sound poems of Dada. Its anti-intellectual intonations should not call into question its broad and deep intellectual roots and affinities; pathos marks the desire to overcome and reconfigure traditional modes of expression.
A Companion to the Literature of German Expressionism (Studies in German Literature Linguistics and Culture) by Neil H. Donahue