By Bernd Fischer
For over a hundred and fifty years, Heinrich von Kleist (1777-1811) has been some of the most commonly learn and played German authors. His prestige within the literary canon is firmly validated, yet he has continuously been one in all Germany's such a lot contentiously mentioned authors. Today's serious debate on his specified prose narratives and dramas is as heated as ever. Many critics regard Kleist as a lone presager of the aesthetics and philosophies of overdue 19th- and early twentieth-century modernism. but there will be no doubt that he responds in his works and letters to the philosophical, aesthetic, and political debates of his time. over the past thirty years, the scholarship on Kleist's paintings and lifestyles has departed from the existentialist wave of the Nineteen Fifties and early Nineteen Sixties and unfolded new avenues for coming to phrases together with his strange expertise. the current quantity brings jointly crucial and leading edge of those more moderen scholarly methods: the essays comprise seriously educated, up to date interpretations of Kleist's most-discussed tales and dramas. different contributions research Kleist's literary potential and types and their theoretical underpinnings. They comprise articles on Kleist's narrative and theatrical process, poetic and aesthetic concept, philosophical and political concept, and insights from new biographical study. members: Jeffrey L. Sammons, Jost Hermand, Anthony Stephens, Bianca Theisen, Hinrich C. Seeba, Bernhard Greiner, Helmut J. Schneider, Tim Mehigan, Susanne Zantop, Hilda M. Brown, and Seán Allan. Bernd Fischer is Professor of German and Head of the dept of German at Ohio kingdom college.
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Additional resources for A Companion to the Works of Heinrich von Kleist (Studies in German Literature Linguistics and Culture)
Kleist was by no means an unambiguous admirer of heroism. At the age of nineteen he grieved at the inhumane killing the military profession required, and at twenty-one, 26 E JEFFREY L. SAMMONS denouncing military discipline as tyrannical, he abandoned the career as incompatible with his humane values (Kleist 4:18, 27). One might think not only of Prince Friedrich, paralyzed by the fear of death, but of even more dubious fighting men such as Count F . . in Die Marquise von O . . or Count Jakob in Der Zweikampf, or, contrarily, of Michael Kohlhaas’s guerrillas making fools of the regular troops sent out against them or of Herrmann’s victory of mind over muscle.
The violence in the deep places of Kleist’s imagination creates an effect similar to this in kind if not in magnitude. 2828). “Mir scheint jedoch, daß das bei Kleist unter solcher Tortur Entäußerte keine Art von Schönheit, auch keine schreckliche, an den Tag bringe, welche die Gewaltsamkeit ihrer Hervorbringung tilgen könnte,” observes Fetscher (38). Therefore, I cannot see how Alkmene’s final “Ach” can be an expression of gratification (Kleist 1:930), successful elevation of her religious spirit, or longing for the departing Jupiter and complete unity (Jancke 107); it is more plausibly “a refusal to participate in the ritual of public sublimation” (Schulze 259), “ein Ausdruck der Selbstentfremdung der Seele” (Földényi 20).
Die ernste Komödie. Das deutsche Lustspiel von Lessing bis Kleist. Munich: Nymphenburger Verlagshandlung, 1968. Bachmaier, Helmut, and Thomas Horst, eds. Erläuterungen und Dokumente: Heinrich von Kleist. Amphitryon. Stuttgart: Reclam, 1983. Cohn, Dorrit. “Kleist’s ‘Marquise von O . ” Monatshefte 67 (1975): 129–44. Corngold, Stanley. The Commentators’ Despair: The Interpretation of Kafka’s Metamorphosis. Port Washington: Kennikat, 1973. De Man, Paul. The Rhetoric of Romanticism. New York: Columbia UP, 1984.
A Companion to the Works of Heinrich von Kleist (Studies in German Literature Linguistics and Culture) by Bernd Fischer