ISBN:
9780226054421
Language:
English
Pages:
xv, 204 Seiten, 8 ungezählte Seiten Bildtafeln
,
Illustrationen, Karten
Parallel Title:
Erscheint auch als Perloff, Marjorie Edge of Irony
DDC:
830.9/9436
Keywords:
Kraus, Karl
;
Roth, Joseph
;
Musil, Robert
;
Canetti, Elias
;
Canetti, Elias
;
Canetti, Elias
;
Celan, Paul Criticism and interpretation
;
Kraus, Karl 1874-1936
;
Roth, Joseph 1894-1939
;
Musil, Robert 1880-1942
;
Canetti, Elias 1905-1994
;
Canetti, Elias 1905-1994
;
Canetti, Elias 1905-1994
;
Celan, Paul Criticism and interpretation
;
Modernism (Literature)
;
Austrian literature History and criticism 20th century
;
Austrian literature History and criticism
;
20th century
;
Modernism (Literature) Austria
;
Vienna (Austria) Intellectual life 20th century
;
Austria History 1918-1938
;
Vienna (Austria) Intellectual life
;
20th century
;
Austria History
;
1918-1938
;
Österreich
;
Habsburger Dynastie : 1200-
;
Literatur
;
Moderne
;
Erster Weltkrieg
;
Canetti, Elias 1905-1994
;
Celan, Paul 1920-1970
;
Kraus, Karl 1874-1936 Die letzten Tage der Menschheit
;
Roth, Joseph 1894-1939 Radetzkymarsch
;
Musil, Robert 1880-1942 Der Mann ohne Eigenschaften
;
Canetti, Elias 1905-1994 Die Fackel im Ohr
;
Celan, Paul 1920-1970
;
Kraus, Karl 1874-1936 Die letzten Tage der Menschheit
;
Musil, Robert 1880-1942 Der Mann ohne Eigenschaften
;
Roth, Joseph 1894-1939 Radetzkymarsch
;
Österreich
;
Literatur
;
Geschichte 1918-1938
Abstract:
Among the brilliant writers and thinkers who emerged from the multicultural and multilingual world of the Austro-Hungarian Empire were Joseph Roth, Robert Musil, and Ludwig Wittgenstein. For them, the trauma of World War I included the sudden loss of the geographical entity into which they had been born: in 1918, the empire was dissolved overnight, leaving Austria a small, fragile republic that would last only twenty years before being annexed by Hitler’s Third Reich. In this major reconsideration of European modernism, Marjorie Perloff identifies and explores the aesthetic world that emerged from the rubble of Vienna and other former Habsburg territories—an “Austro-Modernism” that produced a major body of drama, fiction, poetry, and autobiography. Perloff explores works ranging from Karl Kraus’s drama The Last Days of Mankind and Elias Canetti’s memoir The Tongue Set Free to Ludwig Wittgenstein’s notebooks and Paul Celan’s lyric poetry. Throughout, she shows that Austro-Modernist literature is characterized less by the formal and technical inventions of a modernism familiar to us in the work of Joyce and Pound, Dada and Futurism, than by a radical irony beneath a seemingly conventional surface, an acute sense of exile, and a sensibility more erotic and quixotic than that of its German contemporaries. Skeptical and disillusioned, Austro-Modernism prefers to ask questions rather than formulate answers.
Description / Table of Contents:
Introduction: the making of Austro-modernism -- The mediated war: Karl Kraus's The last days of mankind -- The lost hyphen: Joseph Roth's The Radetzky march -- "The subjunctive of possibilities": Robert Musil's The man without qualities -- Coming of age in Kakania: mother tongue and identity theft in Canetti's autobiography -- The last Habsburg poet: Paul Celan's love poetry and the limits of language -- Coda: becoming a "different" person: Wittgenstein's "Gospels".
Note:
"An earlier version of chapter 1 appeared as "Avant-Garde in a Different Key: Karl Kraus's The Last Days of Mankind," Critical Inquiry 40, no. 2 (Winter 2014): 311-38
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Literaturangaben
DOI:
10.7208/chicago/9780226328492.001.0001
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