By Katrin Kohl, Ritchie Robertson
20th-century Austrian literature boasts many awesome writers: Schnitzler, Musil, Rilke, Kraus, Celan, Canetti, Bernhard, Jelinek. those and others characteristic 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 certain historical past of recent Austria, a democratic republic that was once overtaken via civil conflict and authoritarian rule, absorbed into Nazi Germany, and re-established as a impartial country; and examines their reaction to debatable occasions equivalent to the collusion with Nazism, the Waldheim affair, and the increase of Haider and the extraordinary correct. as well as confronting controversy within the kinfolk among literature, historical past, and politics, the amount examines pop culture in keeping with present traits. 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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Additional info for A History of Austrian Literature 1918-2000 (Studies in German Literature, Linguistics, and Culture)
Example text
Spiel, Kindlers Literaturgeschichte der Gegenwart. Autoren — Werke — Themen — Tendenzen seit 1945 (Zurich and Munich: Kindler, 1976), 11–127; here: 11. ” in Literatur über Literatur: Eine österreichische Anthologie, ed. Petra Nachbaur and Sigurd Paul Scheichl (Graz: Styria, 1995), 25–29. 3 Ingo R. Stoehr, German Literature of the Twentieth Century: From Aestheticism to Postmodernism, vol. 10 of The Camden House History of German Literature (Rochester, NY: Camden House, 2001). 4 Quoted from C. A.
Mell’s treatment of these problems draws on the tradition of the Zauberstück, as the family is suddenly faced with Thomas and Gertraud Hüttenbrenner, their eighteenth-century ancestors. With much of the gentle humor and naivety that are Mell’s trademark, even when writing in prose, the revenants confront aspects of modernity (including the bicycle), at the same time reminding successive family members of their duty to the land and to the heritage symbolized by the family Bible. The play’s ending is, however, anything but gentle as the impenitent wife, childless by choice, and her wastrel brother are ruthlessly expelled from the family circle.
Austria also provided a companion piece to Paul Reynal’s Le Tombeau sous l’Arc de Triomphe (The Unknown Warrior, 1924) and R. C. Sherriff’s Journey’s End (1931) — the powerful Wunder um Verdun (Miracle at Verdun, 1931) by Hans Chlumberg (1897–1938), in which the war dead briefly rise from the grave and return to their former lives, only to discover how little their sacrifice has wrought. 26 JUDITH BENISTON Established Reputations: Hofmannsthal, Schnitzler, Schönherr Of the two Austrian dramatists who had enjoyed international renown in the prewar period — Arthur Schnitzler (1862–1931) and Hugo von Hofmannsthal (1874–1929) — only the latter continued to enhance his reputation as a dramatist and to develop new areas of activity.