A History of Austrian Literature 1918-2000 (Studies in by Katrin Kohl, Ritchie Robertson

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 debts of German literature, however it is fascinating to work out how the Austrian literary scene -- and Austrian society itself -- formed their writing. This quantity hence surveys Austrian writers of drama, prose fiction, and lyric poetry; relates them to the precise background of contemporary Austria, a democratic republic that was once overtaken by means of civil warfare and authoritarian rule, absorbed into Nazi Germany, and re-established as a impartial country; and examines their reaction to arguable occasions comparable to the collusion with Nazism, the Waldheim affair, and the increase of Haider and the extraordinary correct. as well as confronting controversy within the family among literature, historical past, and politics, the quantity examines pop culture based on present developments. 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 and a Fellow of The Queen's collage, either on the college of Oxford.

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Macartney, The Habsburg Empire 1790–1918 (New York: Macmillan, 1969), 833. 5 Martin Kitchen, The Coming of Austrian Fascism (London: Croom Helm, 1980), 12. 6 Edward Timms, Karl Kraus, Apocalyptic Satirist, vol. 2: The Post-War Crisis and the Rise of the Swastika (New Haven and London: Yale UP, 2005), 336. 7 “Wir wollen das neue Österreich” in Dollfuß an Österreich: Eines Mannes Wort und Ziel, ed. by Hofrat Edmund Weber (Vienna: Reinhold, 1935), 31. 8 See G. E. R. Gedye, Fallen Bastions: The Central European Tragedy (London: Gollancz, 1939), 91.

Whereas in Heer ohne Helden the women of the mining community are strongly characterized and carry much of that play’s political message, in Das Bergwerk the anxiety of the crowds gathered at the pithead tends to hysteria rather than rage, followed by the pathos of the trapped miners and the agonized debates on the eve of the strike which, in typical Expressionist fashion, are interrupted by the birth of Michael’s first child. In contrast to Gmeyner’s final scene, which owes more to agitprop than to Naturalism, in Das Bergwerk the tension between social and spiritual renewal is upheld to the last, with Michael torn between the desire to pass on an unsullied moral creed and to provide his son with “Bett und Haus, Wiese und Himmel” (a roof and a bed, meadow and sky).

DRAMA IN AUSTRIA, 1918–45 31 Responses to Expressionism While Mell drew on the folk traditions of his native Styria, much Austrian drama of the early postwar years was influenced, at least to some extent, by Expressionism. Mörder, Hoffnung der Frauen (Murderer, Hope of Womankind) by Oskar Kokoschka (1886–1980) had been staged at the Kunstschau garden theater in 1909, but aside from that and possibly Die Verführung (The Seduction, 1916) by Paul Kornfeld (1889–1942), Austrian writers produced none of the movement’s defining dramatic works.

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