By Bernd Fischer
For over a hundred and fifty years, Heinrich von Kleist (1777-1811) has been probably the most commonly learn and played German authors. His prestige within the literary canon is firmly proven, yet he has continually been considered one of Germany's such a lot contentiously mentioned authors. Today's severe debate on his particular prose narratives and dramas is as heated as ever. Many critics regard Kleist as a lone presager of the aesthetics and philosophies of past due 19th- and early twentieth-century modernism. but there may be no doubt that he responds in his works and letters to the philosophical, aesthetic, and political debates of his time. over the last 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 spread out new avenues for coming to phrases together with his strange expertise. the current quantity brings jointly an important and leading edge of those more recent scholarly techniques: the essays contain seriously proficient, updated interpretations of Kleist's most-discussed tales and dramas. different contributions study Kleist's literary potential and types and their theoretical underpinnings. They comprise articles on Kleist's narrative and theatrical approach, poetic and aesthetic concept, philosophical and political idea, and insights from new biographical study. individuals: 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 collage.
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Additional resources for A Companion to the Works of Heinrich von Kleist (Studies in German Literature Linguistics and Culture)
Well, no doubt we should all try to get over the honeymoon as soon as possible. But it seems to me that this view, versions of which are often encountered, fails to acknowledge the quality of Alkmene’s bond with Amphitryon: it is erotic — in a word, sexual. 506–7) Her married love is based on a satisfying sexual relationship, which Jupiter escalates; therefore, the insistence of Jupiter and the Jupiterists that she needs to distinguish between conjugal dutifulness and a higher, freer love strikes me as perverse.
When this still prevalent perspective began to assert itself with the slogan “The personal is the political,” it led to a conspicuous reduction of the terms of discussion to individual psychology, psychoanalysis, gender specificity, minority orientation, or group phenomenology and resulted in a distinct domination of specific, individuated discourses over possible supraindividual discourses. Many literary scholars hailed this development as a liberation from the inhibiting coercion of a quest for universal truth and as the onset of a democratizing methodological pluralism.
Or, as came to be suggested, notably by Ryan, is the hero — or, at least, the elevating and educative figure — Jupiter? This view has been much disputed but continues to live on in the Reclam commentary (Bachmaier 61) and the new critical edition (Kleist 1:930, 968). Finally, 24 E JEFFREY L. ”? ” (84) cannot, of course, capture the overtones. The history of criticism is not completely chaotic; the modes come in waves: nationalistic, idealistic, existentialist, close reading. But the 1960s brought an attempt at a marked revaluation: Alkmene, long revered as a figure of pure feeling and resolute integrity whom nobody, as Wegener has pointed out (194), had thought of as guilty, came to be regarded as the butt of the comedy: narrowly fixated on marriage, in empiricist false consciousness wrongly idolizing her husband, and in need of elevation of her spiritual horizon by Jupiter.