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 function 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 particular background of recent 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 nation; and examines their reaction to arguable occasions akin to the collusion with Nazism, the Waldheim affair, and the increase of Haider and the intense correct. as well as confronting controversy within the kinfolk among literature, heritage, and politics, the quantity examines pop culture according to present developments. participants: 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 university, either on the college of Oxford.

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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.

Eine Einführung,” in Die zeitgenössische Literatur Österreichs, ed. H. 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).

Polemically conceived as the antithesis of Max Reinhardt’s intensely visual style of direction, this text-centered theater of literature (“Theater der Dichtung”) was, until 1925, included in the program of the Social Democratic Kunststelle. During the interwar period, traditional Viennese dialect drama was overtaken by two ideologically opposed developments — by the greater prominence in theater repertoires of regional, especially Alpine dialect drama, the tenor of which was increasingly anti-modern, anti-Semitic and anti-urban, and by the emergence of the “kritisches Volksstück,” a genre most notably associated with Ödön von Horváth (1901–38) and Jura Soyfer (1912–39).

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