Herbert Juttke Das Kabinett des Dr. Hier sind all die Gestalten, die er geschildert. Auch Rudolf Lettinger in einer kleinen Rolle soll nicht vergessen werden. Die Photographie von Willy Hameister ist einwandfrei.
Thomas Bernhard and the Austrian Avant-garde T on Thomas Bernhard takes a fresh look at the author following the recent tenth anniversary of his death.
Although Bernhard may have left in the eyes of some readers a rather embittered final will, prohibiting his plays to be performed in Austria for years to come, the positive reception of his works has steadily grown internationally.
Like Kafka or Becket, Bernhard has become a thoroughly canonical figure in modern literature with a bold new style that defies imitation.
The criticism of Bernhard, which this volume assembles, has also grown with the author and reached a more acute stance of selfcriticism. Bernhard is no longer uncritically worshipped, as was the case when he entered the literary scene in the s and s.
Instead, we have grown quite used to reading Bernhard against the grain while acknowledging the continuing benefit that is derived from reading his works. This volume finds its tension precisely in its balance between critical and reconstructive readings.
He is both a product of and a reflective agent from within his culture. One comes to meet in Bernhard everything that he rejects in society and everything in which he is inevitably complicit and implicated.
While aesthetic and ethical questions continue to preoccupy the critics of Bernhard, they have of late relaxed in applying their insights too dogmatically. After decades in which theoretical models of one kind or another have come to dominate most literary discussions, the literary text is once again at the center of focus, strangely new and reinvigorated by having traversed through various theories of signs and culture.
It is only fitting therefore to include in this volume alongside the critical essays two literary pieces by the contemporary Austrian writer Marlene Streeruwitz. Her two diametrically opposed evaluations of Bernhard, spanning the time from his death and his recent anniversary, capture the tone for the entire volume, one marked by critical appreciation.
The collected essays display in all their critical acuity and complexity a refreshing sense of pleasure that makes reading and literature such a vital activity in cultural communication.
The volume also gathers an international group of scholars, thereby doing justice to the transnational significance of the author. Rather then summarizing the essays of the various contributors, I refer readers to the table of contents as the starting point of their inquiry.
I hope that in doing so readers will select the essays according to their own preferences and create their own map in understanding Bernhard. These are well documented in a variety of handbooks and encyclopedia entries and shall not be repeated here.
In the following introductory essay, I would like to explore this question from a new angle, without claiming to provide final answers.
Rather, I would like to focus on a somewhat overlooked relation between Thomas Bernhard and the Austrian avant-garde. In fact, it will help to illustrate the political commitment of an author who despised poses of political correctness.
In order to awaken postwar Austria from its historical amnesia, Bernhard made it his vocation to disturb the convenient compromise struck between art, culture and politics. Political opposition, he claims, was only practiced in parliament and suspended after hours over a beer or some coffee.
Zweig has been duly questioned about his benign depiction of Vienna, one attributed to blind spots of class privilege, and the mutilations of exile. Once again, victims and perpetrators of racism convene over beer and have made convenient arrangements so that painful historical memories can be laid to rest through rituals of domestic conviviality.
Jewish ancestry is dismissed or belittled, dissent is mostly expressed through silent glances, problematic topics are po4 litely avoided, and Nazi Austrians are even helped in their postwar so5 cial re-instatement.
This exemplary citizenship, however, is achieved only through overassimilation and complete self-erasure, their willingness to let bygones be bygones in an era of reconstruction. Jews, it falsely appears, continue to be the problem of Austria by preserving the status quo and preventing change in their outmoded adherence to civility.
Upon leaving the restaurant, the Jewish narrator and Mahler stumble upon the murdered murderer, who has become a victim of the insulted veterans.0 Votos positivos, marcar como útil. 0 Votos negativos, marcar como no útil. Glucksman Ventriloquist Structuralism NLR Abstract Gegenstand dieser Einführung zum Informationsmanagement an deutschen Hochschulen sind allgemeine Hintergründe und Entwicklungsziele sowie Chancen und Risiken.
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