By Roland Dollinger, Wulf Koepke, Heidi Thomann Tewarson
Alfred DГ¶blin (1878-1957) used to be one of many nice German-Jewish writers of the 20 th century, a huge determine within the German avant-garde ahead of the 1st international struggle and a number one highbrow in the course of the Weimar Republic. DГ¶blin vastly motivated the heritage of the German novel: his best-known paintings, the best-selling 1929 novel Berlin Alexanderplatz, has often been in comparison in its use of inner monologue and literary montage to James Joyce's Ulysses and John Dos Passos's new york move . DГ¶blin's oeuvre is in no way restricted to novels, yet during this style, he provided a stunning number of narrative options, topics, constructions, and outlooks. DГ¶blin's impression on German writers after the second one global battle used to be significant: GГјnter Grass, for instance, said him as ''my teacher.'' And but, whereas Alexanderplatz maintains to fascinate the studying public, it has overshadowed the remainder of DГ¶blin's mammoth oeuvre. This quantity of rigorously targeted essays seeks to do justice to such very important texts as DГ¶blin's early tales, his a number of different novels, his political, philosophical, scientific, autobiographical, and spiritual essays, his experimental performs, and his writings at the new media of cinema and radio.Contributors: Heidi Thomann Tewarson, David Dollenmayer, Neil H. Donahue, Roland Dollinger, Veronika Fuechtner, Gabriele Sander, Erich Kleinschmidt, Wulf Koepke, Helmut F. Pfanner, Helmuth Kiesel, Klaus MГјller-Salget, Christoph Bartscherer, Wolfgang DГјsing. Roland Dollinger is affiliate professor of German at Sarah Lawrence collage; Wulf Koepke is professor emeritus of German at Texas A&M collage; Heidi Thomann Tewarson is professor of German at Oberlin collage.
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Additional resources for A Companion to the Works of Alfred Dublin
One of the early discussions concerns the concept of mimesis, with clear reference to Aristotle and his Poetics (SÄPL, 19). Both the musician and Calypso agree that it is impossible to imitate a thing completely, and therefore reject mimesis as the guiding principle of art. Music, because it is the least imitative of the arts and therefore the freest, effectively illustrates their argument. The musician sets up a hierarchy of arts, ranking the least mimetic at the pinnacle. Well down the hierarchy in descending mimetic order are painting, sculpture, and, without differentiation, drama, dance, and pantomime.
He is introduced reading and quoting from Nietzsche’s Also sprach Zarathustra (Thus Spake Zarathustra, 1883–85). Detached from reality and society, he had resolved to leave all human entanglements — desires, yearnings, amazement — behind him and to reach instead for the free, proud, and cool heights inhabited by a few exceptional individuals like Zarathustra (JR, 136). His awakening sexuality, however, hurls him from his lofty heights into the lowly sphere of ordinary human beings. A struggle ensues between Johannes’s conscious, rational, and creative self and his sensual/sexual drives, a struggle in which the latter prove to be the absolute victor.
The reader last sees Bertha at the canal, leaning over the railing, and admitting to herself that she cannot conquer her sexual drive. Here, the manuscript breaks off. As stated earlier, Bebel and his optimistic outlook soon lost their relevance for the budding author, although he continued to profess certain sympathies for socialism. Other motifs, however, retained their significance or increased in importance. Images of an all-embracing Catholic religion, of the Virgin Mary, and of Jesus carrying the cross regularly DÖBLIN’S EARLY STORIES: TOWARD A MODERNIST AESTHETIC ♦ 27 reappear.