By Bernd Fischer
For over one hundred fifty years, Heinrich von Kleist (1777-1811) has been probably the most largely learn and played German authors. His prestige within the literary canon is firmly demonstrated, yet he has continually been certainly one of Germany's such a lot contentiously mentioned authors. Today's severe debate on his specified 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 Fifties and early Sixties and unfolded new avenues for coming to phrases together with his strange expertise. the current quantity brings jointly crucial and leading edge of those more moderen scholarly techniques: the essays comprise seriously proficient, up to date interpretations of Kleist's most-discussed tales and dramas. different contributions learn Kleist's literary potential and types and their theoretical underpinnings. They contain articles on Kleist's narrative and theatrical strategy, poetic and aesthetic thought, philosophical and political idea, and insights from new biographical study. members: 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 dep. of German at Ohio kingdom college.
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Additional resources for A Companion to the Works of Heinrich von Kleist (Studies in German Literature Linguistics and Culture)
Without falling into the schoolmasterly disapproval of Kleist that is occasionally encountered (cf. Wegener 58), it may be permissible to conclude that Amphitryon does not yield a fully coherent, exhaustive, and paraphrasable interpretation because the project, for all its anchoring in Molière, came to reflect incompatible commitments in Kleist’s unruly imagination. Graham, hostile to Kleist because he was not Goethe, put it tendentiously: “Into that vessel [Alkmene] a very sick mind has poured all his uncanny intimations of human wholesomeness and health” (88), while the idiom of deconstruction approaches from a different direction: “‘Ach!
I do, indeed, see Alkmene as the heroine of the drama and the node of the tragic vector of the tragicomedy, and I find the condescending and amused view of her on the part of some of the Jupiterists quite unintelligible. It may derive in part from a confidence that Kleist cannot have had an elevated view of womankind, which, in turn, may derive from a reading of his correspondence with his alleged fiancée Wilhelmine von Zenge, in which he is overbearing, manipulative, patronizing, and distrustful, while demanding absolute trust.
Munich: Heimeran, 1969. AMPHITRYON AND HOW KLEIST’S TEXTS READ INTERPRETERS E 41 ———. Heinrich von Kleists Lebensspuren: Dokumente und Berichte der Zeitgenossen. : Insel, 1984. Sieck, Albrecht. Kleists Penthesilea: Versuch einer neuen Interpretation. Bonn: Bouvier, 1971. Silz, Walter. Heinrich von Kleist: Studies in His Works and Literary Character. Philadelphia: U of Pennsylvania P, 1961. Stephens, Anthony. Heinrich von Kleist: The Dramas and Stories. Oxford: Berg, 1994. Swales, Erika. ” Deutsche Vierteljahrsschrift 56 (1982): 407–30.