By Roland Dollinger, Wulf Koepke, Heidi Thomann Tewarson
Alfred DГ¶blin (1878-1957) was once one of many nice German-Jewish writers of the twentieth century, an incredible determine within the German avant-garde prior to the 1st global battle and a number one highbrow through the Weimar Republic. DГ¶blin vastly stimulated the heritage of the German novel: his best-known paintings, the best-selling 1929 novel Berlin Alexanderplatz, has usually been in comparison in its use of inner monologue and literary montage to James Joyce's Ulysses and John Dos Passos's big apple move . DГ¶blin's oeuvre is certainly not constrained to novels, yet during this style, he provided a stunning number of narrative innovations, topics, buildings, and outlooks. DГ¶blin's effect on German writers after the second one global battle used to be substantial: GГјnter Grass, for instance, said him as ''my teacher.'' And but, whereas Alexanderplatz maintains to fascinate the analyzing public, it has overshadowed the remainder of DГ¶blin's colossal oeuvre. This quantity of rigorously targeted essays seeks to do justice to such vital texts as DГ¶blin's early tales, his a number of different novels, his political, philosophical, clinical, autobiographical, and non secular 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 university; Wulf Koepke is professor emeritus of German at Texas A&M college; Heidi Thomann Tewarson is professor of German at Oberlin university.
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Additional info for A Companion to the Works of Alfred Dublin
In 1901, Hofmannsthal expressed this intellectual disorientation and aesthetic crisis most cogently in his famous “Ein Brief des Philipp Lord Chandos an Francis Bacon” (The Letter of Lord Chandos). It revealed that the crisis was not just formal but extended to language and its conceptual framework, and the entire system of values. For various reasons discussed below, Döblin was more receptive to modernity and, more important, recognized its relevance for the arts. He bluntly proclaimed, for example, that it was ridiculous to ride the elevated train and listen to Haydn all in one breath.
In his first novel, Jagende Rosse (1900), language and theme are very much indebted to Hölderlin’s Hyperion (1797–99). Hyperion in eighteenth-century Greece, like his author Hölderlin in Germany, despairs of the spiritual poverty and rigidity of his time and yearns for an ideal state, where man, nature, and god can be one, and where the ideal love of a woman will lead to his redemption. Döblin’s nameless protagonist similarly aims to soar to the highest heights but is thwarted again and again by his own smallness and limitations.
Once again he left his country and moved to Paris in 1953. One more unfortunate consequence of Döblin’s lack of success was that his last novel Hamlet oder Die lange Nacht nimmt ein Ende, completed in 1946, which might have appealed to readers in the immediate postwar years, was rejected by the West German publishers. It appeared finally in 1956 in the GDR, shortly before Döblin’s death. Only after meeting with a positive response was it published in the Federal Republic as well. The reactions were varied, but the book generated much debate.
A Companion to the Works of Alfred Dublin by Roland Dollinger, Wulf Koepke, Heidi Thomann Tewarson