By Bernd Fischer
For over one hundred fifty years, Heinrich von Kleist (1777-1811) has been some of the most greatly learn and played German authors. His prestige within the literary canon is firmly validated, yet he has constantly been one among Germany's so much contentiously mentioned authors. Today's severe debate on his certain 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 Nineteen Sixties and spread out new avenues for coming to phrases along with his strange expertise. the current quantity brings jointly an important and cutting edge of those more moderen scholarly ways: the essays contain seriously expert, updated interpretations of Kleist's most-discussed tales and dramas. different contributions learn Kleist's literary potential and kinds and their theoretical underpinnings. They comprise articles on Kleist's narrative and theatrical approach, poetic and aesthetic thought, philosophical and political notion, and insights from new biographical learn. participants: 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 collage.
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Additional resources for A Companion to the Works of Heinrich von Kleist (Studies in German Literature Linguistics and Culture)
It is quite some time before Amphitryon is able to penetrate to this much cognition. The relationship of Amphitryon and Sosias is a traditional hierarchical one of master and servant; the great Amphitryon has no readiness to attend to Sosias, at least until he is forced to, reacting instead with anger and threats, while Sosias copes with apparent subservience, evasion, and partially veiled sauciness. It is probably true that he is not, as is sometimes suggested, a sort of “Jacobin” or anticipatory class-conscious proletarian, but he does defend himself (cf.
What is not positive is sexual assault (Count F . , Nicolo, Count Jakob) or manipulative deceit (Adam) or disingenuous seduction (Gustav, Ventidius, and, I am inclined to think, Achilles). I am further inclined to think that Jupiter belongs in this series. Alkmene never accepts Jupiter’s violation of her. 1564–68) as part of her increasingly tense effort to evade (Glenny 54–55) or deflect what increasingly feels like an assault on her integrity. Probes into her subconscious to make her mean something other than she says, such as Nordmeyer’s (1947, 117, 121), I think are futile.
Whether or not Kleist intended to satirize the quasi-Goethean pantheism, as Mommsen has pungently argued (19–22), may be undecidable, but the aporias that attend its articulation effectively deconstruct it. The notion that God is identical with his creation yet can disengage his creatures and stand over against them logically requires a AMPHITRYON AND HOW KLEIST’S TEXTS READ INTERPRETERS E 29 Plotinian or Cabbalistic doctrine of emanations, requiring in turn, if ascribed to Kleist, that he be made into some species of mystic.
A Companion to the Works of Heinrich von Kleist (Studies in German Literature Linguistics and Culture) by Bernd Fischer