<p>Originally published in 1985, this book provides a full survey of the best and most significant work of German writers to the First World War. Including (in both German and English) the texts of all the main poems discussed, this book contains many not readily available elsewhere. Authors discussed include Trakl, Rile and George as well as less familiar names . The book not only corrects the distorted view of the subject perpetuated by most histories of German literature, but will also help to English First World War poetry into perspective.</p>

The German Poets of the First World War

Bridgwater, Patrick

History

St.Martin's Press

The German Poets of the First World War (Routledge Library Editions: German Literature)

Literature & Fiction

History & Criticism

Routledge

Arthur Schopenhauer's English Schooling (Routledge Revivals)

Biographies & Memoirs

Nietzsche in Anglosaxony: A study of Nietzsche's impact on English and American literature

Leicester University Press

The Poet as Hero and Clown: a Study of Heym and Lichtenstein

University of Durham

George Moore and German Pessimism

Kafka's three novels, to be understood as an ever more intricate portrayal of the inner life of one central character (Henry James's 'centre of consciousness'), each reflecting the problems of their self-critical creator, are tantamount to dreams. The hieroglyphic, pictorial language in which they are written is the symbolic language in which dreams and thoughts on the edge of sleep are visualized. Not for nothing did Kafka define his writing as a matter of fantasizing with whole orchestras of [free] associations. Written in a deliberately enhanced hypnagogic state, these novels embody the alternative logic of dreams, with the emphasis on chains of association and verbal bridges between words and word-complexes. The product of many years' preoccupation with its subject, Patrick Bridgwater's new book is an original, chapter-by-chapter study of three extraordinarily detailed novels, of each of which it offers a radically new reading that makes more, and different, sense than any previous reading. In Barthes' terms these fascinating novels are 'unreadable', but the present book shows that, properly read, they are entirely, if ambiguously, readable. Rooted in Kafka's use of language, it consistently explores, in detail, (i) the linguistic implications of the dreamlike nature of his work, (ii) the metaphors he takes literally, and (iii) the ambiguities of so many of the words he chooses to use. In doing so it takes account not only of the secondary meanings of German words and the sometimes dated metaphors of which Kafka, taking them literally, spins his text, but also, where relevant, of Czech and Italian etymology. Split, for ease of reference, into chapters corresponding to the chapters of the novels in the new Originalfassung, the book is aimed at all readers of Kafka with a knowledge of German, for the author shows that Kafka's texts can be understood only in the language in which they were written: because Kafka's meaning is often hidden beneath the surface of the text, conveyed via secondary meanings that are specific to German, any translation is necessarily an Oberflächenübersetzung.

Kafka's Novels: An Interpretation (Internationale Forschungen Zur Allgemeinen Und Vergleichenden Literaturwissenschaft, 67)

Brill Academic Pub

De Quincey's Gothic Masquerade is what has long been needed, a study of Thomas De Quincey's Gothic and Gothic-related texts by a Germanist working on Gothic and specializing in Anglo-German literary relations. Variously identified as Gothic Hero, Gothic Parasite, and author of a Gothick sport, De Quincey is the dark horse of Gothicism, for while his work has, increasingly, been associated with Gothic, not one of the recent companions to Gothic so much as mentions his name. Definitions of what is meant by 'Gothic' have changed, of course, and are still evolving, claiming more territory all the time, but Gothic specialists also have their blind spots, of whom De Quincey is one. One reason for this state of affairs will be the fact that in his work the Gothic is interwoven with the German, to which modern English studies all too often turn a blind eye. In this timely study of his work in relation to Gothic convention the author addresses the question of De Quincey's reputed knowledge of German 'Gothic' Romantic literature and the related question of supposed German influences on his Gothic work, and shows that his fiction is not less but more original than has been thought. The texts examined are those on which, for better or worse, his reputation as a writer both of autobiography and of fiction depends. Focusing on the Gothic takes one to the heart of his literary masquerade, and more especially to the heart of his masked autobiographical enterprise. Gothic, because of its formulaic nature, represents a place where he belongs, a place where his sense of guilt can be seen as part of a wider pattern, thus countering his pariah self-image and enabling him to make some sort of sense of the Gothic ruin of his life. Addressed to all who are interested in De Quincey's work and its place in literary history, and to the many readers in the English and German-speaking worlds who share De Quincey's and the author's enthusiasm for Gothic, this book adds considerably to the scope of De Quincey studies, which it enables to move on from some of the main unanswered questions of the past.

De Quincey's Gothic Masquerade (Internationale Forschungen zur Allgemeinen und Vergleichenden Literaturwissenschaft 80)

Rodopi

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