By Katrin Kohl, Ritchie Robertson
20th-century Austrian literature boasts many extraordinary writers: Schnitzler, Musil, Rilke, Kraus, Celan, Canetti, Bernhard, Jelinek. those and others characteristic in broader bills of German literature, however it is fascinating to determine how the Austrian literary scene -- and Austrian society itself -- formed their writing. This quantity therefore surveys Austrian writers of drama, prose fiction, and lyric poetry; relates them to the unique background of recent Austria, a democratic republic that was once overtaken via civil battle and authoritarian rule, absorbed into Nazi Germany, and re-established as a impartial kingdom; and examines their reaction to debatable occasions resembling the collusion with Nazism, the Waldheim affair, and the increase of Haider and the intense correct. as well as confronting controversy within the family members among literature, historical past, and politics, the amount examines pop culture in response to present developments. participants: Judith Beniston, Janet Stewart, Andrew Barker, Murray corridor, Anthony Bushell, Dagmar Lorenz, Juliane Vogel, Jonathan lengthy, Joseph McVeigh, Allyson Fiddler. Katrin Kohl is Lecturer in German and a Fellow of Jesus university, and Ritchie Robertson is Taylor Professor of German Language and Literature and a Fellow of The Queen's university, either on the college of Oxford.
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Additional info for A History of Austrian Literature 1918-2000 (Studies in German Literature, Linguistics, and Culture)
BIG-TIME PROFITEER jumps up. Brandishing his knife and fork. Stretches out his arms in a gesture of ferocious arrogance: Go on. Punish me. God. Smite me down. ) In juxtaposing the plight of the victims with the selfish hedonism of the profiteer, Schönherr focuses attention firmly on the socio-economic rather than spiritual dimension of poverty. And, just as, most famously in Remarque’s Im Westen nichts Neues (All Quiet on the Western Front, 1929), attention later turned back to the war in an attempt to understand the roots of present troubles, so in 1925 Schönherr returned to Die Ballade vom Untergehen, expanding it into a full-length play that he repeatedly revised in subsequent years, most evocatively under the title Hungerblockade 1919.
Macartney, The Habsburg Empire 1790–1918 (New York: Macmillan, 1969), 833. 5 Martin Kitchen, The Coming of Austrian Fascism (London: Croom Helm, 1980), 12. 6 Edward Timms, Karl Kraus, Apocalyptic Satirist, vol. 2: The Post-War Crisis and the Rise of the Swastika (New Haven and London: Yale UP, 2005), 336. 7 “Wir wollen das neue Österreich” in Dollfuß an Österreich: Eines Mannes Wort und Ziel, ed. by Hofrat Edmund Weber (Vienna: Reinhold, 1935), 31. 8 See G. E. R. Gedye, Fallen Bastions: The Central European Tragedy (London: Gollancz, 1939), 91.
Literary journals are shown to be important for the postwar decades, as they provided authors with a medium of publication, although the conservative taste of most editors meant that the young avant-garde found it difficult to gain a foothold in the literary world. Bushell indicates the powerful influence of state-run institutions on literature, a notable example being the Vienna Burgtheater. More generally, the antagonism between state-sponsored and alternative literatures emerges as a distinctive feature of Austria’s literary landscape.