By Bernd Fischer
For over one hundred fifty years, Heinrich von Kleist (1777-1811) has been some of the most broadly learn and played German authors. His prestige within the literary canon is firmly tested, yet he has continually been one in all Germany's such a lot contentiously mentioned authors. Today's severe debate on his designated 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 will 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 Nineteen Fifties and early Sixties and unfolded new avenues for coming to phrases along with his strange expertise. the current quantity brings jointly crucial and cutting edge of those more moderen scholarly ways: the essays comprise seriously proficient, updated interpretations of Kleist's most-discussed tales and dramas. different contributions research Kleist's literary skill and kinds and their theoretical underpinnings. They contain articles on Kleist's narrative and theatrical procedure, poetic and aesthetic concept, philosophical and political proposal, 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 dept of German at Ohio country collage.
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Additional resources for A Companion to the Works of Heinrich von Kleist (Studies in German Literature Linguistics and Culture)
In Ethik und Ästhetik: Werke und Werte in der Literatur vom 18. bis zum 20. Jahrhundert. Festschrift für Wolfgang Wittkowski zum 70. Geburtstag. Ed. Richard Fisher. : Peter Lang, 1995, 313–27. Greenberg, Martin, tr. Heinrich von Kleist: Five Plays. New Haven: Yale UP, 1988. Gundolf, Friedrich. Heinrich von Kleist. Berlin: Bondi, 1922. AMPHITRYON AND HOW KLEIST’S TEXTS READ INTERPRETERS E 39 Gustafson, Susan E. ” Seminar 25 (1989): 104–26. Guthke, Karl S. Geschichte und Poetik der deutschen Tragikomödie.
At the age of nineteen he grieved at the inhumane killing the military profession required, and at twenty-one, 26 E JEFFREY L. SAMMONS denouncing military discipline as tyrannical, he abandoned the career as incompatible with his humane values (Kleist 4:18, 27). One might think not only of Prince Friedrich, paralyzed by the fear of death, but of even more dubious fighting men such as Count F . . in Die Marquise von O . . or Count Jakob in Der Zweikampf, or, contrarily, of Michael Kohlhaas’s guerrillas making fools of the regular troops sent out against them or of Herrmann’s victory of mind over muscle.
The Romantic Movement: A Selective and Critical Bibliography for 1981. New York: Garland, 1982. Fetscher, Justus. Verzeichnungen: Kleists “Amphitryon” und seine Umschrift bei Goethe und Hofmannsthal. Cologne: Böhlau, 1998. Fischer, Bernd. ” Studia neophilologica 56 (1984): 61–68. Földényi, László F. Heinrich von Kleist: Ein Netz der Wörter. Tr. Akos Doma. Munich: Matthes & Seitz, 1999. Furst, Lilian R. ” Journal of English and Germanic Philology 84 (1985): 374–95. Gearey, John. Heinrich von Kleist: A Study in Tragedy and Anxiety.