Download A Companion to the Works of Thomas Bernhard (Studies in by Matthias Konzett PDF

By Matthias Konzett

Because the loss of life of Thomas Bernhard in 1989, the literary acceptance of this advanced and particular author has risen to the purpose that he's now considered as an enormous eu determine. Bernhard emerged within the Sixties as one among Austria's significant writers, difficult the recognition of such demonstrated writers as Heinrich B?ll and G?nter Grass at the German literary scene. His idiosyncratic prose includes a tragic-comic mixture of issues akin to suicide, insanity, and isolation mixed with hugely satirical and histrionic invectives opposed to tradition, culture, and society. As a skillful impresario of public scandals through verbal attacks upon Austrian elite tradition, Bernhard additionally earned himself the epithet of ?bertreibungsk?nstler (artist of exaggeration). during this artwork of cultural and political provocation Bernhard is still unequalled to the current day. This quantity of essays offers contributions by means of famous critics that learn the main salient features of Bernhard's paintings, providing insights into literary concepts and public issues that made Bernhard one among Europe's masters of recent prose and drama. Essays learn Bernhard's advanced creative sensibility, his impression on Austria's severe reminiscence, his relation to the legacy of Austrian Jewish tradition, his consultant price as Austria's leading literary export, and his cosmopolitanism and its importance for the speedily altering multicultural panorama of Europe.Matthias Konzett is affiliate professor of German at Yale college. he's the writer of The Rhetoric of nationwide Dissent in Thomas Bernhard, Peter Handke, and Elfriede Jelinek (Camden condo, 2000).

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32, 1989), following immediately the advice of the photographer Rittenberg “Look at Hennetmair,” when he, as he reports, was found by him in Switzerland, to allow Hennetmair’s rather private work of commemoration turn into a public matter? Was it a question of demonstrating in exemplary fashion how one is to cope when one’s former idol dies not reconciled and in irreconcilable fashion and the conflict is prolonged into eternity. The falling out between Bernhard and Hennetmair stems from a severe breach of trust.

Gewiß hatte der Künstler mit diesem Ge- 18 MATTHIAS KONZETT mälde keine böse Karikatur beabsichtigt; womöglich das Gegenteil. Irgendwo dachte es aber in ihr: “So wollten und so wollen sie uns seit jeher sehen; in Fetzen, von Wunden umkränzt, zerschlagen, eingeschnürt und verletzt. Der ewige Jude war und ist ihnen eine Ausstellung wert. ” (Rabinovici, 203) In Rabinovici, the politics of iconoclasm has been complicated by an insistence on differentiated positions between victims and victimizers that haunt subsequent generations of descendants.

The same is true for Murau’s Wolfsegg and Rome. Although Bernhard’s works contain countless allusions to AustroFascism, National Socialism, Socialism, and the Habsburg era, the 37 rhetoric of totality de-historicizes them. It is precisely the avoidance of specificity and the conflation of the experience of Nazi victims and mainstream Austrians of his generation through which Bernhard provides his Austrian readers with a comfortable, if not pleasurable, reading experience. The fact that Bernhard reached and enraged so many of his contemporaries with his outrage (rather than meeting with indifference) indicates how well he knew his fellow Austrians’ sensitive spots.

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