Ein Wiener am Nordkap Ilgner, Julia
European journal of Scandinavian studies,
10/2023, Volume:
53, Issue:
2
Journal Article
Abstract The essay examines the exclusive journey to Scandinavia of the 34-year-old Austrian poet Arthur Schnitzler in the summer of 1896 on the basis of its documentation in the diary as well as in ...various correspondences. Especially in his love letters to his mistress Marie Reinhard, the young Viennese author, creates the ,fictional idea of an imaginary journey for two‘ in order to let her participate in his experiences abroad. On this source basis, Schnitzler’s ,touristic view‘ of the north and Western Norway in particular, as well as its productive reception in his literary work, are discussed in order to show the fictional as well as factual components of his image of the north and of northerness in general.
While the reflection on self-talk goes back at least to Plato's Theaetetus, its significance for linguistic theory became apparent only recently. I re-interpret the distinction of Holmberg (2010) ...between "Italk" and "You- talk" in terms of William James' distinction of "I" and "Me", which I will call "Inner" and "Outer" self. In You-talk, the Outer Self addresses the Inner Self; in I-talk, it is either the Outer Self or the Inner Self that is speaking, depending on whether the perspective is more externalized and objectified, or internalized and expressive. Following recent work by Ritter & Wiltschko (2021), I argue that the two modes of self-talk are represented in different ways in syntax. Assuming the framework of Krifka (2015), I argue that assertions in Italk are expressive, whereas in You-talk they form self-oriented commitments of the speaker, similar to Judgements in the sense of Charles S. Peirce. I will investigate the claims about self-talk with the novella Leutnant Gustl by Arthur Schnitzler, published 1900.
A doctor's choice De Ambrogi, Marco
The Lancet (British edition),
09/2019, Volume:
394, Issue:
10202
Journal Article
Peer reviewed
Manuel Harlan While Schnitzler focused on the struggle between medicine and religion and the creeping antisemitism in Viennese society, Icke broadens the narrative to encompass gender, race, ...sexuality, and class, thus giving the play a complexity in line with modern times. ...Icke plays with the unconscious bias of the audience by casting women to play men and revealing the gender, religion, and ethnicity of characters only later in the play. While Wolff defines herself foremost as a doctor, she is violently attacked for being Jewish, white, a woman, a supporter of the right to abortion, and an educated person, depending on how convenient the defining characteristics are to support the argument of her critics. ...the play makes clear how in our society identities can become weaponised and pitted against each other. The Doctor is a powerful reflection on our outrage culture that goes beyond the original conflict between medicine and faith to question the limits of political correctness and the dangers of social media witch-hunts.
Der Ehrentag Fliedl, Konstanze; Polt-Heinzl, Evelyne
2017, 2017-04-24, 20170424
eBook
Vom Werk Arthur Schnitzlers existiert bislang keine kritische Ausgabe. Die Bände bieten das Faksimile des Manuskripts, eine präzise Transkription und einen Lesetext. Der Text wird erschlossen durch ...editorische Apparate, einen literaturwissenschaftlichen Kommentar sowie einen ausführlichen Editionsbericht. Die Ausgabe erlaubt damit erstmals Einblicke in die Werkgenese.
This paper connects the category of the grotesque to the political and aesthetic complications of representations of post-monarchical power. In order to achieve the interplay of this figurative ...development, two grotesque plays on the French Revolution will be examined: Arthur Schnitzler's Der grüne Kakadu (1899) and Rudolf von Delius' Robespierre ( 1906 ). The analysis will show how Schnitzler and Delius deconstruct the theatrical procedures that underpin socio-political structures challenged by the French Revolution. What this amounts to is the grotesque staging of revolutionary beginning (Schnitzler) or end (Delius) and revealing the repressed origins and foundations witnessed at the advent of political modernity. Both authors hint at the impossibility of suppressing the instinctive, Dionysian dimension (mostly associated with the masses) in favour of rational, Apollonian individuality. Doing so, Schnitzler as Delius engage with dominant contemporary views on political representation, authoritarianism and mass psychology.
Von Paul Czinners Stummfilm »Fräulein Else« (1929) bis zu Stanley Kubricks Hollywood-Produktion »Eyes Wide Shut« (1999): Texte von Arthur Schnitzler wurden vielfach für Film und Fernsehen adaptiert. ...Doch ist es einer Literaturverfilmung überhaupt möglich, komplexe Gefühlswelten und Gedankengänge der Protagonisten wiederzugeben? Henrike Hahn zeigt aus literatur- und filmwissenschaftlicher Perspektive, wie figurative Innenwahrnehmungen mittels vielfältiger Strategien in das Medium Film übertragen werden können. Ihre Studie leistet so nicht nur einen wichtigen Beitrag zur medialen Rezeption Schnitzlers - sie regt auch zur Debatte über die filmpoetologische Ausrichtung seiner Texte an und diskutiert die generellen filmtechnischen Strukturen von Literaturverfilmungen.
...I aim to show that by giving a reading of Schnitzler's writings in the light of the "Uncanny" it is possible to frame a more robust theory of the "Uncanny" than that originally proposed by Freud, ...one which takes Kleinian aggression into account. Certain of Schnitzler's short stories and novellas in particular, "Flowers" (1894), "The Murderer" (1910), Dying (1892), Dead Men Tell No Tales (1897), Dream Story (1926), even his novel The Road to the Open (1908) - these prose works are peopled by dead bodies, by characters who already seem to half-inhabit a penumbral, shadowy world in which death beckons. ...characters seem almost by definition to be potentially suicidal from the outset, either consciously or unconsciously. ...what is most striking of all is the extent to which characters are, quite literally, haunted by ghostly characters or images of ghostliness which taint and poison their existence with phantasies of death to the point where these characters are very nearly precipitated to their real or phantasied deaths too.3 These ghostly characters seem almost to lean back into life in order to snatch the living characters down into the abyss of death with them and death is presented as very seductive. ...just as a painter poses a living woman for Venus or The Virgin, although in his mind' s-eye he reconstructs some ideal image from his past, so Poe, when in his tales he paints his dying Virginia's poses, always reproduces the great mother's image that gleams through.7 For Bonaparte, therefore, stories such as "The Oval Portrait" and "Ligeia", and poems such as "Annabel Lee", all give expression to Poe's unresolved Oedipus complex, his unconscious longing for union with the dead mother. In my analysis of Schnitzler in the light of the "Uncanny", therefore, I will highlight three recurring strands, which are all inextricably intertwined: aggression, the fusion of the erotic and death, and the "uncanny" body.
Arthur Schnitzler's drama Reigen is primarily known for its explicit content and the scandals it produced. Yet Reigen also reads as an attempt to modernize, and localize, the classical form of the ...chorus which had not found a place in modern bourgeois theater. Curiously overlooked in studies on literary choruses, the play—its title being one of the possible translations of the Greek χoϱός (choros)—can in fact be resituated as χoϱός‐literature, as choreo‐graphy, as literal transposition of a dance into a series of dialogues. The stringency of its serial format, the attention it gives to movement and location, entering and exiting, up to its suspension of language for the sake of rhythmical notation (– – –) reveal Reigen as theatrical hybrid: as chorus bursting with its copulating individuals. Radically questioning the conventions of “domestic” theater, Schnitzler's Reigen brings to the stage a critique of theatrical genres and conventions that, by the end of the nineteenth century, had clearly outgrown their use.
Often categorized as an experimental or case novella, Arthur Schnitzler's early novella Sterben develops a literary approach that reflects the cultural framework of statistics. At the time, the ...statistical method aspired to relate individual life to statistical data, a development to which Schnitzler was especially sensitive as a physician. Writing medical texts and editing a medical journal, Schnitzler recognized in which ways the advance of statistics was furthered through visualization, for which Francis Galton's composite portraiture is an example. The growing impact of the statistical method furthered the problematic role of the individual in statistical data. Sterben lays out the challenges the individual faces with regard to the positivist development of the statistical approach, describing the fate of a fatally ill tuberculosis patient. Working through the cultural notions of "consumption," the novella lays out how especially Romantic notions of disease have become vain retrospectives, as death is increasingly represented by statistical data. Schnitzler's text drafts a literary perspective of the impact of statistics on the individual, with consideration to the question of literary form.
