This article analyses the ways in which fraternity is imagined in Victor Hugo’s introductory essay to Paris guide (1867) and Danton und Robespierre (1871), by the Austrian poet Robert Hamerling. Both ...texts use the French Revolution as a pretext to articulate a cosmopolitan vision that has to be understood as a reaction to the political tensions in the prelude to and aftermath of the Franco-Prussian War (1870-71). By reconstructing how Hugo and Hamerling intervene in a broader debate on the question of nationalism and internationalism, this article sheds more light on how literature was a vehicle for cosmopolitan views.
Unique cross-cultural and multimedial approach to class identity and precarity in literature, theatre, and film
Contemporary culture not merely reflects ongoing societal transformations, it shapes ...our understanding of rapidly evolving class realities. Literature, theatre, and film urge us to put the question of class back on the agenda, and reconceptualize it through the lens of precarity and intersectionality. Relying on examples from British, French, Spanish, German, American, Swedish and Taiwanese culture, the contributors to this book document a variety of aesthetic strategies in an interdisciplinary dialogue with sociology and political theory. Doing so, this volume demonstrates the myriad ways in which culture opens up new pathways to imagine and re-imagine class as an economic relation, an identity category, and a subjective experience. Situated firmly within current debates about the impact of social mobility, precarious work, intersectional structures of exploitation, and interspecies vulnerability, this volume offers a wide-ranging panorama of contemporary class imaginaries.
Contributors: Magnus Nilsson (Malmö University), Christian Claesson (Lund University), Christoph Schaub (University of Vechta), Olaf Berwald (Middle Tennessee State University), Valeria Pulignano (KU Leuven), Lander Vermeerbergen (Radboud University), Markieta Domecka (KU Leuven) Deborah Dean (Warwick University), Sula Textor (Potsdam University), Irene Husser (University of Tübingen), Katrin Becker (University of Siegen), Marissia Fragkou (Aristotle University of Thessaloniki) Sarah Pogoda (Bangor University), Daniel Brookes (University of Worcester), Tim Christiaens (Tilburg University), Joeri Verbesselt (KU Leuven), Syaman Rapongan (writer).
Ebook available in Open Access. This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).
Dieser Beitrag nimmt die heutige Empfindlichkeit für soziale Regression, Prekarität, das Erodieren von sozialen Sicherheitssystemen und Fragen der Klassenformierung als Anregung, einen neuen Blick ...auf die Literatur der Arbeiterbewegung der 1860er und 1870er Jahre zu werfen, als von einer vollständig organisierten Arbeiterklasse sowie von sozialer Sicherung und dem Wohlfahrtsstaat nicht bzw. nur ansatzweise die Rede war. Eine Llektüre von August Otto-Walsters Roman
Am Webstuhl der Zeit
(
Social-politscher Roman
, 1873) im Licht der damaligen Debatten über die Vorzüge von Literatur im Klassenkampf unter Sozialisten zeigt das politisch-ästhetische Projekt eines aktivistischen Schriftstellers, der seine Leser sich selbst als solidarisch und demokratisch wahrnehmen lassen wollte. Otto-Walsters Roman präfiguriert eine sozial(istisch)e Gesellschaftsform, indem der Plot beschreibt, wie eine Gesellschaft durch Beratung und allgemein zugestimmte Kompromisse erfolgreich von innen her verändert werden kann. Der Roman, der sein politisch-ästhetisches Projekt auf Meta-Ebene zur Schau trägt, ist somit als eine Lektion in demokratischer Haltung konzipiert, die eine solche zentrifugale Reform bedingt. Dass sich dieses politisch-ästhetische Projekt zudem auch in dem sprachkritischen, (raum-)symbolischen und affektiven Entwurf abzeichnet, deckt dieser Beitrag in einer explorierenden Lektüre auf.
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.
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.
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