Die vorliegende Untersuchung liefert einen Gesamtüberblick über Arthur Schnitzlers Zusammenarbeit mit der Filmindustrie. Dabei wird seine Haltung zum Kino ebenso berücksichtigt, wie seine Wahrnehmung ...und seine theoretische Reflexion des neuen Mediums. Neben der Entstehungsgeschichte der Verfilmungen, die zu Schnitzlers Lebzeiten auf der Grundlage seiner literarischen Texte entstanden sind, gilt es, Schnitzlers eigene Filmentwürfe nach seinen Werken und schließlich seine Drehbücher und Filmskizzen anzuführen. Anhand Schnitzlers eigenen Filmentwürfen und seinen Äußerungen zu den Verfilmungen wird der filmhistorische Kontext Schnitzlers, seine ästhetischen Forderungen an den Film, seine Filmtechnik und seine filmischen Erzählstrategien rekonstruiert.
Der vorliegende Sammelband entstand 2008 im Rahmen des internationalen "Arthur Schnitzler und Film" Symposiums in Freiburg, an dem Literatur-, Film-, und Medienwissenschaftler aus Deutschland, ...England, Frankreich, Italien, Österreich und den USA teilnahmen. In der Einleitung legen die Herausgeber ihre Absicht klar fest: Die insgesamt 20 Beiträge gliedern sich in drei Abschnitte und sollen durch einen "autorspezifischen, intermedialen oder rezeptionsästhetischen" (11) Ansatz Schnitzlers Entwicklung vom "Kinodramatiker zum Kinoerzähler" und schließlich zum "Drehbuchautor"" (10) zeigen. Diese Ambitionen löst der Sammelband tatsächlich ein. Als einzige traut Konstanze Fliedl dem Autor auch Medienkritik als Widerstand gegen die Bilderflut im Sinne einer "visuellen Negativität als Signum des zwanzigsten Jahrhunderts" zu (158). Die Inszenierung der Blindheit liest Fliedl als Dramaturgie des Blicks. Souverän verknüpftsie real soziale Aspekte wie die Wiener Blindeninstitute mit einer subtilen Textanalyse, die für Schnitzlers "ästhetische Selbstreflexion" (158) sprechen, die weniger als "Antizipation" sondern als "scharfsichtige Parallelaktion" (161) zu verstehen sei.
The collapse of the Austro-Hungarian Monarchy after World War I produced several forms of litarary treatments of this “finis Austriae” by most of the authors of “Vienna Modernism,” e.g. by Arthur ...Schnitzler and Leo Perutz. Their texts will be analysed under the aspect of the narrative presentation of the historical trauma of the end of Habsburg Monarchy. Both authors outline a structure of “before” and “after” in their narrated worlds where the seemingly stable and idyllic situations bear also hidden tensions and controversies. The narrative methods of unreliability, intertextuality, the complexity of conflicting points of view etc. reveal the deep scepticism and frustration of the two authors concerning all idealization of the Monarchy, and this manifests also the general lost of confidence in historical transformations.
The rise of anti-Semitism in conjunction with probing the possibilities of literary narratives makes literature itself a site of negotiation in late imperial Austria. This article reads Arthur ...Schnitzler’s first novel, Der Weg ins Freie ( The Road into the Open, 1908), as a text that shows authorial restraint by foregrounding constellations of duality, duels, and their diplomatic mediation, which fail frequently. In doing so, the essay outlines Schnitzler’s opposition to his contemporary Theodor Herzl’s stronger attempts at executing narrative authority. Three main configurations in Schnitzler’s novel are discussed: constellations between genres and opinions, between representation in art and politics ( Darstellen and Vertreten), and between voicing and silencing. At stake, therefore, are the narrative strategies employed in the production, representation, and reception of modern literature in times of crisis.
Models of Integrity: Art and Law in Post-Sixties America. Farm to Form: Modernist Literature and Ecologies of Food in the British Empire. Columbus: Ohio State University Press, 2019. Runaway ...Hollywood: Internationalizing Postwar Production and Location Shooting. Models of Integrity: Art and Law in Post-Sixties America. Farm to Form: Modernist Literature and Ecologies of Food in the British Empire.
...for Arnim, it is “ambiguity and ambivalence” that take center stage (76), with Arnim presenting various possible love affairs between Jews and non-Jews and then rejecting them because of a ...perceived inability of Jews (or their Jewishness) to truly be assimilated into German culture. In three chapters, Garloff examines the works of Ludwig Jacobowski, Max Nordau, Georg Hermann, Sigmund Freud, Otto Weininger, Arthur Schnitzler, Franz Rosenzweig, and Else Lasker-Schüler, all of whom “seek to wrest love away from biologist thought and reinstate it as a model of sociopolitical integration” (98). Because of the many political trends with which Jews were engaged by the early twentieth century, across these chapters Garloff uses each writer as a cipher through which to address larger social concerns, such as race, nationalism (of which Zionism was the uniquely Jewish facet), and gender. ...this book should be an essential read for anyone interested in Jewish-Gentile relations in modern German literature.
This article examines the intersection between Gothic elements and the theme of infection in two texts by Arthur Schnitzler, arguing that the re-emergence of the Gothic in modernist literature draws ...on the popularized scientific discourses of bacteriology around 1900 and their imagination of germs as invisible invaders and enemies. The theme of infection functions as a Gothic trope, used to negotiate the experience of increasingly blurred boundaries between self and ‘other’. Schnitzler's texts reveal how the fear of infection becomes linked to the protagonists' loss of their secured sense of self within the normative boundaries of a bourgeois masculinity.
Intertextuelle Anleihen und Bezugnahmen auf literarische Muster prägen Arthur Schnitzlers erzählende Schriften viel stärker als bisher bekannt. Die kürzlich rekonstruierte ,virtuelle Bibliothek` ...Schnitzlers erlaubt es, die intertextuellen Bezüge in seinem Werk zu präzisieren und die produktive Verarbeitung der Lektüren sowie die Dialogizität von Prätext und Posttext genauer zu bestimmen. Der vorliegende Band vereint exemplarische Studien solcher Prosatexte, die erstens markant die interpretatorische Ergiebigkeit der ,virtuellen Bibliothek` belegen, zweitens Schnitzlers intertextuelle Produktionsästhetik in ihren unterschiedlichen Facetten besonders augenfällig zeigen und die drittens die Frage beantworten lassen, ob und inwieweit Schnitzlers Verfahren während seiner dichterischen Laufbahn eher konstant bleiben oder dynamischen Entwicklungsprozessen unterworfen sind. Dank der Unterscheidung von figuraler und narratorialer Intertextualität lassen sich auch die Personalisierung der Anleihen und ihre Funktion genauer deuten. Folgende Erzähltexte werden untersucht: Die Toten schweigen (1897), Die Nächste (1899), Lieutenant Gustl (1900), Andreas Thameyers letzter Brief (1902), Der letzte Brief eines Literaten (1917), Fräulein Else (1924) und Die Traumnovelle (1926).
This article explores the interdependence of money, guilt, and redemption in Arthur Schnitzler's Traumnovelle ('Dream Story') and Stanley Kubrick's Eyes Wide Shut. It argues that the protagonist's ...culpability in both the literary text and the film results from their drive to surpass the confinements of their upper middle-class status. However, their desire to enter the realm of a quasi-religious circle of social and monetary power is bound to fail and forces them to seek redemption. After willfully admitting their 'sins,' they ultimately accept their proper social positions. Initially, these similarities seem unsurprising, considering that the film is an adaptation of the novella. However, Kubrick's version does not so much aim at a 'decontextualization' of social and economic conditions, but rather suggests that the intrinsic economic order and its sustaining sphere have not only not changed, but have even been reinforced since the time of Schnitzler's text. This leads to a different final assessment of this condition at the end of the film and the novella. The latter's optimistic outlook has been replaced by a fatalistic and almost radical acknowledgment of the middle-class individual's limited possibilities in finding fulfillment.
Originally published in 1967, Richard H. Allen's volume with a foreword by Robert O. Weiss was the first comprehensive bibliography of Arthur Schnitzler's writings, including his literary works (with ...translation and criticism), philosophical reflections, essays, correspondence, and medical writings, together with general criticism and dissertations on the author. Indices of titles, personal names, and periodicals make the material readily accessible.
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