Johannes Evelein Livres

This volume presents for the first time a study of the interface between exile and travel within the context of exile from Nazi Germany. The nineteen essays share the overarching aim to compare the tropes of travel and exile as generators of a critical discourse and as central categories within German exile, in particular literature, music and film. The essays are guided by powerful How does travel compare to exile, and how much overlap is there between these two categories? How do exiles travel, as practitioners of displacement? Or rather, to what extent does the concept of travel apply to the exilic predicament? Do the terms “exile” and “travel” still have validity in our postmodern era of cosmopolitanism, ever increasing mobility, the embrace of otherness, and tourism? How does exile literature in which travel is thematized compare to the tradition(s) of travel writing? And how are the critical moments of leavetaking, re-membering home, and return imagined and narrated? The essays feature numerous German and Austrian authors, musicians, and filmmakers and lend fresh insights into German Exile and the field of Exile Studies at large.

Exile is as old as humanity itself but a radically new fate for the ""novice"" exile, who falls into a world about which personal experience can tell him nothing. He does, however, know a great number of stories -- myths, legends, allegories, biblical or historical accounts -- about exile. The novice's search for a foothold initiates a learning process in which the exilic tradition assumes a major role. The present book captures this learning process:it is a cultural history of exile as it was experienced by thousands of German and Austrian writers and intellectuals who opposed National Socialism: among them Brecht, Canetti, Seghers, Remarque, the Manns, and Ludwig Marcuse. It shows how, slowly, exile becomes a reality through the growing awareness of -- and reference to -- the exemplary figures of a shared fate. Scores of fellow travelers, from the mythic figures Odysseus and Ahasverus (""The EternalJew"") to writers such as Heinrich Heine and Victor Hugo, frame the experience of exile, imbuing it with meaning, giving it depth, and even elevating it to a ""High Moral Office."" They frequently make appearances in the narratives of the Nazi-era exiles. The Russian-American exile poet Joseph Brodsky called writers in exile ""retrospective and retroactive beings."" What their retrospective gazes yield as they search for meaning in banishment is at the heart ofthis book. -- Amazon.com

Dieses Buch setzt sich zum Ziel, August Strindbergs formale Erneuerungen, die zur Entstehung des Stationendramas führten, anhand einer Analyse der Dramen Strindbergs «Nach Damaskus I» und «Die große Landstraße» zu demonstrieren. Überdies erstrebt die Studie eine Definition, die der Vielschichtigkeit dieser Gattung gerecht wird. Im Mittelpunkt der Studie stehen die stationentechnische Struktur, die Komplexität der Mittelpunktsfigur, der subjektive Gebrauch der Farben und die leitmotivische Technik. Die Ergebnisse dieser Analyse werden auf über dreißig deutsche Stationendramen bezogen, unter anderen auf Werke von Georg Kaiser, Franz Csokor, Ernst Toller und Franz Werfel, woraus die Verknüpfung des deutschen Stationendramas mit Strindbergs dramatischen Errungenschaften hervorgeht.