By Dagmar C. G. Lorenz
Searchable PDF, with cover
The Bulgarian-born pupil and writer Elias Canetti (1905-1994) was once essentially the most astute witnesses and analysts of the mass pursuits and wars of the 1st half the 20th century. Born a Sephardic Jew and raised within the Bulgarian and Ladino languages, he selected to write down in German, picking as he did with eu literary and highbrow traditions. He used to be presented the 1981 Nobel Prize in Literature for his oeuvre, inclusive of dramas, essays, diaries, aphorisms, the radical Die Blendung (Auto-da-Fé), a three-volume autobiography, and the vast interdisciplinary treatise Masse und Macht (Crowds and Power). those writings, so much significantly Masse und Macht, show Canetti's thought-provoking rules on tradition and the human psyche with specific concentrate on the phenomena of energy, clash, and survival. Canetti's masterful prose, his linguistic options, his amazing satires and conceits proceed to fascinate students and normal readers alike, and his intellectually hard, genre-bending writings merge idea and literature, essay and diary access. His philosophical and anthropological works are profoundly stimulated through literature, whereas his literary texts are knowledgeable via his conception. The better half to the Works of Elias Canetti comprises unique essays through well known overseas students operating on the vanguard of Canetti feedback. They learn the writings of this amazing author and philosopher within the context of pre- and post-fascist Europe, offering a accomplished scholarly advent to Canetti. The essays comprise special interpretations of person texts in addition to entire thematic and theoretical reviews dedicated to Canetti's paintings as a part of the Western philosophical and demanding tradition.
Table of Contents
Canetti’s imperative Works
Abbreviations of Works usually brought up
Introduction - Dagmar C. G. Lorenz
William Collins Donahue - goodbye to All That: Elias Canetti’s Obituaries
Anne Fuchs - “The Deeper Nature of My German”: mom Tongue, Subjectivity, and the Voice of the opposite in Elias Canetti’s Autobiography
Hans Reiss - Elias Canetti’s perspective to Writers and Writings
Julian Preece - Canetti and the query of style
Wolfgang Mieder - “The Faultiest Expressions Have the best Attraction”: Elias Canetti’s Proverbial Aphorisms
Sigurd Paul Scheichl - Canetti’s Aufzeichnungen
Helga Kraft - Staging a Critique of Modernism: Elias Canetti’s Plays
Harriet Murphy - “Gute Reisende sind herzlos”: Canetti in Marrakesh
Irene Stocksieker Di Maio - area in Elias Canetti’s Autobiographical Trilogy
Ritchie Robertson - Canetti and Nietzsche: An advent to Masse und Macht
Johannes G. Pankau - pictures of female and male in Canetti’s Fictional, Autobiographical, and Theoretical paintings
Dagmar C. G. Lorenz - Canetti’s ultimate Frontier: The Animal
Svoboda Alexandra Dimitrova and Penka Angelova - Canetti, Roustchouk, and Bulgaria: The impression of starting place on Canetti’s paintings
Michael Mack - Elias Canetti’s reaction to the Shoah: Masse und Macht
Works brought up 313
Notes at the individuals 333
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Extra info for A Companion to the Works of Elias Canetti (Studies in German Literature Linguistics and Culture)
One could conceivably make progress toward overcoming this dichotomy simply by keeping this broader cultivated feuilleton readership in mind as the target audience of our own scholarly pursuits. Ultimately the “academic/ feuilleton” dichotomy is of course not ontological, but rather one of mood and style; Magris, to be sure, is first and foremost a professor of literature, as is Stieg. Furthermore, we can not credit the obituaries exclusively with this more capacious approach to Canetti. Earlier wide-ranging retrospective essays by William Gass and Roger Kimball,54 both penned well before Canetti’s demise, as well as David Denby’s 1999 New Yorker essay “Learning 36 E WILLIAM COLLINS DONAHUE to Love Canetti,” all perform the same salubrious function of placing Ca55 netti in richer and broader intellectual contexts.
Precisely as “der erklärte Nicht-Österreicher,” Canetti may have made his most valu16 able contribution to Austrian cultural life. Although some of the essays are clearly inflated (in line with genre expectations), the bulk are balanced assessments of the author’s life and work, 17 including a few openly negative pieces. Approaching Canetti from beyond the grave, so to speak — with neither gratuitous animus nor obsequious affirmation — is a distinctly salutary critical practice strongly associated with the obituary phase of critical response.
Canetti views social structures as the products of the drive to survive and dominate and, Robertson argues, he endorses none of the great political systems of his era: neither capitalism, liberalism, socialism, nor fascism. Johannes G. ” He approaches his admittedly “tricky task” by examining major works of different eras, Die Blendung, Masse und Macht, Der andere Prozeß, the drama Hochzeit, and Canetti’s autobiographical writings and statements about himself. Pankau also probes into the intellectual environment of Canetti’s works, the misogynist Viennese discourse of the notorious Otto Weininger, and then calls for a more differentiated assessment of Canetti’s gendered universe than the one offered by late twentieth-century feminist scholarship.
A Companion to the Works of Elias Canetti (Studies in German Literature Linguistics and Culture) by Dagmar C. G. Lorenz