By Wulf Koepke, Roland Dollinger, Heidi Thomann Tewarson
Alfred Döblin (1878-1957) used to be one of many nice German-Jewish writers of the twentieth century, a tremendous determine within the German avant-garde ahead of the 1st global conflict and a number one highbrow through the Weimar Republic. Döblin drastically encouraged the heritage of the German novel: his best-known paintings, the best-selling 1929 novel Berlin Alexanderplatz, has usually been in comparison in its use of inner monologue and literary montage to James Joyce's Ulysses and John Dos Passos's big apple move . Döblin's oeuvre is under no circumstances restricted to novels, yet during this style, he provided a stunning number of narrative recommendations, subject matters, constructions, and outlooks. Döblin's impression on German writers after the second one global warfare was once massive: Günter Grass, for instance, said him as my instructor. And but, whereas Alexanderplatz maintains to fascinate the interpreting public, it has overshadowed the remainder of Döblin's gigantic oeuvre. This quantity of conscientiously concentrated essays seeks to do justice to such vital texts as Döblin's early tales, his various different novels, his political, philosophical, clinical, autobiographical, and spiritual essays, his experimental performs, and his writings at the new media of cinema and radio. members: Heidi Thomann Tewarson, David Dollenmayer, Neil H. Donahue, Roland Dollinger, Veronika Fuechtner, Gabriele Sander, Erich Kleinschmidt, Wulf Koepke, Helmut F. Pfanner, Helmuth Kiesel, Klaus Müller-Salget, Christoph Bartscherer, Wolfgang Düsing.
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Additional resources for A Companion to the Works of Alfred Döblin (Studies in German Literature Linguistics and Culture)
4 For the relationship between Döblin and Brecht , see Best, Otto Keller, and Tewarson. ” 6 Brecht, Tagebücher 1920–22. Autobiographische Aufzeichnungen 1920–54, 48. Heinz Graber, who edited the work for Ausgewählte Werke, has offered the only thorough study so far: Heinz Graber, Döblins Epos; for contemporary reviews, see Schuster/Bode, 176–95. ” 9 Döblin’s first answer from June 1930 in B I, 151–61; on the discussion circle, see the circular letters beginning 20 October 1931, B I, 166. The critical response to Wissen und Verändern!
Völlig bezugslos in selbstherrlichen Neubildungen ergehen” (SÄPL, 61). The musician recognizes that she is alluding to “pure art” or aestheticism but rejects it. Döblin is quite decidedly turning away from fin-de-siècle aestheticism, with which he too had been flirting. By rejecting both the naturalistic or mimetic as well as the aestheticist approach to art, Döblin theoretically breaks free of earlier traditions. However, if art was so independent of reality, as the musician and Calypso imply, from where did it derive its meaning?
Paranoia, for example, was no longer defined as a condition completely at odds with reason and sanity. Quite the contrary, the distinction between sanity and madness became blurred, as the latter was now often determined only by virtue of the patient’s institutionalization (Schäffner 17–21). Döblin, during his years as a psychiatrist, made similar observations, and as his scientific writings show, also varied his methodological approach. Der schwarze Vorhang, although written during his years as a medical student, was still indebted to turn-of-the-century psychopathological ideas.