By Birgit Röder
The German Romantic author and composer E. T. A. Hoffmann (1776-1822) -- probably top recognized to the English-speaking international via his Nutcracker and during Jacques Offenbach's opera Tales of Hoffmann -- struggled to persuade his predominantly bourgeois public of the benefits of paintings and literature. now not unusually, lots of his most vital novellas are certain up with the dilemmas of paintings and the demanding situations confronted by way of the Romantic artist, and it's those Künstlernovellen which are the point of interest of this learn. Birgit Röderargues that Hoffmann's artists aren't easily people who create artistic endeavors, yet fairly figures via whom the writer explores the quandary of these who reject the normal global of bourgeois truth and search to claim the claims of the mind's eye in an international ruled through prosaic rationalism. opposite to past students notwithstanding, Röder demonstrates that Hoffmann's novellas in actual fact warn opposed to a view of artwork as an self reliant aesthetic realm bring to a halt from the realm of fact. this is often quite obvious in Röder's research of gender kin in Hoffmann's oeuvre -- in particular the connection among (male) artist and (female) muse -- which underlines the level to which artwork, literature, and the mind's eye are inseparably sure up with the present social fact. The novellas which are given wide attention are Das Fräulein von Scuderi, Der Sandmann, Die Jesuiterkirche in G., Die Fermate, Der Artushof, Don Juan, Das Sanctus, and Rat Krespel.
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Extra info for A Study of the Major Novellas of E.T.A. Hoffmann (Studies in German Literature Linguistics and Culture)
T. A. Hoffmann: Das Leben eines skeptischen Phantasten (Frankfurt: Fischer, 1987), 29. ” See HansGeorg Werner, Text und Dichtung (Berlin, Weimar: Aufbau, 1984), 212. 39 As Gerhard Kaiser notes: “H. ” See Gerhard R. Kaiser, E. T. A. Hoffmann (Stuttgart: Metzler, 1988), 111. 40 See, for example, Sergio Givone, “Hoffmanns moderne Ästhetik,” MHG 30 (1984): 59–68 (59). 41 Briefwechsel I, 194 (26 September 1805). ” See Safranski, 28. , E. T. A. Hoffmann in Aufzeichnungen seiner Freunde und Bekannten.
20 KA II, 153, §48. 21 KA II, 160, §108. 22 KA II, 263, §69. 23 KA II, 131, §169. 24 KA II, 157, §87. 25 KA II, 151, §37. , ed. by Rudolph Köpke (Darmstadt: Wissenschaftliche Buchgesellschaft, 1970), vol. 2, 239. 26 27 Tzvetan Todorov, “Die Kategorien des literarischen Erzählens” in Zur Struktur des Romans, ed. Bruno Hillebrand (Darmstadt: Wissenschaftliche Buchgesellschaft, 1978), 351–82 (358). HOFFMANN AND THE ROMANTIC DILEMMA E 33 28 It is not my intention to deny that there is a wide range of texts dealing explicitly with this problem, many of which aim to demonstrate the illusory nature of the quest for interpretative coherence, but rather to question the notion that this can be the case in all texts.
She must become the perfect fulfillment of male longing, which means she loses her identity and becomes nothing 51 but a male fantasy. This reveals the celebrated passion of the artist to be nothing more than the passion of a man for a woman, who may be a real-life individual of flesh and blood, or merely the embodiment of an ideal in which unconditional mutual love plays little part. In any case, it hardly seems to matter what form the woman assumes. It is unsurprising, therefore, that Hoffmann — in common with so many of his generation — should choose to explore the multi-faceted nature of love through a variety of different female figures.
A Study of the Major Novellas of E.T.A. Hoffmann (Studies in German Literature Linguistics and Culture) by Birgit Röder