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 huge determine within the German avant-garde earlier than the 1st global warfare and a number one highbrow throughout the Weimar Republic. Döblin drastically stimulated the historical past of the German novel: his best-known paintings, the best-selling 1929 novel Berlin Alexanderplatz, has often been in comparison in its use of inner monologue and literary montage to James Joyce's Ulysses and John Dos Passos's new york move . Döblin's oeuvre is certainly not restricted to novels, yet during this style, he provided a stunning number of narrative options, topics, buildings, and outlooks. Döblin's effect on German writers after the second one global conflict was once massive: Günter Grass, for instance, said him as my instructor. And but, whereas Alexanderplatz maintains to fascinate the analyzing public, it has overshadowed the remainder of Döblin's big oeuvre. This quantity of conscientiously centred essays seeks to do justice to such vital texts as Döblin's early tales, his a number of different novels, his political, philosophical, scientific, autobiographical, and spiritual essays, his experimental performs, and his writings at the new media of cinema and radio. individuals: 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 info for A Companion to the Works of Alfred Döblin (Studies in German Literature Linguistics and Culture)
Creates a dense fabric of contemporary discourses and intertextual allusions. Her detailed analysis of the many intertextual references reveals Döblin’s impressive use of the intellectual and cultural heritage and of borrowed linguistic and textual materials. Berlin Alexanderplatz marks the end and culmination of Döblin’s middle phase. Until quite recently, most critics have had less regard for Döblin’s exile and late works. However, Wolfgang Düsing, in his interpretation of Hamlet oder Die lange Nacht nimmt ein Ende, devotes a good part of his essay to this work’s complex and innovative poetics.
Der schwarze Vorhang, although written during his years as a medical student, was still indebted to turn-of-the-century psychopathological ideas. Very soon after completing his degree, however, Döblin’s new knowledge in the field of medicine along with the methodological approach became apparent in his literary endeavors. He neither abandoned nor rejected the insights gained from psychoanalytic theory, for they continued to inform his fictional writings, as many psychoanalytically 13 oriented interpretations reveal.
It is man who recognizes relationships and draws comparisons, and the artist who represents them. Music is composed of material (sound), order (rules), and reality. The musician combines sounds according to rules and imparts bits of reality, modeled after life, which the listener recognizes. Döblin calls this music sachlich, or objective (in contrast, for example, to the Programmusik of Richard Strauss, 1864–1949). Sachlichkeit, with its multiple connotations — objectivity, matter-of-factness, realism — became a guiding principle for Döblin from this point on until the late 1920s, that is, until Berlin Alexanderplatz: Die Geschichte vom Franz Biberkopf (1929), the novel in which he reintroduced the explicit and knowing narrator (Tewarson, Sachlichkeit 47–117).