Pub Date : 2020-12-31DOI: 10.14361/9783839447208-fm
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Pub Date : 2020-12-31DOI: 10.1515/9783839447208-007
Alfred Döblin
Alfred Döblin: prose author, essay writer, theorist, doctor, and film buff. One name, multiple personalities — and not all of them compatible, as Döblin himself acknowledged. In an autobiographical essay from 1928, whose title “Zwei Seelen in einer Brust” is a clear riff on Faust’s famous lamentation “Zwei Seelen wohnen, ach! in meiner Brust,” the physician Döblin and the writer Döblin appear as distinct individuals talking about each other in a teasing, antagonistic manner. The publications of the latter leave the former “total gleichgültig” (Döblin 1986: 103), and the writer does not mince words either, calling the neurologist “mein gerades Gegenstück” (ibid: 105). This dramatization of Döblin’s divided allegiances was originally meant to be satirical, but over time it fueled the idea of an unbridgeable gap between his medical and literary pursuits. Recent scholarship has successfully challenged this misconception. Critics have started to look at Döblin’s medical writings in conjunction with his literary texts by way of demonstrating that an integrated approach is not just possible and worthwhile, but necessary in the case of someone with such varied interests. Untangling the intricacies of Döblin’s thinking on psychopathology and on other pressing issues of the time can shed new light on his fictional works, as well as on the interaction between literature and other disciplines during the early 20 century. In the spirit of this recent shift in critical paradigm, I wish to argue in this chapter that physical descriptions from Döblin’s novel of 1929 relate in complex ways to contemporaneous developments in mental health, novel writing, visual media, and politics.
阿尔弗雷德Döblin:散文作家，散文作家，理论家，医生和电影爱好者。一个名字，多重人格——并不是所有的都兼容，正如Döblin自己承认的那样。在1928年的一篇自传体文章中，标题为《在爱的勃朗斯特》(Zwei seellen In iner Brust)，显然是对浮士德著名的哀歌“每个Zwei seellen women !”在梅纳·布鲁斯特的作品中，“医生Döblin和作家Döblin以一种揶揄、敌对的方式，以截然不同的个体出现。”后者的出版物留下了前者的“完全gleichg ltig”(Döblin 1986: 103)，作者也不含混地称这位神经学家为“mein gerades gegenst ck”(同上:105)。这种对Döblin分裂的忠诚的戏剧化最初是为了讽刺，但随着时间的推移，它助长了他的医学和文学追求之间不可逾越的鸿沟的想法。最近的学术研究成功地挑战了这种误解。评论家们已经开始把Döblin的医学著作和他的文学作品结合起来看，通过这种方式来证明，一个综合的方法不仅是可能的和值得的，而且对于一个兴趣如此多样化的人来说是必要的。理清Döblin对精神病理学和当时其他紧迫问题的错综复杂的思考，可以为他的小说作品以及20世纪初文学与其他学科之间的相互作用提供新的线索。本着最近批判范式转变的精神，我希望在本章中论证Döblin 1929年小说中的物理描述以复杂的方式与心理健康、小说写作、视觉媒体和政治的同时代发展联系在一起。
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Pub Date : 2020-12-31DOI: 10.1515/9783839447208-004
Sophie von La
Sophie von La Roche’s novel, which now takes pride of place in the canon of eighteenth-century German literature, was published one year before Von der Physiognomik (1772), the essay in which Johann Caspar Lavater laid the groundwork for his best-selling Physiognomische Fragmente zur Beförderung der Menschenkenntnis und Menschenliebe. Even though it predates Lavater’s four-volume treatise, Geschichte des Fräuleins von Sternheim draws extensively on the widespread interest in reading, visuality, and the human body that propelled the Swiss pastor to fame during the 18 century. As the present chapter will elucidate, an analysis of physiognomic and pathognomic details from this novel reveals a writer committed to making a difference in the debate surrounding human physicality, but also in the legitimation of the novel and of female authorship. I will argue that La Roche’s use of physiognomy and pathognomy is intimately connected with the specific brand of multi-perspectival narration that she developed, thereby showcasing a level of literary craftsmanship that women were deemed incapable of at that time. More specifically, La Roche adopted the epistolary novel form with its connotations of femininity, naturalness, and authenticity, and she put her own spin on it by developing a polylogic narration through the voices of multiple letter-writing characters who report from different perspectives on one and the same incident.
索菲·冯·拉·罗奇的小说，现在在18世纪德国文学经典中占据了骄傲的位置，比约翰·卡斯帕·拉瓦特的《面相学》(1772)早一年出版，后者为他的畅销书《面相学片段》(Beförderung der Menschenkenntnis und Menschenliebe)奠定了基础。尽管它早于拉瓦特的四卷本论文，但《斯特恩海姆传记Fräuleins》广泛地借鉴了人们对阅读、视觉和人体的广泛兴趣，这些兴趣使这位瑞士牧师在18世纪声名远扬。正如本章将要阐明的那样，对这部小说中面相和病理细节的分析揭示了一位作家致力于在围绕人类肉体的辩论中发挥作用，同时也在小说和女性作者的合法性方面发挥作用。我认为，拉罗奇对面相和病理的运用与她发展的多视角叙事的特殊品牌密切相关，从而展示了一种女性在当时被认为无法做到的文学技巧水平。更具体地说，拉罗奇采用了具有女性气质、自然性和真实性内涵的书信体小说形式，并通过多个书信人物的声音，从不同的角度报道同一事件，形成了一种多元叙事，为其增添了自己的色彩。
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Pub Date : 2020-12-31DOI: 10.1515/9783839447208-001
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Pub Date : 1967-01-31DOI: 10.1515/9781400876242-005
Vera St. Erlich
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