Pub Date : 2022-12-15DOI: 10.1080/10848770.2022.2157284
Peter Zazzali
Every so often the field of theatre is gifted with an extraordinary artist whose work inspires a generation of colleagues and students. Heinz-Uwe Haus is one such example, as evidenced by his contributions to Cypriot and Greek theatre over the past forty-seven years. Since his 1975 staging of Brecht’s Caucasian Chalk Circle in Nicosia, his oeuvre as a director/scholar/teacher has changed lives and reimagined theatre’s sociopolitical role in these two countries. Uwe Haus’s illustrious career as such is resourcefully cataloged in Heinz-Uwe Haus and Theatre Making in Cyprus and Greece. The book opens with a lengthy yet informative Introduction that puts Haus’s work in Cyprus and Greece in perspective. It is organized in four parts that include a conversation with his co-editor Meyer-Dinkgräfe, as well as well as a section entitled “Brecht’s ‘Use Value’ and Aristotle’s Artistic Proof.’” While the Introduction neither signals nor explains the book’s trajectory, it effectively contextualizes the “indelible mark” that Haus has left on Cypriot and Greek theatre (32). Meyer-Dinkgräfe’s interview offers an overview of Haus’s work in Greece and Cyprus, wherein the latter recounts his harrowing experiences in dealing with the Stasi and German Democratic Republic (CDR), his country of origin and where he has been living for most of his life. His tireless advocacy for liberalism unleashed a “creative force” that has been germane to his aesthetic (3). It is little wonder that Brecht became the benchmark of Haus’s theatre-making. Transferring Brechtian principles to his productions in Cyprus and Greece would be especially important to him and became the genesis of this book. As such, the monograph is jointly an artistic and political enterprise. Haus’s comparison of Brecht and Aristotle proves as much in that he positions the social and philosophical ethos of the latter in relationship to the artistry of his contemporary and fellow German. The opening chapter recounts Haus’s Brechtian productions in Greece between 1975 and 1990. From The Caucasian Chalk Circle and Mother Courage to The Good Person of Szechuan and The Resistible Rise of Arturo Ui, Haus and Dinkgräfe source reviews and testimonials that provide a remarkable archive of Brechtian performance under the former’s direction. It is a treatise offering insights into his expert staging of Brecht’s
{"title":"From Antigone to Mother Courage: The Quest for “Lyricism and Societal Truth”","authors":"Peter Zazzali","doi":"10.1080/10848770.2022.2157284","DOIUrl":"https://doi.org/10.1080/10848770.2022.2157284","url":null,"abstract":"Every so often the field of theatre is gifted with an extraordinary artist whose work inspires a generation of colleagues and students. Heinz-Uwe Haus is one such example, as evidenced by his contributions to Cypriot and Greek theatre over the past forty-seven years. Since his 1975 staging of Brecht’s Caucasian Chalk Circle in Nicosia, his oeuvre as a director/scholar/teacher has changed lives and reimagined theatre’s sociopolitical role in these two countries. Uwe Haus’s illustrious career as such is resourcefully cataloged in Heinz-Uwe Haus and Theatre Making in Cyprus and Greece. The book opens with a lengthy yet informative Introduction that puts Haus’s work in Cyprus and Greece in perspective. It is organized in four parts that include a conversation with his co-editor Meyer-Dinkgräfe, as well as well as a section entitled “Brecht’s ‘Use Value’ and Aristotle’s Artistic Proof.’” While the Introduction neither signals nor explains the book’s trajectory, it effectively contextualizes the “indelible mark” that Haus has left on Cypriot and Greek theatre (32). Meyer-Dinkgräfe’s interview offers an overview of Haus’s work in Greece and Cyprus, wherein the latter recounts his harrowing experiences in dealing with the Stasi and German Democratic Republic (CDR), his country of origin and where he has been living for most of his life. His tireless advocacy for liberalism unleashed a “creative force” that has been germane to his aesthetic (3). It is little wonder that Brecht became the benchmark of Haus’s theatre-making. Transferring Brechtian principles to his productions in Cyprus and Greece would be especially important to him and became the genesis of this book. As such, the monograph is jointly an artistic and political enterprise. Haus’s comparison of Brecht and Aristotle proves as much in that he positions the social and philosophical ethos of the latter in relationship to the artistry of his contemporary and fellow German. The opening chapter recounts Haus’s Brechtian productions in Greece between 1975 and 1990. From The Caucasian Chalk Circle and Mother Courage to The Good Person of Szechuan and The Resistible Rise of Arturo Ui, Haus and Dinkgräfe source reviews and testimonials that provide a remarkable archive of Brechtian performance under the former’s direction. It is a treatise offering insights into his expert staging of Brecht’s","PeriodicalId":55962,"journal":{"name":"European Legacy-Toward New Paradigms","volume":"28 1","pages":"405 - 409"},"PeriodicalIF":0.2,"publicationDate":"2022-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45406425","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-14DOI: 10.1080/10848770.2022.2157331
M. Sawyer
the subtitle promises, a sampling “of small plates,” seduction by the choice morsel, and astonishment over the new, the rare, the tasty. Overall, it is a lovely book, a small Gesamtkunstwerk of artistic and aesthetic genres and their sensory as well as sensuous and sensual underpinnings, the machinery of our bodies, here specifically the sense of taste, always synesthetically networked. It is both learned and light, personal and general, experiential and analytical but mostly wears its wisdom lightly. It is an exemplar of the genre of sensuous and sensory writing.
{"title":"Sustainable Community Movement Organizations: Solidarity Economies and Rhizomatic Practices","authors":"M. Sawyer","doi":"10.1080/10848770.2022.2157331","DOIUrl":"https://doi.org/10.1080/10848770.2022.2157331","url":null,"abstract":"the subtitle promises, a sampling “of small plates,” seduction by the choice morsel, and astonishment over the new, the rare, the tasty. Overall, it is a lovely book, a small Gesamtkunstwerk of artistic and aesthetic genres and their sensory as well as sensuous and sensual underpinnings, the machinery of our bodies, here specifically the sense of taste, always synesthetically networked. It is both learned and light, personal and general, experiential and analytical but mostly wears its wisdom lightly. It is an exemplar of the genre of sensuous and sensory writing.","PeriodicalId":55962,"journal":{"name":"European Legacy-Toward New Paradigms","volume":"28 1","pages":"428 - 430"},"PeriodicalIF":0.2,"publicationDate":"2022-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46038994","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-11DOI: 10.1080/10848770.2022.2136121
Yu Liu
ABSTRACT In both his life and poetry, The Ruined Cottage marked a decisive breakthrough for Wordsworth, which resulted from his daring adoption and sustained use of a monistic idea. Though hitherto mostly dismissed or construed as a derivative of Platonism, Stoicism, Christian mysticism, and/or other conventional English and European concepts and usually seen as part of his supposedly quietist retreat from radical politics, the philosophy of One Life which Wordsworth promoted was in reality a recognizably unconventional conceptual innovation, which indeed made possible his poetic and political innovations in The Ruined Cottage and beyond. In the larger context of ideas that extends well beyond England and Europe and involves in particular the Chinese cosmological belief in tianren heyi or humanity’s unity with heaven, this essay explores Wordsworth’s innovative use of monism in The Ruined Cottage and argues for a significantly different understanding of Wordsworth and the related rise of English Romanticism.
{"title":"“A spirit of strange meaning”: The Chinese Roots of Wordsworth’s Monism in The Ruined Cottage","authors":"Yu Liu","doi":"10.1080/10848770.2022.2136121","DOIUrl":"https://doi.org/10.1080/10848770.2022.2136121","url":null,"abstract":"ABSTRACT In both his life and poetry, The Ruined Cottage marked a decisive breakthrough for Wordsworth, which resulted from his daring adoption and sustained use of a monistic idea. Though hitherto mostly dismissed or construed as a derivative of Platonism, Stoicism, Christian mysticism, and/or other conventional English and European concepts and usually seen as part of his supposedly quietist retreat from radical politics, the philosophy of One Life which Wordsworth promoted was in reality a recognizably unconventional conceptual innovation, which indeed made possible his poetic and political innovations in The Ruined Cottage and beyond. In the larger context of ideas that extends well beyond England and Europe and involves in particular the Chinese cosmological belief in tianren heyi or humanity’s unity with heaven, this essay explores Wordsworth’s innovative use of monism in The Ruined Cottage and argues for a significantly different understanding of Wordsworth and the related rise of English Romanticism.","PeriodicalId":55962,"journal":{"name":"European Legacy-Toward New Paradigms","volume":"28 1","pages":"155 - 172"},"PeriodicalIF":0.2,"publicationDate":"2022-12-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48143191","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-12DOI: 10.1080/10848770.2022.2143025
Min-hyeok Kim
ABSTRACT This article examines the prominent Japanese postwar thinker Maruyama Masao’s critical engagement with his contemporary German legal theorist Carl Schmitt. Maruyama engaged with Schmitt’s decisionistic notion of “the political” and sovereignty since he found it useful in addressing the pathological elements of Japanese political culture, namely, the widespread political passivity and fatalistic ethos of the Japanese public. In his view, such a “decision-avoiding” political culture, which had contributed to the rise of fascism in interwar and wartime Japan, posed a fundamental threat to the viability of Japan’s postwar democracy. Although Maruyama objected to Schmitt’s authoritarian theory of political leadership, he nevertheless believed Schmitt provided important insights into the key concepts of modern politics, such as political agency and the constituent power of the people. In his efforts to foster political subjectivity and liberal individuality in postwar Japan, Maruyama attempted to strike a balance between two extremes: Schmittian normless decisionism, on the one hand, and a politically naïve liberal constitutionalism, on the other. I conclude by suggesting that the hitherto overlooked intellectual affinity between Maruyama and one of the leading Weimar-era constitutional theorists—Hermann Heller—can enrich our understanding of Maruyama’s unceasing effort to formulate and insist on the imperative role of political subjectivity and liberal individuality in consolidating liberal democracy in postwar Japan.
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Pub Date : 2022-11-07DOI: 10.1080/10848770.2022.2143021
Jeffrey L. High, Elaine Chen
6000 BC) laid out in a regular pattern like cobblestones. He has preserved these objects, although he destroyed an ancient urn (Dropping a Han Dynasty Urn, 1995) in a series of photographs indicating a nullification of valuable art in the ‘anti-aesthetic’ style of the rebellious Robert Rauschenberg, which Weiwei presents presumably to incite activism against the CPC. Remembering (2009) marks a return to his most effective approach to art (in my view) by featuring the backpacks of children lost in an earthquake due to shoddy school-building engineering. I believe that his forte lies in using simple, everyday objects as mute testimony to the lives of average humans whose very existence may be extinguished due to political criminality. Next in importance in terms of his quality as an artist is his employment of new media, which he treats as an expression of his personal identity, “I think if you are an architect already, you should be a filmmaker at the same time” (74). Weiwei considers himself to be not only an artist but an architect (without diploma), seen in his collaboration with architect Herzog and de Meuron on The Bird’s Nest stadium in Beijing (2005–2008). Weiwei later disavowed his participation in the construction of the arena for his being used as a propaganda tool by the CPC. He adopts the title of filmmaker despite his limited experience and lack of formal training. He believes that he functions as a cinematic practitioner merely by walking through his installations while raising aloft his cell-phone camera as if it were a mirror held up to nature. One might question whether his use of a cell-phone camera makes him a complete filmmaker (as he believes); however, Weiwei remains an effective advocate for the crucial role of the popular experience in life, politics, and art taken as an ensemble, an argument that I find quite persuasive. He is certainly too impulsive in public to endure extended academic reflections upon his aesthetics; instead, he immerses himself in his craft with the enthusiasm of an assemblage artist. Above all, he finds the value in art to derive from its portrayal of his (and our) social consciences as properties held in common. He remains in this sense a moral collectivist and traditionalist. These latter qualities mark both the excellence and the limitations of Ai Weiwei as an artist whose genial personality plays a role in his popularity as significant as the artworks themselves.
{"title":"Heinrich von Kleist: The Biography","authors":"Jeffrey L. High, Elaine Chen","doi":"10.1080/10848770.2022.2143021","DOIUrl":"https://doi.org/10.1080/10848770.2022.2143021","url":null,"abstract":"6000 BC) laid out in a regular pattern like cobblestones. He has preserved these objects, although he destroyed an ancient urn (Dropping a Han Dynasty Urn, 1995) in a series of photographs indicating a nullification of valuable art in the ‘anti-aesthetic’ style of the rebellious Robert Rauschenberg, which Weiwei presents presumably to incite activism against the CPC. Remembering (2009) marks a return to his most effective approach to art (in my view) by featuring the backpacks of children lost in an earthquake due to shoddy school-building engineering. I believe that his forte lies in using simple, everyday objects as mute testimony to the lives of average humans whose very existence may be extinguished due to political criminality. Next in importance in terms of his quality as an artist is his employment of new media, which he treats as an expression of his personal identity, “I think if you are an architect already, you should be a filmmaker at the same time” (74). Weiwei considers himself to be not only an artist but an architect (without diploma), seen in his collaboration with architect Herzog and de Meuron on The Bird’s Nest stadium in Beijing (2005–2008). Weiwei later disavowed his participation in the construction of the arena for his being used as a propaganda tool by the CPC. He adopts the title of filmmaker despite his limited experience and lack of formal training. He believes that he functions as a cinematic practitioner merely by walking through his installations while raising aloft his cell-phone camera as if it were a mirror held up to nature. One might question whether his use of a cell-phone camera makes him a complete filmmaker (as he believes); however, Weiwei remains an effective advocate for the crucial role of the popular experience in life, politics, and art taken as an ensemble, an argument that I find quite persuasive. He is certainly too impulsive in public to endure extended academic reflections upon his aesthetics; instead, he immerses himself in his craft with the enthusiasm of an assemblage artist. Above all, he finds the value in art to derive from its portrayal of his (and our) social consciences as properties held in common. He remains in this sense a moral collectivist and traditionalist. These latter qualities mark both the excellence and the limitations of Ai Weiwei as an artist whose genial personality plays a role in his popularity as significant as the artworks themselves.","PeriodicalId":55962,"journal":{"name":"European Legacy-Toward New Paradigms","volume":"28 1","pages":"217 - 220"},"PeriodicalIF":0.2,"publicationDate":"2022-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49209919","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-02DOI: 10.1080/10848770.2022.2143024
Chenghao An, Zhonghua Wu
{"title":"Language Rights and the Law in the European Union","authors":"Chenghao An, Zhonghua Wu","doi":"10.1080/10848770.2022.2143024","DOIUrl":"https://doi.org/10.1080/10848770.2022.2143024","url":null,"abstract":"","PeriodicalId":55962,"journal":{"name":"European Legacy-Toward New Paradigms","volume":"28 1","pages":"209 - 210"},"PeriodicalIF":0.2,"publicationDate":"2022-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41444716","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-02DOI: 10.1080/10848770.2022.2143023
L. Stan
{"title":"Weak Strongman: The Limits of Power in Putin’s Russia","authors":"L. Stan","doi":"10.1080/10848770.2022.2143023","DOIUrl":"https://doi.org/10.1080/10848770.2022.2143023","url":null,"abstract":"","PeriodicalId":55962,"journal":{"name":"European Legacy-Toward New Paradigms","volume":"28 1","pages":"553 - 556"},"PeriodicalIF":0.2,"publicationDate":"2022-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49433880","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-02DOI: 10.1080/10848770.2022.2143022
Hans J. Rindisbacher
Longerich, Germany itself “had shown itself inferior to the ‘stronger nation in the east’ [the Soviet Union] and the war had left behind only ‘those of inferior quality’” (942). Not sparing himself, Hitler commits suicide on 30 April 1945 and the Third Reich capitulates on 8–9 May 1945. For twelve years, the German Reich had been in the hands of a megalomaniac, a ‘nobody,’ as Longerich calls him, whose actions had caused the death of more than 50 million people. In Longerich’s view, Hitler never accomplished his vision of a national community. Moreover, “vast swathes of Europe lay in ruins, and the German population’s support for this criminal regime now made them appear morally corrupt in the eyes of the world” (949). Longerich’s Hitler is essential reading for those trying to understand this statesman and period. The multiple quotations from source materials, at times contradictory and not always synthesized, speak for themselves, and give this text a sense of objectivity, an element indispensable for this kind of work.
{"title":"Language and the Grand Tour: Linguistic Experiences of Travelling in Early Modern Europe","authors":"Hans J. Rindisbacher","doi":"10.1080/10848770.2022.2143022","DOIUrl":"https://doi.org/10.1080/10848770.2022.2143022","url":null,"abstract":"Longerich, Germany itself “had shown itself inferior to the ‘stronger nation in the east’ [the Soviet Union] and the war had left behind only ‘those of inferior quality’” (942). Not sparing himself, Hitler commits suicide on 30 April 1945 and the Third Reich capitulates on 8–9 May 1945. For twelve years, the German Reich had been in the hands of a megalomaniac, a ‘nobody,’ as Longerich calls him, whose actions had caused the death of more than 50 million people. In Longerich’s view, Hitler never accomplished his vision of a national community. Moreover, “vast swathes of Europe lay in ruins, and the German population’s support for this criminal regime now made them appear morally corrupt in the eyes of the world” (949). Longerich’s Hitler is essential reading for those trying to understand this statesman and period. The multiple quotations from source materials, at times contradictory and not always synthesized, speak for themselves, and give this text a sense of objectivity, an element indispensable for this kind of work.","PeriodicalId":55962,"journal":{"name":"European Legacy-Toward New Paradigms","volume":"28 1","pages":"223 - 226"},"PeriodicalIF":0.2,"publicationDate":"2022-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44618109","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-18DOI: 10.1080/10848770.2022.2137283
Ian Hall
life” (136). To compensate for the meaninglessness of a life alienated from fellow citizens, “commercialized fantasy and pornography” are readily available (137). Yannaras attacks Samuel Huntington’s The Clash of Civilizations and the Remaking of World Order but seems to misunderstand the centrality of Magna Carta, namely, that rights are privileges of a feudal aristocracy that become generalized in the course of history. For example, Magna Carta included the baronial demand that noblemen be judged by their peers, not by a magistrate appointed by the Crown. The recognition of this aristocratic demand became the Common Law right to trial by jury. He insists that Byzantine society was not feudal (132), since the elected monarch “functions in reality as a symbol and leader of the unity of the popular body, a servant of the communion of relations” (100), and since the large landowners were not barbarous, violent and selfcentered feudal lords but put the interests of the imperial state before their own (132). The tensions between Crown and aristocracy that characterized the feudalism of Western Europe and Japan did not exist in Byzantium according to Yannaras’s account. He and Huntington agree that East and West have different political traditions but Yannaras, like Patriarch Kirill and Alexander Dugin, does not think western notions of human rights, its individualism and legalism, its pluralism and multiculturalism, should be imposed on nations with different traditions (139). Perhaps reciprocity might demand that Russian Orthodoxy not impose its own political culture on Orthodox countries like Ukraine which strive to become closer to western liberal democracies. Yet according to Yannaras western political scientists “regard Orthodox popular piety as prone to tendencies of nationalism, religious chauvinism and fundamentalism” (75). I am a western political scientist.
{"title":"The Ideology of Political Reactionaries","authors":"Ian Hall","doi":"10.1080/10848770.2022.2137283","DOIUrl":"https://doi.org/10.1080/10848770.2022.2137283","url":null,"abstract":"life” (136). To compensate for the meaninglessness of a life alienated from fellow citizens, “commercialized fantasy and pornography” are readily available (137). Yannaras attacks Samuel Huntington’s The Clash of Civilizations and the Remaking of World Order but seems to misunderstand the centrality of Magna Carta, namely, that rights are privileges of a feudal aristocracy that become generalized in the course of history. For example, Magna Carta included the baronial demand that noblemen be judged by their peers, not by a magistrate appointed by the Crown. The recognition of this aristocratic demand became the Common Law right to trial by jury. He insists that Byzantine society was not feudal (132), since the elected monarch “functions in reality as a symbol and leader of the unity of the popular body, a servant of the communion of relations” (100), and since the large landowners were not barbarous, violent and selfcentered feudal lords but put the interests of the imperial state before their own (132). The tensions between Crown and aristocracy that characterized the feudalism of Western Europe and Japan did not exist in Byzantium according to Yannaras’s account. He and Huntington agree that East and West have different political traditions but Yannaras, like Patriarch Kirill and Alexander Dugin, does not think western notions of human rights, its individualism and legalism, its pluralism and multiculturalism, should be imposed on nations with different traditions (139). Perhaps reciprocity might demand that Russian Orthodoxy not impose its own political culture on Orthodox countries like Ukraine which strive to become closer to western liberal democracies. Yet according to Yannaras western political scientists “regard Orthodox popular piety as prone to tendencies of nationalism, religious chauvinism and fundamentalism” (75). I am a western political scientist.","PeriodicalId":55962,"journal":{"name":"European Legacy-Toward New Paradigms","volume":"28 1","pages":"213 - 215"},"PeriodicalIF":0.2,"publicationDate":"2022-10-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46523232","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-18DOI: 10.1080/10848770.2022.2137284
A. Lauer
its advantages, though in the case of Heinrich von Kleist: The Biography, two features will likely lead to widespread resonance: the pattern of delivering the sparse biographical documents in all of their ambivalence before linking them to Kleist’s literary and essayistic works, and the fact that it is the only comprehensive Kleist biography currently available in English. Based on the sources alone, Kleist’s biography is one of the more fascinating in literary history, and Blamberger’s presentation is thorough, informed, enlightening, and expertly constructed. Embracing, rather than reducing, Kleist’s ambiguity from the outset, Blamberger mirrors how Kleist blurs the line between poetry and truth (22), and revisits the phenomenon throughout, describing Kleist’s fusion of autobiography and works of fiction as a tendency not only to “fictionalize his life” (98), but to infuse his works with (near-death) experiences illustrative of how contingency and chance inform life and death, be they evidently real (a hair-raising carriage flip caused by a braying donkey in Butzbach in 1801 (1, 125–26, 156–57), or be they most certainly embellished or further imagined (the near capsize of his boat from Koblenz to Cologne in a storm, 125–26). Through his leitmotivistic invocations of terms such as the “project-maker” (43–45, 47–49, 65, 132, 135, 142, 357) and “an economy of sacrifice” (91, 392, 394, 406, 407) as emblematic of Kleist’s life and creativity, Blamberger embeds Kleist’s artistic works and equally creatively staged death in a “kaleidoscopic” (65, 246, 427) life-narrative held together by a succession of productive distractions— the tumultuous legacy of an artist whose experiments set the tone for artistic projects of the future and sealed his fate as a “model for posterity” (5, 44). The repetition of full names, locations, institutions, concepts, and even citations throughout serves to ensure that the individual chapters function both as stand-alone resources and as coherent parts of a whole. Finally, the foremost accomplishment of the translators lies in the fact that the volume almost never reads like a translation.
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