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The influence of censorship on the intellectual and political life in the Habsburg Monarchy during the period under scrutiny can hardly be overstated. This study examines the institutional foundations, operating principles, and results of the censorial activity through analysis of the prohibition lists and examination of the censors themselves. The effects of censorship on the authors, publishers, and booksellers of the time are illustrated with the help of contemporary documents. Numerous case studies focus on individual works forbidden by the censors: Romanticists like Ludwig Tieck and E. T. A. Hoffmann and even authors of classic German literature like Wieland, Goethe, and Schiller saw their works slashed, as did writers of popular French and English novels and plays. An annex documents the most important regulations along with a selection of censorial reports.
Author:
The influence of censorship on the intellectual and political life in the Habsburg Monarchy during the period under scrutiny can hardly be overstated. This study examines the institutional foundations, operating principles, and results of the censorial activity through analysis of the prohibition lists and examination of the censors themselves. The effects of censorship on the authors, publishers, and booksellers of the time are illustrated with the help of contemporary documents. Numerous case studies focus on individual works forbidden by the censors: Romanticists like Ludwig Tieck and E. T. A. Hoffmann and even authors of classic German literature like Wieland, Goethe, and Schiller saw their works slashed, as did writers of popular French and English novels and plays. An annex documents the most important regulations along with a selection of censorial reports.
Author:
Abstract
Most of Voltaire’s prose and verse epics were considered dangerous to the maintenance of the Old Regime and Catholic orthodoxy in Austria. The French philosophe was, therefore, top on the Austrian lists of banned books. Works such as the Dictionnaire philosophique portatif, Candide, and the Pucelle d’Orléans were considered totally unacceptable. On the other hand, Voltaire’s plays were highly welcome in Vienna. Virtually all of them were reprinted and staged, some of them also translated. Only in the decade of political and cultural thaw under Emperor Joseph ii, were publishers and journalists able to introduce the public to some of the philosopher’s most biting criticism, with Austrian writers imitating his style. But around 1790 the time of intellectual thaw was over. Voltaire had done his duty of enlightening the Austrians and was again to disappear from the Viennese cultural scene.
Author:
Abstract
Kind aus Blau (Child of Blue) is a hybrid of a jazz biography and a work of experimental prose that deviates both from the patterns of a commercial jazz biography and from conventional narrative prose. Pohl defamiliarizes the ‘jazz code’, i.e. the experience of slavery and racist persecution, and impregnates his text with music. By way of intermedial transfer from music, experimental techniques that are typical of poetry rather than prose are imported into the text. Playing with the graphics and sounds of words, the author creates a complex web of relations and associations. Pohl draws attention to the distortions that take place when jazz is transferred from its original environment into other cultural and linguistic contexts. Names, song titles, and all sorts of props translated into German sound exotic, satirical, or simply trivial. Thus, imitating Miles Davis’s way of making music, Kind aus Blau provides an extravagant concept of melophrasis that integrates the jazz star into the tradition of European avant-garde art.
Volume Editor:
Anhand einer Reihe von Fallstudien setzt der Band ein erweitertes Konzept von Rezeptionsgeschichte in die Praxis um. Nach diesem Konzept umfaßt die Erforschung der Rezeptionsgeschichte die buchhandelsgeschichtlichen Grundlagen, die Übersetzungen und Bearbeitungen, die Aufnahme auf der Bühne und die literarische Kritik ebenso wie die verschiedenen Formen der produktiven Rezeption. Die Beiträge behandeln Leipzig als Vermittlungszentrum englischsprachiger Literatur, wichtige Rezensionsorgane wie das Magazin für die Literatur des Auslandes und das vielfältige kritische Echo auf (Autor(inn)en wie Maria Edgeworth, Lady Sidney Morgan, Byron, Thomas Moore, Mary Elizabeth Braddon, George Eliot und William Morris; Übersetzungen und Bearbeitungen einzelner Werke von Daniel Defoe, Jane Austen, Charlotte Brontë, Dickens, Wilkie Collins, George Eliot, Dante Gabriel Rossetti, Swinburne und Oscar Wilde; die Rezeption von Arthur Wing Pinero, Shaw, Wilde und Galsworthy im Wiener Theater der Jahrhundertwende; und schließlich die produktive Auseinandersetzung Heines, Charles Sealsfields sowie der Verfasser von historischen und Staatsromanen mit britischen Vorgängern und Modellen.
Volume Editor:
Anhand einer Reihe von Fallstudien setzt der Band ein erweitertes Konzept von Rezeptionsgeschichte in die Praxis um. Nach diesem Konzept umfaßt die Erforschung der Rezeptionsgeschichte die buchhandelsgeschichtlichen Grundlagen, die Übersetzungen und Bearbeitungen, die Aufnahme auf der Bühne und die literarische Kritik ebenso wie die verschiedenen Formen der produktiven Rezeption. Die Beiträge behandeln Leipzig als Vermittlungszentrum englischsprachiger Literatur, wichtige Rezensionsorgane wie das Magazin für die Literatur des Auslandes und das vielfältige kritische Echo auf (Autor(inn)en wie Maria Edgeworth, Lady Sidney Morgan, Byron, Thomas Moore, Mary Elizabeth Braddon, George Eliot und William Morris; Übersetzungen und Bearbeitungen einzelner Werke von Daniel Defoe, Jane Austen, Charlotte Brontë, Dickens, Wilkie Collins, George Eliot, Dante Gabriel Rossetti, Swinburne und Oscar Wilde; die Rezeption von Arthur Wing Pinero, Shaw, Wilde und Galsworthy im Wiener Theater der Jahrhundertwende; und schließlich die produktive Auseinandersetzung Heines, Charles Sealsfields sowie der Verfasser von historischen und Staatsromanen mit britischen Vorgängern und Modellen.
Author:
Abstract
Most of Voltaire’s prose and verse epics were considered dangerous to the maintenance of the Old Regime and Catholic orthodoxy in Austria. The French philosophe was, therefore, top on the Austrian lists of banned books. Works such as the Dictionnaire philosophique portatif, Candide, and the Pucelle d’Orléans were considered totally unacceptable. On the other hand, Voltaire’s plays were highly welcome in Vienna. Virtually all of them were reprinted and staged, some of them also translated. Only in the decade of political and cultural thaw under Emperor Joseph ii, were publishers and journalists able to introduce the public to some of the philosopher’s most biting criticism, with Austrian writers imitating his style. But around 1790 the time of intellectual thaw was over. Voltaire had done his duty of enlightening the Austrians and was again to disappear from the Viennese cultural scene.
Author:
Abstract
Emile Verhaeren, considered by many contemporary critics as the most German among French-language poets, became one of Stefan Zweig’s favourite writers soon after the turn of the century. His vitalist interpretation of Verhaeren’s poems, highlighting life, action, and a pseudo-religious belief in modernity, was directed against the aestheticism and scepticism reigning, for instance, among the circle of Young Vienna writers. Zweig’s enthusiasm for Verhaeren made him write a biography of the Belgian poet and translate, among other works, two comprehensive collections of his poetry. This chapter compares Zweig’s versions of Verhaeren’s poetry with translations made by ten other translators (Ludwig Scharf, Rudolf Komadina, Stefan George, Erna Rehwoldt, Richard Schaukal, Joseph Jaffé, Friedrich von Oppeln-Bronikowski, Ernst Ludwig Schellenberg, Otto Hauser, and an anonymous translator). The comparison demonstrates Zweig’s creative-adaptive approach to translation, whereas other translators preferred using word-for-word translation or rather conventional ‘poetic’ language in Verhaeren’s poems.