The study delves into the unique sense of humor present in Elias Canetti's novel, exploring its implications as a revolutionary aesthetic through a Nietzschean lens. It examines how this facetiousness shapes the narrative and enriches the themes, offering a fresh perspective on Canetti's work and its philosophical underpinnings.
Interactive early learning is at the forefront, combining engaging information books with CD-ROMs. These resources feature questions, games, and activities designed to challenge and stimulate young minds, making learning both fun and educational.
International scholars review here most of the work by Julian Schutting (born 1937) produced between 1973 and 1997, concluding that Schutting has taken up his rightful place in the literary and intellectual history of the twentieth century. Schutting combines a classic self-consciousness in his writing in that he expands the repertoire of the possible without overturning the rules governing German grammar and syntax, with a determination to rebel against precisely those conventions. This is why he is both an insecure heir to the 'great tradition' in German poetry from Goethe to Hoelderlin and a fellow traveler of the first wave of the European Avant-Garde ('die Wiener Gruppe'). At times he yields to the pressures of modernism's notion of the writer as genius struggling with a destiny of 'greatness.' -- The surrender to melancholia is at the heart of the work, which never loses its link with the purely personal. Sometimes the purely personal is shrouded in pseudo-objectivity. His forays into intellectual controversy -- like his meditations on the meaning of the Shoah to contemporary Austria -- are the exception in his writings.
The characters in Goethe's Die Wahlverwandtschaften rely exclusively for their existence on spoken communication in society. Human character is not equated with the capacity for casual dialogue but with the capacity for a stylised form of public speaking. The word is also dissociated from any concept of agency, for characters never become agents implicated in the process of transforming the ideas they express in public into concrete realities. In failing to also establish any kind of human contract with his audience, the speaker does not further the scope for human relationships commonly thought to be afforded by social interaction. The form of the dramatic monologue consequently remains a form, guaranteeing the speaker a place in society on terms which perpetuate formal relations between members of that society. It insulates him from any implication in genuinely reciprocal relations.