By Robert Weninger
In August 1919, a construction of James Joyce’s Exiles used to be fastened on the Munich Schauspielhaus and fast fell as a result of harsh feedback. The reception marked the start of a dynamic organization among Joyce, German-language writers, and literary critics. it truly is this dating that Robert Weninger analyzes in The German Joyce.
starting a brand new measurement of Joycean scholarship, this booklet presents the most advantageous research of Joyce’s effect on German-language literature and literary feedback within the 20th century. the hole part follows Joyce’s linear intrusion from the 1910s to the Nineties by way of targeting such leading moments because the first German translation of Ulysses, Joyce’s impact at the Marxist Expressionism debate, and the Nazi blacklisting of Joyce’s paintings. using this old reception as a story backdrop, Weninger then provides Joyce’s horizontal diffusion into German culture.
Weninger succeeds in illustrating either German readers’ nice charm to Joyce’s paintings in addition to Joyce’s affinity with many of the nice German masters, from Goethe to Rilke, Brecht, and Thomas Mann. He argues that simply as Shakespeare used to be a version of linguistic exuberance for Germans within the eighteenth century, Joyce grew to become the epitome of poetic proposal within the 20th.
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Additional resources for The German Joyce (The Florida James Joyce Series)
Pound/Joyce, 45–47) Based on Pound’s comments alone, Joyce should not have been taken aback by the Munich audience’s reactions—although one can assume that perhaps a certain degree of self-overestimation and inflated expectations had tainted his perception. Joyce’s misreading of his play’s merits—and weaknesses—is all the more surprising since Joyce was generally well informed about developments on the contemporary stage, frequenting theatres as often as he could. Indeed, judging by the contents of his Trieste library in 1920, just after the Munich staging, Joyce owned a fair spread of texts by contemporary German playwrights (see Ellmann, The Consciousness of Joyce, 132), albeit mostly in English translation (indicated by “E” in brackets below), among them Wedekind’s Pandora’s Box and Die Zensur (Censorship), Franz Werfel’s Die Troierinnen des Euripides (The Trojan Women by Euripides), Hermann Sudermann’s Frau Sorge (Dame Care, E) and Es war (The Undying Past, E), René Schickele’s Hans in Schnakenloch, which Schickele had asked Joyce to translate (Ellmann, James Joyce, 412), and of course Gerhart Hauptmann’s plays Friedensfest (The Coming of Peace, E), Elga, Hanneles Himmelfahrt (Hannele: A Dream Poem, E), Die Ratten (The Rats), Rose Bernd (Rosa Bernd, E), Die Weber (The Weavers, E), and Michael Kramer and Vor Sonnenaufgang (Before Sunrise), both of which Joyce himself claims to have translated, as he indicates in various letters (Ellmann, James Joyce, 87; Jill Perkins, Joyce and Hauptmann, 10), of which however only the latter survives as a manuscript.
If moments later Signe, like Molly, cannot fall asleep and has to use her chamber pot (“I have forgotten to spend a penny, I won’t be able to sleep until I do. Light. Get up again. Relieve myself. Back to bed”),6 like Bloom, Perrudja in his stream of consciousness travels to foreign parts of the world, playing with concepts and words and fusing reality and legend, geography and imagination: I want to travel. Leave. The world stands still. I move. That is how distance is created. The atlas makes me sick.
Ellmann informs us that Max Reinhardt’s theatre group came to Zurich to stage Shakespeare’s A Midsummer Night’s Dream, Aeschylus’ Agamemnon, Büchner’s Dantons Tod (Danton’s Death), and Strindberg’s Totentanz (The Dance of Death) and Gespenstersonate (Ghost Sonata). The Dadaists started congregating in Zurich from 1916 on, putting on their cabarets, although not patronized by Joyce as far as we know (for more on this, see Chapter 5). In 1917 Wedekind came from Munich for a full half year—from 7 May to 7 October and 22 · Part I.
The German Joyce (The Florida James Joyce Series) by Robert Weninger