By Wolfgang Beutin, Klaus Ehlert, Wolfgang Emmerich, Helmut Hoffacker, Bernd Lutz, Volker Meid, Ralf Schnell, Peter Stein, Inge Stephan
Because the visual appeal of the 1st variation in 1979, A background of German Literature has confirmed itself as a vintage paintings and easy reference resource for these or in touch with German literature.
In this publication, the topic of German literature is handled as a phenomenon firmly rooted within the social and political global from which it has risen. Literary works are assessed in response to their relation to the human situation. Social forces and their interrelation with the creative avant-garde are an organizing subject matter of this historical past, which strains German literature from its first beginnings within the heart a while to the current day. This newest variation has been up to date to hide the reunification of Germany, and its consequent events.
Readable and stimulating, A heritage of German Literature makes the literature of the previous as important and fascinating because the works of the current, and should end up a worthwhile instrument.
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Additional info for A History of German Literature: From the Beginnings to the Present Day
The Arthurian epic was only magnanimous to the positive hero: that which was evil and negative was declared as such and condemned from the outset. There is another substantial difference, however. While the Arthurian romance remained largely episodic in character, with one aventuire succeeding another, the tragic certainty of the fateful outcome runs through the Nibelungenlied as a unifying thread. Although the poet is fully conversant with the gamut of courtly glory, festive mood and rejoicing, these moments never appear in unclouded form, always being overhung with forebodings of the impending tragic outcome.
Excess He repeats his inner lamentation, turning over in his mind the phenomenon of Minne that has robbed him of all reason and racked his body with torment. Finally he rebels: Minne, got müeze mich an dir gerechen! wie vile mînem herzen der fröuden du wendest! Und möhte ich dir dîn krumbez ouge ûz gestechen, des het ich reht, wan du vil lützel endest An mir solhe nôt, sô mir din lîp gebôrt. und waerest du tôt, so dûhte ich mich rîche. sus muoz ich von dir leben bétwungenlîche. God should come to his aid in his struggle with Minne, which has used him so badly.
Hagen stands in stark contrast to him, an autochthonous figure from the early heroic age who callously, even sneeringly, admits to having murdered Siegfried. He also contrasts with the vengeful Kriemhild, whose actions arise out of her heartfelt obligations to the purity and honour of her house. The way Hagen and Kriemhild act as equally-matched antagonists was also unusual for the reading public of that time. The Arthurian epic was only magnanimous to the positive hero: that which was evil and negative was declared as such and condemned from the outset.