Download A Companion to the Works of Thomas Bernhard (Studies in by Matthias Konzett PDF

By Matthias Konzett

Because the dying of Thomas Bernhard in 1989, the literary popularity of this complicated and targeted author has risen to the purpose that he's now considered as a huge ecu determine. Bernhard emerged within the Sixties as one in every of Austria's significant writers, difficult the recognition of such proven writers as Heinrich B?ll and G?nter Grass at the German literary scene. His idiosyncratic prose comprises a tragic-comic mix of subject matters similar to suicide, insanity, and isolation mixed with hugely satirical and histrionic invectives opposed to tradition, culture, and society. As a skillful impresario of public scandals via verbal attacks upon Austrian elite tradition, Bernhard additionally earned himself the epithet of ?bertreibungsk?nstler (artist of exaggeration). during this artwork of cultural and political provocation Bernhard is still unequalled to the current day. This quantity of essays offers contributions through famous critics that research the main salient facets of Bernhard's paintings, delivering insights into literary recommendations and public topics that made Bernhard one among Europe's masters of contemporary prose and drama. Essays learn Bernhard's advanced inventive sensibility, his impression on Austria's serious reminiscence, his relation to the legacy of Austrian Jewish tradition, his consultant worth as Austria's top literary export, and his cosmopolitanism and its importance for the quickly altering multicultural panorama of Europe.Matthias Konzett is affiliate professor of German at Yale collage. he's the writer of The Rhetoric of nationwide Dissent in Thomas Bernhard, Peter Handke, and Elfriede Jelinek (Camden apartment, 2000).

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17 Thomas Bernhard, Frost (Frankfurt: Suhrkamp, 1972), 7. 18 Walter Benjamin, “Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit,” Illuminationen. Ausgewählte Schriften 1 (Frankfurt: Suhrkamp, 1977), 164. 19 Geoffrey Hartman, “Introduction: Darkness Visible,” Holocaust Remembrance: The Shapes of Memory, ed. Geoffrey H. Hartman (Oxford, UK: Blackwell, 1994): 1–22; here 20. 20 Shoshana Felman, “Film as Witness: Claude Lanzmann’s Shoah,” Holocaust Remembrance: The Shapes of Memory, ed.

Und jetzt auch schon in der Gewohnheit, selbst das Fürchterliche als eine leicht zu verarbeitende Alltäglichkeit hinter mich zu bringen, ein Meister, hatte ich alle Voraussetzungen, über das, was ich immer eindringlicher zu beobachten hatte, nachzudenken und mir sozusagen als willkommene Anschauung viele dazu geeignete Anschauungen oder Vorkommnisse zu einem lehrreichen Studiengegenstand zu machen. — Thomas Bernhard, Der Atem, 1978 Object of Study: Number One A VIENNESE HIGH SCHOOL says, he knew him, the master, very well indeed, and met him, Thomas Bernhard, frequently.

As if compelled to re-enact the unmanageable anguish, Bernhard’s texts articulate over and over the individual’s inability to confront the past and make the necessary adjustments for the future. Henryk Broder observed that authors of the postwar generation in search of the National Socialist past stopped short at implicating their immediate family and their home environment, ignoring or ra34 tionalizing any evidence of past crimes. Those who undertook a painstaking examination of their submerged memory and their parents’ role during the war, as did Niklas Frank, the son of the Nazi General 35 Governor of Poland, faced widespread disapproval.

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