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Author: Stefan Zweig
Publisher:
ISBN:
Category :
Languages : en
Pages : 390
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Book Description
Author: Stefan Zweig
Publisher:
ISBN:
Category :
Languages : en
Pages : 390
Get Book Here
Book Description
Author: Stefan Zweig
Publisher: New York : Viking Press
ISBN:
Category :
Languages : en
Pages : 392
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Book Description
Author: Stefan Zweig
Publisher:
ISBN:
Category :
Languages : en
Pages : 386
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Book Description
Author: Stefan Zweig
Publisher:
ISBN:
Category :
Languages : en
Pages : 335
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Book Description
Author:
Publisher: Transaction Publishers
ISBN: 1412845955
Category : Literary Criticism
Languages : en
Pages : 420
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Book Description
Casanova, Stendhal, Tolstoy: Adepts in Self-Portraiture, the final volume of Stefan Zweig's masterful Master Builders of the Spirit trilogy, discloses the smaller version of a writer's own ego. Unconscious though it is, no reality is as important to the writer as the reality of their own life. Giacomo Casanova, Stendhal (Marie-Henri Beyle), and Leo Tolstoy have different approaches to self-portraiture, but Zweig shows that together they symbolize three levels which represent successively ascending gradations of the same creative function. Casanova is depicted as having a primitive gradation; he simply records deeds and happenings, without any attempt to appraise them or to study the deeper working of the self. Stendhal's self-portraiture is depicted as psychological; he observes himself and investigates his own feelings. Tolstoy has the highest level; he describes his own life, records what led him to his own actions, and focuses on self-reflection in a completely unexaggerated manner. At first glance it might seem as if self-portraiture is an artist's easiest task. With no further trouble than a probing of memory and a description of the facts of life, "the truth" is revealed. The history of literature shows that ordinary autobiographers are no more than commonplace witnesses testifying to facts that chance has brought to their knowledge. A practiced artist is needed to discern the innermost happenings of the soul; few who have attempted autobiography have been successful in this difficult task. The present volume expounds the characteristics of these subjectively minded artists, and of autobiography as their typical method of personal expression.
Author: Max Saunders
Publisher: OUP Oxford
ISBN: 0191614734
Category : Literary Criticism
Languages : en
Pages : 608
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Book Description
I am aware that, once my pen intervenes, I can make whatever I like out of what I was.' Paul Valéry, Moi. Modernism is often characterized as a movement of impersonality; a rejection of auto/biography. But most of the major works of European modernism and postmodernism engage in very profound and central ways with questions about life-writing. Max Saunders explores the ways in which modern writers from the 1870s to the 1930s experimented with forms of life-writing - biography, autobiography, memoir, diary, journal - increasingly for the purposes of fiction. He identifies a wave of new hybrid forms from the late nineteenth century and uses the term 'autobiografiction' - discovered in a surprisingly early essay of 1906 - to provide a fresh perspective on turn-of-the-century literature, and to propose a radically new literary history of Modernism. Saunders offers a taxonomy of the extraordinary variety of experiments with life-writing, demonstrating how they arose in the nineteenth century as the pressures of secularization and psychological theory disturbed the categories of biography and autobiography, in works by authors such as Pater, Ruskin, Proust, 'Mark Rutherford', George Gissing, and A. C. Benson. He goes on to look at writers experimenting further with autobiografiction as Impressionism turns into Modernism, juxtaposing detailed and vivacious readings of key Modernist texts by Joyce, Stein, Pound, and Woolf, with explorations of the work of other authors - including H. G. Wells, Henry James, Joseph Conrad, Ford Madox Ford, and Wyndham Lewis - whose experiments with life-writing forms are no less striking. The book concludes with a consideration of the afterlife of these fascinating experiments in the postmodern literature of Nabokov, Lessing, and Byatt. Self Impression sheds light on a number of significant but under-theorized issues; the meanings of 'autobiographical', the generic implications of literary autobiography, and the intriguing relation between autobiography and fiction in the period.
Author: Stefan Zweig
Publisher:
ISBN: 9780849562297
Category :
Languages : en
Pages : 357
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Book Description
Author: Stefan Zweig
Publisher: Routledge
ISBN: 1351314866
Category : Literary Criticism
Languages : en
Pages : 296
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Book Description
Written over a period of twenty-five years, this first volume in a trilogy is intended to depict in the life and work of writers of different nationalities--Balzac, Dickens, and Dostoevsky--the world-portraying novelist. Though these essays were composed at fairly long intervals, their essential uniformity has prompted Zweig to bring these three great novelists of the nineteenth century together; to show them as writers who, for the very reason that they contrast with each other, also complete one another in ways which makes them round our concept of the epic portrayers of the world. Zweig considers Balzac, Dickens, and Dostoevsky the supremely great novelists of the nineteenth century. He draws between the writer of one outstanding novel, and what he terms a true novelist--an epic master, the creator of an almost unending series of pre-eminent romances. The novelist in this higher sense is endowed with encyclopedic genius, is a universal artist, who constructs a cosmos, peopling it with types of his own making, giving it laws of gravity that are unique to these fi gures. Each of the novelists featured in Zweig's book has created his own sphere: Balzac, the world of society; Dickens, the world of the family; Dostoevsky, the world of the One and of the All. A comparison of these spheres serves to prove their diff erences. Zweig does not put a valuation on the differences, or emphasize the national element in the artist, whether in a spirit of sympathy or antipathy. Every great creator is a unity in himself, with its own boundaries and specifi c gravity. There is only one specifi c gravity possible within a single work, and no absolute criterion in the sales of justice. This is the measure of Zweig, and the message of this book.
Author: Stefan Zweig
Publisher: Plunkett Lake Press
ISBN:
Category : Biography & Autobiography
Languages : en
Pages : 105
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Book Description
Stefan Zweig's Amerigo: A Comedy of Errors in History is the Austrian writer's account of how America got its name. This short, late work describes how Amerigo Vespucci, “a man of medium caliber [who] had never been entrusted with a fleet” gave his name to the New World because “of a combination of circumstances — through error, accident, and misunderstanding.” Zweig was living in exile in Brazil when he wrote Amerigo, shortly before committing suicide in despair over Hitler's conquest of Europe. “The paradox that Columbus discovered America but failed to recognize it, while Vespucci did not discover it but was the first to recognize it as a new continent,” he wrote, illustrates how “history will not be reasoned with.”
Author: Stefan Zweig
Publisher: Plunkett Lake Press
ISBN:
Category : Biography & Autobiography
Languages : en
Pages : 175
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Book Description
This Plunkett Lake Press eBook is produced by arrangement with Viking, an imprint of Penguin Publishing Group, a division of Penguin Random House LLC. Castellio is a book against zealots of every kind: against anything engendering “the destruction of this world’s divine manifoldness” and injuring the humane spirit. [...] Why could Castellio not maintain himself against Calvin? Stefan Zweig’s answers to these questions have permanent and tragic validity: it was because the masses pay tribute not only to the power of love, but also to that of hatred. Followers could always be found for political slogans that established “enmity and divisions, casting sinister flames of hatred against another religion, race or class.” [...] Those who sacrificed themselves for a future reconciliation of men, wrote Stefan Zweig in 1933, could not escape the fact that a torrent of fanaticism, “rising from the shoals of human instinct,” would burst all dams and inundate all. [...] Castellio, “a fly against an elephant,” rose in opposition to Calvin who had condemned Miguel Servet — better known as Servetus — a true fighter for spiritual freedom, to die at the stake. “To burn a man alive does not defend a doctrine, but kills a man,” said Castellio. It was an ever-recurring curse that ideologies degenerated into tyranny and brute force. Fanaticism, indifferent to the material from which it was ignited, wanted only to let the accumulated forces of hatred flame forth. And Zweig utters these words, six years before the outbreak of the Second World War: “At such apocalyptic turning points, when mass delusions determine universal destinies, the demon of war, bursting the chains of reason, hurls itself greedily and joyfully into the world.” [...] In describing a tragic contest — here that of conscience against force — Zweig is in his element. He illuminates the interesting figure of Servetus who had fought in his own fanatical-hysterical manner already as a youth. It is characteristic that Servetus was dubbed by his enemies “Jew,” “Turk,” and wicked “Spaniard.” [...] Zweig stressed the self-sacrificing way in which [Castellio] defended freedom of thought against Calvin, becoming the symbol of “Conscience against Force.” And he describes most touchingly the sorrow this genuine hero had to suffer. He shows, too, how free spirits may be endangered by the carelessness with which they choose their fellow-wanderers; whereas the one-sided totalitarians, protected by their rigidity, always hold a stone ready to fling at their enemies. (from Married to Stefan Zweigby Friderike Zweig) “One cannot but admire the ardent spirit with which Stefan Zweig has set out to annihilate the doctrines of exclusiveness and restriction in religion and in politics... the most spirited [book] and, in certain scholarly respects, the most important that Stefan Zweig has yet produced... From Stefan Zweig’s new book there emerges a new hero for a modern reading public: a true historic character rescued from near oblivion, and the first modern man who fought the good fight for humanity’s right to think its own thoughts and to say them. The battle has not yet been decided.” — Lloyd Eshleman,The New York Times, November 16, 1936
