By Birgit Röder
The German Romantic author and composer E. T. A. Hoffmann (1776-1822) -- possibly most sensible identified to the English-speaking global via his Nutcracker and during Jacques Offenbach's opera Tales of Hoffmann -- struggled to persuade his predominantly bourgeois public of the benefits of paintings and literature. now not strangely, a lot of his most crucial novellas are sure up with the dilemmas of paintings and the demanding situations confronted via the Romantic artist, and it truly is those Künstlernovellen which are the point of interest of this research. Birgit Röderargues that Hoffmann's artists will not be easily people who create artworks, yet quite figures via whom the writer explores the obstacle of these who reject the normal global of bourgeois truth and search to say the claims of the mind's eye in an international ruled via prosaic rationalism. opposite to past students even if, Röder demonstrates that Hoffmann's novellas in actual fact warn opposed to a view of artwork as an self sustaining aesthetic realm bring to a halt from the realm of fact. this can be rather obvious in Röder's research of gender relatives in Hoffmann's oeuvre -- in particular the connection among (male) artist and (female) muse -- which underlines the level to which paintings, literature, and the mind's eye are inseparably certain up with the existing social fact. The novellas which are given large attention are Das Fräulein von Scuderi, Der Sandmann, Die Jesuiterkirche in G., Die Fermate, Der Artushof, Don Juan, Das Sanctus, and Rat Krespel.
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Additional resources for A Study of the Major Novellas of E.T.A. Hoffmann (Studies in German Literature Linguistics and Culture)
Furthermore, as a judge he felt bound to reach judgements of moral culpability — he was renowned for his just pronouncements — which were to have far reaching consequences for both the defendants and society as a whole. How is this to be reconciled with a view of the world as nothing more than an amalgam of subjective perspectives in which no one point of view is to be preferred over another? Hoffmann is often seen as a deeply divided character who is torn between the claims of the material world of reality and the realm of the imagination.
See Georg Wellenberger, Der Unernst des Unendlichen: Die Poetologie der Romantik und ihre Umsetzung durch E. T. A. Hoffmann (Marburg: Hitzeroth, 1986), 39–40. 19 KA II, 164, §26. Hoffmann’s letters and diaries suggest that he was well acquainted with both Schlegel’s and Novalis’s work. See Tagebücher, 113 (12 January 1811) and 150 (17 April 1812). 20 KA II, 153, §48. 21 KA II, 160, §108. 22 KA II, 263, §69. 23 KA II, 131, §169. 24 KA II, 157, §87. 25 KA II, 151, §37. , ed. by Rudolph Köpke (Darmstadt: Wissenschaftliche Buchgesellschaft, 1970), vol.
The courtiers are primarily concerned with composing amusing ditties so that the king and his immediate circle (who appear to have no particularly pressing tasks) can wile away their time and stave off boredom. Here art is something purely decorative — all form and no content. This leads to everyday reality being concealed behind a façade of “anmutige Verse” (SW III, 648), “Schau- 40 E DAS FRÄULEIN VON SCUDERI spiele und Anekdoten” (672), “Galanterien” (660), “geistreich-witzige Wendungen” (660) and “ellenlange Tiraden” (661).