Point of View in the Novels and Stories of Eduard von Keyserling
1957; Routledge; Volume: 32; Issue: 4 Linguagem: Inglês
10.1080/19306962.1957.11786904
ISSN1930-6962
Autores ResumoClick to increase image sizeClick to decrease image size NotesSee Norman Friedman, “Point of View in Fiction: The Development of a Critical Concept,” PMLA, LXX (1955), 1160–84.Handbuch der Literaturwissenschaft (Potsdam, 1929), p. 380.On impressionism in Germany, see Käte Friedemann, Die Rolle des Erzählers in der Epik (Leipzig, 1910), pp. 62–64; Richard Hamann, Der Impressionismus im Leben und Kunst, 2nd ed. (Marburg, 1932); Luise Thon, Die Sprache des deutschen Impressionismus (München, 1928); and Walzel, pp. 87–91.Except Die Soldatenkersta (1906) and Landpartie (listed by William Eickhorst, Decadence in German Fiction [Denver, 1953], p. 172, as appearing in 1908). There is some disagreement on the dates of Keyserling’s later works. For the stories included in Gesammelte Erzählungen (note 5, below), I have accepted the dates given by the editor.All references to Keyserling ‘s works, unless otherwise indicated, are to Gesammelte Erzählungen, ed. Ernst Heilborn, 4 vols. (Berlin, 1922).Thomas Mann, “Zum Tode Eduard Keyserlings,” Rede und Antwort (Berlin, 1922), p. 262.See n. 1. Reference here is to pp. 1174–75.On ” ‘I’ as Witness” techniques, see Kenneth P. Kempton, Short Stories for Study (Cambridge, Mass., 1953), pp. 92–97.Cf. Mark Schorer, “Technique as Discovery,” Hudson Review, I (1948), 82.Cited by Leon Edel, The Psychological Novell 900–1950 (New York and Philadelphia, 1955), p. 31.Cf. Käte Knoop, Die Erzählungen Eduard von Keyserlings (Marburg, 1929), p. 88. Knoop’s monograph contains valuable criticism of Keyserling ‘s works.On two occasions we also learn the thoughts of Werner’s wife, Lene.An example of two points of view presented simultaneously: “Dann standen die beiden Männer da in der Dunkelheit schweigend beieinander. Jetzt müßte ich etwas sagen, dachte Dachhausen, das entscheidet, das Klarheit schafft, und Egloff war es, als spürte er die Aufregung des kleinen Mannes, der unruhig vor ihm auf und ab zu gehen begann. Will er etwas, weiß er etwas? fragte sich Egloff” (IV, 131–132).See Joseph Warren Beach, The Twentieth Century Novel (New York and London, 1932), p. 194; Robert Humphrey, Stream of Consciousness in the Modern Novel (Berkeley and Los Angeles, 1954), pp. 33–34.Schwüle Tage und andere Erzählungen, Manesse Bibliothek der Weltliteratur (1954), p. 145.See Thon, pp. 168–169.Manesse Bibliothek, p. 265. Subsequent references to Bunte Herzen are to this edition.Cf. Friedman, p. 1173.The term is from Kempton, p. 38; see also Edel, p. 22.On erlebte Rede see E. Lorck, Die “erlebte Rede” (Heidelberg, 1921); Thon, pp. 95–106; and Walzel, pp. 380–382. The term “indirect mental discourse” is used for this technique by Kempton, pp. 42–44, 56–57. Humphrey, pp. 29–32, calls it “indirect interior monologue.” I am indebted to Professor Edgar Shannon of the University of Virginia for calling my attention to Kempton’s work.(Berlin: S. Fischer, 1924), pp. 21–22.(Berlin: S. Fischer, 1924), p. 49.This paper was read to the German Section of SAMLA, Nov. 23, 1956.
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