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  1. 3 Germanica Wratislaviensia

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  1. 3 Rauseo C.

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1

Vaterländische Unwahrheiten. Fontane und Kleist

100%
Rauseo C.
Germanica Wratislaviensia
|
2016
|
vol. 141
45-59
DE
Fontane war sich dessen bewusst, dass einige seiner Meinungen nur provisorisch, also veränderlich waren. Ein so radikaler Umschwung wie bei seinen zwei Beurteilungen von Kleists „Prinz Friedrich von Homburg“ ist aber selbst für seine Verhältnisse ungewöhnlich. Den Grund für seinen Wandel von empörter Ablehnung zur uneingeschränkten Lobpreisung darf man am ehesten in der utopischen Beschaffenheit von Kleists vaterländischem Fantasiestück suchen.
EN
Few writers have changed their minds as often, and about as many things, as Fontane. His most striking volte-face concerned Kleist’s glorification of their common Prussian homeland: the drama Prince Frederick of Homburg. Fontane reviled the work in 1872 and unconditionally sang its praises four years later. Why? Perhaps because Kleist’s utopian dream made it possible to suspend disbelief in Prussia’s promises, and to pretend they were almost true.
2

Der Tod in Swinemünde. Paradoxe des Polentums bei Thomas Mann und Theodor Fontane

100%
Rauseo C.
Germanica Wratislaviensia
|
2015
|
vol. 140
61 - 92
EN
At first glance, Polish culture and history seem of little importance in Thomas Mann’s creative imagination. But a closer look reveals the extent to which his relatively rare evocations of Poles and Poland correspond to a pattern which his revered predecessor Theodor Fontane elaborated upon constantly. Poland is dangerous not because of its armed insurrections, but because it raises questions which quietly undermine the foundations of German (and particularly Prussian) notions of order and power.
3

Kleists Revisor. „Der zerbrochne Krug” zwischen Friedrich II. und Adolph Menzel

100%
Rauseo C.
Germanica Wratislaviensia
|
2017
|
vol. 142
11-24
DE
Als Adolph Menzel 1876–1877 Kleists Zerbrochnen Krug illustrierte, beschwor er die niederlän­dische Genre-Malerei des 17. Jahrhunderts bis ins Detail und auch voller Pracht. Dies spezifisch Holländische erfährt aber wider Erwarten eine spezifisch preußische Färbung dadurch, dass der nachschaffende Künstler den Geist Friedrichs des Großen zu einem kurzen aber dramatischen Auf­tritt hervorruft, um die preußische Herkunft und auch Beschaffenheit des Kleistschen Lustspiels nicht aus dem Blick zu verlieren.
EN
Frederick the Great would seem to be an unlikely guest in Kleist’s comedy Der zerbrochne Krug. Why should Prussia’s most famous king appear in a play situated in a village in Holland in the 17th century, surrounded by peasants and a corrupt judge? Perhaps because Kleist was a Prussian, as was the congenial illustrator of his “Dutch” play, Adolph Menzel. And perhaps because Prussia never ceased to be present in the works of its artists, however far away they tried to be.
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