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Beobachtungen zum Herstellen eines Kriegsbuches. Der preußisch-österreichische Krieg von 1866 bei Theodor Fontane

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Pacholski J.
Orbis Linguarum
|
2019
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issue 53
133-144
EN
This paper contains several remarks on Theodor Fontane’s Der deutsche Krieg von 1866 (The German War of 1866), which is the second work from the series of the three so-called war books by the future author of Effi Briest. In these books he presents in minute detail the story of the German Unification Wars. The following aspects are described in this article: the genesis of the above-mentioned work and Fontane’s working method and the structure of his war book of 1866. Using some examples the author of this paper shows Fontane’s handling with citations from foreign and his own previously published texts. At last author of this article gives some information about the (almost missing) reception of The German War of 1866.
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„Za dużo światła, to niedobrze, ale takie przytłumione, to w sam raz”: motyw zdrady małżeńskiej w niemieckim realizmie poetyckim na podstawie „Effi Briest” Theodora Fontanego

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Jabłkowska J.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2018
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vol. 49
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issue 3
197-218
EN
This article examines the concept of German Realism, also known as poetic realism or bourgeois realism, using the example of the motif of marital betrayal. Theodor Fontane’s Effi Briest is the most widely known literary work that portrays infidelity and the punishment inflicted on the wife who breaks her marriage vows. The novel is often compared to Madame Bovary and Anna Karenina. It depicts not only the young wife’s affair but also its consequences: divorce, losing the rights to her child, social isolation and finally her premature death, caused by her “anguish”. A superficial reading suggests that Fontane was inspired by the literature of European Realism and Naturalism; however, even a cursory comparison of Flaubert’s and Fontane’s works reveals the distinctive features of German Realism. It is this specificity of the mid-19 century German novel that constitutes the main focus of this article. The key aesthetic category characteristic of the German 19th century prose was “humour”, defined by Wolfgang Preisendanz as finding the connection between two seemingly unrelated things. Fontane wrote about the “beautifying veil”, which makes it possible to portray extreme social problems in a poetic way, never directly. The reader must uncover aspects of the literary work which evoke the dilemmas of a world on the verge of modernity.
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Mit Theodor Fontane (und den preußischen Truppen) durch die Rhön

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Pacholski J.
Germanica Wratislaviensia
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2013
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vol. 137
47 - 64
EN
The so-called war books, describing the history of German unification wars, form an extremely important chapter in the middle period of Theodor Fontane’s epic work. These works contain not only detailed reports on military actions, but also fascinating descriptions of the country engulfed by war, places of interest, life of common people and history of the area, which is precisely what makes them so appealing both for a literary scholar and for a historian. Of particular interest are the author’s views on national and political issues, which affect the character of the actual military-historical account. This paper illustrates this on the example of the passage of the Prussian troops through the Central-German Rhön Mountains, described in the second volume of Der deutsche Krieg von 1866.
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Bilder von Gutsherrschaft im Werk von Karl von Holtei, Gustav Freytag, Theodor Fontane, Valeska Gräfin Bethusy-Huc

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Bonter U.
Orbis Linguarum
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2018
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issue 50
525-538
EN
Imaged lordship of the manor: Karl von Holtei; Gustav Freytag; Theodor Fontane; Valeska Gräfin Bethusy-Huc This paper analyses how the lordship of the manor was depicted in the novels by four popular authors from the long 19th century (Karl von Holtei; Gustav Freytag; Theodor Fontane; Valeska Gräfin Bethusy-Huc). It also emphasises the coexistence of opposing concepts during this period of time.
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Musée imaginaire: Fontanes Gemäldegalerie

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Fischer H.
Studia Germanica Posnaniensia
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2016
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issue 37
109-120
EN
This paper tends to explore ,Fontane's picture gallery' referring to its genesis, characteristic and effect. In doing so the art critic Fontane is improving a distinctive image as an expert especially of English art und of the at that time in Germany leading Dusseldorf School of Painting (Düsseldorfer Malerschule). Furthermore it will be set out how the writer Fontane is acting in his work with pictures and pictorial perception. Eventually there is a suggestion for recovering ,Fontane's picture gallery' to make it possible for the contemporary audience to read Fontane's works in a wider and subtly differentiated manner.
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Cécile – starsza siostra Effi Briest

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Pacholski J.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2018
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vol. 49
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issue 3
219-238
EN
This paper deals with Theodor Fontane’s novel Cecile published in 1886. This novel is the first part of the unofficial trilogy of the so-called Berlin novels, which also include Irrungen, Wirrungen (Trials and Tribulations, On Tangled Paths) and Stine. Among these three novels, Cecile is the only one which has not been translated into Polish. In each of these novels, the central motif is misalliance, which in two cases (Cecile and Stine) leads to a tragic end. The motif of a duel, in turn, in which the husband kills the lover or the admirer of the heroine links Cecile to Effi Briest – the most famous of Theodor Fontane’s works. This article attempts to interpret the novel in the context of the similarities between Cecile and Emma Bovary, the protagonist of the masterpiece by Gustave Flaubert and from the perspective of bovarysme –a term coined by Jules de Gaultier. In the analysis, what is important is not only the characterization of Cecile as a character but also the discussion of the role of a letter in the plot of the novel, a letter being a motif used by Fontane in an interesting and surprising way.
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Zwischen Hamlet, Hanswurst und dem Andrucktermin um 22.30 Uhr – Der Alltag der Theaterkritik

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Oesterreich V.
Wortfolge. Szyk Słów
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2020
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issue 4
1-18
PL
Krytycy, skarykaturowani na scenie, w filmie czy też na rysunkach, nie należą do rzadkości. Za jeden z pierwszych przykładów takich karykaturalnych wyobrażeń mogą posłużyć komentarze widzów w Szekspirowskim Snu nocy letniej. Karykatur nie brak także w filmie Arszenik i stare koronki czy też animacji Ratatuj. Twierdzenie, iż krytykę teatralną zapoczątkowała dopiero publikacja Dramaturgii hamburskiej Lessinga, nie znajduje swojego uzasadnienia. Bez krytyki nie do pomyślenia są ani starożytne konkursy dramatopisarskie, ani Poetyka Arystotelesa. Pod względem czysto stylistycznym krytyki teatralne noszą silny ślad oralności, szczególnie u Ludwiga Börnego, Theodora Fontanego, Alfreda Kerra i Friedricha Lufta. Twierdzenie Kerra, że krytyka, obok liryki, dramatu i epiki, to czwarty z podstawowych rodzajów literackich, miało cel autokreacyjny. Inni krytycy nie podzielali jego opinii. Kontekst medialny stawia przed dzisiejszymi krytykami teatralnymi wciąż nowe wyzwania: Internet powoduje wzrost konkurencji i presję aktualności; także różnorodność formalna (teatr postdramatyczny, teatr postmigrancki, Site Specific Theatre, kwerendy w teatrze, dekonstrukcja tradycyjnych tematów etc.) wymaga od krytyka, aby wciąż na nowo określał swoją pozycję.
EN
Critics are often caricatured on stage, in movies and in drawings. One of the first examples are the viewer comments in Shakespeare’s A Midsummer Night’s Dream. Caricatures are also found in Arsen und Spitzenhäubchen [Arsenic and Old Lace] and the computer-animated film Ratatouille. The claim that theatre criticism began with the publication of Lessing’s Hamburgischer Dramaturgie must be rejected. Without theatre criticism, neither the ancient playwright competitions nor Aristotle’s Poetics are thinkable. From a purely stylistic perspective, theatre criticism is very heavily inclined towards orality, especially with Ludwig Börne, Theodor Fontane, Alfred Kerr and Friedrich Luft. Kerr’s claim that criticism should be considered the fourth major literary genre next to epic, drama, and poetry, served the purpose of self-establishment; other critics do not share this point of view. In the context of media, contemporary theatre critics are faced with new challenges: on the one hand, the pressure to be up to date has risen sharply as a result of online competition, on the other hand the formal diversity (post-dramatic theatre, post-migrant theatre, site-specific theatre, research projects, deconstruction of traditional themes, etc.) constantly demands new positions to be taken.
DE
Kritiker werden häufig karikiert: auf der Bühne, im Film und natürlich in gezeichneter Form. Ein frühes Beispiel bilden Shakespeares Zuschauer-Kommentare im Sommernachtstraum. In Arsen und Spitzenhäubchen oder dem Animationsfilm Ratatouille findet man ebenfalls Karikaturen. Die Behauptung, die Theaterkritik existiere erst seit Lessings Hamburgischer Dramaturgie, muss zurückgewiesen werden. Ohne Kritik sind weder die antiken Dramatiker-Wettbewerbe noch die Poetik des Aristoteles denkbar. Rein stilistisch betrachtet sind Theaterkritiken von einem starken mündlichen Duktus geprägt, speziell bei Ludwig Börne, Theodor Fontane, Alfred Kerr und Friedrich Luft. Kerrs Behauptung, die Kritik stünde als vierte Gattung neben der Lyrik, Dramatik und Epik diente der Selbststilisierung, andere Kritiker teilen diese Auffassung nicht. Im medialen Kontext stellen sich für heutige Theaterkritiker ständigneue Herausforderungen dar: Zum einen ist der Aktualitätsdruck durch die Online-Konkurrenz stark gestiegen, zum anderen verlangt die formale Vielfalt (postdramatisches Theater, postmigrantisches Theater, Site Specific Theatre, Rechercheprojekte, Dekonstruktion überlieferter Stoffe etc.) ständig neue Positionsbestimmungen.
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Poznámky k vývojové dynamice moderního románu od velkých příběhů cizoložnic k Mannově Čarovné hoře

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Blinková Pelánová E.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2020
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issue 62
108-123
EN
The present paper deals with the inner dynamism within the order of the fictional world, focusing on the tranformation of realistic writing (Flaubert, Tolstoy, Fontane) towards modernism. The displayed dynamism is exemplified on Thomas Mann’s The Magic Mountain taking into account the issue of autobiography and author’s essays (the Bildungsroman genre and the European realistic tradition).
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