HERMANN HESSE AND THE DIALECTICS OF TIME Salvatore C. P. ...

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Fumagalli, Maddalena, Tablo contra Mozart: Das "magische Theater'7 der Musik', in Hermann Hesse Jahrbuch, ed. by M. Ponzi, 4 vols (Tubingen: Niemeyer, 2004- 2009), I (2004), pp. 111-20 Gallagher, David, Metamorphosis: Transformations of the body and the influence of Ovid's Metamorphoses on Germanic literature of the nineteenth and twentieth centuries (Amsterdam; New York: Rodopi, 2009) Gianino, Francesco, 'Kuhn e 1' "eterna armonia delle sfere": Un'ipotesi di lettura musicale applicata al romanzo Gertrud di Hermann Hesse7 (Unpublished undergraduate dissertion, University of Catania, 1999)
Kilchenmann, Ruth J., 'Hermann Hesse und die Dinge: Unter Bezugnahme auf Rainer Maria Rilke', The German Quarterly 30(4) (November, 1957), pp. 238-46 Kreidler, Horst D., Table und die Unsterblichen', in Materialien zu Hermann Hesses 'Der Steppenwolf, ed. by V. Michels (Frankfurt a. M: Suhrkamp, 1972), pp. 381- 88 Lange, Marga, 'Daseinproblematik' in Hermann Hesse's "Steppenwolf: An existential interpretation, ed. by M. Jurgensen, Queensland Studies in German Language and Literature, I (Brisbane: Department of German, University of Queensland, 1970) Limberg, Michael, Hemann Hesse: Leben, Werk, Wirkung (Frankfurt a. M.: Suhrkamp, 2005) Lingens, Dominique, Hermann Hesse et la musique (Bern; Frankfurt a. M.; New York: Peter Lang, 2001) Magris, Claudio, 'II sorriso dell'unita ovvero H. H. fra la Vita e la vita' [preface], in Hermann Hesse, Romanzi, I Meridiani (Milan: Mondadori, 1977), pp. XI-XXXIII Magris, Claudio, 'Uomini e lupi', Corriere della Sera, 13 June 1971 Matassi, Elio, 'Hesse und die «Neupythagoreische Musiklehre» / / in Hermann Hesse Jahrbuch (see Brusniak), pp. 121-31 Mayer, Hans, 'Imaginares Gesprach zwischen Albert Camus und Hermann Hesse' (1971), in Uber Hermann Hesse, ed. by V. Michels, 2 vols (Frankfurt a. M.: Suhrkamp, 1977), II, pp. 102-10 Michels, Volker, 'Hermann Hesse and Psychoanalysis', in A companion to the works of Hermann Hesse (see Cornils 2009), pp. 323-44 Michels, Volker, Hemann Hesse: Leben und Werk im Bild (Frankfurt a. M.: Insel, 1977) Mileck, Joseph, 'Names and the Creative Process: A Study of the Names in Hermann Hesse's "Lauscher", "Demian", "Steppenwolf, and "Glasperlenspiel"', Monatshefte 53(4) (April-May, 1961), pp. 167-180 Mileck, Joseph, Hermann Hesse: life and art (Berkeley [CA]: University of California Press, 1981) Moritz, Julia, Die musikalische Dimension der Sprachkunst: Hermann Hesse, neu gelesen (Wiirzburg: Konigshausen & Neumann, 2007) Murray, Keith, 'Hermann Hesse und der Humor (oder: Uber ironische und humoristische Dichtung)', 4 March 2002 [accessed 7 May 2010] 208
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HERMANN HESSE AND THE DIALECTICS OF
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Chapter 5 Eternity_________________
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Declaration The discussion on Tablo
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Abstract This thesis explores Herma
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century onwards.4 The discussion on
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An interest in eternity is not Hess
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die Zeit fur mich hat, wie ich die
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Menschen ihres fruhesten Lebens eri
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subject and countersubject in the l
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Finally, dates of publication have
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This chapter explores this intrigui
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und Du, Freund und Feind, Tier und
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Karalaschwili accounts for this pas
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paradoxically, his personal 'freedo
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As Boulby perceptively notes, chara
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[D]ie Legende [1st] jene Literaturf
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the other hand, he is convinced tha
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ejection entails an act of the mind
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his way to enlightenment, is attune
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'Fifty year old Harry Haller [...]
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eal self is transferred onto pairs
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consideration. 55 Clearly, any aspe
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This chapter, which is the necessar
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In the twentieth century, the adven
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609). 14 Klingsor even calls on the
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This conception of music, reflected
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eproducing the soloist's frenzy, in
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Spafi'). A further point we drew at
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they revolve around a common 'home
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More recent literary employment of
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In the chapter 'Erwachen', after hi
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'modulated' and developed, identify
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movements of a tripartite sonata. M
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In addition, Hesse's main character
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Drin eins das andre halt, Zeigen si
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Klange alle wie die Stimme der Mutt
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father, soul and spirit. 59 To Gold
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evolution of his connections to mus
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Music means solace for Kuhn in Gert
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Furthermore, the erotic element of
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Hesse's penchant for 'klassische' (
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the aesthetic qualities of a piece
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creation is, for Hesse, the princip
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'Hesse had nothing against virtuosi
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undramatisch' (letter of 1898 to He
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As far as the formal plane is conce
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called 'absurd'. 53 The most conspi
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existence and the dismissal of any
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in that the former's opera paves th
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'Bine Arbeitsnacht' (1928), he poin
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debate on jazz but also by the Nazi
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catchy tunes threaten to drain art
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individuationis—accepting his lim
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Singen oder Summen oder auch nur da
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die Erden und Sterne harmonisch im
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in the euphoria of the 'Maskenball'
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Chapter 4 Memory, metamorphosis, an
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Hesse's approach to memory and the
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Hesse's main characters who, almost
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ich sah mich wahrend der ganzen Vor
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with music, which would eventually
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correlative' of childhood in Hesse.
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equally pressing desire to release
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mit Entsetzen erinnerte ich mich an
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Hesse ascribes his fascination with
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weigert sich, es will sich haufig a
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exceptions (see the myth of Pygmali
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internalized and replaced by transf
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to India ('Erinnerung an Mwamba').
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there are occasions when we experie
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Beschreibung einiger Augenblicke ku
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In the first place, time is no long
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Beja underlines that, for both Berg
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Karalaschwili refers to as the 'Zei
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(unity, memory, and music) merge in
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of Hesse's personal creed as well a
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Nichts war, nichts wird sein; alles
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The complex symbol of the river in
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as revealed by the opening line of
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While Mann's image of endless repet
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Glasperlenspiel). Clearly, 'authori
Page 163 and 164: spread very rapidly to the human sc
Page 165 and 166: poetic world: the metaphor of the s
Page 167 and 168: Verwandlungen, Goethe and Mozart-Pa
Page 169 and 170: und die Worte waren kleine schwarme
Page 171 and 172: After dealing with the rather probl
Page 173 and 174: greater foe than emotion' (Bergson,
Page 175 and 176: of experience may be arbitrary and
Page 177 and 178: identified by Ziolkoski (see Chapte
Page 179 and 180: Rad (1905-1906) is a noticeable exc
Page 181 and 182: however, the dualism of 'ideal' and
Page 183 and 184: 'Witzbold und frechen Bettler' (SW
Page 185 and 186: from their own creation through an
Page 187 and 188: observed in Chapter 3 (section 2),
Page 189 and 190: works, and the motif (the mirroring
Page 191 and 192: hinein: Kindergesichter sufi und er
Page 193 and 194: As noted above (6.1) that the last
Page 195 and 196: Mozart play practical jokes on Harr
Page 197 and 198: superior wit. Furthemore, Mozart's
Page 199 and 200: The various sections do not [...] r
Page 201 and 202: Modernist distance from the norms o
Page 203 and 204: concludes that what might seem a sh
Page 205 and 206: Jahren war ich nicht mehr in dem sc
Page 207 and 208: irths and deaths, as portrayed in '
Page 209 and 210: Salvages' V; 1944, 30), as one of h
Page 211 and 212: HERMANN HESSE, Bibliography Betrach
Page 213: 'Chapter 6: Siddhartha: The Way Wit
Page 217 and 218: Theodorou, Panagiota, '«Das leiden
Page 219 and 220: Debord, Guy, The society of the spe
Page 221 and 222: Mann, Thomas, Doktor Faustus: das L
Page 223 and 224: Volkmann-Schluck, Karl H., 'Novalis
Page 225: Schmidt, Richard A.; Lee, Timothy D
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