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

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Pfister, Stefan, Bildersaal der Seek: Funktion und Bedeutung des Magischen Theaters in Hermann Hesses 'Der Steppenwolf (Frankfurt a. M.: S. Pfister, 2001) Ponzi, Mauro, 'Hermann Hesse, Thomas Mann und Nietzsche', in Hermann Hesse Jahrbuch, ed. by M. Ponzi, 4 vols (Tubingen: Niemeyer, 2004-2009), IV (2009), pp. 1-24 Prinz, Alois, »Undjedem Anfang wohnt ein Zauber inne«: Die Lebensgeschichte des Hermann Hesse (Weinheim: Beltz & Gelberg, 2000) Rockwood, Heidi M., The Function of Pablo in Hesse's "Steppenwolf", South Atlantic Review 59(4) (November, 1994), pp. 47-61 Rose, Ernst, Faith from the abyss: Hemann Hesse's way from romanticism to modernity (New York: New York University Press, 1965) Schmelzer, Hans Jiirgen, Aufder Fahrte des Steppenwolf: Hermann Hesses Herkunft, Leben und Werk (Stuttgart: Hohenheim, 2002) Schneider, Christian I., 'Hermann Hesse and Music', in A companion to the works of Hermann Hesse (see Cornils 2009), pp. 373-94 Schneider, Christian I., Hermann Hesse (Munich: C. H. Beck, 1991) Schwarz, Egon (ed.), Hermann Hesses 'Steppenwolf (K6nigstein/Ts.: Athenaum, 1980) Shaw, Leroy R., Time and the Structure of Hermann Hesse's "Siddhartha"', Symposium 11(1) (Autumn, 1957), pp. 204-24 Solbach, Andreas, 'Dezisionistisches Mitleid: Dekadenz und Satire in Hermann Hesses "Unterm Rad"', in Hermann Hesse today (see Swales 2005), pp. 67-82 Solbach, Andreas, The Aesthetics of Ritual: Pollution, Magic, and Sentimentality in Hesse's "Demian" (1919)', in A companion to the works of Hermann Hesse (see Cornils 2009), pp. 81-115 Stewart, Mary E., 'The Refracted Self: Hermann Hesse, Der Steppenwolf, in The German novel in the twentieth century: beyond Realism (see Midgley), pp. 80-94 Stolte, Heinz, Hermann Hesse: Weltscheu und Lebensliebe (Hamburg: Hansa, 1971) Swales, Martin, '"Der Steppenwolf", in A companion to the works of Hermann Hesse (see Cornils 2009), pp. 171-86 Swales, Martin, 'New Media, Virtual Reality, Flawed Utopia? Reflections on Thomas Mann's "Der Zauberberg" and Hermann Hesse's "Der Steppenwolf", in Hermann Hesse today, ed. by I. Cornils and O. Durrani (Amsterdam; New York, NY: Rodopi, 2005), pp. 33-39 209
Theodorou, Panagiota, '«Das leidendste Tier auf Erden erf and sich das Lachen» (Friedrich Nietzsche): "Heilung" der Verzweiflung im "Steppenwolf" Hesses?', in Hermann Hesse Jahrbuch (see Brusniak), pp. 133-49 Vahlbusch, Jefford, 'Novel Ideas: Notes toward a New Reading of Hesse's Unterm Rad', in A companion to the works of Hermann Hesse (see Cornils 2009), pp. 17-56 Valentin, Erich, Die goldene Spur. Mozart in der Dichtung Hermann Hesses (Munich: Al, 1998) Wehdeking, Volker, 'Richard Strauss' letzte Liedkompositionen nach Hermann Hesses Gedichten: Kongeniale (unvollendete) Umsetzung im Geiste pantheistischen ', in Hermann Hesse Jahrbuch (see Ponzi 2009) pp. 97-113 Weibel, Kurt, Hermann Hesse und die deutsche Romantik, (Winterthur: Keller, 1954) Weiner, Marc A., 'Mozart, Jazz, and the Dissolution of the Bourgeois Personality: "Steppenwof", in Undertones of insurrection: Music, politics, and the social sphere in the modern German narrative (Lincoln Neb.; London: University of Nebraska Press, 1993), pp. 103-149 Weiss-Sussex, Godela, 'On the Relationship between Hesse's Painting and Writing: Wanderung, Klingsors letzter Sommer, Gedichte des Malers and Piktors Verwandlungen', in A companion to the works of Hermann Hesse (see Cornils 2009), pp. 345-72 Wright, A. C, 'The Theme of Polarities in Russian and German Twentieth-Century Literature: Mikhail Bulgakov and Hermann Hesse as Literary Cousins', Canadian Slavonic Papers 25(1) (March, 1983), pp. 54-72. Ziolkowski, Theodore, Ovid and the moderns (Ithaca: Cornell University Press, 2005) Ziolkowski, Theodore, The novels of Hermann Hesse: a study in theme and structure (1965) (Princeton [N.J.]: Princeton University Press, 1971) GENERAL Abrams, M. H., The mirror and the lamp: Romantic theory and the critical tradition (New York: Oxford University Press, 1953) Adam, Barbara, Time (Oxford: Polity, 2004) Anglet, Andreas, 'Die Avantgarden in Frankreich und Deutschland zwischen 1912 und 1930 und der amerikanische "Jazz "', in Avantgarden in Ostund West: Literatur, Musik und Bildende Kunst urn 1900, ed. by H. Kircher, M. Klanska, and E. Kleinschmidt (Cologne; Weimar; Vienna: Bohlau, 2002), pp. 57-89 210
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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
Page 59 and 60:
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
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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 and 214: 'Chapter 6: Siddhartha: The Way Wit
Page 215: Kilchenmann, Ruth J., 'Hermann Hess
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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