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

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Contents Acknowledgements ___________________________________i Declaration _________________________________________ ii Abbreviations______________________________________iii Abstract_________________________________________ i v Introduction __________________________________ 1 Chapter 1 Hesse's dialectics and creative process ___________ 13 1.1 Thinking in polarities: Origins __________________________ 14 1.2 Thinking in polarities: Significance ________________________ 18 1.3 Paradoxes _______________________________________ 22 1.4 Magical thinking __________________________________ 27 1.5 Intellectualismvs naivety _____________________________ 28 1.6 Hesse's novels: Autobiographies or reflections of his soul?__________ 30 Chapter 2 Writing 'musically' _______________________ 37 2.1 A matter of senses __________________________________ 39 2.2 Writing as composition ______________________________ 43 2.3 Theme and variations ________________________________ 49 2.4 Leitmotif _______________________________________ 51 2.5 Sonata form and counterpoint: Hesse between Romanticism and Classicism 55 2.5.1 'Ungestaltbare Gestalt': On the verge of paradox ______________ 63 Chapter 3 Music, ethics, and aesthetics _________________ 67 3.1 Hesse's musical taste and its evolution ______________________ 67 3.2 Music: 'Das bedeutet: die Welt hat einen Sinn' _________________ 74 3.3 Wagner, Hesse, and Existentialism ________________________ 81 3.4 Jazz and the dissolution of art___________________________ 92 3.5 Whistling and dancing _______________________________ 98 Chapter 4 Memory, metamorphosis, and epiphany__________ 106 4.1 Identity ______________________________________ 108 4.2 Hesse and memory _______________________________ 110 4.3 Memory and childhood ______________________________ 112 4.4 The need to remember and forget: Memory and morality __________ 117 4.5 Metamorphosis _________________________________ 121 4.6 Epiphany ______________________________________ 131
Chapter 5 Eternity_____________________________ 135 5.1 Between time and timelessness_________________________ 139 5.2 Simultaneity___________________________________ 142 5.3 Circles, cycles, and spirals: Images of infinity ________________ 148 5.4 Time changes to space _____________________________ 155 5.5 The weightlessness of eternity _________________________ 159 Chapter 6 Humour, Romantic irony, and laughter: Ingredients for eternity _____________________________ 163 6.1 Humour: In search of a definition ________________________ 164 6.2 Evolution of Hesse's 'Humor' __________________________ 169 6.3 Ideal vs reality: 'Galgenhumor' and Romantic irony _____________ 173 6.4 The mirror _____________________________________ 181 6.5 Pablo and Mozart: Two faces of the same fool _________________ 185 6.6 The limitations of Hesse's narrative irony and the claim of his artistry to immortality_____________________________________ 191 Conclusion _________________________________ 197 Bibliography_______________________________________ 204
Page 1: HERMANN HESSE AND THE DIALECTICS OF
Page 5 and 6: Declaration The discussion on Tablo
Page 7 and 8: Abstract This thesis explores Herma
Page 9 and 10: century onwards.4 The discussion on
Page 11 and 12: An interest in eternity is not Hess
Page 13 and 14: die Zeit fur mich hat, wie ich die
Page 15 and 16: Menschen ihres fruhesten Lebens eri
Page 17 and 18: subject and countersubject in the l
Page 19 and 20: Finally, dates of publication have
Page 21 and 22: This chapter explores this intrigui
Page 23 and 24: und Du, Freund und Feind, Tier und
Page 25 and 26: Karalaschwili accounts for this pas
Page 27 and 28: paradoxically, his personal 'freedo
Page 29 and 30: As Boulby perceptively notes, chara
Page 31 and 32: [D]ie Legende [1st] jene Literaturf
Page 33 and 34: the other hand, he is convinced tha
Page 35 and 36: ejection entails an act of the mind
Page 37 and 38: his way to enlightenment, is attune
Page 39 and 40: 'Fifty year old Harry Haller [...]
Page 41 and 42: eal self is transferred onto pairs
Page 43 and 44: consideration. 55 Clearly, any aspe
Page 45 and 46: This chapter, which is the necessar
Page 47 and 48: In the twentieth century, the adven
Page 49 and 50: 609). 14 Klingsor even calls on the
Page 51 and 52: This conception of music, reflected
Page 53 and 54:
eproducing the soloist's frenzy, in
Page 55 and 56:
Spafi'). A further point we drew at
Page 57 and 58:
they revolve around a common 'home
Page 59 and 60:
More recent literary employment of
Page 61 and 62:
In the chapter 'Erwachen', after hi
Page 63 and 64:
'modulated' and developed, identify
Page 65 and 66:
movements of a tripartite sonata. M
Page 67 and 68:
In addition, Hesse's main character
Page 69 and 70:
Drin eins das andre halt, Zeigen si
Page 71 and 72:
Klange alle wie die Stimme der Mutt
Page 73 and 74:
father, soul and spirit. 59 To Gold
Page 75 and 76:
evolution of his connections to mus
Page 77 and 78:
Music means solace for Kuhn in Gert
Page 79 and 80:
Furthermore, the erotic element of
Page 81 and 82:
Hesse's penchant for 'klassische' (
Page 83 and 84:
the aesthetic qualities of a piece
Page 85 and 86:
creation is, for Hesse, the princip
Page 87 and 88:
'Hesse had nothing against virtuosi
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undramatisch' (letter of 1898 to He
Page 91 and 92:
As far as the formal plane is conce
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called 'absurd'. 53 The most conspi
Page 95 and 96:
existence and the dismissal of any
Page 97 and 98:
in that the former's opera paves th
Page 99 and 100:
'Bine Arbeitsnacht' (1928), he poin
Page 101 and 102:
debate on jazz but also by the Nazi
Page 103 and 104:
catchy tunes threaten to drain art
Page 105 and 106:
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
Page 117 and 118:
Hesse's main characters who, almost
Page 119 and 120:
ich sah mich wahrend der ganzen Vor
Page 121 and 122:
with music, which would eventually
Page 123 and 124:
correlative' of childhood in Hesse.
Page 125 and 126:
equally pressing desire to release
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mit Entsetzen erinnerte ich mich an
Page 129 and 130:
Hesse ascribes his fascination with
Page 131 and 132:
weigert sich, es will sich haufig a
Page 133 and 134:
exceptions (see the myth of Pygmali
Page 135 and 136:
internalized and replaced by transf
Page 137 and 138:
to India ('Erinnerung an Mwamba').
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there are occasions when we experie
Page 141 and 142:
Beschreibung einiger Augenblicke ku
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In the first place, time is no long
Page 145 and 146:
Beja underlines that, for both Berg
Page 147 and 148:
Karalaschwili refers to as the 'Zei
Page 149 and 150:
(unity, memory, and music) merge in
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of Hesse's personal creed as well a
Page 153 and 154:
Nichts war, nichts wird sein; alles
Page 155 and 156:
The complex symbol of the river in
Page 157 and 158:
as revealed by the opening line of
Page 159 and 160:
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
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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
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'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
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Modernist distance from the norms o
Page 203 and 204:
concludes that what might seem a sh
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Jahren war ich nicht mehr in dem sc
Page 207 and 208:
irths and deaths, as portrayed in '
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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 and 216:
Kilchenmann, Ruth J., 'Hermann Hess
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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HERMANN HESSE AND THE DIALECTICS OF TIME Salvatore C. P. ...

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