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

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Abbreviations Dem: Demian, in SW 3, pp. 233-365 ESM: Eine Stunde hinter Mitternacht, in SW 1, pp. 167-218 GB: Gesammelte Briefe, ed. by U. Michels and V. Michels in collaboration with Heiner Hesse, 4 vols (Frankfurt a. M.: Suhrkamp, 1973-1986) Ger: Gertrud (Definitive Fassung), in SW 2, pp. 281-435 Glas: Das Glasperlenspiel, in SW 5, pp. 7-703 GS: Gesammelte Schriften, 7 vols (Frankfurt a. M.: Suhrkamp, 1968) HL: Hermann Lauscher, in SW 1, pp. 219-325 KF: Kleine Freuden: Verstreute und kurze Prosa aus dem Nachlafl, ed. by V. Michels (Frankfurt a. M.: Suhrkamp, 1977) Kli: Klingsors letzter Sommer, in SW 8, pp. 284-333 KM: Die Kunst des Mufliggangs: Kurze Prosa aus dem Nachlafl, ed. by V. Michels (Frankfurt a. M.: Suhrkamp, 1973) Kur: Kurgast, in SW 11, pp. 37-127 KuW: Klein und Wagner, in SW 8, pp. 210-83 Mor: Die Morgenlandfahrt, in SW 4, pp. 533-92 NR: Die Nurnberger Reise, in SW 11, pp. 129-82 NuG: Narzifl und Goldmund, in SW 4, pp. 269-531 PC: Peter Camenzind, in SW 2, pp. 5-134 PV: Tiktors Verwandlungen', in SW 9, pp. 188-192 Rofi: Roflhalde, in SW 3, pp. 4-142 Sid: Siddhartha, in SW 3, pp. 369-472 Ste: Der Steppenwolf, in SW 4, pp. 5-203 SteMat Materialien zu Hermann Hesses "Der Steppenwolf', ed. by V. Michels (Frankfurt a. M.: Suhrkamp, 1972) SW: Samtliche Werke, ed. by V. Michels, 20 vols (Frankfurt a. M.: Suhrkamp, 2001- 2007) UR: Unterm Rad, in SW 2, pp. 135-280 iii
Abstract This thesis explores Hermann Hesse's relation with temporality, as both a spiritual and historical category, and examines his pendulation between time and the timeless as an expression of his all-pervading dialectics. The topic is approached through a preliminary discussion of Hesse's dialectical framework (Chapter 1), followed by the examination of five interrelated themes which have time, or the timeless, as a common denominator. Music is the point of departure of the investigation (Chapters 2 and 3), which leads into a discussion on the temporality of memory and metamorphosis (Chapter 4), before focusing on eternity (Chapter 5) and its links with Hesse's 'Humor' and narrative irony (Chapter 6). Concentrating primarily on Hesse's prose fiction, this study rests on the assumption, discussed in the first chapter, that his novels and short stories are characterised by a pronounced biographical imprint. The traditionally literary background and approach of this dissertation are complemented with different perspectives from other fields such as neuroscience (memory), linguistics (humour), musicology and music theory. In discussing the various strands, attention has been drawn to underlying temporal patterns that highlight an evolution in Hesse's thought or artistry. This work, which seeks to extend knowledge in an area of research where only few scholars (e.g. Shaw, Karalaschwili, Moritz) have engaged directly or primarily with the question of temporality in Hesse, underlines the coalescence of the spatial and the temporal, the visual and the auditory in Hesse's poetics and aesthetics, and concludes that time and the timeless interlock, as a consequence of Hesse's dialectical framework, and as experienced by his characters in exceptional moments of revelation. IV
Page 1 and 2: HERMANN HESSE AND THE DIALECTICS OF
Page 3 and 4: Chapter 5 Eternity_________________
Page 5: Declaration The discussion on Tablo
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
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'modulated' and developed, identify
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movements of a tripartite sonata. M
Page 67 and 68:
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
Page 119 and 120:
ich sah mich wahrend der ganzen Vor
Page 121 and 122:
with music, which would eventually
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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
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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
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
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poetic world: the metaphor of the s
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Verwandlungen, Goethe and Mozart-Pa
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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,
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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),
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works, and the motif (the mirroring
Page 191 and 192:
hinein: Kindergesichter sufi und er
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As noted above (6.1) that the last
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Mozart play practical jokes on Harr
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superior wit. Furthemore, Mozart's
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The various sections do not [...] r
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Modernist distance from the norms o
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concludes that what might seem a sh
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Jahren war ich nicht mehr in dem sc
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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
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'Chapter 6: Siddhartha: The Way Wit
Page 215 and 216:
Kilchenmann, Ruth J., 'Hermann Hess
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Theodorou, Panagiota, '«Das leiden
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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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