Der Tod des Nachsommers: Aufsätze, Porträts, Kritiken zur österreichischen Gegenwartsliteratur

Daviau, Donald G.; Greiner, Ulrich

doi:10.2307/40135130

World Literature Today

1980

DOI: 10.2307/40135130

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Der Tod des Nachsommers: Aufsätze, Porträts, Kritiken zur österreichischen Gegenwartsliteratur

Donald G. Daviau¹,

Ulrich Greiner²

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2013

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On Display: Conditions of Critique in Austria

Norberg¹

2013

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Postwar Austrian literature features an unusual number of writers whose literary attacks are directed at their own nation. How do we account for the high concentration of tirades in Austria? Thomas Bernhard's Alte Meister provides a possible answer. For Bernhard, the work of art is the primary object of critical judgment. The crucial site for this critical judgment is the museum, since it puts artworks on display in a nonreligious context, as artifacts divested of sacred meaning and no longer insulated from critical assessment. Bernhard's novel indicates that Austria as a whole has become the object of sustained critique because it has elevated the museum to the status of the paradigmatic state institution. The critical judgments of authors are directed toward Austria because this nation has put itself on display and hence turned itself into an object of critical assessment. As a country that is also a museum, Austria is not the worst of nations, but it is the most criticizable.

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On Display: Conditions of Critique in Austria

Norberg¹

2013

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Turning to and away from the Highest Canonical Authority: A Reexamination of Thomas Bernhard’s Reception of Adalbert Stifter in Frost

Pizer¹

2013

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In the aftermath of World War II, both Austria and Germany drew on their most canonical classical authors for didactic and public relations goals. In the Federal Republic of Germany and the German Democratic Republic, Goethe was the central cultural figure utilized for these purposes, while in Austria Stifter played a leading role. This essay begins by contrasting these respective national instrumentalizations of cultural patrimony. The impact of Stifter as an iconic Austrian author drawn upon in the wake of the war by the country’s educational and cultural institutions is evident in the works of Thomas Bernhard, particularly in his first novel, Frost . This essay reevaluates the impact of Stifter’s most canonical novel, Der Nachsommer , on Frost from the perspective of Stifter reception in the immediate postwar years and examines Bernhard’s seemingly polemic treatment of Stifter in his novel Alte Meister in this broader context of Bernhard’s Stifter reception.

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Der Tod des Nachsommers: Aufsätze, Porträts, Kritiken zur österreichischen Gegenwartsliteratur

Cited by 2 publications

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On Display: Conditions of Critique in Austria

On Display: Conditions of Critique in Austria

Turning to and away from the Highest Canonical Authority: A Reexamination of Thomas Bernhard’s Reception of Adalbert Stifter in Frost

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