Details

Autor(en) / Beteiligte

• KOC, RICHARD ANTON

Titel

THE GERMAN GESELLSCHAFTSROMAN AT THE TURN OF THE CENTURY: A COMPARISON OF THE WORKS OF THEODOR FONTANE AND EDUARD VON KEYSERLING

Ort / Verlag

ProQuest Dissertations Publishing

Erscheinungsjahr

1981

Link zum Volltext

Quelle

ProQuest Dissertations & Theses A&I

Beschreibungen/Notizen

• This dissertation compares the presentation of certain basic themes in the society novels of Fontane, written in the last two decades of the nineteenth century, with the intensified portrayal of very similar themes in the works of Keyserling, most of which were written between 1900 and 1918. Noted throughout the comparisons is the ascendancy from Fontane to Keyserling, as reflected in Keyserling's more extreme expression and in the increased sharpness of his social criticism. Chapter 1 looks at the overall picture of society as portrayed by each author. It analyzes their depiction of "die gute Gesellschaft," especially in regard to its exclusivity and aura of representation, and it demonstrates how each author exposes the superficiality and moral hypocrisy behind the decorative facade. Both Fontane and Keyserling explore the growing aesthetization of life in this strata of society and correlate it to signs of increasing decadence, made especially evident in the younger generation and its relative weakness in contrast to the heartier older generation. Entitled "The Nervous Age," chaper 2 treats the phenomenon of nervousness--both as illness and as heightened receptivity to stimuli--as a typical manifestation of this decadence. The refined culture of high society is shown as increasing man's sensitivity but also as complicating him emotionally in the process. This chapter constructs a picture of the "impressionistic" life-style as portrayed by both authors and shows it as a leisurely and luxurious mode of existence, especially characterized by the constant, hectic search for ever new and interesting physical and intellectual diversions or entertainments. It looks at representative figures in the novels who reflect this outlook. Among the men are artist figures, dandies and bons vivants; a variety of fin-de-siecle women types correspond to them: the "femme-enfant," the "femme-fragile" and the "femme-incomprise." Boredom and adultery are the topics of chapter 3. Here the life of the leisure classes is explored as a vicious circle of expectation and disappointment. Alleviation of the ubiquitous feeling of emptiness is sought in an endless series of exciting adventures and experiences, whereby "experience" nearly always indicates an erotic adventure. Adultery is seen in this context as the most promising remedy to an overly regulated and dull existence. This leads to an explanation of the lure of the forbidden and of the constant temptation to overstep social tabus; it interprets the attraction to this danger and excitement as an accelerating and stimulating additive to life. Chapter 4 attempts a psychological analysis of the impressionistic figures in the novels. It examines their passivity, narcissism and egotism, traits which both Fontane and Keyserling associate with this mode of existence. Both authors show impressionistic love affairs as the assertion of one ego over another. They furthermore point to the increasing self-encapsulation of the individual, especially indicated by his inability to communicate. Inherent in this portrayal is criticism of the life-style out of which it arises. The conclusion notes in both authors' works the accurate reflection of the social situation of the times. Brief reference is made to the two authors' similar stance, to their skepticism and resignation. Finally, it touches on the possible reasons for the renewed interest in Fontane and Keyserling and for their relevance to today's reader.