Das innere Jenseits des Dialogs Zur Poetik der Willensschwäche im intimen Drama um 1900 (Gerhart Hauptmann, Johannes Schlaf)

2007 ◽  
Vol 81 (4) ◽  
pp. 584-617 ◽  
Author(s):  
Ingo Stöckmann
Keyword(s):  
Gerhart Hauptmann ◽  
Johannes Schlaf

Gerhart Hauptmann

1956 ◽  
Vol 3 (4) ◽  
pp. 181-182
Keyword(s):  
Gerhart Hauptmann

Gerhart Hauptmann: Notiz-Kalender 1889 bis 1891

1985 ◽  
Vol 80 (1) ◽  
pp. 222
Author(s):  
Peter Skrine ◽  
Martin Machatzke ◽  
Peter Sprengel ◽  
Hans-Wilhelm Schafer
Keyword(s):  
Gerhart Hauptmann

Gerhart Hauptmann: A Retrospect.

1904 ◽  
Vol 19 (2) ◽  
pp. 33
Author(s):  
Charles Harris
Keyword(s):  
Gerhart Hauptmann

Otto Brahm/Gerhart Hauptmann: Briefwechsel 1889-1912. Erstausgabe mit Materialien

1987 ◽  
Vol 60 (2) ◽  
pp. 292
Author(s):  
Klaus W. Jonas ◽  
Peter Sprengel
Keyword(s):  
Gerhart Hauptmann

Gerhart Hauptmann. The Prose Plays

1959 ◽  
Vol 54 (1) ◽  
pp. 131
Author(s):  
W. I. Lucas ◽  
Margaret Sinden
Keyword(s):  
Gerhart Hauptmann

scholarly journals Eighteenth-Century Swiss Peasant Meets Bard: Ulrich Bräker's A Few Words About William Shakespeare's Plays (1780)

2000 ◽  
Vol 25 (3) ◽  
pp. 255-265
Author(s):  
Lukas Erne
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Gerhart Hauptmann ◽  
Johann Gottfried Herder ◽  
Ludwig Tieck ◽  
Sturm Und Drang ◽  
Dramatic Technique ◽  
English I

Britain began making Shakespeare her national poet early in the eighteenth century, and Germany followed suit a few decades later, progressively turning ‘unser Shakespeare’ into one of three national poets, with Goethe and Schiller. As early as 1773, Johann Gottfried Herder included his essay on ‘Shakespear’ in a collection entitled Von Deutscher Art und Kunst. The drama of the ‘Sturm und Drang’, which Herder's collection programmatically inaugurated, appropriated what Goethe (Götz von Berlichingen), Schiller (The Robbers) and their contemporaries (mis)understood to be Shakespeare's dramatic technique. By the end of the century, the assimilation had advanced far enough for August Wilhelm von Schlegel, the famous translator of seventeen of Shakespeare's plays, to indulge in no slight national chauvinism: ‘I am eager’, he writes in a letter to his cotranslator Ludwig Tieck, ‘to have your letters on Shakespeare.… I hope you will prove, among other things, that Shakespeare wasn't English. I wonder how he came to dwell among the frosty, stupid souls on that brutal island? … The English critics understand nothing about Shakespeare.’ Even though Tieck failed to prove that Shakespeare was not of English birth, the conviction that Shakespeare was best understood by German rather than by English critics only grew in the course of the nineteenth century. Appropriately, it was in Germany that the first periodical devoted exclusively to Shakespeare, the Jahrbuch der Deutschen Shakespeare-Gesellschaft, was founded in 1865. Fifty years later, the German novelist Gerhart Hauptmann could still claim that ‘there is no people, not even the English, that has the same right to claim Shakespeare as the German. Shakespeare's characters are a part of our world, his soul has become one with ours: and though he was born and buried in England, Germany is the country where he truly lives.’

Gerhart-Hauptmann-Jahrbuch 1948

Books Abroad ◽  
1949 ◽  
Vol 23 (1) ◽  
pp. 72
Author(s):  
J. Wesley Thomas
Keyword(s):  
Gerhart Hauptmann
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