« Ihrem Roman scheint die südliche Sonne zu bekommen » ? Drei historische Romane von Hermann Kesten, Heinrich Mann und Joseph Roth im Vergleich

2008 ◽  
Vol 252 (4) ◽  
pp. 935
Author(s):  
Magali Laure Nieradka
Keyword(s):  
Heinrich Mann ◽  
Joseph Roth

La conception de l'«Art social» chez Heinrich Mann

1983 ◽  
Vol 68 (1) ◽  
pp. 7-25
Author(s):  
Harro Muller
Keyword(s):  
Heinrich Mann

Glimpses of Germanic-Slavic Relations from Pushkin to Heinrich Mann

1978 ◽  
Vol 30 (3) ◽  
pp. 284
Author(s):  
Walter Arndt ◽  
Edmund Kostka
Keyword(s):  
Heinrich Mann

André Banuls,Heinrich Mann

1973 ◽  
Vol 48 (1) ◽  
pp. 76-77
Author(s):  
Henry R. Warder
Keyword(s):  
Heinrich Mann

Joseph Roth: Mit einem Essay uber Gustave Flaubert

1974 ◽  
Vol 47 (2) ◽  
pp. 332
Author(s):  
Jurgen Koppensteiner ◽  
Hartmut Scheible
Keyword(s):  
Gustave Flaubert ◽  
Joseph Roth

scholarly journals Il Vate e il suo doppio ironico

2020 ◽  
Author(s):  
Maurizio Giani
Keyword(s):  
Cultural Context ◽  
Detailed Comparison ◽  
Gabriele D'annunzio ◽  
Hugo Von Hofmannsthal ◽  
Stefan George ◽  
Heinrich Mann ◽  
Xix Century

In Germany, beginning from the last decade of XIX century, the fame of Gabriele d’Annunzio grew increasingly thanks to a continue flow of translations, which made him one of the most celebrated writers of the Jahrhundertwende in the country of Goethe. Among the German admirers of the ‘Vate’ there were poets and novelists such as Stefan George, Hugo von Hofmannsthal and Heinrich Mann. On the contrary, Thomas Mann’s appreciation of d’Annunzio was problematic: he disliked his aestheticism, his superficial Nietzschean Übermensch cult and moreover his far too refined, turgidly baroque prose. Nevertheless, he read attentively his colleague’s narratives – albeit using German translations, unlikely George and his senior brother Heinrich –, and undoubtedly made allusions – often in a deeply ironical sense – to d’Annunzio’s Triumph of Death in his novel Tristan. This essay reconstructs the cultural context of the relation between Mann and d’Annunzio, and offers a detailed comparison of selected passages and/or fragments from both works aimed at analysing the nature of Mann’s borrowings from the Italian writer, in order to show the ‘dialectical’ character of such a procedure.

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