This contribution examines Marlen Haushofer’s novel Die Wand (The Wall, 1963) and focuses on the relationship between narrating and remembering and on its ethical and philosophical implications for the definition of the narrator’s identity. Basing itself on Cavarero’s philosophy of storytelling and the thesis set out there about the relationality of human life, this essay examines the representation of care and justice in the novel. Finally, the contribution addresses the question of who should be considered the ideal reader of the novel and analyses it through Cavarero’s ontology of the human voice.
Alfred Kubin’s novel Die andere Seite (The other side) is fundamental to the understanding of the oeuvre of the Austrian artist, who is widely renowned as a creator of twilight and dream worlds. The novel is thought to embody Kubin’s artistic vision, with its emphasis on the portrayal of dreams and the sensations they elicit. This article explores Kubin’s novel within its artistic and historical context, stressing the influence of Fin-de-siècle dream transcription practices and of Sigmund Freud’s ideas about the dream on Kubin’s artistic and writing style.
Unlike his literary works, Arthur Schnitzler’s correspondence has so far received comparatively little attention from philological research. This study is the first to focus on Schnitzler’s picture postcards. They form a central component of his epistolary output. The following paper seeks to trace the development of his specific postal practice through a phase model. The chronological perspective reveals how Schnitzler’s engagement with this new medium evolves gradually, from experimental use before 1900, through the confident deployment of the postcard as an instrument of self-fashioning, to its appropriation as a vehicle for personalised motifs. Throughout his life, Schnitzler consistently attributes meaning to the pictorial side of the postcard and actively incorporates it into his epistolary communication. He does so at times scenically, at times ironically, at times reflectively.
With this article we intend to explore the work of Adalbert Stifter, focusing primarily on the lacerations and on the interrogation of the continuum. Our aim is to formulate some literary and aesthetic considerations through the spaces disclosed by Stifter’s writing. For this purpose we will proceed essentially through the analysis of two texts: the novella Bergkristall (Rock Crystal, 1845) and the novel Der Nachsommer (Indian Summer, 1857)
This paper belongs primarily to the interdisciplinary research field of ‘Literature and Theology’. It examines the concept of nature and the allegorical significance of the characters in the narrative Der Waldgänger (The Wanderer in the Forest, 1847) by the Austrian Biedermeier author Adalbert Stifter. In this context it discusses how certain fundamental Christian principles, such as ‘Personal Responsibility’, ‘Absolution’, ‘Human Error’ and ‘Resignation to God’s Will’ are defined and perceived in Catholicism and Protestantism.
