By Steffan Davies, Ernest Schonfield
D?¶blin??s texts, which variety generally throughout modern discourses, are paradigms of the stumble upon among literary and clinical modernity. With their use of ?Tatsachenphantasie??, they explode traditional language, looking a brand new reference to the realm of items and issues. This quantity reassesses and reevaluates the uniquely interdisciplinary caliber of D?¶blin??s interdiscursive, factually-inspired poetics via providing demanding new views on key works. the amount analyses not just a few of D?¶blin??s best-known novels and tales, but in addition ignored works together with his early scientific essays, political journalism and autobiographical texts. different themes addressed are D?¶blin??s engagement with German heritage; his relation to scientific discourse; his topography of Berlin; his aestheticisation of his personal biography and his relation to different significant writers akin to Heine, Benn, Brecht and Sebald. With contributions in English and in German via students from Germany and the uk, the amount provides insights into D?¶blin which are of price to complex researchers and to scholars alike.
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Extra resources for Alfred Doblin: Paradigms of Modernism
14 Die ästhetische Inszenierung medizinischen Wissens äußert sich in den Jahren um 1900 bisweilen in einem regelrechten Wildern der Mediziner in literarischen Texten, die ungeachtet ihrer Literarizität und Fiktionalität als psychiatrische Fallstudien herangezogen werden, um medizinische Diagnosen zu festigen. Es ist der Freud-Lehrer Jean-Martin Charcot, der 1887 auf diese Diskursverschränkung maßgeblichen Einfluss nimmt, als er gemeinsam mit Paul Richer seine Studie Die Besessenen in der Kunst veröffentlicht.
Pp. 174 and 191. 38 If we accept the notion of the figure of Manas as a personification of such a mental capacity, then Döblin’s verse epic can be seen as a graphic representation of it as dynamic in character, malleable, and embedded in the world of nature. It is susceptible to domination by demonic impulses (the three demons that take possession of Manas’ body in the opening section) and capable of destruction and “rebirth” (through the loving and nurturing intervention of Savitri); it is capable of megalomanic self-assertion (in the revived Manas’ dealings with the world around him) but also of facing up to the inherent destructive powers of nature (embodied in the god Shiva).
It is perhaps as a phenomenon of the psychology of perception that we might hope to elucidate that ambivalence that Matthias Prangel sees as constitutive of Döblin’s “modernist” aesthetics: “Alfred Döblins Überlegungen zum Roman als Beispiel einer Romanpoetologie des Modernismus”, in Internationales Alfred-Döblin-Kolloquium Strasbourg 2003, ed. by Christine Maillard and Monique Mombert (Bern: Peter Lang 2006), pp. 11-29. 30 It was the complex diversity of the issues presented by earthly experience that evidently triggered the imaginative and combinative processes that gave rise to Döblin’s novels.