Ihr Spiel, ihr Singen hat den unangenehm richtigen geistlosen Takt der singenden Maschine, und ebenso ist ihr Tanz. Uns ist diese Olimpia ganz unheimlich geworden, wir mochten nichts mit ihr zu schaffen haben, es war uns, als tue sie nur so wie ein lebendiges Wesen Hoffmann: In Schritt und Stellung hatte sie etwas Abgemessenes und Steifes, das manchem unangenehm auffiel; man schrieb es dem Zwange zu, den ihr die Gesellschaft auflegte Hoffmann: The dreadful feeling takes possession of him repeatedly but her non-human characteristics are somehow transformed into the normal human:.
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The publishing website GRIN. Free Publication of your term paper, essay, interpretation, bachelor's thesis, master's thesis, dissertation or textbook - upload now! Register or log in. Our newsletter keeps you up to date with all new papers in your subjects. Request a new password via email. Several moments in the narrative enable the reader as well as Nathanael and other characters to identify Olimpia as a lifeless doll that is set in motion by some mechanism: The dreadful feeling takes possession of him repeatedly but her non-human characteristics are somehow transformed into the normal human: Die Bedeutung der Augen in E.
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Printed in the United States of America. Some images in the printed version of this book are not available for inclusion in the eBook. To view these images please refer to the printed version of this book. Donahue 1 Philosophical Background 1: Gray 39 Prose 2: The Cutting Edge of German Expressionism: Choric Consciousness in Expressionist Poetry: Provocation and Proclamation, Vision and Imagery: The Spirit of Expressionism ex machina: Edvard Munch, Portrait of Friedrich Nietzsche.
Caligari, poster design Ledl Bernhard. Genuine, poster design Josef Fenneker. Following page xiv Following page xiv Following page xiv Figures 1. From Masereel, Die Passion eines Menschen. From Masereel, My Book of Hours. From Masereel, Die Idee. From Masereel, Die Stadt. Especially in the United States, the term German Expressionism first calls to mind those arts, rather than the literature of the period, and that circumstance reflects in a very positive manner the increased general familiarity with the German contribution to artistic modernism in the early twentieth century. This volume relies to some degree, necessarily, upon that familiarity, while trying to underscore the interconnectedness of the arts in this period, their shared intellectual debts and sources, and their shared general aesthetics, as suggested by the introduction.
Though that very interconnectedness calls into question the notion of genre, as the one borrows from or emulates the other, genre still remains a useful organizing principle for tracking and understanding that interrelatedness. This volume thus traces a trajectory from the philosophy of Friedrich Nietzsche in its influence upon the Expressionist generation, and as literature itself; through the principal literary genres in a less common sequence of prose, poetry, and drama , to an interdisciplinary section that first addresses the gender politics of Expressionism, and then the visual genre of film that most visibly absorbed the narrative impulses, visual imaginary and experimental spirit from the literature of German Expressionism.
The sequence of the essays, arcing from philosophy to film, through the literary genres, would like to suggest both the centrality of the literature — the verbal artifacts related to Expressionism in this period — as well as the constant and necessary dialogue of each art with its others in this period, indeed the migration of elements of each art into the other, either under the Wagnerian rubric of Gesamtkunstwerk total work of art or more recently, of intermediality.
Many years ago during my first trip to Europe in with a backpack, I became obsessed the work of Edvard Munch and on my peregrinations followed his work through the museums of Europe up to Scandinavia. In addition, I would like to thank the contributors for their hard work, patience, and good spirits in response to my many queries and demands during the preparation of this volume, and of course, I would like to express my gratitude to the Editorial Director, Jim Walker, and all of the staff at Camden House for their continued support of this project over the years. Verfall einer Familie Buddenbrooks: Gedichte The World Friend.
Gedichte The Human Screams: Poetry Gottfried Benn, Gehirne: Novellas Johannes Becher, An Europa: Neue Gedichte To Europe: Caligari The Cabinet of Dr. Das Ringen eines Menschen The Transformation: Geschichte einer Verwirrung Gottfried Benn: It has been given a permanent, centrally located showcase for German painting and related arts of the late nineteenth and early twentieth century, concentrating on the so-called Expressionist decade from to In the wake of the great exhibit of German Expressionist painting at the Guggenheim museum in entitled Expressionism: On the other hand, the Neue Galerie might also have appeared as a kind of cultural mausoleum, where Expressionism had been laid to rest in public view, safely inert and therefore a mute object of our curatorial propensities and distant historical curiosity.
But neither was the case: The installation of German Expressionism into the American landscape took place at a time when the financial euphoria and complacency of the boom years of the s had been shattered by a terrorist act and the prospect of war. That acute disorientation was compounded by the accelerating effects of urbanization and technological modernity, all of which heralded a new sense of shared humanity, of transnational issues, and of what is now called globalization. Thus, instead of confirming the historical distance of early twentieth-century German and Austrian Expressionism from the present age, the Neue Galerie displays its essential proximity to life in early twenty-first-century America.
As much as we look at them, the faces of German Expressionism look back at us. The Decline of a Family, The successive generations of that mercantile family led from robust individualism inspired by the Protestant work ethic to the dispirited sickliness of little Hanno, the sensitive but weak last representative of the family, in a long downward trajectory of familial and cultural enervation. The professor falls in lust, if not love, with a nightclub torch singer, who comes to dominate, humiliate, and then, predictably, dump him.
As Roy Allen has noted: Diederich Hessling is the prototype of the authoritarian philistine, a willing instrument of state power, and is also an expression of the soullessness of the imperial German state under Wilhelm II. As such, he is the very antithesis of the Expressionist. Both of these broad, panoramic critiques of German society by the Mann brothers, whether respectfully ironic in the case of Thomas or cuttingly satiric in the case of Heinrich, conformed stylistically to the model of nineteenth-century Realist-Naturalist writing, but serve here to frame the social and literary agenda of Expressionism, which was just beginning to emerge.
Herr Michael Fischer takes a walk outside the provincial city of Freiburg one evening, swinging his cane, with an odd twitch in his gait that suggests something explosive in his personality underneath the uniformity of his bourgeois attire. Together these works show a narrowing and deepening of focus on the principal object of Expressionist scorn and revolt: That sense of ferment was broadly atmospheric, part reaction to what was, part aspiration to what could be, coursing through German society outside its institutions as an excitement about the possibility of change, of questioning authority or convention, in society and in the arts.
Aufzeichnungen und Erinnerungen der Zeitgenossen Expressionism: Sketches and Recollections by Contemporaries, The atmosphere of subversive excitement was not centered in any one city, as was the French avant-garde in Paris where Expressionists were also active , but rather it spread throughout regional cities of Dresden, Munich, Leipzig, Prague, and Vienna, among others, and of course, most importantly of all, Berlin. That spirit of collective cultural renewal in aesthetic and political terms reverberates not only through the issues of these journals, but also through the numerous anthologies of the day: The unity in diversity of the movement, its sense of heady excitement, also derives from its intellectual origins and forbears.
Gesucht wurde ein postrationaler Dionysos. Der Mut zum eigenen Selbst und eigenen Erlebnis; Freud: Die zwischenmenschliche Problematik und Explosion [. Man sprach von Visionen. As quoted in Raabe, 38 [What was in the air? Above all van Gogh, Nietzsche, Freud too, and Wedekind. What was wanted was a post-rational Dionysos. There was much talk of Visions. Raabe, , translation by Ritchie, modified by editor, 29 ] The generation of early Expressionists seized on figures from philosophy, psychology, painting, and drama who called into question the practices and conventions of prior generations, and who employed a hermeneutics of suspicion in order to get behind appearances, assumptions, conventions, and preconceptions in order to reach by different means other sources and other levels of expression.
The philosopher Arthur Schopenhauer had called the primary substratum of universal existence the Will, a level of existence that precedes and supersedes individual phenomena or rational cognition, and which could be known only as Idea through irrational intuition, through art that gives form to formlessness, and through the least verbal and representational art, namely music. Nietzsche played a definitive role in the agenda of the avant-garde. He was a central force in the impulse to radical critique and the revolt against positivism and materialism. He was the major force behind its proclivity for Lebensphilosophie and its celebration of postEnlightenment, irrationalist modalities.
These two genealogies or two separate, alternate receptions of Nietzsche predominated, respectively, in the two halves of the last century. Studies of Expressionism have learned from each. In the last twenty years, German modernism in general and Expressionism in particular have been investigated for the moments and manners in which they anticipated the heterogeneity and pluralism of postmodern thought. Of course, the establishment of such a continuum runs the risk of overlooking specific and lesser known examples in favor of broad synthetic perspectives, but can also in turn allow greater historical differentiation in order to expand the field of historical inquiry anchored in particular texts.
Such research by Andreas Huyssen and David Bathrick and the other contributors to their collection Modernity and the Text: Thus, whereas Expressionism had once largely disappeared from such contemporary discussions because of its inherent difficulties of definition, it can now return through that expanded field to the forefront of new historical inquiries into German modernity precisely for its heterogeneity of artistic and stylistic means, its varied intellectual sources, its social and political agendas — all in reaction to the belated onrush of modernity in Germany.
Expressionism figures as the extreme instance of the conceptual and practical dilemmas of German modernity. In other words, our perspective from the present allows new access to both of the Nietzschean sides of Expressionism, the analytical and the emotional, and the philosophical impetus in the early twentieth century to forge new modes of intensity.
In general, the central characteristic of Expressionism remains its intensity, noted repeatedly in the scholarship, which can perhaps best be understood as the degree of divergence from, if not antagonism to, prior modes of thinking and of artistic and social practice, also including in literature a tendency to short forms as a way of concentrating and condensing affects. Ein Beitrag zur Stilpsychologie Abstraction and Empathy: A Contribution to the Psychology of Style, This work gave the nascent and inchoate tendency in the arts, later known as Expressionism, a justification in aesthetic terms, an ally in the academy where it was not otherwise accepted, and a genealogy in Western culture that legitimated its own radical and controversial forms as part of a tradition of abstract or nonrepresentational art.
For Worringer, the history of art alternates between the two world-feelings of empathy and abstraction: Piper, in Munich in see Manheim In painting, post-Impressionist predecessors such as Vincent van Gogh had provided the Expressionist generation with an exemplary, provocative style that used plummeting shifts in perspective, a palette of vivid, even garish colors, and heavy impasto on the canvas to lend to conventional still-life motifs a subjective, swirling intensity, suggestive of visceral anguish.
That combination of palpable luminosity and darkness of mood in van Gogh or in the work of the Norwegian Edvard Munch or others such as Paul Gaugin and the Fauves in France and Paula Modersohn-Becker in Germany , anticipated the characteristic existential chiaroscuro of so much of Expressionist art, which was deeply at odds with reigning orthodoxies of academic art under Wilhelm II, whose tastes for banal, derivative, and didactic classicism in public art filtered through the German Royal Academy of Arts to dominate the art world and art market.
Such was the background against which Expressionist art emerged and forged its revolutionary Stil, a concept of artistic style imbued with existential imperatives and urgency, which was in that climate almost automatically offensive and subversive. Though these two groups shared general features of bright, antinaturalistic coloring and a reduction of the sort of draftsmanship and linear perspective that characterized academic art, the groups also represented in their differences the broad range of Expressionist art once it had been liberated from the constraints of official public taste and expectations.
The brilliance and breadth of Expressionist art is regularly on display in museums all over the world, such as the Neue Galerie see above , and has been described and chronicled by such scholars as Peter Selz, Donald Gordon, Stephanie Barron, Shulamith Behr, and Walter Dube, to name the authors of several now classic texts. The medium of painting itself took on a new vibrancy and immediacy that all other artistic mediums, whether in image or word, sought to emulate. Thus, as in painting, a new consciousness of the medium gave rise to the experiments of the Modernist or Expressionist avant-garde in literature.
Simple objects become vessels of revelation for him, but the traditional rhetoric that Chandos employs and abjures can only describe the desired affect, but not otherwise communicate the immediacy of his anguish or rapture. In effect, the Chandos letter of gave poetic license to the Expressionist generation to explore new forms of expression in language, new means of organizing words or verbal particles on the page, in order to explode conventional narration and give fuller expression to spiritual longings.
As a sharp rejection of social convention and its corresponding rhetorical forms, and as an attempt to inaugurate and embrace a whole new sense of artistic practice or style and get closer to an immediate and unfragmented experience of life, the Chandos letter is, apart from its sixteenth-century English dress-up, imbued with the spirit of early Expressionist primitivism. Primitivism emerged as a means of calling into question the conventions both of pictorial representation and of bourgeois society.
DONAHUE imperialist upbringing while most likely also reinforcing a strain of brutal sexism endemic to the avant-garde and Expressionism. While visibly present in the art of the period in the rejection of verisimilitude, the simple forms and awkward shapes, the heavy lines and disharmonious proportions, the term embraces a broad range of thematic elements in both art and literature: Primitivism provided a means for critique of society and liberation from convention: As an expression of critical modernism in the arts and of historical modernity, primitivism lies at the heart of German Expressionism, which thus stands in relation to German colonial practices in Africa and elsewhere.
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The articulation of that relation constitutes a new dimension in research on Expressionism. Now the sheer accumulation of such revisions has brought about successive reassessments of Expressionism in relation to Modernism as the site of essential and complex confrontations with modernity. Though the prose of this period has emerged to bridge the former divide between Modernism and Expressionism and to extend the range of the theoretical discussion or debate about Expressionism, the centerpiece of literary Expressionism remains lyric poetry.
The short form of the poem begins at the point of intensity that Expressionist prose seeks to attain. DONAHUE shortcomings; he then, as a corrective measure, introduces some of the Expressionist poets not included in that epoch-making collection, thus providing an expanded portrait of the epoch in Expressionist poetry, and its immediate influence. Likewise, in her essay, Barbara D.
Both of these essays give a direction for necessary future archival and historical research. DoH, , as well as some of the most beautifully elegiac, stridently ecstatic and vividly vituperative. The art of political engagement and social activism, seen collectively, attempted to inspire and enact a transition from formal autonomy on the page to other forms of social discourse off the page, within a new social collectivity.
In this respect the anthology as a genre becomes a blueprint for society as a collection of heterogeneous voices bound together in a common spirit. In Wolkenfernen trommeln die Propeller. Die Seele schrumpft zu winzigen Komplexen. Tot ist die Kunst. Die Stunden kreisen schneller. So namenlos zerrissen, So ohne Stern, so daseinsarm im Wissen Wie du, will keine, keine mir erscheinen. Noch hob ihr Haupt so hoch niemals die Sphinx! MHD, 40 [Song and giant cities, dream-avalanches, Faded lands, poles without glory, The sinful women, perils and heroism, Spectral brewings, storm on iron rails.
In cloudy distances the propellers drum. Books turn into witches. The soul shrinks to tiny complexes. The hours move in swifter circles. So indescribably mutilated, So without star, so existentially poor in knowledge As you no other age seems to have been. Never before did the sphinx raise its head so high! DoH, 62—63 ] Like the newspapers that bombard modern consciousness and later all the more so with, successively, radio, television, and the Internet , the poem presents a catalog of images and phrases that characterize, along lines of dialectical opposition, the extreme situation of mankind in modernity: Art too has lost its mystery Tot ist die Kunst and its ability to resist those historical imperatives, which only allows for the acceleration of the whole process Die Stunden kreisen schneller.
The works of Wedekind beginning in the s and of Brecht beginning in , frame, chronologically and conceptually, the development of Expressionist drama as it evolved away from Naturalism to find new technical and rhetorical means of presenting, or rather emoting, the anguish of the individual within bourgeois society. This primitivist encounter of the sexes exploded the social nuance and delicacies of domestic drama, and of Viennese polite society. In that very literal way, Kokoschka tried to render rawly visible the visceral inner life of mankind.
As a result, his play serves as a prototype for three main types of Expressionist drama16 that overlap but can nevertheless be clearly distinguished. The first type most readily marks the transition from developments in the visual arts: This form of Geist or spiritual drama aims at the formal unification of elements on stage through rhythms of sound, color, language, movement in concord with the entranced audience.
Indeed, the concept of the Schrei marks the new poetics of performance that emerged in Expressionism based on the presence of the primal Self on stage, which entailed in turn new registers of voice and what David F. Therefore, actors such as Werner Krauss, Fritz Kortner, and especially Ernst Deutsch became closely associated with Expressionist drama in this vein and famous for the moody and energetic physicality and vocality of their acting.
Such intensity on stage no longer seemed like acting in any conventional sense. Ich-drama is not about the individual as much as about the idea mediated by that character. Through heightened visual scenarios, this tension enacts the idea of the play, which is topical and thus in part depends on the historical circumstances outside the theater.
Whereas Geist performance attempted a sort of transcendent spiritual communion with the audience in the theater, emblematic performance attempts to forge community beyond the individual in order to address and ultimately change society at large. The stations of his journey get acted out in seven scenarios, as he moves from the provincial bank to his home, and then to a crowded velodrome, a cabaret, and a Salvation Army hall, where he ends up, disillusioned, shooting himself and dying in an Ecce Homo scene of crucifixion.
The use of stunning backdrops and stark lighting collapses the three-dimensional space of the stage into a broken sequence that is, without transitions of virtually two-dimensional allegorical pictures or emblems. Like the Expressionist stage from Kokoschka on, film drew heavily upon painting to reduce or abstract the three-dimensional stage space of the acting and transform the actors into pictorial elements, as Lotte Eisner noted in her famous study The Haunted Screen: On his murderous outings, dressed all in black, the pallid sleepwalker Cesare played by Conrad Veidt , under the mind control of his master, Dr.
Caligari played by Werner Krauss , seems to merge with the shadows and lines of the townscape. Though the film image can isolate a powerful gesture, that gesture is inevitably divorced from the voice and presence that forcefully anchored the Schrei performance on stage, yet the graphic image exerts a different, equally powerful, even hypnotic, effect of its own, as thematized by the film itself, which invites the viewer to think through the relations of sight and seduction, vision and violence.
In many ways, as first suggested by Kurtz and explained here by Hake, early Weimar or Expressionist film absorbed, revised, refined, and ultimately tamed or domesticated the unruly visions of Expressionism, integrating them fully into society through the new technology of a mass medium, a process which extended also to poster advertisements for Expressionist films.
As developed by Frans Masereel, the woodcut or graphic novel uses no words at all to develop its powerful narrative line: Though not a new form of visual technology like film, the woodcut novel offers a vivid counterpoint to both the visual dimension of prose narratives and to the narrative dimension of film in this period. The strong lines of plot and picture in the graphic novel reinforce one another in a compact message of social critique and political protest against inequities in post-First-World-War German society.
Of course, the single greatest confrontation with modernity by German artists took the form of the First World War —18 , which marked the chronological center of the Expressionist decade — The war decimated the ranks of Expressionist artists from Alfred Lichtenstein, Georg Trakl, Ernst Stadler, and August Stramm to Franz Marc and August Macke, and to survivors it marked the cataclysmic demise of an obsolete patriarchal and authoritarian society, clearing the ground for a potential renewal of general humanity after the flight from Germany of Kaiser Wilhelm II on November 9, and the proclamation of a republic with elections to come.
Nonetheless, the fusion, not to say confusion, of art and politics, produced a fascinating imbrication of the two in mediums from poetry to poster art to political discussion: The sense of renewal, the hope of Expressionism, then faded fast. His disappointment or despair about the failure of the collective Expressionist project of revitalizing art and culture resounds also in commentaries by such contemporaries as Wilhelm Hausenstein and Adolf Behne, among others Haxthausen , — In addition to the German defeat in war and the failure of the revolution, these critics were also demoralized by the ubiquitous commercialization of art under the rubric of Expressionism , which they saw as a sort of decorative decadence, along with the new artistic legitimacy and prestige of film.
Of course, their own increasingly tenuous economic status, as examined by Fritz K. A Study in the Rise of the Germanic Ideology He ignores any potential for critique in Expressionism and its forms verbal, visual, gestural as well as the totalizing and aesthetically conservative impulse of his own approach. Josef Goebbels, the minister of propaganda, had once, like Hitler himself, had artistic ambitions though in literature, not painting and had even penned a novel, Michael unpublished in Germany; first published in English in To a large extent, the writers of German Expressionism and their works, literally the copies of their books, along with the audience for those texts, were destroyed by the Nazis.
The recovery and reissue of works of Expressionism has continued to the present, which reflects the fact that the literature of German Expressionism arose from and reflected upon the most critical periods of German cultural history in the twentieth century, before, during, and after the First World War, during the Weimar period, and in the immediate postwar period. Also, David Kuhns, 28— Benn , along with some others I did not include G.
Theory and Practice also provides numerous readings, organized thematically. Murphy simply ignores prior studies with the sort of close textual analysis he then calls for, but he does capably embed these familiar texts in the discursive fields or vocabularies of postmodern theory; what he does not do is open or broaden the field of literary interpretation in this period by introducing new works or authors into the discussion.
In a discussion of the Expressionist avant-garde, he addresses only prose and film, omitting all mention of drama or poetry. Its anti-intellectual intonations should not call into question its broad and deep intellectual roots and affinities; pathos marks the desire to overcome and reconfigure traditional modes of expression. Rowohlt, with illustrations by Georg Alexander Mathey. Rowohlt Taschenbuch Verlag, , A Document of Expressionism, trans.
Ratych, Ralph Ley, and Robert C. Camden House, and are designated by the abbreviation DoH and page number. Geist, Schrei and Ich performance. The categories overlap, but the emphasis differs in each. Kuhns likewise works with three categories that he calls Geist, Schrei and the emblematic mode. Politics and Art in Das Cabinet des Dr. Taschen, also emphasizes the dialectical, antithetical differentiation of the New Objectivity from Expressionism while remaining within the same artistic and even biographical lineage: Worringer in the s.
For the first full review of the concept of inner emigration in English, along with essays on the circumstances of individual writers, see the collection Flight of Fantasy: Donahue and Doris Kirchner New York: UMI Research Press, Anz, Thomas, and Michael Stark, eds.
Manifeste und Dokumente zur deutschen Literatur, — The Nietzsche Legacy in Germany, — U of California P, The Fate of the Avant-Garde in Germany. The Vagaries of its Reception in America. The Third Wisconsin Workshop, ed. Jost Hermand und Reinhold Grimm, 89— The Case of Emil Nolde. The UP of New England, The Necessity of Form, — The Art of the Great Disorder, — The Pennsylvania State UP, Einakter und kleine Dramen des Expressionismus. U of Toronto P, Abstraction in Modern German Prose.
U of Michigan P, Penn State Press, Donahue, Neil, and Doris Kirchner, eds. New York and London: Bebuquin, oder die Dilettanten des Wunders. Le Terrain Vague, Fascism, Aesthetics, and Culture. Rainer Rumold and O. Huyssen, Andreas, and David Bathrick, eds. Modernity and the Text: Revisions of German Modernism. The Path to Expressionist Drama. The Expressionist Heritage, ed. Stephen Eric Bronner and Douglas Kellner, — Bergin, ; New York: From Caligari to Hitler: A Psychological History of German Film.
Princeton UP, , The Actor and the Stage. New Haven and London: Zur Entstehung eines kunsthistorischen Stil- und Periodenbegriffes. Introduction to Prosa des Expressionismus. Modernism, Expressionism, and the Problem of Postmodernity. U of Nebraska P, Modernism and Its Enemies in Imperial Germany. Belknap P of Harvard U, Contemporary Theory of Expressionism. Ein Dokument des Expressionismus. Ernst Rowohlt, ; Hamburg: Conard, Ralph Ley, and Joanna M. Aufzeichnungen und Erinnerungen der Zeitgenossen.
The Era of German Expressionism. San Diego State UP, Decline of the German Mandarins: The German Academic Community, — Affinity of the Tribal and Modern. Museum of Modern Art, Janus Face of the German Avant-garde: From Expressionism to Postmodernism. Materialien zu einer marxistischen Realismuskonzeption. Berichte, Texte, Bilder einer Zeit. The Writer in Extremis: Expressionism in Twentieth-Century German Literature. Anthology of German Expressionist Drama: A Prelude to the Absurd. Cornell UP, , The Politics of Cultural Despair: A Study in the Rise of the Germanic Ideology.
The Look of Things: Poetry and Vision around Chapel Hill and London: The U of North Carolina P, Savage Intellects, Modern Lives. The U of Chicago P, Nietzsches Kulturkritik, Expressionismus und literarische Moderne. The Concept of Expressionism: Ein Beitrag zur Stilpsychologie. A Contribution to the Psychology of Style. Form in Gothic, later reprinted as Form Problems of the Gothic. Schriften zum Kunstproblem, 86— Reprinted in Fragen und Gegenfragen: Schriften zum Kunstproblem, — Expressionismus — Literatur und Kunst, — Eine Ausstellung des deutschen Literaturarchivs im Schiller-Nationalmuseum vom 8.
Mai bis 31 Oktober Expressionism would lose all its definition and distinctness if we sought to conceive it apart from these notions indebted to Nietzsche. Even if we allow for a modicum of rhetorical overstatement in this remark, we cannot help but come away with the view of Nietzsche as an intellectual giant whom the Expressionists adopted as the flag-bearer of their movement.
This assertion is confirmed by the formative impact Nietzsche had on the intellectual profiles of most of the leading spokespeople of the Expressionist generation. Nietzsche also figures prominently in the intellectual biography of Franz Pfemfert, the publisher of the influential Expressionist journal Die Aktion, who used this publication to disseminate texts both by and about Nietzsche Martens, 46— Most important, perhaps, is the fact that Nietzsche and his works were heralded by both the vitalistic-Dionysian line of Expressionist thinkers and the politically activist strain of Expressionism.
Thus we might go so far as to claim that to the extent that Expressionism is a unitary phenomenon and has a unified nucleus at all, this nucleus is constituted by the thought and the person of Friedrich Nietzsche. The reasons for the limitation to this work are manifold: First, Nietzsche himself clearly affirmed the significance this text assumed in his intellectual genesis when he republished it towards the end of his philosophical career, in spite of the sometimes scathing critique to which he subjected this piece of intellectual juvenilia in the foreword to this new edition.
This continued significance of Geburt is corroborated by the fact that Nietzsche himself came back to this book repeatedly throughout his life, deliberating on its central ideas — especially the dichotomy between the Apollinian and Dionysian approaches to art — and its place in his intellectual development see especially Ecce Homo, KSA 6: Nietzsche himself confirms the persistence of this Freudian slip when he writes in Ecce Homo that he has repeatedly seen his work cited under this skewed title KSA 6: However, he is not satisfied with simply using abstract logic to demonstrate his claims — as is often the case in philosophical aesthetics — but instead wants to bring this point concretely before the eyes of his readers by presenting them with a historical example.
In other words, the examination of Greek tragedy, its emergence and decline, and the role of the Apollinian and Dionysian principles in this historical development — the substance, in short, of the first twelve sections of Geburt — serve merely as a demonstrative example of this larger argument about the nature of aesthetics as such, which is the true focus of this text. But it has him hooked on the Christmas loving Kara and somehow challenging her to a Christmas competition. So much for trying to ignore the holiday! First off, I absolutely loved Kara.
She was a heroine I just connected with from the very start. She's recently opened her own bakery and ever since she's been trying to prove to everyone--including herself--that she can stick to something and make this bakery work. Even if the Christmas rush is about to do her in. I loved her determination, her creativity, her kind heart and that she gave everything she had to everything she did, and seeing all of the delicious things she baked up. She was just lovely and sweet and I kept finding myself wanting to defend her against everyone.
And then there was Nate. Lord love him but he was quite the prick early on and rather judgy.
Christmas Comes to Main Street (Briar Creek, #5) by Olivia Miles
And rocking a serious chip on his shoulder. He had a hard childhood and even though he's wildly successful these days he just can't seem to let go of the past. Or stop from giving his opinions. He was totally one of those people who tries to be helpful and give suggestions but it comes off as being a douche? It was fun seeing them together. A competition kicking off to win the town's decoration contest. Her dragging him into the spirit of the holiday and rubbing off on him. Things are very PG for most of the book with just a kiss or two then a fades to black scene.
All in all, I loved spending the holidays in Briar Creek. Miles has a wonderful talent of melding incredible personal journeys with sweet romance. It's impossible not to fall in love with Briar Creek and all of the people who call it home. Sep 25, Danielle rated it really liked it. Miles not only developed amazing characters but a town that stood out and had me wanting to move to Briar Creek. Nate is in Briar Creek to spend time with his Aunt but as soon as the holidays are over he is Christmas Comes to Main Street is the final book in the Briar Creek series by Olivia Miles which really bums me out a little.
Nate is in Briar Creek to spend time with his Aunt but as soon as the holidays are over he is heading back home. After running into Kara, literally, and crushes her cookies that she was delivering to his aunts Inn he knows he wants to get know her. From the very beginning I loved Kara and how she was trying to find what she really wanted and enjoyed. In the previous books we see her struggling with quitting and wanting to start her own place and am glad she ended up doing that and her family supported her. She is determined to make this bakery work and the determination she brings gave her spunk.
Nate started off a little on the Grinch side but the more time he spent with Kara the more warming up he did not only with her and the town but with Christmas. I loved how he wanted to help Kara and gave her suggestions to help her business come along but sometimes the way he said things had me shaking my head and saying start over buddy you are down fast, but he meant well.
I thought this story was sweet and while there are love scenes I liked that they were the fade to black scenes, it helped me see the romance for what it was and without all the details. From the moment they met I could feel the chemistry and attraction but as the story progressed I could also see their love starting to build.
I am sad this was that last book in a wonderful series, but this was the perfect ending to the Briar Creek series. I am excited to see what Ms. Miles will come up with for her next series and with her writing I have become a huge fan! Dec 06, Heather C rated it liked it Shelves: This is my first Olivia Miles book and I have to say that it was quite the surprise.
Christmas Comes to Main Street
This is a small town Christmas romance book that is full of all of the craziness that a small town offers. I like how hard working Kara is and although I could see her struggling with how much work it is and being a one woman show, I could see the determination and will to continue to improve her dream. Not only does she run a store front bakery alone, she seems to be the sole baker that supplies the town with ev This is my first Olivia Miles book and I have to say that it was quite the surprise. Not only does she run a store front bakery alone, she seems to be the sole baker that supplies the town with everything.
Nate comes into Kara's life at one of the worst times. She's tired and she's on a deadline and he messes that up. From that point on, the two of them are constantly running into each other. Most of the time by small town meddling women. He has given himself a set amount of time to visit with his family and then he's back to the big city life that he believes he was born for. The only way to be successful.
What he didn't expect was for Kara to make him rethink his decisions. I certainly enjoyed the building relationship between Nate and Kara, what I enjoyed the most was the the craziness of the small town when it comes to just about everything. Especially the holiday competition that seems to spiral everyone out of control.
Overall, I enjoyed this book. It was quick, sweet and funny. Inkvotary So, the time for this challenge is over and I am now allowed to post my review. This was my first book written by the author. And for sure not the last. Good, I might not be over the moon with this, but it was very entertaining and great for a cozy afternoon read. This book was a wonderful Christmas read. But why on earth had the author to write every few pages about why Kara was still single and why Nate had a huge problem with Christmas? I dont mind getting told details from the past a Inkvotary So, the time for this challenge is over and I am now allowed to post my review.
Despite that, I really had a good time while reading Christmas coming to Main Street. The language is sensitive, sometimes very emotional and all the snow and Christmas decoration was quite nice. Well, good, I am not that much of a Christmas decorator, when it comes to my own four walls, but in this novel, it kind of fit. And with that competition coming up, the participating figures had quite something to do, to get everything ready in time. And Olivia Miles knows how to bring the daily life of a small town a few weeks before Christmas alive. The only thing I missed was the snowflake-cookie-recipe.
At least in the German edition. What a fretful girl. She is obviously used to get everything she wants, when she wants and the way she wants. But is she asking her elder sister once if she can help her? Instead she does everything to make things worse. But helping bake them or do something else for her elder sister? Grrr, not my girl, not at all. Kara on the other hand is a woman who must learn some things the hard way. And then the fact that she obviously has absolutely no clue about account stuff or pricing.
She stands every day for hours in her bakery to create all the sweet things she is selling. If you are looking for an easy to read Christmas novel with wonderful created characters and a white setting then this is your book. Dieser Roman schafft es neben einer tollen Liebesgeschichte, den perfekten Geist von Weihnachten einzufangen. Klar, wusste ich, dass mich ein Happy End erwartet. Hier hat er mir aus der Seele gesprochen. Der Ort und seiner Bewohner ziehen einem in seinen Bann. Was will man mehr? Daher lautet mein Urteil: Ganz nett, aber auch sehr klischeehaft.
Much to my surprise this year, the Christmas spirit hit me very early so I have been happily inhaling all the Christmas-themed books I can fit into my schedule and I was really looking forward to this from the teasers about Kara in the previous book. The end result was mixed feelings for me and I'll tell you why. Kara Hastings knows what it's like to be considered a flake. After a history of being unable to stick with anything, the time has come for her to show Briar Creek that she's found someth Much to my surprise this year, the Christmas spirit hit me very early so I have been happily inhaling all the Christmas-themed books I can fit into my schedule and I was really looking forward to this from the teasers about Kara in the previous book.
After a history of being unable to stick with anything, the time has come for her to show Briar Creek that she's found something that she loves. As a bold step, she quit her job and poured her inheritance from her father into her new bakery and while it's a lot of work, she loves what she is building. But this holiday season is especially tough because of the memories of her father and also the fact that she's now the only single person among her coupled-up friends.
The last place Nate Griffin expects to find himself in during the holidays is Briar Creek, but there he is, coerced into spending time with his aunt. To his surprise, there is an upside - the town baker Kara and he finds himself wanting to get to know her better. Even though their first meeting was not the best, things could surely only get better.
Kara was my favorite part of this book because she embodies everything to love about the season. She had a dream and had the courage to bring it to life. She was determined to make a success of her dream and even in the face of skepticism from her family and friends, she just kept on which was admirable. Her pride in her accomplishments shone through and her love for her father was undeniable. Nate on the other hand was Ebenezer Scrooge come to life.
He was annoying, period. He just didn't want to relax and enjoy himself. He may have had good intentions, but his delivery was bad and it doesn't really matter to me that he came around in the end. It was too little, too late. I was actually so upset about him that my original review was a full out rant and it took some time to get a better perspective to write this one.
I have enjoyed this series very much and while this wasn't the best for me, I think Kara and the town of Briar Creek made it worth reading. I received this book for free from the Publisher in exchange for an honest review. This does not affect my opinion of the book or the content of my review. Subscribe to my Newsletter on The Sassy Bookster.
Like my page on Facebook. Aug 07, Arlena rated it it was amazing Shelves: Christmas Comes to Main Street Author: Mass Market Paperback Series: Briar Creek 5 Reviewed By: Well it seems like Kara is the last sister that is not engaged since now her sister Molly has come home saying she is getting married to Todd. What was up with that since it seems that a year ago they had Title: What was up with that since it seems that a year ago they had broken up. Now we have Nate who has come to Briar Creek to be with is aunt during this Christmas holiday but he wasn't to happy being there.
Now, why was that? After Kara and Nate meet due to bumping into each other will they be able to form a friendship that could possibly lead to a HEA? This was a very good story of how each one of these two people will have something that they need to 'prove,' This story was so edifying as we see how hard Kara worked in her bakery when all she wanted was to prove to not only to herself but to others that she could stick with 'running her own bakery.
Even with all of that Nate had not really celebrated Christmas holidays like forever. So, when he arrives and his aunt is so excited wanting to win this contest that will involve his help and since its only him there since he had sent his parents on a cruise Nate was left with no choice but to help her out with this contest because she wanted to win. But then the tables will turn because after talking to Kara he even gets her involved in this Christmas contest.
Now, how will that involve him? To find out you will just have to pick up the good series to see for yourself how well this author will bring it all out to the readers. The characters will involve quite a few family members[many from past series] that will make this read so well developed, portrayed and believable giving the reader quite a interesting Christmas read where one may even like to visit this place called Briar Creek. This novel is the fifth in this series and I am not sure if is this is the last but this one was truly one amazing sweet heart-warming romantic reads.
Thank you to NOR for giving me this read for my honest opinion. Sep 21, Monique rated it liked it Shelves: September 21, Star Rating: I've been meaning to give Olivia Miles' Briar Creek series a try for ages now so when I saw this on Netgalley I jumped at the chance to give it a whirl. And I am so glad I did! Christmas Comes to Main Street is book 5 in the series so there is obviously a lot I have missed and sometimes I wondered how Kara came across in the oth Review written: Christmas Comes to Main Street is book 5 in the series so there is obviously a lot I have missed and sometimes I wondered how Kara came across in the other books.
I felt she was very sympathetic in her own book, but there were hints that she might have played fast and loose with friends in previous books, especially since she is supposedly the flibbertigibbet who can't settle down and stick with anything. If she was in those books, then she redeemed herself beautifully here.
If she wasn't and she just felt like the screw up, then she grew out of that and proved something to herself. Either way, Kara was a fun and sweet character who was determined to succeed at her dream. I liked her sass but also her fear, her struggles to deal with her Mom and her disappointment with love.
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Nate had the more powerful character arc, I think, but it was a bit cliched.