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Konrads von Wuerzburg Trojanerkrieg , durch den Tod des Autors im Jahr 1287 fragmentarisch geblieben und zu Anfang des 14. Jh.s durch einen anonymen Fortsetzer zum Abschluss gebracht, war eines der meistgelesenen Werke seiner Zeit und unmittelbare Vorlage f.

Novalis: Heinrich von Ofterdingen. Roman Nachdem ein Reisender dem zwanzigjährigen Minnesänger Heinrich von Ofterdingen von den geheimnisvollen Schätzen der Ferne und von einer Wunderblume erzählt, träumt Heinrich von einer blauen Blume, die zum tiefsinnigen Symbol der zarten Sehnsucht der Romantik werden sollte. Fragment. Entstanden 1799–1800. Erstdruck des 1. Teils: Berlin (Reimer) 1802. Erstdruck des 2. Teils und von Tiecks Bericht in: Schriften, Berlin 1802. Textgrundlage ist die Ausgabe: Novalis: Schriften. Die Werke Friedrich von Hardenbergs. Herausgegeben von Paul Kluckhohn und Richard Samuel, Band 1: 3., nach den Handschriften ergänzte, erw. und verb. Auflage, Band 2–4: 2. nach den Handschriften ergänzte, erw. und verb. Auflage, Stuttgart: Kohlhammer, 1960–1977. Gesetzt aus der Minion Pro, 11 pt.

zahlreiche beeindruckende Fotos von Sander, 78 Seiten, Zustand: erstklassiges, neuwertiges Exemplar. Sprache: Deutsch Gewicht in Gramm: 1250 27,5 x 25,0 cm, gebundene Ausgabe, Hardcover/Pappeinband mit Original-Schutzumschlag

The question of Heinrich von Kleist's reading and reception of Kant's philosophy has never been satisfactorily answered. The present study aims to reassess this question, particularly in the light of Kant's rising importance for the humanities today. It argues not only that Kleist was influenced by Kant, but also that he may be understood as a Kantian, albeit an unorthodox one. The volume integrates material previously published by the author, now updated, with new chapters to form a greater whole. What results is a coherent set of approaches that illuminates the question of Kleist's Kantianism from different points of view. Kleist is thereby understood not only as a writer but also as a thinker - one whose seriousness of purpose and clarity of design compares with that of other early expositors of Kant's thought such as Reinhold and Fichte. Through the locutions and idioms of fiction and the essay, Kleist becomes visible for the first time as an original contributor to the tradition of post-Kantian ideas. Tim Mehigan is Professorial Chair of German in the Department of Languages and Cultures at the University of Otago, New Zealand, and Honorary Professor in the School of Languages and Comparative Cultural Studies at the University of Queensland, Australia.

First printing. 8vo. 297 pp. Brown cloth. A few small faint spots to fore-edge, mild acidification to endpapers. Jacket mildly toned along top edge, a few small tears and chips to extremities, light dust-soiling to rear panel. Edited, translated and introduced by Philip B. Miller.

The four plays presented here, two newly translated for this edition, are The Broken Pitcher, Amphitryon, Penthesilea, and Prince Frederick of Homburg. As E.L. Docotorow says, 'a Kleist play may be set in ancient Greece, in Holland, or in seventeenth century Prussia, but the fortress of consciousness is where the action occurs.'

For over 150 years, Heinrich von Kleist (1777-1811) has been one of the most widely read and performed German authors. His status in the literary canon is firmly established, but he has always been one of Germany's most contentiously discussed authors. Today's critical debate on his unique prose narratives and dramas is as heated as ever. Many critics regard Kleist as a lone presager of the aesthetics and philosophies of late nineteenth- and early twentieth-century modernism. Yet there can be no question that he responds in his works and letters to the philosophical, aesthetic, and political debates of his time. During the last thirty years, the scholarship on Kleist's work and life has departed from the existentialist wave of the 1950s and early 1960s and opened up new avenues for coming to terms with his unusual talent. The present volume brings together the most important and innovative of these newer scholarly approaches: the essays include critically informed, up-to-date interpretations of Kleist's most-discussed stories and dramas. Other contributions analyze Kleist's literary means and styles and their theoretical underpinnings. They include articles on Kleist's narrative and theatrical technique, poetic and aesthetic theory, philosophical and political thought, and insights from new biographical research. Contributors: Jeffrey L. Sammons, Jost Hermand, Anthony Stephens, Bianca Theisen, Hinrich C. Seeba, Bernhard Greiner, Helmut J. Schneider, Tim Mehigan, Susanne Zantop, Hilda M. Brown, and Seán Allan. Bernd Fischer is Professor of German and Head of the Department of German at Ohio State University.

Fink-Verlag, Hardcover, sehr guter Zustand, h4

Disguising and unveiling, only to disguise again, Heinrich von Kleist creates characters whose definition of self and of others depends on their own ability to generate, present, and regenerate convincing masks of personal and interpersonal realities. This study focuses on the network of private and public identities in Kleist's works, how those identities function on and between transformative levels of human interaction (role-playing, creative naming, word-dreams, and manipulative games of illusion and delusion), and how those identities in the imaginative consciousness fabricate new universes which become part of and, at the same time, are separated from the temporal and spatial norms we assign to external realities.

Von Heinrich Heine zu Sai Jinhua und Baron Ketteler (1900): Chinesisches aus der deutschen Geschichte 0.73

This selection contains all of Kleist's stories, including the notorious Marquise von O and the almost novel-length Michael Kohlaas, as well as three of his plays—The Broken Jug, Amphitryon, and Prince Friedrich of Homburg—and a selection of anecdotes and letters. Much of Kleist's effect is produced by his highly idiosyncratic and expressive syntax and language, and David Constantine's translation brilliantly reproduces his strangeness in English.

XXIV, 692 Seiten. Einband fleckig und bestoßen, auf wenigen Seiten Bleistiftanstreichungen, sehr vereinzelt mit Buntstift. Ansonsten gut erhalten. 9783727801693 Sprache: Deutsch Gewicht in Gramm: 2000

Gut/Very good: Buch bzw. Schutzumschlag mit wenigen Gebrauchsspuren an Einband, Schutzumschlag oder Seiten. / Describes a book or dust jacket that does show some signs of wear on either the binding, dust jacket or pages.

The three plays in this volume illustrate Kleist's genius and versatility. Includes: Prince Friedrich von Homburg, a tautly plotted clash of love, honor, and obedience to State; The Broken Pitcher, which one him acclaim for his crisp dialogue and robust humor; and Ordeal by Fire, the most colorful, atmospheric play of its time to have a female protagonist.

The question of Heinrich von Kleist's reading and reception of Kant's philosophy has never been satisfactorily answered. The present study aims to reassess this question, particularly in the light of Kant's rising importance for the humanities today. It argues not only that Kleist was influenced by Kant, but also that he may be understood as a Kantian, albeit an unorthodox one. The volume integrates material previously published by the author, now updated, with new chapters to form a greater whole. What results is a coherent set of approaches that illuminates the question of Kleist's Kantianism from different points of view. Kleist is thereby understood not only as a writer but also as a thinker - one whose seriousness of purpose and clarity of design compares with that of other early expositors of Kant's thought such as Reinhold and Fichte. Through the locutions and idioms of fiction and the essay, Kleist becomes visible for the first time as an original contributor to the tradition of post-Kantian ideas. Tim Mehigan is Professorial Chair of German in the Department of Languages and Cultures at the University of Otago, New Zealand, and Honorary Professor in the School of Languages and Comparative Cultural Studies at the University of Queensland, Australia.

1277 S. : Ill. NEUBUCH ! 9783618609902 Werktäglicher Versand. Jede Lieferung m. ordentl. Rechnung und ausgew. MwSt. Der Versand erfolgt als Büchersendung / Einschreiben mit der Deutschen Post bzw. als Päckchen / Paket mit DHL. Die Lieferzeit ist abhängig von der Versandart und beträgt innerhalb Deutschlands 3-5 Tage, in der EU 5 - 12 Tage. KEIN Versand an Packstationen. Körperschaften und juristische Personen werden auf Wunsch per offener Rechnung beliefert. Sprache: Deutsch Gewicht in Gramm: 673

Befriedigend/Good: Durchschnittlich erhaltenes Buch bzw. Schutzumschlag mit Gebrauchsspuren, aber vollständigen Seiten. / Describes the average WORN book or dust jacket that has all the pages present.

Book is in excellent shape, with clean crisp pages, nice blue cloth covers, tight binding, a bit of fraying to end of silk ribbon, and barely a hint of wear. Slipcase is solid.

“Kleist’s narrative language is something completely unique. It is not enough to read it as historical—even in his day nobody wrote as he did...An impetus squeezed out with iron, absolutely un-lyrical detachment brings forth tangled, knotted, overloaded sentences painfully soldered together...and driven by a breathless tempo.”—Thomas MannPeter Wortsman captures the breathlessness and power of Heinrich von Kleist’s transcendent prose. These moral tales move across inner landscapes, exploring the bridges between reason and feeling and the frontiers between the human psyche and the divine.The concerns of Heinrich von Kleist are timeless. The mysteries in his fiction and visionary essays still breathe.

Hardcover. Some light handling and shelf wear to covers. Otherwise clean, tight and unmarked. Very neat -- a sound and handsome copy.