Karl S. Guthke – författare

Why is it that in some cultures and times, literature, folklore, and art commonly represent death as a man, in others as a woman? Karl S. Guthke shows that these choices, which often contradict the grammatical gender of the word 'death' in the language concerned, are neither arbitrary nor accidental. In earlier centuries, the gender of the figure of death contributed to the interpretation of biblical narrative - in particular, whether the original sin was that of Adam or Eve - and also reflected the importance of the classical figure of Thanatos. More recently, the gender of death as angel, lover, or bride - whether terrifying or welcome - has carried powerful psychological and social connotations. Tracing the gender of representations of death in art and literature from medieval times to the present day, Guthke offers astonishing new insights into the nature and perception of the Western self in its cultural, intellectual, and literary context.

Whether Goethe actually cried "More light!" on his deathbed, or whether Conrad Hilton checked out of this world after uttering "Leave the shower curtain on the inside of the tub," last words, regardless of authenticity, have long captured the imagination of Western society. In this playfully serious investigation based on factual accounts, anecdotes, literary works, and films, Karl Guthke explores the cultural importance of those words spoken at the border between this world and the next. The exit lines of both famous and ordinary people embody for us a sense of drama and truthfulness and reveal much about our thoughts on living and dying. Why this interest in last words? Presenting statements from such figures as Socrates, Nathan Hale, Marie Antoinette, and Oscar Wilde ("I am dying as I have lived, beyond my means"), Guthke examines our fascination in terms of our need for closure, our desire for immortality, and our attraction to the mystique of death scenes. The author considers both authentic and invented final statements as he looks at the formation of symbols and legends and their function in our culture.Last words, handed down from generation to generation like cultural heirlooms, have a good chance of surviving in our collective memory. They are shown to epitomize a life, convey a sense of irony, or play to an audience, as in the case of the assassinated Mexican revolutionary Pancho Villa, who is said to have died imploring journalists: "Don't let it end like this. Tell them I said something." Originally published in 1992. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Whether Goethe actually cried "More light!" on his deathbed, or whether Conrad Hilton checked out of this world after uttering "Leave the shower curtain on the inside of the tub," last words, regardless of authenticity, have long captured the imagination of Western society. In this playfully serious investigation based on factual accounts, anecdotes, literary works, and films, Karl Guthke explores the cultural importance of those words spoken at the border between this world and the next. The exit lines of both famous and ordinary people embody for us a sense of drama and truthfulness and reveal much about our thoughts on living and dying. Why this interest in last words? Presenting statements from such figures as Socrates, Nathan Hale, Marie Antoinette, and Oscar Wilde ("I am dying as I have lived, beyond my means"), Guthke examines our fascination in terms of our need for closure, our desire for immortality, and our attraction to the mystique of death scenes. The author considers both authentic and invented final statements as he looks at the formation of symbols and legends and their function in our culture.Last words, handed down from generation to generation like cultural heirlooms, have a good chance of surviving in our collective memory. They are shown to epitomize a life, convey a sense of irony, or play to an audience, as in the case of the assassinated Mexican revolutionary Pancho Villa, who is said to have died imploring journalists: "Don't let it end like this. Tell them I said something." Originally published in 1992. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

A groundbreaking study examining major literary treatments of the idea of earthly immortality, throwing into relief fascinating instances of human self-awareness over the past three hundred years.The idea of earthly immortality has a tradition in literature dating to the Gilgamesh epic. But what would it mean to attain such immortality? Answers are suggested in novels and plays that explore the theme using varieties of Borges's "rational imagination," often in connection with projections of biology or cybernetics. In this groundbreaking study, Karl S. Guthke examines key works in this vein, throwing into relief fascinating instances of human self-awareness across the last three hundred years. Authors discussed in detail include J. M. Barrie, Calvino, Shaw, Adolfo Bioy Casares, Swift, Aldous Huxley, Walter Besant, Arthur C. Clarke, Wilde, Borges, William Godwin, P. B. and Mary Shelley, Capek, Machado de Assis, Simone de Beauvoir, Martin Amis, Dino Buzzati, Houellebecq, Iris Barry, Saramago, Rushdie, Gabi Gleichmann, and Pascal Mercier.Guthke finds that the fictional triumph over death is only rarely viewed positively, and mostly as a "curse" - for a variety of reasons. Almost always, however, literary experiments with immortality suggest an alternative: the chance to take our limited lifetime into our own hands, shapingit meaningfully and thereby experiencing "a new way of being in the world" (Mercier). The fictional immortals reject this challenge, thus depriving themselves of what makes humans human and life worth living. And what that mightbe is also at least hinted at in the works Guthke analyzes. As a result, an aspect of cultural history comes into view that is revealing and stimulating at a time that is, as Der Spiegel put it in 2014, "obsessed by the invention of immortality."Karl S. Guthke is the Kuno Francke Professor of Germanic Art and Culture, Emeritus, of Harvard University.

Standardstoff an Schule und Hochschule. ''Emilia Galotti'', ''Kabale und Liebe'' und ''Maria Magdalena'' gelten als Paradebeispiele für das bürgerliche Trauerspiel. Was zeichnet die zentrale literarische Gattung des 18. und 19. Jahrhunderts aus? Die 6. Auflage liefert einen aktualisierten Überblick.

''Emilia Galotti'', ''Kabale und Liebe'', ''Miß Sara Sampson'' und ''Maria Magdalena'' gelten als Paradebeispiele für die Gattung des bürgerlichen Trauerspiels. Doch was zeichnet die Gattung eigentlich aus? Wie wird das bürgerliche Trauerspiel in der Literaturkritik bewertet? Gibt es einen Kanon dieser Stücke? Der Autor liefert schlüssige Antworten und liefert einen Überblick über die Epoche von Mitte des 18. bis zur Mitte des 19. Jahrhunderts.

Standardstoff an Schule und Hochschule. 'Emilia Galotti', 'Kabale und Liebe' und 'Maria Magdalena' gelten als Paradebeispiele für das bürgerliche Trauerspiel. Was zeichnet die zentrale literarische Gattung des 18. und 19. Jahrhunderts aus? Die 6. Auflage liefert einen aktualisierten Überblick.

Von Grenzen geht ein Reiz aus: was liegt darüber hinaus? Wie aber, wenn es sich um die Erfahrung der "letzten Grenze" handelt? Eine Herausforderung an den Menschen, zu erfahren, wer er ist? Die Überraschung, daß das "Ende der Welt" vielleicht ihre Mitte ist? Eine definierende Erfahrung allemal. Oder hat Durs Grübein recht: es gäbe "keine fernen Orte mehr"? Und doch war ein Reisebuch mit dem Titel "Die Enden der Welt" 2010/2011 ein Bestseller.Dieses Buch vereinigt neuere Studien über reale und imaginative Erkundungen der jeweiligen "ultima Thule" in der Literatur seit dem "Zeitalter der Entdeckungen". Vom Faustbuch über Goethe bis zu Traven erscheint die Faszination von den "Enden der Welt" in unerwarteten Variationen. Ein paar thematisch anders orientierte Essays bezeugen: die Literatur dieser Jahrhunderte war auch imstande, sich dem Reiz der "großen Öffnung in die weite Welt" zu verschließen. Doch warum?

Karl S. Guthke hat als Germanist, Anglist und Komparatist die Entwicklung dieser Fächer seit seiner Promotion in Göttingen zunächst in Berkeley, später in Toronto und Harvard entscheidend mit geprägt. In diesem Band schildert der renommierte Literaturwissenschaftler seinen Lebensweg nach und in Amerika in den Goldenen Jahren der akademischen Migration der 1950er bis 1970er Jahre mit Ausblicken bis ins 21. Jahrhundert. Seine persönlichen Erfahrungen erzählt Guthke auch mit Blick auf all das Kuriose und Amüsante, das dem Migranten in seiner neuen Heimat auffällt. Dabei werfen seine Erinnerungen immer wieder Streiflichter auf literaturwissenschaftliche, gesellschaftliche und zeitgeschichtliche Entwicklungen. In diesem Band zeichnet Guthke ein lebendiges Bild der akademischen und nicht nur akademischen Begegnung und des geistigen Austauschs der Neuen mit der Alten Welt, die sein eigenes Leben prägten und das Erleben einer ganzen Generation junger Wissenschaftler widerspiegeln dürften, die als transatlantische Studierende oder Hochschullehrer nach Nordamerika kamen.