Peter Szondi – författare

Peter Szondi is widely regarded as being among the most distinguished post-war literary critics. This first English edition of one of his most lucid and interesting series of lectures opens up his work in hermeneutics for English-speaking readers. The question of what is involved in understanding a text occupied Biblical and legal scholars long before it became a concern of literary critics. Peter Szondi here traces the development of hermeneutics through examination of the work of eighteenth-century German scholars. Ordinarily treated only as prefigurations of Schleiermacher, the work of Enlightenment theorists Johann Martin Chladenius, George Friedrich Meier, and Friedrich Ast yields valuable insight into the 'material theory' of interpretation, on which a practical interpretive methodology might be built.

Peter Szondi is widely regarded as being among the most distinguished post-war literary critics. This first English edition of one of his most lucid and interesting series of lectures opens up his work in hermeneutics for English-speaking readers. The question of what is involved in understanding a text occupied Biblical and legal scholars long before it became a concern of literary critics. Peter Szondi here traces the development of hermeneutics through examination of the work of eighteenth-century German scholars. Ordinarily treated only as prefigurations of Schleiermacher, the work of Enlightenment theorists Johann Martin Chladenius, George Friedrich Meier, and Friedrich Ast yields valuable insight into the 'material theory' of interpretation, on which a practical interpretive methodology might be built.

Theory of the Modern Drama is a brilliant analysis of the emergence and development of modern drama from the Renaissance to the present day. Szondi shows how the rise of modern drama was linked to broader social processes and expressed some of the beliefs characteristic of early modern Europe. This was manifested in the convention that form was ahistorical and it simply required the appropriate subject matter to do justice to the form. But in the late nineteenth century the form of drama began to change, giving rise to the new types of drama characteristic of the twentieth century. Szondi offers a highly original interpretation of this transformation, linking it with the emergence of an epic form which emphasizes the isolation of the individual.This concise but wide-ranging book discusses the work of Ibsen, Chekhov, Strindberg, Sartre, Brecht and Wilder, among others. It will be essential reading for students of drama, modern languages and literature, and contemporary literary theory.

Theory of the Modern Drama is a brilliant analysis of the emergence and development of modern drama from the Renaissance to the present day. Szondi shows how the rise of modern drama was linked to broader social processes and expressed some of the beliefs characteristic of early modern Europe. This was manifested in the convention that form was ahistorical and it simply required the appropriate subject matter to do justice to the form. But in the late nineteenth century the form of drama began to change, giving rise to the new types of drama characteristic of the twentieth century. Szondi offers a highly original interpretation of this transformation, linking it with the emergence of an epic form which emphasizes the isolation of the individual.This concise but wide-ranging book discusses the work of Ibsen, Chekhov, Strindberg, Sartre, Brecht and Wilder, among others. It will be essential reading for students of drama, modern languages and literature, and contemporary literary theory.

Peter Szondis pathbreaking work is a succinct and elegant argument for distinguishing between a philosophy of the tragic and the poetics of tragedy espoused by Aristotle. The first of the books two parts consists of a series of commentaries on philosophical and aesthetic texts from twelve thinkers and poets between 1795 and 1915: Schelling, Hölderlin, Hegel, Solger, Goethe, Schopenhauer, Vischer, Kierkegaard, Hebbel, Nietzsche, Simmel, and Scheler. The various definitions of tragedy are read not so much in terms of their specific philosophies, but rather in the way their views assist in analyzing tragedies with an aim to establish a general concept of the tragic.The second part presents exemplary analyses of eight tragedies: Sophocles'Oedipus Rex, Calderons Life Is a Dream, Shakespeares Othello, Gryphius Leo Armenius, Racines Phaedra, Schillers Demetrius, Kleist's The Schroffenstein Family and Büchner's Danton's Death. The readings neither presuppose a concept of the tragic determined by context (as in Hegel's idea of the conflict between two orders of right), nor do they focus exclusively on the texts explicit contents. Instead, they elaborate the dialectical or aporetic structures at the heart of the tragic. The works analyzed represent the four great epochs of tragic poetry: the age of Greek tragedy; the Baroque era in Spain, England, and Germany; French Classicism; and the age of Goethe.

Peter Szondis pathbreaking work is a succinct and elegant argument for distinguishing between a philosophy of the tragic and the poetics of tragedy espoused by Aristotle. The first of the books two parts consists of a series of commentaries on philosophical and aesthetic texts from twelve thinkers and poets between 1795 and 1915: Schelling, Hölderlin, Hegel, Solger, Goethe, Schopenhauer, Vischer, Kierkegaard, Hebbel, Nietzsche, Simmel, and Scheler. The various definitions of tragedy are read not so much in terms of their specific philosophies, but rather in the way their views assist in analyzing tragedies with an aim to establish a general concept of the tragic.The second part presents exemplary analyses of eight tragedies: Sophocles'Oedipus Rex, Calderons Life Is a Dream, Shakespeares Othello, Gryphius Leo Armenius, Racines Phaedra, Schillers Demetrius, Kleist's The Schroffenstein Family and Büchner's Danton's Death. The readings neither presuppose a concept of the tragic determined by context (as in Hegel's idea of the conflict between two orders of right), nor do they focus exclusively on the texts explicit contents. Instead, they elaborate the dialectical or aporetic structures at the heart of the tragic. The works analyzed represent the four great epochs of tragic poetry: the age of Greek tragedy; the Baroque era in Spain, England, and Germany; French Classicism; and the age of Goethe.

Peter Szondi's Celan Studies marked the beginning of critical work on Paul Celan, the most important German poet of the second half of the twentieth century. The book's three studies each concentrate on a different Celan poem. "The Poetry of Constancy: Paul Celan's Translation of Shakespeare's Sonnet 105" investigates a historical turn from a poetry that claims to present its object to a poetry that only promises to do so. "Reading 'Engführung'" follows the movement of poetic language into territory undisclosed to epistemic reason. "Eden" addresses "Du liegst," a poem on the murder of Rosa Luxemburg and Karl Liebknecht; Szondi actually was with Celan when the poem was written. It analyzes the relation between the historical facts to which a poem refers and its composition. The book contains, as appendixes, Szondi's notes for three more projected studies of Celan poems, left unwritten at the time of his death in 1971.

Peter Szondi's Celan Studies marked the beginning of critical work on Paul Celan, the most important German poet of the second half of the twentieth century. The book's three studies each concentrate on a different Celan poem. "The Poetry of Constancy: Paul Celan's Translation of Shakespeare's Sonnet 105" investigates a historical turn from a poetry that claims to present its object to a poetry that only promises to do so. "Reading 'Engführung'" follows the movement of poetic language into territory undisclosed to epistemic reason. "Eden" addresses "Du liegst," a poem on the murder of Rosa Luxemburg and Karl Liebknecht; Szondi actually was with Celan when the poem was written. It analyzes the relation between the historical facts to which a poem refers and its composition. The book contains, as appendixes, Szondi's notes for three more projected studies of Celan poems, left unwritten at the time of his death in 1971.