By Steffan Davies, Ernest Schonfield
D?¶blin??s texts, which variety extensively throughout modern discourses, are paradigms of the stumble upon among literary and medical modernity. With their use of ?Tatsachenphantasie??, they explode traditional language, looking a brand new reference to the area of gadgets and issues. This quantity reassesses and reevaluates the uniquely interdisciplinary caliber of D?¶blin??s interdiscursive, factually-inspired poetics via supplying difficult new views on key works. the quantity analyses not just a few of D?¶blin??s best-known novels and tales, but additionally missed 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 resembling Heine, Benn, Brecht and Sebald. With contributions in English and in German by way of students from Germany and the uk, the quantity offers 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
136) 40 Stephanie Catani Dass sich Döblin hier eher als Neurologe denn als Psychoanalytiker versteht,23 resultiert auch aus der eigenen beruflichen Erfahrung: Gerade die Jahre als Arzt in einer psychiatrischen Klinik haben Döblin gelehrt, weniger psychischen als physiologischen Beobachtungen zu trauen. Während die zeitgenössische Medizin durch eine Ätiologie bestimmt scheint, die vermehrt psychische Ursachen von Krankheiten zu entdecken sucht, bleibt Döblin zeitlebens durch sein Vertrauen in organische, physiologische und neurologische Befunde geprägt.
In the case of Wallenstein, the –––––––––––––– 33 34 35 Döblin elucidated the intention that lay behind this formulation in a letter to Axel Juncker in April 1904 (Br I, p. 23). As Anthony Riley notes in his Nachwort to the edition of this work in the Ausgewählte Werke, in Döblin’s manuscript the main title had been “Worte und Zufälle” (JR, p. 307). For an analysis of the work’s themes in relation to the language philosophy of Fritz Mauthner, see Birgit Hoock, Modernität als Paradox. Der Begriff der “Moderne” und seine Anwendung auf das Werk Alfred Döblins (bis 1933) (Tübingen: Max Niemeyer, 1997), pp.
This is evidently the approach that Döblin has in mind when he invokes the notion of a modern form of epic writing that should supplant or reinvigorate the novel (SÄPL, p. 28 It is in the same spirit that Döblin states, in the lecture he gave at Berlin University in 1928 (Der Bau des epischen Werks), “Da spricht der große Epiker, die Natur, zu mir, und ich der kleine, stehe davor und freue mich, wie mein großer Bruder das kann” (SÄPL, p. 226). But any successful act of perception implies a sense – not necessarily a conscious and rationally articulated sense29 – of the distinctive coherence of that which has been perceived, and of its significance in relation to other perceptions; and Döblin alludes to his own conception of the order and meaning that lie behind the observable material world when he states earlier in the same text, “Der wirklich Produktive muß […] ganz nah an die Realität heran, an ihre Sachlichkeit, ihr Blut, ihren Geruch, und dann hat er die Sache zu durchstoßen” (SÄPL, p.
Alfred Doblin: Paradigms of Modernism by Steffan Davies, Ernest Schonfield