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  1. Masks of the Prophet
    The Theatrical World of Karl Kraus
    Erschienen: [2019]; © 1982
    Verlag:  University of Toronto Press, Toronto

    'When the name "Hitler" is mentioned, nothing occurs to me' – so said Karl Kraus. For this leading Viennese Jewish critic and intellectual the touchstone of art was ethics. How could he be speechless in the face of a threat to all that ethics means?... mehr

    Brandenburgische Technische Universität Cottbus - Senftenberg, Universitätsbibliothek
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    'When the name "Hitler" is mentioned, nothing occurs to me' – so said Karl Kraus. For this leading Viennese Jewish critic and intellectual the touchstone of art was ethics. How could he be speechless in the face of a threat to all that ethics means? To answer this question, the author makes a detailed chronological study of Kraus's intellectual activity as reflected in his work on the theatre. The results are presented in five chapters, each dealing with a different 'mask' adopted by Kraus during the period 1892-1936. Grimstad considers not only theatre and drama criticism in Die Fackel and Kraus's dramatic writings, but also biographical data, to help uncover the rationale of his work. That rationale is the logic of the theatrical mode in which he lived and wrote. The stage was not only his subject matter, it determined what he would see and say. Grimstad argues that when Kraus wrote, his words were the speech of an 'actor' who was often infatuated with himself and obsessed with the need to overwhelm his rival 'actors.' When Hitler's storm-troopers began their march, he could say nothing for the world in which his thought took shape had become a world of theatrics, not 'Realpolitik.' Kraus criticized plays without reading them and performances without seeing them, obsessed with the belief that his was the voice of all that was true, good, and beautiful. Grimstad observes that he was a prophet who confused the divine inspiration with the Thespian urge, playing to an audience, using a mask for each of his roles, yet thinking he spoke to all mankind, bringing them pure ethos. This volume will be of particular interest to those working in the fields of theatre criticism, comparative literature, German literature, and Jewish intellectual history

     

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    ISBN: 9781487596224
    Weitere Identifier:
    Schriftenreihe: Heritage
    Umfang: 1 online resource
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    Description based on online resource; title from PDF title page (publisher's Web site, viewed 19. Feb 2019)

  2. Masks of the prophet
    the theatrical world of Karl Kraus
    Erschienen: 1982
    Verlag:  University of Toronto Press, Toronto [u.a.] ; JSTOR, New York, NY

    This volume makes a detailed chronological study of Kraus's intellectual activity as reflected in his work on the theatre. mehr

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    This volume makes a detailed chronological study of Kraus's intellectual activity as reflected in his work on the theatre.

     

    Export in Literaturverwaltung   RIS-Format
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    Quelle: Verbundkataloge
    Sprache: Englisch
    Medientyp: Ebook
    Format: Online
    ISBN: 1487596227; 9781487596224
    RVK Klassifikation: GM 4328
    Schriftenreihe: Heritage
    Schlagworte: Theater; Theaterkritik
    Weitere Schlagworte: Kraus, Karl (1874-1936)
    Umfang: 1 Online-Ressource (xii, 297 pages, 10 unnumbered pages of plates), Illustrations
    Bemerkung(en):

    Includes bibliographical references (pages 285-289) and index

  3. Masks of the Prophet
    The Theatrical World of Karl Kraus
    Erschienen: [1982]
    Verlag:  University of Toronto Press, Toronto ; Walter de Gruyter GmbH, Berlin

    'When the name "Hitler" is mentioned, nothing occurs to me' – so said Karl Kraus. For this leading Viennese Jewish critic and intellectual the touchstone of art was ethics. How could he be speechless in the face of a threat to all that ethics means?... mehr

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    'When the name "Hitler" is mentioned, nothing occurs to me' – so said Karl Kraus. For this leading Viennese Jewish critic and intellectual the touchstone of art was ethics. How could he be speechless in the face of a threat to all that ethics means? To answer this question, the author makes a detailed chronological study of Kraus's intellectual activity as reflected in his work on the theatre. The results are presented in five chapters, each dealing with a different 'mask' adopted by Kraus during the period 1892-1936. Grimstad considers not only theatre and drama criticism in Die Fackel and Kraus's dramatic writings, but also biographical data, to help uncover the rationale of his work. That rationale is the logic of the theatrical mode in which he lived and wrote. The stage was not only his subject matter, it determined what he would see and say. Grimstad argues that when Kraus wrote, his words were the speech of an 'actor' who was often infatuated with himself and obsessed with the need to overwhelm his rival 'actors.' When Hitler's storm-troopers began their march, he could say nothing for the world in which his thought took shape had become a world of theatrics, not 'Realpolitik.' Kraus criticized plays without reading them and performances without seeing them, obsessed with the belief that his was the voice of all that was true, good, and beautiful. Grimstad observes that he was a prophet who confused the divine inspiration with the Thespian urge, playing to an audience, using a mask for each of his roles, yet thinking he spoke to all mankind, bringing them pure ethos. This volume will be of particular interest to those working in the fields of theatre criticism, comparative literature, German literature, and Jewish intellectual history.

     

    Export in Literaturverwaltung   RIS-Format
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    Quelle: Verbundkataloge
    Sprache: Englisch
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    Format: Online
    ISBN: 9781487596224
    Weitere Identifier:
    Schriftenreihe: Heritage
    Umfang: 1 Online-Ressource
    Bemerkung(en):

    Description based on online resource; title from PDF title page (publisher's Web site, viewed 19. Feb 2019)

  4. Masks of the Prophet
    The Theatrical World of Karl Kraus
    Erschienen: 2019; ©1982
    Verlag:  University of Toronto Press, Toronto

    'When the name "Hitler" is mentioned, nothing occurs to me' – so said Karl Kraus. For this leading Viennese Jewish critic and intellectual the touchstone of art was ethics. How could he be speechless in the face of a threat to all that ethics means?... mehr

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    'When the name "Hitler" is mentioned, nothing occurs to me' – so said Karl Kraus. For this leading Viennese Jewish critic and intellectual the touchstone of art was ethics. How could he be speechless in the face of a threat to all that ethics means? To answer this question, the author makes a detailed chronological study of Kraus's intellectual activity as reflected in his work on the theatre. The results are presented in five chapters, each dealing with a different 'mask' adopted by Kraus during the period 1892-1936. Grimstad considers not only theatre and drama criticism in Die Fackel and Kraus's dramatic writings, but also biographical data, to help uncover the rationale of his work. That rationale is the logic of the theatrical mode in which he lived and wrote. The stage was not only his subject matter, it determined what he would see and say. Grimstad argues that when Kraus wrote, his words were the speech of an 'actor' who was often infatuated with himself and obsessed with the need to overwhelm his rival 'actors.' When Hitler's storm-troopers began their march, he could say nothing for the world in which his thought took shape had become a world of theatrics, not 'Realpolitik.' Kraus criticized plays without reading them and performances without seeing them, obsessed with the belief that his was the voice of all that was true, good, and beautiful. Grimstad observes that he was a prophet who confused the divine inspiration with the Thespian urge, playing to an audience, using a mask for each of his roles, yet thinking he spoke to all mankind, bringing them pure ethos. This volume will be of particular interest to those working in the fields of theatre criticism, comparative literature, German literature, and Jewish intellectual history.

     

    Export in Literaturverwaltung   RIS-Format
      BibTeX-Format
    Hinweise zum Inhalt
    Quelle: Verbundkataloge
    Sprache: Englisch
    Medientyp: Ebook
    Format: Online
    ISBN: 9781487596224
    Weitere Identifier:
    Schriftenreihe: Heritage
    Umfang: 1 Online-Ressource
  5. Masks of the Prophet
    The Theatrical World of Karl Kraus
    Erschienen: 2019; ©1982
    Verlag:  University of Toronto Press, Toronto

    'When the name "Hitler" is mentioned, nothing occurs to me' – so said Karl Kraus. For this leading Viennese Jewish critic and intellectual the touchstone of art was ethics. How could he be speechless in the face of a threat to all that ethics means?... mehr

    Staatsbibliothek zu Berlin - Preußischer Kulturbesitz, Haus Unter den Linden
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    'When the name "Hitler" is mentioned, nothing occurs to me' – so said Karl Kraus. For this leading Viennese Jewish critic and intellectual the touchstone of art was ethics. How could he be speechless in the face of a threat to all that ethics means? To answer this question, the author makes a detailed chronological study of Kraus's intellectual activity as reflected in his work on the theatre. The results are presented in five chapters, each dealing with a different 'mask' adopted by Kraus during the period 1892-1936. Grimstad considers not only theatre and drama criticism in Die Fackel and Kraus's dramatic writings, but also biographical data, to help uncover the rationale of his work. That rationale is the logic of the theatrical mode in which he lived and wrote. The stage was not only his subject matter, it determined what he would see and say. Grimstad argues that when Kraus wrote, his words were the speech of an 'actor' who was often infatuated with himself and obsessed with the need to overwhelm his rival 'actors.' When Hitler's storm-troopers began their march, he could say nothing for the world in which his thought took shape had become a world of theatrics, not 'Realpolitik.' Kraus criticized plays without reading them and performances without seeing them, obsessed with the belief that his was the voice of all that was true, good, and beautiful. Grimstad observes that he was a prophet who confused the divine inspiration with the Thespian urge, playing to an audience, using a mask for each of his roles, yet thinking he spoke to all mankind, bringing them pure ethos. This volume will be of particular interest to those working in the fields of theatre criticism, comparative literature, German literature, and Jewish intellectual history.

     

    Export in Literaturverwaltung   RIS-Format
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    Hinweise zum Inhalt
    Quelle: Verbundkataloge
    Sprache: Englisch
    Medientyp: Ebook
    Format: Online
    ISBN: 9781487596224
    Weitere Identifier:
    Schriftenreihe: Heritage
    Umfang: 1 Online-Ressource
  6. Masks of the Prophet
    The Theatrical World of Karl Kraus
    Erschienen: [2019]; © 1982
    Verlag:  University of Toronto Press, Toronto

    'When the name "Hitler" is mentioned, nothing occurs to me' – so said Karl Kraus. For this leading Viennese Jewish critic and intellectual the touchstone of art was ethics. How could he be speechless in the face of a threat to all that ethics means?... mehr

    Ostbayerische Technische Hochschule Amberg-Weiden, Hochschulbibliothek Amberg
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    'When the name "Hitler" is mentioned, nothing occurs to me' – so said Karl Kraus. For this leading Viennese Jewish critic and intellectual the touchstone of art was ethics. How could he be speechless in the face of a threat to all that ethics means? To answer this question, the author makes a detailed chronological study of Kraus's intellectual activity as reflected in his work on the theatre. The results are presented in five chapters, each dealing with a different 'mask' adopted by Kraus during the period 1892-1936. Grimstad considers not only theatre and drama criticism in Die Fackel and Kraus's dramatic writings, but also biographical data, to help uncover the rationale of his work. That rationale is the logic of the theatrical mode in which he lived and wrote. The stage was not only his subject matter, it determined what he would see and say. Grimstad argues that when Kraus wrote, his words were the speech of an 'actor' who was often infatuated with himself and obsessed with the need to overwhelm his rival 'actors.' When Hitler's storm-troopers began their march, he could say nothing for the world in which his thought took shape had become a world of theatrics, not 'Realpolitik.' Kraus criticized plays without reading them and performances without seeing them, obsessed with the belief that his was the voice of all that was true, good, and beautiful. Grimstad observes that he was a prophet who confused the divine inspiration with the Thespian urge, playing to an audience, using a mask for each of his roles, yet thinking he spoke to all mankind, bringing them pure ethos. This volume will be of particular interest to those working in the fields of theatre criticism, comparative literature, German literature, and Jewish intellectual history

     

    Export in Literaturverwaltung   RIS-Format
      BibTeX-Format
    Hinweise zum Inhalt
    Volltext (URL des Erstveröffentlichers)
    Quelle: Verbundkataloge
    Sprache: Englisch
    Medientyp: Ebook
    Format: Online
    ISBN: 9781487596224
    Weitere Identifier:
    Schriftenreihe: Heritage
    Umfang: 1 online resource
    Bemerkung(en):

    Description based on online resource; title from PDF title page (publisher's Web site, viewed 19. Feb 2019)