Worum es geht Eine zerfallende Wirklichkeit Zu Beginn des Ihre Wege kreuzen sich im letzten Kriegsjahr In jedem der drei Romane steht eine andere Hauptfigur im Mittelpunkt. Broch ging es darum, das Irrationale mit den Mitteln der Literatur zu erfassen.
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Shelves: yokozunas I find the compartments that this trilogy is supposed to be fit intoThe Romantic, The Anarchist, and The Realistless worthy of mention than the inner insanity that Broch capably delineates through his three protagonistsPasenow, Esch, and Huguenau.
For me, the human commentary will always take precedence over the historical or social. It is the juxtaposition of that inner insanity with the yielded outer perspective, the surface that rest of the world is given to perceive, that makes one wonder I find the compartments that this trilogy is supposed to be fit into—The Romantic, The Anarchist, and The Realist—less worthy of mention than the inner insanity that Broch capably delineates through his three protagonists—Pasenow, Esch, and Huguenau.
It is the juxtaposition of that inner insanity with the yielded outer perspective, the surface that rest of the world is given to perceive, that makes one wonder whether that surface is also all that the proprietor of that inner insanity perceives—as if by some sleight we all blind ourselves to all but that perfectly normal, perfectly human outer shell.
That is to say, it is that Broch manages this polarity most capably and most blatantly with the Pasenow section by which one is almost tempted to syllogize: if people can be so delusional, neurotic, disposed to habit and whim, and yet appear to be normal, and if all people I see in my world appear more or less likewise normally, then they too might be so ruled by delusion, habit and neuroses. The Sleepwalkers is not just a good book. In my opinion it suffers from a lack of cohesion around its major themes—most major of which is the the disintegration meaning division or perversion more than destruction of values.
Experimentation of style—mostly in book III—seems to be the primary means of injecting this philosophy, and this, for being a poor way of integrating the theme, I would say makes a clever meta-comment on the theme disintegration itself, that is I would say, if something in the text could lead me to believe that it was done intentionally for this purpose rather than as the path of lesser resistance.
Rather than belaboring the painstaking way through the integration of his philosophy into the narrative, Broch seems content to grab the crutches and go. As a result, the style of the philosophical sections and that of the narrative itself veer sharply from one another. The venn diagram of readers who can stomach the academic, and yet not all that rigorous, philosophical jargon and those who would tolerate the too often too slow, too often too divergent plot developments, flaunts little overlap.
Besides essay, styles of verse and dramatic scene handicap the overall flow and presentation. But onto the good: Reading the Pasenow and Esch sections one could almost conclude that adulthood is a plague in which giant children have had the misfortune of taking themselves seriously. And although everything was tranced in immobility, yet the chairs, the piano, on whose black-lacquered surface the wreath of gas-jets was still reflected, seemed no longer in their usual places, but infinitely remote, and even the golden dragons and butterflies on the black Chinese screen in the corner had flitted away as if drawn after the receding walls, which now looked as if hung with black curtains.
The gas-lights hissed with a faint, malicious susurration, and except for their infinitesimal mechanical vivacity, that jetted fleeringly from obscenely open small slits, all life was extinguished. And even if it is the most flawed section, the last seems quite right in ending contrastingly.
Huguenau accomplishes about everything he tries for, for which we can be sure he is just as miserable as those who went before him. Alas there is no Lemon Law for our dreams. Hannah Arendt wrote an introduction for the translation I read, and Milan Kundera wrote an essay about him. The period is suspiciously close to the period of modern German monarchy, engineered by Bismarck in and dismantled by revolution in Broch wrote the book Hermann Broch was evidently a writer for the literary philosophers or philosophical literati of Central Europe.
The period is suspiciously close to the period of modern German monarchy, engineered by Bismarck in and dismantled by revolution in Broch wrote the book between and Act I, in , narrates in the literary style of the late 19th century, the tribulations of the military aristocrat Joachim von Pasenow who grapples with his dictatorial father, his manipulative friend Bertrand, and his superior older brother, conveniently dead in battle. Act II belongs to the sneaky August Esch, who is that most incredible of all things, an accountant with revolutionary leanings.
All the talk comes to nothing; the most revolutionary things he does are to walk out on unsatisfactory jobs, start a "theater" that features a knife-throwing act, and seduce his affianced landlady. Act III takes place as the defeated German monarchy descends into chaos, uniting von Pasenow, now a comfortable bourgeois, and Esch, who runs a newspaper, as they confront someone even less appealing, the murderous, larcenous deserter Hugeneau, who bests both of them.
If "Ulysses" and "The Sound and the Fury", for all their self-conscious virtuosity, show what the multi-voiced, multi-genre novel can achieve, Broch in "The Sleepwalkers" demonstrates its limits.
Die Schlafwandler (Romantrilogie)
Das war ein unheimliches und hoffnungsloses Spiel. Zweimal im Jahr besucht ihn sein Vater in der Hauptstadt. Auch sie verliebt sich in ihn und versucht ihn an sich zu binden. Aber die Beziehung zu dem dominanten Freund und potentiellen Rivalen ist ambivalent. Aus diesem Grund macht er ihn mit den beiden unterschiedlichen Frauen bekannt und geht das Risiko ein, die Geliebte bzw.
Plot[ edit ] Joachim von Pasenow[ edit ] The first part, set mostly in Berlin and an unnamed eastern province of Prussia, concerns an unsure young aristocrat and army officer, Joachim von Pasenow. He wavers between his romantic devotion to a Czech prostitute Ruzena Hruska and his duty which is to court Elisabeth von Baddensen, the heiress of a neighbouring landowner and his social equal. In his secret liaison with the earthy Ruzena he finds emotional and sexual fulfilment, while Elisabeth is delicate and distant. Adrift among doubts and hesitation, he finds refuge in symbols from the past, such as the honour code of the nobility and the teaching of the Lutheran church. Adhering to these leads him into a loveless marriage with Elisabeth. On their wedding night, the hesitations both feel lead them to postpone consummation.