Stefan George German Expressionist Poetry Symbolism BLATTER FUR KUNST 1898-1904

Description: Blaetter für die Kunst (Blätter für die Kunst): Eine Auslesung aus den Jahren 1898-1904 (Volume 2)George, Stefan; Carl August KleinPublished by George Bondi, Berlin, 1904. First edition. Second volume. Blue printed white papercovered boards, cloth spine with printed paper label the whole length of the spine. Text in German. Very good hardcover, large chip removed and repair to title page (see photo), no dustjacket. Tight binding, break to front spine joint but still good, clean unmarked text. 8vo, 175 pages. With poems by Stefan George, Hugo von Hofmannsthal, Paul Gerardy, Karl Wolfskehl, Ludwig Klages, Ludwig Derleth, Richard Perls, Leopold Andrian, Karl Gustav Vollmoeller, August Oehler, Friedrich Gundolf, Lothar Treuge and Henry Heiseler .An important literary influence in Germany and the world was Blätter für die Kunst, associated with the Neoromantic movement of Stefan George, published from 1892 to 1919. The chief aim of the journal was to revitalize the German literary language.Stefan George, along with Hugo von Hofmannsthal and Rainer Maria Rilke one of the pre-eminent German poets of the twentieth century. He also had an important, albeit controversial and provocative role in German cultural history. It is generally agreed that he played a significant part in the transition of German literature to Modernism, particularly in poetry. At the same time he was an outspoken critic of modernity. He believed that only an all-encompassing cultural renewal could save modern man. Although George is often linked with the l'art pour l'art movement, and although his artistic consciousness was formed by European aestheticism, his poetry and the writings that emerged from the poets and intellectuals he gathered around him in the George Circle are above all a scathing commentary on the political, social, and cultural situation in Germany at the turn of the century. George, who was imbued with the idea of the poet as a prophet and priest, saw himself as the Messiah of a New Hellenism and a New Reich led by an intellectual and aesthetic elite consisting of men who were bonded together through their allegiance to a charismatic leader. Some of the values that George proclaimed, among them a glorification of power, of heroism and self-sacrifice, were seized upon by the National Socialists, and subsequently his writings and those of his circle were considered by some to be proto-fascist. It did not help his reputation that after the Second World War much of the criticism of his works was practiced by uncritical, hagiographic George worshippers. In recent years, however, there has been a renewed and unbiased interest among scholars and critics in George and his circle. Loc: E10StoreAdd to FavoritesFeedbackStefan George German Expressionist Poetry Symbolism BLATTER FUR KUNST 1898-1904 Blaetter für die Kunst (Blätter für die Kunst): Eine Auslesung aus den Jahren 1898-1904 (Volume 2)George, Stefan; Carl August KleinPublished by George Bondi, Berlin, 1904. First edition. Second volume. Blue printed white papercovered boards, cloth spine with printed paper label the whole length of the spine. Text in German. Very good hardcover, large chip removed and repair to title page (see photo), no dustjacket. Tight binding, break to front spine joint but still good, clean unmarked text. 8vo, 175 pages. With poems by Stefan George, Hugo von Hofmannsthal, Paul Gerardy, Karl Wolfskehl, Ludwig Klages, Ludwig Derleth, Richard Perls, Leopold Andrian, Karl Gustav Vollmoeller, August Oehler, Friedrich Gundolf, Lothar Treuge and Henry Heiseler .An important literary influence in Germany and the world was Blätter für die Kunst, associated with the Neoromantic movement of Stefan George, published from 1892 to 1919. The chief aim of the journal was to revitalize the German literary language.Stefan George, along with Hugo von Hofmannsthal and Rainer Maria Rilke one of the pre-eminent German poets of the twentieth century. He also had an important, albeit controversial and provocative role in German cultural history. It is generally agreed that he played a significant part in the transition of German literature to Modernism, particularly in poetry. At the same time he was an outspoken critic of modernity. He believed that only an all-encompassing cultural renewal could save modern man. Although George is often linked with the l'art pour l'art movement, and although his artistic consciousness was formed by European aestheticism, his poetry and the writings that emerged from the poets and intellectuals he gathered around him in the George Circle are above all a scathing commentary on the political, social, and cultural situation in Germany at the turn of the century. George, who was imbued with the idea of the poet as a prophet and priest, saw himself as the Messiah of a New Hellenism and a New Reich led by an intellectual and aesthetic elite consisting of men who were bonded together through their allegiance to a charismatic leader. Some of the values that George proclaimed, among them a glorification of power, of heroism and self-sacrifice, were seized upon by the National Socialists, and subsequently his writings and those of his circle were considered by some to be proto-fascist. It did not help his reputation that after the Second World War much of the criticism of his works was practiced by uncritical, hagiographic George worshippers. In recent years, however, there has been a renewed and unbiased interest among scholars and critics in George and his circle. Loc: E10

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