In diesem Buch geht der Autor der Frage nach, inwiefern sich die beiden Dramen Dorothea Angermann und Vor Sonnenuntergang Gerhart Hauptmanns von ihren Vorgängern unterscheiden und wie sie sich literaturgeschichtlich einordnen lassen. Schweissinger weist nach, dass die beiden Dramen nach eigenen Definitionen verlangen.
Translation of fiction is always interpretation. This book discusses the challenges facing translators of fictional works from German into English using as examples English translations of canonical German novellas by Johann Wolfgang von Goethe, Theodor Storm, Gerhart Hauptmann, Thomas Mann and Franz Kafka. The author addresses the difficulties of translating in the poststructuralist era, when every fictional work potentially has a large number of interpretations and, therefore, at least the same number of possible translations. Considering interpretations of the original text in detail not only improves the reader’s understanding and ability to criticize the translated text, but it will also provide valuable insight into the possible intentions of the writer. An initial linguistic observation of a target text can therefore lead to a fruitful connection between the linguistic and literary analysis of translated works. This book offers new perspectives on the delicate negotiation of translating source texts for a contemporary audience while maintaining the values, ideas and hidden meanings from the source in relation to its original époque.
This book delves into Gerhart Hauptmann’s historical plays, examining his intentions and their sources. Starting with Die Weber, it reveals that Socialist and Communist ideas were more prominent in his early work than currently acknowledged. Similarly, Florian Geyer reflects modern democratic concepts like equality and freedom. Hauptmann's use of historical sources was notably free, even in his early naturalistic phases. However, in Der arme Heinrich, he meticulously considered specific historical contexts, a practice also evident in Kaiser Karls Geisel. This play, often viewed as a reflection of Hauptmann’s affair with actress Ida Orloff, is instead an indictment of early Christian missionary efforts among the Saxons. Magnus Garbe, typically seen as a late work focused on the Kulturkampf, critiques the failures of human thought rather than merely supporting the Protestant empire in Berlin. Furthermore, Der weiße Heiland, largely written during World War I, advocates for peace and negotiation rather than solely condemning brutal Spanish missionary actions. In Die schwarze Maske, Hauptmann opposes absolutism and demonstrates a careful engagement with historical sources. Lastly, Ulrich von Lichtenstein critiques the foolishness of courtly love, while Die Tochter der Kathedrale serves as a testament of inner resistance against the barbaric Nazi regime of Hauptmann’s time.