106 research outputs found
Hermann Broch Collection 1939-1967
No full textThe collection contains correspondence of Hermann Broch, as well as several manuscripts by him.Correspondence contained in the collection includes transcripts of correspondence among Hermann Broch, Georg Landauer,
and Leo Lauterbach, with discussion of poet Abraham Sonne (Avraham Ben-Yitzhak); two letters from The Viking Press to Broch with
rejections of books he submitted; 11 letters from Sibylle (Billy) Lieben, daughter of author Franz Blei, regarding efforts to secure
Blei's immigration to the United States during 1940 and 1941; and five typewritten and signed letters from Hermann Broch to
author Hans Reisiger, which contain updates from Broch on his work. Also included is correspondence between sculptor Irma Rothstein
and the Leo Baeck Institute regarding busts she made of Hermann Broch; and a photocopy of Hermann Broch's report on his
efforts to help writers escape from Europe during World War II.Manuscripts contained in the collection include :Manuscript: "An Autobiography as Program for Future Work". Undated; English, 30 p. (fragment); typed.
Exploration of philosophical theory in political science: absolutism vs. relativism in values and ethics of contemporary political
life.Manuscript: "Die Heimfahrt des Vergil. Roman". Undated; German, 3 p.; typed. Review and analysis of
his book by the same title.Manuscript: "Pros und Cons zu Prof. GURIANS Einwaenden gegen Weltstaat- Projekte". 1947; German, 6
p.; typed. Problems of the realization of a one-world state, through the United Nations, in a Cold War world.Manuscript: "The Bewitchment". Undated; English, 4 p.; typed. Summary of major issues considered in
the novel of the same title.Five letters to Hans Reisiger on permanent loan from Judaica Conservancy Foundation.On permanent loan Judaica Conservancy FoundationAuthor, born 1886 in Vienna. Died 1951 in New Haven.The original German-language inventory is available in the folderProcessed for digitizatio
An Investigation of Aural Space inside Mousa Broch by Observation and Analysis of Sound and Light
No full textThis project emphasises the unique character and construction of Mousa broch, questions the model of Mousa broch as a roofed home (an interpretation adopted by Historic Scotland in 2002) and considers the way in which sound and light informs our understanding of the spaces contained within its structure. Underpinning the approach to data collection was the architectural concept of aural space. The author attempts to convey an impression of aural space inside Mousa broch by the creation of an audio-visual record supported by acoustic analysis, archaeological discussion, and an architectural breakdown of the spaces within the broch structure. Audio recordings, sound samples, photographs and movies were made on Mousa island and inside Mousa broch during the period of the Summer solstice of 2009
[The Death of Virgil by Hermann Broch, #16] : Softly lapping the reel and sides of the boat.
No full textTwo wind-swept figures standing in a small boat. Titled, signed and dated along bottom. Numbered AP2 (Artist's proof).Digital imageThe Austrian author Hermann Broch started writing his novel ‘The death of Virgil’ in Austria in 1936, but it was first published in the United States in 1945. The novel narrates the last hours of life of the Roman poet Virgil.Peter Lipman-Wulf (1905-1993) was a German artist and sculptor. Born in Berlin, he studied at the Berlin Academy. In 1933, he left Germany once the Nazis came to power. He immigrated to France in 1933 and in 1939 he was interned in the Les Milles camp in southern France. He eventually immigrated to the United States in 1947. Lipman Wulff worked mostly with wood, bronze, and ceramics in a semi-abstract style reminiscent of German Expressionism. While living in New York he won a Guggenheim fellowship, among other awards, and many commissions. He taught art at Queens College (City University of New York) and Adelphi University for many years, and published articles on art education in Leonardo and other journals. His works were exhibited at numberous galleries in New York City, including a retrospective at the Jewish Museum in 1961, and are present in the collections of the Metropolitan Museum of Art, the Whitney Museum of American Art, the National Gallery of Art in Washington, the British Museum in London and the National Museum in Berlin
[The Death of Virgil by Hermann Broch, #1] : Introduction: Virgil with Clothia.
No full textVirgil seated next to a box of scrolls. A layer of engraving is visible behind him, showing a woman and a candelabra, but no ink has been used. Titled, dated and signed along bottom. Numbered AP3 (Artist's proof).The Austrian author Hermann Broch started writing his novel ‘The death of Virgil’ in Austria in 1936, but it was first published in the United States in 1945. The novel narrates the last hours of life of the Roman poet Virgil.Peter Lipman-Wulf (1905-1993) was a German artist and sculptor. Born in Berlin, he studied at the Berlin Academy. In 1933, he left Germany once the Nazis came to power. He immigrated to France in 1933 and in 1939 he was interned in the Les Milles camp in southern France. He eventually immigrated to the United States in 1947. Lipman Wulff worked mostly with wood, bronze, and ceramics in a semi-abstract style reminiscent of German Expressionism. While living in New York he won a Guggenheim fellowship, among other awards, and many commissions. He taught art at Queens College (City University of New York) and Adelphi University for many years, and published articles on art education in Leonardo and other journals. His works were exhibited at numberous galleries in New York City, including a retrospective at the Jewish Museum in 1961, and are present in the collections of the Metropolitan Museum of Art, the Whitney Museum of American Art, the National Gallery of Art in Washington, the British Museum in London and the National Museum in Berlin.Digital imag
El sí-mismo comprometido: la disección de la subjetividad en la Autobiografía psíquica de Hermann Broch
No full textHermann Broch was convinced of the veracity of psychoanalysis and was under psychoanalytical treatment several times in his life with well-known analysts: Hedwig Hoffer-Schaxel, from 1928 to 1935, Gustav Bychowski between 1939 y 1940, and Paul Federn, from 1943 to at least 1946. Broch also wrote in 1942/1943, while finishing The Death of Virgil, his Psychological Autobiography and its Appendix. Both writings, never intended to be published by his author, were thought as a kind of auto-analysis aimed to clarify, within a Freudian conceptual framework, two problems: the tension between sexuality and production, and the repercussion of the mother’s figure. But the approach to these questions resulted in the transversal and progressive emergence of a reflection upon the self and the way of preparing it to action, of increasing its involvement, in sum, of recreating it aesthetically and ethically. This paper puts in context and studies this compromised self, that subtle blend of psychological analysis, aesthetical theory and moral philosophy that shaped Broch’s subjectivity.Hermann Broch fue un firme convencido de la veracidad del psicoanálisis y estuvo varias veces en tratamiento psicoanalítico con conocidos analistas: Hedwig Hoffer-Schaxel, desde 1927 a 1935; Gustav Bychowski, entre 1939 y 1940 y Paul Federn, desde 1943 hasta al menos 1946. En 1942/43, mientras perfilaba La muerte de Virgilio, escribió también la Autobiografía psíquica y su Apéndice. Dichos escritos, no destinados a ser publicados, fueron pensados como una especie de autoanálisis para intentar clarificar, dentro de un marco conceptual freudiano, dos problemas: la tensión entre sexualidad y producción y la repercusión de la figura materna. Pero en el abordaje de ambas cuestiones se fue además elaborando transversalmente un conocimiento del sí-mismo y de la forma de aprestarlo para la acción, de incrementar su implicación y, en suma, de recrearlo estética y éticamente. Tras contextualizarlo dentro de la figura antropológica del «sujeto psicológico» y de la relación de Broch con el psicoanálisis, el presente trabajo rastrea en la Autobiografía psíquica este sí-mismo comprometido, esa sutil mezcolanza de análisis psicológico, teoría estética y filosofía moral en la que se abasteció la subjetividad de Broch
Der Briefwechsel zwischen Hermann Broch und Willi Weismann
No full textIn der vorliegenden Arbeit wurde der Briefwechsel zwischen dem österreichischen Autor Hermann Broch und dem deutschen Verleger Willi Weismann zwischen 1946 und 1951 analysiert. Broch emigrierte 1938 über England in die USA, Weismann lebte, bis er 1941 eingezogen wurde, als selbständiger Buchhändler im Rheinland und in Berlin. Am Ende des Krieges kam er nach München, wo er sich in den letzten Kriegstagen am Widerstand gegen die Nationalsozialisten beteiligte und mitunter auch deshalb 1946 unter den ersten war, die eine Verlagslizenz der amerikanischen Besatzungsbehörde (Information Control Division) bekamen. Gemeinsam mit einem guten Bekannten von Hermann Broch, Herbert Burgmüller, gründete Weismann die Literaturzeitschrift Die Fähre (später Literarische Revue) und kooperierte auch mit Ernst Schönwiese und dessen Zeitschrift das silberboot. Weismann wandte sich im Herbst 1946 mit der Bitte etwas von Broch publizieren zu können, an diesen. Es sollte bis ins Jahr 1948 dauern, ehe aus seinen Bemühungen ein konkretes Projekt wurde. Im ersten Teil der Arbeit werden die geschichtlichen Hintergründe einerseits zu Weismanns Leben und Verlagstätigkeit, andererseits - soweit es möglich und bereits aufgearbeitet war – zur Situation der Buchproduktion in der amerikanischen Zone Deutschlands dargestellt. Da der Verleger in der Literaturwissenschaft ein Unbekannter geblieben ist, war es wichtig einen biographischen Abriss zu konstruieren und auch zu überprüfen, inwiefern Weismann im Zusammenhang mit Brochs Werk in der Sekundärliteratur erwähnt wurde. Die Rolle bzw. die Möglichkeiten des Verlegers in Weismanns Situation stand im Mittelpunkt der Beobachtungen. Die Briefe des Münchner Verlegers, der 1950 schließlich Brochs letzten Roman Die Schuldlosen publizierte, wurden im zweiten Teil dieser Arbeit editiert. Neben der Aufarbeitung der literatur- und sozialgeschichtlichen Aspekte des Verlagswesens in Deutschland nach dem 2. Weltkrieg, wurde das Autor-Verleger-Verhältnis unter Miteinbeziehung des Schweizer Verlegers Daniel Brody vom Zürcher Rhein Verlag genauer analysiert. Die Korrespondenz wurde hinsichtlich der Spannung zwischen dem amerikanischen Exil, dem Schweizer Buchmarkt nach 1945 und der Buchwirtschaft im geteilten Deutschland zur Zeit des Wiederaufbaus und der Währungsreform gelesen. Mit der Theorie des literarischen Feldes des französischen Soziologen, Pierre Bourdieu, wurde die Beziehung zwischen Broch, Brody und Weismann als eigenes von unterschiedlichen Subfeldern durchmischtes Subfeld in Ansätzen herausgearbeitet. Anhand einer Untersuchung der einzelnen Kapitalformen (kulturelles, soziales, symbolisches,...) und ihrer Verteilung innerhalb des Subfeldes, wurde die Entstehungsgeschichte der Schuldlosen in dieser Arbeit von einem neuen Standpunkt aus betrachtet. Dabei wurden die Schwerpunkte so gewählt, dass die Erläuterungen auch als Kommentar zu den editierten Briefen Weismanns gelesen werden können.The topic of this thesis is the correspondence between the Austrian writer Hermann Broch and the German publisher Willi Weisman from Munich in the years 1946 to 1951. Hermann Broch emigrated to the United States via England in 1938, Weismann lived in the German region Rheinland and Berlin as a freelance bookseller until he was forced to serve in the army in 1941. During the last month of World War II he was sent to Munich, where he actively participated in the resistance during the last days of the war. His political activity certainly helped him to be amongst the first to become a publishing licence of the Information Control Division of the US in the year 1946. Together with a friend of Hermann Broch, Herbert Burgmüller, Weismann founded a literature magazine, called Die Fähre (the later title was Literarische Revue) and worked together with Ernst Schönwiese, the editor of the Austrian literature magazine das silberboot. Weismann sent his first letter to Broch in November 1946, asking him for articles he could publish in his magazine or even books for his publishing company. It wasn´t before 1948 that Weismann´s continuous interest in Broch´s work showed results. In 1950 he published Broch´s last novel entitled The Innocents. In the first part of this thesis the author wants to point out the historical, political and economical situation of Willi Weismann and his publishing company. As there has not been done much research on the publisher so far, neither on this period in German publishing industry, it was important to give a biographical overview and to check if Weismann was named in connection with this novel in secondary literature at all. Also it was necessary to at least give a draft of Broch´s current situation at the time of the correspondence. In the second part of the thesis Weismann´s letters to the Austrian writer in Exile have been edited. Apart from investigating certain aspects in literature and social history, especially in the German publishing field after WW II, the focus was also put on Broch´s Swiss publisher Daniel Brody of the Zurich publishing company Rhein Verlag. The tension between the three resulting from their different economical, cultural and also political backgrounds (American Exile, Return from Exile in Mexico and Swiss book production after 1945, and publishing in Germany during the period of reconstruction) was the focus of the analysis. Following the concept of the literature field by the French sociologist Pierre Bourdieu the specific relationship between the three men was regarded as their own subfield, resulting from their individual subfields. In the analysis of the different capital forms (social, cultural, symbolic,…) the focus was put on issues, which occur in the edited letters afterwards, so that the analysis also works as an explanatory comment
Hermann Broch. Le riflessioni sul tradurre e il rapporto con James Joyce
No full textL’intenzione di questo contributo è rendere conto, in primo luogo, delle riflessioni sul tradurre di Hermann Broch, espresse in un suo saggio teorico generale del 1946, intitolato Einige Bemerkungen zur Philosophie und Technik des Übersetzens (Alcune osservazioni sulla filosofia e sulla tecnica del tradurre); fondamentale, poi, è qui il rapporto tra autore e traduttore, così come si è concretizzato con l’intenso lavoro al cantiere della traduzione in inglese, ma anche di quella in francese,
della sua opera Der Tod des Vergil (La morte di Virgilio).
Un costante rimando allo Ulysses di James Joyce, con cui Broch si confrontò massicciamente nei suoi carteggi, si intreccia alle considerazioni esposte in questo saggio.The aim of this contribution is, first and foremost, to give an account of Hermann Broch's reflections on translation, expressed in his 1946 theoretical essay entitled Einige Bemerkungen zur Philosophie und Technik des Übersetzens (Some Remarks on the Philosophy and Technique of Translation). Fundamental here is the relationship between author and translator, as it took shape in the intense work on the English translation, but also on the French translation,
of his work Der Tod des Vergil (The Death of Virgil).
A constant reference to James Joyce's Ulysses, with which Broch dealt extensively in his correspondence, is interwoven with the considerations set out in this essay
Il cosmo interiore del poeta consegnato all'eternità. I paesaggi della mente e dell'anima nella "Morte di Virgilio" di Hermann Broch
No full textOne of the works of modernity that have left the greatest mark on German-language literature in terms of dramatic scope and symbolic value is Der Tod des Vergil by Hermann Broch. This “lyric poem”, as the author called it, is reminiscent of Joyce’s stream of consciousness in the last part, entitled Ether – The Return, which reveals the inner vision with which Virgil entrusts himself to the cosmic embrace before dying. Broch traces, through a kaleidoscope of botanical, zoomorphic, and celestial images, Virgil’s path towards his final hour. The complex metaphorical field, which alludes to the main stages of his life as both man and poet, is accompanied by signs of a sensory hypersensitivity, involving sight, hearing, and touch
«Sólo es creación aquello que vuelve a bajar a las llamas del renacimiento»: la reconstrucción de un Virgilio múltiple en La muerte de Virgilio (1945) de Hermann Broch
No full textArrastrado a una situación vital y artística extrema, Hermann Broch (1886-1951) compuso durante siete años La muerte de Virgilio (1945), una exploración lírica, experimental e histórica en torno al poeta latino Publio Virgilio Marón. A lo largo de cuatro secciones, cuya acción se asocia a un determinado elemento del mundo antiguo, Broch recrea las últimas horas de enfermedad y alucinación del poeta latino por antonomasia. Las dudas sobre el valor de la Eneida, el propósito de la literatura y la relación entre estética y política se exacerban en paralelo al descenso del poeta hacia la inconsciencia y la incorporeidad. Esta monografía interroga la construcción brochiana de un Virgilio múltiple, escindido entre el imperio de César Augusto y el siglo XX europeo, mediante una lectura de tres dimensiones: la política en relación con la estética, la textual y la cognoscitiva. Se ofrece, por lo demás, una breve introducción al problema de la «época de la desintegración de los valores» (Weltzenfal), concepto brochiano que fue tratado con profusión en Los sonámbulos (1930-32), Los inocentes (1950) y El valor desconocido (1933).LiteratoPregrad
Saggio, narrazione e Storia: Die Schlafwandler di Hermann Broch
No full textEssay and novel intertwine in Broch’s trilogy The Sleepwalkers. The Austrian author and essayist is not the first who interrupts telling a storyt by introducing some essays. Other examples are Sterne or Manzoni. In so doing, Broch implements a typical trait of novel as a literary genre, that is its telling about the whole world and its totality. If narration stops and doubles itself with parallel non-fiction, the essay, it underlines the crisis of a literary genre, that, for representing the whole world needs some less fictitious parts. I will consider the rule of the non-fiction sections in Broch’s trilogy as an instrument of mind reading for shaping characters and readers. Intertwining essay and novel has a realistic purpose of plausibility with a specific rhetoric strategy that foresees, stimulates and manipulates the readers and their comprehension.Because mind reading is not far away from empathy one can analize if and how the essay within the novel helps the readers’ narrative experience by integrating the fictitious words whithin their reality or expectancy.Scrittura saggistica e scrittura narrativa si intrecciano nella trilogia di Broch Die Schlafwandler. L’interruzione della narrazione provocata dagli inserti saggistici non è una invenzione del narratore e saggista austriaco (basti pensare a Sterne o al Manzoni dei Promessi sposi, per citare solo due pietre miliari del romanzo europeo), e anzi riflette la caratteristica attitudine al molteplice propria del genere romanzesco. Se la narrazione si interrompe e si sdoppia in un racconto parallelo (quello saggistico), è però anche evidente la crisi di un genere letterario, quello del romanzo, che, per assolvere alla propria aspirazione alla totalità e costruire trame persuasive, ha bisogno di annettere tessere a una diversa intensità di finzione letteraria. Mi interessa analizzare la funzione delle componenti saggistiche nella trilogia di Broch come strumento di un mind reading orientato alla creazione dei personaggi e in definitiva al lettore.Mi pare che l’uso combinato del saggio e del romanzo risponda a un obiettivo di verosimiglianza all’interno di una precisa strategia retorica che prevede, stimola e in certa misura prova a manipolare la capacità di comprensione del lettore. Dalla prospettiva dell’empatia, che si colloca evidentemente sulla linea di una sostanziale continuità con il mind reading, si può indagare se e come il saggio all’interno del romanzo favorisca l’esperienza narrativa del lettore, integrando i mondi narrati nella sua dimensione reale o nel suo orizzonte di attesa e di conoscenza
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