By Melissa S. Lane, Martin A. Ruehl
The poet Stefan George (1868-1933) was once probably the most vital cultural figures in smooth Germany. His poetry, in its originality and influence, has been ranked with that of Goethe, HÃ¶lderlin, or Rilke. but George's achieve prolonged some distance past the sector of literature. in the course of his final 3 a long time, he attracted a circle of disciples who subscribed to his homoerotic and aestheticist imaginative and prescient of existence and sought to remodel it into truth. The works and considered the circle profoundly affected the highbrow and cultural attitudes of Germany's knowledgeable heart classification from the start of the 20th century, and are hence an important to Germany's cultural and highbrow heritage. The transition from the aestheticist, cosmopolitan values the circle embraced within the early 1900s to the extra explicitly political and patriotic perspectives lots of its individuals espoused in the course of the Weimar Republic either conditioned and mirrored a momentous transformation in German inspiration. The intersection of tradition and politics within the George Circle has bought little recognition in English-language scholarship earlier. This quantity comprises contributions from significant students in either English- and German-speaking international locations. Its viewers comprises students and scholars of German languages and literature, German heritage, and reception of the classics, between different fields. participants: Adam Bisno, Richard Faber, RÃ¼diger GÃ¶rner, Peter Hoffmann, Thomas Karlauf, Melissa S. Lane, Robert E. Lerner, David Midgley, Robert E. Norton, Ray Ockenden, Ute Oelmann, Martin A. Ruehl, Bertram Schefold.
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Additional info for A Poet's Reich: Politics and Culture in the George Circle
In addition to Edith Landmann, who played the role of Eckermann to George’s Goethe, there were other women who occupied positions in the circles around George, even if they were rarely noticed by outside observers. 21 The Circle’s educational program, however, was almost exclusively designed for the male youth of Germany. ”22 If the world of Circle was a männerbündisch world, it was also an intensely exclusive world. ”23 Furthermore, later customs such as the avoidance of civil surnames and the replacement of forenames with internal aliases within the Circle contributed to this impression of a secret association, being perhaps further reinforced by George himself through his restless and nomadic lifestyle.
19 Although he considered the members of his Circle as heralds and harbingers of this Secret Germany, he did not identify them with it. In the 1920s, at any rate, the idea of the Secret Germany replaced the cult of Maximin as the foundational myth of the Circle. The last volume of the Blätter für die Kunst appeared in 1919. With the exception of the introduction, it only contained poems, which were all published anonymously. The decision to omit the authors’ names was symbolic. 20 With this act, the Circle effectively discarded its original mission as Künstlergesellschaft.
See Friedrich Wolters, “Frühe Aufzeichnungen nach Gesprächen mit Stefan George zur ‘Blättergeschichte,’” ed. M. Philipp, Castrum Peregrini 225 (1996): 5–62; here, 12. Philipp’s juxtaposition of Wolters’s early 1913 manuscript with the 1930 final version of the “Blättergeschichte” impressively demonstrates the increasing nationalization of the Circle after the First World War. See Philipp, Castrum Peregrini, 15–16. 38 Salin, Um Stefan George, 264. For George’s political aspirations during and after the First World War, see Volker Dürr, “Stefan George und Gottfried Benn im europäischen Kontext: Politische Aspekte der ästhetizistischen Tradition,” in Das Stefan-George-Seminar 1978 in Bingen am Rhein, ed.