巴纳特现代主义文学的代表作家弗朗茨-哈维尔-卡普斯

Roxana Nubert, Ana-Maria Dascălu-Romițan
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引用次数: 0

摘要

与特兰西瓦尼亚-撒克逊文学或德语布科瓦纳文学相比,现代主义者对巴纳特-斯瓦比亚文学的影响要小得多。卡普斯(Franz Xaver Kappus, 1883-1966)的表现主义作品影响了罗马尼亚西部的现代主义文学。他因与里尔克的书信往来而成名。代表作《十四个幸存者》(1918)受到集体灾难的影响,代表了某种乌托邦,预示着世界的终结。一个可怕的图像与一种特殊的不真实塑造了事件。卡普斯的幻想并没有因为恐惧和恐怖的形象而退缩。在表现主义文学中,任何对和谐美原则的破坏都是在恐惧中发生的。怪诞的特征属于这本书的表现主义特征。有趣的是,可怕和怪诞表现出它们恶魔的一面,并以此摧毁熟悉的现实。这样的发展表明,卡普斯遵循了e.t.a.霍夫曼、弗兰克·韦德金德、弗朗茨·卡夫卡或乔治·海姆都属于的一种传统。小说中也有自然主义的痕迹。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Der Schriftsteller Franz Xaver Kappus als Vertreter der literarischen Moderne im Banat
Abstract In comparison to the Transsylvanian-Saxon or to the German-speaking Bukowina literature the modernists exerted a more reduced influence on the literature of the Banat Swabians. Franz Xaver Kappus (1883-1966) influenced the literary modernists in the Western part of Romania especially through his expressionistic texts. He became famous thanks to his correspondence with Rainer Maria Rilke. The masterpiece Die lebenden Vierzehn (The Fourteeen SURVIVORS) (1918) is swayed by a collective catastrophe and represents a certain kind of utopia, which anticipates the end of the world. A dread causing image with a peculiar unreality shapes the event. Kappus’ fantasy does not shrink back from images of dread and horror. As in the expressionistic literature any destruction of the harmonious beautiful principle comes about in dread. The grotesque features belong to the expressionistic character of the book. It is interesting that the dreadful and the grotesque show their demonic side and with it they destroy the familiar reality. Such a development demonstrates that Kappus follows a tradition to which also E. T. A. Hoffmann, Frank Wedekind, Franz Kafka or Georg Heym belong. There are also streaks of naturalism in the novel.
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