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Seller's Description:
Coral Gables. 1970. University of Miami Press. 1st American Edition. Very Good in Orange Hardcover Boards. No Dustjacket. 0870241230. Translated by John Gorman. 155 pages. keywords: . FROM THE PUBLISHER-FROM THE AUTHOR-The following study was based on a dissertation on the work and work of Heinrich Mann submitted in 1963 at the University of Munich. At the beginning, therefore, I had no hesitation in making a work largely intended for internal academic use in this form accessible to a broader readership. If that did happen anyway, it was because, as I read the German novelist, it became increasingly clear to me that the great literary myths of which his work lives are still in circulation in small coins in the world. We often speak of artistic freedom. However, we seldom ask where the writer, who once was grateful for a few poetic liberties granted to him, has the right to be artistically free. We talk about the existential problems of an author, but do not know whether, how, and since when the density existence as such can be lived. We use the form against the tendency, but forget that the word form is more relevant in the language of athletes and diplomats: there it means technical perfection and here the perfect courtesy. But can poetry alone survive its existence? Just as little as the lightly assigned task of uttering the unspeakable, which for the poet of blood doubtless would be a rather meager fare. We finally enjoy the distinction of dismissing literary fame and permanence as old-fashioned romance, but we destroy even trivial memos at the earliest after ten years. We use the form against the tendency, but forget that the word form is more relevant in the language of athletes and diplomats: there it means technical perfection and here the perfect courtesy. But can poetry alone survive its existence? Just as little as the lightly assigned task of uttering the unspeakable, which for the poet of blood doubtless would be a rather meager fare. We finally enjoy the distinction of dismissing literary fame and permanence as old-fashioned romance, but we destroy even trivial memos at the earliest after ten years. We use the form against the tendency, but forget that the word form is more relevant in the language of athletes and diplomats: there it means technical perfection and here the perfect courtesy. But can poetry alone survive its existence? Just as little as the lightly assigned task of uttering the unspeakable, which for the poet of blood doubtless would be a rather meager fare. We finally enjoy the distinction of dismissing literary fame and permanence as old-fashioned romance, but we destroy even trivial memos at the earliest after ten years. But can poetry alone survive its existence? Just as little as the lightly assigned task of uttering the unspeakable, which for the poet of blood doubtless would be a rather meager fare. We finally enjoy the distinction of dismissing literary fame and permanence as old-fashioned romance, but we destroy even trivial memos at the earliest after ten years. But can poetry alone survive its existence? Just as little as the lightly assigned task of uttering the unspeakable, which for the poet of blood doubtless would be a rather meager fare. We finally enjoy the distinction of dismissing literary fame and permanence as old-fashioned romance, but we destroy even trivial memos at the earliest after ten years. inventory # 44004.
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Seller's Description:
University of Miami Press, 1970. Good., Hardcover, Octavo, 155. Text clean. 155 pages. In worn dust jacket. Translated by John Gorman. Packed and shipped with care.
