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Fräulein Elses Begehren: Kolorierungen von Emotionen in Arthur Schnitzlers Novelle und in Manuele Fiors Comic

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Tacke A.

Studia Germanica Posnaniensia

2015

nr 36

139-158

The following article compares the representation of nakedness in the novella Fräulein Else (1924) by Arthur Schnitzler and in the Graphic Novel Fräulein Else (2009) by Manuele Fior. While Schnitzler is inserting parts of the musical score Carnaval by Robert Schumann at that point of the text, when Fräu-lein Else is showing herself naked publically, and thus refuses to give more details, Fior cites in his Comic adaption the famous painting Nuda Veritas by Gustav Klimt, which was scandalized at its time. Slight changes are made also at the ending: while Schnitzler refers to the Orpheus-Eurydike-Myth, Fior compares the interior monologue of Fräulein Else to the myth of Echo.

Bohaterowie Arthura Schnitzlera w steatralizowanej przestrzeni Wiednia

84%

Surowiec J.

Białostockie Studia Literaturoznawcze

2011

nr 2

167-183

The article deals with the work of a Viennese modernist Arthur Schnitzler in the context of the phenomenon of theatricalization in city-space. The author attempts to define the civilizational and cultural reasons for theatrical behaviours and the results of living modern life a la spectacle. She believes that Arthur Schnitzler, incorporating into literature one of the most important scientific discoveries of his time – psychoanalysis, showed the relationship between the city and mental diseases but also between the latter and the phenomenon of theatricalization.

Existence a ten, kdo omdlívá ve V(v)ěci Makropulos, Tažení stínů (moderny) a v Duchu (středoevropské) země

83%

Celhofferová K.

Slovo a smysl - Word & Sense

2016

tom 13

nr 26

61-76

This study is concerned with the swooning as one of the characteristic motifs of modernism, arising from a period of reflexive attention. First it will examine this in the dramas of Arthur Schnitzler Zug der Schatten and Frank Wedekind’s Erdgeist, then will turn to the demarcated realm of Central European Modernism (with support from Moritz Csáky’s characterization of Zentraleurope) as located in the works of Karel Čapek. Janáček’s libreto The Makropulos Affair comments on the basic polemics in whose background are shown the crucial importance of the motif of fainting in the overall construction of Čapek’s early works.