Definition of Pathos. Hasenclever's Beyond, performed in Leipzig in 1920, is little more than a staccato, passionate interchange between two symbolic characters surrounded by hallucinatory effects (dissolving walls, trees growing into windows and looming shadows) and involved in a mystical, nebulous presentation of life and death. [A]lles andere auer uns ist unwirklich und wird erst zur Wirklichkeit, wenn wir kraft der Kraft des Geistes es zur Wirklichkeit machen.Kurt Pinthus, Rede fr die Zukunft in Die Erhebung. Another dramatische Dichtung, Antichrist, quotes Nietzsche's last utterance as a motto: Do you understand me? For him, too, pathos concerned the entire personality or the totality of the mental faculties. Wolfgang Frhwald and Gnter Niggl (Berlin: Dinker, 1971); Hans Meyer, Expressionismus und Novemberrevolution, Spuren 5 (1978): 10-13. This is due in part because emotions and passion can be engulfing and compelling, even going against a sense of logic or reason. To argue, then, is not only to provide arguments for or against a thesis; it is, as Jean-Blaise Grize puts it, a process that aims at exerting an influence on ones opinion, attitude, even behaviour (Grize 1990, 41, the translation is Amossys). An example of this widespread tendency is expressed by the expressionist painter Franz Marc. The definition of the three main types of expressionist writing is inadequate for evaluating how closely work of other periods may be stylistically related to expressionism. Leonhard, Rudolf. He ascends into heaven, and the Evil Spirit is overthrown. Not only does it underline the rebellion against conventional modes of seeing and representing, but in emphasizing the necessarily fictional nature of the constructed image, it presents its message as merely one possible mode of perception among many. Manifeste und Dokumente, 124. 166. A great gulf emerges between Here and the Beyond; and the belief that, to quote Georg Kaiser, Ultimate value lies beyond human affairs6 becomes part of the stock-in-trade of many dramatists of this time. / Die Erde ist wie ein fetter Sonntagsbraten, / Hbsch eingetnkt in se Sonnensauce. Lichtenstein, Sommerfrische, MHD 63 (my emphasis). See Manifeste und Dokumente, 326-332. 209. Instead, as we have seen, the new generation of expressionist writers around 1910 adopts certain practicesfor example the re-coding of nature and of the body, the subversion of traditional topoi, or the reversal of conventional hierarchies of value (such as placing the sublime over the marginal, the natural over the artificial)which re-write the world as a construction of human consciousness, thereby liberating it from inherited values and perceptions. The subversion of those traditional transcendental signifieds, such as God (whose heaven is now repeatedly described as empty)37 and the subject (now a dissociated entity, a fragmented corpse) is accomplished by their being replaced by autonomous and indeterminate signifiers. This is a unique use of pathos as a literary device. In W. Rothe (ed. Subsequent commentators have also used this word without, however, defining it adequately. Franz Kafka, Briefe 1902-1924, ed. / And today they scream out loudly on all the streets: / no, there it is, it's concrete reality.17 In conceding that the world which one experiences is actually only imagery or the result of painting (Bilderei, or Malerei) Sack points to the discursive and fictional nature of that dream one might otherwise take for concrete reality. But his attack is not simply a logical, Kantian form of cognitive criticism. 113-127. Secondly, since all points of orientation are seen simply as discursive fictions which have merely been postulated, not consolidated, all values appear as relativeThere is no perspective left in the moral world. The feelings evoked by the poet are grief and sympathy for all who die, because all death is an individual loss and a loss for mankind as a whole. For a commentary and extensive bibliography on the political commitment and active participation of many expressionists in revolutionary activity such as the November revolution. The Significance of the Avant-Garde for Contemporary Aesthetics: A Reply to Jrgen Habermas. New German Critique 8.1 (1981): 19-22. This autonomy of the signifier and its liberation from the realm of the referential is linked to the purely expressive function of these texts. Our Haupt-Mann, you see, is impressive as an artist, but limited as a prophet.1 What is needed, the critic believes, is one to interpret the symbols, a seer and prophet, instrument of mantological divination. 59-60; Paulsen, Expressionismus und Aktivismus, p. 132. Euringer conceived of the theatre as a Theatre of Nature, embracing fire, earth, water and air, the constellations and spirits of tribal deities: the people were to see presented before them an enactment of their chthonic origins. The common eschatological orientation of the poems is also important here, since natural phenomena now take on significance not as uplifting terrestrial manifestations of a sublime, redemptive ideal world beyond but in terms of a coming catastrophe or a failure of redemption. Reinbek: Rowohlt, 1983. Die Intensitt macht ihren Wert aus. The last one keeping us company / sitting right across from us / is nothingness20, THE EXPRESSIONIST AVANT-GARDE: THE CYNICAL SUBLATION OF ART AND LIFE, With this critical shift towards an attitude of skepticism the realization grows that since there is no longer any single ideological constellation which can have an ultimate claim on the truth, alternative discourses may be created to displace the dominant ideological constructs. Eine Welt brach zusammen Religion, Wissenschaft, MoralPhnomene, die aus Angstzustnden primitiver Vlker entstanden sind. Programme. Typical of the revolutionary and avant-garde impulse within expressionism is that it not only reverses traditional hierarchies but subverts those conventional values associated with nature, such as the monumental and sublime, which appear to be held in place by nature's unarguable givenness. As nature's human counterpart, the body too is subject to a similar re-coding. 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