GERMAN STUDIES IN AFRICA- Jahrbuch des Germanistenverbandes im südlichen Afrika- Journal of the Association for German Studies in Southern Africa- Band/Volume 41/2013
Edited By Carlotta von Maltzan
The first part of this volume comprises contributions dealing with different approaches to the theme of travel and science, partly inspired by searches on the African continent. It opens with an article on Emil Holub, a relatively unknown Africa traveller, followed by an article analysing the recorded experiences of Africans travelling Germany and Austria in the nineteenth century. Another article provides an overview over detective novels set in Africa, with the travelling detective as a mediating figure. Seyfried’s novel Herero is the subject of a reappraisal. Other contributions deal with Volker Braun’s critique of real existing socialism, written in the tradition of the late Enlightenment critic Wieland, with the question of adoption in Lessing’s Nathan der Weise, with reports of expeditions to the Arctic and its fictional predecessors in the nineteenth and twentieth century, with Zafer Şenocak’s novel Die Prärie; and finally, with Hans-Ulrich Treichel’s 2007 narrative Der Papst, den ich gekannt habe. The second part of this volume presents contributions on Karl Grosse’s novel Der Genius, on the unpublished correspondence between Insel publishers and Stefan Zweig during the First World War, on Egon Friedell’s Judastragödie of 1923, on Gerhart Hauptmann’s autobiographical writings, and on Christian Kracht’s controversially received novel Imperium. This volume ends with two interviews, one with Thomas Stangl and another one with Phlipp Khabo Koepsell.
Motivating the Great Betrayal in Egon Fridell’s. Die Judastragödie FREDERICK HALE
Motivating the Great Betrayal in Egon Fridell’s Die Judastragödie FREDERICK HALE North-West University Abstract In 1923 the eminent Viennese philosopher, playwright, cultural historian, and theatre critic Egon Friedell turned to what by then had become an evergreen theme in Europe- an literary history by publishing his Judastragödie as an alternative explanation of what had motivated Judas Iscariot to betray Jesus. In doing so, he swam vigorously against a stream of modern efforts to rehabilitate the reputation of that despised character. Jew- ish in origin but a convert to Christianity of a post-orthodox sort, Friedell explored his theme against the background of first-century Judaism, which he portrayed in a depre- cating light, one chapter in a long saga of materialism which was incompatible with the spirit of Jesus. It is argued that Friedell’s contrarian interpretation manifested various weaknesses which rendered his portrayal of Judas self-contradictory and arguably im- plausible. Egon Friedell’s Die Judastragödie, which had its premiere performance at Vienna’s Burgtheater on 6 March 1923, not only marked a new dimension of this writer’s multifaceted productivity but also contributed to a growing body of post-Enlightenment creative literature in several languages in which the arch-traitor in the history of Christendom was re-interpreted and at times exonerated. Although literary scholars have illuminated many previously unexplored corners of that international tradition, Friedell’s contribution to it remains largely tenebrous. His biographer Wolfgang Lorenz called Die Judastragödie Friedell’s „Lieblingskind” (Lorenz 1994:222), but this subjective status has not led to any noteworthy...
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