On the centenary of Fontane’s death and at the turn of the century these essays take a new look at this supreme chronicler of Prussia and of the Germany that emerges after 1871. Written by scholars from different countries and disciplines, they focus on novels and theatre reviews from the perspectives of philosophy, sociology, comparative literature and translation theory, and in the contexts of topography and painting. Connections and crosscurrents emerge to reveal new aspects of Fontane’s poetics and to produce contrasting but complementary readings of his novels. He appears in the company of predecessors and contemporaries, such as Scott, Thackeray, Saar, Ibsen, Turgenev, but also in that of writers he has rarely, if ever, been seen beside, such as E.T.A. Hoffmann, Stendhal, Trollope, Henry James and Edith Wharton, Beckett and Faulkner. The historical novel and the social position of women are each a recurring focus of interest. Fontane emerges as receptive to other voices, as a precursor of developments in modern narrative, and confirmed as the novelist who brings the nineteenth-century German novel closest to the broad traditions of European realism.

What happens when fashionable forms of unserious speech prove to be contagious, when they adulterate and weaken communicative spheres that rely on honesty, trust, and sincerity? Demonstrating how the tension between irony and avowal constitutes a central conflict in Fontane's works, this book argues that his best-known society novels play out a struggle between the incompatible demands of these two modes of speaking. Read in this light, the novels identify an irreconcilable discrepancy between word and deed as both the root of emotional discord and the proximate cause of historical and political upheaval. Given the alarm since 2016 over unreliability, falsehood, and indifference to truth, it is now easier to perceive in Fontane's novels a profound concern about language that is not sincere and not meant to be taken literally. For Fontane, irony exemplifies a discrepancy between language and meaning, a loosening of the ethical bond between words and the things to which they refer. His novels investigate the extent to which human relationships can continue to function in the face of pervasive irony and the erosion of language's credibility. Although Fontane is widely regarded as an ironic writer, Tucker's analyses reveal a critical distance between his works and the prospect of irony as a dominant idiom. Revisiting Fontane's novels in a post-truth age brings the conflict between irony and avowal into sharper relief and makes legible the stakes and contours of our own post-truth condition.

The novels of Theodor Fontane (1819-1898), Germany's most important Realist, have long been appreciated for the symbolism of their represented worlds. In this study, Michael White examines the significance of space and spatial experience across Fontane's oeuvre, providing analyses of non-fiction prose and less well-known novels, alongside major works and poetry. The study reveals not only a complex and varied spatial symbolism, but also that space itself is a thematic concern in Fontane's writing. His texts portray human beings' relationships with their worlds, and how and to what end they invest their environment with meaning. Fontane's novels and travel writings emerge as profoundly reflexive discourses on art and its function for the individual. Michael J. White completed his Ph.D. at St Andrews and now teaches German at the Institut de la formation des maîtres, Université d'Artois.

Aimed primarily at English-speaking undergraduate students of German literature, but also with graduate students and a general readership in mind, this book deals with the literary landscapes in Theodor Fontane's best known novels - 'Schach von Wuthenow' (1882), 'Irrungen, Wirrungen' (1888), and 'Effi Briest' (1895). It is an illuminating introduction to one of Europe's finest novelists. "It is an excellent idea to guide readers through the novels by way of focusing on the landscapes. James Bade brings an enormous amount of material into the discussion and is always detailed and precise. The book reads very well and enriches the Fontane literature.--publisher website.

Wide-ranging survey of the criticism devoted to Theodor Fontane, with particular emphasis on more recent theoretical trends. This study of the literary scholarship on Fontane's narrative works is the first to present a systematic review of the ever-growing body of criticism on Germany's major realist novelist. Significant developments in Fontane criticism are traced in historical context, from their beginnings in contemporary commentary to the present day. The author places special emphasis on scholarship since 1980, analysing the influence of new literary critical trends in this period; she also considers the effect upon traditional literary criticism of feminism, psychoanalysis, and comparatist approaches, and the fresh developments in reception history, translation, and media studies.

Human life is susceptible of changing suddenly, of shifting inadvertently, of appearing differently, of varying unpredictably, of being altered deliberately, of advancing fortuitously, of commencing or ending accidentally, of a certain malleability. In theory, any human being is potentially capacitated to conceive of—and convey—the chance, view, or fact that matters may be otherwise, or not at all; with respect to other lifeforms, this might be said animal’s distinctive characteristic. This state of play is both an everyday phenomenon, and an indispensable prerequisite for exceptional innovations in culture and science: contingency is the condition of possibility for any of the arts—be they dominantly concerned with thinking, crafting, or enacting. While their scope and method may differ, the (f)act of reckoning with—and taking advantage of—contingency renders rhetoricians and philosophers associates after all. In this regard, Aristotle and Blumenberg will be exemplary, hence provide the framework. Between these diachronic bridgeheads, close readings applying the nexus of rhetoric and contingency to a selection of (Early) Modern texts and authors are intercalated—among them La Celestina, Machiavelli, Shakespeare, Wilde, Fontane.

'I loathe what I did, but what I loathe even more is your virtue.' Seventeen-year-old Effi Briest is steered by her parents into marriage with an ambitious bureaucrat, twenty years her senior. He takes her from her home to a remote provincial town on the Baltic coast of Prussia where she is isolated, bored, and prey to superstitious fears. She drifts into a half-hearted affair with a manipulative, womanizing officer, which ends when her husband is transferred to Berlin. Years later, events are triggered that will have profound consequences for Effi and her family. Effi Briest (1895) is recognized as one of the masterpieces by Theodor Fontane, Germany's premier realist novelist, and one of the great novels of marital relations together with Madame Bovary and Anna Karenina. It presents life among the conservative Prussian aristocracy with irony and gentle humour, and opposes the rigid and antiquated morality of the time by treating its heroine with sympathy and keen psychological insight. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

Kathryn Ambrose offers a new approach to the Woman Question in mid- to late-nineteenth-century English, German and Russian literature. Using a methodological framework based on feminist theory and post-structuralism, she provides a re-vision of canonical texts (such as Jane Eyre, Wuthering Heights, Middlemarch, Effi Briest, Fathers and Children and Anna Karenina) alongside lesser-known works by Emily and Charlotte Brontë, George Eliot, Theodor Storm, Theodor Fontane, Ivan Turgenev and Leo Tolstoy. Her exploration of the semiotics of barriers – as opposed to the established approach of the semiotics of space – makes for a rewarding reading of this period of literature and establishes new cross-cultural and literary connections between the three countries.

"The essays represent a selection of papers delivered at an international conference held under the title 'Europe and its Others: Interperceptions, Past, Present, Future', at St Andrews University in June 2007, under the aegis of the Institute for European Cultural Identity Studies"--Introd.

Reading George Eliot as a European novelist among other European novelists, John Rignall explores her use of European travel, scenes and locations in her fiction and also places her novels in conversation with the work of other major European writers. Throughout the book, Rignall shows Eliot's engagement with the cultures of France and Germany, suggestively making the case that Eliot's novels belong to the tradition of the European novel that descends from Cervantes. Rignall develops the fundamental theme of Eliot's position as a European novelist in chapters that explore the significance of Eliot's first visit to Germany with G. H. Lewes, Eliot's ideas on the cultural differences between French and German writing, the incidental part travel plays in novels such as Daniel Deronda and Middlemarch, the role of European landscapes in her fiction, the dialogical relationship between Eliot and Balzac, comparisons between Middlemarch and Flaubert's Madame Bovary, and connections between the novels of Eliot, Gottfried Keller and Theodor Fontane. Daniel Deronda is examined both within the wider context of European Jewish life and as part of a tradition of French novels that harkens back to Balzac and anticipates Proust. Rignall's final chapter takes up Nietzsche's notorious criticism of Eliot in Twilight of the Idols, showing that Eliot, with her sceptical intelligence, insight into the essentially metaphorical nature of language, and grasp of modernity, has something in common with this philosophical iconoclast.