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Ladataan... Henry von Ofterdingen: A Romance (Dover Thrift Editions) (vuoden 2015 painos)Tekijä: Novalis (Tekijä), Ludwig Tieck (Johdanto)
TeostiedotHeinrich von Ofterdingen (tekijä: Novalis (Author))
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Kuuluu näihin kustantajien sarjoihinBiblioteca Popular de L'Avenç (65-66) insel taschenbuch (0596) Reclams Universal-Bibliothek (8939) Sammlung Hofenberg (Novalis) Sisältyy tähän:Novalis' Werke : T. 1/2 (tekijä: Novalis) Heinrich von Ofterdingen und Die Lehrlinge zu Sais (Die grosse Erzähler-Bibliothek der Weltliteratur) (tekijä: Novalis) Schriften. (2 Bde. in 3 Teilen) (tekijä: Novalis) Innoitti:Krieg der Sänger (tekijä: Robert Löhr) Tämän tekstillä on selostus:Sisältää opiskelijan oppaan
A gem of German Romanticism, this literary landmark continues to enchant readers with its combination of poetic and fairy tale elements. The young hero of this unfinished experimental novel envisions a blue flower that represents desire, love, and the metaphysical longing for the infinite. He travels the world in pursuit of his dream, discovering that poetry is everywhere for those who can perceive it. Author Friedrich von Hardenberg - better known as Novalis (1772-1801) - was a poet and philosopher who worked closely with Friedrich Schlegel and Ludwig Tieck. Novalis's influence extended to Hermann Hesse and Jorge Luis Borges, and the "blue flower" motif that he originated in Henry von Ofterdingen has appeared in the works of C. S. Lewis and George R. R. Martin. This edition features a Life of the Author and an Afterword by Ludwig Tieck. Kirjastojen kuvailuja ei löytynyt. |
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It opens with our hero having a very detailed dream which includes the face of his beloved (to come) in the center of a blue flower (the quest for the flower or the flower itself becomes an indelible, common symbol of Romanticism generally; perhaps you’ve heard of Penelope Fitzgerald’s book…it’s about Novalis himself.) Young Heinrich goes to Augsburg to meet his grandfather and is entertained during the journey with tales and stories of varying quality and interest. Once there he meets Klingsohr (based on a historic figure from Parzival who has appeared over and over again in everything from Richard Wagner to Hermann Hesse), with whom he has “deep” conversations about the meaning of poetry. The first part closes with a chapter that has the densest, strangest, most incredibly symbol-laden “fairy tale” that it would probably take a lifetime (or more) to unpack.
Ultimately, just too…poetic, too self-indulgent, too swoony, too idealized to suit my taste (or temperament). But I can also see how it has been enormously influential. ( )