The earthquake in Chili

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The earthquake in Chili is a novella by Heinrich von Kleist , which he probably wrote in 1806. It was first published in 1807 in Cotta's “ Morning Paper for Educated Estates ” under the title Jeronimo and Josephe. A scene from the Chili earthquake, 1647 . In 1810 it reappeared under the now familiar title in the first volume of the stories .

background

While the earthquake of 1647 in Santiago de Chile ("St. Jago, [the] capital of the Kingdom of Chili") provides the historical template for the text, the Lisbon earthquake of 1755 was the main reason for Kleist in terms of the history of ideas . Other contemporary philosophers and poets, such as Poe , Voltaire , Rousseau, and Kant , also used this theme to discuss the theodicy problem , among other things . Theodicy, the question of an almighty and good God in the face of suffering and injustice in the world, was prominently dealt with in the Enlightenment by Gottfried Wilhelm Leibniz (1646–1716), who came to the conclusion that the existing world was the best possible world. The Lisbon earthquake put this formulation in doubt again. In addition to the theodicy debate, the discourse on the state of nature is also significant for Kleist's train of thought. Rousseau's thesis that man is noble and good in a primordial, property-less society, challenged the traditional view of man who is evil from birth ( original sin ):

“People are bad; a sad and persistent experience needless to say; however, man is naturally good, I believe I have shown it; […] Admire human society as much as one will, it will therefore be no less true that it necessarily leads people to hate each other to the extent that their interests intersect, and to render apparent service to one another and in reality to inflict all imaginable evils. "

Rousseau's thesis was that when humans return to their natural state, they will be morally healthy again. This was controversially debated and vehemently rejected by church and conservative sides. Kleist's story is both an answer to the question of theodicy as well as to the question of the natural goodness of man.

More specifically related to Kleist's biography, the background was the defeat of Prussia in the war against France in 1806 ( battle of Jena and Auerstedt ), combined with a catastrophic, brief suspension of social conditions. Kleist probably wrote the work during his time in Königsberg (May 1805 to August 1806). He was in French captivity from January to July 1807; During this time, his friend Otto August Rühle von Lilienstern (1780–1847) brokered the work to the publisher Cotta. The Chili earthquake was Kleist's first printed story.

Attempts have also been made to read the novella as a "philosophy of history of the poetic", "which responds to the political processing of the revolution [of 1789]".

Literary template

The basic structure of the plot is based on the novel Les Incas. Ou la Destruction de l'Empire du Pérou (1777) returned by Jean-François Marmontel ; there it is Alonzo Molina , a Spanish conquistador , who desires an indigenous virgin, Cora, consecrated to the sun deity. Molina wants to convert the Indians in Peru to Christianity and protect them from pillage by the conquistadors; but only after an earthquake that destroys the temple in which Cora is held do they come together. Cora becomes pregnant; when this is recognized, she is to be executed because she has violated the vow of chastity. Molina faces the court and makes a plea for Christian forgiveness and the permission of natural feelings, such as love for Cora. The Indians are persuaded to marry Alonzo and Cora; but in an attack by the conquistadors under Pizarro , Alonzo falls, Cora dies of grief with her child on her husband's grave.

The story

characters

  • Don Henrico Asteron, father of Donna Josephe
  • Donna Josephe Asteron, daughter of the noble and wealthy Don Asteron
  • Jeronimo Rugera, civil tutor and lover of Donna Josephe
  • his father who slays him during the mass hysteria
  • Don Fernando Ormez, son of the commandant of St. Jago, friend of Josephe and Jeronimo
  • Donna Elvire, wife of Don Fernando and mother of son Juan
  • Master Pedrillo, shoemaker, who incites the murder of Josephe and Jeronimo
  • Juan, son of Don Fernando Ormez and Donna Elvire
  • Philipp, son of Josephe and Jeronimo
  • Donna Constanze belongs to the community around Don Fernando
  • the canon, who in his sermon to the lynching prompts
  • the archbishop who has Josephe put before the executioner
  • the abbess who took Josephe in and used herself for her
  • the viceroy who orders Joseph's beheading

The configuration shows Jeronimo and Josephe as well as the figures around Don Fernando as protagonists and the representatives of the institutions church, state, family and popular anger as antagonists . With the protagonists, however, there is a shift from the first to the third main part: “Jeronimo and Josephe, the dominant main characters” of the first part, “step back behind the figure of Don Fernando”, who is being built up as a “divine hero”, but is more hesitant Un-hero proves.

action

The tutor Jeronimo falls in love with his student Josephe. This reciprocates his love and both are in a "tender agreement" ( page 679, line 10 ). The two disregard the father's warnings, and Jeronimo is released and the daughter is put in a convent. Although Jeronimo is without employment and income, he does not break contact with Josephe and a physical union takes place in the monastery garden, which Kleist describes with “full happiness” ( page 679, lines 17f. ). The child thus conceived is born on the feast of Corpus Christi. Josephe is sent to prison and despite “otherwise irreproachable behavior” ( page 679, line 31 ), she is tried on the orders of the archbishop. The Viceroy converts the condemnation to death by fire into a death sentence by beheading. Jeronimo is also put in prison; the news of the death sentence for his beloved almost makes him "lose consciousness" ( page 679, line 42 ). His subsequent attempt to escape remains unsuccessful. Believing in God, he asks the Holy Mother of God to save those condemned to the death penalty. In the "utter hopelessness of his situation" ( page 680, line 8 ) he desperately decides to end his life by hanging on the day of his beloved execution. Here, however, he is surprised by the earthquake and is "rigid with horror" ( page 680, line 18 ). The prison walls collapse and he can escape. He walks through the ruined city, and everywhere he meets destruction and death. He stops outside of the city and passes out from the suffering and exertion. When he wakes up again, he feels satisfied and thanks “God for his wonderful salvation” ( p. 681, line 13 ). Only then does he remember Josephe, and he goes back into town to look for her. There he asked the people whether the execution had been carried out. After he received the answer that this was the case, “he gave himself over to his full pain” ( cf. p. 681, line 33 ) and does not understand why he was saved. He wishes “that the destructive force of nature” ( page 681, lines 34f. ) Would like to break in over him again. But since this does not happen, he continues his search and finds Josephe and their child at a spring in a lovely valley outside the city. The lovers embrace blissfully and thank Mary for the miracle of salvation.

Josephe tells Jeronimo that she also managed to escape through the collapse of the building and then went to the monastery where her boy was and that she “unafraid to use the steam” ( page 682, lines 2, 21 ) was able to save the collapsing building. With this she then ran to the prison, but this was also destroyed and Jeronimo could not be found. So she rushed on through the city. There she saw the archbishop's body and that the viceroy's palace and courthouse were on fire. She walked on until she came to the valley outside the city, where she met her lover again.

The two feel in this place "as if it were the valley of Eden ..." ( page 683, line 10 ). “How much misery had to come over the world” ( cf. p. 683, line 34 ) so that they were finally happy? They fall asleep under many kisses. The next morning, a young man, Don Fernando, came up to them with a toddler and asked Josephe if she could breastfeed the child because the mother was badly injured. Josephe granted the wish, and in return they were invited to breakfast by the young man's family. They are all "treated with so much confidentiality and kindness" ( page 684, line 24 ) that they no longer know whether they have only dreamed of the terrible past. It is told of the bad conditions in the city, and that due to the great misfortune the differences in class disappeared because everyone went through the same thing. Jeronimo and Josephe decide to ask for their lives from the viceroy.

When the news spread that a thanksgiving mass was to be celebrated in the only surviving church, Josephe and Jeronimo decided to take part, contrary to Donna Elisabeth's warnings. In the church the eldest of the canons preaches and sees the earthquake as God's punishment for “the moral corruption of the city” ( page 687, line 40 ). He also mentions the outrage that took place in the monastery garden. Furthermore, he hands over the souls of the perpetrators "to all the princes of hell" ( page 688, line 2 ). The churchgoers recognize the guilty and demand their punishment. A commotion ensues and Don Fernando is mistaken for Jeronimo; his death is required. Then Jeronimo bravely reveals himself. He and Josephe and the Don Fernandos family manage to leave the church with the children. But the mob is already waiting in front of it, and Jeronimo is killed with a club by his own father. Don Fernando's sister-in-law, Donna Constanze, also becomes a victim of the masses. Josephe rushes with the words: Here kill me, you bloodthirsty tigers! (Page 689, line 38) into the crowd and is slain by the leader, Master Pedrillo. Don Fernando defends himself with a sword and kills some attackers. But the leader, Master Pedrillo, succeeds in grabbing the little son of Don Fernando and smacking him "at the corner of a church pillar" ( page 690, lines 2f. ). Then all withdraw and move away. The corpses are being carried away; Don Fernando and his wife Donna Elvire accept the son of Josephe and Jeronimo as their foster son, since their son has been killed.

construction

The narrative consists of three parts:

  • The prehistory to the day of the planned execution and the natural disaster
  • The idyllic valley, community of people across class boundaries
  • Thanksgiving service and lynchings

But this structure is only superficially clear and simple. Kleist's central figure of thought is not dialectical, in the sense of thesis - antithesis - synthesis, but antagonistic. Every description in the story is translated into the opposite: Jeronimo's suicide is prevented by a deadly earthquake, the thanksgiving service turns into an orgy of hate. The story is characterized by tilting figures and an intertwining of rescue and annihilation. This overlapping of contradictions and opposites has shaped Kleist's thinking since he was a student, but is formulated above all in the very latest educational plan from the Berlin evening papers , which Kleist published in 1810. A consistent pattern of interpretation is not possible for the reader, on the contrary, Kleist breaks several times with expectations of the text and literary conventions, one reason why the text has been so widely received to this day, and especially in current research.

On closer reading, however, one recognizes the classic five-part structure of the regular drama in the rough three-part division of the plot : I. Prehistory and preparation for the execution or suicide, II. “ Peripetie ”, in which “the destructive society is now self-destructing due to the natural disaster will find salvation while their tortured victims ”, III. the "middle section that seems to herald compensation and reconciliation", IV. another twist, but this time a "peripeteia to the worst", the departure to the church, and V. the catastrophe with the "infernal hate sermon [and the subsequent] murderous mass hysteria" .

Language and narrative

The opening sentence is characteristic of Kleist, which soberly describes a dramatic state and from a narrative point of view does not reveal any emotional involvement. This style has characterized Kleist's work since the time in Königsberg, when, as a court official, he often had to read such clear and scruffy writing in files and use it himself. Throughout the narrative, the narrator remains without interpretation or emotional emotion, even in cruel scenes. On the other hand, the chaotic situation, such as the murder by the mob, is implemented in a linguistically virtuoso manner: Don Fernando, when he saw Constanzen's corpse, glowed with anger; he drew and swung his sword, and struck that he would have split him in two, the fanatical murder servant who caused this atrocity if it had not escaped the furious blow by turning it around. The turbulent situation of the fight corresponds here to the wild sequence of main and subordinate clauses in partly large-scale constructions. Furthermore, apparently succinct aside notes are important, which have a signal effect for the reader and are therefore of immense importance in an interpretation: For example, when the introduction of the second part of the story, when night falls, it says: as only a poet can dream of it , then is this a concrete questioning of the reality described. Kleist often writes cryptically and ironically, a fact that should never be neglected when interpreting his works.

interpretation

Due to the lack of interpretation by a narrator, all interpretations are tied to the perspective of the characters, which increases the complexity of the possible interpretations. Thus the narrative can be seen as a reaction to the Lisbon earthquake in 1755 , which sparked a debate on theodicy and, in particular, questioned the optimism of the Enlightenment and deism . Voltaire and Rousseau , in particular , held a discourse on the catastrophe. Kleist's point of view differs from these statements in that he does not try to justify God's actions and thereby explain the natural disaster, but rather criticizes the moral interpretations of the disaster as God's judgment on a meta-level. The people who reduce the catastrophe to the two unhappy lovers as the trigger and who presume to be able to recognize God's will are exposed in the text as fanatical murderers. All interpretations of natural disasters as punishment for individual misconduct only reveal human hubris. The question of a just and good God in the face of human suffering after the earthquake leads Kleist to aporia . For him the interpretation of the earthquake is not possible metaphysically. The newly forming society in the church, which tries to find a guilty party and submit God to an explanation, ends in madness and irrationality. God and Enlightenment, it must be concluded in the context of this work, are not conceivable together.

Günter Blamberger writes in his Kleist biography about the earthquake in Chili : “It is deceptive to believe in the continuity of the program of freedom, equality and fraternity. The community of earthquake victims in the idyllic valley does not last longer than the social utopia of the French Revolution , after that man is a wolf again. "

If one follows Blamberger's interpretation, according to Kleist, the overthrow of conditions does not mean a return to the state of nature, but only a brief interruption in the oppression of man by man. On the one hand, through the "egalitarian night camp like in Hölderlin's Archipelagus [...] a basic utopia of an egalitarian as-society" appears, the "model of a new as-society that can establish new social rules". However, this utopia is denied by the course of events and at most rehabilitated in one detail at the end of the narrative: “The adoption of the natural child instead of the lost one makes [the novella] forgiving, many have meant: utopian.” Therein “could one can indeed see a promise to preserve what had emerged in the idyllic vision. "

Friedrich Kittler assumes that the supposed utopia is deceptive from the start. For him, the three-part structure of the novella “leads from an initial catastrophe, which - for example, when the dungeon walls collapsed - is described with engineering precision, through an arcadia that does not allow his children any psychological feelings and philosophical interpretations, to a final catastrophe, the one with the cold View of the war technician is seen. ”Then the story contains a criticism of the bourgeois educational discourse around 1800 with the concept of family as the“ holy family of child, mother, father ”. Familialism and motherliness are wiped out by the "techniques and weapons of death" or the "people's war", for which there is a historical counterpart in the Landsturmedikt issued by the King of Prussia in 1813 .

An auto-reflective component of meaning is addressed by Schneider, who recognizes a "philosophy of history of the poetic" in the novella. A series of substitutions characterize the novella, which "replaces chance with interpretation, contingency with coherence, event with language and events with history and at the same time lets this substitution fail".

Kleist uses meaningful names throughout his texts , which is also followed by Blamberger, Kittler and others. v. a. refer. But these names are not used to uniquely characterize people, e.g. B. as good or bad; Rather , they denote ambivalences , internal tensions, and even the turmoil of the characters against the background of a violent overthrow of legitimate order. The collapse of the prison walls can be read as a symbol for the storming of the Bastille , i.e. for the outbreak of the French Revolution and the destruction of the legitimate order. This event ushers in a joyful state of self-delusion, which, however, is followed by the worst atrocities.

This aspect is easily overlooked in more conciliatory interpretations of the “earthquake in chili”, as in Thomas Mann's reading, which focuses entirely on education and human happiness. The name of the protagonist Jeronimo (a commoner) evokes the clear echoes of Jérôme Bonaparte , Napoleon's brother. Josephe (French: -ef) refers on the one hand to Joséphine de Beauharnais , Napoleon's wife who was crowned empress, and at the same time to Joseph Bonaparte , Napoleon's eldest brother, who was his governor in France during his wars in Germany. The unusual form of the name Josephe is not explicitly feminine. It possibly indicates the illegitimate procreation of Philip - Joseph of Nazareth is only the cultural foster father of Jesus. Napoleon adopted the son Joséphines, but Napoleon bore no heir. The multiple sexual transgression points to the tension between the hidden act of biological production and the public legitimation of the rulers.

The name of Don Fernando Ormez refers to the feeble, sickly and actually incapable of governing Austrian Crown Prince Ferdinand , who was only 13 years old in 1806 and who takes the place of his father Franz II in the novella . This thanked in July 1806 founding of the Confederation of the Rhine as Emperor of the Holy Roman Empire from (Ormez is an anagram of Rome-ez), because he was the voices of through the Reichsdeputationshauptschluss changes in its composition, now predominantly Protestant Elector College for his dynasty in Choice of a future successor could not be certain.

At the same time, Don Fernando stands for the type of officer of the old order, of the line regulations, which even before the defeat of 1806 was no longer able to cope with the tactics of the "angry bunch" (Kleist) of the French revolutionary armies. Philipp, the son of Jeronimo and Josephe, bears a Spanish royal name (which appears presumptuous for a commoner in the novella); in the end he is actually adopted by Ferdinand and Elvira, d. H. legitimized. It was also a Ferdinand , namely the (adopted) son Charles IV of Spain, who rebelled against his supposed father and took the help of Napoleon. In 1807 he even tried to marry into the French imperial family and thereby legitimize himself. For a short time he became king; but with that he sacrificed his Bourbon honor. Shortly after the publication of Kleist's story (1808), he was overthrown by the French, who put Charles IV back on the throne.

Like Josephe, Donna Elvire has a hermaphroditic name form: El - (Spanish masculine article) - vir - (Latin: man) - e (instead of the feminine ending in -a). In fact, the wife of Francis II, Maria Theresa of Naples-Sicily, was a bitter opponent of Napoleon and encouraged her introverted and hesitant husband, who had fallen for his botanical hobbies, to fight him. These allusions shift the apparently distant events to the time of Kleist and the Napoleonic wars.

The surname Jeronimos, "Rugera", can be read as an anagram of guerra (Spanish: war). The " Citoyen " Master Pedrillo (Petrus) embodies the mob and at the same time the "stone" as an alchemical symbol of innocence, the color of which is red. As a “propaganda speaker” he conjures up the unruly and lawless “total people's war”, a struggle in which the unarmed are beaten down by harmless churchgoers with clubs (as in Kleist's Hermannsschlacht ). Here, in anticipation of 1813, Kleist conjures up the “discourse practice of the partisans”.

All these allusions and substitutions place the “earthquake in Chili” in the context of the collapse of the Holy Roman Empire in 1806 as well as the Spanish monarchy and the legitimation discourse that has been current since Napoleon's coronation . The "Napoleon-hater" Kleist had already regarded Napoleon Bonaparte as the gravedigger of "German freedom" since 1801 and only expected a "beautiful downfall" which then occurred in 1806 - combined with a total rupture of the institutions of state and church. As a result, the old European dynastic principle of legitimation, the genealogy of rulership (and thus of the family as a whole) and the divine right were up for grabs. Kleist wrote to Lilienstern in 1805 that time seemed to want to “bring about a new order of things, and we will see nothing of it but the overthrow of the old. A single, great system of empires will emerge from the whole of the cultured part of Europe, and the thrones will be occupied by new princely dynasties dependent on France ”(as with Jérôme Bonaparte or Ferdinand VII.). The universal monarchy sought by the " Wüterich " Napoleon (as in a letter to Ulrike von Kleist in 1806) contradicts Kleist's conservative, even reactionary insistence on the principle of legitimation, which is also found in Käthchen von Heilbronn , in Robert Guiskard , in the story Michael Kohlhaas and in expresses other of his texts. In a situation in which the legitimacy of the ruling powers, which is based only on tradition, collapses and they prove to be incapable of taming the chaos, the "lone fighter" Kleist founds a new discourse to use the means of chaos, through a people's army and paradoxically to save the dynasty through a "temporary democracy". But the Viennese court censorship office forbade the publication of a volume of Kleist's stories in 1810, arguing that the outcome of the story was “extremely dangerous”. After the introduction of compulsory military service in Prussia had failed due to the resistance of the nobility in the same year, Kleist was no longer to experience how - according to his literary fiction - the Prussian people in 1813 with “axes, pitchforks and scythes” by the (illegal international) royal- Prussian Landsturmedikt was called to arms. This edict was partially revoked just three months later and the old world order was initially healed by the Congress of Vienna .

Publication and question of genre

Kleist wrote his story in Konigsberg in 1806 , and it was published the following year in the prominent Morgenblatt newspaper for the educated estates of Johann Friedrich Cotta , which appeared several times a week and had a major impact on German literary culture. In 1810 the story was published in the volume "Stories". Originally this volume should be entitled "Moral Tales". Kleist's text could thus be placed in the line of literary tradition of the French moralists . These authors of the 17th and 18th centuries described the customs (morales) of contemporaries in order to paint a critical picture of the environment, not to propagate a particular normative ethic. More plausible, however, is the influence of the Novelas ejemplares by Cervantes , especially the novella La fuerza de la sangre . Kleist's text can also be assigned to the genre of the novella, but Kleist's novellas are of their own kind and not shaped by specific rules, as later with Theodor Storm and Paul Heyse . Kleist's novellas are in their own way precursors to the modern short story . The literary genre of the novella has essentially developed since the Renaissance . Even Giovanni Boccaccio (1313-1375) prose work Decameron has its origin and starting point in a disaster. In the Decameron it is the plague , in Kleist the earthquake. Both catastrophes lead to the dissolution of social constraints and lead to moral disinhibition. Kleist uses the description of extreme situations again and again in order to dissect the conditions of human morals in them as if under a magnifying glass.

Adaptation for film, stage and opera

filming

The story was filmed by Helma Sanders-Brahms in 1975 for ZDF in a television version. Both the script and the direction were taken on by Sanders-Brahms.

Stage versions

In 2011 the material was dramatized in Dresden under the direction of Armin Petras . In 2011, Tilman Gersch also staged a stage version of the story at the Hessian State Theater in Wiesbaden.

Opera arrangements

Kleist's novella was edited several times for music theater , but none of these operas were very successful.

  • Rozsudok ( The verdict after Heinrich von Kleist's The Earthquake in Chili 1976–78), opera by Ján Cikker , Slovak composer (1911–1989). The German premiere took place in 1979 at the Erfurt Municipal Theaters (musical direction: Ude Nissen, production: Günther Imbiel). In 1981 the Braunschweig State Theater followed in the presence of the composer; this production was chosen as the “production of the month” by the opera magazine Orpheus International , musical direction: Heribert Esser, production: Michael Leinert .
  • Earthquake. Dreams , opera by Toshio Hosokawa , with libretto by Marcel Beyer (commissioned by the Stuttgart Opera ; world premiere on July 1, 2018).

Radio play versions

In addition, there are now a number of audio book adaptations, most of which were only created in the last few years. An early audio book adaptation was made in 1954 for the Hessischer Rundfunk after an adaptation by Curt Langenbeck and compositions by Werner Zillig under the direction of Walter Knauss.

literature

Primary literature

  • Heinrich von Kleist: The earthquake in Chili. In: Heinrich von Kleist: Stories. Provided with an introduction, an epilogue and a list of the typographical errors and edited by Thomas Nehrlich. Reprint of the Berlin 1810/11 edition. Hildesheim: Olms 2011. 2 Vols. Vol. 1, pp. 307–342.

Secondary literature

  • Suzan Bacher, Wolfgang Pütz: Heinrich von Kleist: "The Marquise von O." / "The earthquake in Chili". Reading aids including Abitur questions with solutions. Klett learning training, Stuttgart 2009, ISBN 978-3-12-923055-8 .
  • Friedrich A. Kittler : An earthquake in Chili and Prussia . In: David E. Wellbery (Ed.): Positions der Literaturwissenschaft (see below), pp. 24–38 (Tilmann Köppe and Simone Winko quote the essence of this article in a quote from Kittler as follows: “A dismissed Prussian officer [.. .] develops the discourse practice of the partisan under the conditions and masks of the educational system ”(p. 37). With this, the war technician Kleist refutes the topoi of his time that concern the educational discourse and the apparent idyll of democracy.)
  • Jürgen Link : From denormalization to cultural revolutionary drives? In: kultuRRevolution No. 61/61 (2011/2012), pp. 12-18, ISSN  0723-8088 .
  • Norbert Oellers: The earthquake in Chili. In: Walter Hinderer (ed.): Kleist's stories . Reclam, Stuttgart.
  • Wolfgang Pütz: Heinrich von Kleist: 'Texts and Materials'. (Central Abitur thematic booklets). Klett, Stuttgart 2009, ISBN 978-3-12-347494-1 .
  • Hans-Georg Schede: Heinrich von Kleist: The earthquake in Chili. C. Bange, Hollfeld 2010, ISBN 978-3-8044-1811-0 . (King's Explanations and Materials, Vol. 425.)
  • Jochen Schmidt : Heinrich von Kleist. Studies on his poetic method , Tübingen 1974, ISBN 3-484-10213-6 .
  • Helmut J. Schneider: The collapse of the general . In: David E. Wellbery (ed.): Positions of literary studies. Eight model analyzes using the example of Kleist's “The Earthquake in Chili”. Beck, Munich 1985, 2nd, looked through. Ed. 1987, pp. 110-129 ISBN 3-406-305229
  • Stefanie Tieste: Heinrich von Kleist. His works. Kleist Archive Sembdner, Heilbronn 2009. (Heilbronner Kleist materials for school and teaching, Volume 2. Ed. Günther Emig ), ISBN 978-3-940494-15-3
  • David E. Wellbery (Ed.): Positions in literary studies. Eight model analyzes using the example of Kleist's “The Earthquake in Chili”. Beck, Munich 1985, 2nd, looked through. 1987 edition, ISBN 3-406-305229
  • Günter Blamberger : Heinrich von Kleist. Biography. S. Fischer, Frankfurt a. M. 2011, ISBN 978-3-10-007111-8 .

Web links

Individual evidence

  1. ↑ Notes of the editor, in: Heinrich von Kleist: Complete Works and Briefe , Ed. Helmut Sembdner, Munich 1993. Volume II, p. 902
  2. ^ Interpretation on Kleist
  3. ↑ Works: The earthquake in Chili
  4. ↑ Jean-Jacques Rousseau : Treatise on the origin and the foundations of inequality among people . (Reclam, 1998, p. 115 ff., Note IX)
  5. ↑ a b c Helmut J. Schneider: The collapse of the general . In: David E. Wellbery (ed.): Positions of literary studies. Eight model analyzes using the example of Kleist's “The Earthquake in Chili”. Beck, Munich 1985, 2nd, looked through. Ed. 1987, pp. 110-129 ISBN 3-406-305229
  6. ↑ See also Susanne M. Zantop : Colonial fantasies in pre-colonial Germany 1770-1870. Erich-Schmidt-Verlag, Berlin 1999 (Philological Studies and Sources; H. 158), p. 147 ff. ISBN 3-503-04940-1
  7. ↑ a b Jochen Schmidt : Heinrich von Kleist. Studies of his poetic practice. Tübingen 1974, pp. 122-123 ISBN 3-484-10213-6
  8. ↑ The following page numbers and quotations refer to Heinrich von Kleist: Complete Works . 1st edition. Droemersche Verlagsanstalt Th.Knaur Nachf., Munich / Zurich 1961, p. 679-690 ( [1] ).
  9. ^ Günter Blamberger: Heinrich von Kleist. Biography. S. Fischer, Frankfurt a. M. 2011, p. 288
  10. ↑ Jürgen Link , From Denormalization to Cultural Revolutionary Drives? , P. 15
  11. ↑ Friedrich A. Kittler , An earthquake in Chili and Prussia . In: David E. Wellbery (Ed.): Positions der Literaturwissenschaft , p. 34
  12. ↑ Kittler, p. 29
  13. ↑ Kittler, p. 36
  14. ↑ W. Kittler: The birth of the partisan from the spirit of poetry. Freiburg 1987, p. 90 ff.
  15. ↑ Kittler, Earthquake , p. 37 f.
  16. ^ Claudia Nitschke: The public father: Conceptions of paternal sovereignty in German literature (1755-1921). Berlin, New York 2013, p. 223; Helmut J. Schneider: life facts. Birth and adoption by Lessing and Kleist. P. 2, note 3 [2] (pdf).
  17. ↑ Kittler, Earthquake , p. 35.
  18. ↑ Diethelm Brügemann: Kleist. The magic. Würzburg 2004, p. 233 ff .; 252; In Brügemann there are many other references to the biblical and sexual metaphor used by Kleist.
  19. ↑ Kittler, Earthquake , p. 36
  20. ↑ Kittler, Earthquake , p. 37
  21. ^ Walter Hinck: Handbuch des Deutschen Dramas. Düsseldorf 1980, p. 175.
  22. ^ Kleist: Letter to Adolphine von Werdecke, November 1801. In: Complete works and letters. Vol. 2. Munich 1993, p. 700.
  23. ^ Kleist: Letter to Otto August Rühle von Lilienstern, November 1805. In: Complete Works and Letters. Vol. 2. Munich 1993, p. 759.
  24. ↑ Quoted from L. Jordan: Kleist as a playwright: Kleist and Dresden. Work, context and environment. Würzburg 2009, p. 87.
  25. ↑ Quoted from L. Jordan: Kleist as a playwright: Kleist and Dresden. Work, context and environment. Würzburg 2009, p. 87.
  26. ↑ Kittler, Earthquake , p. 38.
  27. ↑ § 43 of the edict. See Kittler, Erdbeben , p. 36 f.
  28. ↑ Theater reviews for the production of Petra . Retrieved April 26, 2012, 7:57 pm
  29. ^ Tilmann Köppe and Simone Winko: Newer literary theories . An introduction. 2nd, updated and expanded edition. Metzler, Stuttgart / Weimar 2013. Table of contents ISBN 978-3-476-02475-6 , p. 108.