The blinding
The novel Die Blendung is the first work of the German-speaking writer and Nobel Prize winner Elias Canetti .
The main character is the "greatest living sinologist " and book collector Peter Kien, who lives in a four-room apartment with a library of 25,000 volumes. By marrying his housekeeper Therese Krumbholz, the unworldly eccentric is confronted with the meanness of life and falls into madness.
content
Kien dedicates his life to science and collecting books. In his huge library he leads a grotesque cave life, obstinate and eccentric. Confined to his bibliomania , he marries the woman who claims to treat books most conscientiously: his uneducated housekeeper Therese. On their wedding night, Therese reveals herself: While trying to seduce Kien, she sweeps books off his sofa bed with a wave of the hand. Kien is shocked and runs away. A merciless struggle for supremacy in the shared apartment begins, the “book fortress”. Therese is interested in material things (apartment rooms, furniture, money). While buying furniture, she falls in love with the seller, Mr. Grob, whom she affectionately calls "Mr. Puda" in her mind and whose name goes back to reading the book title Buddha by chance . Kien, on the other hand, demands silence (no speaking) and access to his library. The first signs of insanity become clear: as a tactic to wear down, he sits apathetically in front of his desk for weeks, “turning to stone”. Finally, the dispute escalates: In the struggle for his (admittedly only insignificant remnants) assets, Kien is driven from his own apartment by Therese.
Kien is becoming increasingly insane: He sets up a “head library” and wanders around in the strange city. In the Zum idealen Himmel bar he meets the seedy Siegfried Fischer (called Fischerle), a hunchbacked dwarf and pimp who thinks he's a chess genius. Fischerle dreams of a life as a world chess champion in America; for this he needs money. When Kien found his vocation in the "salvation" of books intended for the pawn shop "Theresianum", Fischerle sent various middlemen there with the same book package, which Kien "ransomed" from the pledging for ever larger amounts. In this way he steals a part of Kien's money - which he of course saved for him from a robbery in the “ideal heaven”. Kien learns the untrue news of Therese's death from one of Fischerle's middlemen and paints a terrible scenario of her slow starvation and self-sufficiency. It is also Fischerle who informs Kien's brother on a whim with a telegram about his desperate condition and thus opens up an opportunity to save him. In the further episode he is murdered by a lover of his wife (one of his former "employees" with whom he cheated Kien out of his money, called "The Blind One").
In the meantime, the sexually frustrated Therese begins an affair with the sadistic caretaker Benedikt Pfaff, known as the "red cat", whose passion is beating up beggars, his wife (who also dies from it) and his daughter, whom he also drives to death . Together they want to bring the library books to the Theresianum. There they meet Kien (who thinks Therese is hallucinating because she must be dead). A brawl begins, as a result of which the police are called. This is followed by an interrogation marked by misunderstandings, as Kien thinks he killed Therese and that she is present despite everything. He confesses to the (not committed) murder, which is why Therese is immediately convinced that Kien killed his first wife. In the end this is left to run. He moves into the caretaker's apartment, where he is being held more and more obviously as a prisoner and more and more bluntly robbed, without even realizing it. He still believes Therese is dead; when she confronts him he thinks she is hallucinating and begins to doubt his sanity.
In this hopeless situation the brother Kiens, the Paris psychiatrist Georg Kien, who was notified by Fischerle, appears. He is the only one who is seriously interested in saving his revered brother, sees to it that Pfaff and Theresa disappear from his life and leads Kien back to his library. Kien's world is apparently restored, Georg returns to his own pressing affairs in Paris. Kien, however, can only perceive Georg as a disruptor and enemy of the scholarly existence, to whom his books must not fall into the hands.
He is now completely insane: pursued by Therese's accusations of murder, tormented by the cries for help of the books burning in the Theresianum (in his delusional imagination), he burns himself with his library.
background
Canetti wrote the book in Vienna in 1931/32. Although the plot is anchored in the Viennese milieu, he evidently received important suggestions during his stay in Berlin in the summer of 1928. At that time Berlin appeared to Canetti - compared to cozy Vienna - like a madhouse.
“I was immensely impressed by the sharpness and variety of talents that existed in Berlin at the time and that were shown very publicly, so much that I was completely confused by them. I was completely overwhelmed by it. Part of the 'glare' arose from this strange conflict between my impressions in Vienna and my experiences in Berlin. (...)
But what preoccupied me the most after my return from Berlin, what I couldn't let go of, were the extreme and obsessed people I had met there. One day it occurred to me that the world could no longer be portrayed as it was in previous novels, from the point of view of the writer, so to speak. The world had fallen apart, and only if one had the courage to show it in its disintegration was it still possible to give a true idea of it. But that did not mean that one had to work on a chaotic book in which nothing could be understood. On the contrary: one had to invent extreme individuals with the strictest consistency, like those that made up the world, and place these extreme individuals next to one another in their divorce. "
According to Canetti, the "mockery of every feeling of justice" in the trials against the right-wing murderers of some workers in Burgenland ( Schattendorfer judgment ) and the subsequent July revolt in Vienna with the fire of the Vienna Palace of Justice and the 89 by the police also had an influence on the novel shot protesters.
Canetti gives a former Viennese landlady in Hagenberggasse as the real role model for the fictional character Therese, the housekeeper of the bookman Kien.
“In front of the open window, I discussed the details with the housewife. Her skirt reached the floor, she cocked her head and sometimes tossed it on the other side; the first speech she gave me can be found verbatim in the third chapter of "Blende": about the youth of today and the potatoes that already cost twice as much. "
The main character Kien, the book man who ultimately burns in the fire in his library, had no real role model. Canetti had called him “B.” in his first drafts, an abstract abbreviation for “Book Man”, then finally after his end “Brand”, this temporarily alienated to “Kant”, the intended book title was accordingly initially “Kant catches fire”. Only at the insistence of Hermann Broch did Canetti change the name of the figure to "Kien".
Canetti first cited Franz Kafka , whose story The Metamorphosis he read for the first time, as the influences for “Die Blendung” . He mentions Gogol's novel The Dead Souls and Stendhal's Red and Black as further influences .
"With Kafka something new has come into the world, a more precise feeling for its questionability, which is not paired with hatred, but with awe for life."
Despite this humanistic appeal to Kafka, reviewers again and again emphasize the pity with which the figures of the blinding are drawn.
Under the influence of Karl Kraus and Johann Nestroy , Canetti tried to grasp the influence of the Viennese linguistic environment on his writing as early as 1937 with the "theory of the acoustic mask". For his writing, Canetti collected auditory impressions of various Viennese linguistic styles by listening for long nights in pubs, by collecting idioms like that of Alma Mahler-Werfel , through literary readings by Nestroy and from the Japanese kabuki theater . On this basis, Canetti designs language systems for his characters, which often do not contain more than 500 words, the “acoustic mask of the human being”.
"This linguistic form of a person, the constant in his speech, this language that arose with him, that he has for himself, that will only pass with him, I call his acoustic mask."
It is essentially these "acoustic masks", the bitingly ironic characterization of the characters due to recurring scraps of sentences and expressions that determine the bitter humor of the "blinding". Dagmar Barnouw cites elements of the speech mask of the housekeeper Therese or the brutal housekeeper who abuses his daughter and ambushes beggars and peddlers in order to brutally beat her up:
"What does he have to say - that would be even better - what is he doing - he doesn't get anything - anyone can ask for anything - a man should be ashamed of himself - nobody can be with him - and that's what he gets from his love"
“The father has a right ... to the love of his child. The daughter ... has no time to get married. The food gives her ... the good father. If the daughter is not good, she will get ... beatings. For this she learns ... what is proper with a father. "
Each of the language masks has its own vocabulary, its own rhythm. What they have in common is an attachment to the conventions and language of the philistine. Hardly concealed, however, the actual, instinctual desires break out, especially in the form of distorted sexuality and hardly concealed aggression. The language of the unconscious reveals the hollowness of the standardized phrases. The “food” that the father gives his daughter hardly covertly indicates that the daughter is kept and used like an animal. As a result, the appeal to fatherly love is unmasked as a phrase, as a language mask behind which the real character of the caretaker is revealed.
Like other works from this period, “Die Blendung” was initially unpublished. It was not printed until 1935 . Canetti explains this through the moral influence of Karl Kraus and his moral counterpart Bertolt Brecht , who had met the inexperienced Canetti in Berlin and cynically made fun of his values.
“So when I returned to Vienna I resolved to live even more than ever as Karl Kraus had demanded, namely strict, very pure, not to write for money, above all to not publish anything, only to publish what you have been doing for years and can approve. "
Horst Bienek sees allusions to Canetti himself in the figure of Kiens:
“I visited Canetti in London in 1965, it was our first personal encounter. I had just read “The Blinding” again, and when I saw him welcoming me in front of his house in Hampstead, it suddenly crossed my mind: This is Doctor Kien, his figure, his head, his gestures , his exclamations ... and when I went into the house, up a narrow, narrow staircase, past heavy, old furniture, piles of newspapers and books, I entered the library and the novel at the same time, yes, this was Kien At home …"
The figure Kien and his interests certainly reflect the sides of the author Canetti. First of all, there is a firm desire to devote all of your life to writing and learning books. Like Kien, Canetti was interested in ancient Chinese culture throughout his life. In the figure of the book madman without a world there are various elements of a self-deprecating scholarly caricature.
In 1935, the year the glare was published, Canetti lived with his wife Veza , whom he had married the year before, in the Vienna district of Grinzing . In a letter he reported to his relatives in Paris with cautious pride about this first literary success, which for him was a confirmation of his existence as a writer and also provided him with a certain financial support.
His brother, the doctor Georg Canetti - a barely veiled model for "Georg Kien" - and his mother Mathilde Canetti, who died a little later, lived in Paris at the time .
Canetti's grotesque comedy
As “Comédie Humaine an Irren”, Die Blende is characterized by a whole host of obscure situations that, with Karlheinz Stierle , can be defined as comical, because the action of the protagonists in these situations is determined by others and fails. Misunderstandings, false self-assessments, frauds, a dispute about the inheritance in which both parties assume wrong ideas about the amount of money to be expected, absurd exercises in walking blind that stem from a hatred of furniture and the practitioner - the main character Peter Kien - finally Let fall from a ladder: All of these are comical situations and burlesque motifs that are reminiscent of Johann Nestroy's folk plays and explain Canetti's interpretation of the glare as a contribution to human comedy . However, Stierle linked the effect of the comic to the condition that the externally determined and failing action was - for the viewer - without consequences and thus "removable". Thanks to this “releasability”, the negativity of the action can ultimately be positively re-established, and because it has no consequences, it can be perceived as funny. This is fundamentally different at Canetti. Failing actions are in the glare never without consequences, but always end in horror, in the third-party or self-mutilation, in the sacrifice, the murder, in brutality, in cannibalism. No other modern author has dealt with this cruel downside of the comic and laughter as intensively as Canetti. “Certainly”, so it says in the first volume of Mass and Power with reference to Thomas Hobbe's theory of laughing out of superiority, “laughter contains in its origin the joy of prey or food that appears to be safe.” Manfred Schneider has this relationship, noted several times by Canetti, between the gestures of laughing and eating as an indication of an “exorcism of the comic”; H. interpreted as Canetti's attempt to "make laughing impossible". Canetti, however, not only found laughter horrific, but also, conversely, the horrific thing about laughing. This grotesque, sarcastic comedy can already be noted in the working title of the glare: “Kant catches fire” can be translated as “Kant is enthusiastic” on the one hand, and as “Kant is on fire” on the other. This biting irony is continued in the novel when, for example, three of the extremely devious protagonists live in "Ehrlichstraße 24", others frequent the pub "Zum idealen Himmel", which is described as repulsive, or the chapter about the sadistic caretaker Benedikt Pfaff, the woman and Daughter killed, bears the title "The good father".
interpretation
The title of the book alludes to the delusion of all the protagonists. The figures can be divided into two groups. On the one hand, those who are blinded by money (i.e. Therese, "Mr. Puda", also Pfaff) and, on the other hand, those who have fallen for respect or recognition (i.e. Kien, Fischerle, "the passport forger" and the tailor). The second group is shown to be superior to the first group, but it turns out that there is generally no difference between them. Both groups are in a delusion that they do not recognize as such.
A core scheme of the novel is the inability of the characters in the novel to understand each other. No character, apart from Kien's brother Georg, is able to put himself in the shoes of his counterpart, which is why everyone is constantly misunderstanding each other. This expresses the isolation of the individual in modern times par excellence.
The monological, delusional and meaningless trait of the language of the characters in the "blinding" not only serves the satirical unmasking of the distorted world, but is an expression of a deep linguistic doubt.
“I understood that people speak to one another but do not understand one another; that their words are shocks that ricochet off the words of others; that there is no greater illusion than the belief that language is a means of communication between people. You speak to the other, but in such a way that he does not understand you ... The exclamations jump back and forth like balls, hit them and fall to the ground. Something seldom penetrates the other, and when it does, then something wrong. "
The figure of the bookman Kien represents the abstract idealism of an intellectual who has lost touch with reality (cf. Part 2 of the novel: “Head without a World”). In this isolated, intellectual world of Kien, a figure breaks into the housekeeper Therese, whose instinctual needs and their substitute form, the greed for money, Kien has nothing to oppose. The flight of Chienes into the unknown city beyond its ordered world of books confronts the book people with an oppressive “gallery of delusional possessed existences on the edge of human society”. Each of these characters lives out their own delusional system to the point of criminal consequence.
"In contrast to the sinologist Kien, the extras of the" Headless World "represent, as it were, a frightening movement, instinctively unreflected reality, split off from any intellectuality, spiritual penetration of the phenomenon, like puppets, directed from the center of their" fixed idea "."
If in the first and second part of the novel the intellectual (“head without a world”) and “headless world” face each other, the contrast is brought together in the third part to form the “world in the head”. In Canetti's version of the metamorphosis, the madness in the figure of the betrayed banker brother who mutates into a gorilla creates its own world. In the love affair with his former secretary, who also gives up all civilization, he finds a psychotic path to happiness.
Canetti does not contrast the mythical return to paradise with healing through a return to "normality". Durzak sees in Canetti's version of the transformation into the animal-like an “increase in human existence”.
However, Kien can only create this delusional healed world with its own language and logic at the cost of its downfall. For him, education has become a barrier between himself and the world. External impressions such as his own fears and wishes penetrate his world only in extremely distorted form. The increasing fear of the sexual advances of his housekeeper Therese represents the thinking of Kien, reduced to the blue color of her skirt, which for him, translated into the terminology of the sinologist, becomes a symbol for his enemies.
“Reckless philologists expose themselves to be monsters who, wrapped in blue robes, should be exposed to public ridicule in public squares. Blue as the most ridiculous color, the color of the uncritical, the trusting and the believers. "
The reality-blind Kien as the Don Quixote of words must fail because of reality.
A dispute between the interpreters revolves around the figure of Kien's brother Georg, a successful gynecologist and psychiatrist, who appears as the only positive figure in the novel, for example Manfred Durzak or Karl Markus Michel. Georg Kien embodies an extraordinarily modern concept of psychiatry, as it only developed decades later. For Georg Kien, the relationship between normality and madness is partially reversed. Georg, the banker's brother, who has mutated into a gorilla, appears as an image of true humanity. Georg himself always maintains the position of controlling reason. Precisely for this reason, other secondary texts highlight Georg's failure, for example due to the fact that his attempt to save his brother drives him to suicide.
“Canetti is not Georg; even more: he distances himself more clearly from him than from Peter. Of course, Georg has intelligence and can play through the connections. He shies away from thought discipline and prefers a twisting of the correctly recognized but difficult to control situation to its gradual unraveling and healing. "
Even Salman Rushdie shares this view, sees the immense scholarly debate Kien brothers, especially the evidence that both " are in relation to human nature almost totally ignorant - that they actually it hardly regarded as fools. "
For Susan Sontag , one aspect of “glare” is “extraordinarily ingenious misogyny”. In this context, Sontag finds a “multitude of such Kienenscher confessions” in Canetti's work “The Province of Man”.
"The author of the condescending remarks about women as they hold these records may very well have devised the details of Kien's delirium in misogyny ."
She sees a clear self-reference in Canetti's conception, for example "when the novel depicts a tremendous scholar in the exercise of his obsessive business like a fish in the water of manic and refined order constraints."
Canetti did not reject such references to his own book research and bibliomania, but rather confirmed them. For decades, while working on his main theoretical work, Mass and Power, he lived in such book worlds, even followed traces similar to those of his protagonist Kien, and was interested in myths of exotic peoples and ancient Asian philosophy. In doing so, he explicitly tried to undo the fragmentation of the world through appropriation, and systematically built up his “world in the head”.
"My whole life is nothing but a desperate attempt to abolish the division of labor and to think about everything myself, so that it comes together in one head and becomes one again."
Salman Rushdie sees an analysis of the sources of fascism in the dark sides of the glare: "Elias Canetti's nightmare ended as the world's bad dream". The book burning of Kien appears to Rushdie not only as the self-destruction of the scholar Kien, but as a gloomy warning sign of the book burnings in the past and present. In doing so, Kien takes the Heine saying “ Where you burn books, you burn people in the end ” insofar as for him his books are actually people.
Publication history and impact of the novel
The importance of "glare" for German literature was discovered late. This is partly attributed to the fact that Canetti lived in England, so did not take part in literary life in Germany. Canetti himself cites as further reasons that he first had to publish some more understandable, smaller things in order to develop a readership, and the fact that many authors kept the influence of "glare" on their writing secret for various reasons.
The history of its publication is already unusual. Canetti completed the manuscript in 1931, but initially there was no publisher. After 1933 only publishers in Switzerland or Austria came into question that would hardly have taken such a risk with a debut novel. It was not until 1935 that the novel was published by Herbert Reichner in Vienna , after the Strasbourg newspaper publisher Jean Hoepffner had taken the risk. Hoepffner knew and valued Canetti, but hadn't even read the book. Since the Reichner Verlag also had a branch in Leipzig, Die Blendung could also be advertised and distributed in Germany.
The book with a cover design by Alfred Kubin aroused surprisingly great interest. It appeared in various important feature reviews, including the courageous review by Peter von Haselberg in the Frankfurter Zeitung .
“However, it is [...] rather the lack of communicating humanity that increases the tension almost to the point of tearing the form. It is no longer quite clear whether the actors are living beings or just characters in a game. At this point it is questionable whether the Roman art form has reached its limit or perhaps a path to new possibilities. "
Canetti also received positive reactions from leading artists of the time, such as Alban Berg , Thomas Mann and Robert Musil . A translation into Czech appeared in Prague as early as 1937. The political events of 1938 and 1939 robbed the book of any chance of further success.
As early as 1943 Canetti signed a contract with the English publisher Jonathan Cape, but on the condition that the novel should only appear after the war. In 1946 the translation by the historian Cicely Veronica Wedgwood appeared under the title " Auto da Fé ". The third edition was published by 1947 and the book received a lot of attention in newspapers and magazines.
In 1949 the novel was published in French ("La tour de Babel"). The basis here were contacts between Canetti's brother Georges and the Arthaud publishing director. Raymond Queneau helped the novel to win its first literary prize, the “Prix International” for the best foreign novel of 1949.
In 1948 the novel was published for the second time in German by Willi Weismann in Munich. Rudolf Hartung supervised the editing and subsequently published regularly on Canetti. In Germany, which was cut off from literary development by war and National Socialism, “Die Blendung” met with little interest and the edition was sold off. The Hamburg publishing house Claassen, which published Canetti's major theoretical work Mass and Power in 1960 , also rejected the novel.
It was not until 1963 that Carl Hanser Verlag dared to launch the third German edition. As head of the literary department at the time, Herbert G. Göpfert was convinced of the importance of the novel by Jean Contou from the Paris publishing house Arthaud . As a result of this new edition, the novel was then distributed worldwide and received in many ways.
Book editions (selection)
- The glare . Novel. Reichner, Vienna 1936 ( first edition ).
- The glare . Novel. Hanser, Munich 1992, ISBN 3-446-17017-0 (= Collected Works, Volume 1).
- The glare . Novel. Fischer Taschenbuch, Frankfurt am Main 2012, ISBN 978-3-596-90321-4 .
radio play
- 2002: The glare (2 parts); Director: Robert Matejka (DLR Berlin / BR / ORF)
- 2013: The glare (12 parts); Editing and direction: Klaus Buhlert (BR / ORF)
literature
- Guardian of Transformation. Contributions to the work of Elias Canetti. Hanser, Munich 1985, ISBN 3-446-14256-8 ; Fischer Taschenbuch, Frankfurt am Main 1988, ISBN 3-596-26880-X .
- Friedbert Aspetsberger, Gerald Stieg (Eds.): Elias Canetti. Glare as a way of life. Athenaeum. Königstein 1985, ISBN 3-7610-8312-2 .
- Beatrix Bachmann: Madness and Reality. The discourse of madness using the example of Elias Canetti's novel “Die Blendung”. Mainz 1994. (= Diss. Mainz 1993)
- Horst Bienek : workshop discussions with writers. Hanser, Munich 1962; DTV, Munich 1976, ISBN 3-423-00291-3 , pp. 273ff.
- Yun Chen: Canetti and Chinese Culture (PDF; 1.73MB) . Diss. Düsseldorf 2003
- Mechthild Curtius : Critique of Reification in Canetti's novel "The Blende". A social psychological literature analysis. Bouvier, Bonn 1973, ISBN 3-416-00917-7 .
- Dieter Dissinger: Isolation and mass madness. Elias Canetti's novel "The Blinding". Bouvier, Bonn 1971, ISBN 3-416-00732-8 .
- Manfred Durzak: "The world can no longer be portrayed as in previous novels". Conversation with Elias Canetti. In: Conversations about the Novel. Suhrkamp, Frankfurt am Main 1976, ISBN 3-518-06818-0 .
- Herbert G. Göpfert: Preliminary remarks on the publication history of the novel. In: Guardian of Transformation. Contributions to the work of Elias Canetti. Hanser, Munich 1985, ISBN 3-596-26880-X , pp. 277-284.
- Peter Jansen: The comedy of speaking. On the linguistic and aesthetic experience of the comic using the example of Canetti's novel “Die Blendung”. In: Language in the technical age 76. 1980, pp. 312–326.
- Konrad Kirsch: The bulk of books. A hypertextual reading of Elias Canetti's poetics and his novel “Die Blendung”. Kirsch, Sulzbach 2006, ISBN 3-929844-22-2 .
- Barbara Meili: Memory and Vision. The biographical background of Elias Canetti's novel “Die Blendung”. Bouvier, Bonn 1985, ISBN 3-416-01877-X .
- Jutta Paal: The figure constellation in Elias Canetti's novel “Die Blendung”. Königshausen and Neumann, Würzburg 1991, ISBN 3-88479-582-1 .
- David Roberts: Head and World. Elias Canetti's novel "The Blinding". Hanser, Munich 1975, ISBN 3-446-12066-1 .
Sources and Notes
- ^ Durzak: Conversation about the novel. 1976, p. 93.
- ^ Durzak: Conversation about the novel. 1976, p. 94.
- ^ Durzak: Conversation about the novel. 1976, p. 95
- ↑ cf. about Dagmar Barnouw: Elias Canetti. Stuttgart (Metzler Collection) 1979, ISBN 3-476-10180-0 , p. 22: "There is not a single positive figure in glare (...), none whose weaknesses are excusable".
- ^ Durzak: Conversation about the novel. 1976, p. 95 ff.
- ↑ Manfred Durzak: The novel of abstract idealism as a satirical novel. Elias Canetti's “The Glare”. In: Manfred Durzak: Conversation about the novel. 1976, p. 113 ff.
- ^ A b Dagmar Barnouw: Elias Canetti. Stuttgart (Metzler Collection) 1979, ISBN 3-476-10180-0 , p. 23.
- ^ Dagmar Barnouw: Elias Canetti. Stuttgart (Metzler Collection) 1979, ISBN 3-476-10180-0 , p. 23 ff.
- ↑ Karlheinz Stierle: Comedy of the plot, the language plot, the comedy. In: Wolfgang Preisendanz and Rainer Warning (eds.): Das Komische. Munich 1976, 237–268, here p. 238.
- ↑ Gerald Stieg: Canetti and Nestroy. In: Nestroyana. 20, Issue 1/2, 2000, pp. 51-64.
- ↑ Karlheinz Stierle: Comedy of the plot, the language plot, the comedy. 1976, p. 251.
- ↑ Elias Canetti: Mass and Power. First volume, Munich 1979, p. 248.
- ↑ Manfred Schneider: ancestors of laughter. Canetti's exorcism of the comic. In: Gerald Stieg, Jean-Marie Valentin (ed.): “A poet needs ancestors”: Elias Canetti and the European tradition. Files from the Paris Symposium. 16.-18. November 1995, Bern 1997, pp. 49-60.
- ↑ Burkhard Meyer-Sickendiek : What is literary sarcasm? A contribution to German-Jewish modernity. Fink Verlag, Paderborn / Munich 2009, pp. 484-527.
- ↑ Manfred Durzak: The novel of abstract idealism as a satirical novel. Elias Canetti's “The Glare”. In: Manfred Durzak: Conversation about the novel. 1976, p. 109.
- ^ Durzak: Conversation about the novel. 1976, p. 113.
- ^ Dagmar Barnouw: Elias Canetti. Stuttgart (Metzler Collection) 1979, ISBN 3-476-10180-0 , p. 27.
- ↑ Salman Rushdie: The Serpent of Scholarship coils, devours its tail and bites itself in two. In: Guardian of Transformation. Contributions to the work of Elias Canetti. 1985, ISBN 3-446-14256-8 , p. 88.
- ↑ Susan Sontag, Spirit as Passion, in: Guardian of Metamorphosis. Contributions to the work of Elias Canetti. 1985, ISBN 3-446-14256-8 , p. 94.
- ↑ Susan Sontag: Spirit as Passion. In: Guardian of Transformation. Contributions to the work of Elias Canetti. 1985, ISBN 3-446-14256-8 , p. 95.
- ^ Dagmar Barnouw: Elias Canetti. Stuttgart (Metzler Collection) 1979, ISBN 3-476-10180-0 .
- ↑ Salman Rushdie: The Serpent of Scholarship coils, devours its tail and bites itself in two. In: Guardian of Transformation. Contributions to the work of Elias Canetti. 1985, ISBN 3-446-14256-8 , p. 86.
- ^ Durzak: Conversation about the novel. 1976, p. 99 ff.
- ↑ verlagsgeschichte.murrayhall.com Publishing history Herbert Reichner Verlag (Vienna / Leipzig / Zurich)
- ↑ cf. Herbert G. Göpfert: Preliminary remarks on the publication history of the novel. In: Guardian of Transformation. Contributions to the work of Elias Canetti. 1985, ISBN 3-446-14256-8 , pp. 277 f.
- ↑ Peter von Haselberg: A novel experiment . In: Frankfurter Zeitung , April 12, 1936, literature sheet p. 18, partly reprinted in: Guardian of Metamorphosis. Contributions to the work of Elias Canetti . 1985, ISBN 3-446-14256-8 , pp. 285f.
- ↑ Guardian of Transfiguration. Contributions to the work of Elias Canetti. 1985, ISBN 3-446-14256-8 , p. 286.
- ↑ cf. Herbert G. Göpfert, preliminary remarks on the publication history of the novel. In: Guardian of Transformation. Contributions to the work of Elias Canetti. 1985, ISBN 3-446-14256-8 , pp. 279 f.
- ^ Herbert G. Göpfert: Preliminary remarks on the publication history of the novel. In: Guardian of Transformation. Contributions to the work of Elias Canetti. 1985, ISBN 3-446-14256-8 , p. 282.