Hermann Bahr

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Hermann Bahr in February 1891

Hermann Anastas Bahr (born July 19, 1863 in Linz , † January 15, 1934 in Munich ) was an Austrian writer , playwright and theater and literary critic . He is regarded as a witty spokesman for bourgeois literary movements from naturalism to Viennese modernism to expressionism .

Life

1863-1890

Hermann Bahr (original drawing by Ferry Bératon, 1893)

Hermann Bahr was born at Herrenstrasse 12 in Linz as the son of the lawyer, notary and liberal member of the state parliament Alois Bahr (1834–1898) and his wife Wilhelmine (Minna, née Weidlich, 1836–1902). He attended elementary school in Linz and the academic high school for four years . From November 1878 to 1881 he graduated from the Benedictine high school in Salzburg . He finished high school as one of the most outstanding students, which is why he was allowed to give the final speech. The speech on the subject of the value of work is said to have caused a minor scandal because of its socialist statement. After moving to Vienna, Bahr studied classical philology , but switched to law after just a few weeks . During this time, the young Bahr was introduced to the famous society of Café Scheidl by his uncle Salomo Robiscek , and in 1881 he became a Kneipschwanz of the Vienna academic fraternity of Albia . Despite the scale, he refused a real membership out of consideration for his father. He got to know Georg von Schönerer , the leader of the German Nationals, and became active in the Pan-German movement .

Because of the multinational Hapsburg Austria negative speech at the German national mourning Kommersbuch for Richard Wagner , he was in March 1883 by the University of Vienna relegated . Now Bahr studied only a few months in Graz and in Czernowitz .

In March 1884 he enrolled at the Friedrich-Wilhelms-Universität zu Berlin , where he studied economics with Adolf Wagner and Gustav von Schmoller . At the same time he also attended lectures in philosophy , history , literature and art history .

In 1887 Bahr left Berlin without a degree, initially to serve a year as a volunteer with the 84th Linz Regiment in Vienna. Afterwards, his father financed him a one-year stay in Paris and finally a trip to southern France , Spain and Morocco . His stay in Paris increased Bahr's interest in literature and the theater. If he had appeared as a journalist since 1882, this intensified increasingly towards the end of the decade. His first collection of newspaper works was published as On the Critique of Modernism in the fall of 1889 (predated to 1890). With the Guten Schule he wrote a novel in the successor to Joris-Karl Huysmans ' Gegen den Grain , literary and art reviews as well as essays , but also stories and plays.

1889-1900

Hermann Bahr (1900)

Over the next decade, Bahr increasingly became the prophet of the modern age . Initially working for various publishers and magazines, on the one hand his appointment to Berlin as an employee of the magazine Freie Bühne in 1890 , on the other hand the search for a permanent position or attempts to get his own newspaper projects off the ground determined his further career. The most important publisher for his books was the S. Fischer Verlag in Berlin, founded in 1886 . Through Bahr's books and the titles he provided, S. Fischer became one of the most important publishers for modern literature. When he did not succeed in becoming Otto Brahm's successor at the Freie Bühne , he left the editorial team with Arno Holz , Detlev von Liliencron and others at the end of July 1890. In the following year Bahr traveled to St. Petersburg , where he met Eleonora Duse and introduced her to feature articles in Germany and Austria-Hungary .

Back in Vienna, he made the acquaintance of Hugo von Hofmannsthal , Arthur Schnitzler , Peter Altenberg and other writers. The new literary tendencies with which he came into contact were made publicly known by Bahr under the name of a movement of Young Vienna , with Fischer acting as a publisher and Bahr himself becoming the mouthpiece of this movement. A book with collected reviews from this period has the programmatic title The Overcoming of Naturalism (1891).

In Vienna, Hermann Bahr worked from 1892 as a culture editor and theater critic in succession to Ludwig Ganghofer for the Deutsche Zeitung and rose from editor to co-editor. A series of interviews on anti-Semitism conducted at this time , which he modeled on the Enquête sur l'évolution littéraire by Jules Huret - and which was also published as a book - is possibly the first German-language interview book. After Bahr quit the Deutsche Zeitung in 1894 , he founded the weekly Die Zeit with Heinrich Kanner and Isidor Singer , whose cultural section he was responsible for and in which Bahr's several pioneering essays appeared. In 1899 he quit here as well and subsequently worked for the Steyrermühl concern , for whose papers Oesterreichische Volks-Zeitung and Neues Wiener Tagblatt he wrote theater reviews. In 1893 he carried out a pistol duel with the singer Ferdinand Jäger in Neudörfel .

In addition to being a theater critic, Bahr also increasingly emerged as a critic of the visual arts . He became a consultant for the newly founded Secession and wrote programs for its magazine Ver Sacrum .

Hermann Bahr married the Jewish actress Rosa Jokl (1871–1940) in 1895 , although, due to his wife's engagements, they often lived apart for a long time. Five years after the marriage, the couple separated, but the divorce did not take place until 1909, and Bahr paid his ex-wife alimony for the rest of his life.

1900-1909

Kolo Moser - Hermann Bahr, ca.1904

1899/1900 Bahr made by architect Joseph Maria Olbrich , the house Bahr in Ober Sankt Veit , a build the Vienna Woods very nearby district of the 13th district of Vienna, in the Veitlissengasse 7 or Winzerstraße 22nd ( Karl Kraus , for whom Bahr had already been a “red rag” - after Shakespeare and Goethe , Bahr is mentioned third most frequently in the torch - lost a civil law suit for insult because he had claimed that Bahr was from the director of the Volkstheater Emmerich von Bukovics was bribed with the property in return for positive reporting. Kraus was probably right.) The interior of his villa also included Gustav Klimt's Nuda Veritas . Bahr made use of his journalistic powers by increasing his support for the artist with his speeches for Klimt and against Klimt in 1901 and 1902 .

In addition to his work as a theater editor (he collected the major reviews in book editions), Bahr became increasingly successful as a comedy poet. Of his total of more than 40 pieces, however, only Der Meister and Das Konzert (1909) have been filmed several times and are still played today. Some of Bahr's efforts failed, on the one hand the establishment of his own theater, on the other hand he had to forego a position as chief director in Munich despite a signed contract. Regardless of this, his importance was also shown in the fact that Max Reinhardt appointed him to the Deutsches Theater in Berlin, where he made four residencies from 1906 to 1907. The stage design for an Ibsen production came from Edvard Munch . Bahr was also an early source of ideas for the Salzburg Festival .

With Felix Salten in Altaussee , July 1903

While his literary production in the nineties can be assigned to decadence and fin de siècle poetry , Bahr began a series of ' Austrian novels' with Die Rahl in 1908 , which claim a contemporary historical value as they cover the years of the fall of the Habsburg Empire . In addition to Catholicism , Austria can be described as the real subject of his second half of life. That said u. a. in his critical writings such as Vienna (1907), Austriaca (1911) and the Dalmatinische Reise (1909).

As a critic and journalist - after Steyrermühl , Bahr wrote feature articles for the Neue Freie Presse from 1907–1932 , but also for important newspapers in Germany ( Berliner Tageblatt , Frankfurter Zeitung , Vossische Zeitung , Berliner Börsen-Courier ) - he continued to do a good job To keep an eye on current cultural trends. While he portrayed himself as a rubber man and contortionist of the mind as early as the 1890s , he was always on the lookout for new discoveries and new ideas in the following decades. He accompanied Art Nouveau as well as literary Impressionism and initiated the discovery of the province (1899–1900) with a series of articles that coincided with his turn to Austria.

In terms of health, the decade began for Bahr with two serious illnesses that led him to the brink of death at the turn of the year 1902/03 and at the turn of the year 1903/1904. In retrospect, this marked the beginning of his last 'conversion' to faith. An equally far-reaching turning point was the beginning of a relationship with Anna von Mildenburg , one of the most successful Wagner interpreters of her time and former lover of Gustav Mahler , in autumn 1904. The two married in August 1909 after Bahr had divorced Rosa Jokl for it. She remained his companion until his death and was also the first to process his estate.

1910-1934

Salzburg, Arenberg Castle

By his fiftieth birthday at the latest in July 1913, Bahr was a fixture in the German-speaking cultural scene. At the same time, it had passed its peak. He had already settled with Vienna in a booklet in 1907 and at the end of 1912 he and Anna Bahr-Mildenburg moved to Arenberg Castle in Salzburg. He converted to the Catholic faith and now attended mass every day. The change was watched in disbelief by his friends as well as by the Catholic side, who both believed they saw a new fashion for Bahr in it, which he would shed just as many others had before. But Bahr remained Catholic until the end of his life. He was also a Catholic journalist who especially for the New Kingdom and later for the more beautiful future of Joseph Eberle wrote.

Apart from in feature sections published in various print media, which, as usual, were collected in book editions, Bahr also developed an increasingly intensive (and so far little researched) lecturing activity.

During the First World War , from whose participation he was exempt due to his age, he remained infected for a long time by the prevailing enthusiasm for war, as his book War Blessings (1915) testifies in particular . But even in his post-war journalism he did not tend towards pacifism , but defended the benefits of the war. War propaganda clearly shows for the first time that the man of the day after tomorrow became a man of yesterday.

Memorial plaque Hermann Bahr Schloss Arenberg Salzburg

Bahr proved to be an important contemporary theorist for the last time when he tried to do justice to the latest art movement in Expressionism (1916).

From a journalistic point of view, two channels of communication increasingly emerged: on the one hand, the Diary column published in the Neue Wiener Journal from autumn 1916 to the end of 1931 (there were first attempts to do so in the previous decade) with current book reviews and political commentaries, and on the other, essays on what were central to him Artists like Dostojewskij , Blaise Pascal , Gustav Mahler , Walt Whitman but also Marcel Proust and others. With great dedication he tried to trace the prehistory of Young Vienna by sketching out his idea of ​​an Austrian literary history. In addition to Franz Grillparzer , he made a significant contribution to the (re-) discovery of Adalbert Stifter .

He was once again strongly represented in public when he was the first dramaturge at the Vienna Burgtheater from September 1918 to spring 1919 .

In 1922 Bahr moved to Munich, where his wife had accepted a professorship in 1920 and where he lived until his death. In 1927 he was appointed to the poetry section at the Prussian Academy of Arts . More and more illnesses, later plagued by dementia, broke off contact with many of his companions during this time. He died on January 15, 1934.

Grave of the Bahr family

Honors

Honor grave

His grave of honor is in the Salzburg municipal cemetery .

Streets

In the year of his death in Vienna- was Floridsdorf (21st district), the former after the Social Democrats Anton snaking named snaking road in Hermann Bahr street renamed after him. The renaming is seen as part of the elimination of street names in Red Vienna under Austrofascism . In Graz, too, Karl-Morre -Gasse was renamed Hermann-Bahr-Gasse in 1951.

In Lambach , Vöcklabruck , Traun , St. Pölten and Bad Tölz there are also Hermann-Bahr-Strasse resp. Paths and alleys. Salzburg has a Hermann-Bahr-Promenade.

Fountain

In Linz there is a fountain on Robert Bernardis Strasse that bears his name.

meaning

Hermann Bahr was, in particular through his critical writings, an important literary and cultural theorist at the turn of the century in German-speaking countries and was significantly involved in the definition of new styles. In the course of his life he wrote over forty plays, about ten novels, forty volumes of critical writings and an autobiography.

In 1919 he summarized the central 'discoveries' of his journalistic activities:

“[Not only Hugo Wolf.] It was d'Annunzio who discovered the Duse for the Germans, was among the first to advertise Maeterlinck , Klimt and Moissi , it was the first who recognized the young Hofmannsthal. I don't have any imaginations about it, it is a gift of the scent for individuality and personality, as some have good hearing or a sharp face. "

- Hermann Bahr : Diary 1919

Bahr was in personal contact with many important people of his time: In Vienna with Schnitzler, Altenberg, Hofmannsthal, Mahler, Klimt, Otto Wagner , Max Burckhard , Bertha Zuckerkandl , Josef Kainz , Richard Strauss , Stefan Zweig , Egon Friedell , Koloman Moser , Theodor Herzl , Viktor Adler , Josef Redlich a . a. In Germany with Arno Holz , Johannes Schlaf , Oscar AH Schmitz , Otto Julius Bierbaum , Frank Wedekind , Wolfgang Heine , Gerhart Hauptmann , Samuel Fischer, Max Reinhardt, Otto Brahm, Thomas Mann , Heinrich Mann . Internationally with Ibsen, Émile Zola , Gabriele D'Annunzio, Eleonora Duse, George Bernard Shaw and Ethel Smyth, among others .

Bahr's lively correspondence is only partially published, mainly due to the (now obsolete) disputes in the estate. A list of the correspondence kept in the estate can be found on the website of the Theater Museum, and a list of the printed letters is available on the project website of the University of Vienna.

An important reason for Bahr's negative connotation, which is often found in literature (and only partially correct), lies in the attacks in the magazine Die Fackel by Karl Kraus, who spoke of him disparagingly as the gentleman from Linz . Kraus' judgment was often accepted unquestioned, precisely because inheritance disputes brought Bahr's publication to a virtual standstill in the fifty years after his death.

While Hermann Bahr was particularly known as a playwright and columnist during his lifetime and had retained his importance at the theater for the longest after his death, the discussion with him recently intensified in the 1990s, parallel to the collection of diaries and sketchbooks published in five volumes under Moritz Csáky , Notebooks . Bahr's role as mediator of modernity and mediator between cultures came to the fore.

From 2009 to 2012, a project financed by the FWF ran at the University of Vienna under the direction of Claus Pias , which reprinted the most important critical writings in read-only editions and created a directory of Bahr's texts and the first editions.

One of his best-known quotes from the text The Overcoming of Naturalism , which has become a catchphrase, reads: “The rule of naturalism is over, its role has been played out, its magic is broken.” But the texts Die Moderne , Der Symbolismus and Loris are also special for them Literary theory of symbolism is crucial.

Bahr was always interested in the future of literature. In his self-portrait he wrote: “ I was an [...] intellectual“ Lord of Adabei ”: there are the virtues of my spirit, there are its vices. [...] I went through almost every intellectual fashion of that time, but before, namely when it was not yet fashionable. When it became fashionable, no more. [...] I could say with Goethe : If people think I'm still in Weimar, then I'm already in Erfurt! "

Works (selection)

Hermann Bahr
(1904 by Emil Orlik )

Critical Writings

  • To the criticism of modernity. Collected Essays , 1890 ( online ; new edition 2004)
  • Overcoming Naturalism , 1891 (2004 new edition)
  • Russian Journey , 1893 ( online ; new edition 2012)
  • Anti-Semitism. An international interview , 1894 ( online )
  • Studies on the Critique of Modernism , 1894 ( online ; new edition 2006)
  • Renaissance. New Studies on the Critique of Modernism , 1897 (new edition 2008)
  • Education. Essays , 1900 (new edition 2010)
  • Secession , 1900 ( online ; new edition 2007)
  • Speech about Klimt , 1901 (new edition together with Gegen Klimt , 2009)
  • Dialogue of the tragic , 1903 (new edition 2010)
  • Dialogue from Marsyas , 1906 (new edition 2010)
  • Vienna , 1907 (new edition 2012)
  • Book of Youth , 1908 (new edition 2010)
  • Dalmatian Journey , 1909 (new edition 2012)
  • Austriaca , 1911 (new edition 2011)
  • Essays , 1912 ( digitized in the Internet Archive )
  • Inventory , 1912 (new edition 2011)
  • Expressionism , 1916 (new edition 2010)
  • Summula , 1921 (new edition 2010)
  • Self-Portrait , 1923 (new edition 2012)
  • Send of the artist , 1923 (new edition 2010)

The critical writings in individual editions can be downloaded free of charge as a PDF from the project website of the University of Vienna.

prose

  • Digital copies of these and other prosaic works in the Wikisource
  • The good school. Soul states , novel, 1890. New edition Berlin 1997.
  • Fin de siècle , short stories, 1891.
  • Dora , short stories, 1893.
  • Beside love , Viennese novel, 1893.
  • Caph , short stories, 1894.
  • Theater , novel, 1897.
  • The Rahl , Roman, 1908.
  • Drut , 1909; 2nd edition: Die Hexe Drut , Roman, 1929.
  • O man , novel, 1910.
  • Ascension , novel, 1916.
  • The Rotte Korahs , novel, 1919.
  • Austria in Eternity , novel, 1929.

Dramas

Letters

Collective editions

  • Master craftsman and master craftsman's letters from Hermann Bahr. From his drafts, diaries and his correspondence . Selected and introduced by Joseph Gregor. Hermann Bauer, Vienna 1947 (Museion. Publications of the Austrian National Library, New Series. 1st series: Publications of the Theater Collection).
  • Lukas Mayerhofer, Kurt Ifkovits (Ed.): Selected letters to Hermann Bahr. In: Hermann Bahr: Mediator of European Modernism . Publication for the exhibition in the "Galerie im Stifter-Haus", 25 August to 25 September. Landesverlag, Linz 1998, pp. 107–140.

Single issues

  • Correspondence with his father . Selected by Adalbert Schmidt. With an afterword and register. Vienna: Bauer 1971. (Selected edition, not complete!).
  • Wilhelm Bölsche : Works and Letters . Ed. Hans-Gert Roloff. Letters 1. Correspondence with authors of the Freie Bühne. Transcription and Commentary Gerd-Hermann Susen. Weidler, Berlin 2010, pp. 704-746.
  • Gerd-Hermann Susen: "... because everything modern has gone with us". The correspondence between Hermann Bahr and Michael Georg Conrad. In: From the edges to the modern. Studies of German-language literature between the turn of the century and the Second World War. Festschrift for Peter Sprengel on his 65th birthday. Edited by Tim Lörke, Gregor Streim and Robert Walter-Jochum. Würzburg 2014, pp. 27–61
  • Peter Sprengel : Hermann Bahr and Gerhart Hauptmann in letters and other testimonials . Reviewed and supplemented by Martin Anton Müller, February 2013, online at www.univie.ac.at/bahr .
  • Hugo and Gerty von Hofmannsthal - Hermann Bahr: Correspondence. 1891-1934 . Edited and commented by Elsbeth Dangel-Pelloquin. Wallstein, Göttingen 2013, ISBN 978-3-8353-1217-3 .
  • Hermann Bahr and Arno Holz : Correspondence. 1887-1923. Edited by Gerd-Hermann Susen and Martin Anton Müller. Wallstein, Göttingen 2015, ISBN 978-3-8353-1719-2
  • Hermann Bahr, Josef Redlich: poet and scholar. Hermann Bahr and Josef Redlich in their letters 1896–1934 . Edited by Fritz Fellner . Neugebauer, Salzburg 1980 (sources on the history of the 19th and 20th centuries).
  • Hermann Bahr, Arthur Schnitzler: Correspondence, records, documents 1891–1931. Edited by Kurt Ifkovits, Martin Anton Müller. Göttingen: Wallstein 2018, ISBN 978-3-8353-3228-7 Publishing house presentation , PDF , extended web presentation
    • The edition replaces the earlier edition without counter-letters from Bahr: Arthur Schnitzler: The letters of Arthur Schnitzler to Hermann Bahr . Ed. Donald G. Daviau. Univ. of North Carolina Press, Chapel Hill 1978 (Studies in the Germanic languages ​​and literatures)

bibliography

Film adaptations

additional

  • Against Klimt. Unnamed editors: Hermann Bahr, Max Burckhard, Koloman Moser and Fritz Wärndorfer . Eisenstein, Vienna 1903.
  • As a staff member: "The Jew is to blame ...?" Discussion book on the Jewish question . Zinnen, Basel u. a. & [CE Krug], [Leipzig] 1932.
    • Critical review on this: Jacob Hiegigte On the futility of arguments , in: De Joodse Wachter , September 1, 1933, transl. From the Netherlands. Thomas Kollatz in: Kalonymos , Issue 1/2007, pp. 1-3 ISSN  1436-1213
  • As an unnamed editor: Martha Berger - The life of a woman. Rikola, Vienna 1925.

literature

A detailed list of secondary literature can be found on the website of the Bahr project at the University of Vienna

  • Ernst Alker :  Bahr, Hermann. In: New German Biography (NDB). Volume 1, Duncker & Humblot, Berlin 1953, ISBN 3-428-00182-6 , p. 540 ( digitized version ).
  • Andreas Berlage: Sensation, I and language around 1900. Ernst Mach, Hermann Bahr and Fritz Mauthner in connection. Lang, Frankfurt am Main a. a. 1994 (= Europäische Hochschulschriften, Series 20, Philosophy, 414), ISBN 3-631-45792-8 .
  • Donald G. Daviau: The man of the day after tomorrow. Hermann Bahr 1863–1934. Österreichischer Bundesverlag, Vienna 1984, ISBN 3-215-05093-5 .
  • Donald G. Daviau: Understanding Hermann Bahr. Röhrig, St. Ingbert 2002 (= Austrian and international literary processes; 14), ISBN 3-86110-313-3 .
  • Rainer Dittrich: The literary modernity of the turn of the century in the judgment of the Austrian criticism. Investigations on Karl Kraus, Hermann Bahr and Hugo von Hofmannsthal. Lang, Frankfurt am Main a. a. 1988. (= Europäische Hochschulschriften, Series 1, 1088), ISBN 3-631-40542-1 .
  • Reinhard Farkas: Hermann Bahr. Dynamics and Dilemma of Modernity. Böhlau, Vienna a. a. 1989, ISBN 3-205-05241-2 .
  • Fritz Fellner (Ed.): Poet and Scholar. Hermann Bahr and Josef Redlich in their letters 1896–1934. Neugebauer, Salzburg 1980.
  • Thomas Gräfe: Hermann Bahr's anti-Semitism survey among European intellectuals 1893/94. In: Jahrbuch für Kommunikationgeschichte 19 (2017), pp. 35–76.
  • Günter Helmes : The "Lord of Adabei" . In: Hermann Bahr: The good school . Ullstein. Berlin 1997, ISBN 978-3-548-24161-6 , pp. 191-208.
  • Günter Helmes: Hermann Bahr: "The good school" . In: Reclams Romanlexikon . Volume 3. Stuttgart 1999, ISBN 978-3-15-018003-7 , pp. 49-51.
  • Bernhard Kleinschmidt: The "joint broadcast": Art journalism at the turn of the century in Vienna. Lang, Frankfurt am Main a. a. 1989 (= Munich Studies on Literary Culture in Germany, 8), ISBN 3-631-40407-7 .
  • Markus Meier: Prometheus and Pandora. “Personal myth” as the key to the work of Hermann Bahr (1863–1934). Königshausen u. Neumann, Würzburg 1997 (= Freiburg literary psychological studies, 5), ISBN 3-8260-1443-X .
  • Karl Johann Müller: The problem of decadence in Austrian literature at the turn of the century, presented using texts by Hermann Bahr, Richard von Schaukal, Hugo von Hofmannsthal and Leopold von Andrian. Heinz, Stuttgart 1977 (= Stuttgart works on German studies, 28), ISBN 3-88099-027-1 .
  • Hermann Bahr: Austrian critic of international avant-garde . In: Martin Anton Müller, Claus Pias, Gottfried Schnödl (Eds.): Yearbook for International German Studies (=  Series A - Congress reports ). No. 118 , 2014, ISBN 978-3-0343-1531-9 .
  • Andreas Wicke: Beyond lust. On the problem of marriage in the literature of Viennese modernism. (= Kassel studies - literature, culture, media. 5). Böschen, Siegen 2000, ISBN 3-932212-22-3 .
  • Helene Zand: Identity and Memory. The differentiation of representative discourses in Hermann Bahr's diaries. (= Culture, domination, difference. 3). Francke, Tübingen u. a. 2003, ISBN 3-7720-3212-5 .
  • Bahr Hermann. In: Austrian Biographical Lexicon 1815–1950 (ÖBL). Volume 1, Publishing House of the Austrian Academy of Sciences, Vienna 1957, p. 44 f. (Direct links on p. 44 , p. 45 ).

Web links

Commons : Hermann Bahr  - collection of images, videos and audio files
Wikiquote: Hermann Bahr  - Quotes
Wikisource: Hermann Bahr  - sources and full texts
  1. Bibliography of the book editions (including links to digital versions)
  2. Critical writings in single editions (downloadable as PDF)
  3. Text index of all published texts (partly as PDF)
  4. Detailed timeline of Bahr's life
  5. Information on research (correspondence, archives ...)
  6. Public domain images

Individual evidence

  1. ^ Hermann Bahr in the lexicon of German-speaking writers from the beginning to the present. VEB Bibliographisches Institut, Leipzig 1967, Volume A – K, pp. 60ff.
  2. ↑ The house where he was born is often erroneously given as Herrenstrasse 18, where the family moved after his birth and where he spent his youth. Margit Waid: To determine the birthplace of Hermann Bahr. In: Hermann Bahr - The Lord from Linz. A documentation in cooperation with the Adalbert Stifter Institute of the State of Upper Austria and the archive of the city of Linz. Stadtmuseum Linz - Nordico, Bethlehemstrasse 7, September 13 to October 7, 1984. Catalog of the Linz City Museum, # 39, pp. 27–30.
  3. ↑ Self-Portrait, Chapter X.
  4. ↑ Husband of the father's half-sister. New Free Press obituary notice , February 19, 1928
  5. ^ Helge Dvorak: Biographical Lexicon of the German Burschenschaft. Volume II: Artists. Winter, Heidelberg 2018, ISBN 978-3-8253-6813-5 , pp. 27–31.
  6. ↑ Bahr's self-portrait (1923) is the main source for the early years , and for the time in Paris also the correspondence with his father and Bahr's articles from the relevant period, as collected on the website univie.ac.at at the University of Vienna and the timetable there, which is compiled from the research.
  7. ↑ In addition to the testimonies of Bahr's youth ( letters to his father, self-portrait ) there is now autobiographical information in his articles and the diaries, sketchbooks, notebooks published under the direction of Moritz Csáky , dating from 1885–1906 (Vienna: Böhlau 1994–2003) include.
  8. ↑ Reinhard Farks (ed.): Hermann Bahr. Prophet of modernity. Diaries 1888–1904. Vienna 1987.
  9. ↑ For the bibliography see on the one hand Kurt Thomasberger in: Heinz Kindermann: Hermann Bahr. A life for the European theater. Graz, Cologne: Böhlau 1954, 347–368; on the other hand, the update by Martin Anton Müller on www.univie.ac.at/bahr
  10. ↑ See the 1st chapter in: Peter Sprengel, Gregor Streim: Berliner und Wiener Moderne. Mediation and demarcation in literature, theater, journalism , Vienna / Cologne / Weimar 1998.
  11. ↑ Above all: Hermann Bahr: Eleonora Duse. Frankfurter Zeitung, 35 (1891) # 129, 1. Morgenblatt, 1–2. (May 9, 1891)
  12. ^ Helge Dvorak: Biographical Lexicon of the German Burschenschaft. Volume II: Artists. Winter, Heidelberg 2018, ISBN 978-3-8253-6813-5 , p. 363.
  13. ↑ The magazine Ver Sacrum can be viewed at ANNO .
  14. ↑ See the letters to the father of April 2, 1895 and April 18, 1895.
  15. ^ Alfred Pfabigan: Hermann Bahr as a victim. In: A. P. and Jeanne Benay (eds.): Hermann Bahr - For Another Modern Age, Appendix: Hermann Bahr: Lenke. Story (1909). Correspondence from Peter Altenberg to Hermann Bahr (1895–1913). Peter Lang, Bern 2004, pp. 205–220.
  16. ↑ See Jay F. Bodine: A Letter of Joseph Olbrich to Hermann Bahr. In: Modern Austrian Language, 9 (1976) # 2, pp. 45-49.
  17. ↑ Der Meister : First performance at the Berlin Deutsches Theater, December 12, 1903 with Rudolf Rittner and Irene Triesch , director: Otto Brahm
  18. ^ Pia Janke : Hermann Bahrs references to current festival projects. In: Hermann Bahr - For a different modernity. Appendix: Hermann Bahr: Lenke. Story (1909). Correspondence from Peter Altenberg to Hermann Bahr (1895–1913). Peter Lang, Bern 2004, pp. 189–202.
  19. ^ Art and Criticism. Frankfurter Zeitung, 35 (1890) # 254, 1. Morgenblatt, 1-2. (September 11, 1890) Book edition in: Overcoming Naturalism , 123.
  20. ↑ Österreichische Volks-Zeitung, 49 (1903) # 21, 1. (January 21, 1903)
  21. ↑ Neues Wiener Tagblatt, 33 (1899) # 270, 1-3. (October 1, 1899)
  22. ^ Hermann Bahr: Vienna. With eight full frames. Stuttgart: Carl Krabbe (Leo Greiner, ed. Cities and Landscapes 6) 1907.
  23. ↑ The timeline of the Bahr project univie.ac.at lists some lectures, several boxes are preserved in the estate in the Austrian Theater Museum.
  24. ↑ Bibliography of War Journalism ; Digitized online at Archive.org
  25. ↑ See e.g. B. the diary of December 1929 published in the New Vienna Journal .
  26. ↑ See: Hildegard Hogen: The man of the day after tomorrow? Hermann Bahr in his later writings. In: Austria in history and literature. 38 (1994) # 1, pp. 24–47 and Kurt Ifkovits: “Only Germans!” Or “Slavic West Reich” - Hermann Bahr's war journalism in 1914/15. In: Johannes Feichtinger , Peter Stachel (Ed.): The tissue of culture. Cultural studies analyzes of the history and identity of Austria in modern times. Studienverlag, Innsbruck 2001, pp. 209–231.
  27. ↑ Digitized online
  28. ^ Street names in Vienna since 1860 as "Political Places of Remembrance" (PDF; 4.4 MB), p. 256, final research project report, Vienna, July 2013
  29. ^ Hermann Bahr: 1919. Diary, 173.
  30. ^ Hermann Bahr estate - correspondence (author in alphabetical order) (PDF) Theater Museum. Retrieved May 9, 2019.
  31. ^ Project complete edition of Bahr's works on the website of the University of Vienna
  32. ↑ The Overcoming of Naturalism , 1st line, printed in the book of the same name, p. 152 of the EA
  33. ^ Hermann Bahr: Loris (1892); in the lyric theory project
  34. ^ Hermann Bahr: Symbolism (1892); in the lyric theory project
  35. ↑ Self-portrait. P. 2.
  36. ↑ again Jüdischer Vlg./Athenäum, Frankfurt 1980, ISBN 3-7610-8043-3 ; again vdg, 2005, ISBN 3-89739-507-X = Critical writings in single edition, 3; readable online as a new sentence or in Fraktur ; Contributions by Friedrich Spielhagen , Theodor Barth , August Bebel , Theodor Mommsen , Gustav von Schmoller , Maximilian Harden , Moritz von Egidy , Ernst Häckel , Adolf Wagner , Heinrich zu Schoenaich-Carolath , Heinrich Rickert , Henry Mackay , Wilhelm Foerster , Alfred Naquet , Jules Simon , Anatole Leroy-Beaulieu , Alphonse Daudet , Francis Magnard , Arthur Meyer , Édouard Pailleron , Séverine , Charles Morice , Cluseret , Alejandro Sawa , Manuel Ruiz Zorrilla , Henri Rochefort , Charles Wentworth Dilke , James Arthur Balfour , Henry Labouchère , Annie Besant , Sidney Whitman, Timothy Healy , Paul Janson , Edmond Picard , Buls , Henrik Ibsen , Björnsterne Björnson
personal data
SURNAME Bahr, Hermann
ALTERNATIVE NAMES Bahr, Hermann Anastas (full name)
BRIEF DESCRIPTION Austrian writer, playwright as well as theater and literary critic
DATE OF BIRTH July 19, 1863
PLACE OF BIRTH Linz , Austria
DATE OF DEATH January 15, 1934
Place of death Munich , Germany