Swiss literature

from Wikipedia, the free encyclopedia

The literature of Switzerland differentiates according to the four national languages German , French , Italian and Romansh literature. The writers from all parts of the country are now organized in a joint authors' association, the Association of Authors of Switzerland (AdS).

Literature of German-speaking Switzerland

The literature in the German-speaking area of ​​Switzerland, like the literatures in the rest of the German-speaking area (e.g. Austrian literature ), is more of a geographical classification than an independent literary area. Swiss authors belong to the German cultural area and thus also to German literature. An exception to this is at best - to a limited extent - the dialect language products for the Alemannic language area .

Literature before 1800

Already in the Middle Ages there was literary work in various monasteries in the German-speaking area: The oldest German-language Easter play was created in the Muri monastery around 1250 and the first nativity play a little later in the prince abbey of St. Gallen . Courtly poetry was also created in what is now German-speaking Switzerland, according to the Codex Manesse in Zurich. Aegidius Tschudi wrote the Swiss chronicle in the 16th century . For Schiller, this work was the basis for his Wilhelm Tell . An important representative of the Enlightenment epoch was the physician Albrecht von Haller , who with his poem Die Alpen also had a strong influence on German natural poetry. Johann Jakob Bodmer and Johann Jakob Breitinger were also of considerable importance, who freed German poetry from its dependence on French poetry and whose influence extended to Klopstock, Wieland, Lessing and the young Goethe. Johann Heinrich Füssli and Johann Caspar Lavater are important predecessors of Sturm und Drang . At the end of the 18th century, Johann Heinrich Pestalozzi achieved an impact far beyond the German-speaking area with his novel Lienhard and Gertrud . And Ulrich Bräkers autobiographical life story and Natural Ebentheuer the poor man in Tockenburg found enthusiastic reception.

19th and early 20th century literature

Since then, German-Swiss literature has been in constant tension with the overarching developments in the German language and literature area. In addition to a literary scene that has always existed and is only regionally lively, important works were created in the 19th century that are an integral part of the canon of literature in the German language, especially those by classics of realistic literature such as Jeremias Gotthelf , Gottfried Keller or Conrad Ferdinand Meyer . Keller, who was studying in Heidelberg in 1848/49, was able to experience the failure of the bourgeois revolution there, which shaped his novelistic work. He described the five years in Berlin during which he worked out the first version of Green Heinrich as a "correctional institution".

In the period from 1890 to approx. 1920, developments in Switzerland did not follow the sequence of naturalism , symbolism , art nouveau , etc. that is typical for European development , but was characterized by adherence to the realistic narrative tradition, increasingly also by a non-dialect one literary Heimatstil, which was mainly stimulated by the demand of readers and publishers in the neighboring then imperial German Empire. Characteristic representatives of this direction are Ernst Zahn , Jakob Christoph Heer and Alfred Huggenberger ; and Heinrich Federer is partially counted it. The Heidi books by Johanna Spyri , which were also created during this period, are among the best-selling books of all time worldwide , after the works of Agatha Christie .

In the period after the turn of the century and before the First World War, a generation of writers grew up who found new inspiration abroad - often in Berlin. Berlin "is for Swiss literature [...] a place of self-discovery, becoming an artist, and an erotic trance." Robert Walser , Paul Ilg , Jakob Schaffner , Charlot Strasser , Albert Steffen , Ruth Waldstetter - for all of them the experience of modernity in the big city provides a counterprogram to the alpine and farmer's novel in literary terms. Contemporary literary criticism has recognized the new feature in the “poetic worldview” and welcomed it in part. Literary studies coined the term "epic decade" for this phase of Swiss literature, in which primarily narrative works attracted attention.

Hermann Hesse , originally of Russian and German citizenship, is a "weighty special case" among Swiss writers. His appearance also falls into this phase.

The self-image of the German-speaking Swiss writers of belonging to a large linguistic area hardly affected by national borders was suddenly dampened when the First World War broke out, because within Switzerland the tensions between Francophile French-speaking Switzerland and Germanophile German-speaking Switzerland grew. And in order to prevent the country from breaking up, the similarities between the parts of the country had to be emphasized more strongly. Carl Spitteler , as the “doyen among Swiss authors”, was given the task of making his contribution to this matter. His speech “Our Swiss Standpoint”, given in Zurich on December 14, 1914, was only one, albeit the most prominent, initiative on this venture. In Germany, such initiatives were viewed as declarations of war. "German papers called for a boycott of Spitteler's books [...] although the speaker carefully abstained from criticizing the German Reich [...]." The same thing happened to other artists. A crack formed in the previously continuous German-speaking cultural area. Swiss writers were suddenly thrown back on their national identity. This had material and ideal consequences. Once the Swiss lost most of the market. That was decisive because the small Swiss market was hardly able to generate the necessary sales on its own. On the other hand, the cultural isolation sustainably promoted the discussion about a specifically Swiss literary style, which in the 1930s and 1940s provided a basis for intellectual national defense. Even before that, however, Expressionism was discredited on this basis , which was easily possible because it had essentially been brought to Switzerland by foreign artists who had fled. "And that is why 'Expressionism' - at least in literature - has the odor of something imported, something foreign, which was widely considered to be 'Swiss-Swiss'."

For a long time, literary studies assumed that Expressionism did not actually exist in Switzerland. And in fact it remained a marginal phenomenon in Switzerland, the corresponding "schools, centers and directional battles" were missing. It must also be admitted that "expressionist literature written by the Swiss [...] was only in the rarest cases of the resounding quality of the epoch-defining works of Germany and Austria". In addition to the well-known foreign expressionists who lived as exiles in Switzerland during the First World War and were able to continue publishing here (such as Ludwig Rubiner , Albert Ehrenstein , Ferdinand Hardekopf , Leonhard Frank and René Schickele ), there were also quite a few Swiss who made a contribution to literary expressionism. Early examples include novellas by Jakob Schaffner ( Die Eschersche and Der Kilometerstein, both 1907) and poems by Adrien Turel (The Heretic) and Charlot Strasser (Das Narrenhaus) . Schaffner was "the first writer with a German tongue who, as early as 1906/07, used clearly expressionist concerns, motifs and narrative styles in his [...] novellas". Even if many Swiss authors worked with Expressionist themes, motifs and stylistic devices, one can only describe Karl Stamm , Max Pulver and Hans Ganz as actual Expressionists .

Paradoxically, the Swiss played little part in the development of Dadaism , the only form of art and literature that originated in Switzerland. It was founded in 1916, in the middle of the First World War - and as a reaction to the absurdities of the war - by Hugo Ball , Emmy Hennings , Tristan Tzara , Richard Huelsenbeck , Marcel Janco and Hans Arp in the Cabaret Voltaire in Zurich and shone after the war Berlin, Cologne, Paris and New York.

Expressionism and Dadaism were not the only answers to the moral challenge of the consequences of war and to the social problems that industrial change posed for society. Leonhard Ragaz (with Die Neue Schweiz, 1917) and Jakob Bosshart (with A Caller in the Desert, 1921) drafted visions of overcoming and reconciling social and political contrasts within Swiss society.

Literature between the world wars

From the 1920s onwards, authors such as Hans Morgenthaler , Meinrad Inglin , Hugo Marti , Rudolf Jakob Humm , Traugott Vogel , Cécile Ines Loos , Albin Zollinger , Jakob Bührer , Elisabeth Gerter , Ludwig Hohl , Friedrich Glauser and Annemarie Schwarzenbach spoke up . Even Max Frisch , the first with Stiller , scored (1954), after the Second World War, his breakthrough began to write at this time. After the Swiss-German literature had tried sporadically after 1918 to catch up with the international development - as in the late expressionist work of Max Pulver - she isolated herself in the 1930s and 1940s again and stood - in front against Nazism and Italian fascism - in the service of intellectual national defense . In addition to recourse to elements of local art and figures of conservative cultural criticism, the authors adopted, under the influence of neighboring countries and the zeitgeist, partly nationalist-folk ideologies and forms of propaganda, e.g. B. in Robert Faesi's story Füsilier Wipf . The representatives of exile literature , such as Else Lasker-Schüler , were largely ignored or marginalized during this period, which was also the result of the now narrow restrictions on the Swiss literary market, which has increased competition. The Swiss Writers' Association under its President Felix Moeschlin played an inglorious role in this context. According to Charles Linsmayer , the fact that Swiss writers back then only campaigned for their own country, not for freedom in general, is the reason why this generation fell into oblivion after 1945.

Literature since World War II

It was not until the authors of the second half of the 20th century, such as Friedrich Dürrenmatt and Max Frisch, and the late rediscovery of Robert Walser and Annemarie Schwarzenbach , that Swiss German-language literature gained new international status. Other important authors of the post-war period are Hermann Burger , Erika Burkart , Jürg Federspiel , Jürg Laederach , Hugo Loetscher , Kurt Marti , Otto Steiger , Walter Vogt , Otto F. Walter , Markus Werner and Urs Widmer .

The better known contemporary writers of the older and middle generation include (in alphabetical order) Peter Bichsel , Claude Cueni , Federica de Cesco , Christoph Geiser , Eugen Gomringer , Lukas Hartmann , Eveline Hasler , Franz Hohler , Thomas Hürlimann , Rolf Lappert , Gertrud Leutenegger , Charles Lewinsky , Klaus Merz , EY Meyer , Milena Moser , Adolf Muschg , Paul Nizon , Erica Pedretti , Ilma Rakusa , Hansjörg Schertenleib , Hansjörg Schneider , Alain Claude Sulzer and Peter Weber .

Lukas Bärfuss , Alex Capus , Rolf Dobelli , Michael Fehr , Catalin Dorian Florescu , Zoë Jenny , Christian Kracht , Jonas Lüscher , Pascal Mercier , Melinda Nadj Abonji , Monique Schwitter are part of a new generation that only began to publish in the 1990s , Peter Stamm , Martin Suter and Laura de Weck .

Two German-Swiss writers, Carl Spitteler (1920 for 1919) and Hermann Hesse (1946) from Germany , received the Nobel Prize for Literature for their works . In 1981, Elias Canetti , another Nobel Prize winner for literature, spent a large part of his life in Switzerland. Four Swiss people won the Georg Büchner Prize , the most prestigious literary prize in German-speaking countries: Max Frisch (1958), Friedrich Dürrenmatt (1986), Adolf Muschg (1994) and Lukas Bärfuss (2019).

The book series “ Intellectual Heritage Switzerland ”, launched in 2010, is devoted to old and forgotten texts from Swiss literature.

Dialect literature

The beginnings of Swiss dialect literature can be found before 1800. These were still largely prose dialogues, which were often motivated by a specific event such as the Villmerger Wars or funeral walks, as well as popular songs and sayings that were partly embedded in historical dramas. The first play, written entirely in dialect, was written by the future pastor of Rothenburg, Franz Alois Schumacher, around 1729, a parody of the peasant game that was banned by the Lucerne Council in 1743 because of alleged blasphemy.

Actual dialect literature began in the first third of the 19th century. The first well-known dialect writers from Lucerne are Jost Bernhard Häfliger and Josef Felix Ineichen , who wrote from the end of the 18th century; They were followed from the 1800s by Gottlieb Jakob Kuhn from Bern , from around 1820 by Glarner Cosmus Freuler and from around 1830 by Johann Martin Usteri and Jakob Stutz from Zurich . In contrast, dialect was only used selectively in the work of the Bernese artist Jeremias Gotthelf in order to give the language greater authenticity. After the middle of the 19th century, the Basel bidder Jonas Breitenstein , Jakob Hofstätter from Solothurn , Franz Josef Schild and Bernhard Wyss and August Corrodi from Zurich joined them. Towards the end of the century before last, the literary scholar and folklorist Otto Sutermeister encouraged numerous authors from all over German-speaking Switzerland to write shorter and longer texts in their respective dialects with his "Schwyzerdütsch" series (fifty volumes from 1882–1890). An independent author in this early phase who wrote at the same time was Carl Biedermann from Zurich , whereas the work of Georg Fient from Prättigau, who wrote in the years before and after 1900, shaped entire generations of Graubünden dialect writers.

A first real “dialect wave” arose after 1900 around the Bernese “literary pope” Otto von Gruyerz , which then extended over the entire period of “spiritual national defense”. Its rapid blossoming is all about homeland security and is a reaction to industrialization and modernization - like the simultaneous establishment of the Swiss homeland security and the publication of various homeland books and homeland newspapers . Closely related to this was the fear of the disappearance of the dialect, as it was predicted by Ernst Tappolet for Switzerland as well. Dialect literature was often thought of as a defense; the educational aspect becomes clear from the fact that many dialect authors were academics and teachers. Examples include Sophie Haemmerli-Marti from Aargau , Traugott Meyer from Basel , Rudolf von Tavel from Bern , Simon Gfeller , Carl Albert Loosli , Karl Grunder , Emil Balmer and Maria Lauber , Hans Valär from Davos , Theodor Bucher from Lucerne (“Zyböri »), Meinrad Lienert from Schwyz , Josef Reinhart from Solothurn or Rudolf Kägi from Zurich (pseudonym: Heiri Brändli). In addition to these writers, who were more inclined to homeland poetry, Paul Haller from Aargau established the claim to address socially relevant topics with his socially critical works, and Albert Bächtold from Schaffhausen wrote a sui generis literature . In addition, dozens of authors wrote dialect pieces for amateur theater in the first decades of the 20th century , most of which have now been forgotten. In the course of the “spiritual national defense” (sometimes referred to as the “second dialect wave” phase) and well into the 1960s, dialect literature was also filmed on various occasions .

A reorientation of dialect literary work, sometimes also called the "third wave of dialect" or, more appropriately, Modern Dialect (a term invented by Walter Vogt in 1967), took place in the 1960s with the dialect chansons of the Bernese troubadours around Mani Matter and the cabaret artists such as Franz Hohler , César Keizer and Emil Steinberger . After 1970 the songwriters and dialect rock singers and bands joined them; the best known are probably Polo Hofer and Peter Reber . The poets Kurt Marti (the “ Dichterpfarrer ”) and Ernst Eggimann, as well as the novelist Werner Marti , were popular dialect writers at this time who wrote in Bern German ; Martin Frank, however, switched to the English language after his innovative early Bern German works. Josef Hug worked in the Bündner dialect and Julian Dillier in Obwalden dialect . Kuno Raeber wrote some of his late poems in archaic Lucerne Alemannic , and Ernst Burren's texts have been in the Solothurn dialect since 1970 .

After 2000, dialect literature recorded a renewed awakening in terms of content and form under the sign of the spoken word movement. The group Bern is everywhere , founded in 2004, leads the way, with Pedro Lenz , Guy Krneta , Beat Sterchi and Arno Camenisch , among others .

Literature of the French-speaking Switzerland

See main article: Literature of French-speaking Switzerland

Literature in the French-speaking area of ​​Switzerland brought the poets Gustave Roud , Jean-Georges Lossier , Pericle Patocchi , who came from Ticino but wrote all of his lyric work in French, and Philippe Jaccottet, as well as writers such as Charles Ferdinand Ramuz and Jacques Chessex , the only winner of the Prix ​​Goncourt to date . Jean-Jacques Rousseau , Benjamin Constant and Blaise Cendrars also came from what is now Switzerland. The House of Madame de Staël in Coppet was in the 18th century, one of the centers of European literature.

Among the authors of the 20th and 21st centuries are S. Corinna Bille , Nicolas Bouvier , Maurice Chappaz , Anne Cuneo , Jeanne Hersch , Jacques Mercanton , Alice Rivaz , Daniel de Roulet , Marie-Jeanne Urech and Yvette Z'Graggen also in German-speaking Switzerland is one of the better known.

By 2015, Joël Dicker's novels had been translated into over 40 languages ​​and sold in millions.

Literature of Italian-speaking Switzerland

The literary output of Italian-speaking writers in Switzerland has always been strongly oriented towards Italy. An Italian-language literature emerged here in the 16th century with Francesco Ciceri , from Lugano , who commented on Euripides and Terence , and with Martino Bovollino , who came from the Italian-speaking area of ​​Graubünden . In 1547 the Landolfi printing company began its activity in Poschiavo , and it became famous for the dissemination of Protestant religious writings in northern Italy; in addition, the first publishers emerged. In the 17th century Paganino Gaudenzi became known as a poet and author of religious writings. In the 18th century, alongside translations into Italian, mainly religious works and banal shepherd poems were created. The founding of the federal state in 1848 strengthened the need to underline one's own cultural identity (Svizzera italiana), which resulted in an increased orientation towards Lombardy . Many scientific authors, politicians, historians and theologians were influenced by the Lombard Enlightenment ( Cesare Beccaria , Giuseppe Parini , Pietro Verri ).

The conservative-classical poet and prose author Francesco Chiesa ( Preludio, 1897) is considered to be the founder of modern Italian-language literature in Switzerland, who dominated Ticino cultural life in the first half of the 20th century . Giuseppe Zoppi idealized nature in his prose works. Felice Filippini wrote psychological novels in addition to his artistic work in the 1940s and 1950s. Plinio Martini criticized the idealization of nature with his novel Il fondo del sacco (1970).

Important poets and authors of prose from the second half of the 20th and the beginning of the 21st century are Fabio Pusterla , Giorgio Orelli , Anna Felder , Giovanni Orelli , who wrote socially critical novels, and Alberto Nessi , who is valued as a narrator and essayist.

Romansh literature in Switzerland

See main article: Romansh Literature

See also

literature

  • Robert Acker, Marianne Burkhard: View of Switzerland. On the question of the independence of Swiss literature since 1970. Rodopi, Amsterdam 1987, ISBN 90-6203-829-8 .
  • Maurizio Basili: La letteratura svizzera dal 1945 ai giorni nostri. Portaparole, Roma 2014, ISBN 9788897539322
  • Michael Braun, Birgit Lermen (ed.): Swiss contemporary literature. Konrad-Adenauer-Stiftung, St. Augustin, 2005, ISBN 3-937731-66-0 .
  • Corina Caduff, Reto Sorg (Ed.): National Literatures Today - A Fantom? Tradition and imagination of Swiss as a problem. Wilhelm Fink, Munich 2004, ISBN 3-7705-4011-5 .
  • Iso Camartin et al. a .: The four literatures of Switzerland. Edited by Pro Helvetia. Zurich 1995, ISBN 3-908102-20-0 .
  • Manfred Gsteiger, Christian Schmid, Andres Kristol, editing: dialect literature. In: Historical Lexicon of Switzerland .
  • Walter Haas : Dialect as the language of literary works. In: Dialectology. A manual for German and general dialect research. Edited by Werner Besch, Ulrich Knoop, Wolfgang Putschke, Herbert Ernst Wiegand. Second half volume. Walter de Gruyter, Berlin / New York 1983, pp. 1637–1651.
  • Walter Haas: Lozärnerspròòch. A history of the Lucerne German dialect literature with an author's lexicon and a reader. Räber, Lucerne / Stuttgart 1968.
  • Kurt Marti : Switzerland and its writers - the writers and their Switzerland. Evangelischer Verlag Zollikon, Zurich 1966.
  • Beatrice von Matt (Ed.): Answers. The literature of German-speaking Switzerland in the eighties. NZZ-Verlag, Zurich 1991, ISBN 3-85823-336-6 .
  • Klaus Pezold (ed.): Swiss literary history. German-language literature in the 20th century. Militzke, Leipzig 2007, ISBN 978-3-86189-734-7 .
  • Pia Reinacher: Je Suisse. On the current state of Swiss literature. Nagel & Kimche, Zurich 2003, ISBN 3-312-00328-8 .
  • Nicolai Riedel, Stefan Rammer (Hrsg.): Literature from Switzerland. Special issue from Passauer Pegasus. Zeitschrift für Literatur, Volume 11 (1993), Issue 21/22, ISSN  0724-0708 .
  • Peter Rusterholz, Andreas Solbach (ed.): Swiss literary history. Metzler, Stuttgart 2007, ISBN 978-3-476-01736-9 .
  • Ulrich Suter: Literary Central Switzerland. Albert Koechlin Foundation AKS, Lucerne 2011, ISBN 978-3-905446-13-5 .

Web links

Individual evidence

  1. ↑ Matthias Luserke : Sturm und Drang. Erg. Edition Stuttgart 2010, p. 51 ff.
  2. ↑ Peter von Matt: The ink-blue confederates. About literary and political Switzerland. Hanser, Munich / Vienna 2001, p. 59.
  3. ^ So Eduard Korrodi in the first of the Swiss literary letters : Seldwyler spirit and Swiss spirit. Frauenfeld 1918, p. 20.
  4. ↑ Klaus Pezold (Ed.): History of German-speaking Swiss literature in the 20th century. Volk und Wissen, Berlin 1991, ISBN 3-06-102725-4 , p. 37; Peter Rusterholz, Andreas Solbach (ed.): Swiss literary history. Metzler, Stuttgart / Weimar 2007, ISBN 978-3-476-01736-9 , p. 182.
  5. ↑ Peter Rusterholz, Andreas Solbach (ed.): Swiss literary history. Metzler, Stuttgart / Weimar 2007, ISBN 978-3-476-01736-9 , p. 174.
  6. ↑ Ursula Amrein: The double place. The German-language literature in Switzerland from 1880 to 1950. In: Erinnern und Ververarbeitung. Edited by Georg Kreis. Basel 2004, pp. 71–88, here p. 74. In this article, the author traces the development of the relationship between Swiss authors and the nation on the one hand and cultural space on the other. More detailed and extensive in her habilitation thesis: Ursula Amrein: "Los von Berlin!" The literary and theater politics of Switzerland and the «Third Reich». Chronos, Zurich 2004, ISBN 3-0340-0644-6 .
  7. ↑ Peter Rusterholz, Andreas Solbach (ed.): Swiss literary history. Metzler, Stuttgart / Weimar 2007, ISBN 978-3-476-01736-9 , p. 159.
  8. ^ For example, Ferdinand Hodler. "Right at the beginning of the war, he drew the wrath of German-friendly circles when he signed the protest against the bombardment of Reims Cathedral by the German army." Quoted from Peter Rusterholz, Andreas Solbach (Hrsg.): Schweizer Literaturgeschichte. Metzler, Stuttgart / Weimar 2007, ISBN 978-3-476-01736-9 , p. 162.
  9. ^ In 1922 Robert Faesi complained that "intellectual border traffic" with Germany was still prevented. See Robert Faesi: Gestalten und Wandlungen Schweizerischer Poetry . 10 essays. Amalthea-Verlag, Zurich / Leipzig / Vienna 1922, p. 282.
  10. ↑ Martin Stern: Expressionism. Literary opposition on the sidelines of official Switzerland. In: Zygmunt Mielczarek (Ed.): Flucht und Dissidenz. Outsiders and neurotics in Swiss German literature. Lang, Frankfurt am Main [etc.] 1999, ISBN 3-631-35666-8 , pp. 11–20, here p. 18.
  11. ↑ «Ever since Nadler and Ermatinger, the opinion has prevailed in literary histories that Expressionism was among us [d. H. in Switzerland] actually not given. " For example, Martin Stern in the foreword to the Expressionism in Switzerland collection he edited , in Swiss Texts Volume 6/1 + 2, Haupt, Bern / Stuttgart 1981, here Volume 6/1, p. 5.
  12. ↑ Martin Stern in the epilogue to the Expressionism in Switzerland collection he edited , in Swiss Texts Volume 6/1 + 2, Haupt Bern / Stuttgart 1981, here Volume 6/2, p. 226.
  13. ↑ Martin Stern in the epilogue to the Expressionism in Switzerland collection he edited , in Swiss Texts Volume 6/1 + 2, Haupt, Bern / Stuttgart 1981, here Volume 6/2, p. 226.
  14. ↑ In: The Lantern. Fischer, Berlin 1907, pp. 172-185.
  15. ↑ In: The Lantern. Fischer, Berlin 1907, pp. 126-139.
  16. ↑ From: From the mantle of the world. Zurich 1947, p. 84 f. According to Adrien Turels, they were made between 1903 and 1905; According to Martin Stern in the epilogue to the Expressionism in Switzerland collection that he edited , Swiss Texts Volume 6/1 + 2, Haupt, Bern / Stuttgart 1981, here Volume 6/2, p. 230.
  17. ↑ From: Rascher's Yearbook for Swiss Art and Art, 3/1912, Zurich / Leipzig 1912, p. 287.
  18. ↑ Martin Stern Expressionism. Literary opposition on the sidelines of official Switzerland. In: Zygmunt Mielczarek (Ed.): Flucht und Dissidenz. Outsiders and neurotics in Swiss German literature. Lang, Frankfurt am Main [etc.] 1999, p. 15.
  19. ↑ Klaus Pezold (Ed.): History of German-speaking Swiss literature in the 20th century. People and Knowledge, Berlin 1991, ISBN 3-06-102725-4 , p. 55.
  20. ↑ An exception is Friedrich Glauser, who participated in some performances; see. Gustav Huonker: Zurich literary scene. People, stories and pictures 1915 to 1945. Zurich 1985, p. 18.
  21. ^ Gero von Wilpert: Subject dictionary of literature. 7th edition, Stuttgart 1989, keyword Dadaism .
  22. ^ Charles Linsmayer: Epilogue to Spring of the Present. Swiss stories 1890–1950. Volume III, ed. by Andrea and Charles Linsmayer. Suhrkamp White Program Switzerland, Frankfurt 1990.
  23. ^ Charles Linsmayer: Spring of the present. Erzählungen III, Zurich 1983, pp. 484–488.
  24. ^ Charles Linsmayer: Spring of the present. Erzählungen III, Zurich 1983, p. 436.
  25. ↑ Roman Bucheli: Switzerland and its dead poets: Read what's up! In: Neue Zürcher Zeitung from April 1, 2016.
  26. ↑ In detail on this Hans Trümpy : Swiss German Language and Literature in the 17th and 18th Century (based on the printed sources). Krebs, Basel 1955 (writings of the Swiss Society for Folklore 36), pp. 157–365.
  27. ^ Walter Haas : Lozärnerspròch. A history of the Lucerne German dialect literature with an author's lexicon and a reader. Räber, Luzern / Stuttgart 1968, pp. 19 and 23.
  28. ^ Walter Haas: Lozärnerspròch. A history of the Lucerne German dialect literature with an author's lexicon and a reader. Räber, Luzern / Stuttgart 1968, p. 22.
  29. ↑ Christian Schmid : Häbet nech am Huet! E cipher. Cosmos, Muri bei Bern 2019, p. 34 f.
  30. ↑ Dominik Schnetzer: Mountain image and spiritual national defense. The visual staging of the Alps in the mass media ensemble of modern Switzerland. Chronos, Zurich 2009.
  31. ↑ Andrea Kucera: The bestselling author next door In: Neue Zürcher Zeitung of September 29, 2015
  32. ↑ Antonio Stäuble, Guido Pedro Jetta / PTO: Italian-language literature. In: Historical Lexicon of Switzerland . Retrieved June 27, 2016.
  33. ↑ Further articles by Norbert Bärlocher, Erica Benz-Steffen, Michael Böhler, Corina Caduff , Christoph Kannengiesser, Gerhard Lauer , Adolf Muschg , Franziska Schössler, Hans R. Schwab, Martin Zingg.
  34. ↑ This refers to the 80s of the 20th century.