By Arnhilt Johanna Hoefle
During his lifetime Austrian novelist Stefan Zweig (1881–1942) used to be one of the most generally learn German-language writers on the planet. continuously debatable, he fell into serious disfavor as writers and critics in a devastated postwar Europe attacked the bad literary caliber of his works and excoriated his apolitical fiction as naïve Habsburg nostalgia. but in different components of the area, Zweig’s works have loved persisted admiration and recognition, even canonical status.
China’s Stefan Zweig unveils the extreme good fortune of Zweig’s novellas in China, the place he has been learn in a wholly assorted manner. throughout the New tradition flow of the Twenties, Zweig’s novellas have been found through intellectuals turning opposed to Confucian culture. within the Thirties, left-wing students criticized Zweig as a decadent bourgeois author, but after the communist victory in 1949 he used to be re-introduced as a political author whose distinct mental descriptions uncovered a brutal and hypocritical bourgeois capitalist society. within the Eighties, after the Cultural Revolution, Zweig’s works prompted a large-scale “Stefan Zweig fever,” the place Zweig-style woman figures, the mild, loving, and self-sacrificing ladies who populate his novels, turned the female perfect. Zweig’s likely anachronistic poetics of femininity allowed feminists to criticize Maoist gender politics via praising Zweig as “the anatomist of the feminine heart.” As Arnhilt Hoefle makes transparent, Zweig’s works have by no means been passively bought. Intermediaries have actively chosen, interpreted, and translated his works for terribly varied purposes.
China’s Stefan Zweig not in basic terms re-conceptualizes our realizing of cross-cultural reception and its underlying dynamics, yet proposes a major second look of 1 of the main profitable but misunderstood ecu writers of the 20 th century. Zweig’s works, that have encouraged fresh movie diversifications comparable to Xu Jinglei’s Letter from an Unknown Woman (2005) and Wes Anderson’s Grand Budapest Hotel (2014), are just starting to be rediscovered in Europe and North the US, however the heated debate approximately his literary benefit keeps. This booklet, with its wealth of hitherto unexplored Chinese-language resources, sheds mild at the Stefan Zweig conundrum during the lens of his chinese language reception to bare extraordinary, and lengthy ignored, literary dimensions of his works.
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China’s Stefan Zweig: The Dynamics of Cross-Cultural Reception (Critical Interventions) by Arnhilt Johanna Hoefle