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Hermann Bahr

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Bahr, Hermann 

Born July 19, 1863, in Linz; died Jan. 15, 1934, in Munich. Austrian writer.

After a trip to St. Petersburg, Bahr published A Journey to Russia (1893). He defended the principles of impressionism in the theoretical articles “To the Criticism of Modernism” (1890) and “Overcoming Naturalism” (1891) and the principles of expressionism in “Essay” (1912) and “Expressionism” (1914). The problem of marriage and art is central to his comedies and dramas—for example, The Tschaperl (1898), Viennese Women (1900; Russian translation, 1912), The Master (1903; Russian translation, 1905), and The Concert (1909; Russian translation, 1910)—and to his novels— Near Love (1893) and Theater (1897), for example.

Bahr’s creative work criticized bourgeois society from the position of unlimited individualism. His late novels— Ascension (1916) and Austria in Eternity (1929)—are permeated with mysticism and chauvinism.

WORKS

In Russian translation:
Na gastroli. St. Petersburg, 1910.
Ottsy i deti. Moscow, 1910.
Fata-Morgana. St. Petersburg, 1911.
Napoleon i Zhozefina,2nd ed. St. Petersburg, 1911.

REFERENCES

Handl, W. Hermann Bahr. Berlin, 1913.
Kindermann, H. Hermann Bahr. . . . Graz-Cologne, 1954.


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17) In the autobiography of Hermann Bahr, the influential mentor of Viennese fin-de-siecle modernity, one can read how the author comes to abandon the pan-Germanic ideals of his youth after receiving from the Iron Chancellor the personal advice that the existence of imperial Austria was, for precisely the same reasons as those pointed out by Pessoa, of vital interest for the German empire.
It is, however, no accident that the coffeehouse is gaining such popularity everywhere: not only is its cosmopolitan pluralism suited to today's global village, but now more than ever do we need a special place, which offers both quiet contemplation and communal debate, a 'platonic academy' as Hermann Bahr terms the cafe, which allows relief from the fatigue of everyday life and an opportunity to view the world from a distance, a space which is at once public and private.
As long ago as 1908, the Viennese art critic Hermann Bahr had noted a certain diremption of the task of modern painting: along with any specifically formal and artistic problems it negotiates, it is also called upon "to be its own poster.
 
 
 
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