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.
References in periodicals archive ?
This letter contains one of the few direct references to Wagner to be found in Beer-Hofmann's correspondence and vast literary estate, which is curious given the significance of Wagners theatrical and artistic legacy for Beer-Hofmann's close friends, who included fellow Jung Wien members Hugo von Hofmannsthal and Hermann Bahr, as well as later artistic collaborators such as director Max Reinhardt and stage designer and Secessionist painter Alfred Roller.
Por otra parte, Antoni Marti Minterde se acerca a la produccion periodistica de Hermann Bahr, Peter Altenberg y Karl Kraus y a los intereses esteticos e ideologicos de estos escritores en el contexto de la cultura de los cafes en la Viena de fin de siglo.
She situates The Confusions of the Young Torless within the debates concerning language and the self, discussing Maeterlinck, Nietzsche, Fritz Mauthner, Ernst Much, and Hermann Bahr, as well as romanticism and its reception at the turn of the century.
Teresa Vinardell highlights the issue of exclusion in the work of Casellas and Werfel, and there are reception studies centring on Joseph Roth, Hermann Bahr, and Hofmannsthal.
As a self-taught young writer Salten was befriended by Hugo von Hofmannsthal, Arthur Schnitzler, and Hermann Bahr.
He has selected the writings of eight representatives of the Viennese coffeehouse culture: Hermann Bahr, Karl Kraus, Peter Altenberg, Felix Salten, Egon Friedell, Alfred Polgar, Anton Kuh, and Edmund Wengraf.
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.
Ward traces Hofmannsthal's response to the theoretical writings on tragedy by Nietzsche, Hermann Bahr, and others, and claims that in about 1906 Hofmannsthal realized that the reasons for Goethe's 'avoidance of tragedy' would probably defeat him also.
Vilain very sensibly defines influence broadly and points out more emphatically than previous critics the importance of Stefan George and Hermann Bahr as catalysts, mediators and mentors in Hofmannsthal's understanding of Symbolism.
A variety of critical standpoints is represented, with Hermann Bahr and Rudolf Kayser alongside Gustav Landauer on Der Graf von Charolais, and Georg Lukacs's long essay 'Der Augenblick und die Formen'.
His relationship to music is accorded a brief chapter, and the volume concludes with three chapters of documents, the first being the complete letters from Altenberg to Karl Kraus, the second a fascinating collection of comments on Altenberg by authors ranging from Felix Salten and Hermann Bahr through to Uwe Johnson and Jurgen Habermas, and the third obituaries and further extracts from contemporaries under the heading 'Nachleben'.
A third possible indication of the influence of Sacher-Masoch is routed through Hermann Bahr, whose novel Die gute Schule (1890), which Thomas Mann certainly read, might have been influenced by Venus in Furs.