Arthur Schnitzler


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Schnitzler, Arthur

 

Born May 15, 1862, in Vienna; died there Oct. 21,1931. Austrian writer.

Schnitzler graduated from the medical faculty at the University of Vienna in 1885. His best works written in the late 19th and early 20th centuries continue the traditions of critical realism; they expose the hollowness and cruelty of the worldly life and defend the primacy of true feeling. In the drama Free Game (1896; Russian translation under the title A Slap in the Face, 1897) and the short story “Lieutenant Gustl” (1901), he portrayed the amorality and the casteconscious arrogance of officers in the Austrian Army. The effect of Schnitzler’s critical statements was weakened, however, by his use of decadent motifs: his play The Green Cockatoo (1899) was concerned with the illusoriness of life, and his series of one-act plays Paracelsus (1899) dealt with the cult of eternal beauty.

Schnitzler’s prose, which includes the novella Casanova’s Homecoming (1918) and the short-story collections The Sage’s Wife (1898) and Masks and Miracles (1912), is distinguished by psychological insight and an intense concern with sex. Schnitzler was influenced by S. Freud; Freudian tendencies are especially apparent in such late works as the novella Theresa (1928).

WORKS

Dramen. Berlin-Weimar, 1968.
Erzählungen, 2nd ed. Berlin-Weimar, 1969.
In Russian translation:
Poln. sobr. soch., vol. 1–9. Moscow, 1903–11.
Zhena mudretsa. Moscow, 1967.

REFERENCES

Evlakhov, A. M. A. Shnitsler. Baku, 1926.
Allen, R. H. An Annotated A. Schnitzler Bibliography, 1879–1965. Chapel Hill, 1966.
References in periodicals archive ?
Moreover, he deduces the despair over the purposelessness of life behind the works of such fine minds as "Georg Hirschfeld, Arthur Schnitzler, Georg Hermann" and concludes, "Gerade darin aber tritt das Willenhafte, Zweckbedachte zu Tage, das hier zum Willenlosen, Zwecklosen umgewandelt ist, aber doch, wenn auch mit umgekehrtem Vorzeichen, das ganze Wesen beherrscht" (321f.
Arthur Schnitzler en El retorno de Casanova y Sandor Marai en La amante de Bolzano pintaron con los colores mas crudos la vejez de Casanova.
Not only Freud, but the playwright and novelist Arthur Schnitzler, and Gustav Klimt, the painter of sensuous, erotic and at times frightening female figures, all lived and worked in Vienna in this era.
AUSTRIAN dramatist Arthur Schnitzler wrote La Ronde at the turn of the last century to amuse and scandalise his friends.
For example, as the Nobel Prize-winning scientist Eric Kandel pointed out in his book The Age of Insight, the ideas presented by Sigmund Freud influenced the work of artists and writers including Arthur Schnitzler, Gustav Klimt, and Oskar Kokoschka as they began to explore ideas of the emotions and the unconscious in their work.
Meanwhile artists such as Gustav Klimt and Egon Schiele were coming into Wiemar from Vienna, with ravishing new forms of art, while in the theatre Arthur Schnitzler was setting Weimar audiences roaring with laughter with plays such La Ronde.
Having already written about Jewish writers in present-day Austria, Hillary Hope Herzog has had the idea of extending the story backwards in order to explore continuities between the construction of identity by Jewish writers such as Ruth Beckermann and Robert Schindel and those at work a century ago such as Arthur Schnitzler and Stefan Zweig.
They began the kind of liaison that Arthur Schnitzler and Zweig himself so often dramatized for their Central European audience.
Lou knew and enchanted three of Mann's greatest artistic and intellectual heroes--Richard Wagner, Friedrich Nietzsche and Sigmund Freud--and also head-hunted many of the leading writers of her time: Leo Tolstoy (whom she visited in Russia), August Strindberg, Knut Hamsun, Gerhart Hauptmann, Arthur Schnitzler, the predatory Frank Wedekind, Hugo von Hofmannsthal, her longtime lover Rainer Maria Rilke and the theologian Martin Buber.
360' is based on a play called 'Reigen', by Arthur Schnitzler, where each scene ends with a couple in bed either before or after sex.
Freud's observation to Arthur Schnitzler is equally applicable to the Lawrence of Sons and Lovers: "I have gained the impression that you have learned through intuition--though actually as a result of sensitive introspection--everything that I have had to unearth by laborious work on other persons.
Martin Acosta acomete ahora con Anatol (1893) de Arthur Schnitzler (1862-1931) quien a su vez escarbase en una de sus obsesiones seculares: el mito de Casanova, que ya habia experimentado con el relato de juventud El retorno de Casanova (1917), para volverse en una constante a lo largo de su produccion literaria.