Clara Viebig

Viebig, Clara

 

Born July 17, 1860, in Trier; died July 31, 1952, in West Berlin. German writer.

Viebig received a musical education. At first she wrote naturalistic novels depicting the savage customs of the German countryside, such as Children of the Eifel (1897), and the tragic fate of women, for example, Women’s Village (1900). Later, however, she turned to the realistic description of the difficult life of the urban poor in Our Daily Bread (1910) and A Handful of Earth (1915). Viebig’s later works are rather melodramatic and contain less social criticism.

WORKS

Ausgewählte Werke, vols. 1–8. Stuttgart, 1922.
Der Vielgeliebte und die Vielgehasste. Stuttgart-Berlin, 1935.
References in periodicals archive ?
While it appeared on the surface that Clara Viebig wrote in the genre of the Heimatroman, for instance, her works actually depict the conditions of country life in an almost Naturalist fashion, emphasizing and criticizing issues such as poverty and social dysfunction.
Ada Christen and Clara Viebig, both more inclined to the naturalistic movement and the situation of the working class (chapter 4), are compared in their use of humor "as an anti-sentimental device, often focalizing painful experience through the eyes of distanced third persons" (151).
Die Provinz des Weiblichen: Zum erzahlerischen Werk von Clara Viebig/Terroirs au feminin: la province et la femme dans les recits de Clara Viebig.
This volume of essays is the outcome of a symposium held in 2002 to mark the fiftieth anniversary of the death of Clara Viebig, who, from the late 1890s when she began her writing career through to the 1930s, was one of the most popular German authors of her generation.
Bland demonstrates how the very different writers Clara Viebig and Lily Braun dealt with the mothers' dilemma in their writings--and in life.
The three chapters that follow present protest rather than passivity, or indeed passivity as protest: 'Alternative Wasting Heroines' starts with Therese Huber's Luise (1796), a rare early example, and then ranges via Ida Hahn-Hahn, Louise Aston, and Fanny Lewald in mid-century to Ebner-Eschenbach and Clara Viebig at the end.
In examining Heimatkunst, a term applied to the works of Enrica von Handel-Mazzetti and Clara Viebig, she also reveals other influences such as Langbehn's Rembrandt als Erzieher.