Emil Staiger

Staiger, Emil

 

Born Feb. 8, 1908, in Kreuzungen, Switzerland. Swiss literary scholar. Writes in German.

Staiger became a professor at the University of Zürich in 1943. With W. Kayser (1906–60; Federal Republic of Germany) he established the “school of interpretation,” which is related to the New Criticism. The school of interpretation views the literary work as being outside and independent of the social, historical, and biographical factors entering into its creation; it perceives the work as a specific phenomenon of human consciousness that can be understood by “direct impression” and by the interpretation of its individual aspects and components as a united whole. Staiger expounded his critical views in such works as Time As the Imagination of the Poet (1939) and The Art of Interpretation (1955).

Staiger also wrote on the classics of German literature, including the works of Geothe, and translated works of ancient Greek authors into German.

WORKS

Musik und Dichtung, 2nd ed. Zürich-Freiburg, 1959.
Stilwandel. Zürich-Freiburg, 1963.
Grundbegriffe der Poetik, 8th ed. Zürich-Freiburg, 1968.

REFERENCE

Starostin, B. A. “Staiger E.” In Kratkaia literaturnaia entsiklopediia, vol. 8. Moscow, 1975.
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Der "Grosse Bruder" begleitet Muschg auf seiner kunstlerischen und akademischen Laufbahn, die von "zwei riesigen, prufenden Vaterfiguren [gepragt wurde]: Emil Staiger, dem anspruchsvollen Doktorvater, und dem Professor und Halbbruder Walter Muschg in Basel" (73).
Indeed, the famous debate on that poem between Emil Staiger and Martin Heidegger haunts the footnotes of many contributions here, suggesting that these texts would in fact be integral to the subject of the volume.
Em suas reflexoes sobre poetica, Emil Staiger afirma que "somente a passagem da poesia para a prosa, mostraria o que a poesia realmente tem de vida" (Staiger, 1997: 25).
E o que nos diz Emil Staiger em Conceitos Fundamentais da Poetica.
The rhetoric of these 'rasende Weiber' (as Emil Staiger called them in a well-known essay) goes back to the Baroque, but while Baroque tragedy permits both men and women to rage, later dramatists made such anger into a female speciality.
One searches his bibliography in vain for Katharina Mommsen, Gunther Muller, Walter Muller-Seidel, Hans-Jurgen Schings, Hans Joachim Schrimpf, Friedrich Sengle, Emil Staiger, Erich Trunz, and Rolf Christian Zimmermann.