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.


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.


Handl, W. Hermann Bahr. Berlin, 1913.
Kindermann, H. Hermann Bahr. . . . Graz-Cologne, 1954.
References in periodicals archive ?
The two figures in German literature most crucial for new music were Hermann Bahr and Arthur Seidl.
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.
In her first chapter, Gunnemann examines the shift from Mann's early espousal of the aestheticist position many associated with Nietzsche, and his support for Hermann Bahr's critique of naturalism--in 1931, Gottfried Benn still celebrated in Mann die Kunst, das Ja uber diesen Abgrunden, seine stromende, schopferische Lust--to the view, held from about 1904 on, that the purpose of art was fundamentally educational and democratic: an understanding of art which achieved definitive formulation in his two essays of 1910, 'Geist und Tat' and 'Voltaire-Goethe'.
As a self-taught young writer Salten was befriended by Hugo von Hofmannsthal, Arthur Schnitzler, and Hermann Bahr. A journalist at 18, he became an influential theater critic.
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." It must advertise its own esthetic project and make the problems it addresses seem like the desirable ones with which to be dealing.
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.
Taking 'decadence' as a form of literary modernism, however, Kafitz argues that Fontane nevertheless adhered to many of its aesthetic principles, as understood by Baudelaire, Nietzsche, Bourget, and Hermann Bahr: the primacy of the aesthetic; the sense of fragmentation; the emphasis on individual detail at the expense of the whole; linguistic self-consciousness; irony.
He at times gave it the title "Geschichte von einem greisen Dichter" and tried to have it published in Hermann Bahr's journal, Die Zeit, but Bahr wanted a shorter version of it.
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.