Marie Von Ebner-Eschenbach

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Ebner-Eschenbach, Marie Von


Born Sept. 13, 1830, in Zdislavic Castle, Moravia; died Mar. 12, 1916, in Vienna. Austrian writer; baroness.

Ebner-Eschenbach, a master of realistic prose, was the author of the short-story collections Stories of Life in the Village and the Castle (1883) and New Stories of Life in the Village and the Castle (1886). Satirizing the Austrian bourgeoisie and aristocracy, she sympathized with the common people, who were deprived of rights. The moral superiority of simple people is asserted in her novels Božena (1876) and Lotti the Watchmaker (1889). Ebner-Eschenbach’s works are somewhat flawed by a moralizing tone and sentimentality.


Ausgewählte Werke, vols. 1–3. Vienna, 1963.
In Russian translation:
In Avstriiskaia novella XIX v. Moscow, 1959.


Benesch, K. Die Frau mil den hundert Schicksalen. Vienna-Munich, 1966.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
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Therese Hubers Redaktionstatigkeit fair Cottas Morgenblatt fur Gebildete Stand," by Magdalene Heuser; "From Scholarly to Commercial Writing: German Woman Translators in the Age of the 'Translation Factories,'" by Norbert Bachleitner; "Reading European Literature: Marie von Ebner-Eschenbach and Her Circle," by Linda Kraus Worley; "Exile and Masquerade: Re-Thinking Juliane Dery," by Agatha Schwartz; "George Eliot und Ihre Biografische Representation in Texten Deutschsprachiger Schriftstellerinnen um 1900," by Mirjam Truwant.
(3) Elisabeth Pfeil, "Das Problem der Sterbehilfe bei Theodor Storm, Paul Heyse und Marie von Ebner-Eschenbach".
--."Reading and Responding to English Women Writers: Annette von DrosteHulshoff, Marie von Ebner-Eschenbach, and Helene Druskowitz." Women's Writing 18.1 (2011): 86-102.
The stubborn refusal of the partly Austrian man and his Slavic wife to reconcile with one another in Marie von Ebner-Eschenbach's Maslans Fran is adroitly analysed by Claudia Seeling again in terms of gender relations but also in the context of the friction among nationalities in the Habsburg monarchy.
Her analysis of Marie von Ebner-Eschenbach's (1830-1916) comedy, Das Waldfraulein, for example, uses feminist theory to suggest convincing reasons why the dramatist so misjudged popular tastes.
Interestingly, through numerous literary critiques and analysis of her work, Marie von Ebner-Eschenbach is known as the aristocratic female Austrian writer who struggled for perfection in her art and tried to overcome obstacles in the form of family prejudices, social conventions, and illness in her later years.
The early 1980s were also marked by significant "archaeological" impulses: investigations of the work of women writers who were less known than the few, e.g., Annette von Droste-Hulshoff and Marie von Ebner-Eschenbach, who might have been included in graduate training of that era: Clara Zetkin, Else Lasker-Schuler, German-American women writers, Anna Luise Karsch, Regina Ullmann, Bettina von Arnim (four dissertations between 1982 and 1986), Malwida von Meysenbug, Louise von Francois (two dissertations, 1983 and 1985), Charlotte Birch-Pfeiffer, Christa Wolf, Anna Seghers.
(Some examples plucked out of Marie von Ebner-Eschenbach's [1830-1916] distinguished Austrian hat would be: "The sympathy of a weakling is a light that does not warm," or "There are more naive men than naive women.")
Marie von Ebner-Eschenbach's novelette The Honor Pupil (1897) was typical, even stereotypical.
Her correspondence with Marie von Ebner-Eschenbach (1830-1916) is a rare private commentary on sexual identity from a woman in this period.