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Der Stefan George-Werkkommentar bietet eine systematische Erschließung des gesamten dichterischen und übersetzerischen Werks des Autors. Konzeptionell orientiert am Aufbau der Sämtlichen Werke bietet er über siebzig Beiträge, die das Werk Georges Zyklus um Zyklus charakterisieren und jeweils in detaillierten Modellinterpretationen ästhetische Verfahren und dichtungstheoretische Positionen rekonstruieren. The Commentaries on the Works of Stefan George provide systematic access to all of the author’s poetic works and translations. Designed to parallel the Complete Works, the volume includes over seventy essays that characterize George’s works cycle by cycle and for each period, reconstructing his aesthetic process and poetological positions through detailed interpretations of prototypical works.

George, Stefan. --- George, Stefan, --- George, Stefan Anton, --- LITERARY CRITICISM / General.

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Stefan George (1868-1933) was one of the most important and influential poets to have written in German. His work, in its originality and impact, easily ranks with that of Goethe, Holderlin, or Rilke. Yet George's reach extended far beyond the sphere of literature. Particularly during his last three decades, George gathered around himself a group of men who subscribed to his homoerotic and idiosyncratic vision of life and sought to transform that vision into reality. George considered his circle to be the embodiment and defender of the "real" but "secret" Germany, opposed to the false values of contemporary bourgeois society. Some of his disciples, friends, and admirers were themselves historians, philosophers, and poets. Their works profoundly affected the intellectual and cultural attitudes of Germany's elite during the critical postwar years of the Weimar Republic. Essentially conservative in temperament and outlook, George and his circle occupy a central, but problematic, place in the rise of proto-fascism in Germany. Their own surrogate state offered a miniature model of a future German state: enthusiastic followers submitting themselves without question to the figure and will of a charismatic leader believed to be in possession of mysterious, even quasi-divine, powers.When he died several months after the Nazi takeover, George was one of the most famous and revered figures in Germany. Today the importance of George and his circle has largely been forgotten. In this, the first full biography of George to appear in any language, Robert E. Norton traces the poet's life and rise to fame.

George, Stefan Anton --- Friends and associates --- Political and social views --- Poets [German ] --- 20th century --- Biography --- Germany --- Politics and government --- George, Stefan --- George, Stefan Anton, --- Poets, German --- George, Stefan, --- Political and social views. --- Friends and associates.

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Die Moderne ist, literarisch gesehen, erst einmal ein Sprachprojekt. Und Lyrik gilt als Paradigma der Moderne: In Gedichttexten lösen sich die Fesseln der Tradition. - Friedrich Nietzsche ruft "Sprache als Kunst" aus, und Dichter der Moderne um 1900 folgen, jeweils auf ihre Weise, diesem Ruf. Arno Holz spricht von "Wortkunst", Stefan George insistiert auf seiner "literatur sprache", Rainer Maria Rilke setzt auf "Verwandlung in Worte" und Christian Morgenstern auf "Umwortung aller Worte". Die Studien arbeiten, vergleichend, die Sprachkonzepte der Dichter heraus und erschließen das je Eigene sowie das Gemeinsame auf dem Weg in die Moderne. Sie ruhen auf einer literarisch-linguistischen Interpretation, die im dicht gewebten lyrischen Text den sprachlichen Ausgriff der Poeten aufzeigt: "schon kaum / erklärbar mehr: vielleicht ein Pflaumenbaum, / von dem ein Kuckuck hastig abgeflogen."

German language --- German literature --- Young Germany --- Lexicology. --- Semantics. --- History and criticism. --- George, Stefan. --- Holz, Arno. --- Modernism/in Literature. --- Morgenstern, Christian. --- Nietzsche, Friedrich. --- Poetry/in Literature. --- Rilke, Rainer M.

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Examining the relationship between German poetry, philosophy, and visual media around 1900, Carsten Strathausen argues that the poetic works of Rainer Maria Rilke, Hugo von Hofmannsthal, and Stephan George focused on the visible gestalt of language as a means of competing aesthetically with the increasing popularity and ""reality effect"" of photography and film. Poetry around 1900 self-reflectively celebrated its own words as both transparent signs and material objects, Strathausen says. In Aestheticism, this means that language harbors the potential to literally present the things it

German poetry --- Aestheticism (Literature) --- History and criticism. --- Rilke, Rainer Maria, --- Hofmannsthal, Hugo von, --- George, Stefan Anton, --- Criticism and interpretation. --- Decadence (Literary movement) --- Literary movements --- Literature, Modern --- History and criticism --- Hofmannstahl, Hugo von, --- Hofmann, Hugo, --- Hoffmannsthal, Hugo von, --- Hofmansthal, Hugo von, --- Chophmanstal, Ounko phon, --- Morren, Theophil, --- Gofmanstal, Gugo fon, --- Гофманстал, Гуго фон, --- Fon Gofmanstal, Gugo, --- Фон Гофманстал, Гуго, --- Hofmansṭal, Hugo fun --- fun Hofmansṭal, Hugo --- ‏פון הופמנסטל, הוגו --- ‏הופמנסטל, הוגו פון --- Rilke, René Maria Cäsar, --- Li-erh-kʻo, --- Rielke, Rainer Maria, --- Rilkʻe, Rainŏ Maria, --- Rilḳeh, Rainer Mariyah, --- Rilke, Reiner Marie, --- רילקה, ראינר מריה, --- רילקה, ריינר מריה --- רילקה, ריינר מריה, --- רילקה, רינר מריה --- רילקה, רינר מריה, --- רילקה, רץ מ. --- רילקה, ר.מ --- リルケ, ライナー マリア --- Rilke, Rainer Maria