By Arnhilt Johanna Hoefle
During his lifetime Austrian novelist Stefan Zweig (1881–1942) was once one of the most generally learn German-language writers on this planet. consistently debatable, he fell into serious disfavor as writers and critics in a devastated postwar Europe attacked the terrible literary caliber of his works and excoriated his apolitical fiction as naïve Habsburg nostalgia. but in different components of the area, Zweig’s works have loved endured admiration and recognition, even canonical status.
China’s Stefan Zweig unveils the extreme good fortune of Zweig’s novellas in China, the place he has been learn in a completely varied manner. through the New tradition move of the Twenties, Zweig’s novellas have been found through intellectuals turning opposed to Confucian culture. within the Nineteen Thirties, left-wing students criticized Zweig as a decadent bourgeois author, but after the communist victory in 1949 he used to be re-introduced as a political author whose precise mental descriptions uncovered a brutal and hypocritical bourgeois capitalist society. within the Eighties, after the Cultural Revolution, Zweig’s works brought on a large-scale “Stefan Zweig fever,” the place Zweig-style woman figures, the mild, loving, and self-sacrificing ladies who populate his novels, grew to become the female perfect. Zweig’s possible anachronistic poetics of femininity allowed feminists to criticize Maoist gender politics through praising Zweig as “the anatomist of the feminine heart.” As Arnhilt Hoefle makes transparent, Zweig’s works have by no means been passively got. Intermediaries have actively chosen, interpreted, and translated his works for extraordinarily assorted purposes.
China’s Stefan Zweig not purely re-conceptualizes our knowing of cross-cultural reception and its underlying dynamics, yet proposes a significant re-assessment of 1 of the main profitable but misunderstood eu writers of the 20th century. Zweig’s works, that have encouraged contemporary movie diversifications corresponding to Xu Jinglei’s Letter from an Unknown Woman (2005) and Wes Anderson’s Grand Budapest Hotel (2014), are just commencing to be rediscovered in Europe and North the USA, however the heated debate approximately his literary advantage maintains. This publication, with its wealth of hitherto unexplored Chinese-language resources, sheds mild at the Stefan Zweig conundrum in the course of the lens of his chinese language reception to bare magnificent, and lengthy missed, literary dimensions of his works.
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China’s Stefan Zweig: The Dynamics of Cross-Cultural Reception (Critical Interventions) by Arnhilt Johanna Hoefle
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