An erudite guide to the German and Austrian literary tradition http://timesl.it/6186DMS84
Quarrels with God
Enlightenment and Religion in German and Austrian Literature, Ritchie Robertson’s selected essays, represents a tour de force in the study of German-speaking cultures with a range and depth that takes readers from the Classical period in the eighteenth century to twentieth-century Modernism, and leaving very few stones unturned on the way.
The aim of the volume is to bring together essays, papers and articles that have appeared in a variety of publications, some of which are harder to access than others. The author does so in the hope that the texts chosen represent “something more than the sum of their parts”. This is certainly achieved. There is also a sense of what might have been, with the tantalizing suggestion that “[h]ere and elsewhere, readers may discern fragments of unwritten books”. This observation is typical of the directness found in Robertson’s Introduction which is in many ways as enlightening as…
Saved from destruction by the Nazis and smuggled in secret to Cambridge, the rescue of author Arthur Schnitzler’s archive is as dramatic as any fiction he committed to paper.
* Peter Gay 《布爾喬亞經驗：從維多利亞到弗洛伊德》The Bourgeois Experience:
《感官的教育》"The Education of the Senses" (1984), 中文版2015
《溫柔的熱情》”The Tender Passion" (1986) 我可以用一句話來總結：「維多利亞時代的人，其實並非如我們所想像的那麼‘維多利亞’」。
《仇恨的滋生》"The Cultivation of Hatred" (1993),
《赤子之心》"The Naked Heart" (1995)
《樂趣之戰》"Pleasure Wars" (1998)
Schnitzler's Century, 2002
目錄
《施尼茨勒讀本》 作者: 施尼茨勒，北京: 人民文學出版社，2011
頁數: 439定價: 39.00元裝幀: 平裝叢書: 外國文學大師讀本叢書
內容簡介 · · · · · ·
《施尼茨勒讀本》內容提要：阿圖爾•施尼茨勒（1862-1931），奧地利著名劇作家、小說家，維也納現代派的核心人物。他是第一個把意識流手法引入到德語文學中的奧地利作家，以表現心靈、下意識和內心情感為宗旨的心理藝術風格，使他成為德語現代派文學最傑出的代表之一。
《施尼茨勒讀本》收入《死者無言》《古斯特少尉》《希臘舞女》《單身漢之死》《埃爾澤小姐》《阿納托爾》《輪舞》等代表性作品，照顧到了作者整個創作過程中在主題、形式和表現手法上的變化，力圖提供一個概括性的全貌。出版這個讀本，意在讓我國廣大讀者更好地認識和了解這位維也納現代派文學的開路人，追尋二十世紀奧地利文學輝煌之源。
目錄 · · · · · ·
小說
死
小小的喜劇
告別
死者無言
古斯特少尉
瞎子基羅尼莫和他的哥哥
陌生的女人
希臘舞女
單身漢之死
埃爾澤小姐
戲劇
阿納托爾（1892）
輪舞（1900）
箴言
翻譯雖然像機械人，不過你或會心領：第87則：對你來說，當性欲的魔力從一個你始終還愛著的人身上逐漸降落時，你就時而會感受到新的奇蹟，那就是又有孩子站在你的面前，就是那個你在當妻子之前擁抱過的東西，而你現在比此前則更加愛它(sic)。關係與孤獨
附錄
名家點評
施尼茨勒生平與創作年表
推薦書目
施尼茨勒读本
2011.5最近出版商將 Peter Gay 《史尼茨勒的世紀》重現書市 (仍是第一版的3500本)
我剛好碰到這段 就貼出
不知怎的，Peter Gay 《史尼茨勒的世紀》梁永安譯的網頁，找不到了.....
BOOKS OF THE TIMES; The Victorians Did Know About the Birds and the Bees
Alan Riding reviews book Schnitzler's Century: The Making of Middle-Class Culture, 1815-1914, by Peter Gay; photo
December 28, 2001第三則讓我聯想起《史尼茨勒的世紀》一段話：
「但不管唯靈論的大家庭有多麼不和睦和小心眼，但有一點卻是他們一致相信的：靈魂是不朽的，活人可以透過方法與已逝者取得聯繫。由靈媒主持的降靈會乃是唯靈論者的正字標記。就像是不由自主地戲仿科學家對事實的高度看重那樣，唯靈論者喜歡不斷賣弄事實。在回憶兄長克爾納（Justinus Kerner）的書中（克爾納是德國醫師、詩人和唯靈論者），瑪麗（Marie）指出，那些以為她哥哥喜歡探索靈魂是因為想像力太豐富的人是錯的。「他只不過是把純粹的事實記錄下來罷了，而這些事實都是他親眼所見――不獨是他親眼所見，也是社會裡每個階層和年齡層的人親眼看過的。」唯靈論者記錄「事實」的出版品愈堆愈高，而他們都指天誓日其內容是值得信賴的；他們尤其偏愛那些本來抱懷疑態度但參加過降靈會後改變想法的人所寫的記錄。」
《史尼茨勒的世紀：中產階級文化的形成，1815-1914 》，梁永安譯，台北：立緒，2004
第一章引用了：啟蒙運動被19世紀改造；馬克斯，對於中產階級的贊嘆、了解有限；Freud的super ego和信函：中產vs 普通人民；Mancherster 的工業利潤建公共設施vs 慕尼黑的"路易"王：
Definition of Ludwig in English:
Victoria's Secret
By Phyllis Rose
Published: November 11, 2001
SCHNITZLER'S CENTURY
The Making of Middle-Class Culture, 1815-1914.
By Peter Gay.
Illustrated. 334 pp. New York:
W. W.+Norton & Company. $27.95.
In a breathtakingly conceived series of five books published over some 15 years and called, collectively, ''The Bourgeois Experience: Victoria to Freud,'' Peter Gay established that at least some members of the European, American and British bourgeoisie enjoyed sex, had successful marriages, channeled aggression, cultivated self-awareness and supported the arts. Who said they didn't? You have to reach back to the historical platitudes of the 1950's and early 60's, in which the term ''Victorian'' is equivalent to prudish, philistine and materialistic, to find the picture Gay has worked so long, so inventively and so successfully to correct. Few students of the 19th century have read as widely and as imaginatively as Gay. Few deploy erudition as elegantly as he does. His research has added new ''data'' to the historic record: William Gladstone's massages of his wife's breasts so she could nurse, suggesting Victorians were not so prudish as we may have thought; Mrs. Beeton's instructions to Victorian housewives on how to kill a turtle, suggesting they were not so squeamish. Familiar to readers of Gay's earlier volumes, the stories are reprised in ''Schnitzler's Century,'' which Gay calls a ''synthesis.''
In a gesture meant to be as witty and naughty as assuredly it is tin-eared, Gay dedicates the century he has so long studied to a relatively obscure Austrian writer of plays, short stories and novels. Arthur Schnitzler (1862-1931) has consistently found a small but appreciative audience for his sophisticated stories of sexual intrigue. An early trifle called ''Reigen,'' 10 linked dialogues between a man and a woman, each a prelude to sex, inspired Max Ophuls's 1950 film, ''La Ronde,'' and David Hare's 1998 play, ''The Blue Room.'' Schnitzler's ''Dream Novella'' inspired Stanley Kubrick's last film, ''Eyes Wide Shut.''
Schnitzler's Vienna is a world of sexual adventure and artistic ambition; much of the talent was Jewish and much of the political passion anti-Semitic. Of his many extraordinary novels and novellas, I recommend ''The Road Into the Open'' (1908), in which Georg, a gifted but dilettantish composer, begins a love affair with a gentle, lovely singing teacher, Anna Rosner. Georg is a minor aristocrat; Anna is bourgeois. She becomes pregnant. Georg never seriously entertains marriage, though he knows he should. He dithers until the moment of the baby's birth, as he has dithered about his music, putting more emotional energy into avoiding commitment than he has ever devoted to accomplishment. Anna never reproaches him and accepts the end of her personal hopes with dignity and calm. The reader is struck by the total absence of humbug in their portraits, and by the emotional clarity with which Schnitzler treats autobiographical material, for the callous, philandering Georg is an aristocratic, de-Semiticized version of himself.
Although much of Schnitzler's writing concerns philanderers, and he himself comes across in Gay's account as an unlikable roué, his three novellas about women, ''Beatrice,''+ ''Fr* ulein Else'' and ''Thérèse,'' show him going out of his way to depict women sympathetically and their mental states, especially in extreme erotic circumstances, with complexity. Beatrice is tempted by a lover her son's age, and Else, a teenager, is forced to beg for a loan on her father's behalf from an older man who asks a sexual favor in return. These tight stories remind us both in scope and in the protagonists' socioeconomic background of Freud's case studies. It's not hard to see why Gay, who prides himself on writing ''cultural history informed by psychoanalysis,'' would be interested in Schnitzler, a writer whom Freud himself considered his literary double. Unfortunately, there isn't very much about Schnitzler here, and few readers will be led to associate the bourgeois ascendancy with his name.
Gay focuses on one episode, which took place when Schnitzler was 16. His father read the young man's diary, including an account of visits to a prostitute. The father, a well-known physician, hauled his son into his consulting room and showed an illustrated treatise on sexually transmitted diseases. The two were furious at each other, the young man at the invasion of his privacy, the father at the son's stupidity. Gay tries to turn this incident into the kind of emblematic episode that has served some of the new historicists so well. He opens with it and comes back to it at the start of succeeding chapters, as evidence variously of Victorian sexuality, anxiety, aggression and expectations of privacy. But the unmemorable vignette is not so much rich as it is forced to yield up meaning.
In the past, Gay has been a master at treading the ground between the particular and the abstract, finding new particulars and revising prized abstractions. He is a skilled biographer (of Freud) and memoirist, who nonetheless understands the danger of reducing all truth to the truths of the individual life. He wrote this book in the conviction, he says, ''that while it may be hard to live with generalizations, it is inconceivable to live without them.'' But while he is still bashing the bourgeoisophobes with unabated energy and playfulness, some of his favorite facts have gotten shopworn. The whole book takes too much for granted, reminding me of the convicts in the joke who know each other's stories so well they can merely call out, ''No. 14,'' to produce tears, and ''32'' to produce laughter.
As goalie defending the bourgeois enterprise, Gay fends off corner kicks even from Freud, who, in presenting neurosis as a product of sexual repression, criticizes the bourgeoisie too much for Gay's taste. Perhaps he has begun to mistake his own puckish corrections and saves for well-proven theoretical positions, and in the process come full circle back to something resembling the silliest of the old generalizations about Victorian culture, which his scholarship helped do away with. Or perhaps there is an Olympian kind of wisdom here I do not follow.
So we get: ''Everyone but a fanatical devotee of the new somewhere got off the train racing toward modernism.'' And in conclusion: ''It almost seems as though the Victorians left all that was best about them to the ungrateful generations that followed them, and that the evils of our times are our own invention.''
Generalizations like this will send many of us back to biographies and novels, and if some of the novels now are Schnitzler's, we should be grateful to Peter Gay
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