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001			220951
003			IT-RoAPU
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008			231101t19821982onc fo d z eng d
020			_a9781487596224 _qPDF
024	7		_a10.3138/9781487596224 _2doi
035			_a(DE-B1597)9781487596224
035			_a(DE-B1597)513923
035			_a(OCoLC)1088907111
040			_aDE-B1597 _beng _cDE-B1597 _erda
050		4	_aPT2621.R27 _bZ56165 1982eb
072		7	_aPER011000 _2bisacsh
082	0	4	_a838.91209
084			_aonline - DeGruyter
100	1		_aGRIMSTAD, Karl _eautore
245	1	0	_aMasks of the Prophet : _bThe Theatrical World of Karl Kraus / _cKarl GRIMSTAD.
264		1	_aToronto : _bUniversity of Toronto Press, _c[1982]
264		4	_c©1982
300			_a1 online resource (320 p.) : _b19 b&w illustrations
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_atext file _bPDF _2rda
490	0		_aHeritage
506	0		_arestricted access _uhttp://purl.org/coar/access_right/c_16ec _fonline access with authorization _2star
520			_a'When the name "Hitler" is mentioned, nothing occurs to me' - so said Karl Kraus. For this leading Viennese Jewish critic and intellectual the touchstone of art was ethics. How could he be speechless in the face of a threat to all that ethics means? To answer this question, the author makes a detailed chronological study of Kraus's intellectual activity as reflected in his work on the theatre. The results are presented in five chapters, each dealing with a different 'mask' adopted by Kraus during the period 1892-1936. Grimstad considers not only theatre and drama criticism in Die Fackel and Kraus's dramatic writings, but also biographical data, to help uncover the rationale of his work. That rationale is the logic of the theatrical mode in which he lived and wrote. The stage was not only his subject matter, it determined what he would see and say. Grimstad argues that when Kraus wrote, his words were the speech of an 'actor' who was often infatuated with himself and obsessed with the need to overwhelm his rival 'actors.' When Hitler's storm-troopers began their march, he could say nothing for the world in which his thought took shape had become a world of theatrics, not 'Realpolitik.' Kraus criticized plays without reading them and performances without seeing them, obsessed with the belief that his was the voice of all that was true, good, and beautiful. Grimstad observes that he was a prophet who confused the divine inspiration with the Thespian urge, playing to an audience, using a mask for each of his roles, yet thinking he spoke to all mankind, bringing them pure ethos. This volume will be of particular interest to those working in the fields of theatre criticism, comparative literature, German literature, and Jewish intellectual history.
538			_aMode of access: Internet via World Wide Web.
546			_aIn English.
588	0		_aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 01. Nov 2023)
650		7	_aPERFORMING ARTS / Theater / General. _2bisacsh
850			_aIT-RoAPU
856	4	0	_uhttps://www.degruyter.com/isbn/9781487596224
856	4	2	_3Cover _uhttps://www.degruyter.com/document/cover/isbn/9781487596224/original
942			_cEB
999			_c220951 _d220951