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Download Sinn und Form: The Anatomy of a Literary Journal by Stephen Parker PDF

By Stephen Parker

This huge background of the mythical literary magazine, ""Sinn und Form"", additionally bargains the 1st systematic research of this key kind of cultural establishment. The examine is organised in seven ""anatomical"" different types: founding notion; cultural-political context; institutional infrastructure; function of editors; networks of participants; textual content and composition; readership and reception. trained via Bourdieu??s sociology of tradition, this typology opens the best way for comparative study into the functionality of literary journals, integrating sociological and literary techniques.

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5/1950, 5) Zweig was a 'bourgeois humanist' rather than a communist and brought to bear a writer's sensibilities in his dealings with Sinn und Form. However, his sympathetic attitude to the core values of the journal was not shared by all those into whose orbit the journal had now been brought. Crucially, as an Academy publication, Sinn und Form was now located squarely within the increasingly fraught relations between the Academy and the SED. These tensions mirrored the fundamental tension in the political field between the Soviet policy of unification and the separatist agenda of the SED leadership around Ulbricht.

See Uhlmann and Wolf, p. 217. 26 Establishing the Legend print-run and the number of free copies distributed in the West. 44 In April, the Finance Ministry informed the Academy that all subsidies for journals were to be removed immediately, effectively rendering Sinn und Form defunct. Meanwhile, Wolf was making use of Academy meetings, notably the Section meeting of 21 J anuary and the Plenary of 26 March, to launch a savage attack on the content of the journal, in particular the publication in 6/1952 of Hanns Eisler's libretto Johann Faustus (23-58) and an accompanying essay by the Austrian Marxist Ernst Fischer (59-73) which heralded Eisler's non-orthodox reading of the Faust legend as a new national opera.

65 In this sense, 'the Sinn und Form concept' pre-existed Huchel's subsequent realisation of it and contribution to it. To put it starkly, Huchel was not himself essential to the project at this stage. He occupied a highly skilled and important post, but that post existed independent of him. To draw a slightly unflattering analogy to Maß und Wert, Huchel was Ferdinand Lion to Becher's Thomas Mann. Of course, none of this is to deny the fundamental role which Huchel would come to play in the success of Sinn und Form, and we need only consider the fate of Lion in the critical literature, as the dilettante editor unable to escape the shadow of his more illustrious editorial figurehead, to see that the analogy to the editorial set-up of Maß und Wert is only a partial and short-lived one.

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