Portraits of the Artist: Gerhart Hauptmann's Kollege Crampton and Michael Kramer

Corkhill, A. (2007) Portraits of the Artist: Gerhart Hauptmann's Kollege Crampton and Michael Kramer. Modern Language Review, 102 4: 1069-1083. doi:10.2307/20467551

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Author Corkhill, A.
Title Portraits of the Artist: Gerhart Hauptmann's Kollege Crampton and Michael Kramer
Formatted title
Portraits of the Artist: Gerhart Hauptmann's Kollege Crampton and Michael Kramer
Journal name Modern Language Review   Check publisher's open access policy
ISSN 0026-7937
2222-4319
Publication date 2007
Sub-type Article (original research)
DOI 10.2307/20467551
Open Access Status File (Publisher version)
Volume 102
Issue 4
Start page 1069
End page 1083
Total pages 15
Editor Matthew Trundle
Place of publication Cambridge, United Kingdom
Publisher Modern Humanities Research Association
Collection year 2008
Language eng
Abstract The problematic of artistry is a central preoccupation in several of Gerhart Hauptmann's Naturalist plays. This article focuses on two Malerdramen which provide snapshots of artists at critical junctures in their lives: Kollege Crampton (1892) and Michael Kramer (1900). The study interrogates the spectrum of binary oppositions within which Hauptmann locates his painters/art educators and from which the plays derive their dramatic tension. Such dichotomies include bohemianism/philistinism, art/life, art/humanity, aestheticism/utilitarianism, and genius/mediocrity. The two plays are read here both within the broader context of fin de siècle intellectual discourse and in the light of Hauptmann's own philosophy.
Formatted abstract
The problematic of artistry is a central preoccupation in several of Gerhart Hauptmann's Naturalist plays. This article focuses on two Malerdramen which provide snapshots of artists at critical junctures in their lives: Kollege Crampton (1892) and Michael Kramer (1900). The study interrogates the spectrum of binary oppositions within which Hauptmann locates his painters/art educators and from which the plays derive their dramatic tension. Such dichotomies include bohemianism/philistinism, art/life, art/humanity, aestheticism/utilitarianism, and genius/mediocrity. The two plays are read here both within the broader context of fin de siècle intellectual discourse and in the light of Hauptmann's own philosophy.
Keyword Gerhart Hauptmann
Naturalist
Malerdramen
Kollege Crampton
Michael Kramer
bohemianism/philistinism
art/life
art/humanity
aestheticism/utilitarianism
genius/mediocrity
fin de siècle
intellectual discourse
philosoph
Q-Index Code C1
Q-Index Status Confirmed Code

 
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Created: Wed, 12 Dec 2007, 10:36:00 EST by Thelma Whitbourne on behalf of School of Languages and Cultures