See Künstlerromane on Wiktionary
Download JSONL data for Künstlerromane meaning in All languages combined (7.5kB)
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"ref": "1948, Hans Carossa, Eine Kindheit, B. Blackwell, page xlvii",
"text": "[…] great model — apart from contemporary Künstlerromane and impressionist tales of school life — was, as the notes of […]",
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"ref": "1974, Fernand Ortmans, editor, Cosmopolis, volume 3, Kraus Reprint, page 365",
"text": "With “Künstlerromane” such as “Hermann Ifinger” he at last convinced people he was a writer with ideas, and with his two last novels, “Die Osterinsel” and “Die Rothenburger” he has stepped into the front rank of German novelists.",
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"ref": "1981, Naomi Segal, Bithell Series of Dissertations, volume 6: “The Banal Object: Theme and Thematics in Proust, Rilke, Hofmannsthal, and Sartre”, page iv (Institute of Germanic Studies, University of London)",
"text": "They are, therefore, Künstlerromane of a particularly problematic kind: most of each text consists of the argument of its own impossibility."
},
{
"ref": "1981, Linda Huf, Portrait of the Artist as a Young Woman: The Female Künstlerromane in America, main title (University of Maryland)",
"text": "Portrait of the Artist as a Young Woman: The Female Künstlerromane in America"
},
{
"ref": "1982, Constance Marie Perry, Adolescence, Autonomy, and Vocation: Heroines of Künstlerromane by Modern American Women, main title (Indiana University)",
"text": "Adolescence, Autonomy, and Vocation: Heroines of Künstlerromane by Modern American Women"
},
{
"ref": "1985, Rachel Blau DuPlessis [aut., ed.], Writing beyond the Ending: Narrative Strategies of Twentieth-Century Women Writers, pages 84–104: “To ‘bear my mother’s name:’ Künstlerromane by Women Writers”, essay title (Indiana University Press)",
"text": "To “bear my mother’s name:” Künstlerromane by Women Writers"
},
{
"ref": "1987, “The Nobel Prize Winners: 1927-1961”, in Frank Northen Magill, editor, The Nobel Prize Winners: Literature, volume 2, Salem Press, page 503",
"text": "In his early Künstlerromane, such as Klingsor (1920; Klingsor’s Last Summer, 1970), Hesse presents the view that to excel one must escape middle-class conformity through one of two ways: either asceticism or sensuality.",
"type": "quotation"
},
{
"ref": "1992, David L. Dysart, “The Role of the Painting in the Works of Theodor Storm”, in North American Studies in Nineteenth-Century German Literature, volume 11, P. Lang, page 8",
"text": "[…] or “Künstlerromane” where the arts must of necessity play a role.",
"type": "quotation"
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{
"ref": "1995, Jonathan Harvard Havey, Anxieties of Maternal Influence: Gender, Individuation, and Authorship in the Künstlerromane of Herman Melville and Henry James, main title (State University of New York at Buffalo)",
"text": "Anxieties of Maternal Influence: Gender, Individuation, and Authorship in the Künstlerromane of Herman Melville and Henry James"
},
{
"ref": "2004, August 17ᵗʰ: Ann Ronchetti, The Artist-Figure, Society, and Sexuality in Virginia Woolf’s Novels, page 13 (Routledge)",
"text": "The notion that the artist must withhold his or her “generative energy,” diverting it into artistic creation only, seems to have prevailed in a number of the Künstlerromane of the nineteenth century."
},
{
"ref": "2007, Autumn: Roberta Seelinger Trites, Twain, Alcott, and the Birth of the Adolescent Reform Novel, page 149 (University of Iowa Press)",
"text": "[Louise] Fitzhugh’s [Harriet the Spy (1964)] was one of the first overtly feminist künstlerromane written for children."
},
{
"ref": "2008, Regula Hohl Trillini, The Gaze of the Listener: English Representations of Domestic Music-Making, page 7 (Rodopi)",
"text": "The English literary imagination never latched on to the modest craftsmen in chapels or theatre pits; professional musicians became fiction-worthy only when the Geniekult started to inspire Künstlerromane around figures like Beethoven, Mendelssohn, Paganini, or Liszt."
},
{
"ref": "2009, Annette R. Federico [ed.], Gilbert and Gubar’s The Madwoman in the Attic after Thirty Years, page 177 (University of Missouri Press)",
"text": "Exploring Walden (1854) and Little Women (1868), two autobiographical künstlerromane depicting the education and rise of a young artist, will enable a presentation of Alcott’s criticism and revision of the Transcendental poet-genius ideal."
},
{
"ref": "2010, Mary Jo Bona, By the Breath of Their Mouths: Narratives of Resistance in Italian America, page 135 (State University of New York Press)",
"text": "As künstlerromane, Brown Girl, Brownstones and Paper Fish clarify the positions of their artist protagonists as they wend their ways to worlds outside the protective spaces of their respective communities."
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"text": "[…] great model — apart from contemporary Künstlerromane and impressionist tales of school life — was, as the notes of […]",
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},
{
"ref": "1974, Fernand Ortmans, editor, Cosmopolis, volume 3, Kraus Reprint, page 365",
"text": "With “Künstlerromane” such as “Hermann Ifinger” he at last convinced people he was a writer with ideas, and with his two last novels, “Die Osterinsel” and “Die Rothenburger” he has stepped into the front rank of German novelists.",
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{
"ref": "1981, Naomi Segal, Bithell Series of Dissertations, volume 6: “The Banal Object: Theme and Thematics in Proust, Rilke, Hofmannsthal, and Sartre”, page iv (Institute of Germanic Studies, University of London)",
"text": "They are, therefore, Künstlerromane of a particularly problematic kind: most of each text consists of the argument of its own impossibility."
},
{
"ref": "1981, Linda Huf, Portrait of the Artist as a Young Woman: The Female Künstlerromane in America, main title (University of Maryland)",
"text": "Portrait of the Artist as a Young Woman: The Female Künstlerromane in America"
},
{
"ref": "1982, Constance Marie Perry, Adolescence, Autonomy, and Vocation: Heroines of Künstlerromane by Modern American Women, main title (Indiana University)",
"text": "Adolescence, Autonomy, and Vocation: Heroines of Künstlerromane by Modern American Women"
},
{
"ref": "1985, Rachel Blau DuPlessis [aut., ed.], Writing beyond the Ending: Narrative Strategies of Twentieth-Century Women Writers, pages 84–104: “To ‘bear my mother’s name:’ Künstlerromane by Women Writers”, essay title (Indiana University Press)",
"text": "To “bear my mother’s name:” Künstlerromane by Women Writers"
},
{
"ref": "1987, “The Nobel Prize Winners: 1927-1961”, in Frank Northen Magill, editor, The Nobel Prize Winners: Literature, volume 2, Salem Press, page 503",
"text": "In his early Künstlerromane, such as Klingsor (1920; Klingsor’s Last Summer, 1970), Hesse presents the view that to excel one must escape middle-class conformity through one of two ways: either asceticism or sensuality.",
"type": "quotation"
},
{
"ref": "1992, David L. Dysart, “The Role of the Painting in the Works of Theodor Storm”, in North American Studies in Nineteenth-Century German Literature, volume 11, P. Lang, page 8",
"text": "[…] or “Künstlerromane” where the arts must of necessity play a role.",
"type": "quotation"
},
{
"ref": "1995, Jonathan Harvard Havey, Anxieties of Maternal Influence: Gender, Individuation, and Authorship in the Künstlerromane of Herman Melville and Henry James, main title (State University of New York at Buffalo)",
"text": "Anxieties of Maternal Influence: Gender, Individuation, and Authorship in the Künstlerromane of Herman Melville and Henry James"
},
{
"ref": "2004, August 17ᵗʰ: Ann Ronchetti, The Artist-Figure, Society, and Sexuality in Virginia Woolf’s Novels, page 13 (Routledge)",
"text": "The notion that the artist must withhold his or her “generative energy,” diverting it into artistic creation only, seems to have prevailed in a number of the Künstlerromane of the nineteenth century."
},
{
"ref": "2007, Autumn: Roberta Seelinger Trites, Twain, Alcott, and the Birth of the Adolescent Reform Novel, page 149 (University of Iowa Press)",
"text": "[Louise] Fitzhugh’s [Harriet the Spy (1964)] was one of the first overtly feminist künstlerromane written for children."
},
{
"ref": "2008, Regula Hohl Trillini, The Gaze of the Listener: English Representations of Domestic Music-Making, page 7 (Rodopi)",
"text": "The English literary imagination never latched on to the modest craftsmen in chapels or theatre pits; professional musicians became fiction-worthy only when the Geniekult started to inspire Künstlerromane around figures like Beethoven, Mendelssohn, Paganini, or Liszt."
},
{
"ref": "2009, Annette R. Federico [ed.], Gilbert and Gubar’s The Madwoman in the Attic after Thirty Years, page 177 (University of Missouri Press)",
"text": "Exploring Walden (1854) and Little Women (1868), two autobiographical künstlerromane depicting the education and rise of a young artist, will enable a presentation of Alcott’s criticism and revision of the Transcendental poet-genius ideal."
},
{
"ref": "2010, Mary Jo Bona, By the Breath of Their Mouths: Narratives of Resistance in Italian America, page 135 (State University of New York Press)",
"text": "As künstlerromane, Brown Girl, Brownstones and Paper Fish clarify the positions of their artist protagonists as they wend their ways to worlds outside the protective spaces of their respective communities."
}
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This page is a part of the kaikki.org machine-readable All languages combined dictionary. This dictionary is based on structured data extracted on 2024-06-27 from the enwiktionary dump dated 2024-06-20 using wiktextract (0f7b3ac and b863ecc). The data shown on this site has been post-processed and various details (e.g., extra categories) removed, some information disambiguated, and additional data merged from other sources. See the raw data download page for the unprocessed wiktextract data.
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