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Download Effi Briest free in PDF & EPUB format. Download Theodor Fontane's Effi Briest for your kindle, tablet, IPAD, PC or mobile. I loathe what I did, but what I loathe even more is your virtue. Seventeen-year-old Effi Briest is steered by her parents into marriage with an ambitious bureaucrat. PDF | On Jan 1, , Anna Rossell and others published La construcción del vacío femenino en Effi Briest y la Regenta.
Probleme und Perspektiven empirischer Kulturforschung. Reinbek bei Hamburg , p. Concerning the hobby of pet-keeping, Berger uses very incisive words: They have an artificial and deformed nature, totally trapped within the borders of the modern human culture, which itself is false.
For Haraway companion animals do not just symbolize some modern human condition but are themselves real living beings occupying in their non-human distinctness concrete spaces where we move about. As she maintains, 11 Timothy Clark footnote 8 , p. About Looking. New York: Pantheon Books , p.
For a rigorous theory positioning pets as reificated subordinates exposed completely to the whims of omnipotent humans, see: Yi Fu Tuan: Dominance and Affection: The Making of Pets. New Haven Returning to Fontane after this long revue about the chances and risks of applying contemporary posthumanist theories to literary representations of pets, I would like to argue that although his works are heavily socially-based, they feature the presence of dogs in the midst of human communities as a considerable theme.
On the one hand, those animal representations receive their power and meaningfulness precisely due to the face-to-face and palpable relations they are part of; on the other hand, their adaptation to the sturdier social workings around them does not constitute a mute point. The Status of the Pet: Haraway footnote 6 , p.
For a thorough and critical treatment of the stereotypical dichotomization between wild and domestic animals in American literature, see: Barney Nelson: The Wild and The Domestic: Reno Reinhard Wilczeck: Norbert Mecklenburg: Theodor Fontane: Romankunst der Vielstimmigkeit. Frankfurt am Main , p. Dogs in Fontane's Frau Jenny Treibel and Effi Briest 93 vast emphasis on her outward appearance and the impression it awakens among her social counterparts, here in the context of a domestic feast: Alles wirkte reich und elegant.
At times those are deployed in a completely explicit manner, in sentences like: Further, the material objects that fall under this formula are not readily visible outside the individual himself; they rather form an integral part of his personal configuration. As Fontane himself noted: Indeed, as illustrated through the reference to the dog in the opening scene of the novel, the pet is another individual artifact, instrumentalized to display genteelness.
We find many examples of this throughout the narrative: Frau von 16 Theodor Fontane footnote 1 , p. Hugo Aust footnote 4 , p. Lassen Sie doch die Dinge gehen. The motivation for such pet- keeping is not expressed through the longings for cordial companionship but rather through an interest in aesthetic pleasures and producing impressions of exclusiveness. The material constitution of the animal per se, its colors, external body parts, along with its external visuals, are the only relevant facets.
Returning to the portrayal of the dog, as Jutta Buchner demonstrates, the owning of pure-bred dogs that were subsumed under well-differentiated race categories, had much to do with display and appearance, which in turn served the constitution and maintenance of class structures in Wilhelmine Germany. This meant that their race along with the particular anatomic properties tied to it became clear signals of class affiliation in the public sphere and the realm of everyday life for instance as an element of the promenade culture.
Bimmer eds. Mensch und Tier: Kulturwissenschaftliche Aspekte einer Sozialbeziehung. Marburg , p. Furthermore, this opens a way to substantiate historical explanations of modern pet-keeping as a leisure activity: On the face of it, however, we have here a paradigmatic example of the aforementioned representational human engulfment of all things non-human.
Jean Bungartz: Handbuch zur Beurtheilung der Racen-Reinheit des Hundes. See Karen Raber: Matthew Senior ed. London , p. Harriet Ritvo: Clifton P. Flynn ed. Social Creatures: A Human and Animal Studies Reader.
Ethics, Place and Environment 5: Mary Henninger-Voss ed. Animals in Human Histories: The Mirror of Nature and Culture. Rochester , p.
For a critical approach towards this kind of pet historiography, see: Pascal Eitler: Ute Frevert et al. Emotional Lexicons: Continuity and Change in the Vocabulary of Feeling Even so, we are obliged to take into account another major point that is revealed in Frau Jenny Treibel, namely the blurring of the boundaries between the internal and the external, and consequently of the limit between subject and object.
If realized, such an engagement would mean social degradation for the Treibels. She tries to explain her position to Jenny by way of an analogy: One might ultimately conclude then, that everything and everyone is a facade, which is to say that even the most sharp-witted persons have the status of an object. Nevertheless, 25 Theodor Fontane footnote 1 , p. Pets In-The-World of the Novel: Although the affair had been taking place six years prior to its current revelation, when the couple was still living in the Eastern Pomeranian province, and even though Innstetten admits that personally he is not at all possessed by feelings of vengeance, he proclaims he cannot by any means escape the obligation he has in this regard in the eyes of society.
The omnipotent social gaze, to which he is exposed as a person who belongs to a collective, is what forces him to act in a certain way that is consistent with the rules that dominate the interactions between the members of such a group. Die Welt ist einmal, wie sie ist, und die Dinge verlaufen nicht, wie wir wollen, sondern wie die andern wollen.
Gesammelte Werke, vol. On the face of it, Rollo, the Newfoundlander dog in Effi Briest, assumes a quite conventional and dull role in the plot. Richtig, auf der Binsenmatte lag Rollo. Als er Effi kommen sah, erhob er sich, um den Platz freizugeben, und strich mit seinem Behang an ihrer Hand hin.
Dann legte er sich wieder nieder.
At times this supposition is brought by the narrator explicitly to the fore, as a case in point in the following scene shows: Rollo kam dann wohl und legte sich vor sie [Effi] hin auf den Kaminteppich, als ob er sagen wollte: During the conversation she turns to mention Rollo and the support she receives from him.
The father replies: Ja, das sagt man immer, aber ich habe da doch so meine Zweifel. Glaube mir, Effi, das ist auch ein weites Feld. He states that a dog like Rollo would run unflinchingly on brittle ice in order to pull back to shore a person in trouble, and if the person were already dead, he would have laid himself next to him and remained there until he himself had perished: Und das tut solch Tier immer.
Und nimm dagegen die Menschheit! Effi employs her after finding her sitting alone and helpless in the cemetery in front of the grave of her former mistress. Interestingly, Rollo, whose character traits are evidently similar to the ones of Roswitha, is playing a role at the said first meeting at the cemetery as well.
After the poor woman shared with Effi her forlorn situation due to her losing her source of livelihood, Rollo approaches her and places his head on her knee. This gesture has an immediate effect on the lonesome woman, who is being filled afresh with cheerfulness and the will to live.
It is precisely in this moment that Roswitha continues telling Effi about the way she was mistreated by her now deceased mistress.
The tone is set for the good-natured animal as an antipode to the shrewish human being. When the dog dies at the feet of his deceased keeper it does not necessarily mean this was a result of a certain generic altruism dogs principally manifest toward their guardians, a property that cannot but stem from the realm of emotions.
For Examples of such anthropocentric interpretations of the Role of Rollo, see: Dogs in Fontane's Frau Jenny Treibel and Effi Briest life, in a relationship in which the animal is asymmetrically dependent upon his owner for existence. These form the bulk of his actions during the narrative. Therefore, it is in a sense difficult to ascribe to his character dramatic meanings, but on the other hand it gives his presence first-hand value.
Rollo shows up in the novel unmasked and this very fact situates him in some respect at the front of the narrated image rather than offstage.
The description of the first acquaintance between Effi and Rollo, characteristically, is as follows: Und als diese ihm die Hand hinhielt, umschmeichelte er sie. A moment that could be introduced in a highly stirring manner is being illustrated using a very down- to-earth tenor: Er wich seiner Herrin nicht 39 Ibid.
His is the world of material things: It is alongside those everyday worldly objects that he reveals his vividness and his benign traits as a real-world companion animal.
According to Haraway, the kind of relationship between humans and companion species she speaks about is never a predetermined. Is visualization interpretation? It is a question not traditionally posed in humanities research—an area of study in which words on paper historically have been seen as the primary medium through which we express our interpretive, analytical, and critical ideas.
It is a question, however, that in light of the myriad visualization tools available to the humanist researcher, ultimately needs to be dealt with in the field of German Studies. This paper is a contribution to the budding field of spatial humanities and, as such, it answers the question in the affirmative. Visualization assists readers of literary fiction with the construction of mental models of a given work for a potentially clearer interpretative understanding.
We hypothesize that the geographical railway space in nineteenth-century German Realism was not merely a passive setting for the development of this emblematic technology, that is, it is not a simple record of the remarkable European railway expansion, but rather such space was the mechanism for the development of a literary-technical culture that was foundational to the poetic realism of the era.
This paper is a contribution to the emerging field of spatial humanities and, as such, it answers the question in the affirmative: Our hypothesis is that the geographical railway space in nineteenth-century German Realism was not merely a passive setting for the development of this emblematic technology—that is, it is not a mere record of the remarkable European railway expansion—but rather, such space was the mechanism for the development of a literary-technical culture that was foundational to the poetic realism of the era.
The use of such developments was foundational to the success of this nineteenth-century literary movement with its characteristic mix of reality, in this case technology, and myth. But realists also grasped the dialectic at play. Fontane specifically understood that technology never really can outrun poetry or vice versa—the two exist as part of the dialectic. Effi Briest , the literary focus of this project, is an especially effective example of the techno-mythic mixture, and the humanities-based mapping tool, Neatline , helps illustrate the unique dynamic.
With approximately sixteen trips, the railway is a constant and central presence in the novel. By focusing on rail travel, our project allows investigators to visualize space and time, two dimensions that are closely connected to the train, and to gain a new understanding of this classic work. Repetition, however, also lies at the root of much mythology, especially when it comes to punishment as described below. For example, our goal with this project is to provide a basis for claims about repetition not only with text, but more importantly, with a spatial visualization as well.
We suggest that seeing the repetition in literary realism and seeing the space taken up by the development of the railway is more helpful to the literary critic than simply reading words describing it. One question we wish to address as we develop our hypothesis is: What is the most effective means of analyzing the literary railway space?
In Black Devil and Iron Angel Catholic UP, , Youngman deploys text to interpret the railway space and its meaning in the novels of Fontane, among several other nineteenth-century German and Austrian authors.
One difficulty with this approach to literary research is that we have a frustratingly limited vocabulary to describe space. While we have verbal conventions like cardinal direction and azimuth measurement, visualizations like maps can offer a much deeper understanding of the work in question. Most helpful in regard to a discussion of spatial visualization is Donna J. Pequet relies heavily on a study by Glenberg and McDaniel who identify the shortcomings of language when it comes to expressing space.
If one were to examine the English language prepositions for space, for example above , across , nearby , and upon , it becomes very clear that we have the perceptual capability to produce much finer-grained distinctions than those relatively imprecise prepositions allow For example, the title of a paper can be located not only above the text, also be centered on the page.
It would therefore be cenbove , so to speak. Moreover, even if our language structure allowed for a word like cenbove , it would still lack the precision that a visualization can provide.
It cannot be done as effectively or as accurately using our limited language system as it can with a map. We do not argue that text cannot under any circumstances capture space and time. Literary fiction and the masterful writers who make their living depicting fictional worlds are well documented.
If the essence of the art of writing literary fiction lies in this idea of the chronotope, why utilize such seemingly mundane visualizations as maps and timelines? Why break down the essential beauty of the work of art using digital tools? The answer is, of course, because literary studies is based on analysis, interpretation, and criticism. That which Theodor Fontane does with space and time is masterful—there are at least two works in the secondary literature on Fontane which deal with the chronotope in his novels—but that is precisely what drives scholars to deconstruct it.
We argue the opposite. While rerrepresentations of technology in Fontane are often subtle and unobtrusive, they remain critical to understanding his works, especially when it comes to the railway and the unique space he allows it in his novels—a space that exists somewhere between reality and fantasy. The computer of its era, there was no more effective technological development for this claim in the nineteenth century than the railway. It was not uncommon in the nineteenth century to write about the train and its associated rail network in terms we, in the twenty-first century, would associate with the computer and the Internet in the ways these could improve our lives.
Figure 2: German Railway Transit Table And second, the fictional settings, including some of the railway spaces, still require a good deal of research and extrapolation in order to know precisely which geographical area s Fontane is using.
The haziness and ambiguities of place serve to remind the reader that Effi Briest is a work of fiction.
Moreover, this is a work of poetic realism. Not everything is real, scientific, or even technological—but we can shed light on some of the blind alleys and vague regions using spatial humanities.
This mixture allows Fontane to use space to establish mood and atmosphere, but also to reflect everyday reality Bade And the mixture corresponds to the research results depicted on our Neatline map. If one looks at the dough hook shaped dark blue line Fig. Berlin and Stettin are real places, and the rail routes are most surely the period routes which a contemporary reader would have recognized.
Once Effi and her fellow characters leave Stettin, however, they depart from the real world. Stettin is a jumping off point to the town of Kessin which does not exist.
Kessin does have some basis in geographical reality. It is eerie and inflected with portents of death, danger, exoticism, and mystery.
Bade and Otto Drude both conclude—and this is helpful for mapping purposes—that Hohen-Cremmen is most likely the village of Nennhausen Fig. Figure 4: Nennhausen is the node between Rathenow and Buschow.
As further evidence of the Hohen-Cremmen—Nennhausen link, they also point to the association of Schloss Nennhausen with the historical Briests Bade Equally important for our analysis is that Fontane paints Hohen-Cremmen as a place of childhood innocence and pleasures marked by lush gardens, ponds bursting with life, and swings bustling with play. As such, the comfortingly mythical Hohen-Cremmen provides an appropriate foil for the equally mythical, yet intensely foreboding Kessin.