Censorship had an extraordinary impact on Alban Berg's opera Lulu, composed by the Austrian during the politically tumultuous years spanning 1929 to 1935. Based on two plays by Frank Wedekind that were repeatedly banned from publishing and performing up until the end of World War I, thelibretto was in turn censored by Berg himself when he submitted it to authorities in Nazi Germany in 1934. When Berg died before the opera was debuted the next season, the third act was censored by his widow, Helene, and his former teacher, Arnold Schoenberg.In "Taken By the Devil", author Margaret Notley uncovers the unusual and uniquely generative role of censorship throughout the lifecycle of Berg's great opera. Placing the opera and its source material in a wider cultural context, Notley provides close readings of the opera's libretto and score toreveal the precise techniques employed by the composer in negotiating the censors. She goes on to explore the ways Berg chose to augment rather than flatten the discrepancies between various performances of the earlier plays and the opera itself, adding further dimensions of interpretation to thework. Elegantly readable, "Taken by the Devil" is the most meticulously researched and nuanced study of Lulu to date, and illuminates the process of politically-driven censorship of theater, music, and the arts during the tumultuous early twentieth century.

This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1967.

Originally published in 1987, this is a thorough and lucid introduction and commentary to the whole of Goethe’s Faust. It gives the student of German and European literature valuable insights into the most important work of Germany’s foremost poet. German quotations are translated or paraphrased in English and a detailed knowledge of German literature is not assumed. The book traces Goethe’s work on the play over 60 years of his creative career and surveys its critical reception over the 200 years since its first appearance. Part One is analysed as a mimetic tragedy, Part Two as an historical and cultural profile of Goethe’s own times. The commentary guides the reader carefully through its subtleties and multi-layered references and provides a broad and coherent structure for the overall understanding of the work. It suggests provocative interpretations of some figures and episodes in Part Two and places renewed emphasis on parts of the work that often receive relatively little attention. An appendix surveys the metres and verse forms of the play.

Originally published in 1980, this book examines the nature and significance of Classicism as a literary phenomenon and relates the beginnings of the German variety to the search for a national identity in the circumstances of a politically fragmented eighteenth century Germany. It surveys the pre-classical scene, traces the intellectual currents and the literary forms and material which Classicism was to synthesise, and presents its theoretical basis. The major works of Goethe and Schiller in the decade of their partnership are analysed. Their response to political events is placed in the contemporary context and the divergences which challenge Classicism are discussed.

First published in 1983. This book charts the growth of Romanticism from the initial reactions to the authoritarian classicism of Louis XIV, through the ‘codification’ of the Sublime by Burke in the 1750s, to the fascination with mystery, fear and violence which dominated the writing of the late eighteenth century. The origins of the movement are found in the writings of Rousseau and admiration for the ‘noble savage’, the development of the landscape garden, discoveries in the South Seas, new approaches to ‘primitive’ poetry and enthusiasm for gothic art and literature. These attitudes are contrasted with the more classical views of writers like Samuel Johnson.