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| Britannica Concise Encyclopedia: Alfred Döblin |
For more information on Alfred Döblin, visit Britannica.com.
| Fairy Tale Companion: Alfred Döblin |
Döblin, Alfred (1878–1957), German writer. From the very outset of his career he incorporated a variety of fairy‐tale motifs in his work, even in his celebrated novel Berlin Alexanderplatz (1929). He wrote remarkable fairy tales for adults, such as ‘Der Ritter Blaubart’ (‘The Knight Bluebeard’, 1911), ‘Vom Hinzel und dem wilden Lenchen’ (‘About Hinzel and the wild Lenchen’, 1917), and ‘Märchen von der Technik’ (‘Fairy Tale of Technology’, 1935). In his famous ‘Märchen vom Materialismus’ (‘Fairy Tale of Materialism’, 1948) Döblin illustrated the disastrous consequences of Demokrit's materialistic nuclear theory.
Bibliography
— Bettina Kümmerling‐Meibauer
| German Literature Companion: Alfred Döblin |
Döblin, Alfred (Stettin, 1878-1957, Emmendingen nr. Freiburg), grew up in Berlin and studied medicine (psychiatry and neurology) at Berlin and Freiburg universities, worked for a time in a mental hospital in Regensburg, and from 1911 practised in Berlin (Lichtenberg). From 1914 to 1918 he was a medical officer in the army. After the war he practised again in the slums of Berlin and supported the Social Democrats (he left the SPD in 1928). Endangered as both a Jew and a Socialist under the National Socialist regime, he took refuge in France in August 1933. In 1940 he escaped from France through the Iberian peninsula to the USA. His experiences on this hazardous journey are described in Schicksalsreise. Bericht und Bekenntnis (1949), which also includes reflections on religion. In 1941 he converted to the Roman Catholic faith. In 1945 he returned to Germany as an American education officer in Baden. He lived for a time in Mainz, was in 1949 co-founder of the Akademie für Wissenschaften und Literatur and its vice-president, but was not at ease in West Germany and, a French national since 1936, settled in Paris in 1951. During his last years he suffered from illness and had lost the verve and spirit to which he owed his best-known work. He died in a nursing-home in Baden-Württemberg.
Döblin was an individualist acutely conscious of the vulnerability of the individual to collective pressures. He felt early drawn to Hölderlin, Schopenhauer, and Nietzsche, then showed an affinity to Jugendstil and fin de siècle, before becoming associated with Expressionism and Der Sturm, in which he published his early stories, including Die Ermordung einer Butterblume, the title-story of a collection of 1913; this was followed by another collection of twelve stories, Die Lohensteiner reisen nach Böhmen (1917), a volume containing Der Feldzeugmeister Cratz and Der Kaplan (1926), and Heitere Magie (1948, Märchen vom Materialismus and Reiseverkehr mit dem Jenseits). But he was primarily a novelist and (with Berlin Alexanderplatz) an exponent of the modernist novel, which for him also implied radical rejection of Th. Mann's realism ( Buddenbrooks) with its reliance on the narrator's omniscience.
The novel Die drei Sprünge des Wanglun (1915), set in 18th-c. China, describes an unsuccessful and tragic rebellion in which even the most peaceable are impelled to resist by force the tyranny of the state. In Wallenstein (2 vols., 1920) the strongest of men are overwhelmed by the events of history. Berge Meere und Giganten (1924) is a novel of a future age in which a proliferating technology threatens to subjugate the human race. In Berlin Alexanderplatz (1929), Döblin's best-known novel, the depiction of the uphill struggle of Franz Biberkopf, a casualty of society, to rehabilitate himself and, ultimately, to seek out the meaning of life, is central to the representation of Berlin during the economic depression of the 1920s. Babylonische Wandrung oder Hochmut kommt vor dem Fall (1934) is a grotesque novel with surrealist features. Pardon wird nicht gegeben (1935), the first novel written in exile in Paris, again shows the individual destroyed between opposed social forces, represented by the mother and her factory-owning family and her son Karl, whose true sympathies with the proletarians are suppressed until it is too late. The novel derives from autobiographical substance (the implied setting is Berlin) and differs from the first Berlin novel both in its structure and in its uncompromising treatment of fate and Nemesis to which the title alludes. The ambitious Amazonas-Trilogie (Das Land ohne Tod, Der blaue Tiger, Der neue Urwald, 1937-48) discovers the seeds of present ills in colonial and religious history. November 1918. Eine deutsche Revolution (a trilogy composed in its second version of the novels Verratenes Volk, Heimkehr der Fronttruppen, and Karl und Rosa, 1948-50) uses an abortive revolution (see Weimar Republic) to expose German society of the time and its attitudes. This large-scale work represents the climax of Döblin's political scepticism. His last novel, Hamlet oder Die lange Nacht nimmt ein Ende, begun in Hollywood and completed in Baden-Baden in 1946 (without then finding a publisher), comprises a main action, a psychoanalytical contribution to Heimkehrerliteratur, and a cycle of stories. Edward Allison loses one leg in action and is brought home suffering from shock and neurosis. His stepfather, the writer Gordon Allison, arranges story-telling sessions with Edward, in the company of friends, in order to divert Edward's relentless search for those who are responsible for the war. The discovery of disturbing family relationships (his Hamlet experience) aggravates his disillusionment with the hypocritical society around him and ends with the disintegration of his home and the death of his mother and stepfather. After P. Huchel published sections of the work in Sinn und Form (1954 and 1955), Döblin changed its original ending, according to which Edward, having given the proceeds of his inheritance to the poor, enters a monastery; in the final version he rejects this idea and decides to shake off the ghost of the past and make a new beginning.
Reise in Polen (1925) is a stimulating compterendu of a visit to Poland. Döblin was a lively and perceptive essayist, convinced of his responsibility, as a writer, to be political without party-political commitment. He used the pseudonyms Linke Poot (Der deutsche Maskenball, 1921) and Hans Fiedeler (Nürnberger Lehrprozeß, 1946). Other collections include Das Ich über der Natur (1928), Der Bau des epischen Werkes (1929), Wissen und Verändern (1931), Jüdische Erneuerung (1933, essays and stories: Der verlorene Sohn; Das Märchen von der Technik), Der historische Roman und wir (1936), Sieger und Besiegte. Eine wahre Geschichte (1946), Der unsterbliche Mensch. Ein Religionsgespräch (1946), Die literarische Situation (1947), Unsere Sorge—der Mensch (1948), and Die Dichtung, ihre Natur und ihre Rolle (1950).
| Columbia Encyclopedia: Alfred Döblin |
| Wikipedia: Alfred Döblin |
Alfred Döblin (10 August 1878 – 26 June 1957) was a German expressionist novelist, best known for Berlin Alexanderplatz (1929).
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Döblin was born in Stettin (Szczecin), Province of Pomerania, as the son of a Jewish merchant. His family moved to Berlin in 1888, where Döblin studied medicine, first at the University of Berlin, then at Freiburg University. During his student years, he became interested in German philosophy, especially that of Immanuel Kant, Arthur Schopenhauer and Friedrich Nietzsche. After graduating, he worked as a journalist in Regensburg and Berlin, before actually beginning a psychiatric practice in the working class neighborhood of Alexanderplatz.
During this time, he wrote several novels, but none of them were published until 1915, when Die Drei Sprünge des Wang-Lung first appeared, for which he won the Fontane Prize. It tells the story of political upheaval in 18th century China. The English translation "The Three Leaps of Wang Lun", published by the Chinese University Press in Hong Kong in 1991, describes this as "the most sustained and hallucinatory evocation of China as itself that we have in any European language."
He was garnering popularity through several expressionist short stories in the magazine Der Sturm. Eventually he dropped out of the Expressionist Movement, but many of his 'Sturm' stories were published in 1913 in a collection called Die Ermordung einer Butterblume.
During World War I, Döblin served as a doctor with the German Army, but continued his writing. His historical novel, Wallenstein, set during the Thirty Years' War, was written during this period, but not published until 1920. During this time his son the mathematician Wolfgang Doeblin was born (he had two other sons as well).
In 1920 Döblin joined the Association of German Writers (Schutzverband Deutscher Schriftsteller), and in 1924 he became its president. He reviewed plays for the Prager Tageblatt for several years, and was a member of the Group 1925 with Bertolt Brecht. In 1924 he published Berge, Meere und Giganten, a dystopic view of a future in which technology confronts man and nature.
Berlin Alexanderplatz (1929) was partly written in colloquial German, written from the viewpoints of many characters and with a narrative style reminiscent of John Dos Passos and James Joyce, it tells the story of a criminal who is drawn deeper and deeper into an underworld he cannot rise out of. Döblin though, denied being familiar with Joyce's Ulysses at this time.
When the Nazis took power in Germany, Döblin fled to Paris by way of Switzerland, just one day ahead of a Nazi arrest warrant. He was granted French citizenship in 1936.
His "Amazonas-trilogie", three novels describing the onslaught of Europeans on the native cultures of South America, was published in exile in 1937. The three parts are Das Land Ohne Tod (The Land without Death), Der Blaue Tiger (The Blue Tiger), and Das Neue Urwald (The New Jungle).
In 1940, aged 62, he was again uprooted by the German invasion of France, and spent arduous months as a refugee in a camp at Le Puy. Eventually reaching the United States, he worked for MGM in Hollywood. In 1941, Döblin converted to Roman Catholicism, citing Søren Kierkegaard and Baruch Spinoza as influences.
Döblin returned to Europe in 1945, working for the French Ministry of Cultural Affairs. He returned to Germany, settling in Baden-Baden, where he worked as an education officer and a magazine publisher, but, unhappy with the political environment in his native country, he settled in France.
His outstanding contributions from this period include November 1918, a trilogy of historical novels about the failed revolution in Germany following the First World War, (Vol. 1: Verratenes Volk (A People Betrayed), Vol 2 Heimkehr der Fronttruppen (Return of the Troops), Vol. 3 Karl und Rosa (Karl and Rosa). His last novel, Hamlet, is an expression of his hopes for the future of Europe.
In 1956 Döblin entered a sanitarium in Freiburg im Breisgau suffering from Parkinson's disease. He remained mostly paralyzed for the remainder of his life, dying in Emmendingen the following year.
In a 1967 essay, Guenter Grass declared: "Without the Futurist elements of Doeblin's work from Wang Lun to Berlin Alexanderplatz, my prose is inconceivable." Yet to the extent Doeblin is known today at all, it is for just one work: Berlin Alexanderplatz, the subject of countless graduate papers and scholarly analyses, and also of Rainer Werner Fassbinder's spellbinding 13-hour TV adaptation of 1980. Modern, well-edited volumes of almost the complete oeuvre have been available in German since the 1980s, indicating the existence of at least some readership; and the Internationale Alfred-Doeblin Kolloquien have been held every two years since the early 1980s. But only a handful of other works of fiction have ever appeared in English translations: The Three Leaps of Wang Lun (trans. C. D. Godwin, Chinese University Press, Hong Kong, 1991), and the November 1918 trilogy: A People Betrayed (which also includes The Troops Return) and Karl and Rosa (trans. John E. Woods, Fromm International, 1983 and 1987); Tales of a Long Night (trans John E Woods, From International, 1987; and the lesser-known big-city novel Men without Mercy (trans. Trevor and Phyllis Blewitt, Howard Fertig, 1976). Two works of autobiography have also been translated: Destiny's Journey (trans. Edna McCown, Paragon House, 1992), the harrowing account of Doeblin's flight and exile in the 1940s; and the account of his mid-1920s Journey to Poland (trans J. Neugroschel, I. B. Tauris, 1991).
Another of Grass's observations may help to explain this neglect. Doeblin, says Grass in the Akzente essay referenced above, "will discomfort you, give you bad dreams. He's hard to digest. The reader will be changed by him. If you're satisfied with yourself, beware of Doeblin." But the reader who is prepared to take up the challenge can find many treasures.
The publisher's blurb for the Wang Lun epic in English, for example, calls this "the most sustained evocation, in any European language, of a China untouched by the West... Teeming cities and Tibetan wastes, political intrigue and religious yearning, life at Court and the fate of wandering outcasts are depicted in a language of enormous vigour." Doeblin brought the same hallucinatory intensity of imagination and powers of depiction to another setting, South America, in the Amazonas-trilogie (1937). The continuing lack of an English translation of this epic is quite surprising, for the trilogy depicts with tremendous sweep, excitement and pathos the pre-conquest cultures of the Amazon and Andes, episodes of conquest and colonisation, and the doomed efforts of the Jesuits to save at least a fragment of the native population (a topic that may be familiar from the 1986 film The Mission).
Doeblin's early association with the Futurists ended with Wang Lun. "Neither (Herwarth) Walden nor anyone else from the circle of the orthodox said a word about the novel... They developed into pure word-artists. I took another path," wrote Doeblin in the Epilogue to his Autobiographische Schriften (Autobiographical Writings) in 1948. His writings from the 1920s on encompassed a tremendous range, in which he seldom repeated himself: literary theory, film and book reviews, reflections on philosophy and religion, and several epic works of fiction in the most varied styles. These include Berge Meere und Giganten (Mountains Oceans Giants, ), a dystopic science-fiction view of the far future; and Babylonische Wanderung (Babylonian Exile), a comic account of the god Marduk's adventures in 20th century Europe.
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