ào dì lì zuòzhělièbiǎo
lǐ 'ěr kè Rainer Maria Rilketè lā kè 'ěr Georg Traklcè lán Paul Celan
sài mí · mò 'ěr xiào Race Mi Mo Erxiaolǎo yuē hàn · shī tè láo sī Johann Straussxiǎo yuē hàn · shī tè láo sī Johann Strauss
xī gé méng dé · fú luò yī dé Sigmund Freudkǎ fū kǎ Franz Kafkasī dì fēn · cí wēi gé Stefan Zweig
xī mò 'ěr Johannes Mario Simmelhàn sī - bǐ dé · mǎ dīng Hans-Peter Martinyuē sè fū · xióng bǐ tè Joseph Schumpeter
tuō mǎ sī · bù rè qí nà Thomas Brezinalǔ dào fū · xī fǎ tíng Rudolf Hilferdingmǎ kè sī · sū sà kè Markus Zusak
ēn sī tè · yáng dé 'ěr Ernst Jandlxuē dìng 'ě Erwin Rudolf Josef Alexander Schrödingerwǎ 'ěr tè Walther von der Vogelweide
kǎ 'ěr · kè luò sī Karl Krauslāi nǎo Nikolaus Lenaubā hè màn Ingeborg Bachmann
wéi tè gēn sī tǎn Ludwig Josef Johann Wittgensteināi gòng · xí lè Egon Schielekè lāi mén sī · méi tè niè Klemens Wenzel von Metternich
bā hè màn Ingeborg Bachmann
ào dì lì  (1926niánliùyuè25rì～1973niánshíyuè17rì)
yīng gé bó gé · bā hè màn


英格博格·巴赫曼 (德语：Ingeborg Bachmann 1926年6月25日－1973年10月17日) 是奥地利女诗人和作家。

生平

巴赫曼出生于奥地利第一共和国的克拉根福，是一个校长的女儿。她在因斯布鲁克大学、卡尔·弗朗岑斯大学以及维也纳大学学习哲学、心理学、德国哲学和法律。于1949年在维也纳大学获得哲学博士学位。 毕业后在同盟国军事占领奥地利的广播站“红-白-红”任脚本作家和编辑。1953年移居意大利罗马。1958年结识了瑞士作家马克斯·弗里施。后者的小说《甘腾拜恩》即是对这段关系的描写。两人并未结婚。 1973年9月25日晚，巴赫曼的卧室失火，她被送往罗马的圣尤金尼奥医院治疗。住院期间她出现了巴比妥类药物的戒断症状，并于10月17日逝世。逝世后葬于安纳比施公墓。 巴赫曼的作品主要主题为个人界限，真理的建立以及语言哲学。

作品

诗集

  • 1953: 《递延期》
  • 1956: 《大熊座的呼唤》
  • 2000：《我不知道更好的世界》(未出版诗集)

广播剧

  • 1952：《梦的商店》
  • 1955： 《蝉》
  • 1959：《曼哈顿的好上帝》

短篇小说集

  • 1961：《第三十年》
  • 1972：《同步/通向湖的三条道路》

小说

  • 1971 《玛丽娜》


 Ingeborg Bachmann (25 June 1926 – 17 October 1973) was an Austrian poet and author.

Biography

Bachmann was born in Klagenfurt, in the Austrian state of Carinthia, the daughter of Olga (née Haas) and Matthias Bachmann, a schoolteacher. Her father was an early member of the Austrian National Socialist Party. She had a sister, Isolde, and a brother, Heinz.

She studied philosophy, psychology, German philology, and law at the universities of Innsbruck, Graz, and Vienna. In 1949, she received her Doctor of Philosophy from the University of Vienna with her dissertation titled "The Critical Reception of the Existential Philosophy of Martin Heidegger"; her thesis adviser was Victor Kraft.

After graduating, Bachmann worked as a scriptwriter and editor at the Allied radio station Rot-Weiss-Rot, a job that enabled her to obtain an overview of contemporary literature and also supplied her with a decent income, making possible proper literary work. Furthermore, her first radio dramas were published by the station. Her literary career was enhanced by contact with Hans Weigel (littérateur and sponsor of young post-war literature) and the literary circle known as Gruppe 47, whose members also included Ilse Aichinger, Paul Celan, Heinrich Böll, Marcel Reich-Ranicki and Günter Grass. She won the Prize of Group 47 in 1953 for her poetry collection Die gestundete Zeit.

Ingeborg Bachmann's residence at Palazzo Sacchetti, Via Giulia, Rome

In 1953, she moved to Rome, Italy, where she spent the large part of the following years working on poems, essays and short stories as well as opera libretti in collaboration with Hans Werner Henze, which soon brought with them international fame and numerous awards. Her relationship with the Swiss author Max Frisch (1911–1991) influenced the depiction of the second protagonist in Frisch's 1964 novel Gantenbein upon her. His infidelity, and their separation in 1962, had a deep impact on Bachmann.

During her later years she suffered from alcoholism and drug abuse. A friend described it:

"I was deeply shocked by the magnitude of her tablet addiction. It must have been 100 per day, the bin was full of empty boxes. She looked bad, she was waxlike and pale. And her whole body was covered in bruises. I wondered what could have caused them. Then, when I saw how she slipped her Gauloise that she smoked and let it burn off on her arm, I realized: burns caused by falling cigarettes. The numerous tablets had made her body insensible to pain."

On the night of 25/26 September 1973 a fire occurred in her bedroom, and she was taken to the Roman Sant' Eugenio hospital for treatment. (Local police concluded that the blaze was caused by a cigarette.) During her stay, she experienced withdrawal symptoms from barbiturate substance abuse. The doctors treating her were not aware of this habit, and it may have contributed to her subsequent death on 17 October 1973. She is buried at the Annabichl cemetery in Klagenfurt.

Writings

Bachmann's doctoral dissertation expresses her growing disillusionment with Heideggerian existentialism, which was in part resolved through her growing interest in Ludwig Wittgenstein, whose Tractatus Logico-Philosophicus significantly influenced her relationship to language. During her lifetime, Bachmann was known mostly for her two collections of poetry, Die gestundete Zeit and Anrufung des Grossen Bären.

Bachmann's literary work focuses on themes like personal boundaries, establishment of the truth, and philosophy of language, the latter in the tradition of Austrian philosopher Ludwig Wittgenstein. Many of her prose works represent the struggles of women to survive and to find a voice in post-war society. She also addresses the histories of imperialism and fascism, in particular, the persistence of imperialist ideas in the present. Fascism was a recurring theme in her writings. In her novel Der Fall Franza (The Case of Franza) Bachmann argued that fascism had not died in 1945 but had survived in the German speaking world of the 1960s in human relations and particularly in men's oppression of women. In Germany the achievements of the women's rights campaign at the end of the 19th and beginning of the 20th century had been systematically undone by the fascist Nazi regime in the 1930s. Bachmann's engagement with fascism followed that of other women writers who in the immediate post-war period dealt with fascism from a woman's perspective, such as Anna Seghers, Ilse Aichinger, Ingeborg Drewitz and Christa Wolf.

Bachmann was also in the vanguard of Austrian women writers who discovered in their private lives the political realities from which they attempted to achieve emancipation. Bachmann's writings and those of Barbara Frischmuth, Brigitte Schwaiger and Anna Mitgutsch were widely published in Germany. Male Austrian authors such as Franz Innerhofer, Josef Winkler and Peter Turrini wrote equally popular works on traumatic experiences of socialisation. Often these authors produced their works for major German publishing houses. After Bachmann's death in 1973 Austrian writers such as Thomas Bernhard, Peter Handke and Elfriede Jelinek continued the tradition of Austrian literature in Germany.

Lectures

Between November 1959 and February 1960 Bachmann gave five lectures on poetics at the Goethe University Frankfurt. Known as the Frankfurter Vorlesungen: Probleme zeitgenössischer Dichtung (Frankfurt Lectures: Problems of Contemporary Writings) they are historically and substantively Bachmann's central work. In it she explained recurring themes in her early literary publications and she discussed the function of literature in society. Bachmann insisted that literature had to be viewed in its historic context, thus foreshadowing a rising interest in studying the connection between literary discourse and the contemporary understanding of history.

In the first lecture on Fragen und Scheinfragen (Questions and Pseudo Questions) Bachmann focused on the role of writers in the post-war society and lists essential questions that are "destructive and frightening in their simplicity". They are: why write? What do we mean by change and why do we want it through art? What are the limitations of the writer who wants to bring about change? Bachmann asserted that the great literary accomplishments of the 20th century were expressions in language and thus the poetic moral and intellectual renewal. In her mind the writer's new thinking and experience formed the core of the literary works. This in turn lets a writer come closer to a new language. She stressed that a new language was inhabited by a new spirit. Thus a writer may despair over the importance of language and she cited Hugo von Hofmannsthal's Ein Brief (1902) as the first articulation of this problem.

The second lecture Über Gedichte (On Poems) distinguishes poetry with its new power to grasp reality in its language, from other genres such as novels and plays. With reference to Günter Eich and Stefan George she identified a new generation of poet-prophets whose mission it was to lead the world to the discovery of an "ever purer heaven of art". She set these poets apart from the surrealists who aspired to violence and the futurists who claimed that "war is beautiful". She argued that these two movements exemplified art-for-art's sake and that the careers of Gottfried Benn and Ezra Pound exemplified the friendship between pure aestheticism with political barbarism. She referenced Kafka on the need to "take the axe to the frozen sea in us" and the refusal to remain silent about the crimes in our world. In the lecture she also named writings of Nelly Sachs, Marie Luise Kaschnitz, Hans Magnus Enzensberger and Paul Celan as examples of new poetry.

In the third lecture on Das schreibende Ich (The Writing "I") Bachmann addressed the question of the first-person narrator. She was concerned with the accountability and authority, the authenticity and reliability of a person of narrating a work. She distinguished between the unproblematic "I" in letters and diaries which conceal the person from the author, and the unproblematic "I" in memoirs. She argued that Henry Miller and Louis-Ferdinand Céline placed themselves and their own personal experience directly at the centre of their novels. She referenced Tolstoy's The Kreuzer Sonata and Dostoyevsky's The House of the Dead as first-person narrators of the inner story. She argued that narrators could provide a new treatment of time (for example Italo Svevo), of material (for example Proust) or of space (for example Hans Henny Jahnn). Bachmann asserted that in the modern novel the "I" had shifted and the narrator no longer lives the story, instead the story is in the narrator.

In the fourth lecture Der Umgang mit Namen (The Close association with Names) Bachmann explored how names could have a life of their own. She discussed the use of names in contemporary literature. She identified "denied names" such as in Kafka's The Castle, "ironic naming" by Thomas Mann, "name games" in James Joyce's Ulysses and instances where the identity of the character is not secured by a name but by the context, such as in Faulkner's The Sound and the Fury.

In the fifth lecture on Literatur als Utopie (Literature as Utopia) she turned to the question of what makes literature utopian. She argued that it was the process that was set in motion in the writer and reader as a result of their interaction with literature that made a work utopian. She argued that literature could make us aware of the lack, both in the work and in our own world. Readers could remove this lack by giving the work a chance in our time. Thus she argued each work of literature is "a realm which reaches forward and has unknown limits". Bachmann's understanding of utopia as direction rather than a goal, and her argument that it was the function of literature to take an utopian direction stemmed from Robert Musil who had analysed European modernism in his dissertation on Ernst Mach.

Legacy

Although German language writers such as Hilde Domin, Luise Rinser and Nelly Sachs had published notable works on women's issues in the post-war period it was only in the 1970s that a feminist movement emerged in West Germany. After her death, Bachmann became popular among feminist readers. Feminist scholars' engagement with her work after her death led to a wave of scholarship that also drew attention to her prose work. Her works gained popularity within the emerging Frauenliteratur (women's literature) movement which struggled to find the authentic female voice. New publishing houses carried the movement, such as the feminist press Frauenoffensive (Women's Offensive), which published writings by Verena Stefan.

The Ingeborg Bachmann Prize

The Ingeborg Bachmann Prize, awarded annually in Klagenfurt since 1977, is named after her.

Works

Poetry collections

  • 1953: Die gestundete Zeit
  • 1956: Anrufung des Grossen Bären
  • 2000: Ich weiß keine bessere Welt. (Unpublished Poems)
  • 2006: Darkness Spoken: The Collected Poems of Ingeborg Bachmann. translator Peter Filkins, Zephyr Press, ISBN 9780939010844

Radio plays

  • 1952: Ein Geschäft mit Träumen
  • 1955: Die Zikaden
  • 1959: Der gute Gott von Manhattan (won the Hörspielpreis der Kriegsblinden in 1959)

Libretti

Collections of short stories

  • Das dreißigste Jahr (1961). The Thirtieth Year, translated by Michael Bullock (1964).
  • Simultan (1972). Three Paths to the Lake, translated by Mary Fran Gilbert (1989).

Novel

  • Malina (1971). Translated by Philip Boehm (1990; revised 2019).

Unfinished novels

  • Der Fall Franza / Requiem für Fanny Goldmann (Piper, 1979). The Book of Franza / Requiem for Fanny Goldmann, translated by Peter Filkins (1999).
  • "Todesarten"-Projekt (Piper, 1995). Compiles:
    • Todesarten, Ein Ort für Zufalle, Wüstenbuch, Requiem für Fanny Goldmann, Goldmann/Rottwitz-Roman und andere Texte
    • Das Buch Franza
    • Malina (2 v. )
    • Der "Simultan"-Band und andere späte Erzählungen

Essays and public speeches

  • 1959: Die Wahrheit ist dem Menschen zumutbar (poetological speech at a German presentation of awards,)
  • 1955: Frankfurter Vorlesungen (lecture on problems of contemporary literature)

Letters

  • Ingeborg Bachmann-Paul Celan: Correspondence (letters between Ingeborg and Paul Celan, published 2010 by Seagull Books)
  • Letters to Felician (letters to an imaginary correspondent, written 1945, published posthumously). Edited & translated into English by Damion Searls. Green Integer Books, 2004.
  • War Diary, Translated by Michael Mitchell, Seagull Books, 2011, ISBN 9780857420084

See also

References

  1. ^ Fetz, Bernhard; Strigl, Daniela; Kastberger, Kalus; Eder, Thomas; McVeigh, Joseph; Magsham, Rachel (2004). ""My Father,... I Would Not Have Betrayed You..." Reshaping the Familial past in Ingeborg Bachmann's Radiofamilie-Texts". New German Critique (93): 131–143. ISSN 0094-033X.
  2. ^ Garman, Emma (9 July 2019). "Feminize Your Canon: Ingeborg Bachmann". The Paris Review. Retrieved 31 August 2020.
  3. ^ Lennox, Sara (1 January 2007). "Gender, the Cold War, and Ingeborg Bachmann". Studies in 20th & 21st Century Literature. 31 (1). doi:10.4148/2334-4415.1646. ISSN 2334-4415.
  4. ^ Brinker-Gabler, Gisela; Zisselsberger, Markus (2004). If We Had the Word: Ingeborg Bachmann Views and Reviews. Riverside, CA, USA: Ariadne Press. p. 2. ISBN 978-1-57241-130-2.
  5. ^ "Ingeborg Bachmann | Austrian author". Encyclopædia Britannica. Retrieved 25 June 2017.
  6. ^ Peter Beicken: Ingeborg Bachmann. Becksche Reihe 605, 2. Auflage. München 1992, S. 213.
  7. ^ "Ingeborg Bachmann". fembio.org. Retrieved 25 June 2017.
  8. ^ "Ingeborg Bachmann". jetzt.de (in German). 23 June 2006. Retrieved 25 June 2017.
  9. ^ Lennox, Sara (2006). Cemetery of the Murdered Daughters. Amherst MA: University of Massachusetts Press. pp. 43–50. ISBN 978-1-55849-552-4.
  10. ^ Lennox, Sara (2006). Cemetery of the Murdered Daughters. Amherst MA: University of Massachusetts Press. pp. 294–295. ISBN 978-1-55849-552-4.
  11. ^ Matthias Konzett (2015). Encyclopedia of German Literature. Routledge. p. 1023. ISBN 9781135941222.
  12. ^ Matthias Konzett (2015). Encyclopedia of German Literature. Routledge. p. 50. ISBN 9781135941222.
  13. ^ Karen Achberger (1995). Understanding Ingeborg Bachmann: Understanding Modern European and Latin American Literature, Band 1. Univ of South Carolina Press. pp. 60. ISBN 9780872499942.
  14. ^ Karen Achberger (1995). Understanding Ingeborg Bachmann: Understanding Modern European and Latin American Literature, Band 1. Univ of South Carolina Press. pp. 61. ISBN 9780872499942.
  15. ^ Karen Achberger (1995). Understanding Ingeborg Bachmann: Understanding Modern European and Latin American Literature, Band 1. Univ of South Carolina Press. pp. 61. ISBN 9780872499942.
  16. ^ Karen Achberger (1995). Understanding Ingeborg Bachmann: Understanding Modern European and Latin American Literature, Band 1. Univ of South Carolina Press. pp. 61–62. ISBN 9780872499942.
  17. ^ Karen Achberger (1995). Understanding Ingeborg Bachmann: Understanding Modern European and Latin American Literature, Band 1. Univ of South Carolina Press. pp. 62. ISBN 9780872499942.
  18. ^ Karen Achberger (1995). Understanding Ingeborg Bachmann: Understanding Modern European and Latin American Literature, Band 1. Univ of South Carolina Press. pp. 63. ISBN 9780872499942.
  19. ^ Karen Achberger (1995). Understanding Ingeborg Bachmann: Understanding Modern European and Latin American Literature, Band 1. Univ of South Carolina Press. pp. 63. ISBN 9780872499942.
  20. ^ Karen Achberger (1995). Understanding Ingeborg Bachmann: Understanding Modern European and Latin American Literature, Band 1. Univ of South Carolina Press. pp. 64. ISBN 9780872499942.
  21. ^ Nicholas Saul (2002). Philosophy and German Literature, 1700–1990. Cambridge University Press. p. 279. ISBN 9781139431545.
  22. ^ Lennox, Sara (2006). Cemetery of the Murdered Daughters. Amherst MA: University of Massachusetts Press. pp. 43–50. ISBN 978-1-55849-552-4.
  23. ^ Matthias Konzett (2015). Encyclopedia of German Literature. Routledge. p. 1023. ISBN 9781135941222.
  24. ^ Bachmann-Preis - Tage der deutschsprachigen Literatur. Retrieved 25 November 2013.

Sources

External links

 
    

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