Bahnwärter Thiel (1988), by far the best story ever written by Gerhart Hauptmann, follows the principles of the Naturalist movement in its detailed study of the life and milieu of a humble and apparently unexceptional Prussian railwayman. Yet in its exploitation of symbolism, of techniques sometimes close to Impressionism, and in its subtle use of a changing narrative perspective, this Novelle goes beyond the essentially 'scientific' Naturalist approach: Hauptmann thus succeeds in exploring th…
Bahnwärter Thiel (1988), by far the best story ever written by Gerhart Hauptmann, follows the principles of the Naturalist movement in its detailed study of the life and milieu of a humble and apparently unexceptional Prussian railwayman. Yet in its exploitation of symbolism, of techniques sometimes close to Impressionism, and in its subtle use of a changing narrative perspective, this Novelle goes beyond the essentially 'scientific' Naturalist approach: Hauptmann thus succeeds in exploring the complex interaction of suppressed social, psychological, physiological, and religious impulses far better than in any other work of this era.
This new edition has been prepared with the changing needs of the today's learners and students of German in mind. The late S.D. Stirk's scholarly edition of 1952, which also included Fasching, has seen sterling service, and we are greatly indebted to it. However, by concentrating on just one story, we have been able to offer more linguistic help in the notes and vocabulary, as well as devoting considerably more space in the introduction to detailed comments on characterisation and technique. References to other works and to other periods of Hauptmann's long career as a writer have been kept to a minimum.
Bahnwärter Thiel (1988), by far the best story ever written by Gerhart Hauptmann, follows the principles of the Naturalist movement in its detailed study of the life and milieu of a humble and apparently unexceptional Prussian railwayman. Yet in its exploitation of symbolism, of techniques sometimes close to Impressionism, and in its subtle use of a changing narrative perspective, this Novelle goes beyond the essentially 'scientific' Naturalist approach: Hauptmann thus succeeds in exploring the complex interaction of suppressed social, psychological, physiological, and religious impulses far better than in any other work of this era.
This new edition has been prepared with the changing needs of the today's learners and students of German in mind. The late S.D. Stirk's scholarly edition of 1952, which also included Fasching, has seen sterling service, and we are greatly indebted to it. However, by concentrating on just one story, we have been able to offer more linguistic help in the notes and vocabulary, as well as devoting considerably more space in the introduction to detailed comments on characterisation and technique. References to other works and to other periods of Hauptmann's long career as a writer have been kept to a minimum.
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