It will also likely raise the profile of Stefan Zweig, the Austrian Jewish novelist who, Anderson has said, inspired the film’s quirky Eastern European setting and several of its characters.
The New York Times has reported that new translations and editions of Zweig’s work have gradually reappeared over the past few years before Anderson’s film (which was released in March 2014): New editions of his fiction, including his collected stories, are being published, with some appearing in English for the first time.
Movies are being adapted from his writing; a new selection of his letters is in the works; plans to reissue his many biographies and essays are in motion; and his complicated life has provided inspiration for new biographies and a best-selling French novel.
Wes Anderson’s whimsical film “The Grand Budapest Hotel” was nominated for nine Academy Awards Thursday morning, just days after winning the Golden Globe for Best Comedy or Musical.
Named one of the best films of the year by several top critics, it could earn Anderson, a director whose cult following has steadily grown over the past decade, his first Oscar.
Instead, they embraced aestheticism and concentrated on the study of interior worlds.
They took their place among other young Viennese poets like Leopold Andrian, Hugo von Hofmannsthal or Felix Dörmann, who all followed the aesthetic concepts of internalized literature, as Bahr has suggested.The article outlines Herzl’s career in terms of modernity’s aestheticism.It will also offer an overview of Vienna’s fin de siècle culture, with Hermann Bahr as its spokesman and the so-called “Jung-Wien” group of poets.(Modern Literature), launching the creation of the group ‘Jung-Wien’, an informal league of young Viennese poets treading in the footsteps of the French ‘décadence.’ While it may be claimed that Paris was the epicenter of decadent writing and aestheticism, the movement’s anti-naturalistic and sensuous spirit also made its way to other European cities.Hermann Bahr was to play an important role as intermediary, introducing French literature to Vienna, which is where he returned to in 1889, following a one-year stay in Paris.2 Bahr aimed at promoting an internalized mode of writing that would suitably capture the nervousness and unsteadiness of the Austro-Hungarian Empire, which at that time was already in decline and politically preceding the very path of decadence that was to become investigated by artists.Both visions of ending and beginning are encompassed by the generic term ‘fin de siècle’, which covers the years from about 1880 until the outbreak of the Great War.Es kann sein, dass wir am Ende sind, am Tode der erschöpften Menschheit, und das sind nur die letzten Krämpfe.The turn of the century’s emotional disturbances that Peter Altenberg poetically diagnosed as “Krebs der Seele” (soul cancer)5 was accompanied by the emergence of Sigmund Freud’s psychoanalysis, which a fortiori proved the relevance of Young-Vienna writings with regard to the turn of the century’s disturbed social and intellectual condition.Shortly after Hermann Bahr had returned inspired from Paris, Herzl also spent an influential period in the French capital.(Zweig even gave a eulogy at Freud’s funeral in 1939.) In 1942, after years of unhappy emigration though England and South America forced upon him by Hitler’s rise to power, Zweig and his wife committed suicide by overdosing on barbiturates.It is unclear why Zweig’s famous works, such as “Beware of Pity” and “Confusion of Feelings,” fell into such obscurity in the years after World War II.