Künstlerromane
Language: English
Part of speech: noun
Etymology: From the German Künstlerromane, the nominative plural form of Künstlerroman.
Senses: examples: text: […] great model — apart from contemporary Künstlerromane and impressionist tales of school life — was, as the notes of […]
ref: 1948, Hans Carossa, Eine Kindheit, B. Blackwell, page xlvii:
text: With “Künstlerromane” such as “Hermann Ifinger” he at last convinced people he was a writer with ideas, and with his two last novels, “Die Osterinsel” and “Die Rothenburger” he has stepped into the front rank of German novelists.
ref: 1974, Fernand Ortmans, editor, Cosmopolis, volume 3, Kraus Reprint, page 365:
text: They are, therefore, Künstlerromane of a particularly problematic kind: most of each text consists of the argument of its own impossibility.
ref: 1981, Naomi Segal, Bithell Series of Dissertations, volume 6: “The Banal Object: Theme and Thematics in Proust, Rilke, Hofmannsthal, and Sartre”, page iv (Institute of Germanic Studies, University of London)
text: Portrait of the Artist as a Young Woman: The Female Künstlerromane in America
ref: 1981, Linda Huf, Portrait of the Artist as a Young Woman: The Female Künstlerromane in America, main title (University of Maryland)
text: Adolescence, Autonomy, and Vocation: Heroines of Künstlerromane by Modern American Women
ref: 1982, Constance Marie Perry, Adolescence, Autonomy, and Vocation: Heroines of Künstlerromane by Modern American Women, main title (Indiana University)
text: To “bear my mother’s name:” Künstlerromane by Women Writers
ref: 1985, Rachel Blau DuPlessis [aut., ed.], Writing beyond the Ending: Narrative Strategies of Twentieth-Century Women Writers, pages 84–104: “To ‘bear my mother’s name:’ Künstlerromane by Women Writers”, essay title (Indiana University Press)
text: In his early Künstlerromane, such as Klingsor (1920; Klingsor’s Last Summer, 1970), Hesse presents the view that to excel one must escape middle-class conformity through one of two ways: either asceticism or sensuality.
ref: 1987, “The Nobel Prize Winners: 1927-1961”, in Frank Northen Magill, editor, The Nobel Prize Winners: Literature, volume 2, Salem Press, page 503:
text: […] or “Künstlerromane” where the arts must of necessity play a role.
ref: 1992, David L. Dysart, “The Role of the Painting in the Works of Theodor Storm”, in North American Studies in Nineteenth-Century German Literature, volume 11, P. Lang, page 8:
text: Anxieties of Maternal Influence: Gender, Individuation, and Authorship in the Künstlerromane of Herman Melville and Henry James
ref: 1995, Jonathan Harvard Havey, Anxieties of Maternal Influence: Gender, Individuation, and Authorship in the Künstlerromane of Herman Melville and Henry James, main title (State University of New York at Buffalo)
text: The notion that the artist must withhold his or her “generative energy,” diverting it into artistic creation only, seems to have prevailed in a number of the Künstlerromane of the nineteenth century.
ref: 2004, August 17ᵗʰ: Ann Ronchetti, The Artist-Figure, Society, and Sexuality in Virginia Woolf’s Novels, page 13 (Routledge)
text: [Louise] Fitzhugh’s [Harriet the Spy (1964)] was one of the first overtly feminist künstlerromane written for children.
ref: 2007, Autumn: Roberta Seelinger Trites, Twain, Alcott, and the Birth of the Adolescent Reform Novel, page 149 (University of Iowa Press)
text: The English literary imagination never latched on to the modest craftsmen in chapels or theatre pits; professional musicians became fiction-worthy only when the Geniekult started to inspire Künstlerromane around figures like Beethoven, Mendelssohn, Paganini, or Liszt.
ref: 2008, Regula Hohl Trillini, The Gaze of the Listener: English Representations of Domestic Music-Making, page 7 (Rodopi)
text: Exploring Walden (1854) and Little Women (1868), two autobiographical künstlerromane depicting the education and rise of a young artist, will enable a presentation of Alcott’s criticism and revision of the Transcendental poet-genius ideal.
ref: 2009, Annette R. Federico [ed.], Gilbert and Gubar’s The Madwoman in the Attic after Thirty Years, page 177 (University of Missouri Press)
text: As künstlerromane, Brown Girl, Brownstones and Paper Fish clarify the positions of their artist protagonists as they wend their ways to worlds outside the protective spaces of their respective communities.
ref: 2010, Mary Jo Bona, By the Breath of Their Mouths: Narratives of Resistance in Italian America, page 135 (State University of New York Press)
glosses: plural of Künstlerroman