Abstract
The article traces how Stefan Zweig systematically consolidates his ongoing series of ‘epic-dramatic miniatures’ Sternstunden der Menschheit (The Tide of Fortune) during the post-1934 period of exile. Drawing on a conception of the demonic as Tyche (chance, fortune, accident), Zweig's view of the creative and destructive power of contingency in history focuses on dilemmas of communication and aesthetic mediation. The historical scenarios of Sternstunden echo Zweig's situation as a writer in exile, who retained access to the global public sphere but whose work self-reflexively questions the limits of language as regards producing enlightenment or changing the political situation.
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