On Stefan Zweig's pluralistic language concept and his descriptive irony in the Chess Novel This work is the announced second supplement to my comments on Stefan Zweig's pluralistic language concept. In the first supplement, I dealt with the neologisms used by Zweig in the chess novel, which were verified using Viktor Klemperer's book LTI, Notebook of a Philologist. In order to complete the pluralistic aspect in Stefan Zweig's chess novel, a third supplement will be necessary after this second one, which will end my work on the chess novel. This second supplement is intended to attempt to get closer to Stefan Zweig's pluralistic language concept. For this purpose, the influence of the Upper German literary language and the Saxon Meissen Chancellery language on the language of the chess novel will be examined. Stefan Zweig's textual references are shaped by his time in the war archive after 1914, when he had access to documents from previous centuries. As a result, he was able to expand his knowledge to include partially unknown historical relationships. For this reason, the historical context and its meaning are to be examined in this work. The dualism between the Upper German literary language and the Saxon Meissen language in Austria is to be highlighted using a few examples from the chess novel in order to then examine the textual references. But increased attention should also be paid to the language development of naturalism. Due to the unusually long period of peace in the Belle Epoque, the artists had time to search for new forms of expression, as the attitudes of people in this liberal era accepted new forms of the arts. Using a few examples, it should be found out whether the nature observations described in the chess amendment are merely a common naturalistic stylistic device. The aim of this work is to investigate whether these descriptions of nature also offer access to his presumed ambiguity within the branch's pluralistic language concept. There are typical Austrian terms that are referred to as Austriazisms. These terms are often interpreted outside Austria as a dialect. However, Austriazisms are not linguistic mutations, but common words that have a specific meaning and are based on a long cultural tradition. So they are part of Zweig's geographical expression, which has shaped him since his childhood in Vienna. In the chess novel some Austriazisms are to be highlighted in this work and the question is to be examined whether these Austriazisms are phraseologisms of the phonographic method. It is known from the biography of Stefan Zweig that he discovered his Jewish ancestry late. During his first exile in Switzerland in 1916, Stefan Zweig started Jeremiah's drama. It was published in 1917 and premiered in Zurich in 1918. Later, under the influence of Austro and growing Nazi fascism, Zweig published his second religious drama The Buried Candlestick in 1937, in which he grappled with religious wisdom teachings, as well as with the methods of the retreat. The reader will also find this knowledge in the chess novel. The well-founded knowledge of the wisdom teachings, which Stefan Zweig quoted in the chess novel, is to be examined in this work and an answer to the question will be attempted if these quotations could possibly be meant ambiguously and thus offer access to his presumed ambiguity. The description of historical lists and their correlations, which the reader finds in the chess novel, should be checked for their relevance, since the names listed are all too obviously lexicological. The aim is to research the poetic intent within the branch's pluralistic language concept. In addition, it should be asked whether the description of the historical context offers access to his presumed ambiguity.
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Jun 1, 2024
Paweł Konczewski + 7
Open Access
