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Kleist in France
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summary
From Madame de Staël, Dumas, and Taine, to Giraudoux, Adamov, Ionesco, and the existentialists, this study provides a fascinating account of the progress of Kleist's reception in France from complete rejection in 1807 to spectacular critical and public acclaim in the 1950s. Richardson argues that Kleist's success in France disproves the traditional idea that his work is "unexportable" and shows the conditions that led to his positive reception outside Germany.

Table of Contents

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  1. Cover
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  1. Half-Title Page
  2. p. i
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  1. Series Page
  2. p. ii
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  1. Title Page
  2. p. iii
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  1. Copyright
  2. pp. iv-vi
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  1. Epigraph
  2. pp. vii-viii
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  1. Preface
  2. pp. ix-x
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  1. Table of Contents
  2. pp. xi-xii
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  1. Introduction
  2. pp. 1-4
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  1. Part One: The First Stage, 1807–1869
  2. pp. 5-6
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  1. I. Kleist and the French
  2. pp. 7-9
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  1. II. The First Notices, 1807–1812
  2. pp. 10-14
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  1. III. The First Reviews, 1826–1828
  2. pp. 15-19
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  1. IV. The First Translations and Studies, 1829–1869
  2. pp. 20-32
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  1. Part Two: The Second Stage, 1870–1935
  2. pp. 33-34
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  1. V. Kleist and the Realists, 1870–1900
  2. pp. 35-56
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  1. VI. Critical “Regression”, 1900–1919
  2. pp. 57-77
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  1. VII. A Turn to the Positive, 1920–1924
  2. pp. 79-90
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  1. VIII. Critical Culmination, 1925–1935
  2. pp. 91-121
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  1. Part Three: The Third Stage, 1935–1961
  2. pp. 123-124
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  1. IX. Kleist and Neo-Romanticism, 1935–1950
  2. pp. 125-139
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  1. X. ‘Discovery,’ 1951–1952
  2. pp. 140-145
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  1. XI. Interpretation, 1953–1961:
  2. pp. 146-181
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  1. Summary and Conclusion
  2. pp. 182-186
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  1. Appendix: French Translations of Kleist’s Works
  2. pp. 187-188
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  1. Notes
  2. pp. 189-196
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  1. Bibliography
  2. pp. 197-204
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  1. Index
  2. pp. 205-210
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