Künstlerromane

Etymology
From the, the nominative plural form of.

Pronunciation
as in German

Noun

 * 1) * 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)
 * They are, therefore, Künstlerromane of a particularly problematic kind: most of each text consists of the argument of its own impossibility.
 * 1) * 1981, Linda Huf, Portrait of the Artist as a Young Woman: The Female Künstlerromane in America, main title (University of Maryland)
 * Portrait of the Artist as a Young Woman: The Female Künstlerromane in America
 * 1) * 1982, Constance Marie Perry, Adolescence, Autonomy, and Vocation: Heroines of Künstlerromane by Modern American Women, main title (Indiana University)
 * Adolescence, Autonomy, and Vocation: Heroines of Künstlerromane by Modern American Women
 * 1) * 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)
 * To “bear my mother’s name:” Künstlerromane by Women Writers
 * 1) * 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)
 * Anxieties of Maternal Influence: Gender, Individuation, and Authorship in the Künstlerromane of Herman Melville and Henry James
 * 1) * 2004, August 17th: Ann Ronchetti, The Artist-Figure, Society, and Sexuality in Virginia Woolf’s Novels, page 13 (Routledge )
 * 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.
 * 1) * 2007, Autumn: Roberta Seelinger Trites, Twain, Alcott, and the Birth of the Adolescent Reform Novel, page 149 (University of Iowa Press )
 * [Louise] Fitzhugh’s [Harriet the Spy (1964)] was one of the first overtly feminist künstlerromane written for children.
 * 1) * 2008, Regula Hohl Trillini, The Gaze of the Listener: English Representations of Domestic Music-Making, page 7 (Rodopi )
 * 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.
 * 1) * 2009, Annette R. Federico [ed.], Gilbert and Gubar’s The Madwoman in the Attic after Thirty Years, page 177 (University of Missouri Press )
 * 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.
 * 1) * 2010, Mary Jo Bona, By the Breath of Their Mouths: Narratives of Resistance in Italian America, page 135 (State University of New York Press )
 * 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.
 * 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.
 * 1) * 2009, Annette R. Federico [ed.], Gilbert and Gubar’s The Madwoman in the Attic after Thirty Years, page 177 (University of Missouri Press )
 * 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.
 * 1) * 2010, Mary Jo Bona, By the Breath of Their Mouths: Narratives of Resistance in Italian America, page 135 (State University of New York Press )
 * 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.