The twofold purpose of this study is to clarify, on the one hand,
the question of literary evaluation in general and of kitsch in particular,
and, on the other, to analyse the prose works of Theodor Storm in the
light of the theories of literary evaluation thus established.
It therefore follows that the investigation falls into two main
sections. The first is in essence theoretical. It consists of seven
chapters, in which are examined the terminology, etymology and history
of literary evaluation; the many different approaches to tackling and
understanding the problem of kitsch (pedagogic, socio—economic, political,
religious, moral, philosophical etc.); kitsch in its relationship to art;
kitsch in literature and elsewhere (kitsch of both style and philosophy);
kitsch and the consumer, especially the female consumer; kitsch's causes
and functions under a variety of political and social regimes and,
lastly, the possible dangers of kitsch and the remedies suggested to
help counteract it.
The second section commences with a survey of prominent trends in
Storm research old and new, followed by an exploration of Storm's awareness
of and relationship to his reading public and to his publishers, and the
effect on his work of the demands of family finances. Three chapters are
devoted specifically to Storm's wide—ranging techniques for appealing
to his reading public, and four to one of the most important aspects of
his work in relation to kitsch, the women figures and love and marriage
in the 'Novellen'. Three more are given over to problems in his works,
with particular emphasis on the function of social critic now widely
claimed for him. Two chapters deal with Storm's literary aims, both in
respect of artistic achievement and popular acclaim, how far he was
successful in achieving them, and what shortcomings threatened to diminish
the literary value of his works. Finally, there is a chapter on Storm's
reception under various regimes and how prevailing ideological factions
adapted the works for their own use, whilst Storm's reception in the
immediate post—war era and in the present day is the subject of the
conclusion.