Capital Social Comunitario y Política Pública, una contribución al llamado empoderamiento

23) G. Eichbaum, op.oit.; A. Beinlich (op.cit.) refers to

suimy and superficial and that there is no problem at the heart of the story. The ultimate slightness which writing of this kind can attain is perhaps best seen in the type of romanticised autobiography practised by Peter Rosegger# îîemories of his forest home in Styria have gone to the shaping of his Halde-

;peters Gabriel (1875), together with the some note of sentiment and idealism that runs through the recollections of Valdhelmat

(1877) and Neue Qesohichten aus dor Waldheimat (1894).

A note of conflict is sounded in two stories by ermann ^aiders ; rdger, both again of leaner stature than Per Crttne

Heinrich. Gottfried Khmpfer. ein Hermhuter Bubenronan (1904), and Kaspar Krumbholz (1909), give an account of childhood in a ? oravian setting. Këmpfer is introduced at the age of nine,

interest being centred on his relationship to his father and to his grandmother; friendships with other children, school

struggles and difficulties of adjustment form an unsatisfactory early phase which ends with his transfer to a loravian boarding school. Kaspar Krumbholz on the other hand is an orphan whose earlier years are not described and who has no family life.

Apart from this the similarities with Ahmpfer are marked, particu- ilarly in respect of character. Both boys have a sturdy

independence of their own, K&mpfer *s stubbornness is in fact a probleri both to his father and later to his teachers, but these

children are sound at heart and develop into men of marked

personality. Their natures * together with the special setting, provide for the development of the religious aspect, introduced by Keller and nwv expanded to a major theme. Against the

background of Brotherhood teachings, both boys experience

spiritual conflict in their struggles to know Uod# Gottfried Kfimpfer’s later life is not recounted, the novel closing v;ith his final school year, whereas the career of : Caspar Krumbholz

is unfolded in all its episodic detail. Yet the link with Keller is stronger in the earlier work, which presents a more

satisfying and balanced picture of childhood.

In line with I^rügor’s tvro novels is Jakob Jchaffner’s Johannes (1922), the first part. Die Kindheit des Johannes Sohattenhold. being set in a protestant orphanage in Baden.

Important in the light it sheds on the conditions prevailing in religious institutions of this kind, the chief emphasis is on the development of a child of strong character, and on the clash of personalities.

.i tranquil atmosphere belongs to Otto Flake’s Sine Kind* !heit (1928), final version of Das Freitagskind (1913) and first in the series Die ^omane urn Huland. Although the boy, Karl Duland, on his way to independence, is seen to pass through difficult phases such as stealing, running away and insubor-

typloal qualities of this boyhood development are indicated; background^ end contacts with the community are stressed, and the child does not appear to dominate the scene# Ihe reader is given a picture of life in Alsace during the last quarter of the 19th century#

Coining closest to Keller’s interpretation of childhood is Carossa’s Bine Kindheit. a personal record, yet lifted above the merely autobiographical by its poetic vision and its ability to convey something of the reality of childhood# The episodes and experiences selected bear a relationship to those presented by Keller and are in that sense typical. By means of chara-

:cteristio influences and occurrences the development of the child within its o:m world is traced, with a strong sense of its closeness to nature and to the whole mystery of life# Horn© and parents give security and guidance#. Through both father and mother the child is brought in touch with the forces of life, the beauty and wonder of plant life through the mother’s garden, and the healing powers of nature through the father’s profession of doctor.

Something of an elemental force too seems to belong to Die Forelle, a girl whom the child gets to know. Other child#»

:ren are shown as playing a normal part in its life; there are games, entertainments, interests shared; as in Per GrUne

Heinrich^ moine success but also failure in the child Inter- : course with others, before whom It in no way stands out as an heroic figure. The friendships with little girls are something Keller’s Heinrich experiences rather later, but the figure of a tormentor among the boys makes his appearance with Oarossa too.

he boy’s uncle the magician, who awes and fascinates him with the display of his powers, is responsible for another elo-

:mont in his life v/hich is a common one of childhood, and for whic^ a strong literary influence exists. Both Rousseau and

24)

Goethe refer to ’’magical* experiments , Pleine, in his Bemoirer.. mentions his uncle the necromancer, Keller’s Greene oat iienry

makes acquaintance with the magic arts through the Influence of rau Fargret and Asmus Semper’s life is touched by them also. hen Carossa shows the boy dressing up in the magician’s robes and performing to an aud ience of children there is not only something here of a child’s desire t6 impress its companions,

but the love of acting, for which again literary precedent is 25)

found in both Goethe and Keller, with Otto jnst following the tradition on his own more modest level.

The child’s creative urge is seen at v/ork in the making of the Christmas tableau, in which at the same time religious

feelings find expression. This religious factor, another

24) Confessions. Part 1, Book 5; Dichtung und Wahrheit. Book 4.