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By Immanuel Estermann (Eds.)

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Before continuing with an analysis of the Schlafwandler'% baroque rhetoric, it will be useful to pause over the problem of self-reflection in both novels, inasmuch as it contitutes a feature of modernist fiction in general and is ultimately akin to the concept of allegory that links modernism to the Baroque. In the case of Die Schlafwandler, Broch's notion of introducing the observing subject into the sphere of observation helps to clarify his defense against Yvan Goll's critique. The intrusion of the authorial voice into Pasenow and Esch, and the literal presence of the author " Broch studies have not yet examined adequately the linguisticality of Vergil's consciousness and of the world he perceives.

In this way the various points of reference that work together to determine meaning emerge more fully into view so that their limitations and their plenitude can be assessed. For a proper understanding of how Broch attempts to show the writing hand is at work in his novels, it is important to note the three-part structure of his model. In ostensible reference to Joyce, Broch suggests, »daß man das Objekt nicht einfach in den Beobachtungskegel stellen und einfach beschreiben dürfe, sondern daß das Darstellungssubjekt.

On the theme of death in modernism see Theodore Ziolkowski, »The Metaphysics of Death,« in his Dimensions of the Modern Novel. German Texts and European Contexts (Princeton, N e w Jersey: Princeton University Press, 1969), pp. 215-57. Cited as Ziolkowski, Dimensions of the Modern Novel. On the peculiarly Austrian obsession with death see William Johnston, Austrian Mind. An intellectual and Social History 1848-1938 (Berkeley, Los Angeles, London: University of California Press, 1972), pp. 165-80.

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