Abstract:This article juxtaposes two aspects of the career of Karl-Emil Franzos (1848–1904): his editorship of Georg Büchner’s dramatic fragment Woyzeck, which Franzos misread as Wozzeck, thereby bestowing the “incorrect” name on Alban Berg’s 1925 opera; and his work as a leading German-language chronicler of Jewish life in late nineteenth-century Galicia and Bukovina. It is apparent in Franzos’s fiction that his sense of melodrama informed his editorial decisions in shaping Büchner’s manuscript. His misreading of Woyzeck as Wozzeck, by the same token, suggests both the linguistic and the perceptual limitations of describing eastern European ethnic groups from the perspective of the imperial (German) language. Franzos’s approach to the fragmentation, alternately, of Büchner’s manuscript and of the disintegrating Habsburg Empire anticipates the theoretical insights of Walter Benjamin and Theodor Adorno around the concept of the Trauerspiel (play of mourning) with which this discussion opens.

中文翻译：

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沃采克还是沃采克？Karl-Emil Franzos 和东欧与德国文化之间的边界线

摘要：本文将卡尔-埃米尔·弗朗索斯（Karl-Emil Franzos，1848-1904 年）的职业生涯的两个方面并列：他编辑了乔治·布希纳 (Georg Büchner) 的戏剧片段《沃采克》，弗朗索斯将其误读为沃采克，从而为阿尔班·伯格 (Alban Berg) 1925 年的歌剧赋予了“错误”的名字；以及他作为 19 世纪晚期加利西亚和布科维纳犹太人生活的主要德语编年史家的工作。在弗朗索斯的小说中很明显，他的情节剧感影响了他在塑造布希纳手稿时的编辑决定。出于同样的原因，他将沃伊采克误读为沃采克，这表明从帝国（德语）语言的角度描述东欧族群存在语言和感知上的局限性。Franzos 对碎片化的处理方式，交替，