@article {Schoch230, author = {Simon Schoch}, title = {Kellers Novellierung der Gattung: Der Schmied seines Gl{\"u}ckes als Schreib-Szene einer uneigentlichen Novellistik}, volume = {113}, number = {2}, pages = {230--244}, year = {2021}, doi = {10.3368/m.113.2.230}, publisher = {University of Wisconsin Press}, abstract = {Keller{\textquoteright}s Seldwyla cycle serves as a prime example of the 19th-century novella. A detailed account of its compositional complexity, however, reveals {\textquotedblleft}significant ruptures, disturbing divergence, and a troublesome variety{\textquotedblright} (Aust) that continue to raise the question of genre. I argue that Seldwyla, in contrast to the {\textquotedblleft}authentic novellas{\textquotedblright} of Keller{\textquoteright}s Galatea project, designates the site of a formal inauthenticity negotiating a genre {\textquotedblleft}in flux,{\textquotedblright} {\textquotedblleft}yet to be determined{\textquotedblright} (Keller). In particular, my article investigates a key element of the novella, both indispensable and disputed, namely the unheard-of incident ({\textquotedblleft}unerh{\"o}rte Begebenheit{\textquotedblright}). For this reason, my essay focuses on Keller{\textquoteright}s Der Schmied seines Gl{\"u}ckes, a widely neglected part of the cycle that revolves around the scene of writing as its pivotal event. Keller{\textquoteright}s {\textquotedblleft}writing-scene{\textquotedblright} (Campe), I argue, does not only serve as framework of genre-specific self-reflection, it articulates the {\textquotedblleft}Begebenheit{\textquotedblright} itself, thus situating the novella at the very edge of its genre and, hence, at the threshold of a modernist writing that {\textquotedblleft}has no other law than that of affirming [ {\textellipsis} ] its own existence{\textquotedblright} (Foucault). (SS; in German)}, issn = {0026-9271}, URL = {https://mon.uwpress.org/content/113/2/230}, eprint = {https://mon.uwpress.org/content/113/2/230.full.pdf}, journal = {Monatshefte} }