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Das unlängst geführte Gespräch und die Begegnung mit dem namhaften deutschen Dichter und Schriftsteller Hans Magnus Enzensberger verliefim Geiste der beriihmten Wendung Celans - "la poesie ne s'impose pas, elle s'expose" - "die Poesie zwingt sich nicht auf, sie setzt sich aus".
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Colonial Experience of Strangeness and Bicultural Marriages: On Colonial Ambivalence in Jesco von Puttkamer and Pierre Loti. The following article goes into the literary analysis of colonial strangeness and bicultural marriages through two colonial texts. Jesco von Puttkamer and Pierre Loti exemplify the subject of colonial strangeness from a travel experience. In their texts, colonial experience of foreignness focuses on excerpt of the colonists from their familiar surroundings with travel. The journey in the sign of colonization goes hand in hand with the perception of the foreign space and its inhabitants. Puttkamer's and Loti's main characters do not however abide by the colonial rule of radical distancing from the natives because they have romantic relationships with black women. In both cases, it is an ambivalent attitude of the colonial masters towards the non-European foreign region, which oscillates between positive and negative stereotypes. The depictions of mixed marriages are also characterized by ambivalence, because the black woman acts both as an object of fascination or desire and as a subject of racial power differences. These statements justify the thesis of colonial ambivalence, which is the subject of discussion here. The authors thus confirm the following results, which the article concludes with; namely, that the line between exotic strangeness and colonial stereotyping is difficult to draw. The analyzed narrative sequences also provide information that colonial intermarriage leads to mutual transformations. As an exchange of bodies, colonial marriages illustrate the interweaving of the colonial periphery and the European metropolis. To achieve the above goals, Whiteness and (post)colonial Studies provide theoretical foundations that make my investigation more plausible.
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The fact that the poet from Chernivtsi, Immanuel Weissglas, reworked, revised and resumed many of his poems in later volumes became an object of study relatively late, also due to his placement in the “shadow” of Paul Celan. His three volumes, Kariera am Bug, the unpublished volume Gottes Mühlen in Berlin and Nobiskrug, however, contain multiple examples of these variations of the original works, the poems being modified, quoted or changed to different degrees. A valuable starting point for studies on this topic is represented by Barbara Wiedemanns list of these equivalents and their type. This article aims to analyze the similarities and overlaps between the first and last volume of Weissglas, while trying to capture the character of these two volumes, possible motivations of Weissglas to maintain his work in a continuous process of transformation, and finding an answer to the question: What has the poem become in its new form?
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Romance linguistics in the German-speaking world has established ‘discourses’ as a linguistic object of study within the context of ‘discourse traditions’. However, there is hardly any theory and methodology formation. Instead, these discourse analyses refer to approaches developed in German linguistics. This article provides an overview of the current state and difficulties of discourse analysis in Romance linguistics in the German-speaking world. The focus is on the tension that arises from the meeting of two approaches: on the one hand, of the French-speaking countries, which have a rich tradition, and German linguistics on the other.
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Travels and the longing for afar have been and still are the source of inspiration for many authors. This article analyses Bodo Kirchoff’s short story “Widerfahrnis” (“Encounter”), which belongs to the genre of travel literature and extends the literary tradition of German authors to choose the theme of travel to Italy in their work (Johann Wolfgang von Goethe, Heinrich Heine, Thomas Mann, etc.). The short story raises the existential questions of longing for love, loneliness, confrontation with refugees, and moral and social aspects of relations with them. The article aims to reveal how the structures of experience described by the German phenomenologist Bernhard Waldenfels appear in the work of Bodo Kirchhoff. What happens to us does not happen without our involvement but goes beyond it. The experience begins not with the intentional gaze of the subject, but when someone (a stranger) touches us, encounters us, causes us to react and raises tension. Bernhard Waldenfels attributes the encounter to the realm of pathos, meaning to the realm of feelings. Response or the inevitable response to an encounter comes earlier than an understanding or an answer. Although the title of the short story is in the singular form, it reveals many encounters: a meeting of an older couple, a spontaneous trip to Italy, an encounter with a refugee girl and a refugee family, the birth of love and its loss.
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Short story by Ernst Theodor Amadeus Hoffmann: "Životni pogledi mačka Murra"
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This contribution pays tribute to the German-Mexican author B. Traven, as one of the most read nove¬lists in the German language in the middle of the 20th century. B. Traven became known for his novels and stories, which are adventurous and set in exotic surroundings, though primarily intended to express criticism of capitalism and social conditions. Most of his works were filmed in Mexico, the USA and Germany. The American fictional film based on one of his most famous books “The Treasure of the Sierra Madre” won several Academy Awards (Oscars). At the peak of his creative power, a Swedish daily newspaper proposed B. Traven for the Nobel Prize for Literature. B. Traven successfully concealed the identity of his person through the use of numerous pseudonyms. For decades, German linguists and journalists have been looking for the person behind the pseudonym B. Traven. Pursuant to available data it is certain that he worked under the name Ret Marut in Germany as a labor union secretary and left-wing, revolutionary activist before emigrating to Mexico. Because of this, people from the working class, sailors, Native Americans (Indians) and other oppressed members of the society who oppose their exploitation played key roles in his works. In the meantime, several researchers assume that B. Traven was born as Hermann Albert Otto Maximilian Feige in Schwiebus, now Poland. For B. Traven, however, the impact of his works was always more important than his identity.
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In the nineties, a debate on the “impossible” hypothesis of a victory for the Third Reich in the Second World War and what would happen after it ran through German historiography. According to this interpretation, National Socialism would have been an extreme and unrepeatable phenomenon. After its definitive affirmation, a process of progressive moderation would have started. “If Hitler had won, National Socialism would be stifled in its radicalism, or it would have become bourgeois,” writes Alexander Demandt in Wenn Hitler gewonnen hätte (1995). Arne Lubos’ novel Schwiebus (1980) anticipates this debate bya decade and develops the motif of “Nazismafter Nazism” in an all-historical key. It denies “normalizing” perspectives and outlines scenarios in which National Socialist hegemony has given rise to a regime in which repression and terror are not entirely evident but no less widespread and frightening. Our paper aims to explain its narrative strategies.
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Zakup rękopisów Heinricha Heinego przez Bibliotekę Narodową wywołał wiele pytań dotyczących warunków, na jakich trafiły one do Francji, ich zawartości i znaczenia dla badań literackich. Jest za wcześnie, aby udzielić pełnej odpowiedzi na te pytania, niemniej można podzielić się już teraz kilkoma uwagami, na które pozwalają pierwsze oględziny zbioru.
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Krótki artykuł, opublikowany 8 lutego 1967 w „Le Monde”, był zapowiedzią nabycia przez Francję rękopisów Heinricha Heinego. Jest to jednak punkt zwrotny w historii poprzedzających go badań i także wydarzeń, które po nim nastąpiły. Aby poznać fakty, musimy się cofnąć do lat trzydziestych XX wieku. Duża kolekcja rękopisów i dzieł sztuki, stworzona w Berlinie przez żydowskiego milionera i mecenasa Salmana Schockena, została wywieziona z Niemiec, aby ochronić ją przed nazistami. Dzięki tym zabiegom osłonowym, które same w sobie były niezwykłym zdarzeniem, skarby Schockena zostały zabezpieczone w Izraelu, Stanach Zjednoczonych i Szwajcarii. Dowiedziałem się o wszystkim dopiero po wojnie, dzięki przypadkowi, który zawsze stymuluje badania. Izraelski doradca kulturalny w Paryżu wspomniał mi przypadkowo o istnieniu Fundacji Schockena, w której znajdowały się rękopisy Heinricha Heinego.
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This paper examines the novel Schimmernder Dunst über CobyCounty by contemporary German author Leif Randt for the body images negotiated in this text. Schimmernder Dunst über CobyCounty tells the story of CobyCounty and its protagonist Wim, a 26-year-old literary agent who has spent his entire life in CobyCounty and – plagued by fears of aging and somatic complaints – struggles with the beginning of a new phase of life. The essay attempts to show this novel draws on Baudrillard’s simulation and simulacrum theory. The paper claims that reading this novel with Baudrillard helps interpreting this difficult text, and that a Baudrillard reading and corresponding literary processing by Randt can be claimed for this novel and the shaping of the epistemic rules of the narrated world when reading closely. In the design of the fictional world of CobyCounty, six elements (emotional nostalgia, requests for authenticity, doom fantasies, resurrection of the figurative, economy of the real, imitations and copies) that Randt borrows from this diagnosis of Baudrillard can be identified. Randt supplements them with a contrasting corporeality.
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This paper examines the relationship between discourse and the body/corporality. The authors assume that this relationship is twofold: On the one hand the body can be inscribed inside a discourse and the other hand it can serve as a surface for the inscription of one or more discourses.
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The paper demonstrates that the self-reflection and media reflection increasingly articulated in radio play production in the 2000s entail a politically relevant sensitisation to phenomena that lie outside the media specificity of radio plays. Thus, Carl Gundolf’s Der Stimmkäfig. Das Spiel vom Hören Gehörloser addresses the problem of how acoustic perceptions of the deaf can be conveyed in a medium that is closely connected to the sense of hearing. Bodo Hell and Friederike Mayröcker’s ‘dreifaltiges Hörstück’ unfolds the secularised motif of hearing voices and extends it synaesthetically to the technical environment of objects. Finally, Wolfgang Müller’s Séance Vocibus Avium proves an inquiry into the limits and responsibility of scientific discursivisation by unmasking the historical reconstruction in the realm of nature not only as illusory but also as physically violent.
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This article is about the cultural and social formation of the self-image and the body of the young characters in Stefanie de Velasco’s youth novel Kein Teil der Welt, in which life as a member of Jehovah’s Witnesses and life outside of the religious group are discussed. The focus is on the body and the internal and external conflicts of “the people from the truth”, as the Jehovah’s Witnesses call themselves in the novel and on the emancipation process in a community in which strict control is exercised over the members – not least in terms of body, sexuality, and external appearances – and there is not much room for personal identity or an individual style. Furthermore, self-image and corporeality among the “world people” who do not belong to the religious community are analyzed. It is also discussed what happens to the characters when they cross the border between these two worlds.
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This article focuses on documentary narration in literary prose, which is analyzed with regard to its function and poetics using the example of selected texts of GDR protocol literature and German documentary literature of the post-reunification years. The question of what constitutes the peculiarity of documentary literature and what caused its popularity in the pre- and post-reunification period will be explored. Furthermore, selected examples will be used to illustrate how the levels of the factual and the fictional intermingle and complement each other in the individual texts. The texts discussed in this article are narratives that remain close to factual events, but at the same time fictionalize them and therefore cannot be considered completely and unambiguously in either the category of literary fiction or documentary.
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Scant attention has been paid by critics to the formulaic diction that pervades the Gothic genre. This article continues an extended experiment aiming to analyse formulaicity in one of the less-known Gothic novels. Peter Teuthold’s 1794 The Necromancer exhibits massive co-occurrence: textual units (lexemes, sounds, and both phrase and clause formations) regularly gravitate around other textual units, effectively clustering into fields. A field is defined as an open paradigm of items related by functional equivalence; the novel handles its components not as independent units but only in accordance with a ‘fielding’ principle, that is, only as paradigmatic elements which can be exchanged for or combined with other elements.Previous work has established a distinction between the formula properly so called and the formulaic pattern, defined as a construct that attracts lexical, phonological, syntactic, and connotative fields into its orbit. The article argues that ‘fielding’ operates on at least one ‘higher’ level, the level where formulaic patterns combine to shape a charged moment in the narrative – a tableau. After selecting a fragment of text and illustrating the structure of a single formulaic pattern, the article isolates each phrase or clause segment in the fragment, outlines the pattern it belongs in, and shows that over seventy-five per cent of its textual matter is demonstrably formulaic. Analysis of several other excerpts suggests that formulaic density is not homogeneous but decreases or rises at different points in the novel. A rationale for high-density segments is then sought in the ritualising nature of the tableau itself.
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