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"Mir ist so digk vor gesait" : Studien zur erzählerischen Gestaltung des "Meleranz" von dem Pleier
(2024)
In der germanistischen Mediävistik richtet sich das Forschungsinteresse vornehmlich auf die höfische Literatur und dabei insbesondere auf die frühen und späten Artusromane. Vor allem die Werke von Hartmann von Aue und Wolfram von Eschenbach sind zentrale Forschungsobjekte, während Texte wie Pleiers ‚Meleranz‘ bisher nur begrenzt Beachtung fanden.
Die Forschungslücke, die die vorliegende Arbeit adressiert, liegt in der detaillierten Analyse der spezifischen Erzähltechniken des pleierschen Textes, die sich sowohl durch die Verwendung traditioneller arthurischer Motive als auch durch innovative narrative Ansätze auszeichnen. Ausgehend von dem Befund eines stark zurückgenommenen Erzählers wird untersucht, welche narrativen Strategien und Verfahren der Pleier im ‚Meleranz‘ anwendet, um trotz dieser Abkehr von der implizierten poetischen Regelhaftigkeit einer dominanten Erzählerfigur das Erzählen vom Ritter ‚Meleranz‘ gelingen und zugleich an einigen Stellen ausgesprochen konventionell wirken zu lassen.
Um aufzudecken, wie der Text ohne die Stimme eines deutlich hervortretenden Erzählers vermittelt wird, nutze ich im Verlauf der Arbeit eine Typologie der Stoffvermittlung durch (arthurische) Erzähler. In den Einzelstudien zum ‚Meleranz‘ werden seine Motive, Erzählmuster und Figurenkonstellationen in einem close reading erarbeitet und mit der Typologie abgeglichen, um bestimmen zu können, welche Vermittlungsformen im pleierschen Text genutzt werden. Mit Hilfe dieses Vergleichs kann das Erzählverfahren im ‚Meleranz‘ extrapoliert und gleichzeitig offengelegt werden. Mittels dieses Vorgehens wird verdeutlicht werden, dass es sich beim ‚Meleranz‘ um einen Text handelt, der arthurische Konventionen lediglich anders inszeniert, um die vermittelnde Funktion der Stimme des Erzählers zu substituieren oder ihr Fehler auszugleichen.
In narratology, a widely recognized method involves exploring the connection between implied authors and implied readers. It entails correlating abstract narrative components within a text to understand the conveyed message and the multitude of interpretations it can offer. The present study adopts an implied reader-oriented approach to analyze three selected novels from the twentieth and twenty-first centuries—one Nigerian, one Caribbean, and one Kurdish. The aim is to explore the potential readings within these texts, considering the hermeneutic process of critical reading. The selected texts include Chinua Achebe’s Things Fall Apart, (1958), Same Selvon’s The Lonely Londoners, (1956), and Karwan Kakesur’s The Channels of the Armed Monkeys, (2011). This approach closely examines the communication between the author and reader of the text, with a special focus on the varying levels of communication between the components of the narration, including fictional and implied fictional communication.
The implied fictional communication occurs between a narrative agent known as ‘the implied author’ and its fictional counterpart ‘the implied reader’ rather than between the real, flesh and blood authors and readers. I argue that this level of communication is coded, and the act of decoding it is part of the reading process performed by the reader. Certain texts can propose different and sometimes opposing readings which are initially and purposefully designed by the implied author and addressed to different implied readers. These readings are not necessarily the results of different real readers but rather incorporated ones predetermined by the implied author only to be acknowledged and uncovered by the readers. In other words, the latent meaning is and always was an integral part of the text and is not something created by the imaginative reader or critic. The core interest of my thesis lies in identifying prompts and suggestions within the narrative of the selected texts and ultimately understanding the readerships prestructured in them. Identifying the different readers within those texts will provide new reinterpretations that can add undetected values to the reading process and sometimes suggests opposing readings to how those texts have so far been read. Additionally, it is the objective of this thesis to propose new ways that readers can interact with reading literature that would result in a more aesthetic and entertaining reading experience besides providing ways to be more informed and aware of the cues certain narrative texts contain.
There have been numerous critical studies on both narratology and postcolonial or minority literatures; however, there has been little scholarly work that attempts to utilize narratology as a theoretical foundation for understanding postcolonial and minority fiction.
This study examines fictional texts from Nigerian, Caribbean, and Kurdish literature, employing the narratological concept known as ‘Multiple Implied Readers’. By incorporating concepts from Brian Richardson’s ‘Singular Text, Multiple Implied Readers’, and Peter J. Rabinowitz’s ‘authorial audiences’, I explore the various readerships that the texts could encompass. This exploitation may lead to the discovery of new readings, interpretations, and meanings that would otherwise remain undetected. These structures introduce provocative indeterminacies that challenge the reader’s synthesis of information into coherent configurations of meaning. Consequently, this approach not only enhances the reading experience but also opens doors to new interpretations of the text. In some cases, these interpretations could even dismantle prior understandings and propose entirely new readings.
The concepts of the implied author and implied reader have been studied before in relation to various disciplines of narratology. However, by applying them in conjunction with the relatively less researched subject of multiple implied readers, I aim to shed light on important aspects of these readings. This exploration could prove beneficial for literature students as well as critical readers of literary texts, revealing the potential of these texts to accommodate more than one implied reader within their narratives.
In seiner 1986 veröffentlichten Autobiographie erwähnt Fischer, dass er aus dem Russischen Gedichte übersetzt habe. Nachweisen ließen sich die in "Sinn und Form" erschienenen Texte. Seine im "Wiener Tagebuch" und der "Volksstimme" veröffentlichten Nachdichtungen konnten bisher nicht ermittelt werden.
Die Bibliographie nennt alle in der Deutschen Nationalbibliothek vorhandenen Bücher Grete Fischers. Die Titel wurden mit Ausnahme der drei 1945/46 in Glasgow erschienenen Bücher autoptisch überprüft. Als Verlagslektorin hat sie durch mehrere Jahrzehnte an deutschen und englischen Übersetzungen mitgewirkt, die sich bisher jedoch bibliographisch nicht nachweisen ließen.
Mutoni im Un/Happyland : die Bürde weißer Retter*innen in Tete Loepers Roman "Barfuß in Deutschland"
(2023)
In Tete Loeper's novel "Barefoot in Germany" (2020), Black first-person narrator Mutoni from Rwanda recounts her experiences as a marriage migrant, sex worker, maid, and caregiver in Germany, a supposed "Happyland" where racism is considered the offense of "others": bad individuals and Nazis. However, Loeper's white savior characters are both nice people and (unwitting) racists, while some of Mutoni's Black sisters behave in discriminatory ways as well. Drawing on critical race theory and imagology, this article shows how the novel deconstructs and appropriates stereotypical images from "'colorblind' Europe" on both a thematic and formal-aesthetic level. By engaging with a comparative and transnational frame of reference that goes beyond a monolingual white canon of theory and literature, the article reveals the novel's connections to other Black texts and genres, as well as its literary strategies in dealing with identity (politics).
How can music history help us understand the establishment of national character? This article discusses a prosaic text by Johann Friedrich Rochlitz as a medium for implementing stereotypical ideas of "the Italian" in German music historiography and, thereby, in public consciousness. It shows how particular musical qualities of the story's fictional protagonists are blurred with ideas of national character. Against this background, the predominant reception of the author Rochlitz in the realm of German music historiography can be reevaluated from a more transnational scholarly perspective. Key to this reassessment is investigation into the categories of fictional and musical characters with regard to notions of both "the German" and "the Italian."
This article contributes to the European history of musical nationalism with regard to operatic debates in the eighteenth century. The investigation reveals that within operatic debates national categories were used for all levels of the multimedia genre of opera: music, text, composer, and actor. Moreover, the relationship between national character and national taste was a highly critical point: there was general agreement that only outstanding aesthetic abilities enable composers to go beyond their own particular national character. Only in this respect could aesthetic abilities stand above national taste, which was said to be shaped by national character.