830 Literaturen germanischer Sprachen; Deutsche Literatur
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Andrea Polaschegg untersucht aus medienpoetischer Sicht die Friktionen zwischen dem Text und den philosophischen oder literarischen Ganzheitspostulaten, die an dessen Stoffe, Gegenstände oder gar Gattungszuschreibungen herangetragen werden. Den Text begreift Polaschegg als "transitorisches Medium", "das vorne beginnt und hinten endet" und das jede Bemühung unterläuft, "eine organische Einheit wechselseitiger Teil-Ganzes-Beziehungen oder eine statische Einheit aus übereinandergeschichteten Teilen zur Darstellung zu bringen". Dieser Einsicht hätten sich mit letzter Konsequenz allerdings bislang weder poetologische noch literaturwissenschaftliche Denktraditionen gestellt. Seit der Autonomieästhetik lasse sich ganz im Gegenteil eine Fülle an Versuchen beobachten, die fundamentale 'Sukzessivität' von Texten metaphorisch über konzeptionelle 'Simultaneisierungen' stillzustellen. In diesem Umfeld nimmt Polaschegg insbesondere die oft als Ganzheitsgarant dienende Metaphorik der Architektur in den Blick, die sie bis in das bekannte, den 'Aufbau' dramatischer Texte visualisierende Pyramidenmodell Gustav Freytags hinein verfolgt.
Lutherstil
(2022)
Wie Stil und Rhetorik in einem einzelnen Autor mit- und gegeneinander wirken können, zeigt Barbara N. Nagels Analyse der Texte Martin Luthers, dessen Stil die Entwicklung des Deutschen zur Literatursprache bekanntlich geradewegs bedingt haben soll. In engem Kontakt mit der jüngeren Lutherforschung arbeitet Nagel auf originelle Weise den antirhetorischen Affekt heraus, der Luthers Bibelstil, seinen deutschen Stil und den Disputationsstil grundiert. Was immer im Ausgang von Luther seit Buffons bekanntem Diktum und bis Nietzsche vom Stil behauptet worden ist, für Luther selbst war Stil Lüge und deshalb jüdisch konnotiert (und aus diesem Grund für ihn problematisch). Was heute 'hate speech' heißt und schon damals nicht auf das Reden beschränkt blieb, hat einen seiner Ursprünge in Luther.
Welt, Wort, Mensch : (Un-)Gestalten des Ganzen in Robert Musils Roman "Der Mann ohne Eigenschaften"
(2022)
Musil entwickelt seine literarische Ganzheitsreflexion in enger Auseinandersetzung mit der Wissenschaft seiner Zeit: von der Gestaltpsychologie bis hin zur Thermodynamik, wie Inka Mülder-Bach in ihrer Lektüre des "Mann ohne Eigenschaften" zeigt. Musils Text sei einerseits von zahlreichen Dualismen geprägt, andererseits erteile er einem 'klassischen' Verständnis von Teil und Ganzheit eine deutliche Absage. Einem Briefpartner beschied Musil 1931 kurz und bündig: "Eine Totalität lässt sich nicht durch noch so viele Einzelheiten darstellen." Zentral ist hierbei nicht zuletzt der Begriff der Darstellung. Totalität wird bei Musil in erster Linie zu einem Problem des eigenen literarischen Verfahrens. Mülder-Bach legt dar, dass das Phänomen der Ganzheit unzählige Aspekte seiner Schreibweise tangiert: vom Wortbau über die Syntax und die Metaphorik bis hin zu der für die Darstellungsebene des Romans zentralen Form des 'Gleichnisses'. Auch die politische Prekarität 'Kakaniens' oder das Geschwisterverhältnis seien als Spiegelungen und Ausdruck der Ganzheitsproblematik zu begreifen. Den Umgang mit Figuren der Vielfalt, der Vollständigkeit, der Teilung, der Verdopplung, der Mitte, der Grenze, der Symmetrie oder des Gleichgewichts sieht Mülder-Bach dabei oft in zunächst paradox erscheinende Versuche einmünden, Trennung und Verbindung irgendwie zusammenzuziehen oder gar zu vereinen. Auch die bekannte auf die Geschwister gemünzte Wendung der "Ungetrennten und Nichtvereinten" erschließe sich erst vor diesem Hintergrund. Angesichts des fragmentarischen Charakters des Romans seien alle Musil'schen Antworten auf das Ganzheitsproblem freilich als "tentativ" zu begreifen.
In der Geschichte moderner Gesellschaften sind Zeitschriften und Öffentlichkeit so eng aufeinander bezogen, dass sie nahezu synonym erscheinen. Schließlich soll Öffentlichkeit derjenige Raum sein, in dem freie Menschen sich als Gleiche begegnen und über Belange kommunizieren, die von allgemeinem Interesse sind. In Gemeinwesen, in denen gesellschaftliche Auseinandersetzung und Selbstvergewisserung nicht durch unmittelbaren Kontakt garantiert sind, helfen Zeitschriften dabei, Öffentlichkeit - oder ausdifferenzierte Teilöffentlichkeiten - herzustellen. Sie tun dies, indem sie Texte und Bilder, Gattungen und Disziplinen, Stimmen und Stimmungen versammeln und bündeln, und indem sie in mal mehr, mal weniger regelmäßiger Folge öffentlichen Austausch auf Dauer stellen.
Der Fokus der Studie liegt auf der Analyse des Fiktionalitätsstatus von Erzählwerken in der literaturwissenschaftlichen Praxis. Im Zentrum steht die Frage nach dem Zusammenhang zwischen Fiktionalität, der Vorstellungskraft und dem Handeln von Autorinnen und Autoren sowie Leserinnen und Lesern. Dabei wird eine wechselseitige Erhellung zweier Fragen unternommen: Was ist Fiktionalität und Nichtfiktionalität? Und: Welchen Fiktionalitätsstatus haben Max Frischs "Montauk" (1975) und Lukas Bärfuss' "Koala" (2014)? So werden Vorschläge erarbeitet und auf die Probe gestellt: eine literaturwissenschaftlich operationalisierte Definition von Fiktionalität und Nichtfiktionalität einerseits - eine Klassifikation der notorisch umstrittenen Fälle "Montauk" und "Koala" andererseits.
In comparison to the Transsylvanian-Saxon or to the German-speaking Bukowina literature the modernists exerted a more reduced influence on the literature of the Banat Swabians. Franz Xaver Kappus (1883-1966) influenced the literary modernists in the Western part of Romania especially through his expressionistic texts. He became famous thanks to his correspondence with Rainer Maria Rilke. The masterpiece Die lebenden Vierzehn (The Fourteeen Survivors) (1918) is swayed by a collective catastrophe and represents a certain kind of utopia, which anticipates the end of the world. A dread causing image with a peculiar unreality shapes the event. Kappus’ fantasy does not shrink back from images of dread and horror. As in the expressionistic literature any destruction of the harmonious beautiful principle comes about in dread. The grotesque features belong to the expressionistic character of the book. It is interesting that the dreadful and the grotesque show their demonic side and with it they destroy the familiar reality. Such a development demonstrates that Kappus follows a tradition to which also E. T. A. Hoffmann, Frank Wedekind, Franz Kafka or Georg Heym belong. There are also streaks of naturalism in the novel.
A.E. Johann (1901-1996), relying on his experience of over sixty years of travelling around the world, left behind a wealth of literary and journalist material, in which he often addresses topics and issues related to the United States of America. This paper’s objective is to analyze the reflections and observations of this writer and journalist included in the travel report from the period of the Weimar Republic and entitled America. Untergang am Überfluß (1932) as compared with his later creative output of a more autobiographical nature and developed between 1989 to 1992 (Dies wilde Jahrhundert, 1989; Schön war die Welt. Erinnerungen an die großen Reisen, 1992). Thus, continuity and change in his perception and image of America will be investigated; moreover, at attempt will be made to answer the question to what extent this perception and image have evolved throughout six decades (or one should rather ask why this image hardly changes with the passage of time and the emergence of new circumstances). This once very popular writer, whose books were sold in high volume, for many years could not enjoy the attention and focus of literary scholars. Accordingly, this paper aims to expand the knowledge about him and boost the discussion on German (anti-) Americanism.
In his tale „Der Wortmann“, the Transylvanian-German author Traugott Teutsch tells the story of Peter Emerich, an influent man in his community, who is keen on getting rich and climbing up the social ladder, while preserving the image of an honest person. The article follows through different stages the evolution of his mindset up to the point where he repents of his past actions, tries to make amends for some of his mistakes and decides to lead an unselfish life of faithful service to the community. Guilt, repentance and redemption are some of the main topics followed in this article, which constituted also some of the founding stones of the Transylvanian-German collective mentality.
This paper is an attempt to peel out the core of historical and autobiographical reality in Klara Blumʼs poems, to show their militant character and ideological limits, and to analyze them as contemporary documents whose relevance lies less in the originality of their language than in the consistency of their historical and intellectual substance.
Cosmin, a twelve-year-old Roma boy from Transylvania, only goes to school for a short while. For his mother, it is more important, that he, the only male of a household with many mouths to feed, help her with work. But Cosmin’s teacher does not give up and proposes a bargain: If Cosmin’s mother lets her children go to school, she will get electricity from the school to be able to watch TV. Due to this arrangement, Cosmin returns to school for a few days, becomes a little thief and embarks on a journey that can become an opportunity for him. A kind of a bildungsroman, a coming of age novel focused on the ups and downs between two worlds on Romanian soil, that could not be more different from one another: the Romanian majority and the Roma minority. This article sets out to document life at the brink of society, with all of its facets.
The stories about the Vaser Valley in the northern Romanian Forest Carpathians have not only fascinated the population of the region, but also famous writers who have always tried to collect the stories and tales from the historical region of the Vaser Valley. The best-known author of this region, who turned his lifelong work into this spectacular project, is the German-speaking ethnologist and writer, of Romanian origin, Anton-Joseph Ilk. His book Die mythische Welt des Wassertales includes a remarkable collection of legends and tales from this region, presented in their orally transmitted stories. The main themes of the stories naturally include customs and traditions, whereby certain values and principles were passed on not only to he children and grandchildren, but also to all succeeding generations.
The novel “Wasserzeichen” was published at the Pop Publishing House in Ludwigsburg, Germany, in 2018. The destiny of the main character of the aforementioned literary work is undoubtedly linked to the Transylvanian city of Cluj-Napoca. After finishing high school in Brașov, the young Eginald – who is not the same as the author of the novel – arrives in Cluj-Napoca where he first goes to the Faculty of Protestant Theology, from which he is relegated; afterwards, he starts the courses of another faculty, but before finishing his studies he is arrested by the Securitate. The life story of the young Transylvanian Saxon turns out to be a troubled one – full of defining experiences for his existence. Due to the relationships with the people whom he meets there, the romantic entanglements, and the betrayals he experiences, he matures quickly. The 1st person narrator becomes a true man in this predestinate space.
All three hitherto published novels by Dana Grigorcea do explicitly refer to Romania. Had her first novel been set in the Danube Delta and her second in Bucharest, so the plot of the recently released novel "Die nicht sterben" is located in the touristic town B. (= Buşteni) at the foot of the Carpathian Mountains. Based on Bram Stoker’s Dracula as literary pre-text, the plot of "Die nicht sterben" interweaves elements of Romanian history, Romanian contemporary events as well as elements of the family history of the first-person narrator. The present paper is focused especially on the female narrator’s bodily, erotic and flying fantasies. The social and moral revolt which manifests itself first and foremost in the vampiresses’ urge to impale, subsides in the end in uncritical idyllic and narcissistic self-reflection.
Using the example of Herta Müller‘s novels written after her emigration into the Federal Republic of Germany, the article shows how digital tools can be used to classify the fragmented space that unfolds in the writings of the Nobel Prize winner into a clear model structure. Quantitative research methods are combined with a database-driven GIS analysis toolkit to illustrate the weighting of the fictionalized locations given their gravity centers and polarities. The series of maps show both the density and spread of the action places, as well as the meanings which are attached to the literary space.
Die Essayistik Herta Müllers
(2022)
The article follows the two volumes of essays The King Bows and Kills (2003) and Always the same snow and always the same uncle (2011) written by Herta Müller. Politics and aesthetics define the Nobel laureate’s writing, with her essays anchored in Romania’s recent history. They are of a political nature, offer retrospectives on their life in Romania beyond the Iron Curtain, insights into the dictatorial past, persecution by the secret service, the betrayal of closest friends, but also contain reflections on the role of the language, the preference for Romanian, on the use of “The King” in their fictional texts, explain their “alien gaze”. Always the same snow and always the same uncle focuses on the deportation of the Romanian Germans to the Ukraine, with the information serving as a companion work to the novel Hunger angel. The betrayal of closest friends is also discussed, whereby the insight into their files and the past of Oskar Pastior/Otto Stein’s files are used.
The article deals with the promotion of the German language abroad through Germany’s foreign cultural and educational policy. An important concern of the German intermediary organizations abroad is access to culture and education across geographic, political and social borders, but scientific and economic policy. interests, which benefit the needs of the German market, also play a major role. Regarding the fact that more and more skilled workers who are ultimately lacking in their countries of origin are migrating to Germany, the article questions whether it is always a so-called triple-win model.
The article is devoted to a historical German settlement in present-day Slovakia, since the small German minority of the lumberjacks/woodcutters (Slovak. Huncokári) has received little attention. The urgency of the need for research is also pointed out, since there are only very few speakers of this dialect left. The article therefore informs about some background of the settlement history, the present state and about approaches for ethnological field research.