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During the last two decades of the 20th century writers gradually returned to traditional narrative methods, though their works were creatively enriched by the incorporation of new tendencies. The results of these efforts show traces of literary postmodernism. One of the representatives of German-language postmodern literature is Sten Nadolny, whose oeuvre is typified by its openness to the plurality and diversity of the world. His novel "Ein Gott der Frechheit" revives ancient gods and mythological figures, revealing the mysteries of old legends; this is viewed as a background to the self-destructive disorientation of contemporary society.
Polen als Niemandsland? Deutschland als Wunderland? In der zweisprachigen Anthologie Kindheit in Polen - Kindheit in Deutschland erzählen deutsche und polnische AutorInnen - aufgewachsen in Polen, in der DDR, in Westdeutschland - aus ihrer Kindheit. In ihren Texten spiegeln sich gesellschaftliche Umbrüche, Familie und Liebe, Flucht und Vertreibung, Religion und Ideologie, inter- und transkulturelle Erfahrungen sowie die Heimatsuche der Flüchtlingskinder. Die Erzählungen, Gedichte und Erinnerungen zeigen Unterschiedliches und Gemeinsames, sie fördern den Austausch über Grenzen hinweg. Die Auseinandersetzung mit Zentrum und Peripherie bezieht sich nicht nur auf Grenzregionen, sondern betrifft auch kulturelles und literarisches Erbe. Die gegenwärtige deutsche und polnische Literatur bewegt sich in Richtung unterschiedlicher Zentren, und ihre Autoren scheinen irgendwie 'zwischen' zwei oder sogar mehreren Sprachen und Kulturen zu leben. Die im vorliegenden Beitrag analysierte Anthologie scheint ein Buch der deutsch-polnischen Begegnungen zu sein. Sie baut eine Brücke für ein gegenseitiges Verstehen unserer Vergangenheit und Gegenwart.
Der Beitrag widmet sich bedrucktem Papier, das Müll geworden ist. Dabei wird den unterschiedlichen Gründen für die Müllwerdung von Texten nachgegangen: von technischen Mängeln bis zum Makel mangelnden Publikumsinteresses. Umgekehrt geht es aber auch um die Textwerdung von Papier-Müll: eine Operation, die an der Nullstufe intertextueller Produktivität zu beobachten ist- und die die Strukturenliterarischer Wert- und Unwert-Produktion sichtbar macht.
This article analyses processes of collective and individual identity formation in European travel writing from the late eighteenth and the middle of the nineteenth century and argues that these processes are based not least on the national stereotypes described and performed in the texts. I explore how the genre-specific stylistic elements of multilingualism and intertextuality inform the performance of auto- and hetero-images and in doing so suggest converging travel writing studies and imagological studies. To illustrate my thesis, I analyse travelogues by Charles Dickens and Karl Philipp Moritz.
From the very beginning literary discourse plays a decisive role in the context of colonial discourse of power. Even Anna Seghers, a progressive socialist authoress with a fixation on the Enlightenment, the French Revolution and the Jewish-Christian tradition is unable to detach herself from the European claim on universality. In a tensely opposed relationship of projection and otherness, of "memoria" and intertextuality, Heiner Müller, however, understands literature in the sense of Emanuel Lévina's respect for the other being as a work on difference.
Many critics have pointed out the importance of revelation by John of Patmos as an intertext in Michel Tournier's "Le roi des aulnes" [...]. They normally refer to the apocalyptic ending of the novel as the most obvious link with the Johannine text. This connection is obvious not only because the final scene is the destruction of Kaltenborn castle with all its inhabitants (and by extension the destruction of the entire Third Reich), but also because there are direct references to revelation in Tournier's text [...]. However, the importance of Johannine discourse goes well beyond this overt intertextuality.
The argument proceeds from the documentary hypothesis in modern biblical studies. This hypothesis is based on the assumption that the 1st 5 books of the Old Testament were written by four different authors at different times. These authors are known as J, P, E and D. Their writing was joined in the 5th c. B.C.E. into what became the Pentateuch and the first part of the Old Testament. The result of this joining was a series of contradictions and redundancies in the final text as we have it today. Readers of the Bible who seek to read it as one coherent text try to naturalize these contradictions by what I call "stitching." Stitching involves putting coherence back into the Pentateuch by accounting for the contradictions and redundancies in terms of plausibility and common logic. Modern authors who write versions of Old Testament stories, such as Thomas Mann in his "Joseph and his brothers", also engage in stitching. I demonstrate how Mann stitches a number of important episodes from the Patriarch saga. I discuss the effect of this process on the story line. I compare that to two other recent instances of biblical stitching in modern fiction. And I conclude with the argument that stitching in modern biblical hypertexts stems from the need for coherence in the modern realistic novel. This post-enlightenment coherence impulse is contrasted with myth and the latter's tolerance for loose ends and less than coherent narrative.
Film review: The Matrix cult
(2003)
Much of the semiotic discussion around the deeper structures of "The Matrix" has tended to center around positive ethical and philosophical systems. Thus, numerous critics have pointed out the Christian subtext in the film with Neo as Christ and Morpheus as John the Baptist (James L. Ford: 8). The Garden of Eden story has been superimposed on "The Matrix" as well with the implication that just as Adam's and Eve's awakening to knowledge makes Christianity possible, so too, Neo's awakening will lead to the salvation of humanity by a Christ-like figure (cf. James S. Spiegel: 13). Others have picked out connections with Joseph Campbell's monomyth concept where the hero must depart from the familiar world, go into a netherworld and return morally transformed (A. Samuel Kimball: 176, 198). There is also the Platonic interpretation where the passage toward the light from the famous cave allegory is read into the awakening process of "The Matrix": "The theme of appearance versus reality is as old as Plato's Republic. And while perhaps no writer or artist has improved upon his cave allegory in presenting this theme, the Wachowski brothers' The Matrix might be as effective an attempt as any since Plato, in cinematic history anyway" (James S. Spiegel: 9). Buddhism and its notion that reality is illusion appears as an equally convincing model for reading "The Matrix" (James L. Ford: 10). Even Gnosticism has been used as an interesting semiotic framework for the film (Frances Flannery-Dailey and Rachel Wagner: 10-12).
The Book of Job from the Old Testament is juxtaposed in detail with its hypertext in Thomas Mann's novel: the chapter where Jacob mourns for his "dead" Joseph. An argument is made that Mann's awareness of rabbinical literature creates a connection with the Akedah tradition, i.e., different ways of dealing with the sacrifice of Isaac by Abraham in Genesis. The notion that Abraham actually does kill Isaac, as suggested by a medieval rabbinical text, is interwoven into the analysis of Jacob's mourning for Joseph who appears as an Issaac-like sacrificial victim in Mann's novel. A connection is established between Abraham, Job and Jacob as figures whose children are claimed by God, and their reactions to this test are compared.