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The latest publication of Professor Ioana Crăciun from the University of Bucharest deals with the (de)construction of bourgeois values and norms in the silent movies during the Weimar Republic. In five substantial chapters the author approaches the representation in the silent movies of different aspects which she considers relevant for that epoch. The themes range from the metropolis and its psychopathological aspects, the male homosexuality, the destiny of children, the law-breaking and the Doppelgänger motif.
This article aims to trace different hypostases of alterity as they occur in the novel Vaterlandstage (Days at Home) by contemporary Romanian-born German author Dieter Schlesak. The paper draws on the distinction suggested by Volker Barth between the concepts “das Fremde” (i.e. “the stranger” that remains unknowable and impossible to control) and “das Andere” (i.e. “the other” which is excluded as a result of othering). The analysis of the way in which these two forms of alterity are represented in the novel shows that they go beyond the ethnic and cultural meaning of the terms and are closely linked to Schlesak’s antimimetic poetics, his identity concept based on estrangement and not-belonging as well as to his rejection of a materialist view of the world.
The aim of the present paper is to show how intertextuality and poetological reflection are interrelated in Josef Winkler’s later works (starting with the short novel Natura morta published in 2001). After a short presentation of the author, the main motifs of his novels and his specific prose style which draws on mannerist tropes in order to distance itself from mimetic, realistic narrative, the paper offers a brief overview of the different types of intertextuality Winkler makes use of in his writing. The last part of the paper focuses on a short chapter from the novel Leichnam, seine Familie belauernd (2003), analyzing the intertextual references to Jean Genet in both their (auto)biographical and narratological dimension.