830 Literaturen germanischer Sprachen; Deutsche Literatur
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"Nur die oberflächlichen Eigenschaften dauern", so Oskar Wilde in seinen 'Sätzen und Lehren zum Gebrauch der Jugend': "Des Menschen tieferes Wesen ist bald entlarvt". Ausgehend von der These, dass der Poetik Jelineks ein "Lob der Oberfläche" eingeschrieben ist, möchte ich im folgenden die Rolle der Mode beleuchten, und zwar nicht nur als Oberflächenphänomen, sondern auch als Übergangsphänomen, das an der Schwelle zwischen Oberfläche und Tiefe in Erscheinung tritt.
Islamophobia has arisen following to the event on 11 of September 2001 in Christian world. Remembering first reaction, all “Muslim” world was accused and new “Crusades” were on agenda. Concept and concept pairs of “Muslim Radicalism” “Muslim Terror” “Radical/Extreme Islam” “Radicalism” “Islamic” in pressor media after September 11 attacks and first shock. The aim was to differentiate “Islam” and terrorist who lost their identity via İslam. Representatives of the muslim world declared that these terrorist never represented Islam in any manner. The declaration was mutual and right. Despite mutual constructive efforts, due to discussion appeared after attacks, disintergration and polarization occured among believers of two monotheistic religions. In my opinion, regardless of place of birth, poets and writers who are philosopher, have specific issues national and local or world issues which they share, communicate and have information exchange on. Two main means of communication are philosophy and literature. The aim of the current paper is to discuss philosophic information included in “Avicenna and the Aristotelic Left” (Suhrkamp Verl.) by Ernst Bloch who lived in Tübingen released in 1963 and philosophic foundations of literature theory by Bertolt Brecht. My aim is to hope to declare that (Far) East and West have more in common compared to differences within limits of time and place given.
Over the last years history has become an important issue in ‚Germanturkish’ literature. The question is which possibilities are created to take part in the history of a country under the conditions of migration. Analysing historical writing in Emine Sevgi Özdamar’s novel “The Bridge of the Golden Horn”, this article concentrates on three aspects: First, the description of places in Berlin from a migrant’s viewpoint. Second, to discover Berlin as the entrance into German pre-wall-falling-history. Third, the narrator as a brilliant describer of German society in an everyday life microcosmos.
Short stories of Siegfried Lenz, one of the most recognized Germanwriting authors of the post-war and contemporary literature, are the primary subject of the scientific article titled “The social aspect of Lenz in his short stories”. In this context, an attempt is made to analyze characters with the purpose of revealing the modern world whereby he handles the problems of modern world and modern human. In his short stories, Lenz presents a social world where certain behavioral and mental patterns are formed. In other words, the objective of this scientific article should be to conduct a thematic discussion in respect of the content of the short stories of Lenz. From this perspective, the central questions asked by the above mentioned scientific article may be formulated as follows: Could the short stories of Lenz be structured by adding one on the top of other, or are these short stories any expressions or presentations of different aspects of social life which cannot be combined with each other?
The basis of the following research represents a special selection of works of the diplomat and publicist Ernst Jäckh, particularly his pamphlets. In his works published during the First World War the author tried to popularize the German-Ottoman alliance (1914-1918). This article intents to figure out Ernst Jäckhs literary strategies of convincing an audience. Significant aspects that will be presented in detail are the specific genre and the rhetorical argumentation.
Ekphrasis is a tool used with the purpose opening different levels of meaning in a literary text, which can be seen in Patricia Görg’s tale “Glücksspagat”. In the tale, parallel to the representation of the daily life of the museums keeper Maat, the reader is faced with fragments of ekphrasises of paintings and TV-simulations. The richness of this tale is achieved particularly due to the alternations between the ekphrasises. This article discusses the various functions of the use of Ekphrasis and simulations in the tale and focuses on the way they contribute to the creation of meaning.
Recently the changing and the internationalization of the German philology are increasing continually. On this development not only the cooperation of its actants plays an important role, but also the subject of the German philology itself has been extended. One of the factors of the extension of its subjects is the so called ‘intercultural literature’ in Germany, which is the result of the migration since the beginning of the sixties. In this kind of the literature, among other things, the cultural differences are made a subject of discussion with specific literary means. One of the novels of the intercultural literature is “Selam Berlin” written by Yade Kara. In this article, it should be worked out which identity discourses are developed, how the new social formation in Germany has an effect on the individuals and which role the self and strange perceptions play in this novel.
The century-long historical and political power exercised by the Ottoman Empire in Southern Europe has left deep scars in the Romanian culture and even in the Romanian language. Consequently, there is still an area in which the oriental world is very much alive and this is Dobrudja. The costal town Balchik, situated in Dobrudja, is intensely illustrated as a gateway to the Orient in the Romanian literature and paintings of the 1920s and 1930s. Nevertheless, the way the Romanian-German authors (Oskar Walter Cisek, Adolf Meschendörfer) deal with this charming oriental world represents an exception. Cisek’s interest for Balchik is instinctively stirred by the oriental-Balkan atmosphere of his hometown Bucharest: In the novel “Die Tatarin”/“The Tatar” (1929), the author identifies the foundation for “the discovery” of the oriental-Balkan influenced Romanian Black Sea coast in the local German-language literature.The honeymoon places the protagonists of Adolf Meschendörfer’s novel “Der Büffelbrunnen”/“The Bufallo-Fountain” (1935) in Mangea Punar, today Costineşti, a small town on the Romanian Black Sea coast, which in the interwar period was populated by the Germans from Banat. In this way, the oriental world of Dobrudja is integrated into the text. Compared to Oskar Walter Cisek’s Balchik, Mangea Punar is only one episode from all the events portrayed in the book, because the story of the novel is mostly set in Kronstadt (Brasov). Meschendörfer’s dealing with this exotic region represents a unique endeavor for the Transylvanian Saxon literature of the 20th Century.
Despite the everyday presence of disasters in the media and a growing number of disaster movies made in Germany, there is only a small amount of disaster literature in contemporary German writing. This article aims to explore, how disasters are enacted in different ways in contemporary novels, film and media in German language by comparing Frank Schätzing’s beststeller “Der Schwarm”, Tomas Glavinic’s “Die Arbeit der Nacht” and the movie “Die Sturmflut.”
The "Turkish book" (Türckenbüchlein) took a place in the german literature, especially at the 16 th. century. War between these two cultures, has been one of the main elements determining for the image of the Turks in this age. These books, about the cruelties of the Turks, make the Christian society brave and call them to fight against the Turks. This article aims to illustrate the function of the books on the basis of representative exemples as Johannes Brenz and Bernhardin Türck.
The article shows that Heinrich Rückert is one of the most interesting voices within the corpus of texts showing German encounters with Islam in the 19th century. While actual reflections on the European and American relation to Islam are largely influenced by a point of view stressing a “Clash of Civilisations” (Samuel Huntington), especially after 9/11, Rückert's occupation with the texts and poems of Mevlana Rumi shows that the humanistic and poetic implications of Rumi’s work helped Rückert to find a poetic language that placed itself in the tradition of Goethes’s “West-östlicher Divan” and a German pantheism that is to be seen in the context of the “Spinoza renaissance” at the beginning of the 19th century. Islamic culture is in Rückert’s work a part of the heritage of mankind and of a humanism that goes far beyond the limits of eurocentrism.
During 1933 and 1939, the Swiss author, journalist and photographer Annemarie Schwarzenbach visited the so-called »Orient« four times. In the intellectual history of the West this part of the world was considered the topography of the »Other«. So the model of dichotomy between the two sexes, predominating the society of the 19th century, got an equivalent outside. A male and strong Europe was opposed to a female and weak East so that the »Orient« became the embodiment of challenging sexuality and devoted feminity. First Schwarzenbach regarded Turkey just as one station of the first and last journey on her way to Persia and Afghanistan, but in her texts it turns out to be a country, which is characterized by a male force („eine männliche Kraft“). Turkey’s female inhabitants get a specific role: They are the standard according to which women from other countries are described. For the European protagonists Turkey is the starting point of their search to a border („Schwelle“) to cross. This process also shifts the established borders of hegemonic discourses. Categories like »me« versus »the other« or »own« versus »strange« become deconstructed for the benefit of polyphonic concepts of identity, which in turn include breaks and contradictions. Thus the literary subject moves between finding and dissolving itself. The article demonstrates that Schwarzenbach´s texts about Turkey include writing techniques that evolve different processes regarding the identity of gender and culture.
The argument that worldwide globalization will lead to a cultural homogenization is rarely acceptable for literary translation. German authors are still translated into Turkish, and the classics are retranslated. In view of Translation Studies, retranslations are very interesting because for being justified they are required to be superior to previous translation(s). This challenge is especially immense if it is the translation of an author like Heinrich von Kleist, whose narrative language is not only well-known but also exceptional. The aim of this study is to analyze the individual strategies of the Turkish translators and to demonstrate on examples whether they had been successful on their aim to satisfy Kleist’s specific literary style. The study is done on the example of the novella “Die Marquise von O...” (1808). For the analysis, the translations of Melâhat Togar (1952), Alev Yalnız (1992) and Ayalp Talun İnce (2004) are examined with regard to their distinctive strengths and weaknesses.
The main theme in the three scenes and one stage theatre play called "Lawyers" which was written by Rolf Hochhuth in 1980 is "death". The date in the play goes back to May 1978 when the body of the Italian Prime Minister Aldo Moro was found. In the play, the minister Heilmeyer is a lawyer like his daughter Tina and his prospective son-in-law Dieter. However, Heilmeyer worked as a judge at the times of Hitler's Germany. It is seen that lawyers from two different generations encounter topics like death, death sentence, suicide, right to kill and survive. Hochhuth not only questions his own society with a critical attitude and but also he keeps on becoming the conscience of the society with the chronological narrative and the play in which the ideas are associated. The play is analyzed in the light of the perspectives of social reality and readers.
In den letzten Jahren hat es sich durch die Globalisierung bemerkbar gemacht, dass heute die Grenzen zwischen verschiedenen Wissenschaftszweigen sowie Literatur, Kultur und Politik aufgehoben wurden. Die Globalisierung verursachte daher eine unaufhörliche Ausweitung der zwischenmenschlichen Beziehungen. Unter dem Lichte des oben angeführten verdichteten sozialen Beeinflussungsprozesses erreicht der Zeitmensch eine neue d.h. zeitgemäße Wahrnehmungswelt, die zur Globalisierung parallel lief. In diesem Zusammenhang habe ich die inhaltlichen Gemeinsamkeiten der problematischen Seelenzustände in Bezug auf Individualproblematik der betreffenden Texte „Ist Es Eine Komödie Ist Es Eine Tragödie?“ von Th. Bernhard (1931-1989) und „Die Oper Auf Der Strasse“ von S.K. Aksal (1920-1993) in die Hand genommen. Das Ziel des Beitrags ist es, die sinnlosen und problematischen Lebensabschnitte in den oben genannten Kurzgeschichten aus der Sicht des fähigen und talentierten Lesers zustande zu bringen und erst durch die interkulturellen Zusammenhänge die gemeinsamen Menschen- und Zeitfragen durch die kritische Lektüre der Texte dem Leser nahe zu bringen. Meine Arbeitsmethode ist eben deswegen Leserorientierte, psychoanalytische Annäherung und Komparatistik als Untersuchungsform.
Writing was to be processed for Christa Wolf always important impulse of conflicts and crises and be argued with experiences. The reunification of Germany and the fast agreement process belong to their most important experiences. In its novel “Medea.Stimmen” refers it in the mythischen garb to the socio-political change, which is realized by the two countries Colchis and Corinth. The present work points first the personal experiences out of the author shortly before and after the reunification and it examines the two countries Kolchis and Korinth under the aspect of their radical change phase, represented in the novel, in order to then light up their effect on the literary figures.
Recent critical discussions of German migrant and post-migrant literature has repeatedly focussed on the phenomenon of the exotic: where some writers seem consciously to exoticise their writing, exaggerating myths about Oriental culture and thus highlighting differences between East and West, perhaps with the aim of making foreigners exciting, likeable or deserving of sympathy, others react against this, rejecting clichés and highlighting continuities, apparently with the aim of making cultural boundaries traversable. Both are understandable strategies tor dealing with displacement. ln this context l should like to adopt a term from quite a different discipline. Bultmanns concept of demythologising. ln theology, demythologising means dissectting the "myth" - the sacred but implausible narrative - to distil from it a kerygmatic truth. If we regard the exotic as being, in this technical sense, the "myth", then it is not entirely devoid of a relationship to reality, but it cannot simply be read as "teal". Thus demythologising is the opposite process to exoticising. Drawing on satirical texts by four Turkish-German writers and cabaretts, this paper looks at ways in which this ethnic minority can use ironic self-depiction to capture and defuse the stereotypes with which it is confronted. Under the rubric "cold turkey", that is, Turkishness without the psychedelics, it shows how the satirists transpose clichés into everyday situations, where they become absurd. The paper’s conclusion is likely to be that hybrid communities are inevitably torn between a desire to highlight demarcation lines (exoticism) and a need to accentuate the potential for assimilation (demythologising). Humour, which in any case has a tendency either to underline or to debunk stereotypes, serves as a highly effective tool for working out this dichotomy, and as all four satirists have successfully reached main-stream German audiences, it would also appear to be a key mechanism in achieving intet-cultural understanding.
»Wie ist der Spazirgang durch Europa bekommen?« Mit dieser ungewöhnlichen Frage beschließt Johann Wolfgang Goethe seinen Brief, den er am 8. März 1803 an den Dichterfreund Friedrich Schiller richtet. Ungewöhnlich erscheint die Frage deshalb, weil Schiller bekanntermaßen nicht sonderlich viel reiste und die Grenzen des deutschen Territoriums zeitlebens nicht überschritt. Eine Italienische Reise, auf die sich Goethe Ende der 1780er Jahre begibt, oder ein Spaziergang nach Syrakus, wie ihn Johann Gottfried Seume im Jahr 1802 unternimmt, fehlen in Schillers Biographie. Doch in Goethes Brief ist auch von keiner Reise, sondern schlicht von Friedrich Schlegels neuer Zeitschrift Europa die Rede, deren erstes Heft im Februar 1803 erschienen war. Auskunft darüber, wie ihm dieser »Spazirgang […] bekommen« sei, gibt Schiller zwar nicht, aber es ist zu vermuten, dass er ihm sicher nicht missfallen hat. Denn im Beitrag »Literatur« erwähnt Schlegel unter anderem die »Schillerschen Trauerspiele«, die er zu »eine[r] Reihe von Versuchen poetischer Darstellungen auf dem Theater« rechnet, die »hoffen lassen, daß bald ein hinlängliches Fundament vorhanden seyn werde, um unter einer Direction, die der des Weimarischen ähnlich wäre, ein Theater zu gründen, das durchaus nur im Gebiete der schönen Kunst seine Existenz hätte […].« Dass um 1800 eine Zeitschrift gegründet wird, die programmatisch den Namen ›Europa‹ trägt, spricht für die Popularität des europäischen Gedankens, dessen Bedeutungshorizont kultur-, sozial- und ideengeschichtliche Perspektiven vereint.
Since the late 1950's Paul Celan has been deeply interested in scientific questions in regard to history and society as well as in the terminology of scientific language. Therefore, since the publication of “Sprachgitter” up to “Schneepart”, many of his poems include terms out of texts that deal with topics as different as geology, biology, astronomy, nuclear physics, and medicine. This essay addresses the problem of this form of adaptation by a close reading of Celan's poem »In der Blasenkammer« (published in 1970). Celan's poems turn against any notion of ›communicative functionality‹ of language; especially the languages of the sciences are here a prominent challenge because of their claim to be semantically objective. So the mentioned adaptation is a serious problem indeed, because the turning of scientific terms into words of poetry does not imply that these terms are simply transferred from one determined semantic context into another. It is rather the question of semantics itself that is at stake. So it has to be stressed that Celan does neither intend to equip scientific terms with ›poetical connotations‹ nor does he turn them into simple metaphors nor poetic or metapoetic concepts. His poems rather deal with the dispensation of semantics and metaphoricity – the language of these poems is a language of abundance and privation at the same time.