Nr. 3 / 2021 – Mit den Augen des Sprechers betrachtet: Blicke und Worte. Herausgegeben von Ruxandra Cosma, Mihai Draganovici, Hermine Fierbințeanu und Maria Irod
Heft Nr. 3 / 2021 herunterladen.
SUSANNE TEUTSCH – „Dafür sprechen jetzt alle auf einmal“ Wir-Formen und chorische Elemente in Elfriede Jelineks SCHNEE WEISS
ABSTRACT: This article focuses on the question of “who is speaking?” in Elfriede Jelinek’s texts regarding the level of the narrator, the we-form and the “Sprachflächen”-figures. The so-called characters in her novels and plays are difficult to catch, they are less psychological figures than mere declarations of speakers. One central reference in this context is the chorus’ speech in Greek tragedy which is often an important source for her writing. In Greek tragedy the chorus had both a spatial and a metaphorical function, mediating between the protagonist and the audience. It symbolized the constant conflict between individual and community. Taking the example of Jelinek’s play SCHNEE WEISS (2018) with reference to Euripides The Bacchae this article seeks to show how Jelinek’s use of the chorus and the we pronoun deny the speaker’s location and demonstrate the non-originality of speech.
KEYWORDS: literature / Elfriede Jelinek / speaker / Greek tragedy / chorus
MIHAI DRAGANOVICI: Der Sprecher macht den Unterschied… auch beim Dolmetschen. Sprecherbezogene Schwierigkeiten
ABSTRACT: If you listen to a person speaking at a conference in your own language, you can decide for yourself whether he is a good or a poor speaker. But if you don’t possess the same linguistic code, you have then to rely on an interpreter. You judge his performance and not that of the speaker, regardless of whether the latter was good or bad. In this case, it always comes down to interpreting. This article aims to present the most important speaker-related difficulties in interpreting and to propose adequate solutions for each case, so that the respective interpretation should always receive a good feedback from the listener.
KEYWORDS: interpretation, simultaneous interpretation, conference interpreter, difficulties in interpreting, solutions for good interpreting
AIDA ALAGIĆ: Kann man Kunstwerke nacherzählen? Ekphrasis und Kunstkonsum in der Ästhetik des Widerstands
ABSTRACT: The Aesthetics of Resistance, a huge literary project of the German author Peter Weiss, is characterized by a curious narrative feature: the content of the work is dense, hermetic and told from the perspective of a single narrator, who places certain works of art in the centre of his discourse and describes them in such a detailed manner that they become a central ideological problem of the entire novel. Based on HVIDTFELDT-MADSEN’S (2003) diagnosis of an ekphrasis in the Aesthetics of Resistance, i.e. a deliberately detailed description of various pieces of art, this article attempts to trace how and to what extent the Lessingian Laocoon problematics, diagnosed in the novel, can reflect the habitus of the narrator and what could it mean for his art consumption. In a first step, the ekphrasis is explained as a literary form and some of the most prominent examples of ekphrasis in the history are presented and contextualised. In a second step, the ekphrasis in the Aesthetics is examined as a narratological interplay of the visual and the oral. The third and final step consists of an attempt to explain the interrelationships between the ekphrasis and the art consumption of the narrator.
KEYWORDS: ekphrasis, aesthetics, pictorial turn, autonomy, capital
RALUCA BOBOC: Explorations in Otherness and Stories of the Self: The African Memoirs of Karen Blixen and Eva Dickson
ABSTRACT: Forging a reading of the way in which the encounter of alterity serves to the construction of the self, my article targets the autobiographical texts of two Scandinavian writers: Karen Blixen and Eva Dickson. My main interest is to map the key literary strategies employed by each for rendering African otherness, but I am also keen on identifying the forms and degrees of alterity which count for each as catalyzers for exploring the self, acting as identity awareness triggers. The selected texts stage different approaches to Africa as a space of otherness: Dickson’s An Eve in Sahara capitalizes on a dynamic image of the continent as a topos of the journey of initiation, whereas Karen Blixen’s Out of Africa and Shadows on the Grass recover the universally familiar dimension of the African “home”. By using concepts put forward, among others, by Jean Baudrillard, I will discuss the image of Africa gaining shape out of the tensions between different degrees of otherness, in an attempt to distinguish to what extent alterity is involved in the construction of the self and to raise questions about its perception through literature.
KEYWORDS: otherness, identity awareness, construction of the self, autobiographical, Africa
ROSWITHA DICKENS: Unaussprechbares zur Sprache bringen – Jaap Robbens Birk (2014) und Lutz Seilers Kruso (2014)
ABSTRACT: Jaap Robben’s ‘Birk’ (2014) and Lutz Seiler’s ‘Kruso’ (2014) are both island novels that thematize the traumatic loss of a beloved person. The protagonists witnessed the event, but are suffering from their loss whist being unable to articulate what happened. Although the contexts in the novels differ, – ‘Birk’ takes place at an undefined time and place; the scene in ‘Kruso’ is Hiddensee, in the GDR, a place where dropouts could experience a bit of freedom – they both portray the process of expressing a traumatic experience. This article describes how exactly they realize this through the use of language, images and narrative. At first the article discusses precisely which kind the trauma the protagonists are suffering and how they initially deal with it. Moreover it shows how the reader uncovers this step by step. Secondly, the article emphasizes the different ways of dealing with the situation, as well as the role and development of social relationships through it: in ‘Birk’ this emerges as an incestuous relationship between mother and son, and in ‘Kruso’ the protagonist cares for the memory of GDR-refugees.
KEYWORDS: Birk, Kruso, expressing traumas, incest, Republikflucht.
IOANA HERMINE FIERBINȚEANU: Eigennamen, Kosenamen und Verwandtschaftsbezeichnungen im Kulturvergleich. Anredeformen als Mittel der kommunikativen Gestaltung der sozialen Kontakte in deutschen und rumänischen WhatsApp‐Interaktionen
ABSTRACT: This paper presents cultural differences in address forms preferred by speakers of German and Romanian in WhatsApp-messages and their impact on intercultural misunderstandings. In this respect, it discusses ways of politeness ascription. The analyzed data derive from a collection of German and Romanian WhatsApp-messages exchanged between students and parents over a period of one year. WhatsApp-messages are perceived as spoken language, therefore address forms as kinship, first names, interjections and nicknames used in spoken language are used in WhatsApp-messages, too. Romanians use a large variety of forms of address and forms of reference to define relationship levels between parents and their children.
KEYWORDS: sociolinguistics, Romanian, address forms, kinship terms, inverse address forms
MARIA IROD: Das Sampling als Erzählverfahren und Sonderform der Intertextualität in Thomas Meineckes Roman Selbst (2016)
ABSTRACT: The present paper examines the innovative narrative strategies and forms of intertextuality in the novel Selbst (2016) by Suhrkamp pop author Thomas Meinecke. After briefly presenting the plot, the character interactions and narrative perspectives in the novel, it focuses on the literary technique described by previous research as sampling. Based on the close reading of a relevant passage in the novel the paper argues that the way Meinecke employs sampling is not only indebted to his belonging to the DJ-culture and the use of techniques like remixing and scratching but also induced by the need to provide theoretical foundation for the process of archiving contemporary discourses. Pointing at the way the main characters read and interpret the texts quoted in the novel and then use the results as a criterion for choosing what to read next, the article suggests an analogy between Meinecke ́s literary sampling and theoretical sampling as a method in qualitative research. Thus the originality of Meineckes writing resides in his creating a new hybrid genre (termed here as theoretical sampling fiction) which activates the reader ́s critical capacities in order to compensate for the scarcity of the plot.
KEYWORDS: Thomas Meinecke, gender discourses, narrative strategies, theory fiction, sampling, theoretical sampling
JURIS KASTINS: Funktionen des Erzählers im letzten Roman von Christa Wolf „Stadt der Engel oder The Overcoat of Dr. Freud”
ABSTRACT: Functions of the narrator in the last novel by Christa Wolf “City of Angels or The Overcoat of Dr. Freud” The text analyzes the narrative function of Christa Wolf’s recent novel The City of Angels or Overcoat of Dr. Freud (2010). The narrator’s dominance in the novel is “I”, but it is not the only form of actant. The novel is a peculiar synthesis of narrative and descriptive text, corresponding respectively to two narrative forms and forming a peculiar symbiosis. The term “actant” is used in the text as a literary figure in the interpretation of scientists Algirdis Julien Greimas and Vladimir Propp without any semiotic characterization. The text is described as factual and fictitious, and accordingly forms a complex narrative structure corresponding to the functions used by the “I” and “You” narrators: biographical reminiscences correspond to the “I” narrator function, while the “You” narrator functions manage text related to internal monologue. Such an actant mutation is seen as a change in the position of the “I”-messenger. The “I” becomes the “You” and the “You” becomes the “I” again – this is the narrative structure of Christa Wolf’s self-analysis.
KEYWORDS: narrative characters, first-person narrator, actant, narrative structure, fictional world, factual world
IMRE GÁBOR MAJOROSSY: „dienen als ich beste kan“ Selbstbild und Selbstreflexion im Lichte des Liebesdienstes in der Jugendgeschichte in Frauendienst des Ulrich von Liechtenstein
ABSTRACT: The study deals with the first sections of Ulrich von Liechtenstein’s Frauendienst. These parts (introduction and youth history) belong essentially to the whole work in the sense that they not only prepare later events in a narrative manner, but also determine some basic rules for the whole work. Numerous details (expressions, scenes, situations) indicate that the prologue and youth history announce consequently the most important characteristics of the Frauendienst (e.g. appreciation of women, service for them, sincerity and last but not least role of the poetic activity). Together they create an extensive metonymy that acts as motto and intiates audience into the universe of the work.
KEYWORDS: Ulrich von Liechtenstein, Frauendienst, courtly love, love poetry, self-construction
MONIKA PREUß: Ich sehe was, was du nicht siehst. Kindliche Erzählperspektiven in der Literatur der Systemmigration
ABSTRACT: The present article examines the use of children’s perspective in contemporary family narratives written in German by transcultural authors. The analysis includes works of Irena Brežná, Ilinca Florian and Julya Rabinowich, who deal with the issue of crossing borders from the east into the west. For this purpose, the children’s perspectives are construed as representations. Proceeding from the different possibilities and functions of these representations, the questions of the first-person narrator as well as the integration into the family context will be analyzed. This shall expose that the child standpoints reveal the tensions between the different perspectives. This occurs by means of the precise, sensory-oriented, “childlike” perception and the latent testimony of the adults, thus creating a field of heterogeneous impressions. Finally, discussing Wolfgang Welsch’s concept of ethic/aesthetics, it shall be discussed to which extent the presented narrative perspective from a child’s point of view is one of several often-used transcultural narrative techniques.
KEYWORDS: transcultural literature, polyphony, family narratives, first-person narrator, child perspective
CHRISTINA ROSSI: „Was man nur mit den Augen erzählen kann.“ Herta Müllers Collagenband Im Heimweh ist ein blauer Saal (2019) im Kontext des Erfahrungsdualismus der literarischen Ästhetik
ABSTRACT: For about twenty years Herta Müller has established a procedure in her work that is predominantly visually organized. However, she herself describes this process, which is preceded by the cutting of countless words and sentences from print media, as writing. Müller later combines these fragments in various fonts, sizes and colours, initially gathered together randomly, into new texts, guided by intuitive and visual impulses. She supplements each of these texts with a pictorial element, likewise cut out with scissors or arranged from various elements. In Müllers recently published volume Im Heimweh ist ein blauer Saal (2019), visuality acquires a new quality even for Müller’s collages: It transcends the composition and the external appearance of the collages and involves the speaking instance of numerous collages in reflections on image and idea, on sense and intellect. The relevance of the visual for the narrative is based on the idea of linking not only two media, but also two modes of cognition: that of the senses and that of the intellect. In recourse to Baumgarten’s reflections on a sensual wholeness of aesthetic experience (1750), this contribution is devoted to the aesthetic linking of narrative visualization strategies in the collages.
KEYWORDS: literary aesthetics, semantic visuality, Herta Müller, collages, collage poems
DIETER HERMANN SCHMITZ: Die Mauer im Comic. Sequenzielle Kunst als Form der Erinnerung
ABSTRACT: This article compares two outstanding comic works of art, which deal with the Berlin Wall and the division of Germany. This study is motivated not only by a development in recent years, with which comic books have established themselves in Germany as a serious form of art and literature and thus follows the development of the Anglo-Saxon area, but also by a certain trend towards (auto) biographical comic books, often about recent German history. The works of art in focus are “Berlin – Geteilte Stadt. Zeitgeschichten“ by Buddenberg & Henseler (2012) and the anthology “Da war mal was… Erinnerungen an Hier und Drüben” (3rd edition 2014) by the artist Flix. Both comic books are biographical and give voice to different contemporary witnesses with different artistic means. An analysis using comic-specific terms (style, coloring, figures, representation of time and space, text/image relationships, panels and their arrangement etc.) shows which world view the comic makers apparently want to convey, and what intention they want to achieve and also what main target audience they had in mind. This shows which memories of the division of Germany, especially of the lost state of the GDR, should be conveyed or kept alive.
KEYWORDS: Comic Art, German History, Berlin Wall, Coming to Terms with the Past, Culture of Remembrance