Suchergebnisse

Herta Müller has written several volumes of postcards, describing the work on the collages as a "relaxation exercise" from the laborious epic work. Her collage work is heterogeneous, works with the principle of chance, deals with clippings. The author tries o writing with scissors that can be positioned somewhere between literature and the fine arts. The volume Father Telephones with the Flies enables a political reading in which an I speaks about his traumas during the dictatorship, about interrogations, shadows and also includes the family sphere. Image and writing complement each other.

Die Plebejer proben den Aufstand. Ein deutsches Trauerspiel (1966) by Günter Grass aroused great scandal, because the play denounces the tactics of Bertolt Brecht with regard to the workers' uprising in East Germany on June 17, 1953. However, Grass always rela­tivized this and claimed to have shown the problematic relationship between artist and politics in general. The present contribution argues that Grass actually attacked frontally none other than Brecht and that he exploited the debate in the leftist student magazine konkret, the West-German mouthpiece of the 1968 revolt.

Enthält: S. 433: Personalia, S. 435: Tätigkeitsbericht 1999/2000, S. 437: Aufruf zur Mitarbeit am FVF-Jahrbuch 2002: Deutsch-französischer Ideentransfer im Vormärz, S. 439: Aufruf zur Mitarbeit: Lexikon demokratischer und liberaler Autorinnen und Autoren des Vormärz (Arbeitstitel)

Theodor Storms Kindermärchen Der kleine Häwelmann, von dem Autor 1849 für seinen Sohn Hans verfasst und 1850 veröffentlicht, ist in seiner moralisch-komischen Form ein exemplarisches Exponat der Kinderliteratur des 19. Jahrhunderts. Gemäß der biedermeierlich gestimmten, belehrenden Funktion des Textes steht kindliche Allmachtsfantasie im Mittelpunkt des Geschehens. Die Haltung des ›Mehr-mehr‹ überschreitet indes die Grenzen der Moralerzählung. Entgegen der abschreckenden Funktion scheint vielmehr der kleine Häwelmann in der Verschränkung von Norm-Übertritt und Eskapismus ein ›modernes‹ Kind seiner Entstehungszeit zu sein und durchaus mit den Figuren des Struwwelpeters vergleichbar, die der Arzt und Kinderpsychiater Heinrich Hoffmann 1845 entworfen hat. ; The call for ›more!‹ is the force driving the protagonist of Theodor Storm's literary fairy tale Der kleine Häwelmann (1850) on his imaginary journey through the night. This dream narrative is a combination of an exciting exploration of transcending borders with a hint of the moral tale, and can be seen as a model for the configuration of the dream motif in children's and young adult literature. Although the dream narrative has a prominent place there, its investigation has hitherto almost exclusively taken place within the con­text of fantasy; the didactic functions of the dream, however, and the motif of the dream journey have largely been neglected. This article looks at how post­1945 children's dream narratives explores representations of childhood. Benno Pludra's Lütt Matten und die weiße Muschel (1963), a children's story from the German Democratic Republic (GDR), is analysed and situated within the context of its literary system. Maurice Sendak's Where the Wild Things Are (1963) is next considered in relation to Pludra's text in order to pro­vide a contrastive view to a key text from the Western literary system. Both texts were hugely innovative for their time and respective systems, both use Storm's Häwelmann as an intertextual anchor, and both, as this analysis shows, reveal recognisable societal discourses about childhood and cultural policies for children.

Our analysis of Joachim Wittstock's narrative entitled Hades and published thirteen years after the fall of the communist regime in Romania aims at pointing out the intimate connection between socio-political reality and personal experience refl ected by the creative process of turning reality into fi ction by writing. We consider the chosen narrative both as a political and literary statement, refl ecting much of the way of life in Romania during the late 1980s. The narrative may be considered as some kind of withheld fi ction and a pertinent comment of the author as to the role of fi ction in a totalitarian regime.

The anthology Vînt potrivit pînă la tare. Tineri poeţi germani din România (1982) introduced to Romanian writers and readers a new poetry that used a direct language and referred to the social and political situation of Romania. The authors – Germans from Romania whose texts where translated into Romanian – are Anemone Latzina, Franz Hodjak, Rolf Frieder Marmont, Johann Lippet, William Totok, Richard Wagner, Rolf Bossert, Hellmut Seiler, Horst Samson and Helmut Britz. The young poets engaged during the 1970's in a dialogue with German literature, which allows an intercultural approach. The publication of the anthology was a daring gesture in the context of the 80's politics and had also an influence on the poetry of some Romanian poets.

This scientific article focuses on Ursula Ackrill's novel ˮZeiden, im Januarˮ and its aim is to examine the specificity of present-day literature of the Transylvanian Saxons. Starting from the methodological considerations of Jan Assmann and Aleida Assmann, the concept of memorial culture will be exemplified and analyzed through relevant scenes of the novel, in close connection with Leontina Philippi's approach of writing the chronicle of Codlea. Antonescu's fascist dictatorship, the obligation for Saxon men to serve in the SS troops, the friendly collaboration between Antonescu and Hitler, the collaboration between German and Saxon military, the role of collaborators at that time, the Saxons' customs and traditions, the portrait of the Jew of Lipscani street, Bucharest society during the rule of Ion Antonescu are just a few aspects of the novel which emphasize the intercultural character of this writing on the basis of communicative and cultural memory.

Adam Müller-Guttenbrunnʻs novels on homeland and on his age are a precious documentas, They show the Suabian village not only with its customs but they also shed light on its social structures. The reflection on tradition and the education towards a political task make up the goal of these autobiographically marked novels, which stand as symbols of the Suabian presence in the Banat. In his homeland novels Götzendämmerung (The Dusk of Idols) and Glocken der Heimat (The Homeland Bells) the author sets up a monument to the friendly relationship between the Germans and Romanians. Guttenbrunn's books actually overstep the social and historical limits of images and thereby take on a kind of representative importance for the research.

Considering the sixty years long existence of the German weekly in Braşov an exhaustive research of the publication on the way from a centralized to a globalized socio-political system becomes imperious. Our article represents a first approach to pinpoint the choice of poetry published by the German weekly Karpatenrundschau during the nineteen eighties and nineteen nineties as a consequence of both political compromise and aesthetic demand. In this respect the article analyses the German weekly as one of the main promoters of German poetry written in Romania. The article is based on our research done in the archives of the weekly in Braşov.

Considering the sixty years long existence of the German weekly in Braşov an exhaustive research of the publication on the way from a centralized to a globalized socio-political system becomes imperious. Our article represents a first approach to pinpoint the choice of poetry published by the German weekly Karpatenrundschau during the nineteen eighties and nineteen nineties as a consequence of both political compromise and aesthetic demand. In this respect the article analyses the German weekly as one of the main promoters of German poetry written in Romania. The article is based on our research done in the archives of the weekly in Braşov.

Die Hugo von Hofmannsthal-Gesellschaft wurde 1968 in Frankfurt am Main gegründet. Das ist eine merkwürdige, geradezu paradoxe Koinzidenz. Zu Frankfurt 1968 drängen sich andere Assoziationen auf als die Gründung einer literarischen Gesellschaft, noch dazu für einen Schriftsteller, der in den Augen der im Sommer 68 protestierenden Studierenden als dekadenter Ästhet oder als konservativer Kulturkritiker verdächtigt wurde. Wie kam es in dieser politisch bewegten, aber literarisch dürftigen Zeit zu dieser Gründung? Im Folgenden sollen ein paar Momentaufnahmen der Gründungsszenerie festgehalten werden. Im Spätsommer vergangenen Jahres wurde vom Deutschen Seminar der Johann Wolfgang Goethe-Universität Frankfurt aus ein "Rundbrief an die Freunde der Dichtung Hugo von Hofmannsthals" versandt. Er erreichte etwa achthundert Interessenten des Planes, die uns Freunde und Kenner der Hofmannsthal-Forschung im In- und Ausland vermittelt hatten. Der Aktion war ein unerwarteter Erfolg beschieden: Im Laufe des Herbstes und Winters 1967/68 erklärte rund ein Viertel der Empfänger seine Bereitschaft, der zu gründenden Gesellschaft beizutreten. So steht es im ersten Heft der Hofmannsthal-Blätter vom Herbst 1968. Hinter den passivischen Formulierungen verbirgt sich eine enorme Aktivität.

Literary productions live in a multi-dimensional context. On the one hand, the author and his/her reality play a significant role in the creation of the text; on the other hand, the reference to reality takes place through reception, that is, in a dimension where the author and the text are powerless. I would like to research on Carmen Elisabeth Puchianu's stories Amsel–schwarzer Vogel (München 1995) from this point of view, as some texts have triggered outrageous reactions. These can be explained to some extent as a confusion between fact and fiction as well as a rejection of new literary discourses both in the German literature in Romania and Romanian literature after the political changes in 1989.