The aim of the article is to present the Nazi reality and its propaganda as seen through the eyes of Bruno – the hero of the novel John Boyne’s The Boy in the Striped Pyjamas. The narrative shown ...from the perspective of a child reveals, in a unique way, the mechanics of demagogy and manipulation used by the Nazi propaganda. The symbolic fence between Bruno, the son of the concentration camp commandant, and a Jewish boy of the same age named Schmul, becomes the main theme of the novel. The story of the novel reveals the entanglement of the children in the workings of the history. Such a story construction is a starting point for the author of the article for the analysis of the complexity of propaganda measures and their influence on a young person, mainly in the affective, intellectual and social dimensions. The analysis involves not only the linguistic layer of the novel, but also the topography of the place and the characteristic use of Nazi symbols.
In communist countries censorship offices were the final link in the entire process of control of a given literary text before its publication. The Polish Central Office for the Control of Press, ...Publications and Performances of the ideological and political control of the manuscripts submitted. The formulation of the publication schedule and monitoring its implementation was done by institutions answerable to the Ministry of Culture and Art. In the GDR right from the start attempts were made to concentrate the two forms of control in one institution, which ultimately took place in 1963 after the establishment of the Central Board of Publishing Houses and Book Trade (Hauptverwaltung Verlage und Buchhandel). This institution held logistical and economic control of publishing houses, supervising from day one the publication schedules and monitoring the books prepared for issue as to their ideological and political content. It also made the final decision as to whether given books can come out and on what conditions, or whether their publication should be prevented.
Hermanna Brocha analiza faszyzmu Lichański, Jakub Z
Acta Universitatis Lodziensis. Folia litteraria Polonica,
2017, Letnik:
41, Številka:
3
Journal Article
Recenzirano
Odprti dostop
Like many other German-speaking writers, Hermann Broch was forced to emigrate from Nazi Germany at the end of the 1930s. It was partly due to the criticism of the fascist movement that he had ...presented in the then-titled Bergroman Mountain Novel, which took its final shape as Der Versucher The Seducer and was published posthumously under the title The Spell Die Verzauberung. Another novel depicting the development of fascism is Broch’s Die Schuldlosen: Ein Roman in elf Erzählungen The Guiltless Ones. A Novel in Eleven Stories. Broch also wrote Adolf Hitler’s Farewell Address, an essay that can be read as a sort of completion to the abovementioned books since it providesan even more directinsight into the Nazi mind, portraying it from within. In his works, Hermann Broch describes spiritual as well as specifically social roots of fascism: any autocratic movement characterized by the rejection of Platonic idealism and thus, inevitably, of the Christian tradition itself.
Krings, Marcel: „Man konnte gar nicht bemessen, wie weit das Haus in die Höhe reichte” – ‚Neues Judentum’ und Architektur in Kafkas „Verschollenem”. = Deutsche Vierteljahrsschrift für ...Literaturwissenschaft und Geistesgeschichte. 90. Jg. 2016. No. 2. 271-299. p.
This dissertation examines the quotidian aspects in the works of Catharina Regina von Greiffenberg (1633-1694), a Lutheran poet in Lower Austria and Nuremberg. The study encompasses her first ...published anthology of poetry, the series of Christian meditational volumes that constituted her life’s work, the emblems she helped design, and her handwritten correspondence with the prominent literary figure Sigmund von Birken (1626-1681). Details of Greiffenberg’s daily writing practices emerge through the letters she exchanged with Birken between 1600 and 1681. This study responds to a need for more balanced treatment of Greiffenberg’s oeuvre, which has traditionally garnered either drastic criticism or praise. It also examines the refrain in scholarship that Greiffenberg’s household responsibilities impeded her creatively. By situating close readings of her multi-media creative projects in their sociohistorical context, this dissertation offers a new approach to reading gender and writing practices in early modern culture through the theoretical lens of the everyday. This lens includes twentieth- and twenty-first century theory for several purposes. Firstly, critiques of everyday life from Henri Lefebvre, Maurice Blanchot, and Kathleen Stewart add a vocabulary for Greiffenberg and Birken’s everydayness that is characterized by anxieties and repetition both different and uncannily similar to those described by these theorists. Secondly, feminist philosophers like Simone de Beauvoir and Silvia Federici provide the groundwork needed to avoid reducing or essentializing Greiffenberg. Thirdly, philosophers important to the Baroque such as Walter Benjamin and Gottfried Wilhelm Leibniz via Gilles Deleuze elucidate Greiffenberg’s theosophical background. Through archival findings, theoretical framings, and close readings, this dissertation sheds new light on Greiffenberg’s unique writing practices and their Lutheran-Baroque context, while bringing her writings into a wider conversation on the dialectics of the everyday.
Der Schriftsteller C., der Protagonist aus Wolfgang Hilbigs Roman Das Provisorium (2000), beschreibt hier, wie ihn während seines Aufenthalts in der Bundesrepublik seine DDR-Identität einholt und ihm ...das Gefühl eines minderwertigen Status gibt. C. kann in den 1980er-Jahren mit einem temporären Visum aus der DDR ausreisen und in Westdeutschland leben – eine „Übergangszeit“2, die ihm die provisorische Beschaffenheit seines Lebens und die in ihm voranschreitende Selbstablehnung bewusst macht. Er empfindet sowohl DDR als auch BRD als subjektfeindliche Lebenskontexte und fühlt sich in keinem der beiden Staaten heimisch oder anerkannt. Am Romanende scheint sich sein provisorisches Lebensgefühl in einen permanenten Zustand zu verdichten, denn die Ereignisse der deutschen Wiedervereinigung brechen in sein Leben ein. Die Romanhandlung findet zwar größtenteils vor dem Systemumbruch 1989/90 statt, aber Hilbigs Erfahrungen und Überlegungen zum Mauerfall und der Folgezeit prägen seinen Roman in Form einer systemunabhängigen, gesellschaftskritischen Reflexion.Das sich hier literarisch artikulierende Gefühl der Minderwertigkeit ostdeutscher Identität katalysierte sich 1990 durch den mehrheitlich beschlossenen Beitritt der DDR zur Verfassung der alten BRD (Artikel 23 GG). Für die damit gesetzte westliche Modellfunktion fand der damalige Innenminister Wolfgang Schäuble (CDU) sehr deutliche Worte. Er sagte, es fände keine „Vereinigung zweier gleicher Staaten statt. Wir fangen nicht ganz vorn bei gleichberechtigten Ausgangspositionen an.“3 Dieses in der Form des Beitritts begründete Moment ostdeutscher Inferiorität prägt mediale, politische und wissenschaftliche Debatten zur deutschen Einheit bis in die GegenwartPerspektiven auf die Wiedervereinigung, die offen für Differenzen sind, konnten sich bisher nicht etablieren, obwohl die Anerkennung der heterogenen Lebenswirklichkeiten in Ost und West anhaltend gefordert wird.5 Dies verdeutlicht, dass sich die Diskussionen um die deutsche Einheit auf ostdeutsche Identitätsfragen auswirkt und mit der so konstruierten „Einheitsfiktion“6 maßgeblich an ihrer Konstitution beteiligt ist. Identitätszuschreibungen sind Maßnahmen, um gesellschaftliche Ein- und Ausschlüsse zu organisieren. Die Vorstellung einer Einheit, die ein organisches Zusammenwachsen von ehemaliger DDR und alter BRD nach über vierzigjähriger Teilung suggeriert, wirft folgende Frage auf: Wie kann mit Phänomenen der Alterität und konfligierender Positionen jenseits der imaginierten Zusammengehörigkeit umgegangen werden?Besonders in der Post-DDR-Literatur7 der ersten Einheitsjahrzehnte, zu der auch Texte Wolfgang Hilbigs zählen, findet eine vielfältige Auseinandersetzung mit den genannten Themenfeldern nach 1989/90 statt. Die Post-DDR-Literatur ist trotz oder gerade wegen der herrschenden Einheitsrhetorik von Figurationen psychischer Deformation sowie „Barbaren, Kannibalen und lebenden Leichen bevölkert.“8 Diese sind ein Signum für die kollektive Unfähigkeit, diese Fremdheit auszuhalten.9 Inwiefern thematisieren also die literarischen Texte der Post-DDR-Literatur nicht nur (intrakulturelle) Fremdheit, sondern problematisieren zugleich Identitätszuschreibungen sowie Stereotypisierungen als Strategien gesellschaftlicher Machtausübung? Entstehen dabei neue Identitäten oder wird die Kategorie der Identität per se unterminiert? Wie gestaltet sich der erzählerische und ästhetische Umgang mit hegemonialen und marginalisierten Perspektiven im Spannungsfeld von Gesellschaft und Individuum? Diesen Fragen soll im Rahmen der literarischen Analysen von Monika Marons Animal Triste (1996), Wolfgang Hilbigs Alte Abdeckerei (1991) und Das Provisorium (2000) sowie Reinhard Jirgls Abschied von den Feinden (1995) und Hundsnächte (1997) nachgegangen werden.
The variants of translations of the poetic lyrics of Richard Strauss’s song Zueignung, Op. 10 No. 1 (to Hermann von Glim’s poem, 1885) into Lithuanian, done in the Soviet era and kept in the archives ...of the Lithuanian Radio and Television (LRT), testify to the negative influence of the translation process on the interrelationship between the poetic and musical texts in respect of the original piece. The methodology of comparing the original and translated lyrics used in the research revealed considerable interlinguistic and intralinguistic differences emerging after the lyrics had been translated into Lithuanian. In the analysis of translations of the texts of Strauss’s song Zueignung, Op. 10 No. 1, the authors relied on the model of translation criticism by Christiane Nord (1991, 2005). Based on it, several translation tactics applied intuitively by the Lithuanian translators in the process of the translation of the lyrics were observed. We refer to Vinay and Darbelnet’s indirect translation method (1958), Recker’s all kinds of translation transformation (1950), and Nord’s three-phase model (1991). It was impossible to identify the specific methods that the translators used in the translation of the verbal texts as the competence of a researcher into translation studies is required in order to establish such facts. The analysis of the translation variants of the poetic lyrics of Strauss’s song Zueignung led to the conclusion that in the translation process, the translators frequently changed the verbal syntax of the Lied, which contradicted the situations of rhetorisation of the musical syntax and the musical text. The results of the research prove that, from the point of view of the coexistence of the verbal and the musical texts, in quite a few cases automatic adaptation of the translated text to a stable musical text leads to the situation when musical works of the Lied genre can no longer function adequately. The reason for this is the discrepancy between verbal and musical syntaxes and their semantic meanings, which contradicts the idea of a meaningful interaction between the composer’s two texts.After translating a verbal text into another language, a Lied-type composition can convey the composer’s idea only in the presence of a harmonious structural and meaningful interaction between the two texts.
This contribution pays tribute to the German-Mexican author B. Traven, as one of the most read nove¬lists in the German language in the middle of the 20th century. B. Traven became known for his ...novels and stories, which are adventurous and set in exotic surroundings, though primarily intended to express criticism of capitalism and social conditions. Most of his works were filmed in Mexico, the USA and Germany. The American fictional film based on one of his most famous books “The Treasure of the Sierra Madre” won several Academy Awards (Oscars). At the peak of his creative power, a Swedish daily newspaper proposed B. Traven for the Nobel Prize for Literature. B. Traven successfully concealed the identity of his person through the use of numerous pseudonyms. For decades, German linguists and journalists have been looking for the person behind the pseudonym B. Traven. Pursuant to available data it is certain that he worked under the name Ret Marut in Germany as a labor union secretary and left-wing, revolutionary activist before emigrating to Mexico. Because of this, people from the working class, sailors, Native Americans (Indians) and other oppressed members of the society who oppose their exploitation played key roles in his works. In the meantime, several researchers assume that B. Traven was born as Hermann Albert Otto Maximilian Feige in Schwiebus, now Poland. For B. Traven, however, the impact of his works was always more important than his identity.
