Pub Date : 2023-09-25DOI: 10.1080/00787191.2023.2227492
Jennifer Taylor
In July 2021 Andreas Mytze died in London, where he had lived since the mid nineteen-eighties. Based on his extensive archive as well as his published material this paper offers an assessment of hi...
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Pub Date : 2023-09-25DOI: 10.1080/00787191.2023.2243092
Pól Ó Dochartaigh
Published in Oxford German Studies (Vol. 52, No. 3, 2023)
发表于《牛津德国研究》(第52卷第3期，2023年)
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Pub Date : 2023-07-03DOI: 10.1080/00787191.2023.2227497
C. Schönfeld
Considering the devastating impact of Fascism and National Socialism on exiles and their literary heritage through the lens of adaptation history, this essay focuses on German-language literature in international cinema from 1933–45 and, by implication, on the role of refugees in major film industries abroad. When Adolf Hitler was appointed Reich Chancellor, most notable authors and filmmakers were forced to leave their homes in Germany and soon Austria. Many of them went to Paris and quite a few eventually made it to Hollywood. Several exile filmmakers sought to claim German-language literature for that ‘other Germany’ in foreign language films, but — especially after Hitler’s troops had invaded Poland — the literary canon of Germany and Austria was considered a liability by most international film producers. In desperate need of income, many exile authors actively pursued adaptations of their own works, but only rarely did their plans materialize, even for bestselling writers; Remarque, Seghers, and Werfel were among the lucky few. Max Ophuls’ effort to preserve at least a fragment of the German literary canon and ensure the survival of German culture abroad, by filming Goethe’s Die Leiden des jungen Werthers (1774), was an exception. For the most part neither international film studios nor audiences were interested in German literary culture during the Hitler era unless an exile writers’ works provided useful and entertaining insights into current challenges and/or had established a wide-ranging readership.
通过改编史的视角，考虑到法西斯主义和国家社会主义对流亡者及其文学遗产的破坏性影响，这篇文章重点关注1933-1945年间国际电影中的德语文学，并进而关注难民在国外主要电影产业中的作用。阿道夫-希特勒被任命为帝国总理后，大多数著名作家和电影制作人被迫离开他们在德国的家园，不久又离开了奥地利。他们中的许多人去了巴黎，不少人最终去了好莱坞。一些流亡电影人试图在外语电影中为 "另一个德国 "拍摄德语文学作品，但是--尤其是在希特勒的军队入侵波兰之后--德国和奥地利的文学作品被大多数国际电影制片人视为累赘。在急需收入的情况下，许多流亡作家积极寻求改编自己的作品，但只有极少数人的计划得以实现，即使是畅销作家；雷马克、塞格斯和韦费尔是少数幸运儿。马克斯-奥弗斯（Max Ophuls）拍摄歌德的《少年韦尔瑟之死》（Die Leiden des jungen Werthers，1774 年），至少保留了德国文学典籍的一个片段，确保了德国文化在海外的生存。在大多数情况下，国际电影制片厂和观众对希特勒时代的德国文学文化都不感兴趣，除非流亡作家的作品对当前的挑战提供了有用和有趣的见解，并且/或者已经建立了广泛的读者群。
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Pub Date : 2023-07-03DOI: 10.1080/00787191.2023.2243096
Pól Ó Dochartaigh
Discourse on Jewish life in the German Democratic Republic has often offered a clichéd portrayal of a society in which Jewishness was subsumed into the antifascist founding myth of the GDR, leaving Jews as either self-hating (Stalinist) Jews or as citizens forced to deny their Jewish origins. In particular, Cold War narratives have often differentiated between Jewish communists who were in exile in the Soviet Union, and thus seen afterwards as more loyal, and those who were in exile in the West, and thus more likely to be suspected of disloyalty. This paper focuses on non-Soviet exiles and their descendants to explore the diversity of Jewish identity, politics and culture in the GDR, ranging from assimilationist communist identity to explicit engagement with Jewish traditions and even the Jewish religion. Surveying through the generations from pre-Nazi communist activism to the GDR-born children of such activists, it finds a diversity that belies monochrome portrayals of GDR life, while also establishing that, far from being mere passive instruments in the service of an SED-led (neo-)Stalinist society, Jews in the GDR were agents in the establishing of their own multi-faceted identities.
关于德意志民主共和国犹太人生活的论述往往是陈词滥调地描绘这样一个社会：犹太人被归入民主德国的反法西斯建国神话之中，犹太人要么是自我憎恨（斯大林主义）的犹太人，要么是被迫否认自己犹太血统的公民。特别是，冷战叙事经常区分流亡苏联的犹太共产主义者和流亡西方的犹太共产主义者，流亡苏联的犹太共产主义者更忠诚，流亡西方的犹太共产主义者更可能被怀疑不忠。本文以非苏联流亡者及其后裔为研究对象，探讨东德犹太人身份、政治和文化的多样性，包括从同化共产主义身份到明确参与犹太传统甚至犹太宗教。从纳粹前的共产主义活动家到这些活动家在民主德国出生的子女，通过对几代人的调查，我们发现民主德国生活的多样性与单色描绘不符，同时也证明了民主德国的犹太人绝非仅仅是服务于 SED 领导的（新）斯大林主义社会的被动工具，他们是建立自身多层面身份的推动者。
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Pub Date : 2023-07-03DOI: 10.1080/00787191.2023.2225286
Charmian Brinson
This paper considers how many of the Communist refugees — German, Austrian and German-speaking Czechs — who were in exile in Britain during the Second World War, followed the dictates of the Party and returned home after the war to help rebuild their war-torn countries physically, politically, economically and socially. While the British authorities permitted the Czechs, as ‘friendly aliens’, to leave without too much delay, obstacles were put in the way of the German and Austrian refugees who frequently could not leave Britain until late 1946 or thereafter. The paper examines the relations between frustrated refugees and British officialdom as well as the reception the refugees received from their compatriots on their eventual ‘homecoming’. Generally speaking, the returning Communists did not fare well. In Austria, the returnees, many of whom were of course Jewish, were met with continuing antisemitism as well as anti-communism; in Czechoslovakia, as the Cold War set in, some were arrested while others fled once again; and in the GDR, the preferred destination of the returning German Communists, the label of ‘Westemigrant’ could prove a considerable handicap. All in all, despite the initial idealism, the common experience was one of disillusion and disappointment.
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Pub Date : 2023-04-03DOI: 10.1080/00787191.2023.2194171
D. Pietzcker
Der deutschsprachige literarische Expressionismus gilt als das typische Beispiel der modernistischen Avantgarde im ersten Jahrzehnt des zwanzigsten Jahrhunderts. Tradierte ästhetische Formen und ihr ideologischer Überbau wurden konsequent abgelehnt. Der Expressionismus war, emphatisch gesprochen, der Versuch, über die Kunst das individuelle und gesellschaftliche Leben zu revolutionieren. Ist dieser Versuch gelungen? Oder anders gefragt: Was ist, einhundert Jahre nach dem Jahrzehnt der Avantgarde (1912–1922), vom Expressionismus als ästhetischem Phänomen geblieben; welche seiner Impulse reichen bis in die Gegenwart? Der folgende Beitrag versucht, auf diese Frage eine konzise Antwort zu geben, bei der neben ästhetisch-literarischen Aspekten auch gesellschaftliche und ideengeschichtliche Figurationen erörtert werden. Konkret geht es darum, das geistige Erbe des Expressionismus und seine Relevanz für die Gegenwart zu benennen. Denn in dem Maße, wie die Gegenwart im Europa des 21. Jahrhunderts als krisenhaft erlebt und beschrieben wird, gewinnen auch Literaturen der Avantgarde an Aktualität: Auch sie sind Ausdruck von Legitimationskrisen und der Versuch, ihnen konstruktiv zu begegnen. Das Werk Gottfried Benns spielt für die expressionistische Generation eine Schlüsselrolle und ist daher auch für diesen Aufsatz eine wichtige Bezugsquelle.
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Pub Date : 2023-04-03DOI: 10.1080/00787191.2023.2194173
Kristian Larsson
While Elfriede Jelinek scholars agree that the increasing social relevance of the early novels bukolit, wir sind lockvögel baby!, Michael and Die Liebhaberinnen is vaguely linked to a social, political, cultural or aesthetic critique, the ‘programmatic’ platform, if there is one, as well as its specific textual manifestations remain largely unexamined. Likewise, the ‘programmatic’ essays Statement and wir stecken einander unter der haut as well as Die endlose Unschuldigkeit together with udo zeigt wie schön diese welt ist wenn wir sie mit kinderaugen sehen arguably demonstrate the theoretical, ideological, and aesthetic perspective of the author, but their relation to the novels have only been marginally und unsystematically considered. The article discusses the programmatic potential in the novels and the essays with respect to aesthetic methods, authorial voices, and a motivic framing of characters. It is argued that the tension between critique and autonomy forms the core of a programme committed to challenging both text and reader.
虽然Elfriede Jelinek的学者们一致认为，早期小说的社会相关性越来越大，《bukolit，wir sind lockvögel baby！》！，Michael和Die Liebhaberinnen与社会、政治、文化或美学批判有着模糊的联系，“纲领性”平台（如果有的话）及其具体的文本表现在很大程度上仍未得到检验。同样，“纲领性”散文《声明》和《Unshuldigkeit的终结》以及《Unshuldegkeit》，以及《Unchuldigkeite的终结》，都可以说展示了作者的理论、意识形态和美学视角，但它们与小说的关系只得到了轻微而不系统的考虑。本文从美学方法、作者声音和人物的动机框架等方面探讨了小说和散文的纲领性潜力。有人认为，批判和自主之间的紧张关系构成了一个致力于挑战文本和读者的节目的核心。
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Pub Date : 2023-04-03DOI: 10.1080/00787191.2023.2194168
Katarzyna Szczerbowska-Prusevicius
Im 19. Jahrhundert gewinnt das heroische Narrativ eine zuvor unbekannte Gewichtung. Der Begriff des Helden wird in dieser Zeit erweitert und bezeichnet nunmehr nicht nur physisch starke, tapfere Männer, die dem Urtypus Herakles ähneln, sondern auch Intellektuelle und Künstler. In den Konzeptionen des Heroischen wird die exzeptionelle Leistung eines Einzelnen mit einem tragischen Schicksal verknüpft. Das Leiden ist sogar nicht mehr Konsequenz, sondern Voraussetzung schöpferischer Aktivität. Der heroische Diskurs hält auch in die Musikgeschichte und Musikerbiographie Einzug. Zum ‘Heros der Tonkunst’ wird z.B. Wolfgang Amadé Mozart stilisiert. Diese Tendenz, insbesondere die Darstellung des Komponisten als Märtyrer, wird von Eduard Breier in seinem komischen Roman Die Zauberflöte (1859) kritisiert. Obwohl das Werk des vergessenen österreichischen Schriftstellers in ästhetischer Hinsicht viel zu wünschen übrig lässt, bildet es aufgrund dieser Heroismusskepsis einen interessanten Beitrag zur Mentalitätsgeschichte. Der Autor fasst nämlich den Vorsatz, einen anderen, fröhlichen Mozart zu zeigen. Es erweist sich aber, dass die Befreiung aus den mythischen Fesseln kein leichtes Unterfangen darstellt, denn in Breiers Roman findet man entgegen seiner Absicht versteckte und offene Rückgriffe auf den Mythos des leidenden Kulturheros.
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Pub Date : 2023-04-03DOI: 10.1080/00787191.2023.2194181
Paul Leworthy
Interpreting it as constitutive and representative of the film’s exploration of cultural memory processes, this article identifies an abundance of frames in Almanya — Willkommen in Deutschland. Visual frames — frequently in the form of photographs — abound in the film. At the same time, the film’s narrative structure entwines present and past temporal frames, with the latter embedded into the former through acts of intradiegetic narration. As well as accentuating the essential role played by narrative in present constructions of the past and pointing to the family as a key ‘social frame of memory’, both the visual and structural frames in the film accentuate the limited perspective of any retrospective account, which invariably frames the past in a specific — and selective — way. I also expose that Almanya — Willkommen in Deutschland is memory-productive as well as memory-reflective: the film does not only illustrate cultural memory processes in action within the narrative, it also contributes a new narrative about ‘Gastarbeiter’ migration from Turkey to Germany. Considering the film’s popularity with audiences in Germany as evidence of the broad reach of its memory narrative, I conclude that the film constitutes a self-conscious and situated, constructive and successful contribution to twenty-first-century German cultural memory.
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Pub Date : 2023-04-03DOI: 10.1080/00787191.2023.2194179
Katarzyna Norkowska
Im vorliegenden Beitrag wird der späte Ruhm von Helga Schubert, Helga Schütz, Irina Liebmann und Elke Erb erörtert, die mit ihren um 2020 veröffentlichten Texten einen Beitrag zum ostdeutschen Erinnerungsdiskurs leisten. Die Wortmeldungen von Autorinnen einer bis dato im öffentlichen Diskurs zu kurz gekommenen Generation sollten — so die These des Beitrags — nicht allein auf die Mechanismen des literarischen Marktes, sondern vordergründig auf die intragenerationelle Dynamik zurückgeführt werden. Unter den Angehörigen der Funktionierenden Generation (Thomas Ahbe/Rainer Gries) keime erst spät ein kollektives Bedürfnis auf, die Erinnerungen an die DDR zulassen und sich als Generation darüber öffentlich — hier im Medium der Literatur — zu verständigen.
{"title":"Später ‘Triumph’ einer ostdeutschen Generation. Narrative der Funktionierenden Generation im Erinnerungsdiskurs um 2020","authors":"Katarzyna Norkowska","doi":"10.1080/00787191.2023.2194179","DOIUrl":"https://doi.org/10.1080/00787191.2023.2194179","url":null,"abstract":"Im vorliegenden Beitrag wird der späte Ruhm von Helga Schubert, Helga Schütz, Irina Liebmann und Elke Erb erörtert, die mit ihren um 2020 veröffentlichten Texten einen Beitrag zum ostdeutschen Erinnerungsdiskurs leisten. Die Wortmeldungen von Autorinnen einer bis dato im öffentlichen Diskurs zu kurz gekommenen Generation sollten — so die These des Beitrags — nicht allein auf die Mechanismen des literarischen Marktes, sondern vordergründig auf die intragenerationelle Dynamik zurückgeführt werden. Unter den Angehörigen der Funktionierenden Generation (Thomas Ahbe/Rainer Gries) keime erst spät ein kollektives Bedürfnis auf, die Erinnerungen an die DDR zulassen und sich als Generation darüber öffentlich — hier im Medium der Literatur — zu verständigen.","PeriodicalId":53844,"journal":{"name":"OXFORD GERMAN STUDIES","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47022323","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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