Pub Date : 2022-07-03DOI: 10.1080/00787191.2022.2116811
Conor Brennan
This article analyses the influence of Franz Kafka on contemporary writers who engage with the climate emergency, focusing in particular on the Australian writer Richard Flanagan and the Polish author Olga Tokarczuk. This transnational corpus is warranted not only by the scale of the crisis, but also by Kafka’s status as a writer whose work refuses to sit neatly within the borders of a nation or ‘Nationalsprache’. The article details both writers’ direct allusions to Kafka, and — under the rubrics of ‘bounds’, ‘scales’ and ‘parables’ — identifies aesthetic techniques they adopt and adapt from his work. These include a disruption of the inside and outside of texts, the rendering of complexity in pithy or parabolic form, and a concern with the mechanisms of denial. The extent of this engagement with Kafka, I argue, suggests that his literary models are uniquely useful in the struggle to give form to the ‘Anthropocene’.
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Pub Date : 2022-07-03DOI: 10.1080/00787191.2022.2116822
Katharina Forster
While there is a conspicuous link between utopian conjectures and natural space, the accelerated environmental degradation in the Anthropocene has significantly blunted the utopian appeal of ‘untainted’ nature. A similar crisis afflicts notions of utopia as ‘undiscovered’ space following Reinhart Koselleck’s ‘temporalization’ of utopian speculation. These developments complicate or make impossible literary representations of utopia as unknown or unaltered nature. Drawing on Timothy Morton’s ideas of ‘space’ and ‘place’ as well as on Eva Horn’s reflections on an ‘aesthetics of the Anthropocene’, the paper examines how narratives of nature as utopia are critiqued and satirised in Christian Kracht’s Imperium (2012). The island landscape of the South Pacific remains outside the protagonist’s narrative control, resisting attempts to abstract it by staging a ‘revenge of place.’ Representations of nature as non-descript, homogeneous and empty (or ‘space’) are confronted with the uncanny and dangerous aspects of a specific ‘place.’
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Pub Date : 2022-07-03DOI: 10.1080/00787191.2022.2141451
K. Ritson, Daniela Dora
German literature has a long memory for the relationship between people and the environments they inhabit. Let us consider Goethe: Goethe’s late novel Wahlverwandschaften, first published in 1809, opens in a tree nursery on a large landed estate, where the owner Eduard has been busy with the task of budding new trees, ‘frisch erhaltene Pfropfreiser auf junge Stämme zu bringen’. He stops work to survey his carefully arranged garden and then goes to join his wife, who has also been industriously engaged in landscaping improvements, noting the wellordered grounds as he passes through:
德国文学对人与所处环境之间的关系有着悠久的记忆。让我们来看看歌德：歌德的晚期小说《Wahlverwandschaften》于1809年首次出版，开篇是在一个大型庄园的一个苗圃里，主人爱德华一直忙于培育新树，“frisch erhaltene Pfropfreiser auf junge Stämme zu bringen”。他停下工作，仔细查看了他精心布置的花园，然后去和妻子一起，妻子也一直在努力改善景观，在他经过时注意到了整洁的场地：
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Pub Date : 2022-07-03DOI: 10.1080/00787191.2022.2116821
Rebecca Wismeg-Kammerlander
An allegedly unspoilt natural landscape is a crucial backbone of Austria’s national brand and yet, a look behind the façade of this ‘Goldener Landschaftsmythos’, reveals that nature plays a complex and paradoxical role in Austrian self-stylisation and culture: the very system that relies on its pristineness exploits and degrades it. Edelbauer’s 2019 novel Das flüssige Land draws on this tension and brings it into conversation with essentialist views of femininity, rejecting expectations of women as inherently connected with nature and protective of it. The female protagonist’s relationship with the Alpine landscape is fluid, ambivalent, and paradoxical and — as it oscillates between care and exploitation, connection and disdain — it invites an approach from the angle of social ecofeminism that calls for an overcoming of essentialist claims about women and nature.
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Pub Date : 2022-07-03DOI: 10.1080/00787191.2022.2116807
Robert Craig
Rainer Maria Rilke’s significance for a modern eco-poetics has attracted ever-increasing interest over the past two decades, with sophisticated ontological, phenomenological, and even ethological approaches to his animal poems, as well as such late poetic figures as ‘das Offene’ in Duineser Elegien (1923). However, many of these readings have worked from the persistent premise of a mystical — Romantically inflected or even monistic — conception of nature, grounded in an idealized (re-)union of subject and object and inner and outer spaces. By contrast, this article suggests that we can learn far more from the points of mismatch, irreconcilability, and alienation to be found in the ‘thing poetics’ of Rilke’s so-called ‘middle’ period (1902–1910). Arguing in dialogue with Timothy Morton’s call for a ‘dark ecology’ and working from Rilke’s own theoretical reflections in his Worpswede monograph (1903), I trace out the convoluted entwinements of subject and object, mind and matter, and nature and artifice across both parts of Neue Gedichte (1907 and 1908), and in Die Aufzeichnungen des Malte Laurids Brigge (1910). Morton calls for a form of ecological thought that might learn to ‘love’ the ‘non-identical’: in other words, properly and truly to recognize the ‘irreducible otherness’ within our myriad environments. My essay considers what that theoretical love might look like in the poetic practice of one of the great German-language modernists. 1 1 I would like to thank Rüdiger Görner, Christa Jansohn, and Friedhelm Marx for their comments on an earlier version of this essay.
在过去的二十年里，Rainer Maria Rilke对现代生态诗学的意义引起了人们越来越多的兴趣，他的动物诗采用了复杂的本体论、现象学甚至行为学方法，以及Duineser Elegien（1923）中的“das Offene”等晚期诗歌人物。然而，这些解读中的许多都是基于一种神秘的——浪漫主义的，甚至一元论的——自然概念的持久前提，建立在主体和客体以及内部和外部空间的理想化（重新）结合之上。相比之下，这篇文章表明，我们可以从里尔克所谓的“中期”（1902-1910）的“事物诗学”中发现的不匹配、不可调和和异化的观点中学到更多。我与蒂莫西·莫顿（Timothy Morton）对“黑暗生态学”的呼吁进行了对话，并根据里尔克在其Worpswide专著（1903年）中自己的理论思考，追溯了《新格迪希特》（1907年和1908年）和《马尔特·劳里德斯·布里格之死》（1910年）中主题与对象、思想与物质、自然与技巧的错综复杂的纠缠。Morton呼吁一种生态思维形式，它可能会学会“爱”“不相同的”：换句话说，正确而真实地认识到我们无数环境中的“不可减少的另类”。我的文章考虑了在一位伟大的德语现代主义者的诗歌实践中，这种理论上的爱可能是什么样子的。11我要感谢Rüdiger Görner、Christa Jansohn和Friedhelm Marx对本文早期版本的评论。
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Pub Date : 2022-04-03DOI: 10.1080/00787191.2022.2095809
Gudrun Heidemann
Fotografien werden in Comics gemeinhin handwerklich abstrahiert, wodurch es zu einer medialen Abkühlung (McLuhan) und Remediation (Bolter, Grusin) kommt. Wenn (Licht)Bilder als Zeitzeugnisse Graphic Memoirs in den Innenseiten von Front- und Rückencover rahmen, so provozieren diese Aufnahmen aus dem Off eine performative Rezeption im blätternden Nachvollzug, um einen Abgleich mit dem Nachgezeichneten in der eigentlichen Narration vorzunehmen. Dieses Verfahren ist Rutu Modans Das Erbe und Karin Bachers/Tyto Albas Tante Wussi gemeinsam. Modans Bildherstellung durch Acting-Painting geht zudem auf Fotografien zurück, die sich in exakten Nachzeichnungen minimierter Posen und Gesten niederschlägt, während Tyto Alba Kunststile der 1920er/30er Jahre aktualisiert. In beiden Fällen wird durch die grafischen Variationen gleichermaßen ein mehrfachbelichtetes Shoah-Erinnern ins Bild gesetzt, womit samt der verbalen Erzählung die Nachgeneration eine ebenso vage wie wahre Familiengeschichte Shoah-Überlebender performativ vergegenwärtigt.
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Pub Date : 2022-04-03DOI: 10.1080/00787191.2022.2095806
Sebastian Balling
In this article, I analyse Ulrich Plenzdorf’s novel kein runter kein fern, an often-overlooked text critiquing the society of the German Democratic Republic (GDR) in the late 1970s that focuses primarily on the theme of disability. Plenzdorf’s protagonist, a boy with a mild learning disability, is pressured to develop a masculine body to overcome his mental handicap. Analysing the story from a perspective based on Klaus Theweleit’s Male Fantasies and Julia Hell’s Post-Fascist Fantasies, I argue that Plenzdorf is showing the GDR as a militarized, masculine society, unable to deal with disability in a humane manner. His protagonist therefore has no other choice but to cope with his disability by becoming what he calls a ‘panzermann’, that means a man whose feelings are cut off with a tank-like body. Furthermore, by drawing on a rich collection of archival materials, I show how Plenzdorf’s depiction of disability, masculinity, and GDR society caused a major literary scandal, and how he radicalized these topics in later adaptations. Reviewing this material that has not been published before, I argue that Plenzdorf widened his criticism during the Wende years and transformed his criticism of the GDR society to a criticism of the German society as a whole.
在本文中，我分析了乌尔里希·普伦茨多夫(Ulrich Plenzdorf)的小说《kein runter kein fern》，这是一部经常被忽视的作品，批评了20世纪70年代末德意志民主共和国(GDR)的社会，主要关注残疾人的主题。普伦兹多夫的主人公是一个有轻微学习障碍的男孩，为了克服自己的智力障碍，他被迫发展出男性化的身体。我从克劳斯·特威利特的《男性幻想》和朱莉娅·海尔的《后法西斯幻想》的视角来分析这个故事，认为普伦茨多夫把德意志民主共和国描绘成一个军事化的、男性化的社会，无法以人道的方式处理残疾人问题。因此，他的主人公别无选择，只能通过成为他所谓的“panzermann”来应对他的残疾，这意味着一个人的感情被坦克一样的身体切断了。此外，通过收集丰富的档案材料，我展示了普伦茨多夫对残疾、男子气概和德意志民主共和国社会的描述如何引发了一场重大的文学丑闻，以及他如何在后来的改编中激进化了这些话题。回顾这些以前没有发表过的材料，我认为普伦茨多夫在文德时期扩大了他的批评，并将他对德意志民主共和国社会的批评转变为对整个德国社会的批评。
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Pub Date : 2022-04-03DOI: 10.1080/00787191.2022.2095800
Robert Rduch
Der vorliegende Aufsatz ist ein Beitrag zur Ergänzung der Materialbasis für eine künftige postkoloniale Geschichte der deutschsprachigen Literatur. Es wird in ihm auf das Gedicht ‘Audubon’ (1833) von Ferdinand Freiligrath als ein seltenes Beispiel radikaler Kolonialismuskritik aus der ersten Hälfte des neunzehnten Jahrhunderts hingewiesen. Eine überblicksartig dargestellte Rezeptionsgeschichte des Frühwerks des Dichters bildet den Hintergrund für die Analyse und Interpretation, in denen nachgewiesen wird, dass Freiligrath in ‘Audubon’ die koloniale Gewalt der Europäer in Amerika eindeutig verurteilt. Damit wird ein literaturhistorisches Klischee, der junge Freiligrath sei ein unpolitischer Autor gewesen, korrigiert. Als das wichtigste Rezeptionszeugnis gilt das Gedicht ‘Antwort aus Amerika an Freiligrath’ (1844) von Dr. Angmarset, das hier auch analysiert und interpretiert wird. Während Freiligrath die Vertreibung der Indianer aus ihren Gebieten und die Zerstörung der amerikanischen Natur allegorisch als destruktive Handlung gieriger Raupen darstellt, rechtfertigt eine hybride Indianerfigur bei Angmarset die Kolonisierung als eine von Indigenen begrüßte Zivilisierung der Wildnis.
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Pub Date : 2022-04-03DOI: 10.1080/00787191.2022.2095801
Stephan Resch
The ‘victor in defeat’ (Donald Daviau) has long been a key concept in Stefan Zweig scholarship. This reversal of the traditional hero narrative has been applied to understand how Zweig constructs his historical biographies, drawing on both his understanding of history and his convictions about the moral responsibilities of the writer. It has also been used to demonstrate how Zweig values defeat as a means for moral development in his novellas and dramas. This essay argues that Zweig’s poetics of defeat can be equally applied to his autobiography. Through their shared values of humanism, supranationalism and pacifism, the individuals remembered by Zweig form a heroic collective in their seemingly impossible fight against nationalism and fascism. The World of Yesterday thus needs to be read as a cornerstone of Zweig’s Historiography of Tomorrow, a new way of writing history, which the author proposes in the last years of his life.
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Pub Date : 2022-04-03DOI: 10.1080/00787191.2022.2095807
F. Kempf
José F. A. Oliver’s experimental urban aesthetics requires a rethinking of the iconic figure of the flâneur. In Oliver’s Istanbul poems, the flâneur is disembodied, giving way to a peripatetic consciousness that engages the experiential heterogeneity of the encounter with the city on multiple levels — emotional, visual, cognitive, rhythmic, auditory, verbal — and versifies this engagement as a city of words. Through this poetic practice, the readers experience the city in their imagination, with vicarious trepidation and excitement. There is a democratic ethos underlying this non-instrumental creative mode, as it is not only the city that comes into being but also the poet and the reader.
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