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WHAT IS RADICAL? BÜCHNER AND BRECHT READ LENZ 什么是激进?BÜCHNER和布莱希特读伦茨
IF 0.2 3区 文学 0 LITERATURE, GERMAN, DUTCH, SCANDINAVIAN Pub Date : 2022-12-29 DOI: 10.1111/glal.12369
Veronica Rose Curran

This article asks why the radical authors Georg Büchner (1813–37) and Bertolt Brecht (1898–1956) were particularly interested in the life and works of Jakob Michael Reinhold Lenz (1751–92). The enquiry proceeds by reading Lenz's theoretical and literary works, such as his treatise Anmerkungen übers Theater (1774) and his plays Die Soldaten (1776) and Der Hofmeister (1774), through the later authors’ various writings. This article particularly focuses on all three authors’ use and analysis of observational writing for a radical, social purpose. It begins with a discussion of Lenz's stance on the imitation of nature in his writings on the theatre and how this affects his social commentary through realistic social depiction. This is followed by an examination of Büchner's use of Lenz's writings, particularly in the ‘Kunstgespräch’ section of the narrative fragment Lenz and in his play Woyzeck (1836), and then by Brecht's theoretical writing on the ‘realistic style’ (‘realistische Schreibweise’) in the history of German dramaturgy and his new approach in the adaptation of Der Hofmeister. The article concludes that Lenz's realistic style was taken up by his successors but that, especially in his depiction of and commentary on individuality, it maintains unique value in itself.

这篇文章问为什么激进作家格奥尔格·比奇纳尔(1813-37)和贝托尔特·布莱希特(1898-1956)对雅各布·迈克尔·莱因霍尔德·伦茨(1751-92)的生活和作品特别感兴趣。通过阅读伦茨的理论和文学作品,如他的论文《Anmerkungen bers Theater》(1774)和他的戏剧《Die Soldaten》(1776)和《Der Hofmeister》(1774),通过后期作者的各种著作,调查继续进行。本文特别关注三位作者对观察性写作的使用和分析,以达到激进的社会目的。首先讨论伦茨在戏剧作品中模仿自然的立场,以及这如何通过现实主义的社会描绘影响他的社会评论。接下来是b奇纳对伦茨作品的使用,特别是伦茨叙事片段的“Kunstgespräch”部分和他的戏剧《Woyzeck》(1836),然后是布莱希特在德国戏剧史上关于“现实主义风格”(“realistische Schreibweise”)的理论写作,以及他在改编《Der Hofmeister》时的新方法。文章认为,伦茨的现实主义风格被他的后继者所继承,但在对个性的刻画和评论上,伦茨的现实主义风格仍有其独特的价值。
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引用次数: 0
THE LATENT RADICALISM OF ARISTOTLE AND J. M. R. LENZ 亚里士多德和伦茨潜在的激进主义
IF 0.2 3区 文学 Q3 Arts and Humanities Pub Date : 2022-12-29 DOI: 10.1111/glal.12365
Ellwood Wiggins

J. M. R. Lenz's Anmerkungen übers Theater (1774) present the aesthetic manifesto of the Sturm und Drang. In order to express its programmatic agenda for the modern drama, the text repeatedly attacks Aristotle's Poetics. This article reads Lenz's treatment of the Poetics not merely as a handy rhetorical foil for showcasing his own innovative dramatic theories, but rather as an integral part of the performance of the text. It turns out that there are similarities in both form and content between the two disparate treatises. By tracing the series of opposing terms that the Anmerkungen take up in succession (imitation and viewpoint; man and fate; tragedy and comedy), the analysis sets up a final reevaluation of the aesthetics of effect implicit in Lenz's treatise. Though he never mentions catharsis, this ambiguous Aristotelian terminus technicus can be a key to understanding the paradoxes of Lenz's text and revealing its potential radicality.

J. M. R. Lenz的《Anmerkungen bers剧场》(1774)是《狂飙与狂飙》的美学宣言。为了表达其对现代戏剧的纲论性议程,文本反复抨击亚里士多德的《诗学》。本文不仅将伦茨对《诗学》的处理作为展示他自己创新戏剧理论的一个方便的修辞陪衬,而且将其作为文本表演的一个组成部分。事实证明,这两篇不同的论文在形式和内容上都有相似之处。通过追溯Anmerkungen连续使用的一系列对立术语(模仿和观点;人与命运;悲剧和喜剧),对伦茨论著中隐含的效果美学进行了最后的重新评价。虽然他从未提及“宣泄”,但这种亚里士多德式的模棱两可的“技术终点”可能是理解伦茨文本悖论和揭示其潜在激进性的关键。
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引用次数: 0
FILIAL DEPENDENCE AND AUTONOMY IN THE STURM UND DRANG: READING KLINGER, WAGNER AND MÜLLER WITH ROUSSEAU 风暴中的孝顺与自主:读克林格、瓦格纳与mÜller与卢梭
IF 0.2 3区 文学 Q3 Arts and Humanities Pub Date : 2022-12-27 DOI: 10.1111/glal.12370
Elystan Griffiths

The essay examines the representation of relationships between children on the cusp of adulthood and their parents in dramas by Friedrich Maximilian Klinger, Heinrich Leopold Wagner and Friedrich Müller (known as ‘Maler Müller’). It positions the Sturm und Drang in dialogue with the wider European Enlightenment, and especially with Rousseau's theorising of human dependence in his Discourse on Inequality and Emile. In particular, it suggests that these writers demonstrate an association between inequality and social dependence, whereas flat social structures promote pluralism and autonomy. The article argues that, in contrast to the common view of the Sturm und Drang as characterised by wild filial rebellion and blind adoration of Rousseau, a close reading demonstrates how it sustains a critical dialogue with major currents of European thought and develops a subtle and self-critical sense of the possibilities and limits on autonomy. Indeed, it demonstrates how these writers were able to use literature to foreground the antinomies of their social order in a more radical way than direct approaches could – and thus illustrates the importance of considering literature as a serious participant in Enlightenment dialogues.

本文考察了弗里德里希·马克西米利安·克林格、海因里希·利奥波德·瓦格纳和弗里德里希·米勒(被称为“马勒·米勒”)在戏剧中对即将成年的孩子和父母之间关系的表现。它将《风暴与激浪》置于与更广泛的欧洲启蒙运动的对话中,尤其是与卢梭在《论不平等》和《爱弥尔》中提出的人类依赖理论的对话中。特别是,它表明这些作者展示了不平等和社会依赖之间的联系,而扁平的社会结构促进了多元化和自治。文章认为,与普遍认为的《狂飙与狂飙》的特征是疯狂的孝顺反叛和对卢梭的盲目崇拜相反,仔细阅读表明,它如何与欧洲思想的主要潮流保持批判性对话,并发展出一种微妙的、自我批判的自主性的可能性和局限性。事实上,它展示了这些作家是如何利用文学以一种比直接方法更激进的方式来突出他们社会秩序的二律悖论的——从而说明了将文学视为启蒙运动对话中一个严肃参与者的重要性。
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引用次数: 0
‘HERKUNFT IST ZUFALL’: ZU OFFENEN HERKUNFTS- UND HEIMATKONZEPTEN IN DER LITERATUR DER DEUTSCHEN POSTMIGRANTISCHEN GENERATION "出身就是机遇":德国后移民一代的文学中公开的原籍和故乡观点
IF 0.2 3区 文学 0 LITERATURE, GERMAN, DUTCH, SCANDINAVIAN Pub Date : 2022-09-06 DOI: 10.1111/glal.12358
Anna Rutka

In the context of present mass migrations, escapes and ethnic wars, the traditional approach to origin and homeland in terms of belonging to an ethnically homogeneous nation, monocultures with one mother tongue and a strictly defined territory are subject to criticism and (re)-defining. This article presents and analyses examples of four literary works whose authors are representatives of the young post-immigrant generation in Germany: the prose texts by Saša Stanišić (Herkunft, 2020), Senthuran Varatharajah (Vor der Zunahme der Zeichen, 2017) and Katja Petrowskaja (Vielleicht Esther, 2014), and a radio play by Marina Frenk (Jenseits der Kastanien, 2017). In the selected prose works and radio play, the authors raise the issue of origin and homeland in the context of migration, globalisation, and transcultural movements. The article presents the complex processes of searching for adequate artistic expression for experiences related to disrupting family lineage continuity, loss of homeland as a country of birth, and multilingualism. The traditional patterns of stories about origin and homeland are broken and their semantics are redefined. Hybrid, open and ambiguous narrative forms replace the linearity of cause-and-effect chains. Belonging to a multitude of locations and systems, multilingualism, multi-media, and transcultural strategies are a literary alternative to nationally coded models of origin and homeland.

在目前大规模移徙、逃亡和种族战争的情况下,从属于一个种族同质的国家、只有一种母语的单一文化和严格界定的领土的角度看待起源和家园的传统方法受到批评和(重新)界定。本文介绍并分析了四部代表德国年轻后移民一代的文学作品:Saša Stanišić (Herkunft, 2020)、Senthuran Varatharajah (Vor der Zunahme der Zeichen, 2017)和Katja Petrowskaja (Vielleicht Esther, 2014)的散文文本,以及玛丽娜·弗兰克(Jenseits der Kastanien, 2017)的广播剧。在散文作品和广播剧选集中,作者在移民、全球化和跨文化运动的背景下提出了起源和家园的问题。本文呈现了寻找适当的艺术表达的复杂过程,这些经历与中断的家庭血统连续性,作为出生国的家园的丧失以及多语言有关。传统的起源和家园故事模式被打破,语义被重新定义。混合、开放和模糊的叙事形式取代了因果链的线性。多语言、多媒体和跨文化策略属于多种地点和系统,是一种替代国家编码的起源和家园模式的文学选择。
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引用次数: 0
OBITUARY: JOHN LEWIS FLOOD (1938–2021) 讣告:John lewis flood (1938-2021)
IF 0.2 3区 文学 Q3 Arts and Humanities Pub Date : 2022-08-29 DOI: 10.1111/glal.12361
David Yeandle
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引用次数: 0
THE GOTTSCHEERS: FROM A CENTRAL EUROPEAN ENCLAVE TO ASSIMILATION IN NORTH AMERICA 寻鬼者:从中欧飞地到北美的同化
IF 0.2 3区 文学 0 LITERATURE, GERMAN, DUTCH, SCANDINAVIAN Pub Date : 2022-08-26 DOI: 10.1111/glal.12360
Derek Stadler

In the fourteenth century, a group of German-speaking settlers established a colony named Gottschee in what is now Slovenia. The results of World War II banished Gottscheers from Slovenia and they relocated to Austrian refugee camps. While some Gottscheers later moved to other European countries, a large number migrated to existing Gottscheer or German communities in North America as refugees, practising cultural traditions in large cities such as New York and Cleveland. Like other German immigrants who initially settled in large American cities, many Gottscheers moved from urban areas and assimilated, soon after arrival or a few generations later. In fact, Gottscheers are one embodiment of the collective assimilation experience of Germans who migrated to North America. Formerly, once large communities of German immigrants who contributed to both United States and Canadian society have all but disappeared. This study investigates how and why Gottscheers created discrete ethnic communities in the United States and Canada that flourished in the pre- and postwar years. It also analyses the present state of Gottscheer communities to determine why Gottscheers and their descendants may assimilate into American society.

14世纪,一群讲德语的移民在现在的斯洛文尼亚建立了一个名为Gottschee的殖民地。第二次世界大战的结果将gottscheer驱逐出斯洛文尼亚,他们被安置在奥地利的难民营。虽然一些戈特舍尔人后来移居到其他欧洲国家,但大量的戈特舍尔人作为难民移民到北美现有的戈特舍尔人或德国人社区,在纽约和克利夫兰等大城市实践文化传统。像其他最初在美国大城市定居的德国移民一样,许多戈特舍尔人在抵达美国后不久或几代人之后,从城市迁出并被同化。事实上,gottscheer是移民到北美的德国人集体同化经历的一个体现。以前,曾经为美国和加拿大社会做出贡献的庞大的德国移民社区几乎都消失了。这项研究调查了Gottscheers如何以及为什么在战前和战后的几年里在美国和加拿大创建了离散的种族社区。它还分析了戈特舍尔社区的现状,以确定为什么戈特舍尔人和他们的后代可能被美国社会同化。
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引用次数: 0
WHO DO WE SEE IN THE PROTAGONIST OF THE CAPTAIN (2017)? 我们在船长(2017)的主角身上看到了谁?
IF 0.2 3区 文学 Q3 Arts and Humanities Pub Date : 2022-08-26 DOI: 10.1111/glal.12359
Jakub Gortat

The Captain (Der Hauptmann), directed by Robert Schwentke, was the German director's first film with a German crew and in his native language since 2003. It was screened in German cinemas in March 2018 and met with a mixed response from the press. In this article I analyse the film, with the main emphasis being on the question of identification with the film and its protagonist. I employ a number of concepts from psychoanalytic film theory to argue that The Captain has the potential to compel its audience to ask questions about human nature, for example, whether war is the only prerequisite for an individual to transform from an ‘ordinary’ person into a villain. Another question is how the audience might react to the presence of motifs which are symbolic representations of Holocaust victims. The use of such images underlines the ruthlessness of the main character of the film and strengthens the contrast between his physical appearance and his hideous crimes.

《船长》由罗伯特·施文特克执导,是这位德国导演自2003年以来第一部由德国摄制组和他的母语制作的电影。该片于2018年3月在德国影院上映,媒体对此反应不一。在这篇文章中,我对这部电影进行了分析,重点是对这部电影及其主人公的认同问题。我采用了精神分析电影理论中的一些概念来论证《队长》有可能迫使观众提出关于人性的问题,例如,战争是否是个人从“普通人”转变为恶棍的唯一先决条件。另一个问题是,观众可能对大屠杀受害者的象征性表现的主题的存在作何反应。这些图像的使用强调了影片主角的冷酷无情,并加强了他的外表和他可怕的罪行之间的对比。
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引用次数: 0
WINNETOU, WHITE INNOCENCE, AND SETTLER TIME 温妮图,白色的纯真,和拓荒者的时光
IF 0.2 3区 文学 Q3 Arts and Humanities Pub Date : 2022-08-24 DOI: 10.1111/glal.12356
Maureen O. Gallagher

Proclaiming ‘every generation has its Winnetou’, German network RTL ushered in the return of Winnetou to German television in 2016 with a big-budget film trilogy, Winnetou – Der Mythos Lebt. This article analyses the Winnetou film trilogy in dialogue with Karl May's original 1893 novels and the 1960s West German westerns using the concepts of settler time and white innocence. It brings a critical focus on race that is lacking in much existing scholarship on May, showing how whiteness functions in the Winnetou franchise as a structuring principle. In the new Winnetou, the blood brotherhood between the white German Old Shatterhand and the Mescalero Apache Winnetou becomes a way of forging connections not only across cultures but across temporal lines, allowing for the imposition of settler time onto Indigenous persons and the erasure of Indigenous sovereignty and survival in order to centre a narrative of German innocence and reinscribe fantasies of white conquest in the American West.

德国RTL电视台宣称“每一代人都有自己的温内图”,并于2016年以一部大制作的电影三部曲《温内图-神话》(Winnetou - Der Mythos Lebt)引领温内图回归德国电视。本文运用移民时代和白人纯真的概念,与卡尔·梅1893年的小说原作和20世纪60年代的西德西片对话,分析了温内图电影三部曲。它带来了对种族问题的批判性关注,这在五月的许多现有学术研究中是缺乏的,它展示了白人是如何在温内图的特权中作为一种结构原则发挥作用的。在新的Winnetou中,德国白人Old Shatterhand和Mescalero Apache Winnetou之间的血缘兄弟关系成为了一种建立联系的方式,不仅跨越了文化,也跨越了时间线,允许将移民时间强加给土著居民,消除土著主权和生存,以德国纯真的叙述为中心,重新描绘白人征服美国西部的幻想。
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引用次数: 0
‘RECLUSION IS NO MORE POSSIBLE WHILE OUR WORLD STANDS IN FLAMES’: EMERGING POLITICAL SUBTEXTS IN THE GENESIS OF STEFAN ZWEIG'S UNGEDULD DES HERZENS “当我们的世界处于火焰之中时,隐居是不可能的”:在斯蒂芬·茨威格的《无名之人》的起源中出现的政治潜台词
IF 0.2 3区 文学 0 LITERATURE, GERMAN, DUTCH, SCANDINAVIAN Pub Date : 2022-08-24 DOI: 10.1111/glal.12354
Stephan Resch

Ungeduld des Herzens (1939) is the only novel published during Stefan Zweig's lifetime. Written between 1936 and 1938, the book's genesis coincided with key events in Austrian and European history, including the mass displacement of Jews from Germany and the ‘Anschluss’ of Austria with Nazi-Germany. A closer inspection of the changes from the first to the tenth and final manuscript version of the novel indicates that Zweig started out with the intention to write a psychological novella about a tragic love story. As work on the text progressed, however, Zweig added characters and plot elements which appear to comment on the political developments of the time. In this article, I will argue that the revisions Zweig made while he was re-writing the novel add an important political subtext that aligns with the ethical objectives of his later exile works.

《无名之人》(1939)是茨威格一生中唯一一部出版的小说。这本书写于1936年至1938年之间,它的起源与奥地利和欧洲历史上的关键事件一致,包括犹太人从德国大规模流离失所,奥地利与纳粹德国的“合并”。仔细观察从第一部到第十部和最后一部手稿版本的变化就会发现,茨威格一开始的意图是写一部关于悲剧爱情故事的心理中篇小说。然而,随着文本工作的进展,茨威格添加了一些人物和情节元素,似乎是在评论当时的政治发展。在这篇文章中,我将论证茨威格在重写小说时所做的修改增加了一个重要的政治潜台词,这与他后来流亡作品的伦理目标一致。
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引用次数: 0
‘ICH HATTE BEFEHLE’: MULTIDIRECTIONAL MEMORY AND THE VIETNAM WAR IN HEYNOWSKI AND SCHEUMANN'S PILOTEN IM PYJAMA (1968)* 我有命令:《越南
IF 0.2 3区 文学 0 LITERATURE, GERMAN, DUTCH, SCANDINAVIAN Pub Date : 2022-08-21 DOI: 10.1111/glal.12357
Lauren Cuthbert

East German documentarians Walter Heynowski and Gerhard Scheumann's four-part documentary Piloten im Pyjama (1968) focuses on interviews with downed US bomber pilots who had been captured by the North Vietnamese Army during the Vietnam War. The documentary draws explicit connections between the American presence in Vietnam and Germany's recent Nazi past, thus creating a memorial link between East German and Vietnamese citizens. This article analyses the connections drawn between Nazism and the Vietnam War throughout the course of the documentary, ultimately arguing that the film is not simply an anti-Western condemnation of imperialism, but also a work of ‘multidirectional memory’ (Rothberg) which creates a space in which questions of responsibility, duty, and guilt can be confronted from the standpoint of a perpetrator collective.

东德纪录片导演Walter Heynowski和Gerhard Scheumann的四集纪录片《穿睡衣的飞行员》(1968)聚焦于对越战期间被北越军队俘虏的被击落的美国轰炸机飞行员的采访。这部纪录片明确地将美国在越南的存在与德国最近的纳粹历史联系起来,从而在东德和越南公民之间建立了一种纪念联系。这篇文章分析了纳粹主义和越南战争之间的联系,在整个纪录片的过程中,最终认为这部电影不仅仅是对帝国主义的反西方谴责,也是一部“多向记忆”的作品(罗斯伯格),它创造了一个空间,在这个空间里,责任、义务和内疚的问题可以从一个肇事者集体的角度来面对。
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引用次数: 0
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GERMAN LIFE AND LETTERS
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