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Journal articles on the topic 'German fiction German literature Exiles in literature'

Author: Grafiati

Published: 4 June 2021

Last updated: 14 February 2022

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1

Jaeckel, Volker. "LOS ALEMANES COMO PERSONAJES LITERARIOS EN LA LITERATURA COLOMBIANA CONTEMPORÁNEA." Anuari de Filologia. Literatures Contemporànies, no. 9 (December 18, 2019): 41–61. http://dx.doi.org/10.1344/aflc2019.9.5.

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This paper will analyze the image of Germans in Colombian literature from the 1970s to the present day. Although the Germans played an important role in the colonization of the Kingdom of New Granada since the 16th century, we detected a greater presence of this figures with a more decisive role in the novels, in the 19th and especially the 20th centuries. Mainly soldiers, exiles, Jews, emigrants and Nazis of German origin left their traces in the literature of the Latin American country. To carry out the analysis we will present and comment on five novels written in the last 40 years focusing on characters of German origin or where Germans as literary figures have an influence on the development of the narrative. Both texts with historical characters and those with fictional characters will be treated.

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2

Ritchie, J. M., and Nicole Brunnhuber. "The Faces of Janus: English-Language Fiction by German-Speaking Exiles in Great Britain, 1933-1945." Modern Language Review 102, no. 1 (January 1, 2007): 283. http://dx.doi.org/10.2307/20467257.

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3

Ruta, Magdalena. "The Gulag of Poets: The Experience of Exile, Forced Labour Camps, and Wandering in the USSR in the Works of Polish-Yiddish Writers (1939–1949)." Scripta Judaica Cracoviensia 18 (2021): 141–62. http://dx.doi.org/10.4467/20843925sj.20.010.13878.

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The literary output of the Polish-Yiddish writers who survived WWII in the Soviet Union is mostly a literary mirror of the times of exile and wartime wandering. The two major themes that reverberate through these writings are: the refugees’ reflection on their stay in the USSR, and the Holocaust of Polish Jews. After the war, some of them described that period in their memoirs and autobiographical fiction, however, due to censorship, such accounts could only be published abroad, following the authors’ emigration from Poland. These writings significantly complement the texts produced during the war, offering plentiful details about life in Poland’s Eastern borderlands under Soviet rule as it was perceived by the refugees, or about the fate of specific persons in the subsequent wartime years. This literature, written in – and about – exile is not only an account of what was happening to Polish-Jewish refugees in the USSR, but also a testimony to their coping with an enormous psychological burden caused by the awareness (or the lack thereof) of the fate of Jews under Nazi German occupation. What emerges from all the literary texts published in post-war Poland, even despite the cuts and omissions caused by (self)-censorship, is an image of a postwar Jewish community affected by deep trauma, hurt and – so it seems – split into two groups: survivors in the East (vicarious witnesses), and survivors in Nazi-occupied Poland (direct victim witnesses). The article discusses on samples the necessity of extending and broadening of that image by adding to the reflection on Holocaust literature (which has been underway for many years) the reflection on the accounts of the experience of exile, Soviet forced labour camps, and wandering in the USSR contained in the entire corpus of literary works and memoirs written by Polish-Yiddish writers.

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4

Keith-Smith, Brian, and J. M. Ritchie. "German Exiles: British Perspectives." Modern Language Review 95, no. 2 (April 2000): 575. http://dx.doi.org/10.2307/3736240.

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5

Goetschel, Willi. "German Exiles in Los Angeles." Germanic Review: Literature, Culture, Theory 95, no. 1 (January 2, 2020): 1–4. http://dx.doi.org/10.1080/00168890.2019.1696481.

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6

Ritchie, J. M., and Gisela Holfter. "German-Speaking Exiles in Ireland 1933-1945." Modern Language Review 102, no. 3 (July 1, 2007): 908. http://dx.doi.org/10.2307/20467519.

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7

Lidtke, Vernon L., Gisela Brude-Firnau, and Karin J. MacHardy. "Fact and Fiction: German History and Literature 1848-1924." German Studies Review 16, no. 2 (May 1993): 370. http://dx.doi.org/10.2307/1431680.

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8

Humble, Malcolm, James Hardin, Wolfgang D. Elfe, and James Hardin. "German Fiction Writers, 1885-1913." Modern Language Review 87, no. 3 (July 1992): 806. http://dx.doi.org/10.2307/3733046.

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9

Werle, Dirk. "Knowledge in Motion between Fiction and Non-Fiction." Daphnis 45, no. 3-4 (July 18, 2017): 563–77. http://dx.doi.org/10.1163/18796583-04503011.

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In epic poems of the seventeenth century written in German about the Thirty Years’ War, knowledge is set in motion, especially in the context of genre change and shifts in the generic tradition as well as in the conflictive area between fiction and non-fiction. The generic adjustments are partially caused by the transfer of a Greek and Latin genre model into German. This is illustrated by two examples, Martin Opitz’s Trost-Getichte in Widerwärtigkeit des Krieges, first published in 1633, and Georg Greflingerʼs Der Deutschen Dreißig-Jähriger Krieg, published in 1657.

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10

Williams, Jessica R. "A Pariah Among Parvenus: Anne Fischer and the Politics of South Africa's New Realism(s)." October 173 (September 2020): 143–75. http://dx.doi.org/10.1162/octo_a_00406.

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While scholars have begun to explore the complex afterlives of “new realism” in Europe and the Americas following the collapse of Weimar democracy, its reception on the African continent has received far less attention. Looking to the unheralded documentary work that Anne Fischer, a German- Jewish refugee to Cape Town, produced in the early years of the Second World War, this essay examines how she and South African contemporary Constance Stuart Larrabee variously employed German modernist photographic aesthetics to both critique and uphold public fictions of race in the decade leading up to the advent of apartheid. In considering these women's work, the text sheds light on how issues of race, class, and gender inflected Fischer's experience of exile and, in turn, how she mobilized her lens in her new colonial context as a young pariah among parvenus

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11

Bayley, Susan. "Fictional German governesses in Edwardian popular culture: English responses to German militarism and modernity." Literature & History 28, no. 2 (September 14, 2019): 194–213. http://dx.doi.org/10.1177/0306197319870372.

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Historians have tended to focus on propaganda when assessing Edwardian attitudes towards Germans, but a shift of focus to fiction reveals a rather different picture. Whereas propaganda created the cliché of ‘the Hun’, fiction produced non- and even counter-stereotypical figures of Germans. An analysis of German governess characters in a selection of short stories, performances, novels, and cartoons indicates that the Edwardian image of Germans was not purely negative but ambivalent and multifarious. Imagined German governesses appeared as patriots and spies, pacifists and warmongers, spinsters and seducers, victims and evil-doers. A close look at characterisations by Saki [H. H. Munro], M. E. Francis [Margaret Blundell], Dorothy Richardson, D. H. Lawrence, Radclyffe Hall, Frank Hart and others reveals not only their variety but also their metaphorical use as responses to Germany’s aggressive militarism and avant-garde modernity. Each governess figure conveyed a positive, negative or ambivalent message about the potential impact of German militarism and modernity on England and Englishness. The aggregate image of German governesses, and by inference Germans, was therefore equivocal and demonstrates the mixed feelings of Edwardians toward their ‘cousin’ country.

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12

Wallace, Ian, and Volkmar Zühlsdorff. "Hitler's Exiles: The German Cultural Resistance in America and Europe." Modern Language Review 101, no. 4 (October 1, 2006): 1182. http://dx.doi.org/10.2307/20467131.

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13

Rash, Felicity. "Language-use as a theme in German-language Swiss literature." Language and Literature: International Journal of Stylistics 9, no. 4 (November 2000): 317–41. http://dx.doi.org/10.1177/096394700000900402.

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This article explores the treatment of the theme of language-use in germanophone Swiss fiction.1 I aim to show that the frequency with which this theme manifests itself in literature reflects a widespread interest in linguistic issues on the part of the German-speaking Swiss. The views on language expressed by literary characters discussed in this article are, in fact, no different from those voiced by the real-life Swiss - and most Swiss fiction is about Swiss characters. That the germanophone Swiss give so much attention to linguistic issues testifies to their sensitivity to the social function of language-use as well as to their respect for tradition. The ability to use language according to prescribed conventions is seen as more than merely desirable; it is recognized as a vital requirement of social cohesion and national identity. I conclude that the Swiss preoccupation with language has a political dimension. The unique linguistic situation of German-speaking Switzerland - that of a diglossic German-language community within a multilingual nation - is used by the germanophone Swiss as a means of asserting their individuality among other German-speaking populations.

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14

Poor, Sara S. "The Fuss about Fiction: A View from Medieval German Studies." New Literary History 51, no. 1 (2020): 243–47. http://dx.doi.org/10.1353/nlh.2020.0013.

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15

Wiegmink, Pia. "Antislavery discourses in nineteenth-century German American women’s fiction." Atlantic Studies 14, no. 4 (September 29, 2017): 476–96. http://dx.doi.org/10.1080/14788810.2017.1314433.

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16

Kuzmic, Tatiana. "“The German, the Sclave, and the Semite”." Nineteenth-Century Literature 68, no. 4 (March 1, 2014): 513–41. http://dx.doi.org/10.1525/ncl.2014.68.4.513.

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This essay contributes to George Eliot scholarship by examining the author’s interest in Eastern Europe, which spanned the length of her literary career, and its portrayal in her fiction. It situates Eliot’s Eastern European characters—from the minor ones, such as Countess Czerlaski’s late husband in “The Sad Fortunes of the Rev. Amos Barton” (1857), to major protagonists, such as Will Ladislaw of Middlemarch (1871–72)—in the context of England’s policy toward Poland vis-à-vis Russia during the course of the nineteenth century. The international political backdrop is especially useful in illuminating the Polish aspect of Middlemarch, whose publication date and the time period the novel covers (1829–32) happen to coincide with or shortly follow the two major insurrections Poland launched against Russia. Drawing on Eliot’s interactions with Slavic Jews in Germany, the essay shows how the creation of Will Ladislaw and his reprisal in the character of Herr Klesmer in Daniel Deronda (1876) serves the purposes of Eliot’s imagined cure for English insularity.

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17

Grenville, Anthony, Richard Dove, Karl Otten, and Richard Dove. "Journey of No Return: Five German-Speaking Literary Exiles in Britain, 1933-1945." Modern Language Review 98, no. 2 (April 2003): 515. http://dx.doi.org/10.2307/3737900.

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18

Paul, Georgina, and Stephanie Bird. "Recasting Historical Women: Female Identity in German Biographical Fiction." Modern Language Review 96, no. 2 (April 2001): 583. http://dx.doi.org/10.2307/3737466.

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19

Durrani, Osman, and Patrick O'Neill. "Acts of Narrative: Textual Strategies in Modern German Fiction." Modern Language Review 93, no. 4 (October 1998): 1176. http://dx.doi.org/10.2307/3736357.

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20

Cornils, Ingo. "Long Memories: The German Student Movement in Recent Fiction." German Life and Letters 56, no. 1 (January 2003): 89–101. http://dx.doi.org/10.1111/1468-0483.00245.

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21

Ringmayr, Thomas, and Patrick O'Neill. "Acts of Narrative: Textual Strategies in Modern German Fiction." German Quarterly 70, no. 4 (1997): 433. http://dx.doi.org/10.2307/408101.

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22

Tsagareli, Levan. "Remythisierung des Nationalen. Grigol Robakidses Die Hüter des Grals als Gedächtnisroman." arcadia 54, no. 1 (May 31, 2019): 22–46. http://dx.doi.org/10.1515/arcadia-2019-0005.

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Abstract The exile in Germany allowed the Georgian writer Grigol Robakidse to re-work national myths and history more freely. Hence it appears legitimate to read Robakidse’s novel Die Hüter des Grals that was written and published during his exile period as a fiction of memory. The text aims to counteract social oblivion and to prevent the loss of the Georgian identity. Recalling the national past becomes an act of resistance against Soviet rulers and is determined to serve as a weapon against suppression. To do so, the novel allocates the entire storyline to a mythically determined framework that is designed as a fusion of the Georgian and European mythologems, thus demonstrating the proximity of the corresponding cultural traditions. By staging a fight between various interpretations of the past, it not only (re)constructs but also remythologizes the national identity and attaches to it a universal significance. The characters and spaces of the novel are configured in a way that the Georgian (and the congruent Occidental) self-image is represented as sacred, whereas the intracultural (Bolshevist) hetero-image undergoes demonization. According to the conception of the text, a special cultural mission is assigned to Georgia as a country that is able to fulfill the role of a guardian of the Occident’s spirit, its past, and its values.

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23

Taylor, Antony. "‘At the Mercy of the German Eagle’." Critical Survey 32, no. 1-2 (June 1, 2020): 59–78. http://dx.doi.org/10.3167/cs.2019.112603.

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In the years before 1914 the novels of William Le Queux provided a catalyst for British debates about the economic, military and political failures of the empire and featured plots that embodied fears about new national and imperial rivals. For Le Queux, the capture of London was integral to German military occupation. Representative of the nation’s will to resist, or its inability to withstand attack, the vitality of London was always at issue in his novels. Drawing on contemporary fears about the capital and its decay, this article considers the moral panics about London and Londoners and their relationship to Britain’s martial decline reflected in his stories. Engaging with images of anarchist and foreign terrorism, and drawing on fears of covert espionage rings operating in government circles, this article probes the ways in which Le Queux’s fiction expressed concerns about London as a degenerate metropolis in the process of social and moral collapse.

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24

Werle, Dirk, and Uwe Maximilian Korn. "Telling the Truth: Fictionality and Epic in Seventeenth-Century German Literature." Journal of Literary Theory 14, no. 2 (September 25, 2020): 241–59. http://dx.doi.org/10.1515/jlt-2020-2006.

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AbstractResearch on the history of fiction of the early modern period has up to now taken primarily the novel into consideration and paralleled the rise of the novel as the leading genre of narrative literature with the development of the modern consciousness of fictionality. In the present essay, we argue that contemporary reflections on fictionality in epic poetry, specifically, the carmen heroicum, must be taken into account to better understand the history of fiction from the seventeenth century onwards. The carmen heroicum, in the seventeenth century, is the leading narrative genre of contemporary poetics and as such often commented on in contexts involving questions of fictionality and the relationship between literature and truth, both in poetic treatises and in the poems themselves. To reconstruct a historical understanding of fictionality, the genre of the epic poem must therefore be taken into account.The carmen heroicum was the central narrative genre in antiquity, in the sixteenth century in Italy and France, and still in the seventeenth century in Germany and England. Martin Opitz, in his ground-breaking poetic treatise, the Buch von der Deutschen Poeterey (1624), counts the carmen heroicum among the most important poetic genres; but for poetry written in German, he cites just one example of the genre, a text he wrote himself. The genre of the novel is not mentioned at all among the poetic genres in Opitz’ treatise. Many other German poetic treatises of the seventeenth century mention the importance of the carmen heroicum, but they, too, provide only few examples of the genre, even though there were many Latin and German-language epic poems in the long seventeenth century. For Opitz, a carmen heroicum has to be distinguished from a work of history insofar as its author is allowed to add fictional embellishments to the ›true core‹ of the poem. Nevertheless, the epic poet is, according to Opitz, still bound to the truthfulness of his narrative.Shortly before the publication of Opitz’ book, Diederich von dem Werder translated Torquato Tasso’s epic poem Gerusalemme liberata (1580); his translation uses alexandrine verse, which had recently become widely successful in Germany, especially for epic poems. Von dem Werder exactly reproduces Tasso’s rhyming scheme and stanza form. He also supplies the text with several peritexts. In a preface, he assures the reader that, despite the description of unusual martial events and supernatural beings, his text can be considered poetry. In a historiographical introduction, he then describes the course of the First Crusade; however, he does not elaborate about the plot of the verse epic. In a preceding epyllion – also written in alexandrine verse – von dem Werder then poetically demonstrates how the poetry of a Christian poet differs from ancient models. All these efforts can be seen as parts of the attempt to legitimate the translation of fictional narrative in German poetry and poetics. Opitz and von dem Werder independently describe problems of contemporary literature in the 1620s using the example of the carmen heroicum. Both authors translate novels into German, too; but there are no poetological considerations in the prefaces of the novels that can be compared to those in the carmina heroica.Poetics following the model established by Opitz develop genre systems in which the carmen heroicum is given an important place, too; for example, in Balthasar Kindermann’s Der Deutsche Poet (1664), Sigmund von Birken’s Teutsche Rede- bind- und Dicht-Kunst (1679), and Daniel Georg Morhof’s Unterricht von der Teutschen Sprache und Poesie (1682). Of particular interest for the history of fictionality is Albrecht Christian Rotth’s Vollständige Deutsche Poesie (1688). When elaborating on the carmen heroicum, Rotth gives the word ›fiction‹ a positive terminological value and he treats questions of fictionality extensively. Rotth combines two contradictory statements, namely that a carmen heroicum is a poem and therefore invented and that a carmen heroicum contains important truths and is therefore true. He further develops the idea of the ›truthful core‹ around which poetic inventions are laid. With an extended exegesis of Homer’s Odyssey, he then illustrates what it means precisely to separate the ›core‹ and the poetic embellishments in a poem. All these efforts can be seen as parts of the attempt to legitimize a poem that tells the truth in a fictional mode.The paper argues that a history of fictionality must be a history that carefully reconstructs the various and specifically changing constellations of problems concerning how the phenomenon of fictionality may be interpreted in certain historical contexts. Relevant problems to which reflections on fictionality in seventeenth-century poetics of the epic poem and in paratexts to epic poems react are, on the one hand, the question of how the genre traditionally occupying the highest rank in genre taxonomy, the epic, can be adequately transformed in the German language, and, on the other hand, the question of how a poetic text can contain truths even if it is invented.

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25

Chambers, Helen, and Anna Richards. "The Wasting Heroine in German Fiction by Women, 1770-1914." Modern Language Review 101, no. 2 (April 1, 2006): 573. http://dx.doi.org/10.2307/20466862.

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26

Lu, Yixu. "German Colonial Fiction on China: The Boxer Uprising of 1900." German Life and Letters 59, no. 1 (January 2006): 78–100. http://dx.doi.org/10.1111/j.0016-8777.2005.00336.x.

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27

HUMBLE, MALCOLM. "ANTI-NAZI SATIRE BY GERMAN SPEAKING EXILES: DEVELOPING STRATEGIES IN THE PRACTICE OF A PROBLEMATIC GENTRE." Forum for Modern Language Studies XXX, no. 4 (1994): 353–64. http://dx.doi.org/10.1093/fmls/xxx.4.353.

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28

Holub, Robert C., and Eric Downing. "Double Exposures: Repetition and Realism in Nineteenth-Century German Fiction." German Quarterly 75, no. 3 (2002): 312. http://dx.doi.org/10.2307/3072715.

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29

Schainker, Ellie R. "Banning Jewish “Extremist” Literature in Russia: Conversion and Toleration in Historical Perspective." Soviet and Post-Soviet Review 46, no. 2 (April 23, 2019): 187–210. http://dx.doi.org/10.1163/18763324-04602005.

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In 2017, Russia’s Ministry of Justice banned a nineteenth-century book written by the German rabbi Markus Lehmann, labeling it extremist literature. This article places current Russian efforts to stamp out religious extremism in a broader historical context of imperial productions of tolerance and intolerance and the impact on religious minorities. It examines the case of Jews in the Russian Empire and post-Soviet Russia through the lens of religious conversion, forced baptisms, and freedom of conscience in the realm of apostasy. Lehmann’s book, characteristic of nineteenth-century Orthodox Jewish historical fiction in German, used the historical memory of forced conversions of Jews in medieval and early modern Europe to forge a new path to integration in tolerant, Protestant environs. This article offers a historical and literary reading of Lehmann’s banned book against the longer arc of imperial Russian toleration and conservative appropriations of toleration for discrimination against minorities.

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30

Schuchalter, Jerry. "'Mein Eden, lieber Sigismund, öffnet seine Pforten nicht in Amerika': dissenting Jewish images in German popular fiction." Nordisk Judaistik/Scandinavian Jewish Studies 12, no. 2 (September 1, 1991): 100–115. http://dx.doi.org/10.30752/nj.69488.

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Germanists in the post-holocaust era have assiduously searched the canon of German literature for other images besides the conventional demonization of the Jew. The legacy of Gustav Freytag’s Veitel Itzig and Wilhelm Raabe’s Moses Freudenstein – two of the most famous of such demonizations – however, remain representative figures for the image of the Jew in 19th century German fiction, although in both novels, other Jewish figures appear which reveal further aspects of anti-Semitic stereotyping.

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31

Holman, Brett. "William Le Queux, the Zeppelin Menace and the Invisible Hand." Critical Survey 32, no. 1-2 (June 1, 2020): 99–118. http://dx.doi.org/10.3167/cs.2019.112605.

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In contrast to William Le Queux’s pre-1914 novels about German spies and invasion, his wartime writing is much less well known. Analysis of a number of his works, predominantly non-fictional, written between 1914 and 1918 shows that he modified his perception of the threat posed by Germany in two ways. Firstly, because of the lack of a German naval invasion, he began to emphasise the more plausible danger of aerial attack. Secondly, because of the incompetent handling of the British war effort, he began to believe that an ‘Invisible Hand’ was responsible, consisting primarily of naturalised Germans. Switching form from fiction to non-fiction made his writing more persuasive, but he was not able to sustain this and he ended the war with less influence than he began it.

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32

Splitter, Wolfgang. "The Fact and Fiction of Cotton Mather's Correspondence with German Pietist August Hermann Francke." New England Quarterly 83, no. 1 (March 2010): 102–22. http://dx.doi.org/10.1162/tneq.2010.83.1.102.

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Carefully reevaluating the available sources, this essay sheds new light on Cotton Mather's correspondence with German Pietist August Hermann Francke. Far from being a model of early modern cross-Atlantic intellectual exchange, theirs was just an intermittent, limited contact that, for many reasons, failed to grow into a mutually stimulating discourse.

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33

Veisbergs, Andrejs. "TRANSLATION POLICIES IN LATVIA DURING THE GERMAN OCCUPATION." Vertimo studijos 7, no. 7 (April 5, 2017): 31. http://dx.doi.org/10.15388/vertstud.2014.7.10529.

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The period of German occupation in Latvia came after twenty years of Latvian independence and a year of Soviet occupation. The shifts in the translation policies at these critical junctions were incredibly fast. The independence period was marked by a developed translation industry, a variety of the source languages, a variety of kinds of literature, with a broad scope in the quality of the translations. When the Soviets came, they quickly nationalized the publishers, ideologised the system and reshaped the pattern of what was translated. Russian was made the main source language, and other languages were minimized. The share of ideological literature grew exponentially, reaching one third of all books. Soon after the German invasion, the publishers regained their printing houses and publishing was renewed. The percentage of translations was similar to that of the independence period, with German literature making up 70% of the source texts. Most of the other source texts were Nordic and Estonian. Translation quality of fiction was generally high and the print runs grew. There are surprisingly few ideologically motivated translations. The official policies of the regime as regards publishing in Latvia appear to be uncoordinated and vague, with occasional decisions taken by “gate-keepers” in the Ostministerium and other authorities according to their own preferences. There was a nominal pre-censorship, but the publishers were expected to know and sense what was acceptable. In turn the latter played it safe, sticking to classical and serious works to translate and publish. Some high class translations of Latvian classics into German were also published during the period.

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Giles, Paul. "American Literature in English Translation: Denise Levertov and Others." PMLA/Publications of the Modern Language Association of America 119, no. 1 (January 2004): 31–41. http://dx.doi.org/10.1632/003081204x22864.

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The theory of exile as a form of intellectual empowerment strongly influenced writers of the Romantic and modernist periods, when major figures from Byron to James Joyce and Samuel Beckett sought to take advantage of a dissociation from native customs to embrace the authenticity of their art. More recently, however, displacement from indigenous cultures has become such a commonplace that it appears difficult to credit the process of migration with any special qualities of critical insight. Nevertheless, literary scholarship remains to some degree in the shadow of the idealization of “exiles and émigrés” that ran through the twentieth century. Edward Said, a Palestinian in the United States, consistently linked his “politics of knowledge” with a principled alienation from “corporations of possession, appropriation, and power,” while looking back to the exiled German scholar of comparative literature Erich Auerbach as a model for transcending “the restraints of imperial or national or provincial limits” (Culture 335). Julia Kristeva, a Bulgarian in France, associated a similar perspective of estrangement with Christian narratives of exile and purification, along with their negative correlatives, psychological traumas of disinheritance and depression; but she also attributed to the foreign writer a levitating condition of “weightlessness”: “since he belongs to nothing the foreigner can feel as appertaining to everything, to the entire tradition” (32).

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35

Kivrak. "Unburdening the Past: Transhistorical Representations of Complicity in Contemporary Turkish-German Fiction and Film." Comparative Literature Studies 56, no. 4 (2019): 827. http://dx.doi.org/10.5325/complitstudies.56.4.0827.

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36

Sutton, Kim Maya, and Ina Paulfeuerborn. "The Influence of Book Blogs on the Buying Decisions of German Readers." Logos 28, no. 1 (June 8, 2017): 45–52. http://dx.doi.org/10.1163/1878-4712-11112124.

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In October 2014, over 200 million blogs were registered on the platform Tumblr alone. In 2015, hundreds of book blogs in the blogosphere concentrated on literature and published reviews, cover designs, direct insights from publishers, author interviews, and competitions. Based on the research question ‘Do literature blogs have an influence on the buying decisions of readers?’ quantitative research was carried out in Germany at the beginning of 2016. The focus of the research was book blogs targeting readers of light fiction. A survey was sent to online portals, such as Lovelybooks, and thereby distributed to readers. Literature bloggers were also asked to participate by forwarding the survey to their followers. The survey gives insight into readers’ motivation to visit literature blogs. Furthermore, it highlights what kind of information readers want to find on such blogs, and how blogs can influence readers’ buying behaviour. The findings of the survey are compared with a model for buying decisions. The findings will be helpful for publishers, self-publishers, book trade, and bloggers. The most obvious limitation of the survey is the geographic limitation to Germany and its book market; however, the survey could easily be translated and extended to include other markets.

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37

Hutchinson, Ben, and Chloe Paver. "Refractions of the Third Reich in German and Austrian Fiction and Film." Modern Language Review 103, no. 3 (July 1, 2008): 904. http://dx.doi.org/10.2307/20467999.

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38

Swales, Martin. ""Neglecting the Weight of the Elephant...": German Prose Fiction and European Realism." Modern Language Review 83, no. 4 (October 1988): 882. http://dx.doi.org/10.2307/3730902.

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Svoboda, Manuela, and Petra Zagar-Sostaric. "How much Artistic Freedom is permitted when it comes to Language? - Analysis of a Crime Novel." European Journal of Social Science Education and Research 5, no. 2 (August 1, 2018): 50–60. http://dx.doi.org/10.2478/ejser-2018-0033.

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Abstract In this article a closer look will be taken at the issue of inaccurately using a foreign language, i.e. German in this particular case, in a crime novel or thriller. Of course, in fiction the author has complete artistic freedom to invent and present things as he/she intends and it doesn`t necessarily have to be realistic or legitimate. But what happens when it comes to an existing language being quoted in fiction? For this purpose David Thomas’ thriller “Blood Relative - How well do you know the one you love?” is analysed regarding parts in which German quotes are used. As the plot is located partly in England and partly in former East Germany (GDR) and the protagonist’s wife is of German origin, direct speech, titles and names are used in German. Subsequently, they are translated into English by the author in order to be understood by the English reader. However, there are many grammar, spelling and semantic mistakes in these German expressions and common small talk quotes. This begs the question, is it justified to disregard linguistic correctness with regards to artistic freedom given the fact that we are dealing with a fictional thriller, or is it nevertheless necessary to be precise concerning foreign language usage? How far may one “test” their artistic freedom in this particular case? In order to answer these questions a detailed analysis of the thriller is performed, concerning artistic freedom and modern literature/light fiction as well as the German language used in quotes and direct speech.

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Young, Victoria. "Beyond “Transborder”: Tawada Yōko’s Vision of Another World Literature." Japanese Language and Literature 55, no. 1 (April 21, 2021): 1–33. http://dx.doi.org/10.5195/jll.2021.181.

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This article presents a critical examination of “transborder” literary approaches that seek to renegotiate the position of Japanese fiction within the world. The concept of transborder fiction has emerged in recent decades as a means of breaking down the boundaries of Japanese literature that assume agreement between the nationality of a writer and the language of her text. However, as it takes its cues from David Damrosch’s influential study of 2003, What is World Literature?, which suggests that literature gains in value in translation, transborder literature betrays its desires to promote Japan’s national literature in a globalising literary context. This more critical view reveals that despite their calls for greater literary diversity, transborder approaches exhibit problematic tendencies that threaten to erase the multiple flows of language and intertextuality already extant within modern Japanese fiction and turn its eye away from history. This critique is focalised through the writing of Tawada Yōko, whose prolific output of literary works and essays in Japanese and German appear to epitomise the image of transborder writing, and yet which frequently challenge these assumptions. Both the book-length essay Exophony (2003) and the Japanese novel Tabi o suru hadaka no me (2004) offer prescient critiques rooted in history that expose moments of rupture, asymmetry and untranslatability, which an emphasis on border crossings threatens to overlook. However, by choosing to peer through those gaps, guided by the latter’s Vietnamese narrator, these texts also incite hitherto unseen connections between Tawada’s Japanese fiction and the world.

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Klocke, Sonja E. "Suicide in East German Literature: Fiction, Rhetoric, and the Self-Destruction of Literary Heritage by Robert Blankenship." German Studies Review 41, no. 3 (2018): 650–51. http://dx.doi.org/10.1353/gsr.2018.0115.

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Katharina Hall. "The “Nazi Detective” as Provider of Justice in Post-1990 British and German Crime Fiction:." Comparative Literature Studies 50, no. 2 (2013): 288. http://dx.doi.org/10.5325/complitstudies.50.2.0288.

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Victor-Englander, Deborah, Marian Malet, and Anthony Grenville. "Changing Countries: The Experience and Achievement of German-Speaking Exiles from Hitler in Britain from 1933 to Today." Modern Language Review 99, no. 2 (April 2004): 544. http://dx.doi.org/10.2307/3738838.

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Gáldy, Andrea M. "Forgery, Replica, Fiction: Temporalities of German Renaissance Art- by Christopher S. Wood." Renaissance Studies 23, no. 3 (June 2009): 398–400. http://dx.doi.org/10.1111/j.1477-4658.2009.00568.x.

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45

Barrale, Natascia. "Foreign literature as poison: (self-)censorship in the translation of German popular fiction in Italy during the 1930s." Perspectives 26, no. 6 (June 10, 2018): 852–67. http://dx.doi.org/10.1080/0907676x.2018.1444070.

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Tate, Dennis. "Book Review: Robert Blankenship: Suicide in East German Literature: Fiction, Rhetoric, and the Self-Destruction of Literary Heritage." Journal of European Studies 48, no. 1 (February 27, 2018): 103–4. http://dx.doi.org/10.1177/0047244118756213r.

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47

Belarev, Alexander. "Scientific tales by Kurd Lasswitz: between literature, science and philosophy." Children's Readings: Studies in Children's Literature 19, no. 1 (2021): 152–67. http://dx.doi.org/10.31860/2304-5817-2021-1-19-152-167.

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The article deals with the works of German science fiction writer Kurd Lasswitz (1848–1910). The article provides a brief description of the main themes and directions of the writer’s work. Lasswitz was the creator of the scientific tale genre (das wissenschaftliche Märchen), in which he had set the task of building new relationships between science and literature, nature and man, the animate particle and the cosmic whole. In accordance with the spirit of the fin de siècle era the scientific tale represented a new, post-positivist ideal of knowledge. The key theme of Lasswitz’s fiction was the search for extraterrestrial civilizations.Mars became for Lasswitz a place where the intelligent extraterrestrial beings have realized an ideal society in which ethics and technology are NOT in conflict. Lasswitz was not a neo-Kantian philosopher only, he was also an active popularizer of Kant’s philosophy. He was striving to create a Kantian utopia in literature. For Lasswitz Mars became the realization of this utopia. Also Lasswitz sought to give literary embodiment to the ideas of another philosopher, Gustav Theodor Fechner. Following his philosophy, Lasswitz develops environmental and existential issues of the coexistence of intelligent plants with humans. In Lasswitz’ story for children “The Escaped Flower” (1910), one can trace how in Lasswitz’ science fiction (scientific tale) the themes of the habitability of space (Mars), science and technology of the future interact with the ideas of Kant and Fechner.

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Slofstra, B. "O sjorem magaaije! Fiktyf Joadsk etnolekt yn ‘e Fryske literatuer." Us Wurk 69, no. 1-2 (August 1, 2020): 38–72. http://dx.doi.org/10.21827/5d4811aa0744f.

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In the past, Westerlauwers Friesland was already inhabited by a multilingual population, including speakers of local Frisian and non-Frisian vernaculars, the Dutch standard language and etnolects of foreign origin like those of German harvesters and Jewish merchants.In the past, Westerlauwers Friesland was already inhabited by a multilingual population, including speakers of local Frisian and non-Frisian vernaculars, the Dutch standard language and etnolects of foreign origin like those of German harvesters and Jewish merchants. Frisian literature reflects this multilingual situation to some extent. The details of it have yet to be studied in a systematic way, however. This case-study exemplifies how Jews were characterized in Frisian literature, especially drama. It turns out that the stereotypical Jewish character is presented as speaking a variety of artificial and real languages. This study sheds some light on the question of how literature relates to reality, prejudice and language. It is argued that Frisian literature and multilingualism interconnect, the former existing in a multilingual reality, the latter being creatively manipulated by literary fiction.

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Morawiec, Arkadiusz. "Polish Literature and the Extermination of the Soviet Prisoners of War." Narracje o Zagładzie, no. 6 (November 21, 2020): 115–39. http://dx.doi.org/10.31261/noz.2020.06.07.

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The article addresses the motif (and theme) of the Soviet prisoners of war in Polish literature. It presents historical facts which have inspired literary representations ofevents concerning the complex fates of the Soviet POWs both during the German-Soviet war (1941–1945) and after it came to its end. It also offers a discussion on the political and ideological determinants of the literary portrayal of the prisoner of war. Texts subjected to analyses include both works of fiction and memoirs, such as, among others, Igor Newerly’s Chłopiec z Salskich Stepów (The boy from the Steppes of the Sal), Seweryna Szmaglewska’s “Zagrycha” (The snack), or Wiesław Kielar’s Anus Mundi. 1,500 Days in Auschwitz/Birkenau. Particular attention is given to Wisława Szymborska’s poem “The Hunger Camp at Jasło” (“Obóz głodowy pod Jasłem”).

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Brinson, Charmian. "The Gestapo and the German Political Exiles in Britain during the 1930s: The Case of Hans Wesemann - and Others." German Life and Letters 51, no. 1 (January 1998): 43–64. http://dx.doi.org/10.1111/1468-0483.00084.

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