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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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De Vos, Laurens. "A Tale of Truth." Theater 51, no. 2 (May 1, 2021): 74–83. http://dx.doi.org/10.1215/01610775-8920538.
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Laurens De Vos examines the ways in which director Milo Rau incorporates the poetic and aesthetic techniques of alienation theorized and pioneered by German director Bertolt Brecht for purposes similar to but distinct from Brecht’s. Like Brecht, De Vos argues, Rau exploits the “cesura between actor and character” to highlight the nature of the theatrical event for purposes that are largely social, drawing attention to systems of power, privilege, and violence. De Vos posits that unlike Brecht, however, Rau does not use these techniques to draw attention to the constructedness of the theatrical event—instead, Rau seeks to make the representation itself real, blurring the line between fiction and reality to trouble and implicate the audience.
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Lukas, Katarzyna. "Schulzowska „teoria obrazu” w interpretacji Anny Juraschek." Schulz/Forum, no. 15 (September 24, 2020): 231–40. http://dx.doi.org/10.26881/sf.2020.15.14.
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The article is a review of and a discussion with the recent monograph by Anna Juraschek, Die Rettung des Bildes im Wort. Bruno Schulz’ Bild-Idee in seinem prosaischen und bildnerischen Werk, Göttingen 2016. Juraschek has put forward the following thesis: alongside his own specific philosophy of language expressed in his narrative works and essays, Bruno Schulz also suggests a particular philosophy of image/picture, which he develops in his visual art. This “program” is not specified and may be reconstructed only by interpreting his graphic works; it is, however, corroborated by the poetics of Schulz’ stories. Juraschek regards the “word” and the “image” in Schulz as artistic entities, and emphasizes the visual nature of his fiction and the narrative qualities of his graphic works. She points at Schulz’s crossing of the boundaries between different arts and claims that the writer criticizes the very notion of mimesis (a statement that, according to the reviewer, may be questioned). Juraschek tries to reconstruct the main sources inspiring Schulz’s idea of image/picture: the classic European painting, German literature (i.e. Leopold von Sacher-Masoch and Joseph von Eichendorff), as well as German philosophers and cultural critics such as Walter Benjamin. According to the reviewer, there are three points that Juraschek’s study can contribute to Schulz studies. First, the German scholar succeeds in systematizing different kinds of verbo-visual relations and interactions in Schulz’s oeuvre. Second, she fully appreciates his graphic work which thus far seems to have been undervalued, especially by Polish scholars. Last but not least, Juraschek brings to the fore some striking affinities between the ideas of Schulz and those of Walter Benjamin. As a possible background of interpreting Schulz, the philosophical writings of Benjamin are a context which certainly deserves more investigation.
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Groeben, Norbert. "Biographische Real-Fiktion als Paradigma narrativer Erklärung." Journal of Literary Theory 14, no. 2 (September 25, 2020): 287–310. http://dx.doi.org/10.1515/jlt-2020-2008.
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AbstractThe two categories of »fiction« and »non-fiction« are most often conceived of – and treated as – disjointed and separate, not only in common sense but also in literary studies. This does not adequately reflect, however, the developmental trajectory of the non-fiction genre over the course of the twentieth century. After all, the popularization of expert knowledge has increasingly been effected with the help of narrative strategies which raise one crucial question: Just how much fiction can the factual nature – the dependence on facts – of non-fiction tolerate? However, as the more precise definition of the pertinent term, »fiction«, indicates, a distinction must be made between »fictionality«, on the one hand, and »fictivity«, on the other. »Fictionality«, that is to say, refers to narrative strategiesanalogous tothose of fiction, but which relate to historical facts. »Fictivity«, by contrast, refers to the representation of fictitious content. More precisely, then, the question is this: Just what degree of fictivity can the factuality of non-fiction writing tolerate? Since this question cannot be answered constructively from a quantitative but only from a qualitative point of view, we are faced with the ultimately crucial question: Just what kind of fictivity can the factuality of non-fiction tolerate?In trying to answer that question, it seems advisable to start from the structure of deductive-nomological explanation, in which a given phenomenon – the explanandum – is explained by deducing its description from regularities plus the antecedent conditions contained in them (the explanans). In the case of historical explanation, in particular, historical facts most often form the explanandum, while the antecedent conditions of the potentially explanatory regularity (i. e., of the explanans) are not historically documented. Even more specifically, the genre of biography presents a paradigmatic case of such historical explanations falling within the purview of literary studies as well. Not uncommonly, attempts to arrive at a coherent, psychologically convincing biographical portrayal are met with the problem that historically documented life events can be explained – as to their genesis or »coming about« – only by reference to ultimately fictitious – or, to take up the distinction introduced above, to ultimately fictive – assumptions regarding antecedent conditions. Literary biography may, therefore, be said to realize the desired combination of fictivity and factuality in the best possible way: namely, as fictivity in the service of factuality.To find a paradigmatic example of such a combination, one need look no further than the biography of the German chemist Clara Immerwahr, wife of the professor of chemistry, Dr. Fritz Haber, who during the First World War was in charge of German efforts to develop and deploy chemical combat agents such as poison gases. Clara Immerwahr demonstrably saw her husband’s work as a perversion of science but was completely isolated and powerless in her protest against it. Her suicide after the German gas attacks at Ypres in April and May 1915 may therefore be understood as a final and ultimate protest (attempt). There is no clear evidence for this, however, since Immerwahr’s farewell letters no longer exist. Accordingly, the path leading towards her decision to end her life has to be reconstructed using fictive assumptions (about decisive life events). This implies the following, central hypothesis: »Once a person breaks away from a religiously motivated rejection of suicide as an inadmissible interference in God’s plan, that person will, in a situation of hopeless, existential, despair, commit suicide.« In the example of a literary biography presented here, Immerwahr’s reaction to the papal encyclical of 1910 is posited as a fictive antecedent condition, for which no historical record exists. In particular, this involves the question whether Immerwahr was prompted by that experience to establish, in her own mind, the precedence of a scientific-humanistic ethos over any kind of religious ideology. That she did come to rank a scientist’s morality of a shared humanity more highly than religious dogma – particularly where self-determination over one’s own life (and the end of one’s own life) was concerned –, is, however, a highly probable developmental condition of her life story, considering its actual culmination in a highly demonstrative suicide.On the basis of this exemplary piece of biographical writing, the connection of fictivity and factuality may be considered in terms of its fundamental structures, and may be revealed as really a case of fictivity in the service of factuality. In fact, we are looking at an explanation of the »how it was possible that« type, in which the explanandum is a confirmed (historical) fact, while the antecedent condition of the explanatory regularity can only be postulated as a psychologically plausible, hermeneutically intelligible life event. It is this combination of factual effects (hence explained) and fictive conditions (thus explaining), or, otherwise put, of historical factuality and (psychologically) probable fictivity, which is meant to be captured by the term »real fiction«.Biography as a genre is particularly suitable for the elaboration of this concept of »real fiction«, because it has been seen as »fundamentally caught between facts and fiction« – between factuality and fictivity – for quite some time now. To justify the introduction of a new genre, however, the level of detail chosen must be such that it, on the one hand, allows us to apprehend the differences, in terms of literary theory, between this new model and other, established models of factuality, while at the same time giving a nuanced, structured account – one that meets the requirements of the philosophy of science– of how precisely fictivity might be said to be »in the service of factuality«. With regard to genre concepts already established in literary theory, one will have to consider the historical novel and the writing of the New Objectivity movement as well as documentary literature. In the case of the historical novel, writers’ »fictivity leeway« is much greater, since there is no requirement for a strict coherence with concrete factual explananda. As an antithesis to this, consider the writing of the New Objectivists, which is characterised by a predominance of factuality which is accompanied by a wholesale – if overgeneralised – rejection of aesthetic concerns and the demand for an unreserved critique of society and ideology. This same anti-ideological impulse also characterises documentary literature, in which the preferred narrative strategies are even fewer (being restricted to the modes of reportage, montage, etc.). The genre of »real fiction«, by contrast, is much more open and flexible, both in terms of (theoretical) content and narrative strategies. In return, however, it places significantly higher demands on the structural relation between fiction and factuality, insofar as an explanation of relevant historical facts has to be given. Thus, the concept of »real fiction« is characterised by a combination of openness (regarding its possible topics and content) with a formally concise explanatory structure. This is how »real fiction« particularizes the fictive in the service of the factual.In the end, »real fiction« can be explicated as a form of narrative explanation in the sense proposed by Danto. It is concerned with the historical explanation of developments – and in the case of biography, more specifically, with the explanatory reconstruction of a life story in ontogenetic terms. Thus, the reconstruction of fictive life events in the form of a narrative does indeed provide a causal explanation, but it does so employing narrative strategies. This permits an epistemological differentiation between »real fiction« and both explanatory narration and thought experiments, at the same time effecting a marked pragmatization (through recourse to the criterion of relevance) and a heightened flexibility of narrative strategies available. If one conceives of the combination of fictivity and narration as the source of literariness, we are ultimately confronted with a synthesis of (literary) art and science, of scientificity and literariness. Being, in the memorable phrase of Wilhelm Dilthey, a wissenschaftliches Kunstwerk (i. e., a »scientific« or »scholarly work of art«), »real fiction« is both: literature striving for the highest standards of scholarship – and scholarship given a literary form.
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Wolffram, Heather. "Crime and hypnosis in fin-de-siècle Germany: the Czynski case." Notes and Records: the Royal Society Journal of the History of Science 71, no. 2 (March 15, 2017): 213–26. http://dx.doi.org/10.1098/rsnr.2017.0005.
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Lurid tales of the criminal use of hypnosis captured both popular and scholarly attention across Europe during the closing decades of the nineteenth century, culminating not only in the invention of fictional characters such as du Maurier's Svengali but also in heated debates between physicians over the possibilities of hypnotic crime and the application of hypnosis for forensic purposes. The scholarly literature and expert advice that emerged on this topic at the turn of the century highlighted the transnational nature of research into hypnosis and the struggle of physicians in a large number of countries to prise hypnotism from the hands of showmen and amateurs once and for all. Making use of the 1894 Czynski trial, in which a Baroness was putatively hypnotically seduced by a magnetic healer, this paper will examine the scientific, popular and forensic tensions that existed around hypnotism in the German context. Focusing, in particular, on the expert testimony about hypnosis and hypnotic crime during this case, the paper will show that, while such trials offered opportunities to criminalize and pathologize lay hypnosis, they did not always provide the ideal forum for settling scientific questions or disputes.
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Boase-Beier, Jean. "Translation and the representation of thought: The case of Herta Müller." Language and Literature: International Journal of Stylistics 23, no. 3 (July 31, 2014): 213–26. http://dx.doi.org/10.1177/0963947014536503.
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A number of recent studies consider how the style of a text is recreated by a translator, and what issues this raises for the study of the translated text and its reception, and for both stylistics and translation studies more generally. But the changes that translation makes to perspective and structures of narrative in the text have rarely been studied. In this article I suggest how one might consider changes of this nature that have come about when the works of the Nobel-Prize-winning German-Romanian writer Herta Müller were translated into English, and the possible effects of such changes on the construction of fictional minds by the English reader. These changes are of particular importance in this case because the novels deal with repression of various types – in the community and the family, by the state – and focus especially on the disjunction between thinking and speaking, and the uncertainty of what others are thinking. Considering how specific aspects of narrative perspective change when these novels are translated raises potentially interesting questions both for the study of translation and for the study of narrative.
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Faivre, Antoine. "“Éloquence magique”, ou descriptions des mondes de l'au-delà explorés par le magnétisme animal: Au carrefour de la Naturphilosophie romantique et de la théosophie chrétienne (première moitié du XIXème siècle) “Magic Eloquence”, or Descriptions of the Worlds of the Beyond Explored by Animal Magnetism: At the Crossroad of Romantic Naturphilosophie and Christian Theosophy (first half of the 19th century)." Aries 8, no. 2 (2008): 191–228. http://dx.doi.org/10.1163/156798908x327339.
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AbstractThe article opens with a distinction between three kinds of “clairvoyance” phenomena. 1) A faculty of seeing/hearing things which are normally outside the reach of the clairvoyant's five senses (like being able to read sentences from a book although it is closed), but which do not extend beyond the domain of our common reality. 2) A “higher” faculty, which consists in seeing/hearing entities like spirits of the dead, angels, demons, etc., and occasionally in having a personal contact with them. 3) A “highest” faculty, of a noetic (“gnostic”) character, which extends beyond the first two and consists in being able to have acess to some sorts of “ultimate realities”: the visions thus imparted to the subject bear on ontological mysteries that concern, for example, the divine world, the cosmos, the hidden sides of Nature, etc. The author bestows the name “magic eloquence” on the narratives of visions pertaining to that third kind of clairvoyance, which are documented in the literature of Christian theosophy (see Jacob Boehme's and Swedenborg' vivions, for instance) and of animal magnetism. After presenting a few examples of magic eloquence chosen in the literature of animal magnetism in the first half of the 19the century, the article discusses the interpretations thereof put forward in the same period by a number of representatives of some German romantic Naturphilosophen who were both interested in animal magnetism and influenced by Christian theosophy. Their interpretations were based, on the one hand, upon the theosophical version of the myth of Fall and Reintegration; on the other hand, upon the “traditional” tripartition spirit/soul/body. On that basis, they constructed a series of heuristic tools successively, around notions like “ethereal light-substance”, “ganglionic system”, and Nervengeist. In the latter, they eventually came to see the cornerstone of the “physicopsycho-spiritual” structure (made of five constitutive elements) of the human being as they imagined it. Moreover, if considered as such, the Nervengeist appears to be the key for understanding the physico-spiritual procedures that undergird the production of magic eloquence. Finally, after presenting a few relevant examples in the literature of fiction inspired by animal magnetism, and some considerations devoted to the continuation of magical eloquence in later spiritual movements, the article draws a parallel between two anthropological “constructs” of the “soul” – namely, by the Naturphilosophie discussed above; and by psychoanalysis.
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Herzog, Todd. "Crime Stories: Criminal, Society, and the Modernist Case History." Representations 80, no. 1 (2002): 34–61. http://dx.doi.org/10.1525/rep.2002.80.1.34.
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THIS ARTICLE EXAMINES the role that the case history plays in distinguishing criminal from noncriminal. It focuses on a remarkable moment in the development of the criminal case history: the ambitious but short-lived series Außßenseiter der Gesellschaft——die Verbrechen der Gegenwart (Outsiders of Society——the Crimes of Today), published in Germany in 1924-25. In a project without precedent in German literature, the series enlisted the talents of some of Germany's and Austria's most important novelists and journalists to write book-length studies of recent sensational criminal cases. The topics covered in the series ranged widely,from the confidence schemes of the impostor who called himself Freiherr von Egloffstein, to the Hitler-Ludendorff trial, to the career of the serial killer Fritz Haarmann. Though it existed for only a little over one year, the Outsiders series——which ultimately ran to fourteen volumes——occupies a crucial role in documenting the ways in which criminality was understood in Weimar Germany. Aside from the presence of an all-star cast of writers, the significance of the Outsiders series lies in its rethinking and reworking the aims and possibilities of the genre of the criminal case history. The series sought to intervene in the tradition of crime narratives (especially the case study as exemplified in the Pitaval, the archive of criminal cases that enjoyed widespread popularity in Europe from the eighteenth to the early twentieth century) in order to question the nature and effects of the genre. If narrative is one of the primary techniques by which the criminal and the noncriminal are distinguished, then the crisis of narration that is a central characteristic of modernist literature would naturally precipitate a crisis of this mechanism of distinction when brought to bear on the discussion of criminals. When the belief in the ability to narrate a life story comes into doubt, the belief in the ability of a narrative to separate criminal from noncriminal and to reconstruct the events that lead to a crime also fall under suspicion. Turning their attention precisely to the relationship that Michel Foucault would later concentrate on——that between the criminal and his examiners——these studies repeatedly show the criminal to be the object of juridical, medical, journalistic, popular, and literary attention. The diverse group of contributors to the series reflects the hybrid nature of this crossover project, which brings a combination of reportage, fictional techniques, and scientific analysis to bear on an area that is usually the domain of legal and medical specialists. At the same time, the series incorporates medical texts and trial documents into what often reads like a fictional narrative. This multivalence is precisely what the series aims to attain as it demonstrates the impossibility of clearly locating causality and guilt, seeking instead to map the connections and contradictions between the various discourses that endeavor to make the criminal visible as a distinct and deviant individual. In so doing, it develops a genre that would become increasingly popular over the course of the twentieth century,the nonfiction documentary crime novel.
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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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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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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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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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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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Gilman, Donald. "Teaching the Truth: Thomas More, Germanus Brixius, and Horace’s Ars poetica." Moreana 42 (Number 164), no. 4 (December 2005): 43–66. http://dx.doi.org/10.3366/more.2005.42.4.7.
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In his Letter to Brixius (1520) Thomas More proposes a poetics that incorporates Horatian prescriptions of structure, style, and the role of the poet. In attacking the untruths in the poem Chordigerae navis conflagratio (1513) by the French humanist Germanus Brixius or Germain de Brie, More alludes frequently to loci classici in Horace’s Ars poetica and, at the same time, presents three poetic principles: (1) the use of history in imaginative literature; (2) the significance of decorum and verisimilitude in the creation of fictional representation; (3) the nature of the poet who, similar to the Roman orator, contributes to society through moral example and teaching. In drawing upon precepts set forth by Horace and Roman rhetoricians and interpreted by Renaissance critics, More defines the means of teaching the truth in humanist fiction.
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Kleinau, Elke, and Lilli Riettiens. "‘Nature’ in German colonial literature for children and young people." History of Education 49, no. 4 (June 3, 2020): 440–58. http://dx.doi.org/10.1080/0046760x.2020.1753825.
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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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BRODT, BÄRBEL, PAUL ELLIOTT, and BILL LUCKIN. "Review of periodical articles." Urban History 32, no. 1 (May 2005): 132–69. http://dx.doi.org/10.1017/s0963926805002749.
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Few – if any - would deny that cartography is one of the most essential disciplines within the multi-layered scope of urban history. Elizabeth Baigent pays tribute to the possibilities and problems posed by maps in her ‘Fact or fiction? Town maps as aids and snares to the historian’, Archives: The J. of the British Records Association, 29, 110 (2004), 24–37. By looking at a map of Gloucester, compiled in 1455, and two late medieval Bristol maps (one by Robert Ricart, the other by William Smith), she outlines their usefulness as well as the problems that the modern urban historian faces. Although medieval maps can clearly help to identify ‘lost’ streets, and to elucidate the town's social geography, it is essential to consider the purpose for which any individual map was drawn, the context in which it was published (and re-published) and not least the skills of the cartographer concerned. Cartography may be an essential tool for the urban historian, but there are many other tools and topics, and this year's medieval urban periodical literature again reflects the wide scope of the subject. This is especially true for the German language periodicals which tend to relate to traditionally powerful concepts rather than to recent departures. This trend largely reflects the nature of those periodicals concerned for they are almost entirely devoted to strictly local, or at most regional concerns. They are naturally home to brief essays on mainly local matters, particularly the commemoration of anniversaries of urban charters (e.g., Paul Wietzorek, ‘Zum Titelbild: 100 Jahre Stadtwappen Zons – 1904–2004’, Der Niederrhein. Die Zeitschrift des Vereins Niederrhein, 71, 1 (2004), 2–5; Paul Wietzorek, ‘Zum Titelbild: 750 Jahre Stadtrechte Grieth 1254–2004’, ibid., 71, 2 (2004), 54–5; Paul Wietzorek, ‘Zum Titelbild: 650 Jahre Stadt Dahlen (Rheindalen) 1354–2004’, ibid., 71, 3 (2004), 114–15), overviews of town histories (e.g. Eberhard Lebender, ‘Die Weizackerstadt Pyritz. Ein Gang durch die Geschichte – von der Bronzezeit bis zur Zerstörung 1945’, Pommern. Zeitschrift für Kultur und Geschichte, 42, 2 (2004), 8–17) and recent archaeological excavations (e.g., Sven Spiong, ‘Archäologische Ausgrabung an der Paderborner Stadtmauer’, Die Warte, 65, 123 (2004), 23–6; Sven Spiong, ‘Den Stiftsherren auf der Spur: Archäologische Ausgrabung nördlich der Busdorfkirche in Paderborn’, ibid., 65, 124 (2004), 9–10). Anna Helena Schubert's ‘Archäologische Untersuchungen im Bereich der “Untersten Stadtmühle” in Olpe’, Heimatstimmen aus dem Kreis Olpe, 75, 3 (2004), 195–202, is another example of local archaeological case studies. Olpe received its urban charter in 1311; in the German context such an urban charter necessarily involved fortification. Schubert is concerned whether the ‘lower mill’ which was situated outside the first urban wall was erected at the same time or at a later date than this wall, yet has to admit that despite extensive archaeological excavation this question has to remain – at least for the time – unanswered. English articles on local excavations are too numerous to be dealt with adequately in this short review. Two examples may suffice: Robert Cowie's ‘The evidence from royal sites in Middle Anglo-Saxon London’, Medieval Archaeology, 48 (2004), 201–8, looks at the evidence for palaces c. 650 – c. 850 that emerged from recent archaeological investigations in the Cripplegate area of the City and at the Treasury in Whitehall. Mary Alexander, Natasha Dodnell and Christopher Evans have published ‘A Roman cemetery in Jesus Lane, Cambridge’, Proceedings of the Cambridge Antiquarian Society, 93 (2004), 67–94. 32 corpses were unearthed (three of them decapitated), and modest grave goods were found. This cemetery seems to have served a suburban settlement within the lower Roman town. Pottery assemblage indicates industrial activity. The excavation added significantly to our knowledge of the layout and scale of Roman Cambridge. Cambridge clearly remained a significant centre during the fourth century and sustained an economic and commercial role.
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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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Millán-Zaibert, Elizabeth. "Explorations of Nature, Science, and Literature in the German Cultural Tradition." KulturPoetik 7, no. 1 (April 2007): 117–22. http://dx.doi.org/10.13109/kult.2007.7.1.117.
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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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Zakirov, Almaz Ildarovich, Rinat Ferganovich Bekmetov, Ilsever Rami, and Ildar Shaikhenurovich Yunusov. "Literature and ideology." Laplage em Revista 6, Extra-B (December 24, 2020): 100–105. http://dx.doi.org/10.24115/s2446-622020206extra-b598p.100-105.
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The article examines the evolution of the perception of the image of Andrei Stolz, the hero of the novel by I.A. Goncharov's "Oblomov", in various ideological discourses of Russia and the West from the moment of the publication of the work to the present time. The figure of Andrei Stolz in various research practices evolves into a kind of mythologeme and ideologeme that helps explain many trends in modern life. This dynamics in the assessment of the hero is characterized by a vector of movement from complete rejection of Andrei Stolz (a non-Russian character of the novel, "alien", because he is German by ethnicity and Lutheran by religion, despite the fact that his mother is Russian) to instructions the fact that this particular hero is one of the most demanded personalities - not just carriers of the author's conceptual ideas, who believed that the "crossing" of Russian soulfulness and German practicality should create the "correct" type of human nature in Russia, but also exponents new era.
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Zakirov, Almaz Ildarovich, Rinat Ferganovich Bekmetov, Ilsever Rami, and Ildar Shaikhenurovich Yunusov. "Literature and ideology." Laplage em Revista 6, Extra-B (December 24, 2020): 100–105. http://dx.doi.org/10.24115/s2446-622020206extra-b598p.94-99.
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The article examines the evolution of the perception of the image of Andrei Stolz, the hero of the novel by I.A. Goncharov's "Oblomov", in various ideological discourses of Russia and the West from the moment of the publication of the work to the present time. The figure of Andrei Stolz in various research practices evolves into a kind of mythologeme and ideologeme that helps explain many trends in modern life. This dynamics in the assessment of the hero is characterized by a vector of movement from complete rejection of Andrei Stolz (a non-Russian character of the novel, "alien", because he is German by ethnicity and Lutheran by religion, despite the fact that his mother is Russian) to instructions the fact that this particular hero is one of the most demanded personalities - not just carriers of the author's conceptual ideas, who believed that the "crossing" of Russian soulfulness and German practicality should create the "correct" type of human nature in Russia, but also exponents new era.
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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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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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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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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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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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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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Salimzanova, Dilyara A., and Gulnara T. Gilfanova. "The Problem of Historical Choice in East German Literature: Johannes Bobrowski in Context of the Postwar Literature of the 1950s-1970s." Journal of History Culture and Art Research 6, no. 5 (November 28, 2017): 342. http://dx.doi.org/10.7596/taksad.v6i5.1253.
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<p>The article tells about works of the famous German writer Johannes Bobrowski (1917-1965) born 100 years ago; the world literary community celebrates his 100 anniversary as in 2017. The poetic speech of Bobrowski, difficult for perception, reflected the main perspective of his poetry: history of the people and communication of the person with the nature. Art development of history, author’s cycle of stories and two novels of the original narrative technique in the conditions of totalitarian regime and continuous censorship, in many respects predetermined development of a genre of the historical novel in literature of the East German space of the "middle" of the last century. The creativity J. Bobrowski opens the new truth about the German life and history, thereby expanding a framework of art judgment of the past country. </p>
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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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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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Metcalf, Eva-Maria. "Exploring Cultural Difference Through Translating Children’s Literature." Meta 48, no. 1-2 (September 24, 2003): 322–27. http://dx.doi.org/10.7202/006978ar.
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Abstract This article is descriptive in nature, presenting a student-faculty project in which participants translated a short children’s story from German into English in order to explore the cultural embeddedness of language and the hermeneutic nature of translation. By reflecting on issues surrounding the translation of children’s literature and by imitating the situation of a professional translator, project participants gained insight into the workings of language and the complexities associated with translation.
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Altmann, Jakob. "Herta Müller — pisarka z obrzeży w przekładzie na język czeski." Przekłady Literatur Słowiańskich 10, no. 1 (June 29, 2020): 243–58. http://dx.doi.org/10.31261/pls.2020.10.01.12.
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This paper entitled is devoted to the peripheral nature of Herta Müller’soeuvre. Müller is regarded as a person who created “German-language literature from thecultural periphery of the German linguistic area,” as the Italian Germanist Paola Bozzicalled it. It turns out that although the literature or anti-literature of the Germans ofRomania is located on the cultural periphery of the German language area, Herta Müller occupies a central place in German literature, mainly due to subject areas unknown to West-German readers, but also due to her extraordinary language, which is a conglomerate of her idiolect, the archaic character of the German language used, the Banat-Swabian dialect and word-images from the Romanian language. The research, which is carried out from a mental, expressive, and cultural perspective, also focuses on the issue of embedding translation in a polysystem that embraces translation as an interrelated system of culture, language, literature, and society.
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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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Mews, Siegfried, Dieter Rollfinke, and Jacqueline Rollfinke. "The Call of Human Nature. The Role of Scatology in Modern German Literature." MLN 103, no. 3 (April 1988): 702. http://dx.doi.org/10.2307/2905116.
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Furness, Raymond, Dieter Rollfinke, and Jacqueline Rollfinke. "The Call of Human Nature: The Role of Scatology in Modern German Literature." Modern Language Review 85, no. 1 (January 1990): 265. http://dx.doi.org/10.2307/3732911.
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Keele, Alan F., Dieter Rollfinke, and Jacqueline Rollfinke. "The Call of Human Nature: The Role of Scatology in Modern German Literature." German Studies Review 10, no. 2 (May 1987): 337. http://dx.doi.org/10.2307/1431108.
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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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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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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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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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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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Kanz, Christine. "The Technological Unconscious in German Modernist Literature: Nature in Rilke, Benn, Brecht, and Döblin." Monatshefte 102, no. 4 (2010): 626–29. http://dx.doi.org/10.1353/mon.2010.0040.
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GREEN, ABIGAIL. "THE FEDERAL ALTERNATIVE? A NEW VIEW OF MODERN GERMAN HISTORY." Historical Journal 46, no. 1 (March 2003): 187–202. http://dx.doi.org/10.1017/s0018246x0200290x.
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The review examines the recent literature on German federalism. This literature has identified a decentralized, federal tradition in German history, dating back at least to the eighteenth century and in striking contrast with the ‘unitary’ traditions of the Prussian state. The review questions the extent to which centralization was indeed a Prussian phenomenon in German history by examining the relatively decentralized nature of the Prussian state and the strongly centralizing tendencies of smaller German states in the nineteenth century. The review also examines the origins of the new ‘federal’ historiography, both in terms of contemporary German politics and in terms of the political debate surrounding German unification in the 1860s. It concludes that the idea of a ‘unitary’ Prussian state tradition is simplistic and reflects the inherent anti-Prussian bias of German federalism in the unification era. In this sense, it is the federal counterpart of the better-known Borussian approach to German history.
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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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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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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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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.