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1 Silence, Self and Sacrifice in Gertrud Kolmar's Prose and Dramatic

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1 Silence, Self and Sacrifice in Gertrud Kolmar's Prose and Dramatic Silence, Self and Sacrifice in Gertrud Kolmar’s Prose and Dramatic Works Suzanne O’Connor A Thesis Presented to The National University of Ireland Maynooth. Faculty of Arts Department of German In fulfilment of the requirements for the degree of Doctor of Philosophy June 2010 Research Supervisor: Professor Florian Krobb Head of Department: Dr Arnd Witte 1 TABLE OF CONTENTS Chapter I: Introduction: Gertrud Kolmar as author and playwright ................... 1.1 Kolmar’s life and works………………………………………………………..…3 1.2 Kolmar’s works in the context of literary studies and Jewish studies…………...10 1.3 Post-colonial approaches to Jewish studies………………………..…………….15 1.4 Mimicry and ambivalence…………………………………………………….…18 1.4.1 Mimicry………………………………………………………………..………20 1.4.2 Ambivalence……………………………………………………………...……21 1.5 The stereotype in post-colonial discourse………………………………………..23 1.6 Stereotypes and inbetweenness in Kolmar’s prose works……………………….26 1.7 Sacrifice, silence and space……………………………………………………...28 Chapter II: Locating the self: The negotiation of Jewishness and modernity in Die jüdische Mutter and Susanna .................................................................................. 2.1 Die jüdische Mutter and twentieth-century German fiction……………………..33 2.2 Inbetweenness: Martha’s mimicry……………………………………………….40 2.3 The use of stereotypes in Die jüdische Mutter ......................................................53 2.4 Good mother/bad mother………………………………………………………...58 2.5 Death of the family: infanticide/euthanasia……………………………………...69 2.6 Severing the bond: Martha-Ursa…………………………………………………74 2.7 Exploration of binaries…………………………………………………………..80 2.7.1 Technology/nature……………………………………………………………..81 2.7.2 Instinctive drives/constructed gender roles……………………………………84 2.7.3 Flowers/waste………………………………………………………………….87 Chapter III: Susanna : Post-colonial approaches to understanding Jewishness…. 3.1 The structure of the novella……………………………………………………...93 3.2 Post-colonial approaches: the narrator’s inbetweenness………………………...94 3.3 The investigation of Jewishness…………………………………………………97 3.4 Narrator/Susanna: Susanna’s poetic existence…………………………………103 3.5 The coloniser/colonised relationship and Susanna’s otherness………………...107 3.6 Ambivalence: the narrator’s relationship with Susanna………………………..109 3.7 Susanna and Rubin’s love affair………………………………………………..115 3.8 Susanna’s death: discontinuation of community……………………………….122 Chapter IV: Silence and language in Briefe and the dramatic works ……………. 4.1 The significance of silence for Kolmar………………………………………...126 4.2 Silence as strategy in Briefe an die Schwester …………………………………129 4.2.1 Inbetweenness: silence/language……………………………………………..133 4.2.2 Silence as a form of protection and facilitator of apotheosis…………………136 4.2.3 Nature: access to an alternative world………………………………………..140 4.2.4 Letters to Sabine: silence overcoming separation……………………………144 4.3 Silence and language: the nature of communication in the dramatic works…...150 4.3.1 Möblierte Dame ………………………………………………………………150 2 4.3.2 Nacht : silence as connector to the gods and the failings of language………..157 4.3.3 Cécile Renault: the dangers of language and the purity of silence…………...162 4.3.4 Privileging the voice in Cécile Renault ………………………………………168 4.4 The presence of silence: reflections on German-Jewish existence……………..172 Chapter V: Sacrifice in the dramatic works and Die jüdische Mutter .............................................................................................................................. 5.1 Sacrifice as a theme in Gertrud Kolmar’s life and works………………………175 5.2 Sacrifice in Jewish and Greek traditions……………………………………….179 5.3 The setting of Nacht ……………………………………………………………182 5.4 Interpreting the sacrifice of Ischta……………………………………………...185 5.5 Sacrifice in Cécile Renault ……………………………………………………..194 5.6 Sacrifice in Die jüdische Mutter ………………………………………………..199 5.7 Sacrifice as a subversive device to question divinity…………………………..201 Chapter VI: Appropriating the space in Susanna and Die jüdische Mutter ............ 6.1 The significance of space………………………………………………………203 6.2 Space in Gertrud Kolmar’s life…………………………………………………206 6.3 The significance of space in Susanna ………………………………………..…211 6.3.1 The narrator’s ‘Transitraum’…………………………………………………212 6.3.2 The garden: wasteland/exotic world………………………………………….214 6.3.3 The house: freedom/constraint……………………………………………….222 6.3.4 Hovering at the threshold…………………………………………………….226 6.3.5 Keys: freedom/entrapment……………………………………………………230 6.4 Sprawling urban space: Die jüdische Mutter …………………………………...233 6.4.1 Public spaces: alienating the individual………………………………………234 6.4.2 Animal spaces: representations of alienating effects of a modern society…...237 6.4.3 Private space: Martha’s home………………………………………………...239 6.4.4 Trams, gates, fences and pathways: fusing private and public space………...241 6.5 Space and spatial markers: representations of German-Jewish existence……...244 Chapter VII: Conclusion .........................................................................................246 Bibliography ……………………………………………………………………….252 3 Abstract The process of assimilation claimed to domesticate the difference of the Jews by encouraging Jews to adopt attributes of gentile society and shed markers of belonging that identified Jews as other. However, the anti-Semitic basis of assimilation prevented the proposed processes of integration and acceptance of Jews from ever happening. The resulting situation for Jews who had gone through the process of assimilation was a perpetual state of ‘inbetweenness’. Perceived as inalienably other, yet in many ways representative of gentile society that projects this otherness, Jews were subject to contradictory and conflicting societal expectations so that it was impossible to fit in with established constructs. In Gertrud Kolmar’s prose and dramatic works, textual devices denote the continuous inbetween status of the characters. The multiple engagements with fixed constructs such as stereotypes expose how Jewish women were represented within perceived stable constructs. However, deviations from conventional structures refute neat categorisation of the characters so that inbetweenness is the prevailing status for all characters. Kolmar’s works do not present a solution to inbetweenness; rather, the lack of solutions and satisfactory conclusions to Kolmar’s prose and dramatic works is a textual device that accurately portrays the nature of Jewish existence in Kolmar’s time. Similarly, analyses of space and spatial markers in the prose works explore the complexities of Jewish existence as appropriations of the same space are multiple and contradictory. The thematic development of silence and sacrifice shows how the inbetween subject engages with conventional modes of communication and religious belief. In the prose and dramatic works Kolmar appropriates the significance of silence and sacrifice for her time. Silence is removed from its role as a symbol of oppression of Jews and used as a virulent, subversive mode of communication. Similarly, sacrifice is examined as a ritual that attests to the existence of divine powers, and the individual’s responsibility to attribute meaning to existence is explored. These investigations reflect on the realities of Kolmar’s time when religious beliefs (Judaism) were perceived as the source of otherness and the necessary sacrifices made to ensure survival in a hostile environment, such as the forced selling of Kolmar’s family home, were stripped of meaning. Kolmar’s prose and dramatic works offer an insightful commentary on the problematic existence of Jews in the 1930s and 1940s in Germany. The complexities of existence are not overlooked in Kolmar’s works; rather, they are perceived as manifestations of inbetweenness, which are explored in these works in a manner that exposes the flawed structure of the society that has led to the inbetween state of German Jews. 4 Chapter I: Introduction: Gertrud Kolmar as author and playwright 1.1 Kolmar’s life and works Gertrud Kolmar was born Gertrud Chodziesner on 10 th December 1894 in Berlin.1 She chose Kolmar, the German version of her Polish surname as her pseudonym. The eldest of three children, Kolmar was raised in an assimilated household in an upper middle-class area of Berlin. Proficient in English and German, Kolmar worked as a teacher and an interpreter for a brief period in 1918. When Kolmar’s mother became ill, she returned to the family home to care for her, leading a life withdrawn from social activities and the literary circles of Berlin. Following the death of her mother in 1930, Kolmar remained at the family home to care for her father, whose health was deteriorating. Kolmar was to remain by her father’s side until his deportation to Theresienstadt in 1942, which was followed by Kolmar’s deportation to Ausschwitz in February 1943. Kolmar’s writing career dates from 1917, when her first cycle of poetry, Gedichte , was published. The prose and dramatic works were written in the years immediately preceding and during the Nazi regime in Germany. These works are available today because Kolmar sent them to her sister in Switzerland for safe- keeping. A number of works, including a collection of poetry written in Hebrew, remained with the author and were consequently destroyed. Kolmar has been appreciated mainly as a gifted poet; the majority of scholars regard her largely unknown prose and dramatic works to be of lesser quality than her poetry. Karl Krolow decided not to publish Kolmar’s prose works
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