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Intergenerational Translations in Uwe Timm's Am Beispiel Meines Bruders
Mélanie Yœurp Intergenerational Translations in Uwe Timm’s Am Beispiel meines Bruders Abstract: Uwe Timm’s autobiographical novel Am Beispiel meines Bruders (2003) epitomizes the wave of family narratives published in Germany around the turn of the millennium. Indeed, many scholars have noted that the narrator exhibits a nuanced and empathetic approach to his family’s Nazi legacy. This article proble- matizes Timm’s nuanced tone. I argue that he adopts different narrative strategies to discuss his brother, who volunteered for the SS-Totenkopfdivision at eighteen years of age, and his mother, who remains unnamed throughout the novel. Draw- ing on Itamar Even-Zohar’s polysystem theory of translation, and more specifi- cally on his concept of conservative and innovative repertoires, I argue that Timm translates stories about members of the war generation in a differentiated way, thereby producing distinct effects in each case. More specifically, I demonstrate that the narrator creates a rupture with his brother, subjecting his choice of words to scrutiny and following in the footsteps of the well-established Väterliteratur of the 1970s to the 1980s. Conversely, Timm strengthens his affiliation with his mother by avoiding an overly critical examination of her, focusing instead on her use of non-verbal and non-politically loaded language. Keywords: family history, gender, generations, memory, Nazism, Uwe Timm Uwe Timm’s autobiographical novel Am Beispiel meines Bruders (2014 [2003]) de- licately assesses family members involved in World War II as Nazi perpetrators and bystanders. Like many family narratives published in Germany around 2000, the narrator displays a “more measured understanding” (Finlay 2009, 202).1 While Timm empathizes with his family’s war sufferings, he exposes its pre- judice and connects it to German complicity, using a montage technique to attain this effect (Rossbacher 2005). -
Awardee: Fuad Rifka Poet, Philosopher
Awardee: Fuad Rifka Poet, Philosopher, Translator The Lebanese poet, philosopher and translator Fuad Rifka has translated pivotal works of German poetry by Goethe, Hölderlin, Novalis, Rilke and Trakl into Arabic. His encounter with German culture and philosophy had tangible impacts on his own works of poetry. Fuad Rifka is being awarded the Goethe Medal for his impressive life’s work as a translator. Fuad Rifka’s passionate interest in German poets and thinkers began with a coincidental discovery at the Goethe-Institut Beirut more than forty years ago. It was there that Rifka found an English edition of Rainer Maria Rilke’s Duino Elegies. This volume of poetry made a lasting impression on him and awakened his desire to translate German poetry into Arabic, “to make it accessible to the entire Arabic world.” He was the first to translate Rilke’s poems directly from his mother tongue into Arabic without detours via English or French translations. Fuad Rifka was born in Syria in 1930. In the 1940s his family moved to Lebanon. He studied philosophy in Beirut and in 1965 completed his doctorate in Tübingen on the aesthetic of Martin Heidegger with a scholarship from the DAAD. When he returned to Lebanon he taught philosophy at the Lebanese American University Beirut from 1966 until 2005. German philosophers always had a fixed place in his syllabus. A number of teaching and research opportunities took Rifka to the United States, the United Kingdom, Italy and Germany. Fuad Rifka was a founding member of the Lebanese avant-garde poetry journal Shi’r (Poetry), which aimed to revolutionize traditional Arabic verse and move towards freer, experimental poetry. -
Category a (Short Poems) Sarah Kirsch: „Schlehen“ (1969
Category A (Short Poems) Sarah Kirsch: „Schlehen“ (1969) Ahornfarben das Haar im September Schlehen reiß ich und Brombeeren süß Vom Strauch ab für seinen Mund, und in Die Haut treib ich Dornen Joseph von Eichendorff: „Der Abend“ (1826) Schweigt der Menschen laute Lust: Rauscht die Erde wie in Träumen Wunderbar mit allen Bäumen, Was dem Herzen kaum bewusst, Alte Zeiten, linde Trauer, Und es schweifen leise Schauer Wetterleuchtend durch die Brust. Johann Wolfgang von Goethe: „Meeresstille“ (1796) Tiefe Stille herrscht im Wasser, Ohne Regung ruht das Meer, Und bekümmert sieht der Schiffer Glatte Fläche ringsumher. Keine Luft von keiner Seite! Todesstille fürchterlich! In der ungeheuern Weite Reget keine Welle sich. Category B (Mid-length Poems) Marie Luise Kaschnitz: „Am Strande“ (1935) Heute sah ich wieder dich am Strand Schaum der Wellen dir zu Füßen trieb Mit dem Finger grubst du in den Sand Zeichen ein, von denen keines blieb. Ganz versunken warst du in dein Spiel Mit der ewigen Vergänglichkeit Welle kam und Stern und Kreis zerfiel Welle ging und du warst neu bereit. Lachend hast du dich zu mir gewandt Ahntest nicht den Schmerz, den ich erfuhr: Denn die schönste Welle zog zum Strand Und sie löschte deiner Füße Spur. Zehra Çirac: „Doppelte Nationaltätsmoral“ (1961) Die Socken rot mit weißem Stern in Sichelmond die Schuhe schwarz rot gold für viele ist es wie ein warmer Fuß im kalten Schuhwerk für andere ein Doppelknoten in einem nur schnürsenkellangen Leben aber das auf heißem Boden Paul Celan: „Ich kann dich noch sehen“ (1967) Ich kann Dich noch sehn: ein Echo, ertastbar mit Fühl- wörtern, am Abschieds- grat. -
1 Recherchierte Dokumente
Herr der Bücher: Marcel Reich-Ranicki in seiner Frankfurter Wohnung MONIKA ZUCHT / DER SPIEGEL SPIEGEL-GESPRÄCH „Literatur muss Spaß machen“ Marcel Reich-Ranicki über einen neuen Kanon lesenswerter deutschsprachiger Werke SPIEGEL: Herr Reich-Ranicki, Sie haben für die an der Literatur interessiert sind. Gibt es um die Schule geht, für den Unterricht den SPIEGEL Ihren persönlichen literari- es überhaupt einen Bedarf für eine solche besonders geeigneter Werke. Die Frage, ob schen Kanon zusammengestellt, die Sum- Liste literarischer Pflichtlektüre? wir einen solchen Katalog benöti- me Ihrer Erfahrung als Literaturkritiker – Reich-Ranicki: Ein Kanon ist nicht etwa ein gen, ist mir unverständlich, denn für Schüler, Studenten, Lehrer und dar- Gesetzbuch, sondern eine Liste empfehlens- über hinaus für alle, werter, wichtiger, exemplarischer und, wenn Das Gespräch führte Redakteur Volker Hage. Chronik der deutschen Literatur Marcel Reich-Ranickis Kanon Johann Wolfgang von Goethe, Andreas Gryphius, 1749 –1832 1616 –1664 „Die Leiden des Gedichte jungen Werthers“, Gotthold Ephraim Lessing, „Faust I“, „Aus Walther von der Christian Hofmann Johann Christian 1729 –1781 meinem Leben. Das Nibe- Vogelweide, Martin Luther, von Hofmannswaldau, Günther, „Minna von Barnhelm“, Dichtung und lungenlied ca. 1170 –1230 1483 –1546 1616 –1679 1695 –1723 „Hamburgische Dramaturgie“, Wahrheit“, (um 1200) Gedichte Bibelübersetzung Gedichte Gedichte „Nathan der Weise“ Gedichte MITTELALTER16. JAHRHUNDERT 17. JAHRHUNDERT 18. JAHRHUNDERT 212 der spiegel 25/2001 Titel der Verzicht auf einen Kanon würde den der verfassten Rahmenrichtlinien und und auch die liebe Elke Heidenreich. Be- Rückfall in die Barbarei bedeuten. Ein Lehrpläne für den Deutschunterricht an merkenswert der Lehrplan des Sächsischen Streit darüber, wie der Kanon aussehen den Gymnasien haben einen generellen Staatsministeriums für Kultus: Da werden sollte, kann dagegen sehr nützlich sein. -
Prof. Dr. Lutz Hagestedt
Prof. Dr. Lutz Hagestedt Dissertation, Habilitation, Bücher: Das Genieproblem bei E. T. A. Hoffmann. Eine Interpretation seiner späten Erzählung »Des Vetters Eckfenster«. München: Brehm 1991 [Theorie und Praxis der Interpretation, 2]. Neuausgabe München: Belleville 1999. Ähnlichkeit und Differenz. Aspekte der Realitätskonzeption in Ludwig Tiecks späten Romanen und Novellen. München: Belleville 1997. Siegfried Unseld und die Suhrkamp-Kultur. Ein prosopographischer Beitrag zur Verlagsgeschichte. Habilitationsschrift (unveröffentlicht). Herr der Welt. Kommentierendes Handbuch zu Arno Schmidts »Schwarze Spiegel«. Mit ei- ner Synopse der in den vierziger und fünfziger Nachkriegsjahren erschienenen Erzählprosa. München: Belleville 2009 [Theorie und Praxis der Interpretation, 8] (zus. mit André Kischel). Herausgeber (Auswahl): Paul Wühr. Materialien zu seinem Werk. München: Brehm 1987. Michael Müller: Erotik und solitäre Existenz. Funktionen der Textreferenz in Arno Schmidts Trilogie »Nobodaddy’s Kinder«. München: Brehm 1989 [Theorie und Praxis der Interpretation, 1]. Patricia Hallstein: Die Zeitstruktur in narrativen Texten. Am Beispiel von E. T. A. Hoffmanns »Das Majorat« und Achim von Arnims »Die Majoratsherren«. München: Belleville 1997 [Theorie und Praxis der Interpretation, 3]. Ernst Augustin: Die sieben Sachen des Sikh. Frankfurt/M.: Suhrkamp 1997. [suhrkamp taschenbuch, st 2772]. Die Lieblingsgedichte der Deutschen. Düsseldorf: Patmos 2001. Taschenbuchausgabe München: Piper 2003 [Serie Piper, SP 3830]. Hörbuch Düsseldorf: Patmos 2001. Alles über den Künstler. Zum Werk von Robert Gernhardt. Frankfurt/M.: S. Fischer 2002 [Fischer Taschenbuch, 15769]. Adelbert von Chamisso: Peter Schlemihls wundersame Geschichte. Hg. und komm. zus. mit Thomas Betz. Frankfurt/M.: Suhrkamp 2003 [Suhrkamp BasisBibliothek, SBB 37]. Ernst Jünger. Politik – Mythos – Kunst. Berlin, New York: de Gruyter 2004. Joachim Ringelnatz: Liebesgedichte. Mit einem Nachwort von Lutz Hagestedt. -
Critical Responsei. Paratext and Genre System: a Response to Franco Moretti
Critical Response I Paratext and Genre System: A Response to Franco Moretti Katie Trumpener In the 1970s, as a teenage browser in West Germany’s remarkably well- stocked bookstores, I noted with astonishment that many German title pages included generic designations. German plays old and new tended to announce their dramatic status in idiosyncratic subtitles that seemed to push at the limits of the genre, even question the possibility of theater itself: Friedrich Schiller, Don Carlos. Infant of Spain. A Dramatic Poem (1783–87); O¨ do¨n von Horva´th, Faith, Love, Hope: A Little Dance of Death in Five Acts (1932); Wolfgang Borchert, Outside the Door: A Play No Theater Wants to Perform and No Public Wants to See (1947); Peter Weiss, The Investigation. An Oratorio in Five Songs (1965). Works in hybrid, documentary genres often had equally idiosyncratic subtitles; East German poet Sarah Kirsch named her 1975 oral history The Panther Woman. Five Unkempt Tales from the Tape Recorder. More occasionally, a work of fiction used its subtitle to play tricks on its reader. Robert Walser published his 1908 novel, for instance, as Jakob von Gunten. A Diary (although the work that follows is not exactly a fictional diary either). Yet most books of prose fiction and of poetry, I found, bore accurate if rudimentary generic designations: Heinrich Bo¨ll’s The Bread of the Early Years. Narrative (1955); Gu¨nther Grass’s The Tin Drum. Novel (1959); Reiner Kunze’s with the volume turned down. poems (1972); Karin Struck’s Class Love. Novel (1973). At the same time, German publishers and German literary culture seemed to place great weight on generic subdis- Critical Inquiry 36 (Autumn 2009) © 2009 by The University of Chicago. -
O CIEG Abre As Suas Portas 2010-2011 Literatura – Linguística – Tradução
O CIEG ABRE AS SUAS PORTAS 2010-2011 LITERATURA – LINGUÍSTICA – TRADUÇÃO centro de investigação em estudos germanísticos O CIEG ABRE AS SUAS PORTAS 2010-2011 LITERATURA – LINGUÍSTICA – TRADUÇÃO Coordenação: Rogério Paulo Madeira e Maria António Hörster Textos de: Judite Carecho/Rute Soares João Pedro Cotrim Maria António Hörster Rogério Paulo Madeira Maria de Fátima Gil Cornelia Plag Coimbra, 2014 cadernos do cieg n.º 33 cadernos do cieg COORDENAÇÃO: Maria Manuela Gouveia Delille TÍTULO: O CIEG abre as suas portas 2010-2011. Literatura – Linguística – Tradução COORDENAÇÃO DESTE CADERNO: Rogério Paulo Madeira e Maria António Hörster TEXTOS: Judite Carecho/Rute Soares, João Pedro Cotrim, Maria António Hörster, Rogério Paulo Madeira, Maria de Fátima Gil e Cornelia Plag © 2014 Centro de Investigação em Estudos Germanísticos, Faculdade de Letras, Universidade de Coimbra, P-3004-530 Coimbra MinervaCoimbra, Rua João de Ruão, Torre do Arnado, n.º 12 - 1.º 3000-229 Coimbra Reservados todos os direitos de acordo com a legislação em vigor Composição gráfica: Pedro Bandeira Impressão: PMP, Lda. 1ª edição – Dezembro de 2014 ISBN MinervaCoimbra: 978-972-798-379-7 Índice Nota Prévia .......................................................................................7 O CIEG abre as suas portas 2010 Judite Carecho/Rute Soares .............................................................11 Diz-me o que lês, dir-te-ei o que vês João Pedro Cotrim ..........................................................................31 Traduzir o regime – o lugar da -
Politics and Poetics in the Work and Correspondence of Sarah Kirsch and Helga Novak
Bard College Bard Digital Commons Senior Projects Fall 2018 Bard Undergraduate Senior Projects Fall 2018 “Ewig ‘schön’”: Politics and Poetics in the Work and Correspondence of Sarah Kirsch and Helga Novak Sophia J. Logan Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_f2018 Part of the European History Commons, European Languages and Societies Commons, German Literature Commons, and the Holocaust and Genocide Studies Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Logan, Sophia J., "“Ewig ‘schön’”: Politics and Poetics in the Work and Correspondence of Sarah Kirsch and Helga Novak" (2018). Senior Projects Fall 2018. 35. https://digitalcommons.bard.edu/senproj_f2018/35 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. “Ewig ‘schön’”: Politics and Poetics in the work and correspondence of Sarah Kirsch and Helga Novak Senior Project Submitted to The Division of Languages and Literature of Bard College by Sophia J. Logan Annandale-on-Hudson, New York December 2018 Acknowledgements Thank you to Thomas Wild, whose role as a professor and advisor inspired me to major in German Studies. -
Feminist Appropriation of the Witch in Sarah Kirsch's
CORE Metadata, citation and similar papers at core.ac.uk Provided by Scholarship; Research; and Creative Work at Bryn Mawr College Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College German Faculty Research and Scholarship German 2009 Shedding, Witchcraft, and the Romantic Subject: Feminist Appropriation of the Witch in Sarah Kirsch’s Zaubersprüche Qinna Shen Let us know how access to this document benefits ouy . Follow this and additional works at: https://repository.brynmawr.edu/german_pubs Part of the German Language and Literature Commons This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. https://repository.brynmawr.edu/german_pubs/31 For more information, please contact [email protected]. Shen, Qinna. 2009. “Shedding, Witchcraft, and the Romantic Subject: Feminist Appropriation of the Witch in Sarah Kirsch’s.” Neophilologus 93.4: 675-689. https://doi.org/10.1007/s11061-008-9121-0 Shedding, Witchcraft, and the Romantic Subject: Feminist Appropriation of the Witch in Sarah Kirsch’s Zaubersprüche (1973) Abstract: Against a background of the feminist appropriation of the witch taking place concurrently in second-wave American, French and West German feminism, the paper examines Sarah Kirsch’s appropriation of the witch as a subversive figure in her poetry cycle Zaubersprüche (Conjurations, 1973). In subverting the traditional image of the witch, Kirsch establishes a new one: that of a feminist witch and a feminist witch-writer. The witch is both the fictive character created by Kirsch, and her own self-designation; in the latter case, writing, especially writing in the experimental fashion, is a form of witchcraft. -
(Student Performance Objectives) Ccos
COURSE OUTLINE : GRMN 012 Last Revised and Approved: 10/23/2008 CURRICULUM Subject Code and Course Number: GRMN 012 Division : Languages Course Title : GERMAN LITERATURE IN TRANSLATION Summarize the need/purpose/reason for this proposal German 12 appeals to the general college population as well as students already enrolled in German language classes. Since the German program cannot offer literature courses in German at this point, reading major works in translation is the next best thing. Furthermore, a survey of German literary movements enhances students' understanding of the history and culture of the German-speaking countries and complements the popular German Civilization course. Beyond that, studying works of German literature that represent different historical periods and cultural contexts will challenge students to analyze broader issues and ideas and make connections with global themes addressed in other courses in the Languages, English, and Social Sciences Divisions. Finally, Literature in Translation is already well established in the Languages Division in these foreign language classes: Chinese 12, Japanese 12, Spanish 12, and Italian 12. SLOs (Student Learning Outcomes) 1. Recognize and discuss key characteristics of major periods of German literature. 2. Compare and contrast dominant themes, relevant topics, and stylistic conventions in representative works. SPOs (Student Performance Objectives) 1. Describe core characteristics of major movements in German literature 2. Demonstrate a basic knowledge of the geography, history and culture of Germany 3. Analyze individual works of literature in their historical, socio-economic and philosophical context 4. Identify elements of style and structure in different genres of literature 5. Relate German literary themes and traditions to prevalent trends in world literature CCOs (Course Content Outline) Note: This outline lists all topics of interest. -
Temporality, Subjectivity and Postcommunism in Contemporary German Literature by Herta Müller, Zsuzsa Bánk and Terézia Mora
PASTS WITH FUTURES: TEMPORALITY, SUBJECTIVITY AND POSTCOMMUNISM IN CONTEMPORARY GERMAN LITERATURE BY HERTA MÜLLER, ZSUZSA BÁNK AND TERÉZIA MORA A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Katrina Louise Nousek May 2015 © 2015 Katrina Louise Nousek PASTS WITH FUTURES: TEMPORALITY, SUBJECTIVITY AND POSTCOMMUNISM IN CONTEMPORARY GERMAN LITERATURE BY HERTA MÜLLER, ZSUZSA BÁNK AND TERÉZIA MORA Katrina Louise Nousek, Ph. D. Cornell University 2015 This dissertation analyzes future-oriented narrative features distinguishing German literature about European communism and its legacies. Set against landscapes marked by Soviet occupation and Ceauşescu’s communist dictatorship in Romania (Müller) and against the 1956 Hungarian revolution, eastern European border openings, and post-Wende Berlin (Mora, Bánk), works by these transnational authors engage social legacies that other discourses relegate to an inert past after the historic rupture of 1989. Dominant scholarship reads this literature either through trauma theory or according to autobiography, privileging national histories and static cultural identities determined by the past. Shifting attention to complex temporal structures used to narrate literary subjectivities, I show how these works construct European futures that are neither subsumed into a homogeneous present, nor trapped in traumatic repetition, nostalgic longing, or psychic disavowal. My analysis extends and contributes to debates in politics and the arts about the status of utopia after communism and the role of society in political entities no longer divided in Cold War terms of East/West, three worlds, or discrete national cultures. By focusing on Müller, Mora and Bánk, I widen the purview of FRG-GDR discussions about communism to include transnational, temporal and narrative perspectives that scholarship on these authors often overlooks. -
Sarah Kirsch Gedichte
SARAH KIRSCH GEDICHTE Agrégation d’allemand 2021 Bibliographie sélective Novembre 2020 Sarah Kirsch : Gedichte. Agrégation d’allemand 2021 Cette bibliographie sélective recense des ouvrages disponibles pour la plupart en accès libre, principalement dans les salles G de la Bibliothèque tous publics et U de la Bibliothèque de recherche. On y trouve également des références d’ouvrages conservés en magasins, ainsi que des ressources en ligne. Certains ouvrages mentionnés peuvent ne pas être encore sur les rayons car en commande ou en cours de traitement. Vous trouverez également en libre-accès dans les salles de la Bibliothèque tous publics (G et H) et de la Bibliothèque de recherche (U, V et W) de nombreuses ressources générales pour vous aider à préparer les épreuves écrites et orales de l’agrégation : méthodes de la dissertation, du commentaire composé ou de l’explication de texte, mais aussi grammaires, ouvrages et dictionnaires sur l’histoire des langues, dictionnaires et méthodes de stylistique, métrique, rhétorique, etc. Vous pouvez également vous référer utilement aux pages consacrées par le Ministère de l’éducation Nationale aux sujets et rapports des jurys des concours de recrutement d'enseignants du second degré : https://www.devenirenseignant.gouv.fr/cid148653/sujets-rapports-des-jurys- agregation-2020.html (consulté le 30 octobre 2020). Couverture : Franke, Klaus: Sarah und Rainer Kirsch (Mitte), Berlin, Literaturfestival, 1964. Bundesarchiv, Bild 183-C1114-0020-002. 2 Sarah Kirsch : Gedichte. Agrégation d’allemand 2021 Œuvres Textes au programme et instructions Sarah Kirsch, Sämtliche Gedichte. München, Deutsche Verlags-Anstalt, 2013. (ISBN: 978-3-421-04638-3) « On étudiera la poésie de Sarah Kirsch, dans laquelle la nature est lieu de projection de l’intime et du politique, comme possibilité d’articulation entre l’individuel et le collectif.