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Images of the German Soldier (1985-2008)

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Images of the German Soldier (1985-2008) Soldiering On: Images of the German Soldier (1985-2008) DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Kevin Alan Richards Graduate Program in Germanic Languages and Literatures The Ohio State University 2012 Dissertation Committee: Professor John E. Davidson, Advisor Professor Anna Grotans Professor Katra Byram Copyright by Kevin Alan Richards 2012 Abstract The criminal legacy of National Socialism cast a shadow of perpetration and collaboration upon the post-war image of the German soldier. These negative associations impeded Helmut Kohl’s policy to normalize the state use of the military in the mid-eighties, which prompted a politically driven public relations campaign to revise the image of the German soldier. This influx of new narratives produced a dynamic interplay between political rhetoric and literature that informed and challenged the intuitive representations of the German soldier that anchor positions of German national identity in public culture. This study traces that interplay via the positioning of those representations in relation to prototypes of villains, victims, and heroes in varying rescue narrative accounts in three genre of written culture in Germany since 1985: that is, since the overt attempts to change the function of the Bundeswehr in the context of (West) German normalization began to succeed. These genre are (1) security publications (and their political and academic legitimizations), (2) popular fantasy literature, and (3) texts in the tradition of the Vergangenheitsbewältigung. I find that the accounts presented in the government’s White Papers and by Kohl, Nolte, and Hillgruber in the mid-1980s gathered momentum over the course of three decades and dislodged the dominant association of the German soldier with the villainy of National Socialism. The new ii dominant account established in the genre of security policy publications and their political and academic legitimations positions the German soldier as a European Christian hero and displaces the villainy previously associated with his image onto foreign powers and their populace. An overview of the developments in the genre of popular Nibelung adaptations echoes the development of the antagonistic accounts in the White Papers of their periods, but then these adaptations conform to the generic expectations of the Nibelungen material, though the last novels I discuss break free from this. In the genre of literature in the tradition of the Vergangenheitsbewältigung, authors engage in the broader public debates concerning the German soldier and national identity and produce counter-narratives that are both antagonistic to the dominant narrative as well as other antagonistic accounts. iii Dedication This document is dedicated to Merete, Sofie, and Camilla. iv Acknowledgments I would like to take this opportunity to acknowledge my advisor Prof. John E. Davidson for his insightful, practical and encouraging guidance without which this effort to develop a methodology to combine disciplines of literature and sociology to produce new social historical readings would not have been possible. I would also like to thank Prof. Anna Grotans for her support and direction that molded my interest in the Germanic heroic epic into its reception which eventually led to this topic. I would also like to thank Prof. Nina Berman, Prof. Harry Vredeveld, Prof. Richard Green, Prof. Merrill Kaplan, Prof. Sarah- Grace Heller, Prof. Barbara Becker-Cantarino, Prof. Neil Jacobs, Prof. Helen Fehevary and Prof. Sabra Weber for direction, discussions and feedback that helped shape my approach. I would like to thank the faculty and staff of the Germanic Languages and Literatures Department and the Center for Medieval and Renaissance Studies at Ohio State for continued support and direction as well as my fellow graduate students for discussion, input and support, and especially Alex Holznienkemper, Simon Loesch and Michael Kich for proofreading. The above listing is meant by no means to be definitive as there are certainly others who deserve to be mentioned, not the least of which are my family and friends without whom none of this would be possible. v Vita June 1990 .......................................................Strongsville High School 1996................................................................B.A. German, The Ohio State University 2006................................................................M.A. German, The Ohio State University 2004 to present ..............................................Graduate Teaching Associate, Germanic Languages and Literatures, The Ohio State University Publications “The Compensation of Thialfi and Roskva: A Myth of Child Exposure” In Leshyn, Victoria and Evan Torner, eds. Myth: German and Scandinavian Studies. Cambridge Scholars Publishing, 2009. 77-88. “Review of the Student Performance of Peter Weiss’ ‘Marat/Sade’ directed by Mark Mann at The Ohio State University (May 6, 2012)” (Under contract, Communications from the International Brecht Society). Fields of Study Major Field: Germanic Languages and Literatures vi Table of Contents Abstract ............................................................................................................................... ii Dedication .......................................................................................................................... iv Acknowledgments............................................................................................................... v Vita ..................................................................................................................................... vi Table of Figures ............................................................................................................... viii Introduction ......................................................................................................................... 1 Chapter 1 - Theory and Methodology ............................................................................... 17 1.1 A Discursive Approach ........................................................................................... 17 1.2 A Cognitive Approach ............................................................................................ 33 1.3 Summary ................................................................................................................. 44 Chapter 2: The First Period (1985-1987) .......................................................................... 46 2.1 Historical, Ideological and Material Background ................................................... 55 2.2 Wolfgang Hohlbein’s Hagen von Tronje (1986) .................................................... 62 2.3 Jurek Becker’s Bronsteins Kinder (1986) ............................................................... 78 2.4 Summary ................................................................................................................. 92 Chapter 3: The Second Period (1994-1998) ..................................................................... 95 3.1 Historical, Ideological & Material Background .................................................... 109 3.2 Jürgen Lodemann’s Nibelungen Novels (1986, 1994, 2002) ................................ 117 3.3 Marcel Beyer’s Flughunde (1995) ........................................................................ 130 3.4 Summary ............................................................................................................... 146 Chapter 4: The Third Period (2003-2007) ...................................................................... 147 4.1 Historical, Ideological and Material Background ................................................. 152 4.2 Wolfgang Hohlbein & Thorsten Dewi’s Nibelungen Cycle (2004, 2007, 2010) .. 168 4.3 Stephanie Zweig’s Das Haus in der Rothschild Allee (2007) ............................... 188 4.4 Summary ............................................................................................................... 206 Conclusion ...................................................................................................................... 210 Bibliography ................................................................................................................... 217 vii Table of Figures Figure 1: The German soldier as nodal point organizing genre and discourse. ................ 20 viii Introduction The prevalence of the Teutonic warrior-hero in Nazi rhetoric and representations has haunted post-war images of the German soldier, which has cast a shadow of perpetration and collusion over the rhetoric of honor, valor and chivalry. In the first two decades following the war, historians and politicians challenged this association of the soldier with villainy by describing him not only with those aforementioned heroic characteristics in speeches, but also as a victim of larger forces.1 Popular texts, like Heinz G. Konsalik’s wildly successful Der Arzt von Stalingrad (1956), used similarly structured associations to restore the honor of the exemplary German soldier. Both of these types of publication tacitly extended this defense to the characterization of the Wehrmacht more generally. Toward the end of that period, key high-culture texts such as Günther Grass’ Die Blechtrommel call that re-characterization as victim into question and emphasize the more sinister role that the soldier,
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