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Memoriales Schreiben Und Phänomene Der Literarischen Erinnerung Bei Walter Benjamin, Ernst Jünger Und Friedo Lampe

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Memoriales Schreiben Und Phänomene Der Literarischen Erinnerung Bei Walter Benjamin, Ernst Jünger Und Friedo Lampe ABSTRACT Title of Document: MEMORIALES SCHREIBEN UND PHÄNOMENE DER LITERARISCHEN ERINNERUNG BEI WALTER BENJAMIN, ERNST JÜNGER UND FRIEDO LAMPE Katharina Rudolf, PhD, 2010 Directed By: Professor Peter Beicken, Department of Germanic Studies This study introduces the concept of “memoriales Schreiben” (‘memorial writing’) as a literary mode that differs from the chronological narratives of traditional autobiographies. In the Introduction, I place “memoriales Schreiben” in the context of the theories of memory, including Maurice Halbwachs’s “kollektives Gedächtnis” (‘collective memory’) and Aleida and Jan Assmann’s “kulturelles Gedächtnis” (’cultural memory’). Examining the literary modes and techniques of remembering and narrating memories and focusing on “Gedächtnisarbeit” (‘memory work’), and “Gedächtnisräume” (’spaces of memory’), I discuss works by three authors who share many generational experiences although their works left very different marks on German literature and culture: Walter Benjamin (1892-1940), Ernst Jünger (1895-1998), and Friedo Lampe (1899-1945). Chapter One analyzes Benjamin’s Berliner Chronik and Berliner Kindheit um neunzehnhundert . As the revising of these childhood memories evidences, Benjamin’s “memoriales Schreiben” transforms the autobiographical into a ‘memory work’ that reflects the intersection of personal story and general history. Chapter Two examines Jünger’s output after his initial WWI diary turned narrative, In Stahlgewittern . Works such as Afrikanische Spiele and Das Abenteuerliche Herz reveal fictionalized autobiographical material while Auf den Marmorklippen deals with cultural and contemporary memory. Chapter Three investigates Lampe’s two novels and some short stories printed despite the Nazi publishing restrictions. His ‘memorial writing’ serves as a cultural recollection of times that faded from memory during the Nazi period. As different as these authors are, their ‘memorial writing’ transcends the mere autobiographical by entering the ‘space of memory’ with perceptions of their environments and reflections on the movements of history. While there are similarities and dissimilarities in the ‘memory work’ of these authors, I have focused on the literary transformations of the memories portrayed: Benjamin’s ‘memorial writing’ is “geschichtsphilosophisch” (‘historio- philosophical’); Jünger’s ‘memorial writing’ transforms his autobiographical adventures into literary ‘memory work’; Lampe’s ‘memorial writing’ claims a subjective space at a time of historical marginalization. Finally, the literary ‘memory work’ of all three authors still needs to enter the public and collective memory. MEMORIALES SCHREIBEN UND PHÄNOMENE DER LITERARISCHEN ERINNERUNG BEI WALTER BENJAMIN, ERNST JÜNGER UND FRIEDO LAMPE By Katharina Rudolf Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2010 Advisory Committee: Professor Peter Beicken, Chair Professor Elke Frederiksen Professor James F. Harris Professor Rose-Marie Oster Professor Gabriele Strauch © Copyright by Katharina Rudolf 2010 Danksagung Verschiedene Faktoren mussten zusammen kommen, um die vorliegende Arbeit zu ermöglichen. Dem „Bucklichten Männlein“ Walter Benjamins begegnete ich zum ersten Mal in einem Seminar über Berlin-Romane bei Prof. Irmela von der Lühe an der Universität Göttingen; auch die erste Auseinandersetzung mit Friedo Lampe, diesem „vergessenen“ und „wiederentdeckten“ Autoren aus der Zeit der NS-Diktatur, verlief dort nach der Neuherausgabe von Lampes Werk im Göttinger Wallstein-Verlag 1999-2002. Den Hinweis auf Ernst Jünger hat Friedo Lampe selbst geliefert, indem er dessen Band Das Abenteuerliche Herz (1938) in einem Brief positiv erwähnte. Es dauerte jedoch einige Zeit, während derer die Gedanken an dieses besondere Autoren- Dreieck zuerst ruhen und dann durch neue Impulse in einen eigenen Verständniszusammenhang integriert werden konnten. Dazu hat ein Seminar von Prof. Elke Frederiksen, das mich in die Theorien und Diskurse der Erinnerung und des kulturellen Gedächtnisses einführte, maßgeblich beigetragen. Besonders herzlich danke ich meinem Betreuer Prof. Beicken, der das Projekt von Anfang an mit viel Interesse, weitgefächerten Anregungen und unermüdlichem Gedankenaustausch begleitet hat. Ein Stipendium der Graduate School der University of Maryland im Sommer 2009 erlaubte einen Forschungsaufenthalt in Deutschland, der neben dem Einblick in Friedo Lampes schmalen Nachlass im Deutschen Literaturarchiv in Marbach auch mehrfache Treffen mit den beiden Vorsitzenden der Friedo-Lampe-Gesellschaft in Bremen möglich machte. Ich danke meinem Mann, Dr. Geronimo Villanueva, und meiner Familie in Deutschland und Argentinien für die große Liebe und die treue Unterstützung... ii Inhaltsverzeichnis Einleitung Einleitung ………………………………………….................................................. 1 Eine Art von Schwindelgefühl ………………………............................................... 4 Warum gerade jetzt? Zum Boom der Erinnerungstheorien ...................................... 7 Erinnerung in der Literatur I: Theorien .................................................................... 10 Erinnerungsräume und Autobiografie ......................................................... 11 Aleida Assmann .......................................................................................... 14 Maurice Halbwachs: Das kollektive Gedächtnis ......................................... 15 Pierre Nora: Erinnerungsorte ....................................................................... 17 Jan Assmann: Das kulturelle Gedächtnis ..................................................... 20 Zusammenfassung ........................................................................................ 22 Erinnerung in der Literatur II: Gedächtniskonzepte der Literaturwissenschaft ........ 23 Ausblick auf die Arbeit zu Walter Benjamin, Ernst Jünger und Friedo Lampe ....... 25 Kapitel 1: Walter Benjamin 0. Einleitung .............................................................................................................. 30 1. Walter Benjamins memoriales Schreiben. Einleitung, Kontexte, Hintergründe .. 31 1.1. Benjamins Gedächtniswert, Benjamin als Autor und Gegenstand .................... 32 1.2. Benjamin als Literaturkritiker und zur Tradition der Autobiografie ................ 46 1.3. Zwischenbilanz: Was öffnete, was verstellte also nach 1930 den Blick auf die eigene Kindheit? ........................................................................................... 50 2. Das Räumlich-Gegenständliche ............................................................................ 55 2.1. Der Raum Berlin ................................................................................................ 71 2.2. Stadtgeschichte – Familiengeschichte – Totengeschichte ................................. 83 3. Zwischenstand: Kontexte, Zeit- und Diskursräume .............................................. 86 3.1. Kindheit und Fotografie ..................................................................................... 88 4. Aus einer Chronik zurück in die Kindheit ? Transformationen ............................. 94 4.1. Strategien der Erinnerung: Führung – Irreführung – Führer ............................. 110 5. Das Gedächtnis in der Literatur: Erinnerung als Gegenstand ............................... 127 5.1. Erinnerung als Spiel ........................................................................................... 130 5.2. Erinnerung als ‚Wunder’, psychologische Selbsterkundung und literarisches Zurückgewinnen ....................................................................... 140 5.3. Erinnerung als historische Aufgabe ................................................................... 150 5.4. Erinnerung als Vorbestimmung ....................................................................... 157 6. Ähnlich werden – Ähnlichkeiten erkennen. Benjamins „magische Korrespondenzen“ und ihre Funktion für das Verständnis des Vergangenen164 7. „Am Mikrophon: Dr. Walter Benjamin“. Zu Benjamins Radiovorträgen für junge Hörer ................................................................................................... 172 8. Schluss .................................................................................................................. 189 Kapitel 2: Ernst Jünger 0. Einleitung .............................................................................................................. 192 1. Ernst Jüngers Begriff von literarischer Erinnerung; eine memoriale Wende im Schreiben ................................................................................................. 193 2. Der Sizilianische Brief an den Mann im Mond ..................................................... 200 iii 2.1. Zum Spiel ........................................................................................................... 204 2.2. Natur und Architektur ........................................................................................ 207 3. Ernst Jünger als Figur der kulturellen Erinnerung ................................................ 209 4. „Nicht für voll genommen“? Erinnerung an offene Wunden ............................... 211 4.1. Schule und Traumata: Die Zwille ...................................................................... 215 4.2. Geteilte Diskurse: Lesesucht und Fernweh in den Afrikanischen Spielen ......... 220 4.3.
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