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So Zu Tun, Als Gäbe Es Diese Bücher Bereits OPEN PUBLISHING IN THE HUMANITIES LAURA KOHLRAUSCH ... so zu tun, als gäbe es diese Bücher bereits ... Fingierte Intertextualität in der (latein)amerikanischen Literatur ab 1940 ... so zu tun, als gäbe es diese Bücher bereits ... Fingierte Intertextualität in der (latein)amerikanischen Literatur ab 1940 Inauguraldissertation zur Erlangung des Doktorgrades der Geisteswissenschaftlichen Fakultät an der Ludwig‐Maximilians‐Universität München vorgelegt von Laura Kohlrausch aus München 2021 Erstgutachter: Prof. Dr. Dr. Michael Rössner Zweitgutachter: Prof. Dr. Martin von Koppenfels Datum der mündlichen Prüfung: 10.07.2019 Laura Kohlrausch ... so zu tun, als gäbe es diese Bücher bereits ... Fingierte Intertextualität in der (latein)amerikanischen Literatur ab 1940 Open Publishing in the Humanities In der Reihe Open Publishing in the Humanities (OPH) wird die Veröfentlichung von hervorragenden geistes- und sozialwissen- schaftlichen Dissertationen gefördert. Die LMU unterstützt damit Open Access als best practice in der Publikationskultur von Monografen in den Geistes- und Sozialwissenschaften und engagiert sich zugleich in der Nachwuchsförderung. Herausgeber von OPH sind Prof. Dr. Hubertus Kohle und Prof. Dr. Thomas Krefeld. Die Universitätsbibliothek der LMU stellt dafür ihre Infrastruktur des hybriden Publizierens bereit und ermöglicht dadurch jungen, forschungsstarken WissenschaftlerInnen, ihre Werke gedruckt und gleichzeitig auch Open Access zu veröfentlichen. https://oph.ub.uni-muenchen.de ... so zu tun, als gäbe es diese Bücher bereits ... Fingierte Intertextualität in der (latein)amerikanischen Literatur ab 1940 von Laura Kohlrausch Herausgegeben von der Universitätsbibliothek der Ludwig-Maximilians-Universität Geschwister-Scholl-Platz 1, 80539 München Gefördert von der Ludwig-Maximilians-Universität München Text © Laura Kohlrausch 2021 Diese Arbeit ist veröfentlicht unter Creative Commons Licence BY 4.0. Eine Erläuterung zu dieser Lizenz fndet sich unter https://creativecommons.org/licenses/by/4.0/deed.de. Diese Lizenz erlaubt die Weitergabe der Publikation unter gleichen Bedingungen für privaten oder kommerziellen Gebrauch mit Namens- nennung des Autors. Abbildungen unterliegen ggf. eigenen Lizenzen, die jeweils angegeben und gesondert zu berücksichtigen sind. Erstveröfentlichung 2021 Zugleich Dissertation der LMU München 2019 Umschlagbild: shutterstock / DRG Photography Bibliografsche Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografe; detaillierte bibliografsche Daten sind im Internet abrufbar über http://dnb.dnb.de Herstellung über: readbox unipress in der readbox publishing GmbH Rheinische Str. 171, 44147 Dortmund, http://unipress.readbox.net Open-Access-Version dieser Publikation verfügbar unter: http://nbn-resolving.de/urn:nbn:de:bvb:19-271709 DOI: https://doi.org/10.5282/oph.12 978-3-95925-178-5 (Druckausgabe) 978-3-95925-179-2 (elektronische Version) Inhalt Danksagung ...................................................................................... VII English Summary.............................................................................. IX Vorbemerkung: Zwischen Fakt und Fiktion .................................. 1 1 Fingierte Intertextualität ............................................................ 13 1.1 Von Pseudoresümees und falschen Referenzen ....................... 17 1.2 Formen fngierter Intertextualität ............................................ 28 1.3 Fingierte Referenzen in der Lektüre ......................................... 33 1.3.1 Der Pakt mit dem Leser................................................. 37 1.3.2 Intertextualitätssignale und Beglaubigungsstrategien .............................................. 43 1.3.3 Aktivierung des Lesers .................................................. 57 1.3.4 Spielende Referenzen ................................................... 68 2 Fantastisches Schwanken: Borges und Bioy Casares.............. 75 2.1 Leser auf der Suche ................................................................. 83 2.1.1 Ein Spiel mit Literaturwissenschaftlern.......................... 102 2.1.2 Das Wunschbild des elitären Leserzirkels ...................... 108 2.2 Zwischenräume der Sinnlosigkeit ............................................ 116 2.2.1 Zerbröckelnde Grenzen................................................. 122 2.2.2 Realität als Gedankenexperiment.................................. 127 2.3 Fantastische Rezeption ............................................................ 138 3 Parodierende Simulation............................................................ 143 3.1 Der parodierte Wissenschaftler: Nabokovs Pale Fire ................. 149 3.1.1 Simulierte Referenzen, fngierte Verbindungen ............. 152 3.1.2 Lehrstück über wissenschaftliche Rezeption.................. 164 3.1.3 Die Hierarchie von Kunstwerk und Kritik ....................... 169 VI Inhalt 3.2 Der parodierte Text: Bolaños La literatura nazi en América............................................................................... 172 3.2.1 Biofktionen, freak shows und fngierte Lexika ............... 174 3.2.2 Ironische Kanonisierung................................................ 180 3.2.3 Von der (Nicht-)Erzählbarkeit des Infamen .................... 189 3.3 Metaerzählungen .................................................................... 202 4 Fiktive Textwelten ....................................................................... 205 4.1 Konzises Gedankenspiel: Borges’ »Examen de la obra de Herbert Quain«................................................................... 210 4.1.1 Hyperkontextualisierte Leerstellen ................................ 213 4.1.2 Resümees statt Romane................................................ 219 4.2 Wucherndes fction-making system: Bolaños Los sinsabores del verdadero policía und 2666 ........................... 221 4.2.1 Proliferierende Fiktionen ............................................... 222 4.2.2 Arcimboldi: Romanskizzen ............................................ 227 4.2.3 Archimboldi: Charakterskizzen ...................................... 232 4.3 Fingierende Leser: von fanfction bis Enzyklopädie .................. 239 5 Zerschreiben des Kanons aus der Peripherie.......................... 249 Schlussgedanken: Erfundene Vorgänger und reale Einflussangst................................................................................ 265 Literaturverzeichnis .......................................................................... 279 Danksagung Mein Dank gilt Michael Rössner und Martin von Koppenfels, mit denen ich in zahlreichen Gesprächen Ideen entwickeln durfe und deren Lehre mich zu ebendiesen inspiriert hat. Auch Kurt Hahn danke ich herzlich für die last-minute-Gespräche zu Roberto Bolaño. Die folgenden Analysen wurden in zahlreichen Diskussionen in Oberseminaren und in den Veranstaltungen der Klasse für Literatur in der Graduiertenschule Sprache & Literatur München zu einem kohärenten Ganzen geschlifen. Ohne die Gedanken, Nachfragen und kritischen Textlektüren ihrer Mitglieder – insbesondere Marie Schoeß, Florencia Sannders, Roxanne Phillips, Karin Janker, Cari- na Breidenbach und Cetty Perdichizzi – wäre der Text heute sicher ein anderer. Danke! Meiner Familie, meinen Freunden und allen voran Lam danke ich für die unbeirrbare Unterstützung. English Summary … to pretend that those books already exist … Feigned Intertextuality in (Latin) American Literature after 1940 In a preface to his collection of short stories Jardín de senderos que se bifurcan, Jorge Luis Borges states that it is laborious madness to write novels hundreds of pages long when you could simply pre- tend these books already exist and then refer to them in short sum- maries. Te stories following the preface proceed to implement this thought by referring to, and quoting from, numerous gctitious textu- al sources, pretending they exist. Borges, who indicates this feigned intertextuality, may be one of the masters of this textual trickery, but he is by no means the only writer operating with it – feigned inter- textuality populates numerous texts in world history. Te present book ofers a systematic examination of this proce- dure and explores the fantastic, parodistic and gction-generating ef- fects it unfolds in reception through analyses of the works of Borges, Adolfo Bioy Casares, Vladimir Nabokov, and Roberto Bolaño. Te study is based on the assumption that feigned references carry spe- cigc properties through their oscillation between the factual and the gctional, properties that make them particularly interesting for a num- ber of genres and texts. A theoretical consideration of the procedure will initially look at how feigned intertextuality can be degned and, more importantly, how it works in reception, playing on assumptions the reader makes based on learned pacts between text and reader. Tis will constitute the base for concrete analyses of feigned intertextuality in specigc texts. Looking at Borges’ »Tlön, Uqbar, Orbis Tertius« and »Jardín de senderos que se bifurcan« as well as Bioy Casares’ »La trama celeste« and La invención de Morel, one can observe the extend to which the uncanny, reality-unsettling properties of gctitious references are func- tionalized in fantastic texts. Te analysis also sets out to shed light on a question that accompanies the entire œuvre of these authors: Can X English Summary these texts really be understood as fantastic?
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