DOCSLIB.ORG

The Emergence of an Acoustical Art Form: an Analysis of the German Experimental Horspiel of the 1960S

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Emergence of an Acoustical Art Form: an Analysis of the German Experimental Horspiel of the 1960S University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Papers from the University Studies series (The University of Nebraska) University Studies of the University of Nebraska 6-1974 The Emergence of an Acoustical Art Form: An Analysis of the German Experimental Horspiel of the 1960s Mark Ensign Cory University of Nebraska - Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/univstudiespapers Part of the Arts and Humanities Commons Cory, Mark Ensign, "The Emergence of an Acoustical Art Form: An Analysis of the German Experimental Horspiel of the 1960s" (1974). Papers from the University Studies series (The University of Nebraska). 47. https://digitalcommons.unl.edu/univstudiespapers/47 This Article is brought to you for free and open access by the University Studies of the University of Nebraska at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Papers from the University Studies series (The University of Nebraska) by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. "' t. ,~ ( I' " ,'i~~ 1, new series no. 45 University of Nebraska Studies june 1974 THE EMERGENCE OF AN ACOUSTICAL ART FORM The University of Nebraska The Board of Regents MRS. J. G. ELLIOIT ROBERT R. KOEFOOT, M.D. KERMIT HANSEN chairman JAMES H. MOYLAN ROBERT J. PROKOP, M.D., Ph.D. ROBERT L. RAUN EDWARD SCHWARTZKOPF KERMIT WAGNER The President D. B. VARNER The Chancellor, University of Nebraska - Lincoln JAMES H. ZUMBERGE Committee on Scholarly Publications WARREN W. CALDWELL FREDERICK M. LINK, VIRGINIA L. FAULKNER chairman NED S. HEDGES C. BERTRAND SCHULTZ GERALD E. THOMPSON Mark Ensign Cory The Emergence of an Acoustical Art Fortn An Analysis of the German Experimental Horspiel of the 1960s university of nebraska studies : new series no. 45 published by the university at lincoln : june 1974 Copyright © 1974 by the Board of Regents of the University of Nebraska Library of Congress Catalog Card Number 74-77088 ISSN 0077-6386 Manufactured in the United States of America Contents Preface vii 1. Introduction I II. Preliminary Considerations II III. Nonverbal Elements 23 1. Sound Effects 23 2. Music 38 3. Dimension 45 4. Silence 55 IV. Verbal Elements 68 V. Conclusion and Outlook 100 Bibliography 109 Preface T HIS STUDY GREW out of a fascination with the idea of an acoustical literature, a body of creative material responsive to the unique possibilities of radio or tape and distinct from creative expression in film, television, and print. Traditional criticism has long held that radio drama constitutes such a body of acoustical literature. The adequacy of this theory was challenged, however, by the emergence in the 1960s of experimental poetic works written for radio which violated many of the canons of classic radio drama and yet seemed somehow more acoustical, more intimately involved with the medium of radio than their predecessors. This experi­ mentation has been particularly active in Germany, where its prod­ uct has become known generally as "das Neue H6rspiel." In docu­ menting and exploring the development of this new corpus of literary activity, this study seeks to correct certain deficiencies of traditional radio drama theory, while suggesting a critical approach more compatible with an acoustical art form. Of the many parties whose assistance contributed to this study, the H orspiel Department of the Bavarian Radio (Bayerischer Rund­ funk) deserves first mention. To Hansj6rg Schmitthenner of that department lowe special thanks for advice and criticism, and for his enthusiastic and knowledgeable introduction to the experimental Horspiel. Very helpful also have been the interest and assistance of Klaus Sch6ning of the HOrspiel Department of the West GermaH Radio (Westdeutscher Rundfunk). The many instances of specific indebtedness to his writings are documented in my text, but in general his help in making available manuscripts of numerous radio essays and other material of difficult access has been inestimable. I am grateful to the Germanistic Society of America and to the Ful­ bright Commission for supporting the year of preliminary study spent in Germany. And for its generous support during the writing of the dissertation on which this study is based, I thank the Wood­ row Wilson Foundation. To Paul Portner and Ferdinand Kriwet Vll viii / Preface goes deep appreciation for the use of unpublished materials and tapes of their works. For the benefit of her special competence in concrete poetry go thanks to Mary Ellen Solt. And finally, for their guidance and close attention to the manuscript during the prepara­ tion of the original dissertation, I thank Professors Richard C. Burke, Burghard Dedner, Albrecht Holschuh, Melvin Plotinsky, and Frank G. Ryder of Indiana University. I. Introduction T HE ERA OF THE TRADITIONAL Horspiel has passed. Although they have an important and welcome place in the repertory of every German broadcaster, the radio plays of Gunter Eich, the lyrical fantasies of Ingeborg Bachmann, the suspenseful stories of Fried­ rich Durrenmatt, the interior monologues of Heinrich Boll, Dieter Wellershoff, and Peter Hirche no longer influence the creative energies at work in the genre as they did throughout the 1950s. They are in a sense museum pieces to which the term "classic" has already been widely applied. What has followed the mature classic period possesses the vigor of youth and the freshness of innovation. Called simply "das Neue Horspiel," the successor to the traditional German radio play has pulled the genre out of near stagnation by offering through the radio an aesthetic experience different from that available to readers of literature, viewers of film and television, or friends of the concert hall and theater. After more than a decade of active experimentation, there are now signs that a point of tran­ sition has been reached in the development of these new forms, and that consequently it may be possible to speak collectively of the first generation of experimental Horspiele without doing exces­ sive violence to the variety of forces at work. Before still newer forces complicate the task, the opportunity should be taken for a critical look at some of the experimental works themselves, includ­ ing an examination of their generic characteristics and their prin­ cipal features of form and content. It is my belief that in this pro­ cess a fresh perspective will be won for a reevaluation of the classic Horspiel and its important theoretical corpus. The starting point for any attempt to understand the respective natures of the traditional and experimental Horspiel must be the postulate on which the theory of the entire genre has been based. This postulate, as formulated in the wave of generally sound theo­ retical and practical criticism that emerged in the years 1961 to 1 2 / The Emergence of an Acoustical Art Form 1964, expressed the belief that there was a necessary relationship between the acoustical medium of radio and the poetic expression of the Horspiel. It became a cliche, echoed uncritically by all the major theorists, that the Horspiel was an exclusively acoustical art form. Armin P. Frank observed "Rundfunksendungen im weitesten Sinn, also auch Horspiele, sind ausschliesslich akustische Gestalten." E. Kurt Fischer spoke of the Horspiel as "eine rein akustische Dar­ bietungsform," and Heinz Schwitzke of the "akustische Wirklichkeit des Horspiels." 1 Not surprisingly, the handbooks of literature seized upon this "basic feature" as the starting point for their discussion of the genre. Gero von Wilpert's Sachworterbuch der Literatur (4th ed., 1964 and 5th ed., 1969) begins its characterization of the H orspiel accordingly: HORSPIEL als neue dramatische Lit.gattung seit der Erfindung des Rund­ funks (erstes H. 6.10.1923 Glasgow) ist gekennzeichnet durch Wegfall alles Optischen (Szene. Mimik. Milieu. Schauplatz. Kulisse. oft durch sog. Gerausch­ kulisse ersetzt) zugunsten des rein Akustischen . • . The present study will argue that this premise, so reasonable on its face, was in fact premature; that it better characterizes the new variety of Horspiel which, ironically, emerged only after the defini­ tion of the classic Horspiel as a "rein akustische" art form. The consequence of this premature characterization has been a corres­ ponding neglect of the role of the visual dimension in the classic Horspiel and an almost total disregard of the phenomenon of the printed text. The perspective gained by an evaluation of the newer and increasingly acoustical form of the Horspiel will demonstrate that the typical work of the classic era operates aesthetically in visual, not acoustical, terms, and that much of the excellent theory published on the "exclusively acoustical" Horspiel applies with equal validity to the Horspiel as printed text. To develop the perspective afforded by the experimental Hor­ spiel it will be necessary to borrow from the principles and termi­ nology of modern aesthetics, especially those aspects which involve communication, information, and game theory, and the theory of signs.2 This approach recommends itself for two reasons. First, the insights offered by these theories are helpful in testing theses like the one on which this study is based. For example, the funda­ mental semiotic distinction between signal and sign can bring us a long way in an exploration of the relationship between poetic Introduction / 3 expression and its medium. The very quality of the Horspiel as a "Zwischengebilde
Load more

Recommended publications
  • The Politics of Privatization and Restructuring in Germany
    4^ ^ >v •> Dii.'^.^/ HD28 .M414 The Politics of Privatization and Restructuring in Germany Lufthansa and Deutsche Teleliom J. Nicholas Ziegler Revised October 1997 WP# 3880 Sloan School of Management Massachusetts Institute of Technology MIT, E52-581 Cambridge, MA 02142-1347 tel. 617-253-3698 fax 617-253-2660 [email protected] The privatization of public service companies offers an excellent case for assessing pressures for institutional convergence versus the staying power of distinctive national economic institutions in the advanced industrial countries. This paper examines the privatization of Lufthansa and Deutsche Telekom in order to see whether changes in enterprise ownership reflect a process of convergence in the rules of coiporate governance. While the outward form of privatization in Germany looks quite similar to privatization in Britain and the United States, these two cases show little evidence that the change in ownership is driving any formal changes in corporate governance. If anything, German financial institutions and trade unions continue to exercise distinctive roles that rest on their historical positions in the German economy. FEB 081998 LIBPARtCS Politics and Privatization in Germany Lufthansa and Deutsche Telekom J. Nicholas Ziegler Introduction Recent changes in the world economy have prompted scholars and practitioners to ask whether all countries are converging on a single most efficient set of institutions for economic management. Some observers argue that the three processes driving worldwide competition — globalization,
    [Show full text]
  • Bulletin of the GHI Washington Supplement 1 (2004)
    Bulletin of the GHI Washington Supplement 1 (2004) Copyright Das Digitalisat wird Ihnen von perspectivia.net, der Online-Publikationsplattform der Max Weber Stiftung – Stiftung Deutsche Geisteswissenschaftliche Institute im Ausland, zur Verfügung gestellt. Bitte beachten Sie, dass das Digitalisat urheberrechtlich geschützt ist. Erlaubt ist aber das Lesen, das Ausdrucken des Textes, das Herunterladen, das Speichern der Daten auf einem eigenen Datenträger soweit die vorgenannten Handlungen ausschließlich zu privaten und nicht-kommerziellen Zwecken erfolgen. Eine darüber hinausgehende unerlaubte Verwendung, Reproduktion oder Weitergabe einzelner Inhalte oder Bilder können sowohl zivil- als auch strafrechtlich verfolgt werden. “WASHINGTON AS A PLACE FOR THE GERMAN CAMPAIGN”: THE U.S. GOVERNMENT AND THE CDU/CSU OPPOSITION, 1969–1972 Bernd Schaefer I. In October 1969, Bonn’s Christian Democrat-led “grand coalition” was replaced by an alliance of Social Democrats (SPD) and Free Democrats (FDP) led by Chancellor Willy Brandt that held a sixteen-seat majority in the West German parliament. Not only were the leaders of the CDU caught by surprise, but so, too, were many in the U.S. government. Presi- dent Richard Nixon had to take back the premature message of congratu- lations extended to Chancellor Kiesinger early on election night. “The worst tragedy,” Henry Kissinger concluded on June 16, 1971, in a con- versation with Nixon, “is that election in ’69. If this National Party, that extreme right wing party, had got three-tenths of one percent more, the Christian Democrats would be in office now.”1 American administrations and their embassy in Bonn had cultivated a close relationship with the leaders of the governing CDU/CSU for many years.
    [Show full text]
  • Revisiting Zero Hour 1945
    REVISITING ZERO-HOUR 1945 THE EMERGENCE OF POSTWAR GERMAN CULTURE edited by STEPHEN BROCKMANN FRANK TROMMLER VOLUME 1 American Institute for Contemporary German Studies The Johns Hopkins University REVISITING ZERO-HOUR 1945 THE EMERGENCE OF POSTWAR GERMAN CULTURE edited by STEPHEN BROCKMANN FRANK TROMMLER HUMANITIES PROGRAM REPORT VOLUME 1 The views expressed in this publication are those of the author(s) alone. They do not necessarily reflect the views of the American Institute for Contemporary German Studies. ©1996 by the American Institute for Contemporary German Studies ISBN 0-941441-15-1 This Humanities Program Volume is made possible by the Harry & Helen Gray Humanities Program. Additional copies are available for $5.00 to cover postage and handling from the American Institute for Contemporary German Studies, Suite 420, 1400 16th Street, N.W., Washington, D.C. 20036-2217. Telephone 202/332-9312, Fax 202/265- 9531, E-mail: [email protected] Web: http://www.aicgs.org ii F O R E W O R D Since its inception, AICGS has incorporated the study of German literature and culture as a part of its mandate to help provide a comprehensive understanding of contemporary Germany. The nature of Germany’s past and present requires nothing less than an interdisciplinary approach to the analysis of German society and culture. Within its research and public affairs programs, the analysis of Germany’s intellectual and cultural traditions and debates has always been central to the Institute’s work. At the time the Berlin Wall was about to fall, the Institute was awarded a major grant from the National Endowment for the Humanities to help create an endowment for its humanities programs.
    [Show full text]
  • Local Expellee Monuments and the Contestation of German Postwar Memory
    To Our Dead: Local Expellee Monuments and the Contestation of German Postwar Memory by Jeffrey P. Luppes A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Germanic Languages and Literatures) in The University of Michigan 2010 Doctoral Committee: Professor Andrei S. Markovits, Chair Professor Geoff Eley Associate Professor Julia C. Hell Associate Professor Johannes von Moltke © Jeffrey P. Luppes 2010 To My Parents ii ACKNOWLEDGMENTS Writing a dissertation is a long, arduous, and often lonely exercise. Fortunately, I have had unbelievable support from many people. First and foremost, I would like to thank my advisor and dissertation committee chair, Andrei S. Markovits. Andy has played the largest role in my development as a scholar. In fact, his seminal works on German politics, German history, collective memory, anti-Americanism, and sports influenced me intellectually even before I arrived in Ann Arbor. The opportunity to learn from and work with him was the main reason I wanted to attend the University of Michigan. The decision to come here has paid off immeasurably. Andy has always pushed me to do my best and has been a huge inspiration—both professionally and personally—from the start. His motivational skills and dedication to his students are unmatched. Twice, he gave me the opportunity to assist in the teaching of his very popular undergraduate course on sports and society. He was also always quick to provide recommendation letters and signatures for my many fellowship applications. Most importantly, Andy helped me rethink, re-work, and revise this dissertation at a crucial point.
    [Show full text]
  • Durham Research Online
    Durham Research Online Deposited in DRO: 12 February 2015 Version of attached le: Accepted Version Peer-review status of attached le: Peer-reviewed Citation for published item: Ward, Simon (2006) 'Responsible Ruins : W. G. Sebald and the responsibility of the German writer.', Forum for modern language studies., 42 (2). pp. 183-199. Further information on publisher's website: http://dx.doi.org/10.1093/fmls/cql007 Publisher's copyright statement: This is a pre-copyedited, author-produced PDF of an article accepted for publication in Forum for modern language studies following peer review. The denitive publisher-authenticated version Ward, Simon (2006) 'Responsible Ruins : W. G. Sebald and the responsibility of the German writer.', Forum for modern language studies., 42 (2). pp. 183-199 is available online at: http://dx.doi.org/10.1093/fmls/cql007 Additional information: Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full DRO policy for further details. Durham University Library, Stockton Road, Durham DH1 3LY, United Kingdom Tel : +44 (0)191 334 3042 | Fax : +44 (0)191 334 2971 https://dro.dur.ac.uk Responsible Ruins? W.G.
    [Show full text]
  • 2018 • Vol. 2 • No. 2
    THE JOURNAL OF REGIONAL HISTORY The world of the historian: ‘The 70th anniversary of Boris Petelin’ Online scientific journal 2018 Vol. 2 No. 2 Cherepovets 2018 Publication: 2018 Vol. 2 No. 2 JUNE. Issued four times a year. FOUNDER: Federal State Budgetary Educational Institution of Higher Education ‘Cherepovets State University’ The mass media registration certificate is issued by the Federal Service for Supervi- sion of Communications, Information Technology and Mass Media (Roskomnadzor). Эл №ФС77-70013 dated 31.05.2017 EDITOR-IN-CHIEF: O.Y. Solodyankina, Doctor of Historical Sciences (Cherepovets State University) DEPUTY EDITORS-IN-CHIEF: A.N. Egorov, Doctor of Historical Sciences (Cherepovets State University) E.A. Markov, Doctor of Political Sciences (Cherepovets State University) B.V. Petelin, Doctor of Historical Sciences (Cherepovets State University) A.L. Kuzminykh, Doctor of Historical Sciences (Vologda Institute of Law and Economics, Federal Penitentiary Service of Russia) EDITOR: N.G. MELNIKOVA COMPUTER DESIGN LAYOUT: M.N. AVDYUKHOVA EXECUTIVE EDITOR: N.A. TIKHOMIROVA (8202) 51-72-40 PROOFREADER (ENGLISH): N. KONEVA, PhD, MITI, DPSI, SFHEA (King’s College London, UK) Address of the publisher, editorial office and printing-office: 162600 Russia, Vologda region, Cherepovets, Prospekt Lunacharskogo, 5. OPEN PRICE ISSN 2587-8352 Online media 12 standard published sheets Publication: 15.06.2018 © Federal State Budgetary Educational 1 Format 60 84 /8. Institution of Higher Education Font style Times. ‘Cherepovets State University’, 2018 Contents Strelets М. B.V. Petelin: Scientist, educator and citizen ............................................ 4 RESEARCH Evdokimova Т. Walter Rathenau – a man ahead of time ............................................ 14 Ermakov A. ‘A blood czar of Franconia’: Gauleiter Julius Streicher ......................
    [Show full text]
  • Genève L’Autographe
    l’autographe Genève l’autographe L’autographe S.A. 24 rue du Cendrier, CH - 1201 Genève +41 22 510 50 59 (mobile) +41 22 523 58 88 (bureau) web: www.lautographe.com mail: [email protected] All autographs are offered subject to prior sale. Prices are quoted in EURO and do not include postage. All overseas shipments will be sent by air. Orders above € 1000 benefts of free shipping. We accept payments via bank transfer, Paypal and all major credit cards. We do not accept bank checks. Postfnance CCP 61-374302-1 3, rue du Vieux-Collège CH-1204, Genève IBAN: CH 94 0900 0000 9175 1379 1 SWIFT/BIC: POFICHBEXXX paypal.me/lautographe The costs of shipping and insurance are additional. Domestic orders are customarily shipped via La Poste. Foreign orders are shipped via Federal Express on request. Music and theatre p. 4 Miscellaneous p. 38 Signed Pennants p. 98 Music and theatre 1. Julia Bartet (Paris, 1854 - Parigi, 1941) Comédie-Française Autograph letter signed, dated 11 Avril 1901 by the French actress. Bartet comments on a book a gentleman sent her: “...la lecture que je viens de faire ne me laisse qu’un regret, c’est que nous ne possédions pas, pour le Grand Siècle, quelque Traité pareil au vôtre. Nous saurions ainsi comment les gens de goût “les honnêtes gens” prononçaient au juste, la belle langue qu’ils ont créée...”. 2 pp. In fine condition. € 70 2. Philippe Chaperon (Paris, 1823 - Lagny-sur-Marne, 1906) Paris Opera Autograph letter signed, dated Chambéry, le 26 Décembre 1864 by the French scenic designer at the Paris Opera.
    [Show full text]
  • A State of Peace in Europe
    Studies inContemporary European History Studies in Studies in Contemporary Contemporary A State of Peace in Europe A State of Peace in Europe European European West Germany and the CSCE, 1966–1975 History History West Germany and the CSCE, 1966–1975 Petri Hakkarainen In a balanced way the author blends German views with those from Britain, France and the United States, using these countries’ official documents as well. His book represents a very serious piece of scholarship and is interesting to read. It excels with a novel hypothesis, a very careful use of varied archival sources, and an ability not to lose his argument in the wealth of material. Helga Haftendorn, Free University, Berlin Petri Hakkarainen I don’t know of any other book that deals so thoroughly with German CSCE policy in the years described here…The author has done a vast amount of research, using documents from different archives and different countries…While he is of course not the first scholar to write about the origins of the CSCE, the author does contribute new elements and interpretations to the topic. Benedikt Schönborn, University of Tampere, Centre for Advanced Study From the mid-1960s to the mid-1970s West German foreign policy underwent substantial transformations: from bilateral to multilateral, from reactive to proactive. The Conference on Security and Cooperation in Europe (CSCE) was an ideal setting for this evolution, enabling A StateofPeaceinEurope the Federal Republic to take the lead early on in Western preparations for the conference and to play a decisive role in the actual East–West negotiations leading to the Helsinki Final Act of 1975.
    [Show full text]
  • Jean Améry and Wolfgang Hildesheimer: Ressentiments, Melancholia, and the West German Public Sphere in the 1960S and 1970S
    JEAN AMÉRY AND WOLFGANG HILDESHEIMER: RESSENTIMENTS, MELANCHOLIA, AND THE WEST GERMAN PUBLIC SPHERE IN THE 1960S AND 1970S 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 Melanie Steiner Sherwood January 2011 © 2011 Melanie Steiner Sherwood JEAN AMÉRY AND WOLFGANG HILDESHEIMER: RESSENTIMENTS, MELANCHOLIA, AND THE WEST GERMAN PUBLIC SPHERE IN THE 1960S AND 1970S Melanie Steiner Sherwood, Ph. D. Cornell University 2011 The dissertation revisits the West German literary scene of the 1960s and 1970s to investigate how two of its Jewish participants, Jean Améry and Wolfgang Hildesheimer, sought to promote ethical responses to the Holocaust. The study incorporates literary analysis and socio-political reflections on the ethics of public life. First, it is an analysis of the relationship between judicial confrontation of the German criminal past, the silence in the wider German cultural sphere in the wake of this confrontation, and the two writers’ efforts to expose and address this ethical disconnect (chapter I). Second, it draws attention to two very different modes of reactive affect, ressentiment and melancholia. Through readings of Hildesheimer’s novels Tynset (1965) and Masante (1973) in chapters II and III, on the one hand, and Améry’s essay “Ressentiments” (1966) and the essay-novel Lefeu oder Der Abbruch (1974) in chapters IV and V, on the other, the dissertation analyzes these two modes. Hildesheimer employed a register of ethical writing that articulated the interconnected processes of mourning and melancholia, but unlike recent scholarship that focuses on these categories and valorizes melancholia as source of productive socio-political action, Hildesheimer did not prescribe them as exemplary modes of affective reparation.
    [Show full text]
  • 1 Center for Contemporary German Literature Zentrum Für
    Center for Contemporary German Literature Zentrum für deutschsprachige Gegenwartsliteratur Washington University One Brookings Drive Campus Box 1104 St. Louis, Missouri 63130-4899 Director: Paul Michael Lützeler Fifteenth Annual Bibliography Spring 1999 Editor: Hannelore M. Spence 1 1 I. AUTOREN Achilla Presse, Bremen, Hamburg/Deutschland Moosdorf, Johanna: Flucht aus der Zeit. Erzählung (1997) Geschichte einer jungen Frau, die nach Jahrhunderte währendem Schlaf im Jahre 727 einer neuen Zeit- rechnung erwacht. Ohne Orientierung und ohne Wissen um das Geschehene lebt sie mit dem "Völkchen", einer harmonischen, nicht technisierten Gesellschaft. Doch dann bringen Kundschafter die Nachricht von anderen Überlebenden aus der vergangenen Kultur. Probsthayn, Lou A.: Die Welt ist Hund. Roman (1997) Nach "Dumm gelaufen" und "Bei Anruf Worte" der letzte Band der Trilogie. Neben Bill Brook beobachten wir den Psychopathen "Egal" und seinen Kampf gegen Mütter im Allgemeinen und seine im Speziellen. Sodux, Oskar: Es riecht nach Zirkus. Geschichten. Mit Illustrationen von Gerd Klietsch (1996) In elf Streifzügen durchs hamburgnahe Niedersachsen fängt Oskar Sodux die Atmosphäre eines tristen Land- lebens in der norddeutschen Tiefebene ein. Lyrische Bestands- und Landschaftsaufnahmen mit melancholi- schem Humor. Thies, Klaus Johannes: Schurrmurr. Miniaturen (1996) Die kurze bis kürzeste Prosa von Klaus Johannes Thies umfaßt die Bereiche Film, Kunst und Sport. A1 Verlag, München/Deutschland Krusche, Dietrich: Himalaya. Roman (1998) Alkyon Verlag Gerlind Stirn, Weissach i.T./Deutschland Stein, Angelika: Indische Stimmen. Erzählung (1997) Ammann Verlag, Zürich/Schweiz Bondy, Luc: Wo war ich? Einbildungen. (1998) In dieser Sammlung von Erzählungen und Geschichten tritt der Regisseur Luc Bondy als Prosa-Künstler auf. Dirks, Liane: Und die Liebe? frag ich sie.
    [Show full text]
  • Leseliste Der Section D'allemand
    Leseliste der section d'allemand Diese Leseliste ist eine Menukarte. Sie bietet wichtige Werke der deutschen Literatur- geschichte zum Lesegenuss an, ohne aber vorzuschreiben, in welcher Reihenfolge, mit welcher Intensität und in welcher Menge die vorgeschlagenen Werke gelesen werden sollen. Sie ist also kein abfragbarer Kanon, sondern eine offene Palette. Sie will nicht übersättigen; deshalb ist die Auswahl nicht allzu üppig. Trotzdem ist sie so lang, dass sie nicht von vorn bis hinten durchgekaut und wiedergekaut werden kann - bei diesem Menu kann und soll man mit jenem Gang beginnen, der am meisten anspricht. Weil die Leseliste darauf baut, dass der Appetit mit dem Essen kommt, will sie die Studierenden über Werke orientieren, wie sie insbesondere im Umkreis eines Seminars oder bei einer Vorlesung zusätzlich gelesen werden können, so dass das Netz der Leseerlebnisse im Laufe des Studiums immer dichter wird. PRAKTISCHE HINWEISE ZUR BENUTZUNG Um die Orientierung zu erleichtern, sind die Werke nach Epochen und innerhalb der Epochen nach literarischen Gattungen gegliedert. Mit einem (*) herausgehoben sind Werke, Autorinnen und Autoren, die für ihre Epoche und Gattung besonders repräsentativ scheinen und sich dadurch für die Einreise in das jeweilige literarische Gebiet besonders eignen. Für eine erste Hintergrundsinformation über Autoren und literarische Epochen wird empfohlen: • Die deutsche Literatur des Mittelalters. Verfasserlexikon, zweite, völlig neu bearbeitete Auflage, hrsg. von Kurt Ruh u.a., 11 Bde, Berlin 1978-2004. • Sachwörterbuch der Mediävistik, hrsg. von Peter Dinzelbacher, Stuttgart 1992 (Kröners Taschenbuchausgabe 477). • Lexikon des Mittelalters, 9 Bde, München und Zürich 1980-1998. • H. A. und E. Frenzel: Daten deutscher Dichtung. Chronologischer Abriss der deutschen Literaturgeschichte, 2 Bde (dtv).
    [Show full text]
  • Das Mahrleinbuch Flir Meine Lieben Nachbarsleute. in Zwei Bandchen
    ANMERKUNGEN 1 Peter Kling: Das Mahrleinbuch flir meine lieben Nachbarsleute. In zwei Bandchen. Leipzig 1799. 2 Das mir vorliegende Exemplar aus der Berliner Staatsbibliothek stammt aus der Bibliothek der Briider Jacob und Wilhelm Grimm. Es enthalt einige handschriftliche Notizen von der Hand Jacob Grimms. Auf dem Vorsatz steht: >>Dem Stil nach vom Vf. des sonst schlechteren Buchs: Schwarze Rettiche Leipzig 179. Zum Neuen Jahr 1812- im October 1811 -<<. Dieser Hinweis bezieht sich auf [Johann Gottlieb Munch:] Schwarze Rettiche, gebaut von meinem Haus-Satyr. Leipzig 1798. (Standort: Bayer. Staatsbibliothek Miinchen). Die Satiren richten sich z. B. auf Humanitatsapostel mit guten Absichten und schlechten Erfolgen; auf Zeitungsschreiber, die nur Wind machen; auf einen Kantianer, bei dessen Tatigkeit nichts Brauch bares herauskommt; auf eingebildete Schulmeister und ahnliches der Art. Den stilistischen Be fund Jacob Grimms kann man nur bestatigen. Klings >>Mahrleinbuch<< wird kurz vorgestellt in Richard Benz: Marchen-Dichtung der Roman­ tiker. Gotha 1908. S. 67f. Benz gibt >>Peter Kling<< als Pseudonym flir J. G. Miinch an, aber nicht, worauf er sich dabei stiitzt. 3 DaB der Ausdruck >>Freudenmadchen<< zu der Zeit bereits unter der heutzutage gelaufigen Be­ deutung verstanden werden konnte, notiert das Grimmsche Worterbuch: >>nach dem fr. fille de joie, wol erst nach 1750 aufgenommen<<. 4 Die Vermutung liegt nahe, die Zeit des Mahrleins als >>Freudenmiidchen<< und >>Liebeskind<< konnte auf die Epoche der Aufnahme frz. Feenmarchen in Deutschland, etwa durch Wieland, verweisen. Der Pfarrer August Jakob Liebeskind war Wielands Mitarbeiter am dritten Band der Sammlung >>Dschinnistan<< (1786-89), die durchaus erotisch-pikante Szenen enthalt, und selber durch die Sammlung orientalischer Fabeln und Marchen >>Palmblatter.
    [Show full text]