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Acr42.Pdf (1.687Mb) POETICS OF RESONANCE AND LEGACIES OF SOUND IN GERMAN LITERATURE SINCE 1989 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 ARINA CODRUTA ROTARU AUGUST 2013 © 2013 ARINA CODRUTA ROTARU POETICS OF RESONANCE AND LEGACIES OF SOUND IN GERMAN LITERATURE SINCE 1989 ARINA CODRUTA ROTARU, Ph. D. Cornell University 2013 My dissertation analyzes two primary modes of engagement with sound in German literature since 1989. One is informed by the literary experiments of the interwar-and post-WWII avant-gardes, and the other is marked by vestiges of the manipulation of sound in Nazi and communist dictatorships. My first chapter examines complex relations between Herta Müller and Oskar Pastior, two Romanian writers of German ethnicity. By scrutinizing the relationship of these two authors to the Romanian avant- gardes and their forms of experimentation in general (such as collage), I uncover both the potential of literary experiment to resist communist ideology and basic structures of untimeliness that Müller inherited from Pastior. The second chapter is dedicated to Marcel Beyer’s prose and poetry, which testify to the influence of sound poetry and dub music on structures of contemporary prose. Beyer uses these innovative practices to recreate an imaginary East and explore unsuspected afterlives of colonialism and fascism in a present setting. My third chapter is devoted to the Turkish-German author Feridun Zaimoglu and his little discussed relation to the avant-garde. My discussion of Zaimoglu’s work examines musical and ideological influences in his work, from the black power movement to rap aesthetics, but also probes the influence of the postcolonial Caribbean movement of négritude on his understanding and codification of sound. In my fourth chapter I address Thomas Kling’s engagement with Dadaist experiments with sound as well as with the Wiener Gruppe’s speech duets; I also show how Kling critically interprets these interwar and postwar traditions by recasting them in verses written under the sign of the digital. With this comparative study, I seek to contribute to the field of German studies as it intersects with the evolving scholarship on sound studies, media studies and performance studies, and I ask how the past of experimentation in its colonial, communist, and avant-gardist dimensions transforms and conditions the social and aesthetic textures of the present. BIOGRAPHICAL SKETCH Arina Rotaru was born in Constanta, Romania. She earned a B.A. in Foreign Languages from the University of Bucharest, a Magisterio in Facultate Philosophiae from the Pontifical University Urbaniana (Rome) and an M.A. from Cornell University. She is currently a lecturer in the Department of Modern Languages at Ithaca College in Ithaca, New York. iii This dissertation is dedicated to my grandmother Dona Arvinti, and to the memory of my grandfather, Valentin Arvinti, my ardent supporter and friend. iv ACKNOWLEDGMENTS Writing this dissertation would not have been possible without the major support and dedication of my advisor, Leslie A. Adelson, who has been a source of inspiration on a personal and a scholarly level. I also benefited from the kind assistance and expertise of my committee members Patrizia McBride and Peter Gilgen. My work would not have been possible without the insights of David Bathrick, Jonathan Culler, Erika Fischer-Lichte, Jonathan Monroe, Geoff Waite, Barry Maxwell, Haiping Yan and Peter Uwe Hohendahl. For professional advice and encouragement I am also very much indebted to Gunhild Lischke, Grit Matthias, Brent McBride and Paul Fleming. For assistance and genuine concern I would like to thank Miriam Zubal, Gisela Podleski and Annette Schwarz. This dissertation has been financed in various ways by the Einaudi Foundation, the DAAD and the Max Kade Foundation. I would like to especially thank Paul Michael Lützeler and Ingrid Lützeler for their hospitality in Berlin. I would also like to express my gratitude to the authors Marcel Beyer, Eugen Gomringer, Herta Müller, Feridun Zaimoglu, Neco Çelik and Yoko Tawada, who have all provided me with important help along the way. Last but not least, this dissertation has benefited from the generous comments of my departmental colleagues in German Studies, comparative literature, and other fields. I am particularly grateful to my writing fellows Sam Dwinell, Walter Hsu and Mina Ahn as well as to my peer collaborators and counselors Pedro Erber, Franz-Peter Hugdahl and Taran Kang. For spiritual and material support along the way, I thank my v parents, maternal and paternal grandparents, my sister Andra Rotaru, my former professors Ioana Craciun and Markus Fischer, Lidia Ionescu, Domnica Serban, Gaspare Mura, Virgil Olteanu, my friends Klaus Pellar, Mirela and Luca Oliva, and my magnificent partner, Noriaki Hoshino. vi TABLE OF CONTENTS BIOGRAPHICAL SKETCH ....................................................................... .............. iii DEDICATION .............................................................................................................iv ACKNOWLEDGMENTS..............................................................................................v TABLE OF CONTENTS.............................................................................................vii LIST OF FIGURES.....................................................................................................viii INTRODUCTION..........................................................................................................1 CHAPTER ONE: AVANT-GARDE CONFLUENCES AND PROHIBITIONS OF SOUND: HERTA MÜLLER AND OSKAR PASTIOR.....................................................................................................................26 CHAPTER TWO: MARCEL BEYER AND TOPOGRAPHIES OF SOUND.........105 CHAPTER THREE: SOUNDING BACK: THE CASE OF KANAK SPRAK AND POSTCOLONIAL POETICS IN CONTEMPORARY GERMAN LITERATURE……………………………………………………………………...171 CHAPTER FOUR: THOMAS KLING AND AESTHETIC LEGACIES OF SOUND……………………………………………………………………………..248 CONCLUSION: ………………………………………............................................292 WORKS CITED:……………………………………………………………………296 vii LIST OF FIGURES Figure 1. Herta Müller, "Nehmen wir an" (2005)....................................................... 76 Figure 2. Herta Müller, "Nehmen wir an" (2003)........................................................81 Figure 3. Herta Müller, "Oskar trecea" (2005).............................................................85 viii INTRODUCTION Resonance After the fall of communism in Europe and the Berlin Wall in 1989, German literature, for the first time since 1945, again became an ideal field for investigating the relationship between emerging forms of writing and the persistence of familiar ones for literary authors and discursive practices alike. The question about “what remains,” famously formulated by Christa Wolf in her controversial book published in 1990, considered possible residues, remnants and traces of the communist past, but also prompted new “departures,” as Andreas Huyssen suggests.1 Whereas many critics have focused on new beginnings in German literature as a tendency of German literature to imagine a new national literature across the feuilletons, literature, film and visual arts of the 1990s in the wake of reunification, other new beginnings have been evident in a creative and critical focus on multilingualism as a literary practice in the 1990s.2 I analyze multilingualism as one form of contemporary literary experimentation among others, and I situate its analysis within a more extensive examination of experimentation with sound initiated by the historical avant-gardes and refunctionalized in the present. This dissertation examines dialogues, correspondences and resonances of sound poetics through an analysis of prose, essays, and poetry by Herta Müller, Marcel Beyer, Feridun Zaimoglu, and Thomas 1 See Andreas Huyssen, “Rewritings and New Beginnings: W.G. Sebald and the Literature on the Air War,” in Andreas Huyssen, Present Pasts: Urban Palimpsests and the Politics of Memory (Stanford: Stanford University Press, 2003), 138. Christa Wolf, Was bleibt (Frankfurt am Main: Luchterhand Literaturverlag, 1990). 2 This renewed critical interest and related literary practices are analyzed by Yasemin Yildiz in her book Beyond the Mother Tongue: The Postmonolingual Condition (New York: Fordham University Press), 2012. In contrast to Yildiz, who confines her study of literary experimentation to 1 Kling, whose most important works have all been published since 1989. I call their aesthetic practices, which help refine our understanding of German “new beginnings” by engaging with colonial, National Socialist, communist and avant-garde pasts, a poetics of resonance. In my argument, the trope of resonance provides an important heuristic tool for a cultural and literary history since 1989. The resonance I address is created through two primary modes of engagement with sound. One is informed by literary experiments of the interwar-and post-WWII avant-gardes, and the other revolves around vestiges of the manipulation of sound in Nazi and communist dictatorships. My analysis pays particular attention to minority authors such as German Turks, who have not usually been analyzed in conjunction with the German past, be it National Socialist or colonial.3 Furthermore, German literary history rarely analyzes contemporary minority
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