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Information to Users INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9180527 Wo die Opfer zu Tatern werden, machen sich die Tater zu Opfern: Die Rezeption der beiden ersten Romane Edgar Hilsenraths in Deutschland und den USA. [German text] Moller, Susann, Ph.D. The Ohio State University, 1991 Copyright ©1991 by Moller, Susann. All rights reserved. UMI 300 N. Zeeb Rd. Ann Arbor, MI 48106 WO DIE OPFER ZU TATERN WERDEN, MACHEN SIGH DIE TATER ZU OPFERN : DIE REZEPTION DER BEIDEN ERSTEN ROMANE EDGAR HILSENRATHS IN DEUTSCHLAND UND DEN U.S.A. DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Susann Moller, M.A. $ $ $ i> $ The Ohio State University 1991 Dissertation Committee: Approved by: Dagmar C. G. Lorenz David P. Benseler Bemd Fischer Adviser Department of German Copyright by Susann Moller 1991 IN MEMORY OF ANNA ii ACKNOWLEDGEMENTS I wish to express my sincere gratitude to those who helped me to prepare and complete this study: to my advisor, Dr. Dagmar Lorenz, for her invaluable criticism and friendship; to my committee members, Dr. David P. Benseler, and Dr. Bemd Fischer, for their assistance; to Edgar Hilsenrath, for inspiring and entrusting me with his private correspondence; to the staff of the Leo-Baeck Institute in New York, for finding the answers to some detailed data inquiries; to two special friends, Sabine Cramer and Lydia Kegler, for their encouragement; to my parents and my sister, for their unflagging support and forbearance. VITA January 11, 1951.........................Bom in Hamburg, Germany 1976 .................................................Erste Allgemeine Staatspriifung, Education & Philosophy: Rheinische Friedrich Wilhelm Universitat, Bonn, Germany 1980 .................................................M.A., German: University of Georgia: Delta Phi Alpha, German Honor Society 1980-1982 .......................................Additional Studies in Comparative Literature, University of Georgia 1983-198 4 .......................................Grant Recipient: National Endowment of the Humanities, Wyoming 1984-198 6 .......................................Additional Studies in Women's Studies: The Ohio State University 1986 .................................................Presidential Fellowship Nominee: The Ohio State University 1987 .................................................Assistant Professor of the Humanities: Columbus State Community College FIELD OF STUDY German Language & Literature TABLE OF CONTENTS DEDICATION.............................................................................................................ii ACKNOWLEDGEMENTS.....................................................................................iii VITA .............................................................................................................................iv TABLE OF CONTENTS..........................................................................................v CHAPTERS PAGE I BIOGRAPH3E .......................................................................................1 1.1. Leipzig - Seret - Tel Aviv - Lyon - New York................................... 3 1.2. Berlin ? Berlin !...................................................................................17 FuBnoten.............................................................................................. 34 II NACHT....................................................................................................36 II. 1. 1964 - Erstauflage und Kritik in Deutschland............................ 40 11.2. 1966 - Veroffentlichung und Kritik in den U.S.A.........................65 11.3. 1978 - Neuauflage und Kritik in Deutschland.............................78 FuBnoten...............................................................................................98 III DER NAZI UND DER FRISOR.................................................... 104 111.1. 1971 - Erstauflage und Kritik in den U.S.A................................ 106 111.2. Helmut Braun und der deutsche Extremismus........................124 111.3. 1977 - Veroffentlichung und Kritik in Deutschland................ 140 FuBnoten ........................................................................................... 168 IV SCHLUBBETRACHTUNGEN....................................................... 175 v Table of Contents, continued... IV. 1. Kritik der achtziger Jahre...............................................................175 IV.2. Werkanalytische Zusammenfassung.............................................192 FuBnoten............................................................................................. 207 LITERATURVERZEICHNIS...............................................................................211 Primdrwerke.......................................................................................212 Briefe.................................................................................................... 215 Rezensionen........................................................................................217 Sekundarliteratur............................................................................. 236 r i KAPITEL I BIOGRAPHIE Eine biographische Darstellung iiber Edgar Hilsenrath zu verfassen, bedeutet, Ordnung in einen ungeordneten Lebenslauf zu bringen, den "Lebenslauf eines Menschen, der aus dem Rahmen fallt oder eher zwischen alien Rahmen hangt"(266).l Nicht nur geographisch sondern auch zeitlich war Hilsenrath von jeher im Wechsel begriffen, woriiber er sich selber folgendermafien auBert: "Ich hatte immer Schwierigkeiten mit der Gegenwart und habe daher Vergangenes beschrieben. Jetzt fange ich damit an, mehr in die Gegenwart einzusteigen...."(117). Die Verlagsgeschichte seiner Werke ist ein Spiegelbild dieser turbulenten Lebensgeschichte. Sie reflektiert seine Uberzeugung: "Zu Hause ftihle ich mich nur in meiner Aufienseiterrolle, aber nicht in einer Stadt oder einem Land"(104). Hilsenrath, Auflenstehender im Literaturbetrieb wie in der Gesellschaft, ist in beiden Bereichen nicht leicht einzuordnen. Dieser Sonderstatus bestimmt sein Werk und sein Leben. Als Kind war Hilsenrath der einzige Jude in seiner Klasse, im Getto einer der wenigen Deutschen unter Rumanen und Russen, und als Emigrant in den USA weigerte er sich, englisch statt deutsch zu schreiben. Hervorgehoben in Zeitungsberichten werden immer wieder die schwarze Baskenmiitze und seine an die jugendlichen Freaks der 2 siebziger Jahre erinnernde Aufmachung. Diese Bekleidung ist jedoch ein Ergebnis seines langen Amerikaaufenthaltes und bescheidener finanzieller Verhaltnisse. Seine Vorliebe fur Tumschuhe, die Neigung, seine Gesprachspartner sofort zu duzen, sowie die Amerikanismen in seiner Diktion, sind Reminiszenzen eines 24 Jahre w&hrenden Exils in den Vereinigten Staaten. Heute, mit einem amerikanischen Pafi in Berlin lebend, wird er charakterisiert als "ein Jude ohne Kontakt zu Juden, der nicht mal am Jom Kippur in die Synagoge geht, ... ein Treuer der Sprache, die auch die Sprache seiner Verfolger ist"(4). Dieser Kommentar kennzeichnet Hilsenrath als Ausnahme. Ungesagt bleibt, dab er sich, derart charakterisiert, in die Reihe anderer "Ausnahmen" wie Lind, Fried, Canetti, Kramer, Waldinger und Sachs fiigt. Ein Groi3teil der deutschen Literaturkritik wirft Hilsenrath vor, dafl die von ihm bevorzugte Form der Satire zur Beschreibung der von ihm gewahlten Gegenstande, Faschismus und Holocaust, unangemessen sei. Jene Kritiker, die sich diesem Vorwurf nicht anschlieften, bezeichnen Hilsenrath als einen Autor, der gegen den Strom schwimmt. In einer Epoche, in der laut Jelinek die Satire ausgestorben ist, mufl Hilsenrath diesen Kritikern als Sonderling erscheinen. Sie bestdtigen damit Jelineks These, dafi die Satire ein vomehmlich von deutsch- jiidischen Autoren gepflegtes Genre ist, das mit der Ausrottung der Juden durch die Nazis verschwand (409). Hilsenrath wurde in diese literarische Tradition zu der u.a. Kraus, Canetti und Bettauer gehorten, hineingeboren.
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