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Die Migrationsliteratur im Feld des deutschen Sprach- und Kulturraumes bildet sich heutzutage als einen wichtigen Bestandteil der gegenwärtigen Literatur. Die Preisträger des Adelbert-von-Chamisso-Preises (eine Auszeichnung für deutsch schreibende Autoren nicht deutscher Muttersprache) schaffen eine sehr heterogene Gruppe von Autoren mit einem Migrationshintergrund. Was aber diese Schriftsteller zusammenbindet, ist die Wahl der deutschen Sprache. Diese Arbeit versucht zu zeigen, welche Rolle die deutsche Sprache in der Integration der MigrantInnen in der neuen Gesellschaft hat, und wie die Herkunftskultur und die Deutsche sich einblenden. Am Beispiel der Autoren Emine Sevgi Özdamar und Ilija Trojanow kann man zeigen, wie das Treffen mit dem Anderen die deutsche Sprache bereichert. Werke dieser Schriftsteller haben die Identitätsbildung als Thema: Der Ortswechsel bedeutet die Integration in einer anderen Kultur und auch einen Sprachwechsel. Die Suche nach einer neuen Heimat bringt gleichzeitig auch eine Suche nach einer neuen Sprache und der linguistische Umgang ist oftmals spielerisch. Wenn Özdamar die Hybridisierung drei Sprachen darstellt (in Mutterzunge, wo Arabisch – die “Großvaterzunge” –, Türkisch und Deutsch hybridisiert werden), “sammelt” Burton nicht nur (physische) Welten, sondern auch Sprachen.Man kann sich fragen, ob im Roman von Ilija Trojanow, Der Weltensammler, das Projekt der Mehrsprachigkeit (der zentralen Figur, Burton) scheitert oder nicht. Die Migrationsliteratur umreißt daher neue Dimensionen der Literaturszene, und die ausgewählten Texte beschreiben, wie das Identitätsbewusstsein und die innere Kartografie umgestellt werden.
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Zacznę od wyznania, że tytuł widniejący nad tym tekstem tylko po części jest moją własnością. Zasadniczą jego myśl „pożyczyłem” od Christine Brűckner, a właściwie od bohaterki jej książek. Ona też, potomkini starego pomorskiego rodu, podsunęła mi myśl, by raz jeszcze spojrzeć na powojenny los człowieka, z nadzieją, że uda mi się cokolwiek z niego zrozumieć.
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Још од својих књижевних почетака њемачки аутор Уве Тим слови као приповједач студентског покрета. Настанак ове слике веже се за роман Врело љето (Heisser Sommer), које излази 1974, који је уједно и прво веће Тимово приповједно дјело. Будући да је такорећи проистекло из констелације '68 , овај је роман реципиран с једне стране као Zeitroman, а с друге стране као генерацијски роман.
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Hans Watzlik was the laureate of the Czechoslovak State Award for Literature (1931), but in 1946 he was convicted of propagating and supporting the Nazi movement by the Special Peoples’ Tribunal in Klatovy. This paper focuses on Watzlik’s novel O Böhmen! (Oh, Bohemia!, 1917), in which he had for the first time revealed his sympathies for the German nationalistic movement. The circulation of the novel reached in the following quarter of a century 50‚000 copies. In this novel, evincing traits of a grenzlandroman, Watzlik does on the one hand show his admiration for the rise of the Czech nation during the nineteenth century, yet, on the other, he warns against the danger of Czechs penetrating into the border areas of Czech Kingdom, which were populated by Germans. He goes on to think through the consequences of an escalated ethnic conflict. The novel relies on a number of stereotypical depictions (eg.: Germans as the bearers of culture in Central Europe, the Hussite movement as primarily anti-German, the melancholy softness of Slavonic songs), it contains a number of ideas typical for various groups from the pre-war period (Schöner’s German nationalistic movement in Austria, the anti-Catholic movement Los von Rom! [Away from Rome!]) or for the general cultural atmosphere of that era (Wagnerism, the cult of the Nibelungs). After the First World War and the establishment of Czechoslovakia, Watzlik’s attitude to the German question does not change. In his small book of poems Zu neuen Sternen (To the New Stars, 1919), the author responds to the violent suppression of a German demonstration in the border areas from March 4, 1919 and calls upon his readers to overcome the hard times and to have faith in a better future awaiting the humiliated nation.
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Dok smo bili djeca, dva su praznika imala veze sa noći, Božić i Prvi august, jedna zimska i jedna ljetna noć. (Sveti Nikola bio je nešto drugo: tetki Anni sam cijeli svoj život zamjerao to što liči na Svetog Nikolu, a Sveti Nikola je bio mračan praznik- nije imao veze sa svjetlosti.)
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Možda to ima veze i sa mojom starošću, ali nije samo to. Ima veze i sa starošću ljudske historije: sve što pričam, već je ispričano. Sve što Vam danas pričam, već sam više puta ispričao, i samo stalno ponavljanje od događaja, od onih naoko svakodnevnih i onih naoko nesvakidašnjih, pravi priče. Takozvana nepreciznost usmene predaje nije povezana samo s tim što otac priča svom sinu itd., nego i s tim što je otac to već ispričao nekoliko puta prije nego što je ispričao svom sinu.
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1. Izmravelo nebo 2. Pokretno kurvalište 3. Konačnome 4. Zanavek mu ludorije njegove cvale 5. O herojskim strastima by: Peter Rühmkorf
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Neki smatraju da je Hajne čovek sa suviše upadljivim slabostima i pritom zaboravljaju da je on i pesnik najotrovnije klevetan. Jedni su ga smatrali nemoralnim i beskrupuloznim, čak i izdajnikom, a drugi poštuju u njemu svog pesnika ljubimca i stavljaju ga pored Getea. Mnogi zaključuju da građanski moral ima dovoljno razloga da ga odbaci i anatemiše.
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The motif of excretions is portrayed as one of the main motifs in the newer German pop literature. Bodies portrayed in relation to excretions can be described as being without boundaries. The concept of blurring the boundaries is based on different, culturally established attributions and contextualizations, which this article both explains and uses as a starting point for analysis. References to faeces are analyzed on the example of two novels: "Feuchtgebiete" (2008) by Charlotte Roche and "Fleckenteufel" (2009) by Heinz Strunk.
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Goedsche’s novel "Nena Sahib", published in 1859, portrays the Indian struggle for independence in 1857/58 as an immediate consequence of the ill-fated British colonial politics. As shown in the article, the author is inspired by role models such as Alexandre Dumas and Paul Féval, but his portrayal of the novel’s subject matter is also closely connected to medial revolutions of his time – the telegram and press releases based on it. The article therefore focuses on the process of construing a historical event under the circumstances of a medial paradigm shift on the one hand and the related political orientation of the novel on the other hand.
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