Die Redlichkeit des Betrugs – Literarische Erinnerung und Totalitarismus bei Herta Müller und Vladimir Vertlib

“Die Redlichkeit des Betrugs” – Poetic Remembrance and Totalitarianism at Herta Müller and Vladimir Vertlib. The article deals with poetic remembrance of totalitarianism, taking a closer look at two contemporary authors from the German speaking literature, Herta Müller (born 1953) and Vladimir Vertlib (born 1966). Both authors’ concepts of memory re-pose the question of remembrance as related to historical facts and literary fiction as they try to overcome both the congealed memory and the primacy of experience, understood as a one-to-one translation into memory and literary speech. Herta Müller and Vladimir Vertlib do not approach the reality of totalitarianism using psychological realism but through strategies of poetic fiction. Although the term “fiction of truths” may sound paradoxical, both poetic concepts, however, prove adequate for poetic remembrance of the past as linked to fiction in narratives. By evoking and irritating the readers’ expectations with the help of the construction of his novels, the shifts of perspective and disruptions, Vladimir Vertlib writes against preformed stereotypes of memory, be they subjective or collective. Herta Müller develops a poetic language of abbreviated comparisons, in which words, objects and gestures, on the one hand, are abstracted from being self-evident and, on the other hand, are able to express the destruction of people and to refuse obedience against totalitarianism that extends into our language. The article shows on the example of two novels, Herta Müller’s Atemschaukel (2008) and Vladimir Vertlib’s Das besondere Gedächtnis der Rosa Masur (2001) how these concepts of memory are realized and how they detach themselves from the victim-perpetrator-scheme. Both novels prove that psychic damages cause people to become mute, but do not deprive them of language

Le peculiarità dello stile narrativo di Herta Müller a confronto con autori contemporanei tedeschi e italiani. Traduzione dell’opera Der Mensch ist ein großer Fasan auf der Welt di Herta Müller.

Il lavoro presenta una proposta di traduzione e un'analisi linguistica del romanzo Der Mensch ist ein großer Fasan auf der Welt di Herta Müller. Il testo viene messo a confronto con altre opere di autori contemporanei tedeschi e italiani

The Example of Herta Müller, A Nobel Literature Prize Author, in The Relationship of Tourism and Literature

Together with intersection of tourism with literature, a scientific branch an art branch literary tourism takes place. Literary tourism covers the travels made to the places, in which authors were born, they lived, studied, wrote their works; spaces, in which scenes take place, places that are related to the characters in their works or destinations famous due to literal figures. Those making this kind of travels are called literary tourists. This article deals with the literal spaces and areas, where the scenes in the novels of Herta Müller, 2009 Nobel Literature Prize winner, Romania origin German citizen, take place. Herta Müller was born in Nitzkydorf village, Banat Region of where Germans densely live, in 1953. His birth day and birth of place are two important elements forming his life and art. While his grandfather was a rich merchant and farmer, due to the fact that communist regime nationalizes everything and that his father is alcoholic, his family and he himself lived in poverty. His childhood and youth years passed in a village of 400 homes, where everybody knows each other and German language Sualya dialect is spoken. In this village, the farmers, many craftsmen, and workers working in the factories in the city were living. Müller does not well remembers his childhood years at all and describes them as sad young years. The author mostly tells the period of communist regime in Romania in the leadership of Nicolai Ceausescu and the end of that period i.e. riot in December 1989. Through literal works, a city or country can become a tourism center. Authors and poets, who are destination creators, bringing distinction and identity in a city or country, can make it a brand city of world tourism market. In the article, the novels of Herta Müller in the relationship of tourism literature will be scrutinized. The article consists of four sections. The first section will give information about the relationship of tourism-literature; the second section, about Nobel Literature Prize and Herta Müller; the third section, about Romania Tourism; and the fourth section, about literal spaces in the novels of Herta Müller. The result coming to forefront in the study is that following that Herta Müller wins, Romania has begun to become an important literal tourism cente

The exiles of Herta Müller

Sin duda Herta Müller se ha convertido en una escritora ampliamente reconocida a partir de la concesión del premio Nobel en 2009. Este artículo pretende una aproximación crítica al significado de su obra literaria. Para ello, se consideran en primer lugar las reacciones de la prensa alemana y rumana sobre la concesión del premio. A continuación se analizan su primer texto publicado en Rumanía, y la evolución y confirmación de una manera peculiar de hacer literatura ya durante el exilio alemán, para centrar el estudio en la obra culminante y más significativa de todas las escritas hasta el momento del galardón. Desde una perspectiva sociológica, el artículo se adentra en la evolución de su quehacer literario considerando los dos exilios que ha vivido, en los que la memoria histórica se convierte en punto de orientación de su actividad.Certainly Herta Müller became a largely recognized writer ever since the conferment of de Nobel Price in the year 2009. This article deals with a critic approach to the signification of her texts. There are first of all observed the press German and Romanian reactions about the conferment of the price. Thereafter is analyzed her first in Romania publicized text Niederungen and the latter evolution and confirmation of a peculiar writing already in the German exil and at the last the most important and characteristic of all her production Atemschaukel. Under a sociological point of view this contribution it deals the evolution of her literary texts by considering both exiles she has experienced where the historic memory becomes an essential guideline

Sprachmagie und Sprachgrenzen. Zu Wort-und Satzwiederholungen in Herta Müllers Atemschaukel

Herta Müllers Sprache ist unverwechselbar, was gewöhnlich auf ihr Zwischen-zwei-Sprachen-Sein und ihre Metaphorik zurückgeführt wird. Hier geht es aber um ein anderes Hauptmerkmal ihrer Prosa, das meistens nicht erwähnt, oder aber als negativ bewertet wird: Es geht um ihre vielen sprachlichen Wiederholungen. Wortwiederholungen (am Beispiel der rhetorischen Anapher) sowie die neunmalige Wiederkehr des Satzes "Ich weiß Du kommst wieder" in Atemschaukel, werden linguistisch unter die Lupe genommen. Gezeigt wird, wie bei Herta Müller das Mehrmals-gleich-Sagen paradoxerweise als eine Technik der Ersparung gedeutet werden kann. Das Mehrmals-gleich-Sagen als ein Mehr-Sagen-Wollen und Nicht-Sagen-Können. Die Wiederholung erlaubt es dann, um das Unsagbare zu kreisen

Herta Müller and autobiographical essaysm in contemporary literature in German

The current paper discusses Herta Müller's poetry essays in the context of contemporary autobiographical German writing. The question of referentiality of her essays will receive special attention; in these writings several aesthetic characteristics of autobiographical composition will also be shown. Furthermore, it will be demonstrated to what extent the effect of her essayistic writing is not only aesthetic, but also and mainly political.No presente artigo discute-se o ensaísmo poetológico de Herta Müller no contexto da escrita autobiográfica alemã contemporânea. A questão da referencialidade de seus ensaios receberá especial atenção; nesses textos também serão apontadas as diversas características estéticas da composição autobiográfica. No mais, demonstra-se em que medida o efeito de sua escrita ensaística não é somente estético mas também e, principalmente, político

Ser estrangeiro é uma arte para Yoko Tawada e Herta Müller : a escrita des-locada na literatura alemã contemporânea

Yoko Tawada e Herta Müller são escritoras de língua alemã, cuja escrita literária pode ser entendida como uma “escrita-entre-mundos”. Yoko Tawada nasceu no Japão e vive desde 1982 na Alemanha, onde ocupa hoje um lugar importante entre os autores estrangeiros que escrevem em língua alemã. Herta Müller nasceu na Romênia, é descendente de uma minoria alemã da região do Banato, tendo chegado à Alemanha como exilada política em 1987. Este deslocamento cultural e linguístico reflete-se na obra literária de ambas as autoras, trazendo à tona suas experiências como estrangeiras e falantes de mais de um idioma. Nesse sentido, o ensaísmo autobiográfico é recorrente no trabalho de ambas as autoras, acentuando uma forma de narração mais introspectiva que tece reflexões sobre si e sobre o outro. Esse fazer literário permite a Yoko Tawada capturar as diferenças culturais e linguísticas entre o japonês e o alemão, expondo a estranheza que uma cultura suscita na outra. A escrita literária de Herta Müller procura dar vazão às contradições vividas por ela na Romênia e na Alemanha com relação ao não pertencimento: ter nascido em um enclave alemão na Romênia, não se identificar com a forma de vida daquela comunidade e não integrar a política do regime ditatorial daquele país. Trata-se, portanto, de duas escritoras, que fazem de sua escrita uma tradução daquilo que viveram como estrangeiras O presente trabalho tem como objetivo verificar a dinâmica da tradução cultural na obra literária das duas autoras a partir de uma análise comparatista que busca nos Estudos Literários, Estudos de Tradução, Estudos Culturais e na Filosofia da Linguagem o campo interdisciplinar para criar um espaço intervalar no qual é produzido esse dado novo: a tradução cultural. Foram selecionadas para essa finalidade duas obras principais: Das nackte Auge [“O olho nu”] de Yoko Tawada (2010) e Vater telefoniert mit den Fliegen [“Papai telefona com as moscas”] de Herta Müller (2012), que serão discutidas a partir do diálogo interdisciplinar estabelecido.Yoko Tawada und Herta Müller sind Schriftstellerinnen deutscher Sprache, deren literarische Sprache als ein ZwischenWeltenSchreiben verstanden werden kann. Die japanische Schriftstellerin Yoko Tawada lebt seit 1982 in Deutschland, wo sie heute zu den wichtigsten ausländischen Autoren der deutschen Gegenwartsliteratur gehört. Herta Müller ist als Angehörige einer deutschen Minderheit im rumänischen Banat aufgewachsen und reiste 1987 als politisch Verfolgte in die Bundesrepublik Deutschland aus. Diese kulturelle und sprachliche Verschiebung widerspiegelt sich im literarischen Werk beider Autorinnen. Sie schreiben über ihre Erfahrungen als Ausländerinnen und als mehrsprachige Personen. In diesem Sinne ist ihre literarische Arbeit durch einen autobiographischen Essayismus stark gekennzeichnet, dessen erzählerische Form eher introspektiv ist, wodurch sie Überlegungen über sich und den Anderen anstellen. Durch diese literarische Vorgehensweise gelingt es Yoko Tawada die kulturellen und sprachlichen Unterschiede zwischen dem Japanischen und dem Deutschen aufzufassen und die Fremdheit, die eine Kultur in der anderen hervorruft, darzustellen. Das literarische Schreiben ist für Herta Müller ein Mittel die in Rumänien und in Deutschland erlebten Widersprüche zu verarbeiten, deren Ursprung sich auf die Nichtzugehörigkeit zurückführen lässt: in einer deutschen Enklave in Rumänien geboren zu sein, sich mit der Lebensform der deutschen Gemeinde nicht zu identifizieren und der Politik des totalitären Regimes Widerstand zu leisten Es handelt sich also um zwei Schriftstellerinnen, die durch das Schreiben ihre Erlebnisse und ihre Erkenntnisseals Ausländerinnen übersetzen. Ziel dieser Arbeit ist es, die Dynamik dieser kulturellen Übersetzung im literarischen Werk dieser Autorinnen festzustellen und anhand einer vergleichenden Analyse, die in der Literatur-, Übersetzungs- und Kulturwissenschaft sowie der Sprachphilosophie ihren interdisziplinären Bereich findet, einen Zwischenraum zu schaffen, in dem diese neue Erkenntnis gewonnen wird, nämlich, die kulturelle Übersetzung. Es wurden zu diesem Zweck zwei Hauptwerke ausgewählt Das nackte Auge von Yoko Tawada und Vater telefoniert mit den Fliegen von Herta Müller, welche auf der Grundlage des interdisziplinären Dialogs besprochen werden

Transgenerational Memories Of The Lager In Herta Muller\u27s Autofiction

In this article, I look at contemporary German-Romanian author Herta Müller\u27s use of autofiction from the point of view of minority memory discourse, expanding on the general critical reception of Müller\u27s prose as the articulation of the traumas of Communist totalitarianism in Romania, and also directing attention to the multigenerational mnemonic structures of ethnic German history interrupting Müller\u27s narratives. I trace a trajectory of Müller\u27s interest in the officially repressed ethnic minority past and her exploration of the post-WWII deportations of ethnic Germans to labor camps in Ukraine and their forced relocation by the Romanian Communist regime to the Bărăgan Steppe, in the south of Romania. My analysis focuses on the recursive imagery of the lager (forced labor camp), of the young female inmate, and of the figure of the SS-father as the workings of postmemory. Through intermittent, direct, and oblique references, Müller articulates her own inherited past—in particular, her mother\u27s five-year internment in the USSR. Ultimately, I situate Müller\u27s autofiction within the broader postcommunist memorialization, signaling the absence of minority stories from the increasingly homogenized corpus of national remembering in East-Central Europe

O discurso da mentira e as poéticas bilíngues

Tomando como o ponto de partida a profunda culpabilidade apreendida pelo sujeito nas narrativas de Herta Müller e de Samuel Beckett, o artigo explora a experiência da linguagem em sua relação com o sofrimento psíquico e físico. Quando pensamos nas poéticas que buscaram representar o interrogatório, evocamos a estrutura do duplo em Dostoiévski, assim como o humor mórbido do universo kafkiano. Em minha reflexão, vou abordar dois casos menos conhecidos, ambos relacionados ao bilinguismo que entra em contradição com a homogeneidade do pensamento totalitário, a saber, os das colagens e das narrativas de Herta Müller. Comentarei também a questão da experiência do inominável em Samuel Beckett, o sentido do crime em sua relação com o da transgressão, e que envolve a questão da blasfêmia