The Holocaust between Pop Literature and High Literature: Maxim Biller’s Inside the Head of Bruno Schulz

Maxim Biller, one of the most prominent, but also most controversial German-Jewish authors, is an important figure in modern Holocaust literature. After a short introduction to his early journalistic and literary oeuvre dealing with the Holocaust, we will focus on his novella Inside the Head of Bruno Schulz from 2013. A short outline of the story will be followed by a detailed analysis of therole the Holocaust plays in this story, especially with regard to the two protagonists, Bruno Schulz and Thomas Mann. It will be shown that the pop-literary provocations that dominate Billers’ early works, are now displaced by clear tendencies towards a high literary, artistic standard, which are characteristic for the developments of modern Holocaust literature in general

Art in the Holocaust: On Josef Bor’s Novella Terezínské rekviem and its Reception

The name of the Czech writer Josef Bor (1906–1979) is nearly forgotten today, although he was very successful with two works in the sixties. Both works deal with the Holocaust. The novel Opuštěná panenka (1961) is inspired by the author’s own horrible experiences at Terezín, Auschwitz and other places of the Holocaust. In 1963, the novella Terezínské rekviem followed which is subject of this paper. Bor’s novella is about the Jewish musician Rafael Schächter and his staging of Verdi’s Requiem at Terezín. From the viewpoint of reception, this work is interesting on two counts: on the one hand, in the story the reception and interpretation of art play a crucial role, on the other hand, there are some special features in the reception of the novella itself, as the work has mostly been read in the light of the real events the story is referring to, whereas the text’s literary character has often been neglected.The name of the Czech writer Josef Bor (1906–1979) is nearly forgotten today, although he was very successful with two works in the sixties. Both works deal with the Holocaust. The novel Opuštěná panenka (1961) is inspired by the author’s own horrible experiences at Terezín, Auschwitz and other places of the Holocaust. In 1963, the novella Terezínské rekviem followed which is subject of this paper. Bor’s novella is about the Jewish musician Rafael Schächter and his staging of Verdi’s Requiem at Terezín. From the viewpoint of reception, this work is interesting on two counts: on the one hand, in the story the reception and interpretation of art play a crucial role, on the other hand, there are some special features in the reception of the novella itself, as the work has mostly been read in the light of the real events the story is referring to, whereas the text’s literary character has often been neglected

Literarische Kommunikation und (Nicht-)Intentionalität

This collection brings together the articles dedicated to the 60th birthday of Professor Wolf Schmid, one of the foremost literary scholars of our times who made a crucial contribution to a wide range of scholarly fields: narratology, poetics, history of Russian and Slavic literature, Pushkin and Dostoevsky. The contributors form a distinguished international group of prominent scholars whose essays in this volume further develop Wolf Schmid\u27s narratological theory, shed new light on major works of literature and offer fascinating new insights into various periods of literary history.This collection brings together the articles dedicated to the 60th birthday of Professor Wolf Schmid, one of the foremost literary scholars of our times who made a crucial contribution to a wide range of scholarly fields: narratology, poetics, history of Russian and Slavic literature, Pushkin and Dostoevsky. The contributors form a distinguished international group of prominent scholars whose essays in this volume further develop Wolf Schmid\u27s narratological theory, shed new light on major works of literature and offer fascinating new insights into various periods of literary history

Bulletin der deutschen Slavistik 22.2016

Bulletin der deutschen Slavistik 22, 201

Литературный цикл как супертекст: "Два сонета" Аполл на Григорьева (1845)

Взаимодействие текстов с другими текстами ямяется не только диахроническим феноменом (интертекстуальность, транстекстуальность и т.д.). Как показывают многообразные формы корреляции текстов находящихся в непосредственном «соседстве» (напр. в газетах, журналах, сборниках, антологиях и т.д.), существует и синхронический размер этой проблемы, каrорый был до сих пор систематически исследован только оnюсительно литературного феномена циклизации. Литературный цикл (напр. лирический цикл, драматический цикл, цикл рассказов и т.п.) являетса "супертекстом", разные тексты (стихотворения, драмы, рассказы и. т.д.) кaroporo имеют двойной характер: они автономные тексты и одновременно подчиненные циклическому супертексту компоненты. В докладе обсуждается несколько структурных и функциональных вопросов проблемы циклизации на примере маленького лирического цикла "Два сонета" русского поэта Аполлон Григорев ( 1822- 1864)

Josef Bors Roman Opuštěná panenka zwischen Faktizität und Fiktionalität // Josef Bor’s Novel The Abandoned Doll in Between Facticity and Fictionality

The paper presents the Czech-Jewish writer Josef Bor (1906–1979) and his first published book, the novel Opuštěná panenka / The Abandoned Doll (1961). Bor’s topic here was his own personal experience of the Holocaust: from his deportation to Terezín and later to Auschwitz, where he loses his entire family including two little daughters, via captivity in other concentration camps and „marches of death“ all the way to liberation, occurring in his case close to Jena, Germany. On the basis of these prominently autobiographic references, the reviewers often emphasized that the work has primarily documentary character. The present essay, on the other hand, views The Abandoned Doll primarily as a literary fiction wherein the fate of the protagonist and his family is, rather than documentary, of an exemplary, symbolic nature. The primary goal of the novel is not to represent a particular authentic case but rather to give a broad idea, anchored in a particular case, of the functioning of the Holocaust as a machinery of total humiliation and systematic killin

Литературный цикл как супертекст: Два сонета» Аполл на Григорьева (1845)

Взаимодействие текстов с другими текстами ямяется не только диахроническим феноменом (интертекстуальность, транстекстуальность и т.д.). Как показывают многообразные формы корреляции текстов находящихся в непосредственном «соседстве» (напр. в газетах, журналах, сборниках, антологиях и т.д.), существует и синхронический размер· этой проблемы, каrорый был до сих пор систематически исследован только оnюсительно литературного феномена циклизации. Литературный цикл (напр. лирический цикл, драматический цикл, цикл рассказов и т.п.) ЯВ11яется «супертекстом», разные тексты (стихотворения, драмы, рассказы и. т.д.) кaroporo имеют двойной характер: они автономные тексты и одновременно подчиненные цикличес~...-ому супертексту компоненты. В докладе обсуждается несколько структурных и функциональных вопросов проблемы циклизации на примере маленького лирического цикла Два сонета русского поэта Аполлон Григор ев ( 1822- 1864)

Josef Bor’s Novel The Abandoned Doll in Between Facticity and Fictionality

The paper presents the Czech-Jewish writer Josef Bor (1906–1979) and his first published book, the novel Opuštěná panenka / The Abandoned Doll (1961). Bor’s topic here was his own personal experience of the Holocaust: from his deportation to Terezín and later to Auschwitz, where he loses his entire family including two little daughters, via captivity in other concentration camps and „marches of death“ all the way to liberation, occurring in his case close to Jena, Germany. On the basis of these prominently autobiographic references, the reviewers often emphasized that the work has primarily documentary character. The present essay, on the other hand, views The Abandoned Doll primarily as a literary fiction wherein the fate of the protagonist and his family is, rather than documentary, of an exemplary, symbolic nature. The primary goal of the novel is not to represent a particular authentic case but rather to give a broad idea, anchored in a particular case, of the functioning of the Holocaust as a machinery of total humiliation and systematic killing.809