Grenzübergänge : Transkulturalität und belgische Identität in der aktuellen deutschsprachigen Literatur in Belgien

Der vorliegende Beitrag geht der Frage nach, inwieweit sich eine Ästhetik der Differenz in der aktuellen Literatur der deutschsprachigen Minderheit in Ostbelgien nachweisen lässt und ob und wie die Spannung des geokulturellen Zwischenraumes jene Literatur entscheidend geprägt hat. In der ostbelgischen Literatur werden aus postnationaler Perspektive die transkulturelle Offenheit und Hybridität der Minderheitenkultur betont. Ein wichtiger Topos in den literarischen Texten ist die Darstellung des deutschsprachigen Grenzgebietes um Eupen und Malmedy als eines dritten Raumes, in dem sich Sprachen, Länder und Kulturen berühren und zueinander finden. Sie zeichnen sich dementsprechend quasi ausnahmslos durch eine kritische Distanzierung von Nationalismus und Regionalismus aus und halten an der Idee der 'belgitude' als einem emanzipatorischen Prinzip interkultureller Toleranz und kosmopolitischer Offenheit fest. Die Überschneidung von Eigenem und Fremdem schafft ein aussagekräftiges literarisches Material

Diarios y vida cotidiana. Los diarios de Victor Klemperer de 1933-1945 como historiografía periférica del nacionalsocialismo

Die Gattung Tagebuch verfügt über spezifische Mittel, den Blick sehr konzentriert auf den Alltag zu lenken. Auch Victor Klemperers Tagebücher aus dem Zeitraum des Dritten Reiches – Ich will Zeugnis ablegen bis zum letzten (1995) – führen aus der persönlichen Ausnahmesicht eines dem Holocaust entgangenen deutschen Juden überzeugend vor, dass die nationalsozialistische Gesellschaft keine Trennung von Politik und Alltagsleben erlaubte. Der Faschismus setzte sich ja zum Ziel, eine organische Gesellschaft zu schaffen, in der jeder Aspekt des Lebens von der Nazi-Ideologie durchdrungen werden sollte. Von dieser totalitären Durchdringung legt Klemperer beeindruckend Zeugnis ab. Hinsichtlich des dem Tagebuch inhärenten Alltagsfokus soll in meinem Artikel dargestellt werden, dass Victor Klemperers repertorisierendem Schreibverfahren der Wille zur Durchsichtigmachung zugrundeliegt, zur Klärung und Aufklärung dessen, was während der zwölf Jahre Naziterror geschieht, aber ohne die minutiöse Niederschrift unbeschreibbar geblieben wäre.The diary genre has specific possibilities in order to direct the attention on everyday life. Victor Klemperer’s diaries from the period of the Third Reich, I will bear witness (1995) - show convincingly, from the personal perspective of A German Jew who has escaped the Holocaust, that Nazi society did not allow any separation of politics from everyday life. Fascism made it to its aim to create an organic society, in which every aspect of life should be penetrated by the Nazi ideology. Klemperer. To this kind of totalitarian penetration Klemperer bears witness in an impressive way. Concerning the focus on daily life inherent in the diary, my article shall present that the basis to Victor Klemperer’s repertoire writing style is will to create diaphaneity and to explain what happens during the twelve years of Nazi terror. On the other hand, all this would have remained indescribable, had he not written it down meticulously in his diaries.El género del diario dispone de medios específicos para concentrar la atención sobre la vida cotidiana. También los diarios de Victor Klemperer de la época del Tercer Reich –Ich will Zeugnis ablegen bis zum letzten (1995)– demuestran, desde la perspectiva excepcional y personal de un judío alemán salvado del Holocausto, que la sociedad nazi no permitió la separación entre vida la política y la cotidiana. El fascismo tuvo como objetivo crear una sociedad orgánica en la que todos los aspectos de la vida fuesen penetrados por la ideología nazi. De esta penetración totalitaria Klemperer da un testimonio impresionante. Con respecto al enfoque cotidiano, inherente al género del diario, se va a analizar en este artículo cómo el procedimiento repertorizador de Klemperer en el proceso de escritura refleja la voluntad de desenmascrar para poder aclarar y explicar lo que sucedió durante los doce años del terror nazi, y que habría sido indescriptible sin esta escritura meticulosa

Zwischen Gemeinschaft und Gesellschaft. Über den kulturellen Partikularismus

Das Werk des französischen Soziologen Michel Wieviorka versteht sich als systematisierende Bestandsaufnahme der neueren Multikulturalismusforschung bzw. als deren kritische Weiterführung. In dem hauptsächlich soziologisch geprägten Band wird untersucht, wie sich kulturelle Partikularismen mit ihrem differenzierenden religiösen, ethnischen, regionalen oder sexuellen Selbstverständnis in der westlichen Moderne definieren, (re)konstruieren und reproduzieren. In diesem Kontext rückt Wieviorka Konzepte wie "Identität", "Subjektivität" und "Differenz" in ein neues Licht

Klios Dichtung: gattungstheoretische Annäherungen an das Tagebuch

The diary as an independent genre has not yet received the large attention of the autobiography in literary theory. Therefore, in this paper a number of theoretical reflections must be addressed to examine the characteristics of this genre. To do so, this contribution revolves around three major focal points: Firstly, the historicity of the diary will be examined. The textual hybridity of the diary - with its dialectics of micro- and macro-perspective on history, fact and fiction, authenticity and literariness will be analyzed. The diary can in many cases be seen as both historical document and literary prose text and can thus become an object of study to historiography and literary theory alike; secondly, the generic specificity of the diary in contrast to other autobiographical genres such as memoir, letter, coniession, chronicle or autobiography itself will be defined. The journal is due to its temporal structure always bound to the concrete day of writing. This implies that everyday experience, the focus on quotidian and at times seemingly banal details, play an important role in diaristic narrativity, much more so than in classical autobiography or memoir; thirdly, the diary can be considered as an important medium of witnessing - first and foremost as a textual genre highly popular during (personal and/or historical) crises. The high degree of subjectivity of the diary allows for manifold reflections on the state of mind and the psyche of the writing subject. At the same the diary is highly indicative of Zeitgeist and it comments pivotal historical events as they were experienced by a concrete individual. The interdisciplinary approach to the diary will combine insights from philosophy, literary theory, and historiography

MIGRATION AND INTERLANGUAGE: TRANSLATIVE WRITING IN OSMAN ENGIN’S SATIRICAL TEXTS

The prose works Deutschling (1985) and Oberkanakengeil (2003) by the German-Turkish novelist Osman Engin satirically invert reigning stereotypes against Turkish immigrants. In both works, Turkish and German act as cultural and linguistic reference systems, which are subverted through the strategy of translatory mimicry. This mimicry is an integral element of the narrative structure of Engin’s works and becomes a stylistic singularity, which unbalances the German language and undermines it in its seeming naturalness. Through a close reading of Engin’s works, the contribution aims to offer a deeper understanding of the extent and nature of the unbalancing of cultural and linguistic points of reference, which implies a deconstruction of collective identities and fi xed ideas. In addition to the metalinguistic markings in the hybridized German-Turkish interlanguage of the author, as we will show, the constant alternation between object level and meta level plays an important role in the narrative structure of the texts, resulting in the continuous consideration of the mother tongue’s signifi cance and the issue of intralingual translation

Autotradução ou literatura vernácula? Um estudo comparativo da obra de Yone Noguchi, Akira Mizubayashi e Yoko Tawada

The literature written by migrants belongs to a particular type, since the mother tongue of these authors is always different from the language in which they write. Is it a translation made by the author himself or herself, or is it simply a text written in a foreign language by a foreigner? In this piece of research the authors scrutinize the works of three Japanese authors who published each in a different language. These works are analyzed so as to assess the extent to which nikkei authors still show tracks of their mother tongue in their literary work. The question is to know if they have translated themselves, or if they are simply foreigners who have written in a foreign language. The results of this research seem to show that the ways in which Japanese authors confront a foreign culture and its language can vary, but the topics on which they write are, with very few exceptions, very similar and focus on their difficulties in adapting to a new culture. The way they translate themselves and the way they deal with the foreign language depend, on the one hand, on the personality of the author and, on the other, on the type of host society and on the historic moment.A literatura escrita por migrantes pertence a uma classe particular, porque a língua materna desses autores é sempre outra que a língua na qual eles escrevem. Daí, surge a pergunta: trata-se de uma tradução feita pelo próprio autor, ou é simplesmente um texto escrito em língua estrangeira por um estrangeiro? Neste estudo, pesquisamse as obras de três autores japoneses que publicaram livros, cada um em uma língua diferente. Essas obras são analisadas com o intuito de avaliar em que medida esses autores mantêm rastros da língua materna a ponto de criar uma língua “mista”, “creolizada” que reflita uma nova identidade. Em outras palavras, trata-se de responder à pergunta se eles mesmos se traduziram, ou se escreveram simplesmente em outra língua, o que significaria que eles mantiveram sua identidade de japoneses. Chega-se à conclusão de que as atitudes dos autores são diferentes ao enfrentarem a cultura estrangeira e sua língua, embora a temática e a adaptação à cultura estrangeira sejam muito parecidas. Conclui-se que a maneira de se autotraduzir e a maneira de lidar com a língua do “outro” dependem, claro, da personalidade do autor, mas também do tipo de sociedade receptora e do momento histórico