Antes da Queda do Muro, além dele e sem ele: A estética emergente em Die neuen Leiden...

This article is an analysis of the novel Die neuen Leiden des jungen W. (1973) in the light of its intertextuality with Goethe’s, Defoe’s and Salinger’s texts. It has been suggested that Plenzdorf's novel creates a stylistic and ideological world, which is instigating for the literary paradigms of the Socialist Realism of the 70s in East Germany. Twenty years after the Fall of the Berlin Wall, this created world in the novel seems to be up-to-date or even paradigmatic for the current representation of German Democratic Republic cultural memory in literature and film. The article then relies on an analysis of intertextuality and intermediality as a method to approach processes of transformation. The different processes inherent to the novel and its pretexts have been reportedNesta análise do romance Die neuen Leiden des jungen W. (1973) em sua intertextualidade com os romances de Goethe, Defoe e Salinger, sugere-se que o texto de Plenzdorf cria um universo estilístico e ideológico instigante a uma produção inserida no contexto literário do Realismo Socialista dos anos 70 na Alemanha Oriental. Vinte anos após a Queda do Muro de Berlim, esse universo revela-se atual, senão modelar, para o (re)trabalho de memória cultural da RDA representado na literatura e no cinema contemporâneos. Para tanto, recorre-se às análises da intertextualidade como um método de abordagem de processos de transformação. Expõem-se, então, os diferentes processos observados no romance em relação aos seus pré-textosZiel dieses Beitrags ist die intertextuelle Untersuchung von Plenzdorfs Roman Die neuen Leiden des jungen W. (1973), unter der Berücksichtigung von Goethes Die Leiden des jungen Werthers (1774), Defoes Robinson Crusoe (1719) und Salingers Der Fänger im Roggen (1951). Daraus ergeben sich interessante stilistische und ideologische Aspekte für einen innerhalb des realsozialistischen Staats verfassten Roman. Diese Aspekte werden 20 Jahre nach dem Fall der Berliner Mauer aktuell, wenn nicht paradigmatisch für eine Generation von Schriftstellern und Kinomachern, die sich nach den untersuchten Betrachtungsweisen mit dem kulturellen Gedächtnis der DDR befassen. Um dieses Ziel zu erreichen, wird Intertextualität als eine Methode für die Beschäftigung mit den Transformationsprozessen betrachtet. Verschiedene Prozesse werden in Bezug auf die Prätexte festgestellt und im Beitrag beschriebe

Processos de transformação intertextuais e o romance Die neuen Leiden des jungen W., de Ulrich Plenzdorf

Nesta análise do romance Die neuen Leiden des jungen W. (1973) em sua intertextualidade com os romances de Goethe, Defoe e Salinger, sugere-se que o texto de Plenzdorf carreia um universo estilístico e ideológico instigante a uma produção inserida no contexto literário do Realismo Socialista dos anos 70 na Alemanha Oriental. Para tanto recorre-se às análises da intertextualidade como um método de abordagem de processos de transformação. Expõem-se, então, os diferentes processos observados no romance em relação aos seus pré-textos.An analysis of the roman Die neuen Leiden des jungen W. (1973) in the light of its intertextuality with Goethe’s, Defoe’s and Salinger’s texts. It has been suggested that Plenzdorf's novel creates a stylistic and ideological world, which is instigating for the literary paradigms of the Socialist Realism of the 70s in East Germany. For such purpose, an analysis of the intertextuality as a method of processes of transformation has been used. The different processes nherent to the novel and its pretexts have been reporte

Intermediale Beziehungen im Film "Der Himmel über Berlin"

The current article analyzes the film Der Himmel über Berlin (1987) with regard to its intermediality with literary texts. It has been suggested that Wenders’ film creates a stylistic world, both unique and provocative in its depiction of the relationship between words and images and between literature and media. More than twenty years after its first screening it continues to defy simple analysis. As a consequence, this article supports the employment of various studies to explain the aforementioned relationships, first by reviewing German theories of medial and historical transformations and then by detailing a multifaceted analysis of the film