http://hdl.handle.net/10379/486 2017-10-29T21:58:57Z 2017-10-29T21:58:57Z Pusse, Tina-Karen http://hdl.handle.net/10379/6577 2017-06-15T01:00:59Z 2014-01-01T00:00:00Z

Trembling Drums. The Permeable Membranes of Rilke’s “Weltinnenraum” Pusse, Tina-Karen At first sight, looking at Rilke’s Duineser Elegien and Sonette an Orpheus when thinking of utopian, dystopian or heterotopian spaces represented in literature seems an unlikely choice. It is Die Aufzeichnungen des Malte Laurids Brigge which immediately lend themselves to an analysis within this paradigm, with its highly subjective description of a metropolis, with a narrator who is constantly, simultaneously in the past and in the present, with a constant disintegration of space and the I, which could be read as an ultimate study in Foucauldian heterotropes. And, I am sure, an interesting article could be written with this focus, perhaps culminating in a series of direct pointed questions: Is Malte himself actually alive as the ‘I’ that narrates the text? Or, is this rather the perspective of a revenant, who can pass easily through walls and time while making up plausible excuses why, in the entire text, nobody directly addresses him, so that he himself could just as well be invisible to the other characters in the text? But this will not be my undertaking in this article.

2014-01-01T00:00:00Z Pusse, Tina-Karen http://hdl.handle.net/10379/6576 2017-06-15T01:01:08Z 2010-01-01T00:00:00Z

“I am coming!” Returning to the Womb in Elfriede Jelinek’s Die Klavierspielerin and Michael Haneke’s Film La Pianiste Pusse, Tina-Karen Elfriede Jelinek‟s Die Klavierspielerin (1983), 1 a novel about a piano teacher (Erika Kohut) at the Vienna conservatory in her late thirties who still lives with her mother in a small flat, deconstructs and anatomises myths of maternity very radically and successfully, perhaps better than any other German-language literary text. Erika‟s short moments of escape from her possessive mother are made up of little secrets, such as going to peep shows and porn cinemas or hurting herself in the bathroom as well as playing sadistic mind games with her students. But Erika‟s sadism in relation to her students and her sexual masochism are in fact addressed to her mother, who is simultaneously her penetrator, her object of hate and desire, and her accomplice. In this article, I will explore this complex sexual drive between mother and daughter.

2010-01-01T00:00:00Z Pusse, Tina-Karen http://hdl.handle.net/10379/6574 2017-06-14T01:01:10Z 2016-12-31T00:00:00Z

Kontinuum der Ausnahmezustände. Hans-Henny Jahnn 1930-1950 Pusse, Tina-Karen Detlef Haberland Hans Henny Jahnn (1894‒1959) gilt heute als einer der „großen produktiven Außenseiter des [20.] Jahrhunderts“ und zugleich als „Verneiner der Zivilisation“1 Die meisten Standardwerke der deutschen Literaturgeschichte folgen im Grunde bis heute der nationalsozialistischen Presse, der er als ‚Kommunist und Pornograph‘ gilt, bewerten dies aber je nach politischer Ausrichtung als positiv oder negativ. Auch Bergs Sozialgeschichte merkt an, dass in fast allen seiner Texte das Inzesttabu gebrochen werde,2 sagt aber wenig über die ästhetische Dimension oder die Entwicklung seines Werks. Eine „Stunde Null“ lässt sich in Jahnns Schreiben nicht konstatieren; sein zwischen den Jahren 1937 und 1951 verfasster Roman Fluss ohne Ufer3 amalgamiert Elemente des expressionistischen Dramas mit zahlreichen intertextuellen Verweisen (z.B. auf Büchner, Rousseau und Kleist) und präsentiert sie in der Form eines modernen Romans (inklusive der genretypischen fragmentarischen Elemente), ohne dass sich Stilbrüche oder -verschiebungen am Datum des Kriegsendes oder Jahnns vorübergehender Rückkehr nach Deutschland festmachen ließen. Auch thematisch präsentiert sich das Jahnnsche Werk als Kontinuum – und zwar nicht als eines, das Terror und Entmenschlichung des Faschismus ignoriert, sondern eher als eines, dass diese nicht als Ausnahmezustand behandelt, sondern als ständige Möglichkeit der Entgleisung, die sich aus unterschiedlichen Motiven ins Alltagsleben seiner Protagonisten schieben.

2016-12-31T00:00:00Z Strohmayer, Ulf http://hdl.handle.net/10379/5655 2016-04-12T01:00:17Z 2015-05-05T00:00:00Z

Heidegger, or the neglect of boundaries Strohmayer, Ulf Benedikt Korf’s recent invitation to re-think the deployment of Heidegger’s philosophy within geography in the pages of this journal (Korf, 2014) is both opportune and essential: opportune, because the many and continuing controversies surrounding Heidegger’s political stance have been reignited following the on-going publication of his Schwarze Hefte (Heidegger, 2014a, b, and c); essential, because any invocation of “Heidegger” today arguably involves something additional to a reflection of the man, his politics, Weltanschauung and philosophy. What is also called for is a discussion of the conditions facilitating meaningful discourse about the nexus between “politics” and “knowledge”. Heidegger’s own construction of that nexus increasingly requires little by way of explanation: his involvement with National Socialism before, during and after his acceptance and subsequent relinquishing of the rectorship of Freiburg University in 1933, his refusal directly to comment on the Holocaust in the aftermath of World War II and the lack of support offered to his previous mentor and predecessor Edmund Husserl throughout the 1930s all speak volumes about just how the public person Heidegger saw fit to engage with politics. What is new, today, is that we can substantiate the charge of anti-Semitism given repeated pronunciations of undeniably anti-Semitic character in the Schwarze Hefte.

2015-05-05T00:00:00Z