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首页> 外文学位 >Erinnerungs-Inszenierungen in Botho Strauss' Prosawerken (German text).
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Erinnerungs-Inszenierungen in Botho Strauss' Prosawerken (German text).

机译：Botho Strauss散文作品中的记忆作品（德语文本）。

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摘要

Botho Strauss a writer of prose, essays and plays, belongs to the most interesting and controversial authors of the last thirty years. Like a seismograph he picks up numerous discourses, the most important one being Memoria . His peculiar and eccentric way of representing and reflecting on memory, in the early texts, is innovative, critical, self reflective, but in the later texts becomes neo-conservative, elitist and patriarchal. This later discourse sparked off a discussion, involving writers such as Peter Handke, Martin Walser and Peter Sloterdijk, about the role of the intellectual in German society.; I begin by examining how cultural studies approaches the topic of Memoria. I then apply to the texts of Strauss a ‘mnemonic reading,’ meaning, to explore and discover topographies of memory. Literature and the arts in general are perceived as places of memory, or as archives where cultural memory is kept alive. Quoting, or rewriting selections from texts, as described in theories of intertextuality, changes and keeps alive a tradition of literature within literature. A text becomes a palimpsest in which fragments of foreign texts suddenly become visible and can enter the readers memory. In Strauss, to form a memory from the fragments is not without major problems. The pieces move in all directions to form a paradoxical body of text.; In his early texts the narrator laments the impossibility of creating an identity based on personal memories and so he concentrates on the problem of how to represent memory within the context of increasing amnesia. The seemingly dead subject moves about within the texts where he hopes to build himself a place for his identity to survive. In reaction to loss of memory and identity, a calculated game appears in which the representation and experience of the past plays only a minor role. The author turns towards the models of aesthetic memory, adapting, for example, the romantic mode of writing. The metamorphosis of texts, such as those from the romantic period, occurs as a backdrop against which the writer projects his erotically inspired allegorical “memory theater.” Dramatization of the memory process leads him to conclude that memories only exist within the aesthetic world of literature, where they manifest themselves beyond a historical and social reality. At the end of his writing project, Strauss creates an aesthetic refuge of personal memories by turning himself into a “diarist.” The male voice regresses to an aggressive and melancholic mode of limited perception, which the author knows cannot be more than an artificial construction.
机译：博索·施特劳斯（Boto Strauss）是散文，散文和戏剧的作家，是近三十年来最有趣，最具争议的作家。就像地震仪一样，他可以选择多种语言，其中最重要的是 Memoria 。他在记忆中表现和反思的独特而古怪的方式是创新的，批判性的，自我反省的，但在后来的著作中则变成了新保守主义，精英主义和父权制。后来的讨论引发了一场讨论，包括彼得·汉德克，马丁·沃尔瑟和彼得·斯洛特狄克等作家就知识分子在德国社会中的作用进行了讨论。我首先研究文化研究如何处理 Memoria 主题。然后，我在Strauss的文本中使用“助记符”的含义，以探索和发现内存的拓扑结构。一般而言，文学和艺术被视为记忆的地方，或被视为保存文化记忆的档案馆。正如互文性理论所描述的那样，引用或重写文本选集可以改变并保持文学中文学传统的活力。文本成为 palimpestest ，其中外来文本的片段突然变得可见并可以进入读者的记忆。在Strauss中，从片段中形成记忆并不是没有大问题。这些作品向各个方向移动，形成了一个矛盾的文本主体。在他的早期著作中，叙述者对基于个人记忆创建身份的可能性感到遗憾，因此他着重研究了如何在失忆增加的背景下代表记忆的问题。看似已死的主题在文本中移动，他希望为自己建立一个生存身份的地方。对于记忆和身份丧失的反应，出现了一种经过计算的游戏，其中过去的表现和经验只扮演次要的角色。作者转向审美记忆的模型，例如采用浪漫的写作方式。文本的变态（例如浪漫时期的文本）是作为背景的，作家以此为背景投射了受色情启发的寓言“寓言剧场”。记忆过程的戏剧化使他得出结论：记忆只存在于文学的审美世界中，在那里它们超越了历史和社会现实而展现自己。在写作项目的最后，施特劳斯将自己变成“对话者”，从而建立了个人记忆的美学避难所。男性的声音会退回到攻击性和忧郁性的有限感知模式，作者知道，这种模式不只是人工构造。

著录项

  • 作者

    Fuerhoff, Irena Elka Lieselotte.;

  • 作者单位

    McGill University (Canada).;

  • 授予单位 McGill University (Canada).;
  • 学科 Literature Germanic.
  • 学位 Ph.D.
  • 年度 2000
  • 页码 244 p.
  • 总页数 244
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 I516;
  • 关键词

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