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By Lyn Marven

This ebook examines the connection among representations of the physique and narrative concepts within the paintings of 3 modern ladies writers from the previous japanese Bloc international locations: Herta M?ller, an ethnic German from Romania; Libu%se Mon?kov?, who emigrated from Czechoslovakia to West Germany and selected to jot down in German; and Kerstin Hensel, from the GDR. Marven indicates how the content material and kind of their works are interlinked, and the way those problem the hegemonic discourses inside of repressive socialist regimes. The advent contextualizes the writers' socially, culturally, and traditionally, and descriptions the theoretical foundation of the method, drawing on psychoanalysis, performativity concept, and feminist serious thought. Chapters at the person authors provide new interpretations of the writers' works, concentrating on the constructions of trauma (in M?ller's work), hysteria (in Mon?kov?'s) and the ugly (in Hensel's). the pictures of the physique analyzed within the first 1/2 each one bankruptcy convey the results of violence; problem the knowledge of the physique as traditional or genuine; and lift questions on identification and gender. The research within the moment 1/2 every one bankruptcy covers quite a number formal beneficial properties, from the wonderful and university, via parody and intertextuality, to irony, plot, and tale telling. The booklet additionally lines advancements within the paintings of all 3 authors, taking account of the historic alterations within the japanese Bloc nations considering the fact that 1989. physique and Narrative in modern Literatures in German could be invaluable for a person discovering modern German literatures, in addition to these drawn to feminist concept, minority literatures, and trauma.

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Extra info for Body and Narrative in Contemporary Literatures in German: Herta Muller, Libuse Monikova, and Kerstin Hensel (Oxford Modern Languages and Literature Monographs)

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44 The form of Palach’s protest acts out this perceived submission: the self-immolation is shocking because it dramatically stages the body as the willing object (rather than agent) of pain and, ultimately, death. Palach renounces his subjectivity in order to become all body, all object. 45 Mon´ıkov´a quotes Palach as declaring ‘Ich bin kein Selbstm¨order’ (PF 104), which can be understood not only as a plea to recognize the political motivation behind his act, but also as his having adopted and acted out the position of object.

Angeblich Suizide. Immer ohne Obduktion schnell ins Grab gelegt. (HuS 98) The suspicious deaths in Herztier are among the list here. Even the bodies of those who tried to escape across the border were disposed of (FJ 245); the individual was reduced to a body which could be controlled and, potentially, eliminated. 34 Genders, 22 (1995) (Postcommunism and the Body Politic), 2–3. ), Gender Politics and Post-Communism: Reflections from Eastern Europe and the Former Soviet Union (New York: Routledge, 1993).

Introduction 31 reflection of subjectivity. The grotesque, on the other hand, is located in an object (or person) to whom the subject reacts. Although it is a structure which links both body and language, as ‘K¨orper-Sprache’ does, these do not express subjectivity; instead, the grotesque stages their disjunction. Nonetheless, I argue that linguistic or narrative grotesque is also predicated on the grotesque body. The notion of ‘K¨orper-Sprache’ is derived from Irigaray’s theory of hysteria. According to Irigaray, the hysteric represents woman caught ineluctably within patriarchal discourse, denied subjectivity within, and unable to speak from a position outside, as there is no outside to hegemonic discourse.

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