Derrida. 0000045114 00000 n Viewed as an allegory of Germany's Tdtergeneration, the novel offers a double modelofthepathto fascism,bothpartsofwhich-the"seductionhypothesis" andthe"inabilityto read" the politicalandethicalsignsinone's environmentare old stories frequently told before. "APortraitof Misreading: BernhardSchlink's Der Vorleser." Diese Werke bewegen sich zwischen Autobio-graphie und Roman; gemeinsam ist ihnen der Versuch, den Holocaust zu thematisieren, ohne das Entsetzen zu glätten, das mit diesem Ereignis verbunden ist. 0000000991 00000 n Internationales Archiv für Sozialgeschichte der deutschen Literatur. On moral literacy inDer Vorleser, seeSansom14. 0000003023 00000 n Die Rückkehr der Gesch... My Searches (0) My Cart Added To Cart Check Out. Baudrillard, Jean. Die Sprache ist oft mit Ästhetik, Rhythmik und Schönheit in den Formulierungen verbunden. %PDF-1.2 %���� Die Hauptfigur bleibt in ihrem Verhalten statisch und manchmal degeneriert der Protagonist.Die Erzählerfigur im postmodernen Roman steuert und strukturiert den Roman in bewusster Weise. Though the two phenomena do not coincide perfectly (and each provides much ground for definitional debate), they form a common signifying complex in DerVorleser. 23 Onthe postwarfigureofthe "weakfather," cf.BergSenior'sstoopedpostureand lament that he cannot help his children (138-39).24Ihave in mindthepoststructuralist strandofpostmodernism, withitsfocus on the textual nature of reality, the indeterminacy of language, and the resultant necessity and difficulty of acts of reading: cf. Mitscherlich, Alexander, and MargareteMitscherlich. The Reader (Deutsch) Addeddate 2012-05-29 06:00:21 Identifier DerVorleser Identifier-ark ark:/13960/t0vq42w94 Ocr ABBYY FineReader 8.0 Ppi 300. plus-circle Add Review. Political Inversions: Homosexuality, Fascism. comment. Hewitt analyzes the use of fascism and homosexuality as tropes of "unrepresentability" (7), notingthe perverseironyofthe populartendencytolinkhomosexualitywithamovement that brutally persecuted homosexuals (3-4).19 Frost traces the image of sexually deviant fascism to its pre-fascist roots in the allied propaganda of World War I (7).20 On repetition as the simultaneous attempt to build up retroactive defenses against trauma and to fulfill the traumatized organism's "death drive" or desire to return to a pre-organic state (that is, to allow the trauma to "succeed" and fully obliterate the subject), see Freud, ]enseits.21 Freudianmisogynyiswellsuitedforfiguringfascismasdeadly:inthenovel'sfantasy structure, all oedipal barriers are lifted from the mother figure who is simultaneously the "object of political prohibition" (Frost 28); however, to return to this "womb" would -due to Hanna's status as Nazi -literally signify death.22 On "recognition" in a dream as a signifier for the maternal body, as well as on blindness as a displacement of castration anxiety, see Freud, "Das Unheimliche."
Both Michaeland the Mitscherlichs' perpetratorsexperience profoundlibidinal investment inanoverpoweringNazi "loveobject"(intheperpetrators' case, Hitler),increased self-confidence due to this investment, masochistic pleasure in submission, abrupt loss of the cathected object, and failure to work through or mourn this loss (Mitscherlich and Mitscherlich 16-41).9 Here, Michael's path -his capitulation to an overpowering, eroticallycharged force whose signs of violence he fails to "read" -is a second allegory of the perpetrator generation's relation to Nazism, and one that seems as exculpatory as the more direct Tdtergeneration allegory of Hanna as illiterate. 0000052566 00000 n

Note that Michael's mode of writing is a specular construct formed in the mirror of Hanna's "falseness": "Als [Michael] selbst zu schreiben begann, las [er] [Hanna] auch das vor. [... ] Hanna wurde die Instanz, fur die [er] [... ] alle [seine] [... ] kritische Phantasie bundelte" (176).28 Cf. Rev. Here,boththediegeticand allegoricaldimensions of the narrative (Michael's traumatization by Hanna and Germany's traumatization by Nazism) rely on and intersect in the polysemic trope of "Hanna-as-Mother" -the focal point of simultaneous, contradictory fears and desires morebroadlyarticulatedbythenovelandits largerproblematicofrepetition.
Badger B, ''Der Anspruch auf Anspruch und der Anspruch auf Spas:' Postmoderne Zuge in Bas Bottchers literarischem Programm', Neophilologus: An International Journal of Modern and Mediaeval Language and Literature, 94, (2) pp. Forareadingof DerVorleser that applies the concept of the inability to mourn to the "second generation," see Schlant 207-16.10 Hanna bathes Michael, makes sure he does his schoolwork, and travels with him "als Mutter und Sohn" (41); Michael's mother herself sends Michael to thank Hanna for helping him during his illness, thus initiating their affair and marking it with "the signofthemother." 9 Favorites . And, as Berg Senior recalls, Michael's actual mother, in an uncannyprefigurationofthe Hanna-Michaeldynamic, regularlyusurpedherson's subject position during his childhood, violated his "Wurde und Freiheit," and "immerrechthatte" (136).Thefather'scounseltohissonnot toactlikeMother, then,suggests therejectionofanimplicitlyfeminized modeoftruthandjusticeas wellasaresistancetoanabjectingmaternal principle-onethat,evenwhenit "recht hatte," is not the rationallyand ethicallysound "Recht" of a masculinized Philosophy. Der Begriff kommt auch unter anderem in der Architektur oder der Kunst vor. That is, the text's concluding images of Hanna unmaskthedesirable motherasa"powerofhorror" (toparaphraseKristeva),thedesirable woman as a polluting whore.18 Regarding S&M and fetishism: Hanna strikes Michael across the face with a leather belt, drawing blood; Michael debases himself before Hanna's violent outbursts; Hanna and Michael's sex takes on "fetishistically" ritualistic components.


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