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  1. Transpondo muros: escritas da violência na República Democrática Alemã

    Considering the works "Zeit-Zeugen. Inhaftiert in Berlin-Hohenschönhausen" (1996), edited by Gabriele Camphausen, "Folterzelle 36 Berlin-Pankow. Erlebnisbericht einer Stasihaft" (1993) by Timo Zilli, "Ein guter Kampf. Fakten, Daten, Erinnerungen... more

     

    Considering the works "Zeit-Zeugen. Inhaftiert in Berlin-Hohenschönhausen" (1996), edited by Gabriele Camphausen, "Folterzelle 36 Berlin-Pankow. Erlebnisbericht einer Stasihaft" (1993) by Timo Zilli, "Ein guter Kampf. Fakten, Daten, Erinnerungen 1945-1954" (1998) by politician Ewald Ernst, "Die Stasi war mein Eckermann: oder mein Leben mit der Wanze" (1991) by writer Erich Loest, and "Geboren am 13. August. Der Sozialismus und ich" (2004) by journalist Jens Bisky, the aim of this article is to sketch a brief study on the diverse forms and phases of the violence as an instrument of power, practiced by the State of the SED in the German Democratic Republic in the 40 years of its existence, as well as discuss some theoretical aspects, focusing especially on the concept of "literature as testimony". The five analyzed reports of auto-biographical nature adopt a crucially critical tone concerning the encroachments in a totalitarian State. "Overcoming Walls" in the 20 years after the Fall of the Berlin Wall, from this point of view, implies a denouncement attitude against forgetfulness concerning a traumatic past. O objetivo do presente artigo é esboçar, a partir da interpretação das obras "Zeit-Zeugen. Inhaftiert in Berlin-Hohenschönhausen" (1996), organizada por Gabriele Camphausen, "Folterzelle 36 Berlin-Pankow. Erlebnisbericht einer Stasihaft" (1993), de Timo Zilli, "Ein guter Kampf. Fakten, Daten, Erinnerungen 1945-1954" (1998) do político Ewald Ernst, "Die Stasi war mein Eckermann: oder mein Leben mit der Wanze" (1991), do escritor Erich Loest, e "Geboren am 13. August. Der Sozialismus und ich" (2004), do jornalista Jens Bisky, um breve estudo sobre as diversas formas e fases da violência enquanto instrumento de poder, praticada pelo Estado do SED na República Democrática Alemã nos 40 anos de sua existência, e discutir especialmente alguns aspectos teóricos sobre o conceito de "literatura de testemunho". Os cinco relatos analisados, de caráter memorialista e autobiográfico, se pautam por um tom decididamente crítico frente aos desmandos num Estado totalitário. "Transpor muros" nos 20 anos após a Queda do Muro de Berlim, desse ponto de vista, implica um olhar memorialista de denúncia contra o esquecimento frente a um passado traumático. Ziel dieses Beitrags ist, anhand der Interpretation der Werke "Zeit-Zeugen. Inhaftiert in Berlin-Hohenschönhausen" (1996), herausgegeben von Gabriele Camphausen, "Folterzelle 36 Berlin-Pankow. Erlebnisbericht einer Stasihaft" (1993) von Timo Zilli, "Ein guter Kampf. Fakten, Daten, Erinnerungen 1945-1954" (1998) des Politikers Ewald Ernst, "Die Stasi war mein Eckermann: oder mein Leben mit der Wanze" (1991) des Schriftstellers Erich Loest, und "Geboren am 13. August. Der Sozialismus und ich" (2004) des Journalisten Jens Bisky, eine kleine Studie über die verschiedenen Formen und Phasen der Gewalt zu präsentieren, die vom SED-Staat in der Deutschen Demokratischen Republik in den 40 Jahren ihrer Existenz als Instrument der Macht angewandt wurde, und besonders einige theoretische Aspekte über den Begriff von "Zeugnisliteratur" zu erörtern. Die fünf analysierten Berichte memorialistischer und autobiographischer Art beruhen auf einem entscheidend kritischen Ton bezüglich der Übergriffe in einem totalitären Staat. "Mauern überwinden" in den 20 Jahren nach dem Fall der Berliner Mauer, aus diesem Blickwinkel betrachtet, impliziert eine memorialistische Sicht von Denunzierung gegen das Vergessen gegenüber einer traumatischen Vergangenheit.

     

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    Source: CompaRe
    Language: Portuguese
    Media type: Article
    Format: Online
    DDC Categories: 830
    Subjects: Deutschland <DDR>; Zeitzeuge; Deutsche Literatur; Gewalt; Totalitarismus
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    Creative Commons - Namensnennung-Nicht kommerziell 3.0

  2. O estilo em Alfred Döblin

    O objetivo do presente artigo é apresentar alguns aspectos teóricos postulados pelo escritor alemão Alfred Döblin em seus ensaios ao desenvolver sua própria concepção da obra épica na "era da técnica" à luz de questões estilísticas, propondo... more

     

    O objetivo do presente artigo é apresentar alguns aspectos teóricos postulados pelo escritor alemão Alfred Döblin em seus ensaios ao desenvolver sua própria concepção da obra épica na "era da técnica" à luz de questões estilísticas, propondo conceitos como "estilo cinematográfico", "despersonalização", "fantasia factual" e "fantasia cinética". Para uma delimitação conceitual em relação à noção de "estilo", serão tomadas por base as considerações de Antoine Compagnon, postuladas na obra "O demônio da teoria" (1999), bem como as reflexões de Walter Benjamin, presents na resenha "A crise do romance" (1930) e no ensaio "O narrador" (1936). The aim of this paper is to present some theoretical aspects, postulated by German writer Alfred Döblin in his essays, as he developed his own conception of the epic work in "the technical era", based on stylistic aspects, proposing concepts such as "film style", "depersonalization", "factual fantasy" and "kinetic fantasy". As a basis for a conceptual definition concerning the notion of "style", this paper takes into account Antoine Compagnon´s arguments in the work "Literature, theory and common sense" (1998), as well as Walter Benjamin's reflections presented in the review "The crisis of the novel" (1930) and the essay "The Storyteller" (1936). Ziel dieses Beitrags ist, einige theoretische Aspekte zu präsentieren, die Alfred Döblin in seinen Essays bei der Entwicklung seiner eigenen Auffassung vom epischen Werk im "technischen Zeitalter" im Lichte von stilistischen Fragen verfasst, sowie Begriffe wie "Kinostil", "Depersonation", "Tatsachenphantasie" und "kinetische Phantasie" postuliert hat. Für die genaue Erörterung des "Stil" Begriffs werden die Betrachtungen Antoine Compagnons im Buch "Le démon de la théorie" (1998), wie auch die Überlegungen Walter Benjamins in der Rezension "Krisis des Romans" (1930) und im Essay "Der Erzähler" (1936) als Grundlagen genommen.

     

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    Source: CompaRe
    Language: Portuguese
    Media type: Article
    Format: Online
    DDC Categories: 830; 833
    Subjects: Döblin, Alfred; Stil; Roman; Epik; Moderne
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    Creative Commons - Namensnennung-Nicht kommerziell 3.0

  3. Os descaminhos da poesia a serviço do nazismo

    The objective of this article is to present a brief study on the wrong path of the poetry in the service of the Third Reich, whose roots raise to the tradition of the proto-nationalist and romantic nationalist poetry of the 19th Century. By... more

     

    The objective of this article is to present a brief study on the wrong path of the poetry in the service of the Third Reich, whose roots raise to the tradition of the proto-nationalist and romantic nationalist poetry of the 19th Century. By interpreting the poems “Die Mutter” (“The Mother”) by Josepha Berens-Totenohl, “Deutsche Ostern 1933” (“German Easter of 1933”) by Heinrich Anacker, “Dem Führer” (“To the Führer”) by Will Vesper, and “Wir” (“We”) by Anne Marie Koeppen, we can observe the presence of discursive marks that remit to the Nazi jargon, what make them mere instruments of the totalitarian propaganda.

     

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    Source: CompaRe
    Language: Portuguese
    Media type: Article
    Format: Online
    DDC Categories: 830; 831
    Subjects: Nationalsozialismus; Literatur
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    Veröffentlichungsvertrag für Publikationen

  4. Uma mulher contra o nazismo : Ricarda Huch

    This contribution focuses on the conditions of literary production in Germany during the Nazi regime. The article analyzes the work of writer Ricarda Huch as one of the representatives of the so-called "Inner Emigration", literary trend promoted by... more

     

    This contribution focuses on the conditions of literary production in Germany during the Nazi regime. The article analyzes the work of writer Ricarda Huch as one of the representatives of the so-called "Inner Emigration", literary trend promoted by writers that were not placed to serve the interests of the State, but instead sought to convey - through their work - humanistic values and critics of the status quo, despite the censorship and often putting their lives at risk. The poetic anthology Herbstfeuer ("Fire of Autumn"), published in 1944, is one of the most significant examples of the literature of resistance under the yoke of Nazism.

     

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    Source: CompaRe
    Language: Portuguese
    Media type: Article
    Format: Online
    DDC Categories: 830; 831
    Subjects: Huch, Ricarda; Innere Emigration
    Rights:

    Veröffentlichungsvertrag für Publikationen