Digital Journal for Philology
Textpraxis # 20 (2.2022)
In Textpraxis # 20, Andree Michaelis-König examines the critical reactions of younger (post-)migrant authors to the recent debates on the concept of ›homeland‹ in his essay. He discusses to what extent authors such as Saša Stanišić, Sasha Marianna Salzmann, and Taudy Pathmanathan develop innovative alternative understandings of community. Anna-Maria Senuysal’s contribution analyzes how different levels of verrückung collide with a view to Weiss’ Hölderlin play from 1971/1972: A closer look reveals that the text performs displacements on a historical-discursive, expressive, and content-related level. Tilman Venzl’s essay highlights a poetics of perplexity that emerges from the totality of Rainald Grebe’s performances and communicates itself to the audience in an appellative manner.
In his work, Rainald Grebe, a famous comedian, songwriter, and novelist, addresses the issue of mental overload, a feeling increasingly dominant in Germany since the 1990s, according to Grebe. He states that this development evokes the need in people to experience a sense of belonging, orientation in space and time, and a stable self-image. These needs often entail the tendency to exclude and reject individuals and social groups with different approaches to life. This article aims to show Grebe’s artistic ways to recognize these needs without giving way to retrograde tendencies and deceitful simplifications. Grebe’s aesthetic strategies can arguably be described as ironic in the sense of Richard Rorty in a twofold manner: either, Grebe exposes the particular and peculiar character of any construction of belonging; or, he frames them as strictly personal leaving aside the question of generalizability.
This article examines the critical responses of younger (post-)migrant authors to the ongoing debate on the concept of ›Heimat‹ in the German discourse. In this context, they represent what this article understands as an independent position in the field of contemporary German-language literature. This article asks to what extent authors such as Irena Brežná, Saša Stanišić, Sasha Marianna Salzmann, Hengameh Yaghoobifarah, Fatma Aydemir, Tamer Düzyol, and Taudy Pathmanathan develop innovative and alternative concepts of community that stimulate a rethinking of the prevailing ›Heimat‹ discourse. Additionally, the authors offer an explicit focus on the methodological reflection of how to approach this discourse and how literary voices relate to it.
Peter Weiss’ Hölderlin, published in 1970, is a play that focuses on its protagonist’s insanity. It extends the issue by a distinctly political dimension and, as research has consistently stated, portrays the author as a failed revolutionary. The article proposes an alternative reading which ascribes a revolutionary political potential to the play. The thesis states that the text features movements on the planes of temporality, subjectivity and expression, which I define as Verrückungen (dislocations). In these movements, unambiguous codfications of time, subject, and expression are deconstructed and the text can be read along the lines of Gilles Deleuze’s and Felix Guattari’s concepts of Deterritorialisation and Becoming.