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'Der Vogel mit dem bunteren Gefieder': Redevielfalt als Maskerade in der Prosa Brigitte Reimanns
Full text linkVäitöskirjani "Der Vogel mit dem bunteren Gefieder. Redevielfalt als Maskerade in der Prosa Brigitte Reimans" ("Kirjavasulkainen lintu. Monikielisyys naamiona Brigitte Reimannin proosassa") käsittelee ja lukee uudelleen DDR:läisen kirjailijan, Brigitte Reimannin (1933-1973) jo julkaistuja tekstejä ja esittelee ensimmäistä kertaa hänen varhaisia ennen julkaisemattomia novellejaan. Täten tutkimus tuo ja nostaa esille pitkään unohdetun kirjailijan korjatakseen hänen paikkaansa kirjallisessa kaanonissa. Mikä tärkeintä, tutkimus kyseenalaistaa konventionaalisen lukutavan, jolla DDR:n varhaiseen kirjallisuuteen on suhtauduttu, nimittäin, että sitä hallitsisi vain ja ainoastaan kirjallis-poliittinen imperatiivi (sosialistinen realismi). Siten tutkimus dekonstruoi myös mallin, jonka mukaan DDR:n kirjallisuushistoriaa on luettu kehitysromaanina (Entwicklungsroman).
Tutkimus tarkastelee Brigitte Reimannin tekstejä kahden vuosikymmenen ajalta ja lukee niitä yhtenä intertekstinä. Siten analyysi jäljittää rakenteellisia ja temaattisia jatkumoita, jotka tarjoavat uusia lähestymismahdollisuuksia teksteihin. Mainitut jatkumot koskevat tekstien keskeistä naisprotagonistia ja tämän vierauden kokemuksia, hänen loputonta häilymistään kolmiodraamassa ja protagonistin naisellisuuden naamiointia. Tarkastelemalla näitä jatkumoita tutkimus kuvaa ja analysoi ahdinkoa, josta Reimannin protagonistit usein löytävät itsensä; häilymästä erilaisten, yhteensopimattomien vaihtoehtojen välillä. Tutkimus tarkastelee henkilöhahmojen kykenemättömyyttä saavuttaa päämääräänsä, luoda synteesiä, vetää johtopäätöksiä. Täten tutkimus kyseenalaistaa kehitysromaanin (Entwicklungsroman) soveltamista kirjailijan tuotantoon ja korvaa sen toisella termillä; perheromaani. Analyysi kiinnittää huomiota tekstien yksityiskohtiin ja pyrkii täten tarkastelemaan kirjailijan ja hänen protagonistiensa "toisia" ääniä, jotka eivät sovi yhteen DDR:ssä vallinneen antifasistisen diskurssin kanssa. Vastoin usein esitettyä teesiä, tutkimus ei löydä Reimannin teksteistä yhtenäistä emansipatorista naispuhujaa. Brigitte Reimannin ja hänen naisprotagonistiensa äänet ovat hysteerikon ääniä, joiden kautta naiskirjailija puhuu kokemuksistaan loputtomien naamioiden avulla.The dissertation Der Vogel mit dem bunteren Gefieder performs a re-reading of the published fictional texts of the GDR author Brigitte Reimann (1933-1973). It also introduces for the first time early unpublished novels of this writer. In doing so the study contributes to the recovery of an undervalued and understudied author. More importantly, it challenges and counters the common view of early GDR literature as governed by a single literary-political imperative (socialist realism), and does so by deconstructing the novel of development (Entwicklungsroman) as it has been written into literary history.
Viewing the texts of Brigitte Reimann from two decades as a single intertext, the analysis locates structural and thematic continuities that provide new access points into the texts. Those continuities concern a female protagonist in the centre of the text provided with elements of alienment, her endless oscillation in a love triangle and finally the protagonists masquerade of womanliness. By focusing on these continuities the study describes and analyzes the agony of Reimann's double-binded protagonists' oscillation between different, incompatible positions, their inability ever to arrive at a destination, a synthesis, and a conclusion. Thus the study deconstructs the Entwicklungsroman as an analytical model for this author's work in order to replace it with the model of family romance.
Although the analysis with its mining of textual details focuses on the other voices of the author and her protagonists that do not match with the prevailing GDR-antifascist discourse, it does not see the emancipation of a "woman's voice". Instead it characterizes the voices of Brigitte Reimann and her protagonists as the hysteric's voice, where the female author in an endless textual masquerade is talking about feminine experience in a woman's masculine language
Die Gegenwart der Vergangenheit oder Die Grenzen des Sagbaren. Briefe, Tagebücher und fiktionale Texte von DDR-Autoren um 1970
Full text linkThe Presence of the Past or The Limits of What Can be Told. Letters, Diaries and Fictional Texts by GDR-Authors around 1970. The article discusses the way in which certain topoi, particularly those suggesting analogies between specific phenomena in the GDR and the NS-era, were dealt with in literary texts written in the GDR between 1968 and 1970. This historical period is marked by two events that were designed to fundamentally shatter the loyalty felt for the communist leadership of the GDR by a generation of authors born around 1930 and at first impressed by the GDR antifascist founding myth due to their former affiliation with the Hitler Youth or the German Reichswehr. These events were the invasion of the ČSSR in 1968 by troops of the Warsaw Treaty Organization, reminding many authors of the occupation of Czechoslovakia by German troops in 1938; and the GDR 7th Congress of German authors in 1969 with its attacks on Reiner Kunze and Christa Wolf. Particular attention is paid to possible self-censorship, i.e. differences in the covering of specific subjects depending on the authors’ intention as to whether the respective text should be immediately published or not.With the Children’s Eyes. At the end of the 1960s, many GDR authors representing the postwar generation mentioned above had already become parents. It was their children who were supposed to grow up in a better world, a society that would be the other to Auschwitz. It is the eyes of the authors’ own children through which everyday life in the GDR is examined. Here it is particularly the discovery of similarities between educational methods and public rituals in the GDR and the NS-era, that even in the private discourse of diaries and letters, initially not designed for publication, can be denominated only against internal resistance. Reflections on the consequences that might be drawn from these observations succumb to taboos, imposed by the author himself. That the acting out of brutal violence can be understood as psychic preformation for the functioning in a fascist or comparable system can be found in published texts too, for instance in the novella Nachdenken über Christa T. (The Quest for Christa T., 1968) by Christa Wolf, where the first person narrator understands violence against animals as a recurrent theme, leading from the behavior of the fascist tenant in the village of the protagonist’s childhood to her pupils in the GDR during the early 1960s. But in the published text the protagonist Christa T. takes a surprising turn, arguing that her pupils are indeed still prone to violence, but that the political order prevailing in the GDR would prevent them from living out those dispositions.Old Songs. Like a common thread, the singing of songs is connecting the oeuvre of Christa Wolf from the early Moskauer Novelle (1961) to the late Stadt der Engel oder The Overcoat of Dr. Freud (City of Angels, 2010). Particularly strong is the way her female protagonists feel about songs that have been sung during their BDM-years, not least because it had been the author herself who once had sung these tunes. The statement that these songs are still sung, or, in other words, that the past is not gone – it is with this quotation from William Faulkner that Christa Wolf started her autofictional novel Kindheitsmuster (Patterns of Childhood, 1976) – cannot be found exclusively in her initially unpublished letters and diaries. Instead, it makes its way quite early into her published texts. But here the explosiveness of this insight is at first mitigated by a treatment, according to which the singing of NS-songs is put in the mouths of bourgeois enemies of the new order.Trains. Trains representing the steadily advancing victory of socialism were one of the main symbols adopted from the Soviet paradigm into GDR literature. In her novella Blickwechsel (Exchanging Glances, 1970), dealing with the end of WWII, the flight before the advancing Red Army and the sudden awakening from blindness caused by the belief in NS-ideology, Christa Wolf, too, makes use of that figure. But in her text the image is highly ambivalent. Where a train is derailing from the tracks and speeding in the middle of the most incredible reality, it should be put back on the tracks again as soon as possible, only this time on the right ones. But at the same time this alternative is turned down by challenging the positive connotations connected with ‘train’ through the annexation of the adjective “stuffy”. A surprisingly similar image can be found already two years earlier in the author’s diary entry on September 27th 1968, later published in Ein Tag im Jahr: 1960–2000 (One Day a Year, 2003). In this image the train is heading again towards an unpleasant destination, but this time – shortly after the abolition of the Prague Spring – the destination is the East-German “really existing socialism”. The insight into the endangerment of those who find themselves on the tracks and not on the trains, can be traced already in the early novel Der geteilte Himmel (They Divided the Sky, 1963). The protagonist Rita Seidel, who recovers in the novel’s background story from a breakdown or suicide attempt, experiences herself at first as object, existentially endangered by the wagons aiming at her. But due to the optimistic development of the plot, the author and her protagonist succeed in overcoming the intrusive sentiment that the wagons, and analogously the socialist order, is aiming at Rita.Self-Censorship or Self-Imposed Taboos? In summary it can be stated that texts determined for immediate publication, as well as diary entries or letters, touch upon the same phenomena as far as the pervasive presence of the past is concerned. However one obvious difference can be detected: the transfer of an issue from a diary or letter into a text meant for immediate publication is characterized by certain “trans-lations” in the meaning of carrying across, displacement. As a result of this process these phenomena are deferred from their central position in a diary or letter to a marginal one in the published fictional texts. Among others, these translations are enacted by the projection of the phenomena in question on enemies of the GDR order.On the one hand, and in the light of the authors’ desire to be published, the differences between published and initially unpublished texts can be ascribed to the writers’ anticipatory obedience, the scissors in his or her head. On the other hand ruptures, dashes and the repeatedly emerging obvious ellipses marked by three dots in diaries and letters hint at a shying away from violations of self-erected taboos
Gespräche wie bei Auftritten im Theater Eisenbahnen als Bühne in den Romanen Emine Sevgi Özdamars
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Internationalisierung der Hochschulen und die Rolle des Deutschen und anderer Fremdsprachen aus finnischer Perspektive.
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Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Full text linkWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
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