Linguistic and cultural studies have become the background for the analysis carried out in the article and give a clue to the idea of the national-cultural identity, which is reflected in the texts of German-speaking migrant discourse. The research relies on the work of German scientists who investigate the issue both in line with the traditional interpretation of migrant discourse as an intermediate cultural space of ambivalent nature, and within the framework of the new idea of intercultural Germanism. The research aims at establishing the rules according to which the text embodies the ways for the migrant authors to master the cultural space of German society and fix the forms of their identity. The authors used the general scientific method of comparative analysis and particular methods of linguo-cultural and contextual analysis. The integration of the individual consciousness of migrant writers into a new socio-cultural and linguistic space has got a systemic nature and is implemented in the language. The authors prove the urgency of the semantic opposition "native-alien", the components of which undergo an individually conditioned transformation and modification through acculturation. The language factor is proven to play the dominant role in the process of acculturation. The authors describe the forms of hybrid identity of German-speaking migrant writers, representing integration (L. Gorelik), cosmopolitan through transidentity (I. Trojanow) and integrated through a retrograde nature (E. S. Özdamar).
This article identifies features of Reinhard Jirgl’s poetics based on the principles of textual disruption, anagrammatic aesthetics, and performativity. A distinctive feature of Reinhardt Jirgl’s idiostyle are discontinuities and violations of narrative, fragmentedness, overlapping discourses, refusal of narrative coherence, stratification and (re)combining of storylines. The events that took place in Germany before and after 1989/90 are represented in the writer’s works as a chronicle of catastrophes. Within the framework of the concept of catastrophic irony, Berlin becomes a specfic conceptual-semiotic space, generating additional meanings. The main means of realization of catastrophic irony are aesthetic radicalism, dissonance between appearance and truth, virtualization of political processes, communicative violations and paradoxes, dismantling, and duality. On the material of the novels “Abschied von den Feinden”, “Hundsnächte”, “Abtrünnig: Roman aus der nervösen Zeit” the author considers particulars of experimental writing, which helps generating new meanings of social life.
This article explores the concepts of memory and oblivion as dominant themes in the revision and reconstruction of the past in contemporary German literature. Michel Foucault’s method of discursive analysis and Jan and Aleida Assman’s memory theory are used to analyse narrative strategies employed by contemporary German authors. Historical, sociocultural, media, and psychological discourses are viewed as contributing to the formation of protagonists’ individual memories. The trajectory along which ‘functional memory’ transmutes from ‘comforting oblivion’ to the ‘loss of identity’, as depicted in the novels Abschied von den Feinden by Reinhard Jirgl and Animal triste by Monika Maron, is analysed in the context of the cultural trauma experience. A consequence of the traumatic experience is the splitting of the self and intrusion, which is expressed through random tormenting remembrances eluding narrative description. To the fore comes silence, which fulfils a narrative-theoretical function. Contemporary German novels written after 1989 are marked by asymmetry between cultural and individual memory. This asymmetry is manifested at the level of the protagonists’ speech and communicative disorders as well as in the inviability of memories beyond local spaces. Auto-communication, mediated reflection, de(re)construction of memories, and conscious oblivion become the principal models for the formation of individual, social, and national identity.
This article explores Reinhard Jirgl’s concept of literary writing, which uses linguistic and textual deconstruction, alphanumeric encoding, and intra- and intertextual strategies. Semiotic and discursive analyses allow identifying lexical, syntactic, and semantic elements of the structural and functional performativity of Jirgl’s texts. His prose exploits the enormous poetic potential of the alphanumeric code, the aesthetics of narrative simultaneity and hypertextuality, and the fragmentedness of the agent. The principle of aberrant text production helps the author stage the process of sense formation and brings to the fore the concept of hierarchical rule destruction, which applies to language, society, and reality. By deconstructing syntax and orthography, Jirgl’s system of language and script generates new senses. It also compels the recipient to destroy customary mental matrices and analyse processes taking place in society. Narrative staging of Jirgl’s texts is performed to identify the main problems that student translators are faced with when decoding the writer’s prose. Rendering a contemporary fictional text into a different language requires paying attention to meaning construction and (de)construction, the extralinguistic context, and links and interactions between linguistic and social meanings. Moreover, it is necessary to explore connections between the performative and narrative characteristics of utterances. New literary contexts and the alarmist forms of narrative peculiar to Jirgl’s writing urge the translator to develop specific professional skills and philological competencies.
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