Die Kunst, Raoul Schrott (nicht) zu glauben

Schällibaum, Oriana

doi:10.3726/var2016_177

Cited by 1 publication

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“…The emphasis lies on 'suggests', though, as these dates often appear to be part of a multilayered play with meanings. This can be seen in Tropen: Über das Erhabene (Tropics: On the Sublime) or Die Kunst an nichts zu glauben (The Art of Believing in Nothing; see Schällibaum, 2016). Similarly, his much-noted (and often-criticised) 2008 study on Homer's origins, in which he identifies Homer as a Cilician poet and traces the events of the Iliad back to historical incidents, relies on his own visits to the sites.…”

Section: Raoul Schrott: the Temptation Of The Realmentioning

confidence: 99%

Narrating islands: fragmentation and totality as figures of thought in Raoul Schrott’s work

Schällibaum¹

2017

ISJ

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This paper reflects on depictions of islands in two novels by the Austrian author Raoul Schrott (born 1964): his first novel, Finis Terrae: Manuscripts, from 1995, and the later Tristan da Cunha or Half of the Earth from 2003. I argue that Schrott's concepts and explorations of islands strongly influence the presentation and organisation of his texts. Finis Terrae and Tristan da Cunha exhibit distinctly different concepts of the insular. Whereas the earlier text accentuates a frail, fragmented, and almost mythical condition, the later novel Tristan evokes a plethora of Western topoi about islands and heavily relies on dualities. In both cases, island concepts are also reflected in narrative gestures: oppositions are central to interpreting and analysing Tristan da Cunha, and Finis Terrae revolves around fragmentation, vagueness, and loss. Islands are thus not only objects in the texts-they also determine the design and structure of the texts.

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Section: Raoul Schrott: the Temptation Of The Realmentioning

confidence: 99%