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Zusammenfassung: Dieser Aufsatz bietet eine erste tiefergehende Interpretation einer der besten Novellen des baltisch‐deutschen Autors Werner Bergengruen (1892–1964), der noch bis in die siebziger Jahre hinein hohes Ansehen genoss, der aber anschließend geradezu systematisch aus vielerlei, vor allem aber politischen Gründen aus der Öffentlichkeit verdrängt wurde. Literaturwissenschaftliches Arbeiten muss sich aber davor hüten, subjektiv‐ideologische Kriterien zu verfolgen oder sich einem kanonischen Denken zu verschreiben. Die Tatsache selbst, dass Bergengruen sozusagen über Nacht jedenfalls im germanistischen Kontext zu einer Person non grata wurde, verdient der kritischen Analyse insbesondere im Licht seiner vielleicht aussagekräftigsten aber weitgehend unbekannten Novelle „Der Strom". Wie die Untersuchung erhellt, griff Bergengruen hier auf eine alte, bis ins Mittelalter zurückreichende literarische Tradition zurück, gestaltete aber den Stoff für seine eigenen Zwecke neuartig um: auf der einen Seite können wir feststellen, dass Bergengruen zu den wichtigsten Vertreterm des Medievalism im zwanzigsten Jahrhundert gehörte, auf der anderen lässt sich nachweisen, dass der doch sehr begabte Autor zu Unrecht in den Schatten gerückt wurde, obwohl er doch sehr eindrucksvoll mittels mittelalterlicher Motive tiefgründig über die Bedeutung des Lebens reflektierte. [ABSTRACT FROM AUTHOR]

In Die Ausgewanderten (1992), W. G. Sebald frames the act of storytelling in a way that draws on and reappropriates nineteenth-century narrative traditions, in particular the frame constructions typical of the German Novelle with which Sebald was familiar. Sebald portrays his narrator not only as a storyteller, but also as a witness, collector of stories, and reader of documents. This is a framing technique already utilized in the nineteenth century, sometimes to assert believability and authenticity, but also to reveal ironically the ambiguity and fragility of seemingly authentic stories. By using photographs and a seemingly autobiographical style, Sebald follows in this tradition in order to represent twentieth-century loss and tragedy, as well as to test the limits of this form of representation for life stories that revolve around death, loss, and the tension between capturing and erasing memory. [ABSTRACT FROM AUTHOR]

Hélène Lenoir, both demonstrating a debt and her own path, seems to have constructed certain "nouvelles" of her work "La brisure" as a way to re-write Nathalie Sarraute's work, and this is done on a precise point. Taking up the themes of "Tropismes" linked to interpersonal relationships in each case, between two beings of the opposite sex, Lenoir converts them to inject in them a sensuality and a sexuality that are absent in her predecessor's universe: to the decency of Nathalie Sarraute, Hélène Lenoir responds by repeated upsets to modesty. The article by Elin Beate Tobiassen proceeds through this looking glass to that which Gérard Genette, following Philippe Lejeune, terms a reading that is "palimpsestueuse" an adjective derived from the old image of palimpsest where one sees on the same parchment, a text which is superimposed on another which it does not entirely cover, but which it allows to appear by transparency; in this manner, a new structure is added and emulates an ancient function, and it is the contradiction between these two simultaneously present elements that give "its flavor" to the whole text. The relational interpretation, which reads a text in function of an other, defines the relationship between "La brisure" and "Tropismes" as being of a hypertexual order. [TRANSLATION]

The article discusses the expansion of contexts and the application of the theory of pretenses in making fictional stories. It states that fiction authors became capable of bringing the idea of their fiction into the real world because objects in the real world actually existed first in works of fiction such as the klingon language in the fiction "Star Trek".

This investigation of an untitled novella manuscript penned by Elisabeth Förster-Nietzsche aims to contextualize her writing as an attempt to domesticate Nietzsche and bis philosophy. It is argued that the manuscript provides unique insights into Elisabeth Förster-Nietzsche's incestuous fantasies and conflicted stance toward marriage and motherhood. While explicitly promoting marriage and motherhood, the plot, paradoxically, depicts not a single positive, functioning marriage. Although it romanticizes marriages, the novella challenges the dominant construction of the alte Jungfer as a social, cultural, and sexual deviant and an economic burden to family and society. Thus, while the ideological pronouncements of the novella advocate marriage and motherhood, the novella subverts these pronouncements and develops alternative familial arrangements, such as marriage-like brother-sister relations and surrogate parenthood. However, the conservative banality of these alternative models indicates that the novella is motivated more by wishfulfillment in the realm of fantasy than by the desire to develop ah emancipatory dimension. Ultimately, Förster-Nietzsche's novella confirms not only her lack of literary talent, but also the vast gap separating Förster-Nietzsche's petit-bourgeois consciousness from Nietzsche's yearning for the intellectual risk of the ever-elusive free spirits. [ABSTRACT FROM AUTHOR]

Presents information on German literature during 1934. Novels published in March 1934; Novelists with international reputation; Discussion on the novelle as a literary form; Plays brought out during the year; Publications in various fields.