Essays on 'dowry' and 'Blueprint' applies in addition to the Organizational we afford to, that which aspiring literary scholar is the most: substantive work. In the following, therefore, the results of the meetings of our reading circle put forward or to talk. The essays by Juliane Rehnolt perception and language-game of a child. Bright moments of dark memories "blueprint" and Kai-Uwe Reinhold transgressions and tropical-media configurations. For the poetics of memory structure in "dowry" use this to work out the text-immanent logic of the novels.
transgressions and tropical-media configurations. For the poetics of memory structure in dowry
by Kai-Uwe Reinhold
all basal falls first to the eye, that the novel is divided into five chapters. The beginning of each chapter begins with the description of the situation of Aloes life with Stefan and Frank in the present tense. After a few pages, however, the temporary mode switches to the past tense. The novel is thus on two levels of time, the present and the past, the latter by Stefan, the adopted child of their 'sister', is set in motion.
The first chapter confronts the reader first with the tumult and the confusion of the children of the birth of Stefan, the chaotic sequence is reflected in its narrative presentation, because as the children "scurry,"
[1] so> verwuselt "is also Read the first impression. Gradually calmed down after the scene and in the transition state is between waking and sleeping, "[i] n the half-dream," Aloes,
[2] place for the first time Anita mentioned, the novel switches to the mode of memory, evoking a result of Stefan's claim: "Sometimes he asks for it, and it .'s time to tell him everything, as far as he knows, "
[3] The question Stefan's getting worse while imperative," he says again: tell me about her "
[4] then sets the story! about in the past, is to clarify the past as a kind of memory work Aloes. Significantly, the work of memory begins with the "flying", the title of the first chapter, more precisely with the flight to England, the \u0026lt;together with the landing of the 'drive torque indicates the memory work?
Finally, the pilot drove the engines high - it works, it does not work? - Finally the power that one pressed into the chair, then withdraws, a decent animal, but not necessarily feel uncomfortable, which is satisfied for the rest of the trip so that, at the passenger ears to munch on, please remain seated, and a bit before the end , fasten your seat belts, thanks to an air hole to remind. [5] Totally it is no accident that the first memory sequence a flight or put another way: story of a topographic transgression, because even the novel input contains significant metaphors of transgression. With the birthday gift, the "silver bright Shuttle [:] Hermes,"
[6] lies in front of the mythological and quasi-technical adaptation, while the half-dreamy state describes Aloes the transgredierenden state between reality and imagination, consciousness and the unconscious. As if these images refer to the moment, the "force" is indeed always "retreat", but still drives the work of memory: What we have with "Hermes" indicated halfway, in the medium of the unconscious, the dream mentioned by name. "Anita"
[7] your hermaphroditic being is that "decent [] animal," which "is not necessarily feel uncomfortable so monstrous:
Anita's emergence, its enlarged clitoris to the penis, a piece proliferation and ornaments, was something we had initially can cut, which then neither the means nor the surgeon was related to defuse the statement. For it was because it could do what they wanted, the sign of forbidden thoughts, which featured the two sexes and living together in male / female pairs in question. The more you try, the connection between these thoughts and Anita To suppress the more clearly it appeared. But even the dirt of gossip, the malicious eyes, and the spotting of the mouths was illuminated by the eerie glow, the strangely provocative beauty Anita - a single gesture from her, a moment when she stood up, sat down, someone shook hands and said, : yes I am. [8] It represents therefore the cultural and social overmolded natural, at least from the perspective of post-structuralist feminist discourses in the text their critical treatment. It will also staff in the social structure as the> monstrous \u0026lt; fascination and perceived, is both socially displaced, as well as aloe for the repressed and the uncanny is, "Yes, I am as" yes to the psychoanalytic categories of Freud. They figured "the" character that differentiates the sexes and differents amalgamated, thus the difference or the border represents itself. Even the sex allocation resulting from the technical and cultural-surgical procedure removes the difference is not only moves them to the latency. Discrete moments - in gestures, when standing up or "if it was someone's hand" - to appear invisible, but their natural hermaphrodite and remember what their Beauty is kuvriert. Accordingly, bringing the invisible air holes are technically generated motor force "in memory in which the analogy lies qua" decent animal. "
Anita appears in the ensemble of characters as an empty space at the same time as the figure of the cross-withdrawing difference, which is to obtain it. Solo Luke corresponds to the well, insofar as one the media write-ups of the art historian and photographer aloe and her friend, the post-and cyber feminist cultural historian Patricia takes a look at:
Aloe was not sure what attracted to her friend her so, but they fit well together: a specialist in images, the other for text. Most of all they went together to the cinema, there came close to changing text and images and thereby the same time so that they did not recognize, just a little. To this bit of it went. [9] image and text will be not only alone in the cinema but also in the figure close to Lucas' "Luke worked as an astrophysicist with the reality," whose data they collect first empirical But the scientist is about more "to situations, relationships, interactions. However, since the data has soft [...] have been collected since the imagination. "
[10] Luke knows that once the natural sciences the reduction relations of the hard facts and to target the ensuing knowledge representation, with this poetic and rhetorical devices in particular is the metaphor: "The universe, a sack, he sometimes said in jest. Bags made of fabric, fabrics have holes. [...] Are all just metaphors, Lukas said, frowning, but still. "
[11] Implemented is the image of the universe as it as holey fabric of the text. On the one hand, he addresses it in summary form, the logic of metaphor and is labeled the other as a figure of metaphor, in the constellation between image and text, between Aloe and Patricia "interactions" and "relations" received. He is up to the penultimate sentence in the relationship of the novel of that indefinable semantic rest of the metaphor, own that "little" at stake Aloe and Patricia. He constantly transgrediert the boundaries of culturally conventionalized couple, exceeds but, significantly, with "de [m] Flight [] from New York,"
[12] - as initially Aloe with their flight to England - a geographical boundary and is thus localized. Consequently, his status is resolved as a figurative metaphor, which transform the time-lines of the present and the past level in the remaining open future that symbolized the dawn. Finally, he writes: "Aloe came from the shadow of the pillar and walked up to Luke. The pale morning light broke her warm on her skin. Relationiert "
[13] Luke as point of comparison, the Aloe and Patricia, decides to aloe, which brought his 'semantic indeterminacy of the term'. It solves the same time from the role of third parties which may be taken as a sociological equivalent of the structuralist difference. These socio-theoretic semantics is also estimated for Aloe: "And then there was a third factor: High, splintery, fast. Something that is drilled through walls and into the void. Anita. "
clear [14] This again the blanks Anita's function and that it dominates the novel, because they figured not only the "holes" in the "fabric" of the text but made it first of all,> boring \u0026lt;into it, even where there is not to drill: "into the void and creates" air holes , "which are discussed in the first flight Aloes. Although
closes the novel with the returning flight from Luke, but it does not entirely, but responds only to the beginning of the work of memory and therefore leaves open the question of whether the claim Aloe Stefan, to tell him about Anita, ACTING. Find it when I see it correctly, no evidence. Thus the novel a space is proper, but the condition the possibility of narration and is centered around the displaced image Anita. For the first time it appeared to the woman under water in a half dream and repeated shortly afterwards in the first memory sequence. occurs when aloe from the customs doors, she saw on a billboard, a young woman "under water [...] Each line reminded Aloe to Anita, she wanted but not to Anita remembers his [.]"
[15] When they then to Luke in "direction bus stop," went, "she turned around again, half by accident, to control half if they had forgotten nothing. The woman in the water seemed to wink her. But it was passing only a quick look in a delusion, a picture. "
[16] What appears here is because of the unconscious flashbacks as phantasmagoric hallucination, has the all too real for Aloe ground in the repressed, which is worked up successively. The processing of the past at the same time go the rediscovery of photography perception and skills associated Aloes. Again, this happens suddenly and unconsciously, even into the present narrative: When they explained the pictures Frank Tunick, "hear [it] to itself and wonders what she says. She rarely a reason to talk about the photographs of others. Your knowledge is there and waiting to see what she does with it. "
[17] About Tunick she says this: His "paintings are full, but aim at emptiness, Frank. Tunick photo must always wash your faces, only the so-formed her nothing it can work. "
[18] Consequently, Aloe referenced not only the principle of Tunick's photograph, but as the poetics of the novel, based on Anita's image. Just as the over-determined images, and also to target the 'emptiness', both moments are wiped out in the sequence, as is Anita's image is drawn in the novel structure. Hermaphrodite as she is over-determined gender and blur the narrative since by obtaining the artificial space in the memory of Aloes always the origin of the image, shifts the narrative solicitation. Different to Tunick is essentially the poetics but in one respect: while the work has held at that wiping out the function "of the so produced nothing [to] her," is the novel, however, the inverse logic function intrinsically. From the beginning, the text uses the absolute absence of Anita picture, insofar as the signifier of the image from the novel reality is separated by the assassination. The "nothing" is thus always present, is always created. First, however, diffuse the image lives on in the memory of Anita Aloes, whose brightening is accompanied on the one hand with his own search for identity, as it were the other condition for the identity Stefan is: "Stefan was too small to remember Schwandt. Later he will decide what happens to the houses. He can do it, it must order the whole story before him. "
[19] The exposure Stefans," tell me about it "is not observed roman immanent, which in turn corresponds to the principle of nude photographs Tunick, whose images »body for example," Aloe said, "do not speak each other even though they are next to each other: for future recipients are. Because they are focused on the camera to the viewer, who is from the future [.] "
[20]
[1] Ulrike Draesner: Mitgift. Roman. München: Luchterhand 2002, S. 9.
[2] S. 10.
[3] Ebd.
[4] S.11.
[5] S.12.
[6] S. 9.
[7] S.10.
[8] S. 217.
[9] S. 27.
[10] S. 23.
[11] S. 14.
[12] S. 377.
[13] S. 378.
[14] S. 66.
[15] S. 14.
[16] S. 16.
[17] S. 62.
[18] Ebd.
[19] S. 59.
[20] S. 62.
perception and language-game of a child. Bright moments of dark memories: Ulrike Draesner blueprint
Julie Rehnolt
"blueprint" is Draesner first novel was published in 1998 and published by People & the world.
protagonist is Hilde C., the oldest child of architect Hubert and wife Michaela. There are also five years younger sister, Berta. The family lives in a house in the Munich suburb Planegg. The time is set themed around the early 60s.
is the beginning of death. The 11-year Hilde is curved and contorted on the pavement outside the house of the parents found. The emergency physician can do nothing for the child - only carry away the body he has. But while in their pajamas out of terry cloth, which is printed with colorful little elephant, still lying there, rises an ego from the body. This settles in the attic of the house of the family C and begins to look through a stack of photographs. This begs the question: "[...] what time of Hilde in the long evenings she lay awake in bed, walked into the wall and like all the hot gases rose to the top. Establishes there. "(P. 28). Again it is memory work that is done and the storage system invites the reader to the of following tracks: "Come with me" (p. 32)!.
It is less a chronologically accurate recapitulation of a biography, but there are some stations where unfolds Hilda's life, such as school situations, such as biology class or gym class, visits to relatives in the countryside, family holidays in South Tyrol, the Inauguration ceremony of the homes of the family or the funeral of C. Cousins Wolfgang.
It is clear to all episodes of the same image of an oppressive and oppressed childhood. Hilde acts here as an exemplary child, as is relative to the beginning pointed out that the letter of their surname, C 'before the first name put "childe" yields: an older form of the English word "child" - a child.
father and mother are "the Elt: a motionless on the couch sitting and commanding power authority that allows only an obedient subordinate. The Elt breeds Hilde for looking up and bring it to a receiver position: "In the sunken family meat body takes practice and dedication attitude like all young animals" (p. 68).. In the hierarchy appears Hilde still listed as a dog, "Thus saith the ELT with it: Hilde, the bringer. Bad luck. Otherwise, nothing-Bringer. Only costs. If we keep. Like a dog that would bark but at least. That one is to hold, however, brings nothing but trouble. A real dog is at least useful. He has long been house-trained, he goes on a leash, loves his master, eats out of hand if it is, and without complaint from the bowl, what's in them. He knows the rules, he scares brave the enemies of the Father, licking the feet of the mother, silky light his skin, he chews anything, not scratching, sleeping, whenever he should be vigilant and well, this thundering love these livestock, this embedding - no, it does not bring the [...] In general, it is this: while eating at the family table must own mouth to remain closed. Dogs do not talk. Besides food: no room for talk. Otherwise allowed in the child's mouth, no space be. Children mouth flap. Flap is held. "(P. 85f.).
Hilde will meet the family demands that are formulated mainly by the father figure. For although the Elt appears to form a unit, can be differentiated: the mother identifies with the father, but rather by his subordinates and is willing to share his ideas. It is thus oriented toward the Father and conceived and designed this thought Hilda. There is an informative text in parallel connection of brain model in biology education and the architectural designs of the Father, which are clearly brought into connection. The father is the original and its copy should Hilde / be its image. Here are results in a first reference to the title, because Hilde with these drawings of his father to a Blueprinters, diazocopiers where they are copied. But the fat white maggot, the fat girl with the heavy glasses, the chewing his nails, does not meet the standard. She regularly
is the father with a wooden spoon beat them until they fall from the pain of the womb and can only flee by crawling into her room in the farthest corner of the bed. Finally, it is also not a quiet place, but through the use of its glass door, the more they see Elt.
The aggression, however, both sides, because this punishment were the following words of Hilde's actually not the mother, were intended for the ears of the father, above: "You could be a dog [...]. Which are carried to the vet and then throw any more boys. A sister goes really [...]. The eats earthworms, which is lying, the stealing, the smells, the mumbles, "The father turns to the kitchen door one is:". So what does not say to your mother. "Hilda:" To whom else "(p. 163f? .). Furthermore
fear shapes the life of Hilda. The everyday banalities such as cigarettes or get to go to the phone for them by Elt generously granted opportunities to prove their usefulness. Hilde usually fails because it and the fear The next test increases each time
The stations are given as follows illustrations of the programmatic claim: "This is the steady-state, the real one child support. have no money, must not do anything, go anywhere to eat, what's on the table at all, ask for permission. This is outside. And inside: not qualified. Do not know how to get to know something. Getting to know yourself. Not know that there is this. Not knowing that even a Elt has reasons. That one could influence. This is the real addiction. Life under the law. These eyes that watch a hearing, never. "(P. 114). It runs contains all back and certainly this passage a (little subtle) statement read.
often silenced Hilde. On the one hand, since it is constantly bombarded from all sides with secrecy and the other as its own reaction.
The exemplary child is thus by parents, school and your own body, to which there will be no money and can not explain it, determines.
A child appears to be a necessary, but not very useful mechanism. Even for birth or conception or production project a sterile technical terminology is used: "[...] the Catholic grandmother pressed eventually ten living children out of themselves, all of the teat hanging. "(p. 100). Hilda's mother was pregnant before Hilde once before, but the unborn child lost in the fifth month of pregnancy. The comment for this loss is: nacherzeugte "This generation of abdominal cavity was empty but for an early recovery worth" (p. 79)..
A second reference track is caused by a medical report: "She [Hilda] has small gaps, interruptions in duration. For all the time goes on, they just fall out. Takes at most two or three seconds. As noted, see, she does not hear anything [...] "(p. 194). Hilda is not quite in the world and suffers from blueprints.
A broken world perception is also partially in the formal publication of the novel. There are radical leaps in time when transition in a kitchen scene between mother and daughter, the memory of the mother at birth events that took place in front of Hilda's collapse. Furthermore
penetrate different spatial levels in Hilde's perception. As evidence of this has to be a slightly longer passage cited in part. C. The family sits around the dinner table, on which a still life with a dead duck and wine glass is "teeth bite of bread, Crackles crumbling, radishes burst in the mouth, a fork rattles, one's own saliva bursts. It cracks, slurping, smacking, cracking: chew four mouths. In the midst of these sounds: another Crunch - without teeth, a silent rattles - no lungs - as the advance of an unseen glacier. Something gray flows in through the patio door, over the carpet that spreads out like a tongue on the floor. The table is in the middle. Acting for Hilde. Not even the father noticed something [...]. Hilde holds the mouth. You are so moved into a picture. The duck neck hangs next to the glass. Hilde's foot under the table looking for the shoe, is not into it. Hilde's thoughts on image tear off small pieces. But this is no real advent calendar. Gold frame, father head. If it breaks at this picture, is not out of chocolate. You only see yourself sitting. Hilde holds his hand over her mouth. Schnabel home, his father's house. The gray mass on the carpet, only sees them. [...] Where the duck hanging in her death, the glass so red that it shatters. Again composed charges, while Hilde's looking: grow, shatters. Nothing else. Surely she is aware that the glass is still on the duck. The fact that it pulsates in secret. But behind the lips behind the hand belongs to her mouth to her. [...] The picture follows Hilda's ducks eyes, pulsating, stuck to her face, even if they look away appear before them again if they want to cut tomatoes or radishes or red peppers. It wants to push her his thin, transparent fingers, it does, bulges to flow over the frame inside out, out to the wine glass as the father's cheek, a dark red, inside leading tube, and the ducks neck winds down on his carotid artery until it meets the collar, in he - half-submerged, half-grown - will disappear. "(p. 94ff.). Furthermore
characteristic enigmatic chains of association: "When Hilda from school dawdles home, the river is a clock, because he is ticking as the wooden eagle in the living room. The river has a bed, in bed, so the clock is ticking, and the fact there are two, the hands are her arms, the soft round body slides. Then the day is Saturday « (P. 76) and neologisms such as the ELT, dependence feet, January words. It can be found since long word clusters of, for example, synonyms for dying or Hilde flowing phrases: "Show me the tooth I'll pull you yet, chop chop, put last line, lame goat, a hue and cry, dress thyself, finally, quarrel is not permanent, a tame zebra, hyperactivity is what you are already so disheveled, she is barely in check to keep your seat is not so, you may well find you your room, finally gone once your stuff there, I do not hang So at the coat-tails, tassels hang your not in here, Hilde: grab bite to access, go to bed, tie zubrüllen, compress, Hilde, you prune, you Zuckfuß, at home, one is content, sugar, we have them well on the train "(p. 70f.). Finally
to be noted that language skeptical aspects are incorporated. Hilde wonders if her friend Eva what Hilde sees red, perceived as green and has only learned it> to name red \u0026lt;. The taking of things with the words Hilde is like a rubber band that snaps back at the last moment, even though the access was already within reach.
divided into individual elements, the following sentence runs through the novel, "Dark it was, the moon shone bright, quick flashes slowly when a car drove around the corner, sitting, standing inside people, in silence into the conversation deepened, as a hare was shot dead in the street skating. "The grammar is correct, but the content they are transported, makes no sense to exclude from even each other. The outer and inner order does not comply.
includes the text at the end of the circle, because the accident Hilde is taken up and elucidated a piece. The child writes letters to himself and needed to send a brand that it hopes the postal officials Rudi L., who lives across the house, get paid. She runs to look without, across the street and is hit by a car. All resuscitation efforts failed.
A model rely on Guatemalan game enthusiasm we learned after Posada know: We brought some young people the famous, Helvetic "chocolate game" at. We hooted with laughter when the people against each other pulled the cap from his head, and devoured the Toblerone, together with the aluminum foil, just to get one to enjoy a real chocolate. 
