Die lateinische Epigraphie Hispaniens als Quelle für die keltische Gesell-schaft und Religion

Presentado en el III Workshop F.E.R.C.A.N (Fontes Epigraphici Religionum Celticarum Aantiquarum)

Wende und Körperdarstellung in Hensels Lärchenau

[EN] Kerstin Hensel’s literary universe is haunted by fallen heroes, outsiders and gregarious figures with no success. They experience the German Wende in a very peculiar constellation, they perceive Post-Unification Germany at times from a fantastic perspective, always from a painful experience. In this context the analysis of the representations of the body in Hensel’s narrative before and after 1989 offers a rich insight on Hensel’s critical view of Post-Unification Germany. By analysing her texts such as Hallimasch and Lärchenau this article shows that the suffering grotesque bodies in both works stand for a political metaphor of a social body with hardly a cure.

"Verwundete Orte" in Hettches Nox und Pareis Die Schattenboxerin

[EN] Body and space play a determinant role in the formation of societies, according to the social analyst Richard Sennet. His thesis that the configuration of spaces in history, such as that of the cities, is closely linked to the perception of the own body offers a relevant theorethical approach for the analysis of Nox (1995) by Thomas Hettche and Die Schattenboxerin (1999) by Inka Parei. In both novels bodies are perceived conscientiously by the self as a wounded and exhausted “I”, but also as a rebellious and fighting “self”. Both novels offer a concept of the body as an inadequate and wounded space, which is actually a key procedure to successfully face the similarly unstable geographical, social and political context of Germany after the Fall of the Berlin Wall.

Raumfigurationen und Macht in Atemschaukel

[EN] Atemschaukel approaches the falling apart and survival in a historically loaded space, such as a labour camp. This novel offers a relevant research field for the space analysis, focused from the perspective of the Spatial Turn, as not only this theoretical frame but also Herta Müller herself conceive of space as a process, unterstood as a reciprocal interaction with the social practice, thus as a spatial and social construct. The representation of space in Atemschaukel is described in this article as a “swinging movement between boxes and abyss”, where the discourse of Leopold Auberg’s memories oscillates between closed and square spaces, on one hand, and open and giddy spaces, on the other hand. In this oscillating movement it is the open spaces that will most clearly show the process of inner destruction of the subject in such oppressive situations as on labour camps, as well as the permanent damages of deportation.