Looking for redemption in a globalised North:representations of the Arctic in Judith Hermann’s Short Stories Kaltblau (Cold –Blue) and Die Liebe zu Ari Oskarsson (Love for Ari Oskarsson)

This paper explores the literary representation of Iceland and Norway in two short stories by contemporary German writer Judith Hermann. It analyses both the depiction of these countries as part of the globalised western world and the redemptive power they are tentatively ascribed by the author. Continuing a long German tradition of looking at Scandinavia from an almost colonial perspective, Hermann on the one hand presents these northern countries as a mere extension of central Europe, largely devoid of distinguishing national characteristics. At the same time she makes reference to the topos of the north as a vast and empty space and highlights both the specific arctic nature of the environment and the effect it has on her urban characters, who find themselves on a search for meaning and orientation in a postmodern fragmented world. Despite Hermann's overall sceptical attitude towards her characters' quest for happiness, these northern locations ultimately appear as potential places of self-realisation and enlightenment.

Die Sprache des Wahnsinns. Harald Kaas und sein Erzählband ‘Uhren und Meere’:Harald Kaas and his short story collection 'watches and seas'

This essay examines the only book published by the late Harald Kaas. His collection of short stories Uhren und Meere (1979), dealing with depictions of psycho-pathological states of mind, gained Kaas a short-lived notoriety as he himself was a certified schizophrenic possessing first-hand experience of psychiatric treatment. This essay sets out to investigate whether or to what extent the stories in Uhren und Meere can be understood as a document of the language of madness. It concludes that despite the biographical dimension of his schizophrenic experience, Kaas’s texts fail to voice an as it were unadulterated language of madness. However, when read in conjunction with his quasi-poetological interview statements, it is possible to determine the very nature of madness as a collapse of a logical system of language. Meaning that language cannot actively be used to express madness, while at the same time madness can express itself in a language that we necessarily fail to understand. The language of madness manifests itself as the madness of language.