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1

„Intra muros et extra”. Innere Emigration als Problem. Ein literaturwissenschaftlicher Überblick

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Gołaszewski M.
Germanica Wratislaviensia
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2014
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vol. 139
39 - 55
EN
Inner Emigration is a phenomenon in the German Literature and simultaneously an expression of a spiritual attitude that came into existence as a result of refuge from political and social reality. The term was developed as early as in the 1930s century and over the course of the years was more and more often discussed. The real debate about this issue was ignited in a correspondence among Frank Thiess, Walter von Molo and Thomas Mann. The main problem with defining the term is that it is connected with the moral judgment of the literature and its authors. The Inner Emigration in literature stands both for works which criticized the regime and the texts of authors, who were searching for preservation of their independence by retreating into their inwardness. Therefore they separated themselves from the ideological Nazi — literature and cultural and educational policy. Because the living conditions of the exiles and of those who decided to stay in Germany were completely diffe rent the Inner Emigration in Literature was accused of the attitude of resignation or opportunism. As a result this kind of literature was fully excluded in the 50s from the field of science.
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Hermann Stehr – Repräsentant des Nationalsozialismus aus Konformismus oder ein Nationalsozialist wider Willen?

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Gołaszewski M.
Acta Universitatis Lodziensis. Folia Germanica
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2017
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issue 13
85-100
EN
Herman Stehr (1864–1940) belonged to the generation of writers who had the chance to es­tablish a serious opposition against National Socialism during the Weimar Republic, the Fascist movement and the Third Reich. Not only their age but also their experience predestined them to assume such an honourable position. Hermann Stehr, at the early stage of his career, was considered a modern writer, not only because of his writings but also because of his political views, when in the 1920s he took an active part in the building of democratic structures of the Weimer Republic. Around 1930/31 a change occurred his work and in his political views.From this time onwards he actively supported the Nazis and legitimized their politics in his writings both nationally and internationally. The symbiosis between him and the Nazis became more and more visible as they started promoting him as one of the leading German writers.The aim of this paper is to present one of the most renowned German authors of the first half of the 20th century, who due to his conformism during the Third Reich lost his chance to defend humanistic values.Consequently, this paper proves that it is a grave error to classify Stehr, a writers of conservative views, as part of Inner Emigration.Hermann Stehr most certainly did not belong to that group.
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Ideologische Voraussetzungen der Literatur des Dritten Reiches. Nationalsozialistische Literatur­ und Kulturpolitik

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Gołaszewski M., Tomasi-Kapral E., Institut für Germanistik an der Adam­Mickiewicz­Universität Poznań im Rahmen des Forschungsprojektes FUGA des Polnischen Forschungsnationalzentrums (NCN) P., Universität Łódź P. F.
Acta Universitatis Lodziensis. Folia Germanica
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2014
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vol. 10
EN
National Socialism did not only constitute a political doctrine; it was also a kind of worldview that left its mark on German and pan­-European culture of the 20th century. The drastic changes that were linked to Hitler’s takeover of power confronted writers and poets with a completely new reality and wholly new conditions of the creative process. Those who could not or would not emigrate had to submit themselves (voluntarily or involuntarily) to the policies and norms decreed by the National Socialists. National Socialism – a conglomerate of different ideologies and ideologemes – perverted certain middle­-class values and ultimately aimed towards the total subjugation of all areas of life, culture being among them. The fact that the German middle­-class partly shared the values propagated by the Nazis led to an overhasty and unjust assessment of the attitude of writers belonging to the so­-called ‘Inner Emigration’. The article at hand outlines the principles of National Socialist cultural politics as well as its relationship to artists. The complicated creative situation of writers and poets in the Third Reich will be shown by representative examples.
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„Dichtung kann, in geheimnisvoller Weise, tiefste Ohnmacht spüren lassen und letzte Macht zugleich ausüben”. Rudolf Hagelstanges Sonettenzyklus „Venezianisches Credo” (1945)

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Thunecke J., Nottingham Trent University E.
Acta Universitatis Lodziensis. Folia Germanica
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2015
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vol. 11
EN
The origin of Rudolf Hagelstange’s (1912–1984) cycle of sonnets "Venezianisches Credo" was Venice, while he was temporarily stationed in northern Italy in 1944 as a soldier. Twenty-four sonnets were written in the lagoon city, four more in Breganze, the remainder in Verona, where a limited edition was published in spring 1945, after some of the sonnets had already been distributed in military circles over some months. This contribution attempts on the one hand to analyze Hagelstange’s choice of the sonnet–form – a classical type of lyric poetry, guaranteeing tradition and continuity –, claiming that at that time sonnets had become a fashionable form of oppositional poetry; on the other hand, the content of the three dozen sonnets will be analyzed, in which, over long stretches discordance prevails. For the author initially presents a damning indictment of the criminal activities of the NS-regime, until he eventually proclaims – with reference to Schiller – that the contemporary spiritual and moral crisis can yet be overcome by an ‚other Germany‘. In the final analysis, Hagelstange brilliantly succeeded – by means of an interaction of continuity and dissonance – to merge aesthetic and ethical aspects and thereby managed to create one of the most outstanding lyrical documents near the end of World War II.
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„[…] warum schläft denn nimmer nur mir in der Brust ein Stachel?” Ernst Wiecherts Prosawerk der 30er Jahre

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Gajdis A., Jahrhunderts im Institut für Germanistik U. W.
Acta Universitatis Lodziensis. Folia Germanica
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2015
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vol. 11
EN
Ernst Wiechert’s prose written in the 1930s is best symbolized by Friedrich Hölderlin’s poem "Abendphantasie" (1799), in which the persona describes his loneliness and resignation, describing them as a thorn in his chest. The question of the identification of these feelings with the East Prussian writer is a major problem raised in the article. Wiechert certainly belongs to the group of writers associated with the so called Inner Emigration, and the studies by Herbert Wiesner, Ralf Schnell, Reinhold Grimm and Friedrich Denka support this thesis. Also, the method developed by Hubert Orlowski allows us to include or exclude literary works from inner emigration literature. This method turns out to be helpful in the interpretation of Wiechert’s works. Moreover, the question of Wiechert’s position on National Socialism is considered, which is full of contradictions, as well as his coming close to the Inner Emigration. On the basis of selected prose works created in the 1930s (e.g. "Die Hirtennovelle", "Die Majorin"), the writer’s evolution from the ‘breakthrough of grace’ to becoming an inner emigrant will be presented. Particularly noteworthy are some relevant themes in his works such as World War I, the mother figure as a prefiguration of the ‘Great Mother’ myth, the writer’s stand on National Socialism or the Mazurian landscape.
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Ernst von Salomon, die Landvolkbewegung und die „Neuordnung der deutschen Dinge”

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Kuropka J., Arbeitsstelle für Katholizismus– und Widerstandsforschung U. V.
Acta Universitatis Lodziensis. Folia Germanica
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2015
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vol. 11
EN
Based on two of Ernst von Salomon’s literary documents on the Rural People’s Movement ["Landvolkbewegung"] (1928–1932), this paper will trace the thinking of national revolutionary intellectuals and charismatic Landvolk leaders. Their clear rejection of National Socialism is just as evident as their retreat into a specific form of inner emigration.
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„Innere Emigration“ in Theorie und Praxis. Literatur als Camouflage

88%
Brylla W.
Germanica Wratislaviensia
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2012
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vol. 135
51-55
EN
Along with the burning of books in 1933 at the latest a new era began for German writers. Some of the famous authors emigrated, others stayed in the Nazi Germany and kept on publishing within the confines of their opportunities. After the Second World War a dispute sparked off between the literary refugees and the so-called Inner Emigration on the value of books published under the dictatorship of Hitler. Thomas Mann accused the so-called Inner Emigration of passivity and submission to the regime. However, there existed possibilities of bypassing the National Socialist censorship by using camouflaging language. Such writers as Reinhold Schneider or Rudolf Pechel tried to criticize the rule of NSDAP between the lines, secretly and yet distinctly.
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