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Der ‘weibliche Blick’ auf die Geschichte des 20. Jahrhunderts: Die Erinnerungsromane „Engste Heimat“ von Erica Pedretti und „Nichts ist Wie“ von Zsuzsanna Gahse

100%
Sośnicka D.
Colloquia Germanica Stetinensia
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2012
|
issue 20
155-173
EN
The paper presents an analysis of two autobiographical novels by contemporary Swiss female writers. The novels address similar issues and are also connected by similar mode of narration. The authors namely describe the loss of their fatherland – Erica Pedretti as a result of the forced expulsion action aimed at the Sudeten Germans after the World War II, Zsuzsanna Gahse as a result of escape from Hungary after the uprising of the 1956 – and the ensuing consequences. The central topic of both novels are memories: their emergence, functioning and meaning as well as the processes of their verbalization in order to accept one’s own painful experiences. The characteristic feature of narration in both novels is a strongly emphasized ‘feminine look’ at the history of the 20th century combined with a typical ‘feminine style’, whose chief qualities are, according to Hélène Cixous, among others abandonment of coherence, fragmentariness and unpredictability, multiplicity of synchronised images as well as acceptance of otherness. These ‘feminine style’ and ‘feminine look’ at the history of the 20th century serve above all to deconstruct the widely accepted perceptions and standards, which eventually lead to sanguinary wars, incessant political and ethnic conflicts as well as expulsions and escapes.
2
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Das Frauenbild in Schweizer 'Frauenbüchern'

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Muzyka J., Sośnicka D.
Colloquia Germanica Stetinensia
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2013
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issue 21
33-52
EN
The paper describes the changes in the literary portrayal of women which have taken place from the 70s onwards in the Swiss literature on the basis of the works of three female authors, i.e. "Häutungen" [Shedding] (1975) by Verena Stefan, "Die Wachsflügelfrau" [Flying with wings of wax: The story of Emily Kempin-Spyri] (1991) by Eveline Hasler, "Erdnüsse. Totschlagen" [Peanuts. Killings] (1994) by Ruth Schweikert. The analysis of the works of the three female writers representing three consecutive generations allows to present the main tendencies in the development of the Swiss women’s literature from the moment of its heyday until the currently dominating trends.
3
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Der Schweizer Literaturnobelpreisträger Carl Spitteler – ein Epigone oder Bahnbrecher der modernen Erzählkunst in der Deutschschweizer Literatur?

100%
Sośnicka D.
Colloquia Germanica Stetinensia
|
2011
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issue 19
37-55
EN
In the paper the author sketches a portrait of Carl Spitteler, who as the author of the epic poem “Der olympische Frühling” [Olympic Spring] became the sole Swiss Nobel laureate in literature and who with his writing inspired not only Friedrich Nietzsche but also psychoanalysis emerging at the beginning of the 20th century. In spite of the above his work was forgotten after World War II. On the basis of the analysis of the afore-mentioned epic poem as well as of Spitteler’s debut work “Prometheus and Epimetheus” and particularly of his autobiographical novel “Imago” the author of the paper attempts to show that despite the widespread opinion Spitteler did not follow the beaten literary track but his texts reveal that he can be considered a pioneer of the modern art of narration in Swiss literature. The writer in full consciousness made references to the forms and themes of the European modernist prose but was also able to look at himself and his works with tongue in cheek despite the fact that the Swiss ‘anointed’ him as the national poet and the ‘father’ of the Swiss idea of neutrality.
4
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„Mit dem Spiele spielen“: Zum Erzähldiskurs in Adolf Muschgs Roman "Der Rote Ritter"

88%
Sośnicka D., Mutzbauer S.
Colloquia Germanica Stetinensia
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2013
|
issue 22
141-160
EN
Muschg’s novel "Der Rote Ritter", which the author expressly described as a ‘play’ on Wolfram’s von Eschenbach verse-novel "Parzival". Thus Muschg, in his gigantic, emphatically post-modern novel, not only plays with the traditional medieval subject-matter by amusingly linking past and contemporary, archaic and modern – first and foremost he enhances his depiction of the Parzival story with reflections, which are both witty yet intended to be taken seriously, on narrative and its various possibilities, on reading and the role of the reader, and on the significance of literature in our contemporary world which is dominated by a variety of media.
PL
Artykuł analizuje różnorodne sposoby narracji i instancje narracyjne występujące w powieści Adolfa Muschga "Der Rote Ritter" (Czerwony Rycerz), którą sam autor określił mianem ‘gry’ ze słynnym rycerskim eposem "Parzival" Wolframa von Eschenbach. Bowiem w swym monumentalnym, postmodernistycznym dziele Muschg nie tylko doskonale bawi się średniowiecznym eposem, łącząc w dowcipny sposób przeszłość z teraźniejszością i archaiczność z nowoczesnością, lecz równocześnie wzbogaca swoją wersję historii Parsifala zabawnymi, choć niebłahymi refleksjami na temat narracji i jej wielorakich możliwości, a także na temat czytania i roli czytelnika, czy też ogólnie na temat roli literatury w dzisiejszym świecie, zdominowanym przez różne media.
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