Abstract Irene, the protagonist in Herta Müller’s Reisende auf einem Bein, experiences the transit between two political systems as a continuous journey which does not end with her arrival, but extends into everyday life in the destination country, a life marked by Otherness, foreignness and placelessness. The political oppression suffered in her country of origin, an unnamed Eastern bloc state representing Nicolae Ceauşescu’s Romania, influences Irene’s perception of her Western destination country. While Irene suffers from the Otherness and placelessness experienced on her journey, this experience also constitutes her identity as a »vagabond« (Brittnacher / Klaue), making it impossible for her to stop. Irene makes this experience as a train passenger, as well as in train and metro stations where the movement of passing trains makes her feel disconnected, but also allows her to see the fractures in other relationships around her. The article shows how the train journey becomes a central metaphor of Irene’s transit experience, similar to Kristeva’s image of foreignness as a moving train, and describes Irene’s movement by means of the ›vagabond‹, the ›flâneur‹ (Benjamin), the ›nomad‹ (Deleuze / Guattari) and the ›system migrant‹ (Sorko).

Der Raum des Fremden als »fahrender Zug« in Herta Müllers Reisende auf einem Bein

Marginality in post-TRC texts : storytelling and representational acts

In the mid-1950s, a unique film called Dědecek automobil (Vintage car) was born in Czechoslovak cinema. The film was based on the eponymous model by the writer Adolf Branald and Alfred Radok became the director. The film is dedicated to the beginnings of Czech motoring in the first decade of the 20th century. The processing combining the genre of documentary and feature film is also unique for the period of its creation. Thanks to the love liaison that culminates in the marriage of the Czech car fitter and the French girl, the film also acquires a poetic dimension. Part of the story of the film takes place at car races in France, which opened the way for the participation of French actors, unusual for the 1950s. However, the filming took place exclusively in the Czech Republic. The acceptance by Czechoslovak film critics was embarrassing after all the film deviated significantly from the period works. He aroused even more interest abroad. At the San Sebastian Film Festival in 1957, he placed second and won the Film Critics Award. The text is largely based on contemporary literature, memoirs, and materials stored in the National Film Archive.

/pdf/vintage-car-the-beginnings-of-czech-motoring-in-the-film-5n2xp93e8q.pdf

Vintage Car. The Beginnings of Czech Motoring in the Film

Wandering through Guilt. Cain’s Archetype in the Twentieth-Century Novel (1940-1960)

In Emine Sevgi Ozdamar’s literary texts, her protagonists typically perform like actors on a stage. Not much attention has been paid to the stage settings of Ozdamar’s novels where her actors perform their roles. This article addresses the following questions: first, where are the stages on which Ozdamar places her novel’s characters; and second, what is the historical and societal relevance being expressed by these particular stage settings? The role of trains in Ozdamar’s novels is of special interest. As Foucault says, “A train is an extraordinary bundle of relations,” and this is true for her novels, where many diverse plays are performed using a railway compartment as the stage setting. In addition, the discussions of the motif of her use of German as her novels’ language are played out on trains. It is repeatedly evident that her narratives of solidarity are told in these railway compartments. Though the panoramic view from the railway window, and the changeover to imaginary literary landscapes constitute illusionary spaces, where for once the ‘actually existing socialism’ seems to be apparent, Ozdamar’s protagonists are nevertheless aware of the problems German Democratic Republic’s (GDR) socialism. The continuous traveling between East and West Berlin on the urban commuter train transforms the contradictory and coinciding fragments of the protagonist’s identity into a horizontal coexistence. That is, although every railway journey must come to an end, one can always start a new, so that in spite of the protagonist’s disillusionment, a utopian moment of solidarity shines forth.

/pdf/gesprache-wie-bei-auftritten-im-theater-eisenbahnen-als-37q8dz1bo1.pdf

Gespräche wie bei Auftritten im Theater Eisenbahnen als Bühne in den Romanen Emine Sevgi Özdamars

The Passenger as Flaneur? Railway Networks in German-Language Fiction since 1945

Border Negotiations in the Works of Wolfgang Koeppen

Gefährliche Fahrten: Das Automobil in Literatur und Film um 1900

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The Passenger as Flaneur? Railway Networks in German-Language Fiction since 1945

Border Negotiations in the Works of Wolfgang Koeppen

Gefährliche Fahrten: Das Automobil in Literatur und Film um 1900