This study developed in part from the seemingly simple linguistic problem of finding the right proposition to connect two main elements that appear in all three novels: “literature” and “terrorism.” Either the main characters in these novels are terrorists or terrorism is dominant sociopolitical force in the entanglements of texts. The following section will examine these critical voices in order to better demonstrate the problematic history of connections between terrorism and art.
Connections Between Art and Terrorism
The still life presents the reader with a clear self-portrait of the very structure of the novel. The basic elements of the traditional (anti)hero are hidden in the figure of the modern terrorist.
Literature as Terrorism
Fare is generally considered to be a fictional creation in the performance art scene of the 1970s, but Schütte does not question whether Fare exists or not. The first option available to an author would be in writing a "Selbst 'terroristisch' Text agerenden".
The Competition Between Terrorists and Novelists
Scanlan uses the terms "novelist" and "writer" (of revolutionary pamphlets) interchangeably in his analysis, and this is part of the problem. When Scanlan does not distinguish political writers from literary authors, he confuses two very different uses of the same medium.
Conclusions
The novel's collage-like form of the Zettelkasten will be discussed in more depth below. This contradiction is reflected in the split between the level of the novel's content and its form.
DAS SICHERSTE VERSTECK WAR IMMER NOCH EIN ICH”: RAINALD
Kontrolliert: Geschichte
It is a very self-conscious text that shifts from the narrator's memories of 1977 to. reflection on the nature of memory, from the implications of recreating memory to the basis of subjectivity. However, it expresses knowledge of events that took place in the 1980s.112 On the one hand, the part consists of the narrator's telling of various experiences from the summer of 1977 - from the Wittgenstein books he reads in class to radio stories about which he belongs. terrorist attacks. 112 Two striking anachronistic elements are the discussion of the arrest of Christan Klar – a second-generation RAF member – in 1982 and the death of Andy Warhol in 1987. Language, and the nature of memory.
Many critics have mistaken the obsessive tracking of time from midnight to the next morning as the telling of Todesnacht. 18 October 1977), during which the last remaining members of the first generation RAF committed suicide in Stammheim prison. But it could equally be read as the narrator's reflection on 1977 from ten years away - from 1987.
Diktat," is divided into nine subsections, spanning the first nine months of 1977, leading up to what is considered the Deutscher Herbst, the term for the time in 1977, which includes the kidnapping of Schleyer on September 5, the hijacking of the Lufthansa jet “Landshut” on October 13 and Todesnacht. These nine episodes are roughly told from the narrator's perspective in 1977; this more traditional narrative style confronts "die Geschichte des Jahres neunzehnhundert siebenundsiebzig" more directly with less reflective removal (115).
Choosing Literature
The following, rather complex passage contains one of the novel's most important moments: the awakening of the narrator's self-consciousness and subjectivity. Such a detour into relatively conservative thoughts about the state would be considered blasphemy on the left, and the narrator's thoughts reveal a kind of confused guilty conscience regarding this mild praise for certain aspects of the state. The narrator's reconstruction takes the form of a kind of blueprint that shows individual parts and layers of the state construction.
Before we delve into the complexities of point of view, the oft-made confusion of narrator with. The very self-referential first section is the first step in the narrator's attempt to write the history of 1977. The section is a thick and rather confusing cataloging of the narrator's every thought, emotion, fear, and paranoia.
While the first part was a focused, manic observation of the narrator's perceptions, the second part, which begins similarly, is accompanied by a more measured, traditional narrative voice. At the beginning of the vignette, the momentum of the discussion intensifies in a space without language friction.
Die Sprache kontrolliert
This is another element in which the narrator creates an ironic distance to his own work and to himself: he creates these other voices as other than himself, but never hides that they are his own creations. In fact, each of the voices of the third part is a fleshed-out version of the concerns and thoughts discussed in the first part; they are simply rewritten in a way that further distances them from the narrator. But this is not at all what the narrator is encouraging; this actually shows that the nature of literature begins at a layer beneath the actual forms of ink on paper.
By comparing memory to language, the narrator reveals the unstable nature of history itself, which consists of artifacts (the physical medium) and the interpretation of those artifacts (the fundamental reliance on language). After the narrator's initial paralysis, he surrenders to the flow of language, which then guides him through the rest of the novel:. The narrator acknowledges his own subordinate role in language: his task is similar to that of a scribe, who mainly processes pre-given elements (both linguistic and historical circumstances); he is not omnipotent and his task is not to create from nothing.
It has already been established that the narrator chooses to write literature because he is the type of person who values thought over action and thus sees thinking as the means to control action: “Außerdem ist Umkehrung verkehrter Dinge. Contactless" is how the narrator renames the necessarily silent, private work of writing: confined in his windowless monad of a cell, the narrator pours physical experiences and actions from the "real world" into the filter of language to test and understand them.
Conclusion
Western discourse and its misrepresentation of the non-Western world (“the East”) are often considered the foundation of postcolonial theory.133. For Fiedler, this one act allows Spaik to take control of the way the city damages his sense of self. After the departure of the westerners, the Great Gahis took control of the city for three years.
He lived here and wove his subjective experiences of the strangeness of the city into an understandable (his) story. The name "Libidissi" appears only once in the novel because as a signifier it is too vague, too totalizing, to properly recognize the complex nature of the inner city. The novel's focal length is always set a few steps deeper to highlight different parts of the city, each reserved for a different subset of the city's society.
Before leaving Europe, the killers are presented with a diagram of the city that was probably drawn by Spaik. Between these two parts of the city – each representing a certain value system – lies the "pleasure" or red-light district.
Spaik
What can be experienced at the Hotel Esperanza is in total contrast to the realities of the city that Spaik has to report on. This grand hotel in the center of the city's former colonial section is not the place for a man searching for information about a secretive, anti-colonial terrorist organization. That's why Spaik moves into a new apartment in the Lumpensiederviertel just a few weeks after his arrival.
This area of the city is filled with a multitude of settlers from many classes, races, and other groups in society, making it an ideal place for Spaik to balance the demands of his work. Spaik's attempt to penetrate more intensely into the socio-political structures of the city will be less noticed here. Spaik moves into the top floor of a two-story building in the middle of this area; large tubs in the inner courtyard, once used to make paper from the collected "Lumpen", now allow a thicket of thorny thistle bushes to grow wild.
Surprisingly, critics have not taken issue with this strange figure in the novel;155 her role is generally accepted as just another stranger. By the end of the work, however, it becomes clear that this little girl does not exist outside of Spaik's own mind.
Lieschen
158 Willer reads Lieschen's name as a mixture of "es" (id) and "ich" (ego), which, mixed with the implication of the "libido" in the novel's title, offers associations with Freud's theories. Spaik's own account of the mystery of the Rohrpostsendungen provides only one significant clue as to the origin of the messages. Most surprisingly, the novel shows that the basic, initial work of the terrorist is of an aesthetic nature.
It is rather the desire of the Gahists (and, of course, Spaik's own desire) that allows them to form one. It was, in the eyes of many, a seminal moment for the positive aspects of the leadership of the Bundesrepublik. Critical reviewers of Tellkamp's novel feel compelled to contrast the problematic aspects of the novel—its portrayal of the resurgent, conservative right wing.
It is true that the text offers little explicit refutation of the elitist, antidemocratic statements of the characters Mauritz and Wiggo. In the same way, the reader will take the words and text fragments of the novel and, through the process of interpretation, create a neat, concise 'case' from them. After all, the essence of the novel lies in the tension that arises between form and content, between irony and pathos.
The model for this type of suspenseful depiction also sheds light on the mystery surrounding the novel's title.
Spaik and Media: Selbstgespräche
STILL-LIFE WITH TERRORIST: PATHOS IN UWE TELLKAMP’S DER
