Internally, national literature constructs and conveys an image of the country and its future course. As a result, contemporary writings on the subject of immigrant literature speak more about the inclusion of various immigrant groups as part of the larger.
B RASILIDADE IN L ITERATURE
Keeping in mind this definition, the "welfare or welfare of the general public" aspect of national literature, Machado de Assis's examination of the state of national literature also reports on the state of the people and of the nation itself. His commentary on the state of Brazilian national literature is notable because of his position in the literary community as a well-known and respected book author.
D EUTSCHTUM
Heimat and Heimat Preserved
O'Donnell, Renate Bridenthal, and Nancy Reagin posit German emigration, the larger German diaspora, and the re-creation of their Heimat (homeland) as central and center of the creation of German national identity itself for those living within its borders, and as an expression of Deutschtum for those who live abroad. Immigration to South America, and Brazil in particular, began notably in the early nineteenth century, attracting people from distant parts of German-speaking countries, with many settling in enclaves reminiscent of childhood memories and fond memories of home .
The German Diaspora, Migration and Evolving Deutschtum
Instead, it is being used to frame and carefully define the use of the term (diaspora) as it will be applied in this paper pertaining to the collective of German immigrants, and especially Deutschtum in global terms. In The Wars of the German Union, historian Dennis Showalter takes the idea further by asserting that in addition to political nationalism, the wars were also an impetus for a common culture thus providing another way for those loyal to the confederation to identify and united.
Heimat Recreated
The collections of folktales allowed the brothers, who were scholars and linguists, to create a space where readers could experience the combination of lost German heritage artifacts through folktales and its language. The importance of these components is that, although they are specific cultural traits as identified by emigrants, they take place outside their original geographic center, effectively decentralizing German identity and enabling different ideas about Deutschtum.
H EIMAT
One of the more intriguing parts of Blickle's work is his analysis of Heimat as a,. As such, cultural nationalism sets out to provide a vision of the nation's identity, history and destiny.
N EW R EPUBLIC N ATIONALISM
For these countries, it is an attempt to define the national character of the country through its cultural expression and production. In relation to collective national identity, what is the process or mode of dissemination, and the wider society that recognizes and accepts intelligence, defines national character and cultural identity.
E STADO N OVO (N EW S TATE )
Once in power, Vargas and his regional allies began a process of centralization to expand and strengthen the powers of the federal government 89 To that end, existing agencies saw their powers expanded and new agencies were created to facilitate national policies in the areas of education, health, labor relations, industrial policy and. The uprisings culminated in anti-leftist purges and false accusations of communist collusion, which were then used to justify the suspension of the 1938 presidential election that ushered in the era of the Estado Novo (New State).
C ULTURAL M ANAGEMENT AND P OLICY
The crux of the matter is still who will control the type of expression representative of Brazilian culture. At stake is the political direction of the country, but also the direction of culture and identity. Of additional importance is the acknowledgment by the Vargas government that the creation of a national culture was politically driven, lending credence to the charge of the government's attempt at culture and cultural management as yet another means of further social control over the population.
C ULTURAL M EMORY
They express the general attitude of the group; they not only reproduce its history, but also determine its nature and nature. These markers may be physical (country or region of origin) or may be other specific characteristics that become the de facto representation of the group.122 As such, it is not only group identity that is created, but individual identity as well. Most of the components operating within this effort reflect the social group of the family, namely orality, intergenerational transmission, and the framework for group memory.
C ULTURAL M EMORY AND M EDIA
Group memory cultivates the being of its individual members, thereby connecting it to the group through its cultural ties, practices, and identity significance (recalling that the central function of collective memory is identity formation). With displacement from the social group and/or with the passage of time comes not only a fading of memory, if not complete loss, but also due to the central function of cultural memory for the formation of identity, the possibility of loss in this area as well. In her article, "The Abundance, Scarcity, and Circulation of Cultural Memory," Ann Rigney frames the role of the media and its functioning as a creator of shared memories.
C ULTURAL M EMORY AND L ITERATURE
But an older medium of writing and especially literature has created another way in which cultural memory can be explored and expressed from its use to form specific types of collective memory via canonization, to representation in literature, to acting as a vehicle for cultural memory. literature and memory of literature II), memory in literature and literature as a medium of collective memory. Each of these areas demonstrates how cultural memory and literature not only interact with each other, but also literature's ability to (re)construct cultural memory itself.136 When memory of literature is discussed as a whole, the general approach is the assumption that,. The representation of memory in literature or the performance of memory stems from the premise that, "literary works refer to cultural memory.
L ITERATURE AS A M EDIUM OF C ULTURAL M EMORY
Genre, known in literature as a way of grouping works according to similarities in form, style, and so on, also shapes how cultural memory is configured. Genres are conventionalized manners of encoding events, and genre conventions are themselves ever-present in memory.”145 Whether consciously or not, when we call up a memory, especially autobiographical memory, we do so by way of genre schemata where we mnemonic format and arrange. objects (signs and symbols) in a narrative. Similar to media, genre schemata are not neutral, they are encoded and convey values, norms, worldviews and otherwise reveal themselves in the way we make memory stories.146 Genre itself is the object of cultural memory, derived from our socialization and enculturation, so although it sets the framework for the arrangement of memory, it does not exist without cultural memory. Given the similar fundamental structures as cultural memory, and knowing that as media it will leave a shadow of itself, how does literature serve cultural memory beyond its.
A LFRED R EITZ
Testa Branca, der Tropeiro
His role in the recruitment of Testa Branca was only one page, he also suggests moving to the company colony and communicates his wife's complaints directly to the director and offers employment on behalf of the director. Reitz then turns to Testa Branca's path by accepting a position that results from his learning the language and will move him to the hinterland of the country. Citing parallels in his interactions with the director and the Italian, Testa Branca questions his own actions and seeks clarity from the narrator.
Die Wette
The scene opens with an orientation that informs the reader about the colonists' relationship to the space (a public place to gather), the frequency of this gathering (weekly), the purpose (participation in public communal activities) and the state of said. assemblies (crowded). At the end of the bet scene, Reitz inserts a section break to move away from Peter's personal story. From the time of Berta and her father's arrival, the larger story of the colony is coming to an end, and only the dispensation of the bet and the mini-stories remain.
Eine Schmerzhafte Heiratserlaubnis (A Brutal Marriage License)
The visit of Franz's father suggests that the community acknowledges the narrator's dual role and merges the two into a single space. And you have to sign beforehand that you give consent and you have to stop beating me when I say stop.” The clerk wanted to fill out a pre-printed form, but that didn't work in this case. You will all be married in an hour.” Underneath the consent form, I wrote the remark: "The sentence was carried out in an appropriate manner in my presence." I handed it to the entrance officer.
G ERTRUD G ROSS -H ERING
Ein Guter Kern (A Good Heart)
Up to this point, the reader has been aware of how Grandfather Zurich defines memory and cultural space, with only a glimpse of Jacob's views through the letter. There is a disconnection expressed in adjectives of physical proximity that imply the sojourn of Jacob's generation in the colony. Jacob's return quells that fear and brings with him the revelation that he has been to Germany, but is bitter.
Das Kronlein
Characteristics of such a woman symbolized by the crown contrast with those of the crown that previously sat on top of Martha's head. This passage brings the narrative and Martha full circle, back to the first scene of the story. This passage mirrors the last scene in the dream sequence with Martha.
Mutter Wantken
In uncovering the story of Mutter Wantken's conflict with her youngest son, the line of. This transition is preceded by increasingly neutral descriptors of the young woman, which are a departure from the charged language used by Mutter Wantken earlier. The symbolism of baptism and the actions of Mutter Wantken mirror each other as each is expanding acceptance into their own group.
