By Rebecca Braun
This ebook lines a longstanding obstacle with problems with authorship in the course of the paintings of G?nter Grass, Germany's best-known modern author and public highbrow. via targeted close-readings of all of his significant literary works from 1970 onwards and cautious research of his political writings from 1965 to 2005, it argues that Grass's tendency to insert sincerely recognizable self-images into his literary texts represents a coherent and calculated response to his consistent publicity within the media-led public sphere. It underlines the measure of play which has characterised Grass's dating to this sphere and himself as a part of it and explains how a priority with the very suggestion of authorship has conditioned the way in which his paintings as an entire has constructed on either thematic and structural degrees. the most important success of this examine is to strengthen a brand new interpretative paradigm for Grass's paintings. It explains for the 1st time how his playful tendency to control his personal authorial snapshot stipulations all degrees of his texts and is both occur in literary and political geographical regions.
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Extra resources for Constructing Authorship in the Work of Gunter Grass (Oxford Modern Languages and Literature Monographs)
Although Grass develops these ideas without any speciﬁc reference to theories of authorship, they do at least in part reﬂect inﬂuential theoretical debate as led by the French thinkers Roland Barthes and Michel Foucault, and it is useful to bring some of the terms they have suggested into my discussion of Grass’s techniques. Foucault’s ideas on authorship form part of his wider reﬂections on knowledge and society, as developed in The Order of Things. This work set out to describe how certain ways of thinking about the world—epistemes— came to dominate at different historical periods, conditioning scientiﬁc output (in its widest sense) at the unconscious level.
Throughout the three days of readings, the authors successfully engage with one another’s work and pursue debates about the stylistic intricacies of literary production. No matter how disparate their religious and political convictions, the group, as the outsider Heinrich Schütz comments, is held together by a genuine commitment to literature, which, against the bankruptcy of German politics both in the seventeenth and twentieth centuries, takes on a political dimension. Where politics has failed to hold the nation together, literature will provide comfort and guidance.
148. ’ 33 While Barthes’s ideas are interesting and important in as much as they put forward an understanding of the authorial subject as a construct rather than a biographical given, he is careless in describing how exactly the subject, whether author or reader, relates to discourse, in this case the literary text. ’ (1968), Foucault picks up on this, responding to and developing Barthes’s assertions in line with his own interest in an autonomous discourse of knowledge. Whilst he subscribes to some of his fellow theoretician’s radical statements pertaining to the nature of writing and death, he is not prepared to discount the non-literary sphere, that is to say the socio-political context in which author, text, and the literary discourse itself exist.
Constructing Authorship in the Work of Gunter Grass (Oxford Modern Languages and Literature Monographs) by Rebecca Braun