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Grammatical Means of Implicit Politeness Representation in German liguistic culture

Grid List. Order By: Top Matches. In stock online Available in stores. Lydia Davis is one of our most original and influential writers. She has been called "an American virtuoso of the short story form" Salon and "one of the quiet giants. Now, for the first time,…. Los Angeles Times. The Boston Globe Her stories may be literal one-liners: the entirety of "Bloomington" reads, "Now that I have been here for a little while, I can say with confidence that I have never been here before.

Hardcover sold out. Beautiful but bored, she spends lavishly on clothes and on her home and embarks on two…. Madame Bovary by Gustave Flaubert. In stock online Not available in stores. But that loss is of a piece with gratitude for having known them as colleagues and friends in London Germanistik for a great many years.

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They were, to put it mildly, quite something. And he understood the modern not so much thematically and referentially as structurally, aesthetically, conceptually, poetically. I think particularly of the work he did, together with Ann his wife, on Brecht — on Brecht's theories of the theatre and on the Furcht und Elend project.

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And I hope I do not let them down. I shall seek to speak of them at the end of this paper — but I want to come at them through the aesthetics of Grass's text. It is, then, a work of fiction; but it also speaks of historical figures and events that are factually verifiable.

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Let me begin by summarising them. He recovers well, and stays on in Switzerland, becoming a convinced Nazi who seeks to recruit fellow German residents and tourists to the party. The Nazis quickly stylise Gustloff into a martyr figure, a memorial is erected to him in his home town of Schwerin, and a ship is named after him.

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In wartime the ship was used to transport people expelled from the Eastern territories of the Reich. It was full of such refugees, particularly some 4, women and children, when it was torpedoed on 30 January by a Russian boat, the fatal three torpedoes being fired by an officer named Marinesko. Sometimes history, factual history, seems to have its own feel for symbolic constellations. One is the narrator Paul Pokriefke who is born on the ship at the very moment that it is sunk.

On the internet he has bitter battles with one Wolfgang Stremplin, a man who writes under the name of David; the pseudonym is borrowed in tribute to David Frankfurter. Grass himself is, of course, a figure who conjoins actual existence in historical time and writerly, fictive history. And, to come to the instance before us now, in a Novelle.

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Where does history end and story begin? Perhaps they constantly interlock. In my book on the Novelle I tried to produce not a hard and fast definition of the genre, but rather to suggest a repertoire of stylistic and thematic properties on which any specific story might draw. I suggested three characteristics. As a narrative it does not have world enough and time; rather, it is urgent in its modes of signification, whether through narrative commentary or symbolic concentration.

Either way, it highlights the relationship between the world of which the story tells and the world to which it is told. In the process it invites us to reflect on the ways in which, and the extent to which, communities come into being through narrativity, through the telling and sharing of stories. I want to suggest that we can hear many of these issues in the opening two pages of Grass's text. We begin with a sense of unfinished business.

The second paragraph introduces that narrator with a brief sketch of his professional biography. IK, p. All the instances of social media are at the narrator's beck, call, and click. The name leads one to ask to what that blood bears witness. Once again our narrator seems lost. Which past, whose past should be played back? The sea has hidden all traces; but from the sea comes the crab. Above all, the highlighting of a pandemonium of narrative performativities generates a sense of deferred closure, of stories still being told.

Let me offer some thoughts by way of conclusion. The place of the Novelle genre in German literature is assured. And the German Studies mailing list also announced a symposium on the contemporary importance of brief narratives held in some framing narrative context, linking them to the current profusion of Facebook, blogs, tweets, etc.

In an excellent study Elena Wassmann has recently highlighted the extraordinary number of stories published in Germany after that describe themselves as Novellen. Ingbert Many of them engage in an exciting intertextual debate with their predecessors in the nineteenth century and the first half of the twentieth. Three points emerge. The intertextuality of Grass's text is symptomatic of a tradition that is as alive as it constantly generates innovation. So what emerges in Grass's text? Its central concern is modes of representation of the past — through narratives and symbolic statements that are not only literary but also enshrined in public buildings and institutions.

Memorials, monuments, museums, rituals have a powerful role to play. The past generates memory contests — and nowhere more so than in Germany in this context one thinks particularly of the work of Anne Fuchs and Mary Cosgrove.