PRIVATE RELIGION AS RESISTANCE IN ANNA SEGHERS’ DER PROZESS DER JEANNE D'ARC ZU ROUEN 1431 (1937) AND BERTOLT BRECHT'S 1952 STAGE ADAPTATION

IF 0.2 3区 文学 0 LITERATURE, GERMAN, DUTCH, SCANDINAVIAN
Cordula Böcking
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引用次数: 0

Abstract

This article will examine the representation of religion in Anna Seghers’ radio play Der Prozess der Jeanne d'Arc zu Rouen 1431 (1937) and Bertolt Brecht's subsequent adaptation of this text for the stage (1952). While religiosity is central to the identity of the medieval heroine, Seghers chooses to communicate this feature to modern audiences in a ‘lacunary’ way that sees Jeanne refusing to elaborate on the details of her belief throughout the play. The protagonist's faith creates a distance from contemporary listeners and spectators as well as from characters within the text, but when absolute commitment to her private belief results in Jeanne's execution, this moves the people at large to rebel against their oppressors. Thus Seghers’ Jeanne emerges as a figure of political resistance who draws on her private faith to bring about social change. In Brecht, the voices that move Jeanne to withstand oppressive forces are revealed to be those of the people rather than an expression of the divine. For Seghers and Brecht, the twentieth-century relevance of Jeanne's characteristic religiosity, depicted differently by each author, lies in the political transformation which it can inspire both within the text and outside it.

私人宗教:安娜·塞格尔《贞德对鲁的过程》1431(1937)和布莱希特1952年的舞台改编
本文将研究安娜·西格斯的广播剧《圣女贞德的进程》(1431)(1937)和贝尔托尔特·布莱希特随后将该文本改编为舞台剧(1952)中的宗教表现。虽然宗教信仰是中世纪女主人公身份的核心,但西格斯选择以一种“空白”的方式向现代观众传达这一特征,让珍妮在剧中拒绝详细阐述她的信仰细节。主人公的信仰与同时代的听众和观众以及文本中的人物产生了距离,但当对她个人信仰的绝对承诺导致珍妮被处决时,这促使人们普遍反抗他们的压迫者。因此,西格斯笔下的珍妮成为了一个政治抵抗的人物,她利用自己的私人信仰带来了社会变革。在《布莱希特》中,让珍妮反抗压迫力量的声音与其说是神的表达,不如说是人民的声音。对于塞格斯和布莱希特来说,每个作者对珍妮特有的宗教虔诚的不同描述与20世纪的相关性在于它可以在文本内外激发政治转型。
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来源期刊
GERMAN LIFE AND LETTERS
GERMAN LIFE AND LETTERS LITERATURE, GERMAN, DUTCH, SCANDINAVIAN-
CiteScore
0.20
自引率
0.00%
发文量
43
期刊介绍: - German Life and Letters was founded in 1936 by the distinguished British Germanist L.A. Willoughby and the publisher Basil Blackwell. In its first number the journal described its aim as "engagement with German culture in its widest aspects: its history, literature, religion, music, art; with German life in general". German LIfe and Letters has continued over the decades to observe its founding principles of providing an international and interdisciplinary forum for scholarly analysis of German culture past and present. The journal appears four times a year, and a typical number contains around eight articles of between six and eight thousand words each.
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