“芦苇生长;芦苇生长

Olivia Spiridon
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引用次数: 0

摘要

多瑙河景观一直是东南欧德语文学中一个反复出现的话题,特别是在罗马尼亚的德语文学中,罗马尼亚是第二次世界大战结束后东欧集团中唯一幸存下来的国家。他们在铁幕的两边发展出不同的形式。在西方,多瑙河是一个框架,用来巩固来自东南欧的许多不同的前德国少数民族群体的共同身份,他们的集体名称是“多瑙河斯瓦本人”。此外,从罗马尼亚移民到西方的作家在他们的作品中回忆了多瑙河下游的美好和可怕的景象。在罗马尼亚,多瑙河景观被视为在被宫廷文人的爱国文学占用后,从当代的角度来谈判家园概念的尝试。它们出现了一个投射新的敏感性的阶段:孤立的痛苦、经济上的苦难和环境污染。颠覆性叙述的风景也隐藏了对该国外围孤立的拘留营的记忆。以文学实例分析了1945年后多瑙河景观的变迁。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
„Schilf wächst darüber, Schilf wächst immer darüber“ Heimatliche Donaulandschaften in den deutschsprachigen Literaturen Südosteuropas nach 1945
Abstract Danubeland scapes have been a recurrent topic in the German-language literature of Southeastern Europe, especially in German literature from Romania, which was the only one to survive the end of the Second World War in the Eastern Bloc. They developed different forms on both-sides of the Iron Curtain. In the West, the Danubeservedas a frame work for the consolidation of a common identity of many disparate groups of former German minorities from Southeastern Europe under the collective name “Danube Swabians”. Additionally, writers from Romania who emigrated to the West recalled in their works bothwonderful and frightening images of the lower Danube. In Romania, Danube landscapes are to be seen as attempts to negotiate the concept of homeland from a contemporary perspective after its appropriation by the patriotic literature of the court literati. They emergedas a stage for projecting new sensitivities: the suffering of isolation, economic misery and environmental pollution. Subversively narrated landscapes also set hidden signs of the memory of the isolated detention camps on the periphery of the country. The transformation of Danube landscapes is analysed by using literary examples after 1945.
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