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Musik in der Prosa von Günter Grass: Intermediale Bezüge  —Transmediale Perspektiven
Stockholms universitet, Institutionen för baltiska språk, finska och tyska.ORCID-id: 0000-0003-2795-7120
2012 (Tyska)Doktorsavhandling, monografi (Övrigt vetenskapligt)Alternativ titel
The Role of Music in Günter Grass’s Fiction : Intermedial References —Transmedial Perspectives (Engelska)
Abstract [en]

The thesis explores the role of music in Günter Grass’s novels. In pointing out the vital role of intermediality for Grass’s narrative strategies, the thesis opens up for a new, intermedial perspective on his work. It shows how references to music are used to realise Grass’s poetological concept “paspresenture” – the simultaneous presence of past, present and future – as well as his constant strive towards concreteness.

The study draws on theories of intermediality, with a special focus on the role of transmedial media characteristics. It develops a transmedial methodology for analysing intermedial references, stressing how the notion of “musicality” within the text is created by media characteristics shared by both music and literature. Intermedial references are conceived as highlighting structures that are inherent in literature.

The textual analyses of The Tin Drum (1959), Too Far Afield (1995) and Crabwalk (2002) are divided into three steps. First, explicit musical references in the narratives are interpreted as indexes pointing towards transmedial structures relevant to this specific context. Second, the examination demonstrates the prominent role of transmedial characteristics such as repetitivity, contrast, simultaneity and performativity within the texts. Third and last, the function of musical reference is discussed: in all three narratives, the focus on transmedial structures supplies a more consistent interpretation of passages which otherwise prove difficult to decipher. In Grass’s fiction, issues appear not to be discussed but performatively reenacted and thus remind more of musical than literary development. What is more, music – as handled by Grass – does not appear absolute or transcendent; rather, its manipulative potential is always prominent. However, the way musical references are used to realise Grass’s poetological aims stresses the bodily presence of musical performance, thus making music appear as the performative realisation of time.

Ort, förlag, år, upplaga, sidor
Stockholm: Acta Universitatis Stockholmiensis , 2012. , s. 281
Serie
Stockholmer germanistische Forschungen, ISSN 0491-0893 ; 76
Nyckelord [en]
Günter Grass, Intermediality, Transmediality, Music, Intermedial references, German literature, Die Blechtrommel, The Tin Drum, Ein weites Feld, Too Far Afield, Im Krebsgang, Crabwalk, Vergegenkunft, Paspresenture
Nationell ämneskategori
Språk och litteratur Litteraturvetenskap
Forskningsämne
tyska
Identifikatorer
URN: urn:nbn:se:lnu:diva-38895ISBN: 978-91-86071-88-2 (tryckt)OAI: oai:DiVA.org:lnu-38895DiVA, id: diva2:778335
Disputation
2012-05-04, hörsal 7, hus D, Universitetsvägen 10 D, 13:00 (Tyska)
Opponent
Handledare
Tillgänglig från: 2015-06-08 Skapad: 2015-01-09 Senast uppdaterad: 2018-05-17Bibliografiskt granskad

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