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  • 1. Grote, Michael
    et al.
    Henjum, Kjetil BergIngebrigtsen, EspenPietzuch, Jan PaulPietzuch, AnjaSchirrmacher, BeateStockholms universitet, Institutionen för baltiska språk, finska och tyska.
    Perspektiven: Das IX. Nordisch-Baltische Germanistentreffen in Os/Bergen, 14.-16. Juni 20122013Conference proceedings (editor) (Refereed)
    Abstract [de]

    Der Band versammelt ausgewählte Beiträge des IX.Nordisch-Baltischen Germanistentreffens, das vom14. bis 16. Juni 2012 im Konferenzhotel Solstrandin Os, ca. 30 Kilometer südlich von Bergen amBjørnafjord gelegen, stattfand. 19 Jahre nach demdritten Treffen des Nordischen Germanistenverbandesin Oslo 1993 lud der seit 2002 auch die baltischenGermanistiken repräsentierende Nordisch-BaltischeGermanistenverband mit dem NBGT 2012 zum zweitenMal nach Norwegen ein. Die Dokumentation bildetdie thematische Struktur der Konferenz ab und zeigtin vier Sektionen mit jeweils literatur-, sprach-, lehr-/lern- und kulturwissenschaftlichem Schwerpunkt diethematische, methodische und theoretische Vielfaltder nordisch-baltischen Germanistik auf.

  • 2.
    Rossholm, Anna Sofia
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Schirrmacher, Beate
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Witnessing AIDS in the Archive2018In: A Visual History of HIV/AIDS: Exploring the Face of AIDS Film Archive / [ed] Elisabeth Björklund, Mariah Larsson, Abingdon & New York, NY: Routledge, 2018, p. 28-43Chapter in book (Refereed)
    Abstract [en]

    This article examines the Face of AIDS Film Archive from the perspective of witnessing, asking how different narratives both testify and bear witness to different experiences and changing perspectives. This approach has the potential to convey new insights into HIV and AIDS that go beyond the established facts and mainstream narratives.

    The article uses the case study of the 1988 interview with Lyle Taylor, a dying AIDS patient in Sydney, and its remediation within the archive. This was the filmmaker Staffan Hildebrand’s first interview with a person dying from AIDS.

    The analysis focuses on how witnessing relates the spoken word to its context. In exploring the remediation of this interview via edited material, the analysis shows how the same verbal testimony is changed by its context. In exploring the raw footage of the interview, different narratives that express and defend subjectivity bear witness to the experience of HIV and AIDS.

  • 3.
    Schirrmacher, Beate
    Stockholm University, Sweden.
    Alla ska inte med längre: Tysk socialreform kanske visar vart Sverige är på väg2007In: Miljömagasinet, Vol. 27, no 2, p. 10-Article, book review (Other (popular science, discussion, etc.))
    Abstract [sv]

    Recension av Klinger, Nadja; König, Jens: Einfach abgehängt - Ein wahrer Bericht über die neue Armut in Deutschland. Rohwolt:Berlin, 2006.

  • 4.
    Schirrmacher, Beate
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature. Stockholm University.
    Ambivalenz verspüren: Musik, Gewalt und der Körper in Elfriede Jelinek’s Die Klavierspielerin und Anthony Burgess’s A Clockwork Orange2018In: Visualisierungen von Gewalt: Beiträge zu Film, Theater und Literatur / [ed] Dagmar von Hoff, Brigitte Jirku & Lena Wetenkamp, Berlin: Peter Lang Publishing Group, 2018, p. 125-143Chapter in book (Refereed)
    Abstract [en]

    The article explores the relation of music and violence in Elfriede Jelinek's The Piano Teacher and Anthony Burgess's A Clockwork Orange. In highlighting the bodily, affective impact of music, music and assault, violence and discipline, become undecidable, ambivalent. This ambivalence performatively foregrounds affective impact in literature and langauge as well.

  • 5.
    Schirrmacher, Beate
    Stockholms universitet, Institutionen för baltiska språk, finska och tyska.
    Att göra utopin levande igen: Upprepning och utopi i Kerstin Ekmans "Gör mig levande igen"2003In: Artes (Stockholm), ISSN 0345-0015, Vol. 29, no 2, p. 78-87Article in journal (Other (popular science, discussion, etc.))
  • 6.
    Schirrmacher, Beate
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Der wohltemperierte Erzähler: Die Gewalt ambivalenter Erzählung in Heinrich von Kleists „Die Heilige Cäcilie oder Die Gewalt der Musik"2019In: German Life and Letters, ISSN 0016-8777, E-ISSN 1468-0483, Vol. 72, no 3, p. 279-296Article in journal (Refereed)
    Abstract [en]

    The article approaches the violent potential of music in Kleist’s short story “St Cecilia, or The Power of Music” by exploring intermedial references to music. How is music connected not only to power but also to violence? Which characteristics of music (and by the language used to describe it) are highlighted in this process? In the story, music appears less as sonority and more as bodily experience and therefore, the experience of music and of violence become ambiguous and difficult to tell apart. As a result, all dichotomies, in which music and violence usually are firmly integrated, such as body and spirit, order and chaos, pleasure and pain, male and female, start to oscillate. The narrator equalizes these perceived dissonances by adding further inconsistencies, in a similar way to tempered tuning that slightly compromises the intervals of just intonation. The ambiguous relation of music, violence and power is not be solved; the ambivalent tension it creates performatively demonstrates the manipulative power of language.

  • 7.
    Schirrmacher, Beate
    Stockholms universitet, Institutionen för baltiska språk, finska och tyska.
    Die Engführung der Zeit: Intermedialität und Günter Grass' Konzept der Vergegenkunft2010In: Sprache – Literatur – Kultur. Text im Kontext: Beiträge zur 8. Arbeitstagung schwedischer Germanisten in Uppsala, 10.-11.10.2008 / [ed] Andersson, Bo; Müller, Gernot; Stoeva-Holm, Dessislava, Uppsala: Acta Universitatis Upsaliensis, 2010, p. 279-288Conference paper (Refereed)
  • 8.
    Schirrmacher, Beate
    Stockholm University, Sweden.
    Die Unzuverlässigkeit des schuldigen Erzählers: Erzählerfiguren bei Günter Grass, ihr Verhältnis zur Schuld und das Häuten einer Zwiebel2008In: Points of Arrival / Zielpunkte: Travels in Time, Space, and Self / Unterwegs in Zeit, Raum und Selbst / [ed] Marion Gymnich, Ansgar Nünning, Vera Nünning, Elisabeth Wåghäll Nivre, Francke: Tübingen , 2008, p. 119-128Conference paper (Refereed)
  • 9.
    Schirrmacher, Beate
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Disturbing the Metaphor: Performance and Medial Presence in the Fiction of Elfriede Jelinek and Günter Grass2017In: Akademisk Kvarter, ISSN 1904-0008, E-ISSN 1904-0008, Vol. 16, p. 36-50Article in journal (Refereed)
    Abstract [en]

    In this article, I want to discuss the way metaphors take form as diegetic actions in Elfriede Jelinek’s The Piano Teacher (1983) and Günter Grass’s Too Far Afield (1995). In these texts, the reader must literally picture what metaphorical language usually only conceptu-ally refers to. Both authors confront their readers with disturbing actions that are felt to be significant in some way; they resist straight-forward interpretation and rather provoke affective reactions. This deliberate disturbance of metaphorical language can be understood as medial presence effects. They foreground the mediality and mate-riality of language and literature. The way literature performs and functions as a medium is made visible and perceptible.

  • 10.
    Schirrmacher, Beate
    Stockholms universitet, Institutionen för baltiska språk, finska och tyska.
    Ett musikaliskt offer: Om fugans inflytande i Günter Grass’ novell Krabbans gång2004In: Artes (Stockholm), ISSN 0345-0015, Vol. 30, no 2, p. 71-86Article in journal (Other (popular science, discussion, etc.))
  • 11.
    Schirrmacher, Beate
    Stockholms universitet, Institutionen för baltiska språk, finska och tyska.
    ‘Glaube Hoffnung Liebe‘ : Das Kapitel einer Un-Heilsgeschichte in der Blechtrommel2014In: Von Katz und Maus und mea culpa: Religiöse Motive im Werk von Günter Grass / [ed] Anselm Weyer, Köln: Peter Lang Publishing Group, 2014, p. 161-178Chapter in book (Other academic)
    Abstract [de]

    Dieser Beitrag untersucht die Auseinandersetzung des Kapitels „Glaube Hoffnung Liebe“ in der Blechtrommel mit Paulus’ Hohelied der Liebe aus 1. Kor.13, auf das der Titel anspielt. Deutlich ist, dass Oskar die Novemberpogrome unter anderem als eine moralische Bankrotterklärung des Christentums gestaltet. Wie dies jedoch im Kapitel durchgeführt wird, lässt sich erst unter Berücksichtigung der Struktur des Kapitels erschließen, besonders der transmedialen Gemeinsamkeit mit musikalischen Strukturen. Oskars Kritik wird hier wie anderswo, performativ durchgeführt, d.h. er inszeniert das, was er anprangert. Die Heilsgeschichte des Christentums wird somit zur Un-Heilsgeschichte eines profanierten 1000jährigen Reiches. Nicht nur die Grundtugenden aus 1. Kor.13, sondern auch das christliche Sakrament des Abendmahls, das Paulus in 1.Kor.11. in als Gedächtnismahrzeit installiert, wird gegenständlich inszeniert und in sein Gegenteil verkehrt: Aus dem Erinnerungsritual der Sündenvergebung durch den Opfertod des Erlösers wird eine kannibalistische Teilhabe der gesamten Bevölkerung am Tod von Millionen in Auschwitz.

  • 12.
    Schirrmacher, Beate
    Stockholms universitet, Avdelningen för tyska.
    Grass och tyskarnas ömma punkt2006In: Uppsala Nya Tidning, Vol. 12 nov, p. B8-Article in journal (Other (popular science, discussion, etc.))
  • 13.
    Schirrmacher, Beate
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Günter Grass intermedial: Text zwischen Bild und Klang2015In: Freipass: Schriften der Günter und Ute Grass Stiftung. Band 1 / [ed] Stolz, Dieter, Berlin: Christoph Links Verlag, 2015, p. 221-233Chapter in book (Other academic)
    Abstract [de]

    Günter Grass ist ein Künstler, dessen Gesamtwerk als grundlegend intermedial zu verstehen ist. Dies ist zwar vom Autor immer wieder betont, in der Forschung jedoch lange nicht hinreichend berücksichtigt worden. Erst mit Hilfe der Intermedialitätsforschung wird es möglich, auf diese für Grass selbstverständliche Arbeitsweise nicht nur hinzuweisen, sondern sie auch analytisch und interpretativ nachvollziehen. Deutlich wird, wie intermediale Bezüge zu Bild und Musik, Film und elektronischen Medien von Grass bewusst verwendet werden, um die Materialität der Sprache hervorzuheben. Medien werden als Störung eingesetzt, um Sprache und ihren Gebrauch kritisch zu hinterfragen. Besonderheiten der Prosa von Günter Grass erscheinen in einem intermedialen Kontext beschreibbar, verständlich und nachvollziehbar.  Der Artikel diskutiert anhand von Beispielen aus  Ein weites Feld (1995) die Bedeutung intermedialer Referenzen zur Musik und zum Bild. Zahlreiche Referenzen im Text zu Vielstimmigkeit, Chorgesang und Kontrapunkt neue Interpretationsmöglichkeiten des anfangs stark kritisierten Romans. Weiterhin wird gefragt, welche Konsequenzen Grass häufig zitierte Erklärung "eine Metapher zeichnerisch zu überprüfen" für den Text hat, indem der Romantext zusammen mit in seinem Kontext entstandenen Bildern und Zeichnungen gelesen wird. Die konkrete Bildlichkeit der Texte Grass, dient nicht nur dazu das Erzählte zu veranschaulichen sondern die Bildlichkeit der Sprache selbst zu hinterfragen. 

  • 14.
    Schirrmacher, Beate
    Stockholm University.
    Günter Grass's 'Paspresenture' and the Musicalization of Im Krebsgang2009In: WMA online / [ed] David L. Mosley, 2009Conference paper (Refereed)
    Abstract [en]

    The influence of music on the fiction of Günter Grass is a question yet undiscussed, but this new perspective enhances a new understanding of Grass’ fictional structures that often have puzzled the critics. As I see it, Grass own interest in non-chronological writing, his own polyphonic concept of Vergegenkunft, a “4th tense” combining past, present and future tense, has inspired an increasing experimenting with musical motifs and especially structures. In this paper I want to present the novella Crabwalk (2002) as musicalized fiction. The German title Im Krebsgang alluding to the German term of a retrograde variation in the fugue, the structure of the fugue connects the plot of flight at the End of WW II to a perseverative motif of guilt in Grass’ fiction. In Crabwalk it moves between committers and victims through space and time, uniting voices from the past, present and future in a polyphonic requiem.

  • 15.
    Schirrmacher, Beate
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Interdisziplinärer Workshop für NachwuchswissenschaftlerInnen Elfriede Jelinek - "Es ist Sprechen und aus": Die Arbeitsgruppe 4 - Intermediale Fragestellungen2015In: Jelinek(Jahr)Buch 2014-2015, Wien: Praesens Verlag, 2015, , p. 8p. 279-287Chapter in book (Other academic)
  • 16.
    Schirrmacher, Beate
    Stockholms universitet, Institutionen för baltiska språk, finska och tyska.
    Kerstin Ekmans världsbild: en kvinnlig utopi2004In: Nya Argus, ISSN 0027-7126, Vol. 97, no 7, p. 127-134Article in journal (Other (popular science, discussion, etc.))
  • 17.
    Schirrmacher, Beate
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Musical Performane and Textual Performativity in Elfriede Jelinek's The Piano Teacher2016In: Danish Musicology Online, ISSN 1904-237X, Vol. Word and Music Studies, p. 85-99Article in journal (Refereed)
    Abstract [en]

    This article deals with the question of how literary narration may be enriched or challenged by referring to musical performance in the plot. It will be argued that narrated performance is a means to highlight aspects of language that are dependent on bodily presence. Referring to the performer in the narrative draws attention to how the narrating text itself performs, stages, and presents.

    These questions are highly relevant when discussing Elfriede Jelinek’s The Piano Teacher (Die Klavierspielerin, 1983). The article explores the way how intermedial references to musical performance in the diegesis interact with the self-referential performativity of Jelinek’s prose. The novel’s protagonist, Erika Kohut, is a pianist and piano teacher and many intermedial references to music highlight the bodily strain to produce music by means of violent metaphors. These metaphors relate performance of music to the protagonist’s deviant sexual behavior.

    Erika Kohut’s disturbed sexuality thus reveals something more than a perverted individual. In the text, her actions in the diegesis reveal a performative connection to what is discussed in literary discourse. Thus, the novel not only points out its criticism on how music has been instrumentalized, but the narrative plot also gains the performative ability to actually do what usually is said about music. Intermedial reference to musical performance connected with violence thus appears as a means to increase the performative impact of the literary text.

  • 18.
    Schirrmacher, Beate
    Stockholms universitet, Institutionen för baltiska språk, finska och tyska.
    Musik in der Prosa von Günter Grass: Intermediale Bezüge  —Transmediale Perspektiven2012Doctoral thesis, monograph (Other academic)
    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.

  • 19.
    Schirrmacher, Beate
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature. Stockholm University.
    Mute Performances: Ekphrasis of Music and Performative Aesthetics in Eyvind Johnson’s Romantisk berättelse2016In: Silence and Absence in Literature and Music / [ed] Werner Wolf, Walter Bernhart, Leiden, Bosten: Rodopi Brill , 2016, p. 102-116Chapter in book (Other academic)
    Abstract [en]

    This article discusses a peculiar kind of ‘mute’ musical performance that features in Romantisk berättelse (1953, ‘Romantic Tale’) of the Swedish Nobel Prize Laureate Eyvind Johnson (1900–1976). Here, Beethoven’s Piano Sonata No. 57, the Appassionata, appears not as an experience of sound but mainly as a visual experience of the pianist’s moving limbs, as they are perceived by a young working-class writer, Olle. Olle sees himself excluded from a musical community; this feeling of alienation results in deliberately non-acoustic descriptions of musical performance, where it is not primarily the sound, but the performer’s bodily presence that is stressed. Yet such absence of sound should not only be understood as some kind of deficit. By writing a performative ‘mute’ ekphrasis, Johnson deliberately questions the ideas of the transcendence of instrumental music as well as its alleged status as an universal language.

  • 20.
    Schirrmacher, Beate
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Några tonsteg mot tystnaden: Musik i Eyvind Johnsons Romantisk berättelse2015In: Omvägar till sanningen : Nya Perspektiv på Eyvind Johnsons författarskap / [ed] Johansson, Christer; Lindström, Anders, Höör: Symposion Brutus Östlings bokförlag, 2015, p. 67-85Chapter in book (Other academic)
  • 21.
    Schirrmacher, Beate
    Stockholms universitet, Institutionen för baltiska språk, finska och tyska.
    Rezension: Odendahl, Johannes. Literarisches Musizieren. Wege des Transfers von Musik in die Literatur bei Thomas Mann2010In: Moderna Språk, ISSN 0026-8577, Vol. 104, no 1, p. 59-61Article, book review (Other academic)
  • 22.
    Schirrmacher, Beate
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature. Stockholm University.
    Störfaktor Medium: Fernsehen, Video und Internet bei Günter Grass2015In: Sendbote zwischen den Kulturen: Gustav Korlén und die germanistische Tradition an der Universität Stockholm / [ed] Charlotta Seiler Brylla, Elisabeth Wåghäll Nivre, Stockholm: Acta Universitatis Stockholmiensis, 2015, p. 275-288Chapter in book (Other academic)
    Abstract [de]

    Günter Grass weist immer wieder auf eine manipulierte mediale Wiedergabe der gesellschaftlichen Verhältnisse hin. Wie erklärt es sich aber, dass in vielen seiner Romane inhaltlich kritisierte Medien eine entscheidende strukturelle Rolle spielen? Ob der Fernsehbildschirm in örtlich betäubt (1969), Videos in der Rättin (1986) oderdas Internet in Im Krebsgang (2002) –Grass bezieht häufig die Technik des im Aufsteigen begriffenen gesellschaftlichen Leitme-diums in die Struktur seiner Romane mit ein. Aber gerade durch Hervorhe-bung der technischen Vermittlung erscheinen Medien nicht als durchlässige Vermittler der Wirklichkeit. Der Leser wird stattdessen auf die Beeinflussung durch mediale Vermittlung aufmerksam gemacht.

  • 23.
    Schirrmacher, Beate
    Stockholms universitet, Institutionen för baltiska språk, finska och tyska.
    The Common Grounds of Music and Violence: Depicting Violence in Literature with Intermedial References to Music2014In: Ideolgy in Words and Music: Proceedings of the 2nd Conference of the Word and Music Association Forum Stockholm, November 8–10, 2012 / [ed] Beate Schirrmacher, Heidi Hart, Kayt Heady, Hannah Hinz, Stockholm: Acta Universitatis Stockholmiensis, 2014, p. 141-154Conference paper (Refereed)
    Abstract [en]

    Intermedial references to music in 20th century literature often appear in narrations of WWII and of the Shoah. However, the connection between music and violence is not restricted to this historical context alone. The connection of classical music with violence appears as a transmedial topos. This recurring association between music and violence mirrors the fact that music, far from being absolute and pure form, is frequently used to ideological ends, as an instrument of power and even of torture. This conflict can be traced in the structure of intermedial references to music, e.g. in Anthony Burgess’s A Clockwork Orange (1962), in Elfriede Jelinek’s Die Klavierspielerin (1983), as well as in other texts. In the following, I will present some shared characteristics of the different ways in which music has been linked to violence within literature. As intermediality appears to be founded on similarities, I will explore the question of whether this recurrent, transmedial connection of music and violence depends on common denominators in the way we perceive music and violence. The fact that critics and scholars mostly fail to notice the affinity of violence and music, appears to be due to ideological presumptions concerning classical music.

  • 24.
    Schirrmacher, Beate
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    The Transmediation of Ambivalence. Violence and Music in Burgess's A Clockwork Orange and Kubrick's Film Adaptation2019In: Ekphrasis. Images, Cinema, Theory, Media, ISSN 2067-631X, Vol. 22, no 2, p. 26-40Article in journal (Refereed)
    Abstract [en]

    This article explores the relationship between violence and art music in Anthony Burgess's A Clockwork Orange and Stanley Kubrick's film adaptation. Instead of focusing on differences between novel and film, the intermedial perspective of this study is on underlying similarities beyond the different media characteristics of film and literature. Both the novel and the film exploit how the somatic impact of music creates a fundamentally ambiguous relationship between violence and music. Musical choices in the novel and the film at first glance appear incongruous. However, an intermedial approach reveals a connection between the textual and audiovisual ambiguity, unknown fictive music described in the novel and the well-known music played in the film, defamiliarised lyrics and distorted sound. Thus, the novel and the film not only present the inherent violent potential of music; both works also exploit the attitudinal ambivalence created by the contiguity of music and violence. Music in violent contexts, which at first appears to distance us from violence seen, in fact pushes us towards the experience of felt ambivalence that undermines the order of things.

  • 25.
    Schirrmacher, Beate
    Stockholms universitet, Institutionen för baltiska språk, finska och tyska.
    The Use of Musical Intermediality in Creating Spatial Temporality: Günter Grass's Novel Ein weites Feld (1995)2012In: Time and Space in Words and Music: Proceedings of the 1rst Conference of the Word and Music Association Forum, Dortmund, November 4-6, 2010 / [ed] Mario Dunkel, Emily Petermann, and Burkhard Sauerwald, Frankfurt am Main: Peter Lang Publishing Group, 2012, p. 111-123Conference paper (Refereed)
    Abstract [en]

    As an artist and writer, Günter Grass has an encompassing interest in the transgression of boundaries; his work is full of intermedial connections. One of these intermedial characteristics is the recurrent use of musical structures, which has for a long time gone unnoticed. In this article I demonstrate how structural parallels to music – the use of transmedial categories of repetition, contrast, and simultaneity, in addition to a web of intermedial references to individual pieces of music – are used in order to undermine the linearity and causality of narration. To Grass, music and its structures are suitable means of achieving Vergegenkunft (paspresenture), a concept which he understands as a fourth tense in which past, present, and future can meet. The linear temporality of narration is thereby replaced by a temporal spatiality, a Zeitraum, that arises out of the simultaneity of different temporal narrative threads. I will give examples from the highly debated reunification novel Ein weites Feld (1995). In this novel, musical references to counterpoint and polyphony contribute to the ambivalence and multidimensionality of the novel.

  • 26.
    Schirrmacher, Beate
    Stockholms universitet, Institutionen för baltiska språk, finska och tyska.
    Trummor och kontrapunkt: musikens roll i Günter Grass prosa2013In: Litteratur och språk, ISSN 1653-1701, no 9, p. 29-56Article, review/survey (Other academic)
    Abstract [sv]

    Günter Grass är inte endast författare och bildkonstnär, även musiken spelar en central roll i hans författarskap. Det finns många intermediala referenser till musik i hans romaner. Ändå har t ex  trummandets roll i Die Blechtrommel (1959) eller referensen till den musikaliska kräftgången i novelltiteln Im Krebsgang (2002) länge förbisetts. Med hjälp av intermediala teorier följer artikeln upp musikens betydelse i Grass prosa. Jag använder mig av ett transmedialt perspektiv som fokuserar på gemensamheterna mellan text och musik. Repetitivitet, simultanitet och performativitet förknippas mer med musik än med litteratur, men de är också återkommande kännetecken i Grass berättarteknik. I textexempel från Die Blechtrommel, Im Krebsgang und Ein weites Feld (1995) analyseras deras transmediala gemensamhet med musik. I ett transmedialt perspektiv blir repetitiva, simultana och performativa mönster avgörande för tolkningen vilket i sin tur kastar nytt ljus på Grass prosa, det lyfter från aspekter som tidigare förbisetts eller till och med kritiserats. Det blir tydligt hur Grass författarskap är en del av hans övergripande intermediala verksamhet.

  • 27.
    Schirrmacher, Beate
    et al.
    Stockholms universitet, Institutionen för baltiska språk, finska och tyska.
    Hart, HeidiDuke Universiy, Noth Carolina, USA.Heady, KathyUniversity of Southampton, United Kingdom.Hinz, HannahStockholms universitet, Institutionen för litteraturvetenskap och idéhistoria.
    Ideology in Words and Music: Proceedings of the 2nd Conference of the Word and Music Association Forum Stockholm, November 8–10, 20122014Conference proceedings (editor) (Refereed)
  • 28.
    Wåghäll Nivre, Elisabeth
    et al.
    Stockholms universitet, Institutionen för baltiska språk, finska och tyska.
    Schirrmacher, BeateStockholms universitet, Institutionen för baltiska språk, finska och tyska.Egerer, ClaudiaStockholms universitet, Engelska institutionen.
    (Re-)Contextualizing Literary and Cultural History: The Representation of the Past in Literary and Material Culture2013Collection (editor) (Refereed)
    Abstract [en]

    This volume holds a number of contributions from a conference held at Stockholm University 2–4 September, 2010: (Re)ContextualizingLiterary and Cultural History. The aim of the conference was to gather scholars from a variety of disciplines, not only to investigate material or literary history and culture but also to bring theoretical aspects from different elds of research into play. The conference thus brought together scholars to (re-)examine the importance of historical perspectives in literary studies, and to scrutinize the impact of cultural studies on early modern scholarship. A selection of revised papers was chosen for publication in this volume. It is divided into three parts: I Theorizing Literary and Cultural History II Ordering Thoughts—Making Sense of the World, and III Communicating Things and Thoughts.

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