![]() Jahrhundert,” 33f.), Kreis, who speaks of the relationship as one oscillating between “rejection and fascination” (Kreis, Anti- Amerikanismus. Leggewie, Amerikas Welt: Die USA in unseren Köpfen) examples of other scholars who characterize the relationship between Germany or Europe and the United States as a bi-polar love-hate-relationship are Fraenkel, one of the earliest students of anti-Americanism in the 1950s and 1960s (Fraenkel, Ernst Fraenkel: Gesammelte Schriften Band 4, Amerikastudien), Gienow-Hecht (Gienow-Hecht, “Europäischer Anti-Amerikanismus im 20. Donnerstag also uses the term “Janus-faced” (“The Documentaries of Michael Moore,” 143), as do Gassert and Leggewie (Gassert, “Was meint Amerikanisierung?” 795f. Porra, “Risse in der Mimesis,” 175 my translation. On Woraus wir gemacht sind as a “test case of ‘Relevant Realism,’” see also Reinhäckel, Traumatische Texturen, 138 my translation.Ĭf. Am Ende aller Gewissheiten und am Anfang der Liebe und der Diskurse: Thomas Hettches Roman Woraus wir gemacht sind,” my translation). Hettche was one of four German writers who, in 2005, published a much derided because rather full-mouthed manifesto on “What Is the Novel Supposed to Do?” The writer subscribing to “Relevant Realism,” they proclaim, “clothes his subject into fiction so skilfully that, when read superficially, this fiction could be taken to be a representation of reality: staged realism.” Moreover, the writer engages in a “tightrope walk between what has always been the only appropriate way of narrating from within the midst of lived experience itself and that which has been salvaged of virtuosity from the avant-garde” (Dean et al., “Was soll der Roman?” my translation), a balancing act that Gerrit Bartels has dubbed “contemporaneity plus aesthetic clout” (“Amerika, Blicke. Harper, “Turning to Debris: Ethics of Violence in Wilkomirski’s Fragments and Beigbeder’s Windows on the World,” 237. also Schehr, “ Éffondrements: Frédéric Beigbeder’s Windows on the World,” 133 for an undifferentiated conflation of the author and narrator Beigbeder, cf. Clemente, “Beigbeder’s Evil Personae in Windows on the World: Authorial Ethics and 9/11,” 121 and 123 on the same issue, cf. When I am not commenting specifically on narrative structure, I conflate “Beigbeder” and Beigbeder in my discussion because I agree with Marie-Christine Clemente that the novel is structured as a panopticon that can be “read as having a central tower inhabited by the author” and that, “hiding behind the mirror of the text,” the author can be seen as “infiltrat the center of the narrative.” In other words, it can be argued that most statements made by “Beigbeder” and Carthew and David Yorston can be attributed directly to the author Beigbeder. Seen from a formal standpoint, this perspective is the perspective of the autodiegetic narrator “Beigbeder” rather than the author Beigbeder, and scholars have generally differentiated between the two, indicating the narrator by the use of quotation marks. Jürgen Donnerstag touches on issues of German constructions of national identity in the past decade that are important for my argument yet looks at the way in which national identity is constructed through a specific mode of reception rather than production of (9/11) texts: he focuses on the German reception of Michael Moore’s documentaries, including Fahrenheit 9/11, “The Documentaries of Michael Moore and Their German Reception: Anti-Americanism and Intercultural Learning,” 142–160. (eds.), 9/11 als kulturelle Zäsur, which I draw on later questions of national identity construction are, to my knowledge, not explicitly discussed in scholarship on representations of 9/11 at all. ![]() National specificities of 9/11 literature are discussed in an article by Porra in Poppe et al. ![]() Focusing on the novel exclusively, Birgit Däwes offers the most comprehensive bibliography of what she calls “international 9/11 and 9/12 novels” to date in Ground Zero Fiction: History, Memory, and Representation in the American 9/11 Novel. September 2001 in kulturellen Diskursen, Literatur und visuellen Medien. September 2001 Mohr and Mayer (eds), 9/11 as Catalyst: American and British Cultural Responses, Poppe et al. September 2001 im interkulturellen Vergleich Irsigler and Jürgensen (eds), Nine Eleven: Ästhetische Verarbeitungen des 11. Examples of collections that include discussions of European representations of 9/11 are Bauder-Begerow and Schäfer (eds), Learning 9/11: Teaching for Key Competences in Literary and Cultural Studies Cilano (ed.), From Solidarity to Schisms: 9/11 and After in Fiction and Film from Outside the US Hennigfeld (ed.), Poetiken des Terrors: Narrative des 11.
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