LA ANGUSTIA COMO MANIFESTACIÓN DE LO UNHEIMLICH EN EL DECENIO EXPRESIONISTA: KAFKA & CO. A VUELTAS CON KIERKEGAARD

El presente artículo aborda la relación entre la angustia y el miedo y el concepto de lo unheimlich en la literatura escrita en lengua alemana durante el decenio expresionista (1910-1923). La profunda crisis del yo desencadenada por la inestabilidad consustancial a esta época hizo especialmente prolífico el tratamiento de la angustia —como muestra la relevancia del texto de Kierkegaard El concepto del miedo— en autores como Alfred Döblin, Georg Heym, Robert Musil o Georg Trakl. Asimismo, se analizará la obra de Kafka en tanto continúa siendo paradigmática de dicha relación, a la que ha de sumarse la noción de culpa. Abstract: This article presents the relationship between anxiety and fear and the unheimlich concept in the German literature of the Expressionist Decade (1910-1923). The deep crisis of the ego brought about by the inherent instability of this period made the treatment of anxiety especially prolific. Its relevance is clearly shown in Kierkegaard’s text The Concept of Fear, but it also had a great impact on such authors as Alfred Döblin, Georg Heym, Robert Musil or Georg Trakl. Furthermore, the paper focuses on Kafka’s literature as it is paradigmatic of this relationship, to which guilt should be added.

Alfred Döblin vs. Bertolt Brecht: reception of the genre Lehrstück in A. Döblin’s drama

The article is devoted to the drama of Bertolt Brecht and Alfred Döblin. On the material of A. Döblin’s play «The Marriage» analyzes the typological factors of the genre Lehrstück («learning» or «didactic» play), which became widespread as Brecht’s authorial innovation. The purpose of the article: on the basis of comparative analysis of Lehrstück by B. Brecht and the play «The Marriage» by A. Döblin to explore their formal and poetic factors and to conclude about the common and distinctive features of artistic and aesthetic intention of the genre Lehrstück in the works of both playwrights. The source base of the research is represented by literary studies of Günter Hartung, Jan Knopf, Klaus-Dieter Krabiel, Heiner Müller, Rainer Steinweg, Bernhard Klaus Tragelehn, Florian Vaßen, Oleksandr Chirkov. To achieve this goal, the following research methods were used: cultural-historical, comparative-historical, structuralsemantic, descriptive, literary analysis and synthesis. The study presents the main stages of the genre in the work of Brecht and focuses on the initial period of origin of the «learning» or «didactic» play, which is also relevant to the drama of A. Döblin. The play «The Marriage» contains three scenes, a prologue and an interlude. Thematically, all the scenes are united by a common plot core – showing the breakup of marriage and family due to external circumstances. Family and marital relationships fail regardless of social status or financial status. Results and conclusions: The article proves that A. Döblin’s play «The Marriage» has a number of aesthetic and typological features that make it related to Brecht’s «didactic» plays: rejection of theatrical scenery, props, that is, everything that creates a theatrical illusion; the presence of epic elements and music as components of drama; use of text and illustrative projections, songs, recitatives with musical accompaniment; presence of a speaker (commentator) and a choir; the inclusion of the author’s commentary, which states the theme and issues of the drama, as well as explains how the play is constructed, emphasizes the probable educational, educational, instructive influence; the presence of director’s remarks that explain the options for the stage embodiment of the play; the ability to improvise, modify the text of the play and release individual scenes according to the purpose and type of production. A generalized analysis of the existing typological characteristics gives grounds to consider the play «The Marriage» by A. Döblin as a conceptual imitation and / or continuation of the theory and practice of the author’s genre Lehrstück B. Brecht.

Fictions of Legibility. The Human Face and Body in Modern German Novels from Sophie von La Roche to Alfred Döblin

Gabriela Stoicea (author)

Entre as representações e o autor: uma análise da liberdade sexual em Berlin Alexanderplatz

O presente artigo pretende discutir de que forma a liberdade sexual desenvolvida na Alemanha, durante a República de Weimar, tendo sido Berlim o seu epicentro, é representada no romance alemão Berlin Alexanderplatz (1929), escrito pelo autor e psiquiatra Alfred Döblin. A partir da análise da representação em questão, discutiremos a forma como determinados elementos construídos pelo autor destoam do discurso elaborado e reproduzido sobre a Berlim weimariana, o qual instaurou no imaginário ocidental uma imagem da capital alemã marcada pela devassidão sexual. Também procuramos tecer hipóteses sobre por qual motivo o autor do romance prioriza determinadas formas de retratar a liberdade sexual em detrimento de outras. As suas representações parecem ter sido feitas sobretudo devido a determinadas convicções que ele parece ter tido em vida e transpareceu em suas obras. Utilizando o romance como fonte primária, tentaremos erigir alguns olhares sobre a história de Berlim durante a República de Weimar, contribuindo para a desconstrução do seu mito que já não pode ser mais cabível no desenvolvimento de novas narrativas.

El sexo y la ciudad. Homosociabilidad y disidencia en Berlin Alexanderplatz de Alfred Döblin

La novela de Berlin Alexanderplatz (1929) de Alfred Döblin surge en una época y un espacio de enorme ebullición política y también de militancia sexo-disidente, el Berlín de la República de Weimar. Compuesta como un montaje de las voces de la gran ciudad, la novela deja ingresar muchas de las tensiones, discusiones y militancias de la época en torno a la disidencia sexual. Este artículo, en consecuencia, realiza un recorrido por esas representaciones sexo-disidentes en Berlin Alexanderplatz para pensarlas en tensión con la producción y reproducción de la masculinidad heterosexual. En contraste con esta efervescencia sexual del Berlín de los años veinte, me interesa también pensar la producción de las cisheteromasculinidades pensada a partir del concepto de homosociabildiad, fundamentalmente en de la relación entre los personajes de Franz y Reinhold. De esta forma, se puede vincular también este punto con la violencia y agresividad contra la mujer, muy marcada en la novela de Döblin, y, principalmente, con el intercambio de mujeres entre Franz y Reinhold.