Linguostilistic features of H. M. Enzensberger's idiostyle as features of postmodernism

The paper presents the peculiarities of the idiosyncrasy of the modern outstanding German writer of postmodernism H. M. Enzensberger on the material of the poem «Vor dem Techno und danach». It should be noted, that the poetic speech of postmodernism differs in its «postmodern sensuality», a kind of worldview, hypertextuality, the tendency to communicate with the recipient through play. Therefore, an attempt was made to explore the idiostyle of the representative of postmodernism, as idiostyle reflects not only the individual features of speech communication of the linguistic personality, but also the general trends of a particular cultural era. It was found, that one of the features is that the author refers to the play on words in general and the game with the intelligence of the reader in particular. He constantly appeals to the addressee as an implicit interlocutor. Using a variety of tools, the author not only creates an opaque context, but also encodes information, constantly forcing the reader to participate in the decoding of hypertext. The author creates a deep subtext, using allusion. Typical of his idiosyncrasy is that the musicality of the poem is created not by rhyme but by syntax: parentheses, prolepsis, parceling and period. There is a masterful variation of not only syntactic but also grammatical and lexical means, which makes H. M. Enzensberger's individual style stylistically colorful and unique. In order to avoid stylistic monotony and to break the intonation, the author discharges homogeneous rows with parentheses and prolepsis, thus giving an expressive color to the content. In search of new means of expression H. M. Enzensberger turns to such non-traditional linguistic means as grammatical metaphor and period, through which he creates a sense of time space and reproduces the contextual antithesis. Using descending gradation, modeled authorial meaning of tokens, syntax, contextual homogeneity and allusion, the author realizes his ironic attitude to the image. Thus, in this poem the writers trace the play, hypertextuality and emotionality of the content that is inherent in postmodernism. However, paying attention to the language means that identify the idiostyle of H. M. Enzensberger, it should be noted that he tends to a limited number of language means in the poem, making them multifunctional, and to refined non-traditional language means.

The act of documenting: Joshua Oppenheimer’s The Act of Killing

The case study considered by the authors of this article is a peculiar example of a documentary that intervened in the landscape of democratization conflicts in the opaque context of current democracy in Indonesia. Half a century after the genocide, the film reopens the memory of a terrible and non- elaborated past, questioning the impact of the genocide in a difficult democratization process. Is it possible to move from an authoritarian regime that infected and corrupted all aspects of civil coexistence to a new and supposedly more democratic era without working through its traumatic legacy? What role might remorse and forgiveness play in the foundation of a possible new democratic pact? Joshua Oppenheimer’s film, The Act of Killing, confronts all these questions through the documentary use of the Indonesia genocide perpetrators’ words, body images, silences and denials. Engaging the images of this film through a semiotic perspective, the authors interrogate the relationship between aesthetic texts and political emancipating processes, as well as the role of traumatic memory elaboration in the foundation of democratization. Essential for their analysis is the investigation of how moving images are implicated in the imagination and actions of perpetrators, including their possible functions and effects in relation to the audience.