Over the last fifteen years, the emergence of groundbreaking work on trauma in literature and critical theory has made a profound impact both within and beyond the field of literature. Müller surely represents and reflects upon the traumatic events of twentieth-century Europe, as well as the cultural diversity of East Central Europe; she feels compelled to write about them and to show her aversion to all forms of authoritarian rule. There is no doubt that Müller’s all-pervading concern with totalitarianism; her commitment to uncover political and cultural “truths” distinguishes her as an author for whom personal integrity is everything. In fact, Müller’s work is not only structured by a narrative of trauma, articulated with increasing directness, but also by a remarkable lyrical intensity, that manages to preserve a substantial, enriching imaginative space for the reader within such unremitting anger. Thus the reader is not only confronted with “autofiction,” as Müller herself suggests, but also with something akin to “surfiction,” a term coined by American author and critic Raymond Federman. I argue that this characteristic feature is not only a mark of her aesthetic achievement or her consummate artistry, but also the key to her convincing critical voice.
|Titolo:||The pressure of experience pushes language into poetry. Fact, fistion, autofiction, and surfiction in Herta Müller's work|
BOZZI, PAOLA LETIZIA ESTER (Primo)
|Data di pubblicazione:||10-ott-2010|
|Settore Scientifico Disciplinare:||Settore L-LIN/13 - Letteratura Tedesca|
|Enti collegati al convegno:||German Studies Association|
|Citazione:||The pressure of experience pushes language into poetry. Fact, fistion, autofiction, and surfiction in Herta Müller's work / P. Bozzi. ((Intervento presentato al 34. convegno Annual conference of the German Studies Association (GSA) tenutosi a Oakland, California, USA nel 2010.|
|Appare nelle tipologie:||14 - Intervento a convegno non pubblicato|