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Erzählen. Die ethisch-politische Funktion narrativer Diskurse
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Things have changed a lot. Admittedly, it was not a love story with unmitigated love or with any consummation. Sword in the Bed: As to Mendes' subsequent artwork:. Arthur Schnitzler  was born in Vienna He took a medical degree himself and was a practicing physician for years. Increasingly, however, Schnitzler devoted himself to literature, his first love. Allerdings wird hier der Sexakt nicht physisch vollzogen, sondern spielt sich nur in der erotischen Phantasie der Beteiligten ab.
Der Bezug zum Original wird auch noch durch die direkte Namensnennung des Dichters unterstrichen. Nun, Storm und Heine, hie und da etwas Nietzsche - aber auch Schnitzler und Gyp und was sonst erscheint. Ja, davon reden wir nicht, und dann, das ist doch nicht wie im Theater, wo jeder einen dabei sieht. Der Reigen wird hier als letztes Werk von Schnitzler dargestellt; da dieses Werk erschien, wird die Parodie, deren Erscheinungsjahr bekannt ist, auch im Text datiert.
Dies finden wir z. The parody was published in It is also interesting that Nietzsche is mentioned here, whom Schnitzler and Hofmannsthal had just been reading at this time. Au Pair Because of the risk. Why should I risk? Au Pair If it means something. I write about them, of course. But at the moment, no. And how about films?
Erzählen. Die ethisch-politische Funktion narrativer Diskurse | SpringerLink
The daily news defines our perception and interpretation of the present, films and shows provide patterns for personal experiences and individual communication, and form our collective memory. They use speeches by contemporary politicians, current reports and motion pictures. Existing texts are taken out of context and isolated, and are dissected and reassembled at the same time.
This procedure not only takes place in so-called magazines, which the artists publish with vivid and expressive typography, but also in synchronised film narratives with interchangeable actors. This simultaneity intentionally overwhelms viewers and prevents them from classifying the situation as right or wrong, good or bad, or true or false in accordance with media rules as is usually done. Ideas of truth or reality lose their stability and become blurred in a labyrinthine reference system of possibilities.
She asks him whether he loves her feet, her knees, her bottom, her breasts, her neck etc. The female part is played by a woman and also by a girl. Previously inseparable connotations are enhanced by the division into the roles of woman and child. A both dazzling and disconcerting atmosphere develops which owes its consolidation to the parallelism of sentences and movements. Viewed separately, these scenes seem almost harmless. Can the roles in the family be clearly separated? Or: where and when do the borders become blurred?
In her essay, Gender Trouble, which was first published in , Judith Butler points out that instead of being predetermined, sexual identity is formed and confirmed by the repetition of rules and discourses. In other words, she supports the theory that gender categories are not inherent but are the result of performative education.
In the synchronous narratives Sonntag and Montag identity is established by means of the repetition of the same speech and action patterns which were originally acquired as either male or female. Thanks to the duplication of the scenes, the female protagonists are deprived of their singularity and become representatives of a socially established identity determination which is by definition beyond individuality. Furthermore, these double enactments lead to chronological disorientation.
The story could be taking place in the present but then again it could also be remembered or anticipated. They produce the feeling of a permanent present in which roles and identities have become interchangeable. As mentioned above, Montag refers to the chapter with the same title in the film The Shining. The author Jack Torrance, who is acted by Jack Nicholson, withdraws to a remote hotel in the snow-covered mountains with his family in order to work at his novel in peace.
Little by little he goes insane. In the Monday scene, the son confronts his father with his illness and his barely suppressed propensity to violence. Their main interest lies in the text. Without a concrete context, this dialogue seems harmless at first. It is interrupted at a crucial moment on the verge a possible escalation.