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Literaturgeschichte und Interkulturalität

Festschrift für Maria Sass

Edited By Doris Sava and Stefan Sienerth

Aus Anlass des doppelten Geburtstages – 50 Jahre Germanistik in Hermannstadt und 60. Geburtstag von Maria Sass, der langjährigen Leiterin dieses Lehrstuhls, – greifen die literaturhistorisch, kulturwissenschaftlich und interdisziplinär ausgerichteten Beiträge aus unterschiedlichen Perspektiven die Geschichte und Dokumentation der rumäniendeutschen und deutschen (Gegenwarts-)Literatur auf. Fragen der Rezeptionsgeschichte und der Wechselwirkungen im Bereich der Interkulturalität, der Literaturvermittlung und des deutsch-rumänischen Kulturaustausches bilden thematische Schwerpunkte des Studienbandes und stehen damit im Zeichen der Wahrung von Kontinuität und Konstanz der Hermannstädter Germanistik.

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Ioana Crăciun: „Sunrise. A Song of Two Humans“ oder über die Doppelbödigkeit des ersten Hollywood-Films F. W. Murnaus

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Ioana Crăciun

„Sunrise. A Song of Two Humans“ oder über die Doppelbödigkeit des ersten Hollywood-Films F. W. Murnaus

Abstract: The paper aims at offering a new interpretation of the silent movie “Sunrise. A Song of Two Humans” (1927) directed by F. W. Murnau, one of the most famous German film makers of the silent era. “Sunrise. A Song of Two Humans” was the first movie by F. W. Murnau accomplished in Hollywood after he had left post war Germany where the homophobic legislation of the Weimar Republic was threatening his civil and artistic liberty. The film script written by another German emigrant – Carl Mayer – is based on Hermann Sudermann’s novel „Die Reise nach Tilsit“ (‘The Journey to Tilsit’). Our analysis starts with a parallel between Hermann Sudermann’s novel and Carl Mayer’s film script and points at some major differences between the two texts. These differences – most of which can be considered as a tribute paid by the German film director to the taste of his American film audience and as a compromise with the economic interests of the Fox Film Corporation – constitute the philological basis of a symbolic reading of Murnau’s silent movie itself. The paper further concentrates on F. W. Murnau’s symbolic film images and actions which were meant to encode an ambiguous discourse on human sexuality, its nature, its boundaries, its oppression by a conservative patriarchal society, by traditional moral conventions and by deeply rooted religious convictions. In the light of this...

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