GERMAN STUDIES IN AFRICA- Jahrbuch des Germanistenverbandes im südlichen Afrika- Journal of the Association for German Studies in Southern Africa- Band/Volume 40/2012
Edited By Carlotta von Maltzan
The first part of this edition comprises three contributions with different perspectives on the African continent. Swiss writer Urs Widmer’s novel Im Kongo is the lens through which Hegel’s Vorlesungen über die Philosophie der Weltgeschichte is being viewed; Roland Schimmelpfennig’s play Peggy Picket sieht das Gesicht Gottes is read as diagnostic text highlighting the differences between Western and African worlds; and a comparative analysis of Grimms’ and African fairy tales finds different ideas concerning justice at work in the respective moral orders. The second and more general part of this edition presents a reading of Storm’s novella Der Schimmelreiter from the vantage point of development politics; a detailed analysis of texts by hitherto largely unknown writer Veza Canetti; and reflections on the theme of the quest for the good life as it features centrally in Brecht’s literary and theoretical writings. Further contributions deal with literary strategies for the disclosure of politically motivated crimes; with the relationship between different structures of narrative and metafictional narration; and with an investigation of language- and distribution policies pertaining to audiovisual media across the European continent. The third and last part of this edition reports on some teaching and research fields opening possibilities, guided by emancipator visions, for German Studies in post-colonial African contexts.
„Erst kommt das Fressen, …“. Bertolt Brecht – Glücksverlangen, Produktivität und Materialwert: FLORIAN VAßEN
„Erst kommt das Fressen, …“ Bertolt Brecht – Glücksverlangen, Produktivität und Materialwert FLORIAN VAßEN Universität Hannover Abstract „Erst kommt das Fressen, …“ Bertolt Brecht – Striving for happiness, productivity and material value In Brecht’s literary production and his theoretical writings „striving for happiness“ is a central issue from early on, especially since the Baal-character and remains so in his late works where it becomes a central aspect in his political considerations. The con- ceptualisation of this attitude however shifts. The meaning of sensuality and enjoyment, egoism and a-sociality, reason and rationality, altruism and social responsibility and especially of consumption and production changes over the years: the rupture can best be identified in the various versions of Mahagonny and the representation of the rela- tion between enjoyment and money. “Devouring” versus morality in Die Dreigroschen- oper as well as Fatzer, Azdak, Schweyk, Galilei and Puntila as contradictory Baal’- characters further highlight this aspect. In contrast Brecht’s aesthetic procedure re- mains constant when he “swallows” literary and theoretical texts by other authors such as Nietzsche, Spinoza and Freud that is their anti-moralism, materialism and pleasure principle in order to use them as material for his own aesthetic production. Finally, this article shows how Brecht’s late Glücksgott-Fragment with its combination of sensual pleasure and productive work points to a consuming productivity and thereby to the po- tentiality of a happy life. Das ‚Glücksstreben’ des Menschen nimmt in Brechts Literaturproduktion sowie in seinen theoretischen Schriften von Anfang an einen zentralen Platz ein...
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