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TATORT. Ein populäres Medium als kultureller Speicher by Dennis Gräf, and: Tatort Deutsche Einheit. Ostdeutsche Identitätsinszenierung im “Tatort” des MDR by Tina Welke (review)

TATORT. Ein populäres Medium als kultureller Speicher by Dennis Gräf, and: Tatort Deutsche... gezeigte Welt mit der tatsachlichen Welt in Verbindung steht" (135). While this as¨ sertion could be true for some readers, it may not be entirely plausible for others who regard the function of photographic images in literary (and particularly in autobiographical) texts as more complex than simply connecting "real life" with the literary world in the text. In Maron's family novel, for example, the photographs obscure these lines between fact and fiction and add to the layers in the narrative. Readers of Pawels Briefe, drawing on Hillenbach's assertion that photographs can become a part of the fiction, will notice that the series of family photos positioned throughout the text are employed in different ways (other than to connect the literary text to Maron's life writing), and oftentimes recur as cropped images or are focused on other aspects of what is visible in the image; some photographs directly follow the narrative, some have little to do with the surrounding text. This incongruence between what is narrated and the staged personalities represented in the photographs leads Hillenbach to rightly question the veracity of the images. Here, the photographs do not serve to stabilize the family narrative, but rather point readers http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Monatshefte University of Wisconsin Press

TATORT. Ein populäres Medium als kultureller Speicher by Dennis Gräf, and: Tatort Deutsche Einheit. Ostdeutsche Identitätsinszenierung im “Tatort” des MDR by Tina Welke (review)

Monatshefte , Volume 105 (3) – Nov 8, 2013

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Publisher
University of Wisconsin Press
Copyright
Copyright © 2008 The Board of Regents of The University of Wisconsin System.
ISSN
1934-2810
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Abstract

gezeigte Welt mit der tatsachlichen Welt in Verbindung steht" (135). While this as¨ sertion could be true for some readers, it may not be entirely plausible for others who regard the function of photographic images in literary (and particularly in autobiographical) texts as more complex than simply connecting "real life" with the literary world in the text. In Maron's family novel, for example, the photographs obscure these lines between fact and fiction and add to the layers in the narrative. Readers of Pawels Briefe, drawing on Hillenbach's assertion that photographs can become a part of the fiction, will notice that the series of family photos positioned throughout the text are employed in different ways (other than to connect the literary text to Maron's life writing), and oftentimes recur as cropped images or are focused on other aspects of what is visible in the image; some photographs directly follow the narrative, some have little to do with the surrounding text. This incongruence between what is narrated and the staged personalities represented in the photographs leads Hillenbach to rightly question the veracity of the images. Here, the photographs do not serve to stabilize the family narrative, but rather point readers

Journal

MonatshefteUniversity of Wisconsin Press

Published: Nov 8, 2013

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