Kirjahaku

Sheds new light on James Joyce's use of sexual motifs as cultural raw material for Ulysses and other worksJoyce/Foucault: Sexual Confessions examines instances of sexual confession in works of James Joyce, with a special emphasis on Portrait of the Artist as a Young Man and Ulysses. Using Michel Foucault's historical analysis of Western sexuality as its theoretical underpinning, the book foregrounds the role of the Jesuit order in the spread of a confessional force, and finds this influence inscribed into Joyce's major texts. Wolfgang Streit goes on to argue that the tension between the texts' erotic passages and Joyce's criticism of even his own sexual writing energizes Joyce's narratives-and enables Joyce to develop the radical skepticism of power revealed in his work.Wolfgang Streit is Lecturer, Ludwig Maximilians University, Munich.

Apocalypse Now has been interpreted as addressing the Vietnam War in a similarly mythological and hence ahis¬torical way as the high modernist poetry recited by Colonel Kurtz. The closer, post-colonial view of this paper in the German language, however, shows that the 2001 "Redux-" version of Coppola's film questions the imperialist US sys¬tem on several levels. By mockery it subverts the ide¬ology of free-trade underlying the confrontation between the super powers in the Cold War and the Vietnam War itself. Also, the movie's technique of montage fundamen¬tally questions the author¬ity of the military apparatus and exposes the un¬tenable nature of Willard's killing mission. The visit of the Captain's boat crew in the French colony serves to further outline the extent to which the doomed imperial war project is grafted - as a palimpsest - on the equally outdated re¬mains of the French colonial past. As a conse¬quence both forms of intervention are cinemato¬graphically dele¬gitimized, especially by means of uncanny props exposing the de¬gree to which they are haunted by the contradictions between ide¬ological justification, US-historical genocidal past - in the case of the Vietnam War - and a belligerent present oper¬ating also by means of arbitrarily constructed alterity. This makes obvious Redux's practice of - in Edward Said's termi-no¬logy - establishing "anti-imperialist re¬sistance" against the US warfare. One of the movie's key strategies to expose the inhumane moral universe of the war theatre is Kurtz's "method" of making Willard - and the viewers of the movie - experience the large-scale massa¬cre in a lavish, synesthetic total work of art in¬spired by Stanislavski's ident¬ifi¬catory "method acting" and Ri¬chard Wagner. This didactic "Gesamtkunstwerk" also makes use of further cin¬ematogra¬phic adaptations of uncanny ele¬ments - ac-cording to Sig¬mund Freud - and strategically mobilizes a displaced version of mimicry.

Abstract: Despite the general view of Robinson Crusoe as a manifesto for colonial empowerment this paper in the German language shows that the text in fact exposes the paradigmatic self-affirming colonial subject as inherently instable. It does so not only by the initial perforation of Crusoe's name, but also by failing "pro-imperialist apology" - according to Edward Said's idea of contrapuntal read¬ing - aimed at legitimiz¬ing Crusoe's supremacy over "his" island, and his power over the main non-Western protagonists, Xury and Friday. Both these parallel cases of subjugation are ridden by almost absurd logical, or economic contradic¬tions exposing the futility at the heart of their mechanics. Also, the presentation of Crusoe's superiority by means of the con¬struction of reli¬gious alterity is inconsistent as traces of hybridization within the Chris¬tian creed show. Moreover Crusoe's will to establish his Western language usage as superior backfires when Creo¬lization enters the protagonist's own discourse, and his self-aggrandizing declaration of being master of his island is subverted by antagonistic elements, which he - unsuccessfully - tries to exclude from the realm of hu¬mankind - by unconvincingly de¬picting their cannibal eating hab¬its. Further, "anti-imperialist resistance" according to Said becomes obvious within the text when the visual contrast between Crusoe and colonized peoples - one of the markers of alterity - collapses as Friday acquires phenotypical Western traits and Crusoe devel-ops non-Western features. But it is Friday who symbolically resists colonial power most potently. Far from being only the obedient servant desired by his master he stubbornly refuses to speak Eng-lish adequately, thus exposing Crusoe's deficiency of authority. But most of all, after years of subjugation, he stages a revolt not only against Crusoe, but - in the name of all colonized peoples - against Western colonists.

Franz Kafka was strongly affected by questions of and writings about colonialism. Against this background this paper in the Ger-man language analyzes the way in which, as an author, he negoti-ates colonial matters in his novella In the Penal Colony. This text reverses the typical visual interaction in the contact zone of the colony, between the colonial context and the visitor to the colony. Also, the text sharpens the destabilizing impact of mimicry as the subaltern convict temporarily presents an inversion, or carnival of power, targeting not the colonial master, but the traveler responsi-ble for interpretation and, ultimately, the reader. This role is fur-ther underpinned by the motif of cannibalism. The subaltern is also a vehicle for the text to not only depict but also uncannily expose as constructed, the way in which the "other" is mobilized to provide the colonial apparatus with identity. Most of all, however, on several levels the text epistemologically questions the fundamental fantasy of the colonial order of unequi-vocal meaning, as the "contrapuntal reading" of In the Penal Co-lony - according to Edward Said - reveals. Kafka's text depicts the futile dream of a unitary power system, primarily by means of the angst-ridden officer seeking to provide a spectacle of pretended transparency around the con¬struction plans for the machine, the death sentence, the machine's mechanics and the execution, with¬out allowing for any interpreta¬tion. All these textual strategies converge in the goal of exposing the untenable nature of the doomed colonial order depicted, even though Kafka as a person was far from criticizing Habsburg's colonial empire.

Die Postkolonialismus-Forschung ist heute insbesondere in den Geisteswissenschaften einer der dynamischsten Forschungsbereiche berhaupt, aber alles andere als leicht zug nglich. Mit diesem Einf hrungsband bringt Streit interessierten Studierenden die zentralen theoretischen Inhalte und Methoden leicht verst ndlich nahe. Die Einleitung bietet einen berblick zu Forschungspositionen, zu relevanten Regionen und zur Geschichte der Forschungsrichtung. Daran schlie en sich Erkl rungen und theoretische Einordnungen der Grundlagentexte des "Dreigestirns" der Forschungsrichtung an, von Edward Said, Gayatri Spivak und Homi Bhabha. Drei praktische Studien zu Daniel Defoes Roman "Robinson Crusoe," zu Franz Kafkas Novelle "In der Strafkolonie" sowie zu dem Film "Apocalypse Now Redux" motivieren zum Sprung von der einf hrenden Lekt re zur eigenen Forschung. Abschlie end erm glichen ein begriffserkl rendes Glossar, ein teilweise kommentiertes Literaturverzeichnis und ein Namensregister die sichere Orientierung. Vier Lesermeinungen: "Wer nach dem Lesen dieses Bandes keine Lust auf, mehr' bekommt, dem ist nicht zu helfen. Mich hat er dazu gebracht endlich einmal die Originaltexte anzusehen: Ein wirklicher, Motivationsband'. " "Mir war die Forschungsrichtung bisher ein 'Buch mit sieben Siegeln'. Auch andere Einf hrungen schrecken oft ab. Aber diese Darstellung ist mit viel 'common sense' geschrieben. Immer wieder beh lt man durch Wiederholungen den, roten Faden' im Auge. Das Glossar und das Namensregister sind toll zur Orientierung im Buch. Anspruchsvoll wird es nur an Stellen, die auch wirklich komplizierter sind, z.B. bei den Beispielsanalysen. Kritisch anzumerken ist aber, dass die recht n tzlichen Zusammenfassungen der drei Beispielsanalysen in Englisch sind. Ich meine, das m sste in einem durchg ngig deutschen Buch nicht sein. "Vor allem die Einf hrungen zu den Theoretikern sind sehr gut verst ndlich und ordnen die Ans tze in die Literaturwissenschaft ein. Das gilt besond

"Betrachtet man James Joyces text in progress unter dem Gesichtspunkt der Sexualität, entsteht folgende Genealogie: Das Thema wird zwischen Chamber Music und Finnegans Wake erstens exakter geordnet, so daß symmetrische Beziehungen zwischen den Figuren entstehen. Zweitens präzisiert sich der Versprachlichungszwang, unter dem Figuren, vor allem Künstlerfiguren und somit auch der Text selbst stehen. Und schließlich rücken der von Anfang an präsente Wille zum Wissen und der Widerstand gegen ihn ins Zentrum des Textes. Sie lösen sich völlig von ihrer, besonders in den Dubliners vorherrschenden, gesellschaftlichen Einbindung, um bis in Finnegans Wake zur Triebkraft der Handlung und des Schreibens zu werden."9319336September 1939. England is at war with Nazi Germany. In Southampton, the world's most luxurious airliner - the legendary Pan Am clipper - takes off for its final flight to neutral America. Aboard are the cream of society and the dregs of humanity, all fleeing the war for reasons of their own... shadowed by a danger they do not know exists... and heading straight into a storm of violence, intrigue, and betrayal...