These creations blur all artistic categories , dissolve borders as they stand at the junction of folk art, naive art, art brut , outsider art… Hors-les-normes is beyond norms. Der Peter-Henisch-Reader Residenzverlag, , includes a series of notes Henisch directed at Craig Decker in providing background on the various excerpts included in the reader. And thus hier folgt die entscheidende Information: La Fabuloserie, Musée des diables et des anges. The Morrison novel provides a literary hybridization of the search on the road for a life worth living for both the Beat Generation and its anti-establishment followers in the s. Oddities of word order, construction, and vocabulary are present that might easily lead one to judge Henisch not fully successful in evoking the language of America in general or of New Orleans in particular.
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De toutes ces rencontres est née une véritable collection qui sera installée dans sa maison de Dicy. Liebesgeschichte, Tagebuch, Briefroman, eine Verfolgungsjagd und eine Recherche nach Morrison, Beschreibung von Konzerten auf Video, all das reiht sich aneinander, greift ineinander. To the American ear especially his word choice can be somewhat off-putting and unnatural. Some other blocks’ drops have been tweaked and added in also C’est un super Texture Pack et c’est vrai il commence a être vieux: All with crazy efficiency and silk touch.
American and Austrian Literature and Film: Daviau University of California at Riverside.
At particular stages throughout his extensive career, Peter Henisch reveals a fascination and preoccupation with American popular culture as he explores the broader themes of identity and identity crisis that generally characterize his writing. Beyond the titles themselves it is music that forms the thematic basis for the major intersections with America as these narratives unfold; in particular it is the rock music of Jim Morrison and the Doors in the first case and the jazz of New Orleans in the latter two.
Another intersection is that of the linguistic elements that are inextricably intertwined with these musical overtones as Henisch incorporates American and British song lyrics and other English-language elements words, phrases, sentences, and even entire passages into his German-language texts in these three works. In this recent novel, in which the action actually takes place throughout Italy, it is the stylistic and structural elements of the American road movie transposed to the medium of novelistic form that reveal themselves.
Moreover, though not as pronounced as in the aforementioned works, references to American and British song lyrics, singers, and cultural figures are scattered throughout this text as well. Film techniques are structurally important to him both as compositional tools, but also as important means for capturing the settings in which his narratives take place: In response to an interview question about his reliance on actual locations as the starting points for his books, Henisch commented: Um meine Fantasie in Schwung zu bringen, brauche ich die Schauplätze.
And now to return to the main focus here. As indicated at the outset, central among the elements Henisch incorporates from the American shores are music and popular culture. Right up to the present day, Henisch has continued to dabble in music through his collaborations Schabata and Zinkl. In addition to providing texts and lyrics, Henisch has provided vocals and harmonica accompaniment for Morrisons Versteck and Schwarzer Peter specifically.
Rock and its predecessors, the blues and jazz, are part and parcel of the language and texts of these two novels. One final comment before looking at specific elements of the works under discussion should be reiterated, and that is that Henisch has remained the consummate Viennese throughout his career despite his relishing in intertextuality and hybridity that takes him beyond the cultural confines of his native city and country.
There is the strong element of hybridity not only in his own person, but also in his literary output and his characters. It was actually not until that the project reached its first level of finality with the initial publication of the novel.
The novel has an open, associative form to it:. Liebesgeschichte, Tagebuch, Briefroman, eine Verfolgungsjagd und eine Recherche nach Morrison, Beschreibung von Konzerten auf Video, all das reiht sich aneinander, greift ineinander.
Das Buch ist geschnitten wie ein Film. American, growing up during the turbulent protest era of the s, increasingly opposed to the status quo of conservative middle-class American politics, society, and values, Jim Morrison was not just another spoiled offspring from an increasingly self-centered generation of counter-culture oriented youth—and was also not the typical rock star gifted with a modicum of musical ability but average substantive intellect.
It is this intellectual appeal which seems to have drawn the young and equally literate Henisch to the song lyrics Morrison composed for the Doors and also to the poetry the rock-star wrote. It was during this period that Henisch gathered additional material for the first version of this novel published in as well as for the heavily revised and subsequently published paperback edition in Figurenwerfen Eva Haldimann comments further on the evolution of the novel:.
Henisch umkreist diese Erscheinung in buchstäblich allen Tonarten; auch in mehren Sprachen, wobei neben dem Deutschen das Amerikanische dominiert. Ein Zeichen der Zeit, dass er sich nicht die Frage stellt, ob seine Leser alles verstehen; Fremdsprachen werden ihm zum Stilmittel. Mit der Geschicklichkeit eines Zauberers, der sich stets im richtigen Augenblick zu entziehen weiss, jongliert er nicht nur mit Sprachen, sondern mit Perspektiven, Zeitebenen, Leben und Tod, Schein und Sein.
Not only references to icons of popular American culture are mentioned, but entire linguistic elements from words to phrases to song titles and lyrics permeate the text. And not surprisingly, there are multiple levels of significance that can be ascribed to these various references to American popular culture and to the incorporation of English into the text. On a purely surface level, many specific names, places, events, performances, etc. It is perhaps only in their totality and multiplicity that their greater effect is felt.
There is also the intentional use of English words in German sentences where adequate German equivalents exist: Such wording bridges the gap between modern German and English, but also represents here a technique Henisch employs to capture the flavor of the American environment that he is seeking to portray. The description of the encounter between Ray Manzarek and Morrison is a good example:.
In that year, hat Morrison notiert, there was an intensive visitation of energy. I left school and wend down to the beach faithfull live. I slept on a roof. And thus hier folgt die entscheidende Information: I met the Spirit of Music. Eine bemerkenswerte Erscheinung, Schon wieder.
Morrison traf allerdings auch Manzarek. Einen Ex-Kollegen vom Film-Department. Und das war, folgt man der Beschreibung Manzareks, die entscheidende Begegnung.
A beautiful California Summer Day, the middle of August. And who should come walking down the beach but Jim Morrison?
The figure of Jim Morrison himself fits this category. Clearly it is problematic to categorically classify many of these references, since they contain varying levels of meaning that perhaps only the individual reader can decipher for him- or herself.
A full appreciation of the intertextuality relies directly upon reader reception.
And finally the occasional misuses, misspellings, and non-idiomatic uses of American English that occur in the novel must be mentioned. They perhaps go unnoticed by a non-native speaker of English but are certainly obvious to a native-English speaker. Examples include the oddity of: It is in this area that the native or near-native speaker of English can become somewhat irritated by the text and wish that both the author and publisher had taken greater fajthful in editing the manuscript.
Though not lasting as long as the gestation period for the initial publication of Morrisons VersteckHenisch worked for over five years on Schwarzer Peter before it appeared in In the middle of the process he decided that he needed a breath of fresh air:. Der Schwarze Peter und ich. Also hab ich mich um eine Möglichkeit gekümmert, einige Zeit in New Orleans zu verbringen.
Wir sind ausgerechnet im August angekommen. Aber für meinen Roman war das gerade richtig Figurenwerfen As an outsider in the United 111, Peter is looked upon askance because he drinks his Coke warm without ice cubes and prefers sitting outdoors in the oppressive New 111 summer heat as opposed to inside in an fiathful space From the beginning of the novel the reader is advised that Peter is not entirely black but fithful black enough to be considered different.
His Austrian music teacher Kronstein had first made him conscious of the connection between his innate musical inclinations and jazz, thereby providing a further link faithfu himself and the United States.
Further comments about the linguistic elements of the novel, especially the interspersion of English, will be treated in connection with the songbook Henisch soon published to accompany the novel. Such was the commentary about the Songbookwhose content is comprised of a mixture 11.1 German and English texts that closely parallel passages and scenes from the novel itself, and thus in most respects is a musical extension of it.
The back side of the cover depicts young Black Peter on the banks of the Danube. These cover scenes clearly depict important thematic elements from the novel.
Black Peter travels to the United States as a young adult in search of the American father he has never known and about whom even his mother can provide scant information, since the relationship that resulted in daithful birth was brief.
Pronunciation clearly remains non-standard American and a hybridization, as was the case in the novel and in Morrisons Versteck. Oddities of word order, construction, and vocabulary are 1.111 that might easily lead one to judge Henisch not fully successful in evoking the language of America in general or of New Orleans in particular.
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For example, he has his American host Joe Logsdon, to whom the novel is dedicated, speak the sentence: Other examples from the second text: To the American ear especially his word choice can be somewhat off-putting and unnatural. Granted, Peter has not grown up in an American setting and therefore one cannot expect his English to be truly reflective of his new environment in New Orleans, but it should not be the case when Henisch is ascribing speech to native American English characters.
Thus for the Songbook in particular it is hard to imagine an avid readership among those conversant with American English or the dialect of the deep South, although these readers, too, can appreciate the fact that Henisch researched his novel extensively in the United States and that his fascination with it and New Orleans is genuine.
Henisch stated that he was attempting to write the songs of his Black Peter, ones that the character would have actually written had he in fact existed.
The interesting part of this is the fact that Henisch himself recognizes some of the incongruities in the actual songs that comprise the songbook:. Da sie zum Teil englisch getextet sind oder eher amerikanisch, sind sie wohl nicht nur Gegenstand der Germanistik, sondern auch der Anglistik.
Darüber zu urteilen, um welche Sprache es sich da eigentlich handelt, obliegt jedoch Leuten wie Dir [d. The actual music of the Songbooktoo, clearly finds its roots in non-traditional Austrian music.
Ironically of course, Vienna was, is, and remains the center of classical music with Mozart, Beethoven, Brahms, Strauss, etc. The fact that Black Peter is a piano-player in a bar and plays the blues brings this point of opposition home clearly.
Peter even confesses that Viennese music is not his music. The river has been the source of life experience and the journey has included the New World as well through associations between the mighty but lazy Mississippi and the Danube and Danube Canal.
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Yet the novel about a middle-aged man in crisis, Josef Urban, and his youthful faithfu, companion Maria is closely modeled after the generic American road movie. The Morrison novel provides a literary hybridization of the search on the road for a life worth living for both the Beat Generation and its anti-establishment fsithful in the s.
In this latest publication, however, the novelistic landscape is that of Italy upon which the first-person narrator recounts the story of his trek down one side of the Italian boot and back up the other.
His last feature for radio was one on Alzheimers patients; the prior one was on Ernest 1.11 and A Farewell to Armswhich he actually researched some years ago faithfuo Italy just north of Venice, faithfup Hemingway wrote his famous work. Flashbacks and flash forwards, backlighting, slow and fast motion, split screen, etc.
He identifies himself and Maria as the protagonists in this road novel and other characters such as Francesco as merely secondary: As the individual scenes and episodes of the road novel are patched together into a cohesive whole, other elements of intertextuality and hybridity connected to American popular culture emerge as well.
The interplay of high culture and popular culture is revealed already in the two mottos Henisch selected for this work; one is taken from Novalis, the other from Jimi Hendrix. She listens faithcul its music, both hip-hop 1.11 rock. Josef too relates to this music, although he is clearly not as attuned to its lyrics as the younger generation to which Maria belongs. In recounting his story to the Italian Commissario, Josef states: And shortly thereafter Josef mouths the lyrics of another popular song: He then informs her that he was responsible for preparing a television documentary on this subject.
The intertextuality that derives from the connection between the popular and the mundane and the historical and the intellectually complex sheds light on the relative permanence of human experience across time as Henisch envisions it.
Just as he uses references to American and British personages Elizabeth Taylor, Richard Burton, Bonnie and Clyde, Patricia HighsmithHenisch draws upon the Italian faighful language, landscape, and cultural references to broaden his message. Though the lines between American and British culture are often somewhat blurred in all these works, Henisch reveals a proclivity toward the interjection of English and it should be noted Italian as well in Die schwangere Madonna in his writing in general.