tag:blogger.com,1999:blog-42808313363425566022024-03-13T20:20:22.033-07:00HANDKE-SCHOLARSUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.comBlogger52125tag:blogger.com,1999:blog-4280831336342556602.post-77178445511413204012018-08-19T11:15:00.002-07:002018-11-30T11:22:20.572-08:00notizbuecher-von-peter-handke-mein-zuhause-sind-die-farben<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: #fff2cc;"><a href="http://www.twitter.com/summapolitico"><img alt="Follow summapolitico on Twitter" src="http://twitter-badges.s3.amazonaws.com/t_logo-a.png" /></a></b></span><br />
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<span lang="DE" style="color: #666666; font-family: "arial" , sans-serif; font-size: 20.0pt;">Deutsches Literaturarchiv Marbach: Das stehende Jetzt.
Die Notizbücher von Peter Handke. Gespräch mit dem Autor und Essays von
Ulrich von Bülow.<br />
</span><span style="color: #666666; font-family: "arial" , sans-serif; font-size: 20.0pt;">Deutsche Schillergesellschaft, Marbach am Neckar 2018.<br />
150 Seiten, 18,00 EUR.<br />
ISBN-13: 9783944469393<o:p></o:p></span></div>
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<span style="color: #666666; font-family: "arial" , sans-serif; font-size: 20.0pt;"> <o:p></o:p></span></div>
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<b><span style="font-family: "courier new"; font-size: 20.0pt;"><a href="https://handkeonline.onb.ac.at/node/506"><span style="color: black; mso-bidi-font-family: "Courier New"; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;">https://handkeonline.onb.ac.at/node/506</span></a><o:p></o:p></span></b></div>
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<b><span style="background: yellow; font-family: "courier new"; font-size: 20.0pt;"><a href="https://handke-scholar.blogspot.com/2018/08/notizbuecher-von-peter-handke-mein.html"><span style="color: black; mso-bidi-font-family: "Courier New"; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;">https://handke-scholar.blogspot.com/2018/08/notizbuecher-von-peter-handke-mein.html</span></a></span></b><b><span style="font-family: "courier new"; font-size: 20.0pt;"><o:p></o:p></span></b></div>
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<b><span style="border: none 1.0pt; font-family: "courier new"; font-size: 20.0pt; padding: 0in;"> <span style="background: lime; mso-highlight: lime;"><a href="https://handke--revista-of-reviews.blogspot.com/2016/02/tagebuchern-2007-bis-2015.html"><span style="color: black; mso-bidi-font-family: "Courier New"; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;">https://handke--revista-of-reviews.blogspot.com/2016/02/tagebuchern-2007-bis-2015.html</span></a></span><o:p></o:p></span></b></div>
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<b><span style="background: aqua; border: none 1.0pt; font-family: "courier new"; font-size: 20.0pt; padding: 0in;"><a href="https://handke-magazin.blogspot.com/2017/08/selected-comments-on-handkes-diary.html"><span style="color: black; mso-bidi-font-family: "Courier New"; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;">https://handke-magazin.blogspot.com/2017/08/selected-comments-on-handkes-diary.html</span></a></span></b><b><span style="border: none 1.0pt; font-family: "courier new"; font-size: 20.0pt; padding: 0in;"><o:p></o:p></span></b></div>
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<b><span style="font-family: "courier new"; font-size: 20.0pt;">Two or three near simultaneous thoughts came to mind when I saw
the announcement for <o:p></o:p></span></b></h1>
<h1 style="page-break-after: avoid;">
<b><span style="font-family: "courier new"; font-size: 20.0pt;">cousin von Buelow’s amazingly valuable and insightful take on
the Notizbuecher,<o:p></o:p></span></b></h1>
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<b><span style="font-family: "courier new"; font-size: 20.0pt;"><a href="https://handkeonline.onb.ac.at/node/2279"><span style="color: black; mso-bidi-font-family: "Courier New"; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;">https://handkeonline.onb.ac.at/node/2279</span></a><o:p></o:p></span></b></h1>
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<span style="color: #660000; font-family: "verdana" , sans-serif; font-size: 9.0pt;">Zum Material: <o:p></o:p></span></div>
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<time class="ts-time" datetime="2018-08-17T16:49:12+02:00" itemprop="datePublished" style="border: 0px; box-sizing: border-box; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">17.08.2018, 16:49 Uhr</time></div>
<h1 class="ts-title" itemprop="headline" style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, Verdana, Helvetica, sans-serif; font-size: inherit; margin: 0px 0px 30px;">
<span class="ts-overline" style="border: 0px; box-sizing: border-box; display: inline; font-family: inherit; font-size: 15px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 400; line-height: 20px; margin: 0px; padding: 0px; vertical-align: baseline;">Notizbücher von Peter Handke</span><span class="ts-headline" style="border: 0px; box-sizing: border-box; clear: both; color: black; display: block; font-family: Georgia, "Bitstream Charter", serif; font-size: 36px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 400; line-height: 1.2em; margin: 6px 0px 0px; padding: 0px; vertical-align: baseline;">Mein Zuhause sind die Farben</span></h1>
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Zwischen Schrift und Bewusstsein: Ein prächtiges Marbacher Magazin erkundet die Welt von Peter Handkes Notizbüchern </div>
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<span class="ts-author" style="border: 0px; box-sizing: border-box; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><a class="ts-author ts-link" href="https://www.tagesspiegel.de/dotzauer-gregor/6046746.html" rel="author" style="background-color: transparent; border-bottom-color: currentcolor; border-bottom-style: solid; border-image: initial; border-left-color: initial; border-left-style: initial; border-right-color: initial; border-right-style: initial; border-top-color: initial; border-top-style: initial; border-width: 0px 0px 1px; box-sizing: border-box; color: #595959; font: inherit; margin: 0px; padding: 0px; text-decoration-line: none; vertical-align: baseline;">GREGOR DOTZAUER</a></span></address>
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<h1 style="page-break-after: avoid;">
<b><span style="font-family: "courier new"; font-size: 20.0pt;"> that every-moment-of-the-day-and-night
dimension of my man: first, didn’t I or my optometrist or my organ grower at
the University of Washington have a fresh set of eyes to consign to someone who
made the huge effort to decipher the volumes upon volume Handke scribbles hidden
often behind a host of Handke drawings<o:p></o:p></span></b></h1>
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<span style="font-size: 18.0pt;">https://www.galeriefriese.de/kuenstler/handke/14697-2/<o:p></o:p></span></div>
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<span class="irc_su" dir="ltr" style="unicode-bidi: isolate;">Eine Sammlung unwillkürlicher Selbstgespräche.„Empfänglich sein ist alles“ und andere Weisheiten. Notizbuch</span></div>
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<b><span lang="DE" style="color: #333333; font-size: 9.5pt;"><br /></span></b>
<b><span lang="DE" style="color: #333333; font-size: 9.5pt;"><br /></span></b>
<span lang="DE" style="color: #333333;"><span style="font-size: 12.6667px;"><b>https://www.google.com/search?q=von+buelow++das+stehende+jetzt&source=lnms&tbm=isch&sa=X&ved=0ahUKEwiCnZ2k3freAhVElFQKHV24CKEQ_AUIDygC&biw=853&bih=411#imgrc=H8tp2QNU7kCaBM:</b></span><br />
<br /><span style="font-size: 9.5pt;"><b>
<o:p></o:p></b></span></span></div>
<div class="pageitem" style="background: white; line-height: 16.8pt; margin-bottom: .0001pt; margin: 0in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: 0in;">
<!--[if !supportLists]--><span style="font-family: "symbol"; font-size: 10pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span></span><!--[endif]--><b><span lang="DE" style="font-family: "arial" , sans-serif; font-size: 11.5pt;"> </span></b><b><span style="font-family: "arial" , sans-serif; font-size: 11.5pt;"><o:p></o:p></span></b></div>
<div class="pageitem" style="background: white; line-height: 16.8pt; margin-bottom: .0001pt; margin: 0in; mso-list: l0 level2 lfo1; tab-stops: list 1.0in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: "courier new"; font-size: 10pt;">o<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="font-family: "arial" , sans-serif; font-size: 11.5pt;"> <o:p></o:p></span></b></div>
<div class="pageitem" style="background: white; line-height: 16.8pt; margin-bottom: .0001pt; margin: 0in; mso-list: l0 level2 lfo1; tab-stops: list 1.0in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: "courier new"; font-size: 10pt;">o<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="font-family: "arial" , sans-serif; font-size: 11.5pt;"> <o:p></o:p></span></b></div>
<div class="pageitem" style="background: white; line-height: 16.8pt; margin-bottom: .0001pt; margin: 0in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: 0in;">
<!--[if !supportLists]--><span style="font-family: "symbol"; font-size: 10pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span></span><!--[endif]--><b><span style="font-family: "arial" , sans-serif; font-size: 11.5pt;"> <o:p></o:p></span></b></div>
<h1 style="page-break-after: avoid;">
<b><span style="font-family: "courier new"; font-size: 20.0pt;"> </span></b></h1>
<h1 style="page-break-after: avoid;">
<b><span style="font-family: "courier new"; font-size: 20.0pt;"> </span></b></h1>
<div class="MsoNormal">
<span style="font-size: 18.0pt;"> </span><b><span style="font-family: "courier new"; font-size: 20.0pt;">and [2] that by selling
these masses of notebooks <o:p></o:p></span></b><br />
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<iframe allowfullscreen="" allowtransparency="true" class="" data-arid="83ace3f27d374790af6810d026c05e18" frameborder="0" height="150px" id="ape_Detail_ams-detail-right-pbook_desktop_iframe" marginheight="0" marginwidth="0" mozallowfullscreen="" name="{"slot":"Detail_ams-detail-right-pbook_desktop","slotName":"ams-detail-right-pbook","src":"https://aax-eu.amazon-adsystem.com/x/getad?pa=3944469399&c=100&pc=117&pt=Detail&u=https%3A%2F%2Fwww.amazon.de%2Fgp%2Fproduct%2F3944469399&src=506&sz=270x150&ad-sid=01013eff7e5f17e1e1ea4709d2753c9515349da3584e8b788f65c74fd08c3f8ae25e&pj=%7B%22asins%22%3A%223944469399%22%2C%22st%22%3A%22amzn.de.dp.books.belletristik%22%2C%22prid%22%3A%220101b34121f5e482603556a7af28340854a4b7f4a8125a31294f39bcce9eaac508d2%22%2C%22bn%22%3A%22117%22%7D&slot=ams-detail-right-pbook&sp=above","adServer":"cs","campaignId":"9003","arid":"83ace3f27d374790af6810d026c05e18","size":{"width":"100%","height":"150px"},"allowedSizes":[{"width":"100%","height":"150px"}],"allowedDomains":["g-ecx.images-amazon.com","images-na.ssl-images-amazon.com","d3l3lkinz3f56t.cloudfront.net","g-ecx.images-amazon.com","z-ecx.images-amazon.com","images-na.ssl-images-amazon.com","g-ec4.images-amazon.com","images-cn.ssl-images-amazon.com"],"aanParams":"site%3Damazon.de%3Bpt%3DDetail%3Bslot%3Dams-detail-right-pbook%3Bpid%3D3944469399%3Bbn%3D117%3Barid%3D83ace3f27d374790af6810d026c05e18","loadAfter":"immediate","extraDelay":0,"iframeExtraStyle":"","iframeClass":"","iframeSandbox":"","adPixels":[],"adPixelDelay":"0","aaxInstrPixelUrl":"","usePrefetchRoute":false,"serverSideFetchAd":"false","enableAdBlockerDetector":false,"disableResizeFunc":true,"fallbackStaticAdImgUrl":"","fallbackStaticAdClickUrl":"","fallbackStaticAdExtraStyle":"","adFeedbackInfo":{"endPoint":"/gp/aq-feedback/lazyLoad/handler/af-link-handler.html","boolFeedback":true,"slugText":"Anzeige"},"adPlacementMetaData":{"pageUrl":"aHR0cHM6Ly93d3cuYW1hem9uLmRlL2dwL3Byb2R1Y3QvMzk0NDQ2OTM5OQ==","adElementId":"ape_Detail_ams-detail-right-pbook_desktop_placement","pageType":"Detail","slotName":"ams-detail-right-pbook"},"adCreativeMetaData":{"adNetwork":"cs"},"advertisementStyle":{"position":"absolute","top":"2px","right":"0px","display":"inline-block","font":"normal 11px Arial","color":"grey"},"feedbackDivStyle":{"position":"relative","height":"14px","top":"2px"},"viewabilityStandards":[{"p":0,"t":0,"def":"amzn"},{"p":50,"t":1,"def":"iab"},{"p":100,"t":0,"def":"groupm"}],"ajaxWeblabTriggerId":"","abpStatus":"0","abpAcceptable":"false","DAsfUrl":"https://images-eu.ssl-images-amazon.com/images/G/03/ape/sf/desktop/DAsf-1.50.b6f5f66._V479604010_.js","hostDomain":"https://www.amazon.de","parentLocation":"https://www.amazon.de","queryParams":{},"aPageStart":1543601763774,"adStartTime":1543601764364,"safeFrameSrc":"https://images-eu.ssl-images-amazon.com/images/G/03/ape/sf/desktop/sf-1.50.b6f5f66._V479604008_.html"}" scrolling="no" src="https://images-eu.ssl-images-amazon.com/images/G/03/ape/sf/desktop/sf-1.50.b6f5f66._V479604008_.html" style="box-sizing: border-box;" webkitallowfullscreen="" width="100%"></iframe><br />
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<span class="a-size-small sdpText" style="box-sizing: border-box; font-size: 12px !important; line-height: 1.5 !important;">Möchten Sie verkaufen?</span><span class="a-button a-button-small a-float-right" id="a-autoid-0" style="background: rgb(231, 233, 236); border-color: rgb(173, 177, 184) rgb(162, 166, 172) rgb(141, 144, 150); border-radius: 3px; border-style: solid; border-width: 1px; box-sizing: border-box; cursor: pointer; display: inline-block; float: right !important; height: 22px; padding: 0px; text-align: center; vertical-align: middle;"><span class="a-button-inner" style="background: linear-gradient(rgb(247, 248, 250), rgb(231, 233, 236)); border-radius: 2px; box-shadow: rgba(255, 255, 255, 0.6) 0px 1px 0px inset; box-sizing: border-box; display: block; height: 20px !important; overflow: hidden; position: relative;"><a class="a-button-text" href="https://catalog-retail.amazon.de/abis/syh/DisplayCondition/ref=dp_sdp_sell?_encoding=UTF8&ld=AMZDP&coliid=&asin=3944469399&colid=&qid=&sr=" id="a-autoid-0-announce" role="button" style="background-color: transparent; border: 0px; box-sizing: border-box; color: #111111; display: block; font-size: 11px; height: 20px; line-height: 20px; margin: 0px; outline: 0px; padding: 0px 6px 0px 7px; text-decoration-line: none; white-space: nowrap; width: 124.51px;">Bei Amazon verkaufen</a></span></span></div>
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<b><span style="font-family: "courier new"; font-size: 20.0pt;">to scholarly institutions my
sly dog assured himself of continued if not eternal interest if of no one else at
least of Germanisten as long as the discipline exist; and [3] that
such a mass of material demanded and the assured a two volume biography one
hopes by a brilliant hand of such a calibrated Self that has displayed itself -
joyously towards the end - of each and every aspects,
even of its night thoughts; the consignee for the underwear, I hear, is the
Verbrecher Verlag, for a substantial sum! Handke wasn’t kidding when he
confessed to Mueller that he had become a capitalist – a most generous one it
must be said at once.</span></b><span style="font-size: 18.0pt;"><o:p></o:p></span></div>
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<b><span style="font-family: "courier new"; font-size: 20.0pt;">The first and
only time I saw Handke – [as his first
American translator and editor I met him I would say a couple of dozen times
during a 15 year period briefly or for extended stretches of mostly exceedingly
memorable, first in Spring 1966 at Princeton, the last time in Fall`1980 in
Salzburg] - make a note in one of these <i>Notizbuecher
</i>was in 1076, at the Rockaways, at Rijs Park.- Handke had wanted to go to the Atlantic ocean or
maybe I wanted to show him where I had lived for three years undistracted and in clean air until I had to
move back into the big bright and dark city on the founding of Urizen Books. We
had quite a bit of past by then, [a] the after-Princeton party at Pannah Grady’s
Dakota; [b] our meeting in Berlin in 1969 to discuss my <i>Kaspar translation; </i>[3] the famous Handke, Library Schwartz,
Kolleritsch 1971 visit to the USA and
New York as an Austrian cultural package, the official premiere of some Handke
plays in New York City; a visit to Elaine’s; a reception at my apartment; the
threesome’s return from the 21 cities in 28 days marathon, Library exhausted, Kolleritch with a tachi cardia,
my man fresh as a daisy marches off to Rizzoli’s to see what has appeared in
the mags and papers during his absence from these media; annual visits of mine
to the Rue Montomorncy and then to Meudon. <i>Kaspar
and Other Plays </i>had been published in 1970, Goalie and Shor Letter were
out, as was my translation of Innerworld, the New Yorker had run all for <i>Lefthanded Woman; Kaspar </i>had premiered
at B.A.M.; <i>Ride Across Lake Constance </i>at
the Vivian Beaumopnt at Lincoln Center<i> </i> – Handke, it would appear, at the time, was on
his way to becoming an established author in the United States. And I will
detail my experience of each of these encounters in the course of this commentary
so as to create the context for whatever notes Handke may have made – I myself
unfortunately lack the time if not the eyesight to peruse the material on-line.
I realize that Handke began the use of Notizbuecher as more or less exclusive crutches
for his work only around 1070, however he seems to have been making avid notes
already during his time in Berlin. A future lover and ex-lover of his, a true equal
whom I could not join in the early 80s for needing to lean up the Big Mess that
Urizen Books had become on the Via West Broadway, and who then could not wait,
mentioned that Handke would resort to a notebook at the most unlikely moments,
and though married demanded exclusive dibs of someone who confessed in the most
touching manner that at that time had been geil.<i><o:p></o:p></i></span></b></div>
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<b><span style="font-family: "courier new"; font-size: 20.0pt;">We had just published
in late 1975 as one of Urizen’s first books my translation of Handke’s three
long, stormy <u>Nonsense & Happiness</u> poems and I had taken along, in
the cubby hole back seat of my MGB, which I was about to sell, the fellow who
did the cover photo. Marvin Kesselman, <o:p></o:p></span></b></div>
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<b><span style="color: #111111; font-family: "courier new"; font-size: 20.0pt;">I
chose the WTC as cover subject in deference to Handke’s cited dislike of <i>La Defense</i> & if Urizen had stayed
put and not gone under by 9/11 the disintegrating WTC would sure have tumbled
down on us at 66 West Broadway - Building 7 was adjacent. <o:p></o:p></span></b></div>
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<b><span style="color: #111111; font-family: "courier new"; font-size: 20.0pt;"> Judging how the sun was setting - in my
recollection - as we arrived - to the left of Staten Island, that is in the
South West as compared to summerly North-West above Manhattan, it was either
Fall or maybe winter, and it seemed to be that moment at which the sun
disappears entirely, in the Atlantic, that elicited a reaching for the
notebook, a brief notation, the notebook tucked away; which sunset in my case had
me waiting for that famous green flash <o:p></o:p></span></b></div>
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<b><span style="color: #111111; font-family: "courier new"; font-size: 20.0pt;"><a href="https://en.wikipedia.org/wiki/Green_flash"><span style="color: black; mso-bidi-font-family: "Courier New"; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;">https://en.wikipedia.org/wiki/Green_flash</span></a><o:p></o:p></span></b></div>
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<b><span style="color: #111111; font-family: "courier new"; font-size: 20.0pt;">that is
supposed to accompany that moment; and the thought – a WW II war baby’s! – that
that red hot half orb I saw sinking reminded me how I had imagined the Graf
Spee had sunk in the River Plate, cornered by the Brits <a href="https://en.wikipedia.org/wiki/German_cruiser_Admiral_Graf_Spee"><span style="color: black; mso-bidi-font-family: "Courier New"; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;">https://en.wikipedia.org/wiki/German_cruiser_Admiral_Graf_Spee</span></a><o:p></o:p></span></b></div>
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<b><span style="color: #111111; font-family: "courier new"; font-size: 20.0pt;">a fantasy of
mine it turns out, the captain had scuttled a damaged ship, my fantasy at that
moment resorted to other memories of WW II or even WW I sea battles which I had
followed avidly – thus, with such a distinct recollection of that moment it
always interested me, but I never asked, what had occurred to Handke. </span></b><span style="font-family: "courier new";"><o:p></o:p></span></div>
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<b><span style="color: #111111; font-family: "courier new"; font-size: 20.0pt;"> <o:p></o:p></span></b></div>
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<b><span style="color: #111111; font-family: "courier new"; font-size: 20.0pt;"> The one time I see myself appear in one of the
Notebook’s derivative sources is in one of my favorite Handke titles, his <i>Geschichte des Bleistift’s</i>, where he
notes someone who is as playful as he is serious, and that was me when I had
taken Handke [with the invariable Brodsky so as not to be alone with someone
who now spooked me] to my pub, <i>Barnabus
Rex, Barneys </i>in neighborhood parlance, and had played pool and danced in
that difficult dance space and noted how awkwardly Brodksy and Handke danced.
To quote from my <i>Walkabout <a href="http://www.roloff.mysite.com/custom.html"><span style="color: black; mso-bidi-font-family: "Courier New"; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;">http://www.roloff.mysite.com/custom.html</span></a><o:p></o:p></i></span></b></div>
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<strong><span style="color: #006600; font-size: 18.0pt;">“Talk about a red light in a window. No, </span></strong><em><b><span style="color: #006600; font-size: 18.0pt;">Barnabus Rex</span></b></em><strong><span style="color: #006600; font-size: 18.0pt;"> was not
a trucker’s whore house; it was a pub, a shoe-box sized pub, 15 by 25 feet, say
400 square feet max was all there was to it including the bar itself on the
Western side and the cubicle; a juke box to the left as you entered from the
vestibule, </span></strong><em><b><span style="color: #006600; font-size: 18.0pt;">Mustang Sally, </span></b></em><strong><span style="color: #006600; font-size: 18.0pt;">Z.Z. Tops’ </span></strong><em><b><span style="color: #006600; font-size: 18.0pt;">Tush </span></b></em><strong><span style="color: #006600; font-size: 18.0pt;">and the
decrescendo of </span></strong><em><b><span style="color: #006600; font-size: 18.0pt;">Fame </span></b></em><strong><span style="color: #006600; font-size: 18.0pt;">are three
songs on that box that come immediately to mind after all these years, <i>What’s Love got to do with it, secondary
notion; </i>and of course <i>HEART ACHE,
there will be a heart-ache tonite – </i>as indeed there often was. Handke, who
does not mention this box in his </span></strong><em><b><span style="color: #006600; font-size: 18.0pt;">Assaying of
the Jukebox, </span></b></em><strong><span style="color: #006600; font-size: 18.0pt;">though he might may recall others, but then he perhaps never
visited </span></strong><em><b><span style="color: #006600; font-size: 18.0pt;">Barnabus</span></b></em><strong><span style="color: #006600; font-size: 18.0pt;"> again,
in </span></strong><em><b><span style="color: #006600; font-size: 18.0pt;">History of the Pencil </span></b></em><strong><span style="color: #006600; font-size: 18.0pt;">he notes that
he found me to be as playful as serious there, and I had not anticipated it
would be so difficult to find others who were like that and that Handke the one
time we played cards [see </span></strong><span class="apple-style-span"><b><u><span style="color: #444444; font-family: "courier new"; font-size: 18.0pt;"><a href="http://www.van.at/see/mike/index.htm"><span style="color: black; mso-bidi-font-family: "Courier New"; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;">http://www.van.at/see/mike/index.htm</span></a><o:p></o:p></span></u></b></span></div>
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<strong><span style="color: #006600; font-size: 18.0pt;">proved to be insufficiently playful and dreadful loser
as he admit in a variety of texts; or
that there would be so many intentional obstaclers, <i>Spielverderber</i>; he was so pleased to be there I recall, the head
barkeep, Ace, Andreas Nova, ex-drama student of director of Handke plays Carl
Weber, I won’t ever I think forget his sunshine of a smile breaking out on his
face at being introduced to the author of texts I had no idea he knew. Handke <o:p></o:p></span></strong></div>
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<strong><span style="color: #006600; font-size: 18.0pt;"> shuffled his
feet a little to the music as though to dance [although that might also have
been Michael Brodsky] something he says he only did once to jukebox music, with
an Indian girl in a bar in Anchorage. It would be twenty years before I found
out that jukeboxes were an obsession of his, an obsession so as to dream
himself free; though I was of course aware that he had dedicated </span></strong><em><b><span style="color: #006600; font-size: 18.0pt;">Public
Insult </span></b></em><strong><span style="color: #006600; font-size: 18.0pt;">to John Lennon, among others, and that he seemed
fond of Dylan’s music, and that by </span></strong><em><b><span style="color: #006600; font-size: 18.0pt;">not</span></b></em><strong><span style="color: #006600; font-size: 18.0pt;"> naming
him had somehow managed to capture a quality of Dylan’s and of himself as no
one else had, at least to my knowledge, in the San Francisco section of </span></strong><em><b><span style="color: #006600; font-size: 18.0pt;">A Slow
Homecoming.</span></b></em><strong><span style="color: #006600; font-size: 18.0pt;"> You could dance all around the mid-sized pool
table at </span></strong><em><b><span style="color: #006600; font-size: 18.0pt;">Barneys</span></b></em><strong><span style="color: #006600; font-size: 18.0pt;">, and if you
were a regular you knew how to do so without ever jostling a pool stick that
was poised to shoot, but you rocked, chiefly, pretty much on one tight spot,
dancing in a small space was the name of this ballet, right next </span></strong><em><b><span style="color: #006600; font-size: 18.0pt;">to</span></b></em><strong><span style="color: #006600; font-size: 18.0pt;"> the
jukebox, as much </span></strong><em><b><span style="color: #006600; font-size: 18.0pt;">inside</span></b></em><strong><span style="color: #006600; font-size: 18.0pt;"> the
music box as you could. Come out of the cold into such a mass of compacted
human warmth and the memory sticks in the cold of your New York existence.
Evidently, as I would find out, I was not the only one! Within several years,
by 1979 at the latest, </span></strong><em><b><span style="color: #006600; font-size: 18.0pt;">Barnabus Rex</span></b></em><strong><span style="color: #006600; font-size: 18.0pt;"> had been
“discovered,” by folks all the way from hated Jersey and Long Island, pioneers
too, adventurers of sorts, looking for what was not to be found in their
regions, but who quickly displaced the “natives,” themselves so recently
native, within a few years, especially so of course on weekends by arriving
early, by 8 o’clock, whereas the locals, artists of one kind or the other – very
rarely one of its former long-distance truckers would dare to mingle with the
new crowd most of whom, certainly, did
not go out before ten, most of them later, and found the place jammed with
unfamiliar faces. [So, don’t advertise, keep your mouth shut unless you want to
be discovered; once discovered you will be devoured.”<o:p></o:p></span></strong></div>
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<strong><span style="color: #006600; font-size: 18.0pt;"> </span></strong><strong><span style="color: #006600; font-family: "courier new"; font-size: 18.0pt;">That evening was memorable not only for Handke but, for me, for the
recently divorced bullying Laurie Spiegel appearing, seeing me happily with
friends and promptly fainting – at least she had not thrown a 2 by 4 as she
would if she saw me pass by in adjacent Duane Park near our once together loft;
fainted, friend anarchist film maker Australian sheep farmer extraordinaire
carriying her home the way Max Sidow is it? Does as that cross of a woman in an
early Ingmar Bergman film to some cannoneers at a sea shore; and for Handke,
entirely out of the blue, offering me 10 K dollars if I needed it for Urizen
Books – I had just committed myself to introduce 50 k into the firm to the two
partners, but only had 20, which would have been at least twice that but for
the vile Roger Straus fleeting me of three quarters of my royalty participation
in the books I had publishers there, a matter I was not even aware of until
years later, and three friends, each out of the blue, offering or handing me 10
k - I had said nothing of my need to
either of the three – that dates this event to 1076 or 1077as, Urizen had put all of its 250 K
investment on its first list and had nearly gone bankrupt but for one title, S<u>ex
Differences</u>, being sold to six different book clubs. Looking back, I ought
to have pointed out to the silent partner, Oberon N.V. that if he wanted us to
locate our offices on Central Park South next to his penthouse, and have an
illustrious board of advisers – the latter was our possible value to Oberon -
that Atheneum was founded, a decade prior, with a capital of 4 million and was
struggling too, of course on an entirely different. Yet I was keeping Handke at
arm’s length, in Paris he had availed himself of my woman, and not just any of
the many passions but of the “great fondness” – very different kind of attachment
but of greater potential not to burn or sputter, especially for writer editor
types who love their work as much as their “significant others” - but what
spooked me was that when I arranged for a meeting between the woman who was now
yet another ex but ctd close friend and confidant and the invariable Algonquin
resident when in New York he had not even recognized someone to whom he had
confessed so much – that is far spookier, too, than cuckolding someone who you then
continue to regard as a friend, and who continues to be a friend of your work.
Thus Michael Brodksy,.whose work I would not have published if Handke had not
sent him to me, served as the invariable shield.<o:p></o:p></span></strong></div>
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<strong><span style="color: #006600; font-family: "courier new"; font-size: 18.0pt;">I always wondered whether Handke
memorialized Pannah Grady, Jakov Lind and my party for the Gruppe 47 in 1966,
he had gotten the wrong impression there that Alan Ginsberg wanted to fuck me and
was not enlightened that he had been the object of desire. See my account of a visit to the Moenchsberg
in 1980 <o:p></o:p></span></strong></div>
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<span class="apple-style-span"><b><u><span style="color: #444444; font-family: "courier new"; font-size: 18.0pt;"><a href="http://www.van.at/see/mike/index.htm"><span style="color: black; mso-bidi-font-family: "Courier New"; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;">http://www.van.at/see/mike/index.htm</span></a><o:p></o:p></span></u></b></span></div>
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<span class="apple-style-span"><b><span style="color: #444444; font-family: "courier new"; font-size: 18.0pt;">the last time we saw each other, I
moved West in 1985, but there was yet one further major Handkerelated event in
my life, the translation of his <u>Ueber die Doerfer/ Walk About the Villages </u>which
led to the most interesting part of our correspondence; fiercest of fighting of
mine for the work led to the end of a friendship that the translation, for my
part, had revived into utter forget and the forgivefulness of the then 15 year
old cuckoldry for which the woman might certainly be as responsible, and
suffered the consequences. What magic resides in that play - thoughts on which <u>Bleistift</u>
notes in such detail. And discovery during that break-up how ultra Handke’s
self-image was.<o:p></o:p></span></b></span></div>
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<span class="apple-style-span"><b><span style="color: #444444; font-family: "courier new"; font-size: 18.0pt;"> The
notebooks make me wonder about Handke’s notation if any of our walk to
Brodsky’s across a snowy Brooklyn Bridge upon his return from Alaska in 1978. In
his correspondence with Kolleritch Handkle notes how pleasantly boring he finds
me during my visits to Rue Montmorency, whereas I found the then still socially
discombobulated Kaspar boring in needing to get back to work and not even offering
a glass of water to someone who was perhaps more of a city walker than Handke
could imagine. Dommage that the chessboard was not out, the Spassky-Fischer
matches coincided with the last flourishing of my chess talents.<o:p></o:p></span></b></span></div>
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<span class="apple-style-span"><b><span style="color: #444444; font-family: "courier new"; font-size: 18.0pt;"> Once, there
was a visiting Austrian Backfisch visiting; calling after that brief visit, Handke
mentioned that he he had exposed himself to her and that she had blushed, and I
knew I had an exhibitionist for a genius author!<o:p></o:p></span></b></span></div>
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<span class="apple-style-span"><b><span style="color: #444444; font-family: "courier new"; font-size: 18.0pt;"> There
was a long memorable drive to the suburbs in the 70s when Handke thought of living
in a NY suburb and sending Amina to a French lycée in Manhattan, but these
event will be detailed in the PDF. <o:p></o:p></span></b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: #fff2cc;"><span style="color: #0000ee;"><u>https://www.tagesspiegel.de/kultur/notizbuecher-von-peter-handke-mein-zuhause-sind-die-farben/22926406.html#kommentare</u></span></b></span><br />
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<header class="ts-article-header"><figure class="ts-article-element ts-lead ts-type-image" itemprop="image" itemscope="itemscope" itemtype="http://schema.org/ImageObject"><figcaption itemprop="caption description"><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: #fff2cc;"><span class="ts-figure-text" itemprop="description">Eine Sammlung unwillkürlicher Selbstgespräche.„Empfänglich sein ist alles“ und andere Weisheiten. Notizbuch vom Ende Juli 2010.</span><small class="ts-credit" itemprop="copyrightHolder">Foto: Chris Korner/DLA Marbacg</small></b></span></figcaption></figure></header><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: #fff2cc;">Im Halbrund aufgestellt, aneinandergelehnt und übereinandergestapelt, wie das Deutsche Literaturarchiv Marbach die 221 Notizbücher im vergangenen Oktober präsentierte, handelt es sich um ein Ehrfurcht gebietendes Textgebirge. Seine 33 000 Seiten, die Peter Handke von 1975 bis 2015 an insgesamt 14 600 Tagen anfertigte, ragen auch vor treuen Lesern als weitgehend unerschlossenes Massiv auf. Die Journale, die ihren Weg sorgsam ausgewählt aus der Kladde ins Buch fanden, „Das Gewicht der Welt“ oder zuletzt „An der Baumschattenwand nachts“, geben zwar einen Eindruck von Ton und Gehalt dieser Aufzeichnungen. Doch ihren besonderen Charakter gewinnen sie daraus, dass sie in ihrer Unkonzentriertheit eben nicht das Werk wollen, sondern das ewige Wuchern und die ewige Vorläufigkeit.<br />Ihr Ideal ist die permanente <a href="https://www.tagesspiegel.de/kultur/peter-handke-im-portraet-in-der-hoehle-des-graphomanen/14819654.html" target="_self">Weltmitschrift aus den Augenwinkeln</a> heraus, leicht errungen und gedanklich noch nicht ausgehärtet. Gerade in dieser nach einer unmöglichen Totalität strebenden Summe verlieren die Notizbücher ihren Schrecken. Man könnte auch sagen: Sie mussten in dieser Vollständigkeit geschrieben werden – sie müssen nur nicht in dieser Vollständigkeit gelesen werden. Mit ihren das Ungestalte in eine unreine Form rettenden Wahrnehmungsexerzitien machen sie sich selbst überflüssig.<br />Die schönste Abkürzung durch ihre vielstimmigen Unendlichkeiten bietet jetzt ein von Ulrich von Bülow herausgegebenes Marbacher Magazin. Mit Faksimiles reich illustriert, macht es ein Projekt so sinnlich wie intellektuell begreiflich, das <a href="https://www.tagesspiegel.de/kultur/neuerscheinungen-zu-peter-handke-blaetter-aus-dem-niemandsbuch/20669132.html" target="_self">den Schriftbesessenen und Zeichner</a> in seinen wichtigsten Facetten zeigt: den <a href="https://www.tagesspiegel.de/kultur/peter-handke-und-die-obstdiebin-lob-der-hornissen/20568954.html" target="_self">Naturbeobachter</a>, der das Nebensächliche zu den Hauptsachen erklärt. Den im Halbdämmer Traumspuren festhaltenden Diaristen. Und den zwischen dem Streuobst seines Bewusstseins gezielt Lesefrüchte auflesenden Protokollanten</b></span><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: #fff2cc;">Natürlich sind die Notizbücher auch das Labor der Romane, aber eher im Sinne einer Einübung in ein Erzählklima als in einer Skizze des noch Auszuführenden. Ulrich von Bülows einführender Essay in Handkes Selbstkultivierungstechniken ist in seiner Kürze und Dichte ein Glanzstück des Bandes. Erhellend auch die Abschrift eines öffentlichen Gesprächs, das Handke und von Bülow zur Erwerbung der Notizbücher am 18. Oktober 2017 in Marbach führten. Der Autor gibt darin selten aufgeräumt Auskunft über seine Entwicklung.<br />Unter anderem klärt er die Bedeutung des Kürzels „U. S.“, das für „unwillkürliches Selbstgespräch“ steht. „Ich denke manchmal irgendetwas, und das ist in dem Moment derartig blöd, manchmal wie von Karl Valentin“, erklärt Handke. „Zum Beispiel: ,Ich wundere mich über gar nichts mehr.‘ Und dann sage ich mir: ,Dann lass dich doch gleich begraben.‘ Das ist überhaupt kein Gedanke, das ist ein unwillkürliches Selbstgespräch.“<br />In weiteren Essays widmet sich Ulrich von Bülow Handkes „Heidegger-Lektüren“ und den „Spinoza-Lektüren“. Vor allem der letztgenannte Aufsatz leistet Pionierarbeit. Er weist nach, wie Spinozas „Ethik“, ein umfassender, vom Ontologischen bis zum Erkenntnistheoretischen reichender philosophischer Entwurf, der Gott und Natur in eins setzt, Handkes 1979 mit „Langsame Heimkehr“ einsetzende Tetralogie zu prägen begann. Auch „Das stehende Jetzt“, der Titel des Marbacher Bandes, geht auf jene Zeit zurück. In seiner lateinischen Variante „Nunc stans“, die das Zusammenfallen von Moment und Ewigkeit meint, erprobte er den von ihm eigenwillig interpretierten Begriff in seinen Notizbüchern, ehe er 1980 in die ersten Sätze der „Lehre der Sainte-Victoire“ Eingang fand. „Einmal bin ich in den Farben zu Hause gewesen“, heißt es da. „Naturwelt und Menschenwerk, eins durch das andere, bereiteten mir einen Beseligungsmoment, den ich aus den Halbschlafbildern kenne, und der Nunc stans genannt worden ist.“<br />Das Nunc stans ist bis heute das beste Mittel, den Grundwiderspruch von Handkes Projekt, vielleicht sogar aller Kunst, aufzulösen: nämlich ein Sehen, das sich erst im Schreiben verwirklicht – und dadurch der Welt bereits als etwas Anderes, für immer Fixiertes gegenübertritt. So, wie die angehaltene Zeit in den Strom der Dinge zurückfließt, um von Neuem angehalten zu werden, geschieht es auch mit dem objektivierten Satz und dem lebendigen Bewusstsein.<br /><em>Das stehende Jetzt. Die Notizbücher von Peter Handke. Gespräch mit dem Autor und Essays von Ulrich von Bülow. 152 S., 18 €. Bestellung: www.dla-marbach.de</em></b></span></div>
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SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-4280831336342556602.post-90579227869635457182018-07-20T13:07:00.004-07:002018-07-20T13:07:59.697-07:00Musical models and themes have been essential features in the work of Peter Handke<span style="background-color: cyan; color: #333333; font-family: Arial, "Helvetica Neue", Helvetica, sans-serif;"><span style="font-size: large;"><b>Musical models and themes have been essential features in the work of Peter Handke from his rock-concert-like 'language plays' of the 1960s and early 1970s on. As a temporal medium, music connects directly with a hallmark of Handke's writing, namely the narrative feature of epiphany. These pronounced moments of connection between self and world set amid narrative flow are in turn linked to a thematic model of enchantment rooted in both neo-Romantic and modernist aesthetic and critical traditions in Austria and Central Europe. Particular attention is paid to Handke's motif of the jukebox, a globalizing musical mechanism that advances both a collective reading of cultural narrative and a subjective critical construction of it. Seit seinen rockkonzerthaften Sprechstücken der 1960er und frühen 1970er Jahre spielen Vorbilder und Themen aus der Sphäre der Musik in der Schreibkarriere Peter Handkes bis heute eine bestimmende Rolle. Als zeitverbundenes Medium schließt sich die Musik unmittelbar an einem Grundkennzeichen handkeschen Schreibens an, und zwar dem Epiphanischen. Jene inmitten narrativer Bewegung ausgesprochenen Augenblicke des miteinander Verbundenseins zwischen Ich und Welt verknüpfen sich mit dem thematischen Modell der Verzauberung — einer Thematik, die in ästhetischen und kulturkritischen Traditionen der österreichischen Neuromantik und der mitteleuropäischen Moderne tief verwurzelt ist. Weiterer Schwerpunkt des Beitrags bezieht sich auf das handkesche Motiv der Jukebox, die als globalisierender Musikmechanismus dient, der sowohl kollektives Ablesen als auch subjektiv-kritische Konstruktionen kultureller Narrative fördert. </b></span></span><br />
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<span style="color: #333333; font-family: Arial, Helvetica Neue, Helvetica, sans-serif; font-size: large;"><b style="background-color: cyan;">https://www.jstor.org/stable/27944914?seq=1#page_scan_tab_contents</b></span><br />
SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-4280831336342556602.post-72091095322467500472018-07-20T12:19:00.001-07:002018-07-20T12:19:20.402-07:00 analysis of the art of memory in Peter Handke’s Die Wiederholung <span style="background-color: yellow; font-size: large;"><span style="color: #333333; font-family: Georgia, serif; letter-spacing: 0.102px;">This analysis of the art of memory in Peter Handke’s </span><em class="EmphasisTypeItalic " style="box-sizing: border-box; color: #333333; font-family: Georgia, serif; letter-spacing: 0.102px;">Die Wiederholung</em><span style="color: #333333; font-family: Georgia, serif; letter-spacing: 0.102px;"> argues that his notion of memory is rooted in Kierkegaard’s (future-oriented) concept of repetition rather than the Greek (past-oriented) concept of recollection. Drawing on Stanley Cavell’s reading of Thoreau, this chapter explores the environmental ramifications of such a dramaturgy of memory. It investigates the anthropological dialectics of primary and secondary nature, the relation between spatial mapping and language development, and the paradox of gaining identity through accepting otherness. Close readings of narrative strategies offer new insights into the ways in which Handke combines his language philosophy with an ethics of space, movement, </span></span><br />
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<span style="font-size: large;"><b style="background-color: yellow;">https://link.springer.com/chapter/10.1057/978-1-137-54222-9_6</b></span>SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-4280831336342556602.post-40473698678053430682018-07-02T12:15:00.004-07:002018-07-02T12:15:45.263-07:00movement in Peter Handke´s novel ”Der Bildverlust”<b><span style="font-size: large;">http://www.diva-portal.org/smash/get/diva2:431139/FULLTEXT01.pdf</span></b><br />
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<b style="background-color: yellow;"><span style="font-size: large;">This study explores the motif of movement in Peter Handke´s novel ”Der Bildverlust” (2002). The novel is about an ”adventuress”, who travels through a desert in order to get to a person called ”the author”, who is to write down her story. The study shows that the physical movement while travelling through the desert is interconnected with a corresponding physical movement even on the level of perception and on the level of language. For example, both reading and gazing describe a pendular physical movement betweeen the object and the perceiving subject. On the one hand, this complex net of physical movement causes a perpetual being on the move on all these different levels. On the other hand, it makes more intensive perception possible. Thus, the study recurs to the theory of phenomenology and here especially the phenomenology of perception by Paul Ricoeur. Ricoeur´s theory helps illuminate the relationship between perception and language and chisels out the creative function of perception and language. Also in the ”Bildverlust” the complex movement on the different levels is orientated to the creative aspect of both perception and language. Not only is ”the author” the destination of the journey, but also all movements are permeated with putting into words in shorthand the perceived and the experienced and finally the act of narrating and of being narrated. Increasingly, even rhythm permeates the movements. This results in a transcending experience of the subject, embedded in physical movement, perception and the act of formulating and narration.....</span></b><br />
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<b style="background-color: yellow;">http://www.diva-portal.org/smash/get/diva2:431139/FULLTEXT01.pdf</b>SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-4280831336342556602.post-61915426151397577632018-06-17T08:45:00.001-07:002018-06-17T08:45:06.465-07:00le-cas-handke.pdf<span style="font-size: large;">h<b style="background-color: yellow;">ttps://resistingher.le-monde-en-echange.fr/1023-le-cas-handke.pdf</b></span><br />
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<span style="font-size: large;"><b style="background-color: yellow;"> DOUZOU, F. BERQUIN : Pour ouvrir cet entretien, permettez-moi tout d'abord de. le 5 octobre 2017.
Acheter Le Nègre du «Narcisse sur Amazon. À travers le récit de ses deux derniers voyages en Syrie.
Toutes les news, photos exclusives, vidéos de Arielle Dombasle. Plusieurs soirs par semaine, le studio de
danse ouvre ses portes : cours, stages et pratiques amateurs, du bodyshake au bodysong en passant par le
contact. Joseph Conrad dans la Zone. 6789 livres répondent à votre recherche 06h41 ( Jean-Philippe Blondel
) 1 - L'héritière ( Hanne-Vibeke Holst ) 11 ans ( Jean-Baptiste Aubert ) STALKER - Dissection du cadavre de
la littérature Stalker est le blog érudit et polémique de Juan Asensio consacré à la littérature, la critique. À
travers le récit de ses deux derniers voyages en Syrie. Le site des Éditions Gallimard : catalogue, agenda des
auteurs, actualités de la maison d'édition, vidéos et documents, recherche de citations. DOUZOU, F.
modifier - modifier le code - modifier Wikidata Caspar ou Kaspar Hauser (né le 30 avril 1812 (.
Le corps de Morand C. Le site des Éditions Gallimard : catalogue, agenda des auteurs, actualités de la maison
d'édition, vidéos et documents, recherche de citations. Dans Le Salon Littéraire, François Xavier présente
Cahiers de Damas qui paraît le 16 mai. Découvrez tou</b></span>SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-4280831336342556602.post-19980334295593239942018-04-27T10:38:00.001-07:002018-05-02T08:14:47.091-07:00SPECIFICS Section re OBTDIEB/ FRUIT THIEF<br />
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<b style="mso-bidi-font-weight: normal;"><u><span lang="PL" style="background: aqua; font-family: "courier new";"><span style="font-size: large;">I will put on line weekend of May 5 @ <o:p></o:p></span></span></u></b></div>
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<b style="mso-bidi-font-weight: normal;"><u><span lang="PL" style="font-family: "courier new";"><span style="font-size: large;"><a href="http://handke-scholar.blogspot.com/2018/04/pdfs-for-specifics-site.html">http://handke-scholar.blogspot.com/2018/04/pdfs-for-specifics-site.html</a><o:p></o:p></span></span></u></b></div>
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<b style="mso-bidi-font-weight: normal;"><u><span lang="PL" style="background: aqua; font-family: "courier new";"><span style="font-size: large;">pdfs of zeroxes of the pertinent pages I cite 150, 377, 385, amd especilly
of the great sequnce the night that Alexia spends om he Aubge de Dieppe <span style="mso-spacerun: yes;"> </span>before and after p. 440 and one from the end.<o:p></o:p></span></span></u></b><br />
<b style="mso-bidi-font-weight: normal;"><u><span lang="PL" style="background: aqua; font-family: "courier new";"><span style="font-size: large;"><br /></span></span></u></b>
<span style="background-color: #ffd966;"><span lang="PL" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"><span style="font-family: "courier new"; font-size: large;"><b><u>http://handke-magazin.blogspot.com/2018/04/main-character-device-alexia-fruit.html</u></b></span></span></span><br />
<span style="background-color: #ffd966;"><span lang="PL" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"><span style="font-family: "courier new"; font-size: large;"><b><u><br /></u></b></span></span></span>
<span style="background-color: #d9ead3;"><span lang="PL" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"><span style="font-family: "courier new"; font-size: large;"><b><u>http://artscritic.blogspot.com/2018/01/roloffs-obstdiebin-fruit-thief.html</u></b></span></span></span><br />
<span style="background-color: #d9ead3;"><span lang="PL" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"><span style="font-family: "courier new"; font-size: large;"><b><u><br /></u></b></span></span></span>
<span style="background-color: #f4cccc;"><span lang="PL" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"><span style="font-family: "courier new"; font-size: large;"><b><u>http://handke--revista-of-reviews.blogspot.com/2017/07/die-obstdiebin.html</u></b></span></span></span><br />
<span style="background-color: #f4cccc;"><span lang="PL" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"><span style="font-family: "courier new"; font-size: large;"><b><u><br /></u></b></span></span></span>
<span style="background-color: cyan;"><span lang="PL" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"><span style="font-family: "courier new"; font-size: large;"><b><u>http://handke-scholar.blogspot.com/2018/04/handke-fellingers-account-of-writing-of.html</u></b></span></span></span><br />
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background: aqua; font-family: "courier new";"><span style="font-size: large;">The manner in which FRUIT THIEF is composed - as self-contained discontinuous
paragraphs – or sequences of that kind – <span style="mso-spacerun: yes;"> </span>which does not diminish the overall drive of
Alexias adventure once it gets underway in Clergy-Pointoise – makes FRUIT THIEF
a <i style="mso-bidi-font-style: normal;">Minima Moralia </i>kind of book where
you can leaf around – and appreciate the different ways in which these various
essay-like sections and sequences are composed...In that respect FRUIT THIEF
can be regarded as yet one more Handke writing lesson... Had I the time, I could
annotate or comment on each of these more or less „minis” - that can be several
pages long with their small interim bridges - of this more than by and large marvelous
book on which I cavil only in a few instances in the main commentary and here<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "courier new";"><span style="font-size: large;"><a href="http://artscritic.blogspot.com/2018/01/roloffs-obstdiebin-fruit-thief.html">http://artscritic.blogspot.com/2018/01/roloffs-obstdiebin-fruit-thief.html</a><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background: aqua; font-family: "courier new";"><span style="font-size: large;">However, as I am engaged in completing, finally and very belatedly – in
some ways glad to be late - for, the overall story - DARLINGS & MONSTERS -
set in the 70s & 80, in New York City, in retrospect – with its financial shenanigans,
its shifting tectonic real estate plates, its mob pornography production, the
disintegration of the New Left, the increasing crudeness of the various Lumpen
contingents, its infusion of cocaine, a huge city on the verge of bankruptcy, rife
crime<span style="mso-spacerun: yes;"> </span>reaching into the artistic
precincts, future arbitrageurs future jail birds and money mavens of the like starting
to invade our downtown turf - can be regarded precursor, it turns out, for „the
current state of affairs,” retrospectively... deregulation and the pleasure of
the breakdown of all taboos, a very sexy period...Grosz would have a heyhayday!<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background: aqua; font-family: "courier new";"><span style="font-size: large;">For resons of time, therefore, this
SPECIFICS section will confine itself to about half a dozen instances of
appreciation of the magic that the Weaverbird of Griffen, Voelker-Markt spins in
ALEXIA, FRUIT THIEF, but concentrate on the Auberge de Dieppe section around p.
440 – Alexia’s dream and related sections strike me as the most delicate
writing I have encountered since I became an admirerer of Eudora Welty.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background: aqua; font-family: "courier new";"><span style="font-size: large;">1] Starting with the single major grumble - to get it out of they way and
not to beat a dead horse, anyhoo not too much. The only matter that seriously
bugs me is Handke’s way of motivating Alexia’s expedition from Clergy-Pointoise
to Chaumont sur Oesne, - about p.150 - the creation of a family, giving her the
Bankieress of SIERRA <span style="mso-spacerun: yes;"> </span>DEL GREDOS for a
mother, pretty much springing a family get together on the reader at the end. These
are the book<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background: aqua; font-family: "courier new";"><span style="font-size: large;">superfluities. <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background: aqua; font-family: "courier new";"><span style="font-size: large;">Alexia is said to be a world traveler, as a
kid a runaway who just happens to have been to all the same places its author
has been to - but Siberia instead of Serbia and its rivers - and who shares his
or some of his other imersonations’ superstitions such as first walking
backwards, and a host of other oddities.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background: aqua; font-family: "courier new";"><span style="font-size: large;">ince Alexia is said to have spent one
semester at university in Pontoise, as motivation for Handke’s chief objective
to memorialize a section of the Picardie and its Vexin Plateau along the river
Voisne her wanting to explore a region closer to home would suffice; a brother,
too, is not needed - if Handke wants to work in one more shared appreciation
for the craft of carpentry and we want to dispense with the brother there sure
exists ample opportunity among the<span style="mso-spacerun: yes;"> </span>many
wonderful episodes that are strung along that 60 k.m. stretch to raise a <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>carpenter onto a roof... after all, nearly no
end of marvelous stuff is fitted into that round the world hike up the Voisne
with its Brasserie de Universe and its Kurdish host; and Alexia’s father, too, could
still give Alexia that marvelous persiflage of advice - but we don’t need an
allegedly nutty Bankieress mother who is as lost as that cat that its owners so
improbably searches for the length of the Voisne River. Though allegedly the
objective of Alexia’s expedition only a single mention of her then occurrs during
it; we don’t need that family background nor a family get together that’s pretty
much is pulled out of a hat at the end... it literally comes out of all that
blue sky during the ever-prevailing high summer August days – fabulous ending
though it is, a reprieve to the Nth power of the ending {and I don’t mean
Nova’s dramatic poem} of WALK ABOUT THE VILLAGES.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background: aqua; font-family: "courier new";"><span style="font-size: large;">Handke does a barely better than
workmanlike job in establishing this family business around P. 150 -<span style="mso-spacerun: yes;"> </span>not the usual A+ <span style="mso-spacerun: yes;"> </span>-<span style="mso-spacerun: yes;"> </span>AND of
the sort of thing he once said he would never do – though, judging by the
reviews, giving those folk a simple handle is the way to go. They all write
„search for mom”! <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background: aqua; font-family: "courier new";"><span style="font-size: large;">What strikes me as essential though is that
this pizza deliverer hitches on to Alexia along the way – who gets his own
several pages then – if only for the sake of <span style="mso-spacerun: yes;"> </span>Alexia’s dream fantasy – of agape intimacy –
that reminds me of what some<span style="mso-spacerun: yes;"> </span>of us were
like before we really bit into the apple and chewed!<o:p></o:p></span></span></b><span style="background-color: yellow; font-size: large;"><b style="text-indent: 35.45pt;"><span lang="PL" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: "Courier New";">There is another take on the dream:</span></b><b style="text-indent: 35.45pt;"><span lang="PL" style="font-family: "Courier New";">that<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">
</span>it<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"> </span>can<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"> </span>also<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"> </span>be<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"> </span>read<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"> </span>as<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"> </span>the<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"> </span>description<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"> </span>of<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">
</span>the<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"> </span>state<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"> lo</span>ve<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"> </span>making<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"> </span>reaches<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"> </span>when<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"> </span>both<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"> </span>parties<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"> </span>become<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"> d</span>isembodied<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"> </span>and<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"> </span>male<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"> </span>and<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"> </span>female<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"> </span>no<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"> </span>longer<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"> </span>matter<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"> </span>Handke<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"> </span>certainly<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"> </span>knows<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"> </span>that<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"> </span>stage<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"> </span>after<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"> </span>all<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"> </span>the<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"> </span>lovers<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"> </span>he<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"> </span>has<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"> </span>had.</span></b></span><br />
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background: aqua; font-family: "courier new";"><span style="font-size: large;">Let’s not forget what made LEFT-HANDED so
successful – and Alexia is her younger sister - namely, that Handke did not
provide an explanation, ascribe a single motive to her decision to leave her
husband – also lets not forget Handke’s notebook comment that while writing
LEFTHANDED he was attending lots of porno films in Paris – to indicate a
conflict between impulses of a roue and monastery kind! Any half-witted reader
- but Anatole Broyard in the New York Times - could fill in the explanation
lacuna with a dozen over-determined reasons, as there are for events of that
kind; but for the Modern Love secion, the NY Times again, which feels it needs
to provide complete explanations so that its readers are not bereft but assured
that the world makes sense??? – Alexia having her chaste dream.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background: aqua; font-family: "courier new";"><span style="font-size: large;"><span style="mso-spacerun: yes;"> </span>ALEXIA,
FRUIT THIEF as much as LEFT-HANDED WOMAN could have been a psychological novel,
not Handke’s strength or interest, as FRUIT THIEF once again confirms except that
the dream sequence shows something that no psychologizing can, I don’t think <span style="mso-spacerun: yes;"> </span>- And what does Handke know about French<i style="mso-bidi-font-style: normal;"> haute bourgeois? </i>– Well, his wife
Sophie Semin is of that class, and it made Handke, at least initially, so I was
told, quite uneasy to be affianced to wealth. <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background: aqua; font-family: "courier new";"><span style="font-size: large;">Alexia - if the dream Handke invents for
her during her night at the Auberge de Dieppe is the most substantive matter we
get to know about her – might strike you as having been raised at a Catholic boarding
school who yet might enter a nunnery! – it strikes me as on that cusp - <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background: aqua; font-family: "courier new";"><span style="font-size: large;">the kind of Catholicism which jibes with an ending that advertizes marriage
as a sacrament. Fortunately - but for the section when Alexia’s family
background is sketched – family matters scarcely crop up during her expedition
into the Picardie, the few mentions of a call to her brother and the like are
more like pro-forma fluff to keep that part of the superfice architecture
barely afloat for those to whom that part matters,<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background: aqua; font-family: "courier new";"><span style="font-size: large;"><span style="mso-spacerun: yes;"> </span>and do not drive the narrative nor
divert from the spectacular evocation of the seenery.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background: aqua; font-family: "courier new";"><span style="font-size: large;">2] page 390 about <span style="mso-spacerun: yes;"> </span>FRUIT THIEF also
features Valter, the pizza deliverer waif who attaches himself to Alexia as
entirely unencumbered by family but for his dreams of having parents and whom the
author – and barely in time - gives his due in telling us who he is – a
wonderful sequence of the kind i mention above. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background: aqua; font-family: "courier new";"><span style="font-size: large;">3] <span style="mso-spacerun: yes;"> </span>One of the if not <u>the</u>
most marvelous sequences commences when Alexia and - I nearly said „surrogate
dog” - Valter spend a night in the Auberge de Dieppe in the middle of the
Vexin. <span style="mso-spacerun: yes;"> </span>P.<span style="mso-spacerun: yes;"> </span>440 thereabout. In its entirety the sequence
reads like an Eric Rohmer film – and I don’t mean only Alexia’s time spent in
that petit chambre under the stairs or that amazing dream of hers [see above],
which tells us who she substantially is – I mean the entire sequence until the
hold-out Auberge-keep, for ages <span style="mso-spacerun: yes;"> </span>he hasn’t
had a single guest– shades of the restarateur of<span style="mso-spacerun: yes;"> </span>NO-MAN’S BAY who makes the world’s best word
salad as he keeps going broke and retreats further and further into the woods –
does all he can to delay their departure – it is breath-taking the timing<span style="mso-spacerun: yes;"> </span>of this sequence, magical, it is so touching
to empathize with this man - and Handke’s amazing artfulness is equal to the so
amazingly perfectly paced opening of MORAVIAN NIGHT – the kind of artfulness of
Handke’s that no one hereabouts seems to notice or they take it for granted in
this artless country a musical ability goes back as far as the pacing of his
first play without word – but not without sounds - MY FOOT MY TUTOR.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background: aqua; font-family: "courier new";"><span style="font-size: large;">4] <span style="mso-spacerun: yes;"> </span>The astonishing sequence when
Alexia is caught in the blackbery brambles and comes upon the cat whose owner’s
voice she has been hearing all along the Voisne – <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>Now if the cat would turn out to be the
Bankieress which allegedly Alexia is searchig for – but no, it is a morbund cat
and her owner has most improbably been looking for her for miles and miles. The
physicality of the description here will stick bramble-like in the reader’s
mind .<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background: aqua; font-family: "courier new";"><span style="font-size: large;">5] The manner in which Alexia addresses that dog who has decided to
follow her and tell him to get lost is one of many dramaturgical instances in
the book – and a most amusing one. And you can just lift it out of the book and
put it the stage all by itself.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background: aqua; font-family: "courier new";"><span style="font-size: large;">6] <span style="mso-spacerun: yes;"> </span>The „psychophysicist” in me
objects to one particular little superficial essay where Handke describes what
is ordinarily called the „associative” fabric of the brain. Handke’s no-knothing
relationship to modern science shows – not to worry Peter no one will be able
to predict what goes on in the bilions of associative pathways no matter that
major features of oor brains and what they accomplish are pretty well known.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background: aqua; font-family: "courier new";"><span style="font-size: large;">7 ] The end sequence which is a reprieve to the nth power of the end of
WALK ABOUT THE VILLAGES – „wallow in your despair,” „dont’ extirpate your
beastliness,” „be even more hopeless”...<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background: aqua; font-family: "courier new";"><span style="font-size: large;">I usually don’t comment on a Handke work until I have read it several
times. In this instance that is the case only in the specifics I cite here, but
rereading this marvelous invivogarating book in its entirely I expect will
generate further comments.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="background: aqua; font-family: "courier new";"><span style="font-size: large;">.<o:p></o:p></span></span></b></div>
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<span lang="PL" style="font-family: "courier new";"><span style="font-size: large;">T<o:p></o:p></span></span></div>
<br />SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-4280831336342556602.post-19624574954427144072018-04-27T08:20:00.002-07:002018-04-27T08:20:22.433-07:00BIOGRAPHICAL NOTES RE HANDKE-ROLOFF<br />
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<b style="mso-bidi-font-weight: normal;"><u><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;">FN 4-6 & 13 from my piece on FRUIT THIEF<o:p></o:p></span></span></u></b></div>
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<b><span lang="PL" style="font-family: "Courier New";"><a href="http://handke-discussion.blogspot.com/2018/03/roloffs-review-of-alexia-fruit-thief.html">http://handke-discussion.blogspot.com/2018/03/roloffs-review-of-alexia-fruit-thief.html</a></span></b></div>
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<b>THE Focus is on writing autobiographically and thus on some lies Handke has committed in the process.</b></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span style="background: lime; font-family: "Courier New";">About twenty years ago, in the mid-90s -
contemplating how Handke had begun a second stint in Paris, at NO-MAN’S-BAY
Chaville that he may have discovered while living in the LEFT-HANDED WOMAN’s
Paris-Meudon - it occurred to me that in his prose works – overall – via his
various autobiographical tacks - <span style="mso-spacerun: yes;"> </span>and the
“part objects” as which one could describe figures as different as Bloch of
GOALIE and Alexia – who are more than projections - was creating a kind of</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Courier New";"> <span lang="PL">Yoknapatawpha County</span></span></b><b style="mso-bidi-font-weight: normal;"><span style="background: lime; font-family: "Courier New";"> of
his many-faceted self – {while showing us and teaching us his many developing
mettles as a writer]; and that, thus, you could assemble a biography by
selecting the significant sections from the growing oeuvre and make the most
interesting multi-faceted portrait ever. You would need to do some bridge work
by annotating with some standard biographical writing of the kind that Herwig
and others and I have done, and add some of my or other psycho-analytic
insights - such a portrait, then, would need to point out a few “warts” [to put
matters mildly and unprogressively] and correct Handke when he lies; of which
lies I happen to be aware of about half a dozen.<o:p></o:p></span></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background: lime; font-family: "Courier New";"><span style="font-size: large;">1]<span style="mso-tab-count: 1;"> </span>As we
know from Herwig’s biography, there was no graduation trip with Handke’s real
father, Schoenherr, as Handke foolishly claims at the end of SORROW BEYOND
DREAMS – why? To injure that man, payback for his abandoning his mother,
forcing her to find that dreadful surrogate, Bruno Handke? Gratuitously? What
is strangest is the fear that Handke projects into the father during that
imagined trip - that he and his son may be regarded as a homosexual couple –
Handke’s homophobia??? Handke’s homophobia would be well justified based on his
experience in his mother and stepfather’s bedroom. - Upon his first daughter
Amina’s graduation Handke takes her on that kind of standard <i style="mso-bidi-font-style: normal;">pater familias</i> trip to Portugal – what
fear accompanied that expedition? – <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background: lime; font-family: "Courier New";"><span style="font-size: large;">2] Libgart Schwarz did not leave Handke in 1971
to return to her career in the theater, which she had never left, but because
life with her husband, of which I got a good whiff while the couple and
Kolleritsch were in New York in 1971, had become entirely impossible <span style="mso-spacerun: yes;"> </span>- the only surprise is why Libgart waited as long
as she did.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background: lime; font-family: "Courier New";"><span style="font-size: large;">3] Handke has not a congenital heart valve
problems, the official reason<span style="mso-spacerun: yes;"> </span>why he
ended up in a Paris hospital in the early 70s - he did for panic attacks that I
attribute to his mother’s suicide and his wife leaving him: someone as beloved
by his mother as Handke, suddenly bereft of all mother figures, is bound to
start fugueing if he has Handke’s kind of sensitivities, as he describes in the
three long poems of NONSENSE & HAPPINESS {from ALS DAS WUENSCHEN NOCH
GEHOLFEN HAT] – <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Courier New";"><span style="font-size: large;"><a href="http://analytic-comments.blogspot.com/2009/06/fugueing-section-from-part-ii-of-psycho.html">http://analytic-comments.blogspot.com/2009/06/fugueing-section-from-part-ii-of-psycho.html</a><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background: lime; font-family: "Courier New";"><span style="font-size: large;">Valium then calmed the nerves – and what a
surprise that someone who had victoriously conquered fear as a kid and played
with fear and demonstrated it’s conquest during his “I am<span style="mso-spacerun: yes;"> </span>new Kafka period” should then succumb to
panic.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background: lime; font-family: "Courier New";"><span style="font-size: large;"><span style="mso-spacerun: yes;"> </span>4-6] In
Handke’s AFTERNOON OF A WRITER the “former once friend” – yours truly – does
not cross one sierra after the other while sending the writer postcards that
sign off with ‘as ever’.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background: lime; font-family: "Courier New";"><span style="font-size: large;">While translating WALK ABOUT
THE VILLAGES - the best translation he had ever seen, and the best work I had
ever done, and under extreme conditions - as its postscript recounts - I
entirely forget that Handke once had taken possession of one of my previous
wives, the Great Fondness, an act with consequences for our relationship [see
anon]. <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background: lime; font-family: "Courier New";"><span style="font-size: large;">Now I had a new wife, had won
the first of several big lawsuits against a former partner, thought I had found
a publisher, PAJ, for WALK ABOUT THE VILLAGES and could leave town and regain
my sanity and health<span style="mso-spacerun: yes;"> </span>and so I and the
new wife cut out to American Southwest - where the two of us did a lot of
traveling and loving all over the place and ended up living at 8,000 feet in
the Sacramentos in Billie the Kid country. However, the only, the one single
solitary Sierra that we got near to was the Mexican Carmen Range adjacent to
the southern Rio Grande – but while traveling, also in love with the Handke who
could write something as magnificent as WALK ABOU THTE VILLAGES, I sent a
postcard at about each of the many hamlets we stopped at. Including Marta,
Texas where one of my favorite American authors, of the <u>Devil;s<span style="mso-spacerun: yes;"> </span>Dictionary, </u>Ambrose Bierce is said to
have met an unhappy end.<u><o:p></o:p></u></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background: lime; font-family: "Courier New";"><span style="font-size: large;">AFTRNOON OF THE WRITER, thus,
contains a host of lies, just concerning yours truly, and how many others? Subsequent
to writing the book Handke fled to Paris, leaving manuscripts behind.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background: lime; font-family: "Courier New";"><span style="font-size: large;">Why by the time of writing
AFERNOON I was regarded as a former friend, see anon footnote 13. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background: lime; font-family: "Courier New";"><span style="font-size: large;">6] Then, in MORAWIAN NIGHT, Handke lies about the
reason why he became physically violent with Marie Colbin, not he first woman
that he<span style="mso-spacerun: yes;"> </span>hit – and why the writer of
SORROW BEYOND DREAMS – who would seem the most unlikely man to hit women - does
so nonetheless my guess has been the subliminal influence exerted on Handke
during the decade of being exposed to a physically violent stepfather
especially during primal scene settings. See my HANDKE, WOUNDED LOVE-CHILD.
[fn-2]<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Courier New";"><span style="font-size: large;"><a href="http://analytic-comments.blogspot.com/2009/02/part-1-of-condensed-psychoanalytic.html">http://analytic-comments.blogspot.com/2009/02/part-1-of-condensed-psychoanalytic.html</a><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background: lime; font-family: "Courier New";"><span style="font-size: large;">Passages from other Handke acquaintances will be
needed – to arrive at this kind of multi-faceted portrait, a few warts and
their explanation; nearly saintly just not quite! Such a tome would also be a
great lesson in how Handke’s approach to writing changed, or did not change.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;">Fn # 13<o:p></o:p></span></span></b></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";">Subsequent to the Spring
1966 Gruppe 47 meeting at Princeton Jakov Lind (Soul of Wood), and „<i style="mso-bidi-font-style: normal;">b</i></span></b><b><i style="mso-bidi-font-style: normal;"><span lang="PL" style="background: white; border: 1pt none windowtext; color: black; font-family: Arial, sans-serif; padding: 0in;">eautiful and beguiling American Panna Grady</span></i></b><i style="mso-bidi-font-style: normal;"><span lang="PL" style="background: white; color: black; font-family: Arial, sans-serif;">, whose
self-effacing generosity to artists and writers in her New York apartment in
the Dakota building had been on an epic scale”,</span></i><span lang="PL" style="background: white; color: black; font-family: Arial, sans-serif;"> <span style="mso-spacerun: yes;"> </span></span><b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>and I gave a party for the <i style="mso-bidi-font-style: normal;">Gruppe </i>and for American writers at
Pannah’s splendid Dakota apartment, and that is where I then saw Peter Handke
for the second time whose famous Princeton statement had intrigued but scarcely
shocked someone who had been in American writing classes. So when I spotted the
Beatelish fellow in his small-checkered - yellow and brown -shirt - a pink
carnation [?] - in a button-hole, I approached him to know whom he had in mind
as being dscriptively impotent. For I didn’t imagine he could mean Grass. Uwe Johmson
Siegfried Lenz or Peter Weiss – but who could tell? Perhaps the fellow was a
fool. Though among other matters I was doing, I was an Amerian scout for
Suhrkamp Verlag I had not heard of the fellow. I myself had beome half-way well-versed
in post-war German literature as reader for a variety of American publishers,
had spent a year scouting in Germany for Sam Lawrence at the Atlantic Monthly Press
[which led to the publication of Peter Weiss’s and Peter Bichsel’s prose], had
read a lot of things in German galleys, had been the first Amerian scout to do
so in East Berlin with a famous – Uwe Johnson apprised - visit to err Kaspar at
the Aufbau Verlag; introduction to Rowohlt had acquainted me with avant-garde
Austrian literature - I would even sign a contract with Ledig on a napkin at
Harry’s bar for Ossie Wiener’s <u>Die Verbesserung Mitteleuropas</u> <o:p></o:p></span></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;"><a href="https://de.wikipedia.org/wiki/Oswald_Wiener#Werke/">https://de.wikipedia.org/wiki/Oswald_Wiener#Werke/</a><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;">and within the year dip the
napkin in a glass of whisky soda, which is why Ledig became my favorite
publisher. I had founded and edited, with Fred Jameson, the magazine <i style="mso-bidi-font-style: normal;">Metamorphosis </i>which had foundered when
its publisher Michael Lebeck had started to lift imaginary rocks in his head as
he joined a Sufi sect that received all his money. I had met Hans Magnus Enzensberger
at Ruth Landshof York’s in 1961 and found him to be congenial and a good
listener, had interviewe Grass, for <i style="mso-bidi-font-style: normal;">The
Atlantic</i>, Uwe Johnson for <i style="mso-bidi-font-style: normal;">Metamorphosis</i>,
and Peter Weiss for <i style="mso-bidi-font-style: normal;">Partisan Review</i>, had
met Hans Werner Richter in Berlin but we had not been impressed with each
other.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;">I was
feeling my way, was insecure but not completely and trusted my judgement in
literary matters – to close friend Frank Conroy’s query what all this German-American
stuff was about had replied that it was about joining separated halve - and was
about to get my first steady job as editor for German matters at Farrar, Straus
– and without even asking. Asking, I had been turned down by Viking Press the
publisher with whom – courtesy of a tip from<span style="mso-spacerun: yes;">
</span>code-cracker Ladislas Farago – I had a contract for a biography of the
German resistance figure, Colonel Grosskurt of Canaris’ <i style="mso-bidi-font-style: normal;">Abwehr. </i>I had translated three Hermann Hesse novels for Roger Klein
at Harper & Row, of the three DEMIAN made an impression and did not seem as
aniquated stylistically as did Peter <i style="mso-bidi-font-style: normal;">Camenzind
& Beneath the Wheel</i> to someone who had gone dead in graduate school at
the prospect of a lifetime in a German Department, and who had not completed
his thesis on Robert Musil but for translating <i style="mso-bidi-font-style: normal;">The Portuguese Wife – </i>a text which taught me that a life can hang
in the balance of a comma.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;">Upon my second attempt to
engage Handke in conversations - in the center of Pannah’s spacious living room
– Alan Ginsberg approached us - whom I had never met and of whose presence - or
that Pannah had a thing for the Beats or that they sponged off her I was unaware
– or that these would be the American writers who were meant to mingle with the
Germans and who at the end of evening would smash her Persian vases - as
Ginsberg addressed me with the request to translate that he „wanted to fuck
Handke” and that I was meant to translate.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;">At
that point in my young life I had never heard of anyone saying anything of the
kind directly not even of a man to a woman much less a woman to a man, although
within the course of the next twenty years such direct requests, gestures and meaningful
contacts became anything but rare - and so I did not even reply to Ginsberg who
seemed not to be aware that few if any German writers did not know English, and
- if in fact his presumption was correct and the fellow assented to the
translated request - he would be fucking someone to whom he could not or
perhaps preferred not to talk. However, upon Ginsberg’s repeated request in a
more peromptory fashion the Prussian in my blue eyes shot several daggers and Ginsberg
backed off, and we would meet only one more time, about 15 years hence, as
members of USA Pen’s executive committee. And a good thing, too, that he backed
off. I loved being a protector! In this instance of a fellow the expression on
whose face during my and Ginsberg’s inter-action had become „haemisch”, a kind
of sadistic grin that told me that the fellow’s orgins were in village ways –
and I gleaned this not only because it takes a least a quotient of sadism to
glean sadism - but because I had spent ages 5 and 6 at the village school of
Vornbach am Inn and then a few years at the <i style="mso-bidi-font-style: normal;">Volksschule
</i>in my home-village Schoenebeck [see the Vornbach chapter in my <i style="mso-bidi-font-style: normal;">Screen Memories</i>]. I had smelled the village
sadist and as Handke himself has written, „the smell sticks.” <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>[The
chief memory of the sadism of my village school was a fellow who enjoyed fame
for dropping a stocking full of dung on a passerby – the perfect image for
Freud’s stage of anal sadism – except it is not meant to persist after age 2!] –
And so I did not find out that evening whom Handke had in mind with his
Princeton statement. - However, it then turned out that Handke had
misunderstood whom Ginsberg had wanted to fuck; he thought I was the intended
object - a misapprehension that we failed to unravel until the last time that I
saw the fellow, on the Moenchberg in Salzburg in 1980 – by which time a fair
amount of water had flown under and over the Handke-Roloff bridge that I
established when I translated and published KASPAR & OTHER PLAYS at Farrar,
Straus and GOALIE and the second volume RIDE ACROSS LAKE CONSTANCE & OTHER
PLAYS, INNERWORD and NONSENSE<span style="mso-spacerun: yes;"> </span>&
HAPPINESS. <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;"><span style="mso-spacerun: yes;"> </span><a href="http://www.van.at/lesen/set01/roloff01.htm">http://www.van.at/lesen/set01/roloff01.htm</a><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;">The misunderstanding
made the well-remembered sadistic expression on Handke’s face apppear even less
pleasant; whereas I had read it as complicitous and derisive it now struck me
as in pleasurable agreement with Ginsberg’s wishes. - I had no idea whether
Ginsberg had been at Princeton but I connected his wish with a comment I heard there
about Handke: „Ach, ein Maedchen!” – someone had mistaken the Beatles haircut
for effiminacy. However, the misunderstanding of Ginsberg and failure to notice
the blue daggers that had shot out of my eyes may have created a memory in
Handke for something he would say to me the next time he was in New York,
in<span style="mso-spacerun: yes;"> </span>Spring 1971 - by which time we had
met in Berlin – in Spring 1969 - to discuss my translation of his KASPAR, and
Baby Amina had been shown to me<span style="mso-spacerun: yes;"> </span>who
loved babies, unlike other revolutionaries who it appeared did not [vide A
CHILD’S STORY, for me his weakest book for its defensiveness and unawareness
and the fact that I could not help but notice how deathly quiet the little girl
was when I saw her in New York in the mid-70s, and that I read, carefully, <i style="mso-bidi-font-style: normal;">Weight of the World</i>].<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;"><span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span>Upon
Handke’s and my second encounter in New York – on the ocsasion of the first
public premiere of several of his plays at B.A.M. which coincided with the
three person package Handke, wife Libgart Schwartz, and Freddie Kolleritch’s
Austrian cultural tour - see SHORT LETTER LONG FAREWELL - I gave a small party for
Handke to which I invited the first two positive reviewers-backers of KASPAR &
AND OTHER PLAYS - of its printed version, a rarity - Richard Gilman and Stanley
Kaufmann. – I also was no longer at Farrar, Straus but had succumbed to
Siegried Unseld’s imprecation to become the Suhrkamp agent in the USA, working<span style="mso-spacerun: yes;"> </span>out of the Candida Donadio–Robert Lantz
Literary Agency. During the party Handke escaped Gilman/ Kaufmann’s literary
interrogation by squatting down by my record player and put on one of my
Beatle’s records - a retreat into the Jukebox as it were - <span style="mso-spacerun: yes;"> </span>but squattted in such a way that I could not
but help think „Just like a woman”; as his forever surprsing first words -
after the small group of guests had departed and he had resurfaced -„You are
gay!” - which saying – coming apropos what? – came as much of a surprise as
Ginsburg’s proposition five years earlier. Moreover, once again no one had ever
said anything along those lines, was entirely disconnected from the topics of
the party, and not just insulting but about as wrongheaded as he could be under
the there and then context – had he read my mind thinking that the way Handke
squatted was like a woman? – <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;">I
never enquired what brought out that comment but I expect the explanation for the
mutual misapprehension is that both Handke and I had very beautiful mothers who
influenced the way we behaved in so many ways – the way Handke squats and the
way I used to hold a cigarette, just like my mother, and both of us lacked imitable
emulataeable fathers, though mine at least behaved most courageously as a
Hitler opponent but in few if any other ways was exemplary but as a driven
upwardly mobile businessman who left me a great unread library to peruse during
my childhood but terrified me and my cousins.<o:p></o:p></span></span></b></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="PL" style="color: #222222; font-family: "Courier New";"><a href="http://www.lukasverlag.com/ebooks/titel/317-gestapo-im-op.html" target="_blank"><span style="color: #1155cc;">http://www.lukasverlag.com/ebooks/titel/317-gestapo-im-op.html</span></a></span></b><b style="mso-bidi-font-weight: normal;"><span lang="PL" style="color: #222222; font-family: Arial, sans-serif;"><br clear="all" style="mso-special-character: line-break;" />
</span></b><b style="mso-bidi-font-weight: normal;"><span lang="PL" style="color: #222222; font-family: Arial, sans-serif;"><o:p></o:p></span></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;">As to the wrongness of the
context: instantly upon Handke’s comment wife Libgart Schwartz <span style="mso-spacerun: yes;"> </span>piped up and cited my girlfriend of the time,
the flaxen-haired Saraw Lawrece Professor Renate Karlin, who had to leave early
to care for her two kids - a polite way of setting her husband straight for, if
she had wanted to be direct she could have said. „Peter, if Michael had money
and didn’t have to be the Suhrkamp agent and translate your stuff we would have
run away together the first night we met at the premiere in Brooklyn and at
Elaine’s when we were doing all these sexy things with each other under the
table cloth while you and Freddy, as you have been the entire trip, were all
involved with each other and neglecting me as you have for years while having no
end of affairs.” - And Libgart would not have been far off. At Elaine’s, after
a lot of hanky-panky under the table cloth, I had slipped her one of those big
yellow Elaine’s matchbooks with my telephone # written on the inside and the
suggestion „zum Friseur?” – she glanced at it and nodded – when she called
saying „ist da bein Friseur” I planned to say „Frauelein Sie sind das Glueckkind
- heute als Premium lecken wir Schamhaare.” I was positive she would call,
someone who evidently had not had a loving for a long time and we would consume
each other on an afternoon. She was so rasant!<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;">As we
stepped out of Elaine’s I wanted to walk to the Algonquin and hoped for some
time with Libgart on the way – Fitzgerald’s Hotel to which Handke had
tranferred from the dull Third Avenue one where the Austrians had put them up -
Handke said he was too tired to walk the two miles but took a photo of
Kolleritsch, Libgart and me and as I placed my right hand on Libgart’s ass, just
the way she took my hand from her ass and placed it on her right hip told me
what a clever beast she would be in bed – she had enchanted me the way she
descended the staircase at the Austrian cultural house playing RIDE ACROSS LAKE
CONSTANCE. „Rasant” was the word I would forever associate with her. – Then Libgart
and I both thought the better of the assignation. - Or you can just read SHORT
LETTER LONG FAREWELL where the wife is a threat to the husband and the husband seems
deathly afraid – it appears Handke was not unaware of her rising anger but
failed to do anything about it or change his ways, until decades later and a
second runaway wife and he reconciled.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;">The
threesome’s return from their 21 dates in 28 days USA roundtrip madness had Kolleritsch’s
tachycardia collapse on my once marriage bed while Handke rushed out to buy
foreign newspapers and magazines at the nearby Rizzolis and Libgart and I [liebaeugelten]
regarded the couch in my workroom for a quickie... but again thought the better
of it. <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;"><span style="mso-tab-count: 1;"> </span>But what kids they were too! „Whom,” - what
evdidently famous person -<span style="mso-spacerun: yes;"> </span>„had they
seen on the plane?” they asked me. <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;">Stumped
does not describe my unwillingness to even guess.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;">„Cassius
Clay.” Or was he alrady called Muhamed Ali? – on the flight to Atlana.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;"><span style="mso-spacerun: yes;"> </span>Libgart’s and my flirting however, elicited
Kolleritsch’s famous statement „Libgart du bist so anders.” [!] - And here am I
who really likes my Renate, very much at least my equal, later I even ruined
what was a relationship that made sense by becoming crazily jealous – a feeling
that came out of the blue! I had just broken out of a rather staid hard-working
marriage to a first rate illustrator artist who was not much interested in my
interests nor in the Big Bright City or<span style="mso-spacerun: yes;">
</span>then its demi-monde as exemplified by the restaurant Elaine’s. – I
wasn’t in the least faithful to her being the usual state of affairs though I
liked her best while hopping into and out of a lot of other beds while she was
out of town.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;">At
that point Handke and I were not friends and I don’t think we ever were, although
he -despite what he then did with „the great fondness” – see anon – seems to
have been under the misapprehension that we were. – The split between liking
the work and feeling dubious about its creator set in early. I was his
translator who knew quickly that he was a genius and I thought his work was
extraordinary as I still do, but it came to deeply affect me only with the
translation of WALK ABOUT THE VILAGES around 1981-2 and subsequently with quite
a few other works, including <u>Fruit Thief.</u> <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;"><span style="mso-spacerun: yes;"> </span>Since Handke and I were not friends my usual
inhibtions not to make a pass even at a friend’s ex so as not to endanger the
frienship did not come into play, a resolve I have never broken no matter that
just about every male friend had made passes at my girlfriends ever since
highschool. – In Mexico I then spent time with a tribe in the Copper Canyon
where the men chase each other’s women and all the women try to steal each
other’s men while drinking a beverage brewed from the Agave! An all year office
party as it were.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;"><span style="mso-tab-count: 1;"> </span>I did not see Handke again then until he had relocated to Paris in
the early 70s... desultory meetings at Rue Montmorency where a city walker then
never was offered as much as a glass of water and which never lasted long as
Handke writes Kolleritsch „Der Roloff is so angenehm langweilig” - Handke
saying I should come by soon again and I failed to say why don’t we play chess
– it was the time of the Spassky-Fischer matches and the last time that my
chess was up to snuff and I think I saw a chess board. One time an Austrian Backfisch
was present – „huckable” as the Mick has it.<span style="mso-spacerun: yes;">
</span>Again I was asked to leave soon after arriving – and asked to call soon.
Subsequently when I did call Handke mentioned that he had exposed himself – that
he had these moments when he was a little develish - as I would think he also
might have as a kid have exposed himself competitively during that continuous
exposure to the primal scene – he said that the girl blushed. What did he
expect? -Thus I knew that he was also an actual exhibitionist not merely as a
more or less sublimated writer. Another time we went to the Bois de Boulogne
with the actual Austrian Paris cultural attache – Esterhazy [?]- <span style="mso-spacerun: yes;"> </span>who died young, who had a daughter Amina’s age,
and whose acquaintance may have given Handke the idea to make Gregor Keuschnigg
of <u>A Moment of True Feeings </u>and <u>No-Man’s-Bay</u> a cultural attache. Yet
another time I brought friend Jerry Leiber along who was meant to write the
lyrics to the music I thought we might introduce at a few moments for the
prospective<span style="mso-spacerun: yes;"> </span>Yale Rep premiere of my
translation of Handke’s THEY ARE DYING OUT – and Handke uttered the famous
phrase „I don’t do <i style="mso-bidi-font-style: normal;">Singspiel.” –</i> He
had much liked Leiber/Stoller’s early work with <i style="mso-bidi-font-style: normal;">The Coasters.</i> After Leiber and wife Barbara Rose left Handke
remarked how ugly she was he could puke – the second time he had said something
along the line, the first being in referenc to the translator Joachim
Neugroeschel whom he had met in my company in New York – ugly physically and in
nearly every other way I might add, not beautiful ugly, say like J.P. Sartre.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;"><span style="mso-tab-count: 1;"> </span>In 1974 the small publisher Urizen Books was founded and the then
girl friend „the great fondness” - as distinct from a half dozen great passions
- went off to Denmark and Africa to do research for a biography and I told her
if she stopped by in Paris on her way back to look up Handke – she was
impressed by his work; and upon the „great fondnesses’s” return to the Big
Bright City from her biographical labors I felt we needed to debrief the degree
to which our libidos had to defray their interim needs. I had had several of
the briefest of flings, one with a British friend of hers that I might have
explored further had it not been that fondness and our commonalities carried
the day, and one great lewdnes - for<span style="mso-spacerun: yes;">
</span>intents and purposes the „great fondness” and I were living together but
for being sensible and having seperate work spaces. I realized that she, too,
had had something but it was a molar extraction. And once it did come out it
turned out that the Pasha of<span style="mso-spacerun: yes;"> </span>Rue
Montmorency had taken posession of her for a week or so. If they had fallen in
love - fine with me. <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;">The
great benefit of this occurrance was that the „great fondness” then described
in great detail what had transpired and I received a far more intimate view of what
life was like at Rue Montmorency than I had had from my own visits. She had
been taken hard, the daughter had expressed extreme jealousy – standard among
young children I was discovring during affairs with divorced or single mothers
with young children – and, most valuably, that Handke said his wife Libgart
leaving him had been the worst thing that had ever happened to him. – It was
not a statement with which the translator of the three stormy poems in NONSENSE
& HAPPINESS could disagree, and it validated the panic attack and the
fuguing that had landed Handke in the hospital in the early 70s. The statement
of course failed to indicate the slightest awareness that his own behavior was
in any way connected with the wife’s disparu. – The worst thing that happened
to Handke, I would say. occurred when his pregnant mother felt she needed a
husband to legitimize her child and she married the child’s married father’s -
a Herr Schoenherr’s - buddy Bruno Handke of the German company stationed in
Griffen-Voelkermark in 1942, Bruno Handke, a goodlooking fellow who also wanted
to sleep with her, then again was sought out in Berlin in 1942 when the fellow,
now a wounded ex-soldier tramway driver, was already cohabiting with another
woman - and there ensued those many years of<span style="mso-spacerun: yes;">
</span>abuse as we can read in SORROW BEYOND DREAMS.<o:p></o:p></span></span></b></div>
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<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;"><a href="http://analytic-comments.blogspot.com/2009/09/peter-hhandke-wounded-love-child.html/">http://analytic-comments.blogspot.com/2009/09/peter-hhandke-wounded-love-child.html/</a><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;"><span style="mso-tab-count: 1;"> </span>Absent the inevitable but at the very least subliminal absorbtion
of the example that the dreadful Bruno sets I would doubt that Handke would
ever have hit a woman in anything but self-defense. <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;"><span style="mso-tab-count: 1;"> </span>However, let us not let Maria Sivec completely off the hook. She
continues to mourn and be depressed that the love of her life, Herr Schoenherr,
did not marry her – and what does this do to Bruno’s feelings? A marriage of
convenience commissioned by the hell of convention. These psychological
ramifications remain unexplored in Handke’s work and I imagine cannot be fit
into his great family drama FOREVER STORM<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;"><span style="mso-spacerun: yes;"> </span><a href="http://handke-drama.blogspot.com/2011/08/still-storm-introductory-thoughts-on.html">http://handke-drama.blogspot.com/2011/08/still-storm-introductory-thoughts-on.html</a><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;">Later we find out that the
chief reason the depressed Maria Sivec took her life was the prospect of having
to live once again with Bruno who was just returning from a tuberculosis rest
home – and no one has heard of divorce or separation in that part of darkest
Austria . <span style="mso-tab-count: 1;"> </span><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;">When
Handke shows up next in New York in 1975 [accompanied by Amina] I give him my
one bedroom apartment on the 25th floor of Independence Plaza in Tribeca which
I was renting for the very reasonable $ 450.00 a month<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;"><a href="https://luxuryrentalsmanhattan.com/buildings/independence-plaza?gclid=EAIaIQobChMIqPW3k5vU2gIVF8JkCh1bLAkSEAAYASAAEgIOifD_BwE/">https://luxuryrentalsmanhattan.com/buildings/independence-plaza?gclid=EAIaIQobChMIqPW3k5vU2gIVF8JkCh1bLAkSEAAYASAAEgIOifD_BwE/</a><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;">I am<span style="mso-spacerun: yes;"> </span>already living with my psychotic composer
passion in our loft on Duane Park<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;"><a href="https://www.nycgovparks.org/parks/duane-park">https://www.nycgovparks.org/parks/duane-park</a><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;">half a block away. I don’t
think the great fondnesse’s tryst with Handke has anything to do with my
ultimately choosing the composer after singing I have two lovers for about half
a year [FN- why I might have preferred to become a pianist.]<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;"><span style="mso-tab-count: 1;"> </span>However, Handke stays in the apartment just one night – where
might he be? I call the Algonquin - of course. <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;"><span style="mso-tab-count: 1;"> </span>Why did he move out?<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;"><span style="mso-tab-count: 1;"> </span>„Suicide apartment.”<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;"><span style="mso-tab-count: 1;"> </span>The great view of downtown New York Harbor and Jersey seemed not
have compensated. Though I lived in the area for a decade I never heard of any
suicide from those towers.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;">I am interested in a meeting
where both Handke and „Fondness” will be present and arrange for tea at the
Algonquin, and what a shock: Handke scarcely recognizes the Great Fondness and
I am forever spooked. [Her acquaintance with Handke is mentioned in <i style="mso-bidi-font-style: normal;">Gewicht der Welt </i>as someone who goes to
the trouble of learning several languages to write a biography.] <span style="mso-spacerun: yes;"> </span>We make small talk! After he leaves first I
suggest – slyly! - to „Fondness” -to whom I remain close for another half dozen
years - that she contact him. She demurs. No retrospective love for him has set
in.- And what a shame, that spookedness, there came a time, during the Alaska
episode, that he really seemed to want to be friends. I had taken him up to my
loft with rooftop and we were leaning on its barge-like balustrade and he noted
„how hard” New York was – he had just installed himself in the Hotel Adams in a
wealthy area – and I – who had gathered quite a bit along that line of hardness
- and who felt lonely, too - with a partner who turned out as „very dark” or
„at least very German as Handke had assessed him within minutes of their
encounter after the B.A.M. premiere.-<span style="mso-tab-count: 1;"> </span><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;">Back to the Algonquin -<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;">What if I had said, „Don’t
you recall making love to this woman and telling her such and such ?” – What if
I had been a Renaisance prince? - Such a confrontation would have been
interesting. -Great Fondness herself I recall seeming a tad awkward, none of her
customary shmoozing. - But spookable me is forever spooked and makes sure to be
as little as possible alone with this overly forgetful or schizophrenic [?] fellow
no matter how much I care for his work; and usually manage to interpose Michael
Brodky, who became a Urizen Book author for Handke and Patricia Highsmith sending
him to me.<o:p></o:p></span></span></b></div>
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<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;"><a href="http://artscritic.blogspot.com/2011/04/short-unhappy-life-of-urizen-books.html">http://artscritic.blogspot.com/2011/04/short-unhappy-life-of-urizen-books.html</a><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;"><span style="mso-tab-count: 1;"> </span>From what I gather from the Great Fondness and other biographical
accounts and of Handke’s often autobiographical work: by age 30 he had
committed the combined sins of both his real and his stepfather. He had
fathered an illigitiamte child<span style="mso-spacerun: yes;"> </span>[see
MORAVIAN NIGHT], he had hit a child [vide CHILD STORY], had hit not only Maria
Colbin but Jeanne Moureau, and how many others? And he had exposed his daughter
who knows with what frequency to the primal scene.<o:p></o:p></span></span></b></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">A</b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Courier New";">s
few people know, in the mid-70s Handke was thinking of living in a New York
suburb. I took him and Amina in my MGB on an exploratory trip – it made sense
that he would live in a suburb with his sensitivities and his life plans - no
doubt the leaf blowers in Nassau or Suffolk would have bugged him as much as
they do in Chaville – I<span style="mso-spacerun: yes;"> </span>knew about
Shelter Island, between Long Island’s North and South Fork<o:p></o:p></span></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Courier New";"><span style="font-size: large;"><a href="https://en.wikipedia.org/wiki/Shelter_Island,_New_York">https://en.wikipedia.org/wiki/Shelter_Island,_New_York</a><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Courier New";"><span style="font-size: large;">a future rest-stop escape of mine and I
might have taken him out there to its preserve and true wilderness. <span style="mso-tab-count: 1;"> </span>I did take Handke and the photographer of the
cover of NONSENSE & HAPPINESS to the Rockaways where I lived for three
years for its good air after my freighter trip half way around the world and
back, 1972-75 and where I worked well as editor and translator for Continuum
Books and would have continued to if the publisher had not turned out to be a
shit. Handke and his notebook – it was late afternoon and the sun was just
sinking near Staten Island and reminded me of the WW II account of the sinking
of the Graf Spee in South America during which she was said to have become
molten as Handke pulled out his notebook and scribbled something – and I failed
to ask what. <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Courier New";"><span style="font-size: large;"><span style="mso-tab-count: 1;"> </span>During
the expedition to the suburbs I recall Amina as a frighteningly intimidated
child and checking out lycées for her – who then would have been raised on
French and English and German. – I expect that Handke’s unhappy stay in the Hotel
Adams at 86<sup>th</sup> and Madison and Fifth in the later 70s on his return
from Alaska - where he wrote the novel part of A SLOW HOME-COMING - extirpated
any thought of living in New York or this country. “Very hard” was his instant
comment on having contemplated the street scene for just a few days as I recall
while I was still I think trying to avert the City’s extreme brutality, well on
its way to becoming Kalkota on the Hudson, and the situation I found myself
with my partners at the firm sinking in.<o:p></o:p></span></span></b></div>
</div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span style="background: yellow; font-family: "Courier New";">I would have asked Handke
to join me when I stopped working between 10-11 p.m at my Tribeca office and
hit my downtown bars and music clubs CBGBS and MUDD and SCREECH where the
pretty ones told you up front when they wanted you, love making was like
breathing and night life reminded me when the living had been easy at the
Timberline in Fairbanks, and it happened to be the rare time that I had not a
main squeeze, and Handke, had he wanted, would at least have a bit of a good
time to look back upon and not just how “hard” NY struck him and A SLOW
HOMECOMING not working out, a NY period that then disabused him of his once
explored idea - to live in Manhattan or its suburbs and for his daughter Amina
to attend a French lycée.</span></b><b style="mso-bidi-font-weight: normal;"><span style="background: yellow; font-family: "Courier New";"><o:p></o:p></span></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Courier New";"><span style="font-size: large;"><span style="mso-tab-count: 1;"> </span>I
dropped him off at the airport and noticed boarding the same plane as the third
partner Oberon N.V. but did not introduce the two – Feldsberg had near
instantly become a huge embarrassment. <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Courier New";"><span style="font-size: large;"><span style="mso-tab-count: 1;"> </span>Thus,
no 2<sup>nd</sup> Paris Period, no moseying around the Picardie.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;">It is while Brodsky and
Handke and I are at BARNABUS REX, a bar with a real Handke juke box,on 1977, that
[1] the Great Passion, the crazy composer - whom I had left after two years -
enters, sees me among friends, and feints, and Tim Burns, an Aussie sheepfarmer’s
son anarchist revolutionary, carries her back to what is now just her loft in
Duane Park, half a block near.<o:p></o:p></span></span></b></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;"><span style="mso-tab-count: 1;"> </span>And [2] that Handke tells me that if Urizen Books needs $ 10,000
he would be willing to lend it to me. – How does he and two other friends know
that I am $ 30,000 shy of my renewed committment to a firm that I own one third
of? But two friends, both lovers, offer 10 k at about the same time. Mindreaders?
And I accept the offer despite the fact that we are not friends. That event is
memorialized in <i style="mso-bidi-font-style: normal;">Die Geschichte des
Bleistifts </i>with the notation that he saw someone who was as playful as he
was serious.<o:p></o:p></span></span></b></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;"><span style="mso-tab-count: 1;"> </span>Handke’s next appearance in New York is in 1978 in preparation for
his trip to Alaska and he leaves a green leather – patent leather [?]– satchel
with me at my office <span style="mso-spacerun: yes;"> </span>before he heads out,
and I stash it in a corner behind my swivel chair. <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;"><span style="mso-tab-count: 1;"> </span>Upon his return we have our one and only hike, it is across the
Brooklyn Bridge, a light snow if falling on the way to Michael Brodksy’s. I
inquire what he is doing – he is writing a book about Alaska. The mother hen in
me becomes fearful at the prospect of someone writing a book about such an
immensity after spending just a few weeks. Have you read McPhee’s book? Yes he
has. I want to share some of my experiences but Handke says that he is full up
– and I understand. <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;"><span style="mso-tab-count: 1;"> </span>We see each other maybe once or twice more, I take him and Brodksy
to Elaine’s. I pick him up at the Hotel Adam’s and notice the view to Central
Park that comes with that room.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;"><span style="mso-tab-count: 1;"> </span>Later I hear from Nancy Meiselas, a fine editor of his at Farrar,
Straus, that he told her that he had fucked up the Alaska book. [as to LANGSAME
HEIMKEHR’S significance to me, see the main text @<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;"><a href="http://handke-discussion.blogspot.com/2018/03/roloffs-review-of-alexia-fruit-thief.html">http://handke-discussion.blogspot.com/2018/03/roloffs-review-of-alexia-fruit-thief.html</a><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;"><span style="mso-tab-count: 1;"> </span>Though I spend a fair amount of time with the newest wife-to-be in
Paris in 1979 she and I only go to see the one other author I have living in
the Clamart-Meudon quartier, the formidable war-correspondent Wilfred Burchett
and his darling very peasant Bulgarian wife. The newest wife-to-be who and I have
just returned from Spain retracing her parent’s wedding trip, also likes Handke’s
work, but is anything but a chaste 18 year old and I don’t want the Pasha
layabroad to interfere with yet another important relationship.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;"><span style="mso-tab-count: 1;"> </span>Thus, I don’t see Handke again - and it is in Salzburg - for the
last time – until 1980 during my return trip from my month as a piece of
cultural exchange from Bulgaria.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;"><a href="http://www.van.at/lesen/set01/roloff01.htm">http://www.van.at/lesen/set01/roloff01.htm</a><o:p></o:p></span></span></b></div>
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<span style="font-size: large;"><b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;">Im Herbst 1980 hatte ich vor der Abreise nach Sofia in
Handke in Salzburg aus Wien oder Frankfurt angerufen, und beim zweiten mal
fragte ich ob die die da das Telefon am ersten Mal beantwortet, ob er sich
vielleicht eine Sekretärin angeschafft hätte: nein, das sei die Libgart
[Schwartz]- was mich um einiges erstaunte, und nach vier Wochen Bulgarien und einigen
Wiener Erholungs Tagen kam ich dann - um einen Zug verspätet - mich königlich
fühlend [als einer der wenigstens ein bisschen Kulturfrieden in
Bulgarisch-U.S.A. Beziehungen gebracht] in Salzburg an; fragte den Portier des
Mirabellen Hotels wo denn der Moenchsberg sei. Da Leben die Grossen Tiere,
sagte der, und dieses Gefühl hatte dieser Irredentist auch irgendwie schon wohl
seit langem; und erzählte dem dann, dass er doch mal den Simmel den er gerade
schmoekerte lassen sein sollte, denn da oben lebe ein Schriftsteller, der
schreibe auch ganz einfach aber besser.</span></b><span lang="DE" style="color: black;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;">Dem Herrn Handke, wie ich es dann später in seinen
eigenen Worten lesen würde, ist's eines der schlimmsten Sachen, dass man ihn
warten lässt, und seine Reaktion auf die lese majeste war sofort zu bemerken
wie er da auf mich in den herbstlichen Park Anlagen des Mirabellen Hotels mit
den Blättern zuwehte - "Na du altes Arschloch," war ja eigentlich
recht freundlich - ich ihn dann aber schnellsten beschwichtigen musste mit der
quid-pro-quo Lüge, die man ja immer in der linken Tasche haben soll, er sei
doch selbst nicht immer gerade pünktlich, er schuldete mir viel mehr als
pünktlich zu sein!</span></b><span lang="DE" style="color: black;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;">Er sagte er hätte es erwartet dass ich in solch einem
Hotel absteigen würde, was mich verblüffte, da er nichts über meine Hotel
Vorlieben, die billigsten abseitsliegendsten Pensions, außer dass ich eben
jetzt auch aufs Schwimmen aus war, <span style="mso-spacerun: yes;"> </span>{und
die USIA die Rechnung beezahlte ] gelernt von dem allergrößten Verlagsschwimmer
überhaupt, dem Siegfried Unseld.</span></b><span lang="DE" style="color: black;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;">Dass er wohl von seinen eignen Hotel Präferenzen sprach
sagte ich ihm nicht, dem Algonquin in New York, oder The Adams, wo
er die <u>Langsame Heimkehr </u>verfasst, ausgeschwitzt hatte. Sein
bemerkbar verletzten Eitel ein wenig beschwichtigt, stimmte er auch emphatisch
zu als ich mich enthusiastisch über die Bulgarier die ich da getroffen
hatte ausließ, [im nachhinein haben wir also beide eine Vorliebe
für <u>Einbaum</u> Fahrten]. <span style="mso-spacerun: yes;"> </span>Als
ich ihm die schöne Sammlung verdeutschter moderner Bulgarischer Dichtung,
eine weiterer Beschwichtigungs Versuch, vorzeigte - "Ja, von
hier," vom Müller Verlag in Salzburg, deutete mein Finger - riss er mir
ihn fast aus der Hand als ich<span style="mso-spacerun: yes;"> </span>auf
Levchevs grosses langes Gedicht deutete und er es in einem Zug sofort las und
auch ausgezeichnet fand, die herrische Geste - nie zuvor von ihm, der in New
York, zuletz vor so ein oder zwei Jahren, mir manchmal ziemlich zahm, und
teilweise "down" [bei der Zurueck kunft aus Colorado, wo ja scheinbar
wirklich ein alter Freund als Schieleerer umgekommen sein muss - [3te Kapitel
von <u>Langsame Heimkehr,] </u>ja irgendwie imponierte mir diese
Geste schon. Levchev, wahrer Dichter und Mitglied des CK, hatte der Kultur
seinem Geheimdienst gegenüber schon ein wenig Raum verschafft. Ich war während
der vier Wochen ein wenig entpropagandiert worden, trotzdem ich mich selbst
vorher doch einigermassen gegen die Propaganda gefeit gehalten hielt. [Was dem
Gehirn Schwamm eitel Wahn in diesem wie wahrscheinlich jedem Jahrhundert ist.]</span></b><span lang="DE" style="color: black;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;">Wir kamen auf <u>Langsame Heimkehr</u> zu sprechen.
[Es ist möglich dass ich das Buch in der Jackentasche oder meinem Maultiersack
bei mir hatte].</span></b><span lang="DE" style="color: black;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;">Der Anfang des Gesprächs ging ungefähr so:</span></b><span lang="DE" style="color: black;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;">"Auch du liest mich nicht mehr?"</span></b><span lang="DE" style="color: black;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;">Na ja, es gab das Buch seit einem Jahr, er hätte
es mir auch in New York als Manuskript geben können, und mir hatte niemand
eins geschickt sagte ich nicht. Was ich sagte, und was auch sicherlich ziemlich
stimmte, war: "I wasn't ready for it."</span></b><span lang="DE" style="color: black;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;">Das Jahr</span></b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;"> <b>1979-80 war schon teilweise ein sehr Ereignisreiches gewesen,
Liebschaften, Reisen, der ewige Kampf mit dem Verlags Partner, the downtown
life.</b></span><span lang="DE" style="color: black;"> </span><b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;"> Aber ich hatte auch
nicht irgend etwas besonderes von dem Buch erwartet: noch ein Alaska Buch, zwar
vom Peter, ich dachte mich ja in Alaska und der Literatur schon
auszukennen. Ich hatte ihn auf die Winter da aufmerksam gemacht als er sich
darüber erkundigte, schon ganz früh während unserer Bekanntaschaft, so um 1970
herum, aber er sagte daran erinnere er sich nicht. Weiteres über Alaska
wollte er nicht von mir hören als ich es ihm während wir unterwegs zu Fuss -
leichter Schnee - über die Brookyn Bridge zu Michael Brodky. "Ich hab
schon zu viel", so ungefähr, was ja dann schon stimmt wenn man
dieses grosse Kapitel liest. Aber ich war jemand der wirklich eine Zeitlang - 9
Monate, aber immerhin - da als geologischer Gehilfe gearbeitet hatte. Aber wie
gesagt: Handke kann Erleben und das wiedergeben von Erlebnissesen ein Erlebnis
für den Leser machen. Ein grosses Glück solch Erlebnis gehabt zu haben und dass
es dann so was gibt das jemand es ausdrücken kann.</span></b><span lang="DE" style="color: black;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;">r hatte nichts weiteres über das Buch</span></b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;"> <b>gesagt, 1978 oder so in New
York und auch</b></span><b><span lang="DE" style="background: #66FF99; color: black; font-family: "Arial",sans-serif; mso-ansi-language: DE;"> </span></b><b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;">nicht über Alaska, und wenn‘s ein
Roman werden würde, fragte ich schon besonders nicht. Auch von dem bösen blöden
Empfang des Buches dann in Deutschland hatte ich nichts mitbekommen,
interessierte mich auch nicht zu der Zeit. <span style="mso-spacerun: yes;"> </span>Also</span></b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;"> <b>hatte ich es erst auf der Rückreise von Sofia in
Wien gelesen, eine Schauspielerin in Wien sagte ich sähe so aus wie sie sich
den Sorger vorstellte: ich selbst hatte keine Vorstellung dann oder jetzt wie
der aussieht, und auch Handkes angebliches Gesichts Tabu spielt da ihre Rolle,
besonders in diesem auch "namenlosen" Buch. [Aber warum jemand
mit solch einem Gesichts Tabu sich dann dauernd photographieren lässt?
fällt mir im jetzt ein.]</b></span><span lang="DE" style="color: black;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;">Er sagte darauf, dass er nur einmal während des Buches an
mich gedacht hätte,</span></b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;"> <b>wonach
mir sofort der Gedanken-[Fehl]-Schluss durch Gehirn schoss, dass jemand der
sich an jeden Gedanken den er über oder an einem Buch gehabt hat erinnert -
dass ich gegen ein so buchmessengelaendeartiges Gedächtnis-Vermögen nicht
ankommen könnte.</b></span><span lang="DE" style="color: black;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;">[Außerdem hatte ich schon länger es
vorgezogen eher ein "Laufer" [dem "Sorger" sein
Gehilfe] zu sein, was zur Zeit dieser früheren Existenz schon der Fall
war.</span></b><span lang="DE" style="color: black;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;">Ueberwaeltigt von dem noch ziemlich unverdauten Buch,
dass ich so alle fünf Jahre</span></b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;"> <b>wiederlese, besonders seinen ersten Teil, welcher mir eins der
wichtigsten Erlebnisse meines eigenen Lebens artikulierte, sagte ich:
"Sehr viel Pathos." Das bejahte er emphatisch.</b></span><span lang="DE" style="color: black;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;">Dies könnte der Anfang, Anbruch, Einbruch zu einer
Dissertation sein.</span></b><span lang="DE" style="color: black;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;">Dann kamen wir auf dies und jenes, oder es schienen dies
und das aus beiden von uns hervorzustürzen. Vielleicht waren es Versuche
endlich ins Gespräch zu kommen. Das Briefe schreiben ging ja wunderbar. Ich
wollte auch irgendwie über diesen unsern wunden Punkt - Punkte eigentlich - weg
kommen.</span></b><span lang="DE" style="color: black;"> </span><b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;">Er erzählte mir von
Valium, ich machte dazu eine erbrecherische Miene, meine</span></b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;"> <b>Traumarbeit hatte damit
schlechte Erfahrungen gemacht. Angesichts irgendwelcher Natur, erzählte ich
plötzlich von einer Kousine die im frühen Alter immer nur die Baueme umarmt
hätte. Dazu sagte er "ja, natürlich." Das muss irgendwie mit dem
Pathos zu tun gehabt haben. Ich sprach also in Ashantiartigen Rätsel-Sprüchen.
Ja auf diese Art waer es schon gegangen. Also im Schmerz verstanden wir uns
schon. </b></span><span lang="DE" style="color: black;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;">Er sagte, dass er von all dem was er bis dahin
geschrieben nur den <u>Kaspar </u>bereute.</span></b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;"> <b>Ich antwortete darauf hin nichts,
überlegte nur huschend was denn an dem Stück denn auszusetzen sei - wohl sein
Nihilismus und dass es, trotz seiner musikalischen Struktur, irgendwie so ein
randalisierend lautes Stück ist? so wie die Analytiker den Nachhall des
Kastration Komplexes beschreiben: noisy. Was über die Identitaets Sucht und
Politik und Sprache da ausgesagt wird hat für mich aber in der Zwischenzeit an
Wahrheit nichts eingebüßt.</b></span><span lang="DE" style="color: black;"> </span><b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;">Aus dem Blauen kam ein wütender Angriff auf ein mir
unbekanntes neues Gedicht von</span></b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;"> <b>Hans Magnus Enzensberger. Ich war schon ganz erschrocken, des
Tonfalls wegen, der Vehemenz, so bin ich immer noch, und sagte auch nichts
dazu. "Wenn ich so'n Art Gedicht lesen wollte, dann konnte ich mal...</b>"</span><span lang="DE" style="color: black;"> </span><b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;">Dies war nicht das erste mal, dass
solche Urteile aus ganz unerwarteten Himmelsgegenden kamen... aber die Vehemenz
war neu. - Vielleicht lag diese Attacke daran, dass ich viele Enzensberger
Essays waehrend einer langen Schifffahrt übersetzt und in New York verlegt
hatte?</span></b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;"> <b>Vielleicht hatte
dieser Enzensberger Hass, wie ja auch jetzt bei Jugoslawischen Angelegenheiten,
mit Handkes Neid zu tun, der damals noch so genialen Essays? und wo dann wegen
dieser besonders vehementen Art besonders viel projiziert wurde? Ich selbst
hatte den Enzensberger, den ersten der Nachkriegsgrossen, schon 1961 by Ruth
Landshoff-York in New York kennen gelernt, vertrug mich aber nicht mehr mit
ihm, wahr auf ihn boese enttaeuscht: er hatte sich unerwarteter Weise als zu
aalartiges Wesen entpuppt, die Lage war gestört und wurde auch nie wieder
richtig-gestellt werden. Falsche Hunde, Disloyalitaet, außerdem interressiert
mich- nach der Psychoanlayse - was er, auch die Susan Sontag, all diese
Brillierenden schreiben - weniger als zuvor. </b></span><span lang="DE" style="color: black;"><o:p></o:p></span></span></div>
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<b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;"><span style="font-size: large;"> Was Enzensberger betrifft: am Anfang als Handke
bekannt wurde hatte er es mit Handke versucht, aber Handke schon von Anfang abgesagt;
<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></b></div>
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<span style="font-size: large;"><b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;">Ich sagte aus irgendeinem anderen nirgendwo: Man muss ja
alles selbst schaffen; und meinte damit den Verlag.</span></b><span lang="DE" style="color: black;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;">Und er so etwas wie: Die Dichter müssen aber Zeit zum
traeumen haben. Oder</span></b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;"> <b>vielleicht: Die Welt wieder zusammenzutrauemen. Dagegen hatte ich
nichts einzuwenden.</b></span><span lang="DE" style="color: black;"> </span><b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;">Jeder ging auf seine Art Grandiositaet zu Grunde.<o:p></o:p></span></b></span></div>
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<b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;"><span style="font-size: large;"> Dann lud er mich zu einem Schoppen ein und wunderte
sich ungeheurlich darüber, dass ich im Schneidersitz auf der Bank sass, als ob
das etwas ungeheuerlich ungewöhnliches wäre, was bei mir nicht der Fall ist,
trotzdem ich an diesem siegesreichen Tag ["Trunkheld."] schon etwas
lockerer als sonst war - das Trunkheld sein hatte sicherlich mit den mir in
Wien verschriebenen Magenpillen zu tun; Bulgarische Schwarzmeer Energie - tief
eingeatmet in Plodviev [wo angeblich 10,000 Jahre Macedonisches und Thrakisches
oder irgendwelches exotisches Blut in die Bulgarische Adern floss! So hieß das
schon damals in 1980!] - strömte aus mir heraus; ja wenn dass wirklich der Fall
ist würde ich mir schon gern davon eine tägliche Transfusion geben lassen.<o:p></o:p></span></span></b></div>
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<span style="font-size: large;"><b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;">Dann gings bergauf und zum Tarok spielen; und es freut
mich zu berichten, dass Herr</span></b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;"> <b>Handke unter mehr als vier Augen beim Tarok leicht auszuspielen
ist, dass die Leute die mit uns spielten, diese anderen angeblich Grossen
Tiere, auf ihre Weise alle hoechst gescheit waren, und dass wenn Handke
im <u>Felsfenster </u>schreibt er hätte während seiner</b> <b>Jahre
in Salzburg keinen einzigen intelligent Menschen da getroffen, es vielleicht
auf die Schrifstellerei, aber auf nichts sonst zutrifft; was dann ja zu
Wanderungen des Verwundeten durch Salzburg fette Mitte den Stadträndern
zu und an blanken Trauemen sich selbst-heilenden Buechern wie <u>Chinese des
Schmerzen</u> und <u>Der Nachmittag</u></b><u> <b>eines
Schriftsteller </b></u><b>fuehrt<span style="mso-spacerun: yes;">
</span>und dass Herr Handke wahrlich nicht richtig verspielt sein</b> <b>kann,
und jedes verlieren - wie er's ja in <u>Über die Dörfer </u>zugibt -
von ganz früh an nicht vertragen hat. Kein Wunder dass er's so hasst wenn's
scheint, dass sich ein anderer breitmacht! Ich selbst gewann</b> <b>nur vollkommen
verspielt, ohne geringste Anstrengung - und nicht nur in diesem Fall, sowie ich
mich anstrengte hatte ich schon verloren. [Mein, im allgemeinen, viel
ambivalenter ausgestatteter Oedipus Komplex wie ich dann erfuhr.]</b></span><span lang="DE" style="color: black;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;">Bevor es aber zum eigentlichen Spiel in dieser
Bischöflichen Umgebung kam erzählte </span></b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;"> <b>Handke in seinem patentierten
hoehnischen Tonfall, dass er sich da umgesehen habe ob es</b> <b>noch eine
Kopie von dem Buch von früher, gemeint war die <u>Kaspar and Other Plays</u></b><u> </u><b>Übersetzung,
herumliege, er aber keins finden konnte. Eigentlich handelte es sich ja nicht
um ein Buch, sondern derer fuenf, und insgesamt so um die dutzend Stücke, auch
ein Roman, und die zwei Gedichtbaende - ich spüre ein damals weit
unterdrueckteres Outrage au Handke jetzt nach, so leicht fiel diese Arbeit mir
doch nicht, ein wenig Anerkennung ging</b></span><span lang="DE" style="color: black;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;">bei mir schon sehr weit, wahrscheinlich war's mir
schwerer gefallen als die Original Arbeit, und es ist anzunehmen, dass mich das
dann als er mich von sich weg zu dem Dermatologen setzte schon
schön zum siegerischen Spiel angestachelt hat [und noch was, dass wohl im
tiefsten Hintergrund lag]. </span></b><span lang="DE" style="color: black;">- </span><b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;">Ja, es fing damit an, dass er mich
neben sich setzte und mir - der Skat seit Kind</span></b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;"> <b>auf von dem Großvater gelernt, der
Bridge, Poker und noch so eine paar andere Sachen kann - brav das Spiel mit
seinen vielen Jokern erklärte. Ich lernte es wahrhaft im Handumdrehen, aber als
ich ihm wahrscheinlich zu Energie sprühend war, setzte er mich</b> <b>neben
einen Dermatologen, und der Dermatologe sagte ganz erstaunt: Ja, so geht's
auch! und wir droschen schön weiter - dass das Handke irgendwie ärgern konnte,
dieses absolut ihn übergehende unhöfliche Benehmen seines Gastes, kam mir zur
Zeit überhaupt nicht in den Sinn, taucht mir erst jetzt aus der Tiefe meines
Unterbewussten als haarsträubende Möglichkeit auf!</b></span><span lang="DE" style="color: black;"> - </span><b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;">Irgendwann kam es auch zu einem
vorverhandelten Anruf von Unseld, es muss ein Sonntag</span></b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;"> <b>gewesen sein. Dieser Sonntag Abend wahr
wahrscheinlich auch die Zeit die Handke sich eingerichtet hatte eben mal nicht
allein sondern in Gesellschaft zu verbringen. Unselds Sonntags Anruf; er war
eher wie ein Geschaefts Gespraech; und ich fragte den Dr. Dr. auch etwas
Geschäftliches, da ich nach vier Wochen Bulgarien etwas in Vaduz vorhatte.</b> <b>Aber
Unseld tat sich unüberzeugend unwissend und war nicht behilflich.<o:p></o:p></b></span></span></div>
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<span style="font-size: large;"><b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;">Im nu hatte ich eine dritte oder wars vierte oder fünfte
Dimension ins Spiel gebracht,</span></b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;"> <b>und der Handke verstand leider nicht diesen Spass. An diesem Abend
jedenfalls war ich auf keine Weise bereit einer von diesen statischen
Kartenspielern in dieser Cezanne Szene zu sein. Diese Szene wird auch nicht als
mögliche Verspieltheit im <u>Chinesen des Schmerzens</u></b> <b>erwähnt,
wo das Tarok Spiel mir ein bisschen mystifiziert vorkommt, eine Qualitaet - der
Koans - die er mir dann spaeter sehr geraten hat bei der Übersetzung von<u>Über
die Dörfer </u>zu</b> <b>vermeiden. - Hie und dann huschten Hausfrau
und Tochter dazu und bedienten die spielenden</b> <b>Herren [Ich konnte
die Bemerkung "Sie spielen Karten" mir im Hintergrund gesprochen
vorstellen] und machte Handke auf das mir, der bedient aufgewachsen bin,
unangenehm bedienende der Frauen aufmerksam. - Dieser Abend mag wohl dann
irgendwie verärgert in einem der Tagebücher erwähnt werden.<o:p></o:p></b></span></span></div>
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<span style="font-size: large;"><b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;">Das war aber noch bei weiten nicht alles: das Spiel
vorbei, war Handke scheinbar wütend,</span></b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;"> <b>jedenfalls sagte er mir, dass er mir jetzt nicht
die Libgart Schwarz vorzeigen würde. - Da sank mein Herz schon um einiges tief
in die Stiefel, Libgart wegens, scheinbar re-importiert, der Bergheld musste
auch eine Frau haben, zum vorzeigen, und ich denke daran was Vim Wenders mir
vor gar nicht so langer Zeit hier in Seattle erzählte, dass Handke diejenigen
die ihm am naechsten stehen oft verwundet ja, da is ja viel diesartiges im <u>Gewicht
der Welt</u> vorzufinden. Die Frau existierte zum vorzeigen, wie ja auch
vielleicht jetzt wieder, so ein Kaerntnerischer Citizen Kane, was wird das
Motto auf seinem Schlitten heißen? Die zweite jetzt auch weggelaufene Frau,
kaum eine Schauspielerin, zwar schön, und mit Französischen Accent, wurde dem
Peymann als Schaulspielerin oktroyiert bei der Uraufführung des Jugoslavien
Stücks in Wien</b></span><span lang="DE" style="color: black;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;">Dass sich dieses doch in ihm beruhigen möchte. Wieviel
Anerkennung braucht denn dies verwundete Kind um endlich sich zu beruhigen und
zu heilen? Let it Bleed.] Ja, wenn ihm wirklich damit geholfen wäre, wäre er ja
schon längst geheilt und nicht wie ein wilder Keiler so auf die Pilze aus in
der <u>Niemansbucht</u>, ein schöner Konflikt zwischen Friedensucht, Liebe
und Hass weilt in dem Kerl.</span></b><span lang="DE" style="color: black;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;"> Blasiert wie</span></b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;"> <b>Goethe möcht er, aber wird's glücklicherweise
nie sein. </b></span><span lang="DE" style="color: black;"> </span><b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;">Der Wutanfall scheinbar schnellstens vorbei - war's von mir erwartet
auf das unangeforderte Vorzeigen der Libgart zu bestehen? Als sie <u>Ritt
Ueber den Bodensee</u> am</span></b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;"> <b>Geländer des Oestreichischen Instituts in New York spielte, das hatte
eigentlich genügt; aber wenn ich bedenke in was fuer einer Verfassung ich an
dem Abend war, und über die Verfassung von Libgart zu diesem Zeitpunkt wusste
ich nicht geringste [im Vergleich zum Jahr 1971]; und meine schon wieder zahme
Nachgiebigkeit bedeutete ihm wohl, dass der Anflug nebenbuhlerischer
Bergbesieger zu sein wieder verflogen? Jedenfalls: waer dieser Abend eine Party
gewesen: all die strikte, disciplinierte Arbeiterei der vorigen vier Wochen war
sehr im Begriff sich bei mir aufzulösen in einen brautraueberischen Rausch, der
sich dann am nächsten Tag, auf der Rückfahrt aus Vaduz und im Schwellenbad des
Hotel Dolder ausleben würde.</b></span><span lang="DE" style="color: black;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;">Er fragte, wieder freundlich, ob ich denn vor haette ewig
Kind</span></b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;"> <b>zu bleiben, und
als ich darauf - es muss so ziemlich der Ort sein an dem der berühmte</b></span><span lang="DE" style="color: black;"> </span><b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;">Stein im <u>Chinese des
Schmerzens</u> geworfen wurde, oder war's wo ererzählte dass sich da schon
viele Salzburger hinabgestürzt hätten? - wieder so ein Selbstmord Ort - dann in
die stille - Mond in der Erinnerung ab ob das stimmt - Nacht Bergluft mein
eigentlich ziemlich verzweifelt protestierendes "never" hinausschrie,
war es schön, so wie ne Segnung, als er sagte, dass das auch in Ordnung sei,
und was wohl stimmt wenn man es mit mindestens ein bisschen mehr Diskretion anfängt
als ich an dieser Nacht... Eine ziemlich kaligarische Stadt, so kam mir das
vor, dieses Salzburg und seine gewundenen Gassen in so einer Mondnacht beim
Abstieg - nachdem er mich, den so leicht disorientierten der sich nur durch das
Wegverlieren zurechtfindet, den Weg zurück nach unten zu den kleinen Tieren
gezeigt hatte. Ja, so bugsiert er auch die Leute die ihn in der <u>Niemandsbucht</u> besuchen
noch</span></b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;"> <b>herum. Das
Despoten Gesicht hat er ja angeblich bei der Ueberpruefung am Ende der <u>Langsamen
Heimkehr</u> nicht vorgefunden.</b></span><span lang="DE" style="color: black;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;">Aber im Nachhinnein der Gedanke: du kriegst die nicht zu
sehen weil du - dieser</span></b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;"> <b>grässliche sadistische, deutsche Tausch/Bestraf Gedanke - es ist
als ob er selber nichts von seinen eigenen Sachen, z.b. dem <u>Bodensee </u>oder
dem <u>Muendel</u> gelernt hatte. <span style="mso-spacerun: yes;"> </span></b></span><span lang="DE" style="color: black;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;">Am Morgen danach war noch das Oestreichische Staats
Schwimm Team mit im Olympia Bad</span></b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;"> <b>der Mirabelle, versuchte den Handke anzurufen um mich zu
entschuldigen, aber er kam nicht ans Telefon, und ich flog ab zum naechsten
Schwimmbad. Nach einer Zuricher Nacht ein unglaublich wilder Tal Flug einer
neuen, fruehmorgentlichen Verbindung Zurich-Frankfurt, mit einem Piloten der
seine 727 scheinbar mit einer F-16 aus Vietnam verwechselte, um dann in New
York noch das letzte Mal Jimmy Carter zu wählen, der angeblich, so die
Botschaft in Sofia, meine Stimme garnicht brauchte, die hatten sich auch in
irgendeinen Dornröschen Traum eingewickelt.</b></span><span lang="DE" style="color: black;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;">Einer Oestreichischen Regisseurin der ich die Tarok
Geschichte in Los Angeles erzaehlte,</span></b><span lang="DE" style="background: rgb(102, 255, 153); color: black; font-family: Arial, sans-serif;"> <b>sagte: Ja, dass kann er nicht vertragen. Aber
auch: Er kann schon groß sein. Und dann erzaehlte sie mir Handke - Colbin
Geschichten da sie bei der Verfilmung des Duras Romans dabei gewesen war.Diese
Frauen Sache, die Colbin Kaempfe, kommen auch eher mystifiziert im <u>Chinesen
des Schmerzen</u> vor.</b></span><span lang="DE" style="color: black;"><o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;">The three important takes
from the Salzburg visit are [1] the discovery that Handke had misunderstood in
1966 whose ass the hideous Alan Ginsburg had wanted to nail – which made
Handke’s then expression appear retrospectively that much more sadistic.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;">[2] That Handke cannot lose
at games as he himself so wonderfully describes as being unable to even in
early childhood, in the great WALK ABOUT THE VILLAGES... that he, in person
cannot be truly playful... dommage. And [3] that if he loses he won’t show - as
compared to showing off Amina baby in Berlin in 1969 - I was being punished by
NOT being - shown the briefly re-imported Libgart – and what a wise move that
might have been, too, considering the conquering mood my visit to Bulgaria had instilled
in me, so if she had been willing to run away as she had been in 1971 in New
York we might have spent a marvelous night in the Hotel Mirabelle .- As the son
of a courageous counter-spy my libido had controlled itself for four straight
weeks while being offered Bulgaria’s best temptresses, but then had to wait one
more day for a beauty and myself to pick each other up on the way back from
Vaduz – the ravishing beauty that was meant to meet me in Vienna had gotten
cold feet, and if she hadn’t I expect I would have been more than one train
later than I was.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;">After the return from
Bulgaria I<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;">gave Urizen Books one more
big try <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;"><a href="http://artscritic.blogspot.com/2011/04/short-unhappy-life-of-urizen-books.html">http://artscritic.blogspot.com/2011/04/short-unhappy-life-of-urizen-books.html</a><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;">but during a vacation from
my exertions had spotted shrimp dock on Jekyll Island in the Marshes of Glynn
and felt I could live happily in just a single big room in one of the robber
baron’s so-called „cottages” – mansions - and knew the time was nigh to pay
obeisance to the Einsiedel side of my heritage as the firm then went down for
which I had staked my life and got myself into a lot of trouble because I
failed to shoot the dark partner in time whom Handke had described in 1971 as
„very dark” or „at the very least very German”<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;"><a href="http://artscritic.blogspot.com/2013/08/wieland-schulz-keil-hunting-socieity.html">http://artscritic.blogspot.com/2013/08/wieland-schulz-keil-hunting-socieity.html</a><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;">Handke once mentioned that I
didn’t seem to have much luck. Well, you too wouldn’t either if you worked for conmen
like Roger Straus, Siegfried Unseld, Werner Linz and then picked a partner like
Schulz-Keil and be a bit of a wus.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;">http://artscritic.blogspot.com/2015/04/summa-farrar-straus-roloff.html<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;">However, with all that bad
luck what seemed like a Godsend reached me in 1981 in the form of galleys for
UEBER DIE DOERFER. After being made very happy by the work I wrote Handke that
translating it would test me to the utmost. But it then took me a while to get
to the work which was completed in the early 8os while my<span style="mso-spacerun: yes;"> </span>analyst was on a Festivus with me shouting the
text out in my loft all by myself – the newest and neglegted wife and I were apart.
When Handke saw my final he wrote it was „the best translation he had ever
seen” and that it was „cutting” as indeed it was bound to be not only for it
being a translation for voice, to actors to SPEAK it, but for the state of mind
recent events had induced in me – it wasn’t just that a piece of butter might
not want to come in my way at that time.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;"><span style="mso-tab-count: 1;"> </span>However, after that brief interim, bad luck, where there was no
luck, would be the best I could get. What if the drip who had opposed Handke at
the start at Farrar, Straus, the fellow who had opposed all and killed some of
my projects who had killed off my Adorno Reader with its promised Susan Sontag
introduction, a true drip children’s book editor, should not be editor in
chief! I kept Handke apprised of the correspondence and he was astonished at my
persistence.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;"><a href="http://handke-drama.blogspot.com/2010/06/walk-about-villages-ueber-die-doerfer.html">http://handke-drama.blogspot.com/2010/06/walk-about-villages-ueber-die-doerfer.html</a><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;"><span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>I then found a different publisher, PAJ, folks
whom I had given work prior to their starting their own small firm. The
significant excerpt from Handke’s and my correspondence - especially his
extremely valuable suggestions - can be found in my long postscript as it was
then published in the 90s by Ariadne Press. <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;"><a href="http://www.ariadnebooks.com/ProductInfo.aspx?productid=1572410000">http://www.ariadnebooks.com/ProductInfo.aspx?productid=1572410000</a><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;">In the early 80s while still
in my Tribeca loft a Berlin artis and I picked each other up at Le Zinc, one of
those uptown off-shoots – from Un Deux Trois – that had started to sprout in
the gentrifying <i style="mso-bidi-font-style: normal;">quartier, </i>a brasserie
with a real zinc bar in what had been one of many shoe stores on Reade Street,
run by three Parisian musketeers, and the Berlin artist and I got along as well
as I had ever with anyone – she was my equal what a nice feeing, and my age.
Once I mentioned guess-who she confessed to having had an affair with him while
he had been in Berlin which he had broken off because she had another lover – I
won’t soon forget the touching way she explained that this had been a period
during which she had been „geil” – telling which confirmed the suspicion that
my man was a pasha who even as a married fman felt that all women were his. A recent
communication from Elisabeth Borchardt is truly touching showing that he could excercise
politesse in the matter - he appears at her door and ask her partner whether he
will allow him to sleep with Elizabeth<o:p></o:p></span></span></b></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";">„</span></b><span lang="PL" style="background: white; color: #333333; font-family: Arial, sans-serif;">An einem heißen Sonntag – es geschah zu der Zeit, als
Borchers mit dem Autor Claus Carlé liiert war – kam Peter Handke zu Besuch,
offenbar mit starkem Drang in der Lendengegend. Borchers berichtet:</span><span lang="PL" style="color: #333333; font-family: Arial, sans-serif;"><br />
<br />
<span style="background: white;">"Erlaubst du, dass ich mit ihr schlafe,
fragte er Claus. Er solle mich fragen, er fragte mich. Ich war aber noch nie
für dergleichen Gastfreundschaft zu haben. Dann doch lieber eine Tasse
Tee."<o:p></o:p></span></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;"><a href="http://www.deutschlandfunkkultur.de/abrechnung-einer-suhrkamp-cheflektorin-ein-beitrag-zur.1270.de.html?dram:article_id=416376">http://www.deutschlandfunkkultur.de/abrechnung-einer-suhrkamp-cheflektorin-ein-beitrag-zur.1270.de.html?dram:article_id=416376</a><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;">I was meant to join the
Berlin artist and then fly with her to Tokio, but clearing up the Urizen mess
and the pursuit of the law suit against the former partner and then finalizing
collection once I had won took longer than she could wait. I could hear the<span style="mso-spacerun: yes;"> </span>leaving in her phone voice, and subsequently
had a dream where half of my head flew off – like a flying saucer – to Berlin I
suppose, a dream that also contained in that respect memories of the very
earliest event of its kind. <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;">To resume the theme of
„lying” - while writing autobiographically - of pages 4-6 of the <u>Notes</u>
section of <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;"><a href="http://handke-discussion.blogspot.com/2018/03/roloffs-review-of-alexia-fruit-thief.html">http://handke-discussion.blogspot.com/2018/03/roloffs-review-of-alexia-fruit-thief.html</a><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;">that initiated this huge
footnote that has footnotes of its own:<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background: lime; font-family: "Courier New";"><span style="font-size: large;">In Handke’s AFTERNOON OF A WRITER the “former
once friend” – yours truly – does not cross one sierra after the other while
sending the writer postcards that sign off with ‘as ever’.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background: lime; font-family: "Courier New";"><span style="font-size: large;">While translating and
subsequently for a few years upon translating WALK ABOUT THE VILLAGES<span style="mso-spacerun: yes;"> </span>I entirely forget that Handke once had taken
possession of one of my previous wives, the Great Fondness, an act that even
now - that part of me not only loves much of the work but even its originator
nearly as much as my mother - will suddenly lurch up destructively from below
like a forever lurking grumpy shark – it was an act with consequences.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background: lime; font-family: "Courier New";"><span style="font-size: large;">Now I had a new wife, had won
the first of several big lawsuits against a former partner, had found a
publisher, PAJ, for WALK ABOUT THE VILLAGES and could leave town and regain my
health, and the new wife and I cut out to the American Southwest - where the
two of us did a lot of traveling and loving – say in White Sands<o:p></o:p></span></span></b></div>
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<span style="font-size: large;"><b><span lang="PL" style="background: white; color: black; font-family: Verdana, sans-serif;">https://tinyurl.com/ya5m4ojf</span></b><b style="mso-bidi-font-weight: normal;"><span style="background: lime; font-family: "Courier New";"><o:p></o:p></span></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background: lime; font-family: "Courier New";"><span style="font-size: large;">and then ended up living at 8,000 feet in the
Sacramentos in Billie the Kid country, Simcoe County adjacent to Lincoln, New
Mexico with goats and dogs and horses. However, the only, the one single
solitary Sierra we got near was the Mexican Carmen range which is adjacent to
the Rio Grande – but while traveling also in love with the Handke who could
write something as magnificent as WALK ABOU THTE VILLAGES I sent a postcard at
about each of the many hamlets we stopped at. AFTRNOON OF THE WRITER, thus
contains a host of lies, just concerning yours truly, and how many others? since
subsequently to writing the book Handke fled to Paris, leaving manuscripts
behind?<o:p></o:p></span></span></b></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="PL" style="font-family: "Courier New";">Walk
About the Villages </span></i></b><b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";">became my „Heart
test” and few if any passed it, and perhaps Handke had good reason to be so
forgetful and negligent of the Great Fondness and never contacted her<span style="mso-spacerun: yes;"> </span>in New York, for her sole reaction to the
manuscript was to quote its line about „hefty taxes,” and by the time she did
she had already had two reactions that made me think that my idea of a „great
fondness” was not appropriate to her but that I was glad that I was capable of
such a feeling which makes for a better partnership among artists than those
many passions that do a lot of burning.<o:p></o:p></span></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;">Upon returning to NY PAJ
decided not to publish VILLAGES and earned themselves a mallet on your toes
kind of letter – I had really had it, nearly everyone I had been good to had
turned on me, and PAJ – unbelievably - while doing so asked me if they could
reprint something else of mine!<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;">I sent
<span style="mso-tab-count: 1;"> </span>Handke a copy of the letter – the year is
1986 – and for a reply had a letter that started „that it was good to hear from
me again” – as though the postcards did not count! – and that „one could not do
something like that letter to him” and that „if I persisted it would be the end
of our friendship.” – It never was a good time to threaten me as it is rarely
to threaten anyone without eliciting an unpleasant response, but especially me
in particular and partcicularly in the frame of mind I was in at that time in
my life – but was not too surprised to read in Herwig’s biography that Handke
threaten’s others as he did Kolleritch for publishing a negative review of one
of Handke’s book in <i style="mso-bidi-font-style: normal;">Literatur.<o:p></o:p></i></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;"><span style="mso-spacerun: yes;"> </span>And so I wrote back „as to friendship „arent
we lucky about your taking posession of the Great Fondness” – and detailed how
close Libgart and I had come to running off together! – which must have really
hurt, and I wouldn’t have written that jibe now that I have given thought to
the injury that her leaving caused him. – And, as a matter of fact, I was quite
willing to laugh the matter to smithereens and chuck it off to „one of those
things, but no the Lord Pasha of the Moenchsberg who quickly got another
translation of VILLAGES by Ralph Manheim and no longer answered letters. But I
had really found out something in the course of this correspondence and relationship
– and that was the inviolability of Handke’s self-image - which also explains a
lot of the lying at which he is not particularly ingenious so that he might as
well not. The only time to lie as I learned from my mother is when the Gestapo
has entrapped you and confronted you with the utensils you have provided a
fellow conspirator and you say „yes, of course, don’t you know that I am
working for you” and have a clever code name for yourself that they can’t
trace.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;">At about the time that WALK
ABOUT THE VILLAGES was finally published, by ARIADNE PRESS, I heard from the
then mutual friend Erich Wolfgang Skwara, two of whose novels I translated, that
Handke thought of me „graesslich” – while really liking my work on Skwara’s <i style="mso-bidi-font-style: normal;">Plague of Siena!...</i>and he refused to
anwer letters inquiring whether it was all right to quote at length from his
part of our extensive VILLALGES correspondence for my long postscript account
[Daviau got the<span style="mso-spacerun: yes;"> </span>o.k.]. But anyhow, at
least he allowed the work to be published – that no one knows of it is due to
Ariadne’s Donald Daviau breaking his word that - unlike other Ariadne titles - he
would submit VILLAGES to Publisher’s Weekly & Library Journal, the barest
minimum to let the world know that a title exists, which is why the Austrian
marvels, that Ariadne Books pblishes, are never reviewed. <i style="mso-bidi-font-style: normal;"><o:p></o:p></i></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;">WALK ABOUT THE VILLAGES is
also a great plea for peace – and just look at the all around misery that
ensued upon the best work Handke and I had done; how unaffected everyone had
been, starting with that swine of cultural swine Roger Straus – you could stuff
all the Nobel PrizeS winners he published into him and you wouln’t get a gram
of foie gras.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;">Here in Seattle, what if Wim
Wenders does not show up at the University where I am visiting scholar and he
asks whether Handke and I are still friends – and I don’t say that I don’t
think we ever were personal friends, but explain why we are not and Wim nails
the coffin shut saying that „Handke hurts all those closest too him” which
means that Wim, too, was injured, but nonetheless ctd. to work with the great
artist.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;">Also in Seattle, at the time
of EINBAUM I find that I can do a production of it at Cornish and inquire via
Petra Hardt as to its disposition – Petra writes back, puzzled, that Handke said
„ich sollte das akzeptieren.” Perhaps the fellow is slightly off his rocker.
But his decision not to let me do the translation was just as well – Cornish
turned out be liars as just about everyone in theater here turned out to be.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;"><a href="http://artscritic.blogspot.com/2015/04/seattle-uconducive-to-artistic.html">http://artscritic.blogspot.com/2015/04/seattle-uconducive-to-artistic.html</a><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;">and in American theater, all
those alleged Handke enthusiasts who fail to come through to do the mature
work.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;">Scott Abbott then did a fine
translation of EINBAUM – and what do you know PAJ published Handke’s most
Brechtian play, not that any of the creeps in American theater has seen dit to
put it on.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;"><a href="http://handke-drama.blogspot.com/2009/12/long-comment-on-handkes-voyage-by_29.html">http://handke-drama.blogspot.com/2009/12/long-comment-on-handkes-voyage-by_29.html</a><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;">Upon publication of Malte
Herwig’s Handke biograph MEISTER DER DAEMERUNG I receive an e-mail from Marie
Colbin asking whether I wilL put her review on my blog – Herwig has threatned
the Austrian<span style="mso-spacerun: yes;"> </span>publication that published
it with a lawsuit that will cost them dearly and have taken it down. I oblige
and Marie and I marry and will stay married forever because we will never run out
of amusing Handke anecdotes.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;"><a href="http://artscritic.blogspot.com/2010/12/marie-colbin-review-of-herwigs-meister.html">http://artscritic.blogspot.com/2010/12/marie-colbin-review-of-herwigs-meister.html</a><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;"><a href="http://handke-watch.blogspot.com/2010/12/marie-colbins-offener-brief-peter.html">http://handke-watch.blogspot.com/2010/12/marie-colbins-offener-brief-peter.html</a><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;"><a href="http://artscritic.blogspot.com/2011/04/re-malte-herwigs-threat-to-suppress.html">http://artscritic.blogspot.com/2011/04/re-malte-herwigs-threat-to-suppress.html</a><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;"><a href="http://artscritic.blogspot.com/2010/12/open-letter-to-nachrichtenat-re.html">http://artscritic.blogspot.com/2010/12/open-letter-to-nachrichtenat-re.html</a><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;"><a href="http://artscritic.blogspot.com/2010/11/variety-type-review-of-malte-herwigs.html">http://artscritic.blogspot.com/2010/11/variety-type-review-of-malte-herwigs.html</a><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;">A few years ago friend Zejlko
in Chicago asks me to translate Handke’s THE BEAUTIFUL DAYS OF ARANJUEZ and it
appears Handke has no objections and I do so with the help of fellow Handke
translator Scott Abbott <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;"><a href="http://handke-drama.blogspot.com/2015/01/theater-y-handkes-beautiful-days-of.html">http://handke-drama.blogspot.com/2015/01/theater-y-handkes-beautiful-days-of.html</a><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;">It seems these two
layabroads know<span style="mso-spacerun: yes;"> </span>the pornographic heart
of the world where the erotic fixes and possesses and forever arouses and
forever churns. <span style="mso-spacerun: yes;"> </span>- Thus, I regard Handke
as a great writer, a bit flawed in his younger years, for reasons that I<span style="mso-spacerun: yes;"> </span>understand, and so - while the work is
venerable - I find the author less so. Ditto for venerators. What might easily
have been a great friendship has left me in a position where I feel free to
admire and propogate and express occasional reservation. Hell, we could laugh
off what transpire between us!<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;">Most
amusing is that the once lay-a-broad - now on the road to sainthood - regards
marriage as a sacrament! Ah the lessening of libido... most of the dancing
girls of yore have become staid maids too & no longer slip into our beds in
the dark of night!<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;">Only a single lie!<o:p></o:p></span></span></b></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";">1] </span></b><b style="mso-bidi-font-weight: normal;"><span style="background: lime; font-family: "Courier New";">Handke
is said to write autobiography and use his valuable notebooks for that purpose,
as I assume he did for this so imaginative hike [s] through the Picardie that
are the basis for the adventures then assembled into Alexia’s; and it will be
of scholarly interest to compare the final m.s. – in this as in other instances
- with the notebooks <o:p></o:p></span></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;">2] Let us not forget the
other statement, less well known, that Handke made at Princeton, to friend Ted
Ziolkovwky, a Hesse scholar, that he „was the new Kafka” which has a certain
truth if you regard his anxiety riddled and inducing and conquering early texts
such as DER HAUSIERER, RADIO PLAY I, MY FOOT MY TUTOR, and which becomes
comprehensible once you contemplate the <span style="mso-spacerun: yes;"> </span>continuous exposure of someone with Handke’s
nerves to violent <span style="mso-spacerun: yes;"> </span>primal scenes during
his formative years; [by he time that Handke around age 12 says to his mother
that Bruno cannot be his real father the damage is done] nor I would entirely
discount the „hormigas” of his first novel, the war time bombers – one of my
first traumatic screen memories is of the first bonmbing attack on Bremen, in
1940, <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="PL" style="font-family: "Courier New";"><span style="font-size: large;"><a href="http://artscritic.blogspot.com/2018/04/first-bombs-screen-memory-2.html">http://artscritic.blogspot.com/2018/04/first-bombs-screen-memory-2.html</a><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background: yellow; font-family: "Courier New";"><span style="font-size: large;">He would understand what transpired and what
effect it had on him to be exposed for a decade - not just to the presence and
example of his dreadful name-giving stepfather Bruno Handke but the effect of
the decade-long exposure to the primal scene with the male a rapist beater - </span></span></b><b><span style="background: yellow; font-family: "Courier New";"><span style="font-size: large;">which leads me to suppose is how “the devil –
at least during his early years – slipped into Ms Jones of a genius who in many
other respects is one of the great generous darlings.” - Those infamous “dark sides” that are mentioned
with such frequency of writers having them - derivatives which I don’t think
are genetic or existential but can be specified in each instance, those wound
out of which writers write as Handke – in the ART OF ASKING – confesses that he
does.</span></span></b></div>
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<br />SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com1tag:blogger.com,1999:blog-4280831336342556602.post-49494163567506881582018-04-05T16:11:00.005-07:002018-04-05T16:11:52.261-07:00HANDKE FELLINGER'S ACCOUNT OF THE WRITING OF 'OBSTDIEBIN"<b style="background-color: lime;">http://www.logbuch-suhrkamp.de/raimund-fellinger/aus-dem-zug-zwei/</b><br />
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<span style="background-color: yellow; font-size: large;">"<span style="color: #050d1a; font-family: "Milo Serif", Georgia, serif;">Kurz vor dem letzten Weihnachtsfest beauftragte Peter Handke in Versailles einen Boten damit, das handschriftliche Manuskript seiner</span><span style="color: #050d1a; font-family: "Milo Serif", Georgia, serif;"> </span><em style="border: 0px; box-sizing: border-box; color: #050d1a; font-family: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Obstdiebin</em><span style="color: #050d1a; font-family: "Milo Serif", Georgia, serif;"> </span><span style="color: #050d1a; font-family: "Milo Serif", Georgia, serif;">sicher nach Frankfurt zu bringen, um es dann Gudrun Weidner zum Entziffern und Transkribieren weiterzureichen. Handke verfasst bekanntlich alle seine Sachen, Briefe, Reden, Bücher, per Hand und ohne Unterlage, mit dem Vorteil, sich von irgendwelchen Tischen, Fensterbänken und dergleichen unabhängig »draußen«, in der Natur bei seinem Schreiben bewegen zu können. Die Niederschrift seiner literarischen Unternehmen verläuft nach einem nunmehr seit Jahrzehnten in Geltung gesetzten Ritual: Papier weiß, ohne Linien oder Ähnliches, Bleistift, Spitzer, ab und an die einschlägigen Notizbücher; die gut leserliche Schrift ist wie auf einer geraden Schnur aufgereiht, am linken Papierrand steht das Datum auf der Höhe der Zeile, mit der die Niederschrift einsetzt bzw. fortgeführt wird (wodurch die Arbeit am Manuskript der</span><span style="color: #050d1a; font-family: "Milo Serif", Georgia, serif;"> </span><em style="border: 0px; box-sizing: border-box; color: #050d1a; font-family: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Obstdiebin</em><span style="color: #050d1a; font-family: "Milo Serif", Georgia, serif;"> </span><span style="color: #050d1a; font-family: "Milo Serif", Georgia, serif;">datierbar ist: 1. August 2016 – 30. November 2016).</span></span><br />
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<span style="background-color: yellow; font-size: large;">Nachdem die mehr als 280 Manuskriptseiten die Zugreise vom Pariser Gare de l’Est nach Frankfurt am Main unbeschadet überstanden hatten, erstellte Gudrun Weidner ein Typoskript, das Gerhard Lenz als Hersteller in eine erste Druckfassung der <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Obstdiebin</em> umwandelte (entsprechend dem vereinbarten Erscheinungsbild der Seiten: Schrifttyp, Schriftgrad, Kolumnenhöhe und -breite). Anhand dieser Version erfolgten (brieflich übermittelte) Korrekturvorschläge des Lektors (der die Anmerkungen des Korrekturlesens durch Gabriele Bischoff einbezog); daraufhin arbeitete sich Peter Handke Buchstabe für Buchstabe, Wort für Wort durch den ersten Satzlauf, mit Streichungen, Ergänzungen, Umformulierungen. Dieses Dokument stellte die Basis für das weitere Verfahren dar. In der Folge machten sich Peter Handke und Sophie Semin mit dem Zug vom Gare de l’Est nach Frankfurt am Main auf den Weg, um sicherzugehen, dass die Korrekturen den Lektor wohlbehalten erreichten. Der übertrug die Handke’schen Korrekturen in sein Fahnenexemplar (transkribierte längere Passagen in eine eigene Datei), das erneut zum Hersteller wanderte, worauf eine neue Korrekturrunde einsetzte, die Anfang Oktober in die zum Druck freigegebene Datei mündete. Ende Oktober brachten der Lektor (per Bahn) und Jonathan Landgrebe dem Autor eins der zwei existierenden Bindemuster der <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Obstdiebin</em> nach Chaville.</span></div>
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<span style="background-color: yellow; font-size: large;">Beim ersten Aufenthalt in Versailles (Manuskriptübergabe) wie beim zweiten in Chaville (Übergabe des Buches) ereignete sich etwas Erstaunliches: Im Versailler Hotel fragte der an der Rezeption Wache schiebende Mann Handke: »Vous êtes des frères?«, was der Angesprochene verneinte: »C’est mon fils.« Und beim Überreichen des Buches fragte der Wirt des Cafés La Rotonde in Chaville, ob Peter Handke und ich etwa verwandt seien. Ich erinnere mich nicht, was er antwortete. Vermutlich diesmal die Wahrheit."</span></div>
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<span style="color: #050d1a; font-family: Milo Serif, Georgia, serif;"><span style="background-color: cyan; font-size: 20px;"><b>http://handke--revista-of-reviews.blogspot.com/2017/07/die-obstdiebin.html</b></span></span></div>
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<b><span style="background-color: #fce5cd; font-size: large;">TO OBSTDIEBIN ON THE WEB </span></b></div>
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<b><span style="background-color: #fce5cd; font-size: large;">https://tinyurl.com/ybw3nefy</span></b></div>
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<b><span style="background-color: #fce5cd; font-size: large;">-------------------------------------------</span></b></div>
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<span style="color: #050d1a; font-family: Milo Serif, Georgia, serif; font-size: large;"><b style="background-color: #ead1dc;">http://www.suhrkamp.de/download/Blickinsbuch/9783518427576.pdf</b></span></div>
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<span style="color: #050d1a; font-family: Milo Serif, Georgia, serif; font-size: large;"><b style="background-color: #ead1dc;">---------------------------------------</b></span></div>
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<span style="color: #050d1a; font-family: Milo Serif, Georgia, serif; font-size: large;"><b style="background-color: #ead1dc;"><br /></b></span></div>
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<span style="color: #050d1a; font-family: Milo Serif, Georgia, serif; font-size: large;"><b style="background-color: #f4cccc;">http://translation-plus.blogspot.com/2017/12/obstdiebin-translation-sample.html</b></span></div>
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SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com1tag:blogger.com,1999:blog-4280831336342556602.post-84007828459602348052018-01-25T18:22:00.001-08:002018-01-25T18:22:08.979-08:00Katharina Pektors Katalog zur neukonzipierten Peter-Handke-Ausstellung in Griffen/Kärnten <span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: cyan;">https://www.fixpoetry.com/feuilleton/kritik/peter-handke/katharina-pektor/peter-handke-daueraustellung-stift-griffen</b></span><br />
<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: yellow;"><br /></b></span>
<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: lime;">http://peter-handke.de/kosmos/leserinnen-leser/</b></span><br />
<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: yellow;"><br /></b></span>
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<h2>
<span style="background-color: yellow; font-family: Courier New, Courier, monospace; font-size: large;">Das weitverzweigte Werk</span></h2>
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<div class="field field-name-field-untertitel">
<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: yellow;">Katharina Pektors Katalog zur neukonzipierten Peter-Handke-Ausstellung in Griffen/Kärnten </b></span></div>
<fieldset class=" group-meta field-group-fieldset form-wrapper">
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: yellow;">24.01.2018</b></span></div>
<div class="field field-name-field-feuilleton-ort">
<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: yellow;">Hamburg</b></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: yellow;">Von</b></span></div>
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<a href="https://www.fixpoetry.com/autoren/literatur/feuilleton/mario-osterland"><span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: yellow;">Mario Osterland</b></span></a></div>
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<div class="field-name-body">
<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: yellow;"><a class="ext" href="http://peter-handke.de/?utm_source=suhrkamp&utm_medium=teaser&utm_campaign=handke" target="_blank"><em>Peter Handke Kosmos</em></a><span class="ext"></span>
heißt die neue Website, die der Suhrkamp Verlag anlässlich des 75.
Geburtstages seines Hausautors eingerichtet hat. Darauf kann man sich
assoziativ durch Schlag- und Stichworte aus Handkes Gesamtwerk klicken,
bekommt kurze Erklärungen, Textauszüge, Audio- oder Videoausschnitte zu
„Niemandsbucht“, „Beschreibungsimpotenz“ oder „Pilze“ angezeigt. Ein
Kosmos, der dem treuen Lesekreis bekannt sein dürfte; ein Kontinent, der
dazu einlädt – ganz im Sinne des Autors – immer wieder lohnend neu
entdeckt zu werden. Und das nicht zuletzt deswegen, weil der „Kosmos“,
um in dieser Gesamtwerksmetapher zu bleiben, von Handke stetig
fortgeschrieben wird.</b></span><br />
<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: yellow;">Diese Fortschreibung ist, neben dem halbrunden Geburtstag im vergangenen Dezember, sicher einer der Gründe dafür gewesen, die <a class="ext" href="http://www.erlebnis.net/blog/museum-stift-griffen-mit-peter-handke-literaturdokumentation/" target="_blank">Peter-Handke-Ausstellung</a><span class="ext"></span>
zu Leben und Werk in seinem Heimatort Griffen in Kärnten nach fünf
Jahren (und insgesamt zehn Jahren ihres Bestehens) nicht nur ein
weiteres Mal zu erneuern, sondern gleich völlig neu zu konzipieren. Die
dafür verantwortliche Kuratorin, die Wiener Literaturwissenschaftlerin <a class="ext" href="https://handkeonline.onb.ac.at/node/520" target="_blank">Katharina Pektor</a><span class="ext"></span>,
hat dafür eine beeindruckend umfangreiche Arbeit geleistet. Davon zeugt
über die Ausstellung hinaus der von ihr herausgegebene Begleitkatalog,
der in Handkes Salzburger „Zweitverlag“ Jung und Jung erscheint.</b></span><br />
<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: yellow;">Mit zahlreichen Fotografien, Faksimiles von Manuskripten und Briefen,
Zeittafeln sowie Essays zu einzelnen Aspekten des Gesamtwerkes geht der
Katalog weit über seine Funktion als Begleitbuch zur Ausstellung
hinaus. Pektor hat hier vielmehr ein Buch zusammengestellt, das ohne
Übertreibung als eine Art Handke-Enzyklopädie gelten kann. Kein
wissenschaftliches Handbuch, aber doch ein detailliertes und dennoch
übersichtlich aufgemachtes Nachschlagewerk zu Biografie, Werkphasen und
Arbeitsweisen des Österreichers.</b></span><br />
<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: yellow;">Beeindruckend ist dabei der weitverzweigte Stammbaum Handkes, dem
eine aufwändige Recherchearbeit zugrunde liegen muss und der mit
zahlreichen Fotografien unterlegt ist. Bisweilen fragt man sich, ob man
es so genau überhaupt wissen muss. Bei der aufmerksamen Lektüre der
Artikel zu den einzelnen Büchern Handkes wird aber deutlich, welche
enorme Rolle der biografische Rückgriff auf die Familienmitglieder
tatsächlich spielt; welchem/r fiktionalisierten Ahn/in welche Figur in
welchem Buch zukommt. Die einzelnen Werkartikel geben zudem einigen
Aufschluss über Entstehungszeit, -kontext, Lektorat,
Erstveröffentlichung etc.</b></span><br />
<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: yellow;">Mit besonderem Gewinn liest man die im Katalog versammelten Essays von Wegbegleitern (u.a. <a class="ext" href="https://www.hanser-literaturverlage.de/autor/michael-krueger/" target="_blank">Michael Krüger</a><span class="ext"></span> und <a class="ext" href="http://www.begleitschreiben.net/author/zarko-radakovic/" target="_blank">Žarko Radaković</a><span class="ext"></span>) und Handke-Kennern. Hier sind vor allem <a class="ext" href="https://de.wikipedia.org/wiki/Hans_H%C3%B6ller_(Germanist)" target="_blank">Hans Höller</a><span class="ext"></span>s <em>Handkes Kunst des Erzählens</em> und <a class="ext" href="http://www.wallstein-verlag.de/autoren/thorsten-carstensen.html" target="_blank">Thorsten Carstensen</a><span class="ext"></span>s <em>Peter Handke und die Romanik</em>
zu nennen. Beide Essays verdeutlichen knapp und anschaulich wesentliche
Merkmale in Handkes Schreiben bzw. seiner individuellen Art der
Kulturrezeption. So betont Höller die Bedeutung eines von Handke in
einem Brief an seine Mutter beschriebenen Traums aus dem Jahr 1963.</b></span><br />
<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: yellow;">„Es ist der Traum von der Desertion aus dem Krieg, den er in den
Roman [Die Hornissen, 1966] aufgenommen hat, der Wunschtraum von der
Heimkehr ihrer beiden im Krieg gefallenen Brüder Gregor und Hans. Dieser
Desertions-Traum, der Bruch des Kriegsgesetzes als das Tiefenmuster von
Handkes Schreiben, dürfte jenes »Wissenswürdige im Innern« seiner Werke
bilden, von dem Walter Benjamin sagte, das es die Voraussetzung einer
Schönheit sei, die dauere. Aber das »nicht sterben im Krieg«, »gehen«,
»zurückkehren«, sie werden zu den Grundmotiven seines rettenden
Erzählens bis heute.“</b></span><br />
<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: yellow;">Warum Handkes Vorliebe für die Romanik integraler Bestandteil dieses
„rettenden Erzählens“ ist, verdeutlicht Carstensen, wenn er schreibt:</b></span><br />
<blockquote>
<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: yellow;">„Im Gegensatz zu den gotischen Figuren, die sich bereits
individuell gebärdeten, strahlten die romanischen Pendants noch eine
überpersönliche Ruhe, Anmut und Hingabe aus – und gerade diese
Qualitäten sind es, die Handke in den Alltag hinüberzuretten sucht. Vor
allem transportieren die romanischen Szenen Augenblicke der intensiven
Teilhabe und wahren Empfindung, nach denen sich seine Erzähler-Ichs so
sehnen: So wird das Romanische zu einem wesentlichen Kern jenes
Heilsprogramms, das Handkes Texte in ihrer oft ironischen
Selbstreflexivität zur Diskussion stellen.“</b></span><br />
</blockquote>
<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: yellow;">Was in Pektors Katalog und folglich in der Ausstellung fehlt, ist
eine Darstellung der Rezeption von Handke und seinem Werk. Und somit
fehlen vor allem die kritischen Töne in der Betrachtung des mitunter
streitbaren Schriftstellers, der dennoch oder gerade deshalb zu den
einflussreichsten deutschsprachigen Autoren seiner Zeit zählt. Aber
vielleicht werden die Urteile bewusst den Besuchern der Ausstellung, den
Lesern des Katalogs überlassen, die dank Katharina Pektors Arbeit
Handke entdecken und neu entdecken können.</b></span><br />
<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: yellow;"><br /></b></span>
<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: cyan;">https://www.fixpoetry.com/feuilleton/kritik/peter-handke/katharina-pektor/peter-handke-daueraustellung-stift-griffen</b></span><br />
<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: yellow;"><br /></b></span>
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SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-4280831336342556602.post-52778629041604522412017-11-06T08:33:00.004-08:002017-11-06T08:33:29.186-08:00 Peter Hamm sammelt seine Texte über Peter Handke. <span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: yellow;">http://www.sueddeutsche.de/kultur/aufsaetze-langsame-einkehr-1.3736102</b></span><br />
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: yellow;"><span class="moreInfo" style="color: #888888; float: none; width: auto;"><span style="font-style: italic; padding-top: 7.2px;">Von Christoph Bartmann</span>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: yellow;">Vor bald fünfzig Jahren hatten Peter Hamm und Peter Handke Streit. Der Kritiker und Lyriker Hamm ging damals den frisch zu literarischem Popstarruhm gekommenen Handke in <i>Die Zeit</i> und <i>Konkret</i> heftig an. "Der neueste Fall von deutscher Innerlichkeit: Peter Handke", so Titel und Vorwurf eines Hamm-Essays, auf den Handke dann gereizt reagierte, worauf wiederum Hamm noch gereizter erwiderte. Deutsche Innerlichkeit, damit wollte Peter Hamm wohl eine politikferne Haltung geißeln, mit der Handke seinerzeit die Provokation leicht fiel.</b></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: yellow;">Etwa wenn er die Thesen der Berliner SDS-Gruppe "Kultur und Revolution" über "Kunst als Ware der Bewusstseinsindustrie" als "totgeborene Sätze" qualifizierte. Mit solcher Sprachreflexion war im Klassenkampf nichts zu gewinnen, fand jedenfalls Hamm, der in seiner Handke-Kritik dann auch die größte Keule auspackte, die damals neben der Innerlichkeit zur Verfügung stand: die des "Idealismus".</b></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: yellow;">Hamms Sammlung von Essays, Reden und Rezensionen, die er zwischen <span class="nowrap" style="white-space: nowrap;">1968</span> und <span class="nowrap" style="white-space: nowrap;">2011</span> über Peter Handke geschrieben hat, berichtet, so der Untertitel, von "Stationen einer Annäherung". Mit den wechselseitigen Beschimpfungen war es schon bald zu Ende. Schon in der <i>Spiegel</i>-Besprechung von Handkes "Kurzem Brief zum langen Abschied" von <span class="nowrap" style="white-space: nowrap;">1972</span> hat der Kritiker auf Bewunderung umgestellt. Idealismus mag weiter ein Schimpfwort sein, nur wird es nicht mehr gegen Handke gerichtet. "Wie wenig idealistisch, wie materialistisch Handke übrigens denkt, zeigt sich immer im Detail", schreibt Hamm jetzt und liegt vielleicht noch immer ein bisschen daneben. Was könnte materialistische Prosa im Gegensatz zu idealistischer sein?</b></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: yellow;">In die Begrifflichkeit sind ideologische Prämissen eingebaut, die schon damals keine Berechtigung mehr besaßen. Hamm jedenfalls hat sich von solchen Voraussetzungen in der Folge frei gemacht und ist zu einem manchmal glühenden Bewunderer Handkes geworden. Für ihn verkörpert Handke nun alles, was an der Literatur überhaupt frei sein kann.</b></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: yellow;">Das Buch enthält subtile, oft liebevolle und zustimmende Lektüren aus der Nähe einer persönlichen Freundschaft. Ab und zu will Hamm Handke auch nicht folgen, etwa in seiner großen Besprechung des Romans "Langsame Heimkehr" von <span class="nowrap" style="white-space: nowrap;">1979</span> in Die Zeit. Hier wird er einen "Eindruck des Erzwungenen" nicht los, der sich in Handkes Wahl eines feierlichen, hohen Tons artikuliere. Spätere Bücher sagen Hamm dann wieder sehr zu, auch oder gerade die schwierigen wie der monumentale "Bildverlust" von <span class="nowrap" style="white-space: nowrap;">2002</span>. Was Hamm von Handke hält, welche nicht nur literarische Mission er durch ihn erfüllt sieht, das bringt er in seiner Laudatio bei der Verleihung des Schillerpreises <span class="nowrap" style="white-space: nowrap;">1995</span> an Handke auf den Punkt: "Peter Handke hat das Schwierigste und Höchste gewagt, was ein Schriftsteller nach Kafka überhaupt wagen konnte, nämlich erzählend wieder für Weltvertrauen zu werben und Weltvertrauen zu schaffen."</b></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: yellow;">Man stellt sich vor, wie Handke bei diesen Worten unruhig mit dem Stuhl zu wackeln beginnt. Man weiß, dass Handke manchmal gegen Kafka, den "ewigen Sohn", stichelt, und sicher kann man auch ein Wort wie "Weltvertrauen" im Handke-Kontext frisch betrachten. Aus Kritikermund sind Formeln wie "das Höchste...nach Kafka" und "für Weltvertrauen... werben" dann aber doch bedenklich. Hier wünscht man sich, es hätte noch mal der junge Hamm in dieses allzu harmonisch gewordene Verhältnis robust hinein gegrätscht. Vielleicht wäre er damit dem selten streitunlustigen Handke besser gerecht geworden als mit einer solchen Weihrauchspende.</b></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: yellow;">Die späteren Hamm-Texte, in denen es um Handkes Haus, seine Freundschaften oder seine Briefe geht, machen klar: wenn man erst einmal in den Bannkreis des Meisters getreten ist, wird Distanz schwierig. Hamm hat im Lauf der Jahre die Handke-Kritik an den Nagel gehängt und sich in die Rolle der Fürsprechers, Beistehers und manchmal auch Freisprechers begeben. Er habe sich, schreibt er, "in den kalten Mai-Wochen des Jahres <span class="nowrap" style="white-space: nowrap;">2006</span>, in denen Handke am Medien-Pranger stand, immer wieder einmal vorzustellen versucht, wie Hermann Lenz dem Freund Peter Handke beigestanden hätte." Bei dem damaligen Streit um Handkes Haltung zu Ex-Jugoslawien gab ein Wort das andere. Handke stand unter Beschuss, was ihn keineswegs hinderte, selbst kräftig auszuteilen. Beistand heißt in diesem konkreten Fall, den Dichter ungeachtet dessen, was er sagt, vor "den Medien" in Schutz zu nehmen. Hat Peter Handke solchen Beistand nötig? Mit seinen Fürsprachen jedenfalls schafft es Hamm, Handke schutzbedürftiger aussehen zu lassen, als er wohl eigentlich ist.</b></span></div>
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</section>SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-4280831336342556602.post-87621846640094986792017-10-24T15:23:00.001-07:002017-10-24T15:23:14.319-07:00HANDKE SPAIN BOOKShttps://www.alianzaeditorial.es/busqueda_avanzada.php?buscar_simple=handke<div style="background-color: white; color: #1d2129; white-space: pre-wrap;">
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<span style="font-family: Courier New, Courier, monospace; font-size: large;">En la obra de Peter Handke los paisajes y la literatura de España tienen una presencia como en ningún otro escritor de rango universal. Handke refleja una España (real e imaginada) contemporánea y atemporal, donde la historia palpita en el paisaje de sus tierras y ciudades, y donde el visitante que explora sus espacios en largas caminatas encuentra, lejos de idealizaciones y tópicos, "una vida terrenal indevastable". Esta España se presenta en una selección de pasajes de los libros del autor austriaco que se completa con una serie de entrevistas a Handke y su traductor Eustaquio Barjau. Al mismo tiempo se pretende dar una primera idea del eco intelectual que ha causado la obra de Handke en España, mediante textos de Enrique Vila-Matas, Juan Villoro, Ray Loriga, José Luis Pardo, Miguel Morey, Ignacio Vidal-Folch y Félix Romeo. La presente antología se publica a raíz del otorgamiento del "Doctor honoris causa" a Peter Handke en mayo de 2017 por la Universidad de Alcalá de Henares que distingue los "servicios eminentes prestados a la cultura pública".</span></div>
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Fwd: Peter Handke y España https://www.alianzae<wbr></wbr>ditorial.es/busqueda<wbr></wbr>_avanzada.php?buscar<wbr></wbr>_simple=handke</h2>
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<span class="gD" data-hovercard-id="getreuer.korreptitor@gmail.com" email="getreuer.korreptitor@gmail.com" name="getreuer koreptitor">getreuer koreptitor</span> <span class="go"><span aria-hidden="true"><</span>getreuer.korreptitor@gmail.com<span aria-hidden="true">></span></span> </h3>
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<span alt="24. Oktober 2017 um 13:01" class="g3" id=":1ip" title="24. Oktober 2017 um 13:01"><b>13:01 (vor 2 Stunden)</b></span></div>
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<b>Peter Handke y España</b></div>
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<b>Cecilia Dreymüller (autor/a)</b></div>
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<b>En la obra de Peter Handke los paisajes y la literatura de España tienen una presencia como en ningún otro escritor de rango universal. Handke refleja una España (real e imaginada) contemporánea y atemporal, donde la historia palpita en el paisaje de sus tierras y ciudades, y donde el visitante que explora sus espacios en largas caminatas encuentra, lejos de idealizaciones y tópicos, "una vida terrenal indevastable". Esta España se presenta en una selección de pasajes de los libros del autor austriaco que se completa con una serie de entrevistas a Handke y su traductor Eustaquio Barjau. Al mismo tiempo se pretende dar una primera idea del eco intelectual que ha causado la obra de Handke en España, mediante textos de Enrique Vila-Matas, Juan Villoro, Ray Loriga, José Luis Pardo, Miguel Morey, Ignacio Vidal-Folch y Félix Romeo. La presente antología se publica a raíz del otorgamiento del "Doctor honoris causa" a Peter Handke en mayo de 2017 por la Universidad de Alcalá de Henares que distingue los "servicios eminentes prestados a la cultura pública".</b></div>
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<b>Colección: Alianza Literaria ( </b></div>
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This is the e-mail address associated with <br />Michael Roloff's [as "Der Getreue Korreptitor"]<br /><a data-saferedirecturl="https://www.google.com/url?hl=de&q=http://artscritic.blogspot.com/&source=gmail&ust=1508969947533000&usg=AFQjCNFa-_65iyemRD5RViOC8F6DZZxauA" href="http://artscritic.blogspot.com/" target="_blank">http://artscritic.blogspot.<wbr></wbr>com/</a><br /><a data-saferedirecturl="https://www.google.com/url?hl=de&q=http://www.roloff.mysite.com&source=gmail&ust=1508969947533000&usg=AFQjCNHbLtSEeewSjc8IDFQcBtcMCBfSTQ" href="http://www.roloff.mysite.com/" target="_blank">http://www.roloff.mysite.com</a><br /><br /><a data-saferedirecturl="https://www.google.com/url?hl=de&q=http://artscritic.blogspot.com/2015/12/provisional-obituary-on-reaching-eighty.html&source=gmail&ust=1508969947533000&usg=AFQjCNGOY9ZdtfPEw_IExrnpvB-wEXQ6eA" href="http://artscritic.blogspot.com/2015/12/provisional-obituary-on-reaching-eighty.html" target="_blank">http://artscritic.blogspot.<wbr></wbr>com/2015/12/provisional-<wbr></wbr>obituary-on-reaching-eighty.<wbr></wbr>html</a><br /><br /><a data-saferedirecturl="https://www.google.com/url?hl=de&q=http://handke-drama.blogspot.com/2010/05/index-page-for-this-and-all-other.html&source=gmail&ust=1508969947533000&usg=AFQjCNEAlUthgRoADCRUmhNe5l0C-TkQ1A" href="http://handke-drama.blogspot.com/2010/05/index-page-for-this-and-all-other.html" target="_blank">http://handke-drama.blogspot.<wbr></wbr>com/2010/05/index-page-for-<wbr></wbr>this-and-all-other.html</a><br /><br /><br /><a data-saferedirecturl="https://www.google.com/url?hl=de&q=http://www.facebook.com/mike.roloff1?ref%3Dname&source=gmail&ust=1508969947533000&usg=AFQjCNFu2cLu610cMPnKR4OOpzoGcGXf6w" href="http://www.facebook.com/mike.roloff1?ref=name" target="_blank">http://www.facebook.com/mike.<wbr></wbr>roloff1?ref=name</a> <br /><br /><a data-saferedirecturl="https://www.google.com/url?hl=de&q=https://twitter.com/mikerol69&source=gmail&ust=1508969947533000&usg=AFQjCNGaZmi4WRUlmMS_SlmZvbbsKEYHrQ" href="https://twitter.com/mikerol69" target="_blank">https://twitter.com/mikerol69</a> <br /><br /><a data-saferedirecturl="https://www.google.com/url?hl=de&q=http://artscritic.blogspot.com/2015/12/provisional-obituary-on-reaching-eighty.html&source=gmail&ust=1508969947534000&usg=AFQjCNG29LM4RvH5kXXvqLEkF2O5BM71Yg" href="http://artscritic.blogspot.com/2015/12/provisional-obituary-on-reaching-eighty.html" target="_blank"></a><br /><a data-saferedirecturl="https://www.google.com/url?hl=de&q=http://handke-magazin.blogspot.com/2014/03/the-hub-navel-to-todos-handke.html/&source=gmail&ust=1508969947534000&usg=AFQjCNF7MUcF5wys3qSq6SBcwEHXIMT5lA" href="http://handke-magazin.blogspot.com/2014/03/the-hub-navel-to-todos-handke.html/" target="_blank">http://handke-magazin.<wbr></wbr>blogspot.com/2014/03/the-hub-<wbr></wbr>navel-to-todos-handke.html/</a> <br /><br /><a data-saferedirecturl="https://www.google.com/url?hl=de&q=http://crosscut.com/2011/07/21/crosscut-blog/20410/A-private-bower-wildness-in-Seattle/?page%3D2&source=gmail&ust=1508969947534000&usg=AFQjCNFxZNIEJQlbGkHw_cHP_33iDLS6OA" href="http://crosscut.com/2011/07/21/crosscut-blog/20410/A-private-bower-wildness-in-Seattle/?page=2" target="_blank">http://crosscut.com/2011/07/<wbr></wbr>21/crosscut-blog/20410/A-<wbr></wbr>private-bower-wildness-in-<wbr></wbr>Seattle/?page=2</a> <br /><br /><a data-saferedirecturl="https://www.google.com/url?hl=de&q=http://analytic-comments.blogspot.com/&source=gmail&ust=1508969947534000&usg=AFQjCNE5rTVmzpG31EuYc8_jhtmCzol3ow" href="http://analytic-comments.blogspot.com/" target="_blank">http://analytic-comments.<wbr></wbr>blogspot.com/</a> <br /><br />*Member Seattle Psychoanalytic Institute and Society a.d<br /><br /><a data-saferedirecturl="https://www.google.com/url?hl=de&q=http://www.workliterarymagazine.com/submission/michael-roloff-6302014/&source=gmail&ust=1508969947534000&usg=AFQjCNHPt2ybqwnIWC9UI45_0IpUGVDTOA" href="http://www.workliterarymagazine.com/submission/michael-roloff-6302014/" target="_blank">http://www.<wbr></wbr>workliterarymagazine.com/<wbr></wbr>submission/michael-roloff-<wbr></wbr>6302014/</a><br /><br /><a data-saferedirecturl="https://www.google.com/url?hl=de&q=http://www.roloff.mysite.com&source=gmail&ust=1508969947534000&usg=AFQjCNFFXsaJbvEz_qoPyQkQv7Mva8e8RQ" href="http://www.roloff.mysite.com/" target="_blank">http://www.roloff.mysite.com</a>>.<br /><a data-saferedirecturl="https://www.google.com/url?hl=de&q=http://www.facebook.com/mike.roloff1?ref%3Dname&source=gmail&ust=1508969947534000&usg=AFQjCNE8hqDwBc6vrVOhx33iefI_G2Q8Wg" href="http://www.facebook.com/mike.roloff1?ref=name" target="_blank"> </a><br />"Degustibus disputandum est" {Theodor Wiesenthal Adorno}<br />"May the foggy dew bediamondize your hoosprings + the fireplug<br />of filiality reinsure your bunghole! {James Joyce}<br />"Sryde Lyde Myde Vorworde Vorhorde Vorborde." {von Alvensleben}<br />"Siena me fe, disfescimi Maremma." {Dante}<br />"Ennui [Lange Weile] is the dreambird that hatches the egg of<br />experience." {Walter Benjamin, the essay on Leskov.}<br /><br /><a data-saferedirecturl="https://www.google.com/url?hl=de&q=http://analytic-comments.blogspot.com/&source=gmail&ust=1508969947534000&usg=AFQjCNE5rTVmzpG31EuYc8_jhtmCzol3ow" href="http://analytic-comments.blogspot.com/" target="_blank">http://analytic-comments.<wbr></wbr>blogspot.com/</a></div>
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SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-4280831336342556602.post-35281404704973760862017-10-21T11:18:00.003-07:002017-10-21T11:18:54.659-07:00HANDKE IN ZUNGEN https://dig-hum.de/forschung/projekt/handke-zungen<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: yellow;">https://dig-hum.de/forschung/projekt/handke-zungen</b></span><br />
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: yellow;">Dieses Projekt beschäftigt sich mit der Bühnenliteratur des österreichischen Schriftstellers Peter Handke (*1942).<br />
Seit den beginnenden 1980er Jahren haben Fremdsprachen in den Werken
Peter Handkes zunehmend an Bedeutung gewonnen. Mit einer Wende hin zum
epischen Erzählen, die sowohl die Prosaarbeiten als auch die
dramatischen Werke Handkes betrifft und mit der auch der Beginn von
Handkes Tätigkeit als Übersetzer einhergeht, halten die fremden Sprachen
Einzug in die Stücke des Autors.<br />
In diesem Projekt werden sämtliche fremdsprachigen Wörter und Textteile
in den über 20 Bühnentexten Handkes erhoben, ausgewertet und untersucht.
Dabei sind die Leitfragen, ob und in welcher Weise bestimmte Sprachen
für bestimmte semantische Felder und Themenbereiche eingesetzt werden,
welche Sprachen vorherrschen, ob und wie sich die Wichtigkeit einzelner
Sprachen im Lauf der Zeit verändert und wie die verschiedenen
einfließenden Fremdsprachen miteinander in Beziehung stehen.</b></span><br />
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: yellow;">Dieses Projekt richtet sich an Forschende in
literaturwissenschaftlichen Disziplinen, speziell in der Germanistik und
Komparatistik. Einerseits soll ein nachnutzbares Corpus an
mehrsprachigen Zitaten geschaffen werden, andererseits sollen aber auch
methodisch neue Wege begangen werden. “Handke: in Zungen” versucht, den
Forschungsprozess von Anfang bis Ende konsequent offen zu gestalten,
also nicht nur die Daten und Ergebnisse frei zugänglich zu machen,
sondern auch die einzelnen Arbeitsschritte innerhalb des Projekts
detailliert und öffentlich zu dokumentieren. Das geschieht einerseits im
Projekt-Logbuch auf Github (<a href="https://github.com/vanyh/handkeinzungen/" target="_blank">https://github.com/vanyh/handkeinzungen/</a>), andererseits auf dem Twitter-Account des Projekts (@HandkeinZungen).<br />
Das Projekt schließt teils thematisch, teils technisch an verschiedene
kleinere Projekte des Austrian Centre for Digital Humanities der
Österreichischen Akademie der Wissenschaften an, etwa an TEI Abstracts
App (<a href="https://tei2016app.acdh.oeaw.ac.at/" target="_blank">https://tei2016app.acdh.oeaw.ac.at/</a>) und an die Handke-App (<a href="https://tei2016app.acdh.oeaw.ac.at/" target="_blank">https://handke-app.acdh.oeaw.ac.at/</a>).<br />
“Handke: in Zungen” wird im Rahmen des Dissertationsprojekts
"Dramatische Sprachen: Fremdsprachen in den Bühnentexten von Peter
Handke" umgesetzt und vom Fellowship-Programm “Freies Wissen:
Wissenschaft offen gestalten” der Wikimedia Deutschland unterstützt.
Innerhalb eines Jahres soll die Arbeit am Corpus abgeschlossen sein.</b></span><br />
<br />SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-4280831336342556602.post-89260796276666034182017-10-19T08:16:00.003-07:002017-10-23T08:15:49.718-07:00HANDKE & HIS WORKING DIARIEShttp://www.deutschlandfunk.de/peter-handke-schenkung-herzstueck-seiner-arbeit.691.de.html?dram:article_id=398534 Peter Handke-Schenkung "Herzstück seiner Arbeit" 30.000 handgeschriebenen Seiten: Peter Handke hat dem Deutschen Literaturarchiv in Marbach weitere Tagebücher aus den Jahren 1975 bis 2015 überlassen. Diese würden noch lange interessant für die Forschung sein, sagte der Leiter des Literaturarchivs Ulrich von Bülow im Dlf. Ulrich von Bülow im Gespräch mit Anja Reinhardt Hören Sie unsere Beiträge in der Dlf Audiothek Ulrich von Bülow, der Leiter Handschriftenabteilung im Deutschen Literaturarchiv in Marbach, zeigt ein Schwarzes Heft des Philosophen Martin Heidegger. Die Einrichtung in Marbach am Neckar bei Stuttgart archiviert und verwaltet den Nachlass Heideggers. ( (c) dpa) Ulrich von Bülow, Leiter Handschriftenabteilung im Deutschen Literaturarchiv in Marbach, erhält von Peter Handke Tagebücher aus den Jahren 1975 bis 2015. Hier hält er eine Ausgabe aus Heideggers Nachlass. ( (c) dpa) E-Mail Teilen Tweet Drucken Podcast MEHR ZUM THEMA Deutsches Literaturarchiv Marbach"Wir können keinen Ruhm verteilen" Peter Handke Gehen im Herzland 50 Jahre "Publikumsbeschimpfung" von Peter Handke Peymann erinnert an Skandal-Aufführung Ulrich von Bülow: Ja, die Zeitkapsel, das ist bei uns eine recht beliebte Veranstaltungsserie. Wir haben den Titel von Andy Warhol entliehen. Der hatte nämlich, ich weiß nicht, ich glaube, in den 60er-Jahren die Angewohnheit, alles, was er auf seinem Schreibtisch fand, in Pakete zu packen. Und diese Pakete, die sind heute in Museen und werden dort ausgepackt. Das sind die Zeitkapseln. Und viele der Dinge, die wir bekommen, sind ja auch so eine Art Zeitkapsel, und die Freude, die wir haben, wenn wir solche Pakete oder Kisten auspacken, die wollen wir mit dem Publikum teilen. Und das machen wir schon seit einer Reihe von Jahren in Form dieser Serie der Zeitkapseln. "Eine Forschung, die eigentlich nie abgeschlossen ist" Reinhardt: Diese Zeitkapsel heute Abend hat über 23.000 Seiten. So viel umfassen die Notizen, die jetzt dazu kommen. Wie lange dauert das eigentlich, bis man so eine Menge einigermaßen erforscht hat? von Bülow: Oh, das dauert sehr lange, und der Erforschungsprozess, der ist überhaupt nicht absehbar, weil im Bereich der Literatur natürlich eine Forschung eigentlich nie abgeschlossen ist. Die erste Aufgabe, vor der wir stehen, ist sehr viel trivialerer Art. Wir müssen nämlich die konservatorisch gut behandeln, die Notizbücher. Wir müssen die vielen Federn und Blätter und Einlagen dort rausnehmen, aber ihrerseits konservieren. Das wird der erste Schritt sein. Dann stellen wir die Tagebücher der Öffentlichkeit und der Forschung zur Verfügung, und ich bin mir ziemlich sicher, dass die Zukunft zeigen wird, dass es viele Jahrzehnte, ich will nicht von Jahrhunderten sprechen, aber lange Zeit dauern wird, dass die Tagebücher noch sehr lange interessant sind für die Forschung. Tagebücher als Ideenspeicher Reinhardt: Und Sie werfen sicherlich auch noch mal einen neuen Blick auf insgesamt das Werk von Handke, oder? von Bülow: Ja, denn die Tagebücher, die sind wirklich ein Herzstück seiner Arbeit. Sie müssen sich diese ungeheure Menge von insgesamt - - Wenn man von 1975 bis 2015 rechnet, dann handelt es sich um insgesamt 30.000 Seiten. Das ist eine ungeheure Textmenge. Und auch die Art, wie Handke diese Notizbücher gefüllt hat, denn er hat sie für vieles gleichzeitig benutzt. Er hat sie als Ideenspeicher benutzt, er hat sie für Sprachübungen benutzt. Aber es gibt auch die ganz normalen Tagesnotizen. Es gibt sehr viele Naturbeschreibungen. Die Bücher kann man auch immer in den Jahreszeiten situieren. Reinhardt: … und auch noch Kritzeleien dazu. von Bülow: Es gibt die Kritzeleien, genau. Das ist auch eine ganz eigentümliche Art, wie Handke das handhabt. Man würde von einem Schriftsteller wie Handke vielleicht eine sensationelle Eröffnung aus dem Intimleben in Tagebüchern erwarten. Das findet man aber so gut wie gar nicht. Einblick in Handkes Serbien- und Bosnien- und Slowenien-Reisen Reinhardt: Was man aber vielleicht findet, weil jetzt diese Tagebücher, die Sie jetzt bekommen, auch die Zeit des Jugoslawien-Krieges behandeln, sind möglicherweise neue Erkenntnisse über diese doch relativ schwierige und problematische Geschichte, das Verhältnis Handkes zu Serbien beziehungsweise sein Verhältnis zu Milosevic. Erwarten Sie sich da noch mal Aufschluss über diese doch schwierige Periode in der Handke-Rezeption? von Bülow: Ich erwarte von den Notizbüchern aus dieser Zeit – das ist ja eine lange Periode; das geht ja in den 90er-Jahren und auch im ersten Jahrzehnt unseres Jahrtausends. Das ist ja die Periode, wo ihn Jugoslawien sehr beschäftigt hat und Serbien. Ich habe natürlich jetzt auch die vielen Seiten nicht lesen können, aber stichprobenhalber habe ich doch festgestellt, dass es auch sehr viel zum Beispiel von seinen Serbien- und Bosnien- und Slowenien-Reisen in dieser Zeit gibt. Wie sehr die das Bild, was er in seinen Veröffentlichungen gegeben hat, verändern werden, das vermag ich nicht zu sagen. "Was nicht nur faktisch stimmt, sondern auch poetisch gültig ist" Reinhardt: Handke selber hat ja immer wieder auch gesagt, dass er nichts von Distanz hält. Ich sage das deswegen, weil ich mich frage, ob solche Tagebuchaufzeichnungen nicht immer das Problem haben, dass sie von vornherein schon für die Veröffentlichung gedacht sind, dass er doch eigentlich sehr wohl Distanz hat zu sich selbst, wenn er da schreibt? von Bülow: Ich kann mir gut vorstellen, dass jetzt, nachdem er schon manche Auszüge aus den Tagebüchern – das sind ja immer nur Auszüge, die veröffentlicht worden sind -, nachdem er das mehrmals gemacht hat, dass er dann schon auch sich vorstellen kann, dass auch aus den neuen Tagebüchern etwas veröffentlicht wird. Ob aber er von Anfang an die Tagebücher 1975 mit dem Ziel begonnen hat, sie zu veröffentlichen, das weiß ich nicht, denn es ist tatsächlich auffallend, dass das Private ganz weitgehend fehlt und auch das Intimleben dort nicht ausgebreitet wird. Aber das hängt, glaube ich, mit seiner Auffassung des Schriftstellerberufs zusammen. Ich glaube, dass Handke einfach den Anspruch an sich selbst hat, dass er nur so etwas in sein Tagebuch schreibt, was nicht nur faktisch stimmt, sondern auch poetisch gültig ist. Äußerungen unserer Gesprächspartner geben deren eigene Auffassungen wieder. Der Deutschlandfunk macht sich Äußerungen seiner Gesprächspartner in Interviews und Diskussionen nicht zu eigen. ================================ Das ist doch nicht der Fall bei GEWICHT DER WELT oder GESCHICHTE DES BLEISTIFTS, die strotzen doch teilweise von Persönlichem. m.r. ====================== Peter Handkes TagebücherEiner, der selbst im Gehen schreibt Christian Gampert im Gespräch mit Sigrid Brinkmann Beitrag hören Podcast abonnieren Autor Peter Handke im Oktober 2014 in Wien. (picture alliance / dpa / Georg Hochmuth) Peter Handke (picture alliance / dpa / Georg Hochmuth) Peter Handke hat dem Literaturarchiv Marbach 151 weitere Tagebücher übergeben - insgesamt 23.500 Seiten. Sichtbar wird ein Schriftsteller, der alles notiert, was "poetische Gültigkeit" haben könnte. Und auch im Gehen schreibt. Im Jahr 2008 erwarb das Deutsche Literaturarchiv Marbach die ersten Tagebücher von Peter Handke: 66 Bände, die den Alltag des Schriftstellers aus den Jahren zwischen 1975 – 1990 spiegeln. Diese 66 Bände gehörten bald zu den am häufigsten angeforderten Handschriften des Archivs. Bis 2015 hat Peter Handke weitere 151 Hefte mit Notizen gefüllt - und auch diese nun dem Literaturarchiv übergeben. Insgesamt handelt es sich um rund 23.500 Tagebuchseiten. Handke und das Tagebuchschreiben: Das sei wie eine tägliche Übung - so wie andere Leute Yoga machten oder beteten, sagt unser Literaturkritiker Christian Gampert. Es seien auch keine Tagebücher im herkömmlichen Sinn: Handke schreibe alles auf, was eine "poetische Gültigkeit" haben könnte: "Der schreibt auf, und legt das ab, das wird benutzt, oder auch nicht." Handke trägt seine Tagebücher in der Hosentasche Handke begann mit dem Tagebuchschreiben, als er anfing zu reisen, berichtet Gampert, der bei der Präsentation der Notate im Literaturarchiv dabei war. Viele der Notizen sind auch im Gehen entstanden - dementsprechend sehen die Tagebücher aus. Sie seien "ziemlich zerschossen", so Gampert. Handke schreibt in Hefte, die gerade vorrätig sind, "und trägt sie dann in der Hosentasche". Deswegen müssten die Tagebücher nun restauriert werden. Die Notate seien für den Schriftsteller "eine Art Insel", so Gampert. Politik kommt kaum vor, dafür viele Beobachtungen aus der Natur. "Man kann hier jemandem zugucken, der mit der Sprache sehr sorgfältig umgeht", betont Gampert. Sprache und Natur - das seien die Themen von Handkes Tagebüchern. http://www.deutschlandfunkkultur.de/peter-handkes-tagebuecher-einer-der-selbst-im-gehen-schreibt.1013.de.html?dram:article_id=398545 ================================== Peter Handke in Marbach Gesammelte Sternschnuppen Von Stefan Kister 19. Oktober 2017 - 18:15 Uhr Das Deutsche Literaturarchiv in Marbach hat seinen Bestand an Tagebüchern von Peter Handke vervollständigt. Zur Feier der Übergabe hat sich der österreichische Autor auf eine persönliche Reise durch ein ganzes Erinnerungsmassiv aus Papier gemacht. Die Journale, diese Mitschriften, Notate, Kritzeleien dessen, was der Augenblick ihm im Vorüberfliegen zuflüstert, sind ein zentraler Bestandteil von Peter Handkes Schaffen. Foto: DLA Die Journale, diese Mitschriften, Notate, Kritzeleien dessen, was der Augenblick ihm im Vorüberfliegen zuflüstert, sind ein zentraler Bestandteil von Peter Handkes Schaffen. Foto: DLA Stuttgart - Der Flügel trägt das Gewicht der Welt. Unzählige kleine Bändchen in allen Formen und Farben sind im Humboldt-Saal des Deutschen Literaturarchivs auf dem schwarzen Klangkörper aufgebaut, als gelte es, ins Bild zu fassen, was sich in den abertausend Seiten dieses neuen, kostbaren Besitzes zusammenzieht: ein Ereignis des Wiederklingens, der Resonanz mit der Welt. Marbach hat die Tagebücher des österreichischen Schriftstellers Peter Handke erworben. 66 Exemplare aus der Zeit von 1975 bis 1990 werden dort bereits verwahrt und zählen zu den meistgenutzten Beständen des Hauses. Nun kommen weitere 151 dazu, vom Anfang der neunziger Jahre bis 2015. Damit ist Marbach zusammen mit Wien, wo Handkes Manuskripte und Korrespondenzen gesammelt werden, ein zentraler Ort im Erinnerungskosmos des Dichters. Mehr zum Artikel Sandra Richter übernimmt Führungswechsel beim Literaturarchiv in Marbach Sandra Richter übernimmt Literaturmuseum der Moderne Marbach zeigt, wie sich Familien inszenieren Das Literaturarchiv wird sechzig Jahre alt Die Hüter kostbarer Schätze Handke sieht aus wie Don Quichotte Den man so nennen möchte, weil sich in seiner Erscheinung über die Profession hinaus eine literarische Lebensform ausprägt – auch darin, dass er optisch dem Vorstellungsbild eines Don Quichotte immer ähnlicher wird. So wie jener die ihm entgleitende Gegenwart vorm Hintergrund seiner Lektüreerfahrungen ordnet, ist der 1943 im kärntnerischen Griffen geborene Handke der letzte Ritter einer epischen Welterfahrung. Die Journale, diese Mitschriften, Notate, Kritzeleien dessen, was der Augenblick ihm im Vorüberfliegen zuflüstert, sind ein zentraler Bestandteil seines Schaffens. Und sei es nur im Verhältnis des Samens zum ausgebildeten Ganzen. Sie sind gezeichnet von unermüdlichen Grenzgängen durch Europa und darüber hinaus. Die abgegriffenen Einbände dieser von Hitze und Kälte aufgetriebenen kleinen Buchbündel, vollgesogen mit Erinnerungen und übersät mit Spuren des Gebrauchs, zeugen von den Fahrten an die Außenposten des Bewusstseins, durch Poesie und Politik, durch die Wildnis der Sierra de Gredos oder durch Traum und Trauma Jugoslawiens. Weltenschöpfer Bleistift Aber um das gleich vorwegzunehmen: Der in dieser Angelegenheit immer noch sehr entwickelte Pawlow’sche Empörungsreflex wird an diesem Abend nicht bedient. Sicher finden sich in einem dieser Bändchen auch die Notizen zu den jugoslawischen Reiseberichten, den einst hitzig diskutierten, am hitzigsten von denen, die die bequeme mediale Wahrnehmung eigener Augenzeugenschaft jederzeit vorgezogen haben. Doch wer hier auf eine Schlangengrube hofft, aus der sich giftige Geheimnisse ans Licht bringen lassen, der hat vieles nicht verstanden, am wenigsten den Charakter dieser Tagebücher. Ein vom Weltenschöpfer Bleistift geschaffenes Gebirge aus Papier nennt der Direktor des Literaturarchivs, Ulrich Raulff, das, was sich auf dem Flügel türmt. Zusammen mit dem Leiter des Handschriftenarchivs, Ulrich von Bülow, macht sich der 75-jährige Dichter auf, einige Passagen dieses Massivs noch einmal zu durchstreifen. Und dieses Bild führt nicht in die Irre, ein gemächliches Schweifen, ein Verweilen an dieser oder jener Stelle, ein versunkenes Zurückblicken gibt dem Weg durch dieses Bleistiftgebiet das Zeitmaß. Saumseligkeit, wie man es mit einem Handke-Wort nennen könnte. Erst später hat er Notizbücher geführt Wobei gleich ein erster Irrtum ausgeräumt werden muss, denn die meisten der an die Wand projizierten Seiten verdanken sich gar keinem Bleistift, sondern Kugelschreibern oder blauen, roten, grünen Filzstiften. Hier wird ein Satz aufgegriffen und versonnen hin und her gewendet. Dort steckt eine Einlage zwischen den Seiten: „Ich kann vieles liegen lassen, aber keine schönen Federn“, sagt Handke. Vor 1975 habe er nie ein Tagebuch geführt. „Früher im Internat gab es diese Mode, aber in dieses Spiel habe ich nicht einsteigen können.“ Erst im Zusammenhang mit längeren Arbeiten sei er darauf gekommen, Notizbücher zu führen. Dabei sei manches nebenbei entstanden, aufgetaucht und wieder verschwunden wie eine Sternschnuppe. Aus dem Gefühl des Bedauerns habe er sich angewöhnt, diese Besonderheit, eine Sprachform, die es nur einmal gibt, festzuhalten: „Aus Erkenntlichkeit dem Existieren gegenüber habe ich meine Heftchen gezückt.“ Der Marienkäfer als Dialogpartner Während der Jahre seiner Wanderschaft, vom Balkan nach Japan, von Alaska zurück nach Europa, reisten die Journale immer in der linken Hosentasche mit. Der Verlust eines von ihnen schmerzt noch heute. „Die Freundschaft umwandert den Erdkreis, stachelt uns an, zur Seligkeit zu erwachen“, übersetzt Handke einen griechisch notierten Sinnspruch von Epikur. „Vielleicht wollte ich mich auch wichtig machen, aber es kommen viele fremdsprachige Zitate vor.“ Neben Griechisch, Latein, Slowenisch auch noch auf Arabisch. Wie Litaneien reiht Handke Ortsnamen aneinander. Manche reizvoll erratische Periode wird zur Erzählung weiterspintisiert. Andere bleiben für sich. In Berlin sprießen sie auf dem Weg von einer Straße zur anderen wie Pilze aus dem Boden: „Jeder Satz müsste ans Wunderbare grenzen (Gutenbergstraße)“, „es gibt die Sätze (Leibnizstraße)“, „ganz selten ein kleiner Schimmer von Ich (Wilmersdorferstraße)“. Erhabener Nonsens und Sinnspruch liegen bisweilen nur einen Schritt auseinander. Und dazwischen eine Szene wie diese: „Mein Dialogpartner von heute: ein Marienkäfer. Ich sitze in einem blauen Hemd auf der Gartenbank, schlage die Beine übers Kreuz, und der Marienkäfer ist rot und rundet sich.“ Eigentlich mag Handke gar keine Tagebücher Handkes Sternschnuppensammlung unterscheidet sich von anderen Tagebüchern auch darin, dass Persönliches gänzlich fehlt: „Ich war nie in Versuchung, private Dinge aufzuschreiben“, sagt er. Dafür gewinnt man Einblick in das Intimleben der Sprache. An einer Stelle werden Verben bestimmten Substantiven zugesellt. Ein Verb für die Frau: „sie versteht“; ein Verb für die Musik Bachs: „das Zeitmaß geben“, ein Verb für die Erzählung: „sie greift ein“. Alles bleibt in Bewegung, nichts ist in diesem schönen Durcheinander fest, auch die Begeisterung für das Tagebuch als solches nicht. Irgendwann verblüfft Handke seinen Dialogpartner mit der Bemerkung, er lese Tagebücher eigentlich gar nicht gern, ziehe das vollendete Werk dem bloß Gemachten vor. Und als er am Schluss erklärt, man solle sich davor hüten, durch Gesprochenes Leute zum Staunen bringen zu wollen, und damit den Sinn der ganzen Veranstaltung kurzerhand infrage stellt, bleibt seinem Gegenüber nur ein verdattertes: „Ja, genau“. So rundet sich ein denkwürdiger Abend. http://www.stuttgarter-zeitung.de/inhalt.peter-handke-in-marbach-gesammelte-sternschnuppen.6f1af4be-21b9-4306-8789-67029229926c.html ===================================== https://www.swr.de/swr2/kultur-info/literatur-deutsches-literaturarchiv-marbach-peter-handke/-/id=9597116/did=20486538/nid=9597116/1mch08g/index.html Literaturarchiv Marbach erhält weitere Tagebücher von Peter Handke Mehr Nähe zu Handke geht nicht Kultur Regional am 19.10.2017 von Christian Gampert Schon heute liegen 66 Tagebücher von Peter Handke im Deutschen Literaturarchiv in Marbach. Über 10.000 Seiten aus den Jahren 1975 bis 1990. Sie gehören zu den meistbenutzten Handschriften des Archivs. Nun sind noch einmal 23.500 Seiten dazugekommen, denn Marbach hat auch die Notizbücher aus den Jahren 1990 bis 2015 erworben. Handke hat das handschriftliche Schreiben für sich entdeckt und sagt: "Es gibt keine Tätigkeit, die so gesellig ist, wie das Schreiben von Prosa". Ulrich von Bülow, der Leiter der Marbacher Handschriften-Abteilung, hat gemeinsam mit Handke in den Seiten der Tagebücher geblättert. Näher kann man Handke nicht kommen. Zehntausende Seiten Peter Handke pur Dauer 4:06 min QuelleSWR2 2017 Audio herunterladen (3,79 MB | mp3) In Peter Handkes Tagebüchern geht es nicht um die Widrigkeiten des Alltags, Termine, persönliche Konflikte, die Liebe oder Politisches. Das Private kommt nicht vor, die Politik wirft höchstens einen fernen Schatten. Der Anspruch dieser Aufschriebe ist ein anderer. Handke nimmt seine Notizbücher mit auf Reisen und in die Natur. Er protokolliert, was er sieht und was ihm dazu einfällt – ein Phänomenologe. Er reflektiert über seine Lektüren, er übersetzt aus dem Griechischen oder liest den "Don Quichotte" auf Spanisch. Er wendet Worte hin und her. Diese Kladden sind keine Werke an sich, aber sie ermöglichen einen Blick in die Werkstatt des Schriftstellers, in die Entstehungsprozesse von Literatur. Denn was hier notiert wird, ist oftmals Ausgangspunkt für einen Text. Handke sagt, er schreibe gern inzwischen von Hand. "Da kann ich überall hingehen, in die Natur, in die Steppe, in die Savanne." Im Gespräch mit Marienkäfern Im Deutschen Literaturarchiv waren nun 151 ganz unterschiedliche Notizbücher auf einem Konzertflügel aufgetürmt. In diesen Notaten bekommen die Beobachtungen des Alltags Flügel, und die Worte werden, wenn es gut geht, zu Poesie. Aber es sind eben viele Versuche notwendig, viele Selbstgespräche, Selbstkritik, Aufforderungen an sich selbst. "Empfänglich sein ist alles" lautet eine Maxime, die in Variationen immer wieder vorkommt. Immer neu formuliert Handke für sich ein elftes Gebot: "Freude machen" kann es heißen oder "Einmal am Tag ‚herrlich‘ ausrufen". Nun könnte man sagen, dass es verrückt ist, wenn sich jemand einen Marienkäfer zum Dialogpartner wählt oder alte Namen auf französischen Friedhöfen notiert, nur weil ihm der Klang gefällt. Aber Handkes Arbeitsweise hat überhaupt nichts Esoterisches. Es geht ihm um die Dinge an sich: er will etwas festhalten und es überliefern. Es gibt, wie in seinen Romanen auch, einen gemeinsamen Raum zwischen Autor und Leser, und der liegt in konkreten, meist minimalen Beobachtungen, bei denen eine poetische Wahrheit aufgeht, weil sie das Universelle streifen. "Es gibt keine Tätigkeit, die so gesellig ist, wie das Schreiben von Prosa", meint Handke. Er sei dabei ganz nah dran an Gesellschaft und den Menschen. Deutsches Literaturarchiv MarbachDeutsches Literaturarchiv Marbach Buchenlaubrauschen statt Breaking News In der Laptop-Welt der Breaking News und der wichtigen Koalitionsverhandlungen nimmt es sich natürlich seltsam aus, wenn einer "das Rauschen von Buchenlaub am Morgen" mit den Geräuschen anderer Baumarten vergleicht. Doch: Wenn alle Termine abgehakt, alle Meldungen gelesen, "Spiegel" und "ZEIT" durchgekaut sind: fühlt man sich dann nicht völlig leer und blöd im Kopf? Peter Handke nimmt sich die Zeit, die andere sich nicht nehmen. Er liest, schaut zu, schreibt. Alle leben unter Sachzwängen, aber jeder gestaltet sein Leben selbst. Es gibt keine Ausreden. Peter Handke lebt im literarischen Denken. Er schreibt, während er wandert. Es ist ein Schreiben in Bewegung. Die Seiten sind voller Zeichnungen, zwischen ihnen liegen Blätter und Vogelfedern. Nun muss alles restauratorisch bearbeitet werden, die Bücher waren schließlich immer in der Hosentasche. Aber auch literarisch kommt uns da etwas sehr Altes entgegen, etwas, das zu bewahren sich lohnt. Die kleine öffentliche Arbeitssitzung, die ein sehr aufgeräumter und selbstironischer Peter Handke mit Ulrich von Bülow, dem Leiter der Marbacher Handschriften-Abteilung, absolvierte, war äußerst unterhaltsam. Sie gab doch nur kleine Einblicke in das Riesen-Konvolut, das jetzt in Marbach aufgearbeitet werden muss. Für diese Arbeit gilt, was Handke von seinem Tagebuchschreiben selber sagt: Sie ist "eine schöne Notwendigkeit". Stand: 19.10.2017, 11.13 Uhr<span style="color: #222222;"><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: magenta;">ALSO SEE FOR COMMMENTS ON THE DIARY DRAWINGS/SKETCHES SEE</b></span></span><br />
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Peter Handkes Tagebücher im Deutschen Literaturarchiv Marbach</h3>
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<b><span style="background-color: orange; font-size: large;">19.10.2017 | 4 Min. | Verfügbar bis 19.10.2018 | Quelle: SWR</span></b></div>
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<b><span style="background-color: orange; font-size: large;">Nach
den Jahrgängen 1975 bis 1990 überlässt Peter Handke jetzt auch seine
seit 1990 geführten Tagebücher dem Deutschen Literaturarchiv Marbach.
Ein literarischer Schatz.</span></b></div>
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<span style="color: #222222;"><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b><span style="background-color: orange;">http://www.ardmediathek.de/tv/Kunscht/Peter-Handkes-Tageb%C3%BCcher-im-Deutschen-Li/SWR-Fernsehen/Video?bcastId=18349524&documentId=47055882</span><br /><br /><br /><br /><span style="background-color: yellow;">WORTH READING & COMMENTING IN ENTIRETY:</span><br /><span style="background-color: cyan;">http://www.begleitschreiben.net/notiz-statt-tagebuecher/</span><br /><br /><br /><span style="background-color: yellow;">Naja, Handkes Notizen kreisen schon um so etwas wie die Suche nach
(literarischer) Perfektion. Manchmal sind es auch Sprachspiele oder
Experimente. In den als Bücher publizierten »Journalen« (»wie »Gewicht
der Welt«, »Geschichte des Bleistifts« oder zuletzt »Vor der
Baumschattenwand nachts«) finden sich dann Extrakte. Tatsächlich sind
Handkes Notizen zuweilen sehr suchend.</span><br /><br /><br /><br /></b></span></span>
<span style="color: #222222;"><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: yellow;"><br /></b></span></span>
<span style="color: #222222;"><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: yellow;">https://www.nzz.ch/feuilleton/immer-schweigt-das-tagebuch-ld.13232</b></span></span><span style="background-color: yellow; color: #05032d; font-family: "courier new" , "courier" , monospace; font-size: large;"><b>Immer schweigt das Tagebuch</b></span><br />
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<div class="leadtext" style="line-height: 28px; margin-bottom: 40px;">
<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: yellow;">Warum uns die Intimität täglicher Notizen zum Narren hält: sie verbergen alles, indem sie alles preiszugeben scheinen.</b></span></div>
<div class="metainfo metainfo--content" style="color: #6e6e7e; line-height: 16px; margin-top: 20px; max-width: 95%; position: relative;">
<span class="metainfo__author" style="display: block; line-height: 18px;"><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: yellow;">Roman Bucheli</b></span></span><time class="metainfo__date" datetime="2017-10-22T03:30:00.000Z" style="display: block; line-height: 18px;"><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: yellow;">22.10.2017, 05:30 Uhr</b></span></time></div>
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</header><figure class="figure figure--content figure--left" style="margin: 0px; opacity: 1; overflow: visible; width: 560px;"><div class="figure__wrapper" style="float: left; margin: 0px 30px 25px auto; position: relative; top: 6px; width: 180px;">
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<img alt="Gerade hat der Schriftsteller Peter Handke eine grosse Anzahl seiner Tagebücher in das Deutsche Literaturarchiv in Marbach gegeben. (Bild: Cesar Cabrera / Keystone)" class="figure__image lazyloaded resrc lazyautosizes " data-height="4896" data-optimumx="1.9" data-ratio="150.00" data-sizes="auto" data-srcset="https://img.nzz.ch/S=W560/O=75/http://nzz-img.s3.amazonaws.com/2017/10/20/d18dd800-51b8-4e0e-863a-96f8d7b6883e.jpeg 560w, https://img.nzz.ch/S=W1120/O=75/http://nzz-img.s3.amazonaws.com/2017/10/20/d18dd800-51b8-4e0e-863a-96f8d7b6883e.jpeg 1120w, https://img.nzz.ch/S=W345/O=75/http://nzz-img.s3.amazonaws.com/2017/10/20/d18dd800-51b8-4e0e-863a-96f8d7b6883e.jpeg 345w, https://img.nzz.ch/S=W690/O=75/http://nzz-img.s3.amazonaws.com/2017/10/20/d18dd800-51b8-4e0e-863a-96f8d7b6883e.jpeg 690w, https://img.nzz.ch/S=W1960/O=75/http://nzz-img.s3.amazonaws.com/2017/10/20/d18dd800-51b8-4e0e-863a-96f8d7b6883e.jpeg 1960w" data-width="3264" sizes="180px" src="https://img.nzz.ch/S=W180/O=75/http://nzz-img.s3.amazonaws.com/2017/10/20/d18dd800-51b8-4e0e-863a-96f8d7b6883e.jpeg" srcset="https://img.nzz.ch/S=W560/O=75/http://nzz-img.s3.amazonaws.com/2017/10/20/d18dd800-51b8-4e0e-863a-96f8d7b6883e.jpeg 560w, https://img.nzz.ch/S=W1120/O=75/http://nzz-img.s3.amazonaws.com/2017/10/20/d18dd800-51b8-4e0e-863a-96f8d7b6883e.jpeg 1120w, https://img.nzz.ch/S=W345/O=75/http://nzz-img.s3.amazonaws.com/2017/10/20/d18dd800-51b8-4e0e-863a-96f8d7b6883e.jpeg 345w, https://img.nzz.ch/S=W690/O=75/http://nzz-img.s3.amazonaws.com/2017/10/20/d18dd800-51b8-4e0e-863a-96f8d7b6883e.jpeg 690w, https://img.nzz.ch/S=W1960/O=75/http://nzz-img.s3.amazonaws.com/2017/10/20/d18dd800-51b8-4e0e-863a-96f8d7b6883e.jpeg 1960w" style="border: 0px; cursor: zoom-in; display: block; margin-bottom: 0px; max-width: 100%; opacity: 1; transition: opacity 0.1s ease-in-out; vertical-align: bottom; width: 180px;" /></div>
<h2 class="figure__caption" style="color: #6e6e7e; line-height: 18px; margin: 10px auto 0px; max-width: 560px; width: 180px;">
<span style="background-color: yellow; font-family: "courier new" , "courier" , monospace; font-size: large;">Gerade hat der Schriftsteller Peter Handke eine grosse Anzahl seiner Tagebücher in das Deutsche Literaturarchiv in Marbach gegeben. (Bild: Cesar Cabrera / Keystone)</span></h2>
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</figure><span style="background-color: yellow; width: 560px;"><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b><advertisement style="margin-bottom: 40px; margin-left: 0px; margin-right: 0px; width: 560px;"></advertisement></b></span></span><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: yellow;">Am 22. Juli 1955 war Thomas Mann noch in Noordwijk an der niederländischen Atlantikküste. Eine Woche später lag er im Zürcher Kantonsspital mit einer schweren Venenentzündung und notierte ins Tagebuch: «Lasse mir's im Unklaren, wie lange dies Dasein währen wird. Langsam wird es sich lichten. Soll heute etwas im Stuhl sitzen. – Verdauungssorgen und Plagen.» Es sind die letzten Zeilen im veröffentlichten Tagebuch des Literaturnobelpreisträgers. Zwei Wochen später, am 12. August 1955, starb Thomas Mann. «Verdauungssorgen» waren ein wiederkehrendes Motiv der Tagebücher. Sie begleiteten ihn bis zuletzt.</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: yellow;">Thomas Mann war vielleicht der raffinierte Zeremonienmeister der in die Öffentlichkeit verlängerten Intimität. Er zelebrierte seine Innerlichkeit bis in die Eingeweide des Körpers (an denen sich den Schamanen die Seele und die Zukunft offenbaren sollten) und verhüllte sich damit umso nachdrücklicher. Er entzog sich den voyeuristischen Blicken, indem er sich ihnen preisgab. Und versetzte den postumen Leser (mit dem er selbstverständlich rechnete) in den dauernden Zwiespalt von Neugier und Beschämung.</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: yellow;"><a href="https://www.nzz.ch/feuilleton/peter-handke-macht-weitere-handbuecher-im-literaturarchiv-zugaenglich-ld.1318726" style="-webkit-tap-highlight-color: transparent; color: #2c32bd;">Unlängst hat Peter Handke seine jüngsten Notiz- und Tagebücher an das Deutsche Literaturarchiv in Marbach verkauft. </a>Damit zählen die dortigen Bestände der Handke-Diarien mittlerweile rund 200 Hefte, die von 1975 bis ins Jahr 2015 reichen. Das wiederum summiert sich dann auf über 23 000 handgeschriebene Blätter. Diese sind mit dem Verkauf öffentlich und allen zugänglich: Wer sie lesen mag, kann und darf jetzt. Vierzig Jahre im Schnelldurchlauf: so flink und leicht sich eben eine Handschrift entziffern lässt.</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: yellow;">Selbst wenn jemand so etwas tun wollte (aber welcher Teufel müsste ihn da reiten?), würde ihn nicht sogleich das nackte Grauen packen? Schaute er nicht in Abgründe, in Eingeweide, in Alltägliches, in Allzumenschliches, das ihn nichts angeht, unter keinem Vorwand, und hiesse er «Wissenschaft»?</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: yellow;">Solches musste Peter Handke geahnt haben, als er in Marbach die Hefte präsentierte und möglichen Kummer seiner Leser mit den Worten zu beschwichtigen meinte: «Manchmal passiert auch ein paar Tage gar nichts.» Aber das macht doch alles nur noch schlimmer! Das glaubt ihm doch keiner! Nicht ihm, der doch zu den genauesten Beobachtern und Aufschreibern des Nichts gehört.</b></span></div>
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<span style="background-color: yellow; font-family: "courier new" , "courier" , monospace; font-size: large;">Das heisst doch: Immer fehlt da etwas. Immer wird uns das Beste vorenthalten. Peter Handke erweist sich darum als der gelehrigste Schüler Thomas Manns. Sie verbergen alles, indem sie angeblich alles zeigen. </span></h1>
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<span style="background-color: lime; color: #222222;"><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b>======================</b></span></span><br />
<span style="background-color: lime; color: #222222;"><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b><a data-saferedirecturl="https://www.google.com/url?hl=en&q=http://www.deutschlandfunk.de/peter-handke-schenkung-herzstueck-seiner-arbeit.691.de.html?dram:article_id%3D398534&source=gmail&ust=1508512346428000&usg=AFQjCNG2len2LUyiKBFvAJg1lclNShuzig" href="http://www.deutschlandfunk.de/peter-handke-schenkung-herzstueck-seiner-arbeit.691.de.html?dram:article_id=398534" style="color: #1155cc;" target="_blank">http://www.deutschlandfunk.<wbr></wbr>de/peter-handke-schenkung-<wbr></wbr>herzstueck-seiner-arbeit.691.<wbr></wbr>de.html?dram:article_id=398534</a><wbr></wbr></b></span></span><br />
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<span class="overline" style="border: none; color: #016bb2; display: block; line-height: 20px; margin: 0px 0px 2px; max-height: 1e 06px; padding: 0px;"><span style="background-color: lime; font-family: "courier new" , "courier" , monospace; font-size: large;">Peter Handke-Schenkung</span></span><span style="background-color: lime; font-family: "courier new" , "courier" , monospace; font-size: large;">"Herzstück seiner Arbeit"</span></h1>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: lime;">30.000 handgeschriebenen Seiten: Peter Handke hat dem Deutschen Literaturarchiv in Marbach weitere Tagebücher aus den Jahren 1975 bis 2015 überlassen. Diese würden noch lange interessant für die Forschung sein, sagte der Leiter des Literaturarchivs Ulrich von Bülow im Dlf.</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: lime;">Ulrich von Bülow im Gespräch mit Anja Reinhardt</b></span></div>
<a class="audiothek-link" href="http://www.deutschlandfunk.de/dlf-audiothek.3363.de.html" style="border: none; display: inline-block; float: right; line-height: 16px; margin: -47px 110px 0px 0px; max-height: 1e+06px; padding: 0px; text-align: right; text-decoration-line: none; width: 200px;"><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: lime;"><span class="audiothek-txt" style="border: none; display: inline-block; margin: 0px; max-height: 1e+06px; padding: 0px; vertical-align: top; width: 165px;">Hören Sie unsere Beiträge in der Dlf Audiothek</span><span class="audiothek-icon" style="background-attachment: initial; background-clip: initial; background-image: url("dlf2015/img/audiothek_icon.svg"); background-origin: initial; background-position: 0px 0px; background-repeat: no-repeat; background-size: 100%; border: none; display: inline-block; height: 32px; margin: 0px 0px 0px 3px; max-height: 1e+06px; padding: 0px; width: 32px;"></span></b></span></a>
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<dt style="border: none; height: auto; margin: 0px; max-height: 1e+06px; padding: 0px; position: relative; width: 755px;"><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: lime;"><img alt="Ulrich von Bülow, der Leiter Handschriftenabteilung im Deutschen Literaturarchiv in Marbach, zeigt ein Schwarzes Heft des Philosophen Martin Heidegger. Die Einrichtung in Marbach am Neckar bei Stuttgart archiviert und verwaltet den Nachlass Heideggers. ( (c) dpa)" src="http://www.deutschlandfunk.de/media/thumbs/1/169dd481b1478d4390b3b543e2b466b7v1_max_755x425_b3535db83dc50e27c1bb1392364c95a2.jpg?key=5bc2f3" style="border: none; margin: 0px; max-height: 1e+06px; padding: 0px; vertical-align: bottom;" title="Ulrich von Bülow, der Leiter Handschriftenabteilung im Deutschen Literaturarchiv in Marbach, zeigt ein Schwarzes Heft des Philosophen Martin Heidegger. Die Einrichtung in Marbach am Neckar bei Stuttgart archiviert und verwaltet den Nachlass Heideggers. ( (c) dpa)" /></b></span><div class="dlf-playbutton" style="border: none; bottom: 0px; height: 25px; margin: 0px; max-height: 1e+06px; overflow: hidden; padding: 0px; position: absolute; right: 0px;">
<a class="dlf-player-embed" data-audio-broadcast="Kultur heute" data-audio-delivery-mode="download" data-audio-diraid="19523032" data-audio-duration="388" data-audio-size="6201426" data-audio-src="http://ondemand-mp3.dradio.de/file/dradio/2017/10/18/peter_handke_tagebuecher_fuer_das_literaturarchiv_marbach_dlf_20171018_1735_19523032.mp3" data-audio-title-suffix="(Hören bis 26. April 2018 - 17:35 Uhr)" data-audio-title="Peter-Handke-Tagebücher für das Literaturarchiv Marbach: Interview mit Ulrich von Bülow" href="http://ondemand-mp3.dradio.de/file/dradio/2017/10/18/peter_handke_tagebuecher_fuer_das_literaturarchiv_marbach_dlf_20171018_1735_19523032.mp3" style="background-attachment: initial; background-clip: initial; background-image: url("dlf2015/img/audiobutton.png"); background-origin: initial; background-position: 0px -1px; background-repeat: no-repeat; background-size: 100%; border: none; display: block; height: 25px; margin: 0px; max-height: 1e+06px; padding: 0px; text-decoration-line: none; width: 85px;"></a></div>
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</b></span></dt>
<dd style="border: none; font-style: italic; line-height: 21px; margin: 0px 10px 0px 0px; max-height: 1e+06px; padding: 7px 0px 0px; width: 755px;"><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: lime;">Ulrich von Bülow, Leiter Handschriftenabteilung im Deutschen Literaturarchiv in Marbach, erhält von Peter Handke Tagebücher aus den Jahren 1975 bis 2015. Hier hält er eine Ausgabe aus Heideggers Nachlass. ( (c) dpa)</b></span></dd></dl>
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<span style="background-color: lime; font-family: "courier new" , "courier" , monospace; font-size: large;">MEHR ZUM THEMA</span></h6>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: lime;"><a href="http://www.deutschlandfunkkultur.de/deutsches-literaturarchiv-marbach-wir-koennen-keinen-ruhm.1270.de.html?dram:article_id=321678" style="border: none; color: #016bb2; margin: 0px; max-height: 1e+06px; padding: 0px; text-decoration-line: none;" title="Deutsches Literaturarchiv Marbach "Wir können keinen Ruhm verteilen"">Deutsches Literaturarchiv Marbach</a>"Wir können keinen Ruhm verteilen"</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: lime;"><a href="http://www.deutschlandfunk.de/peter-handke-gehen-im-herzland.688.de.html?dram:article_id=370690" style="border: none; color: #016bb2; margin: 0px; max-height: 1e+06px; padding: 0px; text-decoration-line: none;" title="Peter Handke Gehen im Herzland">Peter Handke</a> Gehen im Herzland</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: lime;"><a href="http://www.deutschlandfunkkultur.de/50-jahre-publikumsbeschimpfung-von-peter-handke-peymann.1008.de.html?dram:article_id=356544" style="border: none; color: #016bb2; margin: 0px; max-height: 1e+06px; padding: 0px; text-decoration-line: none;" title="50 Jahre "Publikumsbeschimpfung" von Peter Handke Peymann erinnert an Skandal-Aufführung">50 Jahre "Publikumsbeschimpfung" von Peter Handke</a> Peymann erinnert an Skandal-Aufführung</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: lime;"><span style="border: none; margin: 0px; max-height: 1e+06px; padding: 0px;">Ulrich von Bülow:</span> Ja, die Zeitkapsel, das ist bei uns eine recht beliebte Veranstaltungsserie. Wir haben den Titel von Andy Warhol entliehen. Der hatte nämlich, ich weiß nicht, ich glaube, in den 60er-Jahren die Angewohnheit, alles, was er auf seinem Schreibtisch fand, in Pakete zu packen. Und diese Pakete, die sind heute in Museen und werden dort ausgepackt. Das sind die Zeitkapseln. Und viele der Dinge, die wir bekommen, sind ja auch so eine Art Zeitkapsel, und die Freude, die wir haben, wenn wir solche Pakete oder Kisten auspacken, die wollen wir mit dem Publikum teilen. Und das machen wir schon seit einer Reihe von Jahren in Form dieser Serie der Zeitkapseln.</b></span></div>
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<span style="background-color: lime; font-family: "courier new" , "courier" , monospace; font-size: large;">"Eine Forschung, die eigentlich nie abgeschlossen ist"</span></h3>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: lime;"><span style="border: none; margin: 0px; max-height: 1e+06px; padding: 0px;">Reinhardt:</span> Diese Zeitkapsel heute Abend hat über 23.000 Seiten. So viel umfassen die Notizen, die jetzt dazu kommen. Wie lange dauert das eigentlich, bis man so eine Menge einigermaßen erforscht hat?</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: lime;"><span style="border: none; margin: 0px; max-height: 1e+06px; padding: 0px;">von Bülow:</span> Oh, das dauert sehr lange, und der Erforschungsprozess, der ist überhaupt nicht absehbar, weil im Bereich der Literatur natürlich eine Forschung eigentlich nie abgeschlossen ist. Die erste Aufgabe, vor der wir stehen, ist sehr viel trivialerer Art. Wir müssen nämlich die konservatorisch gut behandeln, die Notizbücher. Wir müssen die vielen Federn und Blätter und Einlagen dort rausnehmen, aber ihrerseits konservieren. Das wird der erste Schritt sein. Dann stellen wir die Tagebücher der Öffentlichkeit und der Forschung zur Verfügung, und ich bin mir ziemlich sicher, dass die Zukunft zeigen wird, dass es viele Jahrzehnte, ich will nicht von Jahrhunderten sprechen, aber lange Zeit dauern wird, dass die Tagebücher noch sehr lange interessant sind für die Forschung.</b></span></div>
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<span style="background-color: lime; font-family: "courier new" , "courier" , monospace; font-size: large;">Tagebücher als Ideenspeicher</span></h3>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: lime;"><span style="border: none; margin: 0px; max-height: 1e+06px; padding: 0px;">Reinhardt:</span> Und Sie werfen sicherlich auch noch mal einen neuen Blick auf insgesamt das Werk von Handke, oder?</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: lime;"><span style="border: none; margin: 0px; max-height: 1e+06px; padding: 0px;">von Bülow:</span> Ja, denn die Tagebücher, die sind wirklich ein Herzstück seiner Arbeit. Sie müssen sich diese ungeheure Menge von insgesamt - - Wenn man von 1975 bis 2015 rechnet, dann handelt es sich um insgesamt 30.000 Seiten. Das ist eine ungeheure Textmenge. Und auch die Art, wie Handke diese Notizbücher gefüllt hat, denn er hat sie für vieles gleichzeitig benutzt. Er hat sie als Ideenspeicher benutzt, er hat sie für Sprachübungen benutzt. Aber es gibt auch die ganz normalen Tagesnotizen. Es gibt sehr viele Naturbeschreibungen. Die Bücher kann man auch immer in den Jahreszeiten situieren.</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: lime;"><span style="border: none; margin: 0px; max-height: 1e+06px; padding: 0px;">Reinhardt:</span> … und auch noch Kritzeleien dazu.</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: lime;"><span style="border: none; margin: 0px; max-height: 1e+06px; padding: 0px;">von Bülow:</span> Es gibt die Kritzeleien, genau. Das ist auch eine ganz eigentümliche Art, wie Handke das handhabt. Man würde von einem Schriftsteller wie Handke vielleicht eine sensationelle Eröffnung aus dem Intimleben in Tagebüchern erwarten. Das findet man aber so gut wie gar nicht.</b></span></div>
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<span style="background-color: lime; font-family: "courier new" , "courier" , monospace; font-size: large;">Einblick in Handkes Serbien- und Bosnien- und Slowenien-Reisen</span></h3>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: lime;"><span style="border: none; margin: 0px; max-height: 1e+06px; padding: 0px;">Reinhardt:</span> Was man aber vielleicht findet, weil jetzt diese Tagebücher, die Sie jetzt bekommen, auch die Zeit des Jugoslawien-Krieges behandeln, sind möglicherweise neue Erkenntnisse über diese doch relativ schwierige und problematische Geschichte, das Verhältnis Handkes zu Serbien beziehungsweise sein Verhältnis zu Milosevic. Erwarten Sie sich da noch mal Aufschluss über diese doch schwierige Periode in der Handke-Rezeption?</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: lime;"><span style="border: none; margin: 0px; max-height: 1e+06px; padding: 0px;">von Bülow:</span> Ich erwarte von den Notizbüchern aus dieser Zeit – das ist ja eine lange Periode; das geht ja in den 90er-Jahren und auch im ersten Jahrzehnt unseres Jahrtausends. Das ist ja die Periode, wo ihn Jugoslawien sehr beschäftigt hat und Serbien. Ich habe natürlich jetzt auch die vielen Seiten nicht lesen können, aber stichprobenhalber habe ich doch festgestellt, dass es auch sehr viel zum Beispiel von seinen Serbien- und Bosnien- und Slowenien-Reisen in dieser Zeit gibt. Wie sehr die das Bild, was er in seinen Veröffentlichungen gegeben hat, verändern werden, das vermag ich nicht zu sagen.</b></span></div>
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<span style="background-color: lime; font-family: "courier new" , "courier" , monospace; font-size: large;">"Was nicht nur faktisch stimmt, sondern auch poetisch gültig ist"</span></h3>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: lime;"><span style="border: none; margin: 0px; max-height: 1e+06px; padding: 0px;">Reinhardt:</span> Handke selber hat ja immer wieder auch gesagt, dass er nichts von Distanz hält. Ich sage das deswegen, weil ich mich frage, ob solche Tagebuchaufzeichnungen nicht immer das Problem haben, dass sie von vornherein schon für die Veröffentlichung gedacht sind, dass er doch eigentlich sehr wohl Distanz hat zu sich selbst, wenn er da schreibt?</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: lime;"><span style="border: none; margin: 0px; max-height: 1e+06px; padding: 0px;">von Bülow:</span> Ich kann mir gut vorstellen, dass jetzt, nachdem er schon manche Auszüge aus den Tagebüchern – das sind ja immer nur Auszüge, die veröffentlicht worden sind -, nachdem er das mehrmals gemacht hat, dass er dann schon auch sich vorstellen kann, dass auch aus den neuen Tagebüchern etwas veröffentlicht wird. Ob aber er von Anfang an die Tagebücher 1975 mit dem Ziel begonnen hat, sie zu veröffentlichen, das weiß ich nicht, denn es ist tatsächlich auffallend, dass das Private ganz weitgehend fehlt und auch das Intimleben dort nicht ausgebreitet wird. Aber das hängt, glaube ich, mit seiner Auffassung des Schriftstellerberufs zusammen. Ich glaube, dass Handke einfach den Anspruch an sich selbst hat, dass er nur so etwas in sein Tagebuch schreibt, was nicht nur faktisch stimmt, sondern auch poetisch gültig ist.</b></span></div>
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<em style="border: none; margin: 0px; max-height: 1e+06px; padding: 0px;"><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: lime;">Äußerungen unserer Gesprächspartner geben deren eigene Auffassungen wieder. Der Deutschlandfunk macht sich Äußerungen seiner Gesprächspartner in Interviews und Diskussionen nicht zu eigen.</b></span></em></div>
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<em style="border: none; margin: 0px; max-height: 1e+06px; padding: 0px;"><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: lime;">================================</b></span></em></div>
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<em style="border: none; margin: 0px; max-height: 1e+06px; padding: 0px;"><span style="background-color: orange; color: #222222; font-style: normal;"><b><span style="font-family: "courier new" , "courier" , monospace; font-size: large;">Das ist doch nicht der Fall bei GEWICHT DER WELT oder GESCHICHTE DES BLEISTIFTS, die strotzen doch teilweise von Persönlichem. m.r.</span></b></span></em></div>
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<em style="border: none; margin: 0px; max-height: 1e+06px; padding: 0px;"><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: lime;"><br /></b></span></em></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b><span style="font-family: "courier new" , "courier" , monospace; font-size: medium;"><span style="background-color: lime;"><br /></span></span>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: medium;"><span style="background-color: yellow;">======================</span></span></b></span><br />
<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: yellow;">Peter Handkes TagebücherEiner, der selbst im Gehen schreibt</b></span><br />
<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b><span style="font-family: "courier new" , "courier" , monospace; font-size: medium;"><span style="background-color: yellow;"><br /></span></span>
<span style="font-family: "courier new" , "courier" , monospace; font-size: medium;"><span style="background-color: yellow;">Christian Gampert im Gespräch mit Sigrid Brinkmann</span></span></b></span><br />
<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: yellow;">Beitrag hören Podcast abonnieren</b></span><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: medium;"><span style="background-color: yellow;">Autor Peter Handke im Oktober 2014 in Wien. (picture alliance / dpa / Georg Hochmuth)</span></span></b></span><br />
<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: yellow;"> Peter Handke (picture alliance / dpa / Georg Hochmuth)</b></span><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: medium;"><span style="background-color: yellow;">Peter Handke hat dem Literaturarchiv Marbach 151 weitere Tagebücher übergeben - insgesamt 23.500 Seiten. Sichtbar wird ein Schriftsteller, der alles notiert, was "poetische Gültigkeit" haben könnte. Und auch im Gehen schreibt.</span></span></b></span><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: medium;"><span style="background-color: yellow;">Im Jahr 2008 erwarb das Deutsche Literaturarchiv Marbach die ersten Tagebücher von Peter Handke: 66 Bände, die den Alltag des Schriftstellers aus den Jahren zwischen 1975 – 1990 spiegeln. Diese 66 Bände gehörten bald zu den am häufigsten angeforderten Handschriften des Archivs. Bis 2015 hat Peter Handke weitere 151 Hefte mit Notizen gefüllt - und auch diese nun dem Literaturarchiv übergeben. Insgesamt handelt es sich um rund 23.500 Tagebuchseiten.</span></span></b></span><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: medium;"><span style="background-color: yellow;">Handke und das Tagebuchschreiben: Das sei wie eine tägliche Übung - so wie andere Leute Yoga machten oder beteten, sagt unser Literaturkritiker Christian Gampert. Es seien auch keine Tagebücher im herkömmlichen Sinn: Handke schreibe alles auf, was eine "poetische Gültigkeit" haben könnte: "Der schreibt auf, und legt das ab, das wird benutzt, oder auch nicht."</span></span></b></span><br />
<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: yellow;">Handke trägt seine Tagebücher in der Hosentasche</b></span><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: medium;"><span style="background-color: yellow;">Handke begann mit dem Tagebuchschreiben, als er anfing zu reisen, berichtet Gampert, der bei der Präsentation der Notate im Literaturarchiv dabei war. Viele der Notizen sind auch im Gehen entstanden - dementsprechend sehen die Tagebücher aus. Sie seien "ziemlich zerschossen", so Gampert. Handke schreibt in Hefte, die gerade vorrätig sind, "und trägt sie dann in der Hosentasche". Deswegen müssten die Tagebücher nun restauriert werden.</span></span></b></span><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: medium;"><span style="background-color: yellow;">Die Notate seien für den Schriftsteller "eine Art Insel", so Gampert. Politik kommt kaum vor, dafür viele Beobachtungen aus der Natur. "Man kann hier jemandem zugucken, der mit der Sprache sehr sorgfältig umgeht", betont Gampert. Sprache und Natur - das seien die Themen von Handkes Tagebüchern.</span></span></b></span><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: medium;"><span style="background-color: yellow;"> http://www.deutschlandfunkkultur.de/peter-handkes-tagebuecher-einer-der-selbst-im-gehen-schreibt.1013.de.html?dram:article_id=398545</span></span></b></span><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: medium;"><span style="background-color: cyan;">Peter Handke in Marbach</span></span></b></span><br />
<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: cyan;">Gesammelte Sternschnuppen</b></span><br />
<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: cyan;">Von Stefan Kister 19. Oktober 2017 - 18:15 Uhr</b></span><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: medium;"><span style="background-color: cyan;">Das Deutsche Literaturarchiv in Marbach hat seinen Bestand an Tagebüchern von Peter Handke vervollständigt. Zur Feier der Übergabe hat sich der österreichische Autor auf eine persönliche Reise durch ein ganzes Erinnerungsmassiv aus Papier gemacht.</span></span></b></span><br />
<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: cyan;">Die Journale, diese Mitschriften, Notate, Kritzeleien dessen, was der Augenblick ihm im Vorüberfliegen zuflüstert, sind ein zentraler Bestandteil von Peter Handkes Schaffen. Foto: DLA</b></span><br />
<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: cyan;">Die Journale, diese Mitschriften, Notate, Kritzeleien dessen, was der Augenblick ihm im Vorüberfliegen zuflüstert, sind ein zentraler Bestandteil von Peter Handkes Schaffen.</b></span><br />
<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: cyan;">Foto: DLA</b></span><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: medium;"><span style="background-color: cyan;">Stuttgart - Der Flügel trägt das Gewicht der Welt. Unzählige kleine Bändchen in allen Formen und Farben sind im Humboldt-Saal des Deutschen Literaturarchivs auf dem schwarzen Klangkörper aufgebaut, als gelte es, ins Bild zu fassen, was sich in den abertausend Seiten dieses neuen, kostbaren Besitzes zusammenzieht: ein Ereignis des Wiederklingens, der Resonanz mit der Welt. Marbach hat die Tagebücher des österreichischen Schriftstellers Peter Handke erworben. 66 Exemplare aus der Zeit von 1975 bis 1990 werden dort bereits verwahrt und zählen zu den meistgenutzten Beständen des Hauses. Nun kommen weitere 151 dazu, vom Anfang der neunziger Jahre bis 2015. Damit ist Marbach zusammen mit Wien, wo Handkes Manuskripte und Korrespondenzen gesammelt werden, ein zentraler Ort im Erinnerungskosmos des Dichters.</span></span></b></span><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: medium;"><span style="background-color: cyan;">Mehr zum Artikel</span></span></b></span><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: medium;"><span style="background-color: cyan;"> Sandra Richter übernimmt<span style="white-space: pre;"> </span></span></span></b></span><br />
<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: cyan;"> Führungswechsel beim Literaturarchiv in Marbach</b></span><br />
<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: cyan;"> Sandra Richter übernimmt</b></span><br />
<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: cyan;"> Literaturmuseum der Moderne</b></span><br />
<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: cyan;"> Marbach zeigt, wie sich Familien inszenieren</b></span><br />
<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: cyan;"> Das Literaturarchiv wird sechzig Jahre alt</b></span><br />
<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: cyan;"> Die Hüter kostbarer Schätze</b></span><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: medium;"><span style="background-color: cyan;">Handke sieht aus wie Don Quichotte</span></span></b></span><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: medium;"><span style="background-color: cyan;">Den man so nennen möchte, weil sich in seiner Erscheinung über die Profession hinaus eine literarische Lebensform ausprägt – auch darin, dass er optisch dem Vorstellungsbild eines Don Quichotte immer ähnlicher wird. So wie jener die ihm entgleitende Gegenwart vorm Hintergrund seiner Lektüreerfahrungen ordnet, ist der 1943 im kärntnerischen Griffen geborene Handke der letzte Ritter einer epischen Welterfahrung.</span></span></b></span><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: medium;"><span style="background-color: cyan;">Die Journale, diese Mitschriften, Notate, Kritzeleien dessen, was der Augenblick ihm im Vorüberfliegen zuflüstert, sind ein zentraler Bestandteil seines Schaffens. Und sei es nur im Verhältnis des Samens zum ausgebildeten Ganzen. Sie sind gezeichnet von unermüdlichen Grenzgängen durch Europa und darüber hinaus. Die abgegriffenen Einbände dieser von Hitze und Kälte aufgetriebenen kleinen Buchbündel, vollgesogen mit Erinnerungen und übersät mit Spuren des Gebrauchs, zeugen von den Fahrten an die Außenposten des Bewusstseins, durch Poesie und Politik, durch die Wildnis der Sierra de Gredos oder durch Traum und Trauma Jugoslawiens.</span></span></b></span><br />
<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: cyan;">Weltenschöpfer Bleistift</b></span><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: medium;"><span style="background-color: cyan;">Aber um das gleich vorwegzunehmen: Der in dieser Angelegenheit immer noch sehr entwickelte Pawlow’sche Empörungsreflex wird an diesem Abend nicht bedient. Sicher finden sich in einem dieser Bändchen auch die Notizen zu den jugoslawischen Reiseberichten, den einst hitzig diskutierten, am hitzigsten von denen, die die bequeme mediale Wahrnehmung eigener Augenzeugenschaft jederzeit vorgezogen haben. Doch wer hier auf eine Schlangengrube hofft, aus der sich giftige Geheimnisse ans Licht bringen lassen, der hat vieles nicht verstanden, am wenigsten den Charakter dieser Tagebücher.</span></span></b></span><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: medium;"><span style="background-color: cyan;">Ein vom Weltenschöpfer Bleistift geschaffenes Gebirge aus Papier nennt der Direktor des Literaturarchivs, Ulrich Raulff, das, was sich auf dem Flügel türmt. Zusammen mit dem Leiter des Handschriftenarchivs, Ulrich von Bülow, macht sich der 75-jährige Dichter auf, einige Passagen dieses Massivs noch einmal zu durchstreifen. Und dieses Bild führt nicht in die Irre, ein gemächliches Schweifen, ein Verweilen an dieser oder jener Stelle, ein versunkenes Zurückblicken gibt dem Weg durch dieses Bleistiftgebiet das Zeitmaß. Saumseligkeit, wie man es mit einem Handke-Wort nennen könnte.</span></span></b></span><br />
<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: cyan;">Erst später hat er Notizbücher geführt</b></span><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: medium;"><span style="background-color: cyan;">Wobei gleich ein erster Irrtum ausgeräumt werden muss, denn die meisten der an die Wand projizierten Seiten verdanken sich gar keinem Bleistift, sondern Kugelschreibern oder blauen, roten, grünen Filzstiften. Hier wird ein Satz aufgegriffen und versonnen hin und her gewendet. Dort steckt eine Einlage zwischen den Seiten: „Ich kann vieles liegen lassen, aber keine schönen Federn“, sagt Handke.</span></span></b></span><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: medium;"><span style="background-color: cyan;">Vor 1975 habe er nie ein Tagebuch geführt. „Früher im Internat gab es diese Mode, aber in dieses Spiel habe ich nicht einsteigen können.“ Erst im Zusammenhang mit längeren Arbeiten sei er darauf gekommen, Notizbücher zu führen. Dabei sei manches nebenbei entstanden, aufgetaucht und wieder verschwunden wie eine Sternschnuppe. Aus dem Gefühl des Bedauerns habe er sich angewöhnt, diese Besonderheit, eine Sprachform, die es nur einmal gibt, festzuhalten: „Aus Erkenntlichkeit dem Existieren gegenüber habe ich meine Heftchen gezückt.“</span></span></b></span><br />
<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: cyan;">Der Marienkäfer als Dialogpartner</b></span><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: medium;"><span style="background-color: cyan;">Während der Jahre seiner Wanderschaft, vom Balkan nach Japan, von Alaska zurück nach Europa, reisten die Journale immer in der linken Hosentasche mit. Der Verlust eines von ihnen schmerzt noch heute. „Die Freundschaft umwandert den Erdkreis, stachelt uns an, zur Seligkeit zu erwachen“, übersetzt Handke einen griechisch notierten Sinnspruch von Epikur. „Vielleicht wollte ich mich auch wichtig machen, aber es kommen viele fremdsprachige Zitate vor.“ Neben Griechisch, Latein, Slowenisch auch noch auf Arabisch.</span></span></b></span><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: medium;"><span style="background-color: cyan;">Wie Litaneien reiht Handke Ortsnamen aneinander. Manche reizvoll erratische Periode wird zur Erzählung weiterspintisiert. Andere bleiben für sich. In Berlin sprießen sie auf dem Weg von einer Straße zur anderen wie Pilze aus dem Boden: „Jeder Satz müsste ans Wunderbare grenzen (Gutenbergstraße)“, „es gibt die Sätze (Leibnizstraße)“, „ganz selten ein kleiner Schimmer von Ich (Wilmersdorferstraße)“. Erhabener Nonsens und Sinnspruch liegen bisweilen nur einen Schritt auseinander. Und dazwischen eine Szene wie diese: „Mein Dialogpartner von heute: ein Marienkäfer. Ich sitze in einem blauen Hemd auf der Gartenbank, schlage die Beine übers Kreuz, und der Marienkäfer ist rot und rundet sich.“</span></span></b></span><br />
<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: cyan;">Eigentlich mag Handke gar keine Tagebücher</b></span><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: medium;"><span style="background-color: cyan;">Handkes Sternschnuppensammlung unterscheidet sich von anderen Tagebüchern auch darin, dass Persönliches gänzlich fehlt: „Ich war nie in Versuchung, private Dinge aufzuschreiben“, sagt er. Dafür gewinnt man Einblick in das Intimleben der Sprache. An einer Stelle werden Verben bestimmten Substantiven zugesellt. Ein Verb für die Frau: „sie versteht“; ein Verb für die Musik Bachs: „das Zeitmaß geben“, ein Verb für die Erzählung: „sie greift ein“.</span></span></b></span><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: cyan;">Alles bleibt in Bewegung, nichts ist in diesem schönen Durcheinander fest, auch die Begeisterung für das Tagebuch als solches nicht. Irgendwann verblüfft Handke seinen Dialogpartner mit der Bemerkung, er lese Tagebücher eigentlich gar nicht gern, ziehe das vollendete Werk dem bloß Gemachten vor. Und als er am Schluss erklärt, man solle sich davor hüten, durch Gesprochenes Leute zum Staunen bringen zu wollen, und damit den Sinn der ganzen Veranstaltung kurzerhand infrage stellt, bleibt seinem Gegenüber nur ein verdattertes: „Ja, genau“. So rundet sich ein denkwürdiger Abend. </b></span><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: medium;"><span style="background-color: cyan;">http://www.stuttgarter-zeitung.de/inhalt.peter-handke-in-marbach-gesammelte-sternschnuppen.6f1af4be-21b9-4306-8789-67029229926c.html</span></span></b></span><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;">https://www.swr.de/swr2/kultur-info/literatur-deutsches-literaturarchiv-marbach-peter-handke/-/id=9597116/did=20486538/nid=9597116/1mch08g/index.html</b></span><br />
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<span class="dachzeile small" style="border: 0px none; display: block; float: none; font-style: inherit; line-height: 1.3571em; margin: 0px; outline: none 0px; padding: 0px 0px 7px; vertical-align: baseline; width: auto;"><span style="background-color: orange; font-family: "courier new" , "courier" , monospace; font-size: large;">Literaturarchiv Marbach erhält weitere Tagebücher von Peter Handke</span></span><span class="headline small" style="border: 0px none; display: block; float: none; font-style: inherit; line-height: 1; margin: 0px 0px 11px; outline: none 0px; padding: 0px; vertical-align: baseline; width: auto;"><span style="background-color: orange; font-family: "courier new" , "courier" , monospace; font-size: large;">Mehr Nähe zu Handke geht nicht</span></span></h1>
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<span style="background-color: orange; font-family: "courier new" , "courier" , monospace; font-size: large;">Kultur Regional am 19.10.2017 von Christian Gampert</span></h2>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;">Schon heute liegen 66 Tagebücher von Peter Handke im Deutschen Literaturarchiv in Marbach. Über 10.000 Seiten aus den Jahren 1975 bis 1990. Sie gehören zu den meistbenutzten Handschriften des Archivs. Nun sind noch einmal 23.500 Seiten dazugekommen, denn Marbach hat auch die Notizbücher aus den Jahren 1990 bis 2015 erworben. Handke hat das handschriftliche Schreiben für sich entdeckt und sagt: "Es gibt keine Tätigkeit, die so gesellig ist, wie das Schreiben von Prosa". Ulrich von Bülow, der Leiter der Marbacher Handschriften-Abteilung, hat gemeinsam mit Handke in den Seiten der Tagebücher geblättert. Näher kann man Handke nicht kommen.</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;">Zehntausende Seiten Peter Handke pur</b></span></div>
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<dd class="broadcast-time" style="border: 0px none; font-style: inherit; line-height: 1; margin: 0px; outline: none 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;">4:06 min</b></span></dd>
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<a class="iconlink" href="http://avdlswr-a.akamaihd.net/swr/swr2/kultur-aktuell/beitraege/regional/2017/10/swr2-journal-am-mittag-20171019-1233-02-die-tagebuecher-peter-handkes-kommen-nach-marbach.m.mp3" style="border: 0px none; color: #494949; font-style: inherit; line-height: 1; margin: 0px; outline: none 0px; padding: 0px; text-decoration-line: none; vertical-align: baseline;" title="[Wählen Sie im Kontextmenü 'Ziel speichern unter...']"><span class="pluslink" style="background-color: orange; border: 0px none; font-style: inherit; line-height: 1; margin: 0px; outline: none 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b>Audio herunterladen (3,79 MB | mp3)</b></span></span></a></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;">In Peter Handkes Tagebüchern geht es nicht um die Widrigkeiten des Alltags, Termine, persönliche Konflikte, die Liebe oder Politisches. Das Private kommt nicht vor, die Politik wirft höchstens einen fernen Schatten. Der Anspruch dieser Aufschriebe ist ein anderer. Handke nimmt seine Notizbücher mit auf Reisen und in die Natur. Er protokolliert, was er sieht und was ihm dazu einfällt – ein Phänomenologe.</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;">Er reflektiert über seine Lektüren, er übersetzt aus dem Griechischen oder liest den "Don Quichotte" auf Spanisch. Er wendet Worte hin und her. Diese Kladden sind keine Werke an sich, aber sie ermöglichen einen Blick in die Werkstatt des Schriftstellers, in die Entstehungsprozesse von Literatur. Denn was hier notiert wird, ist oftmals Ausgangspunkt für einen Text. Handke sagt, er schreibe gern inzwischen von Hand. "Da kann ich überall hingehen, in die Natur, in die Steppe, in die Savanne."</b></span></div>
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<span style="background-color: orange; font-family: "courier new" , "courier" , monospace; font-size: large;">Im Gespräch mit Marienkäfern</span></h2>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;">Im Deutschen Literaturarchiv waren nun 151 ganz unterschiedliche Notizbücher auf einem Konzertflügel aufgetürmt. In diesen Notaten bekommen die Beobachtungen des Alltags Flügel, und die Worte werden, wenn es gut geht, zu Poesie. Aber es sind eben viele Versuche notwendig, viele Selbstgespräche, Selbstkritik, Aufforderungen an sich selbst. "Empfänglich sein ist alles" lautet eine Maxime, die in Variationen immer wieder vorkommt. Immer neu formuliert Handke für sich ein elftes Gebot: "Freude machen" kann es heißen oder "Einmal am Tag ‚herrlich‘ ausrufen".</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;">Nun könnte man sagen, dass es verrückt ist, wenn sich jemand einen Marienkäfer zum Dialogpartner wählt oder alte Namen auf französischen Friedhöfen notiert, nur weil ihm der Klang gefällt. Aber Handkes Arbeitsweise hat überhaupt nichts Esoterisches. Es geht ihm um die Dinge an sich: er will etwas festhalten und es überliefern. Es gibt, wie in seinen Romanen auch, einen gemeinsamen Raum zwischen Autor und Leser, und der liegt in konkreten, meist minimalen Beobachtungen, bei denen eine poetische Wahrheit aufgeht, weil sie das Universelle streifen. "Es gibt keine Tätigkeit, die so gesellig ist, wie das Schreiben von Prosa", meint Handke. Er sei dabei ganz nah dran an Gesellschaft und den Menschen.</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;">Deutsches Literaturarchiv Marbach</b></span></div>
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<span style="background-color: orange; font-family: "courier new" , "courier" , monospace; font-size: large;">Buchenlaubrauschen statt Breaking News</span></h2>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;">In der Laptop-Welt der Breaking News und der wichtigen Koalitionsverhandlungen nimmt es sich natürlich seltsam aus, wenn einer "das Rauschen von Buchenlaub am Morgen" mit den Geräuschen anderer Baumarten vergleicht. Doch: Wenn alle Termine abgehakt, alle Meldungen gelesen, "Spiegel" und "ZEIT" durchgekaut sind: fühlt man sich dann nicht völlig leer und blöd im Kopf? Peter Handke nimmt sich die Zeit, die andere sich nicht nehmen. Er liest, schaut zu, schreibt. Alle leben unter Sachzwängen, aber jeder gestaltet sein Leben selbst. Es gibt keine Ausreden.</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;">Peter Handke lebt im literarischen Denken. Er schreibt, während er wandert. Es ist ein Schreiben in Bewegung. Die Seiten sind voller Zeichnungen, zwischen ihnen liegen Blätter und Vogelfedern. Nun muss alles restauratorisch bearbeitet werden, die Bücher waren schließlich immer in der Hosentasche. Aber auch literarisch kommt uns da etwas sehr Altes entgegen, etwas, das zu bewahren sich lohnt.</b></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: orange;">Die kleine öffentliche Arbeitssitzung, die ein sehr aufgeräumter und selbstironischer Peter Handke mit Ulrich von Bülow, dem Leiter der Marbacher Handschriften-Abteilung, absolvierte, war äußerst unterhaltsam. Sie gab doch nur kleine Einblicke in das Riesen-Konvolut, das jetzt in Marbach aufgearbeitet werden muss. Für diese Arbeit gilt, was Handke von seinem Tagebuchschreiben selber sagt: Sie ist "eine schöne Notwendigkeit".</b></span></div>
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<b style="font-family: "courier new", courier, monospace; font-size: x-large;">Stand: 19.10.2017, 11.13 Uhr</b></div>
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<span style="color: #494949; font-family: "courier new" , "courier" , monospace; font-size: large;"><i><b style="background-color: cyan;">https://www.swr.de/swr2/kultur-info/literatur-deutsches-literaturarchiv-marbach-peter-handke/-/id=9597116/did=20486538/nid=9597116/1mch08g/index.html</b></i></span><br />
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<span style="color: #494949; font-family: "courier new" , "courier" , monospace; font-size: large;"><i><b style="background-color: cyan;">Mehr Nähe zu Handke geht nicht</b></i></span><br />
<span style="color: #494949; font-family: "courier new" , "courier" , monospace; font-size: large;"><i><b style="background-color: cyan;">Kultur Regional am 19.10.2017 von Christian Gampert</b></i></span><br />
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<span style="color: #494949; font-family: "courier new" , "courier" , monospace; font-size: large;"><i><b style="background-color: cyan;">Schon heute liegen 66 Tagebücher von Peter Handke im Deutschen Literaturarchiv in Marbach. Über 10.000 Seiten aus den Jahren 1975 bis 1990. Sie gehören zu den meistbenutzten Handschriften des Archivs. Nun sind noch einmal 23.500 Seiten dazugekommen, denn Marbach hat auch die Notizbücher aus den Jahren 1990 bis 2015 erworben. Handke hat das handschriftliche Schreiben für sich entdeckt und sagt: "Es gibt keine Tätigkeit, die so gesellig ist, wie das Schreiben von Prosa". Ulrich von Bülow, der Leiter der Marbacher Handschriften-Abteilung, hat gemeinsam mit Handke in den Seiten der Tagebücher geblättert. Näher kann man Handke nicht kommen.</b></i></span><br />
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<span style="color: #494949; font-family: "courier new" , "courier" , monospace; font-size: large;"><i><b style="background-color: cyan;">In Peter Handkes Tagebüchern geht es nicht um die Widrigkeiten des Alltags, Termine, persönliche Konflikte, die Liebe oder Politisches. Das Private kommt nicht vor, die Politik wirft höchstens einen fernen Schatten. Der Anspruch dieser Aufschriebe ist ein anderer. Handke nimmt seine Notizbücher mit auf Reisen und in die Natur. Er protokolliert, was er sieht und was ihm dazu einfällt – ein Phänomenologe.</b></i></span><br />
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<span style="color: #494949; font-family: "courier new" , "courier" , monospace; font-size: large;"><i><b style="background-color: cyan;">Er reflektiert über seine Lektüren, er übersetzt aus dem Griechischen oder liest den "Don Quichotte" auf Spanisch. Er wendet Worte hin und her. Diese Kladden sind keine Werke an sich, aber sie ermöglichen einen Blick in die Werkstatt des Schriftstellers, in die Entstehungsprozesse von Literatur. Denn was hier notiert wird, ist oftmals Ausgangspunkt für einen Text. Handke sagt, er schreibe gern inzwischen von Hand. "Da kann ich überall hingehen, in die Natur, in die Steppe, in die Savanne."</b></i></span><br />
<span style="color: #494949; font-family: "courier new" , "courier" , monospace; font-size: large;"><i><b style="background-color: cyan;">Im Gespräch mit Marienkäfern</b></i></span><br />
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<span style="color: #494949; font-family: "courier new" , "courier" , monospace; font-size: large;"><i><b style="background-color: cyan;">Im Deutschen Literaturarchiv waren nun 151 ganz unterschiedliche Notizbücher auf einem Konzertflügel aufgetürmt. In diesen Notaten bekommen die Beobachtungen des Alltags Flügel, und die Worte werden, wenn es gut geht, zu Poesie. Aber es sind eben viele Versuche notwendig, viele Selbstgespräche, Selbstkritik, Aufforderungen an sich selbst. "Empfänglich sein ist alles" lautet eine Maxime, die in Variationen immer wieder vorkommt. Immer neu formuliert Handke für sich ein elftes Gebot: "Freude machen" kann es heißen oder "Einmal am Tag ‚herrlich‘ ausrufen".</b></i></span><br />
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<span style="color: #494949; font-family: "courier new" , "courier" , monospace; font-size: large;"><i><b style="background-color: cyan;">Nun könnte man sagen, dass es verrückt ist, wenn sich jemand einen Marienkäfer zum Dialogpartner wählt oder alte Namen auf französischen Friedhöfen notiert, nur weil ihm der Klang gefällt. Aber Handkes Arbeitsweise hat überhaupt nichts Esoterisches. Es geht ihm um die Dinge an sich: er will etwas festhalten und es überliefern. Es gibt, wie in seinen Romanen auch, einen gemeinsamen Raum zwischen Autor und Leser, und der liegt in konkreten, meist minimalen Beobachtungen, bei denen eine poetische Wahrheit aufgeht, weil sie das Universelle streifen. "Es gibt keine Tätigkeit, die so gesellig ist, wie das Schreiben von Prosa", meint Handke. Er sei dabei ganz nah dran an Gesellschaft und den Menschen.</b></i></span><br />
<span style="color: #494949; font-family: "courier new" , "courier" , monospace; font-size: large;"><i><b style="background-color: cyan;">Deutsches Literaturarchiv Marbach</b></i></span><br />
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<span style="color: #494949; font-family: "courier new" , "courier" , monospace; font-size: large;"><i><b style="background-color: cyan;">Deutsches Literaturarchiv Marbach</b></i></span><br />
<span style="color: #494949; font-family: "courier new" , "courier" , monospace; font-size: large;"><i><b style="background-color: cyan;">Buchenlaubrauschen statt Breaking News</b></i></span><br />
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<span style="color: #494949; font-family: "courier new" , "courier" , monospace; font-size: large;"><i><b style="background-color: cyan;">In der Laptop-Welt der Breaking News und der wichtigen Koalitionsverhandlungen nimmt es sich natürlich seltsam aus, wenn einer "das Rauschen von Buchenlaub am Morgen" mit den Geräuschen anderer Baumarten vergleicht. Doch: Wenn alle Termine abgehakt, alle Meldungen gelesen, "Spiegel" und "ZEIT" durchgekaut sind: fühlt man sich dann nicht völlig leer und blöd im Kopf? Peter Handke nimmt sich die Zeit, die andere sich nicht nehmen. Er liest, schaut zu, schreibt. Alle leben unter Sachzwängen, aber jeder gestaltet sein Leben selbst. Es gibt keine Ausreden.</b></i></span><br />
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<span style="color: #494949; font-family: "courier new" , "courier" , monospace; font-size: large;"><i><b style="background-color: cyan;">Peter Handke lebt im literarischen Denken. Er schreibt, während er wandert. Es ist ein Schreiben in Bewegung. Die Seiten sind voller Zeichnungen, zwischen ihnen liegen Blätter und Vogelfedern. Nun muss alles restauratorisch bearbeitet werden, die Bücher waren schließlich immer in der Hosentasche. Aber auch literarisch kommt uns da etwas sehr Altes entgegen, etwas, das zu bewahren sich lohnt.</b></i></span><br />
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<span style="color: #494949; font-family: "courier new" , "courier" , monospace; font-size: large;"><i><b style="background-color: cyan;">Die kleine öffentliche Arbeitssitzung, die ein sehr aufgeräumter und selbstironischer Peter Handke mit Ulrich von Bülow, dem Leiter der Marbacher Handschriften-Abteilung, absolvierte, war äußerst unterhaltsam. Sie gab doch nur kleine Einblicke in das Riesen-Konvolut, das jetzt in Marbach aufgearbeitet werden muss. Für diese Arbeit gilt, was Handke von seinem Tagebuchschreiben selber sagt: Sie ist "eine schöne Notwendigkeit".</b></i></span><br />
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SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-4280831336342556602.post-25723433829793107612017-09-17T11:20:00.006-07:002017-09-17T11:22:29.571-07:00FRENCH 2017 HANDKE SYMPOSIUMhttp://blog.romanischestudien.de/cerisy-handke/<br />
<a href="http://handke-scholar.blogspot.com/2017/09/french-2017-handke-symposium.html">http://handke-scholar.blogspot.com/2017/09/french-2017-handke-symposium.html</a><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: lime;">....Den Abschluss bildete ein Gespräch, in dem Handke mit einer besonderen Klarheit und Eindringlichkeit Grundzüge seiner Poetik im Verhältnis zur Gegenwart benannte: Während die meisten Autoren heutzutage Romane als „Zeitchroniken“ im Realismus-Stil anstrebten, verstehe er sich als „Erzähler“ im Sinne des Epischen. Es sei nicht die Sprache an und für sich, die ihn interessiere, sondern die „epische Sprache“ oder das „rhythmisierte Erzählen“, deren Formen er immer wieder neu suche. Aber auch das heutzutage so populäre pseudo-epische Erzählen der Mündlichkeit strebe er nicht an, sondern das schriftlich-stumme epische Erzählen in langen Sätzen. Was das Verhältnis von Dichtung und Geschichtsschreibung angehe, so sei Sallust ihm immer wieder Vorbild. Dieses epische Erzählen sei aber heutzutage vom Zeitgeist sehr bedroht. Die Abgrenzungen, die Handke hier vornahm, erinnern an Benjamins Erzähler-Aufsatz, in dem Benjamin bereits Mitte der 1930er Jahre das Ende des Erzählens und das Aussterben der epischen Wahrheit angesichts des neuen, kurztaktigen Zeitrhythmus der journalistischen Information feststellte. Der Roman seiner Zeit war für Benjamin Ausdruck der „tiefe[n] Ratlosigkeit des Lebenden”. Wenn diese Konstellation auch heute noch zutrifft, so stellt sich wie schon zu Zeiten Benjamins, Döblins, Brochs und anderer die Frage, ob und wie das epische Erzählen den veränderten Zeiten gerecht werden kann...</b></span><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: yellow;">http://blog.romanischestudien.de/cerisy-handke/</b></span><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b style="background-color: lime;">Fazit: Die „Analyse der Zeit“ in der Woche von Cerisy war eine wichtige, vielleicht für das Verhältnis von Handke zu Frankreich besondere und einmalige Begegnung. Wie sehr das Verhältnis Handkes zu Frankreich seit den Diffamationen, die er in einem französischen Artikel zu Zeiten des Serbien-Krieges über sich lesen musste, noch immer belastet ist, zeigt Handkes abschließende Bemerkung, dass er noch immer auf eine Entschuldigung Frankreichs (wohlgemerkt nicht des betreffenden Journalisten) warte. Hier zeigt sich in aller Deutlichkeit, wie sehr das Ästhetische in die politisch-gesellschaftliche Zeit eingesponnen und von ihr angreifbar ist. Das Gespräch zwischen dem Autor und den Lesern (seien sie professionelle oder „Amateure“ im wörtlichen, französischen Sinne) führte durch die geschilderten Spannungen hindurch zu einem – um es mit Handke zu sagen – „Versuch über den geglückten Tag“. Die für 2018 zu erwartende französischsprachige Publikation der Tagungsbeiträge und zusätzlicher Materialien zum Autor und Werk lässt eine Neubelebung der Rezeption von Handkes Werk in Frankreich erwarten.</b></span><br />
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<br />SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-4280831336342556602.post-83787821637422959672017-07-28T10:24:00.001-07:002017-07-28T10:24:57.634-07:00Peter Handke: Analyse du temps«<span style="font-size: large;"><b>Peter Handke: Analyse du temps«</b></span><br />
<a data-saferedirecturl="https://www.google.com/url?hl=en&q=http://arcs.hypotheses.org/1348/programme-handke-page-3&source=gmail&ust=1501348128152000&usg=AFQjCNFIihwxYTXbXepX11HimdxZCQTgrQ" href="http://arcs.hypotheses.org/1348/programme-handke-page-3" target="_blank"><span style="font-size: large;"><b>http://arcs.hypotheses.org/<wbr></wbr>1348/programme-handke-page-3</b></span></a><br />
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<span style="font-size: large;"><b>Montag, 21.08.2017 bis Montag, 28.08.2017, 19:00 bis 14:00 Uhr</b></span></div>
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<span style="font-size: large;"><b>Centre culturel international de Cerisy-la-Salle</b></span></div>
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<span style="font-size: large;"><b>Tagung zum Thema »Peter Handke: Analyse du temps«</b></span></div>
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<span style="font-size: large;"><b>Unter der Leitung von Mireille Calle-Gruber, Ingrid Holtey und Patricia Oster-Stierle</b></span></div>
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<span style="font-size: large;"><b>Mit der Teilnahme von Peter Handke</b></span></div>
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<a data-saferedirecturl="https://www.google.com/url?hl=en&q=http://arcs.hypotheses.org/1348/programme-handke-page-3&source=gmail&ust=1501348128152000&usg=AFQjCNFIihwxYTXbXepX11HimdxZCQTgrQ" href="http://arcs.hypotheses.org/1348/programme-handke-page-3" target="_blank"><span style="font-size: large;"><b>http://arcs.hypotheses.org/<wbr></wbr>1348/programme-handke-page-3</b></span></a></div>
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SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-4280831336342556602.post-8411439111941725732017-05-17T10:58:00.000-07:002017-06-24T14:18:08.424-07:00Simposio Peter Handke Doctor honoris causa <span style="font-size: large;"><b><br /></b></span><br />
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<a class="m_7766691122512957823OWAAutoLink" data-saferedirecturl="https://www.google.com/url?hl=en&q=http://www.suhrkamp.de/news/ehrendoktorwuerde_der_universitaet_von_alcala_fuer_peter_handke_2781.html&source=gmail&ust=1498422109777000&usg=AFQjCNFQVR9oBSFyIpveyeJnxMwcuP7reQ" href="http://www.suhrkamp.de/news/ehrendoktorwuerde_der_universitaet_von_alcala_fuer_peter_handke_2781.html" id="m_7766691122512957823LPlnk597046" target="_blank"><b><span style="font-size: large;">http://www.suhrkamp.de/news/<wbr></wbr>ehrendoktorwuerde_der_<wbr></wbr>universitaet_von_alcala_fuer_<wbr></wbr>peter_handke_2781.html</span></b></a><br />
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<span style="font-size: large;"><b><a href="http://www.fage.es/PeterHandke/">http://www.fage.es/PeterHandke/</a></b></span><br />
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<span style="font-size: large;"><b>Simposio Peter Handke Doctor honoris causa </b></span><br />
<span style="font-size: large;"><b>22 al 25 de mayo de 2017 Universidad de Alcalá </b></span><br />
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<span style="font-size: large;"><b>Información www.fage.es/PeterHandke </b></span><br />
<span style="font-size: large;"><b>Programa general </b></span><br />
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<span style="font-size: large;"><b>Ceremonia investidura Dr. Honoris Causa: Peter Handke · 24/05/2017</b></span><br />
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<span style="font-size: large;"><b style="background-color: yellow;">https://www.youtube.com/watch?v=djXXvBf-e2k</b></span><br />
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<span style="font-size: large;"><b>Ceremonia investidura Dr. Honoris Causa: Peter Handke · 24/05/2017</b></span><br />
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<span style="font-size: large;"><b>Emisión en directo · 24/05/2017 · 12:00 horas · Paraninfo El escritor austriaco Peter Handke será investido doctor honoris causa por la Universidad de Alcalá...</b></span><br />
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<span style="font-size: large;"><b>22 de mayo Encuentro con la Prensa 18.30 horas (con invitación) Goethe-Institut Madrid Calle Zurbarán, 21 | 28010 Madrid 23 de mayo Simposio Peter Handke, Universidad de Alcalá 10.00 –19.30 horas, entrada gratuita Sala de Conferencias Internacionales Rectorado de la Universidad de Alcalá Plaza de San Diego s/n | 28801 Alcalá de Henares </b></span><br />
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<span style="font-size: large;"><b>24 de mayo Concesión del título Doctor honoris causa de la Universidad de Alcalá 12.00 horas (con invitación) Paraninfo, Rectorado de la Universidad de Alcalá Plaza de San Diego s/n | 28801 Alcalá de Henares Cine 17.00 horas El jugador melancólico Debate con Peter Hamm, director del documental 19.00 horas El cielo sobre Berlín (Wim Wenders, guion Peter Handke) Sala de Conferencias Internacionales, Universidad de Alcalá Entrada gratuita </b></span><br />
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<span style="font-size: large;"><b>25 de mayo Nombramiento de Peter Handke como Visitante Ilustre de Aranjuez 12.00 horas (con invitación) Teatro Real Carlos III. Sala Farinelli Teatro Los hermosos días de Aranjuez de Peter Handke 19.00 horas, entrada gratuita Teatro Real Carlos III. Sala principal Galanthys Teatro. Reparto: Ana Caleya y Daniel Moreno, director Joaquín Candeias Calle de San Antonio 68 | 28300 Aranjuez </b></span><br />
<span style="font-size: large;"><b>Simposio Peter Handke 23 de mayo de 2017 </b></span><br />
<span style="font-size: large;"><b>10.00 Inauguración 10.30 -12.00 Karl Wagner (Viena, Zúrich)* La gran caída. El relato de Handke en el contexto de la obra Klaus Amann (Klagenfurt)* “Un sueño de historia”. Acerca de Todavía tormenta de Peter Handke </b></span><br />
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<span style="font-size: large;"><b>12.30 -14.00 </b></span><br />
<span style="font-size: large;"><b> Peter Hamm (Tutzing)* La Sierra de Gredos como oasis del mundo Cecilia Dreymüller (Barcelona), Valeria Ciompi (Madrid), Eustaquio Barjau (Madrid) Presentación de los libros Handke y España (Alianza) y El final del callejeo (Nórdica) </b></span><br />
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<span style="font-size: large;"><b>16.00 -17.30 </b></span><br />
<span style="font-size: large;"><b> Georg Pichler (Alcalá) La España de Peter Handke: paisaje, arte, literatura Anna Montané Forasté (Barcelona) Como un largo adiós. Leer el Don Juan de Peter Handke </b></span><br />
<span style="font-size: large;"><b>18.00 -19.30 </b></span><br />
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<span style="font-size: large;"><b> Miguel Morey (Barcelona) En voz baja Eustaquio Barjau (Madrid) Peter Handke: un recorrido antológico (lo pasado por alto, los espacios intermedios, las formas, la narración, el otro, el paraíso...) </b></span><br />
<span style="font-size: large;"><b>* Conferencia en alemán con traducción al castellano </b></span><br />
<span style="font-size: large;"><b> Sala de Conferencias Internacionales Rectorado de la Universidad de Alcalá Plaza de San Diego s/n | 28801 Alcalá de Henares </b></span><br />
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<span style="font-size: large;"><b>Universidad de Alcalá Departamento de Filología Moderna | Fundación General Vicerrectorado de Extensión Universitaria y Relaciones Institucionales Vicerrectorado de Investigación y Transferencia </b></span><br />
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<span style="font-size: large;"><b>En colaboración con Alianza Editorial | Asociación Madrileña de Germanistas Foro Cultural de Austria en Madrid | Goethe-Institut Madrid Suhrkamp Verlag </b></span><br />
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<span style="font-size: large;"><b>Ilmo. Ayuntamiento del Real Sitio y Villa de Aranjuez E.L.M. Real Cortijo de San Isidro | Escuela Oficial de Idiomas de Aranjuez | Foro Cívico Aranjuez | Fundación Aranjuez Paisaje Cultural Grupo Smedia / Teatro Real Carlos III </b></span><br />
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<span style="font-size: large;"><b>Coordinación Georg Pichler </b></span><br />
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<span style="font-size: large;"><b>Foto: © Donata Wenders, Suhrkamp Verlag </b></span><br />
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<span style="font-size: large;"> El escritor Peter Handke, nuevo Doctor Honoris causa por la Universidad de Alcalá </span></h2>
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<span style="font-size: large;"><b>El escritor austriaco <span style="color: #a0410d;">Peter Handke ha sido</span> investido doctor honoris causa por la Universidad de Alcalá (UAH)<span style="color: #a0410d;"></span>. El acto ha dado comienzo a las <span style="color: #a0410d;">12:00 horas en el Paraninfo de la UAH</span>. Georg Pichler, profesor de Filología Alemana de la Universidad de Alcalá, es el encargado de pronunciar su laudatio. La ceremonia se ha podido ver en directo a través de la web de la UAH y sus redes sociales.</b></span><br />
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<span style="font-size: large;"><b><img alt="Laudatio" class="pull-right" longdesc="http://portalcomunicacion.uah.es/diario-digital/actualidad/Laudatio" src="http://portalcomunicacion.uah.es/images/07curso20162017/actualidad/handke_laudatio.jpg" title="Laudatio" />La propuesta de concesión del doctorado partió del Departamento de Filología Moderna de la Universidad de Alcalá, al considerar a Handke ‘uno de los escritores de lenguas más importantes de los siglos XX y XXI que se caracteriza por una obra amplia, fecunda y en constante transformación que ha dejado múltiples huellas en la literatura universal. Handke es uno de los pocos autores que se han erigido en puentes literarios entre las culturas española y germana dejando obras de gran valor artístico que demuestran un gran conocimiento de la literatura española y una fructífera comprensión de la cultura de España’.</b></span><br />
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<figure class="pull-left"><span style="font-size: large;"><b><img alt="Discurso de Peter Handke" src="http://portalcomunicacion.uah.es/images/07curso20162017/actualidad/handke_discurso.jpg" title="Discurso de Peter Handke" /></b></span><figcaption><span style="font-size: large;"><b>Discurso de Peter Handke</b></span></figcaption></figure><span style="font-size: large;"><b>En la laudatio, el profesor de la UAH Georg Pichler, ha destacado el valor que Handke da a la literatura como un medio para cambiar el mundo y también ha resaltado que se trata de unos pocos autores universales contemporáneos que se ha inmerso en la cultura española y en su obra 'mezcla paiajes y lugares de la geografía española con la de otros países, sobre todo con su país soñado, Yugoslavia'.</b></span><br />
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<span style="font-size: large;"><b>El rector, Fernando Galván, ha señalado que Handke 'nos ha entregado en los últimos 50 años una obra grandiosa' en la que se observa de forma permanente su acercamiento y conocimiento de España y de los autores españoles. Asimismo, estima que la 'huella' literaria de Handke también se puede contemplar, como se indica en el libro 'Peter Handke y España' en algunos de los autores españoles contemporáneos más innovadores: Enrique Vila-Matas, Juan Villoro, Ray Loriga, José Luis Pardo, Miguel Morey, Ignacio Vidal-Folch y Félix Romeo'.</b></span><br />
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<span style="color: #a0410d;"><strong><span style="text-decoration-line: underline;"><span style="font-size: large;">Sobre Peter Handke</span></span></strong></span><br />
<span style="font-size: large;"><b>Poeta, autor de teatro, novelista, guionista y director de cine, Peter Handke ha recibido todos los premios literarios importantes en los países de lengua alemana y en otros países. En el año 2002 fue nombrado Doctor Honoris Causa por la Universidad de Klagenfurt.</b></span><br />
<span style="font-size: large;"><b>Estudió Derecho en la Universidad de Graz, dedicándose desde entonces a la escritura en busca de una poética que se alejase de los cánones literarios vigentes. En 1966 publicó su primera novela, ‘Los abejorros’, y estrenó tres obras de teatro, entre ellos ‘Insultos al público’, una controvertida obra anti-teatro en la que cuatro actores discuten con el público. Realizó algunas películas como ‘La mujer zurda’ (1977), a partir de un cuento suyo, o ‘La ausencia’ (1992) cuya acción se desarrolla en España.</b></span><br />
<span style="font-size: large;"><b>Entre sus obras de teatro destacan ‘Gaspar’ (1968) que cuestiona el uso del lenguaje como ejercicio de poder a partir de la historia real de Kaspar Hauser, ‘La hora en la que no sabíamos nada los unos de los otros’ (1992) o ‘Los hermosos días de Aranjuez (2012). De entre sus textos cabe mencionar: ‘Cuando desear todavía era útil’ (1974), ‘La doctrina del Sainte-Victoire’ (1980), ‘El chino del dolor’ (1983), y ‘El año que pasé en la bahía de nadie’ (1999), ‘Todavía tormenta’ (2011).</b></span><br />
<span style="font-size: large;"><b>La acción de varios de sus libros se desarrolla en España, entre ellos ‘En una noche oscura salí de mi casa sosegada’ (1997), ‘La pérdida de la imagen’ o ‘A través de la Sierra de Gredos’ (2002), ‘Don Juan: (contado por él mismo)’ (2004) y los apuntes de diferentes viajes por España en ‘Ayer, de camino (2005)’.</b></span><br />
<a href="http://portalcomunicacion.uah.es/images/07curso20162017/pdfs/Peter_Handke_Doctor_honoris_causa_Laudatio_Georg_Pichler.pdf" rel="noopener noreferrer" target="_blank"><span style="font-size: large;"><b>Laudatio de Georg Pichler</b></span></a><br />
<span style="font-size: large;"><b><a href="http://portalcomunicacion.uah.es/images/07curso20162017/pdfs/Peter_Handke_Discurso_Doctor_honoris.pdf" rel="noopener noreferrer" target="_blank">Discurso de Peter Handke</a><br /><a href="http://portalcomunicacion.uah.es/images/07curso20162017/pdfs/PALABRAS_DEL_RECTOR_PARA_DOCTORADO_HONORIS_CAUSA_PETER_HANDKE.pdf" rel="noopener noreferrer" target="_blank">Palabras del rector, Fernando Galván</a></b></span><br />
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<span style="font-size: large;">Ehrendoktorwürde der Universität von Alcalá für Peter Handke </span></h2>
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<span style="font-size: large;"><b>24.05.2017</b></span></div>
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<span style="font-size: large;"><b>Die Universität von Alcalá de Henares verleiht <a class="link_inverted" href="http://www.suhrkamp.de/autoren/peter_handke_1738.html" target="_self">Peter Handke</a> die Ehrendoktorwürde.</b></span><br />
<span style="font-size: large;"><b>»Handke ist einer der wenigen deutschsprachigen Schriftsteller, die sich umfassend mit der spanischen Kultur auseinandergesetzt haben. Das Spanien Handkes bevölkern Autoren wie Miguel de Cervantes, Antonio Machado, Teresa von Ávila, Johannes vom Kreuz oder die Philosophin María Zambrano, in ihm fließen die Romanik vieler kleiner und großer Kirchen mit den Landschaften von Kastilien, der Mancha, Andalusiens oder Kataloniens zusammen in einem Spiel der Eindrücke und Assoziationen, die das Land, seine Geschichte und Kultur auf subjektive, literarische Weise porträtieren«, heißt es in der Laudatio von Georg Pichler.</b></span><br />
<span style="font-size: large;"><b>Neben der feierlichen Verleihung findet außerdem ein Symposium statt, in dem ausgewiesene Handke-Experten sein Werk aus verschiedenen Blickwinkeln beleuchten und die wichtigsten Facetten seines Schreibens analysiert werden. Autor und Werk werden zudem im Rahmen einer Veranstaltungsreihe neu präsentiert, mit Filmen von und über Handke sowie dem Theaterstück <a class="link_inverted" href="http://www.suhrkamp.de/theater_medien/die_schoenen_tage_von_aranjuez-peter_handke_102086.html" target="_self"><i>Die schönen Tage von Aranjuez</i></a>, das 2012 bei den Wiener Festwochen uraufgeführt wurde und nun in der titelgebenden Stadt abermals inszeniert wird.</b></span><br />
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<strong><span style="font-size: large;">Die Laudationes und Reden der Verleihung:</span></strong><br />
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<li><a class="link_inverted" href="http://www.suhrkamp.de/download/Sonstiges/Peter-Handke_Doctor-honoris-causa_Laudatio_Georg-Pichler.pdf" target="_self"><span style="font-size: large;"><b>Georg Pichler: Laudatio anlässlich der Verleihung des Titels Doctor honoris causa »</b></span></a></li>
<li><a class="link_inverted" href="http://www.suhrkamp.de/download/Sonstiges/Discurso_Doctor-honoris-causa_Peter-Handke.pdf" target="_self"><span style="font-size: large;"><b>Peter Handke: Rede anlässlich der Verleihung des Titels Doctor honoris causa »</b></span></a></li>
<li><span style="font-size: large;"><b><a class="link_inverted" href="http://www.suhrkamp.de/download/Sonstiges/PALABRAS-DEL-RECTOR-PARA-DOCTORADO-HONORIS-CAUSA-PETER-HANDKE.pdf" target="_self">Ansprache des Rektors: DOCTORADO HONORIS CAUSA PETER HANDKE</a><a class="link_inverted" href="http://www.suhrkamp.de/download/Sonstiges/PALABRAS-DEL-RECTOR-PARA-DOCTORADO-HONORIS-CAUSA-PETER-HANDKE.pdf" target="_self"> »</a></b></span></li>
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<strong><span style="font-size: large;">Mitschnitt der Verleihung (Originalton):</span></strong></div>
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<br />SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-4280831336342556602.post-12876194350584061342017-05-08T11:31:00.000-07:002017-05-08T11:31:23.471-07:00he Filmic Sentence: the intermedial dramaturgy of Peter Handke E‐ISSN ‐0 Pablo Gonçalo Pires de Campos Martins - Splinters of the Filmic Sentence: the intermedial dramaturgy of Peter Handke Rev. Bras. Estud. Presença, Porto Alegre, v. 7, n. 2, p. 407-433, May/Aug. 2017. Available at: <http: dx.doi.org=""> 407 Splinters of the Filmic Sentence: the intermedial dramaturgy of Peter Handke Pablo Gonçalo Pires de Campos Martins Universidade de Brasília ‒ UnB, Brasília/DF, Brazil ABSTRACT ‒ Splinters of the Filmic Sentence: the intermedial dramaturgy of Peter Handke ‒ This article presents an analysis of the first phase in Peter Handke’s work. It focuses on a theoreti-cal concept developed by Handke to highlight his filmic sentence. Upon analysis of several of his works, it appears that this aesthetic sensibility pervaded his theater, his novels, his debut as a filmmaker and the scripts he wrote in collaboration with Wim Wenders. As an interpretative sum-mary of his work, the paper defends the existence of a link between the practice of ekphrasis and the emergence of an intermedial dramaturgy, in which the writing gesture needs to reinvent itself be-tween languages borders, media, new technologies and materialities. Keywords: Performance. Intermediality. Playwright. Peter Handke. German Literature. RÉSUMÉ ‒ Fragments de la Phrase Filmique: Peter Handke et son dramaturgie intermediale ‒ L’article présente une analyse de l’ensemble de la première phase de l’oeuvre de l’écrivain Peter Handke. On part d’une conception théorique développé par Handke lui-même, qui culmine a la phrase film-ique. Au long de l’analyse on passe pour plusieurs ouvrages pour marquer que cette perception es-thétique est présente dans son théâtre, ses romans, son premier film en tant que metteur en scène et les scripts de sa collaboration avec Wim Wenders. Pour résumé et interpréter son travail, l’article propose un lien entre la pratique de ekphrasis et l’émergence d’une dramaturgie intermédiale, dans laquelle le geste d’écriture doit se réinventer entre langages, frontières, les médias et des nouvelles technologies. Mots-clés: Performance. Intermédialité. Dramaturgie. Peter Handke. La Littérature Allemand<a href="https://www.academia.edu/32904454/Estilha%C3%A7os_da_Frase_F%C3%ADlmica_a_dramaturgia_intermedial_de_Peter_Handke">https://www.academia.edu/32904454/Estilha%C3%A7os_da_Frase_F%C3%ADlmica_a_dramaturgia_intermedial_de_Peter_Handke</a></http:>SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-4280831336342556602.post-62466238276089942692016-11-11T19:19:00.002-08:002016-11-11T19:21:49.966-08:00Cornelia Caseau /mORAWIAN NIGHT<div style="text-align: center;">
<span style="font-family: Courier New, Courier, monospace; font-size: x-large;"><b><a href="https://www.inter-disciplinary.net/wp-content/uploads/2009/02/caseau-paper1.pdf" target="_blank">Cornelia CaseauHead of the Department of Languages and CulturesESC Dijon/ Burgundy School of Business/ Francecornelia.caseau@escdijon.euPeter Handke : “The Moravian Night” or the request forforgivenessIntroduction:In my paper, I will speak about Peter Handke, the well-known Austrian writer, born in 1942in the small town of Griffen, in Carinthia. He sparked off a scandal in 1996 after thedescription of his journey to Serbia in his article entitled A Journey to the Rivers: Justice forSerbia1in which he defended Serbia during the Balkan war.2His opinion shocked the public, because the Serbians were generally considered as theperpetrators of all the troubles in the Balkans. In A Journey to the Rivers, he reproached thewestern media for manipulating war correspondence and wanted to provide a different viewof this conflict. By doing this, he did not only provoke the indignation of the journalists, butalso lost the sympathy of many of his readers and admirers. In reaction to this, he undertooklecture trips through Germany, Austria, Slovenia and Serbia where he read passages of thiswork which he qualified as a text for peace. With varying degrees of success, he tried toexplain his arguments in favour of the Serbian population.In 2008, shortly after his 65th birthday, with the long narration The Moravian Night, he tookup again the Balkan theme. This work allowed him to leave the field of pure politicalcontroversy of the 1990s. In The Moravian Night, Handke presents to us a former writer whogives an account of a recent trip through Europe - a kind of pilgrimage to countries likeCroatia, Spain, Germany, Austria and Serbia. The different stages of the trip producereflections about the human mistakes committed by the author against his family and hisfriends.1P Handke, Eine winterliche Reise zu den Flüssen Donau, Save, Morawa und Drina, oder Gerechtigkeit fürSerbien, Suhrkamp, Frankfurt/ Main 1996. First it was published in two parts in the SüddeutscheZeitung on the5-6th and 13-14th January 1996.2In the same year he published a second book on this theme, see P Handke, Sommerlicher Nachtrag zu einerwinterlichen Reise, Suhrkamp, Frankfurt/Main 1996. Already in 1991 he had written a book deploring thedeclaration of independence signed by Slovenia and Croatia. P Handke, Abschied des Träumers vom NeuntenLand, Suhrkamp, Frankfurt/Main, 1991.2After the difficulties of the previous years, we can suspect that Handke desired to close thechapter on these controversies. In my paper I will thus try to see in which way this narrationcan be considered as the author‟s request for forgiveness. First I will analyse some of thehuman errors which the writer, whom we may for the most part identify with Handke3,reproaches himself and how he tries to obtain personal forgiveness. Second I will study thepolitical context of The Moravian Night. How does Handke approach the Balkan conflict?Does he look for reconciliation with his critics and does he obtain their clemency?I. The pilgrimage of an author looking for apologyIn his long narration The Moravian Night, published at the beginning of 2008, a former writerinvites 7 friends onto his houseboat, which was previously a hotel called The Moravian Night,anchored about 100 kilometers south of Belgrade on the river Morava in the Serbian enclavePorodin. The host, together with his most recent partner and his travelling companions spendone entire night together before Easter. After a fine traditional dinner (compared by a criticwith The Last Supper4 where the friends take the role of his disciples5) they piece together thelengthy trip of the author. The night atmosphere disperses supposed realities, the contoursbecome indistinct and give room for memory, thoughts and feelings.6The reader participatesin a long Balkan or oriental night7, or 1001 Nights, a surreal world of fairytales8. The first 12chapters provide an account of his journey, and in the 13th, everything disappears –thewoman, the friends, the boat and even the river. Has the whole story only been an illusion?3P Handke, "Wenn ich schreibe, beute ich eigentlich immer nur mein Bewusstsein aus".Already in 1973 he claimed to use personal experiences in his writing, Ch Linder, 'Die Ausbeutung desBewusstseins', Interview with Peter Handke, FAZ 13 January 1973.4I Radisch, "Wer hierbei an die Jünger Jesu und das nachträgliche Verfassen der Evangelien denkt, muss nichtganz falsch liegen"in 'Die Geografie der Träume. Peter Handke erzählt in seinem neuen Buch "Die morawischeNacht" das grosse Zaubermärchen seines Lebens', Zeit Online 03/2008, viewed on 07 August 2008.5 H Gollner, 'Die morawische Nacht', Kultur und Sprache 18 September 2007 “sie haben Jünger-Funktion”viewed on 07 August 2008,.6 R Bode, „Vom Bluten und Fluten des Herzens‟ oder das Zittern der Stimme im Alltag‟, Die Drei 06/2008, p.32-35.7 R Bode, ibid.8 R Bode, ibid.3All the stages of this trip which we might compare with a pilgrimage relate to the real life ofPeter Handke. The most important event in his pilgrimage is his arrival at the home port, hisnative town in Austria.9From the beginning, the inner conflicts and reflections of the authorhave at least the same importance as the observations about his adventures.10 He undergoes aninternal discovery and Iris Radisch, one of the most famous German critics, supposes therewere personal and professional stages of atonement.11 Consequently, the author‟s pilgrimagethrough Europe is accompanied by numerous confessions.12 As if he had wanted to establish acatalogue of all the reproaches and objections spoken against him during his life, he confessesto us his weaknesses and his faults.13 Never before had Handke judged himself so harshly.14For the critic Ulrich Weinzierl, it is a sign of maturity15 and for Sigrid Löffler, such ruthlessself-representation opens the way to a new orientation16 a condition for reconciliation17 andforgiveness.I will give three examples from The Moravian Night, where Handke shows us the failings thathe seems to apologize for:1) the lack of human warmth and attachment to others, in particular women, and his needto withdraw from others2) his opposition to his German stepfather and everything related to Germany3) his tyrannical attitude towards his family when writing, and for leaving the familyhome prior to the suicide of his mother 189 R Bode, ibid.10 E Falcke, 'Peter Handke über die morawische Nacht', Büchermarkt 10 February 2008, viewed on 01November 2008, .11 I Radisch, ibid. "Seine wichtigsten persönlichen und beruflichen Stationen der Wiedergutmachung werden indieser nächtlichen Reiseerzählung auf dem Hausboot an der Morawa noch einmal abgeschritten."12 M Bandar, 'Die morawische Nacht. Balkan-Monolog-Leben wie im Traum', Stuttgarter Zeitung Online, 23January 2008, viewed on 2 January 2009,< https://www.stuttgarter-nachrichten.de/stz/page/1617606_0_2147_peter-handke-die-morawische-nacht.html>.13 V Hage, 'Der übermütige Unglücksritter', Der Spiegel, 07 January 2008, viewed on 07 November 2008,.14 V Hage, ibid.15 U Weinzierl, „Handke reist mit dem Hausboot ins eigene Ich”, Welt Online 12 January 2008, viewed on 07August 2008, .16 S Löffler, op.cit. "ein Abschied vom Traum-Balkan, Handkes Privat-Paradis, dem utopischen Modell einesfriedlichen Vielvölker-Staats".17A Breitenstein, 'Die groβe Versöhnungstour. "Die morawische Nacht"- Peter Handke zieht eine selbstironischeBilanz eines Dichterlebens, NZZ Online 15 January 2008, viewed on 07 November 2008,.18 This fault is, like the others, autobiographical :"[…] da bin ich unheimlich egoistisch gewesen. Ich war schon zu Hause der Typ, der alle tyrannisiert hat."in Interview with André Müller, July 1971. Müller, André : Im Gespräch mit Peter Handke.Weitra : Bibliothekder Provinz 1993, p.28, cit. E Schwagerle, 'Peter Handke et la France. Réception et Traduction', Thèse dirigée 4In each of the three cases Handke portrays a selfish and egocentric person who followed hispersonal ambitions for his whole life.How does he proceed? After living for 10 years on his houseboat in Porodin, his refuge andhis castle,19 the narrator leaves this enclave. Perhaps he flees a woman, perhaps he only wantsto escape from himself. His first stop out of Serbia leads him to a Croatian island, where theyoung author, a long time ago, had met his first girlfriend during the summer. It was also thesummer when he started writing his first novella. Near the entrance of a church, he finds hisfirst love again, an old beggar woman who reproaches him for abandoning her so many yearsago in favour of his writing. She makes him feel guilty, and Handke seizes the opportunity torecognize his own lifelong hesitations between writing and love. (The relationship betweenHandke and women has always been one of conflict.20 He frequently left his girlfriends andwives whom he often considered as his enemies or was abusive to them. He exhibited alsoimpatience and total lack of self-control).Another important step of his pilgrimage is the visit to his father‟s place of origin, a small spatown in the Harz (formerly East Germany). He seeks to discover the region where his parent(Handke‟s father was a soldier of the Wehrmacht) grew up. On this occasion he finds apeaceful countryside and forgets all his prejudices with regard to Germany. Handke had felt alot of anger against Germans. During the Second World War, two of his uncles, the belovedbrothers of his mother who had Slovenian origins, were forced to fight in Hitler‟s army wherethey died on the field of honour.21 At the German cemetery where the writer is finallylooking for reconciliation, he becomes aware that he knows nothing about his father. Heshould have questioned his mother so much more when she was still alive. Having missed thisopportunity makes him remorseful and angry with himself. A butterfly transformed into anold woman accuses him of selfishness: His rejection of his father due to his lack of humancuriosity has to be paid. For having denied his father in former times, he has to leave thispar M.Wendelin Schmidt-Dengler et M.Gerald Stieg. Université Paris III.Sorbonne Nouvelle. Universität Wien.Paris/Wien 2006, p.131-132.19 P Handke, "Flucht- und Trutzburg", Die Morawische Nacht, Erzählung, Suhrkamp , Frankfurt/Main 2008, p.7.20 H Höller, Peter Handke, Rowohlt, Reinbek bei Hamburg 2007,Handke had notorious liaisons with several actresses, for example Jeanne Moreau.21 P Handke/P Hamm, Es leben die Illusionen. Gespräche in Chaville und anderswo. Wallstein Verlag,Göttingen 2006, p.120 "Dass zwei Slawen, die eigentlich für Jugoslawien hätten kämpfen wollen, oderzumindest gegen Deutschland, für das sogenannte Groβdeutsche Reich ihr Leben gelassen haben – das wareigentlich das Bestimmende. […] ich glaube ich habe eine Grundwut [……..] auf alles, was Deutschland alsStaat ist. Das werde ich nie akzeptieren."5town immediately. And thus, without having obtained forgiveness at the grave of his father,he has to continue his pilgrimage to his native country.The countryside of his childhood seems so strange. After a dreamlike night of wanderingwhere he meets key figures of his life and his homeland, he makes a stop at the cemetery tocollect his thoughts at the grave of his forefathers. At home, in a conversation with his brotherthe narrator learns how, in his youth, he had tyrannised his family because of his ambitions tobe a writer22. He had disrupted domestic life, had created divisions and even discord withinthe family. When the writer goes to bed, he tries to think about his past, to become aware ofthings he had lived, suffered, done, omitted, or crimes he had committed.23 However, he is tootired and falls asleep immediately. At this moment he hears the voice of his dead mother.He had often dreamed of her, thinking that she was still alive, dead tired, slaving away forhim and the others. The relationship between Handke and his mother had been a very closeand exclusive one. When he had left home for his studies, he continued to write to her and tosend her his literary works. Her suicide in 1971 had instilled in him a feeling of guilt. In thedreams she had appeared to him only one time, some weeks after her suicide. This time shedoes not appear, but speaks to him, invisible, without any face or eyes. And she forgives himunconditionally. For her, her son is innocent. He should stop feeling guilty.24 She encourageshim to leave behind him all his guilt and to start to live with others: enough of this confessingand these self-tormenting reflections!His arrival at his hometown and the forgiveness of his mother constitute the key scene of theauthor‟s pilgrimage. During the whole trip he had behaved as if he were a pilgrim: most of thetime he went by foot, visited churches and holy places, learned the sense of community in theexchange with other travellers, meditated and in doing that, became conscious of his errors.The confession of the faults in The Moravian Night seems thus to be a request for forgiveness.The numerous religious symbols that Handke, a former student of a seminary, uses - thechurches, a crypt, cemeteries, angels, devils, prayers, and the religious language (we can even22 P Handke, speaks of « Schreibtyrannei », M.N. p.498.23 P Handke, "Und als er sich zu Bett legte, in der Absicht, so lange er nur könnte, sich bewuβt zu machen undzu wiederholen, wo er da war und was er in der Zeitenfolge da nacheinander im einzelnen erlebt, erlitten, getan,unterlassen, anderen angetan und verbrochen hatte […]" M.N.p.499.24 P Handke, "Du mit deinem ewigen Schuldbewuβtsein und deinem Schuldsuchen auch bei den anderen. Du bistunschuldig, du dummer Kerl […]", M.N. p.501.6find quotations from the Bible and sentences of Catholic liturgy),25 might confirm thecharacter of this trip as a pilgrimage.II. The Balkan dream – a forgiven fantasy?In this section I would like to analyze the political side of Handke‟s reflections and see, if TheMoravian Night constitutes a turning point in his writing. Does he change his attitude towardsthe Balkans, and does his latest book reconcile his critics?Dating back to the fall of Yugoslavia which took place in 1991, Handke often went to theBalkans to get a personal impression of the war by being there. His initial intention was not todeliver a political statement with regard to the arguments of the nations at war, but to presenta discourse in opposition to the mainstream. Due to his Slovenian origins on his mother‟s sidehe had a particular attachment to this country and wished deeply that the Yugoslavian statecould remain whole. He never accepted the Slovenian and Croatian independence movements.That‟s why his former love for Slovenia turned into an attachment for Serbia as the lastrepresentative of the former multiracial state.With his travel writing A Journey to the Rivers, Justice for Serbia in 1996, Handke haddefended Serbia and attacked the western media, an act harshly criticized by the public. Hissympathy for Serbia had finally turned into a public partisanship, particularly after the NATObombings at the end of the 1990s. During the NATO campaign, Handke went to Serbia toshow his solidarity with the victims of the attacks. In his anger about the bloodshed takingplace in the Balkans he abandoned his former poetical concept and found himselfinvoluntarily involved in the delicate role as a correspondent between a poetical and ajournalistic mission.26 The least understood of his actions however, was his visit to SlobodanMilosevic in prison in The Hague27 and his delivery of a speech during the burial ceremony of„The Butcher of the Balkans‟, in 2006 in Posarevac. For Handke, Milosevic had represented25 C Hell, 'Bei uns am Balkan', Die Furche 06/2008, viewed on 01 November 2008,< http://www.furche.at/system/downloads.php?de=file&id=667 >.26 Ch Parry, Peter Handke, Kritisches Lexikon zur deutschsprachigen Gegenwartsliteratur-KLG., H.L. Arnold(ed.), edition text + kritik, München, 80. Nlg., June 2005, p.24 – 26.27 P Handke, „Die Tablas von Daimiel, Ein Umweltzeugenbericht zum Prozess gegen Slobodan Milosevic‟,Suhrkamp Sonderdruck, Frankfurt/ Main, 2006.7Yugoslavia and by his participation in the burial ceremony, wanted to be part of the last act ofthe existence of this state.28In his book The Moravian Night which takes place in the future, the Balkan War is lost andthe political dream of a united Yugoslavia is finished. Tito‟s Yugoslavia is a forgotten empire.During the whole narration, Handke never utters the word Serbia which has caused so muchcontroversy some years earlier. He speaks of the Balkans, the beauty of the landscape and theprecarious political situation. It is a satirical and nostalgic farewell to the Yugoslavian dreamand nightmare,29 a goodbye to his private paradise, the utopian model of a peacefulmultiracial state.30 At the same time it is a farewell to trauma: the Balkans disfigured by thewar, a land scarred by the debris of war and a society torn apart by hostilities.31 Nevertheless,the disappeared Yugoslavia remains for Handke a country of the heart.32 His affection for theBalkans is not only a geographical one, but also bound by images in his imagination.33In his book, he still takes the side of Serbia34, in a discreet manner however. The houseboat onthe Morava is decorated with the huge flag of the disappeared country, and it is painted in thecolours of the sunken empire.35 Handke operates with allusions, like the disappearance of theCyrillic writing,36 and he does not use words to defend Serbia directly anymore.37 With thiswork, Handke has achieved a more nuanced view of the Balkan conflict, and in the lastchapter of The Moravian Night even questions himself about the usefulness of his formercommitment38 and wonders, if the lost person was not perhaps himself?39The critics seem to appreciate this new, self-reflecting tone in his writing. Nearly all of thempraise The Moravian Night, they welcome Handke‟s return to a more poetical writing40 and28 APA/Red. (no name), 'Handke spendet serbischem Dorf im Kosovo 50.000 Euro'. Interview, Die Zeit, cit.DiePresse 11 April 07, "Mit Milosevic endete Jugoslawien. Bei diesem letzten Akt wollte ich dabei sein."29U Weinzierl, op.cit.30 S Löffler, op. cit.31 S Löffler, ibid.32 E Falcke, op.cit.33 K Gasser, op.cit.34 F Hafner, Peter Handke. Unterwegs ins Neunte Land, Zsolnay, Wien 2008, p.334."In "Die morawische Nacht" wird dafür der-serbischen- Gegenposition explizit und ausführlich Platzeingeräumt, bezeichnenderweise in der Figurenrede des Busfahrers, der es vermeidet, jene, die ihn undseinesgleichen mit ihrem Hass verfolgen, beim Namen zu nennen."35 P Handke, M.N. p.35.36 U Weinzierl, op.cit.37 S Sattler, Stephan, 'Triumph der Sprache', Focus Online, 07 January 2008, viewed on 07 August 2008,.38 P Handke, "Was hatte er bloβ bei den Verlorenen auf dem Balkan zu suchen gehabt ?", M.N. p.55739 P Handke, "Der Verlorene, war das nicht in Wirklichkeit er ?", M.N. p.55740 M Rutschky, op.cit."Wer das Buch liest, wird groβe Mühe haben, es nicht wunderschön zu finden."8praise the collection of gentle-poetical confessions.41 They underline the author‟s longing fora peaceful existence with himself and with others42 and testify to the conciliatory aspect of thepublication.43 Even if Handke affirms that it is not possible to separate the poetical from thepolitical writing44, with his last narration, he has abandoned the political struggle and hasreturned from a polemical to a poetical prose.45 This book is generally considered as aliberating step allowing him to leave his position on the sideline.46 As proof of recognition,the jury of the most important German literary prize, the “Deutscher Buchpreis” hasnominated this book as one of the top twenty books of 2008.47To conclude this section, I would just like to make a short comparison between the twocontemporary writers Peter Handke and the German author and Nobel-prize winner GünterGrass. As mature writers, both have been accused in public for their political actions orpositions. Grass, the political conscience of Germany, was criticised for joining the WaffenSS during the Second World War, and his late confession of it in his autobiographical bookPeeling the Onions in 2006. Whereas Handke was attacked for his verbal meddling in theBalkan affairs in the 1990s.Even if Handke took back some of his political statements, the two writers never reallyapologized in public. On the contrary! In interviews, they claimed their innocence andexpected the understanding of their audience. They hoped that the arguments, expressed intheir literary work would be sufficient to convince their opponents.We can establish that their aberration finds its origin in the past, when the authors wereyoung. Grass had signed up for the Waffen SS during puberty, to flee the confinement of theparental environment in Danzig, whereas Handke had defended the Balkan dream,41 U Weinzierl, op.cit. "eine Sammlung sanftmütig-poetischer Bekenntnisse des Autors."42 K Gasser, op.cit. "[…] Sehnsucht nach so etwas wie einem friedlichen Mit-Sich und Miteinander-SeinKönnen."43 L Struck, op.cit.44 Cit. : Peter Handke im Gespräch mit Joze Horvat, Noch einmal vom neunten Land, Klagenfurt/Salzburg 1993,in Tontic, Stevan – Reisen des Träumers ins « Erste Land », Noch einmal für Jugoslawien. Peter Handke. ThDeichmann (ed). Suhrkamp, Frankfurt/ Main 1999, p.41.45 U Weinzierl, op.cit.46 S Löffler, 'Peter Handke - Die morawische Nacht' op.cit. "Das Buch ist auch ein Befreiungsschlag, mit demHandke sich aus dem Abseits befreien will, in das er sich mit seiner Jugoslawien-Haltung manövriert hat."47 However Handke renounced the nomination to leave the field open to younger authors, ber/dpa (no author)Deutscher Buchpreis : Peter Handke verzichtet auf Nominierung, Spiegel Online 04. September 2008, viewedon 16 September 2008,.9considering Yugoslavia as the country of his childhood, his second homeland 48. Perhaps it isthe reason why they expect our comprehension and unconditional forgiveness.Conclusion:For both of them, the distinction of the role of a writer as a political or literary person seemsthe crucial question. Peter Handke and Günter Grass are not the only intellectuals in the 20thcentury to take sides with dubious political actions. There was also Knut Hamsun, EzraPound, Lion Feuchtwanger, Céline and others49. The forgiveness they could expect was avindication of their literary creation, of their genius as authors and not the acceptance of theirpolitical ideas. In this way, Handke has been rehabilitated and forgiven as a creator of anextraordinary literary work – and even his recent support for the ultranationalist Serbianpresidential candidate Tomislav Nikolic50 disappears behind the praise of his latest book.Nevertheless I will finish in quoting a sentence spoken by the philosopher Martin Heideggerto justify his own entanglement in National Socialism “Wer groβ denkt, muss groβ irren“51which I would like to transform into a question: Is a big thinker allowed to make big errors?Bibliography:Abbott, S., „Peter Handke‟s „The Moravian Night‟, The Goalies Anxiety 4 July 2008,viewed on 7 November 2008, .APA/Red. (no name), „Handke spendet serbischem Dorf im Kosovo 50.000 Euro. Interview Die Zeit, cit. DiePresse 11 April 2007.Arnold, H.L.,(ed.), Peter Handke. Sechste Auflage. Neufassung VI/99, edition text + kritik, München 1999.Baier, L., „Krieg im Kopf‟. Noch einmal für Jugoslawien. Peter Handke, Th Deichmann (ed.), SuhrkampTaschenbuch, Frankfurt/ Main 1999, p. 33-3848 See the article of F Meyer-Gosau, „Kinderland ist abgebrannt‟, Peter Handke, Heinz Ludwig Arnold (ed.),Text + Kritik VI/99, München 1999, p. 3-20See also : A Breitenstein, „Die Schule der Eigentlichkeit‟, NZZ, 5 May 2006.49 U Greiner, „Darf groβ irren, wer groβ dichtet ?‟, Die Zeit, Nr.24, 8 June 2006. « Wer groβ denkt, muss groβirren ».50 R Wagner, „Peter Handke verliert die Wahlen in Serbien‟, Die Achse des Guten, 4 February 2008, viewed on07 August 2008,.51 U Greiner, op.cit.10Bandar, M., „Die morawische Nacht. Balkan-Monolog-Leben wie im Traum‟, Stuttgarter Zeitung Online 23January 2008, viewed on 2 January 2009,< https://www.stuttgarter-nachrichten.de/stz/page/1617606_0_2147_peter-handke-die-morawische-nacht.html>.ber/ dpa (no name), „Deutscher Buchpreis: Peter Handke verzichtet auf die Nominierung‟, Spiegel Online 04September 2008, viewed on 16 September 2008, .Bode, R., „Vom‟Bluten und Fluten des Herzens‟ oder das Zittern der Stimme im Alltag‟. Die Drei 06/2008, p.32-35.Breitenstein, A., „Die groβe Versöhnungstour. Die morawische Nacht.”, NZZ online 15 January 2008,viewed on 07 November 2008,.Breitenstein, A., „Die Schule der Eigentlichkeit‟, NZZ, 5 May 2006.dpa. (no author) „Beinahe ein Kreuzweg – Mit literarischer Me</a></b></span></div>
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den Warenkorb</span></b><b><span style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;"><o:p></o:p></span></b></div>
<div style="border-top: solid windowtext 1.0pt; border: none; mso-border-top-alt: solid windowtext .75pt; mso-element: para-border-div; padding: 1.0pt 0in 0in 0in;">
<div align="center" class="MsoNormal" style="border: none; mso-border-top-alt: solid windowtext .75pt; mso-hyphenate: auto; mso-padding-alt: 1.0pt 0in 0in 0in; mso-pagination: widow-orphan; padding: 0in; text-align: center;">
<b><span style="display: none; font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt; mso-hide: all;">Bottom of Form<o:p></o:p></span></b></div>
</div>
<div align="center" class="MsoNormal" style="margin-bottom: 4.5pt; mso-hyphenate: auto; mso-outline-level: 5; mso-pagination: widow-orphan; text-align: center;">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Kategorie<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" style="mso-hyphenate: auto; mso-line-height-alt: 12.6pt; mso-pagination: widow-orphan; text-align: center;">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Seminararbeit<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" style="margin-bottom: 4.5pt; mso-hyphenate: auto; mso-outline-level: 5; mso-pagination: widow-orphan; text-align: center;">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Institution / Hochschule<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" style="mso-hyphenate: auto; mso-line-height-alt: 12.6pt; mso-pagination: widow-orphan; text-align: center;">
<b><span style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;"><a href="http://www.grin.com/institution/52/university-of-graz"><span lang="DE" style="color: #555555; mso-ansi-language: DE;">Karl-Franzens-Universität Graz
(Germanistik)</span></a></span></b><b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;"><o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" style="margin-bottom: 4.5pt; mso-hyphenate: auto; mso-outline-level: 5; mso-pagination: widow-orphan; text-align: center;">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Note<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" style="line-height: 20.15pt; mso-hyphenate: auto; mso-pagination: widow-orphan; text-align: center;">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">1,0<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: 24.0pt; mso-hyphenate: auto; mso-outline-level: 2; mso-pagination: widow-orphan;">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Gratis
online lesen<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">2<o:p></o:p></span></b></div>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Inhalt</span></b><b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;"><o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">1.
Einleitung ... 3<o:p></o:p></span></b></div>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">2.
Allgemeines zum Werk ... 4<o:p></o:p></span></b></div>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">2.1
Entstehungskontext ... 4<o:p></o:p></span></b></div>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">2.2
Ablauf & Inhalt ... 5<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">3.
Brechts episches Theater ... 5<o:p></o:p></span></b></div>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">4.
Handkes frühe Poetik ... 7<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">5.
Auswirkungen auf die Theaterwelt ... 9<o:p></o:p></span></b></div>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">6.
Fazit/Abschluss ... </span></b><b><span style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">11<o:p></o:p></span></b></div>
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<b><span style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">7.
Literaturangaben ... 12<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">7.1
Primärliteratur ... 12<o:p></o:p></span></b></div>
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<b><span style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">7.2.
Sekundärliteratur ... 12<o:p></o:p></span></b></div>
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<b><span style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">7.3.
Internetquellen ... 12<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" style="mso-hyphenate: auto; mso-pagination: widow-orphan; text-align: center;">
<b><span style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">
<hr align="center" size="10" style="width: 457.5pt;" width="763" />
</span></b></div>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">3<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">1.
Einleitung<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Peter
Handke gilt als einer der wichtigsten und einflussreichsten, aber auch
umstrittensten<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Autoren
der Gegenwartsliteratur. Immer wieder sorgte er für Kontroversen. Das<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">prominenteste
Beispiel dafür war sicherlich sein Engagement im Jugoslawien-Krieg und<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">seine
Prosa aus dieser Zeit, wie das Essay "Abschied des Träumers vom Neunten
Land"<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">von
1991. Seinen ersten großen Erfolg erlangte er allerdings bereits 1966 mit der<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Uraufführung
seines Bühnenstücks<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><i><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Publikumsbeschimpfungen</span></i></b><b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;"><o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">.
Dabei geht es nicht nur um<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">das
"sich auflehnen" gegen die Wiederholung von bereits Dagewesenem, er
konstituiert<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">damit
auch seine eigene, ganz neue Poetik. Handke versucht, die Theaterwelt in
anderes<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Licht
zu setzen und alte Muster zu durchbrechen. Aus damaliger Sicht war dieser
Ansatz<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">revolutionär
und im Zusammenspiel mit seinem wirkungsvollen Auftritt in Princeton bei der<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Tagung
der Gruppe 47 im gleichen Jahr, bei dem er die
"Beschreibungsimpotenz" der<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">alteingesessenen
Schriftsteller kritisiert, begründet dieses erste Bühnenstück seinen<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">kometenhaften
Aufstieg. Und entgegen aller Erwartungen hat sich<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><i><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Publikumsbeschimpfung</span></i></b><b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;"><o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">innerhalb
kürzester Zeit zu einer Art Publikumshit und Kassenschlager entwickelt. Denn<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">obwohl
es sich um eine Art Beschimpfung handelte, strömten die Zuschauer ins Theater.<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Das
spricht dafür, dass Handke damit wirklich den Nerv der Zeit traf. In dieser
Zeit, kurz vor<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">den
Protesten der 68er-Bewegung, waren vor allem junge Zuschauer begeistert von
dieser<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Art,
die alten Muster zu durchbrechen, sich von den Generationen vor Ihnen zu<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">unterscheiden
und neue Wege zu gehen.<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Im
Folgenden soll dieses Werk nun erneut betrachtet werden. Da es sich damals auch<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">gegen
das epische Theater Bertolt Brechts wendete, sollen auch die Eckpfeiler von
Brechts<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Auffassung
vom Theater noch einmal untersucht werden, um Handkes Kritik und seine<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Lösungsansätze
in einen Kontext zu setzen.<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Das
abschließende Ziel dieser Arbeit soll es sein, herauszufinden, ob Handkes Ansätze
und<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Kritik
fast 50 Jahre nach der Uraufführung von<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><i><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Publikumsbeschimpfung</span></i></b><b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;"><o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">noch
gleich relevant<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">und
aktuell sind.<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" style="mso-hyphenate: auto; mso-pagination: widow-orphan; text-align: center;">
<b><span style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">
<hr align="center" size="10" style="width: 457.5pt;" width="763" />
</span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">4<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">2.
Allgemeines zum Werk<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">2.1
Entstehungskontext<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Zum
Entstehungszeitpunkt des Sprechstücks<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><i><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Publikumsbeschimpfung</span></i></b><b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;"><o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">war
Peter Handke<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">zum
Studium der Rechtswissenschaften in Graz inskribiert und studierte auch aktiv.
In<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">einem
Fernseh-Interview mit Friedrich Luft 1969 sagt er, er habe das Jus-Studium in
Graz<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">vor
allem deshalb angefangen, weil es in Graz billiger war und er gehört hatte,
neben dem<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Studium
bliebe genug Zeit, zu schreiben<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">1<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">.
Seinen Roman<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><i><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Die
Hornissen</span></i></b><b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;"><o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">hatte
er zu diesem<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Zeitpunkt
bereits beendet. Durch sein Verhältnis mit der Schauspielerin Libgart Schwarz<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">kam
Handke um 1965 herum verstärkt in den Wirkungskreis des Theaters. Außerdem war
er<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">im
Forum Stadtpark aktiv. Handke sagt zu seinem Einstieg in die Theaterwelt später
in einen<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Interview
mit dem FOCUS-Magazin:<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">"<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><i><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Zum
Theater bin ich eigentlich ganz naiv gekommen. Siegfried Unseld, der meinen
ersten</span></i></b><b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;"><o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><i><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Roman
,,Die Hornissen" angenommen hatte, hat gesagt: Davon können Sie nicht
leben, mit</span></i></b><b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;"><o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><i><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Stücken
können Sie Geld verdienen.</span></i></b><b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;"><o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">"<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">2<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Je
mehr er sich jedoch mit dem Theater und dem Schreiben von Stücken beschäftigte,
desto<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">resignierter
wurde er. Er war genervt davon, wie gespielt wurde und davon, wie im Theater<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Natürlichkeit
vorgetäuscht wurde.<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">3<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Zur
gleichen Zeit schrieb Handke neben dem Studium auch Buchbesprechungen für die<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Literatursendung
"Bücherecke" des Österreichischen Rundfunks im Landesstudio<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Steiermark.
Unter anderem wurden auch zeitgenössische Dramentexte besprochen, man<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">kann
also hier einen weiteren Anstoß für Handkes Einstieg in die Theaterwelt sehen.<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Handke
schloss die Schaffensphase des Stückes im Herbst 1965 ab und übergab es im<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">November
an seinen Verleger Siegfried Unseld. Es fanden sich sofort Fans des Stückes im<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Verlag
und es wurden ihm gute Aufführungschancen eingeräumt. Dennoch dauerte es<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">einige
Zeit, bis sich ein Theater fand, dass die Uraufführung der<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><i><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Publikumsbeschimpfung</span></i></b><b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;"><o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">wagte.
Viele Theater wollten wohl das Wagnis nicht eingehen, ihr Stammpublikum zu<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">verärgern.
Uraufgeführt wurde<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><i><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Publikumsbeschimpfung</span></i></b><b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;"><o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">schlussendlich
am 8.6.1966 im<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">1<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Vgl.
Friedrich Luft: Das Profil: Peter Handke - Gespräch mit Friedrich Luft.
München: Bayrischer<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Rundfunk
Alpha 1969 URL:<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">https://www.youtube.com/watch?v=fMPW00m_gZc<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">(26.8.2015)<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">2<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Andres
Mühry, Stefan Sattler: In den Rätseln bleiben!. In: FOCUS Magazin/7: 2007 URL:<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">http://www.focus.de/kultur/buecher/kultur-in-den-raetseln-bleiben_aid_227012.html<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">(26.8.2015)<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">3<o:p></o:p></span></b></div>
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<b><span style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Vgl.
ebda<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" style="mso-hyphenate: auto; mso-pagination: widow-orphan; text-align: center;">
<b><span style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">
<hr align="center" size="10" style="width: 457.5pt;" width="763" />
</span></b></div>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">5<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Theater
am Turm Frankfurt im Rahmen des Theaterfestivals Experimenta 1. Die Regie<o:p></o:p></span></b></div>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">führte
Claus Peymann.<o:p></o:p></span></b></div>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">4<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">2.2
Ablauf & Inhalt<o:p></o:p></span></b></div>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">"<o:p></o:p></span></b></div>
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<b><i><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Sie
werden kein Schauspiel sehen. Ihre Schaulust wird nicht befriedigt werden. Sie
werden</span></i></b><b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;"><o:p></o:p></span></b></div>
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<b><i><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">kein
Spiel sehen. Hier wird nicht gespielt werden. Sie werden ein Schauspiel ohne
Bilder</span></i></b><b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;"><o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><i><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">sehen.</span></i></b><b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;"><o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">"<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">5<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Diese
Zeilen finden sich im Eingangstext des Stückes. Zu diesem Zeitpunkt spätestens<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">muss
einem aufmerksamen Publikum auffallen, dass es kein Theaterstück in<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">konventionellen
Sinn zu sehen bekommen wird. Vier Schauspieler stehen auf der Bühne, sie<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">tragen
sehr legere Kleidung, es gibt keine Requisiten, keine Handlung. Das Licht im<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Zuschauerraum
brennt, die Schauspieler blicken die Gäste direkt an. Die Schauspieler<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">richten
während der gesamten Aufführung das Wort an das Publikum. Der Text kann als<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">eine
Art choreographisch einstudierter Sprechgesang bezeichnet werden. Immer wieder<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">sprechen
die 4 Schauspieler im Chor, durcheinander, gegeneinander oder Sie wechseln<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">sich
ab, nach jeden Satz, nach jedem Wort. Zwischendurch begeben die Schauspieler
sich<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">in
den Zuschauerraum, verteilen sich und sprechen das Publikum damit noch direkter
und<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">näher
an.<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Die
tatsächliche "Beschimpfung" beginnt aber erst in den letzten 10
Minuten des Stückes.<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Und
dann endet das Stück sehr abrupt, mit den Worten "<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><i><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Sie
waren hier willkommen. Wir</span></i></b><b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;"><o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><i><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">danken
Ihnen. Gute Nacht.</span></i></b><b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;"><o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">"<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">6<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">3.
Brechts episches Theater<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Handkes
frühe Theorie des Theaters, zu finden im wissenschaftlichen Aufsatz<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><i><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Ich
bin ein</span></i></b><b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;"><o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><i><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Bewohner
des Elfenbeinturmes</span></i></b><b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;"><o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">von
1967, setzt sich mit dem damaligen Theater<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">4<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Vgl.
Katharina Pektor: Publikumsbeschimpfung - Enstehungskontext. In:
Handkeonline.onb.ac.at<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">URL:<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">http://handkeonline.onb.ac.at/node/296<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">(27.8.15)<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">5<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Peter
Handke: Publikumsbeschimpfungen und andere Sprechstücke. Frankfurt am Main:
Suhrkamp<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">2012,
S.15<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">6<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">ebda,
S.48<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" style="mso-hyphenate: auto; mso-pagination: widow-orphan; text-align: center;">
<b><span style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">
<hr align="center" size="10" style="width: 457.5pt;" width="763" />
</span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">6<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">auseinander.
Er bezieht vorallem Bertolt Brechts episches Theater in seine Ausführungen<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">mit
ein.<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">"<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><i><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Die
Geschichten auf der Bühne gingen mich nichts an, sie waren, statt einfach zu
sein,</span></i></b><b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;"><o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><i><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">ständig
nur Vereinfachungen</span></i></b><b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;"><o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">."<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">7<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Als
ein Relikt aus vergangenen Zeiten sei Ihm das Theater vorgekommen und er
erklärt<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">auch,
dass er deshalb früher nie gedacht habe, überhaupt jemals Bühnenstücke zu<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">schreiben.<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">8<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Brechts
episches Theater war seinerzeit eine große Neuerung. Es verbindet zwei<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Literaturgattungen
und stellte einen Gegensatz zum aristothelischen Theater der fünf Akte<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">dar.
Brechts Intention war es, die Zuschauer des Theaters zum Nachdenken anzuregen.
Er<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">zeigt
dem Theaterbesucher unverständliche Handlungsmuster und Widersprüche. Es gibt<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">keine
Einfühlung in die Figur, nur mit Denkarbeit soll der Zuschauer zu einer eigenen<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Erkenntnis
und Meinung kommen.<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">9<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Ein
wichtiger Bestandteil des Brechtschen Theaters ist der Verfremdungseffekt.
Brecht war<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">der
Meinung, durch die Einbindung epischer Elemente in ein dramatisches Stück
"lehrhafte<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Tendenzen"
hervorrufen zu können. Dabei soll das Theater trotzdem Theater bleiben und<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">weiterhin
ein Bedürfnis nach Vergnügen trotzallem befriedigen. Stoffe und Vorgänge<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">müssten
einem Entfremdungsprozess ausgesetzt werden und eine Einfühlung in die<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">dramatischen
Personen sollte vermieden werden. Viktor Sklovskijs Begriff von der<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">"Verfremdung"
kommt ihm gelegen. Er schreibt, Verfremdung sei eine Darstellung, durch die<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">"das
Geläufige auffällig, das Gewohnte erstaunlich" werde.<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">10<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Die
Verfremdung ist durch verschiedene Maßnahmen in der Textvorlage und in der<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Theaterpraxis
zu erzielen. Der Schauspieler soll sich dabei nicht mit seiner Rolle<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">identifizieren
und dadurch auch die Identifizierung des Zuschauers mit der Figur verhindern,<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">er
bewahrt Distanz zu seinem Text. Der Schauspieler selbst soll im epischen
Theater<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Stellung
zum gezeigten Vorgang nehmen und damit das Publikum zur kritischen Reflexion<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">animieren.
Illusionistische Wirkungen sollen vermieden werden und die "vierte
Wand" wird<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">niedergerissen,
um den "Schein von Unmittelbarkeit und realer Präsenz des Geschehens"<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">7<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Peter
Handke: Ich bin ein Bewohner des Elfenbeinturms. Aufsätze. Frankfurt am Main:
Suhrkamp<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">1972,
S.27<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">8<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Vgl.
ebda, S.27<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">9<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Vgl.
Jan Hajer: Episches Theater. URL:<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">http://hajer.com/unterricht/deutsch/gattungen/drama/episches_theater.htm<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">(29.8.15)<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">10<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Vgl.
Klaus-Detlef Müller: Bertolt Brecht. Epoche - Werk - Wirkung. München: C. H.
Beck 2009, S.<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">121f.<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" style="mso-hyphenate: auto; mso-pagination: widow-orphan; text-align: center;">
<b><span style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">
<hr align="center" size="10" style="width: 457.5pt;" width="763" />
</span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">7<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">zu
durchbrechen. Der Zuschauer soll nicht passiv sein und das Schauspiel
nachempfinden,<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">sondern
aktiv das Gezeigte kritisch einschätzen.<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">11<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Der
Gebrauch von Kulissen im epischen Theater ist sehr sparsam, manchmal werden<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Masken
eingesetzt oder eine Inhaltsangabe wird vor der Szene von einem der
Schauspieler<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">vorgelesen.
Manchmal richten sich die Schauspieler direkt an das Publikum. Dennoch bleibt<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">der
Schein des Theaters gewahrt.<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">In
der Textvorlage gibt es, um den Verfremdungseffekt zu erzielen, oft keinen
linearen<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Handlungsverlauf.
Die Szenen stehen für sich und nicht "nacheinander", oft sind sie
sogar<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">untereinander
austauschbar. Dabei wird die Handlung in örtlicher und/oder zeitlicher Distanz<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">dargestellt.
Des Weiteren bedient sich der Autor meist einer Art Satire gegen die Obrigkeit<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">und
gibt dieser der Lächerlichkeit Preis.<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Das
epische Theaterstück endet auch häufig mit einem offenen Schluss, um einmal
mehr<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">dem
Zuschauer Raum für eigene Überlegung zu geben. Das letztendliche Ziel des
epischen<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Theaters
ist es, Konflikte um z.B. Kriege, Revolution, soziale Ungerechtigkeit und
Ökonomie<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">für
den Zuschauer durchschaubar zu machen. Der Zuschauer soll den Willen
entwickeln, die<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Gesellschaft
zum Besseren zu verändern.<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">12<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">4.
Handkes frühe Poetik<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Einer
der interessantesten Aspekte der frühen Handke-Werke ist vielleicht, dass er
mit einer<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Reihe
von Aufsätzen (<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><i><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Ich
bin ein Bewohner des Elfenbeinturms</span></i></b><b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;"><o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">,
erschienen 1968) sein<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Vorgehen
und seine Methodik selbst erklärt.<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Den
ersten Angriffspunkt für seine Kritik an der zeitgenössischen Literatur findet
Handke im<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Realismus.
In seinen Essays spricht er dem Realismus vor allem den allgemein anerkannten<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Wahrheitsanspruch
ab. Während der Realismus zunehmend die Wahrheit für sich<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">beansprucht
und vergisst, dass er nur eine Methode ist, sieht Handke realistisches<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Schreiben
als eine von vielen literarischen Möglichkeiten, Natürlichkeit und Wirklichkeit<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">darzustellen.<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Handkes
frühe Werke richten sich also gegen die falsche Natur des Schreibens.<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">13<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">11<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Vgl.
Klaus-Detlef Müller: Bertolt Brecht. Epoche - Werk - Wirkung. München: C. H.
Beck 2009,<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">S.122<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">12<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Vgl.
Jan Hajer: Episches Theater. URL:<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">http://hajer.com/unterricht/deutsch/gattungen/drama/episches_theater.htm<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">(31.8.15)<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">13<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Vgl.
Kastberger, Klaus: Lesen und Schreiben. Peter Handkes Theater als Text. In:
Ders. / Pektor,<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Katharina
(Hg.): Die Arbeit des Zuschauers. Peter Handke und das Theater. </span></b><b><span style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Salzburg/Wien:
Jung und<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Jung
2012, S.35<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" style="mso-hyphenate: auto; mso-pagination: widow-orphan; text-align: center;">
<b><span style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">
<hr align="center" size="10" style="width: 457.5pt;" width="763" />
</span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">8<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Etwas
weniger explizit zieht sich diese Idee Handkes durch sein gesamtes Werk. Er
schreibt<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">gegen
etwas Falsches, Anderes; gegen Methoden, die mit unreflektierten, immer
gleichen<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Mustern
arbeiten. Er richtet sich beständig gegen die Wahrheitsansprüche dieser Methoden,<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">sei
es in der Politik, der Geschichte oder auch in den Medien.<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Handke
erlegt sich daher eine Art Programm auf, das Programm der kontinuierlichen<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Neuerung.
Er will jede Methode des Schreibens nur ein einziges Mal verwenden. Seine<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Gründe
legt Handke im Essay<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><i><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Ich
bin ein Bewohner des Elfenbeinturms</span></i></b><b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;"><o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">ziemlich
deutlich<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">dar:<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">"<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><i><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Wenn
die Methode so sehr abgebraucht - d.h. natürlich geworden ist, daß mit ihr das</span></i></b><b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;"><o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><i><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Trivialste,
das allseits Bekannte - nur neu `formuliert' - wieder gesagt werden kann, dann
ist</span></i></b><b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;"><o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><i><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">sie
zur Manier geworden</span></i></b><b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;"><o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">[...]"<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">14<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Er
ist überzeugt, dass eine Methode nach der ersten Verwendung bereits verbraucht
ist und<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">nicht
mehr in der Lage, Neues zu schaffen. Handke umschifft damit die<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">"Beschreibungsimpotenz",
die er all denen vorwirft, die sich über Jahre hinweg in der<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Methode
des realistischen Schreibens verfangen haben. Auch wehrt sich Handke vehement<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">gegen
die Fiktion und will sie aus seinen eigenen Stücken fern halten. Es soll mehr um
die<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Mitteilung
von sprachlichen und nicht sprachlichen Erfahrungen gehen, dazu werde eine<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Geschichte
nicht mehr benötigt.<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">15<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Es
ist daher nur konsequent, dass<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><i><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Publikumsbeschimpfung</span></i></b><b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;"><o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">so
völlig frei von Handlung ist.<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Nicht
ohne Grund wird es oft eher als Sprechstück, denn als Theaterstück bezeichnet.
Die<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">"falsche
Wirklichkeit" ist es, die seine Kritik im Theaterkontext besonders auf
sich zog. Der<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Bühnenraum
und seine Bedeutung blieben im zeitgenössischen Theater unreflektiert. Auch<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Brechts
Versuch der Desillusionierung scheint Handke nicht geeignet, denn auch hier
sind<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">erst
Illusionen, also Fiktion, nötig, um zur Desillusionierung zu kommen. Brecht
täusche<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Wirklichkeit
vor, wo Fiktion sei.<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">16<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">In<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><i><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Publikumsbeschimpfung</span></i></b><b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;"><o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">testet
Handke daher seine erste Methode: die komplette<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Verneinung
aller bisherigen Methoden. Das Stück hat keine Handlung, keine Figuren, keinen<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Bedeutungsraum
"Bühne", keine Kulissen oder Kostüme, selbst die Schauspieler treten
nicht<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">wirklich
als Schauspieler auf. Das Geschehen findet nicht nur auf der Bühne statt,
vielmehr<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">ist
es eine Art Kommunikation mit dem Publikum. Der Bühnenraum wird gar nicht erst<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">14<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Peter
Handke: Ich bin ein Bewohner des Elfenbeinturms. Aufsätze. Frankfurt am Main:
Suhrkamp<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">1972,
S. 21<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">15<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Vgl.
ebda, S. 24<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">16<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Vgl.
ebda, S. 27<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" style="mso-hyphenate: auto; mso-pagination: widow-orphan; text-align: center;">
<b><span style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">
<hr align="center" size="10" style="width: 457.5pt;" width="763" />
</span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">9<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">"hergestellt",
von Anfang an verschwimmen die Grenzen und werden später, mit dem<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Eintreten
der Schauspieler in den Zuschauerraum, gänzlich aufgehoben.<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Besonders
interessant und auch amüsant zu lesen sind im Text von<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">"Publikumsbeschimpfung"
die Regeln für die Schauspieler, die dem Stück voran gestellt<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">sind.
"<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><i><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">In
dem ersten Beatles-Film Ringo Starrs Lächeln ansehen, in dem Augenblick, da er,</span></i></b><b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;"><o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><i><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">nachdem
er von den andern gehänselt worden ist, sich an das Schlagzeug setzt und zu</span></i></b><b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;"><o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><i><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">trommeln
beginnt.</span></i></b><b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;"><o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">"<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">17<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Das
ist eine der 17 Anweisungen, die immer skurriler zu werden<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">scheinen.
Einmal mehr beweist Peter Handke damit unkonventionellen Einfallsreichtum und<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">den
Willen, alte Muster zu durchbrechen. Er setzt mit diesem Regeln ganz andere<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Prioritäten,
um das Gelingen der Aufführung sicherzustellen.<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Nun
könnte man argumentieren, dass es durchaus Parallelen zwischen der Methode<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Handkes
in<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><i><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Publikumsbeschimpfung</span></i></b><b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;"><o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">und
Brechts epischem Theater gibt. Auch Brecht<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">möchte
die Zuschauer zur Reflexion animieren, auch im epischen Theater wird
gelegentlich<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">das
Wort an die Zuschauer gerichtet. Der entscheidende Unterschied findet sich
aber, wie<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">oben
bereits erwähnt, in der Fiktion. Für Brecht bleibt das Theater immer fest
verbunden mit<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">einer
erfundenen Geschichte. Diese soll das Publikum, angestoßen durch die Wirkung
der<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Verfremdung,
zum Überlegen bewegen, ihm Stoff zum Nachdenken geben und Reflexion<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">über
das eigene Handeln und Handeln Anderer initiieren. Handke jedoch ist der
Meinung, es<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">sei
das Beste, die Literatur zur Gänze frei von unnötiger Fiktion zu halten.<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">18<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Mit
diesem<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Schritt
kapselt er sich von allem vorher Bekannten ab und begründet, zumindest für sich<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">selbst,
eine neue Art Theater.<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">5.
Auswirkungen auf die Theaterwelt<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Provokation
und Neuerung, die erkennbaren Hauptmotive der frühen Stücke Handkes<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">sprechen
besonders die jungen Theaterbesucher an. Die grundlegende Kritik am<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Theaterbetrieb
und seinen Machern, an sprachlichen Mustern, die die Wirklichkeit verzerren,<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">passt
gut in den aufkeimenden Unmut der nachkommenden Generation. 2 Jahre später wird<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">dieser
Unwille, den vorangegangenen Generationen in alten Bahnen zu folgen, seinen<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">17<o:p></o:p></span></b></div>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Peter
Handke: Publikumsbeschimpfung und andere Sprechstücke. Frankfurt am Main:
Suhrkamp<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">2012,
S. 9<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">18<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Vgl.
Peter Handke: Ich bin ein Bewohner des Elfenbeinturms. Aufsätze. Frankfurt am
Main:<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Suhrkamp
1972, S. 24<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" style="mso-hyphenate: auto; mso-pagination: widow-orphan; text-align: center;">
<b><span style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">
<hr align="center" size="10" style="width: 457.5pt;" width="763" />
</span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">10<o:p></o:p></span></b></div>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Ausdruck
in der 68er-Bewegung finden. Handke selbst war dieses politische Engagement<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">jedoch
bereits zu direkt. Es ging ihm eher um eine Veränderung der ästethischen<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Wahrnehmung,
die dann wiederum eine politische Veränderung des Menschen bewirken<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">könne.<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">19<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Unmittelbar
nach seinem Aufstieg zum "Pop-Star der Literatur" war sein Einfluss
auf die<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Öffentlichkeit
sehr groß. Er war faszinierend und undurchsichtig, eine politische Motivation<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">nur
schwer erkennbar, kurz: Peter Handke wurde zum Phänomen. Seminare und<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Arbeitskreise
schossen wie Pilze aus dem Boden; es gab Fans, die ihm wie Groupies zu<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">seinen
Lesungen und Auftritten hinterher reisten und es gab Leute, dessen neues Hobby
es<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">wohl
war, gegen Handke und seine Überzeugungen zu sein.<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">20<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">In
diesen ersten Jahren nach<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><i><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Publikumsbeschimpfung</span></i></b><b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;"><o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">hatte
Handke also großen Erfolg,<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">nicht
zuletzt auch weil er in den Jahren von 1966 bis 1971 in rascher Folge neue
Romane<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">und
Theaterstücke "auf den Markt warft", die alle recht erfolgreich sind.<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Später,
mit Handkes Eintritt in die Debatte um Serbien und den Jugoslawien-Konflikt,
scheint<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">seine
Kredibilität geschwächt und mit der allgemeinen Kritik, die er von den Medien
und<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Lesern/Zuschauern
erfährt, verändert sich sicher auch die Rezeption seiner nachfolgenden<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Werke.<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">19<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Vgl.
Katharina Pektor: Stationen am Theater. In: Handkeonline.onb.ac.at URL:<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">http://handkeonline.onb.ac.at/node/1866<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">(7.9.2015)<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">20<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Vgl.
Der Spiegel: Schriftsteller/Handke. Unerschrocken naiv. In: Der Spiegel 1970,
H. 22, S. 174<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">URL:<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">http://magazin.spiegel.de/EpubDelivery/spiegel/pdf/44906306<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">(7.9.2015)<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" style="mso-hyphenate: auto; mso-pagination: widow-orphan; text-align: center;">
<b><span style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">
<hr align="center" size="10" style="width: 457.5pt;" width="763" />
</span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">11<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">6.
Fazit/Abschluss<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Handkes<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><i><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Publikumsbeschimpfung</span></i></b><b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;"><o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">und
auch seine weiteren Bühnenwerke sind ohne Zweifel<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">revolutionär,
gewagt und provokant. Die Kritik an der Literatur und auch am Theaterwesen,<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">die
er mit seinen frühen Werken und den Essays in<o:p></o:p></span></b></div>
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<b><i><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Ich
bin ein Bewohner des</span></i></b><b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;"><o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><i><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Elfenbeinturms</span></i></b><b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;"><o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">übt,
hat möglicherweise nicht den langfristigen Erfolg erzielt, den Handke<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">damals
im Sinn hatte.<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Vor
allem deshalb glaube ich, dass die Aussage, die hinter diesen Werken steht,
nach wie<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">vor
nicht ihre Relevanz verloren hat. Auch nach fast 50 Jahren scheint mir die
Kritik an der<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Wiederholung
und "Abnutzung" von Methoden nicht überholt zu sein, sondern<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">möglicherweise
prominenter denn je.<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">In
einer Zeit, in der man dank Eigenverlag und Internet von allen Seiten mit
Literatur<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">geradezu
überschwemmt wird, lässt sich leicht der Überblick verlieren. Diese Vielfalt
der<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Publikationsmöglichkeiten
eröffnet zwar vor allem Chancen, mindert aber gleichzeitig auch<o:p></o:p></span></b></div>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">die
Qualität eines Großteils der produzierten Werke.<o:p></o:p></span></b></div>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Meiner
Meinung nach bedarf es gerade jetzt, wieder oder immer noch einer
Persönlichkeit,<o:p></o:p></span></b></div>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">die
gängige Muster durchbricht, mit Altbekanntem kurzen Prozess macht und die
Menschen<o:p></o:p></span></b></div>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">zum
Nachdenken bewegt. Besonders in einer Zeit, die politisch und gesellschaftlich
wohl<o:p></o:p></span></b></div>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">einmal
mehr grundlegend für die kommenden Jahrzehnte sein könnte.<o:p></o:p></span></b></div>
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<b><span style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">
<hr align="center" size="10" style="width: 457.5pt;" width="763" />
</span></b></div>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">12<o:p></o:p></span></b></div>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">7.
Literaturangaben<o:p></o:p></span></b></div>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">7.1
Primärliteratur<o:p></o:p></span></b></div>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Handke,
Peter: Publikumsbeschimpfung und andere Sprechstücke. Frankfurt am Main:<o:p></o:p></span></b></div>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Suhrkamp
2012<o:p></o:p></span></b></div>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">7.2.
Sekundärliteratur<o:p></o:p></span></b></div>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Handke,
Peter: Ich bin ein Bewohner des Elfenbeinturms. Aufsätze. Frankfurt am Main:<o:p></o:p></span></b></div>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Suhrkamp
1972<o:p></o:p></span></b></div>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Kastberger,
Klaus: Lesen und Schreiben. Peter Handkes Theater als Text. In: Ders. / Pektor,<o:p></o:p></span></b></div>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Katharina
(Hg.): Die Arbeit des Zuschauers. Peter Handke und das Theater. Salzburg/Wien:<o:p></o:p></span></b></div>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Jung
und Jung 2012, S. 35-48<o:p></o:p></span></b></div>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Müller,
Klaus-Detlef: Bertolt Brecht. Epoche - Werk - Wirkung. München: C. H. Beck 2009<o:p></o:p></span></b></div>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">7.3.
Internetquellen<o:p></o:p></span></b></div>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Hajer,
Jan: Episches Theater. In: Unterricht.hajer.com<o:p></o:p></span></b></div>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">URL:<o:p></o:p></span></b></div>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">http://hajer.com/unterricht/deutsch/gattungen/drama/episches_theater.htm<o:p></o:p></span></b></div>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">(29.8.15)<o:p></o:p></span></b></div>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Luft,
Friedrich: Das Profil: Peter Handke - Gespräch mit Friedrich Luft. München:
Bayrischer<o:p></o:p></span></b></div>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Rundfunk
Alpha 1969<o:p></o:p></span></b></div>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">URL:<o:p></o:p></span></b></div>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">https://www.youtube.com/watch?v=fMPW00m_gZc<o:p></o:p></span></b></div>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">(26.8.15)<o:p></o:p></span></b></div>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Mühry,
Andres / Sattler, Stefan: In den Rätseln bleiben!. In: FOCUS Magazin/7: 2007<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">URL:<o:p></o:p></span></b></div>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">http://www.focus.de/kultur/buecher/kultur-in-den-raetseln-bleiben_aid_227012.html<o:p></o:p></span></b></div>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">(26.8.15)<o:p></o:p></span></b></div>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Pektor,
Katharina: Publikumsbeschimpfung - Enstehungskontext. Handkeonline.onb.ac.at<o:p></o:p></span></b></div>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">URL:<o:p></o:p></span></b></div>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">http://handkeonline.onb.ac.at/node/296<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">(27.8.15)<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Pektor,
Katharina: Stationen am Theater. In: Handkeonline.onb.ac.at<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">URL:<o:p></o:p></span></b></div>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">http://handkeonline.onb.ac.at/node/1866<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">(7.9.2015)<o:p></o:p></span></b></div>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Spiegel:
Schriftsteller/Handke. Unerschrocken naiv. In: Der Spiegel 1970, H. 22, S. 174<o:p></o:p></span></b></div>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">URL:<o:p></o:p></span></b></div>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">http://magazin.spiegel.de/EpubDelivery/spiegel/pdf/44906306<o:p></o:p></span></b></div>
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<b><span style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">(7.9.2015)<o:p></o:p></span></b></div>
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Skandalwerk, betrachtet aus dem 21. </span></b><b><span style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Jahrhundert<o:p></o:p></span></b></div>
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<b><span style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Veranstaltung<o:p></o:p></span></b></div>
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<b><span style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Autor<o:p></o:p></span></b></div>
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<li class="MsoNormal"><b><span style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;"><a href="http://www.grin.com/profile/1270276/ba-laura-schilling"><span style="color: #555555;">BA Laura Schilling</span></a><o:p></o:p></span></b></li>
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<b><span style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;"><a href="http://www.grin.com/tag/peter_handke"><span style="color: #555555;">Peter Handke</span></a> <a href="http://www.grin.com/tag/publikumsbeschimpfung"><span style="color: #555555;">Publikumsbeschimpfung</span></a><o:p></o:p></span></b></div>
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<b><span style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">Arbeit zitieren<o:p></o:p></span></b></div>
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<li class="MsoNormal"><b><span style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;"><a href="http://www.grin.com/profile/1270276/ba-laura-schilling"><span style="color: #555555;">BA Laura Schilling</span></a><o:p></o:p></span></b></li>
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<b><span lang="DE" style="font-family: "Courier New"; font-size: 16.0pt; mso-ansi-language: DE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-font-kerning: 0pt;">, 2015, Peter Handkes
"Publikumsbeschimpung". Ein Skandalwerk, betrachtet aus dem 21.
Jahrhundert, München, GRIN Verlag,
http://www.grin.com/de/e-book/343710/peter-handkes-publikumsbeschimpung-ein-skandalwerk-betrachtet-aus-dem<o:p></o:p></span></b></div>
SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-4280831336342556602.post-48047164774440027242016-04-17T14:22:00.002-07:002016-04-17T14:22:32.876-07:00BAUMSCATTEN EXCERPTS & COMMENTS<span style="font-family: Courier New, Courier, monospace; font-size: large;"><span style="background-color: #fff2cc; line-height: 19.488px;"><b>also see reviews @:</b></span></span><br />
<span style="background-color: #fff2cc; line-height: 19.488px;"><span style="font-family: Courier New, Courier, monospace; font-size: large;"><b>http://handke--revista-of-reviews.blogspot.com/2016/02/vor-der-baumschattenwand-nachts.html</b></span></span><br />
<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><span style="background-color: #fff2cc; line-height: 19.488px;"><br /></span></b></span>
<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><span style="background-color: #fff2cc; line-height: 19.488px;"><br /></span></b></span>
<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><span style="background-color: #fff2cc; line-height: 19.488px;">Vor der Baumschattenwand nachts</span><br style="background-color: white;" /><br style="background-color: white;" /><span style="background-color: #fff2cc; color: #373e4d; line-height: 18px; white-space: pre-wrap;">PETER HANDKE Schwalben, schwoft für mich Aufzeichnungen aus den Jahren 2007 und 2008http://www.welt.de/print/die_welt/literatur/article152706618/Schwalben-schwoft-fuer-mich.html</span><br style="background-color: white;" /><span style="background-color: #fff2cc; color: #373e4d; line-height: 18px; white-space: pre-wrap;"><br /></span><span style="background-color: white;"></span><span style="background-color: #fff2cc; color: #373e4d; line-height: 18px; white-space: pre-wrap;"><br /></span><span style="background-color: white;"></span><span style="background-color: #fff2cc; color: #373e4d; line-height: 18px; white-space: pre-wrap;"><br /></span><span style="background-color: white;"></span><span style="background-color: #fff2cc; color: #373e4d; line-height: 18px; white-space: pre-wrap;"><br /></span><span style="background-color: white;"></span></b></span><br />
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<span style="background-color: #fff2cc;"><ins class="adsbygoogle" data-ad-channel="2805017551" data-ad-client="ca-pub-9638257500739576" data-ad-slot="4634116576" data-adsbygoogle-status="done" style="border: 0px; display: inline-block; height: 100px; margin: 0px; padding: 0px; width: 543px;"><ins id="aswift_0_expand" style="border: none; display: inline-table; height: 100px; margin: 0px; padding: 0px; position: relative; visibility: visible; width: 543px;"><ins id="aswift_0_anchor" style="border: none; display: block; height: 100px; margin: 0px; padding: 0px; position: relative; visibility: visible; width: 543px;"><iframe allowfullscreen="true" allowtransparency="true" frameborder="0" height="100" hspace="0" id="aswift_0" marginheight="0" marginwidth="0" name="aswift_0" scrolling="no" style="border-style: initial; border-width: 0px; left: 0px; margin: 0px; padding: 0px; position: absolute; top: 0px;" vspace="0" width="543"></iframe></ins></ins></ins></span></div>
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Der Vaterlose fühlt sich immer im Blickpunkt, im Guten wie im Bösen</div>
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Was hast du bei den Verlorenen zu suchen? Was für eine Hoffart! Warum sie nicht ihrem Schicksal überlassen?</div>
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Es ist nicht leicht, zu reisen. Als Niemand anfangen und enden. Ja, es ist nicht leicht, zu reisen – aber man hat Zeit</div>
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"Der eigne Wille machet eine Form nach seiner instehenden Natur/Aber im gelassenen Willen wird eine Form nach dem Modell der Ewigkeit gemacht" (Jakob Böhme)</div>
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Mein innerer Globus: der Körper als ein Globus leuchtend wie kein nachgemachter, elektrifizierter</div>
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Lang ist's her, daß ich den Sonntagsmann im schwarzen Anzug und weißen Hemd mit flatternden Hosenbeinen habe gehen sehen am Rand der Landstraße in Oberösterreich. Lang ist's her, daß ich an der Hand des Großvaters gegangen bin, im Vormorgenlicht angesichts der münzgroßen Regentropfen im Staub des Feldwegs bei Stara Vas</div>
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Gehen, querfeldein: Die Weltgeräusche – ein jedes so verschieden, jetzt das Fasanenschreien, jetzt das Truthähnekollern – werden zu einem (1) Weltgeräusch</div>
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Eine neue Selbstmordart: sich selber lebendig begraben</div>
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Verb zur Zeitnot: "frißt" (an mir)</div>
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Am großen Busbahnhof in einem fort die ankommenden Busse, ein jeder aus einem anderen Land, der jetzt aus einem TAULAND (einer betauten Gegend); der jetzt aus einem Trockenland; der aus einem Regenland; der nächste aus einem Hagelland, einem Eisblumenland, einem Kriegsland, einem Nachtland (nach einer nachtlangen Reise). – Studier alle die verschieden gezeichneten, gemusterten Fensterscheiben der daherkreisenden Busse: an jedem eine jede Scheibe anders beatmet von den Passagieren: Panikatem; Schau-Atem; Kinderatem; Altenatem; Wach-Atem; Müdigkeitsatem; Schlafatem; Spielatem. Und die Abdrücke der Nasen, Hände, Stirnen, Wangen auf den Busfenstern als die Landkarten (Belgrad, April 2007)</div>
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Schönes Haus!? Ja. Aber es fehlt das in ihm geschriebene Buch</div>
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"Leises Grün": Kann man so sagen? Ja</div>
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Was hieß Lesen? Zum Beispiel: "Sonnengeruch stieg aus dem Buch"</div>
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Mancher Aberglaube ist keiner – erzähl!</div>
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Alles ist doch gesagt? Nichts ist gesagt. Nichts ist zu sagen. Und wenn auch alles gesagt wäre – umso besser: Sag's auf deine Weise. Deine Weise – so du eine hast – wird gebraucht</div>
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Buchhändlerschüler? Aber du weißt ja nicht einmal, wie man ein Buch hält. Schau, wie du es hältst!</div>
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Es gibt auch episch fruchtbare Vorurteile? Ja, wenn sie sich auflösen</div>
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Je mehr Kommunikation, desto herzloser; ein wenig mehr Namenlosigkeit würde der Welt gut tun</div>
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Es gibt die Unschuld. Sie wird die Welt retten. Träume mich, Epos! Heute muß ich weit gehen: Fühle ich mich nicht im Aufbruch, im Aufbruchstraum von einer möglichen Menschheit, so hat das poetische, das entwerfende Schreiben keinen Sinn</div>
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Was ist meine Art Freude? Die Freude auf die Fortsetzung (Goethes "Folge")</div>
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Schreiben heißt auch: den Traum, den Großen, zügeln</div>
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Die verschiedenen Geher: der in seiner Art zu gehen bedrohliche, gewalttätige – dagegen der friedliche, der durch seine Art Gehen Friedenstiftende</div>
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Es tut gut, unter Seinesgleichen zu sein. Aber nicht zu lange</div>
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Die Lust, am Böse-, gar Schlechtsein: wie das Bedürfnis, aus Leibeskräften falsch zu singen (Bedürfnis? Lust?)</div>
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Es geht nichts über ein Menschengesicht, im ersten Morgenlicht</div>
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So schöne Gärten, und so böse Menschen</div>
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Bin ich denn der Diener meiner Kinder? Ja</div>
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Schreiben: Umträumen</div>
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Eine Stelle in einem Buch, die man gerade noch gelesen hat, wird beim Zurückblättern nicht mehr gefunden, so lange man auch blättert</div>
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2008</h2>
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Der Nachbildmaler: ein Nachbild des Schnees; das Nachbild des Schneiens</div>
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Im Flugzeug über Europa: haben denn die Flüsse nichts anderes zu tun als zu mäandern? – Nein, sie haben nichts anderes zu tun</div>
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Verb für Mann und Frau: Sie "wecken einander"</div>
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Es stimmt: Gegen die Dummheit ist kein Kraut gewachsen, nicht ein einziges (die Filmchen "Versteckte Kamera" im Flugzeug), und es gibt vor ihr kein Entrinnen</div>
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Der tagtägliche Lucifer rising in mir, und sein täglicher kleiner Höllensturz. Aber ohne angemaßten Lichtträger kein Tag?</div>
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Was ich gesagt, ausgesprochen, ausgeplappert habe von meinem Innersten: Es ist nichts mehr zum Aufschreiben, ich kann es nicht mehr niederschreiben</div>
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Verb für den Schöpfer (Schöpferischen): "gibt ein Beispiel"</div>
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Verb zu den Bösen: "lassen nicht(s) sein"</div>
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Es hat alles sein Gutes – außer man tut es</div>
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Stufen: Bewußtlos essen / bewußt essen / sich bewußtessen</div>
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"Sitzt du an einem Buch?" – "Nein, ich gehe"</div>
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Er hat nichts zu verbergen, er ist kein Künstler</div>
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In den Vororten fangen die Rechtschreibfehler an</div>
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Ein Zitronenfaltertag ohne leibhaften Zitronenfalter. Aber Zitronenfalterluft, Zitronenfaltersonne, Zitronenfalterwind. Freilich: die Temperatur gegen Mittag: "Noch ein (1) Grad unter der Zitronenfalterskala"</div>
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Verb für das Wirkliche, das Reale: Es "wuchtet" (auch bloß in Form eines Tagpfauenauges)</div>
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"Bouvard und Pécuchet", das wißbegierige vereinsamte ältliche Laien-Männer-Paar: was für ein langweiliger Mythos, aber immerhin ein Mythos – der letzte bisher? (und der "vorletzte" der der "Wahlverwandtschaften"?)</div>
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Meine Schubert-Stunde: zum Beispiel die Messe des Ostersonntags in der Paulanerkirche, <a class="te" data-nofeed="true" href="http://www.welt.de/themen/wien-staedtereise/" name="_art_artikel_textlink_reise_" style="border-bottom-color: rgb(204, 204, 204); border-bottom-style: solid; border-width: 0px 0px 1px; color: #398db7; margin: 0px; padding: 0px; text-decoration: none; transition: border-color 0.15s ease-out;" title="Die besten Tipps zu Urlaub in Wien finden Sie in unserem Themenspecial.">Wien<span class="teReise" style="border: 0px; margin: 0px; padding: 0px;"></span></a> 4, vor Wochen, und danach: Stunde der beschwingten, zu den Augenpaaren der anderen, Unbekannten hin schwingenden Gereinigtheit – füge solche Stunden aneinander. Schubert-Stunde als Reinheit, wie? Durch Ent-Wütigung und Anschauung, zum Beispiel der einander kreuzenden und sich bekreuzigenden, eher alten Meßbesucher auf dem Weg von und zur Kommunion / Eucharistie</div>
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Ich habe alle erlebten, ergangenen Erdgegenden in mir. Ich muß sie nur wecken, durch Innehalten. Vorsätzlichkeit gilt nicht</div>
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Schreiber, sei rückhaltlos. Keine Technik, es sei denn, die des (Ver)meidens</div>
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Nichts Schöneres als das gleichmäßige Bergauf in der Sonne; das Piano Schuberts und das Flappen des jungen Laubs über den Waldboden</div>
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Steigerungsform zu "Schweig!": "Schweig still!"</div>
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Eine weltumspannende Sprache: die der Kinderhüpfschritte (<a class="te" data-nofeed="true" href="http://www.welt.de/themen/china-reisen/" name="_art_artikel_textlink_reise_" style="border-bottom-color: rgb(204, 204, 204); border-bottom-style: solid; border-width: 0px 0px 1px; color: #398db7; margin: 0px; padding: 0px; text-decoration: none; transition: border-color 0.15s ease-out;" title="Die besten Tipps zu Urlaub in China finden Sie in unserem Themenspecial.">China<span class="teReise" style="border: 0px; margin: 0px; padding: 0px;"></span></a> – Alaska – Feuerland)</div>
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Elegante Fürsorglichkeit: Ideal</div>
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Schwermut: Ach, diese so frische Blüte da, sie wird verblühen. Ach, dieser so klare Bergkristall, er wird erblinden. "Jetzt helfen nur noch die Worte Gottes". Schwermut: Gegenwartsverlust, Gegenüberverlust, "ohn' Gegenüber ist mein Name"</div>
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Grundgütig (christlich): allbarmherzig (islamisch) gerecht (all-eins)</div>
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"Mein eigentliches Werk besteht ... nicht aus Vers oder Prosa, sondern in der Überwindung meiner Dummheit" (Doderer, spät, et ego?)</div>
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Ich, das Ich, "mein" Ich, ist nichtswürdig, wenn ich, es nicht Durchlaß werde (wird)</div>
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Aus dem Haus gehen mit dem Bedürfnis, zu grüßen; gleichwen</div>
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Das Theater hat keinen Sinn mehr. – Aber es muß einen haben</div>
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Schwalben, schwoft für mich</div>
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Das Geschrei der Kinder: Es gibt schönere Musik. Aber es ist Musik</div>
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Beim Hören von "Owner Of A Lonely Heart": Was täten wir ohne Lieder? (Auch da ist einmal ein "wir" am Platz)</div>
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Mehr an Gebet ist nicht in mir als ein zeitweiliges "Gott, wie schön!"?</div>
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Du willst deine Trauer fühlen? Beweg dich! (Gerhard Meier ist gestern gestorben)</div>
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Das Gedächtnis, das Gedenken, das Eingedenk-Sein liegt bewahrt (konzentriert) im Körper in Zwischenräumen aller Art, in Knochen, Sehnen, Adern, Hautzellen, überhaupt Zellen, Gelenken vor allem, Knie, Arme: diese dehnen! – und eine Gedächtniszelle nach der andern kehrt zurück und macht sich "ganzkörperweise" bemerkbar</div>
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Ich freue mich: auf den Tau von Alaska</div>
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Noch einmal "Schwermut": Wo eine Form ist, sehe ich eine Störung</div>
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2015</h2>
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"Herkunft des Fleisches: Geboren in <a class="te" data-nofeed="true" href="http://www.welt.de/themen/deutschland-reisen/" name="_art_artikel_textlink_reise_" style="border-bottom-color: rgb(204, 204, 204); border-bottom-style: solid; border-width: 0px 0px 1px; color: #398db7; margin: 0px; padding: 0px; text-decoration: none;" title="Die besten Tipps zu Urlaub in Deutschland finden Sie in unserem Themenspecial.">Deutschland<span class="teReise" style="border: 0px; margin: 0px; padding: 0px;"></span></a>. Aufgezogen: In Deutschland. Geschlachtet: In Deutschland" (Bistro, schwarze Tafel)</div>
</span></b></span></div>
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http://www.sueddeutsche.de/kultur/notizen-zur-gegenwart-schnabelkrach-1.2953063<br />
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Notizen zur Gegenwart<br />
Schnabelkrach<br />
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Was macht das Rotkehlchen? "Es flaumt." Peter Handkes tagebuchartige Aufzeichnungen aus den Jahre 2007 bis 2015 bieten zarte Zeilen, harte Kanzelworte und dann und wann auch ein "leises Grün".<br />
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Von Helmut Böttiger<br />
"Schreiben: sich von sich überraschen lassen." Dieser Satz steht losgelöst von den anderen Sätzen da, durch Leerzeilen getrennt. Es ist ein Anspruch, dem Peter Handke mit jedem dieser Absätze gerecht zu werden versucht: Er notiert, was ihm durch den Kopf geht, und wenn er Lust hat, lässt er es einfach so stehen. Es ist eine späte Prosa, mit Abstraktionen und Zuspitzungen, Gedankensplittern und verknappten Dialogen. Peter Handke, mittlerweile 73 Jahre alt, hat immer schon tagebuchartige Aufzeichnungen veröffentlicht, und er hat das gezielt bei Verlagen getan, die in Salzburg ansässig sind, näher an seinem Herkommen als Suhrkamp, sein Haupthaus.<br />
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Da wurde immer nah am Ich operiert, da schaute sich der Autor selbst im Spiegel an, und es gab auch erzählerische Passagen über das Schwimmen in Flüssen oder Wanderungen im österreich-slawischen Übergangsraum, sehr suggestiv und die Atmosphäre auskostend. Im Vergleich zu den früheren Tagebüchern Handkes fällt nun die radikale Reduktion auf. Manchmal verdichten sich die einzelnen Zeilen zu Aphorismen, manchmal sind es donnernde Kanzelworte. Und manchmal schlichte Aussagesätze: "Kafka ist nicht gestorben."<br />
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In der spröden, sich oft entziehenden, mäandrierenden Schreibweise dieser "Zeichen und Anflüge von der Peripherie", so der Untertitel, könnte man Anklänge an Goethes "Wanderjahre" erkennen: vorletzte, verstreute Gedanken, die keine verbindenden Füllsätze mehr nötig haben. Und Goethe kommt auch sehr häufig vor, gerade der spröde, sentenzenhafte der letzten Jahre, den sich Handke programmatisch vorzunehmen scheint und von dem er immer wieder Funde zitiert. Aber spätestens an solchen Stellen sollte man nie zu sicher sein. Handke schlägt oft Haken: "Der Goethe der 'Wanderjahre', nach der Luftigkeit der 'Theatralischen Sendung' und der 'Lehrjahre', hat etwas von einem 'Gruftie'".<br />
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Das ist eine sehr eigene Art, mit Selbstironie und Augenzwinkern umzugehen. Die "Luftigkeit", der sich Handke schreibend nähert und die immer ein Ideal für ihn bleibt, ist durch eine große Ernsthaftigkeit hindurchgegangen. "Wie hoch ernst wir sein müssen, um nach alter Weise heiter zu sein": Diesen Satz des alten Meisters ruft er sich wiederholt in Erinnerung.<br />
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Was macht das Rotkehlchen? Handke schreibt: "Es flaumt."<br />
Im Zentrum dieses Breviers stehen Überlegungen zur Tätigkeit des Schreibens. Ein ständig wiederkehrendes Motiv ist die Suche nach passenden Verben; denn dieser Autor lebt in Verben und nicht in Hauptwörtern. Es geht ihm darum, einen vermeintlich beiläufigen Vorgang so genau zu fassen, dass man ihn wie zum ersten Mal sieht, um eine sinnliche Präzision. Als Verb für das "Wirkliche" findet Handke einmal "es wuchtet", als Verb für das Rotkehlchen "es flaumt". Für die "Freude" fallen ihm mehrere, zum Teil sehr gesuchte Zeitwörter ein, zum Beispiel: sie "skulpturiert" - "die vorher unscheinbarsten Formen treten in den Raum", werden körperlich.<br />
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Es sind genaue Erkundungen der deutschen Sprache und ihres Wortschatzes, in den Verben bilden sich Bewegung und Dynamik ab, und es gilt zu differenzieren. Wenn Handke den Verben zur Freude die Verben zum "Glück" entgegensetzt, entstehen überraschende kleine Erzählungen und Szenen, ohne dass sie näher ausgeführt werden müssen: Das Glück "macht zittrig", "trübt" oder "entleibt".<br />
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Die Konzentration dieses Autors auf kleinste Dinge und Ereignisse, auf die "Spatzenbadekuhlen" in den Pfützen auf dem Bahnhofsvorplatz, auf das "Quittenblütenweiß", das er noch als Steigerung von "blütenweiß" erfährt oder auf den ersten Zitronenfalter im Jahr, dessen Erscheinen einem Festtag gleichkommt - man hat das oft als ein "Raunen" missverstanden, als ein überhöhtes Poetisieren. Wenn es sich da aber um ein Raunen handelt, ist es eher eines im Sinne Gottfried Benns, der von sich gerne sagte, er gehe in die Kneipe und "raune ein paar Verse" vor sich hin. Handke weigert sich, zu den "Gras(be)wisperern" gezählt zu werden, er lehnt es ab, "weltflüchtig zu werden". Dem Rauschen der Bäume zu lauschen bedeutet für ihn eine "Aktivierung". Und so ist auch der "Schnabelkrach" der Elstern, der entsteht, wenn sie die Dachrinne säubern, für ihn eins mit dem Schreiben.<br />
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Diesem Vorgang wird minutiös nachgehorcht. Einmal heißt es: ",Leises Grün': Kann man so sagen? Ja." Das Sich-selbst-ins-Wort-Fallen, das Nachfragen ist charakteristisch, es scheint sich in den letzten Büchern Handkes fast verselbständigt zu haben. Es gilt dem Bestreben, der Sprache ungewohnte Nuancen abzugewinnen, überraschbar zu bleiben. Die Wahrnehmung probiert sich ständig neu aus, und am Schluss steht oft eine Gegenfrage, ein Zweifel, ein Neuansatz.<br />
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Diese Art des Schreibens ist beileibe kein harmonischer Vorgang. Handke spricht sich zwar zu: "Immer wieder: Ich bin nicht zu politisieren", aber er ist in jeder Hinsicht ein "Reizbarer". Freude und Wut hängen bei ihm eng zusammen. Besonders prekär wird es, wenn die Öffentlichkeit ins Spiel kommt. "Hüte dich vor den geschulten Stimmen", heißt es zunächst eher abwägend, und gegen die allgegenwärtigen Routiniers steht das Diktum: "Kunst ist das Gegenteil von gut gemacht." Der Ton kann aber auch verschärft werden: "Die Öffentlichkeit ist dumm, und Andy Warhol ist ihr Prophet." Oder, durchaus nach innen gerichtet: "Publikum verdirbt." Joyce, Céline oder Arno Schmidt werden mit ihren "Punktlos-" und "Stummelsätzen" als Widerparts ausgemacht, die "aktuellen Dichterhorden und ihre Lyrikfeste" als "falsche Sinnstifter". Zu Handkes Suche nach "Zwischenräumen" und "Schwellenzuständen", nach dem freudigen Moment gehört als Pendant zwangsläufig auch eine aggressive Seite.<br />
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Dieser Autor war schon immer auch ein Polemiker, ein Wetterer gegen den Konsens: "Das lieblose Bürgertum ('vertreten' z. B. durch Th. Mann) darf nicht siegen." Auch in seinen hymnischsten Naturversenkungen, in den pathetischen Anleihen und Gebets-Anwandlungen steckt etwas Widerborstiges. Doch dieses Widerborstige hat zugleich etwas von Spiel, von Theater. Handke versucht, seine "Wanderjahre" auf jugendliche Weise zu begehen, wobei dieses Wandern seit jeher auch mit dem Bleistift auf dem Papier geschah. Seine Notate haben etwas Selbstreferenzielles, und bisweilen Manieristisches. Sie messen ihren Kosmos immer wieder neu aus und kümmern sich nicht um aktuelle Zuweisungen an die Literatur.<br />
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Der Schreiber Peter Handke schert sich nicht um Peinlichkeiten und Missverständnisse, typisch sind Nachsätze wie "Hab ich das nicht schon so ähnlich notiert? Und wenn - ". Er setzt sich aus, fragt unbeirrt weiter, und er genießt seine auf harte und auch zarte Weise erkämpfte Narrenfreiheit: "Ich wunderte mich über die Existenz, und ein Rauschen fuhr durch die Bäume."<br />
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<br />SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-4280831336342556602.post-16508112453339574752016-03-28T15:11:00.001-07:002016-03-28T15:22:10.976-07:00LINKS TO SCOTT ABBOTT'S HANDKE SCHOLARSHIP<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="color: #1155cc; font-family: "arial" , sans-serif;"><span style="font-size: 32px;"><b> <span style="background-color: lime;">LINKS TO FELLOW HANDKE TRANSLATOR AND MORE SCHOLARLY THAN I HANDKE SCHOLAR SCOTT ABBOTT'S HANDKE SCHOLARSHIP</span></b></span></span></div>
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<span style="color: #1155cc; font-family: "arial" , sans-serif;"><span style="font-size: 32px;"><b><span style="background-color: lime;"><br /></span></b></span></span></div>
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<span style="background-color: lime; font-size: 32px;"><span style="color: #1155cc; font-family: "arial" , sans-serif;"><b>http://works.bepress.com/scott_abbott/</b></span></span></div>
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<span style="background-color: lime; font-size: 32px;"><span style="color: #1155cc; font-family: "arial" , sans-serif;"><b><br /></b></span></span></div>
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<span style="background-color: lime; font-size: 32px;"><span style="color: #1155cc; font-family: "arial" , sans-serif;"><b><br /></b></span></span></div>
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<span style="background-color: yellow; color: #333333; font-family: "roboto" , sans-serif; line-height: 30px;"><b><span style="font-size: large;">Storm still: Klartext und Poesie in Peter Handke's "Immer Noch Sturm"</span></b></span></div>
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<span style="background-color: yellow; color: #333333; font-family: "roboto" , sans-serif; line-height: 30px;"><b><span style="font-size: large;"><br /></span></b></span></div>
<div class="abstract" style="border-radius: 0px !important; box-sizing: border-box; color: #333333; font-family: Roboto, sans-serif; font-size: 14px; line-height: 20px;">
<div class="section-title" style="border-radius: 0px !important; box-sizing: border-box; font-size: 1.4em; margin: 20px 0px 10px;">
<b style="background-color: yellow;">Abstract</b></div>
<div style="border-radius: 0px !important; box-sizing: border-box; margin-bottom: 10px;">
<b style="background-color: yellow;">In a play about about the Slovenian minority in Austria, Peter Handke dialectically explores the possibilities of language in the contexts of war and peace. Although the play has been attacked as an act of linguistic nationalism, a careful reading of the play finds it one more document in the author's lifelong commitment to laying bare the coercive structures of language.</b></div>
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<div class="keywords" style="border-radius: 0px !important; box-sizing: border-box; color: #333333; font-family: Roboto, sans-serif; font-size: 14px; line-height: 20px;">
<div class="section-title" style="border-radius: 0px !important; box-sizing: border-box; font-size: 1.4em; margin: 20px 0px 10px;">
<b style="background-color: yellow;">Keywords</b></div>
<ul class="list-inline" style="border-radius: 0px !important; box-sizing: border-box; list-style: none; margin-bottom: 10px; margin-left: -5px; margin-top: 0px; padding-left: 0px;"><b style="background-color: yellow;">
<li style="border-radius: 0px !important; box-sizing: border-box; display: inline-block; margin-right: -2px; padding-left: 5px; padding-right: 0px;">Peter Handke,</li>
<li style="border-radius: 0px !important; box-sizing: border-box; display: inline-block; margin-right: -2px; padding-left: 5px; padding-right: 0px;">Slovenian language,</li>
<li style="border-radius: 0px !important; box-sizing: border-box; display: inline-block; margin-right: -2px; padding-left: 5px; padding-right: 0px;">Immer Noch Sturm,</li>
<li style="border-radius: 0px !important; box-sizing: border-box; display: inline-block; margin-right: -2px; padding-left: 5px; padding-right: 0px;">nationalism</li>
</b></ul>
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<span style="background-color: lime; font-size: 32px;"><span style="color: #1155cc; font-family: "arial" , sans-serif;"><b>http://works.bepress.com/scott_abbott/104/</b></span></span></div>
<div class="media-heading work-details-title" style="border-radius: 0px !important; box-sizing: border-box; color: #333333; font-family: Roboto, sans-serif; font-size: 1.5em; margin-bottom: 0px; margin-top: 0px;">
<b style="background-color: yellow;">Forms of Identity: Stations of the Cross in Peter Handke's "Die linkshaendige Frau"</b></div>
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<b style="background-color: yellow;"><span class="source" style="border-radius: 0px; box-sizing: border-box; color: #666666; font-family: "roboto" , sans-serif; font-size: 0.9em; font-style: italic;">HandkeOnline: Austrian National Library (2013)</span><span style="color: #333333; font-family: "roboto" , sans-serif; font-size: 14px; line-height: 20px;"></span></b></div>
<div class="abstract" style="border-radius: 0px !important; box-sizing: border-box; color: #333333; font-family: Roboto, sans-serif; font-size: 14px; line-height: 20px;">
<div class="section-title" style="border-radius: 0px !important; box-sizing: border-box; font-size: 1.4em; margin: 20px 0px 10px;">
<b style="background-color: yellow;">Abstract</b></div>
<div style="border-radius: 0px !important; box-sizing: border-box; margin-bottom: 10px;">
<b style="background-color: yellow;">The Christian Stations of the Cross, as abstracted by Barnett Newman, structure this novel by Peter Handke, raising questions about the use of religious forms in a work of postmetaphysical literature.</b></div>
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<b><span class="source" style="background-color: yellow; border-radius: 0px; box-sizing: border-box; color: #666666; font-family: "roboto" , sans-serif; font-size: 0.9em; font-style: italic;"></span></b></div>
<div class="keywords" style="border-radius: 0px !important; box-sizing: border-box; color: #333333; font-family: Roboto, sans-serif; font-size: 14px; line-height: 20px;">
<div class="section-title" style="border-radius: 0px !important; box-sizing: border-box; font-size: 1.4em; margin: 20px 0px 10px;">
<b style="background-color: yellow;">Keywords</b></div>
<ul class="list-inline" style="border-radius: 0px !important; box-sizing: border-box; list-style: none; margin-bottom: 10px; margin-left: -5px; margin-top: 0px; padding-left: 0px;"><b style="background-color: yellow;">
<li style="border-radius: 0px !important; box-sizing: border-box; display: inline-block; margin-right: -2px; padding-left: 5px; padding-right: 0px;">Peter Handke,</li>
<li style="border-radius: 0px !important; box-sizing: border-box; display: inline-block; margin-right: -2px; padding-left: 5px; padding-right: 0px;">Stations of the Cross,</li>
<li style="border-radius: 0px !important; box-sizing: border-box; display: inline-block; margin-right: -2px; padding-left: 5px; padding-right: 0px;">Barnett Newman,</li>
<li style="border-radius: 0px !important; box-sizing: border-box; display: inline-block; margin-right: -2px; padding-left: 5px; padding-right: 0px;">Die linkshaendige Frau</li>
</b></ul>
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<li style="border-radius: 0px !important; box-sizing: border-box; line-height: 1.55em;"><b style="background-color: yellow;"><span class="author" style="border-radius: 0px !important; box-sizing: border-box;">Scott Abbot </span><span class="author-institution" style="border-radius: 0px !important; box-sizing: border-box; font-style: italic;">, Utah Valley Universit</span></b></li>
</ul>
</div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="background-color: lime; font-size: 32px;"><span style="color: #1155cc; font-family: "arial" , sans-serif;"><b>http://works.bepress.com/scott_abbott/97/</b></span></span></div>
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<span style="background-color: lime; font-size: 32px;"><span style="color: #1155cc; font-family: "arial" , sans-serif;"><b><br /></b></span></span></div>
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<b><span style="background-color: yellow; font-size: large;">Voyage by Dugout or The Play of the Film of the War, by Peter Handke</span></b></div>
<span class="source" style="background-color: yellow; border-radius: 0px; box-sizing: border-box; color: #666666; font-style: italic;"><b><span style="font-size: large;">PAJ: A Journal of Performance and Art (MIT Press) (2012)</span></b></span><br />
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<b>Keywords</b></div>
<ul class="list-inline" style="border-radius: 0px !important; box-sizing: border-box; list-style: none; margin-bottom: 10px; margin-left: -5px; margin-top: 0px; padding-left: 0px;"><b>
<li style="border-radius: 0px !important; box-sizing: border-box; display: inline-block; margin-right: -2px; padding-left: 5px; padding-right: 0px;">Peter Handke,</li>
<li style="border-radius: 0px !important; box-sizing: border-box; display: inline-block; margin-right: -2px; padding-left: 5px; padding-right: 0px;">Voyage by Dugout,</li>
<li style="border-radius: 0px !important; box-sizing: border-box; display: inline-block; margin-right: -2px; padding-left: 5px; padding-right: 0px;">Die Fahrt Im Einbaum,</li>
<li style="border-radius: 0px !important; box-sizing: border-box; display: inline-block; margin-right: -2px; padding-left: 5px; padding-right: 0px;">translation</li>
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<b>Disciplines</b></div>
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<li style="border-radius: 0px !important; box-sizing: border-box; display: inline-block; margin-right: -2px; padding-left: 5px; padding-right: 0px;"><a href="http://network.bepress.com/arts-and-humanities/other-arts-and-humanities" style="background-color: transparent; border-radius: 0px !important; box-sizing: border-box; color: #337ab7; cursor: pointer; text-decoration: none;" title="Digital Commons Network: Other Arts and Humanities">Other Arts and Humanities</a> and</li>
<li style="border-radius: 0px !important; box-sizing: border-box; display: inline-block; margin-right: -2px; padding-left: 5px; padding-right: 0px;"><a href="http://network.bepress.com/arts-and-humanities/philosophy" style="background-color: transparent; border-radius: 0px !important; box-sizing: border-box; color: #337ab7; cursor: pointer; text-decoration: none;" title="Digital Commons Network: Philosophy">Philosophy</a></li>
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<b>Publication Date</b></div>
<b>May, 2012</b></div>
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<b>Citation Information</b></div>
<b>Scott Abbott. "Voyage by Dugout or The Play of the Film of the War, by Peter Handke" <em style="border-radius: 0px !important; box-sizing: border-box;">PAJ: A Journal of Performance and Art (MIT Press)</em> Vol. 34 Iss. 2 (2012) </b></div>
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<b style="background-color: yellow;">Repetitions</b></div>
<span class="source" style="background-color: yellow; border-radius: 0px; box-sizing: border-box; color: #666666; font-size: 0.9em; font-style: italic;"><b>(2013)</b></span><br />
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<li style="border-radius: 0px !important; box-sizing: border-box; line-height: 1.55em;"><b style="background-color: yellow;"><span class="author" style="border-radius: 0px !important; box-sizing: border-box;">Scott Abbott </span><span class="author-institution" style="border-radius: 0px !important; box-sizing: border-box; font-style: italic;">, Utah Valley University</span></b></li>
<li style="border-radius: 0px !important; box-sizing: border-box; line-height: 1.55em;"><b style="background-color: yellow;"><span class="author" style="border-radius: 0px !important; box-sizing: border-box;">Zarko Radakovic</span><span class="author-institution" style="border-radius: 0px !important; box-sizing: border-box; font-style: italic;"></span></b></li>
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<b style="background-color: yellow;">Book</b></div>
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<b style="background-color: yellow;">Abstract</b></div>
<div style="border-radius: 0px !important; box-sizing: border-box; margin-bottom: 10px;">
<b style="background-color: yellow;">The two authors follow a character in Peter Handke's novel "Repetition" from Austria into Slovenia. Each writes about the experience from his own perspective.</b></div>
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<div class="section-title" style="border-radius: 0px !important; box-sizing: border-box; font-size: 1.4em; margin: 20px 0px 10px;">
<b style="background-color: yellow;">Keywords</b></div>
<ul class="list-inline" style="border-radius: 0px !important; box-sizing: border-box; list-style: none; margin-bottom: 10px; margin-left: -5px; margin-top: 0px; padding-left: 0px;"><b style="background-color: yellow;">
<li style="border-radius: 0px !important; box-sizing: border-box; display: inline-block; margin-right: -2px; padding-left: 5px; padding-right: 0px;">Zarko Radakovic,</li>
<li style="border-radius: 0px !important; box-sizing: border-box; display: inline-block; margin-right: -2px; padding-left: 5px; padding-right: 0px;">Peter Handke</li>
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<b style="background-color: yellow;">Disciplines</b></div>
<ul class="list-inline" style="border-radius: 0px !important; box-sizing: border-box; list-style: none; margin-bottom: 10px; margin-left: -5px; margin-top: 0px; padding-left: 0px;">
<li style="border-radius: 0px !important; box-sizing: border-box; display: inline-block; margin-right: -2px; padding-left: 5px; padding-right: 0px;"><a href="http://network.bepress.com/arts-and-humanities/german-language-and-literature/german-literature" style="border-radius: 0px !important; box-sizing: border-box; color: #337ab7; cursor: pointer; text-decoration: none;" title="Digital Commons Network: German Literature"><b style="background-color: yellow;">German Literature</b></a></li>
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<b style="background-color: yellow;">Publication Date</b></div>
<b style="background-color: yellow;">July, 2013</b></div>
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<div class="section-title" style="border-radius: 0px !important; box-sizing: border-box; font-size: 1.4em; margin: 20px 0px 10px;">
<b style="background-color: yellow;">Publisher</b></div>
<b style="background-color: yellow;">Punctum Books</b></div>
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<div class="section-title" style="border-radius: 0px !important; box-sizing: border-box; font-size: 1.4em; margin: 20px 0px 10px;">
<b style="background-color: yellow;">Citation Information</b></div>
<b style="background-color: yellow;">Scott Abbott and Zarko Radakovic. Repetitions. Brooklyn(2013) <br style="border-radius: 0px !important; box-sizing: border-box;" />Available at: http://works.bepress.com/scott_abbott/98/</b></div>
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<span style="font-size: 32px;"><span style="color: #1155cc; font-family: "arial" , sans-serif;"><b style="background-color: lime;">http://works.bepress.com/scott_abbott/98/</b></span></span></div>
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<span style="background-color: yellow; font-size: 32px;"><span style="color: #1155cc; font-family: "arial" , sans-serif;"><b><br /></b></span></span></div>
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<span style="background-color: yellow; font-size: 32px;"><span style="color: #1155cc; font-family: "arial" , sans-serif;"><b><br /></b></span></span></div>
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<b style="background-color: yellow;">Peter Handke and the Language of War</b></div>
<span class="source" style="background-color: yellow; border-radius: 0px; box-sizing: border-box; color: #666666; font-size: 0.9em; font-style: italic;"><b>PAJ: A Journal of Performance and Art (2012)</b></span><br />
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<li style="border-radius: 0px !important; box-sizing: border-box; line-height: 1.55em;"><b style="background-color: yellow;"><span class="author" style="border-radius: 0px !important; box-sizing: border-box;">Scott Abbott </span><span class="author-institution" style="border-radius: 0px !important; box-sizing: border-box; font-style: italic;">, Utah Valley Univ</span></b></li>
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<span style="background-color: lime; font-size: 32px;"><span style="color: #1155cc; font-family: "arial" , sans-serif;"><b>http://works.bepress.com/scott_abbott/89/</b></span></span></div>
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<div class="addthis_sharing_toolbox" data-title=""Peter Handke and the Language of War" by Scott Abbott" data-url="http://works.bepress.com/scott_abbott/89/" style="border-radius: 0px !important; box-sizing: border-box;">
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<b style="background-color: yellow;">Keywords</b></div>
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<li style="border-radius: 0px !important; box-sizing: border-box; display: inline-block; margin-right: -2px; padding-left: 5px; padding-right: 0px;">Peter Handke,</li>
<li style="border-radius: 0px !important; box-sizing: border-box; display: inline-block; margin-right: -2px; padding-left: 5px; padding-right: 0px;">Voyage by Dugout,</li>
<li style="border-radius: 0px !important; box-sizing: border-box; display: inline-block; margin-right: -2px; padding-left: 5px; padding-right: 0px;">Serbia,</li>
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<b style="background-color: yellow;">Disciplines</b></div>
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<span style="background-color: lime; font-size: 32px;"><span style="color: #1155cc; font-family: "arial" , sans-serif;"><b>http://works.bepress.com/scott_abbott/90/</b></span></span><br />
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<b style="background-color: yellow;"><span style="font-size: small;">'That sweet And so on': Peter Handke's Yugoslavia Work</span></b></div>
<span class="source" style="background-color: yellow; border-radius: 0px !important; box-sizing: border-box; color: #666666; font-style: italic;"><b><span style="font-size: small;">Companion to the Works of Peter Handke (2005)</span></b></span><div class="authors" style="border-radius: 0px !important; box-sizing: border-box; height: 150px; margin-top: 10px; overflow-y: auto;">
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<li style="border-radius: 0px !important; box-sizing: border-box; line-height: 1.55em;"><b style="background-color: yellow;"><span style="font-size: small;"><span class="author" style="border-radius: 0px !important; box-sizing: border-box;">Scott Abbott </span><span class="author-institution" style="border-radius: 0px !important; box-sizing: border-box; font-style: italic;">, Utah Valley University</span></span></b></li>
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<div class="addthis_sharing_toolbox" data-title=""'That sweet And so on': Peter Handke's Yugoslavia Work" by Scott Abbott" data-url="http://works.bepress.com/scott_abbott/22/" style="border-radius: 0px !important; box-sizing: border-box;">
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<b style="background-color: yellow;">Keywords</b></div>
<ul class="list-inline" style="border-radius: 0px !important; box-sizing: border-box; list-style: none; margin-bottom: 10px; margin-left: -5px; margin-top: 0px; padding-left: 0px;"><b style="background-color: yellow;">
<li style="border-radius: 0px !important; box-sizing: border-box; display: inline-block; margin-right: -2px; padding-left: 5px; padding-right: 0px;">Peter Handke,</li>
<li style="border-radius: 0px !important; box-sizing: border-box; display: inline-block; margin-right: -2px; padding-left: 5px; padding-right: 0px;">Yugoslavia,</li>
<li style="border-radius: 0px !important; box-sizing: border-box; display: inline-block; margin-right: -2px; padding-left: 5px; padding-right: 0px;">war,</li>
<li style="border-radius: 0px !important; box-sizing: border-box; display: inline-block; margin-right: -2px; padding-left: 5px; padding-right: 0px;">journalism,</li>
<li style="border-radius: 0px !important; box-sizing: border-box; display: inline-block; margin-right: -2px; padding-left: 5px; padding-right: 0px;">literature</li>
</b></ul>
</div>
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<b style="background-color: yellow;">Disciplines</b></div>
<ul class="list-inline" style="border-radius: 0px !important; box-sizing: border-box; list-style: none; margin-bottom: 10px; margin-left: -5px; margin-top: 0px; padding-left: 0px;"><b style="background-color: yellow;">
<li style="border-radius: 0px !important; box-sizing: border-box; display: inline-block; margin-right: -2px; padding-left: 5px; padding-right: 0px;"><a href="http://network.bepress.com/arts-and-humanities/comparative-literature" style="border-radius: 0px !important; box-sizing: border-box; color: #337ab7; cursor: pointer; text-decoration: none;" title="Digital Commons Network: Comparative Literature">Comparative Literature</a>,</li>
<li style="border-radius: 0px !important; box-sizing: border-box; display: inline-block; margin-right: -2px; padding-left: 5px; padding-right: 0px;"><a href="http://network.bepress.com/arts-and-humanities/german-language-and-literature/german-literature" style="border-radius: 0px !important; box-sizing: border-box; color: #337ab7; cursor: pointer; text-decoration: none;" title="Digital Commons Network: German Literature">German Literature</a>,</li>
<li style="border-radius: 0px !important; box-sizing: border-box; display: inline-block; margin-right: -2px; padding-left: 5px; padding-right: 0px;"><a href="http://network.bepress.com/arts-and-humanities/other-arts-and-humanities" style="border-radius: 0px !important; box-sizing: border-box; color: #337ab7; cursor: pointer; text-decoration: none;" title="Digital Commons Network: Other Arts and Humanities">Other Arts and Humanities</a> and</li>
<li style="border-radius: 0px !important; box-sizing: border-box; display: inline-block; margin-right: -2px; padding-left: 5px; padding-right: 0px;"><a href="http://network.bepress.com/arts-and-humanities/philosophy" style="border-radius: 0px !important; box-sizing: border-box; color: #337ab7; cursor: pointer; text-decoration: none;" title="Digital Commons Network: Philosophy">Philosophy</a></li>
</b></ul>
</div>
<div class="publication-date" style="border-radius: 0px !important; box-sizing: border-box;">
<div class="section-title" style="border-radius: 0px !important; box-sizing: border-box; margin: 20px 0px 10px;">
<b style="background-color: yellow;">Publication Date</b></div>
<b style="background-color: yellow;">2005</b></div>
<div class="citation" style="border-radius: 0px !important; box-sizing: border-box;">
<div class="section-title" style="border-radius: 0px !important; box-sizing: border-box; margin: 20px 0px 10px;">
<b style="background-color: yellow;">Citation Information</b></div>
<b style="background-color: yellow;">Scott Abbott. "'That sweet And so on': Peter Handke's Yugoslavia Work" <em style="border-radius: 0px !important; box-sizing: border-box;">Companion to the Works of Peter Handke</em> (2005) <br style="border-radius: 0px !important; box-sizing: border-box;" />Available at: http://works.bepress.com/scott_abbott/22/</b></div>
</div>
<span style="background-color: lime; font-size: 32px;"><span style="color: #1155cc; font-family: "arial" , sans-serif;"><b><br /></b></span></span>
<span style="background-color: lime;"><span style="color: #1155cc; font-family: arial, sans-serif; font-size: 32px;"><b>http://works.bepress.com/scott_abbott/22/</b></span></span><br />
<span style="background-color: lime;"><span style="color: #1155cc; font-family: arial, sans-serif; font-size: 32px;"><b><br /></b></span></span>
<span style="background-color: lime; font-size: 32px;"><span style="color: #1155cc; font-family: arial, sans-serif;"><b style="background-color: yellow;"><br /></b></span></span>
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<div class="media-heading work-details-title" style="border-radius: 0px !important; box-sizing: border-box; margin-bottom: 0px; margin-top: 0px;">
<b style="background-color: yellow;">The Rhetoric of War and Peace: Peter Handke's 'Questioning While Weeping'</b></div>
<span class="source" style="background-color: yellow; border-radius: 0px !important; box-sizing: border-box; color: #666666; font-style: italic;"><b>World Literature Today (2001)</b></span><div class="authors" style="border-radius: 0px !important; box-sizing: border-box; height: 150px; margin-top: 10px; overflow-y: auto;">
<ul class="list-unstyled" style="border-radius: 0px !important; box-sizing: border-box; list-style: none; margin-bottom: 10px; margin-top: 0px; padding-left: 0px;">
<li style="border-radius: 0px !important; box-sizing: border-box; line-height: 1.55em;"><b style="background-color: yellow;"><span class="author" style="border-radius: 0px !important; box-sizing: border-box;">Scott Abbott </span><span class="author-institution" style="border-radius: 0px !important; box-sizing: border-box; font-style: italic;">, Utah Valley University</span></b></li>
</ul>
</div>
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<b style="background-color: yellow;">Article</b></div>
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<span style="background-color: lime; font-size: 32px;"><b style="background-color: yellow;"><span style="color: #1155cc; font-family: arial, sans-serif;"></span></b></span><br />
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<div class="keywords" style="border-radius: 0px !important; box-sizing: border-box;">
<div class="section-title" style="border-radius: 0px !important; box-sizing: border-box; margin: 20px 0px 10px;">
<b style="background-color: yellow;">Keywords</b></div>
<ul class="list-inline" style="border-radius: 0px !important; box-sizing: border-box; list-style: none; margin-bottom: 10px; margin-left: -5px; margin-top: 0px; padding-left: 0px;"><b style="background-color: yellow;">
<li style="border-radius: 0px !important; box-sizing: border-box; display: inline-block; margin-right: -2px; padding-left: 5px; padding-right: 0px;">Peter Handke,</li>
<li style="border-radius: 0px !important; box-sizing: border-box; display: inline-block; margin-right: -2px; padding-left: 5px; padding-right: 0px;">Yugoslavia,</li>
<li style="border-radius: 0px !important; box-sizing: border-box; display: inline-block; margin-right: -2px; padding-left: 5px; padding-right: 0px;">war,</li>
<li style="border-radius: 0px !important; box-sizing: border-box; display: inline-block; margin-right: -2px; padding-left: 5px; padding-right: 0px;">journalism</li>
</b></ul>
</div>
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<b style="background-color: yellow;">Disciplines</b></div>
<ul class="list-inline" style="border-radius: 0px !important; box-sizing: border-box; list-style: none; margin-bottom: 10px; margin-left: -5px; margin-top: 0px; padding-left: 0px;"><b style="background-color: yellow;">
<li style="border-radius: 0px !important; box-sizing: border-box; display: inline-block; margin-right: -2px; padding-left: 5px; padding-right: 0px;"><a href="http://network.bepress.com/arts-and-humanities/comparative-literature" style="border-radius: 0px !important; box-sizing: border-box; color: #337ab7; cursor: pointer; text-decoration: none;" title="Digital Commons Network: Comparative Literature">Comparative Literature</a>,</li>
<li style="border-radius: 0px !important; box-sizing: border-box; display: inline-block; margin-right: -2px; padding-left: 5px; padding-right: 0px;"><a href="http://network.bepress.com/arts-and-humanities/german-language-and-literature/german-literature" style="border-radius: 0px !important; box-sizing: border-box; color: #337ab7; cursor: pointer; text-decoration: none;" title="Digital Commons Network: German Literature">German Literature</a>,</li>
<li style="border-radius: 0px !important; box-sizing: border-box; display: inline-block; margin-right: -2px; padding-left: 5px; padding-right: 0px;"><a href="http://network.bepress.com/arts-and-humanities/other-arts-and-humanities" style="border-radius: 0px !important; box-sizing: border-box; color: #337ab7; cursor: pointer; text-decoration: none;" title="Digital Commons Network: Other Arts and Humanities">Other Arts and Humanities</a> and</li>
<li style="border-radius: 0px !important; box-sizing: border-box; display: inline-block; margin-right: -2px; padding-left: 5px; padding-right: 0px;"><a href="http://network.bepress.com/arts-and-humanities/philosophy" style="border-radius: 0px !important; box-sizing: border-box; color: #337ab7; cursor: pointer; text-decoration: none;" title="Digital Commons Network: Philosophy">Philosophy</a></li>
</b></ul>
</div>
<div class="publication-date" style="border-radius: 0px !important; box-sizing: border-box;">
<div class="section-title" style="border-radius: 0px !important; box-sizing: border-box; margin: 20px 0px 10px;">
<b style="background-color: yellow;">Publication Date</b></div>
<b style="background-color: yellow;">Winter 2001</b></div>
</div>
<span style="background-color: lime;"><span style="color: #1155cc; font-family: arial, sans-serif; font-size: 32px;"><b><br /></b></span></span>
<span style="background-color: lime;"><span style="color: #1155cc; font-family: arial, sans-serif; font-size: 32px;"><b>http://works.bepress.com/scott_abbott/21/</b></span></span><br />
<span style="background-color: lime;"><span style="color: #1155cc; font-family: arial, sans-serif; font-size: 32px;"><b><br /></b></span></span>
<span style="background-color: lime;"><span style="color: #1155cc; font-family: arial, sans-serif; font-size: 32px;"><b><br /></b></span></span>
<span style="background-color: lime; font-size: 32px;"><span style="color: #1155cc; font-family: arial, sans-serif;"><b style="background-color: yellow;"><br /></b></span></span>
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<b style="background-color: yellow;">Postmetaphysical Metaphysics: Peter Handke's "Repetition"</b></div>
<span class="source" style="background-color: yellow; border-radius: 0px !important; box-sizing: border-box; color: #666666; font-style: italic;"><b>Camden House (1997)</b></span><div class="authors" style="border-radius: 0px !important; box-sizing: border-box; height: 150px; margin-top: 10px; overflow-y: auto;">
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<b style="background-color: yellow;">Disciplines</b></div>
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<b style="background-color: yellow;">Publication Date</b></div>
<b style="background-color: yellow;">1997</b></div>
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<b style="background-color: yellow;">Citation Information</b></div>
<b style="background-color: yellow;">Scott Abbott. "Postmetaphysical Metaphysics: Peter Handke's "Repetition"" <em style="border-radius: 0px !important; box-sizing: border-box;">Camden House</em> (1997) <br style="border-radius: 0px !important; box-sizing: border-box;" />Available at: http://works.bepress.com/scott_abbott/29/</b></div>
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<span style="background-color: lime;"><span style="color: #1155cc; font-family: arial, sans-serif; font-size: 32px;"><b>http://works.bepress.com/scott_abbott/29/</b></span></span><br />
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<b><span style="background-color: yellow; font-size: small;">"The Material Idea of Volk": Peter Handke's Dialectical Search for a National Identity</span></b></div>
<span class="source" style="background-color: yellow; border-radius: 0px !important; box-sizing: border-box; color: #666666; font-style: italic;"><b><span style="font-size: small;">Amsterdamer Beitraege zur neueren Germanistik (1995)</span></b></span><div class="authors" style="border-radius: 0px !important; box-sizing: border-box; height: 150px; margin-top: 10px; overflow-y: auto;">
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<li style="border-radius: 0px !important; box-sizing: border-box; line-height: 1.55em;"><b><span style="background-color: yellow; font-size: small;"><span class="author" style="border-radius: 0px !important; box-sizing: border-box;">Scott Abbott </span><span class="author-institution" style="border-radius: 0px !important; box-sizing: border-box; font-style: italic;">, Utah Valley University</span></span></b></li>
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<b style="background-color: yellow;">Disciplines</b></div>
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<b style="background-color: yellow;">Publication Date</b></div>
<b style="background-color: yellow;">1995</b></div>
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<b style="background-color: yellow;">Citation Information</b></div>
<b style="background-color: yellow;">Scott Abbott. ""The Material Idea of Volk": Peter Handke's Dialectical Search for a National Identity"<em style="border-radius: 0px !important; box-sizing: border-box;">Amsterdamer Beitraege zur neueren Germanistik</em> (1995) <br style="border-radius: 0px !important; box-sizing: border-box;" />Available at: http://works.bepress.com/scott_abbott/30/</b></div>
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<span style="background-color: lime;"><span style="color: #1155cc; font-family: arial, sans-serif; font-size: 32px;"><b>http://works.bepress.com/scott_abbott/30/</b></span></span><br />
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Peter Handke's Theatrical Works</div>
<span class="source" style="border-radius: 0px !important; box-sizing: border-box; color: #666666; font-size: 0.9em; font-style: italic;">Dictionary of Literary Biography, Twentieth-Century German Dramatists, 1919-1992 (1992)</span><div class="authors" style="border-radius: 0px !important; box-sizing: border-box; height: 150px; margin-top: 10px; overflow-y: auto;">
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<li style="border-radius: 0px !important; box-sizing: border-box; line-height: 1.55em;"><span class="author" style="border-radius: 0px !important; box-sizing: border-box;"><span style="font-size: 12px;">Scott </span><span style="font-size: small;"><b style="background-color: yellow;">Abbott </b></span></span><span class="author-institution" style="background-color: yellow; border-radius: 0px !important; box-sizing: border-box; font-style: italic;"><span style="font-size: small;"><b>, Utah Valley University</b></span></span></li>
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<b style="background-color: yellow;">Keywords</b></div>
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<li style="border-radius: 0px !important; box-sizing: border-box; display: inline-block; margin-right: -2px; padding-left: 5px; padding-right: 0px;">Peter Handke,</li>
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<b style="background-color: yellow;">Disciplines</b></div>
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<li style="border-radius: 0px !important; box-sizing: border-box; display: inline-block; margin-right: -2px; padding-left: 5px; padding-right: 0px;"><a href="http://network.bepress.com/arts-and-humanities/comparative-literature" style="border-radius: 0px !important; box-sizing: border-box; color: #337ab7; cursor: pointer; text-decoration: none;" title="Digital Commons Network: Comparative Literature">Comparative Literature</a>,</li>
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<li style="border-radius: 0px !important; box-sizing: border-box; display: inline-block; margin-right: -2px; padding-left: 5px; padding-right: 0px;"><a href="http://network.bepress.com/arts-and-humanities/other-arts-and-humanities" style="border-radius: 0px !important; box-sizing: border-box; color: #337ab7; cursor: pointer; text-decoration: none;" title="Digital Commons Network: Other Arts and Humanities">Other Arts and Humanities</a> and</li>
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<b style="background-color: yellow;">Publication Date</b></div>
<b style="background-color: yellow;">1992</b></div>
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<b style="background-color: yellow;">Citation Information</b></div>
<b style="background-color: yellow;">Scott Abbott. "Peter Handke's Theatrical Works" <em style="border-radius: 0px !important; box-sizing: border-box;">Dictionary of Literary Biography, Twentieth-Century German Dramatists, 1919-1992</em> Vol. 124 (1992) <br style="border-radius: 0px !important; box-sizing: border-box;" />Available at: http://works.bepress.com/scott_abbott/84/</b></div>
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<span style="background-color: lime;"><span style="color: #1155cc; font-family: arial, sans-serif; font-size: 32px;"><b>http://works.bepress.com/scott_abbott/84/</b></span></span></div>
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<span style="color: #1155cc; font-family: "arial" , sans-serif;"><span style="font-size: 32px;"><b><span style="background-color: lime;"><br /></span></b></span></span></div>
SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-4280831336342556602.post-36893258822014193842016-02-03T12:05:00.003-08:002016-02-04T20:30:35.132-08:00HOELLER \/ HANDKE DER KLASSISCHE <b><span style="background-color: yellow; font-family: Courier New, Courier, monospace; font-size: large;"><br /></span></b>
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<b><span style="background-color: yellow; font-family: Courier New, Courier, monospace; font-size: large;">http://www.logbuch-suhrkamp.de/hans-hoeller/das-klassische-3</span></b><br />
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b>ls der Titel <a href="http://www.suhrkamp.de/buecher/eine_ungewoehnliche_klassik_nach_-hans_hoeller_42344.html" style="border: 0px; box-sizing: border-box; color: rgb(236, 182, 4) !important; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank"><em style="border: 0px; box-sizing: border-box; font-stretch: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Eine ungewöhnliche Klassik nach 1945</em></a> schon längst als Titel bei der Verlagswerbung angelangt war, dachte ich mir: Was für ein unmöglicher Titel. Und in der Manie des Korrigierens war ich schon dabei, dem Lektor einen neuen Titelvorschlag für das Buch zu schicken. Es sollte <em style="border: 0px; box-sizing: border-box; font-stretch: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Feldhasenklassik</em> heißen. Nun steckt in jeder Verrücktheit ein Sinn, denn tatsächlich ist der Feldhase einer der vielen Repräsentanten des Klassischen im Werk Handkes, ich hätte sogar Paul Celan als Verteidiger dieses Titels anführen können, der in seiner<em style="border: 0px; box-sizing: border-box; font-stretch: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Meridian</em>-Rede eine ähnliche Feldhasenklassik ins Auge fasste.<br style="box-sizing: border-box;" />Der Feldhase ist, wie die klassische Kunst, ein Wesen, das den erschreckten Menschen besänftigt und den panischen Blick der Gejagten ›ins Offene‹ wendet: »der Gehetzten Wappentier« nennt ihn der Erzähler in <a href="http://www.suhrkamp.de/buecher/die_wiederholung-peter_handke_42320.html" style="border: 0px; box-sizing: border-box; color: rgb(236, 182, 4) !important; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank"><em style="border: 0px; box-sizing: border-box; font-stretch: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Die Wiederholung</em></a>. Dem slowenischen Kleinhäuslersohn Filip Kobal erschien er als das »Gleichnis aller Verfolgten der Kleinstädte«, das »besänftigte und dem Dörfler hinter dem Kleinstaat das weiteste Land zeigte, mit Steppe, Küste und Meer«. Jede Einzelheit dieses Bilds zeigt, was Handke unter dem Klassischen versteht: Der Feldhase hat Gleichnis-Charakter, er gehört zu den Bedrängten und Verfolgten, er wirkt besänftigend, hilft aus dem Schrecken heraus und aus dem Eingeschlossensein, indem er auf die Schwellen und Übergänge ins Offene zeigt.<br style="box-sizing: border-box;" />Der Name »Loser« für die Hauptfigur in <a href="http://www.suhrkamp.de/buecher/der_chinese_des_schmerzes-peter_handke_37839.html" style="border: 0px; box-sizing: border-box; color: rgb(236, 182, 4) !important; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank"><em style="border: 0px; box-sizing: border-box; font-stretch: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Der Chinese des Schmerzes</em></a> – er ist klassischer Philologe und Archäologe und als solcher Experte für antike Schwellen – ist ein mundartliches oder jagdsprachliches Wort für die Hasenohren. Denkt man an die sprachliche Evokation von akustischen Phänomenen in Handkes Büchern<span style="border: 0px; box-sizing: border-box; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px 3px; position: relative; top: -4px; vertical-align: top;"><a href="http://www.logbuch-suhrkamp.de/hans-hoeller/das-klassische-1#eins" style="border: 0px; box-sizing: border-box; color: rgb(236, 182, 4) !important; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;">1</a></span><a href="https://draft.blogger.com/null" name="zwei" style="border: 0px; box-sizing: border-box; color: rgb(236, 182, 4) !important; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"></a>, könnte man sagen, dass der Schriftsteller den Lesern solche ›Loser‹ aufsetzt, um sie zu einer aufmerksameren und bewussteren Wahrnehmung zu bringen. Paul Celan fragt in seiner Büchner-Preis-Rede, ob nicht in <a href="http://de.wikipedia.org/wiki/Leonce_und_Lena" rel="nofollow" style="border: 0px; box-sizing: border-box; color: rgb(236, 182, 4) !important; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank"><em style="border: 0px; box-sizing: border-box; font-stretch: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Leonce und Lena</em></a> die den »Worten unsichtbar zugelächelten Anführungszeichen« »vielmehr als Hasenöhrchen, das heißt also als etwas nicht ganz furchtlos über sich und die Worte Hinauslauschendes verstanden sein wollen?«</b></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><span style="border: 0px; box-sizing: border-box; color: black; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">2.</span><br style="box-sizing: border-box;" />Ich habe den Titel, wie man sieht, nicht verändert, weil er doch einige Gesichtspunkte enthält, die im Buch ausgeführt werden. »Ungewöhnlich« ist es zweifellos, dass Handke, »nach 1945«, das Klassische und die Schönheit für sich reklamiert, in einer Zeit, in der schon das Schreiben eines Gedichts sich dem Vorwurf der »Barbarei« aussetzte. Um wieviel inkorrekter und blasphemischer musste sich vor diesem kulturkritischen Hintergrund Handkes Anspruch auf das Klassische und die Schönheit ausnehmen, den er 1979 in seiner <a href="http://handkeonline.onb.ac.at/node/868" style="border: 0px; box-sizing: border-box; color: rgb(236, 182, 4) !important; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank"><em style="border: 0px; box-sizing: border-box; font-stretch: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Rede zur Verleihung des Franz-Kafka-Preises</em></a> vorgetragen hat:</b></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b>Das Wort sei gewagt: Ich bin, mich bemühend um die Formen für meine Wahrheit, auf Schönheit aus – auf die erschütternde Schönheit, auf Erschütterung durch Schönheit; ja, auf Klassisches, Universales, das, nach der Praxis-Lehre der großen Maler, erst in der steten Natur-Betrachtung und -Versenkung Form gewinnt.</b></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b>»Nach 1945«, das bedeutet die Zeit »nach« Krieg und Vernichtung, kurz: die Zeit nach der Shoah. »Bedenk immer wieder«, liest man im Journalband <a href="http://www.suhrkamp.de/suchen?s=Gestern+unterwegs&x=-1185&y=-61" style="border: 0px; box-sizing: border-box; color: rgb(236, 182, 4) !important; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank"><em style="border: 0px; box-sizing: border-box; font-stretch: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Gestern unterwegs</em></a>, »daß dein Geschichtserlebnis das des Völkermordes an den Juden ist (beim Anblick der Kniekehlen an den spargeldünnen Beinen eines Kindes in Clermont-Ferrand, 7. Aug. 1988, Abend)«. Bedenkenswert ist deshalb auch, dass Handke in einer Kafka-Rede seinen Anspruch auf das Klassische erhoben hat und ihm Franz Kafka »zeit [s]eines Schreiblebens, Satz für Satz, der Maßgebende gewesen« ist.<br style="box-sizing: border-box;" />Handkes Leitwörter – »erschütternde Schönheit« und »Natur-Betrachtung und [Natur]-Versenkung« – erfahren nach 1945 eine Sinnveränderung, weil die Aufmerksamkeit für die äußere und innere Natur, man könnte sagen, die ästhetische Erziehung der Sinne, nach der systematischen Reduktion und Zerstörung der menschlichen Integrität bis zur physischen Vernichtung notwendiger war als je zuvor. Theodor W. Adorno hat in der<a href="http://www.suhrkamp.de/buecher/gesammelte_schriften_in_baenden-theodor_w_adorno_29306.html" style="border: 0px; box-sizing: border-box; color: rgb(236, 182, 4) !important; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank"><em style="border: 0px; box-sizing: border-box; font-stretch: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Negative[n] Dialektik</em></a> mit einem expliziten Rekurs auf den Kantischen Imperativ nach Auschwitz von einem »leibhaft« »Hinzutretenden am Sittlichen« gesprochen: »Nur im ungeschminkt materialistischen Motiv überlebt Moral.«</b></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><span style="border: 0px; box-sizing: border-box; color: black; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">3.</span><br style="box-sizing: border-box;" />Im Journalband <a href="http://www.suhrkamp.de/buecher/phantasien_der_wiederholung-peter_handke_22230.html" style="border: 0px; box-sizing: border-box; color: rgb(236, 182, 4) !important; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank"><em style="border: 0px; box-sizing: border-box; font-stretch: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Phantasien der Wiederholung</em></a> (1983) findet man auf der ersten Seite ein Notat, das ich Ihnen nicht vorenthalten möchte. Es ist eines der mir liebsten Notate, unspektakulär, dass man sich denkt, so etwas könnte man selber, und man kann es wahrscheinlich doch nicht, eine Philosophie der Anerkennung des guten Lebens mit so einfachen Worten ins Bild zu rücken:</b></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b>Die Greisin sagte zu dem Mädchen, das den Marktkarren schob: »Wie geht’s?« – Das Mädchen: »Ich laß’ es mir schon nicht schlecht gehen.« – Die Greisin: »Recht so.«</b></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b>Auf der zweiten Seite findet man die Eintragung:</b></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b>»Ich will es machen wie Raffael und kein Marterbild mehr malen« (allmählich kann ich sagen, daß ich Nietzsches Leser bin)</b></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b>Unmittelbar nach der Befreiung von 1945 hat ein Opfer des NS-Staats, <a href="http://de.wikipedia.org/wiki/Jean_Am%C3%A9ry" style="border: 0px; box-sizing: border-box; color: rgb(236, 182, 4) !important; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">Jean Améry</a>, damals noch Hans Mayer, in seiner Studie <em style="border: 0px; box-sizing: border-box; font-stretch: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Zur Psychologie des deutschen Volkes</em>, die er als Häftling in einer Kanzlei in Auschwitz-Monowitz begonnen haben soll, zu erklären versucht, was in Deutschland die innere Kälte verursacht hat, die so viele Menschen dazu brachte, den millionenfachen Mord hinzunehmen wie ein Naturgeschehen. Er sah, gerade aus dem KZ entlassen, das Rettende in der Fähigkeit, sich freuen zu können. Diese Fähigkeit wäre für ihn der Gegensatz zum Drohenden, finster Verbissenen der deutschen Arbeitsmentalität. Der deutschen Arbeitskultur, schreibt er, habe »alles Leichte, Spielerische, das wundervolle ›Laisser faire‹ der romanischen Völker, alles Elegante, Luxuriöse« gefehlt. Und diese »Freudlosigkeit«, diese »Unfähigkeit zur Freude« seien »das Resultat des Fehlens eines vernünftigen, diesseitigen Lebenssinnes« gewesen. Die Nazis hätten von Nietzsche den »Herrenmenschen« übernommen und nicht die Philosophie des Sich-freuen-Könnens. Man habe »den anderen Völkern allen Glanz des Lebens« gelassen.<br style="box-sizing: border-box;" />Amérys Studie über das Unbehagen in der deutschen Arbeitskultur liest sich wie eine sozialpsychologische Begründung der Notwendigkeit einer neuen Klassik, die nicht nur das Spielerische und die Leichtigkeit verteidigt, sondern auch auf eine andere Idee von Arbeit hinaus will und überhaupt, nach der Befreiung aus dem KZ, dem Hinauswollen, dem Aufbruch aus allen alten und neuen Zwangsverhältnissen das Wort redet.</b></span></div>
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<strong style="border: 0px; box-sizing: border-box; color: black; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">4.</span></strong></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b>Das Pathos meiner Herkunft bewahrt mich vor dem Klassizistischen (das Zeichen des Bürgerlichen ist) und verlangt von mir das Klassische (das nicht nur mich adelt)</b></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b>Mit dieser pointierten Wendung in <a href="http://www.suhrkamp.de/suchen?s=Die+Geschichte+des+Bleistifts&x=-1185&y=-61" style="border: 0px; box-sizing: border-box; color: rgb(236, 182, 4) !important; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank"><em style="border: 0px; box-sizing: border-box; font-stretch: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Die Geschichte des Bleistifts</em></a> (1982) – so heißt der Journalband, der den classical turn in der gravierenden Lebens- und Schreibkrise Ende 1978 dokumentiert – hat Handke, mit dem Blick auf die bürgerlich-aristokratische Tradition des Klassizismus, eine andere Geschichte des Klassischen aus seiner »Herkunft«, der Welt der Mühsal der ländlichen Arbeitswelt, abgeleitet: Gegen die geläufige Verwendung aktualisiert er im griechischen Wort »Pathos« den Aspekt des Leidens, weist mit einer dialektischen Pointe das alte bürgerlich-aristokratische Besitzrecht am Klassischen ab, begründet aus dem Nicht-Haben den Anspruch auf den Reichtum der Kunst und mit dem so verstandenen Klassischen »adelt« er nicht nur sich selber. Das wunschlose Unglück der sozial Bedrängten – das »Pathos« seiner »Herkunft« – ist der andere subjektive und historische Ausgangspunkt einer Klassik, die die Unterdrückten würdigt und eine andere Idee von Arbeit vertritt. Aus der Erinnerung an die Leiden der Vorfahren bezieht der Autor den Auftrag für sein Schreiben, das sich, mit den Worten Walter Benjamins, am »Bild der geknechteten Vorfahren« nährt: Es sei uns, »wie jedem Geschlecht, das vor uns war, eine schwache messianische Kraft mitgegeben, an welche die Vergangenheit Anspruch hat«, heißt es in Walter Benjamins <a href="http://www.suhrkamp.de/buecher/werke_und_nachlass_kritische_gesamtausgabe-walter_benjamin_58549.html" style="border: 0px; box-sizing: border-box; color: rgb(236, 182, 4) !important; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank"><em style="border: 0px; box-sizing: border-box; font-stretch: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Über den Begriff der Geschichte</em></a>.<br style="box-sizing: border-box;" />Handkes Idee der Verteidigung einer anderen Idee der Arbeit, die am Kunst-Werk orientiert ist und deren »Gesetz« er in der friedlichen und friedensstiftenden Arbeit verankert, bezieht sich aber nicht nur kritisch auf die Mühsal der Vergangenheit, sondern auch und vor allem auf die Entwertung der lebendigen menschlichen Arbeit im Kapitalismus, auf die Reduktion der Arbeit zur disponiblen Ware, heute zusätzlich entwertet in einer Welt massenhafter Arbeitslosigkeit.</b></span></div>
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<span style="background-color: yellow; font-size: large;"><span style="font-family: Courier New, Courier, monospace;">Hans Höller: Das Klassisch</span><span style="font-family: inherit;">e. Teil III</span></span></h2>
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<article class="grve-single-post post-3776 post type-post status-publish format-standard has-post-thumbnail hentry category-schreiben-sprechen tag-das-klassische tag-franz-kafka tag-gruppe-47 tag-johann-wolfgang-von-goethe tag-peter-handke" id="post-3776" style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><div class="grve-post-content" style="border-image-outset: initial !important; border-image-repeat: initial !important; border-image-slice: initial !important; border-image-source: initial !important; border-image-width: initial !important; border: 0px !important; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px auto; max-width: 740px; padding: 0px; position: relative; vertical-align: baseline;">
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<span style="background-color: yellow; border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><b><span style="font-size: large;">1.</span></b></span></div>
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<b><span style="background-color: yellow; font-size: large;">Aber wo sind die Beziehungen zwischen <a href="http://www.suhrkamp.de/autoren/johann_wolfgang_goethe_1521.html" style="border: 0px; box-sizing: border-box; color: rgb(236, 182, 4) !important; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">Goethe</a> und <a href="http://www.suhrkamp.de/autoren/franz_kafka_2288.html" style="border: 0px; box-sizing: border-box; color: rgb(236, 182, 4) !important; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">Kafka</a> zu finden? Gibt es in ihren Werken selbst Indizien eines Zusammenhangs, der sich textanalytisch beschreiben lässt?</span></b></div>
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<b><span style="background-color: yellow; font-size: large;">In Kafkas <span style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Prozeß</span>-Text ist eine palimpsestartig verborgene Bedeutungsschicht zu entdecken, die in der Schlusspassage des Romans unübersehbar wird. Wenn von den letzten Augenblicken vor der Hinrichtung von Josef K. erzählt wird, tauchen die erzählten Blicke, die Gebärden, die nun endlich gestellten Fragen wie ein rettender Gegentext auf, der an das erinnert, was den tödlichen Ausgang bei Kafka hätte abwenden können. Handke hat die sprachlichen Zeichen dieses Gegentextes als Signale der Befreiung in seine eigenen Texte transponiert. Wenn K. zu spät erst seine Fixierung auf das Schmierentheater des Gerichts und das nie begründete Urteil erkennt, wenn er vom Hinrichtungsort aus ein Haus, und dort, im Fenster des letzten Stockwerks – »wie ein Licht aufzuckt« – einen Menschen sieht, der vielleicht erreichbar gewesen wäre, einer »der teilnahm? Einer, der helfen wollte?«, wenn K. sich endlich die Fragen stellt, die er nie gestellt hat, ist es zuletzt – und, wenn man genau liest, doch schon vom ersten Satz des Romans an – Kafkas Erzählen selbst, das auf den rettenden Gegenentwurf verweist. Es gibt auch im <span style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Prozeß</span>-Roman jenes von Handke erwähnte Goethe’sche »inner[e] Licht der Erzählung«<span style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px 3px; position: relative; top: -4px; vertical-align: top;"><a href="http://www.logbuch-suhrkamp.de/hans-hoeller/das-klassische-3#eins" style="border: 0px; box-sizing: border-box; color: rgb(236, 182, 4) !important; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;">1</a></span><a href="https://draft.blogger.com/null" name="drei" style="border: 0px; box-sizing: border-box; color: rgb(236, 182, 4) !important; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"></a>, das von Anfang an da ist, aber dem Romanhelden erst in seinen letzten Augenblicken vom Erzähler geschenkt wird:</span></b></div>
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<b><span style="background-color: yellow; font-size: large;">Das Fenster, dessen Flügel »auseinander« fuhren, wie »ein Licht aufzuckt«, vergegenwärtigt Handke in seiner thematischen Licht-Semantik und in den Bildern der sich öffnenden Fenster und Türen; die Fragen am Schluss des <span style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Prozeß</span>-Romans, der bis dahin vom immer befremdlicheren fraglosen Einverständnis des Josef K. beherrscht ist, gehen über in seine Poetik des Fragens, die er in <a href="http://www.suhrkamp.de/theater_medien/das_spiel_vom_fragen_oder_die_reise_zum_sonoren_land-peter_handke_101160.html" style="border: 0px; box-sizing: border-box; color: rgb(236, 182, 4) !important; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank"><span style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Das Spiel vom Fragen</span> (<span style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Die Kunst des Fragens</span>)</a>auf der Theaterbühne verhandelt; Parzival, die Figur des versäumten Fragens in Handkes Büchern, erinnert daran, dass der Mensch, der nicht fragt, sich selber abhanden kommt (vgl. <a href="http://handkeonline.onb.ac.at/node/520" style="border: 0px; box-sizing: border-box; color: rgb(236, 182, 4) !important; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">Katharina Pektor</a>s Studien zu Handke und Wolfram von Eschenbachs <span style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Parzival</span>). Der frühe Fernsehfilm über die 68er Jahre – <a href="http://www.imdb.com/title/tt0159354/" rel="nofollow" style="border: 0px; box-sizing: border-box; color: rgb(236, 182, 4) !important; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank"><span style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Chronik der laufenden Ereignisse</span></a> (1971) – verteidigt in einer stummen Einstellung mit Rolltiteln die Sehnsucht zu fragen als ein gesellschaftliches Bedürfnis. Je später, desto bewusster durchdringt die Frageform die Grammatik und den Rhythmus von Handkes Erzählsprache insgesamt, sie wird zum charakteristischen Duktus seiner bewegten, sich ständig mit dem Fragen ins Wort fallenden Denk- und Sprechweise, als wäre die Frageform die zu findende alltägliche »Lebensform« (Ludwig Wittgenstein).</span></b></div>
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<b><span style="background-color: yellow; font-size: large;">Selbst auf die kleinen, konkreten körperlichen Gebärden am Schluss des <span style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Prozeß </span>– der »Ruck«, die ausgestreckten Arme, die gehobenen Hände und die gespreizten Finger des Manns im Fenster – kommt Handkes erzählerische Aufmerksamkeit für charakteristische Gebärden immer wieder zurück: »Er spreizte die Finger und ließ die Luft da durchwehen«, ist eine solche ›freiphantasierte‹ Gebärde in der <span style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Apothekergeschichte</span>(gemeint ist der Roman <a href="http://www.suhrkamp.de/buecher/in_einer_dunklen_nacht_ging_ich_aus_meinem_stillen_haus-peter_handke_39446.html" style="border: 0px; box-sizing: border-box; color: rgb(236, 182, 4) !important; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank"><span style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">In einer dunklen Nacht ging ich aus meinem stillen Haus</span></a>); auf ähnliche Weise wird der »Ruck« zu einer thematischen Bewegung in einem Erzählen, das aus der Erstarrung befreien und dazu den Anstoß geben will: »Lebendigkeitsruck« heißt es in <a href="http://www.suhrkamp.de/buecher/langsame_heimkehr-peter_handke_37569.html" style="border: 0px; box-sizing: border-box; color: rgb(236, 182, 4) !important; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank"><span style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Langsame Heimkehr</span></a>, »Gegenwartsruck«, »Freuderuck« oder »Halteruck« in <a href="http://www.suhrkamp.de/buecher/die_geschichte_des_bleistifts-peter_handke_37649.html" style="border: 0px; box-sizing: border-box; color: rgb(236, 182, 4) !important; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank"><span style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Die Geschichte des Bleistifts</span></a>; das »Ruck um Ruck« (<a href="http://www.suhrkamp.de/buecher/versuch_ueber_die_muedigkeit-peter_handke_42321.html" style="border: 0px; box-sizing: border-box; color: rgb(236, 182, 4) !important; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank"><span style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Versuch über die Müdigkeit</span></a>), verbunden mit anderen, verwandten Symbolen wie dem der Schwelle, ist selber ein Bild des Erzählens, das immer neue Anstöße gibt und von Schwelle zu Schwelle weiterhilft. »Die Schwelle«, heißt es in <a href="http://www.dtv.de/buecher/am_felsfenster_morgens_12743.html" rel="nofollow" style="border: 0px; box-sizing: border-box; color: rgb(236, 182, 4) !important; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank"><span style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Am Felsfenster morgens</span></a>, »ist das Gegenstück zum Fangeisen«.</span></b></div>
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<b><span style="background-color: yellow; font-size: large;">»Die Logik ist zwar unerschütterlich, aber einem Menschen, der leben will, widersteht sie nicht«, mit diesem Satz, einem der letzten in K.s stummer Rede am Schluss des <span style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Prozeß</span>, suggeriert uns die Erzählerstimme noch einmal die Fragwürdigkeit der Logik, der sich ›der Held‹ unterworfen hatte. In einem frühen, ebenfalls der Gerichtssphäre zugehörigen Text – <a href="http://www.suhrkamp.de/buecher/prosa_gedichte_theaterstuecke_hoerspiele_aufsaetze-peter_handke_3023.html" style="border: 0px; box-sizing: border-box; color: rgb(236, 182, 4) !important; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank"><span style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Das Standrecht</span></a> – beschrieb Handke die ›unerschütterliche Logik‹ der Macht am lückenlosen, vom Kriegsgesetz vorgegebenen Ablauf des standrechtlichen Gerichtsverfahrens, dessen Maschinerie den äußersten Gegensatz zu seiner eigenen Poetik darstellt. Ein solches Gegenbild zum Klassischen als Poetik der Befreiung des Menschen aus allem, was ihn zum Objekt macht und ihn in den Strukturen einer fremden Macht einsperrt, stellt für Handke die Beschreibung des gotischen Schnitzaltars von Kefermarkt am Beginn von <span style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Die Geschichte des Bleistifts</span> dar. In dessen hölzernem Geranke erscheinen die Figuren »›gemacht‹, ›zugefügt‹, ›geteilt‹«, eingeschlossen in ein wahnwitziges »Monument der Zerstörung«, bei dem der »Eindruck der Zerstörtheit der damals arbeitenden Menschen ganz stark wurde.« Die »Gefangenschaft der Figuren innerhalb des Holzgerankes« habe ihm »eine Ahnung der wahnwitzigen Schmerzen der damaligen Menschen« gegeben.</span></b></div>
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<b><span style="background-color: yellow; font-size: large;">Als »Fräulein Kafka« wurde Aichinger apostrophiert, als sie auf einer Tagung der Gruppe 47 im Mai 1951 las. Ihr Essay <span style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Das Erzählen in dieser Zeit</span> (1952) enthält eine atemberaubende Neubestimmung des Erzählens nach den traumatischen Erfahrungen der NS-Zeit. Der Titel des Prosabands, <span style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Rede unter dem Galgen</span>, in welchem der Essay 1952 als <span style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Vorrede</span> erschien, stellt einen assoziativen Zusammenhang her zum Hinrichtungsplatz als Ort der inneren Rede des Josef K. am Schluss von Kafkas <span style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Der Prozeß.</span></span></b></div>
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<b><span style="background-color: yellow; font-size: large;">Die vermeintliche Kafka-Epigonin, die einzige österreichische Schriftstellerin der Nachkriegszeit, die Weltliteratur schrieb, hat ihr Verhältnis zu Kafka mit einem Satz bezeichnet, der etwas andeutet, das den meisten damaligen Mitgliedern der Gruppe 47 verschlossen geblieben sein dürfte: »Und dieser Schatten«, sagte sie von Kafka, »wird mich streifen, solange ich atme« (<span style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Die Zumutung des Atmens / zu Franz Kafka</span>), und außerdem habe sie, so die verstörende Behauptung in ihrer Rede zur <span style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Verleihung des Franz-Kafka-Preises</span> 1983, nach den wenigen Sätzen, die sie von Kafka gelesen habe, nicht weiter gelesen: »solange ich es ertrage, lese ich nicht weiter, solange nur der Schatten einer Erinnerung mich streift […]. Solange ich atme, lese ich nicht weiter. Eins oder das andere.«</span></b></div>
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<b><span style="background-color: yellow; font-size: large;">Wenn man Aichingers Tagebücher aus den Jahren 1938 bis 1945 liest, versteht man, warum sie fürchten musste, dass ein »Schatten der Erinnerung« ihr bei der Kafka-Lektüre den Atem nehmen würde. Als Halbjüdin war sie dem NS-Terror ausgesetzt, sie brauchte nach 1945 die »Verwandlung ins Helle« (<span style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Rede an die Jugend</span>, 1988), den befreienden Blickwechsel, den Ruck, die Wendung, um aus dem Bannkreis der tödlichen Macht herauszukommen. In <span style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Das Erzählen in dieser Zeit</span> versteht sie die Verwandlung als individuelle und epochale Notwendigkeit des Erzählens. Die Vernichtungserfahrung könne nicht verdrängt werden, aber die Einsicht in die Macht kann zum Ausgangspunkt der Entdeckung des Lebens und zu einer Öffnung für die Welt gemacht werden.</span></b></div>
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<b><span style="background-color: yellow; font-size: large;"><span style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">3</span>.</span></b></div>
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<b><span style="background-color: yellow; font-size: large;">Die Vorstellung einer geschichtsfernen, an Sprachexperimente hingegebenen österreichischen Literatur zerfällt vor der exponierten Position des sprechenden Ich in Aichingers programmatischem Text. Von der Hinrichtungsstätte aus wird ein neues Erzählen verlangt. Die Grundfigur der Verwandlung als Zentrum ihrer Erzählpoetik bedeutet ein eingreifendes Schreiben, das aus der Fixierung an die traumatische Vergangenheit herausführen und das Ich für die Welt und das Leben öffnen will. Die Wiederherstellung einer unverstümmelten Erfahrung ist der Intention der klassischen Literatur verwandt.</span></b></div>
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<b><span style="background-color: yellow; font-size: large;">Nie dürften in der Geschichte davor das Prinzip der epischen Gerechtigkeit und die Verwandlung des Ich im Erzählen eine solche dramatische Notwendigkeit erhalten haben wie nach der Shoah, nie dürfte die ästhetische Erfahrung dringender beansprucht worden sein als nach der systematischen Reduktion und Zerstörung der menschlichen Integrität bis zur physischen Vernichtung.</span></b></div>
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<b><span style="background-color: yellow; font-size: large;">Eine Aichinger-Linie in der Literatur nach 1945 wird sichtbar; von ihr aus lassen sich ungewöhnliche literaturgeschichtliche Konstellationen und bisher kaum gesehene Verwandtschaften erkennen, die alle auf die Frage hinauslaufen, die damals nicht nur von Ilse Aichinger gestellt wurde: Wie die fremde Macht, das, was »gegen uns gerichtet ist«, zu »wenden« wäre, damit uns die Welt wieder aufgehn kann. Dieses existenzielle Verlangen nach einer »Verwandlung ins Helle« geht aus der lebensgeschichtlichen Erfahrung der Traumatisierung hervor, und es verbindet sich mit dem sozialen Impuls, »sich inmitten der eigenen Verwandlung die Hinwendung zu den Verwandlungen anderer zu bewahren« (<span style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Rede an die Jugend</span>).</span></b></div>
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<b><span style="background-color: yellow; font-size: large;"><span style="font-family: inherit;"><span style="border-color: initial; border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border-style: initial; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; outline-color: initial; outline-style: initial;"><a href="https://draft.blogger.com/null" name="eins" style="border: 0px; box-sizing: border-box; color: rgb(236, 182, 4) !important; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"></a></span></span><br style="box-sizing: border-box;" />1 »und auch meine persönliche Gewißheit war ja die vom ›guten Ich‹ Goethes als dem inneren Licht der Erzählung« (<a href="http://www.suhrkamp.de/buecher/die_lehre_der_sainte-victoire-peter_handke_37570.html" style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; box-sizing: border-box; color: rgb(236, 182, 4) !important; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank"><span style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Die Lehre der Sainte-Victoire</span></a>, S. 102). Bei Kafka findet man nicht wenige Hinweise auf den klassischen Goethe, etwa, wenn er die »Bildungs- und Erziehungsgeschichte als Grundform der Literatur« bezeichnet oder im Sinne der klassischen Literatur »Glück aber nur« dort findet, wo er »die Welt ins Reine, Wahre, Unveränderliche heben kann« (T, 838)</span></b><span style="font-size: inherit; font-weight: inherit;">.</span></div>
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</section>SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-4280831336342556602.post-54365768847587631292015-06-20T14:10:00.000-07:002015-06-20T14:10:09.640-07:00Ceci n’est pas une (auto-)traduction. Zu Peter Handkes französischen Texten und ihren deutschen Fassungen<div class="work-head clearfix work_12127497" data-work_id="12127497" itemscope="itemscope" itemtype="http://schema.org/ScholarlyWork" style="box-sizing: border-box; color: #494848; font-family: 'Open Sans', 'Helvetica Neue', sans-serif; line-height: 20px; margin-bottom: 30px;">
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<span itemprop="name" style="box-sizing: border-box;">Ceci n’est pas une (auto-)traduction. Zu Peter Handkes französischen Texten und ihren deutschen Fassungen</span></h1>
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<span itemprop="name" style="box-sizing: border-box;">Ceci n’est pas une (auto-)traduction. Zu Peter Handkes französischen Texten und ihren deutschen Fassungen</span></h1>
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<span style="background-color: yellow; box-sizing: border-box; line-height: 13.1999998092651px;"><span style="color: #494848; font-family: Open Sans, Helvetica Neue, sans-serif; font-size: large;">http://u-pec.academia.edu/dirkweissmann/Talks</span></span></h4>
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<span style="background-color: yellow; box-sizing: border-box; line-height: 13.1999998092651px;"><span style="color: #494848; font-family: Open Sans, Helvetica Neue, sans-serif; font-size: large;"><br /></span></span></h4>
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<span style="background-color: yellow; box-sizing: border-box; line-height: 13.1999998092651px;"><span style="color: #494848; font-family: Open Sans, Helvetica Neue, sans-serif; font-size: large;">Ceci n’est pas une (auto-)traduction. Zu Peter Handkes französischen Texten und ihren deutschen Fassungen</span></span></h4>
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<strong style="box-sizing: border-box;"><span style="background-color: yellow; font-size: large;">Abstract:</span></strong></h4>
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<span style="font-size: large;"><b style="background-color: yellow;">Gegenstand des Beitrags sind die französisch-deutschen Doppeltexte (wie ich sie vorläufig nennen möchte), die Peter Handke seit Beginn der 2000er Jahre verfasst hat. Anhand einer Analyse der drei Theaterstücke Pourquoi une cuisine ? / Warum eine Küche ? (2001-2003), Jusqu’à ce que le jour nous sépare ou Une question de lumière / Bis dass der Tag uns scheidet oder Eine Frage des Lichts (2008-2009), Les Beaux jours d’Aranjuez / Die schönen Tage von Aranjuez (2012) soll zunächst und vor allem der Frage nachgegangen werden, inwiefern (und unter welchen Kriterien) im vorliegenden Fall von (Selbst)Übersetzung gesprochen werden kann. Daneben soll der Status der französischen ‚Fassungen’, ‚Originale’ bzw. ‚Erstschriften’ Handkes für sich hinterfragt werden. Inwiefern kann – produktions- bzw. rezeptionsästhetisch – von einem französischen Schriftsteller Handke gesprochen werden? Zur Diskussion dieses Punktes soll auch ein Blick auf die Aufführungsgeschichte der Stücke sowie ihre Aufnahme durch die Kritik geworfen werden. Phänomene wie die (fremde) Rückübersetzung deutscher Texte in Französische werfen ein interessantes Licht auf die Schwierigkeiten des Literatur- und Theaterbetriebs beim Umgang mit mehrsprachigen Schriftstellern.</b></span></div>
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<span style="background-color: yellow; font-size: large;"><strong style="box-sizing: border-box;">Location: </strong>Innsbruck</span></h6>
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<span style="background-color: yellow; font-size: large;"><strong style="box-sizing: border-box;">Event Date: </strong>May 2015</span></h6>
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<span style="background-color: yellow; font-size: large;"><strong style="box-sizing: border-box;">Organization: </strong>"… übersetzt von Peter Handke" Internationale Tagung am Institut für Translationswissenschaft der Universität Innsbruck</span></h6>
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<span style="background-color: yellow; font-size: large;"><strong style="box-sizing: border-box;">Research Interests: </strong><div class="profile_research_interest_list" id="research_interest_list_73" style="box-sizing: border-box; display: inline;">
<a class="research_interest_link" data-id="384" href="http://www.academia.edu/Documents/in/German_Studies" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; box-sizing: border-box; color: #428bca; text-decoration: none;">German Studies</a>, <a class="research_interest_link" data-id="662" href="http://www.academia.edu/Documents/in/German_Literature" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; box-sizing: border-box; color: #428bca; text-decoration: none;">German Literature</a>, <a class="research_interest_link" data-id="1629" href="http://www.academia.edu/Documents/in/French_Studies" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; box-sizing: border-box; color: #428bca; text-decoration: none;">French Studies</a>, <a class="research_interest_link" data-id="15622" href="http://www.academia.edu/Documents/in/German_Literature_and_Culture" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; box-sizing: border-box; color: #428bca; text-decoration: none;">German Literature and Culture</a>, <a class="research_interest_link" data-id="17230" href="http://www.academia.edu/Documents/in/Austrian_Literature" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; box-sizing: border-box; color: #428bca; text-decoration: none;">Austrian Literature</a>, <span class="and_n_more" style="box-sizing: border-box;">and <a class="more_link" data-container="#research_interest_list_73" data-hide=".and_n_more" data-more-link-behavior="true" data-show=".invisible_research_interests" href="http://www.academia.edu/12127497/Ceci_n_est_pas_une_auto-_traduction._Zu_Peter_Handkes_franz%C3%B6sischen_Texten_und_ihren_deutschen_Fassungen#" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; box-sizing: border-box; color: #428bca; text-decoration: none;">5 more</a></span></div>
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<span style="background-color: yellow; font-size: large;">Argument: <br style="box-sizing: border-box;" />Après une brève introduction consacrée à l’histoire de l’auto-traduction et à sa possible définition comme genre, ma présentation sera consacrée aux textes bilingues que l’écrivain autrichien Peter Handke a écrits depuis le début des années 2000 : Pourquoi une cuisine ? / Warum eine Küche ? ; Jusqu’à ce que le jour vous sépare ou Une question de lumière / Bis dass der Tag euch scheidet oder Eine Frage des Lichts ; Les Beaux jours d’Aranjuez / Die schönen Tage von Aranjuez. En analysant ces trois pièces de théâtre, rédigées initialement en français, je m’interrogerai notamment sur les motivations qui ont poussé l’écrivain de langue allemande à adopter le français comme langue d’écriture. A côté de critères biographiques, le rapport à Samuel Beckett, ce représentant emblématique du bilinguisme et de l’autotraduction littéraires, s’avérera particulièrement intéressant, dans la mesure où Jusqu’à ce que le jour vous sépare (2008) est conçu comme une réponse à La dernière bande de Beckett. En relevant certaines spécificités de l’écriture bilingue de Handke, je m’interrogerai enfin sur la question de savoir dans quelle mesure (et sous quels critères) l’utilisation du concept d’autotraduction est réellement pertinent dans son cas.</span></div>
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<span style="background-color: yellow; font-size: large;"><strong style="box-sizing: border-box;">Research Interests: </strong><div class="profile_research_interest_list" id="research_interest_list_2232" style="box-sizing: border-box; display: inline;">
<a class="research_interest_link" data-id="384" href="http://www.academia.edu/Documents/in/German_Studies" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; box-sizing: border-box; color: #428bca; text-decoration: none;">German Studies</a>, <a class="research_interest_link" data-id="1186" href="http://www.academia.edu/Documents/in/Translation_Studies" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; box-sizing: border-box; color: #428bca; text-decoration: none;">Translation Studies</a>, <a class="research_interest_link" data-id="1629" href="http://www.academia.edu/Documents/in/French_Studies" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; box-sizing: border-box; color: #428bca; text-decoration: none;">French Studies</a>, <a class="research_interest_link" data-id="18347" href="http://www.academia.edu/Documents/in/Self-translation" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; box-sizing: border-box; color: #428bca; text-decoration: none;">Self-translation</a>, </div>
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<a class="research_interest_link" data-id="40088" href="http://www.academia.edu/Documents/in/Transnational_Literature" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; box-sizing: border-box; color: #428bca; text-decoration: none;"><span style="background-color: yellow; font-size: large;">http://www.academia.edu/11692894/Les_d%C3%A9fis_de_lauto-traduction_po%C3%A9tique_et_r%C3%A9ception_dun_genre_limite_le_</span><span style="background-color: transparent; font-size: 12px; font-weight: 500;">cas_de_Peter_HandkeTransnational Literature</span></a><span style="background-color: white; font-size: 12px; font-weight: 500;">, </span><span class="and_n_more" style="background-color: white; box-sizing: border-box; font-size: 12px; font-weight: 500;">and <a class="more_link" data-container="#research_interest_list_2232" data-hide=".and_n_more" data-more-link-behavior="true" data-show=".invisible_research_interests" href="http://www.academia.edu/11692894/Les_d%C3%A9fis_de_lauto-traduction_po%C3%A9tique_et_r%C3%A9ception_dun_genre_limite_le_cas_de_Peter_Handke#" style="background: transparent; box-sizing: border-box; color: #428bca; text-decoration: none;">3 more</a></span></div>
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SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-4280831336342556602.post-22977215670264346832015-06-20T13:45:00.001-07:002015-06-20T13:45:21.913-07:00Peter Handke: Leben ohne Poesie<b><span style="background-color: yellow; font-size: large;">http://www.planetlyrik.de/peter-handke-leben-ohne-poesie/2010/06/</span></b><br />
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<a href="http://www.planetlyrik.de/peter-handke-leben-ohne-poesie/2010/06/" style="color: #a40505; font-family: georgia, 'times new roman', verdana; text-decoration: none;"><span style="background-color: yellow; font-size: large;">Peter Handke: Leben ohne Poesie</span></a></h1>
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<b><span style="background-color: yellow; font-size: large;">Gepostet von <a href="http://www.planetlyrik.de/author/redaktion/" rel="author" style="color: #a40505; text-decoration: none;" title="Beiträge von Redaktion">Redaktion</a> am Jun 15th, 2010 in <a href="http://www.planetlyrik.de/gedichte/herausgeber/b-herausgeber/berkewicz-ulla/" rel="category tag" style="color: #a40505; text-decoration: none;">Berkéwicz, Ulla</a>, <a href="http://www.planetlyrik.de/gedichte/autoren/h-autoren/handke-peter/" rel="category tag" style="color: #a40505; text-decoration: none;">Handke, Peter</a>, <a href="http://www.planetlyrik.de/gedichte/rezensionen/" rel="category tag" style="color: #a40505; text-decoration: none;">Rezensionen</a>| <a href="http://www.planetlyrik.de/peter-handke-leben-ohne-poesie/2010/06/#respond" style="color: #a40505; text-decoration: none;">Keine Kommentare</a><br /></span></b></div>
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<a class="zoomLink cboxElement" href="http://www.planetlyrik.de/wp-content/uploads/2010/06/Handtke-lebenohnePoesie.jpg" style="color: #a40505; display: inline-block; float: none; position: relative; text-decoration: none;"><b><span style="background-color: yellow; font-size: large;"><img alt="" class="size-thumbnail wp-image-5877 colorbox-5847" height="150" src="http://www.planetlyrik.de/wp-content/uploads/2010/06/Handtke-lebenohnePoesie-150x150.jpg" style="border: 0px none; margin: 0px; padding: 0px;" title="Handke-Leben ohne Poesie" width="150" /><span class="zoomHover" style="background-attachment: scroll; background-clip: initial; background-image: url(http://www.planetlyrik.de/wp-content/plugins/jquery-colorbox/images/zoom.png); background-origin: initial; background-position: 50% 50%; background-repeat: no-repeat; background-size: initial; height: 150px; left: 0px; margin: 0px; opacity: 0; padding: 0px; position: absolute; top: 0px; width: 150px; z-index: 9;"></span></span></b></a><div class="wp-caption-text" style="color: #333333; line-height: 17px; padding: 0px 4px 5px;">
<b><span style="background-color: yellow; font-size: large;">Handke-Leben ohne Poesie</span></b></div>
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<b><span style="background-color: yellow; font-size: large;">28 DER RAND DER WÖRTER 2</span></b></div>
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<b><span style="background-color: yellow; font-size: large;">Wir sitzen am Rand des Feldwegs und reden.<br />Die größte Not ist lange vorbei, denn am Gletscherrand la-<br />gern die Leichen ab.<br />Wer steht am Rand des Feldes, am Rand des Highway? −<br />Cary Grant!<br />Am Grubenrand liegt, vom Spaten gespalten, ein Engerling.<br />Der Rand des Schmutzflecks trocknet schon.<br />Es wird bitter kalt, und dem Captain Scott fängt die Wunde<br />vom Rand her zu eitern an.<br />Am Rand der Erschöpfung reden wir alle in Hauptsätzen.<br />Von den schmutzigen Taschen des Toten haben die Finger-<br />nägel des Plünderers einen Rand.<br />Wir sitzen am Rand des Feldwegs, am Rand des Feldes, und<br />reden, und reden.<br />Wo der Rand der Wörter sein sollte, fängt trockenes Laub<br />an den Rändern zu brennen an, und die Wörter krümmen<br />sich unendlich langsam in sich selber:<br />„Diese Trauerränder!“<br />Dieser Rand der Trauer.</span></b></div>
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<span style="background-color: yellow; font-size: large;">… Jetzt stehen in meines Vaters Garten,</span></h4>
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<b><span style="background-color: yellow; font-size: large;">die Pilze im Kreis, Pilzherren, Geheime Räte, Kreisflüsterer. Die Nacht ist feucht, es tropft. Heine grüßt Handke, er zieht den Hut bis auf den Vaterboden, bis vor die Pilzfüße zieht er ihn und spricht: „‚Die göttlichen Vettern‘, die Dichter, sind verteidigt durch ihre Verse, auf die auch mit der schrägsten Meinung kein schiefer Reim zu machen ist. Sie werden noch wahr sein und klingen, wenn, nebbich, alle Lümpchen mitsamt den Dichtern und Marien längst im Grabe ruhn.“<br />Kleiner warmer Pilzatem, Unterhausbeifallgemurmel.<br />Yeah!<br />Es swingt, es verst.<br />Ein paar arme Meinungsseelen stehn vorm Zaun und gaffen, halten Maulaffen feil. Mißgeruch. Stinkmorcheln im Kürbisbeet? Halloween-Eier?<br />Wind kommt auf, fährt in die Dichter, die Pilze, Handke-Beat. Ein Herbstblatt tanzt vom Vaterbaum, Leuchtfäden wie Blattadern, Lichtverse.</span></b></div>
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<b><span style="background-color: yellow; font-size: large;">Ulla Berkéwicz, Aus dem Nachwort</span></b></div>
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<span style="background-color: yellow; font-size: large;">1969 erschien, wie es damals hieß, ein „Reader“</span></h4>
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<b><span style="background-color: yellow; font-size: large;">von Peter Handke, der den Untertitel trug: „Prosa Gedichte Theaterstücke Hörspiele Aufsätze“. Die dort abgedruckten Gedichte waren dem im selben Jahr publizierten Band <em>Die Innenwelt der Außenwelt der Innenwelt</em> entnommen, in dem der Autor 42 für Lyrik bisher nicht verwendete Textformen entdeckte: etwa Die Aufstellung des 1. FC Nürnberg vom 27.1.1968, den Vorspann zum Film <em>Bonnie und Clyde</em> usw. Und obwohl Peter Handke in den darauffolgenden Jahren als Prosa- und Theaterautor sowie Verfasser von Aufsätzen in den Vordergrund trat, wendete er sich nicht von der Ausdrucksform Gedicht ab. Dies belegen etwa die Langgedichte <em>Leben ohne Poesie</em> oder <em>Blaues Gedicht</em> in dem Band<em> Als das Wünschen noch geholfen hat</em> (1974), das <em>Gedicht an die Dauer</em> (aus dem Jahre 1986) sowie die Haikus in den Notizbüchern, etwa den 2005 veröffentlichten<em>Gestern unterwegs</em>.</span></b></div>
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<b><span style="background-color: yellow; font-size: large;">Suhrkamp Verlag, Ankündigung, 2007</span></b></div>
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<span style="background-color: yellow; font-size: large;">Auf Dauer kein Verlass</span></h4>
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<b><span style="background-color: yellow; font-size: large;">Ihr sollt ihn nicht durch Widerspruch verwirren; sobald er spricht, beginnt er schon zu irren: Peter Handke kehrt in seinen Gedichten zurück ins Haus der Sprache.<br />Er sei kein Lyriker. Mit dieser Bemerkung hat Peter Handke eine Sammlung seiner Gedichte zunächst abgelehnt, dann aber dem Drängen seiner Verlegerin nachgegeben. Nun also gibt es sie, die gesammelten Gedichte, und der Dichter hat an Auswahl und Gliederung selbst mitgewirkt. „Leben ohne Poesie“ umfasst fast alles, was Handke seit seinem vielbeachteten Bändchen „Die Innenwelt der Außenwelt der Innenwelt“ an lyrischen Texten publiziert hat; darunter den Band „Gedicht an die Dauer“ und weitere Lang- und Kurzgedichte, die in diversen Prosabänden und in seinen fünf Notizbüchern erschienen sind. Ist Handke also doch ein Lyriker?<br />Als Handke in den Sechzigern mit lyrikhaften Texten anfing, waren das grammatikalisch-linguistische Exerzitien, mal streng, mal witzig; es waren Satzspiele, Wörterspiele, Begriffsspiele. Sie waren einfallsreich und wirkten avantgardistisch. Sie führten modellhaft sprachliche Übereinkünfte und Klischees vor, um sie zur Disposition zu stellen. Der junge Österreicher mochte als Erbe von Karl Kraus erscheinen. Er wollte aber keiner von den Epigonen sein, die im alten Haus der Sprache wohnen. Er wollte das alte Haus demontieren. Vielleicht suchte er auch nach einem neuen Haus.<br />Der früheste Text in „Die Innenwelt der Außenwelt der Innenwelt“ stammt von 1965. „Das Wort Zeit“ beginnt: „Die Zeit ist ein Hauptwort. Das Hauptwort bildet keine Zeit. Da die Zeit ein Hauptwort ist, bildet die Zeit keine Zeit.“ Man konnte derlei linguistische Beweisführungen durchaus als zeitfeindlich oder zeitkritisch verstehen; und damals, im Gefolge revolutionärer Stimmungen, hat man Handkes Sprachkritik oft kurzerhand als Gesellschaftskritik genommen. Aber Handke hatte nicht bloß sprachliche, sondern auch Dingklischees im Auge, die Erfahrung verhindern.<br />Er fand sich „Am Rande der Wörter“ und wollte – anders als die damaligen Experimentellen – nicht in die Wörter zurück, sondern über sie hinaus. Er suchte und fand „Die neuen Erfahrungen“. Sie erscheinen zunächst als gegliederte Rituale, als wollten sie lediglich die Zwänge gesellschaftlichen Verhaltens kenntlich machen; aber dann schlug doch und wie unvermittelt ein existentielles Moment durch: „1948 / an der bayrisch-österreichischen Grenze / im Ort Bayrisch-Gmain (,in welchem Haus mit welcher Nummer?‘) sah ich / auf einem Bettgestell / unter einem Leintuch / hinter Blumen / zum ersten Mal / einen Menschen der tot war.“ Modellsituation oder schon autobiographisches Bekenntnis? Dieser Text von den neuen Erfahrungen steht nicht ohne Grund zu Anfang des Innenwelt-Außenwelt-Bändchens, am Anfang auch des lyrischen Œuvres. Er markiert eine Weggabelung. „Die Literatur ist romantisch“ war der Titel einer kleinen Broschüre, einer Absage an das damals modische Engagement. Der geheimnisvolle Weg – so schien es – würde fortan nach innen gehen.<br />In den siebziger Jahren schrieb Handke drei lange Gedichte: 1972 „Leben ohne Poesie“, 1973 „Blaues Gedicht“ und 1974 „Die Sinnlosigkeit und das Glück“. Sie stehen nun, in umgekehrter Reihenfolge, am Schluss des Sammelbandes, quasi als Summe des Handkeschen Poetisierungsprogramms von Welt und Leben.<br />Ich gestehe mein besonderes Faible für das „Blaue Gedicht“, für die wunderbare Übergänglichkeit seiner Motive. Aus einem nächtlichen Überfall von Sexualität wechselt es in die Erfahrung von Bedrohung und Depersonalisierung: „Das Licht / wenn ich blinzelte / hatte eine Farbe aus der Zeit / als ich noch an die Hölle glaubte / und das pfeifende Monster vor dem Fenster / schüttelte lautlos die Handgelenke / als ob es nun Ernst machen wollte.“ Das Gedicht mündet in das Erlebnis eines anderen, südlichen Landes und in die neue Erfahrung von Freundschaft, Liebe, Verbundenheit: „,Schönheit ist eine Art von Information‘ dachte ich / warm von dir / und von der Erinnerung.“ Handke war auf dem Weg seiner langsamen Heimkehr.<br />Eines der Hauptdokumente dafür, ja, ein klassisches Zeugnis ist sein „Gedicht an die Dauer“. Es hat wunderbar dichte Passagen von Welt- und Erfahrungsgehalt; so die Szene vom Baden mit Freunden im griechischen, weinfarbenen Meer. Doch es will nicht verleugnen, dass es ein Lehrgedicht ist, ein Poem, das ohne Rhetorik nicht auskommt: „Ich habe es, wieder einmal, erfahren: / Die Ekstase ist immer zuviel, / die Dauer dagegen das Richtige.“ Dieser Wahrspruch muss Handke denn doch zu apodiktisch erschienen sein. Er relativiert etwas später: „Auf die Dauer ist kein Verlaß.“ Aber doch auf Handkes artistisches Geschick, sagen wir ruhig, auf seinen Takt.<br />Die eigentlichen Überraschungen des schönen und schön gemachten Bandes finden sich im Mittelteil „Das Ende des Flanierens“. Was Walter Benjamin vom Flaneur sagt, dass er sein Asyl in der Menge sucht, lässt sich auf den Paris- und Landschaftsflaneur Handke beziehen. Er ist, wie Baudelaire, ein Mann der Schwelle. Hier sammelt und prüft und verlässt er seine Augenblicke.<br />Manchmal sind es poetische Einfälle, die ein Stück weit ausgeführt werden, ohne den Status des Gedichts zu beanspruchen. Manches ist bloß Notiz, aber keines ganz belanglos. „Am Nachmittag fielen ein paar Blätter / von den Akazien / Und am Abend schwankte die Lampe / im leeren Eßzimmer.“ Hat man das gelesen, empfindet man den Titel „Tageslauf in einem Sommergarten“ fast als entbehrlich. Anderes ist in seiner Knappheit fast makellos. So ein Dreizeiler in den regelgerechten siebzehn Silben des Haiku: „In der Stille: am Platz / In der Stille: die Ankunft / Schatzhaus der Stille.“ Nur ein Beckmesser wünschte sich die Doppelpunkte getilgt. Er verkennte, dass auch im meditativen Moment ein Element der Lehre enthalten ist.<br />Handkes langsame Heimkehr hat ihn in das alte Schatzhaus der Sprache zurückgeführt. Sein langer Rückzug aus der Avantgarde und ihrer hybriden Fortschrittsdoktrin hat nichts mit Epigonie zu schaffen. Die Frage, ob er ein Lyriker ist, hat er damit auf ihre immanente Spitzfindigkeit zurückgeführt. Außerdem hat er sie selbst auf die schönste Weise beantwortet, im Gedicht: „Der Lyriker sitzt schön im Haus / der lyrische Epiker geht über die Hügel / der epische Epiker wird auf die Schiffe verschlagen.“ Also was tut Handke? Er lässt seinen Lesern die Wahl, mit welcher der drei Figuren sie ihn identifizieren wollen. Ich würde mich für den lyrischen Epiker entscheiden, der über die Hügel geht. Aber wahrscheinlich ist das nur ein Drittel der Wahrheit.</span></b></div>
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<a href="http://www.faz.net/aktuell/feuilleton/buecher/rezensionen/belletristik/auf-dauer-kein-verlass-1517149.html" style="color: #002080; font-family: georgia, 'times new roman', verdana, arial, helvetica, sans-serif; font-stretch: normal; font-style: normal; line-height: normal; text-decoration: none;" target="_blank" title="Zur Quelle ➤ Harald Hartung: Auf Dauer kein Verlass"><b><span style="background-color: yellow; font-size: large;">Harald Hartung, Frankfurter Allgemeine Zeitung, 22.1.2008</span></b></a></address>
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<span style="background-color: yellow; font-size: large;">Innenwelt und Außenwelt</span></h4>
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<b><span style="background-color: yellow; font-size: large;">– Er sei kein Lyriker, sagt er. Die dennoch entstandenen Verse nennt er selbst „Gelegenheitsgedichte“. Tatsächlich ist seine lyrische Produktion im Vergleich zum umfangreichen Prosawerk und den dramatischen Arbeiten überschaubar; und auch daher nur selten im Blickfeld literarischer Kritik und germanistischer Untersuchungen. Der Autor sieht sich als Erzähler. Eigentlich seltsam, wo doch viele seiner Buchtitel poetischer klingen als manche Gedichtzeile: Ob „Wunschloses Unglück“ oder „Das Jahr in der Niemandsbucht“, „Das Gewicht der Welt“ oder „Der kurze Brief zum langen Abschied“. –</span></b></div>
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<b><span style="background-color: yellow; font-size: large;">Die Poetisierung der Welt wird von Peter Handke sogar zum Programm erhoben. Denn Handke ist „überzeugt von der begriffsauflösenden und damit zukunftsmächtigen Kraft des poetischen Denkens“, so der Autor in seiner Büchner-Preis-Rede. Poetisch klingt auch seine Erzählsprache. Wenn man Prosa ernst nähme, erklärt er in einem Gespräch mit Herbert Gamper, sei sie „genau so schwierig und genau so ein Prozess wie das Gedichteschreiben.“ Viele Textpassagen lesen sich deshalb fast wie Gedichte ohne Zeilenfall. In seiner Lyrik wiederum finden sich oft seitenlange sogenannte Erzähl- oder Prosagedichte. Diese, so scheint es manchmal, sind gerade da am besten, wo sie der Prosa am nächsten kommen. Eins ist jedoch klar: Handkes Lyrik ist notwendig im Kontext seiner Prosa und Theaterstücke zu lesen. Die Gedichte Peter Handkes sind jetzt neu erschienen.<em>Leben ohne Poesie</em> heißt der Band.<br />Er enthält in angegebener Reihenfolge: <em>Die Innenwelt der Außenwelt der Innenwelt</em> von 1969, die Gedichte aus <em>Das Ende des Flanierens</em> von 1977, durchmischt mit den Versen der fünf Notizbücher aus einem Zeitraum von 1977 bis 2005, das <em>Gedicht an die Dauer</em> von 1986 und die drei Langgedichte aus dem 1974 erschienenen Band <em>Als das Wünschen noch geholfen hat</em>. Die Anordnung der vier Teile entspricht nicht der Chronologie der Erscheinungsdaten. Auffällig ist vor allem die Schlussstellung der Gedichte aus <em>Als das Wünschen noch geholfen hat</em>. Die drei in veränderter Reihenfolge abgedruckten programmatischen Gedichte unter der Überschrift <em>Leben ohne Poesie</em> markieren einen Wendepunkt in Handkes Leben und Werk.<br />Gerade siebenundzwanzig Jahre ist Peter Handke, als 1969 sein erster Lyrikband<em>Die Innenwelt der Außenwelt der Innenwelt</em> erscheint. Dieser überrascht mit nach konventionellem Verständnis sehr unpoetischen Texten wie dem legendären Gedicht <em>Die Aufstellung des 1. FC Nürnberg vom 27.1.1968</em> oder der <em>Zugauskunft</em>; hier ein Ausschnitt des damals noch unveröffentlichten Textes vom Autor selbst gelesen:</span></b></div>
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<em><b><span style="background-color: yellow; font-size: large;">ZUGAUSKUNFT</span></b></em></div>
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<em><b><span style="background-color: yellow; font-size: large;">„Ich möchte nach Stock.“<br />Sie fahren mit dem Fernschnellzug um 6 Uhr 2.<br />Der Zug ist in Alst um 8 Uhr 51.<br />Sie steigen um in den Schnellzug nach Teist.<br />Der Zug fährt von Alst ab um 9 Uhr 17.<br />Sie fahren nicht bis nach Teist, sondern steigen aus in Benz.<br />Der Zug ist in Benz um 10 Uhr 33.<br />(…)</span></b></em></div>
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<b><span style="background-color: yellow; font-size: large;">Neben den in der Tradition des object trouvé stehenden enthält der Band überwiegend Texte in der Nachfolge der Sprechstücke und des ein Jahr zuvor erschienenen <em>Kaspar</em>. Dort, so Handke in seinem poetologischen Aufsatz „Ich bin ein Bewohner des Elfenbeinturms“, werde kein Bild mehr von der Wirklichkeit gegeben, werde die Wirklichkeit nicht mehr gespielt und vorgespiegelt, sondern mit Wörtern und Sätzen der Wirklichkeit gespielt. Ein Beispiel: Peter Handke selbst liest aus seinem Gedicht <em>Die Reizwörter</em></span></b></div>
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<em><b><span style="background-color: yellow; font-size: large;">(…)<br />die Wörter<br />die das Verbrechen betreffen<br />sind Reizwörter für den Schuldigen<br />sind Schuldwörter<br />(…)<br />das Reizwort des Streifenbeamten ist<br />QUERSCHLÄGER<br />(…)<br />das Reizwort des Mörders ist<br />LUFTZUG<br />mein Reizwort ist<br />jedes Wort<br />jedes Wort<br />ist ein Reizwort:</span></b></em></div>
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<em><b><span style="background-color: yellow; font-size: large;">URABSTIMMUNG<br />ROTKÄPPCHEN<br />MEHRZWECKTISCH<br />RESTPOSTEN<br />FLUCHTWEG<br />GÄNSEKLEIN<br />FREIWILLIG<br />NIEMANDSLAND<br />WÜHLMAUS<br />LAVA<br />ÄTZEN<br />WENN<br />WO
NOVARA</span></b></em></div>
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<b><span style="background-color: yellow; font-size: large;">In Gedichten wie <em>Steigerungen</em>, <em>Verwechslungen</em>, <em>Die Einzahl und die Mehrzahl</em>oder <em>Unterscheidungen</em> demonstriert Handke mit und an der Sprache, wie grammatikalische Schemata unser Sehen und Denken, Wahrnehmung und Bewusstsein prägen. Häufig geht er in seinen Sprachspielen von Gemeinplätzen aus, wiederholt sie, stellt die Worte und Satzmodelle so lange um, bis sich die Begriffe und ihre konventionellen Bedeutungen für den Moment des Gedichtes auflösen. Wie hier in seinem von ihm selbst gelesenen Gedicht <em>Die Wortfamilie</em>:</span></b></div>
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<em><b><span style="background-color: yellow; font-size: large;">(…)<br />ein Kreis von /<br />Gleichgesinnten;
ein Schwarm von /<br />Heuschrecken;<br />eine Kolonie von /<br />Blattläusen;<br />eine Flucht von /<br />Zimmern;<br />ein Rattenschwanz von /<br />Beschwerden;<br />eine Masse von /<br />Fußballtoten:</span></b></em></div>
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<em><b><span style="background-color: yellow; font-size: large;">eine Runde von /<br />Bankräubern<br />läßt einen Schwarm von /<br />Butterbrotpapier<br />vor dem Tresor zurück;<br />(…)<br />eine Rotte von /<br />Papiersäcken<br />platzt;<br />ein Kreis von /<br />Eingekreisten<br />ergibt sich;<br />ein Schock von /<br />feuchtem Schnee<br />klatscht nieder auf die Rudel /<br />der Lebenden<br />und die Horden /<br />der Toten<br />(…)</span></b></em></div>
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<b><span style="background-color: yellow; font-size: large;">Falsch wäre es, Handkes Gedichte auf Sprachkritik zu reduzieren. Mit seinen Texten wendet er sich grundsätzlich gegen jede individualitätsbedrohende Fixierung. Es gehe ihm aber nicht allein darum, Klischees zu entlarven, so der Autor im Aufsatz „Ich bin ein Bewohner des Elfenbeinturms“, „sondern mit Hilfe der Klischees von Wirklichkeit zu neuen Ergebnissen über die (meine) Wahrheit zu kommen.“ Handkes literarische Aufmerksamkeit geht gleichzeitig in zwei Richtungen: Sie gilt der Innenwelt und Außenwelt. Der Weg zu einem neuen Bewusstsein führt nur über die Dinge und Vorgänge außerhalb. Das Titelgedicht „Die Innenwelt der Außenwelt der Innenwelt“ zeigt das exemplarisch. Peter Handke liest selbst:</span></b></div>
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<em><b><span style="background-color: yellow; font-size: large;">(…)<br />Wir betreten unser Bewusstsein:<br />wie in einem Märchen ist es dort früher Morgen<br />auf einer Wiese im Frühsommer:<br />wenn wir neugierig sind;<br />(…)<br />Jemand sieht so viele gleichgültige Gegenstände<br />und verliert sich nach und nach aus dem Bewußstein −<br />dann sieht er einen Gegenstand<br />den er nicht sehen will<br />oder den er gern länger sehen möchte<br />oder den er gern erwerben möchte<br />so daß der Gegenstand ein Gegenstand<br />seiner Schaulust<br />seines Willens<br />seines Unwillens wird<br />und er ihn anschaut<br />oder ihn abwehrt<br />oder ihn haben will:<br />so kommt er wieder zu Bewußstsein<br />so kommen wir wieder zu Bewusstsein</span></b></em></div>
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<b><span style="background-color: yellow; font-size: large;">„Die Innenwelt der Außenwelt der Innenwelt“ ist in mehrfacher Hinsicht programmatisch. Der Titel kann als Formel zum Werkverständnis Peter Handkes gelesen werden. Drei Lesarten können als Schlüssel für Handkes literarische Verfahren und poetologisches Programm dienen. Zum einen: Im Wechsel von innen und außen geht es in erster Linie um einen Wahrnehmungsprozess. Entscheidend dabei ist der Blickwechsel. Jene spezifische Doppel-Perspektive, die gleichzeitig sowohl auf die Welt als auch auf das Ich, auf das Subjektive und das Objektive, das Konkrete und das Abstrakte ausgerichtet ist. Ziel ist die von selbstreflexiver Erkenntnis ausgehende Erkundung von intersubjektiv gültigen Sinnzusammenhängen.
Die zweite Lesart: Die Formulierung „Die Innenwelt der Außenwelt der Innenwelt“ bezieht immer den Widerspruch mit ein. Die These fordert die Antithese und das Setzen den Gegensatz. Sowie beim Schreiben auch nur der Ansatz eines Begriffs auftauche, so der Autor in seiner Büchner-Preis-Rede, „weiche ich – wenn ich noch kann – aus in eine andere Richtung, in eine andere Landschaft, in der es noch keine Erleichterungen und Totalitätsansprüche durch Begriffe gibt.“ Die dritte Verständnisebene: Die Formel von der „Innenwelt der Außenwelt der Innenwelt“ postuliert eine Art erkenntnistheoretischen Dreisprung: Es handelt sich um eine Bewegung, welche zwingend eine Gegenbewegung fordert und so fort. Das heißt, bei Handkes literarischen Verfahren handelt es sich um einen nie endenden Prozess. Nicht zufällig tauchen in Handkes poetischer Terminologie immer wieder Schlüsselwörter der Bewegung wie gehen, fließen oder mäandern auf. Was zählt, sind vor allem jene vom Autor immer wieder beschworenen Schwellenzustände zwischen zwei Bewegungen. <em>Aber ich lebe nur von den Zwischenräume</em>n heißt ein wichtiges Buch mit Gesprächen Herbert Gampers mit dem Autor. Ein entscheidender biografischer Umbruchsprozess findet für Handke im Zeitraum zwischen 1972 und 1974 statt. Dieser schlägt sich in einer radikalen Wende im Werk nieder. Der Autor wohnt mit seiner jungen Familie in einer Neubausiedlung in Kronberg bei Frankfurt. Dort schreibt er über Monate nichts als das Prosagedicht <em>Leben ohne Poesie</em>. Für Handke ist es ein lähmender Moment des Stillstands, der Schreibkrise, des drohenden Sprachverlusts. 1973 zieht er nach Paris und findet dort mit der 1975 erscheinenden Erzählung <em>Die Stunde der wahren Empfindung</em> seine literarische Stimme wieder. Übersehene Alltagsdinge werden dort zu verrätselten Zeichen für eine wieder als sinnvoll erlebte und beschreibbar gewordene Welt. Das Buch <em>Als das Wünschen noch geholfen hat</em>erscheint ein Jahr zuvor. Die darin enthaltenen Gedichte spiegeln die existenzielle Schwellenerfahrung wider. Im gleichnamigen ersten, noch in Kronberg entstandenen Gedicht beklagt der Autor ein als sinnlos empfundenes…</span></b></div>
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<em><b><span style="background-color: yellow; font-size: large;">LEBEN OHNE POESIE</span></b></em></div>
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<em><b><span style="background-color: yellow; font-size: large;">In diesem Herbst ist die Zeit fast ohne mich<br />vergangen<br />(…)
In den Zeitungen stand alles schon schwarz auf weiß<br />und jede Erscheinung erschien von vorneherein als ein Begriff<br />(…)<br />Söldner hatten sich in die Sprache verirrt und<br />hielten jedes Wort besetzt<br />erpreßten sich untereinander<br />indem sie die Begriffe als Losungsworte<br />gebrauchten<br />und ich wurde immer sprachloser<br />Ich<br />(…)<br />wollte (…) aufhören<br />schon bevor ich zu schreiben anfing<br />Dann mit der Schamlosigkeit<br />des Sich-Ausdrückens<br />ist das Vorausgedachte von Wort zu Wort<br />gegenstandsloser geworden<br />und wirklich mit einem Schlag<br />wußte ich wieder was ich wollte<br />und bekam eine Lust auf die Welt<br />(…)<br />Ich schrieb richtig MIT<br />sagte lange Verschwiegenes<br />und dachte dann wörtlich<br />„So jetzt kann das Leben wieder weitergehen“<br />(…)<br />Wie stolz bin ich auf das Schreiben gewesen!</span></b></em></div>
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<b><span style="background-color: yellow; font-size: large;">In einem Gespräch mit Heinz Ludwig Arnold 1975 in Paris bestätigt Handke, daß die <em>Stunde der wahren Empfindung</em> die Erzählung zu den Gedichten sei. Handke überschreitet hier deutlich den Bereich der sprach- und erkenntniskritischen Systemattacken der Sprechstücke und erweitert die thematisierten Probleme der Wahrnehmung und Kommunikation um die der Existenz. Sein neues Hauptanliegen: Wie kann man das Glück darstellbar machen? Auch die Entwicklung im zweiten Gedicht des Bandes <em>Das blaue Gedicht</em> lässt sehr viel Ähnlichkeit mit der Bewusstseinsbewegung in der <em>Stunde der wahren Empfindung</em>erkennen:</span></b></div>
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<em><b><span style="background-color: yellow; font-size: large;">Tief in der Nacht<br />(…)<br />fing ich bei Bewußtsein<br />zu klumpen an<br />(…)<br />Vor Bedrückung<br />gab es plötzlich keine Erinnerung mehr<br />keinen Zukunftsgedanken<br />Ich lag langausgestreckt in meiner Angst<br />(…)<br />analphabetisch vor der Entsetzlichkeit außer mir –<br />(…)<br />Und dann
auf einmal<br />(…)<br />buchstabierend vor Todesangst<br />(…)<br />ordneten sich die unbeschreiblichen Einzelheiten<br />der finsteren Neuzeit<br />zu ihrem verlorenen Zusammenhang<br />(…)<br />der Sinn ist wieder da!<br />(…)<br />und jedes für sich Einzelne<br />verschränkte sich ineinander:<br />die Blätter vor dem Fenster<br />das sich wach singende Kind<br />ein Fachwerkhaus in der Dämmerung<br />das helle Blau an den Bildstöcken<br />aus der Zeit<br />als man noch an die Ewigkeit glaubte<br />(…)<br />Zu existieren<br />Fing an
Mir etwas zu bedeuten −<br />(…)</span></b></em></div>
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<b><span style="background-color: yellow; font-size: large;">Ebenso plötzlich und unerwartet, wie er sich einstellt, kann der neu gewonnene Sinn, „das zwei-einige poetische Weltgefühl (…) zwischen zwei Schritten“, wie es im abschließenden Gedicht <em>Die Sinnlosigkeit und das Glück</em> heißt, aber auch wieder verloren gehen.“ Alles wird zu einem einzigen „Windbruch“, zum „Durcheinander. Und alles ausdruckslos.“ So lange, bis in einem unerwarteten Moment etwas Neues im Blickfeld erscheint, das Gefühl zurückkehrt und der unbeschreibliche Tag wieder beschreibbar wird. Täglich neu muss sich das lyrische Subjekt in der fundamentalen Spannung zwischen Heil und Hoffnungslosigkeit, Verdammung und Verklärung behaupten.
Dieser dauernde Wechsel von Verzweiflung und Zuversicht, ernüchternder Realität und emphatischer Utopie bleibt das hervorstechende Charaktermerkmal von Handkes mäanderndem Schreiben – auch in den 1977 zum ersten Mal in einem Lyrikband erscheinenden Gedichten unter dem Titel <em>Das Ende des Flanierens</em>. Das Glück kennt keine Dauer, immer wieder bricht der neu gewonnene Zusammenhang zu bedrohlichen Einzelheiten auseinander; wie hier im Gedicht <em>Die Verlassenheit</em>:</span></b></div>
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<em><b><span style="background-color: yellow; font-size: large;">DAS ENDE DES FLANIERENS</span></b></em></div>
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<em><b><span style="background-color: yellow; font-size: large;">Ruckhaft stand ich auf<br />(…)<br />und die Dinge lagen zur Hand<br />wie ausgerissene Pflastersteine<br />(…)<br />Es gab bis über die Höhe der Augen<br />Keine Außenwelt mehr</span></b></em></div>
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<b><span style="background-color: yellow; font-size: large;">Im neu herausgegebenen Sammelband <em>Leben ohne Poesie</em> sind die Gedichte vom<em>Ende des Flanierens</em> „gemixt“, so der Ausdruck Peter Handkes, mit Versen aus den 1977 – 2005 erschienenen Notizbüchern und Journalen. In dieser Zeit entsteht zwischen 1979 bis 1981 auch Handkes Tetralogie, wo er in Alaska, auf dem Mont Saint Victoire oder in der Beschreibung des Kindes die Momente poetischer Zusammenschau festzuhalten versucht. Jene Augenblicke, in denen, so Handke in „Das Gewicht der Welt“, Erinnerung und Sehnsucht, Denken und Fühlen, Körper und Seele, Einzelmensch und Gesellschaft zu einem Gefühl zusammenwirken. Wie hier im Gedicht <em>Das Ende des Flanierens</em>, wo</span></b></div>
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<em><b><span style="background-color: yellow; font-size: large;">(…)<br />Lebensaugenblicke springen wie Katzen<br />zwischen den Gräbern der großen Friedhöfe<br />Die trockenen Ahornsamenbüschel sirren<br />und die Wolken ziehen am Himmel<br />(…)<br />Zufrieden mit einer Arbeit ging ich ins Café<br />(…)<br />Pilger mit den schmerzblinden Augen<br />Bevor du einschlägig bekanntgemacht bist<br />von den uferwechselnden Flaneuren:<br />Gesammelt an der Schreibmaschine<br />halte ich deine offiziell nicht bestätigte<br />Zwischenzeit fest<br />Unterschütterlich stehen meine Worte da<br />für dich<br />ohne mich</span></b></em></div>
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<b><span style="background-color: yellow; font-size: large;">Auch im 1986 erschienenen Langedicht und vierten Teil des Bandes, dem <em>Gedicht an die Dauer</em>, geht Handkes literarische Suche nach einem intersubjektiv gültigen Moment weiter. Er ist auf Gegenstände, Situationen und Verhaltensweisen aus, so der Germanist Peter Pütz, deren komponiertes Zeichenensemble jeweils zum Suchbild für noch nicht besetztes und tief bedrohtes Dasein wird. In dem fünfundfünzig Seiten langen poetischen Text sucht er jene immer wieder von Handke beschriebenen Schlüssel-Orte auf, wo er dem Glück für eine kurze Weile Dauer verleihen konnte. Da ist zum Beispiel der Griffener See:</span></b></div>
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<em><b><span style="background-color: yellow; font-size: large;">GEDICHT AN DIE DAUER</span></b></em></div>
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<em><b><span style="background-color: yellow; font-size: large;">(…)<br />In der Kindheit begleitete ich den Großvater dorthin zum Futterschneiden.<br />(…)<br />Wir stießen vom Ufer ab
in einem fast viereckigen Nachen,<br />(…)<br />und stakten durch dichtes Schilf hinaus zu der Stelle,<br />(…) wo die grünlichen saftigen Wasserpflanzen standen,<br />Im Augenblick liegt ein Halm, längst vertrocknet,<br />neben mir auf dem Schreibtisch,<br />(…) es knistert in meinen Händen,<br />(…) und ich höre wieder die Frühregentropfen von damals<br />in unseren Nachen fallen.<br />(…)</span></b></em></div>
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<b><span style="background-color: yellow; font-size: large;">Und weiter:</span></b></div>
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<em><b><span style="background-color: yellow; font-size: large;">(…)<br />Ja, diese Sache, der mit den Jahren die Dauer entspringt,<br />sie ist wesentlich unscheinbar,<br />der Rede nicht wert,<br />wohl aber es Festhaltens durchs Schreiben:<br />Denn sie muß meine Hauptsache sein.</span></b></em></div>
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<b><span style="background-color: yellow; font-size: large;">Den Abschluss des Gedichtbandes <em>Leben ohne Poesie</em> bildet aber nicht das 1986 veröffentlichte <em>Gedicht an die Dauer</em> und auch nicht die im Zeitraum von 1977 bis 2005 erschienenen Verse aus <em>Das Ende des Flanierens</em> und den Journalen. Der vierte und letzte Teil des Buchs besteht aus den drei schon 1974 in <em>Als das Wünschen noch geholfen hat </em>veröffentlichten Langgedichten aus der Zeit des Umbruchs und des Umzugs von Kronberg nach Paris. Diese sind zudem nicht in ihrer ursprünglichen Reihenfolge angeordnet. Das zeitlich zuerst, noch in Deutschland entstandene Gedicht <em>Leben ohne Poesie</em> steht hier am Schluss. <em>Leben ohne Poesie</em> ist der vierte Teil und der komplette Gedichtband überschrieben.<br />Diese exponierte Positionierung kann kein Zufall sein. Das Gedicht markiert den Zeitpunkt vor einem radikalen Neuanfang. Im Moment absoluter Sprachlosigkeit gelingt es dem Schriftsteller-Ich, sich selbst aus dem Nichts heraus neu zu erfinden. Diese existenziellen Schwellenzustände sind Augenblicke höchster Gefährdung, bergen aber auch das größte poetische Potenzial. Diese Momente sind für den Schriftsteller die entscheidenden. Da, wo nichts mehr hilft und nichts anderes mehr gilt, so Peter Handke in seiner Büchner-Preis-Rede, „als das hoffnungsbestimmte poetische Denken, das die Welt immer wieder neu anfangen läßt, wenn ich sie in meiner Verstocktheit schon für versiegelt hielt, und es ist auch der Grund des Selbstbewußtseins, mit dem ich schreibe.“<br />Handke wird es wohl so gewollt haben: die spartanische Neuausgabe seiner Gedichte mit kargen editorischen Anmerkungen, ohne Anhang, Kommentar, ergänzendes Vor- oder Nachwort – ein Understatement, das dem Autor ansonsten gar nicht eigen ist. Vielleicht möchte er seine Lyrik nicht überbewertet wissen. Eine Poesie, der oft die Bodenhaftung fehlt, das prosaische Gegengewicht der langsamen, mäandernden Erzählung.</span></b></div>
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<b><span style="background-color: yellow; font-size: large;">Michaela Schmitz, Deutschlandradio, 24.3.2008</span></b></div>
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<span style="background-color: yellow; font-size: large;">Der prosaische Lyriker</span></h4>
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<b><span style="background-color: yellow; font-size: large;">In ihrem Nachwort berichtet Ulla Berkéwicz von den Mühen, die es sie gekostet hat, Handke zur Publikation eines Bandes mit seinem Lyrikbestand zu bewegen – er habe abgelehnt mit der Begründung, er sei kein Lyriker. Wie das vorliegende Buch beweist, hatte er schließlich doch eingewilligt. Freilich könnte man ja auch fragen, was die Sammlung aus bereits vorhandenen Lyrikbänden soll – der Fan und Kenner wird die „Originale“ bereits haben. Stellen wir uns also vor, es wäre Musik: da ist es durchaus üblich, auch eine „Das Beste von …“-Kompilation zu haben. Also schmökern wir etwas in Handkes Gedichten aus dem Zeitraum 1969 bis 1986.<br />Den ersten Teil bilden die wesentlichen Texte aus <em>Die Innenwelt der Außenwelt der Innenwelt</em> – im zweiten Teil finden sich Gedichte aus <em>Das Ende des Flanierens </em>und jene, die in den fünf sogenannten <em>Notizbüchern</em> enthalten sind. Handke selbst hat sie „gemixt“ und teilweise leicht überarbeitet. Den dritten Teil bildet das <em>Gedicht an die Dauer</em> – der vierte Teil <em>Leben ohne Poesie</em> entstammt dem Band <em>Als das Wünschen noch geholfen hat</em>.<br />Früher hatte sich Handke noch mit den wesentlichen Dingen der Existenz beschäftigt – z.B. mit der Erfahrung, etwas zum ersten Mal in seinem Leben wahrgenommen zu haben. Zu bedenken gilt es wohl dabei, dass den meisten Menschen die meisten Ersterfahrungen überhaupt nicht als solche bewusst sein dürften – das wäre andererseits überhaupt der Ausweg aus der Empfindung des<em>taedium vitae</em>: jede Erfahrung in ihrer jeweiligen Konstellation wieder als eine neue (= erste) zu empfinden. Konstitutiv für unser Leben ist wohl auch die Zeit – mit welch erschreckender Logik dichtete Handke damals noch: <em>„Die Zeit ist ein Hauptwort. Das Hauptwort bildet keine Zeit. Da die Zeit ein Hauptwort ist, bildet die Zeit keine Zeit.“</em><br />Bei Handke hat man das Gefühl, dass das sogenannte Lyrische Ich sehr identisch mit ihm selbst ist – und dass dieses Lyrische Ich eher sehr prosaisch ist. Nein, ein begnadeter Lyriker ist Handke gerade nicht – und es geht auch eher ums Begreifen als ums Ergriffenwerden. Womit wir über den Inhalt ein formales Problem bekommen: handelt es sich manchmal wirklich und eigentlich noch um Lyrik?! Eher wohl um Philosophie, wenn uns Handke die Absurditäten des Lebens um die Ohren haut! Er hat schon immer zu denjenigen gehört, die scheinbar Banales für uns auffällig gemacht haben. Allerdings packt er die menschliche Kernproblematik beim Schopf, wenn er etwa über <em>Die Besitzverhältnisse </em>räsoniert: <em>„Mit dem Wort ICH fangen schon die Schwierigkeiten an.“</em> Oder mit welchem Recht benutzt man das Possessivpronomen: <em>„MEINE Erinnerungen“</em> – <em>„MEIN Land“</em> – <em>„MEIN Gott“</em>?! Allerdings der steckbrieflich Gesuchte beteuert vor seinem Bild: <em>„das bin nicht ICH.“</em><br />Oder wem ist schon einmal bewusst geworden, wie viele Rollenzuweisungen wir erdulden müssen, wie sie uns Handke in den <em>Veränderungen im Lauf des Tages</em>vorexerziert – wir verwandeln uns unmerklich in einen Fußgänger, einen Kunden, einen Antragsteller, einen Neugierigen, einen Wanderer, ein Objekt, ein Hindernis. Mit die nachhaltigsten Textpassagen Handkes sind wohl <em>Die drei Lesungen des Gesetzes</em>, wo es nach der Verkündigung der eingeschränkten Rechte des Staatsbürgers heißt: <em>„Allgemeiner, stürmischer, nicht enden wollender Beifall.“</em>Oder die Texte, in denen versuchsweise etwas verglichen oder verwechselt wird, in denen Wahrnehmungen variiert werden – und eigentlich kulminiert doch alles in der Bemerkung: <em>„jedes Wort / ist ein Reizwort“</em> – und noch erschreckender: <em>„schon erscheint mir jeder Satz als ein Traum von dem, was ich wahrnehme.“</em> Handke forderte immer wieder von der Literatur die Auflösung konventionalisierter Bedeutungen, den Zweifel an der eigenen Wahrnehmung. Als Konsequenz musste er der Literatur den Anspruch auf Realismus verweigern.<br />Leider sind die Texte in <em>Das Ende des Flanierens</em> heute eher noch nichtssagender als bei ihrem ersten Erscheinen (1980). Großartig dagegen nach wie vor das Langpoem <em>Gedicht an die Dauer</em> (1986), das man lesen kann als ekstatischen Essay. Das Schlusskapitel bildet sozusagen die Kompilation <em>Leben ohne Poesie</em> (1974), wo tapfer Erinnerungen und Beobachtungen und Reflexionen addiert werden – oft sehr prosaisch, so dass der Ausruf am Ende eher zynisch klingt: <em>„Wie stolz bin ich auf das Schreiben gewesen!“</em> Denn schließlich muss die freche Frage bleiben: wer hat mehr Poesie: Handke oder das Leben?!</span></b></div>
SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0tag:blogger.com,1999:blog-4280831336342556602.post-38608748071653471692015-06-04T08:24:00.002-07:002015-06-04T08:24:34.118-07:00 übersetzt von Peter Handke“<h1 id="newsitem-title" property="name" style="background-color: white; font-family: Verdana, Helvetica, Arial, sans-serif; font-size: 1.5em; margin: 30px 0px 15px;">
… übersetzt von Peter Handke“ am INTRAWI</h1>
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<b><span style="background-color: lime; font-family: Courier New, Courier, monospace; font-size: large;">http://www.uibk.ac.at/ipoint/blog/1321332.html</span></b></div>
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<time datetime="2015-06-03T14:31:00" id="newsitem-date" property="datePublished"><span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: lime;">03.06.2015</b></span></time><div class="lead entry-summary" id="newsitem-lead" style="line-height: 1.5em; margin: 0px 0px 10px;">
<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: lime;">Vom 28. bis 30.5.2015 fand am Institut für Translationswissenschaft (INTRAWI) unter der Ägide der beiden umsichtigen Organisatoren Fabjan Hafner (Robert-Musil-Institut für Literaturforschung, Universität Klagenfurt) und Wolfgang Pöckl (INTRAWI, Universität Innsbruck) die Tagung „… übersetzt von Peter Handke“ statt.</b></span></div>
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<figure id="newsitem-image" property="primaryImageOfPage" style="display: table-column; float: right; margin: 3px 0px 10px 10px;" typeof="ImageObject"><a href="https://draft.blogger.com/null" property="contentUrl" style="color: #003362; display: table-cell; text-decoration: underline;" title="Fabjan Hafner in lebhafter Interaktion mit dem Publikum bei seinem Eröffnungsvortrag. (Foto: Martina Mayer)"><img alt="blog_handke.jpg" class="photo" property="thumbnailURL" src="http://www2.uibk.ac.at/images/320x245/ipoint/blog/images/2015/blog_handke.jpg" style="border: 0px; display: table-cell; vertical-align: bottom;" /></a><figcaption class="captiontext" id="newsitem-image-description" property="caption" style="caption-side: bottom; display: table-caption; line-height: 1.2em !important; padding: 4px; text-align: right; width: 313.59375px;"><em><span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: lime;">Fabjan Hafner in lebhafter Interaktion mit dem Publikum bei seinem Eröffnungsvortrag. (Foto: Martina Mayer)</b></span></em></figcaption></figure><div style="line-height: 1.5em; margin-bottom: 1em;">
<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: lime;">Diese Veranstaltung darf getrost als einzigartig bezeichnet werden, weil Handkes umfangreiches übersetzerisches Œuvre bisher nur wenig Betrachtung in der wissenschaftlichen Diskussion fand. In den facettenreichen Vorträgen der hochkarätigen internationalen Experten wurde der Übersetzer Handke nun eindrucksvoll porträtiert.</b></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: lime;">Fabjan Hafner eröffnete die Tagung mit einem Vortrag über Peter Handke als schreibenden Übersetzer – eine Rollenzuschreibung, die auf den ersten Blick erstaunlich anmuten mag, vom Vortragenden jedoch eloquent vermittelt und als ein Phänomen der „Beidhändigkeit“ bezeichnet wurde. Die Archivarin Vanessa Hannesschläger (Wien) analysierte in akribischer Detektivarbeit Handkes Vorgehensweise bei seinen Übersetzungen <em>Prometheus, gefesselt </em>(1985),<em> Ödipus in Kolonos </em>(2002) und <em>Helena</em>(2009) aus dem Altgriechischen. Im Anschluss wandte sich die klassische Philologin und Germanistin Bettina Feuchtenhofer (Wien) Handkes Übersetzungen des Aischylos und des Sophokles zu. Sie zeigte Handkes zwar ausgeprägte, aber doch nicht immer konsistente Liebe zum Detail in der Übersetzung dieser antiken Dramatiker auf. Die Reihe der Vorträge über Peter Handkes Übersetzungen aus dem Altgriechischen wurde von Oswald Panagl (Salzburg), Professor emeritus für historisch-vergleichende und allgemeine Sprachwissenschaft, beschlossen. Er beleuchtete Handkes Beziehung zu sowie seinen Umgang mit den antiken Autoren und bot damit einen Einblick in Handkes Reflexion über den eigenen Schaffensprozess, wodurch die beiden vorangegangenen Beiträge aufs Beste umrahmt wurden. Handkes Übersetzungen aus dem Altgriechischen folgte eine Schwerpunktverlagerung hin zum Slawischen und Englischen, die von der freien Übersetzerin und Publizistin Urška Černe (Maribor) eingeleitet wurde.</b></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: lime;"><img alt="Das interessierte Publikum bei der Tagungseröffnung. (Foto: Martina Mayer)" height="232" src="http://www2.uibk.ac.at/images/350x232/ipoint/blog/images/2015/blog_handke_publikum.jpg" style="border: 0px; vertical-align: bottom;" title="Das interessierte Publikum bei der Tagungseröffnung. (Foto: Martina Mayer)" width="350" /></b></span><div class="captiontext" style="line-height: 1.5em; margin-bottom: 1em; padding: 2px; width: 343px;">
<em><span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: lime;">Das interessierte Publikum bei der Tagungseröffnung. (Foto: Martina Mayer)</b></span></em></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: lime;">Sie behandelte Handkes zweites Übersetzungsprojekt, die Tandemübersetzung des Romans <em>Zmote Dijaka Tjaža </em>(<em>Der Zögling Tjaž) </em>von Florjan Lipuš in Zusammenarbeit mit seiner Slowenischlehrerin Helga Mračnikar. Diese war übrigens eigens zur Tagung angereist und gewährte im anschließenden Gespräch mit Fabjan Hafner Einblicke in die genaue Vorgehensweise Handkes, in seinen „Entzifferungsprozess“, den sie als Methode seiner übersetzerischen Praxis kennengelernt hatte. Die Übersetzerin und Konferenzdolmetscherin Marija Dabič (Innsbruck/Wien) fokussierte in ihrem Vortrag Handkes Übersetzungen der zwei Gedichte <em>Možda spava (Vielleicht schläft sie) </em>von Vladislav Petković („Dis“) und <em>Slepi Putnici</em> <em>(Blinde Passagiere) </em>von Zoran Bognar aus dem Serbischen, die in Zusammenarbeit mit Žarko Radaković entstanden sind. Hierbei ging es nicht um das Übersetzen der Werke aus der serbischen Sprache in die deutsche, sondern um das Übersetzen der serbischen Kultur. Anhand Handkes Übersetzung von Shakespeares <em>The Winter‘s Tale (Wintermärchen)</em>thematisierte die Translations- und Literaturwissenschaftlerin Katharina Walter (Innsbruck) in ihrem Vortrag das Spannungsverhältnis zwischen Texttreue und kreativem Selbstausdruck. Dazu präsentierte sie einen höchst aufschlussreichen Vergleich zwischen dem Original und den Übersetzungen von Dorothea Tieck und Peter Handke. Thomas Edeling (Banská Bystrica), Lektor an der Wirtschaftsfakultät der Matej-Bel-Universität, ging auf die intersemiotische Übersetzung von Text in Film im Rahmen der Adaptation ein und behandelte Handkes Rolle als Drehbuchautor für Wim Wenders’ Film <em>Falsche Bewegung</em>.</b></span></div>
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<em><span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: lime;"><img alt="Die Ausstellung der veröffentlichten Übersetzungen und handschriftlichen Proben fand großen Anklang. (Foto: Martina Mayer)" height="332" src="http://www2.uibk.ac.at/images/250x332/ipoint/blog/images/2015/blog_handke_anklang.jpg" style="border: 0px; vertical-align: bottom;" title="Die Ausstellung der veröffentlichten Übersetzungen und handschriftlichen Proben fand großen Anklang. (Foto: Martina Mayer)" width="250" /></b></span></em><div class="captiontext" style="line-height: 1.5em; margin-bottom: 1em; padding: 2px; text-align: right; width: 245px;">
<em><span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: lime;">Die Ausstellung der veröffentlichten Übersetzungen und handschriftlichen Proben fand großen Anklang. (Foto: Martina Mayer)</b></span></em></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: lime;">Die Literaturwissenschaftlerin Joana Moura (Lissabon) präsentierte Handkes Sichtweise zur Person und Stellung des Übersetzers: Der Übersetzer ist laut Handke physisch präsent und kein Diener des Autors; er lässt seine Erfahrungen und Gefühle in die Übersetzung einfließen. Der Germanist Dirk Weissmann (Paris) beschäftigte sich mit Selbstübersetzungen Handkes aus dem Französischen, die zwischen 2001 und 2012 entstanden waren: <em>Pourquoi une cuisine? (Warum eine Küche), Jusqu’à ce que le jour vous sépare ou Une question de lumière (Bis daß der Tag euch scheidet oder Eine Frage des Lichts) </em>und <em>Les Beaux jours d’Aranjuez (Die schönen Tage von Aranjuez)</em>. Den Abschluss der Tagung bildete der Vortrag von Wolfgang Pöckl (Innsbruck), der Handkes Übersetzungen von Patrick Modiano einem kritischen Übersetzungsvergleich unterzog. Dabei legte er einerseits ein Augenmerk auf Kondensationsstrategien, auf die diatopische Mischung (Austriazismen neben Teutonismen) in den Texten und auf die Behandlung von Realien, verwies andererseits jedoch auch auf so manchen Übersetzungsfehler, der aufmerksamen Lesern nicht entgeht.</b></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: lime;">Diese mannigfaltigen Blicke auf Peter Handkes übersetzerisches Werk stellten eine beträchtliche Erweiterung der wissenschaftlichen Forschung zu diesem Thema dar. Außerdem wurde die Tagung von einer Ausstellung der in Buchform publizierten Übersetzungen Peter Handkes sowie zahlreicher Kopien handschriftlicher Proben seiner Übersetzungsarbeit umrahmt. Ihren Ausklang fand die Tagung in einer gemeinschaftlichen, kulinarisch abgerundeten Abschlussdiskussion aller Vortragenden sowie einem Ausflug auf die Hungerburg, wo den interessanten Ein-, Über- und Durchblicken zu Peter Handke ein wunderschöner Ausblick auf die Stadt folgte. Damit fand die in entspannter Atmosphäre verlaufene Tagung einen würdigen Abschluss. Ein herzliches Dankeschön gilt den großzügigen Sponsoren: dem Dekanat der Philologisch-Kulturwissenschaftlichen Fakultät der Universität Innsbruck, dem Land Vorarlberg, dem Forschungszentrum <em>Prozesse der Literaturvermittlung</em> und dem Frankreich-Schwerpunkt der Universität. Der größte Dank sei allerdings allen Tagungsteilnehmern sowie dem interessierten Publikum gegenüber zum Ausdruck gebracht.</b></span></div>
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<em><span style="font-family: Courier New, Courier, monospace; font-size: large;"><b style="background-color: lime;">(Maria Artho, BA BA & Anna Ortner, BA<br />und Irina Schulthess, BA – Institut für Translationswissenscha</b></span></em></div>
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SUMMA POLITICOhttp://www.blogger.com/profile/11214697505465094305noreply@blogger.com0