Please use this identifier to cite or link to this item: http://hdl.handle.net/2440/76726
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dc.contributor.authorHajduk, S.en
dc.date.issued2012en
dc.identifier.citationArcadia, 2012; 47(2):287-305en
dc.identifier.issn0003-7982en
dc.identifier.issn1613-0642en
dc.identifier.urihttp://hdl.handle.net/2440/76726-
dc.description.abstractIs self-reflexivity, as is often maintained, a structural characteristic of literary modernity? To what extent does self-reflexivity provide a specifically modern as well as qualitative criterion which helps to distinguish between aesthetically experimental texts and less advanced ones? Proceeding from a problematization of the concept of modernity, I explore these questions with reference to E.T.H. Hofmann's Prinzessin Brambilla. Labelled a, Capriccio,' the narrative unfolds as an arabesque, in which subjectivity and textuality constitute each other, so that personal as well as semantic identity appear to be multiple. Just as the mythic, mirror brightness' of the well Udar releases from the constraint of being identical with oneself by transfiguring the "I" into a reflexive medium of alterity which is sensually perceivable, so the narrative dynamics of the text lead one to produce a reading of it as a figuration of transgression. The thematic analysis leads to a transgression of self-reflexivity, which--on the level of form--is made comprehensible as a narratological transgression. The pluralisation of the I, which is narratively staged through the mirroring of the main character in others, corresponds also with the theatrical self-image of the actor. All in all it is evident that Hoffmann's narrating en abmie organizes a dimension of the aesthetics of the text as well as of its reception, in which the literary dissolution of the Self gives way to reflexions of reading devoid of a subject. The innovative aspect of this study is the insight it provides into the dynamics of transgression inherent to the binarity of self-reflexivity. Only a poetologically transgressive self-reflexivity qualifies it to be a distinguishing criterion of literary modernity. In taking the aesthetic structures of subjectivity to the threshhold of their deconstitution, this poetically configured subliminality conveys a specifically modern sense of crisis.en
dc.description.statementofresponsibilityStefan Hajduken
dc.language.isoenen
dc.publisherWalter de Gruyter & Coen
dc.rightsCopyright status unknownen
dc.source.urihttp://go.galegroup.com/ps/i.do?id=GALE%7CA322563644&v=2.1&u=adelaide&it=r&p=AONE&sw=w&asid=e7b34c9bd7ba7904b8f6f408de9e1324en
dc.subjectSelf-reflexivity; modernity; literary aesthetics; subliminality; narratologyen
dc.titleSubliminale Modernität: Selbstreflexive strukturen in E.T.A Hofmanns Prinzessin Brambillaen
dc.title.alternativeSubliminale Modernitat: Selbstreflexive strukturen in E.T.A Hofmann's Prinzessin Brambillaen
dc.typeJournal articleen
dc.identifier.rmid0020125465en
dc.identifier.doi10.1515/arcadia-2012-0023en
dc.identifier.pubid21283-
pubs.library.collectionGerman publicationsen
pubs.verification-statusVerifieden
pubs.publication-statusPublisheden
dc.identifier.orcidHajduk, S. [0000-0003-3201-6763]en
Appears in Collections:German publications

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