The Tin Drum (German: Die Blechtrommel) is a novel by Günther Grass that has been adapted into a movie, which won the Academy Award for best. The Tin Drum (German: Die Blechtrommel) is a novel by Günter Grass. The novel is the first book of Grass's Danziger Trilogie (Danzig Trilogy). AlthoughThe Tin Drumhas often been called one of the great novels of the 20th century, most critics have been baffled in attempting to draw its apparent chaos i.
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PDF | In the novel The Tin Drum (Die Blechtrommel, ) Günter Grass depicts three periods of German history: pre-war time, World War II, and post-war time. Being Günter Grass: Appropriations of the Tin Drum Author in the British Media. Rebecca Braun. iii The Echo of Die Blechtrommel in Europe Studies on the. Acclaimed as the greatest German novel written since the end of World War II, The Tin Drum is the autobiography of thirty-year-old Oskar Matzerath who has lived through the long Nazi nightmare and who, as the novel begins, is being held in a mental institution. Willfully stunting.
Sapiro, G. From Literature Resource Center. Are we the better for this? Both critics are ultimately arguing for an essentially positive, processual understanding of the term. Download pdf. For other uses, see Tin drum.
See also the tributes made to Grass on his death, e. Ascherson Grass does not appear to have made any attempt to publish the poem in the British media, but, in the global furore that followed, it was reported upon at length in the UK, and an extract from the poem was published in translation by Breon Mitchell who had just re-translated The Tin Drum in the Guardian. In various ways, this newsworthiness is more or less explicitly linked back to The Tin Drum.
Just as The Tin Drum provoked by breaking taboos, the poem was clearly designed to function as a provocative gesture. This is in itself a perfectly sound explanation of how Grass came to hold a certain political belief and decide to make it public. The provocation resides instead in the way Grass pit- ches the importance of this belief to the rest of the world. He effectively 40 Anon.
These moves stem from the patterns of his Tin Drum author- ship as they have been ritually reinforced over the years by the global media. Firstly, by deliberately presenting his thoughts in the form of a poem by a Nobel laureate, Grass sets paratextual parameters that imply his words will carry some greater human truth, as is conventionally the stuff of literature, even in the mode of politically committed writing.
Second, the strophes are all loosely structured around the dichotomy of remaining silent versus speaking out, such that the decision to move from one state to the next, together with some wider, but limited, reflection on the speaking context of this transition, is the main referent within the poem — the actual content of what is to be said is accorded far less space, so that when he does finally make some concrete points or recommendations, they fall flat.
Such triumph of the medium over the message erases any final chance the poem may have had to function as a piece of protest literature. This is provocative play with the reader in the extreme. The circularity of this logic is unsurpassable. However, they do so now in order to try to explain, very belatedly, first the broad political phenomenon and then the per- sonal political contradictions of the public intellectual. Nicholas Blincoe in The Telegraph is typical in this respect.
This is why Grass won the Nobel prize. This represents a subtle but important shift from the portraits that were cast of the indefatigable ur-German of the s. Consider in this context the description of Grass offered by Catrina Stewart on 9 April for The i: Sometimes [Grass] may seem a little absurd to English-speaking readers.
It is a long time, after all, since we decided there was no role for intellec- tuals, artists and mere writers in politics. The idea that politics should be the subject of intellectual argument rather than sound-bites and photo- opportunities is regarded as ridiculously out-of-date.
Even here in Scotland our arguments about the relative merits of independence or union are for the most part conducted in shallow and banal terms. There is little, if any room, for someone like Grass in the English-speaking world. Are we the better for this? See the docu- mentation in German Studies Review, 36 However, his experience of circulating as both a respected and a reviled sub- ject of global newswires has without a doubt affected his own belief in the value of his public authorial persona, and over the past two decades the British media has engaged with this at some length.
From the perspective of a country that has little to no tradition in this kind of politicised world authorship, however, Grass represents a model that seems so quirky and historical — so eccentric — that select voices within the British media have increasingly come out in support of the author where his allies elsewhere have all but vanished.
The inherently retarding gesture within the circulatory practice of world authorship that this chapter has been tracing thus emerges as the saving grace for the beleaguered national author of world renown. It not only allows the culture that the author putatively represents to be experienced, at one remove, by a variety of detached onlookers who hail from a different time and place to the original text and its immediate wider public echo.
However, in their very late acknowledgement of the contemporary political context in which the Tin Drum author has in fact always been operating, the twenty-first century British media have provided a surprisingly tolerant intellectual echo for this beleague- red German writer.
Bibliography Anderson, L. Ascherson, N. Blincoe, N. Braun, R. Braun R. Brunssen eds. Piper eds. Brunssen, F.
Burke, S. From Plato to the Postmodern: A Reader Edinburgh, Collini, S. Intellectuals in Britain Oxford, Damrosch, D. Princeton, Durzak, M. Butler, and R. Evans eds. Essays Presented to Wilfried van der Will Basingstoke, , — Engel, H. Frankfurt am Main, Figes, E. Fine, R.
Fischer, J. Kesting ed. German Studies Review, 36 Zur Pathogenese eines Markenbilds: Die Literaturkritik der Massenmedien, — Eine Untersuchung mit Hilfe datenverarbeitender Methoden Meisenheim, Greene, R. Hillman, R. Taberner ed.
Hoesel-Uhlig, S. Prendergast ed. Hofmann, M. Jaggi M. Kendal, A. Koch, M, Weimaraner Weltbewohner: Leeder, K. Leonhardt, R. Mander, J. Manthey, J. Arnold ed. Massie A. Mews, S. Minden, M.
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Studies in Literary Reception Columbia, , — Paterson, T. Preece, J. You can now embed Open Library books on your website! Learn More. Last edited by ImportBot.
August 12, History. Add another edition? The tin drum Close. Want to Read. Are you sure you want to remove The tin drum from your list? Places Germany. Times , Edition Notes Genre Translations into English. Classifications Library of Congress PT R B5 The Physical Object Pagination p. Readers waiting for this title: Check nearby libraries with: Share this book Facebook.
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