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By Rebecca Braun

This e-book lines a longstanding situation with problems with authorship during the paintings of G?nter Grass, Germany's best-known modern author and public highbrow. via distinct close-readings of all of his significant literary works from 1970 onwards and cautious research of his political writings from 1965 to 2005, it argues that Grass's tendency to insert in actual fact recognizable self-images into his literary texts represents a coherent and calculated response to his consistent publicity within the media-led public sphere. It underlines the measure of play which has characterised Grass's dating to this sphere and himself as a part of it and explains how a priority with the very notion of authorship has conditioned the way in which his paintings as a complete has constructed on either thematic and structural degrees. the key success of this learn is to strengthen a brand new interpretative paradigm for Grass's paintings. It explains for the 1st time how his playful tendency to govern his personal authorial snapshot stipulations all degrees of his texts and is both occur in literary and political geographical regions.

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Extra resources for Constructing Authorship in the Work of Gunter Grass (Oxford Modern Languages and Literature Monographs)

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Auch um der Ohnmacht—er kenne sie wohl—ein leises “dennoch” abzunötigen’ (TT, 91). The value of the group’s literary inclinations becomes most apparent, however, in the incident with the thistle. A stroke of literary inspiration on Gryphius’s part makes him elevate the potted thistle to the status of an emblem for Germany, ‘das Vaterland’, that has been so ravaged by war. Even when he smashes the pot to smithereens the thistle remains unharmed. Zesen is quick to spot the metaphorical implications of the symbol’s fortuitous escape—nothing can destroy the true core of Germany—and within minutes the authors have agreed on a final draft of their political manifesto.

Not only does the text not have any answers, it also actively poses questions. In particular, the seemingly unidentifiable first-person narrator has caused considerable speculation amongst Grass scholars. 27 Although most commentators are now agreed that any specific identity is probably untraceable, Alexander Weber has gone to some lengths to identify the first-person narrator as one historical personage. Reading the text extremely closely and applying a baroque approach to possible emblems within it, he makes a strong case for identifying the first-person narrator with the little-known poet Johann Matthias Schneuber.

215. , 221. Models of Authorship: Das Treffen in Telgte 35 in terms of ideology: the author is an ‘ideological figure’ briefed to act as ‘regulator of the fictive’. 39 The above description of the basic tenets of Foucault’s argument should make clear that his understanding of authorship embraces both textual and social aspects. An author is a kind of social role, conditioned by social discourse in line with dominant ideology, and a textual role, conditioned at times by the text itself and at times by those readers and critics who use the author as an interpretative paradigm for this text.

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