| （摘要内容经过系统自动伪原创处理以避免复制，下载原文正常，内容请直接查看目录。） 第二次世界年夜战停止后，德国文学开端在废墟中苏醒。其时的联邦德国出现出了一年夜批的作家，他们承当着政治责任，在各自的文学著作中略论社会成绩。对他们来讲，商量二战后联邦德国对于曩昔清理的弃捐成绩，是他们必需实行的责任。海因里希·伯尔就是个中一名。他的许多前期著作都是从批评实际的视角动身来展现曩昔，正如小说《九点半弹子戏》。本文以个人记忆实际为框架，并在家庭记忆与典礼实际相联合的基本之上，剖析小说中费默尔一家的家庭记忆成绩。小说中费默尔一家在战后时代谢绝像四周的人一样，选择很快的忘却曩昔，特别是忘却那些逝世于战斗和纳粹危害的就义者。但是，他们的感到是麻痹的，并没有才能真正从心坎对曩昔及就义者停止回想。他们被约束在各自典礼性的回想中，而且彼此之间冷淡。他们每一个人都有各自的回想，与其他家庭成员很少、乃至没有来往。这个家庭没有配合的家庭典礼，德语毕业论文，他们的记忆措施普通为心坎独白，或与非家庭成员攀谈，向他们论述曩昔。因为三代人有着分歧的阅历，是以他们对曩昔和如今也就会作出分歧的反响。以上各种缘由招致了这个家庭的个人认知没法构成。笔者以为，德语论文，曩昔对这个家庭意味着创伤和罪恶感，他们这类没法从心坎真正介入的记忆，是对现时的一种有意识的抵牾。只要来往能力让他们彼此渐渐接近，终究走出曩昔，走向将来，这也恰是小说开头所暗示的。 Abstract: The Second World War ended, beginning in the ruins in the wake of German literature. The Federal Republic of Germany appeared a large number of writers, they bear the political responsibility, in the literary works of their own analysis of social problems. For them, the Federal Republic of Germany after World War II to discuss about the past achievements laid down for cleaning, they must carry out the responsibility. Heinrich burr is one of A. Many of his early works are to show the past from the perspective of practical criticism, as the novel "half past nine billiards". In this paper, a practical framework of personal memory, and in the family memory and the reality of the ceremony, the basic analysis of the novel Fimmel family of family memory performance. In the novel Fimmel a in the postwar era declined like the people around, soon forget the past, especially forget those who died in battle damage and Nazi victims. However, they feel paralyzed, and not truly from the heart of the past and a stop back. They are bound to be confined to the memory of their own rituals, and they are indifferent to each other. Each of them has their own memories, with other family members rarely, and even without. The family did not coincide with the family to the ceremony, their memory method of ordinary heart monologue, or non family members and conversation, to them discussed in the past. Because the three generations have different experiences, is to their past and now will make a difference. All of the above has caused the family's personal knowledge can not constitute a. The author thinks, the past of the family means the trauma and guilt, they kind of not from the heart really involved in the memory, is to present a conscious contradiction. As long as the ability to make them close to each other, after all, go out in the past, to the future, which is just the beginning of the novel implied. 目录: 摘要 4 Abstract 5-7 Danksagung 7-8 Inhaltsverzeichnis 8-10 1. Einleitung 10-16 2. Theoretische Grundlage 16-29 2.1. Das kollektive Ged chtnis 16-18 2.2. Das kommunikative Ged(a|..)chtnis und das kulturelle Ged(a|..)chtnis von Jan und Aleida Assman 18-20 2.3. Das Familienged(a|..)chtnis und das Generationenged(a|..)chtnis 20-23 2.4. Ritual und Erinnerung 23-29 2.4.1 Ritualtheorie–Eine Skizzierung 23-27 2.4.2. Familienritual und Familienged(a|..)chtnis 27-29 3. Die Abtei als Tr(a|..)ger der Vergangenheit von Familie F(a|..)hmel 29-37 3.1. Der Gro vater–Aufbau der Abtei 29-33 3.2. Der Sohn-Zerst(o|..)rung der Abtei 33-34 3.3. Der Enkel: beabsichtigter Wiederaufbau der Abtei 34-37 4. Familie ohne gemeinsame Erinnerung 37-54 4.1. Die getrennten Erinnerungen der jeweiligen Familienmitglieder 37-44 4.1.1. Die Erinnerung von der (a|..)ltesten Genertation 37-41 4.1.1.1. Die Erinnerung von Heinrich F hmel 37-40 4.1.1.2. Die Erinnerung von Johanna F hmel 40-41 4.1.2. Die Erinnerung von der mittleren Generation: Robert F(a|..)hmel 41-42 4.1.3. Die Erinnerung von der jüngsten Generation: Josef F(a|..)hmel 42-44 4.2. Die “unbeteiligte” Erinnerung 44-50 4.2.1. Gefangen in der Vergangenheit 45-47 4.2.2. Erinnerung ohne Kommunikation 47-49 4.2.3. Ritualisierte Erinnerung 49-50 4.3. Hoffnungsschimmer auf die Zukunft 50-54 4.3.1. Anfang der Kommunikationen 50-51 4.3.2. Familientreffen bei der Geburtstagsfeier Heinrich F(a|..)hmels 51-54 5. Schlusswort 54-56 Literaturverzeichnis 56-58 |
