Does fiction serve realism? – Publication of the second edition of Ben Roj’s articles on “Great Women”: Literaturkritik.de

Ben Rouge’s articles on “Tall Women” in its second edition

By Rolf Luchelle

Book review / references

Seven years ago, a volume of twenty paintings was published under the pseudonym of the author Ben Rouge[r] “Women” were published, and the titles of the four sections to which the photos were distributed are related to each other: “Inside”, “Outside”, “To You”, “And to Society”.

An “extended version” of the book has now been published, which lists another woman in each of the categories: Fanny Hensel-Mendelsson, Marie Curie, Paula Moderson-Baker, and Clara Emmerware. Of course, each of them deserves more than to be presented in such a volume.

However, the texts for them are not images. The story about Marie Curie is known as “Bachelor’s Thesis Presentation,” and the one about Paula Moderson-Becker seems like “an attempt to answer” the fictional prize question “Does creativity necessarily mean exploiting the social environment?” The painter oscillates between “unity” and “synergy”. Even the text about Clara Imrohar claims to be an excerpt from her “memoirs” created by the author, which can certainly be considered a violation.

And perhaps even more important than including texts about four other great women is that the volume – unlike the first edition – is also provided with a final word. This is a reprint of 2020 im Journal of Literary Theory Published article. In it, editor Norbert Grobin, hiding behind the pseudonym Ben Rogge, explains the uniqueness of the four new texts and attempts to justify them using the new “literary category” real fantasy‘, which he uses to denote ‘genre’ which is ‘a region of intersection between (literary) art and science’ [bildet]It is clear that the four new texts should be devoted to this genre. However, he only says this explicitly in connection with Clara Emmerware’s fictional “Daily Entries.”

However, Grobbin probably doesn’t want to call it fictional at all. Because in “consolidating” Mike Hermann’s understanding of fiction as a “parallel narrative strategy of the novel,” he describes the “representation of narrative content” as “imagination.” This is always “in the service of facts” when it’s “representation of possible (imaginary) global states/events with an interpretive function of actual (real) events/states. [fassbar]Its “narrative explanatory structure” is of course not at all connected to a specific narrative strategy, but […] Open to narrative techniques.”

He mentions “notes,” “report,” “report,” and “documentation” as possible examples. None of the types of fictional text used is specified on the basis of the question “How much fiction?” […] Realistic non-fiction book [verträgt]”, but “[w]Giant American deer kind of fantasyBecause “decisive” is “alone” that “realism and fiction” in “narrative.”[n] The explanatory structure is “constructively connected” to each other.

Clara Emmerware’s fictional memoir entries in volume “weis[en]According to the author, the “notable features” of the biography[n] real fantasy […] almost typical way.” Because, according to his argument, the fictional diary text “connects” historical realism (suicide) with historical possibility, choosing the (most relevant) possibility and perceiving this connection as a narrative interpretation. causal explanatory power.” Through “Dependence on psychological contextual knowledge[greift]”They are taking Emroyer’s decision to commit suicide as an attempt at self-preservation through self-abandonment perhaps in an insightful and understandable sense.”

Grobben’s approach to dealing with “real fiction” about the autobiography may not be downright nonsense, but rather original, but it’s not really clear to what extent it can produce reliable insights. Only in this case can it replace the previous methods of knowledge generation in the biographical search where it must remain silent due to the lack of facts and sources. At least as far as can be judged by the four new “portraits” included in the volume, Groeben’s new genre of (literary) art appears to be much closer to scholarly work.



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