Saturday, November 12, 2016

Ilse Aichinger: the art of disappearance, last act TIME ONLINE

contents

  1. page 1 — art of disappearance, the last act
  2. page 2 films like fists

On a page read

she was there. But always, somehow, as if they wouldn’t be there. Symptomatic of this is a reading of Ilse aichinger’s, you just invited to your return move to Vienna in the beginning of the nineties, in the auditorium of the New Institute building. For the Viennese avant-garde, this place is historic ground. At the end of the sixties, which took place in him, what the Viennese Boulevard found the beautiful and permanent name of “Uni-fuck-up”. Oswald Wiener, Peter Weibel, Günter Brus, and other exponents of the Vienna action art ducks take advantage of a supposed discussion event on the topic of “art and Revolution” for a Performance in the civil table manners grotesque were exaggerated. It was publicly urinating and gekotet, the Expo was sentenced ducks and expelled from the country.

read Twenty years later, Ilse Aichinger entered with a Smile the room to from her recently published book, Kleist, Moos, pheasants (in the title, put three Viennese street names). Under vigorous welcome applause from the edge of benches, all of which are fully-filled hall, with its steeply-rising, the author approached the Podium. Went to the back of the long catheter, stumbled, fell and was suddenly gone. In the hall the moment it was still. A silence that lasted so long, until Aichinger, supported by a cause geeiltem helper, again rattles had and the hair sharp the same Smile as before back on the Desk.

There is an art of disappearance, made by Ilse Aichinger from the horrors of the story. In Vienna, the author had to watch in 1942, as her grandmother and other relatives were deported. Her twin sister, Helga, has made it one of the last convoys to England. Ilse, however, and their mother survived, the small making in the city. Were protected, the two are merely of an absurd inconsistency in the national socialist legislation. The responsibility of a single teacher for your child was made against the provisions of the racial laws. In a ducked position the two remained for many years. Under the constant threat that it could hit them at any time.

holds In her only novel, the 1948 published book, The greater hope, Aichinger the Situation in a surreal Tableau. Concepts that seem necessary to understand the horrors that words like “Nazi” or “Jew”, in the book. the The greater hope is not a report on the Past, no: The reader is here shown directly to the children’s face memory. This results in a tremendously delicate and fragile Text in the German literature, singular results. A Survival of national socialism, portrayed the game as children.

on the basis of this book, a process of Abspeckens and Ausradierens apply in the case of Aichinger, all of the later works. It is a Letter from the gradual reduction in the all against the Big-blocks of the shape and the size of the representation. A gentle mockery is in the case of Aichinger at all noticeable, what looks to be a development to a Higher. In the volume of stories in Bad words, you say it: The best words you can use, but only the second – or third-best. For such a writer the best of all possible worlds no longer have to.

the beginning of the fifties, Aichinger at the Hochschule für Gestaltung in Ulm, Germany. At a meeting of the gruppe 47, which later won the award for their famous mirror in history (1952), she met Günther Eich. With him she lived until his death in 1972, first in Germany and then in the Salzburg place Großgmain. Their son Clemens Eich, to establish just as a writer will be dead after a tragic accident in 1998. Ilse aichinger’s literary production had come almost to a Standstill. Inspired by the “living people”, Richard Reichensperger, she began but then again, to write new texts, originally planned as a kind of column for a daily newspaper.

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