"Gesamtkunstwerk" Dresden: Official Urban Discourse and Durs Grünbein's Poetic Critique
Dresden's significance after Germany's reunification is established in this article by juxtaposing the city's self-representation with the poetry of Durs Grünbein. Officially, the reconstruction of the Frauenkirche serves as the metonymic sign of Dresden's vision of restored aest...
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Published in | The German quarterly Vol. 80; no. 4; pp. 492 - 510 |
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Main Author | |
Format | Journal Article |
Language | English |
Published |
American Association of Teachers of German
22.09.2007
John Wiley & Sons, Inc |
Subjects | |
Online Access | Get full text |
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Abstract | Dresden's significance after Germany's reunification is established in this article by juxtaposing the city's self-representation with the poetry of Durs Grünbein. Officially, the reconstruction of the Frauenkirche serves as the metonymic sign of Dresden's vision of restored aesthetic totality. This self-image employs the Wagnerian concept of the "Gesamtkunstwerk" to legitimize its desire for a redemptive recovery from traumatic historical legacies. By contrast, Grünbein's post-reunification texts conceptualize Dresden as an unreal spectacle and irreparably ruined work of art, where unredeemable traces of the ruined past preclude nostalgic desires while forcing the remembering poet to reflect upon his own historical belatedness. Together, collective city discourse and individual poetic voice provide a conceptualization of Dresden that cannot be integrated into a seamless narrative. Instead, these heterogeneous voices alert the reader to the problem of functionalizing the traumatic past for Dresden's aspirations as a cultural metropolis in Eastern Germany and the New Europe. |
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AbstractList | Dresden's significance after Germany's reunification is established in this article by juxtaposing the city's self-representation with the poetry of Durs Grünbein. Officially, the reconstruction of the Frauenkirche serves as the metonymic sign of Dresden's vision of restored aesthetic totality. This self-image employs the Wagnerian concept of the "Gesamtkunstwerk" to legitimize its desire for a redemptive recovery from traumatic historical legacies. By contrast, Grünbein's post-reunification texts conceptualize Dresden as an unreal spectacle and irreparably ruined work of art, where unredeemable traces of the ruined past preclude nostalgic desires while forcing the remembering poet to reflect upon his own historical belatedness. Together, collective city discourse and individual poetic voice provide a conceptualization of Dresden that cannot be integrated into a seamless narrative. Instead, these heterogeneous voices alert the reader to the problem of functionalizing the traumatic past for Dresden's aspirations as a cultural metropolis in Eastern Germany and the New Europe. |
Audience | Academic |
Author | Goebel, Rolf J. |
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Copyright | Copyright 2007 American Association of Teachers of German COPYRIGHT 2007 John Wiley & Sons, Inc. |
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SubjectTerms | Architecture Art objects Brochures Churches Cities Composers Criticism and interpretation Grünbein, Durs Influence Literary criticism Nostalgia Poetry Poets Rubble Wagner, Richard Works World wars |
Title | "Gesamtkunstwerk" Dresden: Official Urban Discourse and Durs Grünbein's Poetic Critique |
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