1887

n Literator : Journal of Literary Criticism, Comparative Linguistics and Literary Studies - 'Everything is autobiographical': Hans-Ulrich Treichel's idiolect in (1999) : original research

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Abstract

Joachim Dicks writes in his review on Hans-Ulrich Treichel's latest novel, , that the author shows continuity by having developed in all of his books a unique and unmistakeable style that he calls 'the so-called Treichel sound'. Treichel's style, tone and mixture of thematic concerns in all of his eleven works of prose from up to are indeed recognisable as distinctively Treichel, but has remained an unexplored terrain. The question therefore arises: What is the nature of the so-called 'Treichel sound' or his idiolect? is a case in point with regard to Treichel's idiolect: the narration includes factual historical and autobiographic information that represents both an 'official life' and a 'carnival', i.e. his representations of lives are determined by two aspects of the world: the aspect of the piety of seriousness and by the aspect of laughter. This article firstly focuses on the theoretical possibility of using 'serious' factual autobiographic and historical information in combination with humour. The most prominent idiolectic traits of Treichel's oeuvre are then introduced, also in order to provide a context for the following discussion of . Here it becomes apparent that Treichel's humour has a tragicomical and derisive effect with regard to the narrator's depiction of his childhood, family experiences and his cultural context. The microcosmic family context and the macrocosmic national and international contexts as they were formed because of the Second World War has lead to a loss of the narrator's identity. The result of Treichel's manner of dealing with serious contents that includes humour is the creation of a self-concept that can be described as self-exploratory, honest or confessional, self-centred, humorous and critical of German society - and these are also key features of Treichel's idiolect. This article thus argues that the combination of fictionalised serious historical and autobiographic factuality and humour characterises the 'Treichel sound'.


Joachim Dicks skryf in sy resensie oor Hans-Ulrich Treichel se nuutste roman, , dat die outeur kontinuïteit vertoon deurdat hy in al sy boeke 'n unieke en onmiskenbare styl ontwikkel het wat hy die 'Treichel-klank' noem. Treichel se styl, toon en mengsel van tematiese belangstellings in al elf sy prosawerke van tot is inderdaad herkenbaar as 'kenmerkend Treichel'. Tot dusver is dit nog 'n onontdekte terrein. Die vraag kom dus na vore: Wat is die aard van die sogenaamde 'Treichel-klank' of sy idiolek? is 'n tipiese voorbeeld ten opsigte van Treichel se idiolek: Die narratief sluit feitelike historiese en outobiografiese gegewens in wat sowel 'n 'amptelike lewe' én 'n 'karnaval' insluit, dit wil sê sy representasies van lewens word deur twee aspekte van die wêreld bepaal: die aspek van vroomheid en erns en die aspek van 'n gelag. Hierdie artikel fokus eerstens op die teoretiese moontlikheid daarvan om 'ernstige' feitelike outobiografiese en historiese inligting in kombinasie met humor te gebruik. Die kernaspekte van Treichel se oeuvre word daarna bekend gestel, ook met die doel om 'n vergelykbare konteks vir die bespreking van te bied. Hier word dit duidelik dat Treichel se humor 'n tragikomiese en minagtende effek het ten opsigte van die verteller se uitbeelding van sy kindertyd, sy ervaringe binne sy gesin en sy kulturele konteks. Die mikrokosmiese gesinskonteks en die makrokosmiese nasionale en internasionale kontekste soos wat hulle as gevolg van die Tweede Wêreldoorlog gevorm is, het gelei tot die verlies aan die verteller se identiteit. Die gevolg van Treichel se manier van omgaan met ernstige inhoude wat ook humor insluit, is die skepping van 'n self-konsep wat as self-ondersoekend, eerlik of biegtend, selfgesentreerd, humoristies en krities teenoor die Duitse gemeenskap beskryf kan word. Hierdie eienskappe is ook kernaspekte van Treichel se idiolek. Die artikel argumenteer dus dat die kombinasie van gefiksionaliseerde ernstige historiese en outobiografiese feitelikheid en humor die 'Treichel-klank' kenmerk.

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/content/literat/35/2/EJC163792
2014-01-01
2016-12-08
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