Discuss the polyphonic themes of Annette von Droste-Hlshoff's 'die Judenbuche'

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Katherine Lynas (4053278)                       RGLI Coursework: 03 Dec. 2007                    Word count: 1,454

„Die ‘polyphone’ Form des Textes, die nichts Definitives anbietet, sondern nür verschiedene ‘Stimmen’, Müglichkeiten und Versionen, erweist sich als genaue Entsprechung der erkenntniskritischen und erkenntnisskeptischen Fragestellungen, die schon auf der Handlungsebene aufgeworfen werden“ (Christian Begemann) Discuss with reference to the narrative structure of Annette von Droste-Hülshoff’s Die Judenbuche.

One might define ‘erkenntniskritischen’ and ‘erkenntnisskeptischen’ as two contrasting ideas, though it can be said that the boundaries between the two may sometimes be hard to define. I suggest that we could explain the knowledge-critical as a state whereby one understands the facts laid before oneself, and draws a conclusion from this information. The knowledge-sceptical individual might, on the other hand, be more hazardous about passing judgement based on weak facts, whether they are presented in the form of evidence, clues, or mere assumptions.

Written between 1820 and 1842, die Judenbuche highlights Droste-Hülshoff as a model writer of German Bourgeois Realism which aimed

 ‘to draw attention to the limitations of individual subjectivity and to the problems of narration. Thus, despite its focus on the world of “objects”, German realism is anything other than objective. Later realist works…explore the problem of how human beings come to know what they do and draw attention to the troublesome problem of gaps in their knowledge. 

Thus, we can see that Begemann is implying that the numerous ‘‘voices’, possibilities and versions’ exercised by Droste-Hülshoff in die Judenbuche raise debate over critical knowledge and sceptical knowledge. We must, therefore, examine how Droste-Hülshoff’s narrative forms these issues, and the extent to which they are developed.

Such ‘‘voices’, possibilities and versions are abundant throughout die Judenbuche. The narrative structure of the novel varies unpredictably, with Droste-Hülshoff employing numerous techniques. A key example of this can be found between pages 17 and 19. At the start of this section of the novel the reader is presented with diegesis, the narrative voice informing us that “er war zwölf Jahre alt, als seine Mutter ein besuch von ihrem jüngeren Brüder erhielt…”  [SEE FOOTNOTE]. On the next page, the reader is invited through use of mimesis to witness conversation between Simon and Margreth– “Er ist ein eigenes Kind”, sagte Margreth wie für sich” (Judenbuche, p.18, line 25). Only 24 lines later, Droste-Hülshoff reverts to diegesis – ‘In der Mutter Züge kam ein heimliches, stolzes Lächeln…’ (Judenbuche, p.18, line 13).  

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The frequency of change in the narrative structure in the novel is reflected in the way in which the narrator is positioned (henceforth, I will refer to the narrator in the masculine form). At various instances in the novel, we find the narrator placed as an outsider to the events taking place within the story itself. For example, when describing Herr Mergel’s first wife, phrases such as “man sah” are commonplace – “sah man die junge Frau schriened und blutrüstig...” (Judenbuche p.12, line 12), “man sah ihn noch bis spät in die Nacht…” (Judenbuche p. 12, line 18). Such a detached ...

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