Oskar Negt's and Alexander Kluge's Geschichte und Eigensinn (1981) is a treasure trove of ideas for cultural, literary, and interdisciplinary studies. With its highly stimulating, but not easily accessible content, the daunting tome of 1283 pages is still waiting to be fully appreciated, a message in a bottle left to posterity. Its publication in English as History and Obstinacy (2014) shows that the process of its discovery is well underway. This paper gives an introduction to Negt's and Kluge's concept of obstinacy (Eigensinn) and its aesthetic implications. Besides, it makes use of Viktor Šklovskij's theory of defamiliarization to describe the obstinate behaviour of literary texts. The main aim of the paper is to theoretically outline aesthetic obstinacy (ästhetischen Eigensinn) as a tool for literary analysis and to put it to the test in a close reading of the famous chapter ‘Glaube Hoffnung Liebe’ about the horrifying events of ‘Kristallnacht’ in Günter Grass's Die Blechtrommel (1959). Of particular interest is the question of how the obstinate narrative devices are used to express a counter-memory that challenges postwar West German obliviousness towards the Nazi past.

中文翻译：

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Ästhetischer Eigensinn als Literaturwissenschaftliche Analysekategorie: Eine Anwendung Auf Die Blechtrommel als Literarisches Gegengedächtnis

Oskar Negt 和 Alexander Kluge 的 Geschichte und Eigensinn (1981) 是文化、文学和跨学科研究思想的宝库。1283 页的令人生畏的大部书具有高度刺激但不易获取的内容，仍在等待被充分欣赏，这是留给后人的瓶子中的信息。它的英文版 History and Obstinacy (2014) 表明其发现过程正在进行中。本文介绍了内格特和克鲁格的固执（Eigensinn）概念及其美学含义。此外，它利用维克多·斯克洛夫斯基的陌生化理论来描述文学文本的顽固行为。该论文的主要目的是从理论上概述美学顽固 (ästhetischen Eigensinn) 作为文学分析的工具，并在仔细阅读关于“水晶之夜”恐怖事件的著名章节“Glaube Hoffnung Liebe”中对其进行测试在 Günter Grass 的 Die Blechtrommel (1959) 中。特别令人感兴趣的是如何使用顽固的叙事手段来表达一种反记忆，挑战战后西德对纳粹过去的遗忘。