Abstract

Bernhard’s literary texts are replete with (juridically well-informed) inheritance stories, last wills and legacies, inheritance conflicts and constraints. Many texts follow in their construction the genealogical line from fathers to sons that is burdened by an always fatal family and national history, which is represented via inheritance law and narration. A case in point is the story “Ungenach” (1968), in which the son, as the sole heir, is confronted with a rich inheritance bequeathed to him by his father, who owned huge estates. The story deals with his efforts to organize an “Abschenkung” (divestment by donation) in favor of criminals and outsiders to get rid of his ancestry. A similar plot rules Bernhard’s great novel Auslöschung ([Extinction] 1986) on the last will of a wealthy family in the aftermath of Austrian fascism. The paper examines the juridical and poetic dimensions of Bernhard’s inheritance writings – beginning with the conflicts around Thomas Bernhard’s own last will, which prohibits all performances of his plays in Austria.

摘要

伯恩哈德的文学文本充满了（在法律上消息灵通的）继承故事、遗嘱和遗产、继承冲突和约束。许多文本在构建时都遵循从父亲到儿子的家谱线，这一线背负着总是致命的家庭和国家历史，这通过继承法和叙述来表现。一个典型的例子是故事“Ungenach”（1968 年），在这个故事中，儿子作为唯一的继承人，面临着拥有巨额财产的父亲遗赠给他的丰厚遗产。这个故事讲述了他努力组织“Abschenkung”（通过捐赠撤资）以支持罪犯和外人以摆脱他的祖先。Bernhard 的伟大小说Auslöschung（[灭绝] 1986）关于奥地利法西斯主义之后一个富裕家庭的最后遗嘱。这篇论文考察了伯恩哈德继承著作的法律和诗意维度——从围绕托马斯伯恩哈德自己的遗嘱的冲突开始，该遗嘱禁止他的戏剧在奥地利的所有演出。