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Destructive Legacies: Thomas Bernhard’s Literary Critique of Inheritance
Law & Literature Pub Date : 2021-04-07 , DOI: 10.1080/1535685x.2021.1902642
Ulrike Vedder

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.



中文翻译:

破坏性遗产:托马斯·伯恩哈德(Thomas Bernhard)对继承的文学批评

摘要

伯恩哈德(Bernhard)的文学作品充斥着(从法律上讲得很精通)继承故事,遗嘱和遗产,继承冲突和束缚。许多文献在其构建过程中遵循了从父辈到子孙的家谱系,该系谱始终由致命的家庭和国家历史所负担,这通过继承法和叙述来表示。一个典型的例子是“ Ungenach”(1968年)这个故事,在这个故事中,儿子作为唯一的继承人,面临着父亲的继承,父亲继承了他的遗产,父亲拥有巨大的财产。这个故事讲述了他为组织A徒而进行的“ Abschenkung”活动,以支持罪犯和局外人摆脱他的血统。伯纳德的伟大小说《奥斯陆雄》([灭绝(1986年),这是奥地利法西斯主义侵害后一个富裕家庭的最后遗愿。本文考察了伯恩哈德继承著作的司法和诗意方面–从围绕托马斯·伯恩哈德自己的遗嘱的冲突开始,该遗嘱禁止他在奥地利演出的所有表演。

更新日期:2021-04-08
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