“The loneliest spot on Earth”: Harry Mulisch’s Literary Experiment in Criminal Case 40/61
dc.contributor.author | Bax, Sander | |
dc.date.accessioned | 2015-07-14T11:55:21Z | |
dc.date.available | 2015-07-14T11:55:21Z | |
dc.date.issued | 2012 | |
dc.description.abstract | Harry Mulisch’s Criminal Case 40/61 is often regarded as an early representative of the movement of New Journalism and as an example for what we nowadays call ‘literary non-fiction.’ In this essay, I will argue that this classification does not do justice to the complexity of the literary experiments that Mulisch is trying out in this text. In Criminal Case 40/61 Mulisch develops a highly personal and literary way to write about Adolf Eichmann. A problem as complex as the essence of evil, he claims, can not be comprehended with the methods of journalism and history only, the Eichmann enigma calls for a new language. I will outline a number of techniques Mulisch used to achieve this goal. In this text, Mulisch uses an autofictional construction as well as a metaphorical way of thinking and writing that transgresses the journalistic or historicist mimetic-referential and discursive ways of writing. Central to Mulisch’s literary method are two principles: that of the invention of language and images and that of radical identification. | pl_PL |
dc.identifier.citation | Werkwinkel vol. 7(1), 2012, pp. 33-60 | pl_PL |
dc.identifier.issn | 1896-3307 | |
dc.identifier.uri | http://hdl.handle.net/10593/13724 | |
dc.language.iso | en | pl_PL |
dc.publisher | Department of Dutch and South African Studies, Faculty of English | pl_PL |
dc.rights | info:eu-repo/semantics/openAccess | pl_PL |
dc.subject | literary non-fiction | pl_PL |
dc.subject | New Journalism | pl_PL |
dc.subject | fictionality | pl_PL |
dc.subject | autofiction | pl_PL |
dc.subject | Harry Mulisch | pl_PL |
dc.subject | Adolf Eichmann | pl_PL |
dc.title | “The loneliest spot on Earth”: Harry Mulisch’s Literary Experiment in Criminal Case 40/61 | pl_PL |
dc.type | Artykuł | pl_PL |