Kara Ben Nemsi spielt Klavier
Orientalismus und Männlichkeitskrise in Karl Mays Orientzyklus (Karl May: Von Bagdad nach Stambul)
Bibliographic Data
| ID | 21820982 |
|---|---|
| Authors | Stefan Börnchen (University of Luxembourg, corresponding author) |
| Year | 2022 |
| Volume | 25 |
| Issue | 1 |
| Pages | 47-64 |
| Publication date | 2022-08-10 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Zeitschrift für interkulturelle Germanistik (JOURNAL) |
| Journal identifiers | ISSN: 1869-3660 • E-ISSN: 2198-0330 |
| Publisher | Transcript Verlag (PUBLISHER • DE) |
| DOI | 10.14361/zig-2022-130105 |
| OpenAlex | W4290989386 |
| Language | EN |
| References cited | 2 |
When Kara Ben Nemsi, the first-person narrator of Karl May's Oriental Cycle, plays his most fetch-ing waltzes for a rich Damascus merchant, the harem women are supposedly barely able to hold themselves together. The erotic power of the music unfolds in the hands of the pianist. But over the course of the Damascus chapter, confronted twice with the disfiguring replication of his own behaviour -with the ironic mimicry referred to by Bhabha -the narrator is not able to reiterate the seduction in the repeat performance of the concert. The symptom of this masculinity crisis is Kara Ben Nemsi's ostentatious transformation from an alleged seducer to a chaste proselytiser. Thus, he becomes an ascetic priest as referred to by Nietzsche
Art · Humanities · Ecology, Conservation, and Geographical Studies · German Colonialism and Identity Studies · Psychoanalysis and Social Critique
| Highly cited | No |
|---|