The Works of Lukas Linder: Traditions, Influences, and Vision of the World

Author’s name:
Ilya A. Bekin – N. A. Dobrolyubov Linguistics University of Nizhny Novgorod, Nizhny Novgorod, Russia


Throughout its history, Switzerland has been of constant interest to foreigners, in terms of both its culture and literature, hence the incredible concentration and polyphony of ideas that define Swiss literature. Despite being in the heart of Europe, Switzerland has always been known for its desire to stand apart, its independence, and multilingualism. All these factors have greatly influenced the cultural landscape of the country. Thus, approximately by the 17th century, literary centers with their remarkable printing houses in Zurich, Fribourg, and Lau-sanne are beginning to create “Swiss literature,” which, depending on the region or canton, has been constantly influenced by Italian, French, and German-speaking literary traditions. One of the central features of the tradition of the German-speaking north of Switzerland was its Freudian perception of reality as a kind of modus operandi. Freudianism fused with classical German philosophy certainly forms the cultural background of the entire 20th century, and this is reflected in the works of the three main cultural figures of the German-speaking tradition: Thomas Mann, Franz Kafka, and Bertolt Brecht. Even though Switzerland has not experienced the horrors of war that befell its neighbors, it still has had to face its consequences, and its post-war literature (in particular, plays by Friedrich Durrenmatt, Max Frisch, and Max Steiger of the 1940-50s) definitely includes motifs of the German ‘exile literature.’ Another aspect of the German-language Swiss literature which is currently being reconsidered is the concept of “Schuldgefühl”: the idea that the Swiss are also to blame for the pan-European tragedy. Swiss writers are compelled to face the question, “How do we now live, and how should we live?” Lukas Linder, a follower of aestheticism of “Group 47” and a disciple of Martin Walser and Karl Kraus, seeks to answer this poignant question in his work.

DOI: 10.47388/2072-3490/lunn2022-59-3-89-98
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Key words Swiss literature; polyphony; comparative studies; humorous; Kafkaesque

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