Untitled

Klaus Hammer. Jaunais Bâbeles tornis
6 Hilbig Wolfgang. Ich. Roman. – Frankfurt/M, 1993, S. 75.
7 Ebenda, S. 335.
8 Beyse Jochen. Ultraviolett. Erzählung. – Frankfurt/M, 1990, S. 135.
9 Woelk Ulrich. Rückspiel. Roman. – Frankfurt/M, 1993, S. 272.
10 Ohler Norman. Die Quotenmaschine. Roman. – Hamburg, 1996, S. 211.
11 Eco Umberto. A.a.O., S. 21.
12 Ebenda, S. 21.
Summary
Jacques Derrida has attached a new meaning to the tale of the construction of the
Tower of Babel. The modern men wanted to perpetuate the ruling language of unity
in the construction of the Tower. But the fact that the language of unity has divided
into a copiousness of languages, and that all of them demand the same rights, means
the polyglot signature of post–modern. The text produces his connections of sense.
All books would be “responses of the intertextual” (Umberto Eco), then all writers
talk about ot
her books and each story tells a tale that was told long ago. The Post–modern
roman is seen as a great network. The patchwork structures of the post–modern narration
in Germany should be researched in this paper.
Kopsavilkums
Þaks Derida ir pieðíîris jaunu nozîmi stâstam par Bâbeles toròa celtniecîbu.
Modernais cilvçks vçlçjâs iemûþinât valdoðo un vienojoðo valodu Bâbeles toròa
celtniecîbâ. Taèu fakts, ka vienojoðâ valoda ir sadalîjusies valodu daudzveidîbâ , kur
katra no tâm pieprasa vienâdas tiesîbas, ir viena no svarîgâkajâm postmodernisma
poliglotiskajâm iezîmçm. Teksts rada savas jçgpilnas sakarîbas. Tâdçjâdi visas
grâmatas ir “responses of the intertextual” (Umberto Eko), visi rakstnieki runâ par
citu sarakstîtajâm grâmatâm un ikviens stâsts atkârto jau sen uzrakstîto.
Postmodernais româns ir uzskatâms par lielu sakarîbu tîklu. Referâtâ tiek aplûkotas
Vâcijas postmodernâ vçstîjuma mozaîkas struktûras.
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