kanonen kicken köpfen� Fascism’s Violent Victory in Ludwig Harig’s “Das Fußballspiel” 5 kanonen kicken köpfen. Fascism’s Violent Victory in Ludwig Harig’s “Das Fußballspiel” Rebeccah Dawson University of Kentucky Abstract: Following World War II, sport in West Germany faced the problem of disassociating itself from National Socialism. The Kölner Schule in particular sought to confront the Nazi past in the postwar present by challenging the mediums of literary form and language, eventually abandoned the pages of literature entirely in favor of cinema and radio-plays to establish true “critical realism�” In order to achieve this feat, authors like Ludwig Harig turned to football, allowing athletics to act as a tool to facilitate the desired change in literature after 1945. Influenced by Wellershoff’s Neuer Realismus, Ludwig Harig’s 1962 short story and subsequent Hörspiel “Das Fußballspiel” seek to reflect the chaotic and confusing incomprehensibility of postwar West Germany by turning to the realism of everyday experiences of the individual� Harig utilizes football in combination with radical literary form and language as the everyday where the violent fascist past of West German society can be accessed and confronted� “Das Fußballspiel” uses sport to question the indifference of society after 1945 and its inability to come to terms with its horrific past. By utilizing Adorno’s theories on sport and fascism in Prisms and “Education after Auschwitz,” this article elucidates how sport unveils the resistance of society in recognizing the ghosts of fascism still present in society, and subsequently how this reluctance reflects the refusal of West German society to reconcile with the horrific and violent recent past� Keywords: Kölner Schule , Realism, Hörspiel, sport, football, Neuer Realismus Though his literary interaction with sport first appeared in his short story “Das Fußballspiel” (1960), Ludwig Harig, an integral author of the Kölner Schule, continued to utilize the theme of football in critical realism throughout his literary career� Indeed, Harig composed and published a wide array of texts centered 6 Rebeccah Dawson on sport, including essays, short stories, radio plays, and poetry� While “Das Fußballspiel” emerged as his first work centered upon sport, his 1974 collection Netzer kam aus der Tiefe des Raumes, written in collaboration with Dieter Kühn, and Die Wahrheit ist auf dem Platz: Fußballsonnette (2006) 1 are considered his most notable contributions to athletically focused publications� There is no doubt that Harig fostered a love for all things football and recognized the merit in implementing it as an overarching theme in literary works� However, his short story “Das Fußballspiel”, and furthermore the transformed Hörspiel version of the piece, are both vital examples of the critical realism unique to post-World War II Germany that the author executes through the athletic realm� While he later produced collections of poetry focused on sport, his initial work centered on football was published in Ein Tag in der Stadt (1962), an iconic collection of texts promoting the style of Neuer Realismus e mbraced by the Kölner Schule, an avant-garde literary movement founded by Dieter Wellershoff in 1962� Included amongst iconic literary texts penned by authors like Rolf Dieter Brinkmann and Dieter Wellershoff, Harig’s text represents the first appearance of Neuer Realismus in Germany� Indeed, the roots of Harig’s literary career grew from the school’s attempt to create a new, critical realism grounded in everyday experiences rather than “modernism’s penchant for metaphysical transcendence and the universalization of a singular human ontology” (Langston 105)� Dieter Wellershoff’s notion of a new form of realism is self-admittedly indebted to the French nouveau roman pioneered by novelist Alain Robbe-Grillet in the late 1950s. Rather than follow the traditional form of the novel, Ann Jefferson notes that Robbe-Grillet proffered literature should foster a realism based on individual experiences of the everyday rather than the traditional plot, narrative, and character constellation (6)� It is these foundations that the Kölner Schule, and subsequently Harig’s short story, built upon to achieve a true critical realism� While the desire for this new realism was initiated in France as early as 1956, Wellershoff first introduced the concept into German literature in 1960 (in his text “Während”) 2 and first addressed the specific intentions of the genre in 1965 in his article “Neuer Realismus.” In the text, Wellershoff declares new realism as standing in direct opposition to fantastic, grotesque, and satirical postwar modernism, as epitomized in the works by Günter Grass (843—44)� Indeed, opponents of the Kölner Schule rejected the so-called critical realism of Gruppe 47, referring to their modernist style as seeped in what Peter Handke referred to as “Beschriebungsimpotenz” (30)� 3 While the school agreed that the postwar generation desperately needed a new form of realism, they saw Gruppe 47 as lacking the “signifikante literarische Techniken, um die Mängel, die für das Entstehung des Dilemmas [in der Gesellschaft] verantwortlich waren, zu verdeutlichten und beheben” (Arnold 118)� The perceived new reality in the years following World kanonen kicken köpfen � Fascism’s Violent Victory in Ludwig Harig’s “Das Fußballspiel” 7 War II could no longer be expressed with the traditional mode of modernism the Kölner Schule attributed to the works of Gruppe 47 and desperately needed a new outlet� In order to achieve this, members of the school strayed from the omnipotent narrator, turning to radical new forms of narration and structural framework, adding anti-grammatical and anti-syntactic language centered on the chaotic events of the everyday (Merkes 8)� Christa Merkes rightly notes: “Der ‘neue’ Mensch in dieser Literatur sucht seine Identität, die ihm nicht mehr vom allwissenden Autor zustanden wird und in dem Maß, in dem seine feste Welt als Bezugspunkt zerfällt und sein Innenleben die äußere Realität bestimmt, bestimmt sein Bewußtseinsstrom auch die Romanform” (8)� That is to say that this new trend turned to the inner workings of the individual rather than the narrative form of the novel adopted by schools like Gruppe 47. By relaying “eine Tendenz zum Alltäglichen” (9) in their works, the school’s writers created a “critical realism seeped in the sensual and concrete, the quotidian and present-day” (Langston 105)� Furthermore, the texts produced in this literary group differed greatly in form from other attempts at new realism� Authors turned to what Merkes calls “schizoide Bewußtseinsstrukturen, Textkollagen, verschiedene Textsorten, anti-grammatische und anti-syntaktische Strukturen […], deren formale Problematisierung jedoch einer äußeren Realität eher entspricht, als eine kohärente, die Welt abspiegelnde und interpretierende Version” (8)� The form of writing produced by these writers thus sought to reflect the fragmented state of society through the themes implanted in each work as well as formal structure� Storylines did not follow long periods in a character’s life as was common in the works of Gruppe 47, but rather they revealed a veritable snapshot of one day� It is no coincidence that the title of Wellershoff’s collection of stories which features Harig’s “Das Fußballspiel” is Ein Tag in der Stadt. By turning to everyday experiences of the individual, literary scholar Wolfgang Powroslo argues, “[Wellershoff] griff ausdrücklich auf die Tradition realistischen Erzählens zurück in der Überzeugung, daß Literatur Erkenntnis in Gang setzen und gesellschaftliche Veränderung initiieren könne� Dies weist auf eine neue Aufmerksamkeit für das Alltägliche, scheinbar Bekannte und Geläufige hin” (11, 19)� Mirroring the viewpoint of a cinematic camera, the authors of the Neuer Realismus created a series of literary images capturing the chaotic and elusive nature of the everyday. Indeed, Wellershoff elaborates: “Der Schriftsteller will nicht mehr […] eine abgeschlossene Geschichte Allgemeingültigkeit und beispielhafte Bedeutung erreichen, sondern versucht möglichst realitätsnah zu schreiben, mit Aufmerksamkeit für die Störungen, Abweichungen, das Unauffällige, die Umwege, also den Widerstand der Realität gegen das vorschnelle Sinnbedürfnis” (843—44). Wellershoff’s Neuer Realismsus s ought to reflect the 8 Rebeccah Dawson chaotic and confusing incomprehensibility of postwar West Germany through such radical new form and language� Furthermore, the hallmarks of this novel critical realism allowed authors of the Neuer Realismus to voice the perceived problems and desired changes in society. According to Wellershoff, the school used avant-garde literary techniques as a method “die Gesellschaft immanent durch genaues Hinsehen [zu kritisieren]� Es ist eine Kritik, die im Produzieren der Erfahrung entsteht” (843—44)� That is to say that by creating a realism seeped in the everyday, the school sought to highlight and deal with societal problems through critical realism in literature� Harig utilizes the key characteristics of text-collages and anti-grammatical, anti-syntactical language emphasized in Wellershoff’s poetics of Neuer Realismus to reveal the chaos of reality in post-fascist West Germany through sport in his text. Harig’s participation in Wellershoff’s poetics can be best understood through the publication of “Das Fußballspiel” in Ein Tag in der Stadt. Its appearance on the literary scene in 1962 signified the spread of the ideas of Neuer Realismus as an attempt to portray the shortcomings rampant in postwar society� This article contends that Harig uses football in an attempt to access the “everyday” where the violent fascist past of West German society can be accessed and confronted through critical realism� Indeed, Harig questions of state of society after 1945 and its inability to come to terms with its horrific past, and it is through sport that the possibility for this interaction can come to fruition� After all, what better everyday activity could there be in West Germany during the wake of the 1954 so-called Miracle of Bern than football? These ordinary scenes of the everyday, however, reveal the problematic landscape posed in Harig’s text: the indifference, and even utter denial, of society in recognizing and confronting its fascist past� By utilizing Theodor Adorno’s theories on sport and fascism while also mapping Wellershoff’s conception of critical realism onto the structure of Harig’s text, I elucidate how sport unveils the resistance of society to recognize the ghosts of fascism still present in society� Furthermore, I illuminate how this reluctance reflects the refusal of society to reconcile with the horrific and violent recent past. In order to fully understand the theoretical map Adorno provides on sport and fascism, it is prudent to bring these theories into the realm of post-World War II West Germany society� Though society at the time overwhelmingly sought to avoid the atrocious memories of the Third Reich, theorists like Adorno openly proclaimed society as littered with characteristics of surviving totalitarian behavior� In his 1955 work Prisms, the philosopher elaborates on postwar society’s surviving fascist traits and highlights sport as the prime example� Adorno initially focuses on sport as a massively negative aspect of society by drawing a parallel between sporting events and fascist rallies: “[A]thletic events were the models for totalitarian mass rallies� As tolerated excesses, they combine cruelty and aggression with an authoritarian moment, the disciplined observance of the rules-legality, as in the pogroms of Nazi Germany and the people’s republics” (80)� Thus, Adorno reinforces the perseverance of totalitarian characteristics in postwar society, pinpointing this surviving mentality as thriving in sporting events� In addition to sport’s excessive totalitarian attributes within the stadium, Adorno criticizes athletes’ propensity towards violence, which he sees as a key fascist trait� His essay “Education after Auschwitz” likewise draws parallels between sport and fascist brutality by citing athletes as the ideal example of the hostile and violent traits of fascism� “In many of [sport’s] varieties and practices it can promote aggression, brutality, and sadism, [also] in people who do not expose themselves to the exertion and discipline required by sports but instead merely watch: that is, those who regularly shout from the sidelines” (25)� In his critique, then, Adorno links both the athlete and the spectator to the fascist ideals of Nazi Germany, which can be identified through sport in postwar society. Finally, Adorno describes athletic competition itself as the reincarnation of fascist ideals� In training, Adorno explains in his text “The Schema of Mass Culture,” the athlete displays the blind obedience characteristic of totalitarian regimes� Those who excel and succeed in both competitions and training are those “who are so utterly compliant with the expected behavior […] as they no longer feel resistance in themselves” (89)� According to Adorno, sport can quickly and easily strip one’s freedom� What is more, it can transform the individual to a submissive entity to be molded and “proclaim the undisguised law of the strongest which arises so naturally from the competitive domain” (90)� In other words, Adorno understands sport not only as a gateway to fascist hostility and violence through athletic competition, but the desire to succeed in such competitions culls the total submission and obedience prevalent in propagating a totalitarian mindset� 4 Indeed, Adorno’s view of sport is rife with connections to the aggression and mass mentality synonymous with Germany’s fascist past� It is precisely these poignant connections that elucidate the remnants of fascism society is faced with overcoming in Harig’s text� With his use of anti-grammatical and anti-syntactical language, Harig evokes the violent and fascist nature of sport as it relates to the sublimated totalitarian regime and brings forth the ghosts of the past in the present stadium� In order to understand the emphasis of these associations fully, the framework of Harig’s text must first be addressed. Rather than football encompassing the entirety of a stereotypical everyday as one might expect, the separation of sport and everyday life in “Das Fußballspiel” brings to light the societal difficulty in accepting the violent fascist ghosts of the kanonen kicken köpfen � Fascism’s Violent Victory in Ludwig Harig’s “Das Fußballspiel” 9 10 Rebeccah Dawson past� The football game in Harig’s text, however, constitutes only one portion of the larger whole� The story itself is divided into blocks of text, each distinctively set apart, with three larger sections numerically labeled� While sport constructs the entirety of Section II, it plays little to no role in either Section I or III� That is to say that sport remains an entirely separate category disassociated from the remaining aspects of the main character’s everyday life� Indeed, the man (he is given no actual name) arrives at the game alone and does not even mention the game or team when outside of the stadium� The atmosphere created around the game evokes the mundane yet meticulously prescribed nature of the man’s everyday life outside of sport� The description of the man’s activities before the game suggests precisely such a feel� “der mann [sic] hat schon seit einer geraumen weile seine brötchen gebrochen, den frühstückskaffee geschlürft, seinen mund abgewischt, ein frisches taschentuch in die rechte hosentasche gesteckt, hosen- und jackentaschen nach streichholzschachtel, zigarettenpaket, brille und geldbeutel abgeklopft und sitzt nun seit sechs minuten hinter dem steuer seines wagen auf dem weg” (Harig 119)� The man’s actions appear almost systematic and boring� Furthermore, the language used to describe the man’s movements can be understood as outwardly docile and pacifist, much like the societal outlook following World War II. Indeed, everyday cultural norms following the war involved a desire to break from the violent tendencies of the past and progress to a peaceful and docile existence, never looking back to the horrors of the past� Coinciding with this mentality, the man’s demeanor and actions in the story are almost boring in the mundane details of his everyday� Even before the game begins, the man follows this docile approach in his life� darin der mann [sic], nachdem er seine krawatte wiederzurechtgerückt und mit einem grasbüschel den staub von den schuhen gewischt hat, schließlich seinen gewohnten platz einnimmt, in die innere rocktasche faßt, mit geübtem griff seine brille aus dem in der tasche verbleibenden futteral befördert, aus der rechten hosentasche das zu einem akkuraten rechteck gefaltete und gebügelte taschentuch zieht, die gläser abwischt, und auf die nase setzt (136)� The concentration on such ordinary actions reflects the desired normalcy in postwar society after the catastrophes and violence synonymous with the Third Reich� Such descriptions are not only used at the beginning of the story in part one but in the third section as well� After the game, the man visits a bar before going home with no rumination of the athletic event he has just attended in the previous section of the story� Even after the actions of the match, the man returns to the same type of activities he engaged in before the match� When drinking at the bar, he “sucht sein taschentuch [sic] in der linken rocktasche, findet es beim brillenfutteral, […] holt es hervor, wischt die gläser ab und steckt es in die linke hosentasche” (157)� Not only does the non-violent nature of the text return after the game, but the man engages in the exact same action as before� Although he has just been to an action-packed, violent football match (which is examined below), there is no mention of the game afterwards� Indeed, his night is further detailed with such ordinary, mundane descriptions and fails to internalize the athletic scene he just witnessed in any form. Reflecting the desire to move away from the violent and war-driven mentality of the period of National Socialism, the events of the man’s day can be understood as a calm and emphasized routine with repeated submissiv acts of the everyday and not the violent virulence of the athletic events that transpired� This innocent mentality, however, is dramatically different in both composition and content from the actions in the football arena� In fact, the events of the man’s day are even presented separately in the story’s structure from those of the game, each set of text separated into its own block of “action�” Indeed, the explicit description and integration of sport only appears in the second section of the story with the rest of the man’s day serving as bookends on either side� Additionally, while the text blocks describing sequences not associated with the action of the game itself are composed in complete sentences (though there is no use of periods to end sentences or thoughts), the events in the arena feature an anti-grammatical and anti-syntactical form, using predominantly phrases and words rather than sentences or full thoughts� The alternating use of italics on text blocks throughout the story combined with the lack of punctuation variety (a plethora of commas without a period in sight), throws the actions of the day into utter chaos� One long train of thought becomes impossible to distinguish from another, the only breaks coming when the text blocks separate� The break into athletic-specific language, however, marks the start of Section II—its beginning explicitly stating that the entrance doors into the stadium are now closed and will not reopen, implying there is no going back from where they came� While the majority of the text from parts one and three reflect the passive, non-violent state of present society without interruption from the remnants of the past, sport in the text illuminates the conjured ghosts of violent fascism that have persevered� In fact, it traps the spectators and players alike into the stadium with the battlefield playing out before their eyes. The descriptions of both the stadium and the engagement of the fans with football emphasize sport’s innate link to fascism� Sport, then, becomes the activity where the effects of the surviving totalitarian mentality in postwar society can be encountered. This is first highlighted with the initial description of both the stadium and the players at the start of the match. Though Harig specifically kanonen kicken köpfen � Fascism’s Violent Victory in Ludwig Harig’s “Das Fußballspiel” 11 12 Rebeccah Dawson describes athletes arriving on an athletic playing field, the connection he draws is that of impending violence and war: “ die heerschau [ sic] struppiger gladiatoren […] aufmarschiert im schlachtfeld zehntausendachthundert quadratmeter geebnet liniert auf gedieh und verdarb zwischen den eckfahnen paralleler vernichtung, schwarz die prätoren netze und strafraum geprüft […]” (135—6)� 5 The game is cast as an act of war from the onset� Indeed, the players are never even referred to as athletes, but rather they are gladiators set to fight each other in the stadium before the higher levels of society� The words of Harig’s text likewise reveal the violent nature of the sporting event in the arena� The players march onto a “ schlachtfeld, ” transforming the pitch itself into a battlefield and the athletes into marching soldiers� The men are later referred to as “ stürmer” and move in “ flanken” (142)� While these terms can indeed be used to describe positions and actions, they carry a dual meaning here in their reference to war� To be sure, the initial description of the athletic game conjures strong notions of war and violence associated with the fascist Nazi dictatorship. The rendering of the players on the field is not only reminiscent of Adorno’s connection between modern sport and its violent fascist personality, but the stadium itself also draws a parallel between sport and the fascist rallies of the Third Reich� Indeed, the opening ceremony includes masses of fans cheering wildly while trumpets and instruments interspersed throughout the crowd sound loudly: “ alles drin, die zehntausende auf den rängen mit trommelfellmienen trompeten am schulterband falschgoldene hymneninstrumente, schützenkönigliche triumphtoren in der arena aufgepflanzt die heerzeichen schwarzblau ausstaffiert die kulisse […]” (135)� The players enter the stadium surrounded by thousands of cheering fans clad in team colors accompanied by the sound of drumbeats and trumpets� Both trumpets and drums, instruments associated with war and the battlefield, comprised a distinct musical component of Nazi rallies. Indeed, the image of eager and cheering onlookers surrounded by these instruments mirrors the image of countless Nazi rallies. Scholars such as Linda Jacobs Altman document accounts of such rallies and their musical accompaniment, concluding: “[Hitler’s enormous rallies] were grand, showy events with blaring trumpets, pounding drums, waving banners, and thousands of uniformed Nazis marching in close-order drill” (59)� Describing one such event, Joachim Köhler characterizes the model of Hitler’s Nuremberg rallies in the 1930s as littered with “flags and banners, trumpets and drums [and] brightly dressed citizens” (260) cheering in unison for their leader� To be sure, the stadium preparing for the start of the football match is not described in athletic terms but rather in those reminiscent of a Nazi mass rally complete with trumpets, drums, and diehard followers dressed in identical bright colors displaying their loyalty� Thus, the stage is set for the resurgence of a fascist battle in the epitome of the everyday events of West German culture, if only in a contained space� The connection between the fascist assemblies and sport is one likewise documented by Adorno in Prisms. In it, he argues that modern sporting events are “the models for totalitarian mass rallies� As tolerated excesses, they combine cruelty and aggression with an authoritarian moment” (80)� This description of sport parallels that produced in Harig’s text, linking the match to the barbarity and aggression of such totalitarian mass gatherings� Thus, before the match even begins, the introduction of the arena’s landscape has already culled a stark connection between the characteristics of modern sport and those of fascism� The stadium becomes a microcosmic space where fascism and war are left utterly exposed in postwar society, with spectators and players alike cheering in idolized support� The atmosphere and introduction of the game within the walls of the stadium is not the only link to fascism posited in Harig’s text� The actions of the game itself likewise draw an association to sport’s violent and aggressive nature in relation to totalitarianism� Harig does not, however, describe the actions of the players in narrative form, rather he uses a list of words and short phrases to relay the moves of the players of the match� What is of particular note in this description is the nature of the words used to convey action� As the man watches, it is as if a slaughter transpires before him as the ball moves around the field. “ vorgeschoben die attacke feld erobert tank im mittelabschnitt überrollt die barrikaden rempeln stoßen werfen foulen […] meistern schlagen treten hetzen kicken schieben scheibeln flanken schneiden köpfen schießen bomben feuern aufgebrochen in die mauer und die bombe auf das tor kanone abgezogen die granate […] kampf mit kalten waffen” (142—3)� Harig’s choice of words reveals the inherently violent and war-like nature of the game. Many even offer a double meaning, or a play on words if you will, such as foulen, schlagen, kicken, köpfen, schießen, in that they pertain to both football as well as battle� While these actions are most certainly applicable on the football pitch, they purvey a distinct connotation of violence when read in relation to the others surrounding them� The author’s wordplay mirrors the hibernating violence and terror of fascism� The severity of violence implied in the action in the game only further highlights Adorno’s direct association between sport and fascist violence� As detailed above, the game is not described in full narrative detail, but the violent vocabulary list is the only reference to the action on the field. No players are individually named, and the actions are not assigned to any specific player, revealing that these violent acts are not confined to any one player on the field but rather to the athletic group as a whole� This, then, postulates that brutality and aggression are synonymous with the game of football as well as the teams kanonen kicken köpfen � Fascism’s Violent Victory in Ludwig Harig’s “Das Fußballspiel” 13 14 Rebeccah Dawson themselves� Indeed, Adorno maintains this mindset in his essay “Education after Auschwitz,” where he argues that sport’s many forms and practices produce “aggression, brutality, and sadism” identical to those promoted during the Hitler regime (25)� This further suggests that the violence associated with war is not only a reference to the hostile aggression of fascism, but it is also present in the athlete’s actions in the stadium� Considering the violent acts of the players on the field, aggression, brutality, and sadism are the only aspects of the sport portrayed to the crowd in the story. Indeed, the actions on the field do little to dissuade the connection between sport and fascism confined to the athletic stadium� Bearing in mind the visions of war and violence associated with the football match the man attends, the association between sport and violence provides the outlet through which Germany’s fascist past can be accessed in postwar society� That is to say that the totalitarian tendencies in cultural production are magnified and examined via the athletic engagement in the stadium. The position of the game within the overall framework of Harig’s text, however, reveals that, while this aspect of postwar society indeed still exits and is even adored, it is kept entirely independent from the remaining parts of everyday life� In fact, it is even positioned in a markedly different section as compared to the rest of the text� This implies that while the possibility to confront the terrors of the past presents itself, the individuals in society neglect to realize it in their ordinary lives, only confronting it when enclosed in the fascist athletic microcosm of the stadium� If sport can be viewed, according to Adorno, as a link to a totalitarian mentality then the refusal of the man to implement-or even refer to or ponder -the game he just attended when outside of the stadium proves that he cannot connect the two aspects of his life� Even within the football section itself, the separate nature of active sport versus observant society is illuminated through structure, stylistic grammatical changes, and font changes utilized by the author. Not only are the sections dealing directly with the game separated into block portions of text set apart from the story’s main narration, but the game itself also occurs on its own, cordoned-off section of the story, physically separating it from the rest of the text� Moreover, the actions in the stadium are predominantly described in short phrases and individual words that lack any semblance of sentence structure� The phrases are reduced to increasingly violent verbs as the section progresses� Thus, the most violent actions are revealed in the greatest fragmentation of the text� Indeed, structural form and fragmented grammatical structure are common characteristics of the writings of the Kölner Schule. To be sure, Wellershoff proposed that structure and language in literature reflects “der Widerstand, an dem das Allgemeine konkret wird und zwar zugleich als Zeugnis und Kritik� […] Das gegen die Ordnung und Schemata gerichtetes Schreiben [gibt] die Komplexität der Welt heute am besten wieder�” ( Literatur und Veränderung 85)� Such characteristics are likewise found in Harig’s narrative and reflect the influence of Neuer Realismus on his text. Werner Jung discusses the ramifications of the author’s writing style, arguing that the differentiation in text font and the overall structure of the text are significant attributes when interpreting Harig’s work as it relates to the Kölner Schule (60—90)� The distinction in style and the separation of narration distinguishes the portions of the text associated with athletics as entirely separate space from the actions of everyday life� The portions between the football excerpts reveal the typical actions of the man on a daily basis and illuminate the desire in society to ignore any violent acts they may encounter along the way� In fact, once the man enters the stadium, the entry gates slam shut, leaving only the designated exit available� In other words, the spectators in the stadium have no choice but to move forward to exit exactly where they are told and may not retrace their steps to escape, forcing each to encounter the athletic battle confined to the stadium in some. Though the man remains in the stadium, he chooses not to explicitly engage with the exploits on the field before him, as reflected in the drastically different writing style and language used to distinguish the two parts� The segments dealing with sport remain entirely distanced from the man in both structure and language� While he does in fact attend and watch the game, which suggests that a confrontation with such totalitarian ideals is possible, he is not incorporated into it what is happening around him� Each section of athletic action is blocked off into separate, italicized sections. The man watches the action, but does not engage in it, not even in the textual composition of the story� Indeed, the text reveals a categorical shift in narration between these two scenarios, keeping them entirely separate from each other in both form and style� The words of the game are described in short choppy phrases or verbs, while the remaining narration, though not in entirely grammatically correct form considering the lack of capitalization and punctuation, contains run-on sentences rather than the oneor two-word phrases� Though the everyday narration of the man’s life may be chaotic, it is a far cry from the violently dictated actions of the football field. Thus, the Neuer Realismus inspired writing style that Harig utilizes in his text reveals a drastic dissimilarity between these two areas of the man’s life, separating the violent actions of the sporting activities from the calculated passivity of his ordinary life and thoughts� In identifying the fascist tendencies of sport described by Adorno, lingering aspects of Germany’s totalitarian past are brought to light in postwar West German society with the critical realism of the Kölner Schule. The containment of kanonen kicken köpfen � Fascism’s Violent Victory in Ludwig Harig’s “Das Fußballspiel” 15 16 Rebeccah Dawson such values within the walls of the stadium reflects the faded presence of such a past in the lives of West Germans after the fall of National Socialism in 1945. This neglect and inability to confront the past in postwar society, according to Adorno, “became the systematic building block of post-war German society” (“What Does Working Through the Past Mean? ” 3)� By understanding the fascist past’s violent role in the present within the confines of the stadium, Harig reveals the sports arena as the place where the man could confront and come to terms with the connotations and repercussions of the past� It is as if the stadium is a theater offering the screen through which the violent fascist characteristics of society can be viewed-the reality of society laid plain before the massive crowd of fans� The recognition and internalization of these attributes, however, is not guaranteed� The man leaves the stadium exactly as he entered, failing to incorporate sport into any other aspects of his life� Even the location of the stadium, in that it is explicitly revealed to be outside of the city, highlights the separation of the past from the present� He is locked into the stadium with the only exit before him, which is notably different than the entrance. In the end, the man leaves the stadium via this exit without acknowledging or questioning the virulent violence on full display on the football pitch� The nameless man leaves the athletic world as he entered it: unchanged and unthinking� Thus, “Das Fußballspiel” posits a society unwilling to identify and combine the associations of its lingering past into the continuous actions of the present� Though the possibility presents itself, as the man attends the football match alone every Sunday, there is no incorporation or even mention of the game in his other activities nor are there friends with whom he shares the experience� Harig, then, highlights the violent presence of fascist ideals through sport to unveil society’s neglected past and its refusal to confront and come to terms with a warring and aggressive history� The task of realizing this specter of aggression, however, lies solely with the reader� It is the recipient of the work, who, through viewing the separation of narrative action and the grammatical textual composition, is required to question both this separation and the rationale for it� This critical analysis is further emphasized when one considers the even greater onus placed on the listener of Harig’s Hörspiel version of the short story� For the members of the Kölner Schule, the limitations of literature fail to truly question the problem of language and structure in its realistic endeavor� In order to fully understand the critical realism of the Kölner Schule, one must turn to the audible advantages the author offers with the production of his Hörspiel variation� Indeed, while Harig’s short story attempts to move beyond the limits of the realism crafted by Gruppe 47, his Hörspiel progresses even further to exceed the limitations of the written literature of the Kölner Schule. In his radical use of language and structure in the short story “Das Fußballspiel,” Harig attempts to free both language and structure in literature from the traditional norms of previous literary trends to great success� Scholar Karl Riha touts Harig as mastering this linguistic freedom, stating: “Der poetologischen Kategorie nach handelt es sich [in Harigs Werken] um Mischtexte, also um literarische Produktionen, die von einem vorgefundenen Textstil ausgehen, wobei einzelne Textmomente wie Bilder, Sätze etc� herausgelöst und - aus ihrer ursprünglichen Kontextfunktion befreit - neu arrangiert, poetisch mobil gemacht werden” (3—4)� Taking this concept a step further, the genre of the Neues Hörspiel was viewed by writers like Harig as an even stronger means through which to critically depict reality, in that it frees linguistics attempts entirely from paper� Rather than silently reading words on paper, the radio play allows the listener to experience the action through monologues as well as added sound effects. Indeed, the Neues Hörspiel allowed authors to “unlock the literary text� It is a medium necessary in writing that allows one to do things that can only be described in prose” (Lermen 209)� To be sure, the new radio plays that emerged in the 1960s from authors of the Kölner Schule sought to create an even more accurate and innovative depiction of society than was possible in literature alone� Transitioning the text from physical to auditory reveals a critically realistic reflection of postwar society sonically accessible to the listener. Harig’s “Das Fußballspiel: Ein stereophones Hörspiel” (1962), as Max Bense notes, concentrates “vor allem auf die nicht Eindeutigkeit semantischer Bezüge des gesprochenen Wortes und des Höreindruckes” (243)� Johannes Kamps furthers this notion in his text “Aspekte des Hörspiels,” explaining that the listener is left only to concentrate on the tones, sounds, and words spoken, which, when focused on entirely, would resonate differently in each individual (499). For writers attempting to establish a novel form of realism, the listener is transformed into “ein neues Wahrnehmungsorgan sobald er zum Zuhörer wird, der aufgreift, was die anderen sagen, und wie sie es sagen” (Bense 243)� This intense experience of hearing the play’s mixture of voices and sounds was intended to create an experience inimitable to each listener, thus creating a uniquely processed understanding for the individual� Klaus Schöning proclaims this to be one of the most profound effects of the Neues Hörspiel, elaborating that: “Erst indem [der Zuhörer] sich einläßt auf seine eigenen Geschichten, seine eigenen Erfahrungen, Assoziationen, Emotionen, die im vorgeführten Spiel wiederentdeckt, stellt er die Geschichte her” (66)� The listener is to deduce his own meaning and interpretation from the radio play, using it to analyze and reflect inwardly on the world around him� In this respect, the new realism produced by the writers of the Kölner Schule was harnessed and produced not only in literary endeavors but also audio form for the radio� kanonen kicken köpfen � Fascism’s Violent Victory in Ludwig Harig’s “Das Fußballspiel” 17 18 Rebeccah Dawson The writers of the genre saw this as an opportunity to create social change, according to Wellershoff, through “die imaginativen Fähigkeiten” of the listeners (“Bemerkung” 339)� Indeed, the radio play’s new form appealed to members of the Neuer Realismus in its ability, as Norbert Otto Eke posits, to act “als eigenständiger Wirklichkeits- und (Selbst-) Erfahrungsraum” (148)� Furthermore, this open space was intended to “mobiliz[e] the imagination of the audience, who would thus engage in the process of coming to terms with the Nazi past” (Siegert 863)� Indeed, one of the main intentions of the new radio plays for the members of the Kölner Schule was to question the validity and state of societal norms (Barner 452—3)� While the print version of Harig’s story highlights the innate fascism of sport and its exclusion from one’s everyday life, the radio play focuses almost exclusively on the action occurring within the stadium� However, rather than a stream of consciousness form of narration from the man (he is again given no actual name), the play is relayed through individual monologues by the man and the crowd at the stadium� The actions that occur are reinforced by additional sound effects, such as the cheering crowd or the sound of a chain-link fence. While the majority of the game’s description remains the same, the major modifications in the radio play take shape in the introduction of a chorus of spectators in the stadium, the so-called “Stimmen,” and a drastically differing fate of the man� While in the printed text, he leaves the stadium, has a few beers at the bar, and eventually returns home to his wife, the man in the Hörspiel suffers a violent death at the hands of a mob while leaving the stadium� The aggressive acts in the game now internalized and voiced by the spectators in addition to the transference of this violence from the field outside of the stadium with the man’s horrific death reveals an even further escalated violence as compared to its printed version� By viewing the role of sport in Harig’s radio play in light of these differences from the short story-most specifically in the role of the spectators at the game-illuminates the dangers and ramifications produced in neglecting society’s fascist past� Indeed, football in Harig’s Hörspiel elucidates the elevated fascist violence that can plague a society unwilling to come to terms with the ghosts of its turbulent history� Harig’s “Das Fußballspiel: Ein stereophones Hörspiel” implements prominent Neues Hörspiel characteristics, most particularly word play and repetition by the spectators as well as background sounds meant to intensify the listening experience� Rather than written in a narrative form that juxtaposes the relayed action from the game with the thoughts and discourse of the man, the play fluctuates between the man’s isolated monologues, in which he thinks about other parts of his day, and the mass of spectators, who recount the action of the game in the football arena� However, while the focus of the man’s thoughts remains on issues outside of the stadium, his part in comparison to the original version of the text is notably understated� The role of the football game, however, dominates the entirety of the piece� In the printed story “Das Fußballspiel,” the spectators are confined mainly to a few references in the overall description of the match and the events therein� While the fans are described, we do not hear them speak in the story and they are generally not associated with the action of the game on the pitch� In the Hörspiel, however, the spectators are given a voice of a commentator, relaying the actions in the stadium to the listener� In other words, the fans and the game become one in the same� Therefore, any violence imparted on the field is likewise mapped onto the spectators and listener alike. Additionally, drums, trumpets, cheers, and screams are added in the background to augment the role of the spectators both inside the stadium and in the acts instigated after the game’s conclusion� Indeed, the first sounds the listener hears in “Das Fußballspiel: Ein stereophones Hörspiel” are not in the form of dialogue, rather, the stage directions call for a mixture of sounds: “ aufblenden: massengeräusch [sic] und aufschrei der masse, bedrohlich aufebbend. hinzu kommen blechtrommeln und trompteten” (161)� 6 Much like the scene described in the short story, the stadium is filled with the noise of the masses in addition to drums and trumpets� The opening scene of the radio play, then, harkens the fascist connotations of sport proclaimed in Adorno’s essay “Education after Auschwitz�” Indeed, the stadium brings across the feeling of being in the inside a Nazi rally. The combination of sounds literally brings forth the unique qualities associated with those of the mass rallies of the Third Reich� Furthermore, the cheers from the crowd and the instruments are repeated throughout the entirety of the play� While the chorus of spectators speaks, they are continually followed by an “ aufschrei der masse” (161—70) as well as the sounds of the drums and trumpets� That is to say that with each utterance of the spectators, the listener is greeted with fascist associations to National Socialism. That the noises are produced rather than read, however, gives the listener the feeling of being in the stadium itself amongst the masses and creates a sonic representation linking the stadium to fascism� Following these sounds, reporters recount the staging of the players on the field, which is identical to text of the short story and is read as if meant to be actual sport commentary accompanying a game� The spectators transmit the action of the game by chanting in unison, alternating only with the monologue voiced by the man� Indeed, as the match progresses, the spectators chant the actions occurring on the field and repeat the words with an increasing intensity until they are screaming: “rempeln / stoßen / werfen / foulen / meistern / schlagen / treten / hetzen / jagen / kicken / schieben / schneiden / köpfen / schießen / bomben / feuern / ” (169—70)� After each thought the man voices, the liskanonen kicken köpfen � Fascism’s Violent Victory in Ludwig Harig’s “Das Fußballspiel” 19 20 Rebeccah Dawson tener is met with this chorus of words� While the chorus chants the succession of verbs above, they alternate this list with the repetition of “schießen / schießen / schießen/ ” (169)� Like the short story, these words hold dual meaning in their reference to both the game and the violence of combat� Unlike the short story where this string of words is generated only once, however, the crowd continually repeats the same combination of words, with each round growing in intensity� To be sure, any football fan watching a match has used these words in describing a game. In this regard, the listener identifies with both the action and fans with each word spoken, able to picture the scene in their minds’ eye� The repetition of the series, a trait common in the Neues Hörspiel, de-familiarizes the words from their original meanings-in this case, with the plays on the football pitch� That is to say that while these words may commonly be used in conjunction with football, they produce, when repeated, novel and increasingly violent connotations for the listener� Indeed, rather than simply denoting the action on the game, the increased intensity and individual repetition of the verbs crafts an audible representation of violence� While the verbs are listed in a paragraph in the short story, each is given its own line in the radio play, and each word is independently voiced with only a brief silence between words� As the tempo quickens, the intensity of the voices likewise rises� Moreover, the radio play adds the emphasized repetition of “schießen,” singling out a blatantly violent world reminiscent of war� Schießen, of course, also refers to shooting a goal, which would, in turn, lead to winning the game� As such, the dual meaning of the word simultaneously culls both violence and victory, melding the two thoughts into one spoken word� Harig presents these words spoken individually and therewith singles out the violence of the actions in order to relay a new, intensifying each connotation� Thus, the play is able to display the barbaric and aggressive fascist nature Adorno argues as innate in sport by simply uttering the actions of the game as they play out before the fans� The connection between sport and violence is poignant in the multiple meanings of the spoken words of Harig’s Hörspiel. Mario Leis comments on the brutal associations of the language used in relation to sport, stating: “In dem Stück wird vor allem die Nichteindeutigkeit semantischer Bezüge thematisiert. Es kommt immer wieder vor, daß Gewaltsemantik für die Sportsemantik in Anspruch genommen wird” (65)� The resulting understanding of sport in an increasingly aggressive light only further enforces the connection Adorno makes between sport and fascism� Moreover, the intensity and volume with which the words are spoken during the play reiterates Adorno’s connection between sporting events and fascist rallies of Germany’s not-so-distant past� As the spectators chant in unison, the association between violence and the image of a totalitarian rally likewise only increases for the active listener� The actions are not put forth by individual voices but rather many voices together chanting as one� The listener is left only with the chanted, aggressive words and rally sounds separating the thoughts voiced by the man, which expose the enduring violence still prominent in postwar society� Some scholars understand the extreme use of wording in Harig’s radio play as an attempt “auch die Extreme [des Hörers] zur Berührung zu bringen, indem er in der kollektiven Sprache die Spuren einer bestimmten Geisteshaltung aufzeigt” (Barner 461)� In identifying the aggressive violence and reflection of totalitarian rallies in the stadium, and thereby the fascist tendencies harbored in the sporting world, the listener is confronted with the lingering totalitarian past ignored by postwar society� Much like the printed short story, the role of the man in the radio play unveils a society ignorant of the totalitarian ghosts mirrored in the athletic arena� He does indeed attend the match, as evidenced by his entrance into the studio/ stadium and the sounds of him climbing over other spectators to his seat� However, after settling in, the thoughts of the man during the game are expressed as individual monologues kept entirely separate from the thoughts or dialogue of other spectators� When he speaks, the sounds of the stadium fall from the background to leave only silence surrounding his voice, further emphasizing his ostracization from the action of the game� Moreover, his thoughts do not follow the game, but rather his mind wanders to other aspects of his life� For example, the man reflects on a day earlier in the week: “das war / ein herrlicher tag [sic] / da im grünen / du wolltest kinder […]” (166)� Additionally, the man thinks of a walk from his apartment: “eine wohnung in der stadt im elften stock / und ich liebe so die rosen / und die nelkenbeete die so duften / und die wälder und die vögel […]” (166)� The thoughts of the man stray to his life outside of the stadium and reflect a peaceful area filled with a happiness in the things he sees every day. While he thinks of the flowers and aspects of nature he appreciates near his apartment, the man’s thoughts are kept entirely separate from the noise of the stadium and the spectators, reflecting the separation of the man from the events immediately around him� That is to say that though he exposes himself to the stadium, he refuses to acknowledge the sporting event or its fascist associations� The man likewise ignores the blatantly violent and totalitarian tendencies of sport as illuminated through the spectator’s chants as well as the atmosphere portrayed in the stadium� The last portion of the Hörspiel, however, brings these two poignant perspectives together, whereby the man is killed by the violent mob of spectators just outside of the stadium� Indeed, in addition to the war-conjuring connotations of the football game established with the listener inside the arena, the fans transport this violence outside the walls of the stadium. In a drastically different endkanonen kicken köpfen � Fascism’s Violent Victory in Ludwig Harig’s “Das Fußballspiel” 21 22 Rebeccah Dawson ing than the short story, the radio play ends with the brutal death of the man as he exits the arena by a savage hoard of fans� While no rationale is given for his death, the chorus of voices again chants in unison as the man is killed: “schlagen ihn tot / schlagen ihn tot / treten ihn tot / treten ihn tot / treten / tot / treten / tottreten / tottreten/ […]” (179)� Considering the beating occurs outside the confines of the athletic arena, the spectators from the stadium have unleashed the contained violence of the field onto society at large. However, unlike the chanting in the stadium, the chorus maintains a monotone and somber voice while describing the man’s death� The words used also change as the chorus repeats them, unlike the set phrases uttered during the game� The multiple forms and sequence of the actions of the man’s death bring forth a vivid sound of the violence used in his killing� He is literally and forcibly stamped out by those leaving the stadium around him� The fact that the chorus does not change its tone throughout the final series of actions suggests the indifference of the crowd towards such brutality. In the moments following the game, the crowd appears to be apathetic in their actions, revealing the commonality, and perhaps even normalcy, of such violence in society� This, then, suggests that the viciousness associated with the fascist past has likewise become commonplace and overlooked� As the man dies, the radio play ends with the chorus simply stating in steady, somber unison: “vorüber / und vorbei / verloren” (181), which concludes the play� The words of the chorus reveal multiple meanings at this point in the piece, signifying at once the death of the man, the end of the game as well as the conclusion of the play� If the spectators of Harig’s Hörspiel can be understood as mirroring the fascist past Germany continues to ignore in the present, the death of the man outside of the stadium illuminates the dangers of such ignorance. The apathetic yet unified voice of the spectators during the killing and report of the end both suggest the disillusionment the spectators embody when inflicting such violence. Furthermore, the murder does not occur inside the stadium, where the athletic war has just taken place, but rather it follows the man outside of the stadium, refusing his departure and re-entrance into normal society� This added dimension of spectator actions emphasizes the dangers in disregarding the violent past and its lingering effects in the present. Rather than confront and deal with the violent display of athleticism with other fans in the arena, the man remained ignorant, only to be literally trampled out of existence� The added auditory element of Harig’s Hörspiel most certainly deepens the associations between fascism and sport as well as the increasing violence this connection exerts both inside and during its novel appearance outside of the stadium� Rather than simply reading the text in silence, the listener is exposed to a barrage of sounds from the stadium, virtually transporting the listener into the stadium alongside the chorus of spectators� Furthermore, the Hörspiel relays not only the end of the man’s life outside of the stadium but also the extent of this utterly senseless and violent act-both aspects notably absent from the story’s printed, literary version� In hearing the sounds of the stadium, the listener is transferred into the realm of a totalitarian rally� The structure and intensity of the violent verbs of the text reflect the escalation of violence the listener experiences� This aggression is subsequently transposed onto the spectators themselves, as is revealed in the active violence inflicted on the man. That is to say that while the aspects of sport within the stadium provide access to the fascist past, the transference of the violence into the hands of the spectators reveals the presence of sport’s fascist traits outside of the arena� The death of the man suggests that one cannot escape the totalitarian tendencies elucidated by sport� Indeed, the man does not recognize the qualities presented in the stadium through the fans or the violence of the game� In his ignorance and retreat to his ordinary life, the man is consumed and destroyed by the mob in an escalation of outward aggression� The introduction of the Neues Hörspiel to the 1960s cultural scene emphasized the listener’s auditory exposure to the characters’ internal thoughts and experiences rather than a literary focus on the narrative and external surroundings as bound by the written form. In fact, Bernhard Siegert argues that the defining element of this new form of Hörspiel was precisely the exposure of the audience to an imaginary inner space prompted by what was heard� This was achieved in an attempt to “mobilize the imagination of the audience, who would thus engage in the process of coming to terms with the Nazi past.” (Siegert 863). In the case of Harig’s radio play, the listener is freed from the confines of written language and sonically exposed to the violence and hostility mirrored in sport that cannot be read but rather is heard, felt, and internalized by sounds accompanied by the strategic use of unique words and phrases� What is more, the onus is firmly on the listener of the Hörspiel to experience this violence and critically ponder its meaning� Indeed, through the auditory stimulation of the radio play, the listener sonically experiences the ghosts of fascism in the present, which postwar society sought to ignore� Furthermore, the listener is presented with the ramifications of ignoring the latent fascism, namely the death of the man at the hands of his fellow football fans� Thus, the listener is presented with a cautionary tale of the consequences in denying the virulent violence of postwar society’s immediate past� kanonen kicken köpfen � Fascism’s Violent Victory in Ludwig Harig’s “Das Fußballspiel” 23 24 Rebeccah Dawson Notes 1 Both works listed above contain poetry focused on football and were written in honor of Germany, or West Germany as is the case in 1974, acting as host for the World Cup tournament� 2 The first reading of this text occurred at the annual meeting of Gruppe 47 in 1960� According to Reinhard Lettau in his text Die Gruppe 47 , Wellershoff initially belonged to Gruppe 47 before forming the Kölner Schule in 1962 (215)� 3 Peter Handke, like Wellershoff, was a member of Gruppe 47 until the early 1960s, when he argued their particular form of realism lacked the ability to accurately describe the contemporary reality of West Germany� 4 Though he offers a critique of the traits associated with sport, Adorno provides no apparent solution to this problem in Prisms or “Education after Auschwitz�” He merely uses sport as a lens through which to witness the residual corruptive and violent totalitarian tendencies of sport in contemporary society� 5 All use of italics in quotations is identical to the original text and has not been added by the author of this article� 6 All quotes attributed to the radio play are cited from the script likewise entitled “Das Fußballspiel: Ein stereophones Hörspiel” by Ludwig Harig� Works Cited Altman, Linda Jacobs� Holocaust, Hitler, and Nazi Germany. Berkeley Heights: Enslow, 1999� Adorno, Theodor W� “Education after Auschwitz�” Can One Live After Auschwitz? A Philosophical Reader. Ed� Rolf Tiedemann . S tanford: Stanford University Press, 2003: 19—33� ---� Prisms: Studies in Contemporary German Social Thought. Trans� Shierry Weber Nicholsen and Samual Weber. Cambridge: MIT Press, 1983. ---� “The Schema of Mass Culture�” Theodor W. Adorno: The Culture Industry and Selected Essays on Mass Culture. Ed� J�M� Bernstein� London: Routledge, 2002: 61—97� ---� “What Does Working Through the Past Mean? ” Can One Live After Auschwitz? A Philosophical Reader. Trans� Rodney Livingstone� Ed� Rolf Tiedemann . S tanford: Stanford University Press, 2003: 3—18� Arnold, Heinz Ludwig, ed� Die Gruppe 47: Ein kritischer Grundriß. Munich: edition text + kritik, 1980� Barner, Wilfried� “Von der Rollenrede zum Originalton: Das Hörspiel der Sechziger Jahre�” Geschichte der deutschen Literatur von 1945 bis zur Gegenwart. Ed� Wilfried Barner� Munich: C�H� Beck, 1994: 452—62� Bense, Max. “Nachwort.” Ludwig Harigs “Ein Blumenstück. " Ed� Johann Maria Kamps� Wiesbaden: Limes, 1969: 239—46� Eke, Norbert Otto. Wort / Spiele: Drama - Film - Literatur. Berlin: Erich Schmidt Verlag, 2007� Handke, Peter� “Zur Tagung der Gruppe 47 in USA�” Ich bin ein Bewohner des Elfenbeinturms. Frankfurt am Main: Suhrkamp, 1999: 29—34� Harig, Ludwig� “Das Fußballspiel�” Ein Tag in der Stadt. Ed. Dieter Wellershoff . C ologne: Kiepenheuer & Witsch, 1962: 118—67� ---� “Das Fußballspiel: Ein stereophones Hörspiel�” fußball literarisch oder Der Ball spielt mit dem Menschen. Ed� Karl Riha� Frankfurt am Main: Fischer Taschenbuch, 1982: 161—81� Jefferson, Ann. The “Nouveau Roman” and the Poetics of Fiction. Cambridge: Cambridge University Press, 1984� Jung, Werner� “Brot fürs Ohr? ” Du fragst, was Wahrheit sei? : Ludwig Harigs Spiel mit Möglichkeiten. Bielefeld: Aisthesis Verlag, 2002: 60—90� Kamps, Johann M� “Aspekte des Hörspiels�” Tendenzen der deutschen Literatur seit 1945. Ed� Thomas Koebner� Stuttgart: Alfred Kröner, 1971: 480—501� Köhler, Joachim� Wagner’s Hitler: The Prophet and His Disciple. Trans� Ronald Taylor� Cambridge: Polity, 2001� Langston, Richard� Visions of Violence: German Avant-Gardes After Fascism. Evanston: Northwestern University Press, 2008. Lermen, Birgit� Das traditionelle und neue Hörspiel. Padeborn: Ferdinand Schöning, 1975� Lettau, Reinhard� Die Gruppe 47: Bericht, Kritik, Polemik. Ein Handbuch. Berlin: Hermann Luchterhand, 1967� Merkes, Christa� Wahrnehmungsstrukturen in Werken des Neuen Realismus. Frankfurt am Main: Peter Lang, 1983� Powroslo, Wolfgang� Erkenntnis durch Literatur: Realismus in der westdeutschen Literaturtheorie der Gegenwart. Cologne: Kiepenheuer & Witsch, 1976� Riha, Karl� “Ludwig Harig�” Harig lesen. Eds� Gerhard Sauder and Gerhard Schmidt-Henkel� Munich: Carl Hanser Verlag, 1987: 1—11� Schöning, Klaus� “Anmerkungen und Zitate zu Franz Mons Hörstücken�” Franz Mon: Text und Kritik. Ed� Heinz Ludwig Arnold� Munich: edition text + kritik, 1978: 61—75� Siegert, Bernhard� “1953, March 26: Coming to Terms with the Past�” A New History of German Literature. Ed� David Wellbery� Cambridge: Harvard University Press, 2005: 861—6� W ellershoff, Dieter. “Bemerkung zum Hörspiel.” Akzente 8� Munich: Carl Hanser Verlag, 1969: 331—343� ---. “Neuer Realismus.” Werke 4� Eds� Keith Bullivant and Manfred Durzak� Cologne: Kiepenheuer & Witsch, 1997: 843—4� ---� Literatur und Veränderung: Versuche zu einer Metakritik der Literatur. C ologne: dtv, 1969� kanonen kicken köpfen � Fascism’s Violent Victory in Ludwig Harig’s “Das Fußballspiel” 25