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Shida Bazyar may have entered German-language contemporary literature with only two novels, but they have stirred up such a storm in the political sphere that Nachts ist es leise in Teheran (2016) and Drei Kameradinnen (2021) can exemplify crucial entanglements between work, author, and political responsibility. Additionally, Bazyar chooses essayistic and journalistic forms alongside fiction to take a stance. While Nachts ist es leise in Teheran gained chilling relevance after the violent death of Jina Mahsa Amini on September 16, 2022, and the subsequent protests in Iran and the fight for more human rights, leading Bazyar to appear with an open letter to the deceased in the Süddeutsche Zeitung, Drei Kameradinnen is increasingly received in the context of racism and empowerment.And here, a balancing act becomes apparent: on the one hand, as Bazyar stated in a public reading on March 1, 2024, at the Theater Bremen, she wants to use every platform to draw attention to existing political and social injustices. On the other hand, she emphasizes that she barely finds time to write anymore, barely has time to search for the literary form, for her own aesthetics for her fictions because she mainly spends her working hours explaining what racism is on stages (cf. Podcast: Ränder. Theorien der Literatur II. Gespräche, Episode 6, 13. Dez. 21). Thus, it is not only the author herself who, with a high ethical awareness, does not want to disregard her aesthetic aspirations, but also the societal need in reception for political statements, for orientation, and for interpretations of the author’s “truth” raises the question of reciprocal responsibility.Thus, not only should a greater responsibility towards society be sought on the part of authors, but it should also be questioned what responsibility the reception side actually assumes. How do journalists and moderators read the texts, into which corners do they sometimes “push” authors? What interpretations do literary-educational or literary-conveying approaches exert on committed literatures? For example, Nachts ist es leise in Teheran is reading material for the Bremen Abitur in German under the heading “Narrative Identity—Intercultural German-language Contemporary Literature”.

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The Transferability of Ethics and Aesthetics—Shida Bazyar’s Balancing Act in Current Iranian and Racism Discourses

  • 章节

  • 发表日期：

    2026年

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  • Ina Schenker

摘要

Shida Bazyar may have entered German-language contemporary literature with only two novels, but they have stirred up such a storm in the political sphere that Nachts ist es leise in Teheran (2016) and Drei Kameradinnen (2021) can exemplify crucial entanglements between work, author, and political responsibility. Additionally, Bazyar chooses essayistic and journalistic forms alongside fiction to take a stance. While Nachts ist es leise in Teheran gained chilling relevance after the violent death of Jina Mahsa Amini on September 16, 2022, and the subsequent protests in Iran and the fight for more human rights, leading Bazyar to appear with an open letter to the deceased in the Süddeutsche Zeitung, Drei Kameradinnen is increasingly received in the context of racism and empowerment.And here, a balancing act becomes apparent: on the one hand, as Bazyar stated in a public reading on March 1, 2024, at the Theater Bremen, she wants to use every platform to draw attention to existing political and social injustices. On the other hand, she emphasizes that she barely finds time to write anymore, barely has time to search for the literary form, for her own aesthetics for her fictions because she mainly spends her working hours explaining what racism is on stages (cf. Podcast: Ränder. Theorien der Literatur II. Gespräche, Episode 6, 13. Dez. 21). Thus, it is not only the author herself who, with a high ethical awareness, does not want to disregard her aesthetic aspirations, but also the societal need in reception for political statements, for orientation, and for interpretations of the author’s “truth” raises the question of reciprocal responsibility.Thus, not only should a greater responsibility towards society be sought on the part of authors, but it should also be questioned what responsibility the reception side actually assumes. How do journalists and moderators read the texts, into which corners do they sometimes “push” authors? What interpretations do literary-educational or literary-conveying approaches exert on committed literatures? For example, Nachts ist es leise in Teheran is reading material for the Bremen Abitur in German under the heading “Narrative Identity—Intercultural German-language Contemporary Literature”.