The Stasi, the Confession and Performing Difference: Brigitte Burmeister’s Unter dem Namen Norma

  • Alison Lewis
Part of the New Perspectives in German Studies book series (NPG)

Abstract

According to Michel Foucault, the confession is one of the West’s ‘most highly valued techniques for producing truth’.1 At the end of the nineteenth century, sexual confessions produced the truth about perversions, much in the same way that religious confessions produced the truth about sin. At the end of the twentieth century too, a confession of involvement with the Stasi was generally seen to speak the truth about life in the GDR. Unless, of course, the confession was revised by a new confession, as was the case with Sascha Anderson, whose confessions to the truth were only ever half the truth.2 But in most other instances, a confession wrung from a former secret police informer seemed to reveal all that was once hidden from the truth about life in the other Germany.

Keywords

National Identification German Nation Contact Situation False Confession Secret Police 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

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Notes

  1. 3.
    Brigitte Burmeister, Unter dem Namen Norma (Stuttgart: Klett-Cotta, 1994). Hereafter UN. Google Scholar
  2. 5.
    Michel Foucault, Power/Knowledge: Selected Interviews and other Writings, ed. by Colin Gordon (New York: Pantheon Books, 1980), p. 133.Google Scholar
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    See ‘On Humanity in Dark Times: Thoughts about Lessing’ in Hannah Arendt, Men in Dark Times, trans. by Clara and Richard Winston (Ringwood: Penguin, 1968), pp. 11–38 (p. 29).Google Scholar
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© Palgrave Macmillan, a division of Macmillan Publishers Limited 2003

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  • Alison Lewis

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