Postexperimentelle Montageliteratur in der Gegenwart

Since the 1990s, art forms such as film, music sampling and more recently short-form content like TikTok videos have become ubiquitous in everyday life.Can the once pioneering montage literature still be groundbreaking, political, and therefore subversive if it must compete with the fragmented formats of digital and popular media that surround us?This article uses Florian Neuner's Zitat Ende (2007) to examine the subversive potential that montage literature can still hold today.Zitat Ende transcends conventional montage techniques through its (1) parodistic intertextuality, (2) strong literature-critical meta-discourse and (3) the contrast between sub-and popular-cultural versus high-cultural discourses.The theoretical section outlines the tradition of German montage literature in order to shed light on the distinctive features of Neuner's postexperimental montage.The subsequent literary analysis demonstrates how the unreliable narrative and the parodistic staging of intertextuality undermine conventional forms of montage literature.The specific montage in Zitat Ende, in terms of content, style and formal aesthetics, as well as the contrast between high and popular cultural text archives, ultimately results in a subversive and innovative form of montage literature -even amid perceptions of digital media.