Abstract

In 1942 both the Italian writer and former fascist Curzio Malaparte as well as the Nazi- Director Rolf Hansen used - independent of each other - a narrative schema that enabled them to portray and present the horror of allied bombings by a comical reinterpretation of reality in order to make it bearable. By this narrative means they anticipate one of the most successful Holocaust movies in history: Robert Benigni's {!La vita è bella}. The article compares the narrative strategies of Benigni's work with Hansen's Nazi propaganda movie {!Die große Liebe}. It questions the preconditions and consequences of such »intertextual discoveries« for the concept of a narrative normalization of an extreme and life-threatening situation by lies, fairy tales, and miracles.

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