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AbstractThis article considers the normative conceptions and images that contemporary German fiction authors associate with their own work. On the basis of twenty narrative interviews, the article examines the extent to which the different self-reflections of authors manifest themselves in subjective interpretations and literary practices, which in turn reflect the economic and social structure of the literary field. This study aims at an empirical reconstruction of typical notions of authorship.

Between 1983 and 1989, as the two German pop music industries
continued to license one another's properties, and Amiga continued releasing
American and British records, five long-playing records were released by
independent labels based in Western Europe that contained music recorded
in the German Democratic Republic. They were then smuggled out of the
country rather than formally licensed for release abroad. Existing outside the
legal framework underlying the East German record industry, and appearing
in small pressings with independent labels in West Germany and England,
these five tamizdat LPs represent intriguing reports from the margins on the
mutual entanglement of the two Germanies' pop music industries. Closely
examining these LPs' genesis and formal aspects, this article explores how
independent East German musicians framed their own artistic itineraries with
respect to (or in opposition to) the commercial pop circuit, as they worked
across borders to self-release their music.