In this article, I will discuss the concept of narration, its role within a legal context, and the relation between narration and anti-narration in Robert Musil's modernist experiment, The Man without Qualities. I will argue that, through the portrayal of Moosbrugger, Musil's aim is to show that the rationality of the legal system is based on false narrations, which prevent us from understanding living reality. I will further discuss the interest of the Moosbrugger case within the novel, and discuss whether Moosbrugger is to be seen as a Dionysian hero or a possibilitist. In the final section, I will argue that Moosbrugger can be seen as a homo sacer, as defined by Giorgio Agamben, and that it is due to this position that he is able to question our presuppositions about the criminal.
The focus of this article is the relation between time and transcultural space in literary history. The argument is that the concept of anachronism can help us understand the complexity of temporality and that the analysis of transcultural exchanges between European and Latin American art and literature may change literary history and further an understanding of the anachronism of Eurochronology. Two examples of a transcultural and anachronistic relation between Europe and America will be analyzed, both of them novels and writers of magical realism. Gabriel García Márquez’s novel Cien años de soledad (One Hundred Years of Solitude) is analyzed as a challenge to European historicity, while the transcultural aesthetics of Miguel Ángel Asturias is analyzed as a challenge to the understanding of avant-gardistic modernity. The analyses are carried out in critical dialogue with historicism and theories about world literature.