What classic elements of postmodern literature can be found in Daniel Kehlmann's 'Die Vermessung der Welt'?

Obviously, I would answer in German and only switch to English to erase final problems of understanding. Kehlmann chooses a historic framework for ‚Die Vermessung der Welt‘ creating both distance by setting the action into 17th/18th century Germany and proximity through choosing political and cultural topics with direct relevance (e.g. humanist values of the Weimarer Klassik, the ‚victory‘ of science in the period of Enlightenment or ‚Germanness‘) , however he invents or alters historic events to create a humorous effect, for example: Humboldt was travelling with an entourage but in ‘Die Vermessung der Welt’ he travels only with Aimé Bonplan, a perfect contrast in character to the perfectionist, tireless and pragmatic Humboldt (pseudo-historism can be found massively in historic dramas of the ‘Sturm und Drang’ and Romanticism in Germany e.g. Kleist’s ‘Prinz Friedrich von Homburg’ or Schiller’s ‘Die Jungfrau von Orléans and Kehlmann takes this up). He disenchants the genius by contrasting their vivid and extensive inner life with their eccentricity and problems with everyday things, thereby typifying and caricaturing the historic figures massively (Humboldt was not as pedantic, focussed, perfectionist, etc and Gauß was not as high-handed, brusque, mute and incapable of everyday things). The disenchantment is amplified by his depiction of the intellectualand physical decay of the genius and this, again, creates humour through contrast, e.g. young Gauß meets old Kant and presents him his genius formulae, Kant responds with “tell my servant that we are out of sausages”. Also, he embeds moments of great significance into mundane events, e.g. Gauß has a genius idea during his wedding night and leaves his wife to write and calculate all night. This ‘broken realism’ as Kehlmann calls it, is central to his book and certainly postmodern.  Other aspects of smaller relevance include intertextuality (e.g. to Kafka ‘Das Schloss) and metafictional reflection (both Gauß and Humboldt hate novels or anything creative; Gauß says that people will say the most outrageous things about him in 200 years).Stylistically, Kehlmann supports his humor through abstaining from the use of direct speech. The indirect speech creates a neutral and prosaic image of the characters emotions which in contrast with the desperate and dramatic situations they find themselves in is hilarious. Also, he mixes rather old German phrasal structure and modern language (there is no way Gauß and Humboldt would have spoken like that) to create a very unique and humorous style.