"Замок" Франца Кафки: постмодернистский дискурс в современной австрийской литературе

Author(s): E.M. Shastina,G. F. Frolov / Language(s): Russian / Issue: 1/2018

The purpose of the paper is to follow the reception of F. Kafka’s “The Castle” in contemporary Austrian literature based on the following novels: “The Peaches Killers” (“Die Pfirsichtöter”, 1972) by Alfred Kolleritsch, “Among the Bieresch“ (“Bei den Bieresch”, 1979) by Klaus Hoffer, and “Into the Castle” (“Ins Schloss”, 2004) by Marianne Gruber. The attention has been focused on the writers, whose creative manner reflects the tendencies in contemporary Western European literary process – from avant-gardism (A. Kolleritsch) to postmodernism (K. Hoffer, M. Gruber). The intertextual links between the works under the consideration and F. Kafka’s novel have been established. The “Kafkaesque discourse” suggests that there exist direct and inverse links between the author and the reader, the extra-textual tradition and reality. The comparative methodology has been used to reveal the mechanism of reception of the “Kafkaesque discourse” in contemporary Austrian literature, as well as to draw conclusions about the ways the authors treat ontological questions. Particular emphasis has been placed on the narrative strategies of Austrian literary avant-gardism, postmodern discourse of the second half of the 20th and the beginning of the 21st centuries, typological similarity of the analyzed novels, which seems productive for understanding of the influence of literature during the period of modernism on the emergence of a postmodern paradigm in the German-speaking literary space.

(Ne)odmjereno pisanje

Author(s): Ilija Trojanow / Language(s): Bosnian / Issue: 3-4/2019

Poetološko predavanje održano u okviru projekta Sarajevska poetička docentura na Filozofskom fakultetu u Sarajevu 22. 05. 2019. godine.

ADALBERT STIFTER’İN DER HOCHWALD ADLI YAPITINDA İZLEKSEL ÖĞELER: DOĞA VE ORMAN

Author(s): Yıldız Aydın / Language(s): Turkish / Issue: 07/2016

Adalbert Stifter (1805-1868) is one of the controversial authors of the 19th century. Underappreciated in his time, he was praised and his works listed as one of the most important works of German literature by Friedrich Nietzsche and Thomas Mann whereas Friedrich Hebbel and Hugo von Hofmannsthal find him boring. The criticism towards him is usually centered around his focus on nature and forest depictions and a disregard for the inner worlds of his characters. In German literature, discussed in the context of realism and the Biedermeier era, the author follows the reflection theory of the realist era by representing his observations directly and in terms of content, he reflects the Biedermeier era’s features such as depictions of familial settings, peaceful life, commitment to nature and religious belief and patriotism. As in all of his works, nature and forest hold a special place in Stifter’s Der Hochwald: he shares his observations about trees, leaves, soil, animals of the forest, meteorological events such as rain and storm in great detail. In this study, we analyze how nature was represented, its importance for the narrator and the characters, predominant theme of loneliness in the novel, shelter and maturation themes in the context of thematic criticism. On the other hand, does the author actually not take heed of the emotional and psychological aspects as per the criticisms towards his work or does he envision it in a different manner? We are searching for answers to these kinds of questions via historical and autobiographical references.

Alexander Sacher-Masoch - Maslinici u plamenu

Author(s): Nadira Puškar / Language(s): Bosnian / Issue: 7/2010

Austrijski pisac Alexander Sacher- Masoch rođen je 18. studenoga 1901. godine u Wittkowitzu, Moravska. U Moravskoj se rodio igrom slučaja. Njegov otac, Arthur Wolfgang Ritter von Sacher- Masoch, po profesiji časnik, često je mijenjao odredišta službovanja. Alexanderova ljubav prema književnosti i pisanju nije slučajna. Njegov otac se također okušao u spisateljskim vodama i bio poprilično uspješan. Pisao je pod pseudonimom Michael Zorn i objavio nekoliko romana i niz kratkih priča. Po njegovom romanu Izmedu rijeke i stepe (1936), 1938. godine je snimljen film sa Attilom Hörbiger u glavnoj ulozi.

Anđeo Devinskih elegija

Author(s): Jelena Knežević / Language(s): English / Issue: 1-2/2010

The angel of Rilke’s Duino Elegies is a multiple symbol. As a human and a poet, Rilke strives to move from the despair of his time toward the ideal. He is a human who shares the same fate on the earth with his contemporaries, but he is also an aware poet, who, possessed by existential fear, sees and feels more deeply than others. As a poet, he is sentenced to struggle with a lack of creative power and inspiration. As with Holderlin, two levels of meaning overlap at the point where the poetry and the existence meet. The angel is therefore at least a double symbol: it represents an ideal harmonious being that gives itself over unconditionally to its own feelings (a distant and unrealizable ideal to the people of poet’s indifferent age).

ANDREAS OKOPENKO, DIE ÖSTERREICHISCHE NACHKRIEGSLITERATUR UND DAS POLITISCHE

Author(s): Arno Herberth,Laura Tezarek / Language(s): German / Issue: 18/1/2017

Art and literature have always played a subordinated function in autocratic types of government, fostering the doctrines laid down by a central power. In the literary era of enlightenment, romanticism and modernity, strong eruptive forces appeared that oppose traditional literary genres of the classical representative system. Surrealistic plays on words took those counter movements to extremes by claiming equal status for linguistic signs, regardless of their semantic content. After the catastrophe of the Second World War, Austrian writers adopted these radical concepts of classical modernity. However, Andreas Okopenko’s (1930–2010) position is not easy to define and does not fall into a particular literary trend or school of thought. He does not affiliate with a more radical avant-garde, such as the “Wiener Gruppe”, but also distances himself from conservative and unprogressive trends in Austrian literature in the 1950s and 60s. Although his work is provocative with regard to formal aspects it does reflect socio-critical and political awareness.

Autobiografska bilješka

Author(s): Stefan Zweig / Language(s): Croatian / Issue: 1-2/2017

Ja sam, piše Stefan Zweig, rođen 28. studenog 1881. u Beču i tamo sam pohađao školu, već u gimnaziji nije samo meni, nego čitavoj skupini nas, bavljenje umjetnošću bio nepriznat cilj, a uživanje u umjetnosti zajednička strast.

Bancbanus – ungarisch, österreichisch, kroatisch

Zur Inszenierung eines umstrittenen historischen Stoffes im 19. Jahrhundert

Author(s): Marijan Bobinac / Language(s): German / Issue: 24/2015

This article presents three dramatics adaptations of the same historic material: the medieval Hungarian aristocrat Bánk (ger. Bancbanus, cro. Benko Bot) appears as the hero in historical plays by the Hungarian author József Katona, German-Austrian Franz Grillparzer and Croatian Franjo Marković. Although these three authors differ greatly in their aesthetic and political positions, they nevertheless share a joint goal: to prompt reflection on the joint (super)national state design against the backdrop of nation building in the Danube Monarchy and the related strengthening of centripetal tendencies.

Budućnost pisanja u jednom svijetu u ratu

Author(s): Stefan Zweig,Robert van Gelder / Language(s): Croatian / Issue: 1-2/2017

Interview with Stefan Zweig by Robert van Gelder

DAS PATRIARCHAT ALS ORT MÄNNLICHER MACHT IN DEN ERZÄHLUNGEN VON MARIE VON EBNER-ESCHENBACH

Author(s): Eldi Grubišić Pulišelić / Language(s): German / Issue: 18/1/2017

In a patriarchal society, a woman is an object subordinated to the power of men, without any rights and without significance as an individual. Marie von Ebner-Eschenbach shows various forms of patriarchy as a space of male power in her three short stories “Die Totenwacht”, “Mašlans Frau” and “Das tägliche Leben”. The female figures come from different social backgrounds: Anna from “Die Totenwacht” comes from a poor family and is subjected not only to male dominance, but above all to its tyranny and becomes a victim of rape. For the man, the status of the woman is reduced to possession and he believes that his crime can be corrected by marriage. The heroine is morally superior to him and she refuses his marriage proposal. Evi, a rich peasant daughter from “Mašlans Frau” rebels against double mourning and is determined not to forgive the violation of female dignity.

Demiurg jest dwoistością. Alfred Kubin i Bruno Schulz – próba porównania

Author(s): Krzysztof Lipowski / Language(s): Polish / Issue: 2/2013

Both Bruno Schulz and Aflred Kubin moved freely between image and word. In their artistic quests they first turned toward the iconic and only then chose the verbal art.In Schulz’s work, the relationship between woman and man is reduced to adoration. Schulz’s man knows that the beauty he admires is beyond his reach, while Kubin reaches further. For him, the sexual act means loss of masculinity. The Austrian draughtsman approaches sexual desire as difficult to control, sometimes animal in its forms, whilefor Schulz desire is subtler and more sublimated. Both Schulz and Kubin addressed theproblem of limited and imperfect reality which sustains the artist’s imagination while he tries to improve it. Both also surprised the audience with their teriomorphic ideas.In the age when most painters preferred chromatic richness, both Kubin and Schulz chose drawing and etching. They preferred techinques which stressed the realtionship of light and color. White and black, making an ascetic combination, let them achieve the maximum of expression. Their works are visions of somnambulists.

DER HAUSIERER. DIE DEKONSTRUKTION DER GESCHICHTE DURCH DIE METANARRATION UND DAS VERFAHREN DER NARRATIVEN REDUKTION

Author(s): Anđelka Ž. Krstanović / Language(s): German / Issue: 20/2018

Ханткеов роман Der Hausierer (Торбар), објављен 1967. године, анализирали смо у односу на поступак деконструкције традиционалних приповједних модела а он је спроведен путем метанарације и поступка наративне редукције. Деконструкција традиционалних приповједних модела читаоцу је пласирана на подлози криминалистичког романа. Теоретски дијелови као метанаративни ниво који претходе причи разбијају илузију, а сама прича сведена је на њене формалне елементе, односно садржајно је испражњена. На тај начин читаоцу је наметнуто да се суочи са структуром приповједног модела, а не причом.

Der Journalist als Detektiv

Kischs "Der Fall des Generalstabschefs Redl" und die Reportage der Neuen Sachlichkeit

Author(s): Christian Kirchmeier / Language(s): German / Issue: 25/2016

Der Spionagefall des Oberst Redl war einer der großen Skandale am Vorabend des Ersten Weltkrieges. Der Beitrag untersucht die literarische Bearbeitung der historischen Ereignisse in Egon Erwin Kischs "Der Fall des Generalstabschefs Redl" (1924) und entwickelt zwei Thesen: Erstens soll gezeigt werden, dass Kischs Fiktionalisierung dieser Reportage einer neusachlichen Poetik nicht etwa entgegensteht, sondern im Gegenteil für die Neue Sachlichkeit programmatisch ist. Zweitens soll der Nachweis erbracht werden, dass der Text ein Dokument für die Genese einer Überwachungsgesellschaft ist, in der die Kontrolle über die Kommunikationsmedien zum kriegsentscheidenden Faktor wird.

Die Poetik der Stadt in der Lyrik von Rainer Maria Rilke und Aleksandr Blok

Author(s): Mária Gyöngyösi / Language(s): German / Issue: 1/2012

The aim of this paper is to open up the typological parallelisms (motives, colors, and the position of the lyrical “me”) between the city imageries of Rilke and Blok. The analysis covers Rilke’s lyrics and Blok’s three cycles (The City, Terrible World and Italian Verses). The comparative analysis focuses on the poetry of their hometowns (Prague and St. Petersburg), that of modern cities, and of Italian towns visited by the authors. The question of the modern city and the criticism of civilization represent several similarities in the two p o e ts’ works, but the secessionist garden, park, and castle motives occur only in Rilke’s poetry. The topics of Venice and St. Petersburg, which are related to each other in many ways, are formulated in the objective lyrics of Rilke’s volume New Poems.

DIE POETISCHE DARSTELLUNG DER MACHT IM WERK DAS LAND ZWISCHEN DEN KATARAKTEN DES NIL VON ANTON PROKESCH VON OSTEN

Author(s): Martina Lučić / Language(s): German / Issue: 18/1/2017

The main subject of this article is the poetic portrayal of „Power” in the travelogue Das Land zwischen den Katarakten des Nil (in English: The Land Between the Cataracts of the Nile) by Anton Prokesch von Osten. Prokesch von Osten was an Austrian diplomat and travel writer in the 19th century. There are many reasons why this travelogue today should be considered an important and interesting literary work. Firstly, the travelogue Das Land zwischen den Katarakten des Nil is rich in detailed descriptions and historical, imagological, ethnographical and geographical information about the land to which Prokesch von Osten traveled in 1827 and that he described in his travelogue. Secondly, Anton Prokesch von Osten was a diplomat and a general, who had a very successful military and diplomatic career in Europe and in the Levant.

Die Reaktionen österreichischer Schriftsteller auf den Kriegseintritt Italiens am Beispiel der D’Annunzio-Rezeption

Author(s): Arturo Larcati / Language(s): German / Issue: 25/2016

Die vorliegende Studie analysiert die Reaktionen österreichischer Schriftsteller auf Italiens Kriegseintritt an der Seite der Entente im Mai 1915. Der Fokus liegt auf der D’Annunzio-Rezeption, weil der Autor der Laudi für diesen Schritt Italiens verantwortlich gemacht wird. Alles, was im österreichischen Literaturbetrieb Rang und Namen hat, beteiligt sich an der heftigen Polemik gegen den italienischen Dichter; dabei profiliert sich speziell Stefan Zweig – ein Umstand, der bisher in der Forschung unbeachtet geblieben ist. Die heftige Auseinandersetzung bietet den Autoren der Wiener Moderne die Möglichkeit, mit ihrer bisherigen D’Annunzio-Faszination abzurechnen.

Die Zerrissenheit des inneren Ichs im Roman Malina von Ingeborg Bachmann

Author(s): Sandina Herić,Anela Alijašević / Language(s): German / Issue: 13/2018

In der Arbeit wird die vielfältige innerliche Zerrissenheit des inneren Ichs der Hauptprotagonistin, deren Namen wir nicht kennen, analysiert. Besonders betont wird die emotionale Zerrissenheit, die Seelenlage und der innere Konflikt der Ich – Erzählerin. Thematisiert wird auch das Alter Ego in Bezug auf die Titelfigur Malina, der für den Verstand steht und das zerrissene Ich, das die Leidenschaft, Emotionalität, Hysterie und den Wahn symbolisiert.

Dođi, slatka smrti

Author(s): Wolf Haas / Language(s): Bosnian / Issue: 5-6/2016

Sada se ponovo nešto desilo. Ali dan, koji ovako počinje, može biti samo još gori. Ovo ne treba zvučati nekako praznovjerno. Sigurno ne pripadam ljudima koji se plaše kada im preko puta pređe crna mačka. Ili kada hitna pomoć prođe a ti se moraš odmah prekrstiti da ne bi bio sljedeći kojeg će kompjuterski tomograf isjeći na hiljade režnjeva.

Edgar Alan Po i teorija kratke priče

Author(s): Saša Simović / Language(s): Serbian / Issue: 9/2014

The concept of effect elaborated in his poetry, Edgar Allan Poe applied to the short story. In his well-known review of Hawthorne’s Twice-Told Tales (1842), Poe claims that apart from a poem the demands of a genius are best fulfi lled in the short story requiring from a half hour to one or two hours to be read in order to obtain the unity of effect and make it functional. According to Poe, in a well written story, each element has to fit into a previously conceived plan to contribute to the overall effect of the whole. This paper deals with fundamental postulates of Poe’s short story theory.

EIGENKULTUR – FREMDKULTUR

Author(s): Pál Deréky / Language(s): German / Issue: 1/2003

Im Jahre 1909 brachen der Wiener Aktivist Rober Müller (1887–1924) und der Budapester Aktivist Lajos Kassák (1887–1967) zu einer jeweils exotischen Reise auf: Müller bereiste die Vereinigten Staaten, Mexiko, sowie einige Länder Mittelund Südamerikas, Kassák pilgerte nach Paris; er brauchte für seinen Fußmarsch etwa drei Monate. Es war nicht der Geist der Moderne oder der Avantgarde, die er dort suchte – „ich sah Paris und ich sah nichts“, schrieb er später –, es ging ihm, wie auch Müller im Urwald, um die eigene Wiedergeburt als „neuer Mensch“, als Literat mit großer Öffentlichkeitswirkung. Die Berichte beider Ich-Reisen wurden in Wien verlegt, Müllers erschien 1915, Kassáks 1922 (dt. 1923). Müller und Kassák lebten 1920–1924 in derselben Stadt und hatten sicher Kenntis über die Arbeit des jeweils anderen. Dass sie einander nie auch nur mit einem Wort erwähnt haben, liegt daran, dass (vereinfacht gesagt) Kassáks Konzeption der Massenwirksamkeit eine linke war, während die von Müller eher aus Begriffen der rechten Ideologien bestand.