ERZÄHLWENDE IN HANDKES DER KURZE BRIEF ZUM LANGEN ABSCHIED

Author(s): Anđelka Ž. Krstanović / Language(s): German Issue: 33/2020

Peter Handkes Erzählung Der kurze Brief zum langen Abschied stellt neben Wunschloses Unglück, ebenso 1971 entstanden, eine entscheidende Wende in Bezug auf narrative Strategien dar. Während Handke in den 1960erJahren mit traditionellen Erzählverfahren experimentiert, sublimiert er Anfang 1970er-Jahren diese Erfahrungen und vermittelt authentische Geschichten mit neugewonnen Erzählstrategien. Die angewandten Verfahren in den oben genannten Werken stellen somit eine Wende im Opus des Autors dar, die Handke als Grundkonstituenten seiner Poetik auch in späteren Werken beibehalten hat. In dem vorliegenden Beitrag werden Erzählverfahren in Der kurze Brief zum langen Abschied analysiert, um die genannte Wende näher zu verdeutlichen. Zudem wird die Position dieser Erzählung im Gesamtwerk des Autors interpretiert.

FRANZ KAFKA, ”THE METAMORPHOSIS” – EXPRESSION OF THE RELATION BETWEEN ANTROPOLOGY AND HEALTH

Author(s): Clementina Mihăilescu / Language(s): Romanian Issue: 11/2017

The paper expands upon Kafka's “Metamorphosis” as the extreme representation of alienation neurosis caused by “the arbitrary character of the infinite and by existential absurdity” (Chira, 183). From a methodological point of view, we will turn to good account the concept of “time's thermodynamical arrowˮ which reveals “the sense of time where disorder or entropy increases” (Hawking, 113). In order to properly approach the individual disorder and the mental and spiritual dislocation of Kafka's character, Jung's psycho-analytical theory, Bachelard's aesthetics and Chira's interdisciplinary studies will be also taken into account and closely observed in our analysis of the dramatic effects of the extreme form of alienation described in “Metamorphosis”.

Franz Kafka’s Metamorphotic Prison: The Door and the Window

Author(s): Cristina Nicolae / Language(s): English Issue: 18/2015

Kafka’s novella, The Metamorphosis, foregrounds the condition of the individual in the modern society, an individual who is weighed down by the awareness of his own insignificance in relation to the others and his own dreams. By means of memory, he tries to resist his new identity in an alienated and alienating world/space in which the others gradually turn from powerless witnesses into mighty ‘victimizers’ whose indifference proves too much for the weakened self. Our paper approaches the metamorphosis Kafka displays in his novella from the perspective of the relation between the individual and the others, viewed through the lens of the (in)ability to stay human(e).

Franz Werfel – držeći povijest za riječ

Author(s): Rüdiger Görner / Language(s): Croatian Issue: 1+2/2014

Pripovijedanje smatra da povijest neutralizira pripovijesti1. Povijest može epizodno nadahnjivati pripovijesti, ali pripovijesti ne mogu tražiti da budu povijesna istina. Ipak, pripovijest koja zorno prikazuje povijesne događaje ima svoju vrijednost zbog sposobnosti predaje. U takvim narativnim konstelacijama, da upotrijebimo pojam znanstvenice Kate Hamburger, “estetska istina” stoji uz bok povijesne istine. Iz određenja relacije između ove dvije istine rezultira specifi čna vrijednost književnog djela, romana, “Četrdeset dana Muse Dagha”.

Granice jezika, granice svijeta

Author(s): Vahidin Preljević / Language(s): Bosnian Issue: 5-6/2016

Pisanje povijesti književnosti također ima svoju povijest i ona nije uvijek bila slavna, a ni književna. Već sami njeni počeci, naime, manje su obilježeni voljom za proučavanjem književno-estetskih fenomena a više političkim motivima. Književno-povijesna epistema formira se u postromantičarskom periodu nakon napoleonskih ratova u Evropi, i ona je, primjerice, u njemačkom govornom području, predstavljala izraz legitimiranja »duhovnog jedinstva njemačkog naroda«, koji je tada još bio daleko od postizanja državnog jedinstva. Konstruiranje nacionalne historije književnosti trebalo je, kao, recimo, u G.G. Gervinusovoj Povijesti njemačkog pjesništva (1835), poslužiti kao nadomjestak za nedostajući stabilan kulturni i politički identitet. Estetička razmatranja gurnuta su u drugi plan, a funkcionalno stavljanje pisaca i djela u, po mogućnosti što duži, niz velike nacionalno-kulturološke priče »od početaka do sadašnjosti« postalo je glavnim obilježjem proučavanja književnosti.

HA ОСТРВУ AПСТРAКЦИЈE - МИЛОШ ЦРЊAНСКИ И ГEОРГ ТРAКЛ

Author(s): Sonja V. Veselinović / Language(s): Serbian Issue: 3/2006

Since some of the crucial Expressionist features have been diagnosed in the poetry of Miloš Crnjanski, but his actual relation with the main Expressionist poets has not been researched, the author of this paper seeks to determine the structural and topical affinities of Miloš Crnjanski’s and Georg Trakl’s poetries. The poetics of Expressionism establishes the abstract as the dominant category of the poetic universe that rearranges the reality. The permanent tendency of the lyrical subject in Trakl’s poems, and of the poet himself, is to find the correlations between disparate subject matters and to found a „higher reality” on such grounds. The ambition of this paper’s author is to reveal this principle, or at least its rudimentary form, manifesting in various aspects of Miloš Crnjanski’s work.

Hermann Bahr, južni Slaveni, austrijska politika i književnost kao pitanje

Author(s): Ivan Pederin / Language(s): Croatian Issue: 44/2016

The Austrian author Hermann Bahr, who is considered the head of the Austrian Moderne a leading personality of this group he tried to create some points of orientation in the new mouvement in literature. First he created an idea of that what he defi ned Naturalismus. For Naturalismus he understood most of the literature up to his time. He did not write a systematic analysis of Naturalismus, he condemned it making exception to a handful of great authors of past times. Moderne was a literature free of any anegdotes or commenting style, which is a landmark of Naturalismus. Literature is not a narration but a Form . Bahr wrote a book on Goethe. That is not his biography (the Germanistik has abundant notice of his life) but a view on Goethe in the eyes of his acquiantances and friends. Goethe wasnot a voluble man sometime talkative and sometime not. And fi nally Goethe was not a happy person. This Goethe-picture could be ranged to Baudelaires poetemaudit. It is a perfect non-academic pamphlet. And fi nally Bahr wrote on the political situation of the Empire and its Kingdoms of his time. He wrote that being the small man of the street who had not insigt in the activities of the goverment because Austria-Hungary still was an absolutist Monarchy.

Hermann Broch († 30. Mai 1951)

Author(s): Egon Vietta,Heinz Politzer / Language(s): German Issue: 036/1951

* Essay about Hermann Broch by Egon Vietta * Remembrance of Heinz Politzer * extract from "Pasenow oder die Romantik" * extract from "Esch oder die Anarchie" * extract from "Huguenau oder die Sachlichkeit" * extract from "Der Tod des Vergil"

HORROR VACUI ИЛИ УЖАСИ ПРАЗНИНЕ У РОМАНУ НЕСРЕЋА БЕЗ ЖЕЉА ПЕТРА ХАНДКЕА

Author(s): Marija Jeftimijević Mihajlović / Language(s): Serbian Issue: 3/2020

The novel by Peter Handke Wunschloses unglück Erzählung that has been translated in Serbian as A Misery Without Desires, in 1972, represents a true small literary masterpiece where is, in an intimate confession about the life of a mother who ended her life by taking an overdose of sleeping pills, revealed a whole philosophy of the horror of the emptiness of life on one hand, and the autoreferential aspect of the author himself who gives his poetic insights about the meaning of literature/writing in resisting such a horror, or in overcoming it. The use of expression “horror” is double motivated, that is, it has two meanings: first, it signifies a horror of emptiness that comes up with his mother’s death, and the second, it designates a horror of the mother’s life that the writer tries to depict and narrate. Therefore, the spaces of horror are in the one who narrates and in the one who was the subject of narration. Still, the real question is: do the spaces accumulate or multiply by writing, that is, do they enlarge, or does the writing help in overcoming the fear of them? Although Handke clearly states that “writing didn’t help,” he doesn’t deny that merely describing, as an attempt to find a precise and an adequate depiction of a mental state, brings “some joy” or “it turns the bliss of emptiness into a bliss of memories,” which implies that writing annuls the fear. Horror vacui, or “fear of emptiness,” a term that originates from Aristotle, and the term that the author uses at the end of his novel, implies that a more precise usage/translation would be not fear but horror because the horror is the subject of this lyrical novel A Misery Without Desires. This novel arises in a boiling fusion of a tragic personal event, as a „horror vacui in the consciousness“ and represents an existential drama with “the elements of the horror” that are less of Sartre’s nausea and more of Berdyaev’s sorrow for a high form of life, for the spaces of existence that are beyond dreams and that can be reached by one way only – by desire. Described and defined by a circle (of one life) as a determinant, the novel A Misery Without Desires represents a significant and symbolic full stop that is put in defense of a tragically ended life and on a person’s right to stay alone in the personal misery, without desires to fill the horrors of emptiness with the presence or words of others. That space of stupor that emerged by the mother’s death, as a state of quivered and disturbed consciousness, has been to an extent or temporarily filled with writing as a possible way of overcoming the fear of emptiness that comes with death.

Hugo von Hofmannsthal. Das Prosawerk des Dichters

Author(s): Max Rychner / Language(s): German Issue: 051/1952

Hugo von Hofmannsthals Kriegsziel-Notizen im Kontext deutscher und österreichischer Südosteuropa-Konzepte im Ersten Weltkrieg

Author(s): Primus-Heinz Kucher / Language(s): German Issue: 25/2016

Ausgehend von den im Zuge der kritischen Werkausgabe erstmals vollständig edierten Notizen und Aufzeichnungen Hofmannsthals zum Ersten Weltkrieg befasst sich der Beitrag mit dem Stellenwert und der Art dieser Notizen und Reflexionen. In weiterer Folge werden diese mit den für die »Neue Freie Presse« verfassten Kriegsfeuilletons sowie mit den relevanten Briefwechseln (v.a. mit E. Bodenhausen, Harry Graf Kessler, J. Redlich) abgeglichen. Schließlich rekonstruiert der Beitrag die bei Hofmannstahl nachweisbaren Lektüren zeitgenössischer Kriegszielpublikationen und kontrastiert sie mit den eigenen, stärker kulturpolitisch ausgerichteten Vorträgen und Publikationsvorhaben zwischen 1915 und 1917.

IGRE IDENTITETA

Author(s): Bojana Janković / Language(s): Serbian Issue: 146-147/2009

Veliki je izazov prepričati dramu Sanjari austrijskog modernističkog pisca Roberta Muzila. Tri ogromna čina ovog komada od elemenata klasične dramatrugije beže kao đavo od krsta: svi bitni događaji zbili su se ili pre drame, ili van naše vizure, a ono malo što se pred nama i desi iniciraju uglavnom epizodni likovi koji nemaju umnu visinu protagonista, kao da je delanje sramotno i nedostojno vrhunskih intelektualaca. Četiri glavna lika, svi u ranim tridesetim i u različitim fazama odustajanja od filozofskih ideala, povezana su složenom mrežom ljubavnih i prijateljskih odnosa, koje razrešavaju, pre svega, opširnim i minucioznim razmišljanjem, te neverovatno objektivnom i iscrpnom introspektivnom analizom svojih postupaka, emocija i planova.

Iz novijeg pjesništva njemačkog govornog područja

Author(s): Nico Bleutge,Nadja Küchenmeister,Judith Nika Pfeiffer / Language(s): Bosnian Issue: 1-2/2016

1. Iz ciklusa noću svijetle brodovi, by: Nico Bleutge 2. "linoleum", "prašina", "feniks", "kad sam vidjela da kod mene ležiš", "popodnevni čas", by: Nadja Küchenmeister 3. "Jedno drugo nijedno & oboje", "Izumiteljski duh", "Breaking (the)", "Drugdje", "Wiepersdorf", "Novobogataški vrtlog", "Skoro uzalud skorije", "Nulta sjenka", "Ništa nije važnije", by: Judith Nika Pfeiffer

Iz Rilkeove prepiske s princezom

Author(s): Borislav Radović / Language(s): Serbian Issue: 57-58/2017

Povodom stogodišnjice početka Velikog rata, kad se na sve strane počela brisati prašina sa raznih javnih i privatnih dokumenata za nove naraštaje radoznalaca, učinilo mi se da bi bilo zanimljivo potražiti odjeke ondašnjih zbivanja u jednoj od poznatijih prepiski onoga doba. To je prepiska između Rilkea i princeze Marije fon Turn und Taksis Hoenloe, čije puno protokolarno ime upućuje na neke od najuglednijih porodica evropske aristokratije.

Između jave i sna

Narcisoidni san u pripovijetci Vrt spoznaje Leopolda von Andriana

Author(s): Irma Duraković / Language(s): Bosnian Issue: 1/2021

The Story Der Garten der Erkenntnis (1895) by the Austrian author Leopold von Andrian is colored by a dreamlike atmosphere and, as such, points to the importance of the dream phenomenon among Viennese modernists even before Freud’s revolutionary study Die Traumdeutung (1900) served as a template for literary dreams. Erwin, the protagonist, although travelling through cities, does not embark on life and opposes sleep; his perception of the outside word is “narcissistic”. Erwin is in search of knowledge of the world; however, his view on his path to cognition becomes increasingly subjective, resulting in an encounter with his doppelganger. And his struggle with the doppelganger does not take place in his dream, but in his dreamlike reality. In this paper, the question arises as to what the dreamlike reality is, why does Erwin flee to it and what consequences are left on on him and the perception of the world around him.

JEAN AMÉRY’NİN “LEFEU ODER DER ABBRUCH” ADLI ROMANINDA ATEŞ İMGESİ

Author(s): Hatice Genç / Language(s): Turkish Issue: 39/2017

In this article the fire image is investigated in the novel “Lefeu oder der Abbruch” by Austrian writer / philosopher Jean Améry who was described as "the survivor of the concentration camps” during the World War II. It is aimed to bring to light how this image is handled by the author. In this respect, the meanings hidden in the frame of the fire image are emerging. Therefore, the fire image is considered from the mythological, historical, sociological and psychological point of view. As a Nazi victim, the author has placed the plot in historical and social context. In this regard, there are some references to the Second World War from the author's life. In this study, an author-centered attitude was adopted as the method used in addition to text-based approach.

Ka koida Kaffee.

Ein bibliographischer Kommentar zum Wiener Kaffeehaus als Desiderat der literatur‑wissenschaftlichen Gedächtnisforschung

Author(s): Markus Grill / Language(s): German Issue: 1/2020

Man könnte meinen, dass zum Wiener Kaffeehaus längst alles gesagt sei. Die zahl losen Bücher scheinen altes Wissen seit Jahrzehnten zu reproduzieren. Es liegt nahe, die nachhaltige Präsenz des Themas durch erfolgreiches Marketing zu erklären, das sich das simple Traditionsbewusstsein und Nostalgiebedürfnis der Menschen zunutze macht. Der Mythos vom Wiener Kaffeehaus wäre demnach ein reines Markenprodukt. Den unbestrittenen wirtschaftlichen Zusammenhängen liegen allerdings geschichts mächtige Prozesse kultureller Sinnkonstruktion ursächlich zugrunde. Sie zu negieren bedeutet, einen anti wissenschaftlichen Abwehrmechanismus von Gesellschaften zu bedienen. Er soll die Integrität ihrer erfundenen Traditionen vor kritischem Zugriff schützen. Tatsächlich ist die wiederkehrende Rede vom Wiener Kaffeehaus Ausdruck einer kollektiven Verständigung über die gemeinsame Geschichte der Nation Öster reich und damit auch über die Bedingungen der Zusammengehörigkeit zu ihr und über die Selbst- und Fremdbilder von ihr. Diese identitätsstiftende Wirkungskraft des Wiener Kaffeehauses ist bis heute nicht ergründet.

Kanály zprostředkování

Aktivity Heinricha Herbatschka ve Vídni, v Brně a v Praze

Author(s): Jan Budňák / Language(s): Czech Issue: 33/2020

This paper summarizes the mediation activities of Heinrich Herbatschek (1877 Vsetín — 1956 Vienna) in both Czech- and German-language environments between Vienna, Moravia and Prague. The author concludes that Herbatschek saw the potential of this mediation especially in the cultural field, putting it in more or less sharp contrast to the antagonistic political discourse. Systems of ideas compatible with this basic attitude were pacifism, for example (the essay Unser Seelenleben im Völkerkriege, 1915), and apolitical socialism (e.g. essays in the cosmopolitan magazine Die Wahrheit in Brno around 1920). Above all, however, it presented a fundamental criticism of strategies of othering based on national self-identification (as in the Moravian novel Ist die Liebe tot?, 1921). We find this ethos, which Herbatschek came to embrace as a student and translator of Masaryk (Die Ideale der Humanität, 1902), across the various spheres of cultural and social life that Herbatschek engaged in, which is to say as translator and reviewer of Czech modernism in the early 20th century, as a networker, writer and publisher in the German-Czech Committee and the Moravian Club in Vienna on the eve of World War I, as chairman of the Austrian-Czechoslovak Society and publisher of its magazine Der Nachbar (1929–1936), and as promoter of tourism between Austria and Czechoslovakia

Karl Kraus i Hrvatski Faust

Author(s): Ante Armanini / Language(s): Croatian Issue: 01+06/2021

Prvi: Koliko je ukupno manje lupeža kad umre samo jedan lupež? Odgovor nikako nije 1 lupež manje u ukupnom zbroju lupeža, nego je riječ o zbroju svih onih lupeža koji nakon smrti jednog lupeža izlijeću iz glave i džepova lupeža koji je umro. Konačan zbroj je nepoznat, dakle zbroj je u znaku neriješena i nerješiva matematičkog problema?

KATASTROPHENSZENARIEN IN KATHRIN RÖGGLAS DIE ALARMBEREITEN

Author(s): Ljiljana S. Aćimović / Language(s): German Issue: 39/2021

In diesem Beitrag wird untersucht, auf welche Weise die österreichische Schriftstellerin Kathrin Röggla in ihrem 2010 veröffentlichten Buch die alarmbereiten das Thema Katastrophe thematisiert. Röggla gehört zu den einflussreichsten und engagiersten Schriftstellerinnen der deutschsprachigen Gegenwartsliteratur. Sie schildert in ihren Werken oft den Ausnahmezustand und die Rolle der öffentlichen Medien im alltäglichen Leben. Die Autorin entwirft immer wieder neue Krisen- und Katastrophenszenarien und nimmt in ihren Texten eine gesellschaftskritische Position ein. Ihre Arbeiten sind oft inter- und transmedial, ihre Themen brandaktuell. Die Fragen, die uns in diesem Beitrag interessieren, sind: welche Krisen- und Katastrophenszenarien die Autorin in diesem Buch thematisiert und welche Mittel sie benutzt, um den gesellschaflichen Krisen- und Katastrophendiskurs zu reflektieren. Besonders interessant ist die Frage der Erzählinstanz, d.h. wer in ihren Texten erzählt, da es hier keinen traditionellen Erzähler gibt. Es soll untersucht werden, aus welcher Position über reale oder potenzielle Katastrophen berichtet wird. Das Ziel dieses Beitrags ist die ersten drei Kapitel sowohl inhaltlich als auch erzähltheoretisch zu analysieren und die gesellschaftliche wie auch sprachliche Intention der Autorin darzustellen.