LITERATUR VS. ENGAGEMENT EINIGE ANMERKUNGEN ZU PETER HANDKES ELFENBEINTURM

Author(s): Andelka Krstanovic / Language(s): German / Issue: 18/1/2017

The aim of this paper is to elucidate the programmatic essay of Peter Handke's I Am a resident of the Ivory Tower in the context of the relationship between literature and engagement. Handke’s firm positions are recognizable in his conviction of the power of literature, which is directed towards a change in man`s consciousness. They are an all-encompassing guide to the author’s oeuvre. For this reason, a particular interest here is committed to the position of Engaged Literature, which, according to Handke, as an arbitrary attitude creates a judging, normative image of reality. Finally, the triad self-reflectionlanguage- form is to be discussed as a literary mechanism for the design of a new way of life.

Literatura austriacka na łamach „Literatury na Świecie”

Author(s): Elzbieta Hurnik / Language(s): Polish / Issue: 1/2017

The article deals with the reception of Austrian literature – as it has been presented in “Literatura na Świecie” – since the magazine was founded in 1971. The main goal has been to analyze the ways in which the magazine has contributed to the spread of literature among Polish readers. Because of the breadth of the topic, the article focuses on specific problems in: the representativeness of the works printed or excerpted, the portrayal of Austrian writers, the reviews of texts, critical reviews, translations, and discussions regarding translations. The analysis indicates that the magazine has contributed to the expansion of knowledge concerning Austrian literature and its main representatives, (Rainer Maria Rilke, Robert Musil, Elias Canetti, Franz Kafka, Georg Trakl, Paul Celan, Ilse Aichinger, Elfriede. Jelinek and others , and others), their specificity, along with the historical and cultural conditions of the literature and its proponents.

Makroprizma

Author(s): Relja Dražic / Language(s): Serbian / Issue: 296/1983

Pre no Što je končarska firma »Viler« u Hamburgu razvila svoj uzgredni goblen-gešeft, nudeći pospođama sheme slika »stanh majstora«, po kojima su ih mogle same ponovo oličiti, samo ako bi za određene rupice koristile tačno određene, shemom predviđene bojene konce, koje je liferovala firma - dakie, pre toga, jedan mladi slikar je za male pare u nekom berlinskom časopisu za dame činio nešto primitivniju shematizaciju: on je prosto razlagao kolorističku strukturu slika na elementarne kvadratne jedinice i dobijene tipove boja obeležavao posebnim znacima, pa ih ucrtavao u kvadratiće, ostavijajući na volju damama da same izaberu boje. Jedini je uslov bio taj da bude očuvano pripisivanje nekog znaka uvek istoj boji. Međutim, ideja mladog umetnika nije imala uspeha kod publike. Gobleni nisu ličili.

Maschinenmensch und Geistesmensch im Drama Thomas Bernhards Der Ignorant und der Wahnsinnige

Author(s): Sonja Novak / Language(s): German / Issue: 1/2019

The so called “Geistesmensch” is Thomas Bernhard’s aesthetic basis when creating a protagonist in his literary works. His “Geistesmenschen” [intellectuals] are often fanatic characters in pursuit of the ultimate truth or power and who have tiresome monologues in which they critique the world and the society. Yet they themselves are no better than this world and the society they criticize; they are also full of flaws. This paper examines another kind of Bernhard’s protagonists, who are depicted as being in a subordinate, dependent relationship with these “Geistesmenschen” and are described as their opposites. For the purposes of this paper, they will be called “Maschinenmenschen” [human machines or mechanic humans]. In Thomas Bernhard’s play Der Ignorant und der Wahnsinnige the character of the Doctor appears as the “Geistesmensch”, while the character of an Opera Singer appears literally and figuratively as a human machine (“Koloraturmaschine”). As opposite characters entangled in a co-dependent relationship, they represent what Gilles Deleuze and Felix Guattari call a system of “desiring machines” as described in their work Anti-Odpius: Capitalism and Schizophrenia 1 and A Thousand Plateuas: Capitalism and Schizophrenia 2. As parts of the same machinery, they strive towards achieving what Deleuze and Guattari call “a body without organs” which represents a kind of freedom from their dependency on each other and the system: Bernhard’s intellectual, the Doctor, describes throughout the play how to dissect the human body and in his monologues depicts very vividly how to remove its organs, while the human machine, the Opera Singer, is trying to pry herself loose from the machinery of the cultural industry she is a part of. Achieving a “body without organs” would for them mean freedom from the system of entangled machines and the possibility to become human again.

Mi u tuđim očima

Author(s): Šejla Karabašic / Language(s): Bosnian / Issue: 1/2011

Ziel dieser Arbeit war es herauszufinden, inwiefern Bosnien-Herzegowina in ihrer Geschichte das Objekt der Beschreibung eines deutschen bzw. österreichischen Reiseberichterstatters war, welche kulturgeschichtlichen Elemente dieses Landes ganz besonders die Neugier der Reisenden erweckten und in welchem Umfang sich die unterschiedlichen Reisebeschreibungen aus verschiedenen Zeitperioden voneinander unterscheiden. Es wurden mehrere Reisebeschreibungen analysiert, wobei die Kriterien für die Analyse sich auf den Autor (Dichter, Naturwissenschaftler, Politiker, Soldaten), die Entstehungszeit (vom 18. Jahrundert bis zur Gegenwart) und die Textart beziehen. Letztendlich wird Antwort auf die Frage gegeben, wie das Objekt der Beschreibung und die Einheimischen von den fremden Autoren wahrgenommen werden und welche kulturellen Unterschiede sich feststellen lassen.

Miejsca bezpieczne: Kafka, Walser, Schulz

Author(s): Marek Wilczynski / Language(s): English,Polish / Issue: 11/2018

The paper begins with a reference to Franz Kafka’s unfinished long short story “The Burrow,” which has been chosen as a starting point of a series of intertextual associations focusing on futile efforts made by various modernist literary narrators and characters to find a sense of safety in some specific settings. The route from “The Burrow” runs through selected short stories by Robert Walser toward late fiction by Bruno Schulz, in particular “The Republic of Dreams” and “The Homeland,” revealing affinities connecting the Polish writer from Drogobych with two writers of the German language, who shared his fears and obsessions.

Mythen , Märchen Und Träume Als Typische Merkmale Der Postmodernen Literatur In Martin Mosebachs Roman ”Die Türk In“ Im Vergle Ich Mit Peter Handkes “Mein Jahr In Der Niemandsbucht “ Und Orhan Pamuks ”Die Weisse Festung“

Author(s): Sedat Ince / Language(s): German / Issue: 80/2014

Contemporary postmodern writers often use elements of myth, fairy tales and dream, and as a result, it enables them to intertwine between different time periods or to create a mixture of reality, fairy tale and dream. In this way, they are able to transmit fantastic elements into a realist narration by making reality relative and put forth illusory knowledge transfer of our senses. This unlimited freedom of narration, mostly preferred by postmodern writers, is expressed in the works of contemporary writers by way of putting together all the contrasts creatively. Nevertheless, these unrealistic narrative elements used in a particular frame help the writer to reflect his sense of reality freely. As an example of this, Martin Mosebach’s 1999 novel “Die Türkin” is analyzed here. In this novel, a young German academician who is on the peak of his career, falls in love with a Turkish girl who lives in Germany and instead of going to America for furthering his career, he comes to Turkey after her. Thus, novel creates levels of narration where cultures of east and west collide with each other and this changes the perception of reality. In this study, the novel is analyzed by focusing on these historical myths, fairy tales and dreams used in the narrative. After a brief summary of the plot, the sections related to mythology, fairy tale and dreams are selected, quoted and interpreted. At last, the same narrative elements of “Die Türkin” are compared to the Austrian novelist Peter Handke’s novel “Mein Jahr in der Niemandsbucht“ and the Turkish novelist Orhan Pamuk’s novel “The White Castle ”. The common or similar usages of postmodern elements in these novels are analyzed.

O STVARNOSTI, FIKCIJI I KNJIŽEVNOSTI U PRIPOVEDNOJ PROZI NORBERTA GEŠTRAJNA

Author(s): Jelena Kneževic / Language(s): Serbian / Issue: 511/2018

U svom novom romanu Godine koje dolaze (Die kommenden Jahren), objavljenom u februaru u izdavačkoj kući „Hanzer" (Hanser), austrijski pisac Norbert Geštrajn (Norbert Gstrein) tematizuje niz aktuelnih društveno-političkih tema poput poslednjih predsedničkih izbora u Americi, izbeglištva i iseljeništva, otapanja glečera na polovima i nedostatka ekološke svesti, odnosa industrije i nauke, medija i savremene umetnosti, te osećanja opšte nesigurnosti u svetu. Posredstvom njih, međutim, Geštrajn u maniru najboljih pripovedača nemačke i svetske književnosti dolazi do univerzalnih pitanja krhke ljudske egzistencije, odnosa slobode i nužnosti, međuljudskih, supružničkih i roditeljskih odnosa, a u vezi sa prolaznošću i do teme prirode i svrhe umetnosti.

Ojciec po śmierci ojca – (post)lacanowski ateizm w spojrzeniu z Odradka

Author(s): Przemyslaw Tacik / Language(s): Polish / Issue: 2 (7)/2015

The paper calls into question the status of (post)Lacanian atheism as can be inferred from writings of Lacan himself (mainly seminaries XI, XVIII, XX and XXIII) and Slavoj Žižek. Such atheism is based on the inexistence of “the Other of the Other”, which, however, cannot be merely stated, but must take the form of an injunction. In this postlacanian logic, true atheists are not those who deny the existence of God – even in its symbolic functions – but those who – actively relying on the absence of “the Other of the Other” – are able to carry out fundamental shifts within the symbolic structure of the Other. Yet, this atheism, which might be viewed as one of the strongest forms of denying the divine, is based itself on the monotheistic grid. Drawing upon some remarks from the late writings of Freud, the paper aims to reveal the inner, self-referential logic of the Father, whose position is preserved and strengthened after the actual death of the Father. Postlacanian atheism might be conceived of as the latest form of fatherly self-grounding, in which divine position perpetuates itself under the cover of injunctions to radical atheism. Finally, the paper propounds an interpretation of Kafka’s short story “The Cares of a Family Man” (“Die Sorge des Hausvaters”), in which the enigmatic figure of “Odradek” – a deathless half-object, half-creature – stands for the final material embodiment of the futile injunction to renounce the divine. Thus Odradek epitomises the Law, which is nothing but an insoluble rattle, emptied from the tension of desire, in front of which Kafka’s characters are forced to wait.

Ondyny i meluzyny we współczesnej niemieckojęzycznej literaturze kobiet (Bachmann, Neuwirth, Frischmuth)

Author(s): Nina Nowara-Matusik / Language(s): Polish / Issue: 2/2018

The article is an attempt at a gender reading of the motif of undine and melusine in three texts by contemporary Austrian writers: Ingeborg Bachmann („Undine Goes”), Barbara Neuwirth („Nimm diese Rosen, Schöne”) and Barbara Frischmuth („Otter”). In the introduction, the author describes the mythological and literary context in which this motif functions, and then places the analyses of the above mentioned works against this background. Another important issue is the question of the feminist progressiveness of the texts under examination: basing on the assumption that Bachmann’s work is characterised by (pre)feminist thinking, the author places in its context the texts by Neuwirth and Frischmuth, written several decades later.

ORIJENT U BEČKOJ MODERNI : NARATIVI HABSBURŠKE BOSNE I IMPERIJALNA POETIKA KOD LEOPOLDA ANDRIANA I ARTHURA SCHNITZLERA

Author(s): Vahidin Preljevic / Language(s): Bosnian / Issue: 2/2014

This paper attempts to sketch the Habsburg narrative about Bosnia-Herzegovina in the context of “imperial poetics”. In order to achieve this, first the current discourse in cultural theory with regard to this topic will be summarized, based on positions of the Viennese research network Kakanien revisited. Then, through an analysis of literary texts by Karl Kraus, Arthur Schnitzler and Leopold von Andrian, the main features of a specifially decadent-Impressionist Bosnian narrative of the ‘Young Vienna’ circle will be reconstructed. This is meant as a stimulus for further research into the imperial aesthetics of Viennese modernism and the position of Bosnian imagery in this context.

Paul Celan on the Impossibility of Testimony: “Ort meiner eigenen Herkunft”

Author(s): Petar Bojanic / Language(s): English / Issue: 4/2018

In his poems, Paul Celan does not use words such as territory, border, border crossing, and only very rarely the word space. I would like to reconstruct the traces of “Heimat” in Celan (in a number of poems from different periods “Heimat” plays an important role), and perhaps try to describe what Heimat might have meant for the young Paul Antschel (his real name). That is to say, I would like to understand whether “Heimat” is synonymous with what Celan speaks about, many years after his name change, in the address given on the occasion of the Georg-BuechnerPreis: “Ich suche auch, denn ich bin ja wieder da, wo ich begonnen habe, den Ort meiner eigenen Herkunft.” In the poems written at the time when Antschel is learning Hebrew as well as reading Martin Buber (Israel Chalfen) for the first time, I look for some basic figures Celan ties to his life in Bukovina at the time, in the environment of Czernowitzer Judentums. Aside from the works by Israel Chalfen, Else Keren and Elke Guenzel, I would like to make use of a book published some ten years ago, a detailed listing of Celan’s Paris library. I would like to consult this archive in the coming period, since Celan punctuated the margins of many of those books with evocations of his early creative period.

Persiflage oder Verherrlichung des k.u.k. Heerführers Conrad von Hötzendorf?

Die Polemik um Miroslav Krležas Zeitungstext "Barun Konrad" (1915)

Author(s): Marijan Bobinac / Language(s): German / Issue: 25/2016

Ein Artikel über die kriegsstrategischen Kompetenzen des k.u.k. Generalstabschefs Conrad von Hötzendorf, veröffentlicht in der Zagreber Tageszeitung »Obzor« im April 1915 unter dem Titel "Barun Konrad", brachte ihrem Autor Miroslav Krleža nach Kriegsende, im neubegründeten SHS-Königreich, heftige Angriffe ein. Gegen die Vorwürfe der Austrophilie und eines verlogenen Pazifismus polemisierte Krleža – bereits als unerbittlicher Kritiker der politischen Verhältnisse in der Donaumonarchie wie auch im neuen südslawischen Staat profiliert – mehrmals und suchte dabei zu zeigen, wie seine Gegner die literarische Ironie für bare Münze nahmen und im gleichen Zuge für politische Zwecke instrumentalisierten.

PESME

Author(s): Günter Eich / Language(s): Serbian / Issue: 510/2018

Poems by Günter Eich

PJESNIK GINTER AJH

Author(s): Stevan Tontic / Language(s): Serbian / Issue: 510/2018

Ginter Ajh (Gunter Eich, 1907-1972) je, po opštem mišljenju, jedan od najznačajnijih njemačkih pjesnika druge polovine 20. vijeka. Posebno je važna njegova pjesnička zbirka Zabačenisalaši, objavljena tri godine po svršetku Drugog svjetskog rata. U njoj je tegobno iskustvo iz zarobljeničkog logora, iskustvo ratne katastrofe i sloma nacističke Njemačke došlo do svog jakog, vrlo upečatljivog izraza. Po riječima Valtera Helerera, Ajh je „kao nijedan drugi njemački pisac poslije 1945, umio da poveže praktična mučna pitanja s najosjetljivijom poezijom".

Portrety kobiet w powieściach Marlen Haushofer Ściana i Mansarda

Author(s): JOANNA GRACA / Language(s): Polish / Issue: 1/2019

In Poland quite obscure, Marlen Haushofer (1920–1970) was an Austrian writer whose artistic work fell on the 1950s and 1960s. In her lifetime neither the novels nor the shorter prose works she was an author of won much recognition. Only the 1980s and the intense feminist actions made literary critics have a new look at Haushofer’s works. Since that time she has been regarded as a representative of women’s writing. Her main characters are women going through their everyday problems, living in solitude, having their anxious moments, suffering the consequences of wrong life choices and the effects of traditional and rigorous upbringing. What is not to be blotted out of their memories is wartime experiences. Even though they do not talk about it, those memories come flooding back as isolated pictures.

Projektanci mitów – kreacje Schulza, Rotha i Meyrinka

Author(s): Monika Szyszka vel Syska / Language(s): Polish / Issue: 2/2018

The article discusses the ideas of creation coined by authors descended from the same, Austro-Hungarian cultural field, by: Bruno Schulz, Joseph Roth and Gustav Meyrink. Austro-Hungarian Monarchy created its own mithology based on nostalgia for the World, which was consigning to the dark recesses of history. The authors, conscious of inefficiency of contemporary culture, used the idea of Demiurge to show one of possible creating ideas.

PROROK IZ OPATIJE

Author(s): Norbert Gstreins / Language(s): Croatian / Issue: 511/2018

A story by Norbert Gstreins

Recepcija Karla Krausa u Jugoslaviji

Author(s): Obrad Savic / Language(s): Serbian / Publication Year: 0

O Karlu Krausu se u Jugoslaviji pisalo još to- kom života ovog izuzetno razornog satiričara, koji je, pored drugih, austrijsku književnost učinio svetskom. Veoma rano je nametnuta specifična političko – jezička recepcija koja je odredila dalji tok pretežno polarizovanih političkih debata. Veliki virtuoz reči, koji je u svojim dramama, satirama i aforizmima negovao platonovsku ljubav prema nemačkom jeziku, recipiran je u okruženju osobenog ‘srednjoevropskog komparativizma’, u ambijentu centralnoevropske kulturnog miljea ličenog napadne ‘pangermanske’ konotacije.

REMINISCENCIJA KAO STVARALAČKI REFLEKS

Author(s): Dejan Aleksic / Language(s): Serbian / Issue: 448/2007

Lektira jednog pesnika koji naporno i brižljivo uspostavlja sopstvenu stvaralačku individualnost, može imati nepredvidive refleksije na njegovo stvaralaštvo. Međutim, ne događa se retko da neki od određujućih uticaja uz koje osvajamo vlastiti izraz, nisu ujedno i determinante našeg razvojnog stvaralačkog puta. Ovde, dakle, govorimo o razlici između uticaja određenih konkretnih poetika, čvrsto utemeljenih u književno-istorijskom kontekstu i pesničkih uticaja koji se odnose isključivo na senzibilisanje unutrašnjeg sveta stvaraoca ili, da budemo slikovitiji, pejzaža duše.