Zwischenfälle
Rezension zu: Anna Babka, Renata Cornejo, Sandra Vlasta (Hgg.): Begegnungen und Bewegungen: Österreichische Literaturen. "Aussiger Beiträge" 8 (2014)
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Rezension zu: Anna Babka, Renata Cornejo, Sandra Vlasta (Hgg.): Begegnungen und Bewegungen: Österreichische Literaturen. "Aussiger Beiträge" 8 (2014)
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The article is devoted to reception of Austrian literature before theSecond World War in Wiadomości Literackie (Literary News). It was the most popular letter, whose aim was to educate society, and popularize foreign literature and culture. The literature that was most often promoted was French literature,but also German-speaking authors (cited in the article) were discussed. Austrian literature was not treated as distinct from German literature during that time but nontheless, the articles presents artists, of Austrian origin: Joseph Roth, Stefan Zweig, Rainer Maria Rilke, Hugo von Hofmannsthal, Arthur Schnitzler, Odon von Horváth, Franz Werfel and others. The article examines interviews with these writers as well as reviews their books and other texts which appeared in Wiadomości Literackie.
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Der Beitrag gilt zwei in den 1920er Jahren erschienenen, seither nicht wieder aufgelegten österreichischen Romanen über den Ersten Weltkrieg. "Der anonyme Krieg" von Rudolf Geist, einem Außenseiter im Literaturbetrieb, der sich an Karl Kraus orientierte, strebt eine umfassende Darstellung des Kriegs und eine Entlarvung der Kriegsgewinnler an, scheitert allerdings, da Geists sprachliche Kompetenz seinem lobenswerten Engagement nicht gewachsen war. "Der Marsch ins Chaos" des ›deutsch-tschechischen‹ sozialdemokratischen Publizisten Josef Hofbauer orientiert sich an Remarques "Im Westen nichts Neues" und thematisiert die Besonderheiten an der österreichischen Front, vor allem den Nationalitätenkonflikt.
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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.
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The work of Ingeborg Bachmann, as well as numerous studies that observe it through the prism of gender theories, gave an important contribution to the representation of women’s identity and to the creation of theoretical frame for the construction of women’s political subject. By exploring the language in accordance with contemporary philosophical thoughts, Ingeborg Bachmann undermines the basis of absolutist, exclusion and domination - the basic principles of contemporary, men-determined world and society. Using a distinct approach Ingeborg Bachmann defines language, as a representation of the world, while having a specific focus on the position of a woman. The work of Ingeborg Bachmann underlines the neccessity of feminist reconstruction of history, finding previously hidden elements of women’s culture, at the same time takes part in developing alternative approaches to language, literature and culture at large.
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* 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"
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This article analyses The Notebooks of Malte Laurids Brigge (1910) by Rainer Maria Rilke and A Moment of True Feeling (1975) by Peter Handke, aiming to demonstrate that the protagonists of the two works are trying to overcome existential problems through the subjectivist perception of reality. The article demonstrates how Rilke and Handke referred to subjectivity in their works listed above. The comparison of The Notebooks of Malte Laurids Brigge and A Moment of True Feeling reveals Handke’s attitude to the concept proposed by Rilke.
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The paper deals with specific features of the narrative strategies in the German-language novel of the 21st century which is regarded as a phenomenon of the whole contemporary literary process. The poetics of novels written by contemporary Austrian writers (Daniel Kehlmann’s Measuring the World (Die Vermessung der Welt) and Christoph Ransmayr’s The Flying Mountain (Der fliegende Berg)) is presented as a dynamic force with the narrative principles and elements of different types of paradigms, including modernism (subjective perspective and narration), realistic writing in its traditional form, and postmodernism (synthesis of the fictional and non fictional, intertextual irony, and metaplay with the text). The novels under discussion are defined as neo-modernist metanarratives, where the authors of the paper disclose both radical literature experiments and, at the same time, repetition in the forms and tendencies already familiar and well-studied in modernism and postmodernism. The study of Daniel Kehlmann’s and Christoph Ransmayr’s novels is significant and important, because it helps to identify the typical narrative strategies of the Austrian novel in the 21st century, as well as to understand the objective laws of the development of German-language fiction and Western literature in general.
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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.
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F. Werfel (1890-1945) – a representative of Austrian expressionism. A Jew by birth, he was interested in theology from an early age. One of the main themes of his work was the theme of man’s faith in God. The religious quest of Franz Werfel, depending on his life circumstances (military service, marriage to a Catholic, the death of his son) and world cataclysms (World War I, the breakup of Austria-Hungary) passed through periods of faith in God, his strength, and doubts about his justice (“The Creation of Music” 1913, “The Death of Moses” 1914, “Theology” 1914, “The Creation of Joke” 1918, “The Blasphemy of Madness” 1918) and the denial of the existence of God in general (“The Black Mass” 1919, “The Man from the Mirror” 1920). God appears in the novels and dramas of Werfel then as an evil and unjust judge and executioner, then as a mad beggar, and then as the creator of beauty. In this work, we want to explore in detail the causes of Werfel’s religious offerings, the stages in the evolution of his attitude towards God, and changes in the image of God in his novels and plays.
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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.
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In this paper the author deals with a number of crucial poetical characteristics and devices in the lyrics and prose- poems of Austrian expressionist Georg Trakl (1887–1914), one of the representatives of so-called poetes maudits. He also belongs to the authentic followers of avant-garde tendencies started back in poetry and lyrical prose by Arthur Rimbaud.
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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.
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In the self-description (in letters or in dream notes, and in the novel Malina and two novel fragments from the project “Todesarten”) it is observed how those elements of reality that literally embody or specifically indicate a problem are metaphorically conceptualized – inthis case, the traumatic experience from relationships (Bachmann explicitly speaks of insults)and Bachmann’s resulting psychic injury. Accordingly, the development of metaphors in the self-descriptions or self-portrayals of the author and her female protagonists is also examined.The development of the metaphors in the projection and introspection of letters and dream notes and in the selected texts of the project “Todesarten” indicates a system of states of one’sown that have an effect on the cognitive system, or to which the author is repeatedly thrown back (according to Georg Groddeck). In this sense, a self-therapeutic effect cannot be denied.Subsequently, a metaphorical structure should be recognizable, which lays in the shape of a network over the texts to be examined.
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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.
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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
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The Goalie’s Anxiety at the Penalty Kick (Die Angst des Tormanns beim Elfmeter, 1970) by Peter Handke is not, as it might seem, a story about sport. The Austrian Nobel Prize winner presents the story of Joseph Bloch, a former footballer and currently an assembly worker. Analysing his behaviour allows one to recognise the symptoms of generalised anxiety disorder. The purpose of this article is to describe Joseph Bloch’s mental condition and an- swer the question as to what the possibilities of presenting anxiety in literature are, as well as its impact on the recipient of the text.
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