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Poznato je da Kafka nije volio simbole. Smatrao je da mogu biti uzrokom teških nesporazuma, da iz njih proističu mnoge nejasnoće. Pa ipak, njegovo djelo nije nikada neposredni iskaz nekog nedvojbenog empirijskog iskustva, zbilja je uvijek prelomljena kroz prizmu, koja premda ne izobličuje sliku, zasigurno je projicira u neku drugu plohu.
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Review of: Andrea Komlosy: Grenzen. Räumliche und soziale Trennlinien im Zeitenlauf. Promedia. Wien 2018. 247 S., Tab. ISBN 978-3-85371-434-8. (€ 19,90.). Reviewed by Katarzyna Stokłosa.
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At the end of the March 1829, Anton Prokesch von Osten went on another journey to the Orient; this time to the Holy Land. This country is not only considered as one of the most popular Christian pilgrimage sites, but also as a meeting point between the East and the West in the cultural and the religious sense.Therefore, we will try to explain in this article what is meant by the terms identity, culture and religion, what is the relationship between the cultural identity and the religion of the Mediterranean, whether they influence each other and if so, in which way, which ethnic, cultural and religious identity groups of the Mediterranean can be identified in the Prokesch´s travelogue and also in which way the concept of Camus' "noonday thought" can be applied to this travelogue. The main focus of this article is put on the analysis of the relationship between the different cultural and religious identity groups of the Mediterranean from the point of view of this Austrian diplomat and writer.
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Thomas Bernhard was not an expert in photography, its history and especially theory. He never dealt with the discursive description of her phenomenon. However, in his last great novel, Extinction (1986), he made several photos a kind of memory trigger and a center for building a story. The article deals with the issue of a special, extremely critical, not to say iconoclastic, assessment of the role of photography as a medium of stupefying people who succumb to its seductive power. The analysis of the fragments of photography appearing in the novel is just a starting point for deeper reflection on the impossibility of erasing photography as a medium of memory, it is a fundamental polemic with the thesis of the novel narrator, which the author identifies with the author himself. Here, Thomas Bernhard’s Extinction is an excuse to reflect on how photography and photographing can be considered a disease of our time, as the Austrian writer anticipated in his novel in the eighties of the last century.
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Women have been pushed into a position of otherness by the male, who has constructed himself as the dominant subject throughout history. In such a positioning, social gender has been a determining factor, designed by the patriarchal community. Gender, which is the cultural interpretation of sex or a construction of meaning built upon sex, is of an artificial and othering character. As such, gender turns into a phenomenon which scrutinizes females into spesific roles in society, hindering any possibility of their transcending such roles. Whereas the male is in the forefront as a transcendental subject, gender atrributes to the female such roles as a mother, sex mate or housewife. That problematic position of the female is also related to knowledge. As, since ancient times it has been the male mind which has produced knowledge in disciplines varying from Philosophy to Mythology, from History to Politics, it seems inevitable for the female to become the object of knowledge and be defined with her physical aspects. Ignored in terms of mental faculties, the female is labeled by the male as “sentimental, in pursuit of her passions, incapable of thinking and devoid of knowledge”, encoded in modern communities as a sexual mate, a body necessary for maintenance of the generation, turned into a sexual object/fetish through the image in media and consumerist society, and is imprisoned into itself as a sexual, spectacle, erotic object in visual arts. The patriarchal approach condemning the female into secondary/othered position judging her in sexual terms is also reflected in literature. With the interest of Feminism in literature in the 1960s, its main aim was to reveal how the female image is constructed and what type of female is created in fiction, and feminist literary criticism emerged. In this study, the female imagery in the selected short stories by Stefan Zweig, a famous author in German literature, is analysed through reader-centered feminist literary criticism.
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Elfriede Jelinek is recently one of the most frequently staged German-speaking authors in Poland, although theatre artists have been taking to this dramaturgy for quite a long time. The aim of the article is to look at the process of acquiring Jelinek’s writting by Polish theatre directors, using a concept of culture transfers. Discussing the winding road of the Austrian writer to Polish scenes, I point out intermediaries (translators, directors) who became her ambassadors in Poland, and I also discuss the adaptation processes conducive conditions. Not without significance are the aesthetic changes in Polish theatre, stimulated from the West for the last twenty years, which gave Polish artists tools to tackle this difficult, experimental, and very sensual drama.
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Diese Arbeit befasst sich mit dem Erziehungsprozess der zweiten Generationder Österreicher nach dem Zweiten Weltkrieg und mit der Auseinandersetzungmit nazistischer Vergangenheit und all das wird durch die Erinnerungen an Schulzeitdes österreichischen Schriftstellers Thomas Bernhard dargestellt. Durch kritische undanalytische Bewertung des Menschen im 20. Jahrhundert, durch Humor, Ironie undParadox befasst sich diese Arbeit auch mit Thesen über die Schuld und Verantwortungfür die Verbrechen, die die erste Generation durch Verfälschung der Wahrheit undunkritische Haltung gegenüber der Vergangenheit durchgeführt hat und die die neuenVerbrechen im Namen der Bildung weitermacht. Ziel der Arbeit ist die Darstellungsowohl der in allen gesellschaftlichen Instanzen sichbaren (un)kritischen Haltungder Elterngeneration, als auch der (Un)Fähigkeit der nachkommenden Generationen,deren sozio-kulturelles und familiäres Umfeld die Teilnahme an NS-Regime ablehnt,auf ihren Schultern die Last der Verantwortung ihrer Vorfahren zu tragen.
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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.
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The publications of the short story “Das vierte Tor” (“The Fourth Gate”, 1945) and the novel Die größere Hoffnung(The Greater Hope, 1948) by Ilse Aichinger mark the beginning of post-war Austrian literature. Like several of her contemporaries, including Paul Celan, Ingeborg Bachmann and Milo Dor, Aichinger was part of a generation of survivors of the atrocities of war and National Socialism. After 1945, the “old guard” of poets incited the young generation to find a new voice within post-war German-speaking literature and set new standards in the literary field. The reading of Ilse Aichinger’s texts, which were first published in the immediate post-war period, is thus not merely a literary matter. Rather, it is a way to reach the core of post-war culture within the German-speaking world, especially in the Austrian context, where the tradition of language skepticism and Sprachkritik has always been linked to political and ethical issues. To reflect upon literature and cultural production in the context of Austria’s problematic denazification means to focus not on a “message,” but instead on a “poethics” as a new form of commitment. This was not only an individual effort by authors, but the expression of a collective act of will in which individual instances and political strategies (not all controlled by the authors themselves) played a role in the cultural field(s) during Cold War years. The paper also discusses the fundamental role played by literary magazines as an important instrument of cultural renewal, as well as by their actors, gate-keepers, and financial and political influencers in the post-war context.
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This paper deals with the construction of outcast identity in the novella The Witch (Die Hexe), which is one of the most radical literary works of the Austrian writer Mela Hartwig (1893-1967). The main character Rune is considered an outcast from birth, so her marginalized role in the intolerant and exclusionary society defines her character within her fundamentally tragic existence leading to her violent death. Her outcast position has two layers: one is societal, characterized by her belonging to the lowest societal class, whereas the second layer is gender-related, marked by female identity as the symbol of “otherness”. The crime of the main (anti)heroine, i.e. the witch, is reflected in her distinctiveness, in the deviation from the socially acceptable behavior. Hartwig depicts the world of violence, suffering and destruction and warns about the difficult position of outcasts. Even though the novella is set in the 17th century, the misogynistic and racist theories she critically discusses here are reminiscent of the Austrian society at the beginning of the 20th century.
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Als Komponente des Mythos bildet die Metamorphosen die Grundlage für die Struktur von Christoph Ransmayrs Roman Die letzte Welt (1988). Die Metamorphosen bestimmt auch die anderen Komponenten wie Ort und Zeit. Andererseits scheint Ransmayr vielmehr an einer Metaebene, an der Erzählbarkeit der Metamorphosen, interessiert zu sein, wobei er in seinem Roman verschiedene Möglichkeiten prüft, Verwandlungen literarisch darzustellen. Die von Ovid entliehene Regel, keinem bleibe seine Gestalt erhalten, probiert Ransmayr sowohl an den Figuren des Mythos als auch an den historischen Gestalten, an den Metamorphosen Ovids und an seinem Roman aus. Der Autor evoziert das 20. Jahrhundertdurch die antike Welt dadurch, dass er Attribute des 20. Jahrhunderts in die antike Welt einführt: Die Antike erscheint nicht als abgeschlossene ferne Epoche, sondern ragt in die Realität des 20. Jahrhunderts hinein und umgekehrt erscheint das Heute als gegenwärtig in der Antike.
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Isključeno treće koje odvodi lutalicu sa sobom: isključeno treće je način govorenja pjesme Alfreda Kolleritscha i lutalica je čitatelj. Prije nego što je taj način naposljetku svratio pozornost na sebe, lutalicu su uvjeravali (eingeredet) mnogovrsni glasovi, izvanjski i unutrašnji, prava zbrka glasova oduzela mu je veselje prema lutanju, zamaglila mu lutalačke oči, začepila mu lutalačke uši: izvana krupno štampani naslovni redci novina i krupno štampani naslovni redci šlagera, mnijenja, sudovi, alternative, reklame, najave vremena, falsificirane narodne pjesme, u unutrašnjosti sve to obavezno ponovljeno i ujedno ometano metežom glasova divljenja samome sebi, prosuđivanja samoga sebe, uzdizanja samoga sebe, osuđivanja samoga sebe.
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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?
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Sva interpretacija je jednostrana. Ona cilja na gledište koje ne može zahtijevati da bude jedino. Sve u svemu, tko interpretira pjesništvo, može to činiti s različitih gledišta. Može postupati rodno–povijesno tako da zadanu pjesmu uvrsti u tradiciju uzora istog književnog roda, može postupati motivski–povijesno tako da prati prihvaćanje i mijenu različitih tradiranih motiva, može izdvojiti umjetnička sredstva retoričko–poetičke vrste i njihovu povezanost u cjelinu ‘strukture’ itd. — Ali, on može preuzeti i izvoran hermeneutički zadatak objašnjavanja nerazumljivog. Pritom, opet, može postupati okazionalno (kao što su to činile protestantska hermeneutika Novog zavjeta i filologija do konca 18. stoljeća) i nastojati analizom konteksta, posezanjem za paralelama itd. ukloniti pojedinačne poteškoće koje stvaraju nerazumljiva mjesta ili će poći od jedinstva izrečenog i nastojati izložiti što pjesma želi reći, posljednje posebice kod pjesništva koje posjeduje visok refleksivni nivo i stoga u cjelini slovi kao tamno i teško razumljivo.
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Schon in den ersten Jahren nach den Jugoslawienkriegen erschienen auch im deutschsprachigen Literaturraum zahlreiche Romane, die den Zerfall des Landes und seine Folgen als Schwerpunkte setzten. Literarische Reisen ins Nachkriegsbosnien unternehmen sowohl Schriftsteller deutschsprachiger Herkunft als auch jene aus dem ehemaligen Jugoslawien. Die seit Jahrzehnten stetig wachsende Zahl an Romanen über den Zerfall Jugoslawiens zeugt eindeutig davon, dass das Thema weiterhin aktuell ist. Von der Aktualität des Themas zeugt auch der Roman Phantome (2017) des österreichischen Schriftstellers Robert Prosser, dem sich dieser Beitrag unter besonderer Berücksichtigung von Gedächtnisorten und Erinnerungsprozessen widmet und den Fragen nachgeht, wie Erinnerungen an das kriegszerstörte Bosnien-Herzegowina konstruiert werden, welche von der Literatur- und Kulturwissenschaftlerin Aleida Assmann hervorgehobenen Impulse zum Erinnern bei den Figuren im Roman Phantome ausgemacht werden können und welche Funktion die Erinnerungen der einzelnen Figuren haben. Als zentrale Funktion der Erinnerung im Roman erweist sich nach der Analyse die Rekonstruktion von Vergangenem und das entscheidende Medium dieser Rekonstruktion die Sprache bzw. die Niederschrift des Erlebten. Die Rekonstruktion wiederum dient in Prossers Text der Bewusstmachung der Vorgänge und der Identitätsvergewisserung.
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Paula von Preradović’s literary output consists mainly of poems, including the lyrics for the national anthem of Austria, Land der Berge, Land am Strome [Land of the mountains, land on the river] (1946/1947), but she also wrote several novellas, autobiographical sketches, small scenic works and journalistic texts, as well as one novel. This article investigates the conception of holiness in Preradović’s novella Die Versuchung des Columba. Saint Columba, the protagonist of the novella, was an Irish abbot and missionary. He is remembered today as a Catholic saint and one of the Twelve Apostles of Ireland. The analysis focuses on the character of Columba, his behaviour, actions, development and the psychological stages he has gone through. Preradović explains her conception of holiness with the example of Columba’s life. She does not define holiness as infallibility, but primarily as integrity and a sense of responsibility for fellow men. The author describes it as that virtue by which one makes all one’s acts subservient to God. She ranks it among the infused moral virtues.
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»Germanoslavica. Zeitschrift für germano-slawische Studien«, Jg. 31 (2020), H. 1–2: Themenheft Karl-Markus Gauß. Hgg. Edgar Platen, Irena Samide, Helena Ulbrechtová. Praha: Slovanský ústav Akademie ved ČR
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The focus of this paper is on (psycho)pathological phenomena that connect female heroines from four literary works by the Austrian writer Mela Hartwig. The link between them is the position of protagonists in relation to social values, standards and expectations, i.e. their outsider status. In the novellas The Crime, The Records of an Ugly Woman, and The Fantastical Paragraph, the heroines must confront different paradigms of the misogynist Austrian culture of the early twentieth century. In The Witch, a novella set in the seventeenth century, the social constellation is somewhat different, hence the heroine is confronted with modified concepts of power. Hartwig examines various (psycho)pathological phenomena that occur in her female characters and discovers (extra)institutional mechanisms that establish or erase the boundary between normal/acceptable and sick/unacceptable behavior. Her heroines react to oppression by attempting suicide, promiscuous behavior, delusions, retreating into a parallel world of fantasies, constructing supernatural experiences, and even by murder. Psychopathological phenomena that become an integral part of their identity and accompany their physical and mental expression, project their desperate call for help. Their struggle ends in defeat because as lonely individuals, they cannot triumph over the power embodied by institutional authorities. In her texts, the author shows the anxious, depressive, and even psychotic reality of women, the shocking and/or bizarre situations she literarizes allow readers to reconstruct the atmosphere of an era that is, paradoxically, in written sources and collective memory known under the phrase The Golden Twenties.
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This study examines the large and multi-faceted correspondence carried on by Bohumila Grögerová and Josef Hiršal with German and Austrian authors of experimental poetry. It focuses on the extent to which these letters correspond to the theory and methodology of the work of the authorial partnership. It states that the confrontation with the definitions of experimental poetry by their German colleagues motivated the Prague authors to reflect and formulate starting points for their own work and their own creative methods. In this way they retrospectively provided a theoretical basis for their poetic texts and at the same time partially adapted their own work to the challenges they met in the correspondence. The friendly letters between Bohumila Grögerová and the Austrian poet Friederike Mayröcker form a chapter of their own in the context of their correspondence. In this context, the Czech-German poems written by Grögerová depict an imaginary dialogue between two friends and, in the combination of languages, collage and montage, present a unique poetic on the border of documentary, communication and poetic experiment.
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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).
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