Pjesme iz karantene - Michael Krüger
Poems by Michael Krüger ("U šumi – u drvenoj kući (1)"; "U šumi – u drvenoj kući (2)"; "U šumi – u drvenoj kući (3)")
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Poems by Michael Krüger ("U šumi – u drvenoj kući (1)"; "U šumi – u drvenoj kući (2)"; "U šumi – u drvenoj kući (3)")
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This paper aims at complementing the vast biography regarding Thomas Mann’s literary production. It begins with sketching Mann’s complicated relationship with Italy and its culture and it later provides the reader with basic information regarding the subject matter, the origin, the content and the reception of the novella Mario and the Magician. The tale that this article focuses on is multilayered and may hence be interpreted in diverse ways: the paper, however, advises against interpreting it solely as an account of a holiday or as a picture of fascist Italy. In his paper, the author examines primarily the decadent aspects of the tale, which is less common in the academic research, he analyses the strategies used by Cipolla in order to control the masses, and looks briefly at conflicts in communication.
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The article deals with the main character in Goethe’s tragedy Faust, namely Faust, and defines the specifics of his worldview: it is based, on the one hand, on mysticism and irrationalism, and on the other hand, on the type of rationalism characteristic to enlightenment, and empiricism in particular. Faust’s point of view is a combination of various irrational-mystical Theosophical or theological doctrines, such as neo-platonic Pansophism, Apophatic of pseudo-Dionysus the Areopagite, the metaphysics of Leibniz (Deism and Monadology); Faust at the same time can be regarded as the representative of the ideas of the German Enlightenment philosopher, Christian Wolf, as well as Newtonian- Lockian type of English empiricism. First of all, what should be underlined about Faust’s ideology is that he can be perceived as an “Apophatic Theologian”. His following words told to Gretchen are rather interesting in this regard: “Sweetest being, don’t misunderstand me! Who dares name the nameless? [...] I have no name for it! Feeling is all: Names are sound and smoke, Veiling Heaven’s bright glow” (V. 3432, 3455-3458). (The English translation of Goethe’s Faust belongs to A. S. Kline, who translated and published it into English in 2003). Hence, it is obvious that the positive naming of God, a kind of nominalism, is totally unacceptable for Faust; it is inconceivable to him that the imperfect language of an imperfect mortal man might be able to perfectly reflect and convey the unknowable essence of infinite divinity. Therefore, the approach of Apophatic theology is acceptable for him –the “negative” and back warding of God’s name, that He is unspoken, unknowable, obscure, foreign, etc.
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In NINO HARATISCHWILI’S Das achte Leben (Für Brilka) the novel’s narrator, Niza, unsuccessfully attempts to relate Georgia’s Soviet history and her family’s history between 1900 and 2006. The paper argues that the deficits in Niza’s narrative programme are actually productive contradictions, which are typical of the narrative poetics of the generational novel, in that it does not succeed in synthesising the individual, familial and political histories into one meaningful narrative. The end of the novel therefore changes to a new medium: from the literary representation of history, to its performative embodiment in dance. This anticipates the theatrical adaptation of the novel by JETTE STECKEL at the Thalia Theater Hamburg in 2017.
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Der vorliegende Artikel beschäftigt sich mit Ernst Stadlers 1914 veröffentlichter Lyriksammlung Der Aufbruch, die bis heute innerhalb der Expressionismus- Forschung vorhanden ist. Die immer wieder betonte Diversität der Aufbruch-Gedichte erweist sich jedoch als Besonderheit seines frühexpressionistischen Ausdrucks und erlaubt somit ein breites Lesespektrum. Demnach wendet sich die folgende Analyse dem dritten und letzten Gedichtzyklus zusammengefasst unter dem Titel Die Rast. Die dominante Elsass-Motivik der letzten acht Gedichte steht dabei im Mittelpunkt und erweist sich als eine Art Brückenelement zu Stadlers Jugendphase im Kreis des Literaturverbundes Jüngstes Elsass, welcher sowohl einen künstlerischen als auch einen kulturund sozialgeschichtlichen Hintergrund aufweist. Die einzelnen literarischen Bestrebungen seiner Jugendjahre tauchen somit innerhalb der reifen Schaffensphase wieder auf und verbinden sich mit dem neuen, expressionistisch geprägten Geschmack. Das vorliegende Interesse wendet sich daher den Darstellungsvariationen elsässischer Heimatmotive und ihrer Bedeutung für Stadlers literarisches Gesamtwerk.
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Die linkshändige Frau ist eine Erzählung von Peter Handke, die zugleich die zweite Phase in der Entwicklung der Poetik des Autors abschließt. Während man in den ersten Werken traditionelle narrative Formen dekonstruierte und nach neuen Verfahren suchte, um authentische Erlebnisse zu vermitteln, ist für die Werke der zweiten Phase kennzeichnend, dass sie privaten Geschichten Eingang in die Literatur verschaffen, und zwar durch einen neugewonnenen narrativen Umgang. Dieser spiegelt sich auch in der Linkshändigen Frau wider. Ferner weist diese Erzählung, die 1976 veröffentlicht wurde, eine filmische Struktur auf, was auf die ursprüngliche Form eines Drehbuches zurückzuführen ist. Die Erzählung wurde 1978 unter Mitarbeit von Wim Wenders verfilmt. Durch den Synkretismus mit der filmischen Technik nimmt diese Erzählung eine Sonderstellung in Handkes narrativem Opus der 70er-Jahre ein. Im vorliegenden Beitrag wird eine Analyse der Erzählverfahren im Werk durchgeführt. Sie wird anhand von Genettes Modell auf der Ebene der Geschichte und der Ebene des Diskurses veranschaulicht. Die Ebene der Geschichte soll den thematischen Rahmen, der in den 70er-Jahren vorherrschend war, zum Ausdruck bringen, und die Ebene des Diskurses den Einfluss des Films. Dadurch werden die intermedialen Bezüge verdeutlicht. Schließlich wird versucht, die Stellung dieser Erzählung im Gesamtwerk des Autors näher zu erläutern.
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The article deals with the comparison of the Pied Piper character from the German legend as portrayed in various adaptations. The texts of foreign and Czech origin are compared from a diachronic perspective. The result of the analysis showed that each text showed a propensity for being considered as the “only” version that is suitable for educational purposes. The original legend of the Pied Piper tells a story in which the piper takes revenge on the town’s mayor due to not receiving due payment for his services by leading all children of the town away from the town. The children were never to be seen again. This is a very important moment at which the interpretations mingle.
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The article emphasizes the importance of the intercultural and multicultural aspects for the process of literary education. It starts with giving reasons why this subject should be included in German language literature lessons, then distinguishes 4 thematic groups important for Polish students and describes criteria of choosing texts for the lessons. The main part of the article presents the contents and discusses didactic qualities of the proposed books.
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This essay traces the tradition of what could be described as a poetics of the knife in German literature. Dealing with texts by writers from around 1800 until late twentieth century, examples of aesthetically extremist literature are being considered. What unites the various authors is that an emotionally charged language, as well as a transgressive desire to reveal the truth believed to be located inside the human body characterize their texts. Writing turns into a form of opening up of bodies which is why the texts examined feature bodies being violently attacked by knives.
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The paper presents Goethe’s vision of Islam in major parts and expressions of the poet’s studies of Islam, that has begun at an early age, his recognition of his own aspirations and inclinations in Islamic religious values and life wisdom, his high-style communication with the works of Muslim poets and thinkers. This insight is presented as developing or weaving the universal meaning of Goethe’s pursuits of religious teaching and the spiritual inheritance of Islam on two essential determinants. One determinant is the unique position and universal significance of Goethe’s rise to the greatest German poet and the most versatile figure in European culture, the creator of the notion of world literature, and the reflection of that position and significance in Goethe’s positive attitude towards Islam. The second determinant is in the presence of Islamic inspirations and Muslim teachers in Goethe’s advancement to the universal and his transition to the universal, in his publication of the age of world literature in the era of the “West-East Divan.”
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This essay discusses, mainly, Goethe’s relationship to two types of inspiration, the Prophetic (wahy) and the Poetic (ilham). In his studies of Islam, Goethe has noted that both inspirations are very important and that they are highly honoured and respected by the Islamic tradition. Of course, Islam gives priority to Prophetic inspiration (wahy), but it does not abolish poetry. Goethe respects wahy but his sympathies are to a large extent on the side of the poetic ilham. This essay shows Goethe who seemed to be prone to a kind of competition between the Prophet and the Poet. In himself Goethe often sees a Poet whose source of inspiration is not contrary to the source of wahy.
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In this work, we will deal with the influence of the Qur’an and Islamic thought as a whole on the literary creation of Goethe in the novel The Sorrows of Young Werther. We will analyze and present the most significant segments of Goethe’s philosophy and literary poetics that evolved under the influence of Islamic thought: the relation between worldly and otherworldly, the pragmaticity, the importance of nature in the understanding of God and understanding the world, the destiny of human existence.
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The author revisits an old scholarly dilemma concerning the thought of Cornelius Agrippa, the famous German humanist and occultist, i.e. the conflict between Christian and heterodox elements in his thought. The author approaches this problem by examining Agrippa’s views on human nature and demonstrates through a philological analysis that the German humanist attempted to integrate the anthropological dualism of Hermetic and Neoplatonic provenance into his understanding of Christianity.
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The first part of the novel Olga by Bernhard Schlink takes place in the German Empire (1871–1918), which strived to demonstrate imperial power through colonial expansion into several African territories. The paper provides insight into the novel’s depiction of the colonization of the Herero people in the German South West Africa, now Namibia. It examines the attitudes of German soldiers, who are ideologically full of ideas about the strength, glory and domination of the German people, towards the colonized Africans.The methodological framework of the paper is based on the postcolonial studies and the work by theoreticians such as Edward Said and Aimé Césaire. The paper follows their definitions of the colonial discourse as a discourse of power and aims to show that the relationship between the belated imperial power of the German Empire and the colonized Africa is depicted as a relationship that German soldiers viewed as an interaction between the civilized and the primitive. Africa is as a construct, similar to the Orient, understood as an ideological counterbalance and a justification of the colonial undertakings. This resulted in the notion that one cannot accept people of colour as human beings and that one must rather conquer them and take their territories, which is an important theme of the novel. The analysis has shown that the main depiction of the events that take place in Africa is presented through conversations and letters that Herbert, a German soldier and thus a representative of the colonizer, wrote to Olga. In accordance with the dominant ideology of his homeland, he describes Africa as exotic, its inhabitants as primitive and animalistic and Germans as their destiny and future. At the same time, he fails to differentiate individual Africans and sees them mostly in the form of dark shapes, being finally able to discern one after the Battle of Waterberg. The battle was the culmination of the conflict and the first genocide of the 20th century, which is also a theme of several other German novels dealing with the colonial past. The descriptions of the exploitation of the African territories and its people, and the dehumanization of the people of colour as the Other are used in the novel Olga to point out the dominant discourses and stereotypes of the imperial period, as well as to show the necessity of a renewed discussion about the horrors of the German colonial past and the need to have a responsible attitude towards the deeds of past generations and the silence of the ones that followed.
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The body of the article goes on to highlight the problem of Gregor von Rezzori’s extravagant, lavish and idiosyncratic style entwined with his innate exquisite irony and scepticism, sometimes sarcasm, which can be inferred from his stance of indifference to social norms and trends.In the given context, the most expressive and illustrious are Rezzori’s novels “Oedipus Prevails at Stalingrad” (1954) and “On My Own Traces” (1997), which reflect the author’s ambitious venture into his autobiographical mythologizing from a perspective of the category of time and shed the light on how the artist’s negative experience can be turned into creative indifference. Of particular value, for our research, is the convergence of timeless themes and the ideological intertextuality created in two different surroundings, and provoked by fateful historical events. Rezzori’s irony of his own search for self-identity, a distinguishing feature for postmodern poetics, is one of the most critical topics to perceive the author’s personal experience. Transforming his childhood memories of his lost homeland into the imaginative artistic style, the author succeeded in creating a mythical topos, derived from the personal author’s mythologies (his autobiographical fiction “An Ermine in Czernopol” serves as an excellent example). It should be articulated, that pervasive irony and self-irony are key features of the author’s style. With his novel “Oedipus at Stalingrad”, Rezzori prior to postmodernism in art, foreshadowed his conceptual principles, philosophical fundamentals and worldview. In time, his fiction “On My Own Traces” picked up the threads of the ideas of “Oedipus” quintessence. To conclude, Rezzori’s mystical experiences of his childhood are preserved in his fiction like the most precious treasures that reveal the childish fragile soul seeking for its recognition. To grasp Rezzori’s philosophy, we should realize the author’s key concept – the category of time, which enables him to recognize himself as “Epochenverschlepper”: in his fiction, time lines are blurred, to some extent they become meaningless and functionally typify human history continuity. Consequently, in periods when everything seems rickety and unsettled: the past, the present, and the unpredictable future, the author dares to delve into in-depth psychology of human feelings and knowing thy-self.
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The article deals with the problem of the form-bilding factors of the generational novel by the example of the most popular novels of the modern German literature (“Heavenly bodies” by T. Dückers and “In my brother’s shadow” by U. Timm). At the beginning of 21th century the question about the nature of a generational novel, as a specific kind of the family novel, is the most discussed among the specialists in literature. The work is based on research of the important works of famous scientists (A. Assmann, A. Eichenberg, M. Neuschäfer and other). The research demonstrates, that the most significant poetical details of this genre variety apply to its composition. The results of the research show that all generational novels have special structural elements, which are its form-bilding factors (specific composition form, position of the narrator, characters and other). The paper is based on structurally-typological and comparative approaches, which help to reveal the specificity of the generational novel as a genre variety. Scientific novelty contains the try to describe the features of the poetics of the generational novel in the modern German literary process. Despite the actuality of such problem of the generational novel and the existing works this theme is analyzed only a little. That is the reason for research on this topic.
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The interwar period was a highly special time in reference to defining and constructing all kinds of cultural identities in Europe. One of the groups building their identity at the time were the so-called Westjuden, a Jewish community culturally defined as Ashkenazi assimilated under the influence of the Jewish Enlightenment (the Haskalah). In German territory, Westjuden considered themselves German citizens of the Jewish faith, thus separating themselves from the remaining groups of Ashkenazi Jews, i.e. the Ostjuden. Also describing themselves as Germans in the German-language Jewish press, Westjuden frequently characterized, analyzed, and searched for confirmation of their belonging to the German cultural circle. The aim of the article is to reconstruct the image of Germans and Westjuden themselves in the German-language Jewish press at the time of the First World War and in the interwar period.
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