SCHULE FÜR KÖRPERPHANTASIE
Poetry written by Siniša Tucić ‒ SCHULE FÜR KÖRPERPHANTASIE; DIE HÖCHSTSTRAFE; EIN VOGEL ÜBERFLIEGT DIE WELT.
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Poetry written by Siniša Tucić ‒ SCHULE FÜR KÖRPERPHANTASIE; DIE HÖCHSTSTRAFE; EIN VOGEL ÜBERFLIEGT DIE WELT.
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Poetry written by Maja Solar ‒ GEBRAUCHSANWEISUNG; DIE ABKÜRZUNG ZUM MITTAGESSEN; KULTUROLOGOS.
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Poetry written by Vitomirka Trebovac ‒ ALLE BÄUME, ALLE KINDER UND ALLE FAHRRÄDER IN MIR (GEGENSÄTZE; NIE WERDE ICH VERGESSEN; DIE NARBE; DAS LAUFEN; ÜBER DAS HOHE ALTER; DIE LINDE; DIE STILLE; DURCH DEN REGNERISCHEN TAG; HEUTE UND IMMER LEBEN; DIEMIT FAMILIEN UND DIEOHNE SIE).
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Poetry written by Srđan Sekulić ‒ VUKSANLEKAJ; DAS HAUS VON GÜL-HANUMA; REGENFÄLLE.
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Poetry written by Katarina Pantović ‒ DIE STADT SCHLUCHZT IN GRAUEN HANDSCHUHEN; AUF DER AUTOBAHN BELGRAD-NOVI SAD II; LIEBES TAGEBUCH.
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This paper aims to address several elements of protofeminist thought in the life and writings of the medieval German mystic and prolific writer Hildegard of Bingen (1098-1179), which have been of interest to contemporary feminist theory and theology. The elements addressed in the paper are, namely, her transcending of the culturally imposed gender norms by assuming the prophetic role, the positioning of some of her writings in the context of sapiential literature, and lastly, her affirmative views on the physical and material nature of the created world through representations of the mystical union of spirit and matter achieved through the process of greening (viriditas).
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Johann Wolfgang Goethe (1749–1832) in the essay Simple Imitation, Manner, Style (Einfache Nachahmung der Natur, Manier, Stil, 1789) presents creative methods in successive ascending order (Steigerung): 1) simple imitation – an accurate copy of reality, unconscious depiction of general forms (concepts of mind); 2) manner – the creation of one’s own world, the deliberate depiction of individual forms (ideals) and hoping for their generalization; 3) style – connection/match of both methods: depiction of purely generic forms with purely generalized/relevant for generalization content. By reconciling the first and second method of creativity (retaining everything of general importance and introducing the individual), the perfection of the third method can be achieved. In the 1790s this ‘triad’ is of Friedrich Schiller’s (1759–1805) great interest, too. Goethe and Schiller, both value culture in terms of attitude to form and content. The manner for Goethe is in the midst between a simple imitation and style that is the highest degree of attainment in art. What is at the end of the ascending development for Goethe, for Schiller is the middle because he looks at culture as a horizontal progress. Schiller finds two extremes in Goethe’s classification (direct copy of the perceived without the intention of revealing any form, and the interpretation of the perceived original or its representation with its form) and establishes style as a balance between them. Manner, which depends on the artist’s will, is not a step higher but completely contrary to an exact representation based on sense perception.
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In my article I compare two versions of Jewish religiosity. The literary works, which feature believers of Judaism from Eastern Europa and Haskala supporters were written in Polish (Melcer), Yiddish (Schneersohn) and German (Döblin).
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Što se više udaljavaš, to Isus postaje ženstveniji. U podzemnoj sam prostoriji bio sam, četrdeset, pedeset minuta sam jednog kolovoškog poslijepodneva, kad se nagurana masa ljudi ispred poznatijih muzeja savije poput slatkiša od sladića. Sigurno postoji objašnjenje zašto Parišku pinakoteku, premda posjeduje neke od najvažnijih slika iz europske povijesti umjetnosti, turistički vodiči smatraju toliko sporednom da joj je dovoljna samo jedna blagajnica, koja istodobno prima garderobu i juri uz stepenice do izložbe da bi poništila karte. No, zbog toga nije bilo čuvara tako da sam usred Pariza, pod jednim od najživljih trgova u gradu, mogao četrdeset, pedeset minuta provesti sam u društvu Botticellija, Rembrandta, Picassa, Modigliana. Privilegij poput noći koju ti iznenada pokloni najljepša žena. Bilo kakvo objašnjenje bilo bi suvišno. Uz to je bilo i mračno, kao u noći obasjanoj mjesečinom. Zidovi su bili obojeni u crno, a jedini izvor svjetlosti reflektori, koji su bili usmjereni na slike. Isusovo ruho djelovalo je gotovo nepristojno zbog crvene boje, koja je toliko blistala kao da je obasjana iznutra. Pretpostavljam da tu crvenu ne može reproducirati nijedan štampač. U svakom slučaju, na razglednici, koju sam kupio na izlazu kod blagajnice, koja je istodobno bila garderobijerka, biljeterka, a vjerojatno i nadzornica iza video‑ekrana, može se vidjeti samo blijedi odsjaj te crvene. Možda čak ni original ne blista tako.
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The consequences of the student revolt of 1968 substantially affected the subsequent decade in a variety of forms. The fascination with Marxism, the search of a ‘third way’ between communism and capitalism, ‘a long march through the institutions of power’, and the escalation of radical left terrorism were the central themes of public discussions in Germany; this discussion also involved writers. In view of the restrictions imposed by censorship in communist Poland, the only arena enabling Polish writers to enjoy unconstrained exchange of views on these issues were magazines and radio stations in exile and, after 1976, also underground publishers. The ‘Kultura’ Polish exile magazine (published in Paris) was focused on the attitude of West German writers towards communism, radical left ideology and freedom of speech.
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Review of: Kristina Lahl: Das Individuum im transkulturellen Raum. Identitätsentwürfe in der deutschsprachigen Literatur Böhmens und Mährens 1918-1933. Transcript. Bielefeld 2014. 449 S. ISBN 978-3-8376-2748-0. (€ 56,99.). Reviewed by Jürgen Joachimsthaler.
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Review of Eva Hahnová: Od Palackého k Benešovi. Německé texty o Češích, Němcích a českých zemích. [Von Palacký bis Beneš. Deutsche Texte über Tschechen, Deutsche und die böhmischen Länder.] (Historie, Bd. 1.) Academia. Praha 2014. 723 S., Ill. ISBN 978-80-200- 2389-6. (CZ 695,–.). Reviewed by Lenka Řezníková.
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Review of: Opcja niemiecka. O problemach z tożsamością i historią w literaturze polskiej i niemieckiej po 1989 roku. [Deutsche Option. Über die Probleme mit Identität und Geschichte in der polnischen und deutschen Literatur nach 1989.] Hrsg. von Wojciech B r o w a r n y , Thomas J o c h und Monika W o l t i n g . Universitas. Kraków 2014. 250 S. ISBN 978-83- 242-2359-6. (PLN 36,–.). Reviewed by Katarzyna Śliwińska.
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Review of Bill Niven: Representations of Flight and Expulsion in East German Prose Works. (Studies in German Literature, Linguistics, and Culture.) Camden House. Rochester 2014. 219 S. ISBN 978-1-57113-535-3. (£ 55,–.). Reviewed by Jutta Faehndrich.
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Review of Johannes S a c h s l e h n e r: Zwei Millionen ham’ma erledigt. Odilo Globocnik. Hitlers Manager des Todes. Styria Premium. Wien u. a. 2014. 367 S., zahlr. Ill. ISBN 978-3-222-13449-4. (€ 24,99.). Reviewed by Maximilian Becker.
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Review of: Klaus Garber: Das alte Breslau. Kulturgeschichte einer geistigen Metropole. Böhlau. Köln u.a. 2014. 597 S., Ill. ISBN 978-3-412-22252-9. (€ 34,90.). Reviewed by Martin Sprungala.
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Review of: Anna Gajdis: Baltische Sirenen. Repräsentanz, Relevanz und Identitätsbildung der deutschen Autorinnen im östlichen Ostseeraum um 1800. (Studien zum deutsch-polnischen Kulturtransfer, Bd. 3.) Leipziger Univ.-Verl. Leipzig 2014. 289 S. ISBN 978-3-86583- 797-4. (€ 29,–.). Reviewed by Ragna Boden.
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Review of: Hélène Leclerc: Une littérature entre deux peuples. Écrivains de langue allemande en Bohême (1815-1848). Presses Univ. du Mirail. Toulouse 2011. 376 S. ISBN 978-2-8107- 0150-6. (€ 27,–.). Reviewed by Jürgen Joachimsthaler.
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The first poems of the renewed German poet Heinrich Heine were translated in Albanian over one hundred years ago, i.e. in the third phase of the Albanian National Renaissance, which began in the years 30-40 of the 19th century and had its crowning point in the year 1912 with the declaration of the Independence of Albania. The Albanian National Renaissance favored the best traditions of the past as well as folklore. It was the poetic form which was developed the most, as is seen in many of its representatives such as Naim Frashëri, Ndre Mjeda, Andon Zako Çajupi and Asdreni. Faik Konica, a poet and a literary critic with a wide range of publicist works, has had a great influence in the development of this literature. He was also the first to have translated in Albanian a considerable number of poems by Heinrich Heine. These translations form the origins of the echo of this great German lyrical poet in Albanian culture and literature. This analysis of adaptions of Heinrich Heine’s poetic works compares Albanian versions of Heine’s poems in a chronological order of the works of various translators such as: Faik Konica - Lasgush Poradeci; Faik Konica - Petraq Kolevica; Lazër Shantoja - Lasgush Poradeci; Hilë Mosi - Lasgush Poradeci; Lasgush Poradeci - Fan Noli; Lasgush Poradeci - Jorgo Bllaci; Lasgush Poradeci - Robert Shvarc - Ardian Klosi.
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