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Trahison et vengeance dans "La Chanson de Roland" et "Nibelungenlied"

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Trahison et vengeance dans "La Chanson de Roland" et "Nibelungenlied"

Author(s): Alexandru Bercă / Language(s): French Issue: 1/2012

This article is about the way the private and public wars are seen in two of the most important works of the Middle-Ages literature, the "Chanson de Roland" and the "Nibelungenlied". Our purpose was first of all to follow how the action develops from the betrayal pact made by the two negative characters Ganelon and Hagen against the positive characters, Roland and Siegfried till the very end of the two “traitors”. Secondly, we tried to figure it out whether Ganelon and Hagen’s actions against the main characters are indeed legitimate or if they violated the customs of the private war which turned up to become disastrous for all characters involved in the story. The article also depicts their trial and how arguments were brought in their favor or against them, leading to their death conviction.

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Trei cazuri de reprezentare a dedublării la Chamisso, Dostoievski și Saramago

Author(s): Andreea-Paula Ursu / Language(s): Romanian Issue: 1/2018

The literary convention of the double is rooted in the theories of the German philosophy. The concept of the double has been analyzed from different perspectives, such as psychological, religious, sociological or mythological perspective. This paradoxical figure appears as an instrument of both liberation and oppression. This article analyses the literary image of the double and discusses the symbolism of the main characters and scenes, who fell under the auspices of duality, focusing on the works of Adelbert von Chamisso, Fyodor Mikhailovich Dostoevsky and Jose Saramago. The purpose of this paper is twofold: firstly, to draw up a comparison between the three works, which belong to different literary movements and secondly, to find the common elements and characteristics of the analyzed works.

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Percepția timpului în romanul ,,Oblomov’’ de Ivan Goncearov: idealismul oblomovist în contrast cu pragmatismul german

Author(s): Mihaela Munteanu / Language(s): Romanian Issue: 1/2022

Time is regarded as a relative dimension, manipulated by one’s view. Oblomov, written by Ivan Goncharov, presents life’s cyclicity versus its linearity through two relevant characters: Oblomov and Stolz. The two, although friends, are different in terms of perspectives. Oblomov believes he has infinite time, whereas Stolz acts according to his priorities, always feeling the pressure of a life that needs to be lived in a way that matters. While Stolz strives to usefully contribute to society, Oblomov lives inside his mind and finds refuge in it. Goncharov thus illustrates two alternatives for Russia’s future. Starting from the way time is perceived by the protagonists, we understand their perspectives on life and can compare the utility of each in society.

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Obraz Hindenburga O/S w twórczości Wernera Heiduczka

Author(s): Angela Bajorek / Language(s): Polish Issue: 22/2022

This essay is an attempt to portray the Hindenburg O.S. in Upper Silesia as an autobiographical place in the works of the German writer Werner Heiduczek. The space of the town, which he discovered in his childhood and early adolescence, runs through various literary texts that gradually add to and transform the vision of this place. The life on the border of cultures and historical events was his personal experience that contributed to his perception of the hometown and the region.

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KÜNSTLER(FIGUR): FIGURA ARTISTULUI LA THOMAS MANN ŞI CONEXIUNI CU ESTETICA LUI TUDOR VIANU. RECURENŢE ŞI ANALOGII CONCEPTUALE

Author(s): Stefana Duncea / Language(s): Romanian Issue: 1/2022

Building upon previous research on Tudor Vianu’s aesthetics, the current article delves into the issue of art and the artist, a central theme in the aesthetic systems of the early 20th century (as exemplified by the Romanian critic T. Vianu) as well as in the literature of that epoch. The applied analysis concentrates on Thomas Mann, for whose work these issues were of major concern. The dialogue is explicit: the German author was of great interest for the Romanian theorist (Vianu was awarded his doctorate in Tübingen in 1923) and so we consider worth examining the shared standpoints regarding art in their approaches and the European concern of the time for the artist. The Künstler(figur) is discussed here based on Vianu’s aesthetics, but with an applied focus on Thomas Mann’s ambivalent artist protagonists (Tonio Kröger, Gustav Aschenbach, Adrian Leverkühn etc.), their identity and symbolism.

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Das Heine-Denkmal auf dem Hamburger Rathausplatz

Author(s): Udo Köster / Language(s): German Issue: 1/2023

Based on the documents of the Hamburg Denkmalschutzamt (Monument Protection Office), the article retraces the political process between 1956 and 1982, which led to the erection of a Heinrich-Heine-Statue on the Rathausmarkt (Town Hall Market).

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За корицата на „Хайдутинът“ от Ханс Вахенхузен

Author(s): Nikolay Chernokozhev / Language(s): Bulgarian Issue: 1/2023

This paper seeks to highlight the ways in which the visual image of the cover prepares the imminent reader for their encounter with the work.

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Władysław Natanson i Alfred Landé a prawo Plancka, statystyka Boltzmanna-Plancka-Natansona oraz statystyka Bosego

Author(s): Michał Kokowski / Language(s): Polish Issue: 20/2021

The article describes the context and content of the correspondence from November 1925, so far overlooked by physics historians, on the Planck law and the Bose statistics between Władysław (Ladislas) Natanson and Alfred Landé and the effects of this interaction.The article publishes for the first time the translations from German into Polish of two letters from Natanson and Landé.

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ЕЛЕМЕНТИ ПОСТМОДЕРНИЗМА У РОМАНУ "ГУБИТНИК" ТОМАСА БЕРНХАРДА

Author(s): Marija N. Joka / Language(s): Serbian Issue: 79/2022

This paper will discuss Thomas Bernhard’s novel The Loser, published in 1983, through the analysis of which we will single out some of the main features of postmodernist art, referring to the texts of the most authoritative literary theorists, including Frederic Jameson, Linda Hutcheon, Ihab Hasan and others. We will pay attention to Bernhard’s attitude towards art and the place it occupies in the culture of late capitalism, as well as his view of the political scene in Austria of that period. In terms of form, we will focus on linguistic means specific only to Bernhard, but also on fragmentation and a special model of the narrator that are characteristic of the entire postmodern literature.

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Tarihin Estetik Dönüşümü: Edebi Ükronya Örneği Olarak Stefan Köhler’in Deutschlands Rückkehr İsimli Romanı

Author(s): Müge Arslan Karabulut / Language(s): Turkish Issue: 22/2023

When historical events are re-evaluated from the point of view of the current period, it can make the individual think of different possible causes and consequences. With such an approach, the history is constructed with its alternatives. Thus, the uchronia/alternate history, which is essentially a subgenre of the science fiction in literature, emerges. Ucronia, in the most general sense, suggests a possible history by presenting different perspectives on events that took place in world history. Stefan Köhler's novel Deutschlands Rückkehr, published in 2021, reconstructs the Second World War as Uchronia, drags Adolf Hitler on a different adventure. In this study, first of all, general informations about the uchronia will be given, then Köhler's novel will be examined as an example of this genre. Thus, the traces of the transformed history in the novel will be revealed. It is aimed to contribute to field studies by examining with a text-based method the coming together of fiction and history and the literarization of history.

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ROMÂNIA – PROIECTUL UNUI CREUZET CULTURAL ÎN PERIOADA REGINEI ELISABETA A ROMÂNIEI. STRUCTURI MATRICIALE COMUNE ÎN OPERA REGINEI ELISABETA ȘI A SCRIITORULUI RAINER MARIA RILKE

Author(s): Alexandra Maria Bocșa / Language(s): Romanian Issue: 2/2023

The paper aims to capture one of the multiple hypostases of Romania as a kingdom, under the political, cultural and diplomatic guide of the members of the Romanian dynasty. The most noble of these hypostases remains that of an European cultural crucible, a soul project of the first queen of Romania, Elisabeta, who wanted to increase the influence of her country of adoption by transforming it into an European cultural epicenter. The effort, the imagination, the talent, but especially the chosen way in which Queen Elisabeta decided to represent Romania and support it, has a material form also: the Jugendstil box, where almost 200 Austrian poets have encapsulated their respect and their admiration for the Royal Family and Romania, leaving a political and cultural seal on Romania's position on the map of Europe. In this box there is also the tribute of the writer Rainer Maria Rilke.The purpose of this work is to draw the borders of this cultural dialogue between Queen Elisabeta and the writer Rainer Maria Rilke and to show the communicational product of the two cultures, Romanian and Austrian. What are the fundamental creative matrices that have been exchanged? What perspectives and visions, themes, literary reasons, beliefs and literary instruments have been discussed and enriched? But, even more important, how are depicted these souvenirs of friendship in the personal work of the two writers?As a research methodology, it will be opted for the diachronic course of the cultural dialogue between the two writers, comprising the manuscripts sent as a tribute by Rainer Maria Rilke to Queen Elisabeta through the Jugendstil box, the possible mentions in correspondence or memoirs and not least, the work will opt for a comparative analysis of a selection of poems pertaining to the two writers. Based on some matrical elements, which are the basis of the creation belief of the two writers, the selection of works will be analyzed comparatively, emphasizing both the similarities and the differences between the stylistic tools and visions, and, more importantly, the way in which the cultural dialogue between the two writers contributed to the modeling of their individual poetic art and cultural perspectives.

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LE PREMIER VERS

Author(s): Letiţia Ilea / Language(s): French Issue: 35/2023

The text examines the mechanisms by which the author begins to write a new poem. To unravel these mechanisms, the author asks questions about her personal motivation for writing and what constitutes her profession of faith.

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Ідея Бертольта Брехта про колективну творчість

Author(s): Svitlana Macenka / Language(s): Ukrainian Issue: 108/2023

The most recent research in the theory of authorship has been used to put forward an original idea about the collective creativity of the German poet and playwright Bertolt Brecht (1898–1956). It is stated that according to Bertolt Brecht scholars, there still does not exist a definition for the “collective creative work process” (Nadia Dimassi). At the same time, Brecht never concealed his creative principle, highlighting in his theoretical texts how important collective creative collaboration was for his work. Moreover, this specific principle is particularly important for understanding the creative phenomenon of the talented German artist. It is established that the concept of collective artistic creation manifests modernist qualities in his creativity, namely lyrics. Brecht believed that one isolated artist’s depiction of the modern world in its extraordinary complexity was insufficient and dubious. It has been established that Brecht’s concept of collective creation developed in several directions: throughout his life, his creative work involved friends and peers whose knowledge and skills he particularly valued, including his numerous beloved women. The artist was, thus, convinced that art was a collective affair. In addition, it is known that Brecht did not consider creative texts as being complete. For him, they were temporary versions in a constant state of creation. A particular moment of development came with their staging. Brecht had a particular attitude towards existing literary material – he believed he was a craftsman as far as texts were considered, so he developed his own “poetics of plagiarism”. A comparison with “Wagner’s total work of art” revealed intermedial aspects of artistic products created by Bertolt Brecht. The artistic specificity of the “Brecht machine” has been summarized, and the principles of its operation have been identified.

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Chronik

Author(s): Doris Sava,Adinel C. Dincă,Andreea Dumitru,Sigrid Haldenwang,Sanda Ignat / Language(s): German Issue: 66/2023

Some destinies are closely linked to the history of an institution, but few of us find our life's purpose here. This particularly applies to Dr. Sigrid Haldenwang, who the professional community wants to congratulate on her birthday.

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Die Sprache in Herta Müllers Collagen

Author(s): Claudia Tulcan / Language(s): German Issue: 22/2023

Die Sprache spielt eine wichtige Rolle bei Herta Müller. Dies spiegelt sich am deutlichsten in ihren Collagen wider. Der vorliegende Beitrag nimmt sich vor, die Collagen Herta Müllers unter Berücksichtigung der sprachlichen Aspekte zu untersuchen. Dies geschieht auf zwei Ebenen: auf der Ebene der Alltagssprache und auf einer Metaebene. Die Letztere umfasst den linguistischen und den visuellen Teil. Die Alltagssprache bezieht sich auf die Bereiche der Rechtschreibung, Morphologie, Semantik und Syntax. Auf der Metaebene geht man auf Termini der Sprachwissenschaft und auf das Entsprechen der linguistischen mit der visuellen Struktur ein.

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Ewige Sehnsucht eines ewigen Fremdlings. Zur Sehnsuchtsproblematik aus der Perspektive ausgewählter deutsch-jüdischer Autorinnen

Author(s): Agnieszka Klimas / Language(s): German Issue: 1/2022

Longing is a feeling perhaps more familiar to the Jewish people than to any other nation. In their centuries-long diaspora existence, Jews have repeatedly yearned for a sense of community in the face of alienating reality, for the lost homeland, or even for legitimate naturalisation. This article is an attempt to shed light on the problem of longing in the field of tension between Zionism and German-Jewish symbiosis. Selected texts by Bertha Badt Strauss, Margarete Susman, Else Lasker-Schüler and Grete Weil-Jockisch provide a methodological approach.

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„Wo die Idylle am gröβten ist, gibt es auch Sehnsucht“. Die polnischen Internierten in der Schweiz und deren Sehnsucht nach der Heimat

Author(s): Justyna Krauze-Pierz / Language(s): German Issue: 1/2022

Switzerland is often equated with an idyll, with a place on earth that one longs for. But after a more detailed analysis of the Swiss situation and its reflection in literature, one finds children who yearn for love from their parents, women who yearn for social recognition and equality and even Polish internees from the Second World War who long for their homeland, although it was no idyll. The article shows the longing of the Polish internees from the perspective of a Swiss writer and a Polish author. Two literary texts are examined: Katharina Zimmermann's novel Das Freudenkind (2003) and the text by Kornel Filipowicz Jeniec i dziewczyna (1965). I analyse the ways in which the two authors present the longing of Poles living in Switzerland for their homeland in confrontation with the Swiss idyll and how this longing influences the behavior of the protagonists.

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iterarischer Kanon und Political Correctness. Perspektiven eines Konflikts

Author(s): Jürgen Eder / Language(s): German Issue: 1/2022

The discussion about aspects of political-moral correctness in the present is becoming ever sharper, more all-encompassing. It has also affected literature for a long time, and while at the present stage of the debate it is primarily works of contemporary literature that are affected, it is foreseeable and in part already evident that the discussion will not stop there. Using the work of Heinrich von Kleist as an example, we will show the way in which even canonical texts and authors are threatened by questions about their correctness and to what extent this can endanger aesthetic freedom as a whole.

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МИТОПОЕТИКА БУДУЋНОСТИ КОД ЈЕНСКИХ РОМАНТИЧАРА

Author(s): Vuk M. Petrović / Language(s): Serbian Issue: 46/2023

This essay aims to lay the groundwork for a subsequent spiritual-historical and philological analysis of Jena Romanticism as one of the central phenomena in the history of European culture. It primarily focuses on the collaboration between Schleiermacher, Novalis, and Friedrich Schlegel during the late 18th century. The nucleus around which the Romantics and idealists gather is the journal Athenaeum (1798–1800), published in Berlin, but whose contributors mostly (with Schleiermacher being an exception) operated from Jena. Within the literary culture of Goethe's era, this period stands out due to its pursuit of religious fulfillment in humanity. Conceptually, this pursuit is articulated through Schleiermacher's Speeches on Religion, finds poetic consolidation in Schlegel's contemplation of ideal romantic literature grounded in a new mythology, and poetically manifests itself through the erotic-religious synthesis of total humanity in Novalis's work.

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Mother Earth. A Prototype of Modern Pomeranian Art?

Author(s): Szymon Piotr Kubiak / Language(s): English Issue: 2/2023

Between 1920 and 1921, expressionist Ernst Barlach, who had settled in Mecklenburg, designed a grave monument for Ernst Biesel, a timber merchant. The sculpture, entitled Mother Earth, stood in the Main Cemetery in Stettin, newly designed by Georg Hannig. The theme referred to the chthonic deity spread in primitive, ancient cultures and folk rituals, known among the Celts by the Phrygian name Kybele and among the Germans as Nerthus. The modern German state and nation-building mythology referred to these two ethnic groups. Mother Earth was the subject of a treatise by Albert Dietrich in 1905. Barlach modelled his work on vernacular post-classical sculptures, but his most important source of inspiration was the reception of the Kuma statues, the so-called stone women (11th–13th century), which he had viewed on the Ukrainian steppe in 1906. The crude, blocky sculp- tures, attributed to Celts, Scythians, Huns, Goths or Mongols, for Barlach were the ‘milestone of the initial limit of time’ (Markstein der unteren Grenze einer Zeit), the ‘stone miscarriage’ (steinerne Mißgeburt) and the ‘crystallisation of earthiness’ (Christallisierung des Irdischen). This eastern ‘primitive’ inspiration proved to be a ground-breaking experience for the ‘North-German artist,’ referring to the Migration Period and the formation of post-antique Europe. While at the begin- ning of the 20th century France (additionally burdened with the criticised slogan l’art pour l’art) was regarded as the main heir to classical antiquity, Germany was to restore barbarian mys- ticism (inherited from the Celts) and a sense of practicality (typical of the Germans) to art, which were rooted in a particular love of nature. Barlach’s Mother Earth became a prototypical work for interwar Pomeranian art, representing the supposedly coarse temperament of farmers and fishermen.

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