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Po opštem uverenju, Gete je bio nesamo jedan od najsvestranijih duhova nego i redak primer telesnoga i duševnoga zdravlja i harmonije. Stoga je neobično zanimljivo baš na njegovu slučaju proveriti tačnost novim saznanjima osvežene i osnažene teze o psihopatološkoj nastrojenosti genijalnih ljudi.
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This is one of several papers on Terezin writings. This time the authoress is interested in adult authors, who wrote German poetry. She analyses and publishes examples of their poems (Julian Glas, Ludwig Hift, Kurt Kapper, Walter Lindenbaum, Friedrich Karl Pick, Erika Taube, Ilse Weber, Nina Wolfenstein). Bibliographic data concerning the authors as well as poems or collections of poems to be found in the State Jewish Museum are given.
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The aim of this article is to draw analogies between the Prisons by Piranesi and The Castle by Franz Kafka in the light of the figure of the labyrinth. In these specific cases, the architectonics (as a pseu- do-arrangement of perspective planes) and the plot (as a factitious connection between action sequences) enclose the illusion of depth and the impression of duration in the vicious circles of the lines of rupture and of the missed events, respectively. The Piranesian ato- pic topic (from atopos, « out of place ») and the Kafkaesque apraxic practice (from apraktos, « inconclusive ») are both based on unsurpas- sable antinomies and, in this particular respect, seem to revive Zeno of Elea’s paradoxes of motion and Diodorus Cronus’ aporia of beco- ming, which Gottfried W. Leibniz considers to be two labyrinths.
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The article is devoted to the first three volumes of Michael Meinert’s Hochwald-Saga (The High Forest Saga) series, whose action takes place in Silesia in the 19th century; these are are: Gescheiterte Flucht (Failed Escape), Der zerrissene Graf (Lost count) and Ehrlicher Schwindler (Honest swindler). In these works, the author breaks away from the stereotypical perception of Silesia as a space of memory, the critical turning point of which was the end of World War II. He does not create images of a “lost homeland” – Silesia becomes an attractive historical space for him precisely because of its past character, and is a fascinating setting for novels with historical plots. At the same time, he revives the history of Silesia as a province of the Kingdom of Prussia and later of the German Empire. He also creates images of space, assigning them additional meanings, which is in line with the idea of space semantisation promoted by Yuri Lotman. An extremely important element in the composition of Meinert’s works is the creation of Silesia as a sacred space in which existential, axiological and theological questions are asked. In his understanding, places become a humanised space which has its own characteristic identity and often depicts the emotional states or character traits of the novel’s figures; moreover, it plays an important role in shaping their attitudes and values. The purpose of this text is to analyse the poetics of Meinert’s above-mentioned novels with particular emphasis on the topos of Silesia, its characteristics, and the role and functions it plays in them. As it is closely related to the poetics of place, attention is also paid to selected aspects of geopoetics in the sense proposed by Elżbieta Rybicka.
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The article discusses the references to Faust by Johann Wolfgang Goethe present in the works of Czesław Miłosz. They appear in his poems, as well as in essays and non-literary texts, e.g. interviews. The references to Goethe in Miłosz’s work are also of interest, especially included in autobiographical statements. The article attempts to indicate certain regularities concerning the occurrence of intertextual references to Goethe’s tragedy, related to the poet’s worldview, his aesthetic choices and biographical context. The considerations included in the article lead to the conclusion that the hero of the tragedy symbolises the content which, after World War II, made it possible to name and understand the processes that led to the catastrophe of war and the rejection of humanity. Faust can be a tool for self-characterisation or an accusation against German culture and the cult of science and progress, leading to the alienation of the individual.
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The author of this sketch embarked upon an attempted contextual analysis and interpretation of a poem by Reiner Kunze. By referring to male and female poets listed by the German author – Rose Ausländer (poetess of “green Bukovina”, the poem’s motto), Paul Celan (as a Czerniowce/ Černivci and European patron of post-Holocaust loss), Elie zer Sztejnbarg – author of Majselech (Tales) from Czerniowce as well as others, including Polish translators Ryszard Wojnakowski, Ryszard Krynicki, and Jakub Ekier – an attempt was made to describe the co-ordinates of poetic mourning shared by Kunze with poets from Czerniowce. All against the backdrop of the genius loci of the capital of Bukovina and in conjunction with the plight of this unique town.
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The relevance of the article lies in conducting comparative analysis of the works of one of the brightest representatives of the Prague literary school, Gustav Meyrink, and a prominent American fantasy writer, Howard Phillips Lovecraft, who influenced the modern “horror literature”, from the perspective of them using and transforming the techniques and motifs of the Romantic tradition. The theoretical and methodological basis of the research is grounded in the works of foreign and Russian scholars in the field of literary studies, as well as the texts of the studied authors – Meyrink’s novel The Golem and Lovecraft’s novella “At the Mountains of Madness” and his short story “The Music of Erich Zann”. The study revealed the traditional images and motifs of Gothic literature (for example, motifs of fear, horror, and mystery borrowed from Edgar Allan Poe’s works, among other sources), closely intertwined with the Romanticism poetics and forming the unique fantasy fiction of both writers. A special emphasis in the article is placed on the transformation of the techniques of Romantic duality and doppelgangers, the opposition between the herodemiurge and philistine society, as well as the idea of creativity as a higher force opposed to chaos and death (in comparison with the same motifs in Ernst Theodor Amadeus Hoffmann’s texts). The research findings suggest that the transformation of the Romantic tradition in Meyrink’s novel is manifested through immersing into psychoanalysis, as well as into occult and spiritual teachings, practiced by the writer in order to explore his inner “self”. Furthermore, it is revealed that after encountering the otherworldly forces Meyrink’s hero experiences a metamorphosis, overcomes the “golemic” in himself, and discovers the true higher reality. By contrast, in Lovecraft’s works, skillfully combining horror and science fiction, romantic heroes (scientists, travelers, musicians) descend to chaos, spiritual powerlessness, and disappointment in the comprehension of the universe during their “romantic” pursuit.
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This contribution characterises and differentiates the poetic occasionalisms in the form of new morphologically complex words created by the early romantic German lyrical poet Joseph von Eichendorff, by the Austrian Nobel Prize winner for literature Peter Handke and by the extravagant German prosaic author Arno Schmidt and the occasionalisms created by the most famous Austrian comedy writer Johann Nepomuk Nestroy. The concept and term occasionalism has been founded by the Russian pioneer of stylistics Erik J. Chanpira (1996, see § 2) and defined as a newly created morphologically complex poetic word destined to be used with a literary function only once for a single passage and which is not taken over by anybody else. This definition holds for the authors investigated, except Eichendorff who reuses occasionalisms, which may be also reused by other lyrical poets of the same period or even later. The main part (§ 3) consists of the discussion of 17 criteria for characterising and differentiating the occasionalisms studied. These are productivity of word formation, literary functions, main content, single use vs. reuse of them, consequences of the noun bias of German and of the preference for binary relations, size of the word families of compound constituents (especially of the first constituent), the degree of poetic licence, semantically coherent vs. incoherent combination of words within a compound, embedding into the cotext and into the situational context, gapping constructions and their make-up, preference for compounding vs. derivational morphology. The conclusion and outlook (§ 4) present proposals how literary studies may profit from investigations of poetic and theatrical occasionalisms, which represent the highest degree of language creativity of literary authors. We urge that theatre productions should highlight occasionalisms and report that Nestroy’s German occasionalisms are generally better translated into English by programs of machine translation then by human translators.
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Siebenbürgen, eine von den Karpaten umgebene Region im Herzen des heutigen Rumäniens, fungiert als literarischer Topos zahlreicher Texte. Sie umfasst ein Gebiet, das reich an Geschichte und Kultur, an Traditionen und Sprachen ist, in dem mehrere Nationen ihr Zuhause miteinander teilen. In Siebenbürgen fand stets ein multikultureller Austausch statt, der sich sowohl in der Literatur des Landes widerspiegelt als auch durch diese geprägt wird. Ein Merkmal in der zumal deutschsprachigen Literatur Siebenbürgens war und ist der Einsatz von Mehrsprachigkeit, in der die interkulturelle Anlage von Texten deutlich wird. In der vorliegenden Arbeit wird der 1937 erschienene Roman „Zwischen Grenzen und Zeiten“ von Heinrich Zillich betrachtet und analysiert, indem besonders auf die Rolle der Mehrsprachigkeit als Vermittlerin von Interkulturalität eingegangen wird. Im Mittelpunkt stehen die Fragen, warum der Autor unterschiedliche Sprachen verwendet und welche Funktionen ihnen zukommen.
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Herta Müller's literature narrates liminal life experiences, results of a tragic story, which bursts into the biographies of the protagonists with overwhelming violence. The author's biography finds a particular resonance in this specific fact of her narrative world, in which the sources of trauma are revealed to be multiple. Călătorie într-un picior by Herta Müller offers a profound exploration of interculturality through Irene's personal journey of migration, adaptation, and identity formation. The novel portrays the complexities and nuances of cultural encounters, highlighting both the challenges and the opportunities for connection and growth that arise from navigating multiple cultural identities. Neverthemore, orality plays a significant role in conveying the protagonist Irene's inner world, struggles, and interactions within the context of her cultural displacement and adaptation.
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Review of: Václav Petrbok, Stýkání, nebo potýkání? Z dějin česko německo rakouských literárních vztahů od Bílé hory do napoleonských válek, Praha: Triáda 2012, 264 p.
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Review of: Jozef TANCER, Im Schatten Wiens. Zur deutschsprachigen Presse und Literatur im Pressburg des 18. Jahrhunderts, Bremen: Ed. Lumière, 2008.
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In the context of global changes, the article explores the creation of a community of humans with nonhuman actors in Franz Hohler’s short story Die Rückeroberung (1982), while questioning the anthropocentric perspective. Hohler presents a portrayal of Zurich dominated by animals and plants, which leads to reflections on communal urban life and encourages us to consider social relationships and species boundaries. Using ecocriticism and Bruno Latour’s actor-network theory, the paper analyzes the human subjectivity, the agency in networks, and the relationships between community members. The influence of non-human actors on reality is emphasised and the connections between different actors are highlighted to illustrate that humans are not the sole agents of action.
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This article examines three Czech textbooks published by the teacher Jan Urban in the first half of the 19th century. These works are translations of German textbooks, but these templates are only partially known. The article identifies the German originals and contrasts them with Urban’s Czech translations in order to shed light on Urban’s adaptation strategy. It also reflects on the historical context of these German and Czech textbooks. The study thus contributes to research into German-Czech linguistic-cultural transfer during the period of Czech National Revival.
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This article examines three Czech textbooks published by the teacher Jan Urban in the first half of the 19th century. These works are translations of German textbooks, but these templates are only partially known. The article identifies the German originals and contrasts them with Urban’s Czech translations in order to shed light on Urban’s adaptation strategy. It also reflects on the historical context of these German and Czech textbooks. The study thus contributes to research into German-Czech linguistic-cultural transfer during the period of Czech National Revival.
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The aim of this paper is to explore the extent to which the work of the German dialect poet Samuel Pellionis (1870–1953) from the language enclave region Spiš (Ger. Zips) in Eastern Slovakia fits into or corrects the traditional view of dialect literature. In the first half of the 20th century, German dialect literature was dominated by an effort to depict the ideal rural homeland. However, it was mainly written by academically educated poets who often lived in cities. Samuel Pellionis was a shoemaker without a higher academic education who did not adhere to the standards of traditional dialect literature. Instead of only using the dialect to depict a stereotypical rural environment (parallelism), Pellionis wrote about topics such as the two world wars, politics, or a desire to flee his homeland, which is a deviation from the norm. The article furthermore questions the criteria that poets and literary scholars of the past used to determine whether someone could be considered a poet (instead of being regarded just as an uneducated “rhymer”).
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Review of: Merhautová, Lucie, ed. a Topor, Michal, ed. Nalezen v překladu: Emil Saudek (1876-1941). First edition. Praha: Institut pro studium literatury, 2022. 826 pages. ISBN 978-80-7657-022-1.
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The focus of this text is the reception of German-language literature through Heinrich Böll’s work “The Lost Honour of Katharina Blum”. The study aims to explore the various factors that influence the reception of a particular text or body of work, drawing on Associate Professor Karapetkova’s monograph, which thoroughly examines the processes related to the translation of certain works. In her pioneering research, she touches upon the impact of the socialist regime and the imposed censorship, which were responsible for the absence of foreign translated works and the limited cultural exchange. These aspects will be the subject of investigation in this article.
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