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The article analyzes the relation between poetry and philosophy in the context of Heidegger’s works. The author presents and analyzes the arguments by which Heidegger interprets the poetry of Friedrich Hölderlin and the concept of truth in Western philosophy.
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Review of: Zobenica, Nikolina (2014), Književno delo između estetike i politike: Limeni doboš Gintera Grasa u Nemačkoj i Srbiji 1959–2009, Novi Sad: Faculty of Philosophy.
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A figure in which German romanticism unites the religious and philosophical cognition of the world is a poet. He who is the prophet, priest and the thinking being, converts his intuitive and sentimental cognition into a poetic creation, the only possible construction of the wholeness which, presenting the order of things within individual space, is the witness of the world order as it is. One of the most popular genres of Romanticism, the artistic ballad, being a reflective and self-reflective type of poetry, both demonstrates and artistically effectively presents the process of simultaneity of cognition and creation by using literary devices which create a distance between the topic and speech instance, that is, by means of simple narrative matrix and the tone of folk poetry, change of speech instances, by problematizing the status of the real or shifting of what is presented to fairytale spheres. This paper tends to show it by taking theoretical postulates of Romantic poetry by Friedrich Schlegel and perception of ballad by Hartmut Laufhite as starting points, and using the examples of representative ballads by Novalis, Tieck and Brentano with the topic of poet and his position in the world.
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By comparing the chosen examples from the novel “Ansichten eines Clowns” by German writer Heinrich Böll, which contain cultural notions of two translations into Serbo-Croatian/Croato-Serbian language, the authors of this paper shed light on the translation processes and discover translation methods at the basis of those processes. The purpose of this analysis is to point to the importance of the cultural competence of translators, as well as the prospective need for new translations of Böll’s novel, which would bring closer to the readers of our time Böll's world and the criticism of German society after WWII.
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Our work intends to reread Paul Celan’s poetic work in the light of the special historical-cultural constellation in Bukovina, the former crown land in the east of the Habsburg monarchy. it was a “exceptionalism” phenomenon unique in Central europe: in this enclave the Jews played an essential social role because of their German-language acculturation, in which most liked to express an illusionary “German–Jewish” symbiosis. the nationalisms of the 19th and 20th centuries made every effort to destroy the Bukovinian “special route” of heterogeneity and to homogenize the country and the people. after the war, the young Paul antschel still had in the name of this “special way” thought of his German language and the traditions of German poetry—his poetry is “extraordinary” also because it arose from this reflex until he understood that the illusion had failed. it was only this disillusionment that shaped his lyrical discourse in the fundamental renewal of the “German” poetic language.
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In 1839 and 1842, the Baltic German artist Friedrich Ludwig von Maydell (1795-1846) published the first two volumes of his Fünfzig Bilder aus der Geschichte der deutschen Ostsee-Provinzen Russlands. This album not only contained the first images of the Baltic in history, but it was also one of the first instances of Romantic historicism in these lands and an early example of the uses of the past for constructing a specifically Baltic German identity. By analysing Maydell’s work, the article discusses the particularities of the Baltic German images of history in a regional as well as transnational context. Examining his visual representations of the past, it shows how the borderland’s historical memory was shaped by a variety of influences, including aspects of the Russian imperial historiographical tradition, as well as developments in the arts, historical discourse, and nationalism in Europe and Germany. The article also examines the transfer of visual motifs, thereby highlighting how the often competing and conflicting nineteenth-century nationalist histories were shaped by shared transnational schemata. Following this, it analyses the impact of the local colonial context on Maydell’s images of Baltic history and the afterlives of his images in the later Estonian and Latvian national images of history. Although much scholarship has focused on the contrasts and conflicts between the Baltic German and the Estonian and Latvian visions of the Baltic past, this article reveals the rival versions of the past to also be closely entangled. Visual culture can demonstrate this well, showing that Estonian and Latvian artists opposed their work to Maydell’s images, while also imitating and appropriating his style and motifs. Finally, Maydell’s own treatment of the local peoples and their folk culture shows signs of complexity characteristic of colonial anxieties.
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Pri koncu 2020. godine, u okrilju izdavačke kuće “Synopsis” iz Sarajeva uz potporu Tradukija, svjetlo bi dana trebala ugledati knjiga Navida Kermanija “Nevjerničko čuđenje – O kršćanstvu” u našem prijevodu. Uz dopuštenje njemačkog izdavača C. H. Becka u ovom broju “Novog Izraza” donosimo izbor pet likovnih eseja iz te knjige sa željom da najavimo njezino objavljivanje, ali i da skrenemo pozornost na raskošan stvaralački opus Navida Kermanija, istaknutog njemačkog pisca, publicista, doktora orijentalnih znanosti i dramaturga, jednog od najprofiliranijih njemačkih intelektualaca.
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This paper attempts to analyse Polish-German literature transfer that was embedded in the heteronomous field of foreign cultural policies in the years 1960-1970. The primary data derives from the Political Archive of the Foreign Office (Politisches Archiv des Auswärtigen Amts in Berlin). In particular, the focus of the paper is on the reports of the Trade Representatives of FGR in Warsaw, the correspondence of the individual cultural intermediaries (Karl Dedecius and Hermann Buddensieg among others), publishing houses and organisations operated and financed by the West German Ministry for Foreign Affairs (Inter Nationes, Börsenverein des Deutschen Buchhandels, Martin-Behaim-Gesellschaft). The stance of the government institutions is confronted with the policy of private publishers. Such a comparison has been enabled through an investigation into the material collected in the course of archival research in Siegfried Unseld Archiv preserved in Deutsches Literaturarchiv in Marbach. The archival material has enabled employing the so-called policontextural methodological perspective (Niklas Luhmann). The perspective underlines the multiplicity of vantage points that in turn affect the current multiple definitions of literature, the latter functioning in parallel. The framework allows asking the question as to the ways in which the political circles defined the function of literature and how the literary system responded to these external influences. A policontextural analysis of the archival data yields two new research outcomes. Firstly, the historiographic aspect of research results proposes a correction of the periodisation of the entire cultural policy of FRG and Polish-West German cultural relations. The second finding is of a methodological nature and pertains to the rule of hierarchical ordering of the cultural field (autonomy vs. heteronomy). In the light of the study, the military rhetoric of conflict (Bourdieu) should be broadened to include versatile forms of cooperation.
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Die wiederholte Beschäftigung mit Erzähltexten von Joachim Wittstock einerseits und andererseits mit dem performativen Charakter des Schreibens veranlasste uns im Rahmen der studentischen Theater AG (Die GRUPPE) ein komplexes Bühnenprojekt ins Auge zu fassen, szenisch umzusetzen und dreimal auf¬zuführen. Es handelt sich um die Aufarbeitung der Erzählung Hades in Form einer szenischen Lesung mit performativer Darstellung der Handlung in Verbindung mit dem Einsatz intermedialer Ausdrucksmittel. Der folgende Artikel fasst die wichtigsten Aspekte der Arbeit an dem Projekt zusammen und erläutert den Transformationsprozess vom epischen Text zur Bühnenperformance.
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The study deals with the philological-ethnological contribution of the German Balkanologists and Slavists Alois Schmaus (1901-1979) to the establishment of folklore as a separate discipline. The study summarizes the Schmaus' contribution to the scientific positioning of the South Slavic Muslim heroic songs to the epic in Schmaus' studies. The transition of the South Slavic Muslim heroic songs to an epic has also been demonstrated under the so-called „Homerological School“ of Harvard, USA. In particular, the subject of the transition (passage) of the heroic songs to the epic has been explained in more detail and expressly under my interpretation of the evaluation and confrontation between Schmaus' and the Homerological School.
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Review of: Elisa-Maria Hiemer - Václav Smyčka: Das Gedächtnis der Vertreibung. Interkulturelle Perspektiven auf deutsche und tschechische Gegenwartsliteratur und Erinnerungskulturen. transcript. Bielefeld 2019. 256 S., Ill. ISBN 978-3-8376-4386-2. (€ 34,99.)
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Der Mythos der Kronstädter Reformation suchte den Protagonisten Johannes Honterus aus den widersprüchlichen lokalen Erscheinungsformen herauszuhalten. Dies beginnt bereits mit dem reflektierenden Bericht des Organisten Ostermayer über die Ereignisse im Frühjahr 1544 und setzt sich fort bis hin zu den Deutungen der Gesangbuchgeschichte im 20. Jahrhundert. Wenn in der siebenbürgisch-sächsischen Historiographie über das bei Valentin Wagner wohl 1555/1556 in Kronstadt erschienene Gesangbuch als dem ersten Gesangbuch gesprochen wird, wird damit gleichzeitig das 1543 in der Druckerei von Honterus erschienene Achtliederbuch von Andreas Moldner nicht nur wegen seines Umfangs, sondern besonders wegen seines Inhalts aus dem Gesamtbild der Einführung der Reformation in Kronstadt weitestgehend zurückgestellt. Mit seiner Herzensfrömmigkeit und Nähe zur anabaptistischen Theologie war ihm eine Resonanz in lutherisch-konfessionellem Umfeld versperrt.
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Својевремено, отприлике као петнаестогодишњак, у пансиону Пристаниште, који се налазио изнад планинске реке, изнад Попрада, у југоисточној Пољској, читао сам с великим уживањем Чаробни брег, роман који је сјајно одговарао феријалној лектири. Нисам све разумео, мада сам желео да разумем апсолутно све. Истовремено с несвесним снобизмом млађаног интелектуалца, који је омаловажавао оно што је Сократ називао „живот без критичке рефлексије“, користио сам романе Томаса Мана као екран, који треба да ме чува од свакодневице која не заслужује пажњу. Односно од пансионске егзистенције, која није потпадала под критичку рефлексију.
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Review of: Maria Birger - Kulturtransfer und Verlagsarbeit. Suhrkamp und Osteuropa. Hrsg. von Dirk Kemper, Paweł Zajas und Natalia Bakshi. (Schriftenreihe des Instituts für russisch-deutsche Literatur und Kulturbeziehungen an der RGGU Moskau, Bd. 16.) Wilhelm Fink. Paderborn 2019. 248 S., Ill. ISBN 978-3-7705-6409-5. (€ 79,–.)
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The paper presents the strategy of refocalization in apocryphal ekphrases and ekphrastic apocrypha, and more specifically, the shift from the perspective that dominates the original painting into the perspective and narrative that are valid in the literary text(s) inspired by this painting. The precise subject of this study are works related to Rembrandt’s The Anatomy Lesson of Dr. Nicolaes Tulp – Jacek Dehnel’s Po wyjściu malarza, Jacek Kaczmarski’s Lekcja anatomii (według Rembrandta), Nina Siegal’s Anatomy Lesson and a fragment of W.G. Seblad’s novel The Rings of Saturn.
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In his article, the author focuses on the legal handbook of the former bishop of Paderborn Konrad Martin “Catechism of Roman Catholic Church Law” (1875). Bishop Martin defends (in the middle of Bismarck’s Germany) the thesis about the inalienable right of the church to its own unrestricted activity without the intervention of state authorities. His conciliatory view of the relationship of the Catholic Church to religious societies separated from it was rather rare at the time.
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The subject of the present investigation is an interaction between the published folk tales collections and the folklore texts, in the process of which folk tales told by the informants get published as part of the collections, afterwards repeatedly finding their way back into the oral tradition. The author of the article purports obtaining arguments to prove the impact made by the tale “The Frog Prince or the Iron Heinrich” from the collection of the Grimm Brothers and the literary tale by Aldona Liobytė Ramunė [“Marguerite”] upon several folklore texts. The compared annotations from the national indices of Lithuanian (AT 425C), Latvian, East Slavonic and Polish (AT 440) folk tales and the texts themselves present evidence of this particular tale having been well known in all the above mentioned national traditions, its variants being popular and alive, i.e. acquiring variations. The impact made by the published sources upon the folk narrative texts is studied according to the methodology for proving such an impact, introduced by J. A. Novikov. Thus, several variants of the Lithuanian folk tale, rather standing out in the general context, were discerned. These variants contain characteristic details of the literary tale by A. Liobytė, their female heroine is called Ramunė, and the personage of a bridegroom-frog apparently seems quite unusual for Lithuanian folk tales. These arguments present sufficient grounds to assert that several folklore texts recorded in Lithuania have been influenced by the literary tale Ramunė. Still, the direct impact of the tale from the Grimm Brothers collection onto the folk narrative variants appears much more difficult to prove, just like obtaining the reasoned proof of a link having existed between the literary tale Ramunė and the text from the Grimm Brothers collection. Yet it is also hard to imagine A. Liobytė borrowing the personage of the bridegroom-frog from the folklore tradition, as such variants are very few. Therefore an assumption of this strange personage in her literary tale having been created independently from the Grimm Brothers collection cannot be ultimately rejected.
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There is almost no empirical research into the later stages of classical singers’ careers and the difficulties faced. A quantitative study of operatic soloists was conducted via online questionnaire to ascertain when and how these difficulties manifest themselves. The survey divided the singers into 2 groups: those who stopped their solo careers as a result of the difficulties and those whose careers continued, in order to explore the differences between the responses of the 2 groups to the career downturn. This article posits that the singer’s crisis is a common experience, though one which singers seldom discuss amongst themselves. To illustrate this, it focuses on the 2 causes for career difficulties most often cited by the respondents: mental health issues and technical vocal problems. The study demonstrates a reluctance by singers to deal with anxiety, stress and self-doubt, even at the cost of their careers.
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The analysis and interpretation of the drama „Life of Galileo“ by Bertolt Brecht begins from the process of genesis, by establishing a context in which this work was created as a historical drama, and then proceeds to the analysis and interpretation in the context of genre. This historical play of Brecht has an important didactic dimension, which will be discussed in relation to its form – medieval morality, recognized in structure and idea of the play. Finally, the article addresses the question of whether Brecht succeeded in his intention to make models out of his characters with whom reader should not and must not identify. Brecht supposed that drama will fulfil its didactic function only if reader’s analytical mind prevails in reception. Detailed analysis of the figure of Galileo and interpretation of the drama will show how an extremely complex character of Galileo escapes Brecht’s theoretical postulates of drama and theatre. It will also show that, precisely because of that, the play achieves its didactic, analytical and cognitive dimension.
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