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In this brief excursion into the poetry of Dante and Montale, Rebecca West suggests some approaches to only a few issues that emerge out of the creation of both the primary beloveds of Dante and Montale and of those feminine figures that have been characterized as ostensibly 'antitranscendental' and more secondary in their roles and meanings. As regards Montale's primary feminine figure, Clizia, West argues that she is, to use Teodolinda Barolini's term for Beatrice, a 'hybrid' poetic character, and ultimately exceeds the limits of the poetic beloved as traditionally conceived and read, not only in the courtly tradition upon which she is modelled but well beyond it. In the case of the so-called secondary 'other women' in Dante's and Montale's poetry, West seeks to show that they are much less separable from the primary feminine figures than such binaries as major/minor, transcendent/erotic, soul/body, and traditional/experimental may lead us to believe. Lastly, West considers specifically the wife-figure, in her conspicuous absence from Dante's corpus and in her late appearance in Montale's. For both poets, there are complex intertwinings, interferences, and non-dualistic patterns that form a densely textured poetic weave, in which both the primary and the secondary feminine figures provide "fili rossi" as well as not so easily graspable dangling threads of meaning. These threads have to do with the preoccupation of both poets with the possible integration of immanence and transcendence, embodiment and abstraction, and with the very limits of poetic language. West's topic is also motivated by a feminist-oriented search for modes of deciphering the figure of the feminine beloved in lyric poetry that are not conditioned exclusively by the traditional emphasis on the male poet-creator, but which allow for a shift in focus onto the female figure who is, of course, the creature of the poet's imagination and skill, but who also often takes him into regions in which the excesses (commonly associated with the female) of non-binary thought and the mysteries of alterity - the feminine symbolic sphere, in short - do not so much allow the emergence of neatly squared-off meanings as the evolution of more oblique, circular conduits of potential significance. As a specialist of modern literature, Rebecca West concentrates on Montale more than on Dante, mainly noting the Dantesque aspects of the former's poetry.
Even if the title of Wolfgang Koeppen's last novel, "Der Tod in Rom", alludes quite obviously to Thomas Mann's novella, "Der Tod in Venedig", Koeppen's text must be understood first and foremost as a response to Mann's most controversial novel, "Doktor Faustus". The novels of Mann and Koeppen rank among the most well-known literary examinations of National Socialism but stand in a complementary relation to each other. "Doktor Faustus", published in 1947, analyses the cultural and intellectual origins of German fascism, while "Der Tod in Rom", published only seven years later in 1954, criticizes the continuity of National Socialist ideologies in post-war Germany. Both authors focus their analyses of fascism on fictional avant-garde composers who seem at first glance detached from any political context. [...] The actual starting point of Florian Trabert's paper, however, is the fact that both novels are preceded by epigraphs taken from Dante's "Inferno". Trabert begins by commenting on the references to Dante in "Doktor Faustus" and then continues by analysing the allusions to the "Commedia" in Koeppen's novel, which constitute, as Trabert demonstrates, a complex constellation among the three texts.
Dante's "Inferno" and Walter Benjamin's cities : considerations of place, experience, and media
(2011)
When Walter Benjamin wrote his main texts, the theme of the city as hell was extremely popular. Some of his German contemporaries, such as Brecht or Döblin, also used it. Benjamin was aware of these examples, as well as of examples outside Germany, including Joyce's "Ulysses" and Baudelaire's "poetry". And he was - at least in some way - familiar with Dante's "Inferno" and used it, and in particular Dante's conception of hell, for his own purposes. Benjamin's appropriation of the topos of the Inferno has been seen as a critique of capitalism and as a general critique of modernism by means of allegory. In the following analysis, Angela Merte-Rankin takes a slightly different approach and, despite Benjamin's status as an expert on allegory, considers hell in its literal sense as a place and examines the issues of implacement that might follow from this standpoint.
Alles, was einen Sauer-, Nadler-, Kafka-, Schnitzler-Forscher, einen Romantik-, einen Methodologie- und Germanistik-Historiker, einen Kenner der Prager deutschen Literatur an Körner interessieren könnte, ist bereits – in früherer und neuester Zeit – von Eisner, Fischer, Wellek, Klausnitzer, Eichner, Krolop, Fliegl, Härtl, Sauder, Fohrmann gesagt worden. Freilich nicht in zusammenfassender Art etwa eines würdigenden Sammelbandes: Eine selbständige Körner-Tagung und ein Körner-Sammelband würden sich lohnen, denn auf einem solch zeitlich wie räumlich breiter abgesteckten Feld könnte man die (in den genannten Schriften manchmal nur angedeuteten) Thesen und Themen des Körnerschen Werkes breiter ausführen, die methodologischen und weltanschaulichen Kämpfe innerhalb der germanistischen Kreise seit Scherer beleuchten, die Positionen der Prager germanistischen Ordinarien innerhalb dieser Kreise absteckten, das komplizierte Knäuel der deutsch-tschechisch-jüdischen Beziehungen im Prag der Zwischenkriegszeit ansatzweise entwirren. Außerdem verdient Josef Körner, ein großer Kenner der deutschen Romantik, glücklicher Entdecker und verlässlicher Herausgeber verschollen geglaubter romantischer Texte, bissiger, brillianter Rezensent, schonungsloser Kritiker aller Verstöße seiner germanistischen Zeitgenossen gegen wissenschaftliche Sauberkeit, fleißiger Begleiter neuester Literatur und Literaturwissenschaft, Josef Körner, ein bezugsreicher Mann, der am Ende sein Leben und Werk trotzdem nicht anders bewerten konnte als einen Scherbenhaufen, verdient unsere Aufmerksamkeit und Erinnerung.
Rezension zu Gerigk, Horst-Jürgen: Ein Meister aus Russland. Beziehungsfelder der Wirkung Dostojewskijs. Vierzehn Essays. Heidelberg (Winter) 2010. 215 S.
Gerigk vereinigt vierzehn Essays zu Dostoevskij, darunter drei Erstpublikationen und elf Bearbeitungen von Veröffentlichungen der Jahre 1981 bis 2006. Texte Dostoevskijs kommunizieren mit solchen von Turgenev, Heidegger, Schiller, E.T.A. Hoffmann, Faulkner, Flaubert, Hauptmann, Salinger, Joyce, Sylvia Plath und anderen.
Tierfilme und -reportagen haben Konjunktur, neue Bildtechnologien ermöglichen immer differenziertere Einblicke in Verhaltens- und Lebensweisen bekannter und unbekannter Tierarten. Wir fühlen uns als teilnehmende Beobachter in scheinbar gewagtester Nähe. Das "Privatleben" der Tiere wird bis in den letzten Winkel verfolgt, die Entdeckung der Tierindividualitäten schreitet voran, Tiere bekommen ein Schicksal und wecken Empathie, der vor über 2000 Jahren entstandene Tier-Mensch-Verwandtschafts-Topos, dem noch jeder Gedanke an die Abstammung der Arten fern lag, wird neu belebt. Doch das kulturelle Interesse am Tier erschöpft sich nicht im Fasziniertsein durch perfekt visualisierte Verhaltensstudien oder durch neueste Lesarten der Tiermetaphorik, in der es stets weniger um Tiere als um Menschen geht. Der historische Wandel der menschlichen Tierbeziehung wird in der Tierethik reflektiert.
Seit der Antike umstrittene kognitive Fähigkeiten verschiedener Tierarten bilden heute einen einzelwissenschaftlich fundierten philosophischen Diskussions- und Forschungsgegenstand ("Der Geist der Tiere"). Die Biosemiotik macht große Fortschritte, der Tier-Mensch-Vergleich - bereits ein Kernstück antiker Anthropologie und Ethik - erfährt eine tiefgreifende Umwertung. Dabei steht nicht mehr von vornherein der Mensch im Mittelpunkt; vielmehr wird versucht, das Animalische in seiner Artenvielfalt als eine vielgestaltige eigene Lebensform zu beschreiben; diese ist nicht länger an Maßstäben einer Anthropozentrik zu messen, die im innersten teleologisch geblieben ist. Der Tier-Mensch-Vergleich wird heute nicht mehr so einseitig und ausschließlich auf kognitive Fähigkeiten bezogen. Vielmehr werden weitere Aspekte wie Emotionalität, Wertungs- bzw. Präferenzverhalten, moralanaloge Verhaltensweisen, Antriebsstrukturen, Soziabilität, Zeichenverhalten mit einbezogen. Diese Komplexität der Vergleichspunkte oder Vergleichseinheiten war erst mit dem neuzeitlichen Rationalismus immer mehr eingeschränkt worden. Die gegenwärtig wiedergewonnene Komplexität lässt nach historischen Vorbildern Ausschau halten; da verwundert es nicht, wenn eine Anthropologie ins Blickfeld rückt, die im Tier-Mensch-Vergleich einen ihrer wichtigsten Ausgangspunkte hatte: die antike Anthropologie.
Rezension zu Eckart Goebel u. Elisabeth Bronfen (Hg.), Narziss und Eros. Bild oder Text? Göttingen (Wallstein Verlag) 2009. (= Manhattan Manuscripts, hg. von Eckart Goebel, Paul Fleming u. John T. Hamilton, Bandnummer: 2), 302 S.
'Narziss und Eros', Band 2 der 'Manhattan Manuscripts', die Eckart Goebel mit Paul Fleming und John T. Hamilton herausgibt, setzt literaturhistorisch bei Ovids Fassung des Narziss-Mythos an und geht zeitgemäß - kontextgebunden - einen großen Schritt über Freud hinaus. Anstatt sich an den Ungereimtheiten, Spannungen und Widersprüchen der Ausführungen Freuds abzuarbeiten, legt der Band ohne viel Aufhebens die Kriterien narzisstischer Persönlichkeitsstörung nach dem Diagnoseklassifikationssystem DSM-N ('Diagnostic and Statistical Manual of Mental Disorders', Fourth Edition) der American Psychiatrie Association zugrunde, holt Eros in den Titel und bringt damit (Un)Ordnung in Ovids und Freuds Ordnungen der Geschlechter.
'Perhaps the sodomites should be written out of Dante's "Inferno"', Jarman wrote in his journal on 1 August 1990: 'I'll offer myself as the ghostwriter.' What does he mean by 'ghostwriter' here? How queer is this odd speech-act? What is he offering to do to the homophobic landscape of the "Inferno", that forbiddingly sealed textual prison, with his Hollywood pitchman's casual bid to 'write out' the sodomites as if they were a slight embarrassment to the divine justice system? Is he speaking in jest as a writer of gay satires and sacrilegious memoirs, or in deadly earnest as an activist who had renounced the middle-class pretensions and frivolities of the pre-AIDS gay world? [...] Jarman counters the trope of homosexual theft visually with the triumphant figure of Man with Snake. The Dantesque merging of snake and thief is replaced by an erotic dance in which the gilded youth raises his phallic partner above his head and seductively kisses it on the mouth. Whereas Dante would have us notice the grotesque parody of the Trinity played out in the seventh bolgia - with the unchanging Puccio as God the Father, the two-natured Agnello-Cianfa as Christ, and the fume-veiled Buoso receiving his forked tongue from the serpent Francesco in a demonic replay of the gift of tongues from the Spirit - Jarman clears away all overdetermined theological meanings to revel in the purely aesthetic impact of the phallic dancer. All the ghosts from Dante's snakepit are conjured away in the film and replaced with the solid presence of a single gorgeously spotlit male body. Ghostwriting Dante, for Jarman, meant more than a mere appropriation of homoerotic scenes from the "Inferno" into his screenplay. It meant a complete reimagining of their aesthetic significance within the filmscape of his Dantean transformations.
The 1935 Fox Films "Dante's Inferno" (directed by Harry Lachman) traces the rise and fall of an entrepreneur. Its protagonist, Jim Carter (played by Spencer Tracy), begins the story as a stoker on a cruise liner. The narrative opens with a burst of flames from the ship's boiler, and the ensuing scene goes on to show the protagonist competing at shovelling coal for a bet in the sweltering engine-room. Interspersed are shots of the superstructure directly above with a number of elegant and vapid passengers following the game below. This initial sequence thus concisely conveys the main features of the film's social agenda through imagery that anticipates that of two of its later 'infernal' sequences. [...] Spectacular admonition and concern about the ruthless pursuit of wealth are the main features which link this "Inferno" of the thirties to the one that had appeared some six hundred years earlier. Wealth and avarice were, of course, demonstrably serious concerns for Dante: as Peter Armour, for example, has shown, there is a recurrent and pervasive concern with money, its meaning, and its misuse throughout the "Commedia". So it is not surprising that the "Inferno" should also have been appropriated by social critics some hundred years before the 1935 Hollywood fable. [...] Some of the narrative and visual patterns in "Dante's Inferno" imply an uneasy underlying vision of the movie industry and its practices. Other productions, publicity, and journalism of the time reinforce suggestions of such a metafictional approach to movies, morality, and the market in the 1935 "Dante's Inferno".