BDSL-Klassifikation: 04.00.00 Allgemeine Literaturgeschichte > 04.03.00 Vergleichende Literaturgeschichte
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The essay provides a contrapuntal "parallactic" reading of Johann Wolfgang Goethe's "Bildungsroman" Wilhelm Meisters Lehrjahre - with its extensions Wilhelm Meisters theatralische Sendung and Wilhelm Meisters Wanderjahre - and James Joyce's high modernist A Portrait of the Artist as a Young Man (1916) and Ulysses (1922). Derived from astronomy, the term parallax designates, transferred to literary history, a narrative stratagem, a metapoetical rationale, and an interpretive method. Joyce employs it as a key concept and narrative tool in Ulysses to denote a stereoscopic perspective applied to the protagonists’ actions and the world they live in. Leopold Bloom thus refl ects on it and the technique of Ulysses is determined by it. On a higher plane, literary critics, too, engage in literary historical parallax whenever they read texts intertextually — as exemplified in this essay. A parallactic reading of the novels’ protagonists Wilhelm Meister and Stephen Dedalus, as regards not just their identification with Shakespeare’s Hamlet but also the symbolic connotations embedded in their names and mythological pretexts, allows us to shed new light on the roles and significance of narrative irony, chance, and paternity in these novels.
Rezension zu Bohnengel, Julia: Das gegessene Herz. Eine europäische Kulturgeschichte vom Mittelalter bis zum 19. Jahrhundert: Herzmäre - Le coeur mangé - Il cuore mangiato - The eaten heart (= Saarbrücker Beiträge zur Vergleichenden Literatur- und Kulturwissenschaft, 74). Würzburg: Königshausen & Neumann 2016. XXVII + 777 S.
The present article analyzes a prominent yet relatively understudied contact space among Native American, New Zealand Maori, and aboriginal Taiwanese literatures: the struggle of indigenous peoples to negotiate optimal relationships between themselves and the natural world, particularly in light of capitalist modernity and globalization. Many indigenous narratives draw sharp distinctions between native peoples and outsiders, predictably portraying the former as protectors and the latter as destroyers of both nature and indigenous local cultures. The Native American Chickasaw writer Linda Hogan's (1947-) novel 'People of the Whale' (2008), the Maori writer Patricia Grace's (1937-) novel 'Patiki' (1986), and the aboriginal Taiwanese writer Topas Tamapima's short story "Zuihou de lieren" are no exception. But these texts also problematize notions of the so-called "ecological native." They do so most conspicuously by revealing the ambiguous relationships those peoples believed closest to nature have with the nonhuman world, that is to say their environmental ambiguity ('ecoambiguity') (Thornber 2012).
Mein Beitrag geht dem russischen Interesse an Vitalität und Transformation im ersten Drittel des 20. Jahrhunderts nach. Dabei rücken insbesondere kulturspezifische Unterschiede zu vergleichbaren Phantasmen und Phänomenen in Westeuropa ins Blickfeld, die sich aus der Berücksichtigung der ostkirchlichen Tradition, insbesondere der orthodoxen Anthropologie, ergeben. Das Auferweckungsparadigma der russischen Moderne zeichnete sich zum einen durch seine Doppelreferenz auf Religion und Wissenschaft aus und manifestierte sich zum anderen durch die Synthese von Glauben und Technik, Kunst und Leben. Wie es zunehmend den russischen und sowjetischen Alltag durchdrang, wird anhand folgender Faktoren nachvollzogen: der Begründung der genuin russischen religionsphilosophischen Strömung des "Kosmismus", der aufkommenden performanzorientierten Konzepte des Lebendigen in Sprach- und Literaturtheorie und schließlich der Versuchsanordnungen zur Vitalisierung und Immortalisierung in Wissenschaft, kultureller Praxis und Literatur.
„Great writers,“ those who constitute our canon (at any given moment, one should add warily, since aesthetic canons fluctuate considerably over time), have invariably been the focus of reception studies, partly because they provide the most fertile ground for research, but partly also because literary scholars (and in particular the aspiring doctoral candidate: I myself graduated with an influence /reception study of this kind) need some justification for their endeavors, and what better ticket into the ivory rower - or onto the book market - than the study of the most seminal and widely accepted authors? James Joyce is just such a „great author.“ And „James Joyce and German Literature,“ the subject of this essay, must inevitably result in some form of reception study. But just what form should it take? Within the limited space of one article, it would be impossible to survey in toto Joyce's influence on German literature; that is, the multiple receptions of Joyce by some four or five generations of authors writing in German.