BDSL-Klassifikation: 03.00.00 Literaturwissenschaft > 03.07.00 Ästhetik
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This article conceives the avant-garde as a form of art that emerges out of the experience with technical progress, city life and new patterns of perception and that succeeded in transforming multiple perspective and simultaneity of urban life into a central principle for their production. Analyzed are the European avant-gardes as well as their influences on Brazilian literature and painting in the 20s. Furthermore we take a look at concrete poetry of the 50's as a literary pendant to architectonic concepts of cities like São Paulo and Brasília.
Nach den Kolloquien, die 2009 und 2010 in Braga/Portugal stattfanden, organisierte der Portugiesische Germanistikverband (APEG - Associação Portuguesa de Estudos Germanísticos) am 28. und 29. Oktober 2011 sein III. Forum, welches jungen GermanistInnen gewidmet war. Die Tagung fand in diesem Jahr an der Universität Coimbra statt und versammelte über 20 junge GermanistInnen, die ihre Forschungsarbeiten zum Thema „Em Trânsito – Übergänge. Grenzen überschreiten in der Germanistik“ vortrugen. Diese Sondernummer der REAL stellt einige der Beiträge dieses Kolloquiums der breiteren Gemeinschaft der GermanistInnen vor. Damit wollen sowohl die APEG als auch die REAL ihren Beitrag zur Förderung des internationalen Nachwuchses in der Germanistik leisten.
Die jungen GermanistInnen wurden dazu eingeladen, über Kultur als einen dynamischen Prozess und als Zusammentreffen verschiedenartiger komplexer Beziehungen von und in unterschiedlichen (Grenz)gebieten, die sich ständig neu definieren, zu äußern. Das Kolloquium gab die Möglichkeit zu einer breiten Diskussion über die Wahrnehmung von Grenzen und deren unterschiedliche Herausbildung, über Verschränkungen, Verhandlungen und Übersetzung, über Identitäten, Beziehungen und Konzepte, die sich entlang, gegen und mit diesen Grenzen herausbilden und artikulieren.
Die verschiedenen Sektionen und Beiträge dieser Sondernummer dokumentieren, dass die hybriden Gebiete und fließenden Schnittstellen, die sich beim Zusammentreffen von Grenzen ergeben, zumeist die größten Herausforderungen, aber auch die produktivsten Schauplätze für konzeptionelle Entwicklungen und praktische Analysen darstellen. Sie zwingen uns, sowohl Konzepte und Fachgebiete, als auch den eigenen Standort in der Wissenschaft zu hinterfragen, da sie den epistemologischen Prozess durch Instabilität, Bewegung und Verschiebungen beeinflussen.
Partindo das considerações de Gianni Vattimo e de Jürgen Habermas sobre a instauração nietzschiana da pós-modernidade como uma "despedida" à modernidade ocidental e ao tipo de racionalidade a ela associada, este texto analisa o modo pelo qual uma "crítica autorreferencial da razão" (Habermas) é efetivamente engendrada pelo pensamento estético nietzschiano, de modo a reconsiderar os termos pelos quais a própria "despedida" pós-moderna deve ser concebida.
O teatro épico de Brecht
(2000)
This article is a reduced version of the chapter "Sinta o drama" from the book with the Same title. It traces Brecht's reasons for qualifying his theater as epic, based on important literary critics such as Peter Szondi, Adorno. Lukács and Anatol Rosenfeld, including Brecht himself.
This article deals with the annotations made by Victor Klemperer, in the diary of his 1925 journey to Rio de Janeiro. His descriptions are shown to be pervaded by his constant attempt to analyse, to interpret objectively and to compare his observations with what he already knew, and not merely a protocol of his emotions and the impressions brought about by the newness and the exotism of his experiences during the journey.
This paper deals with Kant’s differentiation between artistic beauty and the sublime in nature. In this latter, Kant subsumes everything wild, uncultivated, inanimate and makes it – apparently – available to Aesthetics. As the quintessence of resistence, the "stone" stands for everything that remains the most estranged from the human sphere. In texts of Romantic authors such as Novalis, it can be seen how the "stone" in its turn takes possession of human beings and move them away from human nature. From Romanticism up to contemporary art, the sublime establishes thus a dominion of total alterity, which evades control and keeps consciousness alert to the fact that also in human beings there is an uncontrollable element demanding its rights.
O olhar estrangeiro
(1998)
This text tries to illustrate what we understand by strangeness, alterity and exotopy. From the point of view of a stranger, we, as Brazilians, see and read products of foreign cultures in an exotopic way, which is quite productive. The same occurs with Germans looking at US, which gives us another view of ourselves. As an illustration, the poem "calypso" from Ernst Jandl will be discussed in this context.
From the very beginning literary discourse plays a decisive role in the context of colonial discourse of power. Even Anna Seghers, a progressive socialist authoress with a fixation on the Enlightenment, the French Revolution and the Jewish-Christian tradition is unable to detach herself from the European claim on universality. In a tensely opposed relationship of projection and otherness, of "memoria" and intertextuality, Heiner Müller, however, understands literature in the sense of Emanuel Lévina's respect for the other being as a work on difference.
The opposition city-country which appears already in Vergils Georgics and becomes very relevant in the British and French poetry of the 18th and 19th centuries, will be treated at first with regard to the German tradition of 'city-poetry'. Since about 1900 the phenomenon of the big city (metropolis) combines with demoniac and sublime motives, while French, English or American authors (Baudelaire, Wordsworth, Whitman) saw the city from a less ideological perspective. Only in the postwar-decade – after some anticipations by authors of Expressionism like Ernst Stadler or Gottfried Benn – the pluralistic, hybrid character of the city will be discovered also in German poetology. Some examples of Modern North American and Brazilian poetry will be analyzed in the last chapter of the article.
Drei Erfahrungsberichte über Bertolt Brechts Theater auf brasilianischen Bühnen. Caco Coelho spricht über den Zyklus der Brecht-Lesungen, -Aufführungen und -Vorträge seiner Theatergruppe 'Os Fodidos Privilegiados ' 1998 in Rio de Janeiro. Fernando Peixoto vertritt die Ansicht, daß der zentrale Punkt von Brechts Theater darin besteht, Emotionen im zwischenmenschlichen Verhalten und in ihren politisch-historischen Kontexten verstehbar zu machen. Er erzählt unter anderm von einer "Wiederentdeckung" der Brechtschen Theaterästhetik durch eine Laiengruppe in Amazonien und vertritt insgesamt ein undogmatisches, auf die heutigen Verhältnisse ausgerichtetes Lernen mit Brecht. Willi Bolle berichtet von seiner Inszenierung von Brechts 'Die Hochzeit ' (1919) mit einer Laien-Theatergruppe in São Paulo 1997-1998, in der die lineare Struktur des Textes durchbrochen wurde durch die Einführung einer neuen Perspektive sowie einer neuen Figur, der Braut, die sich das Hochzeitsfest in der Erinnerung vergegenwärtigt.
This article analyses the influence of Kant on conceptions and definitions of modern literature and art in publications by Lyotard, Kothe, Weber and Luhmann. It is argued that central issues in these publications, such as artistic autonomy, the sublime and the concept of L’art pour l’art, are adopted directly from Kant’s philosophical work and still serve as paradigms in the discussion of origin and status of modern social structure and its art production.
Heiner Müller e Brecht
(2000)
Based on Heiner Müller's play 'Fatzer +- Keuner', the present article shows Müller's opinion on Bertolt Brecht's work. The adaptations of Brecht's didactic plays (Lehrstücke) by Müller are commented on and compared to the originals.
This paper, written by an anthropologist, describes his fieldwork experience in the Afro-Brazilian temple Casa das Minas, São Luis do Maranhão, in 1981-1982, done with the German writer Hubert Fichte. Although correcting some statements in Fichte's book on the same subject and criticizing his indiscretion towards several of his informants, the article emphasizes the learning process with the German "ethnopoet": his skillful interview technique, the priority given to subjects of general interest, the importance of card files, the sought for beauty in the statements… As to the methodological differences between ethnography and ethnopoetry, the latter is free from the conventions of anthropological work, being able to concentrate on the beauty of the text and to conceive ethnography as a literary form. On the other hand, the advantages of ethnography, especially in Malinowski's tradition, are in the commitment with true facts and the precision of details. – See also, in this number of Pandaemonium Germanicum, Willi Bolle's complementary article on "Ethnopoetry and Ethnography".
In September of 1997, a group of German and Brazilian literary critics met at the University of São Paulo, in order to comment on the aesthetics of two great soccer schools. As our "basic text" we chose the match Germany vs Brazil (final score: 3 : 3; half-time score: 0 : 3), which took place in Washington, in June 1993, between the two tripte World Champions. Hans Ulrich Gumbrecht (Stanford University) proposed a philosophical reflection on football/Fußball, combined with a comparative analysis of soccer and American football. In both modalities he identified the magic phenomenon of "production of presence", which expresses itself through three functions: the ontological function (action vs nothing), the "epiphany of form" (the touch of genius) and the oscillation between finality and telos (linked to the mise-en-scène of intention and contingency). These three functions manifest themselves in both American football and soccer, but in different forms. Flávio Aguiar (University of Säo Paulo) pointed out the phenomenon of empty spaces and the occupation of space. Antonio Medina (University of São Paulo) contrasted the somewhat ontologic character of American football with the mimetic character of soccer, especially as played in Brazil, where the paradigm of masters and slaves is still present. José Miguel Wisnik (University of São Paulo) elaborated on the dialectics of production of presence (resistance against interpretation, "no-hermeneutics") and production of sense. In his reply, Gumbrecht explained that the concepts of empty and occupied space imply religious allusions (transcendental emptiness). Willi Bolle (University of São Paulo) raised the question of the extent to which the issue of aesthetics, seen from the perspective of American football and soccer, must be totally reconsidered.
Para além da influência geral de Rousseau na constituição do ideário estético do Romantismo, as relações mais diretas que o ligam ao grande romântico alemão E. T. A. Hoffmann são merecedoras de um estudo detalhado. Um tal estudo deveria confrontar não só as obras, mas as próprias vidas, já que são notáveis os paralelos biográficos entre os dois autores. Neste trabalho limito-me a examinar um único texto de Hoffmann, o conto de fadas "Das fremde Kind", buscando mostrar que os ecos rousseaunianos nessa obra são bem mais profundos do que uma mera re-elaboração do desgastado e superficial clichê do "bom selvagem".
O artigo analisa a presença sincrônica, na produção acadêmica alemã das últimas décadas, de trabalhos que, em conjunto, podem ser compreendidos como parte de um esforço nãocoordenado de renovação epistemológica e de historicização da episteme artística. Das contribuições de autores diversos são sintetizadas as linhas de constituição daquelas duas grandes problemáticas, que foram distintas, porém convergentes, em seus desdobramentos para a compreensão da arte e da crítica de arte. De um lado, mostra-se a imbricação da renovação epistemológica com novos padrões de percepção do tempo e com o conceito científico de "emergência"; de outro, vê-se como a historicização da episteme artística esteve fortemente dedicada à crítica institucional. Ao longo da apresentação, dá-se destaque ao componente critic daquelas duas formas de historicização, motivadas, como elas foram, pela insatisfação com a condição atual – nas décadas de 1970 e 1980 – da arte e do pensamento.
Brecht ainda hoje?
(2000)
This paper tries to find arguments for Bertolt Brecht's relevance to the present. It points out parallels between Brecht's epic theater and music, especially opera. A central point is the aesthetics of form, which was so important for Brecht and which is decisive for his modernity.
Aspectos românticos, naturalistas e simbolistas em "A mulher sem sombra" de Hugo von Hofmannsthal
(2000)
'Die Frau ohne Schatten' ('The Woman without Shadow') by the Austrian author Hugo von Hofmannsthal, is a kind of fairy tale in which a large and complex web of symbols is woven around an abstract landscape and characters of an enigmatic nature. Despite its intangible atmosphere reminiscent of the Romantic era, a rather Naturalistic world is revealed as the narrator leads us through a huge city and follows the poor people in their lives of misery and suffering. This paper analyses this hybrid character of Hofmannsthal's text and identifies the various aesthetic traits present in it.
Estes anais reúnem os trabalhos que, após apresentação no Seminário Nacional Vanguardas, Surrealismo e Modernidade: Europa e Américas, foram entregues, no prazo estabelecido, por seus autores à Comissão Organizadora do Congresso; foram todos submetidos a processo de avaliação por pareceristas, desenvolvido pela Comissão Científica de Publicação dos Anais, com a colaboração de pareceristas ad hoc externos à Comissão e à UFRGS, sob a coordenação de Robert Ponge, Ruben Daniel Méndez Castiglioni, Janaína de Azevedo Baladão e Nara H. N. Machado. – Os coordenadores do evento agradecem: aos professores Michael Korfmann e Gerson R. Neumann, editores da Contingentia, por acolher a publicação dos anais nas páginas de sua revista; à acadêmica Gabriela W. Linck, monitora da revista, pelas tarefas decorrentes da inserção dos anais na Contingentia.
Entfremdung (alienação) e Fremdheit (estranheza) podem ser entendidos como demarcadores de paradigmas culturais. A primeira está para a modernidade, assim como a segunda está para a pós-modernidade. Uma está para identidade, e a outra para alteridade. Enquanto a existência do fenômeno da alienação tornou-se questionável na atualidade, o discurso sobre estranheza vem se consolidando no âmbito acadêmico europeu. Tal discurso é, em certa medida, marcado por uma crítica cultural que tenta fazer justiça ao "estranho" recalcado por séculos pela cultura europeia. Enquanto isso, uma fenomenologia da alienação começa também a se desenvolver, a fim de reformular o conceito. Os dois fenômenos relacionam-se na medida em que a alienação é entendida como um momento transitório da estranheza. Ambas as teorias têm se mostrado produtivas no campo da análise literária.
O objetivo do texto é fazer uma leitura de elementos conceituais presentes na concepção freudiana sobre a poesia e a literatura, apontando aspectos problemáticos, como também os que se mostram pertinentes para análise do fenômeno estético. Inicialmente, passamos brevemente em revista pontos significativos de comentários críticos às reflexes estéticas freudianas da tradição, passando então a comentar o texto "Der Dichter und das Phantasieren" (1908), em que nos serviremos da comparação com temas e conceitos presents na "Poética" de Aristóteles e na "Kritik der Urteilskraft" de Kant. Na última parte, contrapomos alguns conceitos presentes neste primeiro texto ao artigo "Das Unheimliche" (1919), em que propomos uma leitura que faz contrastar o papel e importância conferidos à dimensão estética em ambos os textos. Toda a trajetória está orientada para demonstrar a necessidade de conceber o estético a partir do entrelaçamento, da identidade e da diferença, entre o âmbito psíquico inconsciente e suas formas de atualização refratadas pela dimensão imagético-imaginária.
This paper analyses the idea of the avant-garde in Benjamin and its reception in German literary criticism after World War II. It examines the works of Hans Magnus Enzensberger and Peter Bürger, who focus on the concept of avantgarde. This perspective allows us to broaden our reflection on German literary history since the end of World War II, and this contributes to the discussion on Postmodernism. The elaboration of the concept of allegory gives this discussion a clearer direction. Benjamin's key-notion of profane illumination was not received in a theoretical-philological way – but it materialized as experience in the students' revolt at the end of the 60s and the beginning of the 70s.
Investiga-se a "Viagem à Itália" de Johann Wolfgang von Goethe, obra que narra a viagem à península italiana de 1786 a 1788, publicada em 1816-1817. Contudo, mais do que uma reconstrução de sua viagem através das memórias e diários, a "Viagem" importa, antes de mais, como uma narrativa da construção de um novo olhar para com a obra de arte, como a construção da própria estética goetheana.
This paper is an "interested" reading of "The Critique of Judgement" – "interested", because, unlike what has become usual in recent decades, it strives to disassociate the Kantian concept of "free beauty" from any interpretation of it as an early defense of abstract art. It is also "interested" because, instead of exposing (once more) the framework of the "Kritik der Urteilskraft", it tries to show how the Third Kantian Critique can be taken as a basis for something that was not part of its original purpose: reviewing the idea of mimesis itself. For that, the understanding of the Kantian sublime (das Erhabene) will be decisive: understood initially as one of the modalities of aesthetic experience, the other being beauty, the sublime progressively distances itself from the latter. If beauty and the sublime are to be thematized independently of "determining judgement", in which the properties of the object impose themselves upon the subject, the modalities of aesthetic experience suppose, on the contrary, the primacy of the subject. This implies gradations: from the experience of harmony propitiated by beauty up through the "negative pleasure" of the sublime, both poles through which reality is reworked by the subject. At the pole of beauty, "representation" of reality still plays a prominent role. At the pole of the "negative pleasure" of the sublime, "representation" is subordinated to the power of "presentation". However, both kinds of experience, the one of beauty and the other of the sublime, belong to the same field of aesthetic experience, because in both of them the subject reworks – does not discard – what comes to him from the outside: it will be necessary to understand "Vorstellung" always as an experience in which the exterior will be transformed by the subject. That is, the representation of the Third Critic will always be an effectual representation. In the sublime as much as in "free beauty", the metamophosis of the exterior by the subject achieves its maximum level without meaning that the external pole – that we usually call "world" or "reality" – disappears. It will thus be necessary to rethink the concept of mimesis in order to understand the metamorphosis of the world performed by radicalization of the aesthetic experience through "free beauty".
The author presents the concept of testimony in two different literary and theoretical backgrounds, namely the German and the Spanish-American. Testimonio and Zeugnis an not be mutually translated because the first is thought as a literary gender inside the literary tradition of mimesis/imitatio. Whereas the notion of Zeugnis was created in Germany on the grounds of Shoah literature, and was strongly impregnated by the psychoanalytical idea of trauma, and by the awareness of the simultaneous necessity and impossibility of the testimonial writing.