850 Italienische, rumänische, rätoromanische Literaturen
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Der vorliegende Beitrag konzentriert sich nicht auf die interessanten, etwas späteren Vorbilder einer italienischen 'hybriden' Rezeption des Gotischen bzw. Phantastischen, die gleichzeitig einer neuen Sensibilität bzw. Ästhetik den Weg ebnete und die das Interesse der Forschung schon erweckte, sondern er verfolgt das Ziel, die weniger erforschten Wurzeln des Genres in Italien zu ergründen. Diese sind unerwartet in 'Fermo e Lucia', d.h. in jener unvollkommenen ersten bzw. 'Ur'-Fassung von Manzonis Prosameisterstück 'I promessi sposi' zu finden.
Transforming a text - narrative or poetic - into a play, made of dialogues and organized into scenes, has been one of the most frequent forms of literary transcodification both in the past and in the present. We can find examples of this procedure at the very origins of Italian theatre, which indeed began as the rewriting of earlier texts, both in the "sacre rappresentazioni" and in the profane field: the Bible in the first case and the Ovidian mythologies in the second. Poliziano's "Fabula d'Orfeo" and "Cefalo e Procri" by Niccolò da Correggio are the first well-known examples of this process. Thus, the metamorphosis of a text into a dramatization has many models in the history of theatre and literature. It would be of great interest to start with an overview of the different types, aims, and forms of transcodification of texts that are enacted in order to create dramatizations capable of being performed on stage. Erminia Ardissino attempts to offer an introduction to her study of Giovanni Giudici's play about Dante's "Paradiso" with a brief discussion of three different practices of theatrical transcodification. She looks at three pièces written at the request of the Italian scenographer Federico Tiezzi between 1989 and 1990 as stage productions of the three cantiche of the Divine Comedy. Although they belong to the same project, are inspired by the same person, and share a unified aim, the three pièces created by Edoardo Sanguineti, Mario Luzi, and Giovanni Giudici show three different approaches to the task of transcodifying a text in order to produce a drama - the task, in Genette's words, of creating a theatrical palimpsest.
The chapter explores the dimension of the living present as a form of temporal reduction, looking at its manifestation in literary texts. Bazzoni proposes here a focus on the living present as different from a still, eternal moment, and contrasts the experience of the living present with the reduction at play in trauma. Finally, the author discusses the affective, ethical, and political dimensions of the temporality of the living present as a site of subjectivation, which effects a counter-reduction of normative discourses.
This article deals with the representation of motherdaughter relationships in novels by Herta Müller, Aglaja Veteranyi, Carmen Francesca Banciu and Gabriela Adamesteanu, all of them born in Romania. Herta Müller and Aglaja Veterani constantly wrote in German, while Carmen Francesca Banciu changed her language after emigrating to Germany and Gabriela Adameºteanu’s language has always been Romanian. Mother-daughter relationships are analysed in regard of female genealogy, but also considering their complexity and ambiguity. It is shown that representations of mother-daughter-relationships are depending rather on individual and psychological criteria than the author’s cultural or ethnic affiliation. Maybe a larger study, which could not be made in this article, could reveal more detailed results.
Two Romanian authors, Nora Iuga and Carmen Francesca Banciu have published their impressions about the German capital Berlin. Nora Iuga stayed there twice for a limited period of time (in 2000 and in 2010), whereas Carmen Francesca Banciu decided to live in Berlin after her scholarship there ended in 1991. This is why Carmen Francesca Banciu’s writing changed together with the changing city, which was then under construction not only literally but also in a figurative way integrating new influences due to the opening of Eastern Europe after the end of its isolation during the Cold War. She is one of those new elements which reshape Berlin adding new and different perspectives to its cultural life. Banciu publishes her impressions in Berlin ist mein Paris. Nora Iuga, on the other hand, remains nothing but a visitor. Her ideas about the City and about the Germans in general change a lot during her stays in Berlin. In the end, she leaves for Bucharest with new impressions, which are released in Romania in her book Berlinul meu e un monolog.
"[E]s hätte vielleicht genügt zu bemerken, daß die Hölle Dantes die Vorstellung von einem Kerker übersteigert, die Beckfords hingegen die Höhlengänge eines Alptraums", fasst Borges sein Argument in den "Prólogos" zusammen. Indem Borges die beiden Höllenschilderungen ästhetisch und qualitativ voneinander abgrenzt, verweist er implizit auch auf seine eigene Höllenkonzeption, die er im Vorwort zu seiner Anthologie "Libro del Cielo y del Infierno" von 1960, die er zusammen mit Adolfo Bioy Casares herausgab, durchblicken lässt: Seit Swedenborg werde die Hölle nämlich nicht mehr als Ort, sondern als Zustand begriffen. Borges versucht keine große, theologische Wahrheit nachzuzeichnen; vielmehr sieht er die Wahrheit in der Unendlichkeit - im Kleinen, das in Summe ein unerkennbares, großes Ganzes ergibt. Die genaue Unterscheidung zwischen Beckfords und Dantes Höllenkonzeptionen dient hier beispielhaft dem Zweck, die Vielfalt dieses Ganzen sichtbar zu machen.
Bruno Besana's article 'Badiou's Pasolini: The Problem of Subtractive Universalism' also deals with Pasolini's script about Saint Paul, but from the perspective of Alain Badiou's theoretical essay "Saint Paul and the Foundation of Universalism" and of Badiou's different thoughts on Pasolini, on the logic of emergence of novelty, and on its thwarted relation with universalism. Two main points appear in Besana's comparative reading. First, the idea that radical novelty or change can only be built in a 'subtractive manner', i.e. via the appearance of something that, by its sole presence, erodes the consistency upon which the present is structured. This is developed through Pasolini's ideas of 'inactuality' and 'forza del passato' and by Badiou's concept of 'event'. Second, a fundamental paradox inherent to the logic of change: change is only possible if it is organized in a set of coherent consequences, but the organized mode (for instance, the party) of such consequences inevitably reduces change to a constant compromise with the present.
Der Dichter als Stifter und/ oder Anstifter : deutsch-rumänische Lesarten gegenwärtiger Lyrik
(2007)
'Dante and Ireland', or 'Dante and Irish Writers', is an extremely vast topic, and to cover it a book rather than an essay would be necessary. If the relationship between the poet and Ireland did not begin in the fourteenth century - when Dante himself may have had some knowledge of, and been inspired by, the "Vision of Adamnán", the "Vision of Tungdal", and the "Tractatus de purgatorio Sancti Patricii" - the story certainly had started by the eighteenth, when the Irish man of letters Henry Boyd was the first to produce a complete English translation of the "Comedy", published in 1802. Even if one restricts the field to twentieth-century literature alone, which is the aim in the present piece, the list of authors who are influenced by Dante includes Yeats, Joyce, Beckett, and Heaney - that is to say, four of the major writers not only of Ireland, but of Europe and the entire West. To these should then be added other Irish poets of the first magnitude, such as Louis MacNeice, Ciaran Carson, Eiléan Ní Cuilleanáin, and Thomas Kinsella. Therefore Piero Boitani treats this theme in a somewhat cursory manner, privileging the episodes he considers most relevant and the themes which he thinks form a coherent and intricate pattern of literary history, where every author is not only metamorphosing Dante but also rewriting his predecessor, or predecessors, who had rewritten Dante. Distinct from the English and American Dante of Pound and Eliot, an 'Irish Dante', whom Joyce was to call 'ersed irredent', slowly grows out of this pattern.