Komparatistik : Jahrbuch der Deutschen Gesellschaft für Allgemeine und Vergleichende Literaturwissenschaft ; 2017
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Theory's engagement with language on the one hand, with literature's potential to generate knowledge that is theoretically relevant on the other, has a long history. One of its roots lies in the approach to culture and society developed by enlightenment anthropology and philosophy. In this paper Christian Moser intends to analyze the function attributed to language in eighteenth-century theories of the origin of culture and society. What we nowadays call 'cultural theory' is genealogically related to these early investigations into the constitution of human society. Social theories of the enlightenment first emerged in the contexts of a secularized universal history and the nascent discourses of anthropology and the philosophy of history. They often took the form of a 'conjectural history': speculations about the origin of society and its institutions; the origin of government, of law, and of social inequality; all of them linked systematically to the origin of language. While present-day cultural theory no longer harbours this obsession with origins, it still carries with it a rich legacy of enlightenment thought, not least its idea that social structure and linguistic structure are interconnected. Therefore it seems apposite to trace back current 'languages of theory' to eighteenth-century 'theories of language' and their interplay with 'theories of society.'
Genealogy and philology
(2018)
The present paper deals with the use of the term "genealogy" in theory. Markus Winkler first tries to highlight the hidden metaphorical status of this use and the ambiguity that it conveys. In doing so, Winkler tries to outline how this metaphoricity and its inherent ambiguity may be brought to fruition in the philological analysis of texts and in theory itself. The paper is subdivided as follows: 1. The use of the term "genealogy" in theory and the interest of this use to philology. 2. A philological comment on the metaphorical status of this use and its inherent ambiguity inherited from mythical genealogy as a form of founding narrative. 3. The imitation of mythical genealogy and its inherent ambiguity in theory (Nietzsche) and literature (Goethe). 4. Genealogy's ambiguity in theory: an example taken from current political discourse. 5. Conclusion.
Die Erzählungen E. T. A. Hoffmanns haben seit jeher bildende Künstler fasziniert, mit über 3000 Illustrationen von Künstlern des In- und Auslandes zählt er zu "den meist illustrierten Autoren der Weltliteratur". Dennoch sind diese Illustrationen bislang kaum aus medienkomparatistischer Sicht untersucht worden. Wie wird die Hoffmann'sche Erzählweise in das bildliche Medium übersetzt? Dieser Frage, die vorliegender Aufsatz sich stellt, ist noch kaum einer nachgegangen. [...] Wer die Illustration als 'Ideenklau' versteht, ignoriert, dass das Bild, als anderes Medium, den Inhalt des Textes verändert, transformiert. Aus diesem Grund wird dieser Aufsatz Klees "Hoffmanneske Märchenscene" und Hoffmanns "Goldenen Topf" aus medienkomparatistischer Sicht vergleichen. Im Gegensatz zu Jürgen Glaesemer, der 1986 schreibt: "Bis heute blieb der Inhalt der Hoffmannesken Szene weitgehend ungeklärt", haben zuvor bereits Jürgen Walter und Elke Riemer den Bezug des Bildes zu Hoffmanns Märchen aus der neueren Zeit erkannt. Bevor Klees Farblithographie kontextualisiert und die Beziehung zwischen Text und Bild unter die Lupe genommen wird, skizziert Pauline Preisler zunächst das Phantastische dieser Erzählung. Denn, wie sich im Folgenden zeigen wird, ist dieser Aspekt relevant für den Medienwechsel.
In the age of globalization, we cannot reflect about Comparative Literary Studies and "Languages of Theory" without contemplating how cross-liminality and transculturality might be lived in a mobile, medialized and rapidly changing world. Art and literature have always mirrored, transmitted and evaluated critically social, moral, and aesthetical values. How, then, can this task be fulfilled on a transnational literary and cultural level in a rapidly growing world community of letters, authors and readers? In this paper, Dagmar Reichardt promotes the notion of "transculturality", first proposed as a basic model of conviviality by the Cuban sociologist Fernando Ortiz (1881-1969) in the 1940s and then, from the 1990s onwards, taken up and adapted, both terminologically and conceptually, to Third Millennium culture by the German philosopher and theorist of postmodernity Wolfgang Welsch (b. 1946). Reichardt argues that at this moment in history, in the interest of peacemaking and sustainability and for the sake of humanity, transcultural skills and a shared understanding of transcultural coexistence, both theoretical and practical, are indispensable. From a methodological point of view that is related to the History of Knowledge, Reichardt begins chronologically by introducing the work of Fernando Ortiz and then briefly tracing the reception of his most crucial cultural analysis in order to connect, in a second sub-chapter, its theoretical interests to Wolfgang Welsch's publications. In a third step, Reichardt briefly demonstrates the potential of the transcultural approach by showing paradigmatically its applicability to a colonial (Italian) novel, reread, as it were, through a transcultural lens, before coming to her conclusions.
Borges : philology as poetry
(2018)
The titles of many of Borges's poems refer to canonical texts of world literature. One poem, for example, deals with the ending of the Odyssey and is simply called "A scholion"; others are called "Inferno V, 129" and "Paradise XXXI, 108", referring both to Dante's "Divine Comedy". These titles indicate that in his poems, Borges often keeps his distance from traditional poetical matters such as love, or, more generally, immediate emotions. Instead, he writes poems that gloss other texts, some of which actually relate love stories. Thus, Borges's poems stage themselves as philological commentaries rather than as poetry in its own right. In a similar vein and on a more general level, Borges likes to present himself in poems, interviews, and essays as a fervent reader of world literature, playing down his role as an original author. [...] In the following two sections of his paper, Joachim Harst tackles this question by commenting on two of Borges's philological poems, namely, the two texts on Dante's "Comedy". A ready objection to the idea of "philological poetry" is that despite Borges's selfstaging as reader, his texts obviously aren't philological in any academic sense. [...] The fundamental role of love for Dante's cosmological vision leads Harst to another understanding of the term "philology," namely, its more or less literal translation as "love of the lógos," the "lógos" being the cosmic principle and the divine word. Dante's Comedy can be considered a "philological" text in the sense that it is fueled by the "love of the lógos," and it discusses this love by citing, glossing and correcting other texts on love. Returning to Borges, Harst suggests that his two "philological" poems on Dante refer to this understanding of "philology." But by modifying the epic's theological underpinnings, they work to integrate Dante into a larger system which Borges calls "universal literature." Harst claims that this notion of literature, just like Dante's cosmos, is also centered on a lógos—albeit differently structured—and in this sense "philological."