800 Literatur und Rhetorik
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Rezension zu Carl Einstein, Briefwechsel 1904-1940, éd. par Klaus H. Kiefer et Liliane Meffre, Heidelberg-Berlin, J. B. Metzler, 2020, 666 p.
Rezension zu Miguel Rocha Vivas. Word Mingas: Oralitegraphies and Mirrored Visions on Oralitures and Indigenous Contemporary Literatures [Mingas de la parole. Oralitegraphies et visions en miroir dans les oralitures et les littératures contemporaines indigènes], translated by Paul M. Worley and Melissa Birkhofer, Chapel Hill, University of North Carolina Press, 2021, 341 p.
Rezension zu Tobias Haberkorn. Das Problem des Zuviel. Welt in Sprache bei Rabelais und Montaigne. Berlin und Amsterdam: Lmverlag 2021, 327 S.
When, in late 1906, Wanda von Sacher-Masoch turned to her former fellow writer from Graz, Peter Rosegger, she rightly assumed that he knew her story successfully published the previous spring, "Meine Lebensbeichte. Memoiren". Her straightforward demand of him to reassure her of the truth of four letters exchanged between the two of them thirty-five ago, made known that summer in a polemical study of her recollections, left him silent. In fact, the obvious need to look back upon her past - alluding to a wished-for affair with the aspiring author in early 1872, without saying why she was seeking enlightenment on their correspondence - seemed strange and may be explained by the breadth of numerous reviews of her confessions. Soon after her efforts to "become acquainted with [Rosegger]" had failed - possibly because of her sentimentalities -, she got in touch with Leopold von Sacher-Masoch, an already famous author of her hometown.
Cher Professeur Damrosch, vous êtes spécialiste en littérature comparée, directeur de l' "Institute for World Literature" que vous avez créé en 2010, et vous avez dirigé pendant plusieurs années le Département de Littérature Comparée de l'Université Harvard, mais également l'Association Américaine de Littérature Comparée. Nous nous trouvons, en ce moment, à la 12ème édition de l'École d'été organisée par l' "Institute for World Literature" qui réunit plus de cent chercheurs, doctorants, universitaires de tous les coins du monde s'intéressant à la littérature mondiale, aux liens et aux réseaux qui rendent possible le fonctionnement de cet immense mécanisme qu'est la littérature. Plus qu'un lieu de rencontre et d'échange, l'Institut est le noyau d'une communauté académique internationale fort dynamique, avec des participants qui y reviennent souvent, qui coopèrent et élaborent des projets communs, qui y ont trouvé leur inspiration et les premiers éléments d'une idée menant ultérieurement à des livres remarquables. Dans quels termes réfléchissez-vous à l'évolution de cette communauté au fil du temps et à la manière dont elle s'est cristallisée autour d'une même préoccupation: la littérature mondiale? [...]
This article charts a new path for understanding the relationship between French and other languages in Joachim Du Bellay's early publications, "La Deffence, et illustration de la langue françoyse" and "L'Olive" (both published in 1549). While Du Bellay seems to present ancient Greek, Latin and Italian exclusively as source languages that can be used to enrich the French vernacular and to turn it into a worthy competitor, I suggest that the edition as a whole paints a more nuanced picture. The prefatory poems written by Jean Dorat in ancient Greek and Latin, respectively, suggest that these languages are not only sources and implicit rivals but also companions that are instrumental in the "defense and illustration" of the French language.
The notion of polygraphy is little used in the literary field. It is often perceived as a pejorative qualification: the polygraph is a writer who dissipates himself between several genres, who cannot concentrate on the essential, on what he can do best. In reality, the situation is quite different. It is the critics who tend to reduce authors to one part of their activity: Alexandre Dumas to the historical novel, or Simenon to writing crime novels. The article looks at three examples: the writer-journalist Charles Monselet in the nineteenth century, the media reporter and best-selling author Joseph Kessel in the first half of the twentieth century, and the contemporary writer, art critic and scriptwriter Caroline Lamarche. Each of these authors has put into circulation a wide variety of texts, some of which have been classified as literary. It is by recognising this polygraphy that we can analyse their literary careers.
This article answers the question of the conference: Is literary historiography still contemporary in the face of global and transnational developments, given that since the late 18th century it has been oriented toward the monuments of national literature in the forming nation-states. Nevertheless, literary histories as special histories seem possible if they want to escape the pitfalls of national narratives on the one hand and the arbitrariness of multicultural diversifications through the orientation towards global developments on the other hand. What is proposed is an intercultural history of literature that focuses on the specifics of communication in individual countries, compares these specifics, and shows the extent to which literature reflects them.
Rethinking the history of literature implies considering this field of studies as a source of narrations (Wellek, Ceserani) and ideological discourses (Asor Rosa) on literature in general and, more precisely, on national literatures. It is from this perspective, that this paper aims to analyze the specific case of Swiss Italian literature and of the very few (and nowadays out-of-date) works narrating the history of this particular literary region, mainly those of Guido Calgari and Giovanni Orelli. The purpose of this analysis, that considers textual and paratextual elements of their works, is to underline the fundamental ambiguity of both their discourses and their readings of the relation between Swiss Italian literature and Italian literature. If on the one hand, their works - that are still a reference tool for those who want to discover this little-known universe - aspire to enhance the value and notoriety of this "minor" literature, on the other hand, by reinstating its dependence from, or belonging to, Italian literature, they inevitably end up marginalizing this unique literature whose history demands, and deserves, to be rethought and recounted differently.
This article analyses the construction of French-speaking literary history in the global arena. Referring to historiographical methods, it attempts to question the relevance of periodization based on political history. In particular, the European colonization allows us to qualify these literatures as "postcolonial" and to select from them what belongs to modernity in the European sense of the term. While an analysis of this approach highlights the coherence of this corpus produced in the same French language, it also shows its limits as it ignores productions in local languages, long-term particular stories and relationships to traditions. A number of suggestions are made with the view of writing a French-speaking literary history that is both more inclusive and more integrated in the global context.
