850 Italienische, rumänische, rätoromanische Literaturen
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The motif of the „sun wedding“, which has its origin in ancient mythology, can also be found in the Romanian folk ballad The sun and the moon, where the action takes place around the conflict with etiological meaning of the love between brother and sister. So, the ballad tries to explain some natural phenomena and tries to answer the question, why the sun never meets the moon in its way across the sky. Masterpiece of Romanian folk poetry, the ballad of the sun wedding with the moon raised the interest of German translators, who proved the size of their talent by translating the ballad in German and by popularizing it among the German readers in the country and abroad. The present study analyses the variants of translation of five authors in different centuries (the 19th and the 20th century) and aims to highlight the difficulties, the solutions and the takeovers of the time, as a result of the authors’ wish to translate the original text as accurately as possible and as close as possible to the spirit of the Romanian folk poetry.
Fascinated by the exotic India, Mircea Eliade decided to explore closely the culture and its subtleties. In 1929 he received a scholarship for five years to study the culture and religions of India under the guidance of the illustrious scholar Surendranah Dasgupta. During the time spent in the master‘s house, Eliade gets to know his daughter Maitreyi, whom he falls in love with and they will experience a beautiful and exciting love affair. This relationship will subsequently be the subject of the novel with the same name. Unique case in the history of world literature, the novel Maitreyi will receive a reply over the years, still under the form of a fascinating narration, whose author is the main character Maitreyi Devi herself. It Does Not Die (Love never dies, in Romanian translation; Die Liebe stirbt nicht, in German translation) will become the platform that will host the narrative duel of Eliade the author become character, and Maitreyi Devi, the character, who became author. In our analytical approach we tried to render the ways in which this intercultural dialogue at a distance was perceived in the German linguistic area.
This study intends to analyze the barely known literary personality of Carmen Sylva, the first Romanian queen. Since Carmen Sylva was a German-born princess, yet lived almost her entire life in the Romanian cultural environment, the main point of this paper is to analyze the idea of writing while being split between two different cultures. Carmen Sylva’s self-assumed role of cultural mediator is in this respect obvisouly worth mentioning. However the main question of this study lies not necessarily in the role, but rather in the place of this writer with two homelands. Did she indeed manage to become a cultural mediator or was she her entire life nothing more than an outsider?
The Romanian poet and essayist Ion Pillat (1891-1945) ranks among the relatively often translated writers of his generation (authors who were active during the interwar period). His works have kept the attention of the German readership several times: Two volumes by Ion Pillat, which appeared in 1943 and 1976 (containing translations by Konrad Richter and Bernhard Capesius, respectively by Wolf von Aichelburg), as well as varied publications in anthologies and other publications have contributed to the spread of his work in Germany and Austria. The author offers an overview of the existing translations and, in the end, refers to his own attempts at translating Ion Pillat’s poetry into German.
This succint introduction to Radu Vancu, the young poet and university lecturer invited to the reading organized by the Department of German Studies as part of its annual scientific conference, offers some biographical and exegetical points of reference for the author’s literary and professional evolution. For instance, there is the apprenticeship (rather a “friendshipin-love”) with the venerated master: the poet, gifted translator and man of culture Mircea Ivãnescu, whom he praises in his doctoral thesis as ”the poet of absolute discretion”. Then there is his editing activity at the “Transilvania” Cultural Journal, a publication of original critical and essayistic writings. His forceful, resourceful and sensitive lyrical work shows two dominant themes: on the one hand, the traumatising early loss of his father, and on the other hand, the birth and growing-up of his son Sebastian, for whom the poet builds, with endless affection and humour, a magical livresque universe, populated by fabulous creatures.
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.
This article focuses on the phenomenon of interculturality within the framework of “Poveştile Peleşului”/”Tales of the Pelesh” by Carmen Sylva, the Poet-Queen. Being of German origin and having studied in Germany, but transposed as queen of the Romanian people to a totally different cultural space, Carmen Sylva wants to present the culture of her adoptive country to her home country. She succeeds in doing this through her own works or by translating some Romanian literary works into German, which she propagates in the German language space. Starting from a theoretical basis referring to interculturality, this article refers to the hybrid character of “Poveştile Peleşului”/”Tales of the Pelesh”, to some aspects of presenting alterity, concluding that the author is extremely interested in the culture of the Romanian people, whose language she learned, her ultimate scope being that of bringing the two cultures – the German and the Romanian culture – closer to one another.
Francesca Cadel's paper 'Outside Italy: Pasolini's Transnational Visions of the Sacred and Tradition' points out that in the 1940s and 1950s Pasolini's themes were all related to the specificity of Italian society, history, and traditions, while, beginning with the 1960s, Pasolini started travelling around the world, widening his perspectives on a rapidly changing world. Hence he developed new critical patterns, combining an increasing interest in sprawling transnational post-colonial economies with his strenuous defence of tradition and the sacred within human societies. Cadel uses different examples - including Pasolini's Indian travelogues - to show how his initial devotion to Italian millenary traditions and peasant cultures finally led to an open vision and understanding of human behaviours and mores, beyond any national boundary.
By focusing on Pasolini's uncompleted film project "San Paolo", Luca Di Blasi's article 'One Divided by Another: Split and Conversion in Pasolini's "San Paolo"' analyzes the notion of split (the split in the structure of time and, above all, the split of the figure of Paul) and concentrates especially on the very moment of Paul's Damascene conversion. Di Blasi refers to the "Kippbild" as a model that can be used to understand better certain ambivalences in Pasolini's Paul. Locating Pasolini's reading of the founder of the Church in a triangulation with two major contemporary philosophers, Alain Badiou and Giorgio Agamben, Di Blasi shows that two opposing possibilities of interpreting Paul - as militant subject of a universal event and its necessary consequences (Badiou) and as representative of softness, weakness, poverty, "homo sacer" (Agamben) - fit perfectly with the two aspects of Pasolini's Paul. Pasolini's profoundly split Paul thus represents a dichotomy which disunites two major figures of contemporary leftist thought.