850 Italienische, rumänische, rätoromanische Literaturen
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Sibiu was in the 19th century an important centre, with a vivid cultural life, despite of the difficult political context in Transylvania. The close cohabitation of the Romanian and German people leads to a very important multicultural experience. The study deals with the ways of reception of German culture in the Romanian press of the 19th century reflected in the three most important publications of the time: Telegraful Român, Tribuna and Transilvania. The results of the research are presented in thematic groups (translations, theatre and concert announcements, reviews, travel literature, aphoristic or biographical writings).
The present article studies the language plays within the German poetry in Romania and Romanian Poetry during the 1970s. The paper focuses on the language plays resulting from both intertextuality and hypertextuality as well as on the deconstruction of language in poetry by the use of language in rhyme, alliteration, homophony and homonymy in order to find similarities between the verse of two literatures written within a decade. The study researches what significance language plays have for the German poetry of Romania and for the Romanian poetry during 1970s, how and why they manifest resemblances respectively differences.
The article focuses on Herta Müller and Mircea Cãrtãrescu, two authors from the same generation, who in their respective novels Herztier and Orbitor gave different accounts on the situation in Romania during the 70s, the 80s, of the terror during the Ceaușescu-dictatorship, and on the December revolution. Multiple factors allow a parallelized and comparative description of these two novels: biographical and work-immanently factors. A similarly described world, marked by Kafkaesque elements – Romania amid the dictatorship of Ceauºescu, as well as similarly handling elements of oppression, fear, humiliation, forms of survival, description of the totalitarian state representatives, accurate highlights of the December revolution connect the two autobiographical novels. While the reader can sense in Müllers book the fear and the terror very deeply, as the death and the emigration are solely alternatives for the protagonists, Cãrtãrescu’s universe has signs of grotesqueness and ridiculousness. Cãrtãrescu doesn’t accentuate the terror, the hopelessness, the fear, but mocks the reality, and he laughs at Ceausescu’s stupidity. The author satisfies his desire of revenge for his stolen youth in the communist period.
In this work we aim to analyze the statute of the Romansh language and of its idioms in the Grison/Graubűnden Canton (Switzerland), from the Sursilvan lyrics perspective of Tresa Rűther-Seeli and her contemporary, Linard Candreia. Because of the massive split of the five Romanic idioms with own writing, of the fact that none of them had developed into a standard literary language, as well as of the massive decrease in the population who speaks them, the situation of these idioms becomes dramatic, in spite of and because of the intervention of the political factor to impose a standard official language – Romansh.
Die synästhetische Darstellung der Welt als erotische Reise in Gheorghe Crăciuns "Femei albastre"
(2015)
The novel Femei albastre, published in an unfinished version six years after the death of its author, the Braşov born writer Gheorghe Crăciun, registers a complex symptomatology of losing and finding oneself on the background of the Romanian post-communist transition. The main theme is the narrative depiction of the senses‘ polyphony, the daily drama of the body, whose fundamental loneliness can be observed both in the pain, as in the Eros. The main aim of this article is to present the narrative filtering of various synaesthetic aspects, the written transfiguration of the nformation received through the senses. This is done through a series of experimental techniques, such as photographic reproduction, camera perspective and commuting between the real and the imaginary. Just like one of Crӑciuns earlier novels, Pupa russa, Femei albastre is also not an entirely epic novel, the story is replaced also in this case by a detailed observation and a profound introspection, by a sensory exploration of the world, including its internal transformations and the physical perception. The author himself claims that this novel is to be understood as a conglomerate of eroticism, sensuality and somatic investigation: „Şi acest roman este focalizat asupra erosului, cu nu puţine deschideri spre erotism, senzualitate şi explorare somatică“.
The Romanian literature of the 18th century is witnessing a remarkable metamorphosis, whereas step by step the Enlightment’s ideas penetrate the Romanianspeaking soil and through various mechanisms replace the medieval order in society, politics and arts. In this time of the Enlightment the small popular book “Bertoldo” from the late Italian 16th century was adapted in French and then in German and through the German intermediary reached Transylvania at the end of the 18th century (Hermannstadt, 1799). In the centre of our analysis we place the concept of “cultural transfer” and that of the “cultural translation”, concepts that help us illustrate the adaptation strategies of the foreign material and the integration principles of the Enlightment’s ideals on the Romanian soil. Working with eloquent examples from the “Bertoldo”-text in a comparative manner we will try to bring to light the interaction of the poetical and ideological functions of the translations from German and its role in forming and shaping a new kind of Romanian cultural and literary sensibility.
The subject of the present study represents the artistic personality of the German writer Mite Kremnitz (1852-1916), which takes into consideration both facets of her work, as a translator and as a novelist. On the one hand and as an author in her own right, Mite Kremnitz is the carrier of Romanian realities; on the other hand she has the merit of having been the first one to translate contemporary literature from Romanian into German.
The following article analys the perception of th famous character Till Eulenspiegel (Howleglas) in Romania, mostly focusing on „Întâmplãrile ºi faptele de pominã ale nãzdrãvanului Til Buhoglindã”, retold by Al. Alexianu. His fame was currently brought by the numerous translations, in 280 languages. The first complete Romanian translation was published in 1840, in Braºov. The book represented a major success towards the Romanian audience, following other editions being published (1848, 1856, 1858, etc.). The 43 tales chosen in the 1970s edition are focused on Till Eulenspiegels-character (translated in Romanian as Til Buhoglindã), revealing his complex personality, as well as his amuzing and educational side.
Undoubtedly, the episode referring to the ,Minnegrotteʼ contains the most different interpretative approaches from the entire Tristan narrative. It is nevertheless possible that many motives and methods of procedure specific to various traditions (antique and Christian, in particular) merge into one unity, in order to legitimize the extramarital relationship between Tristan and Isolde in a secluded space which subordinates itself to a completely different view of the world. When contemplating the parallelization to the sacred love, Gottfried implies that the lovers find themselves in a place, which serves them as shelter, and within this place only the harmony generated by love may prevail. This creates an alternative reality in the Minnegrotte, where the transition between Marke’s court and the ,Lustortʼ can be observed. Providing a detailed description of the latter (with the main focus on the food miracle and the autobiographical excursus), the author has succeeded in bringing together the conceptual topological features of the locus amoenus, the ,love cathedralʼ, and the paradisus, in order to include the real ,minneʼ in the memoria.
The author, attracted to the Romanian poetry written during the inter-war period, tried to translate into German some of the poems wirtten by Ion Pillat and Ion Barbu. From this pursuit he could learn a lot, not only thanks to his inclination towards the original text, by interpreting it from a semantic point of view, but also by searching the lexical equivalents established in the target-language. In the magazine, there are introduced poets that belong to the younger generation and so, he managed to approach their licirical creations more as a translator, especially those written by Nichita Stănescu and Ioan Alexandru. At the same time, the author narrates some of his experiences regarding the folklore poetry, his steps concerning the translation of the ballads written originally by Transylvanian Saxons in the literary German. Moreover, he does not fail to outline the realization of a short edition from the piece of work, created in Latin by the Transylvanian humanist Christian Schesäus, the poem Istoria Anei Kendi, translated with the help of a few contributors in Romanian, Hungarian and German.