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Presenting the actual theoretical debates (of Göhlich, Welsch, de Nancy, Bachmann-Medick) with respect to the concept of transculturality, underlining the related aspects such as hybridity, intertextuality, globalisation, the author traces the aspects of transculturality in the process of the translations from Romanian to German. The success of the literary transfer is conditioned by the intra- and intercultural competence, by the knowledge of the identity factors, of the specific operational frame and of the key texts (translations or originals) from the literatures that come into contact with it. As in other countries, where there are specific basic cultural notions with a certain symbolic charge like „birch” in Russia, „hut” in the Czech republic, the traditional cultural universe affirmatively or polemically resorts to cultural words such as „plai” (poetic realm), „codru” (forest), „mioritic” (mioritical). Tracing by means of rich examples the history of translations, the author distinguishes the stages of translations motivated by philological, ethnographic, political interests and lastly and parallel to it, by aesthetical interests. These translations contribute to the identitary image of the Romanians, being normally recorded with an increased attention and sensibility. Concretely applying the discussed theoretical concepts on a text, the author presents the German translation of an essayistic text by Andrei Pleşu, arguing the possible interest of the German public for the writer, emphasizing the ironical hybrid and ludic signs that are important for the translation, with all untranslatabilities of the word games, in order to find at least an adequate, if not equivalent, transfer. The annotations and the translation (starting with the analysis of the title) constitute a demonstration of transculturality applied live.
This article is a critical presentation of the study Der Zauber des fernen Königreichs. Carmen Sylvas Pelesch-Märchen/Farmecul regatului îndepãrtat. Poveştile Peleşului, (The Magic of the Faraway Kingdom. Carmen Sylva’s Tales of the Pelesh), edited at the Ibidem publishing house in Frankfurt this year. The author proves that – contrary to some opinions in current literary criticism, according to which the works of the queen poet were but recorded and retold Romanian folk tales and legends – Carmen Sylva’s writings are personal works with intrinsic literary value, where themes and motifs from the folklore and mythology or from the Romanian and occidental literature are used only as pre-texts. Silvia Zimmermann’s merit is a significant one, namely that of rediscovering Carmen Sylva who has not only been a creator, but also an important mediator between the Romanian and the German culture.
The present study makes reference to the scientific achievements of the Romanian Germanist Horst Schuller. As a journalist, university professor and translator, he developed an extensive research work that has brought forth studies of the Romanian-German criticism as well as many studies of intercultural research. In all of his studies of literary criticism dealing with intercultural themes, Schuller holds the opinion of a bilateral exchange between the ethnic groups of a multi-ethnic state as Romania is. He regards interculturality as a plea for tolerance and communication, i.e. living-with-one-another – not living side by side or living past one another.
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.
Using the example of Lavinia Branişte’s novel Null Komma Irgendwas, the present article will explore the value of intercultural literature through a specific poetry. I will analyze with a close reading how questions of values as well as questions of apprehension of’ home’ are presented through a specific narrativ. I will draw paralells to Gottfried Keller´s Die drei gerechten Kammmacherandto Friedrich Nietzsche’s poem Vereinsamt.
The anthology Vînt potrivit pînă la tare. Tineri poeţi germani din România (1982) introduced to Romanian writers and readers a new poetry that used a direct language and referred to the social and political situation of Romania. The authors – Germans from Romania whose texts where translated into Romanian – are Anemone Latzina, Franz Hodjak, Rolf Frieder Marmont, Johann Lippet, William Totok, Richard Wagner, Rolf Bossert, Hellmut Seiler, Horst Samson and Helmut Britz. The young poets engaged during the 1970’s in a dialogue with German literature, which allows an intercultural approach. The publication of the anthology was a daring gesture in the context of the 80’s politics and had also an influence on the poetry of some Romanian poets.
The article presents in its first part approaches to the concept of text genres and some milestones in the evolution of text linguistics. The aim of this linguistics consists in the research of different ways of constructing texts, regardles of style and genre. Starting from the premise that some textual elements are indices for the text genres, the article exposes some observations regarding delimitations between text genres and research approaches from the intercultural and interdisciplinary perspective.
The paper focuses on aspects of comparative phraseology and paremioloy between two languages, German and Romanian and aims at disclosing differences and similarities in connection with proverbs and idioms on “the devil”. 112 items circling around “the devil” and its synonyms are being analyzed as to the life experience, world perspective and superstitions reflected in the proverbs, by drawing parallels between the equivalent structures functioning in the two languages, their form and content.
Language teaching through the medium of film may prove very rewarding in that it moves the focus away from language and its general markers (grammar, vocabulary) alone and casts it onto culture, cultural boundaries and rules. Among them, space plays a very important role. It defines who we are, where we come from. Especially the fine line between what is considered public or private space is worth being analyzed. With examples from two movies, students of German as a Foreign Language are meant to discover this fine line, look beyond it and restore an equilibrium between the public and the private in order to be prepared for intercultural experiences.
The first cultural influences come out in Dobruja together with the appearance of the first German colonists, beginning from 1840 till 1891. The colonization process develops itself in three stages and colonies in places like Tulcea, Malcoci, Almagea, Ciucurova, Cogealac, Tariverde, M. Kogălniceanu and others set up as a result. The German population has created an original culture, an ethnic and spiritual communication being deeply set up, but at the same time a communication struck by the specific conditions imposed by the history of this south-eastern European area. On the other side, the Turkish invasion of Dobruja started earlier, in 1388, when it was actually defeated by Mircea cel Bătrân. In 1393 the Turks succeeded in taking Dobruja and Silistra, but in 1404 Micea cel Bătrân re-conquered the greatest part of these regions. Many Turkish and Tartars moved into Dobruja during the long period of Ottoman rule. The 19th century ethnographic maps show a mainly Turkish population in the area of modern day Dobruja, Tartars and Turks in the southern part of Dobruja and Romanians dominating the north of Dobruja. The paper aims at presenting aspects regarding these two different identities and cultures which are to be found in Dobruja, as well as their integration process within the Romanian Dobrujan modern society.