CompaRe | Allgemeine und Vergleichende Literaturwissenschaft
Refine
Year of publication
- 2012 (28) (remove)
Document Type
- Part of a Book (21)
- Article (5)
- Preprint (1)
- Working Paper (1)
Language
- English (28) (remove)
Has Fulltext
- yes (28)
Keywords
- Pasolini, Pier Paolo (15)
- Film (5)
- Greek myths (5)
- Motion pictures (4)
- Griechenland (Altertum) (3)
- Multistable figures (3)
- Paulus, Apostel, Heiliger (3)
- Aeschylus (2)
- Afrika (2)
- Badiou, Alain (2)
- Callas, Maria (2)
- Classical antiquity (2)
- Il vangelo secondo Matteo (2)
- Kulturwissenschaften (2)
- Literatur (2)
- Medea (Film, 1969) (2)
- Orestia (2)
- Pasolini, Pier Paolo: San Paolo (2)
- Widerspruch (2)
- Acting (1)
- Aesthetics (1)
- Agamben, Giorgio (1)
- Anthropologie (1)
- Auerbach, Erich (1)
- Besitz <Motiv> (1)
- Bourgeoisie (1)
- Bürgertum (1)
- Capitalism (1)
- Change (1)
- Cinematography (1)
- Classical tragedy (1)
- Collage (1)
- Colonialism (1)
- Computerphilologie (1)
- Concentration camps (1)
- Contradiction (1)
- Contradictory thinking (1)
- Conversion (1)
- Cultural Turn (1)
- Cultural identity (1)
- Das Dionysische (1)
- Das Heilige (1)
- Das Wort <Zeitschrift> (1)
- Deutschland (1)
- Dialectic (1)
- Dialektik (1)
- Digital Humanities (1)
- Dionysos (1)
- Diptychon (1)
- Division (split) (1)
- Doktor Faustus (1)
- Dos Passos, John (1)
- Dramatic conflict (1)
- Drehbuch (1)
- Drehbuchautor (1)
- Dyptich (1)
- El Mono Azul <Zeitschrift> (1)
- Englische Literatur (1)
- Ereignis (1)
- Eritrea (1)
- Erzählen (1)
- Erzählforschung (1)
- Erzähltheorie (1)
- Eternity (1)
- Europa (1)
- Event (1)
- Evolutionspsychologie (1)
- Figures of speech (1)
- Filmtechnik (1)
- Freies Deutschland / Alemania libre <Zeitschrift / Mexiko> (1)
- Fremder <Motiv> (1)
- Freud, Sigmund (1)
- Gast <Motiv> (1)
- Gastfreundschaft <Motiv> (1)
- Geschichte 1960- (1)
- Gewalt (1)
- Goethe, Johann Wolfgang von (1)
- Guest (1)
- Heretics, Christian (1)
- Hoffmann, Ernst T. A. (1)
- Hospitality (1)
- Humanity (1)
- Humanität (1)
- India (1)
- Indien (1)
- Internationalismus (1)
- Inversionsfigur (1)
- Israel (1)
- Italien (1)
- Italien. Süd (1)
- Italy - History (1)
- Italy, Southern (1)
- Jesus Christus (1)
- Judaism (1)
- Juden <Motiv> (1)
- Kant, Immanuel (1)
- Kapitalismus (1)
- Keller, Gottfried (1)
- Kolonialismus (1)
- Konflikt (1)
- Kongress (1)
- Konversion <Religion> (1)
- Konzentrationslager <Motiv> (1)
- Kritik der praktischen Vernunft (1)
- Kulturelle Evolution (1)
- Kulturelle Identität (1)
- Kulturgeschichte (1)
- Körper (1)
- Literaturgeschichte (1)
- Logic (1)
- Logik (1)
- Lyrik (1)
- Mann, Thomas (1)
- Methodologie (1)
- Mexiko (1)
- Motion picture authorship (1)
- Motion picture play (1)
- Musikästhetik (1)
- Mythologie (1)
- Mythology in Motion Pictures (1)
- Mythos (1)
- National socialism (1)
- Nationalsozialismus <Motiv> (1)
- Negation (1)
- Negation (Logic) (1)
- Neuropsychologie (1)
- Nietzsche, Friedrich (1)
- Ontologie (1)
- Ontology (1)
- Panafricanism (1)
- Paradoxes in literature (1)
- Paradoxon (1)
- Partisan <Motiv> (1)
- Pasolini, Pier Paolo: L'odore dell'India (1)
- Pasolini, Pier Paolo: Appunti per un film sull'India (1)
- Pasolini, Pier Paolo: Appunti per un'Orestiade africana (1)
- Pasolini, Pier Paolo: Pilade (1)
- Poesia in forma di rosa (1)
- Poetry (1)
- Political violence (1)
- Politik (1)
- Postcolonialism in literature (1)
- Postkolonialismus <Motiv> (1)
- Projektion <Psychologie> (1)
- Protest (1)
- Psychoanalyse (1)
- Quantitative Literaturwissenschaft (1)
- Recht (1)
- Recht <Motiv> (1)
- Rezeption (1)
- Roman (1)
- Romeo und Julia auf dem Dorfe (1)
- Schauspielkunst (1)
- Slowenien <Motiv> (1)
- Sowjetunion (1)
- Spaltung (1)
- Spanien (1)
- Stevenson, Robert Louis (1)
- Strangers (1)
- Teorema (Film) (1)
- Textualität (1)
- The Dionysian (1)
- The Sacred (1)
- The beach of Falesá (1)
- Totò (1)
- Tradition (1)
- Tragedy (1)
- Tragödie (1)
- Transnational economy (1)
- Universalism (1)
- Universalismus (1)
- Untreue <Motiv> (1)
- Verrat <Motiv> (1)
- Viktorianisches Zeitalter (1)
- Wackenroder, Wilhelm Heinrich (1)
- Wahrnehmungswechsel (1)
- Wandel (1)
- Worthäufigkeit (1)
- Ästhetik (1)
- Übersetzung (1)
- Übertragung <Psychologie> (1)
Institute
- Extern (2)
During the 1930s through the 1940s and into the 1950s, Spanish and German presentations in opposition to ardent nationalism share strikingly common aesthetic and ideological strategies supporting claims to a transnational, international space. Specific examples of common geography, identity and language in German and Spanish presentations (theater, short stories, reports, essays, speeches and poetry) in Spain and Latin America by German (Regler, Renn, Uhse), Spanish (J. Bergamin, R. Alberti, M. Aub) and Latin American (D. Rivera, P. Neruda, C. Vallejo) intellectuals, artists and activists during the 1930s through the 1950s will be explored. For example, German-speaking audiences and artists in Spain and Mexico shared a common lived and aesthetic space as Spanish-speaking audiences and artists. Further, many German presentations were translated into Spanish and visa versa. Here, presentations in “Das Wort” and “El Mono Azul” in Spain as well as “Freies Deutschland/Alemania libre” in Mexico will be referenced in developing a sense of re-definition of the concept of ‘foreign’ and ‘commonness’ beyond simply nationality (tradition, history and geography) and language. The impetus for an alternative, international and even revolutionary ‘space’ (as defined by Henri Lefebvre in The Production of Space) was produced in and through common Spanish and German strategies and realizations in their presentations. This Spanish-German example from the early/mid-part of the 20th century is a significant contribution to contemporary interdisciplinary discussions in the 21st century.
It is no longer possible to ignore how crucial processes of cultural translation and their analysis have become, whether for cultural contact or interreligious relations and conflicts, for integration strategies in multicultural societies or for the exploration of productive interfaces between the humanities and the natural sciences. The globalisation of world society, in particular, demands increased attention to mediation processes and problems of transfer, in terms of both the circulation of global representations and 'travelling concepts' and of the interactions that make up cultural encounters. Here, translation becomes, on the one hand, a condition for global relations of exchange ('global translatability') and, on the other, a medium especially liable to reveal cultural differences, power imbalances and the scope for action. An explicit focus on translation processes— something increasingly prevalent across the humanities—may thus enable us to scrutinise more closely current and historical situations of cultural encounter as complex processes of cultural translation. Translation is opened up to a transnational cultural practice that in no way remains restricted to binary relationships between national languages, national literatures or national cultures.
Though one should be very careful with reaching conclusions about the social views conveyed in 'The Beach of Falesá', and there are many opinions on the story's social message, one of them is "the exposure of white racism" (Menikoff 1984,57) and imperialism. The logical question, why this country, which is declaring itself a bulwark against the world's imperialism, would disapprove of such novel, reasonably appears. And the censoring of it could seem a complete non sequitur. Which 'ideas' could make this novel not suitable for an average Soviet reader in the eyes of the Soviet censorship?
The nascent field of neuropsychoanalysis positions itself as a putative bridge between two »historically divided disciplines«. In this chapter, we address this attempt to bridge these two disciplines, through considering a particular scientific and conceptual debate that is taking place within this new field. Neuropsychoanalysis is a diverse and loosely defined interdisciplinary field that comprises the efforts of researchers and clinicians within several branches of both psychoanalysis and the neurosciences to construct a shared space of inquiry in which clinical concepts and findings can be correlated with neuronal data and models. While researchers differ in how they conceptualize the specific contours of this shared space, they tend to converge in their desire to figure out how Freudian concepts might be anchored through neurobiological and anatomico-functional investigations.
In its elusive form between drama, novel and film, "Teorema" marks a 'new turning point in Pasolini's oeuvre'. Both the narrative and the style are remarkable, juxtaposing elements of different genres, nourishing the unresolved tensions within the film: the family members are shown in various scenes that follow one another in seemingly random order. Instead of a cohesive narrative unfolding in time, there reigns a sense of timelessness that gives rise to an oppressive feeling of drifting. Claudia Peppel's essay 'The Guest: Transfiguring Indifference in "Teorema"' explores the figure of the guest, which has always been closely connected with myth and whose appearance often triggers the dramatic conflict. Peppel focuses on "Teorema", in which a sensual stranger causes a bourgeois family to acknowledge its delusions. When he departs, the members of the family are left in a state of unfulfilled yearning, searching for new meaning. While critical literature on Pasolini regularly points to the importance of the figure of the guest but rarely analyzes it, Peppel discusses theories of the guest and hospitality to illuminate the role of the stranger in Pasolini's film. The guest's exceptional state, which is removed from everyday life and removes others from their everyday lives, is meticulously staged and resembles the evenly-suspended attention of the psychoanalyst. He triggers projections, desires, and, ultimately, existential crises.
The body of the actor : notes on the relationship between the body and acting in Pasolini's cinema
(2012)
Agnese Grieco's paper 'The Body of the Actor: Notes on the Relationship Between the Body and Acting in Pasolini's Cinema' deals with the specific physiognomy of the actor within Pasolini's 'cinema of poetry'. It argues that Pasolini's films allow the spectator to experience directly a complex and polyvalent reality beyond the traditional idea of 'representation'. As a fragment of that reality, actors quote and present themselves beyond and through their interpretations of a role. Instead of conceiving of the actor as a 'professional of fiction', Pasolini employs a variety of actors who are able fully to convey their own anthropological history. It is particularly the body of the actor, Grieco concludes, that becomes a door opening towards a deeper reality. For instance, the figure of Ninetto Davoli can push us back towards Greek antiquity, and the codified art of the comedian Totò or the iconic fixity of Maria Callas can interact with the African faces of the possible interpreters of an African Oresteia.
Slovenian partisan film is a term which denotes films glorifying Slovenian communist-led guerrilla fighters (so-called 'partisans'), who resisted the German and Italian occupying forces during WW II. These films were made during the decades of communist rule in post-war Yugoslavia and were an important part of the official ideological propaganda. Since the fall of communism in 1989 and Slovenia's secession from former Yugoslavia two years later, however, partisan films have fallen into complete neglect. This is regrettable since they not only represent an important (and not necessarily unattractive) part of Slovenian film history but also allow unique insights into the complexities of the official ideology during the decades of communist rule in the country (1945−89). Namely, the existing ideology was not as simple as might have seemed from the outside: while the Slovenian Communist party had no problems with class issues (class inequalities were regarded according to the Marxist agenda as bad and everything was actually done to eliminate them), there were many important areas of social life that were neglected or dealt with in ideologically relatively ambivalent terms.
Around 1800, aesthetic debate suddenly places music at the very top in the hierarchy of the arts, even superseding poetry: This has become a commonplace not only in scholarly discourse. The protagonists of this re-arrangement of the artistic disciplines are Wilhelm Heinrich Wackenroder, E.T.A. Hoffmann and Ludwig Tieck. In their programmatic texts, they state that music is to be free and absolute and stress its metaphysical quality and its close relation to the supernatural. Furthermore, music is supposed to be no longer dependent on the other arts, and music releases the listener or the musician from prosaic everyday life. As Wackenroder writes in Die Wunder der Tonkunst, […] [a]ll sickening thoughts which, according to Wackenroder, are the illness of mankind vanish with a piece of music, making our mind sane again. Literary romanticism here recurs to a long tradition that reaches back to the classical ages in Greece and Arabia: Music is used as a remedy for curing illnesses of various kinds. In classical antiquity, Apollo is the god of music, poetry and dancing as well as the god of healing. He was also named “Iatros” (physician) or Apollo Medicus. […] Orpheus as a bard and demigod was also said to be capable of curing diseases by means of his music. […] Thus, music in history is part of treating physical illness on the one hand, but on the other hand is more and more considered to provide a remedy especially for mental deficiencies. Music is meant to improve nervous disorders and sometimes it is even prescribed as a regular medicine. As we will see in Hoffmann’s text Die Genesung, there is a connection between the ritual healing processes in the temples of Aesculapius and the setting of the forest in which the old man regains his health.
Pasolini's literature, film, theatre, and essays engaged with Classical tragedy from the mid-1960s onwards. As Bernhard Groß shows in his paper 'Reconciliation and Stark Incompatibility: Pasolini's "Africa" and Greek Tragedy', this engagement forms a modality in Pasolini's politics of aesthetics that seeks to grasp the fundamental transformation from a rural-proletarian to a petit-bourgeois Italy. Since the mid-'60s, Pasolini was concerned with the bourgeoisie and its utopian potentials, which he sought to make productive by reading Classical tragedy as a possibility to make contradictions visible. Pasolini realized his reading of the Classical tragedy by having 'Africa' and 'Europe' - as he understood them - confront one another without mediation. By means of film analyses and film theory, Groß argues that this confrontation, especially in the films on the ancient world, generates an aesthetic place where the incompatible can unfold in the spectators' experience.
Tagungsbericht: Playing False : representations of Betrayal
16. bis 17. September 2011, Lincoln College, Oxford University
From antiquity through the present, from the political sphere to the most personal relationships, betrayal is a ubiquitous and multifaceted phenomenon. Because of its many forms, however, betrayal demands an intensive examination within an interdisciplinary forum that transcends the narrower, political or literary spheres of betrayal, and that strives to address the multiplicity of its representations, rather than reducing it to a single definition. It is precisely such a forum that the conference, "Playing False: Representations of Betrayal" created, which Dr. Betiel Wasihun and Kristina Mendicino organized.
Giovanna Trento's article 'Pier Paolo Pasolini and Panmeridional Italianness' engages Pasolini's aesthetic, poetic, and political approach in terms of the complementary dichotomy of national and 'local' issues, on the one hand, and transnational and panmeridional topoi, on the other. Trento argues that despite his 'Third World' and Marxist sympathies, Pasolini showed strong poetic and political attention to national narratives and the building of Italianness. But Pasolini's 'desperate love' for Italy and Italianness, Trento argues, can be fully grasped only if we read it in the light of his fluid, transnational and panmeridional approach marked by different - and at times antithetical - factors, such as the pan-Africanist perspective and the colonial memory. Pasolini was indeed able to build a deterritorialized and idealized never-ending South: the Pan-South (Panmeridione) - that is, a fluid, non-geographical topos where 'traditional' values are used in non-traditional and subversive ways with the goal of resisting industrialization, mass media, and late-capitalist alienation.
Robert S. C. Gordon's article 'Pasolini as Jew, Between Israel and Europe' examines a remarkable trope in Pasolini's encounter with the cultures and geographies of Europe and its beyond: his imaginary identification with the figure of the Jew. Gordon examines in turn the site of Israel and its Jewish citizens; the 'Lager' and the Jews as victims of genocide; and finally the figure of Saint Paul and his earlier Jewish identity as Saul, both sacred and a figure of the Law, as a model for the twentieth-century Church and its ambiguous response to Nazism. In all three of these threads, Pasolini's Jew is a 'queer' and destabilizing trope for exploring the border of the European and the non-European, the self and the other.
Pasolini's first visit to a Third World country dates to 1960-61. His impressions and experiences during this journey are told in the collection of articles "L'odore dell'India", which, in Silvia Mazzini's opinion, also reveals his (perhaps characteristic) tension between being up-to-date and being out of time. This essay can thus be understood as a small journey through the author's travels in and relations with India. It argues that while in the 1960s the myth of India became a veritable spiritual fashion, for Pasolini this fashion trivialized the sharp contradictions of a country at once poor and splendid, full of traditions and subversive, rich with mysticism and pragmatic vitality. The collection of journalistic articles "L'odore dell' India" (1961) and the documentary "Appunti per un film sull'India" (1968), which originate from Pasolini's first journeys to the so-called 'Third World', intertwine sharp sociological analyses with instinctual observations and remarks. Mazzini shows that between the effluvia of incense and the adventures of a tiger, one can catch a glimpse of the Pasolinian vision of a humanity which is at once disruptive, archaic, and subversive, and which represents an alternative to the standardization of the consumerist society and its tendency to suppress and absorb any cultural difference.
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.
Law and literature: that is a sufficiently broad subject to warrant reference to the Fontane character Effy Briest’s "wide field." Indeed, the sites where law and literature encounter each other, where they border on each other, merge, converge, overlap, or where they relate as opposites, even finding themselves as rivals or enemies seem legion. In contrast to the intentions of Effy Briest in that famous novel, my reference to this line is not intended to abort further inquiries; instead I want to chart the field in question with the aim of developing a preliminary typology of the ways in which law and literature have been engaged and have engaged one another. Against the background of this overview, I want to turn to a much smaller field. This small field - a plot of long fallow farmland, to be exact, located between two adjacent, perfectly maintained wheat fields in a fictive Swiss village - will serve as an example or test site for "law and literature" as they emerge in Gottfried Keller’s narrative 'Romeo und Julia auf dem Dorfe', from his mid-nineteenth century collection of novellas 'Die Leute von Seldwyla'. Whether and how the case study of that small field at the centre of Keller’s story can make a case for the larger field of "law and literature" remains to be seen.
Verbal storytelling – in a sense broad enough to include all forms from casual conversation across oral folklore to written literature – seems to be a universal human activity and has thus been considered an evolutionary adaptation several times in the past few years. The fact that a particular trait is a species-wide universal, however, does not automatically make it an adaptation; it could also be a contingent universal, that is, a cultural behavior which notably relies on biological substrates and therefore emerges in similar fashions in all human cultures, times, and milieus. Yet verbal storytelling is not only universal but also distinct to our species. The uniqueness of a trait can indeed be indicative of a biological adaptation1 in that we have reason to assume that this trait emerged newly in the given animal lineage and thus might owe its existence to the process of natural selection. However, since verbal storytelling completely depends on language, that is, another uniquely human faculty, the uniqueness of storytelling is hardly surprising and cannot serve as a conclusive argument for considering storytelling itself to be a specifically selected trait. Storytelling could simply be a particular use of language (though we shall see below that the relationship between language and narration is a little more complicated). A third possible indication of a biological adaptation, however, is the fact that storytelling seems to be a notably self-rewarding activity. It occurs on a much larger scale than would seem justified by rational choice or other reasons. As fitness-enhancing behaviors should, as a rule, be intrinsically motivated under certain conditions, the unusually high frequency of storytelling might indeed be revealing of an innate preference for this behavior.
If projection and transference represent similar terms that imply a fundamental form of ignorance, the aim of this investigation can not be to draw a sharp distinction between projection and transference. Of course, the dialectic of inside and outside doesn't play the central role in transference like it does in projection. In a certain way, the notion of projection concerns all forms of perception and seems to be wider than the notion of transference. But on the other hand, the notion of transference as a poetic act of creating metaphorical analogies seems to be wider than that of projection. My interest in the following lines lies not in the attempt to draw a valuable distinction between both terms, but to look at their interplay in a novel that discusses all forms of archaism, primitivism and regression, commonly linked with projection, a novel, that at the same time tries to give an explanation of the foundation of modern art. Thomas Mann's Doktor Faustus offers an insight not only into the combination of projection and love, but also into ignorance as the common ground of projection and transference. I will therefore first try to determine the modernity of Thomas Mann's novel in regard to the abounding intertextual dimension that characterizes the text, and then closely examine the central scene of the novel, the confrontation between Adrian Leverkühn and the obscure figure of the devil.
Figura lacrima
(2012)
Hervé Joubert-Laurencin’s article 'Figura Lacrima', which explores Pasolini's figure of Christ, consists of two interconnected parts. The part called 'Lacrima' argues that Pasolini's Christ sheds a small tear which is analogous to the salvific tear of Dante's Bonconte da Montefeltro. This heretical tear is not explicitly referred to or shown but can only be perceived through the coherent text represented by the ensemble of Pasolini's films. The part called 'Figura' argues that Pasolini invents the new concept of 'figural integration', which extends beyond Erich Auerbach's analysis of medieval figural and typological interpretation and allows him to conceptualize a kind of non-dichotomous tension between the poles structuring his thought and art. Joubert-Laurencin argues thereby that Pasolini's scandal of Christ's small tear is not the simple provocation of a sinful Christ, but the utopian image of a West that frees itself from its own closure through the promise of another world, coming not from somewhere else but from the powers of an outside that it possesses within itself.