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In 1937, when Bulgakov was working on Master i Margarita and suffering from rejection by the theatre community, an old friend appealed to him: "Вы ведь государство в государстве. Сколько это может продолжаться? Надо сдаваться, все сдались. Один вы остались. Это глупо." And indeed "государство в государстве" ("a state within a state") is an appropriate way of describing a man who was feverishly working on a modernist novel at the height of socialist realism. The very fact that Master i Margarita was written in the oppressive environment of the 1930s makes it a unique modernist work, for it emerges as a protest against socialist realism and a defense of artistic freedom. In this respect the modernist qualities of Bulgakov's novel acquire a new dimension because Master i Margarita becomes a kind of artistic devil, fulfilling the traditional diabolic role of opposing authority. This is why Woland, as a character, is the metonymic expression of the novel's revolt.
Timothy Findley's "The Wars" is a very powerful and disturbing book. Despite the novel's historically distant setting, the events of "The Wars" do not seem distant at all: the reader is brought close to the horrible violence of World War I and its devastating impact on a young mind. The question is why? The topic is certainly not new — we are аll too familiar with the World War I period. The theme is also an old one — a young man's loss of innocence and baptism by fire on the battlefield. The novelty and vividness of Findley's work are attributable to another source: its form. I hope to show that one artistic device in particular — de-automatization — is largely responsible for the novel's powerful impact on the modern reader.
Vsevolod M. Garshin's story "Four Days" ("Четыре дня") made the author famous when it was published in 1877. Intended as a strong anti·war statement and based on a true incident during the Russian-Turkish war (1877-78), "Four Days" is the interior monologue of a wounded soldier left for dead on an empty battlefield. His last name, Ivanov, which is traditionally considered to be the most common one in Russia, may suggest the idea of "everyman" in order to generalize the protagonists terrible experience on the battlefield into a broad anti-war message. The protagonist finds himself pinned down next to 0the body of a Turkish soldier whom he had killed just before being wounded. Forced to look at the corpse for a long time, Ivanov experiences terrible guilt, since he has never killed before. After four days of physical and mental agony, during which Ivanov reassesses his formerly idealistic attitude toward war and ends up condemning it as something far from glorious and noble, the protagonist is found by his regiment, and, unlike his real-life prototype, he survives (Henry. 47). Throughout the text we do not lave the confines of the protagonist's mind; as a result, the intense, relentless focus on his mental and physical anguish created by the interior monologue: immobilized by his wound, he becomes a prisoner of his own mind; as a result, the intense, relentless focus on his mental and physical anguish created by the interior monologue technique enhances the "horrors of war" effect intended by the author. At the same time the war-related situation and setting provide motivation for the wounded man's interior monologue: immobilized by his wound, he becomes a prisoner of his own mind and its therefore forced by circumtances to think through his entire predicament and its causes.
This contribution was prompted by events in East Germany that ultimately led to German unification. Many forces contributed to the collapse of the GDR as a separate state, the final and most visible was the mass exodus via Hungary and Czechoslovakia. The Communist regime resisted change when change was taking place in most of East Germanys neighbors to the east and southeast. But an ever increasing number of increasingly restless citizens insisted on it and, not given a chance to change matters by improving the system, effected the most radical change of all: they swept away an unresponsive, cynical and calcified government.
In his lifetime Daniil Charms only succeeded in publishing two of his poems for adults. Publicly he was a children's author: a job in the Soviet Union which traditionally attracted many writers whose literature for adults was either rejected by the official literary system or had to be hidden altogether if its creators wanted to avoid trouble.
In fact up to the present day it is still Charms the children's author who is best known and loved, although finally under new historical and political conditions the writer for adults has also been allowed to make his debut. However, whatever he wrote, Charms' work was always dominated by an absurdist world view, a view that usually denied all dogma or ideology. His only aim seems to have been to present a world upside down and play around with literary and other conventions, i.e. more than anything else he wanted to be different, acting as a sort of literary "punk".
Although Charms and his associates were preceded by European absurdist authors, such as A. Jarry (1873-1907), it is very difficult to establish any relationship of influence between examples of Western European absurdism and Daniil Charms. Nonetheless, Charms' work, as well as that of Jarry, Ionesco and Beckett, all share the "grotesquely comic as well as irrational" (Abrams 1981: 1) quality of the absurdist movement in its larger modernist context.
There is a caricature of Marcel Proust in which the despairing writer is consoled by a friend saying, 'Aber, aber, mon cher Marcel, nun versuchen Sie sich doch zu erinnern, wo Sie die Zeit verloren haben.'
Literature in general, not only A La Recherche du Temps Perdu, deals with a different form of memory than that of mnemonics, in which the hints of places lead to a retrieval of what has been stored there before. Nevertheless it is difficult to pinpoint the criteria that make this difference. How does literature transcend the technologically limited sense of memory in terms of a storage and retrieval system? ...
One of the most striking and unsettling elements in Venedikt Erofeev's novel "Moskva-Petuški" is the ending where Venja, the protagonist-narrator, is murdered by four mysterious executioners in the stairway of a downtown Moscow building. [...] The last sentence turns the entire preceding narrative into a paradox: the narrator indicates that he could not have told his story, since he ceased to exist as a consciousness ("soznanie") as soon as the action stopped. The fact of Venja's death itself does not necessarily cancel out his ability to tell about the events leading up to his demise: literature knows a number of beyond-the-grave narrators, e.g., the murdered Olivia in Anne Hebert's "Les fous de Bassan" or the dead samurai Tekehiko in Akutagawa Riunosuke's "In a grove". What makes Venja's narrative paradoxic is his own reference to the end of his cogitative activity. at the moment of death the hero ceases to think and should, logically, lose the ability to narrate. Normally, a dead narrator acquires his/her ability to narrate by supernatural means, e.g., via life after death, as in "Les Fous de Bassan" or through a medium, as in "In a Grove". Such postmortem loquacity may also remain unexplained. In "Moskva-Petuški", however, the dead narrator seems to stress that his death appears as the ultimate end: a point where everything, including time and consciousness, stops.
Ten years after writing "Spotted dog running along the seashore" ("Пегий пес, бегущий краем моря") Chingiz Aitmatov said that this novella was his favorite. Perhaps this is because it represents the essence of Aitmatov's artistic world view. The term "essence" is appropriate here because the setting and the characters of the novella are totally removed from the modem world and from history itself. Unburdened by the need to relate his artistic goals and philosophical interests to any specific socio-political context - a requirement made all the more problematic for an author writing within the Soviet literary system - Aitmatov was free to develop his favorite themes in a kind of "tabula rasa" medium. Thus, it was with absolute directness that the author could face questions dominating much of his fiction: the moral soundness of age-old values, the need for continuity in social development, the necessity of humanity's hannonious coexistence with nature, and the positive ethical value of myth.
Given Tournier's own indication that the story of Taor in the last part of "Gaspard, Mechior & Balthazar" came to him from Edzard Schaper's "Die Legende vom vierten König" and Henry van Dyke's "The story of the other wise man", this article compares the three texts in order to determine their respective theological perspectives. It is argued that Schaper's and van Dyke's respective tales constitute meditations on the sheep and the goats pericope from Matthew 24. Tournier's tale, on the other hand, involves a different theological focus: the first temptation of Christ from Matthew 4:14 as this pericope relates to Deuteronomy 8:2-3. This shift in focus makes food central to the spiritual journey of Tournier's protagonist: the gluttonous Taor makes a symbolic transition from "living on bread alone" to living by "every word that comes out of the mouth of God" (the bread of the Eucharist). It is argued that because Taor begins his journey from the spiritually immature (from a Christian perspective) position of the Israelites in Exodus 16, his starting point is pre-Christological and, therefore, his journey is far greater than those of Schaper's and van Dyke's respective protagonists. The latter possess rudimentary Christological knowledge right from the start and therefore undergo less extensive spiritual metamorphosis than does Taor.
Este artigo trata do desenvolvimento dos estudos da tradução na Europa, no siculo XX. O maior enfoque está na mudança da perspeciiva de pesquisa, da comparação entre línguas para a confrontação de textos e da focalização datradução como atividade pragmática para a investigação do pensamento do tradutor (perspectiva cognitiva). Paralelamente à discussão dos conceitos teóricos, comenta-se também o desenvolvimento institucional dos estudos da tradução.
Popular culture is always in process; its meanings can never be identified in a text, for texts are activated, or made meaningful, only in social relations and in intertextual relations. This activation of the meaning potential of a text can occur only in the social and cultural relationship into which it enters. (Fiske, 1991a: 3)
Many critics have pointed out the importance of revelation by John of Patmos as an intertext in Michel Tournier's "Le roi des aulnes" [...]. They normally refer to the apocalyptic ending of the novel as the most obvious link with the Johannine text. This connection is obvious not only because the final scene is the destruction of Kaltenborn castle with all its inhabitants (and by extension the destruction of the entire Third Reich), but also because there are direct references to revelation in Tournier's text [...]. However, the importance of Johannine discourse goes well beyond this overt intertextuality.
This article deals with Michel Tournier as a writer of hypertexts. The first chapter of "Gaspard, Melchior et Balthazar" is considered with respect to two possible unmarked hypotextual connections. The first is a short story by Anatole France entitled "Balthasar", and the song of songs is the key element that connects France's and Tournier's texts. The second is an episode from Genesis which I term "The sister-wife Hoax". The main concern in this study is the issue of human dignity as it relates to race and sexuality.
Vsevolod Garshin's "Four Days" is the story of a wounded soldier left for dead on a deserted battlefield: During four days of physical and mental agony, he reassesses his formerly idealistic attitude towards war and ends up condemning it as something far from glorious and noble. However, the importance of Garshin's short story in literary history is not so much its anti-war message as the innovative nature of the form used to convey that message. Garshin was the first to explore the potential of direct interior monologue (hereinafter: DIM): a technique which seeks to create the artistic illusion that the reader is eavesdropping on a character's inner discourse without any mediation on the part of a narrator [...]. Because Garshin's text anticipated many of the devices later used by such masters of the genre as James Joyce and William Faulkner, the form of "Four Days" merits close analysis.
The argument proceeds from the documentary hypothesis in modern biblical studies. This hypothesis is based on the assumption that the 1st 5 books of the Old Testament were written by four different authors at different times. These authors are known as J, P, E and D. Their writing was joined in the 5th c. B.C.E. into what became the Pentateuch and the first part of the Old Testament. The result of this joining was a series of contradictions and redundancies in the final text as we have it today. Readers of the Bible who seek to read it as one coherent text try to naturalize these contradictions by what I call "stitching." Stitching involves putting coherence back into the Pentateuch by accounting for the contradictions and redundancies in terms of plausibility and common logic. Modern authors who write versions of Old Testament stories, such as Thomas Mann in his "Joseph and his brothers", also engage in stitching. I demonstrate how Mann stitches a number of important episodes from the Patriarch saga. I discuss the effect of this process on the story line. I compare that to two other recent instances of biblical stitching in modern fiction. And I conclude with the argument that stitching in modern biblical hypertexts stems from the need for coherence in the modern realistic novel. This post-enlightenment coherence impulse is contrasted with myth and the latter's tolerance for loose ends and less than coherent narrative.
In the beautifully situated villa of the Literarisches Colloquium Berlin overlooking Lake Wannsee, the Third International Colloquium for Beckett Translators took place from 3rd to 6th October 1998. The financing had been realized with the help of the European Commission and the Berlin Senate for Science, Research and Culture.
The point of my explanation is simply that in its "deep-structure" even 'A Handful of Dust' (and 'a fortiori', as we shall see, other novels by Waugh) attaches itself to the mode of the historical novel, which is only in a very qualified way the descendant of the epic, as Lukacs would have us believe.
In the present context of the triumph of capitalism over real socialism, this article points out that, despite their ideological differences, both systems are bound to the same conception of history-as-progress. In contrast, it recalls Walter Benjamin's philosophy of history, marked by the critique of progress in the name of a revolutionary time, which interrupts history's chronological continuum. Benjamin's perspective is used to study the conflict of temporalities among the Soviet artists in the two decades after the October Revolution: on the one hand, the anarchic, autonomous and critical time of interruption – which is the time of avant-gade –, on the other hand, the synchronization with the ideas of a progressive time as ordered by the Communist Patty; this is the time of vanguard, whose capitalist Counterpart is fashion.
In view of the tremendous success of Victor Klemperer's diaries testimoning his personal experience as a Jew in Nazi Germany, this article discusses the specific contribution of witness literature to the knowledge of history. During the Holocaust period, in the face of death, true historical knowledge was essentially reduced to personal experience. Klemperer's clandestine journal exposes how the collective trauma affected everybody through the daily speech patterns, dictated by the Nazis' appropriation of the German language. In this memory of Alltagsgeschichte as a critical history of language can be seen the specific contribution of Literature of testimony. The function of Klemperers chronicle of 'Lingua Tertii Imperii' to develop the readers linguistic sensitivity, in order to enable them to reappropriate their language.
We may consider narratology - the structural study of narratives - in two ways, each of them implying a slightly different 'before' and 'after'. First, this important endeavor in 20th century literary studies may be regarded as the study of a specific narrative 'logic', the formal structures that unite all narratives, fictional and factual, literary and non-literary. Secondly, narratology may be regarded as the study of specific 'texts' with specific cultural functions - storehouses of 'memory' on the one hand and, on the other, 'meaning-generating devices' integrating human action with time and place, ending up in cognition, identity, values, pragmatic norms, etc. In spite of the fact that both trends diminish the role of the specific medium of a given narrative, focusing instead on a general logic or on general functions, both of them refer 'de facto' to literature as a primary field of study; moreover, they are both children, twins one might argue, of the linguistic turn at the turn of the last century, and they both 'de facto' constantly refer to language as a primary field of study. This paradigmatic shift emphasized a specific medium and its specific logic in a general perspective without losing grip of the specificity. A lesson may be learned if we quickly repaint the history and perspective of this turn in a few broad strokes.
My point of departure is Benjamin's "Lehre vom Ähnlichen," since this text elaborates a theory of reading and writing based on the concept of "nonsensory similarity." The "strange ambiguity of the word reading in relation to both its profane and its magical meaning", which is often cited in Benjamin criticism, is derived from a precise figure, namely the constellation as a model for writing and the concomitant practices of anagrammatical dispersion.
The Book of Job from the Old Testament is juxtaposed in detail with its hypertext in Thomas Mann's novel: the chapter where Jacob mourns for his "dead" Joseph. An argument is made that Mann's awareness of rabbinical literature creates a connection with the Akedah tradition, i.e., different ways of dealing with the sacrifice of Isaac by Abraham in Genesis. The notion that Abraham actually does kill Isaac, as suggested by a medieval rabbinical text, is interwoven into the analysis of Jacob's mourning for Joseph who appears as an Issaac-like sacrificial victim in Mann's novel. A connection is established between Abraham, Job and Jacob as figures whose children are claimed by God, and their reactions to this test are compared.
Film review: The Matrix cult
(2003)
Much of the semiotic discussion around the deeper structures of "The Matrix" has tended to center around positive ethical and philosophical systems. Thus, numerous critics have pointed out the Christian subtext in the film with Neo as Christ and Morpheus as John the Baptist (James L. Ford: 8). The Garden of Eden story has been superimposed on "The Matrix" as well with the implication that just as Adam's and Eve's awakening to knowledge makes Christianity possible, so too, Neo's awakening will lead to the salvation of humanity by a Christ-like figure (cf. James S. Spiegel: 13). Others have picked out connections with Joseph Campbell's monomyth concept where the hero must depart from the familiar world, go into a netherworld and return morally transformed (A. Samuel Kimball: 176, 198). There is also the Platonic interpretation where the passage toward the light from the famous cave allegory is read into the awakening process of "The Matrix": "The theme of appearance versus reality is as old as Plato's Republic. And while perhaps no writer or artist has improved upon his cave allegory in presenting this theme, the Wachowski brothers' The Matrix might be as effective an attempt as any since Plato, in cinematic history anyway" (James S. Spiegel: 9). Buddhism and its notion that reality is illusion appears as an equally convincing model for reading "The Matrix" (James L. Ford: 10). Even Gnosticism has been used as an interesting semiotic framework for the film (Frances Flannery-Dailey and Rachel Wagner: 10-12).
In his book "Fiction and Diction", Gerard Genette bemoans a contradiction between the pretense and the practice of narratological research. Instead of studying all kind of narratives, for Genette, narratological research concentrates de facto on the techniques of fictional narrative. Correspondingly, Genette speaks of a "fictional narratology" in the pejorative sense of a discipline that sets arbitrary limits on its area of study. In his objection, the narratology that literary scholars practice considers fictional narrative to be at least the standard case of any narrative. In other words, what is merely a special case, within a wide field of narratives, is here elevated to narrative par excellence. According to Genette, narratology does not omit the domain of non-fictional narratives from its investigations with any justification, but rather annexes it without addressing its specific elements.
What are possible ways in which this perspective, which Genette criticizes as truncated, can be set right? Can the problem, as outlined, simply be solved by expanding the area of study in narratological research? Or are there not, perhaps, important differences between fictional and nonfictional narratives which seem to encourage narratological research, understood as a fundamental discipline of literary study, under the heading of "fictional narratology"?
In order to come to an answer here, we will first discuss the problem of differentiating between fictional and non-fictional narratives, as well as the possibility of a connection between narrative and fictionality theory. Second, we will expand our considerations to encompass pragmatic and historical aspects of narratives in order to delineate the scope of our proposal.
A remarkable indictment and conviction following the sale of an ‘obscene’ comic book invites us to examine arguments brought forth to describe a specifically childlike reception of new media, as usually suggested by those who would motivate legal restrictions for such media. Trying to explain some perceived contradictions on the surface of these arguments, we discuss whether it is the failure or rather the extreme success of texts that is marked as ‘dangerous’ in such contexts.
I shall take a look at a cluster of problems: the relation between fictional and actual worlds, between fictionality and narration, between action and rationality, between action and agent or subject, and between world, enunciation and subject in light of two important theoretical works, both from 1991. My choice of references is not entirely arbitrary: their basic approach shows certain similarities that underline the shortcomings of both in dealing with literature, in spite of the stimulating arguments they unfold. But they also show marked differences that allow us to develop their argument further. The books are Paisley Livingston's 'Literature and Rationality' and Marie-Laure Ryan's 'Possible Worlds, Artificial Intelligence, and Narrative Theory'.
As the exilic experience, initiated in 587 B.C.E., continued over millennia, no one has been able to settle the question of what it means to be a diaspora Jew. Are those who actively participate in non-Jewish life still in a position to claim the heritage of Israel? And what about Jews who actively seek assimilation and renounce their roots altogether: are they still Jews in spite of themselves? Authors, from Joseph Roth to Sholom Aleichem to Chaim Potok, have tried to deal with this issue in light of different diaspora circumstances. One of the most recent perspectives on Jewish identity comes to us through "Sunshine", a powerful film by the Hungarian director Istvan Szabó (1999). Szabó, who wrote the screenplay with Israel Horowitz, tells the story of several generations in one Hungarian Jewish family: the Sonnenscheins. Living at the turn of the twentieth century, the patriarch of the Sonnenschein clan is Emmanuel, a successful distiller who seems to have found a balance between the two exilic extremes: neither complete assimilation, nor a retreat from gentile society.
These […] stories are chosen from anthologies with texts called 'urban legends' (sometimes they are also referred to as 'contemporary legends', or 'urban myths'). Bearing this name in mind, we tend to read these texts as 'Iegendary' narratives that relate ficticious stories of events which never happened. But what if somebody told you these stories as factual accounts of events that really happened to the friend of a friend: wouldn't you believe them to be true – or at least consider seriously the possibility of their truthfulness? Before entering in a discussion of this question, I want to introduce in more detail the kind of narrative I am seeking to analyze.
In his paper, "The Canonization of German-language Digital Literature," Florian Hartling discusses "Net Literature," a relatively young phenomenon, that has its roots in experimental visual and concrete poetry and hypertext. With the use of new media technology, this new genre of literature has acquired much interest and is now considered to be one of the most important influences in contemporary art. Not only does Net Literature connect sound, video, and animation with interactivity and allows new forms of artistic expression, it also impacts significantly on the traditional functions of the literary system. Hartling suggests that, in relation to Net Literature, the notion of the "death of the author" gives birth to the "writing reader." Hartling presents the results of his study where he applies the concept of "canon" to German-language Net Literature and where he attempts to find out whether, in this new form of literature, a "canon" has already been formed. Based on Karl Erik Rosengren's framework of "mention technique," a sample of Germanlanguage reviews of Net Literature was analyzed. The study intends to test the applicability of Rosengren's method to the analysis of Net Literature, that is, whether it is valid to use a method that was originally developed for the empirical study of the traditional literary canon for the study of an emergent Net Literature.
Let’s not forget that 1492, one of the first landmarks of Modernity, was both the year of the conquest of the Americas and of the fall or of the Reconquista of Granada, both of inner and outer ethnic cleansing of the nation state; that the national state was a colonial state and is now a securitarian state, that colonialism was the very form of Western Modernity, that the French Revolution itself was colonial, that the leader of the first Black revolutionary independence movement, Toussaint Louverture (Haiti), died in a French prison though inspired by the French Revolution. - No-one has access to reason as whole: there is no such thing as the whole of Reason, or Reason as a whole, or the Totality of reason. Reason is patched up of disconnected bits and pieces that reside at different addresses.
Iqbal and Goethe : a note
(2005)
The recourse to Goethe plays an important role in the work of Mohammad Iqbal (1873-1938), one of the few important writers from the Indian subcontinent who knew German literature. Iqbal situates his own writing in the context of western colonial expansion and the corresponding world-historical loss of power of Islam in the East. The recourse to Goethe becomes an import reference point in his work. It enables him to stylise himself as a Messenger of the East in reply to Goethe as a representative of the West. By establishing a comparative cultural constellation with his German predecessor Iqbal affirms a cultural position consisting of a mode of historical complaint and cultural revival.
A glance at the current situation in literary criticism shows that narratology, pronounced dead twenty years ago, is remarkably alive and well. This fact has been noted repeatedly and with understandable self-satisfaction in the recent literature on research into narrative theory. Just how astonishing this rebirth is, however, becomes apparent only when we step back from literary criticism and the humanities to take a wider historical view of the developments in academic and theoretical circles that preceded it. The deeply symbolic year of 1968 marked the fall of the academic ancient régime. Partly in anticipation of this and partly in response to it, a number of new leading disciplines were raised to power in western Europe as sources of hope for the future. However much they may have differed from one another in political purpose (in theoretical circles or beyond), linguistics, political economy, psychoanalysis, and structuralist semiology—to name but a few of the superdisciplines of the time—clearly belonged to one and the same paradigm in terms of how they conceived of themselves: throughout, they sought to reveal universal, ahistorical regularities in human thought and action in their respective fields.
No other country is influenced in its political, social and cultural structures by both western and eastern mentality such as Lebanon, and hardly any other country has such a pivotal function. In this mediator function it can be compared with a literary work, that merits its role in world literature as hardly any other piece of literature in regard to the co-operation of Orient and Occident. I am thinking of the collection of "A Thousand and One Nights", or with its original title "Alf Laila wa-Laila".
Starting with the debate between ludologists and narratologists this essay tries to show that there is a narrative aspect in computer games which has nothing to do with background stories and cut scenes. A closer analysis of two sequences, taken from the MMORPG Everquest II and the adventure game Black Mirror, is the basis for a distinction between three aspects of this kind of narrative in computer games: the sequence of activities of the player, the sequence of events as it is determined by the mechanics of the game and this sequence of events understood as a plot, that is as a sequence of chronologically ordered and causally linked events. This kind of narrative is quite distant to the prototypical narrative which is the basis of most of the narratology. But actually all media, not only computer games, need their own narratology.
Beethoven's Ninth in Bailey Hall the other evening, April 20, ending in an instant standing ovation by a clearly enchanted audience, was an unforgettable experience. And, like all such truly extraordinary events that are marked not only by artistic merit, but draw their power from the circumstances surrounding their creation or performance, it recalled others and enhanced their significance. I was reminded of a stellar performance on Christmas Day of 1989, only weeks after the unexpected fall of the Berlin Wall on November 9, that haunting date in German history. Few people believed it would ever happen. But now, suddenly, reunification in justice and freedom, as the truncated old national anthem phrases it, was within reach.
The Book as a landscape
(2007)
There is a long tradition of regarding landscapes as texts and texts as landscapes. Characterizing visually experienced nature as a text implies stressing its meaningfulness, its character as a message or an expression. According to an old metaphor that was highly esteemed in medieval Christian culture as well as in early modem science, nature itself is a divine message addressed to mankind, analogously to the holy scriptures, revealing the will of God as the superior "author" to those who are able to decipher the signs. As a consequence of the process of secularization, art gains authority over the signs of nature, and it is the artist who creates messages by composing the elements of the visual world. The idea of interpreting texts as landscapes seems less evident at the first moment; it implies the notion of texts and landscapes as artificial products which depend on an individual human subject's intentions.
Pope Benedict XVI’s Regensburg lecture has been exposed by some learned voices of 'the Muslim world' as alluding, by the means of one particular quotation, to age-old stereotypes about Islam being an essentially violent creed in which moderation through reason has no legitimate place, and of representing Muhammadas an evil and inhuman man who preached that Islam should be spread by the sword. While none of these presumably 'Muslim' voices deny that the Pope has the right to express his opinions, even when they are plainly wrong in the face of historic facts that show how Islam and Christianity were spread (or were made to spread) across the world, he is criticised for a host of omissions in terms of intellectual honesty and factual accuracy. These omissions, it is argued here, cast an unfortunate light on the compatibility of scientific and religious rationality much advocated by the Pope in his 12 September 2006 lecture. This flagrant 'performative contradiction' (Habermas) leaves room for speculation about the true aim of the speech. Is Benedict XVI's appeal to theology as a legitimate academic discipline a credible attempt to explicate Roman Catholicism's rightful place in a modern world governed by liberal democracy and ethical-political pluralism, or is it a reflection of a move to restore the age-old, intolerant, anti-scientific, and anti-democratic legacy of the pre-Vatican II Catholic Church?
It is commonplace to assert that the Book of Genesis in the Old Testament is based on an androcentric position. Although critics have tried to introduce some sort of female empowerment by reassessing various biblical stories (cf. Savina Teubal, 1984), Genesis remains a man's realm with only a limited female perspective. The case of Dinah's rape by Shechem in Genesis 34 illustrates the marginality of womanhood in the biblical world and theology. The pericope tells us that, while the Israelites are settled near the Hivite city of Shechem in Canaan, Jacob's and Leah's daughter Dinah goes out of the Israelite camp. She is raped by Shechem, the prince of the eponymous city, who then abducts her and makes her one of his household. A deal is concluded by Jacob's sons and the Shechemites, according to which the situation can be made legitimate through marriage if the men of Shechem circumcise themselves. While the Shechemites are weak at er the surgery, the Israelites sack the city, kill all the males and take Dinah back.
Modern retellings of the Flood pericope (Genesis 6–8) depend on the age of the targeted audience. Writing for adults, Wolfdietrich Schnurre, Brigitte Schär, Timothy Findley, and Anne Provoost ask whether universal annihilation can be justified. Their criticism of the divine notion that evil is universal and indiscriminate collective punishment is therefore justified, reveals values that are incompatible with those informing the original biblical narrative. However much modernity is aware that myths are symbolic, it apparently cannot assimilate their ethics without a critical reassessment. In this, modern writers rely on the realistic premises of modern novelistic narration. In contrast, modern retellings of the Flood story for children appear to be far more prepared to accept the ancient value system underlying the biblical narrative. Books for younger audiences seem to be much more comfortable with the notion of generalized evil and global punishment than works for adults. This becomes particularly striking in a number of picture books about Noah's ark. The narrative stance of writers ultimately depends on the way they perceive adulthood and childhood.
Siegfried Lenz's novel "Deutschstunde" is analyzed on the basis of work conducted by two American psychologists: Stanley Milgram and Lawrence Kohlberg. The concept of duty and obedience to authority are considered as social phenomena that go beyond personal disposition. The article uses Milgram's famous obedience experiment in order to consider the literary depiction of psychological processes underlying compliance with orders to commit reprehensible acts. A comparison is made between Jens Jepsen, the fictional obedient policeman in "Deutschstunde", and Paul Grueninger, a real policeman in wartime Switzerland, who refused to follow orders and saved many refugees at the Swiss-Austrian border.
This essay deals with two retellings of Genesis: Thomas Mann's "Joseph and his brothers" and Anita Diamant's "The red tent". Both authors note the presence of implicit pagan tendencies among the women of Jacob's clan (Gen 31:19; 35:2) and develop this subtext for their respective ideological purposes. Thomas Mann creates a dichotomy between the backwardness of the pagan female realm and the progressive nature of the monotheistically-oriented patriarchs. The path toward modern humanist values comes from the likes of Jacob and Joseph rather than Rachel and Leah in Mann's novel. Anita Diamant, on the other hand, adopts the opposite attitude, namely, that the paganism of Rachel, Leah, as well as other women in Jacob's family, is a humane and natural form of spirituality in contrast to the bloodthirsty Yahwism of Jacob and his sons. The latter point is illustrated by the sacking of Shechem. In order to question the patriarchal stance of the Old Testament Diamant reverses the key values informing the theology of the Bible. Thus, in "The red tent" Jacob's wives venerate the Ashera in particular. The latter constitutes a challenge to the stance of the Deuteronomic History where the cult of the Ashera is viewed as a key reason behind God's decision to let the Babylonians destroy the Southern Kingdom of Judah. And since Mann's novel upholds the patriarchal spirit of the biblical text, Diamant enters into debate with the continuity of female disempowerment which reaches all the way from Genesis to "Joseph and his brothers".
The following essay in comparative literature focuses on three comedies that perhaps satisfy the aforementioned conditions, namely Ludvig Holberg's 'Mascarade' of 1724, Carlo Goldoni's 'I Rusteghi' of 1760, and Georg Büchner's 'Leonce und Lena' of 1836. My interest is typological, not genealogical, i.e. I do not claim that the later authors knew the earlier dramas; for the three authors belong to different cultures and write their texts in different languages - Danish, Venetian, and German. Still, even if am not interested in the question, I cannot exclude such knowledge either. There are similarities not only in the main structure, but also in the details; and Holberg is possibly known to Goldoni and certainly to Büchner.
Science in Wonderland
(2008)
Lewis Carroll's Alice, who first explores Wonderland (1865) and later on the country behind the Looking-Glass (1872), belongs to the most well-known characters in world literature. [...] The scientific reception of Carroll's stories – concerning physics as well as the humanities – has taken place on different levels. On the one hand, […] various Carrollian ideas and episodes obviously correspond to topics, subjects and models that are treated in the contexts of scientific discourses. Therefore, they can be quoted or alluded to in order to represent theories and questions […] – as […] physical models of the world […]or theoretical models of language and communication. […] On a more abstract level of observation, Carroll's stories have been used in order to explain and to discuss the pre-conditions, the procedures, and the limits . of scientific modeling as such. Above all, they make it possible to narrate on the problem of defining and observing an 'object' of research. […] According to Deleuze, the paradox structures of the world that Alice experiences give an idea of all meaning being groundless and all logic being subverted by the illogical. Finally, besides all affinities of Alice's adventures to scientific attempts to explain the world, the absolutely incomprehensible is present in Carroll's books as well. Especially the self proves to be something profoundly incomprehensible […].