830 Literaturen germanischer Sprachen; Deutsche Literatur
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Wenn man an die Stelle des Titels "Georg Büchner und seine Zeit" "Georg Büchner in seiner Zeit" setzt, hat man den Unterschied der Lebenszeit Büchners (1813-1837) und seiner Wirkung über einen umfassenderen Zeitraum im Blick. Diese doppelte Perspektive versucht der Essay durchzuhalten: Er fragt zunächst, wie es möglich wurde, dass ein junger Mann, der mit 24 Jahren starb, nicht nur als Schriftsteller, sondern auch als Wissenschaftler und Revolutionär eine herausragende Rolle spielen konnte. Anschließend werden zwei avantgardistische Alternativen zu den von Büchner gewählten Dramenstoffen Danton und Woyzeck fiktiv vorgeführt.
This paper discusses and analyses the importance of oral history in offering a true image of reality. Referring to the tragic destiny of the German ethnic group in Romania after the second world war – their deportation in the Soviet Union – it presents an excerpt of the narration of contemporary witnesses.
At the beginning of the 1970s, the literature in German language from Romania went through a radical process of change that transformed a largely epigonic and obedient literature into a dynamic, original and subversive one. The following paper analyses the context, the causes, and the mechanisms of this innovative period.
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 present study researches the literary materializations of the Heimat visions as they emerge from Herta Müller’s Atemschaukel and Aglaja Veteranyi’s Warum das Kind in der Polenta kocht. The Heimat concepts are narratologically constructed both as Erinnerungsräume and as imaginary geographies. Usage of these notions will be made according to the definitions of Aleida Assmann respectively Doris Bachmann-Medick. Heimat is seen as a space from the past, which is projected with the force of the memories in the present having an imaginary geography, that can be articulated on three aspects associated with this concept: shelter, food and possessions.
The present interview is rooted in the diverse aspects of interculturalism and of Romanian-German literary convergence – landmarks of both the works of fiction and non-fiction of the German author hailing from Sibiu. Special emphasis is placed upon the collection of essays Einen Halt suchen (En. In search of stability) and upon its translations from the Romanian into German, the main scope of the interview being to highlight the author’s opinions about the aforementioned aspects.
The four novels of Cătălin Dorian Florescu (Wunderzeit, Der kurze Weg nach Hause, Der blinde Masseur, Zaira) analysed here are interpreted in relation to the chronotope, a term developed by Michail Bachtin meaning the connectedness of time and space in narrative. Space knows two opposite dimensions in Florescu’s works: the West (Switzerland, USA) and the East (Romania). The Romanian space is represented by three different images corresponding to three different periods: Romania between the two world wars, during the communist period and after 1989. The main characters are Romanians who leave their country of origin during the communist period, hoping that they will find a better life in the West. After the revolt in 1989, the characters return to the space of their childhood, where they could find themselves and happiness once again. There are analyzed different aspects of the aesthetic space Romania: exotic space, space of discovery of oneself, spiritual space of traditions, but also space of disappointment and of perils. Space is in close connection with movement, the movement of the protagonists from one dimension to another, which is also the basis of the plot.
"Spieglein, Spieglein an der Wand ..." : das Diminutiv im Überzetzungsvergleich Deutsch-Rumänisch
(2012)
The paper presents some aspects connected to the system of diminution in German and Romanian, by offering a comparative analysis of the German version of the fairy tale “Snow White” and six Romanian translations of the text. The focus lies on the ways in which the nouns in the text are marked as ‘diminutives’ in German (mainly by adding suffixes, the synthetic diminutives) and the equivalences suggested by the Romanian translators. Although the category ‘diminution’ is common to both languages, there are significant differences in the way it is linguistically expressed. A main part of the paper is devoted to these differences and their reflection in the text.
Julian/Jutta Schutting, as a self-conscious author, understands the literary activity as a common and democratic act of creation, performed both by the writer as well as by the reader, thus revealing and connecting the multitude of associative meanings of the literary artifact. Until 1989, until her transformation, the writing of Jutta Schutting was a “secret therapy for survival,” by means of which the troubled existence was to be overcome through the creative power and the originality of her work. Back then she described her art as a “hybrid life … neither … nor…, both … and …,” an attempt to transform the personal inner conflict into curative fictional models. This “neither … nor … - both … and …” situation illustrates the androgynous attitude towards this kind of fictionalized models, this tonality being also supported at the stylistic level that escapes any formalist framework of the genre literature. “Gralslicht. Ein Theaterlibretto” [“The Grail’s Light. A TheatreLibretto“] was published in 1989 by Residenz-Publishing House and is explicitly “composed” as a modern interpretation of Wagner’s “Parsifal” in the typical manner of Schutting. The language ceases to be referential and becomes almost exclusively self-referential, because the dialogues do not rely on a situation of communication [communication situation], but are to be regarded as an interactive exchange of monologues. The female character “Kundry” is almost completely absent from the stage [at the level of the stage] and becomes evident only in the dramatic game between the two male characters that regard her and her duality as the principle of the eternal feminine. Kundry remains active only at the textual level and becomes a life example and a pretext in the love-chastity debate between Parsifal and Don Giovanni.