850 Italienische, rumänische, rätoromanische Literaturen
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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.
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.
Two Romanian authors, Nora Iuga and Carmen Francesca Banciu have published their impressions about the German capital Berlin. Nora Iuga stayed there twice for a limited period of time (in 2000 and in 2010), whereas Carmen Francesca Banciu decided to live in Berlin after her scholarship there ended in 1991. This is why Carmen Francesca Banciu’s writing changed together with the changing city, which was then under construction not only literally but also in a figurative way integrating new influences due to the opening of Eastern Europe after the end of its isolation during the Cold War. She is one of those new elements which reshape Berlin adding new and different perspectives to its cultural life. Banciu publishes her impressions in Berlin ist mein Paris. Nora Iuga, on the other hand, remains nothing but a visitor. Her ideas about the City and about the Germans in general change a lot during her stays in Berlin. In the end, she leaves for Bucharest with new impressions, which are released in Romania in her book Berlinul meu e un monolog.
The Romanian folk poetry, especially the Romanian folk ballad raised the interest of German translators in the 19th century, who proved the size of their talent by translating the ballads in German and by popularizing them among the German readers in the country and abroad. The paper focuses on aspects of translation motifs of five German authors (W. von Kotzebue, C.F.W. Rudow, A. Franken, A. Forstenheim, Carmen Sylva) taking into account their life experiences, professional commitments and friendship for the Romanians. The study aims to highlight the principles and difficulties of translation as a result of the authors’ wish to translate the original text as accurately as possible and as close as possible to the spirit of the Romanian folk poetry.
My paper will explore the interrelation between past, present and identity, as well as the dynamics of social change in contemporary German and Romanian literature, as exemplified by Jana Hensel’s Zonenkinder (2002) and Ioana Bradea’s Scotch (2010). Both authors belong to a new generation of writers who, having experienced the collapse of the communist regime as adolescents, investigate the traumatic experience of change and adjustment to the social, economic and cultural realities of post-communist societies. While Hensel aims at recreating the lost Heimat (motherland) as an Erinnerungsraum (space of remembrance) and portraying the social tensions of the post-unification decade from an Eastern German perspective, Bradea focuses on depicting the desolate post-communist industrial landscape, as well as the everyday lives of anonymous Romanians caught in the vagaries of transition.
The book Dante und das Gedächtnis [Dante and Memory], published in 2021 by Schwabe Verlag Basel, is a complex interdisciplinary study addressing the issue of memory in the works of the medieval Italian writer and philosopher Dante Alighieri. The study is focused on a “historical approach”, but the investigation of the Commedia and Vita Nova makes use of narratological concepts as well. Monaco sets out to identify and interpret the reflections on memory present in Dante’s work.
The well-documented and systematized study comprises a lot of new information about the poet, politician, and exile Dante Alighieri
The essay investigates the meteorological phenomena represented in Dante Alighieri's Commedia and their interrelation with the subjectivity of the dead in Hell, Purgatory, and Heaven. Examining how the dead weather the afterlife and how the elements affect them, in turn, the essay takes the complex enantiosemy of the word 'weathering' as a conceptual guiding thread for the exploration of dynamics of exposure ('Inferno'), vulnerability ('Purgatorio'), and receptivity ('Paradiso').
Die Literaturwissenschaftlerinnen Eva-Tabea Meineke und Stephanie Neu-Wendel greifen Impulse der Forschungen Ujmas auf und erkunden in komparatistischer Perspektive "Visionen nationaler Einheit aus weiblicher Perspektive. Europäische Italienbilder von Cristina Trivulzio di Belgiojoso und Fanny Lewald". Meineke und Neu-Wendel widmen sich einem wichtigen Desiderat der Forschung, denn sowohl Trivulzio di Belgiojoso als auch Lewald waren zu Lebzeiten einflussreich, sind aber kaum kanonisiert und ihr Beitrag zur risorgimentalen bzw. vormärzlichen Literatur und zu Italiendarstellungen in dieser Zeit wurde für jede einzeln bislang nur selten und in vergleichender Gegenüberstellung noch gar nicht gewürdigt. Während Trivulzio di Belgiojoso aufgrund ihrer Zeitungsartikel 1846-47 gleichsam einen Blick von innen auf Italien gewährt, liefert Fanny Lewald in ihren Reisebeschreibungen aus annähernd derselben Zeit einen Blick von außen auf das Land. Dass und wie sich beide Frauen über gender-spezifische Normen und Konventionen hinwegsetzen und die politischen und sozialen Umwälzungen rund um das für die europäischen Nationalbewegungen zentrale Jahr 1848 genau beobachten und begleiten, ist Thema dieses Aufsatzes.
"Ulysses, Dante, and Other Stories" presents a unique form of creative scholarship. It employs Dante's late medieval take on Ulysses and his tragic pursuit of 'virtue and knowledge' as a prism that refracts an ancient myth of journey and return into a modern story of discovery and nostalgia. Working notes, fragments from Ulysses' many stories, personal memories, illuminations, and rewritings combine to form a new chain of narratives about the desire to create, the art of travelling, and the will of self-reinvention.
In den im Folgenden vorgestellten Romanen werden Uhrensammlungen beschrieben, die nicht nur auf der Ebene der Handlung von Bedeutung sind, sondern auch als Reflexionsmodelle der Romanwelten, in denen sie ihren Ort haben. Von ihrer Konzeption und Darstellung her erschließt sich auch die Poetik dieser Romane, insbesondere mit Blick auf deren implizite Konzeptualisierung von Zeit, Geschichte und Erinnerung. Und auf jeweils spezifische Weise gleicht sich die Darstellungsweise der Romanerzähler gerade anlässlich der beschriebenen Uhrensammlungen dem eigenen Gegenstand an.
The present article focuses on the typological similarities and differences at Herta Müller and Gheorghe Crăciun. As a basis serves the work of the renowned Slovak comparatist Dionýz Ďurišin, “Comparative Literature. Attempt of a methodical-theoretical framework”(1972). Unlike the genetic relationships that relate to the contact within a nation or even the world literature, the typological relationships are linked to the structure of the compared works and their internal dynamics. In this regard three kinds of typological relationships can be found between Herta Müller and Gheorghe Crãciun: social, literary and psychological-typological similarities and differences.
This introductory analysis on the subject of werewolves in the Greek and Roman worlds in its legendary, mythical, scientific and medical dimension emphasizes an intrinsic combination of negative and positive aspects, human and non-human factors, and ancient and modern components, laying the groundwork for the study of the gendered duplicity of the werewolf's Self in the modern and contemporary literature of southern and northern Italy. In this presentation of the werewolf motif on the Italian literary panorama from the 19th to the 21st century through an overview of short stories and novels, we will examine the writers who have combined ancient rural legends with metropolitan reveries to underscore the complexity and obscure double life of the werewolf.
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.
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 lively debate about the biblical topics and motifs in search for words and „unwords” represents the subject of the present study, which treats the poetry of two authors: Nelly Sachs and Nichita Stănescu. Jacob’s Wrestling with the Angel (chapter 32 of Genesis) turns out to be, for the two poets, a motive, which describes their own writing, a wrestling with the insufficiency and commonplaceness of language, a wrestling for the word, because poetry is doubtless creation, but first of all mystical revelation.
The chapter explores the dimension of the living present as a form of temporal reduction, looking at its manifestation in literary texts. Bazzoni proposes here a focus on the living present as different from a still, eternal moment, and contrasts the experience of the living present with the reduction at play in trauma. Finally, the author discusses the affective, ethical, and political dimensions of the temporality of the living present as a site of subjectivation, which effects a counter-reduction of normative discourses.
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.