850 Italienische, rumänische, rätoromanische Literaturen
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Vor uns liegt ein Kupferstich auf Papier: er misst 27,5 cm in der Höhe und 20 cm in der Breite, ein handlich-mobiles, druckgraphisches Objekt also. Am unteren Rand, innerhalb des von feinen Linien markierten Druckrahmens der Platte, stehen die drei Signaturen der an der Produktion des Blatts Beteiligten: "L.Cigoli Florent. figuravit. Cornelius Galle sculpsit. C.Galle excudit", entwerfender Florentiner Künstler ("figuravit"), Kupferstecher ("sculpsit") und Verleger ("excudit"). Das Blatt befindet sich heute im Amsterdamer Rijksmuseum. Ein geringfügig kleinerer, beschnittener Druck (26,2 cm × 19,3 cm) im British Museum in London trägt am unteren Rand nur die Marke des Verlegers aus Nürnberg: "B. Caimax excudit". Der in Florenz und Rom aktive Maler Ludovico Cigoli (1559–1613) hatte um 1595, wohl in Florenz, Zeichnungen als Vorlage für den Stich angefertigt. Er greift mit seiner Teufelsfigur eine Figuration Giovanni Stradanos von 1588 auf, die wiederum, nicht im Detail, aber in der monumentalen Anlage der Figur des Satans auf Botticellis Zeichnung vom Ende des 15. Jahrhunderts rekurriert. Vermutlich sollten die dann gestochenen Blätter zunächst als eine Art Anschauungsmaterial im Rahmen akademischer Vorlesungen und Debatten über Dante dienen. Gegen Ende des 16. Jahrhunderts waren regelrechte Wort- und Argumentschlachten unter Florentiner Intellektuellen, vornehmlich an den neu gegründeten Sprachakademien, um den Stellenwert von Dantes Dichtung im Allgemeinen und um die konkreten Formen seiner poetisch konstruierten Jenseitsräume im Besonderen ausgetragen worden. Das Londoner Blatt, in Nürnberg gedruckt und verlegt, zeigt, dass Cigolis gestochener Lucifer um 1600 auch überregional reüssierte: ein gleichsam intellektuell eingehegtes und doch ästhetisch eindrücklich neu formuliertes Bild des Teufels Dantescher Lesart, das im Medium des Kupferstichs Verbreitung findet.
"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.
Der sizilianische Dichter und Romanautor Giuseppe Bonaviri - 1924 in Mineo bei Catania geboren und 2009 in Frosinone nahe Rom verstorben - gründete 1984 den öffentlichen Gedichtpark "Il libro di pietra" (dt. "Das Buch aus Stein") in Arpino, dem Geburtsort des berühmten Staatsmannes, Redners und Rhetorikers Marcus Tullius Cicero. Zu diesem Anlass schenkte der seit 1980 wiederholt für den Nobelpreis vorgeschlagene, sein Leben lang auch als Arzt tätige und schon früh nach Mittelitalien ausgewanderte Schriftsteller der Stadt Arpino das Gedicht "Il bianchissimo vento" (1984, dt. "Der weißeste Wind"), das dort noch heute als Gründungsgedicht in Stein gemeißelt im öffentlichen Raum permanent ausgestellt ist. Der vorliegende Beitrag untersucht Bonaviris europäisches, kollaborativ angelegtes Kulturprojekt als Blaupause eines literarischen Glokalisierungsformats unter den Aspekten seiner Transkulturalität, dekolonialisierten Literarizität, weltliterarischen Parametern und kommunikativen Transmedialität. Bonaviris lokal verwurzeltes und zugleich kosmopolitisch ausgerichtetes, postmodernes Kulturkonzept verweist durch seine vielfältigen Synergieeffekte nicht nur auf die zeitlose Relevanz von Literatur und Lyrik, sondern auch auf die Schlüsselrolle einer transkulturell wirkungsmächtigen Kreativität und zukunftsorientierten 'humanitas'.
Karsten fügt der umfangreichen Lampedusa-Forschung einen wichtigen Aspekt hinzu, indem er die bislang weitgehend unbeachtete geschichtsphilosophische Dimension des Romans beleuchtet. Er zeigt, dass und wie sich Lampedusa der Zeit um 1860/61 sowohl zu erzählerischen Zwecken, zur Handlungsmotivation, Figurengestaltung und -kontextualisierung, bedient als auch dazu, geschichtliche Ereignisse dieser Zeit zu kommentieren und einzuordnen.
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.
Der Erfolg von Elena Ferrantes vierbändigem Romanzyklus "L'amica geniale" (2011-2014) wird hier in der Verortung Ferrantes in die Schule der literarischen Hontologie (Eribon, Ernaux, Louis) und in eine Strömung von Romanen, die den Klassismus anvisiert, erklärt. Gezeigt wird, wie intersektionale Verflechtungen von Ferrante in Szene gesetzt werden: Das Schicksal eines proletarischen Mädchens mit intellektuellen Ambitionen, aufgewachsen in einem Armenviertel, in dem Gewalt und Mafia an der Tagesordnung sind und immer wieder an den gesellschaftlichen Benachteiligungen sich stoßend etc. Sexismus, Homophobie, Regionalchauvinismus und andere Diskriminierungsformen leiten die Geschichte. Intersektionalität trägt das Romanganze inhaltlich; die Fiktionalisierung geht über gebräuchliche Konzepte von auto-fiction hinaus und erlaubt gerade durch die lebensweltliche Botschaft Einsichten in gesellschaftliche Komplexitäten. Genau diese Konstruktion des literarischen Textes ist für die Rezeption des Werks ausschlaggebend, zumal die Wahl des Pseudonyms der Autorin ermöglicht, die Thematisierung und Problematisierung von Intersektionalität hier und in weiteren Romanen jenseits der Tetralogie zu intensivieren, wie etwa in "La vita bugiarda degli adulti" (2019).
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.
In Fontanes "Effi Briest" wird die Aufmerksamkeit des Lesers weitaus weniger auf den Ehebruch Effis mit Major Crampas gelenkt - der in ein paar Spaziergängen und einer diskret erzählten Schlittenfahrt abgehandelt wird -, im Fokus steht vielmehr Effis angstgeprägte und gespenstisch anmutende Ehe mit dem Baron von Innstetten. [...] Nach einer Hochzeitsreise nach Italien beginnt die arrangierte Ehe in dem kleinen Ort Kessin, einer Seestadt in Hinterpommern. Die Kessiner Zeit wird für Effi zur 'Unglückszeit': Es mangelt ihr an gesellschaftlichem Umgang, sie ist wegen der häufigen Abwesenheiten ihres viel beschäftigten Mannes oft allein, vereinsamt folglich und wird von Ängsten geplagt. "Drehpunkt" der Geschichte ist - wie Fontane selbst vermerkt - ein im Haus spukender Chinese, für den es im Text nur eine einzige plausible - das heißt nicht-phantastische - Erklärung gibt, nämlich die, die vom Verführer nahegelegt wird: Innstetten selbst betätige sich als disziplinierender Erzieher seiner jungen, naturhaften Frau und habe zu diesem Zweck einen "Angstapparat aus Kalkül" geschaffen, der die junge und oft allein gelassene Ehefrau auch während seiner zahlreichen beruflich bedingten Abwesenheiten im Zaum halten soll. Die folgende Lektüre will sich diesem inhaltlichen und poetologischen "Drehpunkt" des Romans über einen verdeckten Intertext annähern. Den suggestiven Formeln eines "Erziehens durch Spuk" und eines grausamen "Angstapparat[s] aus Kalkül" wird im Folgenden detailliert nachgegangen. Im Gegensatz zu den meisten der bisherigen Interpretationen sollen diese Formeln jedoch nicht dazu dienen, den "Spuk" im Zentrum eines realistischen Gesellschaftsromans zu rationalisieren und in der durch Crampas suggerierten Erklärung eines "grausamen" Innstetten zu begründen. Der phantastische Chinesenspuk soll vielmehr im Anschluss an eine Lektüre Christian Begemanns in seiner Unerklärlichkeit aufrecht erhalten bleiben. Die Formel der gespenstischen Erziehungsehe wird im Folgenden dabei auf einen Intertext zurückgeführt, der in der Verführungsepisode - verdeckt - zur Sprache kommt. Der "Angstapparat aus Kalkül" - so die hier vertretene These - ist genau genommen doppelt vorhanden, es handelt sich um Angstapparate, die die gespenstische Ehe kennzeichnen, aber auch die Verführungsgeschichte.
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
In der Emblematik der Frühen Neuzeit wird die Eule als Motiv auf vielfältige Weise dargestellt. Hierbei ist es lohnenswert, sich die durchaus komplexe Zuschreibungsgeschichte und Symbolik der Eule vor Augen zu führen, da diese explizit und implizit in den jeweiligen Emblemen aufgegriffen werden. Das Schleiereulen-Emblem aus den "Imprese Sacre" des Paolo Aresi (1574-1644) kann als ein Beispiel für die Vielfalt der Bedeutungsebenen frühneuzeitlicher Embleme angesehen werden. Im ihm sind gelehrte Diskurse der Theologie sowie der antiken und zeitgenössischen Naturkunde versammelt.
Openness and intensity : Petrarch's becoming laurel in "Rerum vulgarium fragmenta" 23 and 228
(2022)
Our paper offers a comparative reading of Rvf 23 and 228, which describe the poetic subject's transformation into (23), or implantation with (228), the laurel tree that normally represents the poet's beloved, Laura. Bringing Petrarch's poems into dialogue with philosophical works that consider the nature of plant existence as a form of interconnectedness and porosity to the outside, we argue that the becoming tree these poems stage is a form of desire to be understood not as lack but as intensity.
This essay interprets Dante's "Commedia" as an 'open work' (Eco). It grounds its open-endedness in its representations of interruption: from fictional obstacles in the protagonist's path in the "Inferno" to the narrator's anxiety over unfinishedness in the "Paradiso". Taking its cue from Boccaccio's creative rewriting of Dante's life, the essay resists the pressure of 'total coherence' embedded in (and often projected onto) the "Commedia", in order to reclaim the material vulnerability of the text and of its author.
Ambiguitäten der futuristischen Wortkunst zielen im Kern selbst auf die Aporien der avantgardistischen Programmatik, die durch die Aufhebung der Trennung von Kunst und Leben einmal mehr ihre Bezugsgrößen verunklart. Im Zentrum der folgenden Überlegungen stehen die rhetorischen Voraussetzungen, die ein derartiges entdifferenzierendes Kommunikationspostulat des Futurismus überhaupt erst ermöglichen. Dem revolutionären Sprachkonzept der 'parole in libertà' ('befreiten Worte) geht die Idee einer verkürzten und intensivierten Sprache voraus, die es auf ihre Kürze-Verfahren zu untersuchen gilt. Die 'römische Kraftform', für die insbesondere Sallust als stilprägend gelten kann, eröffnet einen subtilen Bezugspunkt für ein Paradigma viriler Performanz, deren Wirkungsästhetik sich aus der kurzen, prägnanten, aber auch obskuren Form speist. Ausgehend von den antiken Figurationen der 'brevitas' sowie deren verstärkter Rezeption im späten 19. Jahrhundert befasst sich der vorliegende Beitrag mit den futuristischen Dynamisierungsutopien. Dabei wird die These vertreten, dass die frühen Manifeste des Futurismus vor dem Hintergrund der beschleunigten Zeiterfahrung als dynamische Kraftformen konzipiert sind. Eine detaillierte Lektüre soll hierbei eine spezifische Produktionsästhetik der Kürze freilegen. Sie zeigt sich am Analogiestil, der eine Verschmelzung differenter Gegenstände zum Ziel hat und vermittels seiner vitalisierten Komprimierungen, so zumindest lautet das häufig formulierte Anliegen der Manifeste, zum 'Wesen' der technischen Materie vorzudringen vermag. Die rasche Zirkulation der sprachlichen Ausdrücke wiederum orientiert sich konzeptuell an einer telegrammatischen Codierung der verkürzten Kraftformen. Abschließend gilt es die Möglichkeit dunkler Kürze ('obscura brevitas'), welche die semantischen Nuancierungen des Textes im hermeneutischen "Dämmerlicht" belässt, in Bezug auf den Adressatenkreis von Marinettis Lebenskunst zu betrachten. Durch die Dekontextualisierung der Analogien läuft die vitalisierte Sprache nämlich selbst ständig Gefahr, unverständlich zu sein. Es wird sich zeigen, dass der futuristische Dichter auf seine symbolistische Herkunft verwiesen bleibt, aus der heraus die Unverständlichkeit für das Publikum gerade als Indiz für das Gelingen einer hermetischen Literaturkonzeption gewertet wird. Im Sinne dieser asymmetrischen Kommunikationssituation ist schließlich auch der performative Handlungsimpuls des Künstler-'Souveräns' zu bedenken, der die kurzen Formen ins Zentrum einer Taten-Rhetorik rückt, deren eigenlogische Chiffrierung nur dem futuristischen Genius verständlich ist.
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.
Dantes Weltengedicht, das die Jenseitsreise des menschlichen Protagonisten Dante durch die drei Reiche Inferno, Purgatorium und Paradies schildert, verfügt offenbar über eine gewaltige visionäre Faszination und Ausstrahlung, die dazu tendiert, bildkünstlerische Arbeiten sowie Aneignungen in vielfältigen visuellen Medien zu stimulieren. Nicht zufällig partizipieren zahlreiche berühmte europäische Maler, Zeichner und Bildhauer an der unabschließbaren Aufgabe, die Stationen jener Jenseitsreise der Danteschen Projektionsfigur zu illustrieren oder im Medium der bildenden Kunst zu interpretieren. Vor diesem Hintergrund verwundert es außerdem kaum, dass auch die Zeichner und Autoren von Comics, Mangas und Graphic Novels im ausgehenden 20. und 21. Jahrhundert Dantes Werke und besonders die "Commedia" als geeignetes Sujet für sich entdeckt und sie in teils komplexen Text-Bild-Gestaltungen adaptiert haben. Der japanische Mangakünstler Gô Nagai schreibt sich mit "Dante Shinkyoku" (1994–1995) in den Kontext einer globalen und transmedialen Danterezeption ein und bedient sich dabei vielfältiger Referenzen auf die europäische Geschichte der Dante-Illustration.
Dantes Weltengedicht, das die Jenseitsreise des menschlichen Protagonisten Dante durch die drei Reiche Inferno, Purgatorium und Paradies schildert, verfügt offenbar über eine gewaltige visionäre Faszination und Ausstrahlung, die dazu tendiert, bildkünstlerische Arbeiten sowie Aneignungen in vielfältigen visuellen Medien zu stimulieren. Nicht zufällig partizipieren zahlreiche berühmte europäische Maler, Zeichner und Bildhauer an der unabschließbaren Aufgabe, die Stationen jener Jenseitsreise der Danteschen Projektionsfigur zu illustrieren oder im Medium der bildenden Kunst zu interpretieren. Vor diesem Hintergrund verwundert es außerdem kaum, dass auch die Zeichner und Autoren von Comics, Mangas und Graphic Novels im ausgehenden 20. und 21. Jahrhundert Dantes Werke und besonders die "Commedia" als geeignetes Sujet für sich entdeckt und sie in teils komplexen Text-Bild-Gestaltungen adaptiert haben. Der japanische Mangakünstler Gô Nagai schreibt sich mit "Dante Shinkyoku" (1994–1995) in den Kontext einer globalen und transmedialen Danterezeption ein und bedient sich dabei vielfältiger Referenzen auf die europäische Geschichte der Dante-Illustration.
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.
The motif of the „sun wedding“, which has its origin in ancient mythology, can also be found in the Romanian folk ballad The sun and the moon, where the action takes place around the conflict with etiological meaning of the love between brother and sister. So, the ballad tries to explain some natural phenomena and tries to answer the question, why the sun never meets the moon in its way across the sky. Masterpiece of Romanian folk poetry, the ballad of the sun wedding with the moon raised the interest of German translators, who proved the size of their talent by translating the ballad in German and by popularizing it among the German readers in the country and abroad. The present study analyses the variants of translation of five authors in different centuries (the 19th and the 20th century) and aims to highlight the difficulties, the solutions and the takeovers of the time, 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.
Fascinated by the exotic India, Mircea Eliade decided to explore closely the culture and its subtleties. In 1929 he received a scholarship for five years to study the culture and religions of India under the guidance of the illustrious scholar Surendranah Dasgupta. During the time spent in the master‘s house, Eliade gets to know his daughter Maitreyi, whom he falls in love with and they will experience a beautiful and exciting love affair. This relationship will subsequently be the subject of the novel with the same name. Unique case in the history of world literature, the novel Maitreyi will receive a reply over the years, still under the form of a fascinating narration, whose author is the main character Maitreyi Devi herself. It Does Not Die (Love never dies, in Romanian translation; Die Liebe stirbt nicht, in German translation) will become the platform that will host the narrative duel of Eliade the author become character, and Maitreyi Devi, the character, who became author. In our analytical approach we tried to render the ways in which this intercultural dialogue at a distance was perceived in the German linguistic area.
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 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.
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 text introduces the anthological volume of Queen-poetess Carmen Sylva Poveştile unei regine [The Stories of a Queen] and highlights the fact that both her prose – tales and stories – and her poems are representative not only of her favorite themes and motifs, but also of the specific stylistic features of the author.
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.
The present article focuses on the preservation of identity in the works of three Romanian-born authors (two of them of German origin – Herta Müller and Hans Bergel and the third of Jewish origin – Norman Manea). Their existence has been highly influenced on the one hand by being born in Romania, by the interaction with Romanian people, on the other hand by the oppressive communist regime under Ceaușescu, having to undergo censorship, imprisonment and even deportation. Therefore, all three authors have chosen to leave Romania and emigrate to Germany or America. These experiences have added new dimensions to their concept of identity. At the same time, they act as intermediaries between cultures, and keepers of their own multi-layered and complex identity.
The Romanian poet and essayist Ion Pillat (1891-1945) ranks among the relatively often translated writers of his generation (authors who were active during the interwar period). His works have kept the attention of the German readership several times: Two volumes by Ion Pillat, which appeared in 1943 and 1976 (containing translations by Konrad Richter and Bernhard Capesius, respectively by Wolf von Aichelburg), as well as varied publications in anthologies and other publications have contributed to the spread of his work in Germany and Austria. The author offers an overview of the existing translations and, in the end, refers to his own attempts at translating Ion Pillat’s poetry into German.
This succint introduction to Radu Vancu, the young poet and university lecturer invited to the reading organized by the Department of German Studies as part of its annual scientific conference, offers some biographical and exegetical points of reference for the author’s literary and professional evolution. For instance, there is the apprenticeship (rather a “friendshipin-love”) with the venerated master: the poet, gifted translator and man of culture Mircea Ivãnescu, whom he praises in his doctoral thesis as ”the poet of absolute discretion”. Then there is his editing activity at the “Transilvania” Cultural Journal, a publication of original critical and essayistic writings. His forceful, resourceful and sensitive lyrical work shows two dominant themes: on the one hand, the traumatising early loss of his father, and on the other hand, the birth and growing-up of his son Sebastian, for whom the poet builds, with endless affection and humour, a magical livresque universe, populated by fabulous creatures.
This article deals with the representation of motherdaughter relationships in novels by Herta Müller, Aglaja Veteranyi, Carmen Francesca Banciu and Gabriela Adamesteanu, all of them born in Romania. Herta Müller and Aglaja Veterani constantly wrote in German, while Carmen Francesca Banciu changed her language after emigrating to Germany and Gabriela Adameºteanu’s language has always been Romanian. Mother-daughter relationships are analysed in regard of female genealogy, but also considering their complexity and ambiguity. It is shown that representations of mother-daughter-relationships are depending rather on individual and psychological criteria than the author’s cultural or ethnic affiliation. Maybe a larger study, which could not be made in this article, could reveal more detailed results.
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.
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 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.
The article focuses on Herta Müller and Mircea Cãrtãrescu, two authors from the same generation, who in their respective novels Herztier and Orbitor gave different accounts on the situation in Romania during the 70s, the 80s, of the terror during the Ceaușescu-dictatorship, and on the December revolution. Multiple factors allow a parallelized and comparative description of these two novels: biographical and work-immanently factors. A similarly described world, marked by Kafkaesque elements – Romania amid the dictatorship of Ceauºescu, as well as similarly handling elements of oppression, fear, humiliation, forms of survival, description of the totalitarian state representatives, accurate highlights of the December revolution connect the two autobiographical novels. While the reader can sense in Müllers book the fear and the terror very deeply, as the death and the emigration are solely alternatives for the protagonists, Cãrtãrescu’s universe has signs of grotesqueness and ridiculousness. Cãrtãrescu doesn’t accentuate the terror, the hopelessness, the fear, but mocks the reality, and he laughs at Ceausescu’s stupidity. The author satisfies his desire of revenge for his stolen youth in the communist period.
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.
Die synästhetische Darstellung der Welt als erotische Reise in Gheorghe Crăciuns "Femei albastre"
(2015)
The novel Femei albastre, published in an unfinished version six years after the death of its author, the Braşov born writer Gheorghe Crăciun, registers a complex symptomatology of losing and finding oneself on the background of the Romanian post-communist transition. The main theme is the narrative depiction of the senses‘ polyphony, the daily drama of the body, whose fundamental loneliness can be observed both in the pain, as in the Eros. The main aim of this article is to present the narrative filtering of various synaesthetic aspects, the written transfiguration of the nformation received through the senses. This is done through a series of experimental techniques, such as photographic reproduction, camera perspective and commuting between the real and the imaginary. Just like one of Crӑciuns earlier novels, Pupa russa, Femei albastre is also not an entirely epic novel, the story is replaced also in this case by a detailed observation and a profound introspection, by a sensory exploration of the world, including its internal transformations and the physical perception. The author himself claims that this novel is to be understood as a conglomerate of eroticism, sensuality and somatic investigation: „Şi acest roman este focalizat asupra erosului, cu nu puţine deschideri spre erotism, senzualitate şi explorare somatică“.
The Romanian literature of the 18th century is witnessing a remarkable metamorphosis, whereas step by step the Enlightment’s ideas penetrate the Romanianspeaking soil and through various mechanisms replace the medieval order in society, politics and arts. In this time of the Enlightment the small popular book “Bertoldo” from the late Italian 16th century was adapted in French and then in German and through the German intermediary reached Transylvania at the end of the 18th century (Hermannstadt, 1799). In the centre of our analysis we place the concept of “cultural transfer” and that of the “cultural translation”, concepts that help us illustrate the adaptation strategies of the foreign material and the integration principles of the Enlightment’s ideals on the Romanian soil. Working with eloquent examples from the “Bertoldo”-text in a comparative manner we will try to bring to light the interaction of the poetical and ideological functions of the translations from German and its role in forming and shaping a new kind of Romanian cultural and literary sensibility.
The subject of the present study represents the artistic personality of the German writer Mite Kremnitz (1852-1916), which takes into consideration both facets of her work, as a translator and as a novelist. On the one hand and as an author in her own right, Mite Kremnitz is the carrier of Romanian realities; on the other hand she has the merit of having been the first one to translate contemporary literature from Romanian into German.
The following article analys the perception of th famous character Till Eulenspiegel (Howleglas) in Romania, mostly focusing on „Întâmplãrile ºi faptele de pominã ale nãzdrãvanului Til Buhoglindã”, retold by Al. Alexianu. His fame was currently brought by the numerous translations, in 280 languages. The first complete Romanian translation was published in 1840, in Braºov. The book represented a major success towards the Romanian audience, following other editions being published (1848, 1856, 1858, etc.). The 43 tales chosen in the 1970s edition are focused on Till Eulenspiegels-character (translated in Romanian as Til Buhoglindã), revealing his complex personality, as well as his amuzing and educational side.
Undoubtedly, the episode referring to the ,Minnegrotteʼ contains the most different interpretative approaches from the entire Tristan narrative. It is nevertheless possible that many motives and methods of procedure specific to various traditions (antique and Christian, in particular) merge into one unity, in order to legitimize the extramarital relationship between Tristan and Isolde in a secluded space which subordinates itself to a completely different view of the world. When contemplating the parallelization to the sacred love, Gottfried implies that the lovers find themselves in a place, which serves them as shelter, and within this place only the harmony generated by love may prevail. This creates an alternative reality in the Minnegrotte, where the transition between Marke’s court and the ,Lustortʼ can be observed. Providing a detailed description of the latter (with the main focus on the food miracle and the autobiographical excursus), the author has succeeded in bringing together the conceptual topological features of the locus amoenus, the ,love cathedralʼ, and the paradisus, in order to include the real ,minneʼ in the memoria.
The author, attracted to the Romanian poetry written during the inter-war period, tried to translate into German some of the poems wirtten by Ion Pillat and Ion Barbu. From this pursuit he could learn a lot, not only thanks to his inclination towards the original text, by interpreting it from a semantic point of view, but also by searching the lexical equivalents established in the target-language. In the magazine, there are introduced poets that belong to the younger generation and so, he managed to approach their licirical creations more as a translator, especially those written by Nichita Stănescu and Ioan Alexandru. At the same time, the author narrates some of his experiences regarding the folklore poetry, his steps concerning the translation of the ballads written originally by Transylvanian Saxons in the literary German. Moreover, he does not fail to outline the realization of a short edition from the piece of work, created in Latin by the Transylvanian humanist Christian Schesäus, the poem Istoria Anei Kendi, translated with the help of a few contributors in Romanian, Hungarian and German.
Beispiel, Erfahrung, Theorie : Übersetzungswissenschaftliche Anmerkungen von Hermine Pilder-Klein
(2010)
The present article concentrates on the activity of Hermine Pilder-Klein as theoretician and translation critic. (Hermine Pilder-Klein: translator from Romanian to German of the second half of the 20th century carried out 80 translations from this cultural space in the period 1933-1972. Horst Schuller makes reference to 2 articles that are kept in the archive of the Museum of Gundelsheim: 1. a review of the volume Siebenbürgisch Sächsisches Wörterbuch (Transylvanian Saxon Dictionary) published in Bucharest. The review was published in the No. 4/1972 of the periodical Vierteljahresblätter in München; 2. a critical presentation of the volume Rumänische Volksmärchen (Romanian Folk Tales) edited by Ovidiu Bârlea and Felix Karlinger (the volume was published in 1969 in Düsseldorf/Köln: Eugen Diederichs Verlag), the work bearing the title Übersetzung-Schlüssel und Brücke (Translation – Key and Bridge) (1977), remained unpublished and was taken over by Horst Schuller in the present article.
Analizând contactul intercultural româno-german iniţiat pe calea traducerilor, prezentând momente istorice, biografice şi estetice de vârf, se supun analizei criteriile ce permit stabilirea unor paradigme calitative de structură, proces şi eficienţă. La începutul traducerilor din literatura cultă pare-se că a stat şi Mihail Kogălniceanu cu a sa traducere din Asachi (“Odă către Italia”, apărută în 1837 la Berlin). Traduceri mult mai sistematice şi cu o mai largă răspândire în spaţiul european şi un ecou deosebit se datorează unor traducători ca Josef Marlin, Carmen Sylva, Hermann Roth, Alfred Margul-Sperber, Oskar Pastior, Dieter Roth, Werner Söllner, ale căror motivaţii, preferinţe, teoretizări şi rang se recontextualizează exemplificându-se astfel diferite stadii în istoria propagării literaturii române culte şi populare, subliniindu-se situaţia sociologică actuală de unicitate, datorităfaptului că în prezent trăiesc foarte mulţi potenţiali traducători de literatură română în spaţiul lingvistic german. Cel mai notabil succes de mijlocire literară se datorează în prezent lui Gerhardt Csejka din Frankfurt pe Main, care (traducând şi pentru reviste româneşti online) a devenit traducătorul fidel al autorului Mircea Cărtărescu.
Deutsches Kulturgut im rumänischen Hermannstädter Periodikum "Provincia literară" (1932 bis 1934)
(2008)
Articolul de faţă prezintă rezultatele analizei şi catalogării articolelor ce cuprind referiri la cultura germană prezente în revista de literatură, critică şi artă Provincia literară, care apare la Sibiu între anii 1932-1934. Numărul acestor articole este relativ scăzut, dată fiind şi perioada scurtă de apariţie a publicaţiei, dar subiectele tratate dovedesc cu generozitate aprecierea de care se bucură cultura germană în acest centru cultural care a fost Sibiul dintotdeauna.
Goethes "Faust" in der Übertragung von Ştefan Augustin Doinaş : Ergebnisse einer Übersetzungsanalyse
(2007)
Der Dichter als Stifter und/ oder Anstifter : deutsch-rumänische Lesarten gegenwärtiger Lyrik
(2007)
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.