Nr. 4 / 2022 – Mit den Augen des Sprechers betrachtet: Aussicht und Ausdruck. Herausgegeben von: Ruxandra Cosma, Mihai Draganovici, Hermine Fierbințeanu, Maria Irod
Heft Nr. 4 / 2022 herunterladen.
GABRIEL H. DECUBLE: Das Auge in der Hand. Lessings brave Enkelkinder oder Über die Grenzen des taktilen Diskurses
ABSTRACT: The comparative paper attempts to answer the question of the largely lacking tactile discourse in world literature in such a way that anthropological and cultural-historical aspects are considered at the same time. These explain not so much the already indisputable primacy of the eye in literature, but rather its consequences for the reduced literary productivity of the near sense. Referring to texts by Rilke, Jandl, Celan or Henry Bachau, one can verify that the blindness motif contributes to a somewhat credible, yet still rudimental emergence of a tactile discourse. However, these are but mere exceptions in the vast realm of world literature, just like Goethe’s synaesthetic exercises in the fifth Roman Elegy are: no poetics of hands, but rather an accidental encounter of erotic gesture and lyrical reasoning.
KEYWORDS: Blindness, Tactile Discourse, Goethe, Rilke, Celan
DAVID ÖSTERLE: „Bilderkampfgebiet“ – Visuelle Repräsentationen von Krieg und Terror in Kathrin Rögglas really ground zero und Sabine Grubers Daldossi oder Das Leben des Augenblicks
ABSTRACT: When photography becomes a topic in literature, the question of how the processes of visual perception are translated into language automatically gains in importance. To this end, two literary works will be examined below that deal with war, terror, and their aftermath, staging the intermedial relationship between image and text in completely different ways: Kathrin Rögglas’s narrative essay “really ground zero,” published in 2001, which seeks to capture photographically and literarily the events and media discourse in the aftermath of the terrorist attacks of 9/11, and Sabine Gruber’s novel Daldossi oder “Das Leben des Augenblicks,” published in 2016, which explores the moral and aesthetic possibilities and limits of war photography. The aim is to examine the functionalization behind the access to visual material, but also the risks that the integration of visual discourses entails for the medium of literature.
KEYWORDS: Photography, Intermediality, War and Terror, Kathrin Röggla, Sabine Gruber
CARMEN ILIESCU: „Pssst. Gebrauche deine Augen, Einstein”. Keine Rückbindungen an ein Wunderland im Roman Wunderzeit von Cătălin Dorian Florescu
ABSTRACT: The novel Wunderzeit is based on true events. Cătălin Dorian Florescu fictionalizes aspects of his own family history. The story is told from the perspective of a fictional teenager Alin who looks back at his own childhood. The first two chapters of the novel are centered on the perception of colors and are packed with rich imagery around three prevalent colors: yellow, red and black. These colors draw the reader’s attention to symbolic objects from the past: yellow was the shield on the road to freedom. Vivid red was the color of fresh and tasty tomatoes on the screen of a Grundig-TV. Red was the color of angry faces; red was the color of wounden faces. The scary flag of tyranny was red. Full of darkness is the experience of Alin and his friend on a black roof. As the story begins to develop, the narrator Alin leads us to believe that the earlier days of his life have been full of wonderful magical twists. In fact no altered perception in a traditional, romantic, dreamy sort of way is allowed. Homeland was no wonderland. Alin is not a victim of distorted sensory perceptions during trauma and stress. Habitualized coolness and good humour are his secret weapons against collective insanity.
KEYWORDS: perception, teenager, wonderland, homeland, Florescu
ALEXANDRA NICOLAESCU: Als Hitler das rosa Kaninchen stahl von Judith Kerr: Geschichte mit den Augen eines Kindes betrachtet
ABSTRACT:The novel Als Hitler das rosa Kaninchen stahl was published 1971 in Great Britain, translated into german by Annemarie Böll in 1973 and the author Judith Kerr has been awarded just one year later with the Deutscher Jugendliteraturpreis. The story about nine year old Anna, who has to escape in 1933 together with her family from Nazi Germany and relocate to Switzerland and later on to France was influenced by Judith Kerrs biography. The book finds itself nowadays in the requierd reading lists at many German schools an has been regarded as Judith Kerrs most famous novel. It is actually part of a trilogy in which the writer expresses her own experiences while reflecting in her writing the spirit of the 1930s an 1940s. Judith Kerr presents the perspective of a child and therefore the political aspects are not at the center of the story, quite the opposite, they move to the background, while the focus is being placed on the main characters personal perception of exile and a life dominated by fear and insecurities. This perspective makes the storyline in my opinion even more revealing and touching at the same time. In the following article I aim to analyse the literary manner in which Judith Kerr transforms the story of her familiy into the story of a whole generation and by doing that she earns her place amongst the authors who contributed to the process of reconstruction of collective memory.
KEYWORDS: collective memory, The Second World War, exile literature, young adult literature, Judith Kerr
NIKOLAOS-IOANNIS KOSKINAS: „Mit den Gespenstern sprechen“: Die multidimensionale und multitemporale erzählende Rede als „Mut- und
Schmerzprobe“ in Christa Wolfs Erzählung Leibhaftig
ABSTRACT: Christa Wolf has always considered literature as an ideology-critical medium for questioning Culture of Remembrance and memory myths. To do this, you need to talk to the ghosts. This is achieved by creating texts that experiment with the limits of language. The present study assumes that the novel Leibhaftig is the author’s most honest and at the same time most successful attempt in this direction, a narrative experiment that aims to “transcend the boundaries of the sayable”. The narrative is a multi-perspective polyvocal literary network. Playfully, the author experiments in two directions: with different temporal perspectives and with different forms of narrator and narrative perspective. The narrative structure is multitemporal. The level of an extradiegetic-homodiegetic narrative instance in the present is interwoven with memories from some sixty years in the past as well as from the whole history of humanity. Furthermore, the story is told in two narrative voices, both in first and third-person point of view, with the change often occurring in midsentence. The result is an open text that is not afraid of leaving the wound open, of settling accounts with one’s own as well as with the collective phantoms.
KEYWORDS:literary experiment, open text, memory, multitemporality, polyvocality
PETRA BINDER: Die Bühne in August Strindbergs Nach Damaskus – als Grenze zwischen Traum und Wirklichkeit
ABSTRACT: To Damascus (Till Damaskus) is considered August Strindberg’s first dream play, a trilogy in which the dream presents the inner world of the characters and their development. In the drama occur psychological processes and experiences, which move away from the real-life frame and at the same time, a firm connection between the real and in this sense dreamlike setting is established.
Through these characteristics of the drama and in particular through the representation of the play, Strindberg sets the foundation for a modern theater technique. He experiments with an inner stage to show what happens deep inside the human being. He succeeds in this by splitting the general stage – a concrete part in which the piece is played, and a part of the inner stage, the subconscious of the characters, which is considered a dream world – by applying stage transformations, change of plan, change of location and time, or applying the concept of play within a play.
The present paper deals with the analysis of the dream world on stage in To Damascus and with the methods, by which it is built, for example, stage directions, simplified decor, light design, sound and shadows. It is a fact that any symbol, motive, any relationship or textual information serve to present the inner world of the characters on stage. Starting from this point, I will explore which is the technical role of the dream in Strindberg`s dream play, from a scenic perspective, and how its scenic representation leads to the fact that the viewers see a symbolic world, where time and space no longer exist, in which one cannot find a concrete border between dream and reality.
KEYWORDS: Strindberg, drama, stage, reality, dream.
ANA KARLSTEDT: Bukarest durch die Augen eines Fremden. Stadtbilder anhand des Romans Die sieben Leben des Felix Kannmacher von Jan Koneffke
ABSTRACT: Jan Koneffke’s 2011 novel closely follows the path of a German fugitive that fate has sent to the capital of Romania in the 1930s. The way young Felix Kannmacher perceives his new environment, his new home defines who he is and who he will become. At first, he is frightened, insecure and feels lost in a hostile space. He is overwhelmed by sensations and does not know how to master this new location. But little by little, through the aid of experience – and not always the best one – he manages to domesticate his surroundings and be reborn. The article focuses on Felix’ (the novel’s first person narrator) view on the city of Bucharest. His ever-changing relationship with this space makes the novel so special and so fruitful for and worthy of literary analysis.
KEYWORDS: space, interculturality, home, homelessness, identity
MARIA SÂNZIANA ILIESCU: Bedrohte Wörter. Ursachen des Wortuntergangs
ABSTRACT: Archaisms and obsolete words exhibit certain lexical, morphological and pragmatic properties that have been widely debated in both canonical and recent studies. However, exhaustive research on the subject remains a desideratum, hence the need for an overview that may point out possible missing links and solutions. And this is the aim and purpose of my paper. In the light of the conference`s theme I shall firstly describe the alternative perspectives on the problematic, thus encompassing an outline of theories on language change, since these theories represent the methodological base of grasping the phenomena, with the purpose to foreground, from my point of view, a suitable framework. The further heading offers an insight into how lexicography is the diachronical resource of codifying, ergo understanding such occurences. This section also offers a selection on converse views on the nature and properties of obsolete words. Accordingly to my past research on the subject, I shall then suggest two hypotheses to highlight aspects on the subject that to my knowledge have not been approached in literature.
KEYWORDS: diachrony, lexicology, lexicography, archaisms, obsolete