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АВТОРСЬКІ ІНТЕРПРЕТАЦІЇ ОБРАЗУ ПУБЛІЯ ОВІДІЯ НАЗОНА В ПОЛЬСЬКІЙ, АВСТРІЙСЬКІЙ ТА УКРАЇНСЬКІЙ ЛІТЕРАТУРАХ ДРУГОЇ ПОЛОВИНИ ХХ СТОЛІТТЯ

Author(s): Ivan Davydenko / Language(s): Ukrainian Issue: 2/2014

The article deals with the problem of Ovidius phenomenon in the context of general principles of the interpretation theory. The understanding of the artist’s fate in Polish, Austrian and Ukrainian literature of the second half of the 20th century has been investigated. The work also exposes the peculiarity of the ancient Roman writer’s transformation from a historical personality into a literary image.

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Mythen , Märchen Und Träume Als Typische Merkmale Der Postmodernen Literatur In Martin Mosebachs Roman ”Die Türk In“ Im Vergle Ich Mit Peter Handkes “Mein Jahr In Der Niemandsbucht “ Und Orhan Pamuks ”Die Weisse Festung“

Author(s): Sedat İnce / Language(s): German Issue: 80/2014

Contemporary postmodern writers often use elements of myth, fairy tales and dream, and as a result, it enables them to intertwine between different time periods or to create a mixture of reality, fairy tale and dream. In this way, they are able to transmit fantastic elements into a realist narration by making reality relative and put forth illusory knowledge transfer of our senses. This unlimited freedom of narration, mostly preferred by postmodern writers, is expressed in the works of contemporary writers by way of putting together all the contrasts creatively. Nevertheless, these unrealistic narrative elements used in a particular frame help the writer to reflect his sense of reality freely. As an example of this, Martin Mosebach’s 1999 novel “Die Türkin” is analyzed here. In this novel, a young German academician who is on the peak of his career, falls in love with a Turkish girl who lives in Germany and instead of going to America for furthering his career, he comes to Turkey after her. Thus, novel creates levels of narration where cultures of east and west collide with each other and this changes the perception of reality. In this study, the novel is analyzed by focusing on these historical myths, fairy tales and dreams used in the narrative. After a brief summary of the plot, the sections related to mythology, fairy tale and dreams are selected, quoted and interpreted. At last, the same narrative elements of “Die Türkin” are compared to the Austrian novelist Peter Handke’s novel “Mein Jahr in der Niemandsbucht“ and the Turkish novelist Orhan Pamuk’s novel “The White Castle ”. The common or similar usages of postmodern elements in these novels are analyzed.

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Lindja e Albanologjisë sipas shkrimeve Gjermane dhe Austriake

Author(s): Albert Doja / Language(s): Albanian Issue: 46/2016

In this paper, author aimed to contribute to the debate about hegemonic relations between the West European ‘‘core’’ and southeast European ‘‘margins,’’ by showing the links between mutually challenged and engendered quasi-anthropological traditions in the totalitarian projects of nation-building and empire-building. New aspects of a continuous resonance were addressed between a politically instrumentalized Albanian tradition of ‘‘folk’’ or people’s culture studies (kultura popullore) and a German-speaking tradition of Volks- and Völkerkunde grounded in Herderean Romanticism and the imperial ambitions of the nineteenth century. In the course of discussion the successive German traditions of National Socialist Volkskunde and Communist East German Ethnographie, until the revised tradition of Europaische Ethnologie in the 1990s, are shown to operate from a historicist tradition rather than from a critical tradition as a reflexive successor to former Volkskunde. In the course of this discussion, he paid particular attention to contextualizing the historical and current production of knowledge by the German and Austrian ‘‘West’’ on a Balkan and Albanian culture, which is reduced to its archaic or pre-modern ‘‘traditions’’ and its specific or antiquated ‘‘mentalities.’’

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Umiranje s Rilkeom

Author(s): Josip Andrić / Language(s): Croatian Issue: 1+2/2017

Jozo Džambo, historičar i esejist, napisao je rad pod naslovom Jedna neobjavljena kritika Jelenićeva djela “Kultura i bosanski franjevci”. Taj rad je objavljen u časopisu Bosna Franciscana br. 43/2015. Nemam namjeru govoriti o tom radu, nego o nečem drugom. U tom se radu, naime, nalaze i kopije pisama fra Pave Dragičevića, širokobriješkoga gimnazijskog učitelja. Imao je krasan rukopis. To se vidi u spomenutom časopisu na 121. stranici u njegovu pismu upućenom Karlu Patschu, austrijskom slavistu, arheologu i povjesničaru.

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Ondyny i meluzyny we współczesnej niemieckojęzycznej literaturze kobiet (Bachmann, Neuwirth, Frischmuth)

Author(s): Nina Nowara-Matusik / Language(s): Polish Issue: 2/2018

The article is an attempt at a gender reading of the motif of undine and melusine in three texts by contemporary Austrian writers: Ingeborg Bachmann („Undine Goes”), Barbara Neuwirth („Nimm diese Rosen, Schöne”) and Barbara Frischmuth („Otter”). In the introduction, the author describes the mythological and literary context in which this motif functions, and then places the analyses of the above mentioned works against this background. Another important issue is the question of the feminist progressiveness of the texts under examination: basing on the assumption that Bachmann’s work is characterised by (pre)feminist thinking, the author places in its context the texts by Neuwirth and Frischmuth, written several decades later.

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Alexander Sacher-Masoch - Maslinici u plamenu

Author(s): Nadira Puškar / Language(s): Bosnian Issue: 7/2010

Austrijski pisac Alexander Sacher- Masoch rođen je 18. studenoga 1901. godine u Wittkowitzu, Moravska. U Moravskoj se rodio igrom slučaja. Njegov otac, Arthur Wolfgang Ritter von Sacher- Masoch, po profesiji časnik, često je mijenjao odredišta službovanja. Alexanderova ljubav prema književnosti i pisanju nije slučajna. Njegov otac se također okušao u spisateljskim vodama i bio poprilično uspješan. Pisao je pod pseudonimom Michael Zorn i objavio nekoliko romana i niz kratkih priča. Po njegovom romanu Izmedu rijeke i stepe (1936), 1938. godine je snimljen film sa Attilom Hörbiger u glavnoj ulozi.

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Miejsca bezpieczne: Kafka, Walser, Schulz

Author(s): Marek Wilczyński / Language(s): English,Polish Issue: 11/2018

The paper begins with a reference to Franz Kafka’s unfinished long short story “The Burrow,” which has been chosen as a starting point of a series of intertextual associations focusing on futile efforts made by various modernist literary narrators and characters to find a sense of safety in some specific settings. The route from “The Burrow” runs through selected short stories by Robert Walser toward late fiction by Bruno Schulz, in particular “The Republic of Dreams” and “The Homeland,” revealing affinities connecting the Polish writer from Drogobych with two writers of the German language, who shared his fears and obsessions.

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FRANZ KAFKA, ”THE METAMORPHOSIS” – EXPRESSION OF THE RELATION BETWEEN ANTROPOLOGY AND HEALTH

Author(s): Clementina Mihăilescu / Language(s): Romanian Issue: 11/2017

The paper expands upon Kafka's “Metamorphosis” as the extreme representation of alienation neurosis caused by “the arbitrary character of the infinite and by existential absurdity” (Chira, 183). From a methodological point of view, we will turn to good account the concept of “time's thermodynamical arrowˮ which reveals “the sense of time where disorder or entropy increases” (Hawking, 113). In order to properly approach the individual disorder and the mental and spiritual dislocation of Kafka's character, Jung's psycho-analytical theory, Bachelard's aesthetics and Chira's interdisciplinary studies will be also taken into account and closely observed in our analysis of the dramatic effects of the extreme form of alienation described in “Metamorphosis”.

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SIGNIFICANT INSIGNIFICANCES: WINSTON SMITH’S DIARY AND OTHER RECLAIMED HISTORIES

Author(s): Tom Phillips / Language(s): English Issue: 26/2019

The construction of counter-narratives which reclaim and rename history by challenging hegemonic discourse cannot simply be a question of replacing one metanarrative with another. Genuine counter-narratives also challenge the category of “the historical” itself, blurring its parameters and making value-claims for what is often regarded as historically insignificant or marginal. In this chapter, I examine works by three authors – George Orwell, Charles Olson and Georgi Gospodinov – who, despite the diversity of their outlook, output and circumstances, exhibit a shared interest in the significance of the seemingly insignificant and in its potentiality as a foundation for ethical challenges to the assumptions and definitions of hegemonic metanarratives. Winston Smith’s diary in Orwell’s 1984, the autobiographical anecdotes, obscure historical documents and local mythology included in Olson’s Maximus Poems and the fragmentary texts of Gospodinov’s Всички нашите тела are discussed in relation to Kierkegaard’s notion of dignity in personal history, Lyotard’s definition of postmodernism as an “incredulity towards metanarratives” and Auerbach’s discussion of modernism in Mimesis, which also serves to illuminate continuities between the different “epochs” of the modernist/post-modernist age as well as identifying a possible need to interrogate the way literary history itself is defined and narrated.

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ქალური ენისა და თვითგამოხატვის პრომლემები ინგებორგ ბახმანისა და ლია სტურუას პოეტურ ტექსტებში

Author(s): Salome Pataridze / Language(s): Georgian Issue: 20/2/2019

Feminist theories mainly take the initial from the idea that there exists an established identity expressing the category of “woman”. The identity shall create the subject that may be politically and historically represented. The concept “representation” has two functions in this case: on the one hand it gives more public visibility and legitimacy to the woman as a subject, and on the other hand, the representation is considered to be a normative function of the language either revealing or distorting the category of woman. Feminist theories/literary studies often see the creation of such language as the main need for the full and adequate representation achieving the public visibility of women (establishment as the subject). This article analyzes some lyrical works of Austrian Ingeborg Bachmann and Georgian Lia Sturua from the perspective of post-structuralism, namely, Jacques Derrida’s concept of written language and its binary nature, Lacan’s denial of the Woman’s existence and the subject’s shift to the symbolic order, also Julia Kristeva’s, Luce Irigaray’s, Hélène Cixous’ ideas on problems of feminine language and self-representation in the patriarchal/symbolic order. The analysis of poems of Ingeborg Bachmann and Lia Sturua shall highlight specific features of feminine language and challenges to the self-representation of woman.

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W sprawie idiogenicznej teorii sądu

Author(s): Adam Olech / Language(s): Polish Issue: 14/2017

The subject of this article is an analysis of three sentences from Franz Brentano’s The Psychology from the Empirical Point of View. These sentences speak about the essence of the idiogenic theory of judgement. This essence is that the judging subject affirms the objects that were already presented by him as true or rejects them as false.

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O pożytkach z gniewnych ekspresji bólu. Przywrócona podmiotowość i perwersyjne pragnienie przynależności w kontekście opowiadań Thomasa Bernharda

Author(s): Sebastian Porzuczek / Language(s): Polish Issue: 42/2019

The aim of this article is to present the relation between pain and anger in Thomas Bernhard’s autobiographical stories: Der Atem. Eine Entscheidung and Die Kälte. Eine Isolation. The Austrian writer precisely reconstructs the social context of recognising disease and the status of suffering in institutional medicine. In this article, the tension between individual experience of pain and therapeutic procedures is analysed in the context of power and domination. However, the author pays special attention to the problem of subjective transformation of pain into anger (the logic of rebellion, agon).

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Эстэтыка i паэтыка «садысцкiх вершыкаў» у полiсiстэме сучаснай беларускай i замежнай паэзii

Author(s): Lûdmila Sadko / Language(s): Belarusian Issue: 13/2021

The article describes peculiar features of aesthetics and poetics of “sadistic verses” in the creative work of modern Austrian poet E. Yandle, Russian author A. Grygoriev and Belarusian masters of artistic word V. Zhybul and V. Burlak. Using the means of grotesque, carnivalization, illogic and black humour the authors show their protest against an excessive normativity and nihilistic pathos to modern reality with its standards, and create a peculiar lyrical hero – a weirdo, an eccentric person who falls into the chain of catastrophes, crashes and accidents.

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Thomas Bernhard, Kant und der Papagei

Author(s): Cornelia Eșianu / Language(s): German Issue: 22/2022

In Thomas Bernhards Komödie Immanuel Kant will Kant, der Protagonist, eine Vorlesung halten, die allerdings nicht zustande kommen kann. Der bernhardsche Kant leidet wegen seines vorangeschrittenen Alters an Glaukom, dem grünen Star, und befindet sich mit seiner – man höre und staune – Frau und anderen Charakteren wie Ernst Ludwig und seinem im Käfig und meist unter einer Decke sich befindenden Papageien Friedrich, dem „Meistgehaßte[n]“ – denn der „psittacus erithacus“ war der „Philosoph an sich“, in „sich selbst“ –, aber auch der Millionärin, einem „Kind des Kapitalismus“, wie sie sich selbst beschreibt, oder der „Millionärrin“, wie diese von Kant genannt wird, dem Kardinal, dem Admiral, usw. an Bord eines Luxusschiffes auf dem Weg nach Amerika. Hierhin will Kant die Vernunft bringen und sein eigenes Augenlicht wiedererlangen. Vorliegender Text widmet sich einer näheren Untersuchung des Papageien Friedrich in Bernhards Theaterstück. In einem ersten Schritt werden die sogenannten Sprachspiele des Papageien beleuchtet, während in einem zweiten Schritt hermeneutisch vorgegangen und konkreter nach Rolle und Bedeutung von Friedrich gefragt wird.

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Kritika

Author(s): Jadranka Pintarić,Tvrtko Vuković,Cvjetko Milanja,Lucija Ljubić,Tatjana Jukić,Martina Petranović,Snježana Kordić / Language(s): Croatian Issue: 03+04/2003

Reviews of: Kakve je boje nemir? Vesna Parun: Noć za pakost, Moj život u 40 vreća. Matica hrvatska, Zagreb, 2002; Prema enciklopedističkoj povijesti hrvatske književnosti Cvjetko Milanja: Hrvatsko pjesništvo od 1950. do 2000., II. dio. Alfa Gama, Zagreb, 2001; Barkovićeve opsesije Josip Barković: Rasplet u Rimu. P. I. P., Zagreb, 2002; Društvena kritičnost novije austrijske drame Sead Muhamedagić: Antologija novije austrijske drame. Hrvatski centar ITI-UNESCO. Biblioteka Mansioni, Zagreb, 2002; Kapitali Kellyjeve bande Peter Carey: Istinita povijest Kellyjeve bande. Preveo Vladimir Cvetković Sever, Zagreb, VBZ, 2002; Neutaživa glad za kazalištem Dalibor Foretić: Iluzija nije opsjena. Novi list — Adamić, Rijeka 2002; Priručnik iz leksikologije Danko Sipka: Osnovi leksikologije i srodnih disciplina. Budućnost, Novi Sad, 1998;

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Misterul unui spectacol de mister

Author(s): Anca Berlogea / Language(s): Romanian Issue: 1/2019

August Strindberg’s last drama The great highway (1909), as well as Hugo von Hoffmansthal’s Jedermann (1911), were written almost at the same time, and were both inspired by the tradition of medieval mystery and morality plays. While Hoffmansthal work, first performed in 1911 under the direction of Max Reinhardt, knew an unprecedented success, opening each year, since 1920, the Salzburg Theatre Festival, Strindbergs play remains unknown. It’s rare stagings have been received by criticism and seemed doomed to failure. The paper proposes to point out the way both drama writers have creatively used the structure of the medieval play as their source and to identify what might have been the reason for their success or failure, looking at how both plays were staged, promoted and perceived.

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RILKEOVA OPORUKA NIHILIZAM KAO UNHEIMLICHKEIT

Author(s): Žarko Paić / Language(s): Croatian Issue: 35-36/2022

Does the poetic language make sense in the age of scientific and technical attack of battle and time? No one answered that question more credibly than the "last poet" with whom the withered power of modernity rose to a sign of the magnificent sophistication of a world in disarray. Already in the first of the ten Divine Elegies, Rainer Maria Rilke hits on the essence of what combines beauty and horror in a metaphysically opaque way. So, let's remember the song with which the reflexive analysis of what we still call time in the meaning of the spiritual battle as a connection/relationship between man and the world suitable for him begins. At the same time, Rilke does not take the figure of an angel only from the symbolic tradition of Christianity. Something else is much more important. Namely, the angel here is the mediator between the separated worlds, the hereafter and the hereafter. At the same time, it is a harbinger of future times and a bearer of the hidden meanings of the worldliness of the world.

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Vor 1914 Die literarische und publizistische Vorwegnahme des Ersten Weltkriegs – bei Bertha von Suttner

Author(s): Johann Georg Lughofer / Language(s): German Issue: 31/2022

The meanwhile numerous studies on literary anticipations of the Great War and journalistic confrontations with the modern, mechanized mass war before 1914 all exhibit one major shortcoming: They partially or completely omit mentioning the well-known pacifist and first Nobel Peace Prize laureate Bertha von Suttner, although her successful novel »Ground Arms!« and other, journalistic texts on the level of content, composition, and language prepare literary and other textual strategies of coping with the experience of the Great War. This paper offers a detailed exploration of these strategies.

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Two futures imagined in the post-socialist Yugosphere

Author(s): Lejla Vesković / Language(s): English Issue: 01/2022

The paper aims to present two proto-utopias active in the contemporary Yugosphere. It takes two novels as the representatives of those two juxtaposed narratives – Saša Ilić’s The Dog and the Double Bass and Peter Handke’s A Journey to the Rivers: Justice for Serbia. Hanke’s novel is being treated as a representative of a nationalist realist literary tradition codified by Dobrica Ćosić marked by self-victimization and self-balkanization, the concept of genocide, elements of camp literature, orientalization and demonizing of the Other, theories of neo-pagan conspiracy, belief in the historical mission to be “antemurale Christianitatis” but also a belief of having a mission to revive decadent Europe with barbarogenius spirit. As I agrue this tendency was strengthened by Emir Kusturica’s foreword to the novel, whereas in the very novel only orientalization and balkanization can be recognized. Ilić’s novel is treated as a representative of a socialist modernist tradition and the canon established by Krleža and especially Kiš. The common characteristics of the identified literary genre present in the novel are the revaluation of nationalist canon, criticism of the wartime past, struggle to overcome traumas of the wartime past, imposing question of guilt and responsibility for the bloody dissolution of the former Yugoslavia, advocating secular and cultural tradition of socialist enlightenment but also revaluation of the totalitarian practices of the former socialist regime, the evident influence of western popular culture, the reverberation of the former so-called “non-alignment policy” and also criticism of the class divided and profit-driven predominantly western system of values. Two mentioned homogenized narratives currently take turns in overtaking public imagination. Future will show which future will prevail.

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Пишещият герой в следвоенната немскоезична литература

Author(s): Ivan Popov / Language(s): English,Bulgarian,German Issue: 2/2023

The article analyzes four novels by the Swiss authors Max Frisch and Urs Widmer, as well as by the Austrian Thomas Bernhard. In all of them the narration is of the so called “unreliable” kind, which is to be explained by the modern problem of the relation between life and literature and the different ways the texts approach that problem. The conclusion is that during the second half of the 20th century writing and fiction were gradually losing the aura of being “the other” to life which Modernism used to ascribe to them.

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