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Männergestalten in Martin Walsers Ein fliehendes Pferd

Author(s): Orsolya Nagy-Szilveszter / Language(s): German Issue: 3/2014

Martin Walser’s short story called Ein fliehendes Pferd is simultaneously a psychogram and analysis of the society depicted; discrepancy and sterility of life, performed roles and reality, loss of the self, search for identity, relational poverty, construction of fake identities and the lack of real communication are themes projected into the novella through the characters. The constellation of the four figures reveals a strong polarity between the male characters, being deeply marked by the compulsion to flee. The main aim of the present paper is the analysis of various aspects of the character constellation so that the focus is directed on Helmut and Klaus’ chess-like relationship.

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Frauenfiguren in der deutsch-jüdischen Gegenwartsliteratur. Rafael Seligmanns Roman Die jiddische Mamme

Author(s): Alois-Richard Kommer / Language(s): German Issue: 3/2014

The paper deals the stereotype of the Yiddish mother („jiddise máme“) as it is treated in the novel „Die jiddische Mamme“ written by Rafael Seligmann, a Jewish journalist and writer. The aim of the analysis is to search the answer to the question whether the writer presents the stereotype or fights against it. It presents not only the stereotype of the mother but that of the Jewish and German woman, as well. The analysis demonstrates that these characters fit into the stereotypes that exist in Germany and Israel.

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Die Böhmischen Länder aus Wiener Perspektive. Zum Abschluss des Wiener Vormärz‑Slavica‑Projekts

Author(s): Steffen Höhne / Language(s): German Issue: 1/2020

Es ist ein voluminöses Werk geworden, mit dem das an der Wiener Akademie der Wissenschaften angesiedelte Slavica Projekt nun zum Abschluss gebracht werden konnte. Die Rede ist von dem auf insgesamt fünf Teilbände angewachsenen Band Nummer V der kommentierten Bibliografie zu den Böhmischen Ländern in den Wiener Zeitschriften des Vormärz (1805–1848). Ursprünglich unter Günther Wytrzens 1982 mit der Erfassung von Texten der Slavica in den Wiener gelehrten Zeitschriften und Unterhaltungsblättern begonnen, kam das Projekt 2003 im Rahmen des Forschungs schwerpunktes Orte des Gedächtnisses – Erinnerungsräume an die Kommission für Kultur wissenschaft und Theatergeschichte unter der Leitung von Moritz Csáky, die seit 2009 von Michael Rössner geleitet wird.

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Kafka und Marty. Anhand der Zwei Gespräche aus Beschreibung eines Kampfes

Author(s): Yoshihiko Hirano / Language(s): German Issue: 1/2021

Two Conversations, which were selected from Kafka’s unfinished novell Description of a Strug gle, display an epistemological intentionality that is related to a critique of language. They furthermore contain references to the philosophy of Anton Marty, whose lectures Kafka attended as a student in Prague. These expose the ostensible identity of proper names to the criticism of Marty’s anti nominalist discourse. This philosophical context becomes apparent only in light of the letters that make up the disputation between the conceptu alist Marty and his teacher Franz Brentano, written against the latter’s “Copernican turn” towards nominalism. This connection, in turn, allows us to confirm Kafka’s attempt at realism in his novel The Trial.

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„Im Schatten gigantischer Bedrohungen“. Geschichte und Geographie, Kultur und Kulinarisches in Kasimir Edschmids Europa‑Texten vor und nach dem Zweiten Weltkrieg

Author(s): Bernhard Walcher / Language(s): German Issue: 1/2022

This article focuses primarily on two essayistic ideological texts by Kasimir Edschmid: Die Schicksalslinie Europas (1926) and Europa durch die Jahrhunderte (1957). On the one hand, Edschmid’s positions in the discourse on Europe before and after the Second World War are examined, as well as the historical images and interpretations of history underlying the texts. On the other hand, specific textual and writing strategies play an important role in understanding the publications, which will be analysed and interpreted in each case in the – aesthetic and idea historical – epochal context. The understanding of nationalism (and Eurocentrism) in Edschmid, whose books were largely banned after the National Socialists came to power, will also be examined in more detail.

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Versions of Sacred Time in Germanic Mythology

Author(s): Andreea Popescu / Language(s): English Issue: 2/2022

Germanic mythology offers one of the most ambiguous representations of the universe. Time has a special connotation as the mortality of the gods conditions their response to the challenges set by destiny before them. Much of their existence depends on the way they accomplish their quest to find the ultimate answer. In the Germanic myths time can be cosmic corresponding to the creation of the world or eschatological as the end of the universe is inevitable and certain. In between these two moments the gods need to discover the answer to the meaning of their lives and their place in the universe.

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Heksametr „kunsztowny” i inne formy sztuczne w twórczości Jurgi Valentina Winthera [1578–1623]

Author(s): Agnieszka Borysowska / Language(s): Polish Issue: 2/2022

The article describes selected poetry by the Pomeranian diplomat Jurga Valentin Winther (1578–1623), which can be included in the inter–genre category of ‘poesis artificiosa’. The works discussed include: anagram, chronogram, acrostic, palindrome, ‘versus concordans’, emblem, labyrinth. The poetic repertoire of Winther clearly shows that while writing, he readily experimented with form, and his searches and innovations sometimes elude genology.

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Die unbekannte Moderne in der Provinz: Die deutsch-tschechische Grenzregion im modernistischen Roman Zapadlí vlastenci 1932

Author(s): Patrik Valouch / Language(s): German Issue: 2/2022

In his novel Zapadlí vlastenci 1932, Josef Kocourek (1909–1933) creates an atmospheric portrait of the German-Czech border region in the early 1930s and focuses on the conflict between the two nations that would later culminate in the ‘Sudetenkrise’. While Marxist literary criticism interpreted the text as a ‘proletarian novel’ due to its ideological determination, this paper demonstrates that Kocourek’s literary work is an intricate intertextual fabric that ironizes literary foils, transcends genre boundaries and permits a variety of different readings. The peculiarities of this novel consist in its avant -garde techniques (montage and collage), its multiply coded language oscillating between different stylistic registers and in its original graphic design, placing it firmly within Czech modern literature despite the provincial context in which it was written.

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Na rozdrożu: Wizerunek bohatera wykorzenionego (talusz) na przykładzie prozy Michy Josefa Berdyczewskiego

Author(s): Agata Jaworska / Language(s): Polish Issue: 3/2022

New Hebrew prose at the turn of the 19th and 20th centuries is characterized by the presence of a specific type of literary character called the “uprooted hero”(Hebr. talush). The article aims to present his image from the perspective of the diaspora reality. Regardless of the conditions that determine the fate of the protagonists of the stories discussed, they are accompanied by a common motive of alienation pertaining to many different spheres of life. In Micha Josef Berdyczewski’s prose, the protagonist is usually presented as a young man rebelling against the religious mentality of the Jewish diaspora, but at the same time unable to adapt to the secular world. Selected source texts have been translated, thoroughly analyzed and compared in terms of the aforementioned literary topos. The starting point of the research are the stages of uprooting described by Simon Halkin. The article is a contribution to further research on “the uprooted” appearing in the Hebrew fiction by other writers, such as Mordecai Ze’ev Feierberg or Uri Nissan Gnessin.

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Fremdheitsinszenierungen der deutschsprachigen Emigrationsrepräsentationen. Wege der Integration im Roman Tauben fliegen auf

Author(s): Ferenc Vincze / Language(s): German Issue: 1/2023

In the German-language literature of the last twenty to thirty years, there has been a tendency to depict strangeness and integration. Through Melinda Nadj Abonji’s novel, this paper attempts to point out the phenomena that problematize integration and strangeness, which would be related to the space represented or which can be read from representations through space.

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DISKURZIVNI PRISTUP U NASTAVI NEMAČKE KNJIŽEVNOSTI NA PRIMERU ROMANA TUCANJE KAMENA KLEMENSA MAJERA

Author(s): Marina M. Petrović-Jilih / Language(s): Serbian Issue: 27/2023

The presented qualitative content analysis in this paper refers to the aspirations of modern didactics of foreign literature towards discursive, multimedia and constructive approaches to literary texts. The criteria for the selection of literary texts in teaching point to the fact that the novel ʻBricks and Mortarʼ by Clemens Meyer is an adequate choice for university literature teaching, both for the analysis of the discourse and for achieving the set teaching goals. The main figures in the novel belong to the milieu of prostitution, shown both from the point of view of women and from the point of view of pimps. The internal monologues, the flow of thoughts and the dizzying change of the narrative perspective enable a detailed psychological picture of the characters and the impossibility of dividing them into ʻgoodʼ and ʻevilʼ. What is ʻevilʼ is woven into modern society where the only God is – money. The applied qualitative methodology deals with a case study, which is composed by fourth year students of German Studies at the Faculty of Philology and Arts of the University of Kragujevac. The presented classes were held in the summer semester of the academic year 2021/2022. The goals of the class are strengthening the existing literary competences and acquiring new literary competences, especially the competence of independent reading, independent individual understanding of the text, independent decision-making about the literary value of the literary text and conscious acceptance of the ambiguity of the text. Special attention is drawn to the conscious mastery of discursive comments. The main discourses of the novel are sex, power, prostitution and money. These topcis were broken down by students into subtopics, presented in multimedia presentations. In the conversation after (Anschlussgespräch), an attempt was made to transfer the fictitious world of the book to the so-called ʻrealʼ world that surrounds us. The respondents showed a high level of literary and life knowledge at their disposal. It is believed that mastering the aforementioned competencies is essential for future German as a foreign language teachers. It enables them not only to independently choose literary texts, goals and methods in their own teaching, but also to teach and transfer discursive competences to their students, thereby educating them in a humanistic and democratic spirit.

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Literarischer Antisemitismus? Diskussionsbeitrag anhand einer Analyse von Thomas Manns Novelle Der Tod in Venedig

Author(s): Miloslav Szabó / Language(s): German Issue: 3/2023

This article summarizes the research on so-called literary antisemitism and develops the impulses in this field from the recent years, applying them to the work of Thomas Mann. Building on innovative approaches from the turn of the millennium that highlight Thomas Mann’s ambivalent relationship to literary depictions of Jewishness, it looks for traces of them in the novella Der Tod in Venedig (Death in Venice, 1912). Since these stereotypes are not directly identifiable as anti-Jewish, they are compared with earlier works by Thomas Mann where the connection with the characters’ negatively, or at least ambiguously, portrayed Jewishness is evident, especially the “Jewish” novella Wälsungenblut (The Blood of the Walsungs, 1906/1921). In doing so, it verifies the thesis that Thomas Mann uses emotional “triggers” in both novellas that encrypt negative Jewish identity. Whereas in Wälsungenblut this simulates a failed “hyper-assimilation”, in Der Tod in Venedig it acts as an Orientalist threat to German masculinity.

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„Einsam und unterwegs“. Wurzellosigkeit im Werk Paul Celans

Author(s): Raluca Rădulescu / Language(s): German Issue: 61/2023

It is in rootlessness that philosophers like Adorno, Said and Flusser discover a human dignity, a possibility to negotiate and restore or invent the violated identity in the form of a new one. Based on these considerations, the paper regards the paradigm of rootlessness in relation to the metaphors of aerial or flying roots, which are historically and literarily connected with the Jewish concept of fate. Thus, the present article proposes the rootlessness-paradigm beyond the findings of Jewish studies as a structure of thought, forma mentis and approach to the thematic complex of migration – nomadism – displacement and applies it to selected texts by Paul Celan. In this way, new applications of this research paradigm will be stressed; at the same time my contribution aims to complement previous scientific approaches to Celan’s work.

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„Komm auf den Händen zu uns“. Zu einem Kippbild der Begegnung bei Paul Celan

Author(s): Laura Cheie / Language(s): German Issue: 61/2023

One of the essential images of the lyrics and poetics of Paul Celan is hand walking, an image inspired from the novel Lenz by Georg Büchner. This appears not only in poems such as Stimmen and Es geht, but also in the most important text written by Celan about his poetics, in the discourse Meridian, whose variants reveal the complex semantics of the hand motif in Celan’s thinking. Essential in articulating the truth both in quotidian gestures and in the „mimics” of poetry or poetical reflexion, the hand participates, through hand walking, to the change in perspective on the world, to the meeting with abyssal depths and the opening of a dialogue with Büchner, Pascal, Nietzsche, Isaak Babel and also with the important themes of the Holocaust and the exile. The present study proposes an investigation on the manner in which hand walking becomes an ambiguous image of the encounter and the dialogue, generating a poetic language in which the chiastic reversals or quasi-absurd linguistic distortions communicate the aim of poetry about which Celan says it does not change the world, but the way of being in the world.

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Den Osten im Westen suchen. Ein konzeptgenetischer Weg durch Paul Celans Pariser Elegie

Author(s): Miriam Miscoli / Language(s): German Issue: 61/2023

This essay aims to reconstruct the conceptual history of the origin and sup-pression of the so-called “Parisian Elegy”, a cycle of poems which Celan planned to include in his No One’s Rose until just a few months before publication (1963). The poet conceived the idea of composing an independent cycle as the closure and peak of the entire collection after he wrote the Valaisian Elegy, a long poem which articulates the arduous search for one’s self through memory and in sorrow. For the outcast poet living in Paris, this search takes on geographical and linguistic contours, as it emerges from the fourth part of No One’s Rose, conceptually and genetically interwoven with “Parisian Elegy”. Following the methodological path of the ‘Conceptual Genetics’, opened in 2010 by Axel Gellhaus, this work tries to demonstrate how deep this cycle interacts with the final cyclic conception of the volume and in which way it seems to predicate a relational and topographical con-science of grief.

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„bei / beider Neige“. Ortlose Sprache in Gedichten Paul Celans

Author(s): Dinah Schöneich / Language(s): German Issue: 61/2023

The extraordinary richness of multilingualism in Paul Celan’s poetry has of-ten been remarked. However, ‘multilingualism’ might not be the best word, since Celan’s one-of-a-kind conjuncture of languages and meanings/ambiguity rather undermines language categories and especially the notion of national languages altogether. In the poem “Kermorvan” for example, knowing the words’ multilingual etymologies and applying language-structures from Hebrew establishes meaningful connections among them. Combining multi-lingualism and ambiguity, Celan’s Sprachigkeit (languality1) exposes the dynamics and movement of language itself, including the histories, contacts and ambivalences of words and idioms. In this way, his insistent claim to write in one language corrects the idea of exchangeable, co-existing languages towards an understanding of their interconnectedness, which might best be described by David Gramling’s term semiodiversity. In “Bei Wein und Verlorenheit”, the word “Neige” incorporates such an idea of the larger movements of language. It is used similarly to a tilted image to adhere to at least three languages and numerous meanings in a snowball-like principle. The new view of (multi-)lingualism shown in the poem and in Celan’s poetic utterances replaces not only ideas of a simple mapping between things and words (de Saussure) or metaphors and meanings in language. It also replaces the understanding of a general translatability among all languages of the world. Last but not least, in the specific discourse on Jewish language, it resists the notion of a general foreignness towards all languages which has traditionally been projected onto Jews, by positioning itself inside the larger movements of language itself.

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‚Habsburgische Spuren‘ im Leben und Werk Paul Celans

Author(s): Anna-Dorothea Ludewig / Language(s): German Issue: 61/2023

As was to be expected, the question of the meaning of ‘Habsburg’ for Paul Celan is complex. The place of its origin – Chernivtsi – belonged to Austro-Hungary until 1918, with the end of the First World War the city became Romanian, so Celan was – formally – born in Romania; later he experienced the tempo-rary (1940/41) and long-term (from 1944) Sovietization of Bukovina. A (not only) biographical self-localization can be found in the so-called Bremer Rede (1958), in which the poet introduces himself as someone coming from an un-known landscape, a “province of the Habsburg monarchy that has now fallen victim to history.” Subsequently, the cultural structure of the Habsburg world retains for Celan – although born after the disintegration of the multi-ethnic state – a sense of belonging. He understood “Kakanien” (Musil) as an integrative structure and thus as a counter-image to nationalistic and fascist tendencies, whose multilingual, transcultural and interdenominational elements influenced Celan’s works. In this context, ‘Habsburg’ can be read as a synonym for a cultural-literary affiliation that undermines (political) boundaries and dividing lines and thus forms a counter-image to the reality of the Cold War.

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„Schnee. Und mehr noch des Weißen“. Paul Celans ortlose Orte

Author(s): Gabriel H. Decuble / Language(s): German Issue: 61/2023

As many commentators have already pointed out “snow” is one of the main re-current motifs in Celan’s poetry, hence the need to place it in the proper exegetical context. This implies at least for the first creative phase—i.e., prior to the publication of the volume Atemwende (1966)—, that “snow” remains closely related to the biographic experience and a sign of topographic uncertainty or even a judicial “non-lieu” —a non-place, in terms of a dismissed case—for horrific unpunished crimes of the past for which Celan’s poetry is struggling to testify. Thus, in Celan’s symbolical language, “snow” gradually becomes—just like the motifs of “ash” or “stone”—a silent witness of the Holocaust.

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Zuhause in der Weltsprache der modernen Poesie

Author(s): Christoph Parry / Language(s): German Issue: 61/2023

Paul Celan is probably the internationally best-known poet writing in German since World War 2. Coming from the former Romanian province of Bukovina, which had previously been part of the Austro-Hungarian Empire, he was originally regarded with scepticism by German literary critics who attributed the novelty of his work to his exotic Eastern European Jewish origins. This paper argues that after years of fascist isolation the critics initially failed to recognise that Celan’s work, far from being strangely exotic, actually represents main-stream modernity and should be seen in the context of a “World language of modern poetry” as defined by Hans Magnus Enzensberger with his anthology of international poetry Museum der modernen Poesie published in 1960. The anthology, to which Celan contributed with translations of Osip Mandel’štam, proved a landmark in the work of reconnecting West Germany with the inter-national literary scene. The paper emphasises the importance of dialogue in Celan’s work and of his links to the tradition of international modernism.

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Malerei als Drama. Anselms Kiefers Bühne für den Dialog

Author(s): Anna Kostner / Language(s): German Issue: 61/2023

It has frequently been pointed out that Paul Celan’s poems have a dialogic im-pulse. In this respect, Anselm Kiefer’s paintings can be considered the pictorial extension of Celan’s poetic structures. I will argue that with the inscriptions on his paintings, Kiefer exhibits dialogic moments, relating different perspectives to one another, thereby attempting to understand painting as drama; that is, to create a place for visual experience where no epic narrative is told, but an ongoing and dramatic conflict is acted out. This will be illustrated by a closer look of two of Kiefer’s paintings: The Sand from the Urns (for Ingeborg Bachmann, for , 1997) and The Sand from the Urns (for Paul Celan, 2009).

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