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Krieg und Sprache der literarischen Figuren – der deutsche Kriegsheimkehrer Beckmann versus der walisische Fahnenflüchtige Gary. Eine Fallstudie

Author(s): Magdalena Zyga / Language(s): German Issue: 09/2013

The paper is a presentation of a linguistic analysis of two plays for which the topic of war constitutes a tertium comparationis. The aim of the analysis is to state whether or not and in what way the influ-ence of war on people manifests itself in the language of literary figures in the two plays which origi-nated in two different countries. The main character of the play Draußen von der Tür [Outside, at the door], whose action takes place after World War II, is an aggressor while the protagonist of the play by the Welsh author is a deserter who fought for the ‘right’ side of the conflict during the war in Kosovo (1999). The ensuing conclusions are that, in spite of two different countries of origin and the gap of 48 years between them, the two plays display many similarities with respect to depiction of the influ-ence of war on its participants.

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Die Literatur der Obergefreiten. Neue deutsche Kriegsromane und Kriegstagebücher

Author(s): Hans Schwab-Felisch,Mary McCarthy / Language(s): German Issue: 042/1952

article gives an overview about the German post-war literature dealing with the experoences of WW II and pubished until 1951. Additionally there is a review of: Simone de Beauvoir: Amerika, Tag und Nacht. Rowohlt Verlag, Hamburg. L’Amérique au jour le jour. Editions Paul Morihien, Paris.

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Metafora e miut

Author(s): Orjela Stafasani / Language(s): Albanian Issue: 4/2015

Gunter Grass's novel "Cat and Mouse" is conceived by the author as part of the Danzig trilogy, which has the country (Danzig) and the time (World War II) as two constant elements. The novel is especially appreciated for figurative semantics and narrative play. While the story-line or the linearity of the story is simple, the novel complicates the analeptic and the proleptic passages, telling the story from different angles and attitudes, making multiple digressions and creating a discrete polyphony.

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Aroma e rrëfimit

Author(s): Albulena Blakaj-Gashi / Language(s): Albanian Issue: 2/2014

Perfume, the postmodern novel by Patrick Süskind, which became a world bestseller, was accompanied by much of a fuss. The novel of the author, which iswell known for his unusual behavior, has had tremendous success all over the world, both as a novel and as a film. But what gave the book the incredible success, what gave it that universal 'exitement'? Was it the always prefered mixture of the historical novel and criminological story embodied in a piece of history of customs and culture, that shaked the world? Can it be a direct narrative style, with an exquisit and rich, but not difficult description language? Or was Jean-Baptiste Grenouille's figure, in which Süskind succeeds in creating a figure with a character that no reader can ever forget? Who in his instinctive hunt for the scent of the scents kills the most beautiful girls? A figure, though monster, again makes the reader collaborator, makes him hope that this unscrupulous slave of his nose, against all his atrocities again will be saved? Was it the end of the novel, in which Süskind succeeds in creating an apotheosis of the mythological rank, a magnificent display of orgy of the mass, a show of seduction, the temptation of menkind, or rather an incomprehensible effect of a disgusting and hated criminal over civilized people? Or was it the brilliant idea of breaking the narrative boundaries, putting the most elusive sense at the center of its history, to show us that people, without being aware of it, ultimately surrender to the sublime aromas, sounds, proportion? Or when, as with the novel, where Süskind makes smelling the element for the space and objects identification, the movie Perfume, breaks the cliché that the movie can not visualize the scent? This paper deals with these and other releated issues.

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KNJIŽEVNI PREGLED. Млада њемачка лирика.

Author(s): Gustav Krklec / Language(s): Serbian Issue: 03/1921

Њемачка лирика, у историји свију манифестација германскога духа, била је увијек на видноме мјесту, а почесто и на кормилу; она је, углавноме, давала иницијативу активизму и, спо- редно, распиривала страсти, стварала расположења, бодрила и соколила вјером, и опијала музиком слутња.

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Geteov „Faust“.

Author(s): Albert Haler / Language(s): Croatian Issue: 03-04/1932

Kao mnoga svoja djela, Gete je pisao ≫Fausta≪ u više mahova, u raznim razdobljima života i, dosljedno, u raznim duševnim raspoloženjima. I zbog toga, glavna je greška intelektualističke kritike što, apstrahujući od pojedinačnih osjećajnih podstreka iz kojih je djelo postepeno nicalo, nasilno traži osnovni ≫problem≪ spjeva u idejnom smislu. ≫Faust≪ nema osnovnog problema. Doduše, sam je pjesnik mislio da je naknadno našao nit kojom je povezao pojedine fragmente. Tako piše u svom ≫Putu po Italiji≪, da se sam čudi kako je lako mogao da nastavi svoga ≫Fausta≪ poslije toliko godina,, i kako se je njegova unutrašnjost u tom vremenu malo promijenila. Ali se je radilo o jednoj iluziji, jer u prizorima koje je napisao poslije petnaestgodišnjeg prekida jasno se očituje, kako opaža Brandes, jedan sasvim nov duševni stav.

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Živi Gete

Author(s): Stanislav Vinaver / Language(s): Serbian Issue: 03-04/1932

Gete je sebi često dolazio kao sama priroda, kao sam živi život. Otuda kod njega beskonačni osećaj strasti i žedji: da se sve živo spomene, ukoliko učestvuje u nekom dogadjaju. Jedan dogadjaj postoji nesamo kao svoj, kao takav, nego još i tajnim učešćem sve sile živih, živućih suština koje su s njime u satreptaju.

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Geteove Rimske Elegije

Author(s): Milan Ćurčin / Language(s): Serbian Issue: 05/1932

Geteove Rimske Elegije ugledale su sveta, prvi put, anonimno, u Šilerovu mesečniku »Die Horen«, godine 1795 (Tübingen, Zweiter Band, VI Stück, str. 1—44), uz moto (iz Ovidijeve »Ars amatoria« I, 33): Nos Veneram tutam consessaque furta canemus, Inque meo nullum carmine crimen erit.

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Прослава Гетеове стогодишњице, у Немачкој, и у осталој Европи

Author(s): Stanislav Vinaver / Language(s): Serbian Issue: 06/1932

Из огромног низа прослава, предавања, публикација, и других разних манифестација поводом стогодишњице Гетеове смрти, споменућемо овде само неколико крупнијих, у облику фреске. Јер, у ствари, све je још свеже и недовр- шено, и Гетеова Година наставља се; а Немци ће се већ по- старати да — на крају — добијемо потпун преглед и исцрпан извештај.

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Proslava Geteove stogodišnjice u Jugoslaviji

Author(s): Author Not Specified / Language(s): Serbian Issue: 07/1932

Kao što je rečeno na uvodnom mestu broja ≫Nove Evrope≪ posvećena Geteu, mi Jugoslaveni proslavili smo Getea, povodom stogodišnjice njegove smrti, onako kako sve činimo: bez mnogo sistema; ali — nismo ostali, u proslavljan ju, poslednji. Naprotiv, nastala je ovom prilikom na našem jeziku čitava mala literatura o Geteu, i naročito o njegovu interesovanju za našu narodnu poeziju i o njegovu bavljenju njom; a dobili smo i više prevoda iz samoga Getea, i predstava njegovih drama, poimence ≫Egmonta≪. Uz čitav niiz rasprava i raspravica, eseja i predavanja, recitacija i prigodnih članaka, da o beleškama i izvest ajiima s proslava po dnevnim listovima i časopisima i ne govorimo, Ova se pisana i usmena literatura još uvek umnožava, i porašće još pouzdano do kraja ove Geteove Godine, pa bi bilo teško već sada dati o njoj iscrpan i potpun pregled; ali ćemo ipak zabeležiti, bar uglavnom, što je dosad izašlo i učinjeno, ostavljajući stručnjacima da to posle bolje srede i dopune.

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O našoj kulturnoj orijentaciji

Author(s): Milan Ćurčin / Language(s): Serbian Issue: 08/1932

Povodom proslave Geteove Stogodišnjice u Jugoslaviji, posebice u Zagrebu, pokrenuto je jedno pitanje od velike važnosti i od naročitog interesa za nas, koje valja, kako nam se čini, izbliže posmotriti i temeljno raspraviti. Pokrenuto je ne od nas samih, već od nekih naših francuskih prijatelja, i to očigledno ne na najsrećniji način; usled čega je naišlo odmah na nepovoljne komentare i začudjene proteste. Utoliko pre izgleda nam potrebno, da se malo dublje udje u stvar, i da se otvoreno iznese i obrazloži naše mišljenje i naše stanovište po ovom predmetu. Da ne bi bilo nesporazuma, i da bi nam ljubav — kod čistih računa — bila duga.

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Povodom Geteove Proslave u Jugoslaviji

Author(s): Milan Ćurčin / Language(s): Serbian Issue: 11/1932

Doneli smo dosad u ≫Novoj Evropi≪ izveštaje o proslavi Geteove Stogodišnjice, u dva maha, i to (u broju od maja) o proslavama u Nemačkoj i u ostaloj Evropi, i (u broju od juna) o proslavama u Jugoslaviji. Ti su izveštaji, naravno, nepotpuni i površni — već i zato što su se proslave nastavile, i neće biti završene pre kraja ove Geteove Godine —; ali mi nismo ni imali namere, ili pretenzije, da damo iscrpnu sliku, ili pregled, one ogromne grad je što je ovom prilikom iznesena, i svega onog što je rečeno i napisano o jednom od najvećih pesnika, i od najkrupnijih ličnosti uopšte, nesamo nemačkog naroda nego i čitavoga čovečanstva.

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DDR - Bücher in den Tresor?

Author(s): Lutz Rathenow / Language(s): German Issue: 16/1984

»Seit der Staat besteht, gehört die Konfrontation des einzelnen mit den Erscheinungsformen des Staates zu solchen elementaren Konstellationen«, schreibt Lutz Rathenow im Postskriptum seines neuen Bandes »Boden 411«. Eine Erfahrung, die der 32 jährige DDR-Dichter gut kennt: seine Bücher dürfen nicht nur nicht in der DDR veröffentlicht werden, sondern er braucht sogar eine Sondergenehmigung, um selbst Autorenexemplare erhalten zu dürfen. Im folgenden Offenen Brief an das Kulturministerium behandelt er dieses Problem — witzig und kraftvoll entwickelt er bizarre Bilder.

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Das europäische Ich. Paul Celans Subjektkonstruktion

Author(s): Wolfgang Johann / Language(s): German Issue: 61/2023

The construction of a European subject is a major dimension of Paul Celan’s poetry: According to Celan, poems are ‘laden with world’; contexts, metaphors, and the relations of the lyrical I and You support the hypothesis that this means foremost a consciousness of a ‘historical world’. His poetry refers to a European history of suffering, injustice, and persecution. The poems support an individual, subjective perspective rather than a global perspective. The following article argues that this perspective of a lyrical subject is not only prevalent in Celan’s poetry, but in addition it’s a European perspective that his poems suggest, offer, and claim.

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Brüche, Übergänge. Europäische Identitätsaushandlungen in Paul Celans Gedicht Pau, später

Author(s): Lisa Dauth / Language(s): German Issue: 61/2023

Paul Celans poem Pau, später (1965) deals with negotiations of identity and plays – textual and formal – with connections and separations. In this way the text thematises the coherence between different eras, locations, and people. The context of different religious persecutions demonstrates the cruelty of European history and connects those with each other who have been excluded because of their divergence from dominant denominations. The poem criticises rigid defining of identity and offers a diasporan view which includes tolerance for cultural hybridity. Pau, später reflects on the heterogeneity and the similarities in Europe, which is why the text can be classified as transcultural European poem.

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„Schneewärts“… Unterwegs Zum Persönlichen Mythos?

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

The statement according to which “snow” is one of the prevalent motifs in Celan’s poetry should be more than the mere object of statistical verification; one should rather place it in the right exegetical context. While in a first period, prior to the publication of the volume Atemwende (1966), “snow” was mainly a sign of topographic uncertainty or a “non-lieu” of horrific unpunished crimes of the past for which Celan’s poetry is struggling to testify—cf. the frequent references to the Siberian site of Ossip Mandelstamm’s execution (with snow being, in Celan’s symbolical language, also a silent witness of the Holocaust) — beginning with the second period, in Celan’s work “snow” refers to the timid hope of reunion with the dead by means of an abstruse alchemy of dream, the breath crystal (“Atemkristall”) being its strongest symbol. Celan’s various biographic experiences of snow and readings about snow continuously enriched the term’s wide semantics. However, the following article argues that the lead image of a “breath crystal” and other symbols related to it were inspired by intense readings of H. C. Andersen’s Snow Queen, Thomas Mann’s Magical Mountain, and Wolfram’s Parzival. In the light of these newly considered sources of inspiration, some key poems are being reinterpreted, whereas for the last work period, especially along with the posthumous volume Schneepart, one can acknowledge Celan’s preoccupation to open new perspectives on “snow” as a sign of hope for social Parousia, i.e., the return of the Holocaust’s victims in guise of nowadays living sufferer, thus formulating an implicit lyrical manifesto, which could also provide an answer to Adorno’s refutation of poetry after Auschwitz as being barbaric.

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Magie in modernen Märchenromanen

Author(s): Romina-Elena Donțu / Language(s): German Issue: 1/2022

The selected fairy tale novels, „Goldröschen“ (2021) by Jenny Völker and „So finster, so kalt“ (2014) by Diana Menschig, use a variety of magical motifs from classical fairy tales, especially from the well-known tales by the Brothers Grimm. This article analyzes two different motif categories based on the Stith Thompson register. Present in both chosen fairy tale novels, the first category includes beings such as fairies, spirits, or elves, while the second category includes magical objects such as musical instruments, food, drinks, or utensils. The aim of the article is to highlight the extent to which the authors have transformed the meaning of the motifs to bring magical elements into the reality-like context of the fairy tale novels. The theory of adaptation, the motif-index of folk-literature, studies on the origin and meaning of the motifs, and a qualitative literature analysis are used as methodological support.

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Die Angst, ausgelöscht zu werden. Von dem Unsichtbarmachen non-binärer Geschlechtsidentitäten in Kim de l’Horizons Blutbuch

Author(s): Marta Wimmer / Language(s): German Issue: 1/2023

Kim de l’Horizon’s 2022 award-winning novel Blutbuch contributes to the discussion regarding the representation of non-binary gender identities in both contemporary literature and the broader social discourse. The paper examines Kim de l’Horizon’s character to explore how non-binary individuals cope with anxiety and potential irritation attributed to their physi- cal forms. Furthermore, it analyzes to what extent social constraints, which leave no room for what contradicts the norm and can lead to violence, are responsible for the rise of anxiety.

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Die Reise beginnt im eigenen Zimmer – imaginäre Topographien in Oswald Eggers Künstlerbuch Entweder ich habe die Fahrt am Mississippi nur geträumt, oder ich träume jetzt

Author(s): Beate Sommerfeld / Language(s): German Issue: 1/2024

The article attempts to read Oswald Egger’s prose text: „Either I only dreamed the trip on the Mississippi or I’m dreaming now” (2021) as travel literature. Egger’s artist book, which relates an imaginary trip to the Mississippi in text and image, is not a travelogue in the traditional sense, but a highly complex and auto-referential work that plays with the transgression between the real and the imaginary. Using Egger as an example, the article discusses the hermeneutic movements of travel and writing and the media transformation of real and fictional journeys, exploring both the mobility patterns and the corresponding writing and image processes.

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Хуберт Фихте, „Палета”, палетијанци, хомосексуалци и други БИТИјанци или: Да ли БИТИ не може бити без хетеронормативних присила?

Author(s): Marina M. Petrović Jilih / Language(s): Serbian Issue: 2/2024

Building on the current literary and scientific discourse of the German-speaking area, which only began to deal intensively with issues of gender and queer literature at the end of the twentieth and beginning of the twenty-first century, this paper reveals and analyzes the homosexual and gender discourse presented in the auto-fictional novel Paleta by homosexual/bisexual author Hubert Fichte. The novel was published in 1968 when homosexual relationships were illegal in the Federal Republic of Germany. The goals of the paper are to investigate the (im)possibility of finding self-knowledge, self-stabilization, and happiness in people who are “different” from others, as well as to shed light on the author’s role as a forerunner of contemporary gender and queer studies. The paper is theoretically based on post-feminist theories, which hold that gender is a culturally established construct of heteronormative societies.

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