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Das Wunderbare und die narrative Refiguration im Roman (Wieland, Tieck, Goethe)
Author:
Die Gattung Roman etabliert sich als kulturelles Leitmedium der anbrechenden Moderne durch eine poetologische Diskriminierung des Wunderbaren. Gleichzeitig lässt sich aber auch beobachten, dass in Romanen immer wieder thaumaturgische Erzählungen eingeflochten werden. Wie ist diese spannungsvolle Konstellation einander gegenüberstehender erzählerischer Gattungen zu verstehen? In „Thauma(u)topoiesis“ wird die Einbettung thaumaturgischer Erzählungen in den Roman des 18. Jahrhunderts literaturgeschichtlich eingeordnet und hermeneutisch ausgelegt. Die vorliegende Arbeit rekonstruiert eine literatur- und geistesgeschichtliche Verschiebung im Problemfeld des Wunderbaren von der ontologischen Skepsis der Aufklärung gegenüber dem Wunder hin zu ästhetischen, poetologischen und ethischen Dimensionen einer poietischen Verwunderung. Durch die eingeflochtenen thaumaturgischen Erzählungen wird im aufgeklärten Roman die Diegese hin zu einer Hermeneutik der Selbst-Auslegung geöffnet.
Das Wunderbare und die narrative Refiguration im Roman (Wieland, Tieck, Goethe)
Author:
Die Gattung Roman etabliert sich als kulturelles Leitmedium der anbrechenden Moderne durch eine poetologische Diskriminierung des Wunderbaren. Gleichzeitig lässt sich aber auch beobachten, dass in Romanen immer wieder thaumaturgische Erzählungen eingeflochten werden. Wie ist diese spannungsvolle Konstellation einander gegenüberstehender erzählerischer Gattungen zu verstehen? In „Thauma(u)topoiesis“ wird die Einbettung thaumaturgischer Erzählungen in den Roman des 18. Jahrhunderts literaturgeschichtlich eingeordnet und hermeneutisch ausgelegt. Die vorliegende Arbeit rekonstruiert eine literatur- und geistesgeschichtliche Verschiebung im Problemfeld des Wunderbaren von der ontologischen Skepsis der Aufklärung gegenüber dem Wunder hin zu ästhetischen, poetologischen und ethischen Dimensionen einer poietischen Verwunderung. Durch die eingeflochtenen thaumaturgischen Erzählungen wird im aufgeklärten Roman die Diegese hin zu einer Hermeneutik der Selbst-Auslegung geöffnet.
The Literary Reception of Herman Hugo's "Pia Desideria" in the Polish-Lithuanian Commonwealth
Author:
This book is available in Open Access thanks to the generous support of the Adam Mickiewicz University, Poznań
This is the first monographic study of the reception of Herman Hugo's emblematic book "Pia desideria" (1624) in the Polish-Lithuanian Commonwealth. It discusses ten different translations and adaptations, showing how the engravings, elegies and exegetical extracts of the original volume were used by Polish-speaking authors (a little space is also devoted to the painting reception of the engravings). The author examines too the reasons for the phenomenon of the volume's popularity, proving that it was determined by the interest of women who did not know Latin, who constituted the most important target group for these numerous and varied Polish adaptations.
This is the first monographic study of the reception of Herman Hugo's emblematic book "Pia desideria" (1624) in the Polish-Lithuanian Commonwealth. It discusses ten different translations and adaptations, showing how the engravings, elegies and exegetical extracts of the original volume were used by Polish-speaking authors (a little space is also devoted to the painting reception of the engravings). The author examines too the reasons for the phenomenon of the volume's popularity, proving that it was determined by the interest of women who did not know Latin, who constituted the most important target group for these numerous and varied Polish adaptations.
The Literary Reception of Herman Hugo's "Pia Desideria" in the Polish-Lithuanian Commonwealth
Author:
This book is available in Open Access thanks to the generous support of the Adam Mickiewicz University, Poznań
This is the first monographic study of the reception of Herman Hugo's emblematic book "Pia desideria" (1624) in the Polish-Lithuanian Commonwealth. It discusses ten different translations and adaptations, showing how the engravings, elegies and exegetical extracts of the original volume were used by Polish-speaking authors (a little space is also devoted to the painting reception of the engravings). The author examines too the reasons for the phenomenon of the volume's popularity, proving that it was determined by the interest of women who did not know Latin, who constituted the most important target group for these numerous and varied Polish adaptations.
This is the first monographic study of the reception of Herman Hugo's emblematic book "Pia desideria" (1624) in the Polish-Lithuanian Commonwealth. It discusses ten different translations and adaptations, showing how the engravings, elegies and exegetical extracts of the original volume were used by Polish-speaking authors (a little space is also devoted to the painting reception of the engravings). The author examines too the reasons for the phenomenon of the volume's popularity, proving that it was determined by the interest of women who did not know Latin, who constituted the most important target group for these numerous and varied Polish adaptations.
Abstract
Ever since the shibboleth narrative in the Book of Judges, the consequences of linguistic passing or non-passing have been demonstrated in literature. The article analyzes so-called “broken” or accented speech in terms of embodied and affectively charged nodes of linguistic entanglements: between belonging, affect, proficiency, ownership as well as inclusion and exclusion. The function of accented speech is in turn shown to be highly contextual, depending on socio-historical and cultural settings, as demonstrated in the article’s three case studies: E.T.A. Hoffmann’s “Der Sandmann” (1816), K. A. Tavaststjerna’s En patriot utan fosterland (), and Vilhelm Moberg’s Nybyggarna (1956).
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Abstract
This work discusses ten different translations and adaptations of Herman Hugo’s emblem book Pia desideria (1624) in the Polish–Lithuanian Commonwealth. It shows how the engravings, elegies and exegetical extracts of the original volume were used by Polish-speaking authors. The author examines the reasons for the phenomenon of the volume’s popularity and proves that it was determined by the interest of non-Latin speaking women.
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Abstract
Exploring the representation of space and belonging in Javanese literature, I will use Suparto Brata’s novel Donyane wong culika (The World of the Untrustworthy, 2004) as a case study. Firstly, I will focus on how literary, linguistic and epistemological features shape and give meaning to Javanese spatiality and on how the references to Javanese customs, literary and cultural traditions, and the Javanese mind in the twentieth century may address and evoke feelings of belonging. Secondly, as the novel features historical events as a kind of backdrop, I will pay attention to what Le Juez and Richardson (2019) call the perceptions of associated loci and on how these loci articulate individual and collective memories of the 1965–66 events, a traumatic period in postcolonial Indonesian history.
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The article examines F. M. Dostoevsky’s visit to London in the summer of 1862, in the course of his first trip abroad, which resulted in the writing of Winter Notes on Summer Impressions. A Summer-Long Feuilleton. The task to untangle the impact of numerous impressions on Dostoevsky’s creative process is initiated and the newly arisen circumstances that he encountered on his return to St. Petersburg highlighted. Winter Notes is viewed as a groundbreaking work in Dostoevsky’s canon that contains the seeds of future great works, though not primarily in accordance with the multiple ideologically based readings that have sought to define it. Instead Winter Notes is recognised for its author’s aesthetic explorations into poetics within the confines of Tsarist censorship which required that ‘Official Nationality’, the imperial ideological doctrine be upheld. Dostoevsky’s visit to the 1862 International Exhibition and its art galleries is addressed for the first time on the basis of his brother Mikhail’s letters and other evidence. The exhibition building and the works of William Hogarth, John Martin and J.M.W.Turner are singled out. Their imprint on Dostoevsky’s feuilleton is observed through the stages of impressions gained via intermedial interplay. It affirms that pre-existing notions in the ‘discourse of Englishness’ were absorbed and reinvented by Dostoevsky with the use of figurative language, clarifying the origin of metaphors used in the text, together with literary and biblical allusions. A list of Russian and British artists exhibiting in the International Exhibition of 1862 is included.
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In 2008, first-generation Afghan migrant novelist-artist Atiq Rahimi published his first translingual work in French, Syngué Sabour: Pierre de patience. This article interrogates his multilingual and multimodal aesthetics across his translingual oeuvre. In his exophonic novel Les Porteurs d’eau (2019), Rahimi valorizes a polyvocal and culturally diverse Central Asian history. The Prix Goncourt–awarded author introduces Afghanistan’s past and present beyond its intracultural challenges. The epitome of the Rahimi-esque aesthetic is the author’s publication L’Invité du miroir (2020), which acts as a revolt, a transnational dialectic crossroads where multilingual fiction meets classical Persian calligraphy and nonfiction to explore the human spirit.
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This article examines two Chinese sci-fi blockbusters, Crazy Alien and The Wandering Earth, under a theoretical framework of global governance and its variation in Chinese state rhetoric. The article explores how the notion of global governance in China is echoed, reconfigured, and mediated in these two films via their depiction of China’s leadership in solving fictionalized futuristic global challenges. It argues that while Crazy Alien criticizes the present, neoliberal global governance, The Wandering Earth envisages a new global governance system led by China. These two films provide case studies of sci-fi blockbusters produced in a non-Western context and illustrate the convergence of Chinese politics with its sci-fi film production.
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This essay examines the interplay of form and content in early Islamic expressions of taqwā (translated variously as piety, or fear or consciousness of God), with a primary focus on prophetic hadith and the orations of ʿAlī ibn Abī Ṭālib. Through this analysis, two major observations can be made. First, expressions of taqwā in these sources are indelibly corporeal, articulated through forms of bodily intimacy, whether between rider and mount, or as the cure for bodily sickness. Second, attention to both form and content and their interstices elucidates a picture of taqwā that expands our notion of embodiment to encompass the realm of the internal. Taqwā involves techniques of the limbs, tongue, eyes, and ears as well as techniques of the heart. To demonstrate this, I explore both the ways that believers are enjoined to seek taqwā as well as how taqwā is articulated as enacting transformations in/on those believers.
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Syed Ahmad Khan (1817–1898) was one of the most prominent Indian Muslim reformists of the nineteenth century and was exceptional for the ways in which he proposed that nature and observations of nature were central to Islam. Like many nineteenth-century reformist narratives, Khan’s ideals on naicar (nature) routinely employed a rhetoric of ‘break,’ ‘renewal,’ and ‘purity’ to imply that Indo-Persian culture was in a state of malaise and in need of rejuvenation. Yet despite this outward denunciation, Khan’s reformist project also ironically reflected many qualities of Persianate Islam that had characterized Indo-Muslim culture before the nineteenth century. This article reconsiders Ahmad Khan’s modernism in light of the Persianate modes that he maintained to point out some of the rhetorical inconsistencies of modernist writing, and the historical lacunae which they create.