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Das vierbändige Werk „Eine Globalgeschichte der Lyrik“ rekonstruiert die Geschichte der Lyrik aus den Quellen. Es nimmt die Lyrik in allen schriftlich dokumentierten Sprachen in den Blick und erfasst einen Zeitraum von ca. 4500 Jahren. Das Werk zeigt mit wissenschaftlichen Mitteln, seit wann, wo überall, wie genau und wozu es diese Art der Sprachverwendung eigentlich gab und gibt, die wir als ‚Lyrik‘ bezeichnen. Die Globalgeschichte der Lyrik ist darüber hinaus ein Beitrag zur Epistemologie des komparatistischen Kulturvergleiches und stellt ein Modell für komparatistische globale Literaturgeschichtsschreibung dar. Gegenstand des ersten Bandes ist die Lyrik zwischen ca. 2500 v.u.Z. und ca. 1500 u.Z. – von den Anfängen im Alten Orient bis zum europäischen Mittelalter. Der zweite Band knüpft an die Untersuchung von Lyriken in unterschiedlichen Sprachräumen und Schriftkulturkreisen an und behandelt den Zeitraum zwischen ca. 1500 und ca. 1800 u. Z. Der dritte Teil der Untersuchung befasst sich mit der globalen Lyrik zwischen ca. 1800 und der Gegenwart und der zunehmenden Verflechtung der Lyriken miteinander. Der vierte Teil schließt die Globalgeschichte als Registerband ab.
Series:
Eine Globalgeschichte der Lyrik
Das vierbändige Werk „Eine Globalgeschichte der Lyrik“ rekonstruiert die Geschichte der Lyrik aus den Quellen. Es nimmt die Lyrik in allen schriftlich dokumentierten Sprachen in den Blick und erfasst einen Zeitraum von ca. 4500 Jahren. Das Werk zeigt mit wissenschaftlichen Mitteln, seit wann, wo überall, wie genau und wozu es diese Art der Sprachverwendung eigentlich gab und gibt, die wir als ‚Lyrik‘ bezeichnen. Die Globalgeschichte der Lyrik ist darüber hinaus ein Beitrag zur Epistemologie des komparatistischen Kulturvergleiches und stellt ein Modell für komparatistische globale Literaturgeschichtsschreibung dar. Gegenstand des ersten Bandes ist die Lyrik zwischen ca. 2500 v.u.Z. und ca. 1500 u.Z. – von den Anfängen im Alten Orient bis zum europäischen Mittelalter. Der zweite Band knüpft an die Untersuchung von Lyriken in unterschiedlichen Sprachräumen und Schriftkulturkreisen an und behandelt den Zeitraum zwischen ca. 1500 und ca. 1800 u. Z. Der dritte Teil der Untersuchung befasst sich mit der globalen Lyrik zwischen ca. 1800 und der Gegenwart und der zunehmenden Verflechtung der Lyriken miteinander. Der vierte Teil schließt die Globalgeschichte als Registerband ab.
Sus herencias de la modernidad cinematográfica
Series:
Foro Hispánico, Volume: 65
Este libro busca contribuir al impulso del estudio del actual cine poético hispanoamericano e íbero-peninsular, analizando aquellos modos contra-narrativos que enfatizan las particularidades formales del medio audiovisual, a la vez que rebajan el desarrollo del contenido --desplazando la acción fuera de plano. El presente libro parte asimismo de la premisa que la modernidad cinematográfica constituye el marco de referencia teórico-artístico al que muchos directores de cine poético recurren para elaborar sus propuestas fílmicas. Por ello, se propone también analizar las estrategias de composición vinculadas a la tradición cinematográfica de la modernidad que han sido críticamente reexaminadas en las películas producidas en el ámbito hispanoamericano e íbero-peninsular durante las primeras dos décadas del siglo XXI.
This book explores the shared approach to Spanish and Latin American filmmakers with experimental film practices and strategies of composition and links these to a tradition of cinematic modernity that is being critically re-assessed by these filmmakers. By adopting a decidedly transnational perspective, the author investigates the distinctive elements of contemporary poetic cinematographic productions that shape present-day Hispanic art house cinematic productions. Thus, the book reassesses the notion of poetic cinema as an interstitial film practice. The author first examines the multiple meanings that the notion of poetry in cinema has historically had. Second, she explores how Hispanic cinema inherited the artistic principles of European cinematic modernity, blending them with the Latin American cinematographic tradition of neorealist influence.
This book explores the shared approach to Spanish and Latin American filmmakers with experimental film practices and strategies of composition and links these to a tradition of cinematic modernity that is being critically re-assessed by these filmmakers. By adopting a decidedly transnational perspective, the author investigates the distinctive elements of contemporary poetic cinematographic productions that shape present-day Hispanic art house cinematic productions. Thus, the book reassesses the notion of poetic cinema as an interstitial film practice. The author first examines the multiple meanings that the notion of poetry in cinema has historically had. Second, she explores how Hispanic cinema inherited the artistic principles of European cinematic modernity, blending them with the Latin American cinematographic tradition of neorealist influence.
Sus herencias de la modernidad cinematográfica
Series:
Foro Hispánico, Volume: 65
Este libro busca contribuir al impulso del estudio del actual cine poético hispanoamericano e íbero-peninsular, analizando aquellos modos contra-narrativos que enfatizan las particularidades formales del medio audiovisual, a la vez que rebajan el desarrollo del contenido --desplazando la acción fuera de plano. El presente libro parte asimismo de la premisa que la modernidad cinematográfica constituye el marco de referencia teórico-artístico al que muchos directores de cine poético recurren para elaborar sus propuestas fílmicas. Por ello, se propone también analizar las estrategias de composición vinculadas a la tradición cinematográfica de la modernidad que han sido críticamente reexaminadas en las películas producidas en el ámbito hispanoamericano e íbero-peninsular durante las primeras dos décadas del siglo XXI.
This book explores the shared approach to Spanish and Latin American filmmakers with experimental film practices and strategies of composition and links these to a tradition of cinematic modernity that is being critically re-assessed by these filmmakers. By adopting a decidedly transnational perspective, the author investigates the distinctive elements of contemporary poetic cinematographic productions that shape present-day Hispanic art house cinematic productions. Thus, the book reassesses the notion of poetic cinema as an interstitial film practice. The author first examines the multiple meanings that the notion of poetry in cinema has historically had. Second, she explores how Hispanic cinema inherited the artistic principles of European cinematic modernity, blending them with the Latin American cinematographic tradition of neorealist influence.
This book explores the shared approach to Spanish and Latin American filmmakers with experimental film practices and strategies of composition and links these to a tradition of cinematic modernity that is being critically re-assessed by these filmmakers. By adopting a decidedly transnational perspective, the author investigates the distinctive elements of contemporary poetic cinematographic productions that shape present-day Hispanic art house cinematic productions. Thus, the book reassesses the notion of poetic cinema as an interstitial film practice. The author first examines the multiple meanings that the notion of poetry in cinema has historically had. Second, she explores how Hispanic cinema inherited the artistic principles of European cinematic modernity, blending them with the Latin American cinematographic tradition of neorealist influence.
Gender and Nation in Spain and Italy in the Long Nineteenth Century
Series:
Studia Imagologica, Volume: 32
In the long nineteenth century, dominant stereotypes presented people of the Mediterranean South as particularly passionate and unruly, therefore incapable of adapting to the moral and political duties imposed by European civilization and modernity. This book studies, for the first time in comparative perspective, the gender dimension of a process that legitimised internal hierarchies between North and South in the continent. It also analyses how this phenomenon was responded from Spain and Italy, pointing to the coincidences and differences between both countries. Drawing on travel narratives, satires, philosophical works, novels, plays, operas, and paintings, it shows how this transnational process affected, in changing historical contexts, the ways in which nation, gender, and modernity were imagined and mutually articulated.
Gender and Nation in Spain and Italy in the Long Nineteenth Century
Series:
Studia Imagologica, Volume: 32
In the long nineteenth century, dominant stereotypes presented people of the Mediterranean South as particularly passionate and unruly, therefore incapable of adapting to the moral and political duties imposed by European civilization and modernity. This book studies, for the first time in comparative perspective, the gender dimension of a process that legitimised internal hierarchies between North and South in the continent. It also analyses how this phenomenon was responded from Spain and Italy, pointing to the coincidences and differences between both countries. Drawing on travel narratives, satires, philosophical works, novels, plays, operas, and paintings, it shows how this transnational process affected, in changing historical contexts, the ways in which nation, gender, and modernity were imagined and mutually articulated.
This book investigates literary representations and self-representations of people with cosmopolitan identities arising from mobile global childhoods which transcend categories of migrancy and diaspora. Part I focuses on the ways in which cosmopolitan characters are represented in selected novels, from the debauched Anthony Blanche in Evelyn Waugh’s classic Brideshead Revisited, to the victimized Ila in Amitav Ghosh’s The Shadow Lines, to John le Carré’s undefinable spies. Part II focuses on self-representations of people with a cosmopolitan upbringing, in the form of autobiographical narratives by well-known authors such as Barack Obama and Edward Said, along with lesser-known writers, all of whom “write back” to the ways in which they have at times been stereotyped and othered in literary fiction and public discourse.
Series:
Cross/Cultures, Volume: 219
This book investigates literary representations and self-representations of people with cosmopolitan identities arising from mobile global childhoods which transcend categories of migrancy and diaspora. Part I focuses on the ways in which cosmopolitan characters are represented in selected novels, from the debauched Anthony Blanche in Evelyn Waugh’s classic Brideshead Revisited, to the victimized Ila in Amitav Ghosh’s The Shadow Lines, to John le Carré’s undefinable spies. Part II focuses on self-representations of people with a cosmopolitan upbringing, in the form of autobiographical narratives by well-known authors such as Barack Obama and Edward Said, along with lesser-known writers, all of whom “write back” to the ways in which they have at times been stereotyped and othered in literary fiction and public discourse.
Premodern Chinese Texts in Western Translation
This collected volume focuses on the history of Western translation of premodern Chinese texts from the seventeenth to the twentieth century. Divided into three parts, nine chapters feature close readings of translated texts, micro-studies of how three translations came into being, and broad-based surveys that inquire into the causes of historical change. Among the specific questions addressed are: What stylistic, generic, and discursive permutations were undergone by Chinese texts as they crossed linguistic borders? Who were the main agents in this centuries-long effort to transmit Chinese culture to the West? How did readership considerations affect the form that particular translations take? More generally, the contributors are concerned with the relevance of current research paradigms, like those of World Literature, transcultural reception, and the rewriting of translation history.
Premodern Chinese Texts in Western Translation
This collected volume focuses on the history of Western translation of premodern Chinese texts from the seventeenth to the twentieth century. Divided into three parts, nine chapters feature close readings of translated texts, micro-studies of how three translations came into being, and broad-based surveys that inquire into the causes of historical change. Among the specific questions addressed are: What stylistic, generic, and discursive permutations were undergone by Chinese texts as they crossed linguistic borders? Who were the main agents in this centuries-long effort to transmit Chinese culture to the West? How did readership considerations affect the form that particular translations take? More generally, the contributors are concerned with the relevance of current research paradigms, like those of World Literature, transcultural reception, and the rewriting of translation history.
Théorie littéraire et fragilité du divers
L’infini culturel est autour de nous, mais, comme l’horizon, il tend à fuir sous nos yeux. Il est sur les murs investis par le street art ; ou dans les toiles d’araignée auxquelles Tomás Saraceno a rendu homage ; ou dans les timbres-poste qui, comme savaient Walter Benjamin et Italo Calvino, sont des fenêtres ouvertes sur le monde.
Quelle que soient ses manifestations, l’infini nous engage à considérer l’extraordinaire diversité de la planète.
Face à lui, que faire, en littérature ?
Rester humble, par exemple, et formuler des hypothèses adéquates. Tenter de déjouer les asymétries qui empêchent les uns et les autres de s’exprimer partout dans de bonnes conditions. Revoir les fondements de la world literature et se mettre en résonance avec une culture authentiquement planétaire.
Cultural infinity is around us, but, like the horizon, it tends to flee before our eyes. It is on the walls invested by street art; or in the cobwebs to which Tomás Saraceno paid homage; or in postage stamps which, as Walter Benjamin and Italo Calvino knew, are windows to the world.
Whatever its manifestations, the infinite challenges us to consider the extraordinary diversity of the planet.
Facing him, what to do, in literature?
Remain humble, for example, and formulate adequate hypotheses. Try to thwart the asymmetries that prevent each other from expressing themselves everywhere in good conditions. Review the foundations of world literature and resonate with an authentically planetary culture.
Quelle que soient ses manifestations, l’infini nous engage à considérer l’extraordinaire diversité de la planète.
Face à lui, que faire, en littérature ?
Rester humble, par exemple, et formuler des hypothèses adéquates. Tenter de déjouer les asymétries qui empêchent les uns et les autres de s’exprimer partout dans de bonnes conditions. Revoir les fondements de la world literature et se mettre en résonance avec une culture authentiquement planétaire.
Cultural infinity is around us, but, like the horizon, it tends to flee before our eyes. It is on the walls invested by street art; or in the cobwebs to which Tomás Saraceno paid homage; or in postage stamps which, as Walter Benjamin and Italo Calvino knew, are windows to the world.
Whatever its manifestations, the infinite challenges us to consider the extraordinary diversity of the planet.
Facing him, what to do, in literature?
Remain humble, for example, and formulate adequate hypotheses. Try to thwart the asymmetries that prevent each other from expressing themselves everywhere in good conditions. Review the foundations of world literature and resonate with an authentically planetary culture.