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Poetry in Poland and China Since 1989
In Search of Singularity introduces a new “compairative” methodology that seeks to understand how the interplay of paired texts creates meaning in new, transcultural contexts. Bringing the worlds of contemporary Polish and Chinese poetry since 1989 into conversation with one another, Joanna Krenz applies the concept of singularity to draw out resonances and intersections between these two discourses and shows how they have responded to intertwined historical and political trajectories and a new reality beyond the human. Drawing on developments such as AI poetry and ecopoetry, Krenz makes the case for a fresh approach to comparative poetry studies that takes into account new forms of poetic expression and probes into alternative grammars of understanding.
Poetry in Poland and China Since 1989
In Search of Singularity introduces a new “compairative” methodology that seeks to understand how the interplay of paired texts creates meaning in new, transcultural contexts. Bringing the worlds of contemporary Polish and Chinese poetry since 1989 into conversation with one another, Joanna Krenz applies the concept of singularity to draw out resonances and intersections between these two discourses and shows how they have responded to intertwined historical and political trajectories and a new reality beyond the human. Drawing on developments such as AI poetry and ecopoetry, Krenz makes the case for a fresh approach to comparative poetry studies that takes into account new forms of poetic expression and probes into alternative grammars of understanding.
Contributors:
Susanne Strätling, Anja Schloßberger, Antonia Stötzler, Julia Fertig, Heike Winkel, and Anna Burck
Associate Editor:
Georg Witte
Neben der gut erforschten Verfremdungsästhetik des russischen Formalismus entwickelt sich in den 1920er Jahren in der frühen Sowjetunion eine bislang wenig rezipierte philosophische Ästhetik. Kristallisationspunkte dieser „Formal-Philosophischen Schule“ waren zwei akademische Institutionen: Die GAChN, die in Moskau von Anfang bis Ende der 20er Jahre tätige „Staatliche Akademie der Kunstwissenschaften“, und das in Leningrad beheimatete GIII, das „Staatliche Institut für Kunstgeschichte“, das schon 1912 gegründet und ebenfalls Anfang der 1930er Jahre liquidiert wurde.
Die Auswahl der zum ersten Mal in deutscher Übersetzung versammelten Texte dieser Anthologie sowie die dazugehörigen Kommentare konzentrieren sich auf literatur- und kunstwissenschaftliche sowie allgemein ästhetische Fragestellungen. Daneben werden aber auch Studien zur bildenden Kunst und zum Film sowie zu einzelnen Themen der empirischen Kunstwissenschaft präsentiert.
Die Texte sind vier Themenbereichen zugeordnet: Allgemeine Kunstwissenschaft, Philosophische Ästhetik (u.a. G. Špet, B. Jarcho, G. Vinokur); Literaturwissenschaft (V. Vinogradov, B. Grifcov u.a.); Bildende Kunst (V. Kandinskij, A. Cires, A. Gabričevskij, u.a.); Theater und Film (L. Gurevič, N. Žinkin, V. Turkin). Hinzu kommt eine Auswahl von Lexikonartikeln der Projekt gebliebenen „Enzyklopädie der Kunstwissenschaften“.
Die Auswahl der zum ersten Mal in deutscher Übersetzung versammelten Texte dieser Anthologie sowie die dazugehörigen Kommentare konzentrieren sich auf literatur- und kunstwissenschaftliche sowie allgemein ästhetische Fragestellungen. Daneben werden aber auch Studien zur bildenden Kunst und zum Film sowie zu einzelnen Themen der empirischen Kunstwissenschaft präsentiert.
Die Texte sind vier Themenbereichen zugeordnet: Allgemeine Kunstwissenschaft, Philosophische Ästhetik (u.a. G. Špet, B. Jarcho, G. Vinokur); Literaturwissenschaft (V. Vinogradov, B. Grifcov u.a.); Bildende Kunst (V. Kandinskij, A. Cires, A. Gabričevskij, u.a.); Theater und Film (L. Gurevič, N. Žinkin, V. Turkin). Hinzu kommt eine Auswahl von Lexikonartikeln der Projekt gebliebenen „Enzyklopädie der Kunstwissenschaften“.
Eine Anthologie
Neben der gut erforschten Verfremdungsästhetik des russischen Formalismus entwickelt sich in den 1920er Jahren in der frühen Sowjetunion eine bislang wenig rezipierte philosophische Ästhetik. Kristallisationspunkte dieser „Formal-Philosophischen Schule“ waren zwei akademische Institutionen: Die GAChN, die in Moskau von Anfang bis Ende der 20er Jahre tätige „Staatliche Akademie der Kunstwissenschaften“, und das in Leningrad beheimatete GIII, das „Staatliche Institut für Kunstgeschichte“, das schon 1912 gegründet und ebenfalls Anfang der 1930er Jahre liquidiert wurde.
Die Auswahl der zum ersten Mal in deutscher Übersetzung versammelten Texte dieser Anthologie sowie die dazugehörigen Kommentare konzentrieren sich auf literatur- und kunstwissenschaftliche sowie allgemein ästhetische Fragestellungen. Daneben werden aber auch Studien zur bildenden Kunst und zum Film sowie zu einzelnen Themen der empirischen Kunstwissenschaft präsentiert.
Die Texte sind vier Themenbereichen zugeordnet: Allgemeine Kunstwissenschaft, Philosophische Ästhetik (u.a. G. Špet, B. Jarcho, G. Vinokur); Literaturwissenschaft (V. Vinogradov, B. Grifcov u.a.); Bildende Kunst (V. Kandinskij, A. Cires, A. Gabričevskij, u.a.); Theater und Film (L. Gurevič, N. Žinkin, V. Turkin). Hinzu kommt eine Auswahl von Lexikonartikeln der Projekt gebliebenen „Enzyklopädie der Kunstwissenschaften“.
Die Auswahl der zum ersten Mal in deutscher Übersetzung versammelten Texte dieser Anthologie sowie die dazugehörigen Kommentare konzentrieren sich auf literatur- und kunstwissenschaftliche sowie allgemein ästhetische Fragestellungen. Daneben werden aber auch Studien zur bildenden Kunst und zum Film sowie zu einzelnen Themen der empirischen Kunstwissenschaft präsentiert.
Die Texte sind vier Themenbereichen zugeordnet: Allgemeine Kunstwissenschaft, Philosophische Ästhetik (u.a. G. Špet, B. Jarcho, G. Vinokur); Literaturwissenschaft (V. Vinogradov, B. Grifcov u.a.); Bildende Kunst (V. Kandinskij, A. Cires, A. Gabričevskij, u.a.); Theater und Film (L. Gurevič, N. Žinkin, V. Turkin). Hinzu kommt eine Auswahl von Lexikonartikeln der Projekt gebliebenen „Enzyklopädie der Kunstwissenschaften“.
If, as Robert Craft remarked, ‘religious beliefs were at the core of Stravinsky’s life and work’, why have they not figured more prominently in discussions of his works?
Stravinsky’s coordination of the listener with time is central to the unity of his compositional style. This ground-breaking study looks at his background in Russian Orthodoxy, at less well-known writings of Arthur Lourié and Pierre Souvtchinsky and at the Catholic philosophy of Jacques Maritain, that shed light on the crucial link between Stravinsky’s spirituality and his restoration of time in music.
Recent neuroscience research supports Stravinsky’s eventual adoption of serialism as the natural and logical outcome of his spiritual and musical quest.
Stravinsky’s coordination of the listener with time is central to the unity of his compositional style. This ground-breaking study looks at his background in Russian Orthodoxy, at less well-known writings of Arthur Lourié and Pierre Souvtchinsky and at the Catholic philosophy of Jacques Maritain, that shed light on the crucial link between Stravinsky’s spirituality and his restoration of time in music.
Recent neuroscience research supports Stravinsky’s eventual adoption of serialism as the natural and logical outcome of his spiritual and musical quest.
If, as Robert Craft remarked, ‘religious beliefs were at the core of Stravinsky’s life and work’, why have they not figured more prominently in discussions of his works?
Stravinsky’s coordination of the listener with time is central to the unity of his compositional style. This ground-breaking study looks at his background in Russian Orthodoxy, at less well-known writings of Arthur Lourié and Pierre Souvtchinsky and at the Catholic philosophy of Jacques Maritain, that shed light on the crucial link between Stravinsky’s spirituality and his restoration of time in music.
Recent neuroscience research supports Stravinsky’s eventual adoption of serialism as the natural and logical outcome of his spiritual and musical quest.
Stravinsky’s coordination of the listener with time is central to the unity of his compositional style. This ground-breaking study looks at his background in Russian Orthodoxy, at less well-known writings of Arthur Lourié and Pierre Souvtchinsky and at the Catholic philosophy of Jacques Maritain, that shed light on the crucial link between Stravinsky’s spirituality and his restoration of time in music.
Recent neuroscience research supports Stravinsky’s eventual adoption of serialism as the natural and logical outcome of his spiritual and musical quest.
Volume Editor:
Vladimer Luarsabishvili
This book intends to present Mamardashvili’s philosophical perspective on modern society by exemplifying in different ways its distinctive contribution to the greater philosophical landscape. The authors aim to define both Mamardashvili’s place in the history of philosophy—among the currents of twentieth-century European thought and, in particular, phenomenology—and his relations with authors like Hegel, Proust, Deleuze, and Wittgenstein, while identifying the basic methodological instruments and substantive concepts of his thought—language, migration, citizenship, or “the freedom of complaint.” The volume will be useful both for preparatory courses (by supplying an introduction to Mamardashvili’s thought and forming the key necessary concepts) and for advanced research exigencies, allowing a professional audience to discover the remarkable insights of Mamardashvili’s philosophy.
Volume Editor:
Vladimer Luarsabishvili
This book intends to present Mamardashvili’s philosophical perspective on modern society by exemplifying in different ways its distinctive contribution to the greater philosophical landscape. The authors aim to define both Mamardashvili’s place in the history of philosophy—among the currents of twentieth-century European thought and, in particular, phenomenology—and his relations with authors like Hegel, Proust, Deleuze, and Wittgenstein, while identifying the basic methodological instruments and substantive concepts of his thought—language, migration, citizenship, or “the freedom of complaint.” The volume will be useful both for preparatory courses (by supplying an introduction to Mamardashvili’s thought and forming the key necessary concepts) and for advanced research exigencies, allowing a professional audience to discover the remarkable insights of Mamardashvili’s philosophy.
A Yugoslav Marxist-Surrealist Epic Poem for Children
The Fine Feats of the Five Cockerels Gang is a Marxist-Surrealist Yugoslav epic poem for children, written by Aleksandar Vučo and accompanied by Dušan Matić’s photocollage illustrations and captions. The poem tracks the adventures of five scrappy, resourceful working-class boys who endeavor to free an equally plucky girl from the evil clutches of a convent school (and its fearsome nuns). While weighing in on various contemporary political issues, the story is unpredictable, action-packed and relayed in richly colloquial language. Matić’s photocollages show “what happened in the meantime” between the “songs” (episodes) of the poem, providing clever twists to the linear plot as well as an illustration of the surrealist concepts of time, space and the transformative capabilities of art.
A Yugoslav Marxist-Surrealist Epic Poem for Children
The Fine Feats of the Five Cockerels Gang is a Marxist-Surrealist Yugoslav epic poem for children, written by Aleksandar Vučo and accompanied by Dušan Matić’s photocollage illustrations and captions. The poem tracks the adventures of five scrappy, resourceful working-class boys who endeavor to free an equally plucky girl from the evil clutches of a convent school (and its fearsome nuns). While weighing in on various contemporary political issues, the story is unpredictable, action-packed and relayed in richly colloquial language. Matić’s photocollages show “what happened in the meantime” between the “songs” (episodes) of the poem, providing clever twists to the linear plot as well as an illustration of the surrealist concepts of time, space and the transformative capabilities of art.
Editor:
Irina Wutsdorff
Das Konzept vom Werk als Sinngeschehen repräsentiert mit seinem Fokus auf Dynamik und Prozessualität eine in den westlichen Theoriediskussionen immer noch wenig bekannte Variante des Strukturalismus. Der tschechische Literaturwissenschaftler Milan Jankovič entwickelte sein Modell vom Kunstwerk als Quelle eines offenen, dynamischen Sinnbildungsprozesses in Auseinandersetzung mit der Ästhetik vor allem des Prager Strukturalismus. Erstmals erscheinen hier seine Studien in einem größeren Zusammenhang auf Deutsch. Der Band enthält neben der grundlegenden Monographie zum Werk als Sinngeschehen, die nach der Niederschlagung des Prager Frühlings nicht mehr erscheinen konnte, Auszüge aus neueren Arbeiten, in denen Jankovič sein Konzept auch im Lichte neuerer Theorieanstöße weiter ausarbeitete.
Editor:
Irina Wutsdorff
Das Konzept vom Werk als Sinngeschehen repräsentiert mit seinem Fokus auf Dynamik und Prozessualität eine in den westlichen Theoriediskussionen immer noch wenig bekannte Variante des Strukturalismus. Der tschechische Literaturwissenschaftler Milan Jankovič entwickelte sein Modell vom Kunstwerk als Quelle eines offenen, dynamischen Sinnbildungsprozesses in Auseinandersetzung mit der Ästhetik vor allem des Prager Strukturalismus. Erstmals erscheinen hier seine Studien in einem größeren Zusammenhang auf Deutsch. Der Band enthält neben der grundlegenden Monographie zum Werk als Sinngeschehen, die nach der Niederschlagung des Prager Frühlings nicht mehr erscheinen konnte, Auszüge aus neueren Arbeiten, in denen Jankovič sein Konzept auch im Lichte neuerer Theorieanstöße weiter ausarbeitete.
Towards the Temporal Turn in the Critical Study of (Post)-Yugoslav Literatures
In this collection of essays, authors propose a temporal shift in (post-)Yugoslav studies. By taking into account select examples from literature, art, and culture, the volume questions a possibility of explaining the temporal structure underlying the theoretical and analytical concepts employed in understanding (post-)Yugoslav literature(s) and culture(s). Analyses undertaken in the essays showcase that the (post-)Yugoslav literary, artistic, and cultural practices do not only attempt to portray the demise of the state and the succeeding war between its former republics. Instead, the authors underscore that the critical (post-)Yugoslav studies task is to evince and critically reflect on and engage with the processes before and after the dissolution to capture the collapse itself.
Towards the Temporal Turn in the Critical Study of (Post)-Yugoslav Literatures
In this collection of essays, authors propose a temporal shift in (post-)Yugoslav studies. By taking into account select examples from literature, art, and culture, the volume questions a possibility of explaining the temporal structure underlying the theoretical and analytical concepts employed in understanding (post-)Yugoslav literature(s) and culture(s). Analyses undertaken in the essays showcase that the (post-)Yugoslav literary, artistic, and cultural practices do not only attempt to portray the demise of the state and the succeeding war between its former republics. Instead, the authors underscore that the critical (post-)Yugoslav studies task is to evince and critically reflect on and engage with the processes before and after the dissolution to capture the collapse itself.
Memory, History, Testimony
Alexander Solzhenitsyn and Varlam Shalamov are two of the best-known Gulag writers. After a short period of personal acquaintance, their lives and views on literature took different paths. Solzhenitsyn did not see a literary program in Shalamov’s works, which he describes as “a result of exhaustion after years of hard labour in the camp”. By understanding the text as a “result”, Solzhenitsyn critically touched on a concept of evidence, which Shalamov several times emphasized as important to his own works. According to Shalamov, instead of the text being a re-presentation, it should be an extract from or substitute for the real or the factual, by which his Gulag experience became present once again. Concepts such as “document”, “thing” and “fact” became important for Shalamov’s self-identification as a modernist. At the same time, Solzhenitsyn, viewing his own task as one of restoring historical experiences of the Russian people and trying “to explain the slow course of history and what sort of one it has been”, assumed the dual role of writer and historian, which inevitably raises the question of what characterizes the borders between fact and fiction in his works. It also raises question about dichotomies of historical and fictional truth.
Contributors: Andrea Gullotta, Fabian Heffermehl, Luba Jurgenson, Irina Karlsohn, Josefina Lundblad-Janjić, Elena Mikhailik, Michael A. Nicholson, Irina Sandomirskaja, Ulrich Schmid, Franziska Thun-Hohenstein, Leona Toker.
Contributors: Andrea Gullotta, Fabian Heffermehl, Luba Jurgenson, Irina Karlsohn, Josefina Lundblad-Janjić, Elena Mikhailik, Michael A. Nicholson, Irina Sandomirskaja, Ulrich Schmid, Franziska Thun-Hohenstein, Leona Toker.
Memory, History, Testimony
Alexander Solzhenitsyn and Varlam Shalamov are two of the best-known Gulag writers. After a short period of personal acquaintance, their lives and views on literature took different paths. Solzhenitsyn did not see a literary program in Shalamov’s works, which he describes as “a result of exhaustion after years of hard labour in the camp”. By understanding the text as a “result”, Solzhenitsyn critically touched on a concept of evidence, which Shalamov several times emphasized as important to his own works. According to Shalamov, instead of the text being a re-presentation, it should be an extract from or substitute for the real or the factual, by which his Gulag experience became present once again. Concepts such as “document”, “thing” and “fact” became important for Shalamov’s self-identification as a modernist. At the same time, Solzhenitsyn, viewing his own task as one of restoring historical experiences of the Russian people and trying “to explain the slow course of history and what sort of one it has been”, assumed the dual role of writer and historian, which inevitably raises the question of what characterizes the borders between fact and fiction in his works. It also raises question about dichotomies of historical and fictional truth.
Contributors: Andrea Gullotta, Fabian Heffermehl, Luba Jurgenson, Irina Karlsohn, Josefina Lundblad-Janjić, Elena Mikhailik, Michael A. Nicholson, Irina Sandomirskaja, Ulrich Schmid, Franziska Thun-Hohenstein, Leona Toker.
Contributors: Andrea Gullotta, Fabian Heffermehl, Luba Jurgenson, Irina Karlsohn, Josefina Lundblad-Janjić, Elena Mikhailik, Michael A. Nicholson, Irina Sandomirskaja, Ulrich Schmid, Franziska Thun-Hohenstein, Leona Toker.
Joe Andrew and Robert Reid assemble thirteen analytical discussions of Tolstoi’s key works, written by leading scholars from around the world. The works studied cover almost the entire length of Tolstoi’s creative career, from some of his earliest stories of the 1850s (The Sevastopol Stories), to those of his last period, including posthumous publications (The Kreutzer Sonata and Father Sergius). Particular attention is paid to his two masterpieces, War and Peace and Anna Karenina. All the studies are based on the most recent developments in cultural theory. The reader of this work will gain new and unique insights into this unparalleled genius of world literature, especially into the methods used to create the works that retain immense importance for us today.
Contributors: Joe Andrew, Eric de Haard, Rose France, Helena Goscilo, Jane Gary Harris, Katalin Kroó, Irina Makoveeva, Deborah Martinsen, Robin Feuer Miller, Robin Milner-Gulland, Audun Mørch, Donna Tussing Orwin, Olga Sobolev, Diane Oenning Thompson
Contributors: Joe Andrew, Eric de Haard, Rose France, Helena Goscilo, Jane Gary Harris, Katalin Kroó, Irina Makoveeva, Deborah Martinsen, Robin Feuer Miller, Robin Milner-Gulland, Audun Mørch, Donna Tussing Orwin, Olga Sobolev, Diane Oenning Thompson
Joe Andrew and Robert Reid assemble thirteen analytical discussions of Tolstoi’s key works, written by leading scholars from around the world. The works studied cover almost the entire length of Tolstoi’s creative career, from some of his earliest stories of the 1850s (The Sevastopol Stories), to those of his last period, including posthumous publications (The Kreutzer Sonata and Father Sergius). Particular attention is paid to his two masterpieces, War and Peace and Anna Karenina. All the studies are based on the most recent developments in cultural theory. The reader of this work will gain new and unique insights into this unparalleled genius of world literature, especially into the methods used to create the works that retain immense importance for us today.
Contributors: Joe Andrew, Eric de Haard, Rose France, Helena Goscilo, J
Contributors: Joe Andrew, Eric de Haard, Rose France, Helena Goscilo, J