apropos [Perspektiven auf die Romania]
Not a member yet
228 research outputs found
Sort by
A la escucha de las voces de mujeres. En écoutant les voix des femmes.: Mit Lucía Lijtmaer und Maylis de Kerangal unterwegs in der Stadt
Full text linkZiel dieses Beitrags ist es, anhand exemplarischer Textstellen aus einschlägigen Werken von zwei Autorinnen der zeitgenössischen spanischen und französischen Literatur (Lucía Lijtmaer und Maylis de Kerangal) spezifisch weibliche Stimmen und Blicke auf die Stadt zu analysieren, um den Zusammenhang zwischen den räumlichen Konzepten non-lieu, lieu anthropologique, hétérotopie und terrain vague sowie verschiedenen Formen von Affekt-, Imaginations- und Möglichkeitsräumen zu beleuchten. Zu diesem Zweck wird von einer Interdependenz zwischen urbanem Raum und Figurenperspektive ausgegangen. Hierfür werden individuelle Nutzungsweisen, Bewegungsmuster und Aneignungsmodi durch die weiblichen Subjekte in den Blick genommen beziehungsweise gehört. Denn mithilfe eines Aufgabenapparates zum globalen, selektiven, detaillierten und inferierenden Hörverstehen zeigt sich im Rahmen literaturdidaktischer Seitenblicke und Zwischentöne, inwiefern (syn)ästhetisches Erfahren zum emotiven Lernen an exemplarischer romanischer Literatur des 21. Jahrhunderts beitragen und motivieren kann.The aim of this article is to analyse specifically female voices and perspectives on the city using exemplary passages from relevant works by two authors of contemporary Spanish and French literature (Lucía Lijtmaer and Maylis de Kerangal) in order to shed light on the connection between the spatial concepts of non-lieu, lieu anthropologique, hétérotopie, terrain vague and various forms of spaces of affect, imagination and possibility. To this end, it is assumed that urban space and the character\u27s perspective are interdependent. Thus, individual use, patterns of movement and modes of appropriation by the female subjects are analysed and listened to. With the help of a task apparatus for global, selective, detailed and inferential listening comprehension, the extent to which (syn)aesthetic experience can contribute to and motivate emotive learning from exemplary Romance literature of the 21st century is shown in the context of literary didactic (marginal) perspectives and nuances
Terpe, Henriette. 2025. Escribir es aprender a morir. Diarios de muerte de Chile, España y Uruguay. Madrid/Frankfurt am Main: Iberoamericana/Vervuert.
Full text linkRezensionReviewReseñ
Faire parler la ville: Écritures berlinoises chez Cécile Wajsbrot
Full text linkFor French writer Cécile Wajsbrot, the fall of the Berlin Wall opens up a new access to the traumatic past of the German capital – and above all to the palimpsest of the reunified city. In her anthology Berliner Ensemble (2015) and in her novel L’Île aux musées (2008), she lets the city speak by exposing the layers of the Berlin palimpsest. The narrator of Berliner Ensemble appropriates the city through walking, superimposing multiple perspectives to create a polyphonic structure. The plurality of voices is also one of the main strategies for giving voice to the experience of the wounds left by the city’s past. From this perspective, Berliner Ensemble enters into dialogue with L’Île aux musées. The narrative voice of the novel is conveyed by a collective of statues. In a movement of human decentring, this collective questions human consciousness and collective memory, thereby reconfiguring the urban space.Pour l’écrivaine française Cécile Wajsbrot, la chute du Mur de Berlin ouvre un nouvel accès au passé traumatisant de la capitale allemande – et surtout au palimpseste de la ville réunifiée. Dans son anthologie Berliner Ensemble (2015) et dans son roman roman L’Île aux musées (2008), elle fait parler la ville en mettant à nu les strates du palimpseste berlinois. La narratrice de Berliner Ensemble s’approprie la ville à travers la marche en superposant plusieurs regards pour en créer une structure polyphonique. La pluralité des voix est également l’une des stratégies principales pour donner une voix à l’expérience des blessures laissées par le passé de la ville. Dans cette optique, Berliner Ensemble entre en dialogue avec L’Île aux musées. La voix narrative du roman est transmise à un collectif de statues. Dans un mouvement de décentrement humain, ce collectif interroge la conscience humaine et la mémoire collective et reconfigure ainsi l’espace urbain
Hohnhaus, Rebecca. 2023. Vom Mythos der algerischen Revolution. Geschichte, Narration und Aufklärung in Boualem Sansals Werk. Bielefeld: transcript.
Full text linkRezensionRevie
Attraversamento di sottospazi simbolici: esempi di letteratura italiana sulla pandemia di Covid-19
Full text linkStarting from the consideration that the Covid-19 pandemic has given rise to a new relationship between private and public space, the article focuses on two novels written in Italy which centre on the Covid-19 pandemic and in particular the first lockdown: Massimo Gramellini’s C’era una volta adesso (2020) e Giuseppe Genna’s Reality (2020). Through the concept of “literary space” theorised by Jurij Lotman, the article will establish how the texts examined allow for a crossing between different symbolic subspaces: if C’era una volta adesso focuses on the protagonist’s private space, which nevertheless later takes on a political significance, Reality tends towards the disappearance of the narrator-protagonist, who becomes an “eye” turned outwards, capable of crossing the tabooed spaces of the pandemic.Partendo dalla considerazione che la pandemia di Covid-19 ha dato origine ad un inedito rapporto tra spazio privato e spazio pubblico, l’articolo si concentra su due romanzi scritti in Italia che hanno al centro la pandemia di Covid-19 e in particolare il primo lockdown: C’era una volta adesso (2020) di Massimo Gramellini e Reality (2020) di Giuseppe Genna. Attraverso il concetto di “spazio letterario” teorizzato da Jurij Lotman, si mostra come i testi presi in esame consentano un attraversamento tra diversi sottospazi simbolici: se C’era una volta adesso si focalizza sullo spazio privato del protagonista, che tuttavia in seguito assume un significato politico, Reality tende verso la scomparsa del narratore-protagonista, che diventa un “occhio” rivolto verso l’esterno, in grado di attraversare gli spazi tabuizzati della pandemia. 
Dal salto associativo alla metaforizzazione dello spazio: Strategie narrative e paratestuali in Kaha Mohamed Aden
Full text linkThis article analyses the literary strategies which bring the historical-political and socio-cultural space of Somalia closer to the Italian context of reception in Fra-intendimenti (2010) and Dalmar. La disfavola degli elefanti (2019) by Kaha Mohamed Aden. The concept of the text as structural space according to Jurij Lotman, those of ethno- and mediascapes according to Arjun Appadurai, the paratext by Gérard Genette and referentiality according to Ralf Simon are employed to highlight not only the spacial-literary techniques and their implications, but also a diachronic development from a strong presentialisation of Somalia in Fra-Intendimenti to a metaphorical abstraction of Somalia in Dalmar, which leads to a more general conception of social space.Questo articolo analizza le strategie letterarie attraverso cui viene avvicinato lo spazio storico-politico e socioculturale della Somalia al contesto della ricezione italiana in Fra-intendimenti (2010) e Dalmar. La disfavola degli elefanti (2019) di Kaha Mohamed Aden. Ricorrendo ai concetti di testo come spazio strutturale (Jurij Lotman), ethno- e mediascapes (Arjun Appadurai), paratesto (Gérard Genette) e referenzialità (Ralf Simon), si mettono in evidenza non solo le tecniche spazio-letterarie e le loro implicazioni, ma anche lo sviluppo diacronico relativo a un’iniziale, forte presenzializzazione della Somalia in Fra-intendimenti a un’astrazione metaforica della Somalia stessa in Dalmar che porta a una concezione dello spazio sociale maggiormente generalizzabile
« Autobiographier » l’enfance dans la Grande Région : liminalité, ekphraseis cognitives et images matérielles chez Carla Lucarelli (2020) et Nina del Tragheto & Robert Jung (2014)
Full text linkThis article proposes a cognitive-anthropological reading of two autobiographical texts about childhood from the Grande Région, an area of transnational cooperation comprising the Grand Duchy of Luxembourg and its neighbouring Belgian (Wallonia), French (Lorraine) and German (Lorraine and Rhineland-Palatinate) lands. We show that in Luxrmbourgish writer Carla Lucarelli’s Enfance, instantanés. À l’aube de la mémoire (2020) and in Notre enfance en Lorraine. Enfants de la guerre et du baby-boom (2014), co-written by Robert Jung and Nina del Tragheto, the regional space acts not only as a matrix for the diegesis, but also constitutes the driving force behind the writing project. Focusing on the reconstruction of a mental experience (Lucarelli) and an era (Jung and del Tragheto) through autobiographical memory, mental imagery and documentary photography, both works were born as responses to questions raised by belonging to a liminal, multilingual and multiethnic space, with porous borders that give rise to reflections on both personal identity, and the narrative and aesthetic mechanisms underlying their depiction.Cet article propose une lecture cognitivo-anthropologique de deux textes autobiographiques portant sur l’enfance et appartenant à la Grande Région, un espace de coopération transnationale regroupant le Grand-Duché de Luxembourg et ses territoires frontaliers belge (la Wallonie), français (la Lorraine), et allemands (la Sarre et la Rhénanie Palatinat). Nous montrons ainsi que dans Enfance, instantanés. À l’aube de la mémoire (2020) de l’écrivaine luxembourgeoise Carla Lucarelli, et dans Notre enfance en Lorraine. Enfants de la guerre et du baby-boom (2014) de Robert Jung et Nina del Tragheto, l’espace régional ne se contente pas du statut de matrice de la diégèse, mais constitue également le moteur du projet d’écriture. Centrés sur la reconstruction d’une expérience mentale (Lucarelli) et d’une époque (Jung et del Tragheto) par le biais de la mémoire autobiographique, d’images mentales et de photographies documentaires, les deux ouvrages sont nés en tant que réponses à des interrogations posées par l’appartenance à un espace liminal, multilingue et multiethnique, aux frontières poreuses et donnant lieu aussi bien à des réflexions sur l’identité personnelle que sur les mécanismes narratifs et esthétiques qui sous-tendent leur mise en scène
«se tu vuoi confrontarti con l’altro, passi dall’assoluto al relativo»: Intervista con Kaha Mohamed Aden sullo spazio nella sua scrittura
Full text linkInterview with Kaha Mohamed AdenIntervista con Kaha Mohamed Ade
Literarische Zensur im Franquismus: Rezeption und Zensur von Ernest Hemingways For Whom the Bell Tolls (1940)
Full text linkErnest Hemingway, der den Spanischen Bürgerkrieg selbst vor Ort miterlebte, verarbeitete seine dortigen Erfahrungen als Berichterstatter im Roman For Whom the Bell Tolls, in dem er teils ganz unverblümt die Grauen des Kriegs schildert. Die englische Originalausgabe kam bereits 1940 außerhalb Spaniens auf den Markt; dennoch sollte es bis 1968 dauern, bis der Roman schließlich unter dem Titel Por quién doblan las campanas in übersetzter – und zensierter – Fassung in Spanien erschien. Der vorliegende Beitrag befasst sich mit der Publikations-, Übersetzungs- und Zensurgeschichte des genannten Romans im franquistischen Spanien. Zur Untersuchung etwaiger translatorischer Eingriffe sollen die englischsprachige Originalausgabe, die 1968 erstmals in Spanien veröffentlichte sowie die 1993 erschienene erste ‚postfranquistische‘ Ausgabe einer vergleichenden Betrachtung unterzogen werden.Ernest Hemingway, who experienced the Spanish Civil War first-hand, wrote about his experiences there as a reporter in the novel For Whom the Bell Tolls, in which he describes the horrors of war, sometimes quite bluntly. The original English edition was published as early as 1940, but it was not until 1968 that the novel was finally published in Spain in a translated – and censored – version under the title Por quién doblan las campanas. This article deals with the publication, translation, and censorship history of said novel in Francoist Spain. In order to examine possible translational interventions, the original English-language edition, the first edition published in Spain in 1968, and the first ‘post-Francoist’ edition published in 1993 will be compared
Einleitung: Großstadterfahrung weiblich denken
Full text linkEinführende Worte der Herausgeberin zum Themenheft der weiblichen Blicke auf die Stadt in Literatur, Musik und Film aus Frankreich und SpanienIntroduction by the editor on the special issue on female perspectives on the city in literature, music and film from France and Spai