Studia theodisca
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Liebe/Inzest: Zur kulturellen Kodierung von Sexualität Dargestellt am Beispiel von J. M. R. Lenz’ Komödie «Der neue Menoza»
Get PDFIn his comedy «Der neue Menoza», J. M. R. Lenz uses a love story between an exotic prince and a young German woman to simulate and debate a form of sexuality which the Bible disqualifies as incestuous. Inscribing a theological exegesis of incest as intertext in his framework, Lenz demonstrates the possibility of shifting this biblical taboo. Taking this perspective as the starting point of my investigation, I regard incest as a cultural construction. In the light of two contemporary discourses, the article points at the abrogation of the incest taboo by means of a re-writing of the biblical prohibition to be a sensitive issue in the cultural debate on sexuality
Per una lettura “begriffsgeschichtlich” della categoria di Gestalt. Le traduzioni di Stefan George dalla «Divina Commedia»
Get PDFIn the George-Kreis the category of “Gestalt” is often employed as a hermeneutic criterion for the interpretation of great authors of the past. Starting from the presence of the term “Gestalt” at various places in George’s translations from the Divina Commedia, which accompanied his poetic work for a long time, this article aims at reconstructing the way in which the paradigm of “Gestalt” fluctuates between the fields of historiographic inquiry and literary invention
Eine frühe mediale Beschäftigung mit der Genderproblematik aus der Männerperspektive – zu Herbert Grönemeyers Popsongtext «Männer» und seinen Folgen
Get PDFPop songs can be used as semiotic signs to give insight into public opinion simply because they have to prove themselves successfull in a commercial environment: they should reflect, not contradict, the general attitudes of the song’s buyers. In this article I will refer to the song «Männer» by Herbert Grönemeyer, questioning whether its text really breaks with traditional role models. I come to a somewhat qualifying answer. However, especially since Grönemeyer does not contradict the old role model, he seems to be credible when he ignores it in his later song «Mensch»
