Studia theodisca
Not a member yet
262 research outputs found
Sort by
Hybride Konstruktionen als identitätsstiftende Verortung in Vladimir Vertlibs Roman «Viktor hilft»: [Hybrid constructions as a means of creating and locating identity in Vladimir Vertlib\u27s novel «Viktor hilft»]
Full text linkIn Vladimir Vertlib’s novel Viktor hilft reinventing identity, linguistic and cultural hybridization processes as well as re-localizations can be explained. The author describes polyphonic situations in the cross-cultural narrative process and indirectly pluralizes the concept of culture, advocating a transcultural understanding of modern cultures. The identity of literary figures, which require the foil of otherness, constructs itself in an overarching field of cultures. The discourse about the other shapes their own self-image
La funzione mitopoietica della lingua euripidea. Alcune osservazioni sulla traduzione di Friedrich Hölderlin «Die Bacchantinnen»
Full text linkBased on a philological analysis of the translation of Euripides’ Bacchae by Hölderlin, this paper examines the syntactical and semantic choices made by the translator and aims to investigate the adaptation of the ancient lexicon to his contemporary expressive needs. Every voluntary violation of the syntactic order of the phrases, as well as every semantic choice that diverges from the original Greek text, which is usually translated word by word, represents a conscious modification of the “sacred” Greek archetype, and allows the poet to turn the translation into his own “place of poetic creation”
Reviews by Luca Crescenzi, Giulia Puzzo, and Marco Castellari
No full textReview of Marco Castellari’s book Hölderlin und das Theater. Produktion – Rezeption – Transformation (2018), by Luca Crescenzi.Review of Marta Vero’s book Quella non comune tendenza all’universalità. Studio sull’«Empedocle» di Hölderlin (2018), by Giulia Puzzo.Review of Peter Utz’s book «Nachreife des fremden Wortes». Hölderlins «Hälfte des Lebens» und die Poetik des Übersetzens (2017), by Marco Castellar
Inhabiting a Time before Time. Freud’s Concept of Trauma as a Psychoanalytical Figure of Thought
Full text linkAt present the term ‘trauma’ seems to be booming as a pattern of cultural interpretation. It connects discourses about medicine, psychoanalysis, art and literary theory, and social history. Today the ruptures and aporias of understanding, representation, communicability and referentiality are discussed in post-structuralist theories of meaning, but it was Freud who created for the first time a readable text about how the repetitious structure of trauma in its paradoxical temporality – the effect stands in as its cause – works as a missed experience at the interface of lives and texts
«Was! um eines Wortes willen?». Hölderlin, Celan e la cesura tra poesia e ‘praxis’ nella storia: [«What? By dint of a mere word?». Hölderlin, Celan and the caesura between poetry and historical ‘praxis’]
Full text linkThe purpose of this article is to shed light on the complex relationship between poetry and praxis, which Hölderlin and Celan dealt with, respectively, in the tragedy Der Tod des Empedokles and in the poem Tübingen Jänner and, further, to show how the two poets were driven by the urge to reflect on the role of the poet in history. In the tragedy Der Tod des Empedokles, Hölderlin still seems to believe in the power of the poetic word, but he soon lost this faith and did not finish his drama. In Paul Celan’s poem Tübingen Jänner, Hölderlin becomes the symbol of a poetry which the world cannot understand any more. The obscure words «Pallaksch. Pallaksch», which the poet repeated in front of his visitors in the tower on the Neckar, suggest the impossible communication between poet and society and the caesura between the poetic word and historical praxis
Le traduzioni di Hölderlin nel circolo di George. Poetica traduttiva e critica filologica
Full text linkThe aim of this article is to reconstruct the translation framework within which the rediscovery of Hölderlin in the George Circle takes place, with the intention of demonstrating why Hölderlin’s translation work plays a paradigmatic role for its members. Placed by the members of the Circle in immediate continuity with the Frühromantik and therefore considered as a forerunner of symbolism, Hölderlin represents a model of versification that combines movement and form. Hölderlin’s paradigmatic role among George’s disciples concerns above all his research on the poetic word. This aspect of his poetics could be principally perceived – in antithesis to Wilamowitz’s domesticating versions – in his deliberate introduction of “foreignizing” linguistic features into his translations from ancient Greek
Peter Szondi. «Sul tragico» di Hölderlin
Full text linkThe aim of this paper is to reconsider Peter Szondi’s readings of Friedrich Hölderlin, beginning with Versuch über das Tragische (1961) up to the Hölderlin-Studien (1967), with particular regard to the essay Der andere Pfeil. Zur Entstehungsgeschichte von Hölderlins hymnischem Spätstil. Hölderlin’s conception of «das Tragische» as outlined in Szondi’s first mentioned work will be discussed in relation to his later reading of Wie wenn am Feiertage… and of Hölderlin’s hymnic style. This will show how the poet’s idea of the tragic movement (from the unity of the human and the Divine to their separation) becomes Szondi’s gateway to the understanding of Hölderlin’s late poetry, his translations, and his poetics. Just like Oedipus, whom the Gods punish for his nefas, the poet is struck in Wie wenn am Feiertage… by the “other arrow” and condemned to “divine infidelity” since he cannot stand bareheaded before the Divine and celebrate it in song
Cover for Studia theodisca – Hölderliniana III
No full textStudia theodisca – Hölderliniana III (2018): Volume Cove
«Die Ehre bleibt allein des Herzens Eigenthum». La definizione del carattere tragico nella teoria estetica e nella scrittura drammatica di Johann Elias Schlegel: [«Die Ehre bleibt allein des Herzens Eigenthum». The definition of the tragic character in the aesthetic theory and in the dramatic writing of Johann Elias Schlegel]
Full text linkJohann Elias Schlegel’s writing for the theatre always pairs up with theoretical reflection. In his essays, Schlegel often takes an original stance with respect to his background as a member of the Gottsched circle. At no time does he ever set aside the mimetic principle; instead, he deploys it on behalf of an aesthetic of affects firmly anchored to a lucid understanding of the political and social situation surrounding the reception of his work. This study mainly focuses on how this intertwining finds expression in his essays and in his major tragedy Canut (1746)