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The Un/Ethical Demand: A Responsive Approach to Sharing and Its Ethics
Full text linkMany anthropological theories address food sharing as an intentional act, asking what motivates people to give. They show how one gives for generosity, reciprocity, or becoming virtuous. In these views, the answer to the ethical question of whether to give is to be found inside the giving self. However, for Damara pastoralists and others, sharing is often initiated by the beneficiaries. To address this, I propose using Bernhard Waldenfels’s responsive phenomenology that locates and theorises the mainsprings of ethical action beyond the subject. According to Waldenfels, Fremdheit (alienness) is a salient dimension of how the world appears to us. This alienness solicits us; it causes a demand to which we must respond. With sharing, the ‘needs’ of others are alien. They include the needs of those giving and demanding, and of others present in the situation. The pre-reflective response to these demands is almost always mās |guisa ra hî, one just gives. Only in select cases is a reflective choice made, where (1) multiple demands compete and (2), importantly, the alien largely withdraws from the attempt, sticking out and exceeding the ethical orders of the everyday. I conclude by showing how sharing and its ethics can be theorised as an interplay between the habitual and creative response to the demands that situations create
Sharing Land, Sharing Faith: Ground Ethics amongst Missionaries and Ik in Uganda
Full text linkWhen do ethics of sharing, or ‘something for something’ logics of exchange, apply? This article explores this question based on fieldwork amongst the Ik community and missionaries in Uganda. It examines interactions of sharing and exchange and how situational communities of belonging and resonance are created, but also pays attention to tensions between groups. A variety of sharing ethics form the basis for everyday interactions within the Ik community, such as the sharing of mountain landscapes and the sharing of land for agriculture. These and other ethics of sharing are part of everyday life yet seldom without friction and contestation. When international missionaries came to the Ik mountains to ‘spread the word of God’, they too were driven by ethics of sharing: their call was to share faith. Yet, moralities of exchange were also crucial for missionaries to convey. Nuances between sharing and exchange, borrowing and stealing became continuous sources of friction and negotiation between locals and foreigners. Three cases describing different kinds of sharing and exchange between the missionaries and the Ik provide material for rethinking ethics of sharing phenomenologically in relation to territories, faith and material items. The article draws on Knud Løgstrup’s ideas about ground ethics and contributes to the literature on sharing and ethics by pointing to how communities of belonging and resonance may arise out of sharing practices, but also how friction builds up when parties do not agree about whether a transaction is a form of sharing or one of exchange and which ethics to apply
‹Diversidad en la unidad›: Una lectura en clave ecocrítica de la imagen poética en el Diario de Frida Kahlo
Full text linkEn este texto examino, partiendo del Diario de Frida Kahlo, distintas líneas de lectura de la obra de la pintora mexicana para entenderla desde una perspectiva ecocrítica. Para esto trato de demostrar la presencia de un modo cómico en su obra que no solamente juega un papel importante en su ecología implícita, sino en su concepción de imagen y su relación con la palabra. Como punto de partida teórico recurrí al concepto de imagen en la poética de Octavio Paz y al de ecomímesis de Timothy Morton.Taking Frida Kahlo’s Diario as a point of departure, I examine in the present text different interpretative possibilities of her work from an ecocritical perspective. To do so, I attempt to demonstrate the presence of a comic mode in her work that not only plays a significant role in its implicit ecology, but in the conception of image and its relation to text. As a theoretical starting point, I turned to the concept of image in Octavio Paz’s poetics and Timothy Morton’s ecomimesis. En el siguiente texto examino, partiendo del Diario de Frida Kahlo, distintas líneas de lectura de la obra de la pintora mexicana para entenderla desde una perspectiva ecocrítica. Para esto trato de demostrar la presencia de un modo cómico en su obra que no solamente juega un papel importante en su ecología implícita, sino en su concepción de imagen y su relación con la palabra. Como punto de partida teórico recurrí al concepto de imagen en la poética de Octavio Paz y al de ecomímesis de Timothy Morton
Textos ilustrados o ilustraciones textuales: La relación entre la poesía visual y la historieta en América Latina (1985-2009)
Full text linkParallel to the development of writing, artistic forms of combining text and visual elements also developed. In this so-called visual poetry, current forms of writing and visual languages were combined. With the emergence of concrete poetry as a special form of visual poetry in the mid-20th century, both in German-speaking countries and in Brazil, as well as through the development of Pop Art and Fluxus, visual poetry was brought ever closer to the specific forms of expression of comics. The Brazilian poema/proceso group of poets, which also influenced visual poetry in Argentina and other Latin American countries, was particularly active in this process.
Based on the analysis of the works exhibited at the Bienal Internacional de Poesía Visual/Experimental between 1985 and 2009 and published in an illustrated book in 2017, it becomes clear how closely visual poetry and comic have been linked since the 1980s. In the visual poetry of the Latin American poets and artists analysed, there are numerous examples in which they have adopted concepts, structural elements and forms of expression of the comic and implemented them artistically in their works.Paralelamente al desarrollo de la escritura, también se desarrollaron formas artísticas de combinar texto y elementos visuales. En la llamada poesía visual se combinan formas actuales de escritura y lenguajes visuales. Con la aparición de la poesía concreta como forma especial de poesía visual a mediados del siglo XX, tanto en los países de habla alemana como en Brasil, así como con el desarrollo del Pop Art y el Fluxus, la poesía visual se acercó cada vez más a las formas específicas de expresión de la historieta. El grupo de poetas brasileños poema/proceso, que también influyó en la poesía visual de Argentina y otros países latinoamericanos, fue especialmente activo en este proceso.
A partir del análisis de las obras expuestas en la Bienal Internacional de Poesía Visual/Experimental entre 1985 y 2009 y publicadas en un libro ilustrado en 2017, se pone de manifiesto la estrecha relación entre poesía visual e historieta desde los años ochenta. En la poesía visual de los poetas y artistas latinoamericanos analizados hay numerosos ejemplos en los que han adoptado conceptos, elementos estructurales y formas de expresión de la historieta y los han implementado artísticamente en sus obras
Introduction: Quand des dominés prennent la plume : les écrivains-paysans (XXe-XXIe siècles)
Full text linkIntroduction au dossier "Les écrivains-paysans (XXe-XXIe siècles
Ingvild Sælid Gilhus, Alexandros Tsakos, Marta Camilla Wright, eds, The Archangel Michael in Africa: History, Cult, and Persona
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Shiferaw Bekele, Uoldelul Chelati Dirar, Alessandro Volterra, Massimo Zaccaria, eds, The First World War from Tripoli to Addis Ababa (1911–1924)
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Poesie des Zwischen: Zu einem Dialogbuch Klaus Peter Denckers und Giovanni Fontanas
Full text linkDas aus der Zusammenarbeit von Klaus Peter Dencker und Giovanni Fontana hervorgegangene Buch No A <-> No Z steht auf mehreren Ebenen im Zeichen einer Poetik des Dialogs ‚zwischen‘ verschiedenen Instanzen, Medien und ästhetischen Verfahrensweisen: Auf ein Schnittfeld unterschiedlicher ästhetischer Diskurse beziehbar ist es insbesondere diversen Konzepten und Auslegungsoptionen von Zwischenräumen (Leerstellen, Spielräumen etc.) verbunden. Als ein aus Text- und Bildelementen komponiertes Künstlerbuch lotet es Spannungen und Affinitäten zwischen Text und Bild aus, als Produkt der Kooperation zwischen zwei Dichtern bildet es den Verlauf des künstlerischen Dialogs von Dencker und Fontana durch seinen Aufbau ab. Exemplarisch demonstriert es, wie das Buch zum Raum einer produktiven Auseinandersetzung zwischen den künstlerischen Sprachen der beiden Autoren wird – und reiht sich damit auf programmatische Weise zwischen andere Buchpublikationen Denckers, Fontanas und der „redfoxpress“ ein.The book No A <-> No Z, a collaboration between Klaus Peter Dencker and Giovanni Fontana, is characterized on several levels by a poetics of dialogue ‘between’ different instances, media, and aesthetic procedures: Relatable to an intersection of different aesthetic discourses, it is especially connected to diverse concepts and interpretive options of interstices (gaps, ‘play/wiggle room’, etc.). As an artist’s book composed of text and image elements, it explores tensions and affinities between text and image; as a product of cooperation between two poets, it maps the course of Dencker’s and Fontana’s artistic dialogue through its structure. It exemplarily demonstrates how the book becomes the space of a productive confrontation between the artistic languages of the two authors – and thus programmatically joins other book publications by Dencker, Fontana and the “redfoxpress”
REISINGER, Carmen. 2021. Schachzüge im translatorischen Feld. Zur Rezeption von Alejo Carpentier im deutschsprachigen Verlagswesen. Berlín: Verlag Walter Frey.
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In memoriam Dimitri Almeida (1981-2023)
Full text linkObituaryAvec le décès de Dimitri Almeida, notre revue a perdu un ami et un soutien chers, la romanistique un brillant représentant