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«Poetare è abbreviare»: la poesia avanguardista di Franz Richard Behrens (1895 - 1977) tra forma lirica “riduzionista” e “costruttivismo” (1916 - 1925)
No full textANDREA BENEDETTI
Poetare è abbreviare»: la poesia avanguardista di Franz Richard Behrens (1895 - 1977) tra forma lirica ‘riduzionista’ e ‘costruttivismo’ (1916 - 1925)
Central to this article is the relationship between ‘reductionistic’ lyrical form and ‘constructivism’ in the avant-garde poetry of the Berlin poet Franz Richard Behrens (1895 - 1977), who was not only a trained journalist and volunteer soldier in World War I, but also the author of a number of film scripts after 1918. It takes into account the whole period of time from 1916 to 1925 through alternating biographical reconstructions, thorough examinations of the historic-cultural context and formal and thematic analyses of poetic texts. This is the period within which is set the beginning and the end of his collaboration with the Berlin Expressionistic review «Der Sturm», which was edited by the eclectic Herwarth Walden (1878 - 1941), from his first published poetry, Expressionist Artillerist, in February 1916 up to his last, Mein Haus ist ein Bethaus, in March 1925. A collaboration which, in the same period of time, concerns a number of other avant-garde reviews, among which one should mention the German reviews «Die schöne Rarität» (Kiel) and «Die Aktion» (Berlin) and the Croatian «Zenit» (Zagreb). This article is presented, to the best of the author’s knowledge, as the first organic, albeit concise critical contribution in Italian on this unjustly unrecognized German poet of the 20th century, by means of presenting at the same time an initial and short analytical overview of both the expert studies and the current philological research perspectives concerning the author. The article also seeks to emphasize how the ambiguities of this ideological author seem to be ascribed to and considered as integral to his linguistic formulations, so that these appear as if they were deliberately sought after so as to hinder single efforts aimed at an unequivocal interpretation with regard to this aspect. In particular, the essay which follows aims at making a summary of the evolution of Behrens’s lyrical technique by describing its passage from an initial so – called ‘phase of verbal art’ (‘Wortkunst’-Phase, 1914 - 1918), marked by a still strong influence of August Stramm’s (1874 - 1915) lyric forms, through a second, transitory period, which is characterized by the prevalent use of ‘mixed forms’ (‘Mischformen’, 1917 - 1921), and then to a third and conclusive ‘phase of objectivity’ (‘sachliche Phase’, 1921 - 1925), which closes with a ‘withdrawal’ of language into the depths of the soul and the falling into silence of his poetry. This last stage is characterized by a progressive transformation of the Expressionist poetic word into a ‘stock’ of materials that stand halfway between poetry and prose by making use of ‘montage’ procedures
Il "fiduciario" nelle DAT è titolare di un "ufficio di diritto privato"?
No full textThe essay addresses the issue of the legal nature and regulation of the “fiduciary” in
advance directives; in particular, the author wonders whether and to what extent the “fiduciary” holds an “power of private law” and whether the regulation of the executor of a
living will can be used for a broader regulatio
In Plane Behaviour of Masonry Walls Reinforced with Mortar Coatings and Fibre Meshes
Full text linkConcerning strengthening techniques for existing masonry walls, the trend is toward the use of Fibre Reinforced Mortar (FRM) with both a significant increase of the mortar strength, and a drastic thickness reduction of the added external layers. In the present analysis, the focus is posed on some new lime mortar types which possess a very high strength in tension, although the elastic modulus remains in a normal range, leading so to a considerable toughness increase. The G-FRM system is composed with a glass fibre mesh which must possess a tensile resistance larger than the one of the mortar area including it, and this allows introducing some ductility in the composite. A total of 14 diagonal compression tests of masonry walls reinforced with G-FRM have been completed at LISG (Structural Engineering and Geotechnics Laboratory, University of Bologna), encompassing different FRM combinations. More precisely, the walls were reinforced with three different lime mortar compounds with layer thicknesses of 12, 15 and 30 mm, and reinforced with two different glass fibre meshes and two different arrangements of steel micro-wire strips. The performed tests showed that the interpretation of the observed behaviour needs a sound theoretical basis of the experimental setup, avoiding the simple analysis reported in standards and codes. A finite element model of the experimental setup was prepared, able to identify the features of the observed behaviour. Following this suggestion, a new theoretical model based on Mohr-Coulomb plasticity was defined and applied to the interpretation of a large database of experimental tests with a very good agreement
“Testo ed ipertesto. Proposte per un'edizione storico-critica delle opere di Ernst Jünger tra filologia e multimedialità”
No full textProposte per un’edizione storico-critica delle opere dello scrittore tedesco Ernst Jünger (1895-1998)
«Wir müssen glauben, daß alles sinnvoll geordnet ist»: ‘Glaube an den Glauben' und moderne ‘Sehnsucht nach Ganzheit' des metapolitischen Nationalismus beim frühen Ernst Jünger (1920 - 1932)”
Full text linkSaggio sul rapporto tra nazionalismo e mistica nella pubblicistica weimariana (1920-1932) dello scrittore tedesco Ernst Jünger (1895-1998)
La lirica dello Sturm-Kreis nella Grande Guerra tra ambigue reticenze in politicis, ‘futurologia bellica', fantasie escapiste e pacifismo
No full textThe article starts with a series of preliminary observations concerning the allegedly apolitical character of the German avant-garde magazine “Der Sturm” focussing on the sagaciously ambiguous nature of the argumentative techniques of the magazine’s founder and main editor Herwarth Walden (1878-1941). These techniques are used primarily in his articles dealing with political issues.
The essay reconstructs the cultural and socio-political debate on war within the publication in the years immediately before the outbreak of World War I and particularly on the relationship between the technological developments applied to war - above all the possibility of using airplanes in warfare - and the subsequent attempts on the part of a considerable number of intellectuals to take shelter in literary escapism.
Finally, the paper investigates the word-image relationship in the pacifist poems of two admirers and, to a certain extent, emulators of the German poet August Stramm (1874-1915), namely the journalist Franz Richard Behrens (1895-1977) and Wilhelm Runge (1894-1918), who had completed gymnasium in the spring of 1914 just before enlisting as a voluntary in the war in August
The War Diaries of Filippo Tommaso Marinetti and Ernst Jünger
No full textAbstract: This paper offers a philological and thematic comparison of the war diaries written by Filippo Tommaso Marinetti (1876-1944) and Ernst Jünger (1895-1998). Marinetti's notebooks were only published posthumously in an incomplete and censored version, whereas Jünger's text has been faithfully edited. Both authors registered in their diaries more or less daily war experiences in a highly literary style. Whereas Marinetti employed an extensive range of experimental linguistic devices, Jünger adopted a more detached, documentary style in his description of events. Both writers made use of their diaries for literary works of art. As examples of these, I shall discuss Marinetti's Come si seducono le donne (1917) and L'alcova d'acciaio (1921), and Jünger's In Stahlgewittern: Aus dem Tagebuch eines Stoßtruppführers (1920), Das Wäldchen 125: Eine Chronik aus den Grabenkämpfen 1918 (1925) and Feuer und Blut: Ein kleiner Ausschnitt aus einer großen Schlacht (1925). The literary reworkings of the original diaries show an analogous interpretation of the 'battle of materials' and the ways in which the soldiers confronted and transcended the daily horrors of war. Marinetti's hypertrophic 'self' celebrated the élite assault units (Arditi) as an embodiment of the New Man of the future. Jünger, on the other hand, made an interior division between soldier/warrior (action) and writer (observation), which heralded an aesthetic appropriation of war as a 'technical labour process' and projected it onto a higher metaphysical plane. Both diaries show similar ideological implications and share an aggressive, revolutionary nationalism which has a purist and intellectual character and dismisses the compromises of everyday politics
“Trawny, Peter: Die Autorität des Zeugen. Ernst Jüngers politisches Werk, Matthes & Seitz, Berlin, 2009”
No full textRecensione del libro di Trawny, Peter: Die Autorität des Zeugen. Ernst Jüngers politisches Werk, Matthes & Seitz, Berlin, 2009
“Mediazione culturale e identità europea. Il ruolo degli operatori culturali alla luce della costruzione di una comune coscienza europea”
Full text linkANDREA BENEDETTI
Dem Beitrag liegt die Diskussion über die Entwicklung einer gemeinsamen europäischen Identität zugrunde. Dabei geht es auch um die Neubewertung der Rolle der europäischen Kulturinstitute. Diese sind unverzichtbar in ihrer Funktion als Kulturvermittler, als Initiatoren von Dialog und Auseinandersetzung mit den anderen und als wichtige Protagonisten einer europäischen Kulturpolitik. Sie sind imstande, Wertvorstellungen in der modernen, globalisierten, oftmals vereinheitlichen Welt zu transportieren. Der Autor stützt sich auf die Überlegungen von Jürgen Habermas zum Verhältnis zwischen europäischen Bürgern und europäischen Institutionen. Habermas untersucht die Gründe für die Diskrepanz zwischen fortgeschrittener ökonomischer Integration und zögerlicher politischer Integration in der EU. Er fordert, die europäische Debatte müsse politisch, öffentlich, konkret werden. Hier liegt für ihn der Ansatzpunkt, um die Entwicklung einer europäischen Bürgergesellschaft mit einer gemeinsamen politischen Kultur auf den Weg zu bringen
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