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I soggiorni duinesi di Rainer Maria Rilke: per una topografia della memoria tra storia e immaginazione
Full text linkBetween 1910 and 1914 Rainer Maria Rilke spent several months in the Duino Castle as guest of Marie von Thurn und Taxis. His sojourns in the ancient fortress overlooking the Gulf of Triest inspired not only the poetry masterpiece which owes its name to that place, the Duino Elegies, but also other literary projects, such as The Life of the Virgin Mary, some translations of Italian texts and a series of single poems. The Duino experience proved significant for the Prague author from a personal point of view as well: this period was characterized by relevant encounters, fruitful intellectual exchanges, evocative memories and inspiring landscapes, but also by silence, concealment and solitude. Examining both Rilke’s and Marie von Thurn und Taxis’ papers as well as documents of local history, the present article aims at outlining Rilke’s relationship to Duino by tracing the places and identifying the people that marked, in different ways, the poet’s experience on the Adriatic coast of the Habsburg Empire. Real sites which are nowadays only partly recognizable (like the Duino Castle itself and the path on the cliffs along the sea), people present there at Rilke’s time and people belonging to the memory of his host’s family history come to recreate a sort of virtual socio-geographical map including biographical and topographical data, personal memories and artistically transfigured experiences. These elements will prove to be closely connected with the author’s literary production and his poetical considerations of those years and will therefore contribute to the interpretation of a crucial artistic phase in Rilke’s oeuvre
Un’analisi genetica della scrittura e dell’evoluzione poetica nei Quaderni in Ottavo di Franz Kafka
Full text linkThe eight Octavo Notebooks, written by Kafka in the crucial months between the end of 1916 and the beginning of 1918, represent for many reasons a precious and partially still unexplored source for Kafka studies. Not only do they include some of the greatest and most representative short prose works of the author (as The Great Wall of China, the Gracchus’ fragments, The Bucket Rider, A Report to an Academy), but they also bear witness to a highly creative and experimental writing phase, in which short stories, diary records, aphorisms and moral reflections come together as fragments and rough drafts. Far from considering the heterogeneity and fragmentary nature of these notebooks as an obstacle to a systematic interpretative analysis of the texts, this article will show how this extraordinary stylistic and thematic variety, as well as the private character of the drafts, provides useful elements for a textual-genetic approach and offers the perfect opportunity to reflect upon the relationship between ‘life’ and ‘writing’. The article intends to bring to light the peculiarity and the research potential of the Octavo Notebooks considered as a whole, which will be done through a comprehensive and chronological examination of the eight notebooks on the one hand, and a comparison with the other private documents of the author on the other. This kind of approach will enable to gain a careful insight into Kafka’s writing process and into his characteristic metaphorical system
L’eredità letteraria di Grimmelshausen sul palcoscenico e dietro le quinte del teatro epico brechtiano
Full text linkThe novel Trutz Simplex of the baroque author Grimmelshausen inspired one of the most popular female main characters of the Brechtian epic theatre, namely the protagonist of the drama Mutter Courage und ihre Kinder. This play is evident proof of Brecht’s interest in the German baroque novelist and at the same time one of the most creative and unconventional contributions to the rediscovery of his work in the 20th century. The figure of Courage and the central theme of war which the drama and the novel have in common render the connection between the two authors explicit enough. However, the relationship Brecht established with Grimmelshausen is deeper and more complex than a series of superficial points of contacts which can be found in their literary production. By retracing the references to the baroque novelist in Brecht’s drafts and programmatic writings, it can be proved that Grimmelshausen’s oeuvre was not only a thematic source of inspiration for the Augsburger playwright, but also played a role in his poetological and socio-cultural reflection. The aim of this article is to outline the meaning of Brecht’s Grimmelshausen-reception in the theoretical program of epic theatre and, more generally, in Brecht’s aesthetic research.The novel Trutz Simplex of the baroque author Grimmelshausen inspired one of the most popular female main characters of the Brechtian epic theatre, namely the protagonist of the drama Mutter Courage und ihre Kinder. This play is evident proof of Brecht’s interest in the German baroque novelist and at the same time one of the most creative and unconventional contributions to the rediscovery of his work in the 20th century. The figure of Courage and the central theme of war which the drama and the novel have in common render the connection between the two authors explicit enough. However, the relationship Brecht established with Grimmelshausen is deeper and more complex than a series of superficial points of contacts which can be found in their literary production. By retracing the references to the baroque novelist in Brecht’s drafts and programmatic writings, it can be proved that Grimmelshausen’s oeuvre was not only a thematic source of inspiration for the Augsburger playwright, but also played a role in his poetological and socio-cultural reflection. The aim of this article is to outline the meaning of Brecht’s Grimmelshausen-reception in the theoretical program of epic theatre and, more generally, in Brecht’s aesthetic research
Marco Maggi (a cura di), Walter Benjamin e la cultura italiana
No full textMarco Maggi (a cura di), Walter Benjamin e la cultura italian
Tre sguardi ‘d’autore’ sulla Trieste absburgica di inizio Novecento: Ricarda Huch, Hermann Bahr, Rainer Maria Rilke
No full textCome viene recepita la Trieste absburgica di inizio Novecento dagli scrittori di lingua tedesca che vi soggiornarono? Il presente contributo vuole rispondere a questo interrogativo presentando le impressioni e le riflessioni di tre importanti scrittori – Ricarda Huch, Hermann Bahr e Rainer Maria Rilke – che fecero esperienza della città e dei suoi dintorni da tre angolature diverse: la Huch “dall’interno”, abitandoci per due anni e ambientando proprio nel cuore di Città Vecchia il suo romanzo Aus der Triumphgasse; Bahr “dall’esterno”, osservando criticamente la situazione politico-amministrativa della città in occasione del viaggio in Dalmazia che lo porterà fino al confine meridionale dell’Impero; Rilke “dal margine”, scegliendo il castello di Duino con vista sul golfo di Trieste come “luogo dell’anima” in cui lasciarsi ispirare per uno dei suoi massimi cicli poetici, le Duineser Elegien
Reiseanekdoten als Muster kultureller Interaktionen: Carsten Niebuhrs Begegnungen im südöstlichen Mittelmeerraum
No full textCarsten Niebuhrs dreibändiges Reisetagebuch, das auf der dänischen Expedition nach
Jemen zwischen 1761 und 1767 verfasst und dann zwischen 1774 und 1837 zum ersten Mal veröffentlicht wurde, ist nicht nur ein außerordentliches geographisches, wissenschaftliches und ethnographisches Dokument, welches der akademischen Gesellschaft seiner Zeit wertvolle Auskünfte über das Land, die Pflanzen- und Tierwelt, die Volkssitten und die Sprachen der besichtigten Orte vermittelt; dank der zahlreichen Anekdoten, die es enthält, wird es auch zum Zeugnis interkultureller Begegnungen und kritischer Beobachtungen, die zu kulturkritischen Überlegungen anregen. Solche Episoden handeln von kleineren oder größeren diplomatischen Zwischenfällen oder von alltäglichen Missverständnissen, die dann passieren, wenn Menschen unterschiedlicher kultureller Herkünfte denselben Raum teilen, und erscheinen innerhalb der Reisebeschreibung wie kleine narrative Miniaturen, die den Fluss der wissenschaftlichen
Beobachtungen zeitweilig zum Stillstand bringen. Im Rahmen dieser Gegenüberstellung ferner Kulturen wird auch der europäische Mensch kritisch betrachtet. Aus diesen Gründen kann Niebuhrs Tagebuch auch für eine Überlegung zum Begriff des „Orientalismus“ herangezogen werden. In diesem Beitrag wird auf einige erzählten Episoden eingegangen, die von den auf das Mittelmeer blickenden Ländern berichten und einen Blick auf die Welt der interkulturellen und interreligiösen Kontakten im Nahen Osten ermöglichen
Lektüren des Barock in der Zwischenkriegszeit : die Barockrezeption in Werken Walter Benjamins, Bertolt Brechts und Alfred Döblins der 1920er und 1930er Jahre
No full textLa tesi si propone di indagare la ricezione della letteratura tedesca del Barocco negli anni ‘20 e ‘30 del XX secolo analizzando la rilettura delle opere e del pensiero seicenteschi da parte di Walter Benjamin, Bertolt Brecht e Alfred Döblin. In particolare si intende soffermarsi sulle modalità di appropriazione di quest’epoca letteraria da parte di tre autori legati alle avanguardie novecentesche e promotori, in maniera propria e peculiare, di un nuovo tipo di estetica, fortemente critica rispetto al pensiero conservatore e per questo rivoluzionaria. Partendo dal presupposto che ogni forma di ricezione porta con sé una riflessione sul proprio tempo, si cercherà di definire il legame tra la riscoperta del Barocco e le proposte di Benjamin, Brecht e Döblin per una letteratura capace di rispondere alle esigenze della modernità.
Dopo un’analisi del passaggio dall’epoca barocca a quella dell’Illuminismo e delle sue implicazioni filosofiche e letterarie, si passerà ad esaminare la ricezione novecentesca della Frühe Neuzeit e, nel dettaglio, l’interesse dei tre autori di riferimento per la letteratura di quel periodo. Verranno approfonditi il pensiero benjaminiano e le teorie su teatro e romanzo epico di Brecht e di Döblin, e attraverso l’analisi di opere come “Der Ursprung des deutschen Trauerspiels”, “Die sieben Todsünden der Kleinbürger”, “Mutter Courage und ihre Kinder”, “Wallenstein” e “Berlin Alexanderplatz”, si mostrerà come la riscoperta del Barocco, la critica alla tradizione e l’intento riformatore si sviluppino parallelamente
Grimmelshausens Courasche, Bertolt Brechts Courage und Vincenzo Jannuzzis Coraggio. Die Wandlung einer literarischen Figur vom Dreißigjährigen Krieg zum 20. Jahrhundert
No full textGrimmelshausens Courasche, Bertolt Brechts Courage und Vincenzo Jannuzzis Coraggio. Die Wandlung einer literarischen Figur vom Dreißigjährigen Krieg zum 20. Jahrhunder
Tagungsbericht zur internationalen Tagung ‘Conceptions de l’Identité européenne / Konzepte europäischer Identität / Concezioni dell’identità europea II’, Venedig 28. bis 29. März 2022
No full textTagungsbericht zur internationalen Tagung ‘Conceptions de l’Identité européenne / Konzepte europäischer Identität / Concezioni dell’identità europea II’, Venedig 28. bis 29. März 202
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