1,721,042 research outputs found
Una germanista alla prova dell'umorismo e dell'utopia : per una prassi e una poetica del discorso universitario
No full textThe present essay considers the risks caused by the myth of an all-encompassing translatability which affects Western inclusive societies, where scholars of Literature and Human Sciences are requested to develop Global Competence and to face neurocomputational models of task-oriented behaviour and working memory. Researches upon innovative Didactics in German Literature give students the opportunity of exploring literaricity and of experiencing aesthetic education by throwing a look from across the disciplines to generate new multi-disciplinary insights. Reconsidering utopian fiction and thought in the digital era is one of these opportunities. The present investigation is intended to show that humour, if examined with psychoanalytic criteria and with Cristopher Bollas’ “Cracking up”, greatly contributes to develop new strategies in order to study utopianism and literay utopias not being overshadowed by dystopian projective identification. Humourous strategies and utopian instances are also at stake so as to balance the “Discourse of The University” (Lacan). The present essay analyses Kafka’s and Benjamin’s Fragments, apologues and aphorisms along with Leopardi’s reflections with the purpose of structuring an alternative “academic discourse”. Get acquainted with genres, define functions and roles of foreign literatures implies alternative forms of aesthetic education as well as an enhancement of creativity. Pursuing linguistic and cultural aims by considering the dynamics of humour and utopia can foster foreign language competences and interculturality in order to develop intrapsychic, interpersonal processes and grow as individual persons who recognise Otherness and cope with intellectual emancipation in the digital era by means of literaricity and of Weltliteratur
Può un nome “buono” fare un luogo buono? Walter-Benjamin-Platz, Berlino : l’ultima beffa dell’omino gobbo
No full textDurs Grünbein in cerca d’Europa tra scomparsa delle piazze e genius loci
No full textProgrammed on techno-scientific basis, the European city of the third millennium risks to forget or trivialize the destructions and mass slaughters brought about by the Second World War. Durs Grünbein’s poetics of the frottage shows how this denial fails to account for life in all its unique expressions making European cities a backdrop of camouflages. The cosmopolitanism pursued by Grünbein roots him in Dresden and Hellerau as places, where both Lebensreform and education for everyone were made possible. Fantasied and phantomised as a possibility for the future, the images of Grünbein’s childhood and adolescence punctuate and even haunt his works. Together with Piazza del Campo and with the pursuit of genius loci. The Island that does not exist becomes, in the poetics of the German-speaking author, the frame of a representability for European citizenship nourished by the ideal instances inspired by the Ventotene Manifesto (1941) and the Hertenstein Colloquies (1946).Programmata su basi tecno-scientifiche, la città europea del terzo millennio rischia di dimenticare o banalizzare le distruzioni e i massacri di massa provocati dalla Seconda guerra mondiale. La poetica del frottage di Durs Grünbein mostra quanto i camouflages che addobbano le nostre città sconfessino l’unicità del vivente, suscettibile di emergere in ogni pietra e piazza d’Europa. Il cosmopolitismo perseguito da Grünbein lo radica a Dresda e a Hellerau come luoghi in cui per un breve periodo si realizzarono progetti di Lebensreform, tra i quali un’architettura e un’istruzione che comprendesse le classi meno agiate e gli esclusi. Fantasticate e fantasmatizzate come possibilità per il futuro, le immagini dell\u27infanzia e dell\u27adolescenza di Grünbein punteggiano la sua poetica urbana. Insieme alla senese Piazza del Campo e alla ricerca del genius loci, l\u27isola che non c\u27è diventa per tanto, nell’opera dell\u27autore di lingua tedesca, la cornice di una rappresentabilità della cittadinanza europea nutrita delle istanze ideali del Manifesto di Ventotene (1941) e dei Colloqui di Hertenstein (1946)
KARLHEINZ FINGERHUT. DIDATTICA DELLA LETTERATURA TEDESCA PER PENSATORI TRASVERSALI
Full text linkIn our digital era there is urgent need to get acquainted with new methodologies in order to improve educational processes in the Humanities. As a result researches upon Didactics are at their peak. Since 2000 competence-oriented, intercultural, intermedial and interdisciplinary teaching in German Literature has become more and more required. Karlheinz Fingerhut has payed all his life long particular attention to literaricity and to aesthetic education, also pursuing linguistic aims such as fostering foreign-language competences and intercultural understanding. He has structured his works focusing on innovative approaches without forgetting curricular, textual-thematic and functional-discursive dimensions corresponding to the new curricular vision of global competences. The present paper is aimed at investigating how much influence his researches continue to exert in our digital era, in which world academicians are engaged with passing on the heritage of literaricity while inventing the future. Karlheinz Fingerhut was and remains one of the most engaged scholars in the research field: of the Didactics of German Literature. His books as well as his studies have contributed to write the new instructional programs after Bologna and PISA. His last work – Kafka für Querdenker / Kafka for Lateral Thinkers - offers a broad range of the newest methodological instruments to teach German Literature in order to improve close-reading; heuristic reading as well as productive writing. Thanks to Karlheinz Fingerhut students are given an opportunity to cope with different media for the learning of German Literature in order to grow both as responsible citizens of the world and as individual persons. The present contribution is devetoded to his memory, his work and researches
Max Brod, Franz Kafka : Un inedito di Franz Kafka (Traduzione e note con testo a fronte in originale)
No full textThis is the first translation onto Italian as well as the first parallel text edition (German / Italian) of Max Brod’s “Unpublished by Franz Kafka” (“Ungedrucktes von Franz Kafka”) originally printed on the weekly newspaper “Die Zeit” on 22.10.1965. The Text is also an Introduction to Kafka’s Fragment of 1906. The present translation has been compared with the three book-editions of “The Prague Circle” (1966; 1979; 2016) as well as with Kafka’s Fragment as it appears in the critical edition of his works: Franz Kafka, “Nachgelassene Schriften und Fragmente I” + “Apparatband”, hrsg. von Malcom Pasley, Fischer Taschebuch Verlag, Frankfurt am Main 1993). The translation is accompanied by explanatory and critical notes in order to signalize variations and, as for the only known Italian translation of 1971, an important oversight which needed emendation and greatly influences the reception of Kafka’s works and ideas
L'avventore intempestivo. Alcune riflessioni sull'ultimo Kafka
No full textIl contributo individua la peculiarità dello stile di Franz Kafka nella capacità di rovesciare i concetti acquisiti della ratio greca per rifunzionalizzarli secondo coordinate che, neutralizzando la dialettica e la maieutica, fanno segno al machloqet di Rabbi Nachman e alle pratiche della Chassidut (Von den Gleichnissen). Articolando i concetti di gerut e galut l’ebraismo di Kafka traluce nella tarda produzione, in special modo a partire da Das Schloß. Seguendo il filo del narrare kafkiano, il contributo evidenzia, inoltre, convergenze e contrappunti nella ricerca di Franz Kafka con le interrogazioni di Ludwig Wittgenstein - dal Tractatus alle Logische Untersuchungen ai Diari : entrambi gli autori schiudono a una logica „altra“ che si dà a conoscere nella tensione di una scrittura che muove dall’ortoprassi e all’ortoprassi fa segno. L’autrice tiene conto della tradizione della qabbalah luriana e post-luriana, che Kafka fa convivere con le aporie della „westjüdische Zeit“. La presenza della “Dauerspur” freudiana - come rovescio e prosecuzione della memoria ebraica - è analizzata alla luce di Ein Hungerkünstler e Josefine die Sängeri
«Nessuno / testimonia per il / testimone» : Paul Celan e le poetiche dell’assenza
No full textIl lavoro analizza poetica e poetologia celaniane alla luce della coppia rappresentazione / raffigurabilità in-causa-di-Auschwitz mostrando come le opposizioni binarie - e la logica tanatopolitica che le sottende - vengano decostruite dalla poiesis celaniana: Darstellbarkeit vs Vorstellungsrepräsentanz; blank come struttura inquadrante la rappresentazione; Freud; Heidegger; Lyotard
... AUCH KEINERLEI : inserti freudiani in un testo celaniano
Full text linkCelan scrive ...AUCH KEINERLEI il 7 maggio 1967 durante un ricovero nel reparto psichiatrico di Jean Delay, pioniere della psicofarmacologia nonché umanista di vaglia. Costruita intorno a Jenseits des Lustprinzips di Freud la poesia chiude sul lessema francese ‘Camaïeu’. Combinati secondo montaggi e cesure strofiche peculiari dell’ultima stagione celaniana, i prelievi dal testo di Freud compongono un paesaggio di parole che tratteggia lo stato mentale di chi, dinanzi al bianco su bianco dell’eccidio della propria gente, intaglia versi nella lingua della madre. L’idioletto, che Celan imprime nella Germania bundesrepubblicana, mantiene la sua peculiarità di incistamento grazie alla polisemia di ‘Camaïeu’, significante vettore analizzato alla luce del Neutre di Barthes come quel terzo in grado di mettere fuori gioco «l’arroganza della lingua». La mancata lettura della dieresi (Camaïeu) da parte di alcuni critici assume valenza interpretativa per la ricezione del corpus celaniano. Il tréma del francese produce iato, raccoglie negli interstizi del linguaggio la presenza pneumatica di un popolo cancellato dall’arroganza assimilativa degli Umlaute.Celan wrote .... AUCH KEINERLEI on 7 May 1967, while committed to the mental institution Sainte Anne after having attempted suicide. The chair of the clinic was the pioneer of psychopharmacology and writer Jean Delay, who encouraged the poet no to give up reading and writing. The article begins by close-reading a few passages from Freud’s Beyond The Pleasure Principle which are reframed to construct the linguistic landscape of the poem, where the only French word in the compound noun «repetition compulsion- / Camaïeu» shows Celan’s creative resources. At stake is here the effort to produce verses in German, Auschwitz notwithstanding. Celan’s poem achieves its critique of Germany through an immanent form of montage and unencompassed wordsmithing. The final part of the article asks how we might describe Celan’s poetics of nominating the void of nationalsocialism drawing upon Barthes’s late reflections on Neuter, poetry and the arrogance of language, before concluding with an interpretation of the diacritics tréma in ‘Camaïeu’ counterposed to the assimilating ‘Umlaute’ of German ‘Unworte’ which annihilated Eastern European Jews, their origins, their mother tongue
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