191 research outputs found
[Stammbuch Sebald Schnell] / Sebaldus Schnellius
No full text[STAMMBUCH SEBALD SCHNELL] / SEBALDUS SCHNELLIUS
[Stammbuch Sebald Schnell] / Sebaldus Schnellius (1)
Cover (1)
Beschreibung (14)
Widmungsgedicht mit Vermerk des Eigners, Bl. 2 (15)
Register über sämtliche hierinn befindliche Nahmen. (16)
Einträge Bl. 1 - 10 (20)
Einträge Bl. 11 - 20 (45)
Einträge Bl. 21 - 30 (62)
Einträge Bl. 31 - 40 (78)
Einträge Bl. 41 - 50 (88)
Einträge Bl. 51 - 55 (98
Sebald czyta Schulza (z ołówkiem w ręku)
No full textThe article deals with W.G. Sebald’s reception of Bruno Schulz’s writings and is the result of research conducted at the German Literature Archive (Deutsches Literaturar- chiv) in Marbach on the Neckar, which holds Sebald’s legacy – i.e., his library and manuscripts. The author of the article discusses the marginalia (underlined words and passages) contained in Sebald’s copy of the volume Die Republik der Träume (Schulz’s writings in German translation), as well as the text of five fiches containing quotes from Schulz written down by Sebald. Basing on the analysis of these material traces, the author of the essay tries to reconstruct Sebald’s reading and reception of Schulz’s work. On the one hand, Sebald seems to view Schulz’s stories rather stereotypically as examples of Jewish and Holocaust literature. On the other, he interprets them in a surprising and unusual way, finding in Schulz ecological reflection or criticism of colonialism. Above all, however, Sebald looks in Schulz for motifs and reflections that confirm his own writing choices, as well as passages that could characterize the protagonists of his own fiction. These themes include: psychoanalysis as a context for literary criticism; violence against people, nature and things; junk and mannequins; human and animal beings with deformed anatomy, hovering between animate and inanimate matter; cabinets of curiosities and the proliferation of nature; architecture, landscape and specific shaping of space; the myth and metaphor of the abducted queen. The impact of Schulz’s poetics and philosophical concepts is also confirmed by the cryptic quotations that Sebald uses to interpret other German-language writers, such as Gerhard Roth, in his critical essays. The motifs Sebald pointed out in reading Schulz and underlini g his text shed light on some unique affinities and analogies between the two writers.The article deals with W.G. Sebald’s reception of Bruno Schulz’s writings and is the result of research conducted at the German Literature Archive (Deutsches Literaturar- chiv) in Marbach on the Neckar, which holds Sebald’s legacy – i.e., his library and manuscripts. The author of the article discusses the marginalia (underlined words and passages) contained in Sebald’s copy of the volume Die Republik der Träume (Schulz’s writings in German translation), as well as the text of five fiches containing quotes from Schulz written down by Sebald. Basing on the analysis of these material traces, the author of the essay tries to reconstruct Sebald’s reading and reception of Schulz’s work. On the one hand, Sebald seems to view Schulz’s stories rather stereotypically as examples of Jewish and Holocaust literature. On the other, he interprets them in a surprising and unusual way, finding in Schulz ecological reflection or criticism of colonialism. Above all, however, Sebald looks in Schulz for motifs and reflections that confirm his own writing choices, as well as passages that could characterize the protagonists of his own fiction. These themes include: psychoanalysis as a context for literary criticism; violence against people, nature and things; junk and mannequins; human and animal beings with deformed anatomy, hovering between animate and inanimate matter; cabinets of curiosities and the proliferation of nature; architecture, landscape and specific shaping of space; the myth and metaphor of the abducted queen. The impact of Schulz’s poetics and philosophical concepts is also confirmed by the cryptic quotations that Sebald uses to interpret other German-language writers, such as Gerhard Roth, in his critical essays. The motifs Sebald pointed out in reading Schulz and underlini g his text shed light on some unique affinities and analogies between the two writers
The Emigrants
No full textSun, Feb. 28, 2010: 2:00pm - 3:30pm
The Emigrants by W.G. Sebald
Facilitated by Elizabeth Drummond
The four long narratives in W.G. Sebald\u27s The Emigrants at first appear to be the straightforward biographies of four people in exile: a painter, an elderly Russian, the author\u27s schoolteacher as well as his eccentric great-uncle Ambrose. Following (literally) in their footsteps, the narrator retraces routes which lead from Lithuania to London, from Munich to Manchester, from the South German provinces to Switzerland, France, New York, Constantinople, and Jerusalem. Along with memories of the Holocaust, he collects documents, diaries, pictures. Each story is illustrated with enigmatic photographs, making The Emigrants seem at times almost like a family album - but of families destroyed. Sebald weaves together variant forms (travelog, biography, autobiography, and historical monograph), combining precise documentary with fictional motifs. As he puts the question to realism, the four stories merge gradually into one requiem, overwhelming and indelible.https://digitalcommons.lmu.edu/jewishbookgroup/1053/thumbnail.jp
Oddanie czci kurzowi. W. G. Sebald i czytanie w tropach
No full textFew writers paid as much attention to dust as W. G. Sebald. The author of Austerlitz saw in it „the lowest sign of annihilation” and a “boundary between being and nothingness,” an elegiac way of making the dead present in the text. For Sebald, all the ways of reading the past were “reading (in) dust,” making this particular way close to prophesying. The author of the essay follows Sebald’s opinion, tracing various forms and manifestations of the “prophetic epistemological paradigm.” Reading the irregular, reading „what has never been written,” has also its political aspect of (re)thinking the past from the remains of destruction. This is how dust becomes critical and subversive matter
Logis in einem Landhaus
No full textNel contributo di volume, che riguarda una delle opere più riuscite di Sebald, ovvero "Logis in einem Landhaus", si discute di come l'autore si avvalga di una forma molto particolare di saggio narrativo in cui sono restituiti i profili biografici di alcuni scrittori di lingua tedesca del XIX secolo, particolarmente del Realismo, ma non solo, usando la strategia del avvicinamento progressivo al cuore della loro poetica. Si tratta qui della psicopatologia quotidiana di Rousseau, di Kleist, di Moritz, ma anche di Keller e di Robert Walser e di un pittore molto caro a Sebald, Tripp, il quale era specializzato nell'"effetto del reale". IL saggio cerca di cogliere cosa significhi letteratura del realismo nel concetto letterario di Sebald.In this book chapter, which concerns one of the best works of W.G. Sebald, Logis in einem Landhaus, the subject is the way in which the author makes use of a very particular form of non fictional storytelling. Here it's possible to become aware of the biography of some german writers of the Realism of 19th century , but not exclusively, who are examinated step by step, going into the very hearth of their poetics. In discussion is the everyday psychopathology of Rousseau, Kleist, Moritz, but also of Keller and Robert Walser. Among the artists whose portrait has been sketched, Sebald presents Tripp, whose speciality in art was the "effet du réel". Anyhow, the most important issue of this contribution is the definition of Realism in Sebalds literary concept
Il ritorno del represso. Qualche considerazione su testo e immagine in Schwindel. Gefühle di W.G. Sebald
No full text This essay tackles the argument of the narrative strategy and its philosophical implications in the work of W. G. Sebald. The author analyzes predominantly the concept of «Schwindel» (giddiness), which represents the key of the process of dissolution and revelation of the conventional rational-symbolical language. That has consequences on the image of history, that Sebald seems to want to represent as a process of destruction, instead of an ascending rail. </p
História natural na obra de w. G. Sebald
No full textO escritor alemão W. G. Sebald (1944 – 2001) dedicou sua obra literária e ensaística à temática das catástrofes do período moderno no contexto europeu. História Natural da Destruição, por exemplo, trata especificamente do impacto causado pelo bombardeio aéreo nas cidades alemãs nos últimos anos da Segunda Guerra Mundial e de como os escritores do pós-guerra falharam em “registrar aquilo que viram e preservá-lo para nossa memória”. Segundo o autor, nem os relatos testemunhais, nem as informações jornalísticas eram capazes de dar conta de “uma realidade que, em sua forma bruta, recusa a descrição”. Ciente dessa deficiência, Sebald procura formular uma saída para tal impasse através da literatura. Enquanto leitor de Walter Benjamin, Sebald problematiza a relação entre a narratividade advinda da tradição oral e a historiografia moderna. A contraposição que Benjamin faz em O narrador entre o historiador, que é obrigado a explicar de uma forma ou de outra os episódios com que lida, e o cronista, que representa tais episódios como “modelos de história do mundo”, prefigura o que, em Sebald, encontraremos no modelo narrativo do historiador natural, aquele que reúne em si as qualidades do cronista medieval, do protocientista e do sábio.The German writer W. G. Sebald (1944 - 2001) dedicated his literary work and essays to the theme of catastrophes of the modern period in the European context. On the Natural History and Destruction, for example, specifically addresses the impact of the aerial bombing on German cities in the last years of World War II and how the post-war writers failed to "record what they saw and preserve it for our memory". According to the author, either the eyewitness accounts neither journalistic information they were able to realize "a reality that, in its raw form, rejects the description." Aware of this deficiency, Sebald seeks to formulate a way out of this impasse through literature. As Walter Benjamin reader, Sebald discusses the relationship between the narrative arising from oral tradition and modern historiography. The contrast that Benjamin does in The Storyteller between the historian, who is obliged to explain in one way or another the episodes that read", and the chronicler, representing such episodes as "models of world history", prefigures which in Sebald we find the narrative model of the natural historian, one that brings together the qualities of the medieval chronicler, the protoscientist and the sage
Lire désespérément… W.G. Sebald
No full textDans la foulée d’Évelyne Grossman et de sa réflexion sur « la paradoxale vitalité de la négativité dépressive » (L’angoisse de penser, 2008), cet article envisage l’exploration littéraire de la négativité et de la dépossession de soi, caractéristique d’une certaine modernité que l’on peut faire remonter à Mallarmé, en tant qu’elle peut fonctionner, pour le lecteur, à la manière d’un antidépresseur paradoxal. Questionnant d’abord de façon générale certaines conceptions « sublimantes », réparatrices ou rédemptrices de la littérature (Leo Bersani) et la prégnance des modèles platoniciens et aristotéliciens de la création comme pharmakon, l’auteure tente ensuite de cerner plus spécifiquement, à partir de l’oeuvre de l’écrivain allemand W.G. Sebald, le caractère tout à la fois anxiogène et libérateur de la symbolisation de la perte en littérature.Following Évelyne Grossman and her developments about the “paradoxical vitality of depressive negativity” (L’angoisse de penser, 2008), this article addresses the literary exploration of negativity and self-deprivation, characteristic of a certain modernity one can retrace up to Mallarmé, and proposes that it can function, for the reader, as a paradoxical antidepressant. Questioning at first more generally the current sublimating conceptions of literature and the impregnation of the platonician and aristotelian models of creation as pharmakon, the author seeks then to embrace more precisely, on the basis of the works by German writer W.G. Sebald, the all-together anguishing and liberating effect of the symbolization of loss in literature
Periferias europeias: Sebald fala em Tübingen (e uma digressão sobre Pierre Bertaux) | European peripheries: Sebald speechs in Tübingen (and a digression about Pierre Bertaux)
No full textO tema deste artigo é um texto apócrifo de W. G. Sebald, o ensaio "Europäische Peripherien" [Periferias Europeias], baseado em uma palestra proferida em fevereiro de 1992, em Tübingen. Esse ensaio ocupa um lugar especial na obra de Sebald, pois nele o autor se expressa mais resolutamente do que em qualquer outra ocasião sobre questões políticas, no que diz respeito tanto ao processo de unificação europeia quanto aos problemas fundamentais das sociedades ocidentais na transição para o século XXI. A partir de uma leitura mais atenta, chego à conclusão de que esse ensaio, supostamente secundário, revela-se um importante pilar para reconstruir a interpretação profundamente melancólica que Sebald faz da história com base no conceito de uma “história natural da destruição”. Ao mesmo tempo, “Europäische Peripherien” permite reconhecer a importância de Mutation der Menschheit [Mutação da Humanidade], de Pierre Bertaux, como influência fundamental, até então não reconhecida, para o desenvolvimento da obra de Sebald.Palavras-chave: W.G. Sebald. Europa. “História natural da destruição”. Pierre Bertaux. AbstractThis article discusses the essay "Europäische Peripherien", a hitherto overlooked text by W.G. Sebald based on a lecture given in Tübingen in February 1992. The essay occupies a special position in Sebald's oeuvre, as the author positions himself more pronouncedly than anywhere else on political issues, both with regard to the process of European unification and to fundamental challenges of Western societies in the transition to the twenty-first century. In my close reading the supposedly insignificant essay proves to be an important text for a reconstruction of Sebald's deeply melancholic view of history as expressed in the concept of a "natural history of destruction". At the same time, "European Peripheries" allows us to acknowledge the importance of Pierre Bertaux’ Mutation der Menschheit as an undiscovered influence on the development of Sebald's oeuvre.Keywords: W.G. Sebald. Europa. “Natural history of destruction”. Pierre Bertaux. ORCIDhttps://orcid.org/0000-0002-4825-191
W.G. Sebald, the Writing of History
No full textHistory, both in thematic presentation and in theoretical questioning, was an essential concern for German-language author W.G. Sebald and has emerged as a point of crystallization in the vast array of scholarship on Sebald. The volume under review offers the latest manifestation of this historical focus. The collection of eleven articles, to which many well-known players in the field of Sebald research have contributed, continues ongoing discussions but also shows how environmental, economic, and political issues relate to history in Sebald's works. What helps set this current volume apart is Long's valuable bibliographical essay, in which he considers over one hundred individual works (articles and books) by some eighty scholars written over the past fifteen years. While indicating the breadth of Sebald scholarship and providing an orientation among the main areas of research, Long reviews primarily research of the last five years and refrains from explicitly evaluating each individual contribution. Yet the selection itself provides an implicit judgment; Long highlights, for example, the work of his co-editor Anne Fuchs and several authors present in this and other edited volumes. Long acknowledges the predictable and repetitive nature of recent criticism (28), certainly in part an inevitable result of the relatively short timeframe in which the Sebald boom and the proliferation of overlapping publications occurred.Six contributions in this volume deal with the broader scope of history presented in Die Ringe des Saturn, moving the volume's focus away from the particular historical event of the Holocaust, around which much research on both Die Ausgewanderten and Austerlitz centers. Furthermore, the contributions in this volume develop the topographical dimension of Sebald's view of history, via a broader discussion of the "spatialisation of history" (Mary Cosgrove, 108) and narrower investigations of landscapes and seascapes. Through a detailed analysis of select paintings in Die Ringe des Saturn, Fuchs builds upon the well-established connection between melancholy and nature in Sebald's writing to explore "the historical and aesthetic depth of Sebald's landscapes" (122). Helen Finch focuses on landscape, both figuratively with a spatial metaphor ("landscape" of the prose, 179, 181) and literally with Sebald's treatment of landscape both in his essays on Peter Handke and in his own literary texts. Russell J.A. Kilbourn and Maya Barzilai explore the particular role seascapes play in Die Ringe des Saturn, and both authors rely on Hans Blumenberg's Schiffbruch mit Zuschauer in their investigations of this aspect of Sebald's view of history
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