At the Window, in the “Kitchen of the Weather”: Reflections on the Poetics of the Synoptic. The focus of this article is on the interplay between phenomenology and meteorology and its poetics in Czech and Slovak art and literature. The first part of the paper explores the possibilities of the interaction between non-meteorological and meteorological atmospheres in the interwar prose of Ivan Horváth and Milena Jesenská, using the figure of the window scene as an example. The second part of the analysis is devoted to Zdeněk Košeks autodidactic art and the “notational iconicity” (S. Krämer) of his diagrammatic archive of observations on everyday life and the weather in the 1990s. As methodological instruments for the exploration of the poetics of synoptic perception serve rhythmanalytical (H. Lefebvre), meteopoetological (M. Gamper, U. Büttner / I. Theilen) and atmosphere-oriented (G. Böhme, H.U. Gumbrecht, B. Meyer-Sickendiek) approaches.
The Chinese poetic parallelism (Duizhang) as a central aesthetic instrument of classical Chinese poetry is extraordinarily difficult to translate. The meaning and association triggered by its structure must be lost in translation. The aim of the present work is to show, with the helpaw of Mikhail Bakhtin’s dialogic theory, what is actually lost by translating a Duizhang couplet. That depends on how the mechanism of the Duizhang fulfills its aesthetic function. The answer to this question could advance the discussion how to understand Chinese poetics, how to promote poetic translation, and how to enrich the thesaurus of world literature.
Shakespeare’s Fortinbras has just two brief appearances and fewer than thirty lines to speak. But notwithstanding his physical absence during most of the play, he exerts considerable sway, representing the political world beyond Elsinore and the antithesis to Hamlet. As such he plays a major role in the political afterlife of the play. The article traces the metamorphoses Fortinbras undergoes in his afterlife in Germany from the mid-nineteenth century through the First and Second World Wars to the fall of the Berlin Wall in 1989.
This essay explores different concepts of health during the Middle Ages. For clergy and monasticism, the idea of an ascetic life shapes the concepts of body and soul. The nobility defines health with regard to power, genealogy and representation. The pater familias cares for health and prosperity of the family, as well as of the working people and the animals of his household. All these concepts include also ideas of sexuality and reproduction. Different ideas of health get mixed up and interfere in Hartmann’s von Aue tale Der arme Heinrich. Thus, also the sexual implications of the discourses get confronted, what results in a unique poetic eroticism.
Renaissance poetics tend to promote the illusion of oral proximity over the distance of written or even printed texts. Orality evokes a notion of communicative closeness that results in a direct transfer of affects between a lyrical speaker and his/her addressee. In Maurice Scève’s Délie (1544), the lyrical persona employs orality in order to amplify his emotionally charged rhetorics of lamentation and thus to elicit the addressee’s compassion. In contrast, all references towards writing appear to be deeply intertwined with the notions of absence, silence and distance. In the light of the emerging practice of letterpress printing in the city of Lyon, Scève’s poems reflect their own status as a material artefact, while they interrogate in the same time their potential to forge a bond with a spatially distant but emotionally close reading public.
This study focuses – by way of a close reading – on (1) the multiple subtleties in the poetic diction and word morphology of Hölderlin‘s ode „Heidelberg“, (2) its metonymic macro-structure, (3) the oscillations between an aesthetics of the lovely („lieblich“) and the sublime, (4) the instances of blissful self-mirroring that depart from Narcissus‘ unhappy fate, and (5) the explicit poetics of the „image“ („Bild“) in this ode. A special emphasis is placed on Hölderlin’s creation of a series of novel German words that combine two words into new compounds.
Johann Christoph Gottsched considers Molières comedy Le Misanthrope in the preface of the first volume of the Deutsche Schaubühne as a ‚masterpiece‘ due to its specific modelling: the scenery is located in a noble space and avoids every kind of despicableness. Furthermore, he emphasizes that this comedy is worth imitating, because it discusses a specific moral-ethical problem, namely a rhetorical-moral problem: what signifies the rhetorical ideal of honesty and how acts an honest speaker? Thus, Johann Christoph Gottsched, as editor of the Deutsche Schaubühne and Luise Adelgunde Victorie Gottsched as translator of the comedy, propound a new understanding of Alceste as an honest character, who is neither comic nor tragic, but always just himself.
The subject matter of this article is Gottsched’s strategy to deal with literary tradition in the course of his reforming theatre. Not only does he heavily rely on his predecessors’ thoughts and their failures for his arguing towards a new generation of literary production for dramatizing but also there is an intertwined textual dependence between his theoretical text Versuch einer Critischen Dichtkunst and the implementation and discussion within the Deutsche Schaubühne as a collection of exemplary plays.
The first volume of Die Deutsche Schaubühne published in 1742 ends with the one-act comedy Die Widersprecherinn, a translation of L’Esprit de Contradiction by Charles Dufresny. The play was successfully performed by the Comédie-Française since the day of its premiere in 1700, usually after the presentation of a longer drama consisting of three or five acts. By introducing the comedy as „artiges Nachspiel“ in his preface, Gottsched referred to this practice-related positioning as well as to certain moral qualities of the play. The paper discusses the relevance of this one-act comedy within the concept of the drama collection compiled by Gottsched by reflecting the context of origin and the changes conditioned by specific demands on a German translation of the comedy.