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- Neuphilologisches Institut - Moderne Fremdsprachen (9) (remove)
This article deals with the reception of Dante and Goethe in Ermanno Wolf-Ferrari’s and Hector Berlioz’s compositions La Vita Nuova and La Damnation de Faust. Although Dante Alighieri’s Vita Nova and Johann Wolfgang von Goethe’s Faust belong to completely different genres and epochs, the texts provide the basis for the oratorio-style works from the Romantic era, which justifies a comparative analysis of the latter. The examined reductions, extensions, modifications and rearrangements of the texts in the libretti – which were compiled almost entirely by the composers themselves – as well as the instrumental parts and the use and functions of the orchestra, the choir and the soloists, portray the intermedia relations between literature and music in the selected compositions. The chosen examples will show that the common idea of setting literature to music and the translation studies concept of intersemiotic translation are not appropriate for all literature-based pieces of music, as the analysis of both works demonstrates that with regard to vocal music a distinction should be made between the musicalization of literature and the literarization of music.
The present study is concerned with a critical discourse analysis of the speeches of the Italian politicians Silvio Berlusconi and Matteo Renzi in different situations. The aim of the study was to find out how historical and speech contexts influence discourse structures and argumentations, and if any similar speech patterns or speech strategies were used. The results show that both politicians in many cases tend to utilize similar speech patterns to achieve different aims; each of them shows a preference for particular words, structures and strategies. It is noteworthy that one of the important differences between speeches of Berlusconi and Renzi is the use of various speech strategies. While Renzi uses these strategies to create an image of himself as a young and honest politician, Berlusconi makes use of them to defend himself or attack his opponents.
Unaufhörliches Suchen – Gaddas Roman Quer pasticciaccio brutto de via Merulana als carmen perpetuum
(2016)
Gadda’s novel Quer Pasticciaccio brutto de Via Merulana tells the tale of two crimes committed in Rome in the 1920s. The search for the perpetrators turns into a pasticciaccio brutto (an awful mess), challenging the reader with its linguistic complexity and a myriad of references to history and culture; the large number of allusions to antiquity is particularly striking. References to Virgil’s Aeneid and to Rome’s mythical past do not constitute a mere transfer, but document a creative approach of transformational nature. Deformation and inversion are part of this process, changing the μορφή not only in formal terms, but also within the plot itself. These transformations of both form and content are read as Metamorphoses and analysed in comparison to Ovid’s homonymous work. The perpetual, never-ending quest for truth in Gadda’s novel necessitates a perpetual, never-ending narrative, which is conceptually related to Ovid’s carmen perpetuum.
Economic, academic or artistic cooperation among actors of different countries or disciplines offers numerous new perspectives, but it also confronts the ones profiting from it with several challenges. First, identity has to be firmly established, which requires intercultural skills, such as role-distance, empathy and tolerance for ambiguities. Secondly, a third space is required in which meaning can be newly negotiated to make the partnership succeed. This paper proposes that even within one and the same language-group, one can speak of intercultural communication. A particular collaboration between Portuguese-speaking comic artists will be introduced, raising questions of the conditions necessary to make such a cooperation work. Answers will be provided according to the decisions the artists made in their publications.
Women in Caribbean culture traditionally occupy the role of guardians of collective memory, as tellers of stories, legends and myths. Through oral tradition, they transfer the cultural and family knowledge from one generation of women to the next. We will offer an analysis of oral transmission as a way of preserving a memory of women in Le livre d’Emma (2001) by the Québec author of Haitian origin, Marie-Célie Agnant. We will primarily analyze the transformation of communicative memory into cultural memory, following the distinction by Jan Assmann. We will interpret the oral transfer as a possibility to stabilize, to legitimize female memory and to inscribe it into the female body.
This article concentrates on the Argentine author Esteban Echeverría who is known as the founding father of Romanticism in the River Plate region. The author of this article intends to show that the importance of Echeverría for the development of Argentine national literature goes beyond the spreading of Romanticist aesthetics. Especially his poem La cautiva (1837) has been regarded as the national epic poem of Argentina because it represents national landscape and the early days of national history. However, as the classification of this narrative poem as the national epic poem already indicates, Echeverría also contributed to the presence of this prestigious genre at the River Plate region. By investigating Echeverría‘s less known verse texts – namely the texts which were read by all Romantics but which have been neglected by literary studies so far – this article illustrates that Echeverría gave decisive impulses for the presence of the epic poem at the River Plate.
Frank-Rutger Hausmann war Professor für Romanische Philologie (Schwerpunkt französische und italienische Literatur) in Freiburg, Aachen und wiederum Freiburg. Hausmann hat sich zudem intensiv mit der Fachgeschichte der deutschen Romanistik und der Geisteswissenschaften allgemein beschäftigt. Für die zweite Ausgabe der promptus-Interviewreihe durften wir ihn nach seiner Perspektive auf die historische und aktuelle Situation der Romanistik befragen. Er arbeitet momentan u.a. an einem Romanistenlexikon, das online veröffentlicht wird, und hat das Romanistenarchiv in Augsburg gegründet.