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Die Zeitschrift promptus – Würzburger Beiträge zur Romanistik richtet sich an alle NachwuchswissenschaftlerInnen im Bereich der romanistischen Sprach- und Literaturwissenschaft sowie der Fachdidaktik. Das Ziel der Zeitschrift ist die Förderung der romanistischen Forschung im Allgemeinen und des wissenschaftlichen Nachwuchses der Romanistik im Besonderen. Sie versteht sich damit als Impulsgeber für junge romanistische Forschung, ohne sich dabei thematisch zu beschränken.
Der lyrische Triebtäter André Pieyre de Mandiargues Gewalt und Erotik im Gedichtband L’Âge de craie
(2017)
The surrealists are not the only influence on the literary efforts of André Pieyre de Mandiargues – but it’s this influence that makes his oeuvre capable for an analysis based on Freudian theories. This way of an analysis is even more appropriate knowing that two of Mandiargues’ main and favourite themes – the eroticism and the violence – coincide with the Freudian life and destruction drive. Analysing the two poems Les filles des gobes and Les ruines de l’amour from the volume of poems L’Âge de craie, it’s these two paradigms that are clearly recognizable: Mandiargues’ symbolism reveals the duality of the domination by desires.
This article is an analysis and a comparison of German and French special language of music in the 18th century, more precisely about the terms used to describe the activity of singing. The analysis is based on two treatises about music theory. The first writing, Der Vollkommene Capellmeister, was written by Johann Mattheson in 1739 and the second, Code de musique pratique by Jean-Philippe Rameau was published in 1760. Both texts contain a chapter which gives explanations how to sing. The treatises include different types of technical words: specific terms easy identified as special language terms like names of ornaments in the music, special verbs standing for singing, and words and anaphors to describe tonality and dynamics. By having a look on the terms of music language, the influence of Italian and French words on German vocabulary of music becomes obvious. The vocabulary is often similar in both languages, but not always defined as a part of the special language of music.