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Die Gedichte und Texte Peter Huckaufs in dem vorliegenden Band 11 der „Potsdamer Beiträge zur Sorabistik” sind eine Hommage an die Lausitz, an ihre Menschen und Landschaften. In Wortspielen, visueller Poesie und Prosatexten samt Fotographien und Einblicken in seine Lebensgeschichte stellt sich der Autor als Liebhaber dieses Landstrichs vor. Er lässt den Leser teilhaben an einer Entdeckungsreise durch die verloren gegangene Heimat der Kindheit, die er sich als Rückkehrer neu erschließt. Seine Reminiszenzen sind nachhaltig sowohl für den deutschen als auch sorbischen/wendischen Rezipienten, was Peter Huckauf zu einem für die Lausitz und darüber hinaus interessanten Schriftsteller und Künstler macht. Den sprachlichen Aspekt beachtend, wurden ausgewählte Gedichte der Sammlung in die obersorbische und vor allem in die niedersorbische Sprache übertragen.

Der vorliegende Sammelband ist Arnost Muka (1854-1932), einer der herausragendsten Gelehrtenpersönlichkeit des Sorbentums, gewidmet. Er ist das Resultat eines wissenschaftlichen Symposiums, das in der Zeit vom 15.-16. Oktober 2004 anlässlich des 150. Geburtstages Arnost Mukas im "Serbski dom" Cottbus veranstaltet worden ist. Muka war ebenso Sprachwissenschaftler wie Volkskundler, Soziolinguist wie Literat, Förderer des Sorbischen wie sein wichtigster Vertreter. Mit den vorliegenden Beiträgen wird nicht nur ein repräsentativer Querschnit seiner umfangreichen wissenschaftlichen Tätigkeit gegeben, sondern es werden auch interessante Aspekte seiner Gefühlswelt offenbart. Nur wenige wissen, dass Ernst Karl Mucke (Arnost Muka) ein vielseitiger, und stellenweise durchaus begabter Poet gewesen ist, der teils schlichte, teils formal durchaus anspruchsvolle Gedichte in griechischen Hexametern und anderen Versmaßen komponierte (vgl. den Beitrag von R. Marti und P. Jannasch). Die hier versammelten Beiträge behandeln nicht nur die sprachwissenschaftlichen Arbeiten Mukas (P. Kosta), sondern auch sein lexikographisches (H. Petrik, H. Jenc), onomastisches (E. Eichler), soziolinguistisches (M. Norbergowa), wissenschaftsorganisatorisches (M. Pernak, L. Kuberski, L. P. Laptewa) und folkloristisches Werk (L. Balke).

This thesis explores the poetics of the Greek Post-Symbolists, a group of early twentieth-century poets whose main period of activity falls in the years between the Generation of the 1880s and that of the 1930s. By focussing on Post-Symbolist concepts of the role of poetry and on the way in which Post-Symbolist poems are constructed, this thesis examines the poetic system of a group of poets who occupy a transitional period in the history of Modern Greek literature. The Post-Symbolists question both the nationalism of poets of the Generation of the 1880s and their own place in society. Post-Symbolist poetry focuses on themes related to the interior landscape of the individual. It promotes negation and absence, de-emphasizes external reality, foregrounding a poetic reality created through the acoustic links between words, and it undermines the importance previously attached to metre and rhythm in poetry. In this way Post-Symbolist poetic language constitutes a reaction against the dominant poetic discourse of the time, and a turning-point in twentieth-century Greek poetry. This thesis explores both the internal structure of Post-Symbolist poetry and the relationship between Post-Symbolism on the one hand and the discourses of the Generation of the 1880s and of the Generation of the 1930s on the other, placing this in the historical, socio-political and ideological context of time.

This thesis makes an inquiry into the literary translation and creation in the early twentieth-century China, particularly between the years 1900 and 1925. I combine the theoretical approaches of both translation studies and intertextuality studies to form the overall methodological framework that informs the discussions in the thesis. Although the modern transformation of Chinese literature has long been discussed and debated in various scholarly works, which often attribute the transformation to foreign influences and reconstruction of indigenous literary tradition, a theoretical language is urgently required to articulate the exact process of literary adaptation and appropriation. Rather than taking the concept of “influence” at face value, I probe the intricate process of influence by examining the way Chinese writers and translators creatively translated and intertextualized foreign literary works to construct new literary texts. The two modalities of literary production – translation and intertextuality – call for the approaches of translation studies and intertextuality studies, and only when both approaches are taken into account can a fuller understanding of the literary scene in the early years of twentieth-century China be obtained. I apply my methodology to the study of the transformation of emotional expressions which are most frequently found in love fiction. By combining translation and intertextuality, some Chinese writer-translators such as Bao Tianxiao and Zhou Shoujuan creatively translated foreign fiction, conveying emotions different from those intended by the original texts while at the same time introducing new modes of emotional expression to Chinese literature. Others, such as Su Manshu and Yu Dafu, borrowed foreign literary texts to construct their own literary creations, appropriating the emotions conveyed by the foreign texts. As a result of the vigorous adaptation and appropriation of Chinese writer-translators, new modes of emotional expression emerged in modern Chinese literature.

My thesis closely analyzes the shi poetry of the Song dynasty philosopher Zhu Xi (1130-1200). I look at its deep structure, especially the tensions embedded therein between literature and philosophy, and between his inner mind and the external world, manifested in ways different from what he taught in his philosophical works. Although his poetry itself is not considered to be aesthetically outstanding, I suggest that it is crucial to a better understanding of the evolution of Zhu’s philosophical project on the relationship between humans and the natural world. Zhu Xi wanted to establish and defend a coherent and practical self-cultivation theory, which would enable people to recognize the dao through daily experiences. Nevertheless, in his poetry production, he was facing a long-entrenched influential poetic tradition with its emphasis on the outer world described by embellished words and spontaneous overflow of emotions, while leaving an open end for the meanings or less discriminatively appealing to the Daoist or Buddhist idea of transcendence, the logic of which fundamentally contradicts that of daoxue construction. This made it impossible to achieve the dao in a this-worldly fashion. The contradiction had to be reconciled by Zhu Xi in his poems, an issue that he actually wrestled with throughout his life. Consequently, the style of Zhu Xi’s poetry was differentiated from both that of other Neo-Confucians and indeed that of any other poets in Chinese history. In his poetic texts, the tension between the outer world, inner emotions and philosophical inclination is more intensified, and the exploration of the relationship between man and nature more focused and conscious. In this thesis, I present an aesthetic world of Zhu Xi beyond all his ambiguous philosophical discussions, unfavorable comments on poetry, and his profoundly contradictory attitudes towards versifying.