Reisen über den Tellerrand

In den zeitgenössischen slavischen Literaturen ist Gewalt allgegenwärtig – als Echo der Revolutionen, Kriege, Diktaturen und Systemumbrüche des 20. Jahrhunderts, als Reaktion auf andauernde und neu ausbrechende Konflikte, als Faszination, Sensation und Kaufanreiz. Gewalt erscheint als narrativ-ästhetischer, tradierter Bestandteil der literarischen Darstellung und als aussagekräftiges, tabubrechendes Motiv. Dieser Band trägt die Ergebnisse einer internationalen Konferenz an der Universität Hamburg zusammen, die sich im Herbst 2012 diesem Thema unter der Trias "Verbrechen – Fiktion - Vermarktung" gewidmet hat. Das breite Spektrum der untersuchten Literaturen (von ost- und west- über südslavische Literaturen, von Prosa über Lyrik und Dramatik) aber auch der Blick über die Literatur hinaus (unter anderem auf Film und Musik), die Vielfalt der Themen, Darstellungsweisen und analytischen Zugänge ergeben ein vielfältiges Bild, das eine Annäherung an die Frage nach den Spezifika literarischer Gewaltdarstellungen ermöglicht. / Violence is omnipresent in contemporary Slavic literatures: in response to revolutions, wars, dictatorships and changes of regimes in the 20th century, and as a reaction to continuing and new conflicts, as fascination, sensation and sales appeal. Violence appears as a narrative-aesthetic, traditional part of literature and as a meaningful and taboo-breaking motif. In September 2012, an international conference at Hamburg University dealt with this topic entitled "Crime – Fiction – Commercialisation". This volume presents the results of this conference. The wide range of the analyzed literatures and genres (Eastern, Western and South Slavic literatures, prose, poetry and drama), the look beyond the borders of literature to film and music, the variety of topics, ways of representation and analytical approaches create a polyphonic picture that allows us to discuss the specific character of the presentation of violence in literature.

This thesis considers crucial questions relating to the theatrical works of Aimé Césaire and Derek Walcott and argues that the authors' quest for identity is framed by a dialectic which Édouard Glissant has termed "philosophy of Relation". I show that it is this "philosophy of Relation" which helps the authors formulate a theatrical vision that transcends the chaotic aspects of Antillean history. By examining the dialectical thrust of Walcott's and Césaire's theatre, the study seeks to develop an overarching theory of modern West Indian drama that accounts for its specific Antillean nature.

This thesis explores the poetic representation of Buenos Aires and Paris in selected works by Jorge Luis Borges and Jacques Réda respectively. Its primary aim is to analyse the relational phenomenon between the construction of these poets' personal maps of the city and the concomitant formation of the poetic self. The principal point of departure is Jacques Réda's Ferveur de Borges (1987), a collection of essays and poems published individually between 1957 and 1986, where the author expresses his admiration for Borges, shows his broad and critical knowledge of Borges's works and establishes the similarities between their poetics of the urban and poetics of the self. Another important aim of this thesis is therefore to ascertain the extent of Borges's influential role in Réda's poetics, but also how reading Borges through Réda enhances our understanding of Borges's urban poetry. This comparison reveals that Borges and Réda gravitate towards places within the city, but mostly its periphery, characterised by their unpretentious, soulful and heterotopic qualities — places where the poets feel a sense of belonging. Their objective is to restore, through the prism of their minds and their physical investment in space, the provincial spirit of Buenos Aires and Paris, hidden behind the dynamism of the modern metropolises they have become. As a consequence of this communion between self and place they explore the possibility of being on the brink of a revelatory experience that speaks to the enigma of life. The wider scope of the thesis addresses the historical and cultural relationship between Buenos Aires and Paris, Borges's and Réda's redefinition of the centre/periphery dichotomy, the evening as a temporal locale and the distinction between poetic destiny and aesthetic experience.

The great drama of China has been the repeated attempts to bring under single control and preserve the unity of its vast territories, so varied ethnically, socially, and geographically. Han Chinese confidence in the integrity of their own identity has been lastingly unsettled by long periods of fragmentation into regional states, and even in times of political unity the heart-searching has continued: what went wrong? What lessons could be learned for the future? The Southern and Northern Dynasties’ era (317-589 AD) was the longest period of political fragmentation in the imperial era. Its political and social confusion gave rise to differences in later accounts of it. In the eleventh century, scholar-officials intensively debated the issue of imperial rule during this period. At stake was the integrity of the Han Chinese state. On one side were historians who accorded legitimacy to the barbarian dynasties of the north; on the other were those who favoured the southern Han Chinese-ruled dynasties. By the time Song’s power base transferred south in 1127, a strong sense of a Han Chinese identity had developed and pro-Southern opinion predominated. This study approaches the Southern and Northern Dynasties’s era indirectly. It examines it through the most prominent work of eleventh-century historiography, the keystone written history of early imperial China, Sima Guang’s 司馬光 Zi zhi tong jian 資治通鑑 – the main focus of this study. That text has played a central role in shaping later understanding of imperial China’s political traditions and, as a corollary, has contributed to the formation of a Han Chinese self-identity. Yet Sima Guang’s representation of China’s past, though well-researched and written, was inevitably coloured by personal political and social experiences, and by his current commitments – by spin, in fact. This study will argue that at the heart of Sima Guang’s representation of the Southern and Northern Dynasties was a concern for the political survival of the eleventh-century state under which he served. He needed to understand and explicate the political and moral lessons of the earlier period in order to present an imperial vision that would avoid its frailties. This study therefore investigates and demonstrates the previously unexplored extent to which contemporary political concerns informed Sima Guang’s account. By developing a reading of Zi zhi tong jian as an ideological and textual construct, and more than just a simple account of the past, this study affords insights into the composition of historical writing in imperial China, as well as the complexities of the political environment that spawned it. It shows that works of historiography like Zi zhi tong jian served a more nuanced function than later scholarship suggests, and it brings into focus important questions of historical and literary authority.

Cynnwys y traethawd ymchwil hwn bedair astudiaeth ar waith Dafydd ap Gwilym. O ran methodoleg, defnyddir nifer o ddulliau, gan gynnwys beirniadaeth destunol a beirniadaeth lenyddol. Y mae penodau 1 a 3 yn destunol eu pwyslais, gan fynd i’r afael â llawysgrifau cymharol gynnar lle y ceir enghreifftiau o waith Dafydd ap Gwilym. Rhydd yr ail bennod sylw i lythrennedd yn yr Oesoedd Canol ac yn y bennod olaf eir i’r afael â barddoniaeth Dafydd ap Gwilym drwy roi sylw manwl i amwysedd ei farddoniaeth. Yn y bennod gyntaf cymhwysir beirniadaeth destunol at Beniarth 48, un o’r llawysgrifau cynharaf lle y ceir casgliad o gerddi gan Ddafydd ap Gwilym, gan roi sylw manwl i’r cywydd anorffenedig amheus ei awduraeth ‘Credaf i Naf y nefoedd’, gan gynnig y dylid ystyried ei fod o bosibl yn gerdd ddilys gan Ddafydd ap Gwilym. Trafodir dylanwad llythrenendd y bedwaredd ganrif ar ddeg ar farddoniaeth Dafydd ap Gwilym yn yr ail bennod, a chesglir bod Dafydd ap Gwilym yn gyfarwydd â’r ffenomen hon mewn cyd-destun seciwlar yn ogystal â chyd-destun eglwysig. Canolbwyntia’r drydedd bennod ar Beniarth 52, lle y ceir dau gywydd gan Ddafydd ap Gwilym yn ogystal â cherddi gan Ddafydd Nanmor. Cedwir mewn cof mai endid ansefydlog yw canon llenyddol a chodir cwr y llen ar ddylanwad Dafydd ap Gwilym ar Ddafydd Nanmor. Yn y bennod olaf, trafodir amwysedd ym marddoniaeth Dafydd ap Gwilym a dadleuir bod ei farddoniaeth yn fwy na chanu confensiynol neu loddest eiriol o ystrydebau serch oherwydd bod ei hamwysedd, o bob math—boed yn eiriau unigol, yn ddelwedd estynedig, yn strwythur tanorweddol neu’n gymhleth o emosiynau’r bardd—yn byrlymu i’r wyneb ac yn cynysgaeddu’i gerddi â phrofiad llenyddol ehangach.

Die vorliegende Ausgabe der „Potsdamer Beiträge zur Sorabistik – Podstupimske pśinoski k Sorabistice“ Adam Mickiewicz, Gedichte in sorbischer Übersetzung, zusammengestellt von Alfred Měškank stellt den Jubiläumsband Nr. 10 unserer Serie dar. Wir sind sehr stolz darauf, die Serie herausgeben zu dürfen und vor allem darauf, das Jubiläum mit so einem würdigen Inhalt zu begehen. Adam Mickiewicz (1798-1855) gilt als der größte polnische Dichter, vergleichbar mit J. W. v. Goethe in Deutschland oder John Byron in England. Seine Werke sind in viele Sprachen übersetzt und dadurch in der ganzen Welt bekannt geworden. Bedeutende sorbische Dichter und Übersetzer, wie z.B. Jakub Bart-Ćišinski und Otto Lehmann-Wićaz haben seine Gedichte auch ins Sorbische übersetzt, doch diese Übersetzungen sind verstreut und dem heutigen Interessenten kaum zugänglich. Einige seiner bedeutsamsten Werke, besonders sein Versepos „Pan Tadeusz”, sowie Teile seines dramatischen Werkes „Dziady” fanden erst in neuerer Zeit einen Übersetzer. Die vorliegende Edition, die eine Zusammenstellung aller bisher ins Sorbische/Wendische übersetzten Werke des großen polnischen Dichters der Romantik darstellt, schließt diese Lücke nun. / This edition of Adam Mickiewicz’s poems in Sorbian translation, compiled by Alfred Měškank, represents the anniversary edition # 10 of our series "Potsdam Contributions to Sorabistics - Podstupimske pśinoski k Sorabistice” . We are very proud to release the series and especially flattered to celebrate the anniversary with such a worthy content. Adam Mickiewicz (1798-1855) is considered the greatest Polish poet, comparable to JW Goethe in Germany or to John Byron in England. His work has been translated into many languages, and thereby become known throughout the world. Significant Sorbian poets and translators, such as Jakub Bart-Ćišinski and Otto Lehmann-Wićaz have also translated his poems into Sorbian language, but these translations are scattered and difficult to access from today's prospective. Some of his major works, particularly his epic poem "Pan Tadeusz", as well as parts of his dramatic work "Dziady" found only recently a translator. The present edition, which is a compilation of all previously published works of the great Polish romantic poet in Sorbian/Wendish language, fills this gap now.

Идеальный шашлык

Überfluss und Mangel in der stalinistischen Kultur Erschaffung einer kollektiven Substanz Vom Kollektiven zum Individuellen: Ein kurzer Exkurs Jenseits der medialen Bilder Literatur

1. Das kulinarische Dreieck à la Tschukotka 2. Kopalchen, Jukola, Kukunät – Kakomej! Das Eigene wird zum Fremden, das Fremde zum Eigenen 3. Repositionierung: Die Wiederentdeckung des Eigenen 4. Die Abkehr vom Fremden und Fazit 5. Literatur