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The list of Polish, Czech, and Russian Nobel laureates for literature, Slavic painters, composers, and directors, the achievements in philosophy, logic, rhetoric, theology, modern linguistics, aesthetics, and literature theory is long. Names such as Comenius, Bolzano, Dvorak, Kandinskii, Wajda, Stanislavskii, Rimskii-Korsakov, Szymborska, Mrozek, Capek, and Havel are known around the world. But who in Germany can truly appreciate their contributions to European culture? Given the centuries of close interaction between German and Slavic cultures in art, literature, business and commerce, political thought, and religion, it is time German institutes of higher learning also overcome the disastrous division of Europe that followed the Second World War. Slavic cultures constitute a part of European culture and learning that is just as important as Western culture. They can no longer be marginalised
Peter Huckauf
(2014)
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.
Zum Problem der Ganzheit des literarischen Zyklus - am Beispiel von Adam Mickiewiczs Krimsonetten
(2000)
Research has characterized Nadezhda Teffi as the female Chekhov.1 However, connections can also be found between her work and that of Ivan S. Turgenev. In particular the one-act plays (Conversation on a Highroad; 1851) and (The Woman Question; 1907) are suitable for comparison. Not only does my comparison consider the gender conflict between man and woman, but also a dialectic method which Teffi may have discovered in Turgenev's work and elaborated further. The dialectical considerations are connected with different comic approaches: the psychological comedy of the realist Turgenev in the middle of the 19th century and the mechanical comedy of the utopian Teffi at the start of the 20th century. Its mechanical comicality shows that relates to an international debate, in which Paul Julius Mobius' essay 'Uber den physiologischen Schwachsinn des Weibes' ('On the Physiological Idiocy of the Female'; 1900) may well have played an unfavourable role.