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Institute
Mi primera lectura académica
(2020)
Im Fluss
(2021)
Humboldt in China angekommen
(2022)
China und Humboldt
(2022)
A expulsão do Éden
(2021)
A temática da migração está intimamente vinculada à história humana, desde a narrativa bíblica da expulsão do paraíso. O ser humano não apenas empregou técnicas cada vez mais sofisticadas para a violência, como também transmitiu, através dos séculos, técnicas de conservação e uso de seu saberconviver. Nesse sentido móvel da história, e em consonância com as literaturas do mundo, a partir de suas diversas origens, é possível dizer que existe um “Homo migrans” desde que existe o “Homo sapiens”. Assim, é possível afirmar que as ideias territoriais ou territorializantes com proveniência histórico-espacial permitem, vez ou outra, reconhecer seus esforços para filtrar e isolar a dimensão histórico-móvel e vetorial da história como narrativa, para tentar construir, com a ajuda de ideias estáticas, novos lugares da promessa ou da perda, da abundância ou da queda.
Welterleben/Weiterleben
(2017)
Welterleben and Weiterleben are what determine the second globalization (of four previously explored) whose constantly accelerating dynamic, vectorization, this essay explores. On the basis of selected writings of Georg Forster, Alexander von Humboldt, and Adelbert von Chamisso, the author highlights the increasing speed with which knowledge, especially in the experiential sciences, is produced and disseminated following the routes of ever-widening trade speeded along by globalization. The notion of ‘vectopia’ stands for the connection of utopia and uchronia in space and time in such a way that the experience of the world, expanded worldwide, contains within it a Weiter-Leben, a ‘living-further’ that is to be understood first in a spatial, and not yet temporal, sense, of what Forster called Erfahrungswissen, or ‘experiential knowledge.’ Vectopia, as elaborated here, has a material dimension that relates to the physical person, the body, the experience of the world that cannot occur without the constant changing of place, without a journeying that is again and again recommenced. Vectopia develops the projection of a life not from space or from time alone, but by their combination. Vectopia is more than a concept, it is a thought-figure: it is vitally connected to life, and thus a life-figure. It opens itself to a type of knowledge that stands almost at the threshold of a further life, indeed, of a Weiterleben that, opening itself to a ‘living-onward,’ resides beyond space, time, and movement.
Александр фон Гумбольдт
(2018)
Научные интересы А. фон Гумбольдта протираются от антропологии и доколумбовой истории Америки до геологии и географии, климатологии и теории культуры; от физики и географии растений до истории языка, вулканологии и зоологии. Будучи ученым, он пересекал дисциплинарные границы и искал новые пути познания. Гумбольдт развивал трансдисциплинарное и, в широком смысле, номадическое знание. Как настоящий кочевник, он не стремился завоевать или разрушить территорию знания. И потому неудивительно, что он стал одним из основоположников экологического и гео-экологического мышления. Гумбольдт публиковал работы на немецком и французском языках. В своих «Американских дневниках», которые были возвращены в Берлин в ноябре 2013 г., но до сих пор не изучены, Гумбольдт постоянно переходит с немецкого на французский, с латинского на испанский. Автор «Космоса» чужд всякого национализма. Гумбольдт – это номад от науки, и в этом смысле – гражданин мира. Первый теоретик глобализации кочевал от слова к слову, от науки к науке, от мира к миру. Для него постоянное перемещение было не просто основой научной программы, а образом жизни. Гумбольдт не стремился к специализации в знании, поскольку она ограничивает диалог с другими областями. Его мышление не укладывается в привычные понятия дисциплинарности или междисциплинарности. Оно взыскует нового мира, в котором человечество будет существовать в согласии и свободе.
TransArea Tangier
(2018)
Anton Wilhelm Amo
(2020)
Sagenhafte WeltFraktale
(2020)
Alexander von Humboldt
(2020)
This article presents and discusses João Guimarães Rosa as an outstanding Brazilian author whose literary work, especially Sagarana, expresses aesthetically different ways of life-forms between human beings, animals, plants, and landscapes. Movement and transformations are the basic principles in which the melody of prose expresses itself as a language in and as motion. Although based in Brazilian culture, Rosa shows the conviviality of different logics which are not reduced to one myth of the Brazilian people, but produce multiple ways of co-existence between different life-forms and culture narratives. The translingual title “Sagarana” already alludes to the transitions between two languages, regions, and cultures: the Icelandic “saga-” and the Tupic-Word “rana” which means “similar” or “alike.” The interpretation figures out the correlation of different provenances (“Herkünfte”) which emerge from Rosa’s craft of storytelling. In its center, the Sertão arises as a region of nature whose forces are connected with the life of human beings. As fractal of the world, it symbolizes Brazilian relations as a world of its own and at the same time as a part of the world of others. From this point of view the essay turns world literature upside down: it emphasizes on the one hand that the epoch of world literature since Goethe has come to an end and that the meridian has shifted to Latin America. On the other hand it can be observed that the lusophonic world between Brazil and Angola, Portugal and Kap Verde develops new perspectives on literatures of the world beyond the fixed coordinations of periphery and center. Rosa’s ways of world making already shift the perspective from the local to the global as a miniatured model of a universe which reveals interpretations of a better understanding of the world as world fractals.
Vorwort
(2020)
Einleitung
(2020)
Alexander von Humboldt
(2020)
This article tries to rethink the epistemic foundations of contemporary thinking. Beyond Area Studies, TransArea Studies point out mobile conceptions of spaces and places. Beyond spatial history, TransArea Studies emphasize vectorial dynamisms and processes able to develop a poetics of movement. Beyond traditional comparative studies, TransArea Studies focus on border-crossing, on entanglements and multiple logics in order to provide a new prospective conception of literature and culture.
Garcilaso de la Vega el Inca, for several centuries doubtlessly the most discussed and most eminent writer of Andean America in the 16th and 17th centuries, throughout his life set the utmost value on the fact that he descended matrilineally from Atahualpa Yupanqui and from the last Inca emperor, Huayna Cápac. Thus, both in his person and in his creative work he combined different cultural worlds in a polylogical way.1 Two painters boasted that very same Inca descent – they were the last two great masters of the Cuzco school of painting, which over several generations of artists had been an institution of excellent renown and prestige, and whose economic downfall and artistic marginalization was vividly described by the French traveller Paul Mancoy in 1837.2 While, during the 18th century, Cuzco school paintings were still much cherished and sought after, by the beginning of the following century the elite of Lima regarded them as behind the times and provincial, committed to an ‘indigenous’ painting style. The artists from up-country – such was the reproach – could not keep up with the modern forms of seeing and creating, as exemplified by European paragons. Yet, just how ‘provincial’, truly, was this art?
As the world cannot be adequately understood from the vantage point of a single language, the literatures of the world can no longer be trimmed to a single world literature in the Goethean sense. This recognition bodes well for the future of philology and of literary production. Through multiperspectival writing, knowledge of life may be attainable without being reduced to a single political, medial, cartographical, geocultural, or aesthetic logic. As a laboratory for polylogical thinking, literature does not represent reality, as Erich Auerbach put it. Rather, it represents multiple lived, experienced, or relivable realities. Whoever is open to a polylogical reception of the literatures of the world can perceive and experience how life knowledge transforms into lived knowledge and how knowledge for survival turns into knowledge for living together. However, literature can be more than it is only if it stays aware of the void, of lack, of privation, of the interminable: aware of the end that never is an end. Such a planetary concept of the literatures of the world offers valuable opportunities to all those who do not fall into the trap of contenting themselves with a supposed abundance of text.
Memory, history, knowledges of the living together on to know living together of the literature
(2011)
Cultures and societies develop in a certain moment and within a certain context an awareness of how to live together, which not only has to be enriched continuously, but can also be lost or destroyed to a greater or smaller measure. Literature is, in its capacity as highly dynamic and interactive heritage and generator of life knowledge, that multilingual wisdom, which in dense form can find basic gnosemes of a good living, knowing how to survive and how to live together, which are crucial for the future of our planet and its very different manifestations of life.
Transarea studies focus upon spaces as created by the movements that criss-cross them. From this point of view, from its very beginnings, literature is closely interrelated with a vectorial (and much less with a purely spatial) conception of history - and with urbanity, which plays a decisive role in Gilgamesh's travels through a (narrative) cosmos centered upon the city of Uruk. This article explores the city as a transareal space of movement in three examples of literature, with no fixed abode, around the turn of the millennium, i.e. Assia Djebar's Les Nuits de Strasbourg, Emine Sevgi Oezdamar's Istanbul-Berlin Trilogy, and Cecile Wajsbrot's L'ile aux musees. These three writers project, in a very specific way, cities in motion as anagrammatic and fractal structures.
Coca Cola und "Coolitude"
(2013)
"Mobile mappings" y las literaturas sin residencia fija : Perspectivas de una poética del movimiento
(2013)
Pensamiento nómada
(2013)