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In search of Ovidian hebrew
(2022)
This paper focuses on the first substantial translation of Ovid’s Metamorphoses into modern Hebrew, whose author was Yehoshua Friedman (1885–1934). The first part of the paper sets Friedman into the context of modern Hebrew classical philology and explores the character of his verse. The core of the text consists of three case studies of selected excerpts from Ovid’s story of Apollo and Daphne (Met. I, 456–465; 481–482; 545–552). Based on detailed linguistic and stylistic analysis of these texts, I argue that Friedman did not simply adopt a pre-existing linguistic register, but rather created an original Ovidian idiom that helped to win him lasting significance in the history of Hebrew translations from classical languages.
Der russische Krimi
(2024)
Die erste umfassende Darstellung des Kriminalgenres in Russland. Sie geht auf Bücher und Filme ein und berücksichtigt die Debatten der Literaturkritik, da sich die Kulturpolitik während der sowjetischen Jahrzehnte schwer damit tat, dem Kriminalgenre überhaupt ein Existenzrecht zubilligen. Sympathie für die Miliz zu erzeugen wurde schließlich offizieller Zweck dieses politisch zu einer Nischenexistenz gedrängten Genres. Entsprechend liegt ein Akzent der Studie auf der Ideologie, besonders bei der Darstellung der Helden und ihrer Gegner und der Lebenswelt, die die Leser als ihre wiedererkennen sollten. Dabei erfahren sie eine Menge über die Gesellschaft, vor allem über deren sonst eher verschwiegene Schattenseiten.
Nicht zuletzt wegen der langen Entbehrung spannender Texte wurde der Krimi nach dem Ende des Sozialismus zu dem Bestsellergenre schlechthin. Am Beispiel des Frauenkrimis (Marinina und Nachfolgerinnen) und des postmodernen Krimis (Akunin) wird die postsowjetische Entwicklung bis in die 2010er Jahre gezeigt.
Is translation child's play?
(2021)
1765 and 1767 saw the publication of the German, respectively the English translation of Lomonosov's Kratkij rossijskij letopisec s rodosloviem (1760). For the very first time the European reading public could find out how Russians saw their own history. These translations testified to Russia's ascent both as an empire and as a part of European learned society, and were made by youths who wanted to further their own career and were neither professional translators nor historians. In this article, we argue that the translations of Lomonosov's Kratkij rossijskij letopisec should not be studied as an isolated act of cultural transfer but as an episode in a longer history of circulation of knowledge. We demonstrate the complexity of this circulation by reassessing the 'quality' of these translations and positioning them in that longer history of circulation of knowledge by analysing the distribution of historical concepts (Begriffe) in Lomonosov's original and its translations.
This article discusses the so-called 'Apocalypse' of Carour, a text preserved in a Codex (M586) of the famous Hamuli-find, that originally emanated from the environment of the Pachomian monastic enterprise. It addresses a series of disasters and communal deficiencies through metaphorical imagery and similes that struck the community after the death of its founding father Pachomios. After presenting a few conjectures to the editio princeps and providing a German translation, the 'Apocalypse' is contextualized within the historical and liturgical background of this late antique monastic community. The author asserts that this unique text not only displays the symptoms of disaster, but also gives us new insights into how the Pachomians productively coped with crises. In contrast to modern scholarship, the author argues that the 'Apocalypse' is in fact a prophecy (ex eventu) that was based on an instruction, which was publicly read at the large Easter assembly of the Pachomians, most likely by Horsiesos, the third abbot of the Koinonia. Using the figure of the frog, C(h)arour, to symbolize the biblical plague but also the Egyptian concept of rebirth, the instruction was intended to strengthen group cohesion and especially to prepare the novices that were about to receive their baptism during the Easter celebration for a life devoted to the Koinonia and its principles. To this initial prophecy, which developed an antithesis to the ideal monastic life envisioned by the Pachomians, another text was later added that narrated an unsuccessful attempt to overthrow Apa Besarion, the fifth abbot of the Koinonia. In a much more practical manner this second part of the prophecy elaborated on the same themes while also displaying the resilience of the community in averting crises through remembering and recommitting to its founding precepts. The convoluted text we possess now should therefore be equally viewed as a testament to the communication structures of the Pachomians as well as their memorial culture, which targeted moments of crisis and despair to imbue future generations with the necessary persistence to overcome possible disasters themselves and secure the long-term existence of the Koinonia.
This paper attempts to account for the syntactic distribution of the particle sey in Turkish, in particular its suffixed variant which is a placeholder for expressions that have to be inserted into the discourse later. The paper argues that the distribution of suffixed sey is determined by constituent structure, meaning that Bey can only substitute for syntactic constituents. Thus, sey acts as a pro-form, similar, for instance, to pronouns substituting for noun phrases. This has two implications: First, as sey is a quasi-universal pro-form with the ability to substitute for a wide range of constituents, sey-substitution can be used as a constituency test to peek into the constituent structure of virtually any major syntactic domain. Second, the overall sey-substitution pattern across different syntactic domains constitutes evidence for Kayne's binary branching hypothesis.
Belarusian protest
(2021)
The Belarusian protest movement that started in August 2020 has been discussed from the point of view of strategy and objectives, and as the cradle of a new subjectivity. This essay goes beyond those two perspectives by looking at the regimes of engagement, developing in interaction with the material and technological environment, that have given the protests their distinctive style. The first part looks at coordination and representation at protest events and in producing protest symbols such as flags. The second part discusses the role of Telegram and the emergence of local protest groups. Even though the movement did not grow organically out of everyday concerns, there are some signs that it has begun to reassemble local communities from above. Yet there are also indications that politics continues to be seen as distinct from everyday life, making it uncertain that the movement will lead to a deeper transformation of society.
Die konservative Revolution in Polen hat ihre Thinktanks, Intellektuellen und ihre Literatur. Jarosław Marek Rymkiewicz genießt in rechten Kreisen den Status eines Nationaldichters. Bereits in den frühen 1990ern schloss sich Rymkiewicz den radikalen Kritikern der polnischen Transformation an. Er gehört zu den prominenten Unterstützern der PiS. Sein literarisch fesselndes und politisch brisantes Spätwerk übt großen Einfluss auf die Radikalkonservativen in Polen aus.
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.
‘La poesía no da para tanto’
(2021)
Este artículo se enfoca en la singular combinación de poesía, ficción y autobiografía que pone en juego la obra reciente de Lorenzo García Vega. A través de una lectura de dicha obra, y en particular de la ‘mala novela’, Devastación del Hotel San Luis (2007), se propone un replanteamiento teórico del concepto de autoficción que se apoya en el análisis lingüístico de los modos de enunciación de Benveniste y en una revisión de la teoría de los géneros literarios de Käte Hamburger. Mi lectura sitúa la cuestión de la autoficción en el conflictivo diálogo de este autor con el grupo Orígenes, y explora el cruce de modos narrativos y líricos de autofiguración en el singular proyecto de García Vega: reescribir la narrativa autobiográfica proustiana a la vez que la poética neobarroca lezamiana.