Suchergebnisse

Czech literary modernism in the journal Aus fremden Zungen — four examples of mediation The study focuses on Bronislav Wellek, Adolph Donath, Camill Hoffmann, Oskar Wiener and Otto Hauser and their translations and articles on modern Czech literature published in the German journal Aus fremden Zungen (1891–1910). This fortnightly established by Joseph Kürschner dealt exclusively with foreign literature. Its openness to all kinds of literary currents and little-known minor literatures was unique within the system of German literary journals. A comparison indicates the key role played by mediators. The primary requirement for their activity was multilingualism, and it turns out that in the case of all the figures under consideration, language did not necessarily have the nationally symbolic significance ascribed by politics, and their identity basically did not depend on their use of one language or another. The progress and success of this mediation was not just decided by the literary standard of the translation, but all five translators were concerned to improve the standard of translation, as well as to change the approach to translation in general. The choice of text and its succeeded publication was determined by the involvement of the mediators in the Czech and German literary context. Hence Bronislav Wellek focused primarily on translations and interpretations of poetry by Jaroslav Vrchlický and J. S. Machar, whom he knew personally and who also introduced him to their own literary and intellectual circles. It was thanks to Vrchlický that he printed his translations in Eduard Albert's anthologies Poesie aus Böhmen (1893–1895). Machar was responsible for other translations, e.g. Hilbert's drama Vina, which Hermann Bahr was to help promote in the German-language sphere. Between 1896 and 1898, Adolph Donath attempted to build up his position as mediator between the Moderní revue circle and some representatives ofViennese modernism (e.g. Karl Kraus, Peter Altenberg and Felix Rappaport). For Aus fremden Zungen he translated an impressionistic short story by Luisa Ziková Bílý květ (White Flower). In a fivepart series and an accompanying study modern Czech prose (J. Zeyer, V. Mrštík, F. X. Svoboda, J. K. Šlejhar and R. Svobodová) was presented by Camill Hoffmann and Oskar Wiener. Their mediation activities were based on direct relations with Prague Czech authors of the youngest generation, on whom Hoffmann also focused in his articles for other German journals, though in Aus fremden Zungen he was concerned with surveying the modernist work of the 1890s. Samples of Czech prose were followed on by translations from modern Czech lyric poetry (O. Březina, A. Sova, K. Hlaváček and V. Dyk) written by Otto Hauser. This polyglot and translator from numerous languages was a different kind of Viennese mediator. In contrast to Wellek and Hoffmann, Hauser was only in sporadic correspondence with Sova and Březina. His literary assessment of their poetry was based on his broad knowledge of contemporary European poetry, including minor literatures (such as Danish, Dutch and Croatian) and as such is of importance. These examples show that literary mediation is a complex rapprochement of variously defined and construed contexts, which have their reflected and unrealized limits.

Abstract.This paper explores eighteenth-century German debates on the relation of freedom and perfection in the course of which Kant works out his juridical theory. It contrasts the perfectionist ideas of political activity in Christian Wolff and Karl von Dalberg (a historically important but neglected figure), with Fichte's program inThe Closed Commercial State(1800), distinguishing logics of political intervention. Examining insufficiently recognized aspects of the intellectual context for Kant's distinction between happiness, right and virtue, the paper demonstrates Fichte's (problematic) application of Kantian ideas of freedom to political economy and contests current interpretations of the politically disengaged character or attenuated modernism of German political philosophy in the Enlightenment.Résumé.Ce texte étudie le rapport entre liberté et perfection dans la pensée allemande du dix-huitième siècle. C'est dans le contexte de ces débats que Kant élabore sa propre théorie juridique. En examinant les fondements théoriques de l'intervention politique, le texte fait une distinction entre le perfectionnisme éthique de Christian Wolff et de Karl von Dalberg (personnage historiquement important mais peu étudié), et le programme d'inspiration kantienne proposé par Fichte dans sonÉtat commercial fermé(1800).L'objectif du texte est de reconstruire le contexte intellectuel de la distinction kantienne entre bonheur, droit et vertu, et de démontrer l'usage problématique qu'en fait Fichte dans le domaine de l'économie politique. Le texte remet en question des interprétations récentes qui dévalorisent l'engagement politique et le modernisme des Lumières allemandes.

[ES] Este estudio investiga el impacto de la cultura visual moderna en la poesía vanguardista desde una perspectiva que tiene en cuenta los intercambios transatlánticos entre el modernismo europeo y norteamericano. A principios del siglo veinte las imágenes formaban parte de una sociedad influenciada por los avances tecnológicos y el consumismo. Sensible a los métodos empleados por la cultura de masas y la publicidad, los poetas modernistas recurrieron al potencial de la experiencia óptica no sólo para promover sus obras sino también para apelar al sentido de la vista como el medio más rápido y efectivo en provocar una reacción en el espectador. Movimientos como el cubismo, el futurismo, el dadaísmo, el expresionismo alemán y el surrealismo francés ejercieron influencia sobre el experimentalismo británico y norteamericano. En Gran Bretaña el imagismo y el vorticismo tomaron como referentes las disciplinas de la pintura y la escultura para articular un lenguaje poético que reprodujera los efectos de la cultura publicitaria. En Estados Unidos poetas y artistas tales como William Carlos Williams, Hart Crane y los precisionistas utilizaron la imagen visual para recrear la energía de la metrópolis norteamericana. Otros modernistas en la línea de Gertrude Stein, T.S. Eliot y Ezra Pound expresaron en París su extrañamiento respecto de su patria escribiendo una poesía épica que se asentaba en el collage pictórico con el fin de proporcionar una visión plural que enfatizara las perspectivas interculturales. Asimismo, la aparición del cine y la fotografía inspira la poesía de Marianne Moore y H.D., cuya imagen cinemática puede interpretarse en favor de la democratización y la expansión del arte. El estudio de la cultura visual contribuye a conectar formas populares como los medios de masa con la estética de las bellas artes y de la poesía. La interrelación de los géneros literarios con las artes plásticas, el cine y la fotografía nos invita a reflexionar acerca de la condición ontológica del sujeto u objeto presentado en la obra artística así como la tensión entre arte y verdad en la época moderna. La estética de principios del siglo veinte participa en estructuras visuales e incluye nuevos modelos que emulan la realidad publicitaria y los medios de masas. ; [En] This study investigates the impact of modern visual culture on avant-garde poetry from a perspective that considers transatlantic exchanges between European and American Modernism. My argument is at the brink of twentieth century images were part and parcel of a highly technologized and capitalist society. Sensitive to the methods employed by mass culture and the advertising industry, Modernist poets relied upon the potential of optical experience not only to promote their works but also to appeal to eyesight as the fastest and most effective way to provoke a reaction in the viewer. Therefore, I pay heed to Cubism, Futurism, Dadaism, German Expressionism and French Surrealism as a means of exploring the origin of avant-garde aesthetics and their bearing on the British and American experimentalism. In Great Britain, Imagism and Vorticism relied upon the disciplines of painting and sculpture to articulate a poetic language that reproduced the artifice of promotional culture. In the U.S. poets and artists such as Williams, Crane, Stevens and the Precisionists, utilized visual imagery to envision American city life and natural landscapes. Other Modernists such as Stein, Eliot and Pound conveyed their displacement from their homeland by engaging in an epic poetry that reproduced cross-cultural perspectives thanks to the collage effect. Likewise, the emergence of cinema and photography makes a direct impact on the poetry of Moore and H.D., whose mechanized image might be interpreted in terms of the democratization and expansion of art. The study of visual culture thus helps connect popular or low forms, such as media, with high forms in line with the fine arts and poetry. The interrelation of the literary genre with plastic and mechanical forms is significant because it invites us to think over the original thing and its duplicates as well as the tension between art and truth in modernity. All in all, early twentieth-century aesthetics participates in visual structures, opening up models that emulate the free circulation of commodities, whether they are tangible or intangible.

"The visions of modernity depicted in the writings of major Modernist German-Jewish writers and philosophers manifest, says Vivian Liska, the paradoxical dynamic that the break with tradition invokes figures of thought derived from Jewish tradition. In German-Jewish Thought and Its Afterlife, Liska innovatively focuses on the changing form, fate and function of messianism, law, exile, election, remembrance, and the transmission of tradition itself in three different temporal and intellectual frameworks: German-Jewish modernism, postmodernism, and the current period. Highlighting these elements of the Jewish tradition in the works of Franz Kafka, Walter Benjamin, Gershom Scholem, Hannah Arendt, and Paul Celan, Liska reflects on dialogues and conversations between them and on the reception of their work. She shows how this Jewish dimension of their writings is transformed, but remains significant in the theories of Maurice Blanchot and Jacques Derrida and how it is appropriated, dismissed or denied by some of the most acclaimed thinkers at the turn of the twenty-first century such as Giorgio Agamben, Slavoj Žižek, and Alain Badiou."--

As scholars have begun to explore the global reach of modernist literature, they have turned their attention towards understanding how texts move across and permeate linguistic and cultural boundaries. By exploring the networks, alliances, and interactions among those who facilitate the circulation and transmission of literature, scholars of modernist publishing are now able to offer a finer-grained analysis of where, how, and by whom those texts that we consider central to British literary modernism were first published elsewhere in the world. Marketing modernism on the international and, indeed, global level, in the 1920s and 1930s was a complex business, not least because of different structures in the publishing world of the Americas, Britain, and various European countries. My essay approaches this problem by focusing on the foreign reception of Virginia Woolf's work and, specifically, the contacts between the Hogarth Press and the Leipsic Insel Verlag. We need to understand how literary agents and translators negotiated issues of copyright and ownership and how they shaped her work in German. By drawing on archival material – particularly publishers' correspondence with translators and agents – I will cast new light on how Mrs Dalloway, To the Lighthouse and Orlando appeared in early German translations.

This dissertation examines the portrayal of China in German modernist literature, as well as the adaptation of said literature in post-Mao China. It analyzes how the German texts of the modernist period negotiate cultural and political identity in the age of imperialism and Orientalism, and how their Chinese interpretations approach similar issues of representation and reform in different decades of China after Mao. How do the de-nationalizing elements of the original German-language writings create resonance with the nationalist aspects found in their contemporary Chinese counterparts? Drawing upon specific examples, I situate the German-language sources and their Chinese adaptations within their literary, cultural and historicopolitical contexts, and implement a multidisciplinary approach that combines textual analysis with postcolonial theory and cultural studies on global capitalism. Demonstrating how each work addresses and challenges the dominant discourse of its day, my thesis shows the continued influence of Germany literary modernism upon culture and politics in present day China, and argues in support of the existence of dynamic cultural transference between Germany and China. German-language works discussed include: Arthur Schnitzler's fragment "Boxeraufstand" (1926), Bertolt Brecht's drama Der gute Mensch von Sezuan (1953), Franz Kafka's short story "Beim Bau der Chinesischen Mauer" (1917), and Stefan Zweig's novella Brief einer Unbekannten (1922). Chinese works discussed include: the Sichaun opera Sichuan Haoren (1987), Can Xue's essay "Building in Sections: The Artist's Way of Life" (1997), and Xu Jinglei's film Letter From an Unknown Woman (2004).

City self-government is associated with German law, the most common of which was Magdeburg law. It was implemented in the cities of the Left Bank at the end of the 16th century, becoming widespread in Ukrainian cities and towns from the 14th century. The purpose of the article is to generalize and analyze the locational privileges of Polish kings to the cities of the Left Bank Ukraine, which testified the development of the institution of city self-government in the form of Magdeburg law. At the end of the 16th and the first half of the 17th centuries, Pereyaslav (Pereyaslav-Khmelnytsky), Lubny, Starodub, Chernihiv, Nizhyn, Gogoliv, Mglyn, Myrhorod, and the town of Lypove Horodyshche (Lypove village) received similar privileges. King of Poland Jan II Casimir Waza granted Magdeburg privileges to Oster and Kozelets during the military winter campaign of 1663. The methodological basis of the study is the principle of historicism. The methods are based on the principles of objectivism and scientificity. The article uses the method of analysis and synthesis, historical-typological, comparative-historical methods. The scientific novelty of the article is that for the first time the locational privileges of Polish kings to the cities of the Left Bank Ukraine, which start the European self-governing tradition, are systematized and analyzed. Conclusions: the spread of Magdeburg law in the cities of the Left Bank Ukraine took the form of several waves, but a characteristic feature of most cities is their special border status. Granting the Magdeburg law was to ensure economic development, and at the same time defence power. Royal privileges were given to cities that were in private ownership, newly established, for more active colonization of lands, as well as existing settlements. The practice of giving confirmations to Magdeburg law was widespread.

This work is about the spirit of Western civilization and its temptations. Drawing on Hegel's philosophy of history, the text explains
why, until recently, this civilization was dominant over the rest of the world. The thing is that she understood the importance of rationality, subordinated all manifestations of life to her and especially, during capitalism (modernism), developed science and technology, and produced powerful weapons. Along the way, she incorporated all the significant achievements of other civilizations and
peoples into her system of rationality. In this regard, Hegel says in the introduction to the Philosophy of History: "The only Thought which Philosophy brings with it to the contemplation of History, is the simple
conception of Reason; that Reason is the Sovereign of the World; that the history of the world, therefore, presents us with a rational process." In other words, history is exclusively occupied with showing how Reason (Mind) comes to a recognition and adoption of the Truth. Of course, rationality is something that belongs to all civilizations and peoples, but other societies, for various reasons (geographical, climatic, religious, etc.) subordinated rationality to some other imperatives. Therefore, many of these communities were non-historical. Whatever it was, the West exploited its supremacy by colonizing other civilizations and destroying some. From the usual moral point of view, it is unacceptable, criminal. However, Hegel's philosophy, somewhat in Marx and Engels's interpretation, says something else. History makes sense. Its primary goal is to preserve humankind from anything that could destroy it, especially from various natural cataclysms and deadly diseases. The meaning of history is also its progress towards civil society as the realization of freedom and the end of history. This was only possible by adopting and practicing absolute rationality. Why guns and violence? Absolute rationality, in order to be histo-rically efficient, had to cover the whole world. In the West, as a "chosen civilization", it was to make it happen and he, militarily superior, did
so by submiting other civilizati-ons and nations to the extreme violence. On the other hand, with this relentless exploitation of colonized areas, the West was able to develop rapidly in every way and thus, at the level of possibility, achieve the best destiny of humankind. Especially important was the XX century. Then this civilization, developing medicine, genetics, computer science, nanotechnology and robotics, managed to defeat various deadly diseases, begin space exploration, and turn deserts into fertile soils and, with the "green revolution", produce food for all the inhabitants of the planet. Seeing the advantages of rationality, other areas of the world, with varying success, followed the example of the West. Colonialism disappeared, and human rights and international relations were institutionalized, especially throughout the United Nations. The détente
between the two blocs, capitalism and socialism, was established, and the nonaligned movement contributed to the stabilization of the world. As for the world's environmental prob-lems arising from the often-uncontrolled industrialization, they too, although excruciating and slow, seek to be solved on a global scale. Unlike modernism, which was constituted as a modern civil society with the adopted principle of equality of all, the current postmodernism is the opposite of everything
civil. The market economy is functioning less and less, major utopian ideas, Christianity and Marxism, have been abandoned, the "new human rights" destroyed everything noble of the already proclaimed universal human rights. In the resulting hopeless chaos, worried about the rise of
China and Russia, the most important forces in the West crossed in the "illegal" making a global deep state, the New Leviathan. They operate, as needed, both through formal and in-formal mechanisms. If necessary, they also oppose the authorities of their states if they deem their actions to be collapsing this civilization. As good disciples of Carl Schmitt, the German political philosopher, they are against the humanization of interpersonal relations; they have enormous financial and technical means and inhuman, eugenic ideas about reducing the world's population. There is no longer any doubt that their methods include the production and dissemination of deadly viruses. The action of these anti-liberal shadow minds is the destruction of all existing humanism, and has not-hing to do with history or any sense.

Note. Leviathan is a sea monster mentioned in the biblical Book of Job, where it is associated with the forces of chaos and evil. Metaphorically, Leviathan is a huge and powerful social organism living secretly in the darck deep, out of any legal social control.

This book brings together an exciting new archive of queer and trans voices from the history of sexual sciences in the German-speaking world. A new language to express possibilities of gender and sexuality emerged at the turn of the twentieth century, from Sigmund Freud's theories of homosexuality in Vienna to Magnus Hirschfeld's "third sex" in Berlin. Together, they provided a language of sex and sexuality that is still recognizable today. Queer Livability: German Sexual Sciences and Life Writing shows that individual voices of trans and queer writers had a significant impact on the production of knowledge about gender and sexuality during this time and introduces lesser known texts to a new readership. It shows the remarkable power of queer life writing in imagining and creating the possibilities of a livable life in the face of restrictive legal, medical, and social frameworks.

Queer Livability: German Sexual Sciences and Life Writing will be of interest to anyone who wants to learn more about LGBTQ+ history and literature. It also provides a fascinating insight into the historical roots for our thinking about gender and sexuality today. The book will be of relevance to an academic readership of students and faculty in German studies, literary studies, European history, and the interdisciplinary fields of gender and sexuality studies, medical humanities, and the history of sexuality.

Reviews of this book: "Peter Fritzsche's unusual and enthralling history is about the most pervasive of [Germany's] dreams, the national dream of an empire of the air." --Martin Pawley, The Guardian "An important, thought-provoking study." --Dissent "An excellent book, beautifully written.There is really nothing quite like it in the field.Its combination of solid scholarship, appealing writing, and provocative thought makes it an important contribution to our understanding of modern German military history." --Edward Homze, Air Power History "A fascinating tale that provides a refreshing perspective on the history of early twentieth-century Germany, and Peter Fritzsche has told it with flair, passion, and an array of evidence taken from a wide range of little-known sources." --Robert Wohl, German Politics and Society "A fundamental breakthrough in the development of an understanding of how technology fed a Faustian vision of modernism in which nationalism and industrial society became ever more compatible and ever more popular.A model in its insight into the correlation of technology and the popular imagination in the twentieth century." --Ronald Warloski, American Historical Review "Peter Fritzsche presents a remarkable blend of technological, social, and cultural history in his study of the popular German reaction to early aviation.His findings have sizable implications for all scholars of twentieth-century Germany." --Norman W. Goda, German Studies Review

In this paper I strive to illuminate the connections between the ideology of Yugoslav nationalism and the discourse on music and music production in the interwar Kingdom of Yugoslavia. In order to comprehend the traits that are germane to the aforementioned practices, I propose the notion of primordial modernism. Primordialism was a crucial standpoint for vindicating the existence of a united Yugoslav nation, which was to enclose the 'tribes of different histories, religions and even languages. A concern to be modern was also pertinent, as a part of the endeavour to produce a semblance of Yugoslavia as a modern, progressive European state. The paradigm of primordial modernism compromises these distinct tendencies, presupposing that a musical work should be ostensibly modern, but, at the same time, that it should use folk material in a manner that reveals the existence of its deeper, psychological, primitive, prehistoric layers. ; U ovom radu pokušavam da rasvetlim veze između ideologije jugoslovenskog nacionalizma i diskursa o muzici i muzičke produkcije u međuratnoj Kraljevini Jugoslaviji. Kako bismo bolje razumeli ove veze predlažem uvođenje termina primordijalni modernizam, po ugledu na istoričara arhitekture Aleksandra Ignjatovića. Kao vid teorije nacionalizma, primordijalizam je jedini omogućavao definisanje jedinstvene jugoslovenske nacije, koja je trebalo da obuhvati 'plemena' koja su imala različitu istoriju, kulturu, religiju, pa čak i jezik. Ideja da su jugoslovenski narodi u trenutku početka istorije bili jedno, i da ih njihove rasno-biološke odlike i dalje ujedinjuju bila je u srži ideologije jugoslovenstva iza koje je stajala dinastija Karađorđevića i državna birokratija, te je ova ideja ujedno predstavljala i jednu od osnova kulturne politike Kraljevine Jugoslavije. Imperativ da se Jugoslavija, u realnosti zaostala, nerazvijena i agrarna zemlja, prikaže kao moderna evropska nacija nije bio ništa manje izražen, jer je ideal modernizacije novostvorene države bio jedan od temeljnih razloga njenog postojanja. Primordijalni modernizam je formiran kao rezultat sinteze ovih tendencija, kao paradigma kojom je usmeravana produkcija umetnosti, a koja je bila posebno uticajna na polju muzičke produkcije. Paradigmom primordijalnog modernizma se od muzičkog dela očekuje da otelotvoruje moderan i napredan stil, ali i da koristi folklorni materijal (ili tematski materijal srodan folkloru) na način koji bi trebalo da u njemu otkrije postojanje dubljih, psiholoških, primitivnih, slojeva, koji transcendiraju trenutačne kulture 'plemena i odražavaju predistorijsko jedinstvo Jugoslovena. Zanimljivo je da se primordijalni modernizam često pojavljuje u vezi sa modernim stremljenjima koja su prepoznavana kao uticaj čehoslovačke kulture; Čehoslovačka ne samo što je bila saveznik Jugoslaviji u zaštiti granica Versajskog sporazuma, već je smatrana srodnom slovenskom nacijom i progresivnom evropskom zemljom na koju se treba ugledati. Paradigma primordijalnog modernizma može se pronaći kako u diskursu o muzici, tako i u muzičkoj produkciji. U cilju da pokažem prisutnost i važnost ovakvog načina mišljenja ukazaću na stavove vodećih muzičkih pisaca u Jugoslaviji, kao što su Miloje Milojević i Antun Dobronić. Istražujući muzičku produkciju potrebno je ukazati ne samo na konkretna dela (npr. Dobronića, Josipa Slavenskog i Mihovila Logara), već i na institucionalno okruženje u kome su ona nastajala, kao i na retoriku koja je pratila njihovu recepciju. Značajno je naglasiti da primordijalni modernizam nije stilska kategorija, već ideološka praksa koja je uticala na kompozitore različitih generacija i stilskih opredeljenja.

This essay examines the making of the Finnish intelligentsia and its relation to the state and the nation. The problem is analysed primarily from the perspective of student activism in the twentieth century. The formation of the intelligentsia is viewed in the context of nationalism, (cultural) modernism and radicalism in the development of the public sphere. The main source for the article's findings is the student magazineYlioppilaslehti(Student Magazine), which is not just "any student paper" but a Finnish institution that saw most of Finland's cultural and political elite pass through its editorial staff in the twentieth century. The essay demonstrates the importance of German idealism, as theorized by the Finnish statesman and philosopher J. W. Snellman, in the activities of the Finnish university intelligentsia well into the twenty-first century, and particularly in linking these activities to nation building.

This essay examines the making of the Finnish intelligentsia and its relation to the state and the nation. The problem is analysed primarily from the perspective of student activism in the twentieth century. The formation of the intelligentsia is viewed in the context of nationalism, (cultural) modernism and radicalism in the development of the public sphere. The main source for the article's findings is the student magazine Ylioppilaslehti (Student Magazine), which is not just "any student paper" but a Finnish institution that saw most of Finland's cultural and political elite pass through its editorial staff in the twentieth century. The essay demonstrates the importance of German idealism, as theorized by the Finnish statesman and philosopher J. W. Snellman, in the activities of the Finnish university intelligentsia well into the twenty- first century, and particularly in linking these activities to nation building ; Peer reviewed