Suchergebnisse

- Bedeutung des Besuchs + Aus dem Inhalt: + - Kadares Sonderstellung in der albanischen Literatur + - Der Besuch Kadares + - Diskussionen über den sozialistischen Realismus + - Kadares Reisebericht + - Gegen "hermetische Neigungen" + - Kulturgeschichte und Sprache

In Albanien ist die Diskussion um die Stellung des Schriftstellers Ismail Kadare im kommunistischen System neu entbrannt. Der Anlass ist ein wieder aufgetauchtes regimekritisches Gedicht unter dem Titel "Die roten Paschas", das angeblich von der Zensur beschlagnahmt und restlos vernichtet wurde und im Jahre 1975 Gegenstand einer politischen Verurteilung war. Kadares unumstrittene Stellung als bedeutendster lebender Prosaautor albanischer Sprache gründet sich auf eine Reihe von großen Romanen, wie z.B. "Der General der toten Armee", "Chronik in Stein" oder "Der zerrissene April". Öffentlich umstritten waren hingegen stets die Romane Kadares, in denen die albanische Gegenwart den Hintergrund lieferte, d.h. das System der Partei der Arbeit Albaniens (PPSH) und Enver Hoxhas. Bereits seit den 70er Jahren wurde von in- und ausländischen Beobachtern immer wieder die Frage nach Kadares Einstellung zum politischen System Albaniens aufgeworfen. Der vorliegende Beitrag beschreibt die verschiedenen Auseinandersetzungen um die Veröffentlichungen Kadares und dokumentiert Auszüge aus dem Gedicht "Die Roten Paschas". (ICI2)

Ismail Kadare's 'The Monster' was perhaps his most ill-fated work during the socialist period, a doubly-heretic novel of modernist experimentation and political allegory. Published in 1965, it was immediately criticized and banned. After the fall of communism Kadare was able to revise freely and publish it in its definitive form. The aim of this paper is to interpret the nature of the extensive changes made to this final version and to offer a new reading of it. After summing up the principal interpretations given thus far for the first version, a comparative analysis of the changes in the final version follows. Except for a brief assessment of these changes in the linguistic, narrative and structural level, the main focus is on the plot. Relying on textual clues as well as historic data, a more specific analysis of the characters is submitted, on which ground then a new interpretation of the novel is expounded. It is demonstrated that the final version of 'The Monster' might be read as an allegory of both Albania and Kadare himself as a writer during the communist period, written from a post-totalitarian viewpoint.

Analyzes Albanian writer Ismail Kadare's literary activities during the Hoxha communist regime.

The motive of love, not only Kadare's poetry, but generally throughout the contemporary Albanian and world poetry, is one of the fundamental, general and extremely universal motifs. Such a motive has also prompted the poet Kadare to write poems that propose the aesthetics of one of the most general motives of man - the motive of love. The first and the first love in the verses of Kadare is described and emerges as a part of human life and as such comes out of special dimensions. Kadare, being a good builder of a full and complete poetry, would say, even if his poetry, if we can say erotic, we have a remarkable use of such signs, although in general the poetry of love does not occupy any remarkable place in Kadare's poetry, naturally in comparison to the poetry of other motifs, though it is quite manifested.
But, however, love in Kadare's poetry marks, among other things, a particular poetic word in general, and even in this regard, it is also a multiple pluralist expression, using words, expressions and figures unused by others, also giving different words and meanings, from everyday life, to various functions, marking high aesthetic and literary uplift, but also figurative. He is a good builder of various artistic figures, an innovator of creating new words and expressions, and a sublimant of the ideas he poses and realizes in his poetry.
Although it is a whole set of signs that Kadare uses in his poems, which are motivated by the feeling of love, we will in this case stop the signs he uses most, as well as those signs which make a special significance for his poetry. On this occasion, we will dwell on the signs, coinciding with the poetry, which appears as a poem of love, and which in Kadare occupies a place, though not deserved, we would say, like love, moon, flower, bride , the heart, the lips, the eyes, the cheeks, the throat, the heart, the soul. There are also a number of other signs that reinforce and sublimate the poetic ideas of Kadare's love motifs, but we believe that these are the signs that strengthen our conviction of the artistic achievement of his poetry as well as those that make up innovation in Albanian poetry generally, whether in terms of poetry, or in terms of the breadth of poetic figuration.
Key words: Poetry, Kadare, Love, Signs, Figure, Poet, Structure, Verse, Aspect, Erosion, Devotion, Sublimation, Heart, Eyes, Soul, Flower, Wax.