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Browsing German Studies by Author "Hajduk, S."
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Item Restricted Artistik und Stimmung: zur postnihilistischen Asthetik bei Gottfried Benn(Passagen Verlag Ges Mbh, 2011) Hajduk, S.Item Restricted 'Barely explicable power of the word, that separates and conjoins' : Gottfried Benn's Problems of Poetry and their poetology of existence(Camden House, 2011) Hajduk, S.; Hoffmann, G.; Magshamhrain, R.; Pajevic, M.; Shields, M.Gottfried Benn's oeuvre is important for the history of German postwar poetics not least because it exemplifies the relationship between crisis and creativity that marks the period. In Benn's own crisis period of inner emigration after 1934, culminating in 1938 with the Nazi ban on publishing his work, a ban that was continued under Allied occupation until 1948 because of Benn's initial support of National Socialism, continuities, interruptions and new beginnings are discernible in the content, form, and particularly the poetics of his work. In terms of continuity, for instance, poetic subjectivity occupies a central position during this period at the level of both textual aesthetics and the aesthetics of production. Subjectivity remains central despite an internal shift in emphasis from the Dionysian, prelogical nature of the ecstatic self toward a static consciousness of the Other in Apollonian melancholy. Discontinuity, however, determines Benn's Expressionist, onesided concentration on the poetological aspects of dissolution of the self, “Wirklichkeitszertrümmerung” (smashing of reality), and the grandeur of loss. Coincidentally, Benn's outline of his project “Phase II,” with its double perspective of neo-avant-garde and neo-renaissance, hints at a renewal of the dynamics of modernism. This poetics, which anticipates postmodernism, was developed during the fifth year of the Second World War when Benn, then serving as a medical officer, once more turned his existential crisis into poetic creativity in deserted barracks on the Eastern Front, facing the military disasters of the summer of 1944.Item Metadata only "Ein sonderbares Entsetzen": Zur Dramatik der (Ver-)Stimmungen in Ludwig Tiecks Der Abschied(Ferdinand Schoeningh, 2011) Hajduk, S.; Breuer, U.; Wegmann, N.Item Metadata only Esoterik der 'Macht, die über uns waltet und alles zum Besten lenkt'. Das Wissen vom Anderen in Goethes Wilhelm Meisters Lehrjahre(Goethe Society of North America, 2012) Hajduk, S.; Purdy, D.Item Metadata only Goethes Gnostiker: Fausts vergessener Nihilismus und sein Streben nach Erlösungswissen(North American Goethe Society, 2010) Hajduk, S.Item Metadata only Kann es eine Theorie der Stimmung geben? Probleme philosophischer Begriffsbildung und methodischer Grundlegung bei Wilhelm Dilthey(Konigshausen & Neumann, 2012) Hajduk, S.; Arburg, H.; Rickenbacher, S.Item Metadata only Montauk erscheint im Holozän. Literarisches Schreiben und Altern bei Max Frisch(Rombach Verlag, 2015) Hajduk, S.; Deiters, F.; Fliethmann, A.; Lang, B.; Lewis, A.; Weller, C.In his poetological lectures, Schwarzes Quadrat, Frisch sketches a type of reflexivity which involves the assumption of a position of distance to the self and a process of understanding that has aesthetic, but also age-specific characteristics. The existential connection between the awareness of temporality and sensory experience is evident throughout Frisch’s narrative prose, but is made more explicit in those narratives that focus on ageing and transience. The mood of old age in Montauk (1975) and Der Mensch erscheint im Holözan (1979) – and indeed already in Stiller and Mein Name ist Gantenbein – is permeated by tensions associated with the experience of alterity, melancholy reflections on the past and eschatological-apocalyptic visions. The anthropological experience of the foreignness, finitude and historicity of one’s own existence is represented at different stages of the ageing process and takes different forms. Frisch’s narrative concentration on the interconnection of individual and human, cultural and evolutionary history on the one hand, and the parallels he establishes between phenomenological perception and erotic memory on the other, open a perspective on the mysteriousness of human existence which is at once subjectively estranged, but familiar, objectively distanced, but sensually immediate. Not only in old age, but there inevitably, life and its history only become real through the fictionalisation of experience.Item Metadata only Poetologie der Stimmung: Ein ästhetisches Phänomen der frühen Goethezeit(Walter de Gruyter, 2016) Hajduk, S.Item Restricted Item Restricted Subliminale Modernität: Selbstreflexive strukturen in E.T.A Hofmanns Prinzessin Brambilla(Walter de Gruyter & Co, 2012) Hajduk, S.Is self-reflexivity, as is often maintained, a structural characteristic of literary modernity? To what extent does self-reflexivity provide a specifically modern as well as qualitative criterion which helps to distinguish between aesthetically experimental texts and less advanced ones? Proceeding from a problematization of the concept of modernity, I explore these questions with reference to E.T.H. Hofmann's Prinzessin Brambilla. Labelled a, Capriccio,' the narrative unfolds as an arabesque, in which subjectivity and textuality constitute each other, so that personal as well as semantic identity appear to be multiple. Just as the mythic, mirror brightness' of the well Udar releases from the constraint of being identical with oneself by transfiguring the "I" into a reflexive medium of alterity which is sensually perceivable, so the narrative dynamics of the text lead one to produce a reading of it as a figuration of transgression. The thematic analysis leads to a transgression of self-reflexivity, which--on the level of form--is made comprehensible as a narratological transgression. The pluralisation of the I, which is narratively staged through the mirroring of the main character in others, corresponds also with the theatrical self-image of the actor. All in all it is evident that Hoffmann's narrating en abmie organizes a dimension of the aesthetics of the text as well as of its reception, in which the literary dissolution of the Self gives way to reflexions of reading devoid of a subject. The innovative aspect of this study is the insight it provides into the dynamics of transgression inherent to the binarity of self-reflexivity. Only a poetologically transgressive self-reflexivity qualifies it to be a distinguishing criterion of literary modernity. In taking the aesthetic structures of subjectivity to the threshhold of their deconstitution, this poetically configured subliminality conveys a specifically modern sense of crisis.Item Metadata only Vom Reden über Stimmungen: Ihre Geschichte in der literaturwissenschaft, ihre aktuelle Erforschung und ihre Medialität(Vandenhoeck und Ruprecht, 2012) Hajduk, S.Due to the increasing influence of German cultural studies, the issue of Stimmungen has been reconsidered within the field of literary studies. The historical background of Stimmungen becoming part of the aesthetic discourse is being considered, and a new effort is being made to explore the phenomena connected with the concept of Stim mungen, to reflect the resulting methodological problems, and to analyse the possibili ties and limitations of the concept. This paper reflects on historical origins and presents an overview of the current state of research in literary studies. Focussing on basic aspects of media theory, it reflects the relationship between literature and knowledge in the context of an aesthetic concept of Stimmungen.