"Das Elementare in der Musik" : Zeitkritik und 'primitive' Musik in Thomas Manns Doktor Faustus
Thomas Manns 'Doktor Faustus' (1947) ist ein Altersroman, ein Exilroman, ein Deutschlandroman, aber vor allem natürlich ein "Musik[]roman". Das ist im Hinblick auf die Frage nach einem gerade auch intermedial konstituierten Primitivismus im frühen...
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Thomas Manns 'Doktor Faustus' (1947) ist ein Altersroman, ein Exilroman, ein Deutschlandroman, aber vor allem natürlich ein "Musik[]roman". Das ist im Hinblick auf die Frage nach einem gerade auch intermedial konstituierten Primitivismus im frühen 20. Jahrhundert signifikant. Denn der in jener Zeit beginnende und im Nationalsozialismus kulminierende Umschlag von Kunst und "Kultur" in Krieg und "Barbarei" koinzidiert im zeitdiagnostischen Panorama von Manns Roman mit einem ästhetischen Interesse am "Elementaren", am "Primitiven und Uranfänglichen". Dieses aufkeimende Interesse und seine politischen Weiterungen werden in Betrachtungen über zeitgenössische Kunst reflektiert und insbesondere am Schaffen des Tonsetzers Adrian Leverkühn exemplifiziert. Anders ausgedrückt: Der zeitgenössische Diskurs über das 'Primitive' spiegelt sich in Struktur und Handlung des Romans. Wenn im Folgenden der Frage nachgegangen wird, wie diese Vorstellung des 'Primitiven' im 'Doktor Faustus' funktionalisiert ist und aus welchen Quellen sie sich speisen könnte, ist ein "ausgeweitete[r] Primitivismus-Begriff" in Anschlag zu bringen, der sich in der Literaturwissenschaft erst zu etablieren beginnt.
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"Die Perser! Die Perser kommen…" : Zur Aktualisierung eines Barbaren-Topos in der deutschen Exilliteratur
A closer look at the literary works, essays, letters and diaries of important German exile writers and anti-Nazi dissidents during National Socialism leads to an important observation: that is the increase of references to classical topoi of the...
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A closer look at the literary works, essays, letters and diaries of important German exile writers and anti-Nazi dissidents during National Socialism leads to an important observation: that is the increase of references to classical topoi of the Barbarian. Since at least 1933 and the traumatic Nazi book burnings, in German (exile) literature does not only occur a political actualization but also an emphatical radicalization of the reactivated dichotomies of 'civilization/culture' vs. 'the Barbarian' and sometimes more specific of 'the Hellenes' vs. 'the Persians'. Even though numerous literary texts display these dichotomies, in literary criticism a systematic analysis of their semantic implications and their function is still lacking. This study thus aims to present a first overview and interpretation of this noticeable actualization of the above mentioned topoi in German exile literature, particularly in the works of Klaus Mann.
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"Lost in Translation" : les problèmes linguistiques et conceptuels aux séances du Studio franco-russe à Paris (1929-1931)
This article analyzes some cases of lack of understanding as well as of misunderstandings and errors, voluntary or otherwise, which punctuate the sessions of French- Russian Studio, an important place of intellectual and cultural exchanges between...
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This article analyzes some cases of lack of understanding as well as of misunderstandings and errors, voluntary or otherwise, which punctuate the sessions of French- Russian Studio, an important place of intellectual and cultural exchanges between Russian émigrés and French intellectuals between the Wars. These errors and misunderstandings turn out to be rather productive ones, leading sometimes to lively discussions. Two notions, humanism and intellectualism, become a real stumbling block to debates: being regularly referred to at the sessions devoted to Gide, Valéry, Proust and Descartes, they are differently interpreted by Russian and French debators. This reflects not only the explicit difficulties in translation of philosophical and cultural notions but also some implicit discrepancies in production of meaning.
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"Wie der Geist zum Kamele ward" : Zu einem Leitmotiv in Jonas Lüschers 'Frühling der Barbaren'
This paper deals with the semantics of 'barbarism' in Jonas Lüscher's novella "Frühling der Barbaren" (2013). It aims to show that the text incorporates the concept of 'barbarism' into what Lüscher himself calls a "narratology of social complexity":...
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This paper deals with the semantics of 'barbarism' in Jonas Lüscher's novella "Frühling der Barbaren" (2013). It aims to show that the text incorporates the concept of 'barbarism' into what Lüscher himself calls a "narratology of social complexity": a narrative mode that enables literary texts to serve as platforms for the reflection of moral problems. Lüscher achieves this by referring to specific intertexts by Friedrich Nietzsche and Ingeborg Bachmann while subtly modifying and distorting them. In doing so, "Frühling der Barbaren" acquires a diagnostic and genuinely critical quality: with this sleight of hand, which could be considered a prime example of 'barbarian theorizing' (Walter Mignolo, Maria Boletsi), the novella evokes existing narratives only to recode them into a sardonic critique of global capitalism.
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