scholarly journals Transient Dwelling in German-language Nature Essay Writing: W.G. Sebald’s Die Alpen im Meer and Peter Handke’s Die Lehre der Sainte-Victoire // Pertenencia temporal en el ensayo sobre la naturaleza en alemán

2015 ◽  
Vol 6 (1) ◽  
pp. 25-42
Author(s):  
Simone Schröder
Keyword(s):  
Sense Of Belonging ◽  
Nature Writing ◽  
Specific Region ◽  
First Century ◽  
German Language ◽  
Peter Handke ◽  
Essay Writing ◽  
The Alps ◽  
Twenty First Century ◽  
Special Case

Identity, place, and a sense of belonging to a specific region are factors which have shaped most twentieth and twenty-first century nature writing throughout Europe. This article argues that German-language nature writing is, however, a special case. Due to the appropriation of the aforementioned concepts in the Nazis’ Blood and Soil doctrine, relations to a national landscape have become problematic for most post-Shoah generation writers. Born into a nation for which belonging and Heimat once were used as a means to justify the genocide of non-Aryan groups, access to an innocent, identificatory approach to nature is cut off. It is therefore no coincidence that both W.G. Sebald in The Alps in the Sea and Peter Handke in Lesson of Montagne Sainte-Victoire turn towards foreign landscape. Instead of pondering upon a specific German or Austrian region they belong to, they describe walks through Corsica and France. By linking their experience of these surroundings to other regions, to history and art, they create a truly European panorama and establish an aesthetics of transient dwelling. The form of the literary essay for which digressions, lengthy contemplations and sudden changes of discourse are typical enables them to combine a set of different perspectives on nature. Besides, the essay’s meandering form matches their struggle with an identity rooted in a specific soil. And still, a sense of loss, represented in the guise of an expulsion metanarrative, pervades.   Resumen Identidad, lugar y el sentimiento de pertenencia a una región específica son factores que han caracterizado la mayor  parte de la escritura de la naturaleza de los siglos XX y XXI en toda Europa. Este artículo razona que la escritura de la naturaleza en lengua alemana es no obstante un caso especial. A causa de la apropiación de los conceptos anteriormente mencionados por parte de los nazis en su doctrina de Sangre y Suelo, las relaciones con el paisaje nacional se volvieron problemáticas para la mayoría de la generación post-Shoah de escritores. Siendo natural de una nación que antes utilizaba conceptos como pertenencia y Heimat para justificar el genocidio de grupos no-arios, ya no existen posiciones inocentes e identificatorias hacia la naturaleza. Por eso no es casualidad que tanto W.G. Sebald en Los Alpes en el mar y Peter Handke en La doctrina del Sainte-Victoire se centren en paisajes extranjeros. En vez de ocuparse de una región específica de Alemania o Austria, a las que pertenecen, describen excursiones por Córcega y Francia. Asociando sus experiencias en esta naturaleza con otras regiones, con la historia y el arte, establecen un panorama verdaderamente europeo y crean una estética de pertenencia temporal. La forma del ensayo literario en el que las digresiones, las contemplaciones extensas y los cambios discursivos súbitos son típicos, les permite combinar una serie de perspectivas distintitas sobre la naturaleza. Además, las divagaciones del ensayo se corresponden con las dificultades de los autores a la hora de luchan con una identidad enraizada en un suelo especifico. Y aun así se difunde un sentido de perdida, representado en forma de  metanarración de expulsión.

scholarly journals MAKUNAIMA, O MEU AVÔ EM MIM!

ILUMINURAS ◽  
2018 ◽  
Vol 19 (46) ◽  
Author(s):  
Jaider Esbell
Keyword(s):  
First Century ◽  
Cultural Appropriation ◽  
Cognitive Effects ◽  
Essay Writing ◽  
The Past ◽  
Grand Design ◽  
Twenty First Century ◽  
To Come ◽  
The One ◽  
Indian Art

ResumoEu aconteço, artisticamente falando, acredito, dentro de um processo que nos convida a pensar criticamente a decolonização, a apropriação cultural, o cristianismo, o monoteísmo, a monocultura e todos os dilemas do existir globalizado. Ou não? O meu surgimento vem junto com a expectativa que se cria em volta de outro termo, no Brasil ao menos, a arte indígena contemporânea. Não a moderna, a passada e extinta, nem a por vir, mas a deste início do século XXI. Ensaio escrever para socializar um pouco o socializável da minha relação com meu avô, esse que não é gente exatamente para não sê-lo. Portanto Makunaima é meu avô e o gênero, a forma e o conteúdo têm seus lugares de ação como vamos citar sempre, pois são fundamentais, mas é preciso ir além. Makunaima está além e prova isso ao transformar-se continuamente. Não, ele não é transformista. Vamos dissociar aos poucos o existir-atuação de Makunaima dos efeitos cognitivos do gênero em nossas mentes. Sim, nas mentes. Aos leitores é requerido um vácuo total interior, um nudar-se por dentro para ter espaço. Em uma grande concepção, é requerido um esvaziamento total de um ser para outro ser caber.Palavras-chave: Makunaima; Arte Indígena Contemporânea; Gênero; Literatura AbstractI happen, artistically speaking, I believe, in a process that invites us to think critically about decolonization, cultural appropriation, Christianity, monotheism, monoculture and all the dilemmas of globalized existence. Or not? My emergence comes along with the expectation that is created around another term, in Brazil at least, contemporary Indian art. Not the modern, the past and extinct, not yet to come, but the beginning of the twenty-first century. Essay writing to socialize a little the socializable of my relationship with my grandfather, the one who is not exactly people to not be. So Makunaima is my grandfather and the genre, form and content have their places of action as we will always quote, because they are fundamental, but we must go further. Makunaima is beyond and proves this by continually transforming himself. No, he is not a convert. We will gradually dissociate Makunaima's existing-action from the cognitive effects of gender in our minds. Yes, in the minds. Readers are required to have a total interior vacuum, a nudge inside to have room. In a grand design, a total emptying of one being is required for another to be fit.Key words: Makunaima; Contemporary Indian Art; Genre; Literature

Monstrous Belonging

2014 ◽  
Author(s):  
Harmony Bench
Keyword(s):  
Social Media ◽  
Sense Of Belonging ◽  
War On Terror ◽  
Public Spaces ◽  
First Century ◽  
Short Film ◽  
Music Video ◽  
Early Twenty ◽  
Twenty First Century ◽  
Privileged Site

This chapter begins by reviewing the importance of Michael Jackson’s early forays in music video, paying particular attention to the short film, “Michael Jackson’s Thriller” from 1983. Jackson’s monstrosity and Ola Ray’s victimization in this film are addressed. This chapter then turns to recent adaptations and performances of “Thriller,” arguing that as a choreography, “Thriller” became a privileged site for articulating a collective sense of belonging in the early twenty-first century. In an era that amplified American insecurity and paranoia, performances of “Thriller” circulating through social media show how performers used the choreography to embody monstrosity, domesticate fear, dissipate threat, form an American public outside nationalist discourses, and resignify public spaces rendered threatening by the “War on Terror.”

scholarly journals Post-secular Nature and the New Nature Writing

2018 ◽  
Vol 67 (3) ◽  
pp. 454-471 ◽  
Author(s):  
Alexander J. B. Hampton
Keyword(s):  
Nature Writing ◽  
The Self ◽  
First Century ◽  
Social Imaginary ◽  
The Subject ◽  
Twenty First Century ◽  
The Individual ◽  
The Voice

With the turn of the twenty-first century, a group of writers began rehabilitating British nature writing and the voice of the individual interacting with it, producing what has become collectively known as the new nature writing. This examination considers how this literature represents a post-secular re-conceptualization of our relationship to nature. The new nature writing challenges a key element of the secular social imaginary, namely the subject-centered, immanence-bound, disenchanted representation of nature, which sets the self over and above nature, destabilizing existing dichotomies, and generating a multiplicity of hybridized possibilities that re-conceptualize our relationship to nature.

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