Heinrich von Kleist in der Homöopathie – „Ordre des Krieges“ versus „Ordre des Herzens“

ZusammenfassungWelches homöopathische Arzneimittel hätte der Mensch und Künstler Heinrich von Kleist gebraucht? Ein nur scheinbar historischer Fall, denn auch heute ringen junge Menschen mit ihren Eltern, ihrer Existenz, ihrer Liebe oder den politisch-sozialen Verhältnissen. Bei Heinrich von Kleist mündete eben dieser Kampf in einem Suizid. Der Artikel umreißt die Symptomatik und entwirft eine Annäherung an Ignatia, Natrium muriaticum, Platinum, Arsenicum und ein Mittel der Güte.

Kleistův „Michael Kohlhaas“ jako výraz vášnivé touhy po dosažení spravedlnosti, jakož i další autorova díla vztahující se k problematice „práva a literatury“

The article deals with the work of Heinrich von Kleist (1777–1811) in terms of its relation to the problems of “law and literature”. It focuses on the fact that this German writer belongs to those great creators who attached extraordinary care to the question of law and justice in his work. At first, the paper deals shortly with the life of this important figure of the German letters. Then the main attention is paid to the nouvelle “Michael Kohlhaas” which might be considered as the most important of his works related to the “law and literature” topic. This is given especially by the general preset of the story in which the main hero fights for the achievement of the justice tirelessly even at the cost of sacrificing his family's happiness and his life. Next part of the paper makes us familiar with certain aspects of the plot. Finally, the other works of Kleist related to the problems of “law and literature” and legal questions involved are analyzed.

La fuerza de la sangre cervantina en el espejo de una novela de Kleist

In 1808, the German author Heinrich von Kleist published the novella The Marquise of O., which bears an obvious resemblance to The Force of Blood from Cervantes’s Exemplary Novels. In both cases, the female protagonist marries a man after being raped by him. At first sight, Kleist’s text seems to testify to a degree of progress in female emancipation because the victim has doubts about accepting the rapist as her husband. Other aspects of his novella are less conducive to proving such a progress. Kleist stresses the pressures of family honour more than Cervantes does, and he does not restrict himself merely to qualifying rape as a sin or crime. He also hints at the possibility of an unconscious yielding to bodily needs, questioning thus the power of reason to govern sexual desires.

De Kleist a Poe: afinidades estructurales y temáticas entre “La mendiga de Locarno” y “The Masque of the Red Death”

El objetivo del presente artículo es el de abordar un estudio comparado de los relatos “La mendiga de Locarno”, de Heinrich von Kleist, y “The Masque of the Red Death”, de Edgar Allan Poe. Para ello se partirá de que ambos autores son considerados figuras fundamentales del proceso de consolidación de la narrativa breve en la primera mitad del siglo XIX en sus respectivas literaturas nacionales. Este hecho, unido al íntimo conocimiento que los dos tenían de la literatura de terror alemana y anglosajona de su tiempo, propicia una serie de coincidencias formales y temáticas en sus textos que los sitúan en una constelación literaria repleta de fuentes y admiradores comunes. No obstante, un análisis más exhaustivo de las obras propuestas revela una asombrosa afinidad en el modo en que tanto Kleist como Poe aprovechan los materiales textuales de los que parten: mediante la subversión de las expectativas genéricas, los dos proponen una concepción del terror en la que lo irresoluble del misterio sobrenatural cuestiona la existencia de un orden moral armónico y la capacidad humana de llegar a entender nuestro mundo.

"Shaping and Cutting and Improving and Adding": Acknowledged and Hidden Influences in Scott Westerfeld's Uglies series and Philip Pullman's His Dark Materials

<p>This thesis aims to identify and analyse the most prominent influences on Scott Westerfeld's Uglies series and Philip Pullman's His Dark Materials trilogy. It looks particularly at the difference between the authors' attitude towards influences they happily acknowledge and those influences which they attempt to conceal because they cause them anxiety (in the case of Westerfeld) or embarrassment (in the case of Pullman). This focus, combined with the speculative analysis of His Dark Materials' influence on Extras, the fourth book of the Uglies series, is intended to show the variability of literary influence. Comparative close readings throughout the thesis display the variety of ways influences are used within the texts, and illustrate the factors on which their use is dependent: the compatibility of the latecomer text with its precursor, the author's opinion of the earlier work, and the reading the author makes of the precursor text. Pullman's acknowledgement of influences is dependent on whether he considers them worthy precursors (in the case of Heinrich von Kleist, William Blake, and John Milton) or an embarrassing ancestor (in the case of C. S. Lewis). Westerfeld's is dependent on how similar his precursor works are to his own texts, as he does not acknowledge the obvious influence of Aldous Huxley, but happily names Ray Bradbury, John Christopher, Ted Chiang, and Charles Beaumont as influences. The thesis shows that the use of literary influences is not straightforward as one author may, as Westerfeld and Pullman do, display different attitudes to and appropriate precursor texts in differing ways within one work.</p>

"Shaping and Cutting and Improving and Adding": Acknowledged and Hidden Influences in Scott Westerfeld's Uglies series and Philip Pullman's His Dark Materials

<p>This thesis aims to identify and analyse the most prominent influences on Scott Westerfeld's Uglies series and Philip Pullman's His Dark Materials trilogy. It looks particularly at the difference between the authors' attitude towards influences they happily acknowledge and those influences which they attempt to conceal because they cause them anxiety (in the case of Westerfeld) or embarrassment (in the case of Pullman). This focus, combined with the speculative analysis of His Dark Materials' influence on Extras, the fourth book of the Uglies series, is intended to show the variability of literary influence. Comparative close readings throughout the thesis display the variety of ways influences are used within the texts, and illustrate the factors on which their use is dependent: the compatibility of the latecomer text with its precursor, the author's opinion of the earlier work, and the reading the author makes of the precursor text. Pullman's acknowledgement of influences is dependent on whether he considers them worthy precursors (in the case of Heinrich von Kleist, William Blake, and John Milton) or an embarrassing ancestor (in the case of C. S. Lewis). Westerfeld's is dependent on how similar his precursor works are to his own texts, as he does not acknowledge the obvious influence of Aldous Huxley, but happily names Ray Bradbury, John Christopher, Ted Chiang, and Charles Beaumont as influences. The thesis shows that the use of literary influences is not straightforward as one author may, as Westerfeld and Pullman do, display different attitudes to and appropriate precursor texts in differing ways within one work.</p>

Achille tra le rose (negli anni di Napoleone). Femminilizzazione del guerriero nella Penthesilea di Heinrich von Kleist

The hypothesis I advance in this article is that the character of Achilles in Heinrich von Kleist’s Penthesilea embodies the Object of desire of the female protagonist, the queen of the Amazons. By the word “Object”, I mean the interiorised and imaginary representation Penthesilea phantasises within herself about an otherwise unknown “thing” desired which finally takes the feminine features of a tender and harmless boy wearing crowns and garlands of roses, an “Achilles among the roses”, as it were – the word “rose” being both the anagram of “eros” and the emblem of the female sex. In the course of the analysis, I argue that this “mirage” of Penthesilea, the “thing desired”, is the projection of the “Thing itself”, maternal love, which, being unredeemedly lost to her, turns into a persecutory ghost. My understanding of von Kleist’s Penthesilea is not rooted in Freudian and Lacanian psychoanalysis, but both in the historical and political context in which the tragedy of the queen of the Amazon was conceived and in the transcendental and idealistic philosophy of the Subject.