Joseph von Eichendorff. Poemas em tradução

Joseph von Eichendorff nasceu em 1788 e faleceu em 1857. Na historiografia da literatura de expressão alemã, Eichendorff se encontra entre as mais importantes vozes do Romantismo, ao lado de escritores como Novalis, Ludwig Tieck, Clemens Brentano, Adelbert von Chamisso ou Wilhelm Müller. A presente tradução apresenta vinte poemas de Eichendorff, todos eles canônicos e com uma recepção intensa no espaço cultural de língua alemã. A tradução não recria a estruturação formal dos poemas, optando por uma versão literal dos textos. Sem a riqueza das rimas e sem a estruturação rítmica, a tradução perde uma dimensão central da estética de Eichendorff, mas a despeito dessa perda talvez possa contribuir para um primeiro acesso a seus poemas e para a intensificação de sua recepção. Muitos de seus poemas falam de solidão, fragmentação ou falta de pertencimento, mas também de afirmação existencial no contato com a beleza da natureza e do mundo.

The Wilderness at Home

Fanny Hensel’s songs on the theme of the German Romantic forest emphasize the transportive and emotive functions of music in Waldromantik (woods-romanticism) literature. In works by Joseph von Eichendorff and Ludwig Tieck, music announces the merging of the woods with the supernatural or the transcendent and also suggests human bewilderment or ecstasy in the midst of that experience. This chapter shows how, in “Morgenständchen” and the Anklänge cycle, Hensel accordingly centers her songs on the texts’ moments of sonic revelation, and creates a sense of expansiveness through harmonic adventurousness, dramatic ascents, textural juxtapositions, and musical allusions. Furthermore, these songs extend the worlds of their texts by providing glimpses of the unknown or by suggesting that domestic music performances are themselves implicated in the narrative. By enfolding distant realms into the home, these songs might be understood as subtly defying the gendered containment of domestic music culture.

Schulzowska „teoria obrazu” w interpretacji Anny Juraschek

The article is a review of and a discussion with the recent monograph by Anna Juraschek, Die Rettung des Bildes im Wort. Bruno Schulz’ Bild-Idee in seinem prosaischen und bildnerischen Werk, Göttingen 2016. Juraschek has put forward the following thesis: alongside his own specific philosophy of language expressed in his narrative works and essays, Bruno Schulz also suggests a particular philosophy of image/picture, which he develops in his visual art. This “program” is not specified and may be reconstructed only by interpreting his graphic works; it is, however, corroborated by the poetics of Schulz’ stories. Juraschek regards the “word” and the “image” in Schulz as artistic entities, and emphasizes the visual nature of his fiction and the narrative qualities of his graphic works. She points at Schulz’s crossing of the boundaries between different arts and claims that the writer criticizes the very notion of mimesis (a statement that, according to the reviewer, may be questioned). Juraschek tries to reconstruct the main sources inspiring Schulz’s idea of image/picture: the classic European painting, German literature (i.e. Leopold von Sacher-Masoch and Joseph von Eichendorff), as well as German philosophers and cultural critics such as Walter Benjamin. According to the reviewer, there are three points that Juraschek’s study can contribute to Schulz studies. First, the German scholar succeeds in systematizing different kinds of verbo-visual relations and interactions in Schulz’s oeuvre. Second, she fully appreciates his graphic work which thus far seems to have been undervalued, especially by Polish scholars. Last but not least, Juraschek brings to the fore some striking affinities between the ideas of Schulz and those of Walter Benjamin. As a possible background of interpreting Schulz, the philosophical writings of Benjamin are a context which certainly deserves more investigation.

Sobre o pertencimento na poesia de Joseph von Eichendorff

Joseph von Eichendorff é um dois mais importantes poetas do Romantismo de expressão alemã. Muitos de seus poemas, repletos de imagens da natureza e tempos passados, abordam uma experiência bem contemporânea: a busca pela sensação de pertencimento. Este artigo pretende discutir como a voz lírica administra esse anseio, como o desejo erótico representa um risco e, por fim, o papel da memória nesse contexto. Nos três poemas analisados, encontramos três etapas diferentes dessa busca. O resultado em todas elas é a ausência de pertencimento.

Narcissus and femme fatale

Λολίτα, Λόλα, Λουλού: Κυρίες με τέτοιου είδους υποκοριστικά ονόματα τις συναντάει κανείς συνήθως ως πλανεύτρες ακαταμάχητης ομορφιάς στη Λογοτεχνία, την Τέχνη και τον Κινηματογράφο. Και όμως υφίσταται το ερώτημα εάν υπάρχει πραγματικά μια κάποια τέχνη της αποπλάνησης ή εάν η ομορφιά – όπως λέει ο λαός – εξαρτάται αποκλειστικά από τη ματιά του παρατηρητή. Μια απάντηση σε αυτό το ερώτημα υπόσχεται να δώσει η ανάλυση των ακόλουθων έργων του Ρομαντισμό, της περιόδου του Fin de Siècle και της Λογοτεχνίας και του Κινηματογράφου του 20ού αιώνα, με θέμα την αποπλάνηση. Τα έργα έχουν ως κεντρική ηρωίδα μία γυναίκα πλανεύτρα και έναν – συνήθως άντρα – πλανεμένο ήρωα. Κοινό χαρακτηριστικό σχεδόν όλων των ηρωίδων είναι ότι κατέχουν έκαστες τεχνικές αποπλάνησης: μπορούν να τραγουδάνε, να χορεύουν και να ποζάρουν άριστα. Οι ρομαντικές διηγήσεις είναι οι εξής: "Der Runenberg" (1804) του Ludwig Tieck, "Das Marmorbild" (1818) του Joseph von Eichendorff και δύο διηγήσεις από το ρεπερτόριο του E.T.A. Hoffmann: "Das öde Haus" (1817) και "Der goldne Topf" (1813/1814). Παραδείγματα από την περίοδο του Fin de Siècle είναι τα δράματα "Salome" (1893) του Oscar Wilde και "Lulu" (1913) του Frank Wedekind. Ως σύγχρονο παράδειγμα επιλέχθηκε το μυθιστόρημα σκάνδαλο και κλασικό έργο της παγκόσμιας λογοτεχνίας "Lolita" (1955) του Vladimir Nabokov. Ταινίες καλτ που δεν πρέπει να λείπουν από τη φιλμογραφία μίας εργασία περί γυναικείας αποπλάνησης είναι: "Der Blaue Engel" (1930) του Joseph von Sternberg, "Orpheus" (1939) του Jean Cocteaus και "Carmen" (1983) του Carlos Saura. Κεντρική ιδέα της διατριβής είναι ότι η θηλυκότητα καθ’ εαυτή – και ακόμα περισσότερο η αποπλανητική – δεν υφίσταται, αλλά αποτελεί ένα κατασκεύασμα, μία φαντασίωση, μία προβολή ή είναι ακόμα και αποτέλεσμα σκηνοθεσίας. Αρχική ιδέα είναι ότι οι θηλυκές μορφές λειτουργούν συνήθως ως καθρέφτισμα του ανδρικού πόθου αποτελώντας μονάχα προβολές επιθυμίας και φόβου. Στην αιτιολόγηση του ερευνητικού στόχου η φιγούρα του νάρκισσου αποκτάει ένα διπλό ρόλο: από τη μία το μοτίβο αντικατοπτρίζει την αυτο-ποθούμενη ματιά και τη σχετιζόμενη κατασκευή της θηλυκότητας, από την άλλη ο νάρκισσος λειτουργεί ως σύμβολο μιας τέχνης που παρατηρεί τον εαυτό της και έτσι πολλαπλασιάζεται.