In nineteenth-century nation-building, the textual genres investigated by researchers are usually long-distance, mediated ones, such as journalism and the novel. This article attempts to assess the function of a much more intimate literary genre, the lyrical, in that process. Lyricism was a central poetical element in Romanticism; its emotive, affect-centered mode was seen as specifically “immediate”, non-mediatized and deeply personal (and therefore non-political). How could this register aid the formation of self-defining national communities? The article suggests a special role for female poets and a privileged position of the lyrical in the interplay between print-disseminated literature and oral-performative literature, in shaping the nation as an “emotive community”.
{"title":"Heart to Heart: The Power of Lyrical Bonding in Romantic Nationalism","authors":"J. Leerssen","doi":"10.12697/il.2023.28.1.2","DOIUrl":"https://doi.org/10.12697/il.2023.28.1.2","url":null,"abstract":"In nineteenth-century nation-building, the textual genres investigated by researchers are usually long-distance, mediated ones, such as journalism and the novel. This article attempts to assess the function of a much more intimate literary genre, the lyrical, in that process. Lyricism was a central poetical element in Romanticism; its emotive, affect-centered mode was seen as specifically “immediate”, non-mediatized and deeply personal (and therefore non-political). How could this register aid the formation of self-defining national communities? The article suggests a special role for female poets and a privileged position of the lyrical in the interplay between print-disseminated literature and oral-performative literature, in shaping the nation as an “emotive community”.","PeriodicalId":41069,"journal":{"name":"Interlitteraria","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42018908","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Modern American literature starts with the sound of voices singing: “I hear America singing, the varied carols I hear”. It is Walt Whitman who begins one of his most popular poems with this line, referring to the voices of people from all generations, classes and ethnic backgrounds who are about to form a new type of nation, a nation beyond ethnicity based on the principles of democracy and diversity alone. Against this background of listening to the countless different voices, his equally famous poem ‘America’ reads like a personal and individual answer: “Centre of equal daughters, equal sons, / All, all alike endear’d, grown, ungrown, young or old, / Strong, ample, fair, enduring, capable, rich”. Whitman’s poetry lays out the foundation for a specifically American tradition of song poetry that focuses on political equality and social justice as collective human rights and the free development of every person’s individuality at the same time. The present article follow the line from Whitman’s poetry of songs to 20th century American song poetry, by the way of the example of Woody Guthrie’s anthem ‘This Land Is Your Land’ and its transformative receptions in Bob Dylan’s and Bruce Springsteen’s adaptations (in contrast to the way in which European national anthems conceive the nation-as-territory).
{"title":"“This Land Is Your Land”: A Note on America as a Nation of “Varied Carols”","authors":"H. Detering","doi":"10.12697/il.2023.28.1.3","DOIUrl":"https://doi.org/10.12697/il.2023.28.1.3","url":null,"abstract":"Modern American literature starts with the sound of voices singing: “I hear America singing, the varied carols I hear”. It is Walt Whitman who begins one of his most popular poems with this line, referring to the voices of people from all generations, classes and ethnic backgrounds who are about to form a new type of nation, a nation beyond ethnicity based on the principles of democracy and diversity alone. Against this background of listening to the countless different voices, his equally famous poem ‘America’ reads like a personal and individual answer: “Centre of equal daughters, equal sons, / All, all alike endear’d, grown, ungrown, young or old, / Strong, ample, fair, enduring, capable, rich”. Whitman’s poetry lays out the foundation for a specifically American tradition of song poetry that focuses on political equality and social justice as collective human rights and the free development of every person’s individuality at the same time. The present article follow the line from Whitman’s poetry of songs to 20th century American song poetry, by the way of the example of Woody Guthrie’s anthem ‘This Land Is Your Land’ and its transformative receptions in Bob Dylan’s and Bruce Springsteen’s adaptations (in contrast to the way in which European national anthems conceive the nation-as-territory).","PeriodicalId":41069,"journal":{"name":"Interlitteraria","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42027908","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-10DOI: 10.12697/il.2023.28.1.10
Miriam Rossi
The article explores a case of literary mystification by Elena Shvarts that occurred in samizdat during the eighties, featuring a fictitious Estonian poet. Aware of the relevance that translation played in the literary samizdat of Leningrad during the eighties, the investigation focuses on the similarities between the poetess’ hoax and the concept of pseudo-translation, analysing the reasons for and outcomes of her endeavour in terms of identity research. Engaging with Shvarts’ verses, Sergei Stratanovsky’s account of the episode and the position that Estonia played in the samizdat imagined world, the article explores the role of Shvarts/Tsart’s mystification in relation to the poetess and her readership.
{"title":"Estonian, Russian and Samizdat Identity: Arno Tsart and Elena Shvarts","authors":"Miriam Rossi","doi":"10.12697/il.2023.28.1.10","DOIUrl":"https://doi.org/10.12697/il.2023.28.1.10","url":null,"abstract":"The article explores a case of literary mystification by Elena Shvarts that occurred in samizdat during the eighties, featuring a fictitious Estonian poet. Aware of the relevance that translation played in the literary samizdat of Leningrad during the eighties, the investigation focuses on the similarities between the poetess’ hoax and the concept of pseudo-translation, analysing the reasons for and outcomes of her endeavour in terms of identity research. Engaging with Shvarts’ verses, Sergei Stratanovsky’s account of the episode and the position that Estonia played in the samizdat imagined world, the article explores the role of Shvarts/Tsart’s mystification in relation to the poetess and her readership.","PeriodicalId":41069,"journal":{"name":"Interlitteraria","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46957465","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Song lyrics are usually positioned in the margins of literature and tend not to be in the first line when writers and their works are discussed. There have been debates about whether to consider lyrics as literature and/ or ‘real poetry’. The article examines three cases in Estonian literature where melodised poetic texts have played a significant role in Estonian culture and are considered to be core texts: “Mu isamaa on minu arm” (My Fatherland is My Love) by Lydia Koidula, songs from the feature film Viimne reliikvia (The Last Relic), lyrics written by Paul-Eerik Rummo, and “Laul Põhjamaast” (“Song of the Northern Land”), lyrics by Enn Vetemaa. These also represent three ways a text can function: “Mu isamaa on minu arm” was first written and published as a poem and later set to music; The Last Relic represents a case where texts were initially written as lyrics and later published in a collection of poems; “Song of the Northern Land”, by Enn Vetemaa, was meant to be and has remained a song and has not been included in poetry collections.
歌词通常位于文学作品的边缘，在讨论作家及其作品时往往不会出现在第一行。人们一直在争论是否应该把歌词视为文学和/或“真正的诗歌”。本文考察了爱沙尼亚文学中旋律优美的诗歌文本在爱沙尼亚文化中发挥重要作用并被视为核心文本的三个案例:Lydia Koidula的“Mu isamaa on minu arm”(我的祖国是我的爱)，故事片Viimne reliikvia(最后的遗迹)的歌曲，Paul-Eerik Rummo的歌词，以及“Laul Põhjamaast”(“北方土地之歌”)，Enn Vetemaa的歌词。这也代表了文本可以发挥作用的三种方式:“Mu isamaa on minu arm”最初是作为诗歌写作和出版的，后来被谱成音乐;《最后的遗物》代表了一种情况，即文本最初以歌词形式写成，后来以诗集的形式出版;Enn Vetemaa的《北国之歌》原本是一首歌曲，至今仍是一首歌曲，没有被收录在诗集中。
{"title":"The Role of Lyrics in Estonian Literature: Three Exemplary Cases","authors":"Anneli Niinre","doi":"10.12697/il.2023.28.1.6","DOIUrl":"https://doi.org/10.12697/il.2023.28.1.6","url":null,"abstract":"Song lyrics are usually positioned in the margins of literature and tend not to be in the first line when writers and their works are discussed. There have been debates about whether to consider lyrics as literature and/ or ‘real poetry’. The article examines three cases in Estonian literature where melodised poetic texts have played a significant role in Estonian culture and are considered to be core texts: “Mu isamaa on minu arm” (My Fatherland is My Love) by Lydia Koidula, songs from the feature film Viimne reliikvia (The Last Relic), lyrics written by Paul-Eerik Rummo, and “Laul Põhjamaast” (“Song of the Northern Land”), lyrics by Enn Vetemaa. These also represent three ways a text can function: “Mu isamaa on minu arm” was first written and published as a poem and later set to music; The Last Relic represents a case where texts were initially written as lyrics and later published in a collection of poems; “Song of the Northern Land”, by Enn Vetemaa, was meant to be and has remained a song and has not been included in poetry collections.","PeriodicalId":41069,"journal":{"name":"Interlitteraria","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43296087","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Lyrical Poetry as a Factor in the Formation of Literary Cultures
抒情诗是文学文化形成的一个因素
{"title":"Lyrical Poetry as a Factor in the Formation of Literary Cultures","authors":"L. Lukas","doi":"10.12697/il.2023.28.1.1","DOIUrl":"https://doi.org/10.12697/il.2023.28.1.1","url":null,"abstract":"Lyrical Poetry as a Factor in the Formation of Literary Cultures","PeriodicalId":41069,"journal":{"name":"Interlitteraria","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47851658","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-10DOI: 10.12697/il.2023.28.1.13
Merilin Kotta
Jüri Talvet, Valitud tõlkeluulet. I. Hiliskeskajast modernismini. TÜ Kirjastus, 2021, 298 pp. Jüri Talvet, Valitud tõlkeluulet. II. 20. sajandi keskpaigast 21. sajandi alguseni. TÜ Kirjastus, 2021, 489 pp.
Jüri Winter，《选择的翻译之歌》。一、从晚期到现代主义。TÜKirjastus，2021，298页Jüri Talvet，Luulet选译。二、20世纪中期，21世纪。直到本世纪初。TÜKirjastus，2021，489页。
{"title":"Traducir poesía es descubrir los volcanes sepultados debajo de los pies. A propósito de Valitud tõlkeluulet 1970–2020 (Selección de la poesía traducida, 1970–2020), por Jüri Talvet","authors":"Merilin Kotta","doi":"10.12697/il.2023.28.1.13","DOIUrl":"https://doi.org/10.12697/il.2023.28.1.13","url":null,"abstract":"Jüri Talvet, Valitud tõlkeluulet. I. Hiliskeskajast modernismini. TÜ Kirjastus, 2021, 298 pp. \u0000Jüri Talvet, Valitud tõlkeluulet. II. 20. sajandi keskpaigast 21. sajandi alguseni. TÜ Kirjastus, 2021, 489 pp.","PeriodicalId":41069,"journal":{"name":"Interlitteraria","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43329716","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Juhan Liiv (1864–1913) is considered to be the first important innovator of Estonian poetry. So far, it has been underlined in Estonian culture that Liiv lacked any ties with world literature and thus world literature had no role to play in the birth of the innovation of Estonian poetry. In this article, I am showing that Liiv’s comprehension of poetry is closely tied to German poetic culture. These connections arise from Liiv’s essays, which have not been studied so far. I analyse Liiv’s essay Ääremärkused (Marginalia) and formulate the main theses in his comprehension of poetry.
Juhan Liiv(1864-1913)被认为是爱沙尼亚诗歌的第一位重要创新者。到目前为止，爱沙尼亚文化一直强调Liiv与世界文学没有任何联系，因此世界文学在爱沙尼亚诗歌创新的诞生中没有发挥任何作用。在这篇文章中，我展示了Liiv对诗歌的理解与德国诗歌文化密切相关。这些联系来自Liiv的文章，到目前为止还没有被研究过。本文分析了Liiv的论文Ääremärkused(旁注)，并阐述了他对诗歌理解的主要论点。
{"title":"Juhan Liiv’s Comprehension of Poetry","authors":"Tanar Kirs","doi":"10.12697/il.2023.28.1.8","DOIUrl":"https://doi.org/10.12697/il.2023.28.1.8","url":null,"abstract":"Juhan Liiv (1864–1913) is considered to be the first important innovator of Estonian poetry. So far, it has been underlined in Estonian culture that Liiv lacked any ties with world literature and thus world literature had no role to play in the birth of the innovation of Estonian poetry. In this article, I am showing that Liiv’s comprehension of poetry is closely tied to German poetic culture. These connections arise from Liiv’s essays, which have not been studied so far. I analyse Liiv’s essay Ääremärkused (Marginalia) and formulate the main theses in his comprehension of poetry.","PeriodicalId":41069,"journal":{"name":"Interlitteraria","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45973429","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
German culture experienced an enormous rupture after 1945. Not only was the country in ruins and an outcast of the international community because of the recent regime and its devastating effects, its entire cultural tradition was under suspicion: had German culture always been steering towards this catastrophe? Was everything within it corrupt? While the frenetic economic activity of the ‘Wirtschaftswunder’ side-stepped a mainstream confrontation with the horrors of the recent past, intellectuals and artists radically interrogated the reasons for the disaster. As always, language and the meaning-making procedures in language prepare the mind to open up and to prepare for action. Language is at the root of action and this insight fuelled reflections on language, for instance by philosophers such as Wittgenstein and Heidegger. But it was particularly in lyric poetry that a lucid and politically aware examination of the recent past took place and an expression of such considerations could be found. This paper demonstrates how poets made a unique and highly significant contribution to the development of a new political awareness in Germanlanguage culture. By integrating silence and the absurd (that is, the unheardof and the unspeakable) into literary language, this so-called hermetic poetry did not entail a withdrawal from society but, on the contrary, devoted itself to a particular form of political commitment. This procedure represents a rupture with what Max Horkheimer and Theodor W. Adorno called the ‘culture industry’ (1947), opposing conventional and habituated approaches to art in terms of its production and reception and advocating instead a stringent and critical concept of arresting aesthetic form that was to distinguish the work of art from products of that culture industry. Paul Celan, Ingeborg Bachmann, Ilse Aichinger, Günter Eich and Nelly Sachs are the household names associated with this poetics. While it was never necessarily mainstream, it was arguably the most innovative poetic strand of its time and in the long run a key factor in shaping a modern German culture that could come to terms with its past and overcome authoritarian structures.
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The Latvian nation is a singing nation. The Singing Revolution and similar song- and singing-related references are traditionally associated with the image of Latvians. The origins of written Latvian are also related to song: the oldest known Christian song in Latvian, dating from 1530, is also one of the oldest examples of Latvian-language text. In the second half of the 18th century, as a result of transferring from a German to a Latvian cultural space, a new genre of song was created by the German pastor Gotthard Friedrich Stender, the secular, didactic and sentimental ziņģe (a term coined from the German verb singen, ‘to sing’). As the level of education among Latvians was low and most information spread by word of mouth, the German pastors and the first generation of Latvian poets made use of ziņges as an informative tool. Around the middle of the 19th century, the Latvian national revival began. Without denying the importance of Latvian folk songs in the creation of national culture, the main focus of this article is on the secular ziņģes that were adopted from the German literary tradition, which up until the second half of the 19th century were a favourite tool for entertainment (singing) and spreading information orally. As the level of literacy among Latvians rose, the ziņģes receded to the periphery of the literary landscape, paving the way for a new concept for denoting a rhythmic text that was for the first time not melody-bound: dzeja, or ‘poetry’. The emergence of the new concept in 1869, which was related to the Latvian national revival and the formation of a national literary culture, at the same time also marked a turning point from orality to literacy in Latvian society.
拉脱维亚是一个歌唱的民族。歌唱革命和类似的歌曲和歌唱相关的参考文献传统上与拉脱维亚人的形象联系在一起。书面拉脱维亚语的起源也与歌曲有关:拉脱维亚最古老的基督教歌曲，可以追溯到1530年，也是拉脱维亚语文本最古老的例子之一。在18世纪下半叶，由于从德国文化空间转移到拉脱维亚文化空间，德国牧师哥达·弗里德里希·斯坦德(Gotthard Friedrich Stender)创造了一种新的歌曲类型，世俗的，说教的和感性的ziņģe(这个词来自德语动词singen，“唱歌”)。由于拉脱维亚人的教育水平很低，大部分信息都是通过口头传播的，德国牧师和第一代拉脱维亚诗人利用ziņges作为一种信息工具。大约在19世纪中叶，拉脱维亚开始了民族复兴。本文不否认拉脱维亚民歌在创造民族文化中的重要性，但主要聚焦于从德国文学传统中吸收的世俗歌曲ziņģes，直到19世纪下半叶，这些歌曲都是人们最喜欢的娱乐(唱歌)和口头传播信息的工具。随着拉脱维亚人文化水平的提高，ziņģes退步到文学景观的边缘，为一个新的概念铺平了道路，这个概念首次表示不受旋律限制的有节奏的文本:dzeja，或“诗歌”。1869年新概念的出现，与拉脱维亚民族复兴和民族文学文化的形成有关，同时也标志着拉脱维亚社会从口头到识字的转折点。
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