Pub Date : 2021-08-31DOI: 10.12697/il.2021.26.1.22
A. Matei
The Post-Modern East, or How Can We Be ‘Post-Modern without Postmodernity’ and without Lyotard? Despite the idea of the universality of ‘postmodernism’ as a new stage in the Western World, it is now clear that the term was coined, launched, adopted or rejected differently in different places, along local historical lines. Hence, we have not only an American and a European postmodernism, but also an East European postmodernism, what we shall call the Post-Modern East. We delineate its characteristics based on a survey that looked at how East European cultures adopted and discussed postmodernism around the moment that their socialist regimes were collapsing. We focus the analysis on a particular but synthetising version of the ‘postmodern’, specifically that of Lyotard. We hold that Lyotard is one of the few intellectuals who succeeded in thinking of politics, sociology, epistemology and aesthetics as tying together to form ‘postmodernity’; and that a few European intellectuals were ready to think of ‘postmodernity’ an epistemic challenge, beyond the distinction between soft and hard sciences. A fortiori, Eastern European cultures seized ‘postmodernism’ as an American fetish and identified the breakdown of totalitarianism as the achievement of happy ‘postmodernisation’. Thirty years later, these countries have realised that by embracing a certain version of ‘postmodern’, as they had done by the end of the 1980s, was generally a mimetic utopian gesture that needs revaluation.
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Bilingualism in the Literatures of Estonia. In a multilingual cultural space such as the (former and contemporary) Baltic region, bilingualism, both oral and written, has been rather normality than exception. This also finds an expression in the literatures of this region. In the following I will examine the phenomenon of bilingualism and multilingualism in the literatures of Estonia in history and today. First, I will examine the historical forms of bilingualism before the foundation of the Republic of Estonia, against the background of the complicated oral and written language relations throughout history. Then I explore their topicality in the interwar and Soviet periods, and today. I also ask about the motivation of the authors to change or mix languages in their work, whether to reach a wider audience or a new poetic quality. Examples are from the work of Paul Fleming, Reiner Brockmann, Jacob Johann Malm, August Kitzberg, Ivar Ivask, Jaan Kaplinski, Igor Kotjuh, Øyvind Rangøy and Veronika Kivisilla.
爱沙尼亚文学中的双语现象。在像波罗的海地区(过去和当代)这样的多语言文化空间中，使用口头和书面两种语言是一种常态，而不是例外。这在该地区的文献中也有体现。在下文中，我将研究爱沙尼亚历史上和今天文学中的双语和多语现象。首先，我将在历史上复杂的口头和书面语言关系的背景下，研究爱沙尼亚共和国成立之前双语的历史形式。然后，我探讨了它们在两次世界大战之间和苏联时期以及今天的话题性。我也询问了作者在作品中改变或混合语言的动机，是为了获得更广泛的受众，还是为了获得一种新的诗意品质。例子来自Paul Fleming, Reiner Brockmann, Jacob Johann Malm, August Kitzberg, Ivar Ivask, Jaan Kaplinski, Igor Kotjuh， Øyvind Rangøy和Veronika Kivisilla的作品。
{"title":"Zweisprachigkeit in den Literaturen Estlands","authors":"Liina Lukas","doi":"10.12697/il.2021.26.1.3","DOIUrl":"https://doi.org/10.12697/il.2021.26.1.3","url":null,"abstract":"Bilingualism in the Literatures of Estonia. In a multilingual cultural space such as the (former and contemporary) Baltic region, bilingualism, both oral and written, has been rather normality than exception. This also finds an expression in the literatures of this region. In the following I will examine the phenomenon of bilingualism and multilingualism in the literatures of Estonia in history and today. First, I will examine the historical forms of bilingualism before the foundation of the Republic of Estonia, against the background of the complicated oral and written language relations throughout history. Then I explore their topicality in the interwar and Soviet periods, and today. I also ask about the motivation of the authors to change or mix languages in their work, whether to reach a wider audience or a new poetic quality. Examples are from the work of Paul Fleming, Reiner Brockmann, Jacob Johann Malm, August Kitzberg, Ivar Ivask, Jaan Kaplinski, Igor Kotjuh, Øyvind Rangøy and Veronika Kivisilla.","PeriodicalId":41069,"journal":{"name":"Interlitteraria","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43959188","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 : 2021-08-31DOI: 10.12697/il.2021.26.1.11
Dieter Neidlinger, Silke Pasewalck
“Die Sprache hat also ihren Ort.” On Multilingualism in Maja Haderlap’s Novel Engel des Vergessens. Based on philological research on multilingualism and with regard to Maja Haderlap’s literary work in general this article deals with the specific form of multilingualism that can be observed in her novel Engel des Vergessens (2011). Maja Haderlap, born 1961 in Bad Eisenkappel/Železna Kapla, Carinthia (region in southern Austria), grew up with two languages, Slovenian and German. The authors of the article pursue the question to what degree her literary work and especially her novel can be characterised as multilingual and what kind of poetic multilingualism can be found there. They focus on the novel’s narrative and on the use of language(s), with a short historical excursus on the Slovenian minority in Carinthia as well as the difficult memory politics in Austria. Maja Haderlap not only writes about the territorial and historical preconditions of multilingualism in Carinthia but also inscribes these conditions in the text itself, characterising both the narrative and the language. Although the novel is the result of a shift from Slovenian to German, its multilingualism can be analysed on different levels: on the level of the relationship between discours and histoire – to refer to Genette’s narratological terms –, on the level of cultural codes of the Slovenian language within the novel’s German text, and in general with regard to the fact, that the text is written with the modes of expression of Slovenian and German or with the help of the ‘no man’s land’ between the languages. One can therefore – with respect to the terms of philological research – find both obvious and latent multilingualism and, thirdly, one can observe Mehr-Sprachlichkeit, a term that has been defined by Silke Pasewalck in previous articles.
“Die Sprache hat also ihren Ort。”论玛雅·哈德拉普小说《Engel des Vergessens》中的多语性。本文基于对多语性的语言学研究，并结合玛雅·哈德拉普的文学作品，探讨了在她的小说《Engel des Vergessens》（2011）中可以观察到的多语性形式。Maja Haderlap，1961年出生于卡林西亚的Bad Eisenkapel/železna Kapla（奥地利南部地区），在成长过程中会说两种语言，斯洛文尼亚语和德语。这篇文章的作者提出了一个问题，她的文学作品，尤其是她的小说，在多大程度上可以被描述为多语言，在那里可以找到什么样的诗歌多语言。他们专注于小说的叙事和语言的使用，对卡林西亚的斯洛文尼亚少数民族以及奥地利艰难的记忆政治进行了短暂的历史考察。Maja Haderlap不仅在《卡林西亚》中写到了使用多种语言的领土和历史前提，而且还将这些条件写进了文本本身，描述了叙事和语言。尽管这部小说是从斯洛文尼亚语向德语转变的结果，但它的多语性可以从不同的层面进行分析：在话语和历史之间的关系层面——参考吉内特的叙事术语——在小说德语文本中斯洛文尼亚语的文化密码层面，文本是用斯洛文尼亚语和德语的表达方式书写的，或者是借助两种语言之间的“无人区”。因此，就语文学研究的术语而言，人们可以发现明显和潜在的多语性，第三，人们可以观察到Silke Pasewalck在以前的文章中定义的Mehr Sprachlichkeit。
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Pub Date : 2021-08-31DOI: 10.12697/il.2021.26.1.13
Merje Miliste
Curricular Multilingualism using the Example of German in Estonia. In Estonia, as everywhere in Europe, multilingualism and plurilingual competence are widely discussed topics. The present article looks at curricular multilingualism in Estonia and highlights the effect of political changes on language curricula at school and on learning multiple languages. The article shows how German as the first foreign language can contribute to plurilingualism.
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Pub Date : 2021-08-31DOI: 10.12697/il.2021.26.1.10
Rūta Eidukevičienė
Language Change in the Most Recent Lithuanian Literature of Migration and Mobility. When discussing literary multilingualism within the Lithuanian literary scene, researchers usually refer to different groups of authors. Some were born and socialised abroad immediately after the Second World War, some left Lithuania after 1990, but producing their texts in different linguistic contexts all of them write consistently in one language, English or Lithuanian. In the most recent Lithuanian migration and mobility literature, however, one can observe examples of intra-textual bilingualism or multilingualism, which illustrate the integration problems of Lithuanian (labour) migrants into foreign societies on the one hand and the development of multiple global identities on the other. The paper examines these spreading tendencies focusing on the exemplary novel Stasys Šaltoka (2017) by Gabija Grušaitė and discussing the structure and functions of the intra-textual code-switching. The creative use of language directed against conventional linguistic purism shows that the young generation of Lithuanian authors tends to break language and cultural borders. The authors Unė Kaunaitė, Gabija Grušaitė and others show that the playful use of multilingualism can be subversive, ironic, but at the same time can highlight the problems of language dominance and thus political, social and cultural exclusion, express group mentality, identity changes, etc. The way that Lithuanian literature deals with multilingualism, expressed explicitly or implicitly, reveals the extent to which certain literary texts can be described as transcultural, in line with the current tone of European and global migration and mobility literature.
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Pub Date : 2021-08-31DOI: 10.12697/il.2021.26.1.18
Arne Merilai
A. H. Tammsaare was drawn to the musical tonality of prose. Importantly though, he did not wholeheartedly embrace sound patterning as a mode of writing. Rather, he preferred a semantic widening of ordinary language within a comprehensively holistic “spherical music”. In his novels, we can detect a deliberate use of rhythmic motion in sentences. This is evident primarily in the wealth of lexical and syntactic repetitions resulting in a parallelism of patterns. An obvious, although discreet, rhythmic design emerges in the thesisantithesis- synthesis parataxis the core words of which are the adversative and coordinating conjunctions aga (‘but’), and integrative ometi (‘yet’, ‘indeed’). The frequency with which these bound conjunctions occur in Tammsaare’s work surpasses that of ordinary speech by about four times, and it is twice as high as the statistical mean for literary texts. One might call this expressive of an epic but-mantra, a prose-poetic but-meter, or a narrative polysyndeton, and, from a philosophical point of view, a but-dialectic. Whenever a reader fails to appreciate Tammsaare’s underlying tone and does not discern the emotional flow of longing scepticism that issues from his dyadic-triadic chains, this pervasive, yet inconspicuously arguing, textual mode may seem unduly pretentious. Indeed, there is nothing to prevent a prose text from featuring a poetic style that is rooted in a poetry-like, paradigmatic parallelism as the poetic principle of formal and semantic equivalence.
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Pub Date : 2021-08-31DOI: 10.12697/il.2021.26.1.23
Dorothea Scholl
Nachruf auf Wladimir Krysinski
弗拉基米尔·克里辛斯基讣告
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Pub Date : 2021-08-31DOI: 10.12697/il.2021.26.1.17
David Jones
Through a reflection on color in the natural world by way of James Joyce’s Ulysses, this paper is an ebullient, rhapsodic, and free-flowing associative meditation on the embodied place of humans in nature. Various sources are employed through a variety of philosophic literature: ancient Western, such as Heraclitus, Parmenides, Anaximander, and Plato; the Continental philosophical tradition, such as Nietzsche, Heidegger, Husserl, and Merleau-Ponty; and Asian sources, especially Buddhism (Dōgen and Thich Nat Hanh) and Daoism (Laozi and Zhuangzi). The meditation metaphorically opens with an encounter of the color pink, which is allegorically represented as our entry into the natural world, and how this color has been neutralized through its human intensification in the color red, which in its attempt to exaggerate pink and the natural accomplishes the opposite – the covering up the self-same reality of the world and the human place in the world. The liberation of the feminine by way of Joyce’s character Molly Bloom is heralded as a call to turn again to nature’s world as the only means of human redemption. This turn, or return, is a returning to the natural order by means of learning afresh how to seduce nature to love us as a species again; and in turn, nature holds out an existential challenge to our species – how to say yes, again and again, to who and what we truly are. And the what and who we are is to be in and a part of nature once again.
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Pub Date : 2021-08-31DOI: 10.12697/il.2021.26.1.19
Nurten Birlik, Merve Günday
Angela Carter’s The Magic Toyshop tells the story of the claustrophobic lives of six characters who find themselves stuck in the house of Uncle Philip, who demands absolute submission from them and who isolates them from the wider world. Uncle Philip acts like the Freudian Primordial Father who feels free to act in any way he likes disregarding any restrictions. By forcing the household members to work in his toyshop all day, he creates a solipsistic universe, which is cut off from the network of the symbolic in Lacanian terms. In this world, their living practice deviates from the norms of traditional discourse as there is incest between the siblings, or as they heavily engage in pre-or extra-linguistic representation of reality such as drawing, dancing, making music and toys. Aunt Margaret becomes dumb on her wedding night, or Uncle Philip does not send the siblings to school, which, in Lacanian terms, is a codifying space of the Law. For these reasons, Uncle Philip’s house embodies the heterogeneity of the imaginary residues rather than submission to the organising principles of the symbolic. Theirs becomes an alternative site of being to the one outside. This essay aims to explore the psychodynamics of the characters’ relations to one another, the unconventional intrasubjectivity created between them in this unconventional space and the implications of imaginary residues in their living practice using Lacanian ideas as my conceptual backcloth.
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Pub Date : 2021-08-31DOI: 10.12697/il.2021.26.1.12
M. Pajević
Adventures in Language: Yoko Tawada’s Exophonic Explorations of German. Yoko Tawada (1960) is for good reason one of the prime examples for contemporary German exophonic literature. She is a very successful writer in Japanese and in German and provides in her Germanophone writings an ethnography of the German worldview, as Wilhelm von Humboldt famously called languages, or of the German language-mindset. This article focuses on her 2010 poetry volume Abenteuer der deutschen Grammatik (‘Adventures of German Grammar’) to demonstrate how exophonia can allow us to develop an acute awareness of the ways in which language structures shape our patterns of thinking. Coming from a very differently organised language, Japanese, Tawada comments in playful ways on the implications of German, and compares it translinguistically with Japanese. Looking at German from an outside position enables her to be very creative and to make Germans discover their language with new eyes. Translingual writing, even though also present in a real mixing of languages in Tawada, appears here as a way to understand how much our ideas are shaped by our linguistic structures, and that there are alternative worldviews. It thus contributes greatly to a relativisation of one’s own perspective and helps to open up to difference and creativity.
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