Pub Date : 2021-06-11DOI: 10.30965/25890530-05201002
M. Keegan
: Kalīla and Dimna was translated from Pahlavi into Arabic in the 8th century AD by Ibn al-Muqaffaʿ, and it became an influential text in numerous literary cultures. Copyists in the Arabic manuscript tradition acted as coauthors, changing the text in ways both large and small. The modern scholarly tradition tends to see Kalīla and Dimna as part of a Fürstenspiegel genre or as an example of animal fables. What these categorizations overlook is the variegated medieval reception of the text, which was more multifaceted than is generally appreciated. The unruliness of the text's reception is the theme of this article, which explores the ways in which medieval readers categorized and reinterpreted
：公元8世纪，伊本·穆卡法将《Kalīla and Dimna》从巴列维翻译成阿拉伯语，成为众多文学文化中有影响力的文本。阿拉伯手稿传统中的抄写员充当合著者，以大大小小的方式改变文本。现代学术传统倾向于将Kalīla和Dimna视为Fürstenspiegel流派的一部分或动物寓言的一个例子。这些分类忽略了中世纪对文本的多样化接受，这比人们普遍认为的要多方面。文本接受的不规则性是本文的主题，它探讨了中世纪读者分类和重新解释的方式
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Pub Date : 2021-06-11DOI: 10.30965/25890530-05201006
Thomas Emmrich
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Pub Date : 2020-12-16DOI: 10.30965/25890530-05102002
J. Assmann
Schoenberg did not intend his opera Moses and Aron to be a tragedy. The two acts he composed, which end tragically with Moses’ desperate breakdown, were to be followed by a third act, which would have ended with Moses’ resilience, Aron’s death, and a positive message. Schoenberg, however, did not manage to compose the finished text, although he had plenty of time to do so. Even though Schoenberg never wanted to admit this, the opera found its ultimate, unsurpassable ending with the tragic end of the second act.
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Pub Date : 2020-12-16DOI: 10.30965/25890530-05102006
Tobias Döring
As part of the discussion on the poetics of endings, this paper looks at Shakespeare’s early Roman revenge tragedy as a particularly rich case study. Readers, spectators, and critics of Titus Andronicus have long been puzzled and sometimes annoyed by the sense of uncertainty and irresolution which this play seems to leave us with, even though its final speeches take us through the motions of a strong conclusion. Recent criticism has especially focussed on the figure of the new emperor, whose words close the tragedy with traditional burial orders but whose authority remains in doubt. My paper reopens the case by drawing also on two German adaptations, Heiner Müller’s Anatomie Titus Fall of Rome (1984) and Botho Strauß’s Schändung (2005), as heuristic texts to highlight fundamental ruptures that are at stake here. Trying to put the question of endings also into the religious context of the English Reformation and into the culture of the playhouse, the paper argues that Shakespeare’s dramatic non-ending in Titus may indeed be quite productive.
作为结局诗学讨论的一部分，本文将莎士比亚早期罗马复仇悲剧作为一个特别丰富的个案研究。长期以来，读者、观众和提图斯·安德罗尼科斯的批评者一直对这部剧给我们留下的不确定性和犹豫不决的感觉感到困惑，有时甚至感到恼火，尽管它的最后演讲让我们走上了一个强有力的结论的道路。最近的批评尤其集中在新皇帝的形象上，他的话用传统的埋葬令结束了悲剧，但他的权威仍然存疑。我的论文还借鉴了两部德国改编作品，海纳·米勒的《罗马的Anatomie Titus Fall》（1984年）和Botho Strauß的《Schändung》（2005年），作为启发式文本来强调这里所涉及的根本断裂，从而重新打开了这个案例。本文试图将结局问题也纳入英国宗教改革的宗教背景和剧场文化中，认为莎士比亚在《提图斯》中戏剧性的无结局可能确实很有成效。
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Pub Date : 2020-12-16DOI: 10.30965/25890530-05102004
Florian Kragl
The article deals with the closure of the, mostly Middle High German, courtly romance, taking as primary example Heinrich von Veldeke’s Eneide. ‘Courtly closure’ is defined as a slow and tenacious fading of narrative progression, by means of gradually transforming this progression into a virtually static state, namely, the description of an enduring courtly feast. It is argued that this way of bringing a romance or a novel to its end – unusual in the course of European literary history – is motivated by several factors. Amongst these, special attention is paid to media history (episodic narration, recital) and to cultural poetics (didactic qualities of the courtly romance).
这篇文章以海因里希·冯·维尔德克（Heinrich von Veldeke）的《敌人》（Eneide）为主要例子，讲述了以中世纪高地德语为主的宫廷浪漫故事的结束“宫廷终结”被定义为叙事进程的缓慢而顽强的消退，通过将这种进程逐渐转变为一种几乎静止的状态，即描述一场持久的宫廷盛宴。有人认为，这种将浪漫或小说终结的方式——在欧洲文学史上是不寻常的——是由几个因素驱动的。其中，特别关注媒体历史（情节叙述、独奏）和文化诗学（宫廷浪漫主义的说教性质）。
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Pub Date : 2020-12-16DOI: 10.30965/25890530-05102003
S. Gödde
After briefly outlining the vocabulary of closure and endings in Greek tragedy, this article analyses three possible features of closure: (1) lament (kommos), (2) deus ex machina combined with an aetiological myth (almost exclusively in Euripides), and (3) a gnomic coda spoken by the chorus. All three types of ending remain external to the plot and do not resolve the dramatic conflict. The paper then looks at two case studies from dramas centered on the same myth, i.e. the campaign of the Seven against Thebes in Aeschylus’ play of the same name and in Euripides’ Phoenissae. The endings of these tragedies have provoked much discussion regarding their textual transmission and reconstruction. I discuss how and when the action seems to be ‘fulfilled’, and contrast the strong closure of Aeschylus’ play with the “hypertextual mythical continuity” (Lamari) of Euripides’ drama.
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