Pub Date : 2024-02-02DOI: 10.30965/25890530-05434005
Clemens Günther
Using Dmitrii Mamin-Sibiriak’s novel Chleb (Grain, 1895) and Aleksandr Serafimovič’s narration Peski (Sand, 1908) as exemplary texts, this paper discusses how the mill becomes a central figure of reflection of catastrophic ecological and economic transformations in the Russian empire at the turn of the century. These transformations are conceptually condensed in the term “liquefaction”, which Zygmunt Bauman famously defined as the “key metaphor of modernity”. In motifs and metaphors of the liquid, I argue, economic and ecological logics intertwine, leading not only to a new spatial but also to a new temporal and social order of society.
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Pub Date : 2024-02-02DOI: 10.30965/25890530-05434005
Clemens Günther
Using Dmitrii Mamin-Sibiriak’s novel Chleb (Grain, 1895) and Aleksandr Serafimovič’s narration Peski (Sand, 1908) as exemplary texts, this paper discusses how the mill becomes a central figure of reflection of catastrophic ecological and economic transformations in the Russian empire at the turn of the century. These transformations are conceptually condensed in the term “liquefaction”, which Zygmunt Bauman famously defined as the “key metaphor of modernity”. In motifs and metaphors of the liquid, I argue, economic and ecological logics intertwine, leading not only to a new spatial but also to a new temporal and social order of society.
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Pub Date : 2024-02-02DOI: 10.30965/25890530-05434001
Thomas Kuhn-Treichel
In a type of metalepsis common from antiquity to modern times, the narrator puts himself in direct contact with the narrated world by visualising the change of scene as a movement between two places or (groups of) characters. This article concentrates on the spatial aspect of this contact and investigates the question to what extent the narrator claims mobility in the narrated space. As the examples discussed show, there are striking differences between the epochs, which are significant for a historicised understanding of storytelling in general. While ancient (i.e., Greek and Latin) narrators sometimes transfer themselves to specific places, medieval vernacular scene shift formulae usually refer to characters, who are envisaged in a performative co-presence with the narrator and the addressees. This situation changes in the Italian Renaissance (Boccaccio, Ariosto), when narrators start to emphasise their mobility again, which they simultaneously enrich with new implications.
{"title":"Wie mobil ist der Erzähler? Beobachtungen zu metaleptischen Szenenwechseln in Antike, Mittelalter und Renaissance","authors":"Thomas Kuhn-Treichel","doi":"10.30965/25890530-05434001","DOIUrl":"https://doi.org/10.30965/25890530-05434001","url":null,"abstract":"\u0000In a type of metalepsis common from antiquity to modern times, the narrator puts himself in direct contact with the narrated world by visualising the change of scene as a movement between two places or (groups of) characters. This article concentrates on the spatial aspect of this contact and investigates the question to what extent the narrator claims mobility in the narrated space. As the examples discussed show, there are striking differences between the epochs, which are significant for a historicised understanding of storytelling in general. While ancient (i.e., Greek and Latin) narrators sometimes transfer themselves to specific places, medieval vernacular scene shift formulae usually refer to characters, who are envisaged in a performative co-presence with the narrator and the addressees. This situation changes in the Italian Renaissance (Boccaccio, Ariosto), when narrators start to emphasise their mobility again, which they simultaneously enrich with new implications.","PeriodicalId":517184,"journal":{"name":"Poetica","volume":"15 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139896360","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 : 2024-02-02DOI: 10.30965/25890530-05434002
M. Stolz
In recent decades the poetics of the visual has attracted increased scholarly interest in cultural and historical studies; but so far, the topic has rarely been considered from intercultural perspectives. A revealing example of this is Wolfram von Eschenbach’s medieval poem Parzival, composed shortly after 1200, that suggests that his author was – at least to some extent – familiar with the arabian knowledge of his time, as transmitted through the Iberian translation Centre of Toledo. The metaphorical language of the poem evokes contrasts of light and darkness, the phenomenon of haziness and the play of colours. So far, hardly any attempt has been made to relate these motifs to contemporaneous Arabic theory of optics. Influential thinkers such as Alhazen (Ibn al-Haytham) studied the structure of the eye, the radiation of light, as well as the effects of reflection and refraction. Whereas these ideas would spread in occidental science only over the course of the 13th century (via Roger Bacon and others), Wolfram’s Parzival ‘reflects’ elementary components of Arabian optics already in an earlier period.
近几十年来，视觉诗学在文化和历史研究中吸引了越来越多的学者关注；但迄今为止，很少有人从跨文化的角度来考虑这一主题。沃尔夫拉姆-冯-埃申巴赫（Wolfram von Eschenbach）创作于 1200 年后不久的中世纪诗歌《帕西瓦尔》（Parzival）就是一个很好的例子，这首诗表明作者至少在某种程度上熟悉当时通过托莱多伊比利亚翻译中心传播的阿拉伯知识。这首诗的隐喻性语言让人联想到光明与黑暗的对比、朦胧现象和色彩的变化。迄今为止，几乎没有人试图将这些主题与同时代的阿拉伯光学理论联系起来。阿尔哈岑（Ibn al-Haytham）等具有影响力的思想家研究了眼睛的结构、光的辐射以及反射和折射的效果。这些思想直到 13 世纪才在西方科学中传播开来（通过罗杰-培根等人），而沃尔夫拉姆的《帕西瓦尔》则 "反映 "了更早时期阿拉伯光学的基本内容。
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Pub Date : 2024-02-02DOI: 10.30965/25890530-05434003
Nikolina Hatton
The poems of Hester Pulter (1605–1678) provide insight into the religion and politics of a woman writing through the English Civil Wars and Republic. This paper focuses on Pulter’s use of the apostrophe to the soul and on her abstention from employing disciplinary metaphors that so often characterise devotional poetry. In merging the devotional apostrophe to the soul with complaint, Pulter effectively jettisons the penitential aspects of these approaches, creating a hybrid form in which her body provides comfort to her grieving soul. Pulter thus creates a form of devotional poem that relies on an aesthetics of comfort instead of discipline. By utilising the affordances of the apostrophe – its ability to bring the speaker and its addressee into a relation with one another – Pulter enacts a spiritual unification and in so doing makes implicit claims about the emotional and spiritual efficacy of poetry.
{"title":"“My Soul, Why Art Thou Full of Trouble”: Hester Pulter’s Apostrophe to the Soul","authors":"Nikolina Hatton","doi":"10.30965/25890530-05434003","DOIUrl":"https://doi.org/10.30965/25890530-05434003","url":null,"abstract":"\u0000The poems of Hester Pulter (1605–1678) provide insight into the religion and politics of a woman writing through the English Civil Wars and Republic. This paper focuses on Pulter’s use of the apostrophe to the soul and on her abstention from employing disciplinary metaphors that so often characterise devotional poetry. In merging the devotional apostrophe to the soul with complaint, Pulter effectively jettisons the penitential aspects of these approaches, creating a hybrid form in which her body provides comfort to her grieving soul. Pulter thus creates a form of devotional poem that relies on an aesthetics of comfort instead of discipline. By utilising the affordances of the apostrophe – its ability to bring the speaker and its addressee into a relation with one another – Pulter enacts a spiritual unification and in so doing makes implicit claims about the emotional and spiritual efficacy of poetry.","PeriodicalId":517184,"journal":{"name":"Poetica","volume":"64 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139896977","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 : 2024-02-02DOI: 10.30965/25890530-05434004
Marius Reisener
Around 1800, to be more precise, in Early German Romanticism, a decisive leap to an aesthetic imperative of form is being articulated. This new concept of form borrows its template from (empirical) life, where again in the concept of “vital force” (Lebenskraft) the origin for the drive of life is thought? to be found. This paper aims to investigate how this concept, emerging? in the life sciences, not only is being implemented into, but is also declared to be the motor of the life of literature. The initial observation of this investigation is the statement that (the) life (of literature) comes into being because force gives it form. Literature, in turn, can bring this process to view – this is its epistemological merit. Because literature in Early German Romanticism not only elevates itself to a form of life, but also sees the shaping of life as the result of an engagement with literature, the propaedeutic of which is in turn itself, literature – according to the hypothesis – becomes the vital force of life and thus praxis.
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Pub Date : 2024-02-02DOI: 10.30965/25890530-05434004
Marius Reisener
Around 1800, to be more precise, in Early German Romanticism, a decisive leap to an aesthetic imperative of form is being articulated. This new concept of form borrows its template from (empirical) life, where again in the concept of “vital force” (Lebenskraft) the origin for the drive of life is thought? to be found. This paper aims to investigate how this concept, emerging? in the life sciences, not only is being implemented into, but is also declared to be the motor of the life of literature. The initial observation of this investigation is the statement that (the) life (of literature) comes into being because force gives it form. Literature, in turn, can bring this process to view – this is its epistemological merit. Because literature in Early German Romanticism not only elevates itself to a form of life, but also sees the shaping of life as the result of an engagement with literature, the propaedeutic of which is in turn itself, literature – according to the hypothesis – becomes the vital force of life and thus praxis.
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