Tom Stoppard is an outstanding playwright, embellishing his plays with scientific and philosophical approaches and presenting complicated, mysterious plots to the reader. He bases the plot of his postmodern play, Hapgood (1988), on quantum theory and draws an analogy between Werner Heisenberg’s principle of indeterminism, termed “The Uncertainty Principle”, and international espionage. Thus, he constructs the complicated relationship between the particle and the whole throughout the play to depict the relativistic and deceptive relationship between sex and gender. Focusing on the title character of the play, the present study proposes that the play represents the fluid and indeterminate nature of gender and identity within the context of espionage and indeterminism. Hapgood, who is a mother, a lover and a successful master agent in a man-dominated British secret service, navigates between “masculinity” and “femininity” during a day. Moreover, she metamorphoses into her twin, who is entirely different from her, except for their identical faces, to entrap the mole in the office. The study consults Judith Butler’s theory of gender performativity and fluidity to indicate the unpredictable and uncertain nature of ‘gender identity’, which formulates itself through performances in social relations and trespasses the heterosexual matrix. It juxtaposes the Butlerian approach with the Uncertainty Principle in quantum theory pertaining to the confusing relationship between gender, the body and identity. The Butlerian analysis of the play reveals that particularly the modern way of life makes women transgress the Cartesian dichotomies of sex/gender, masculine/feminine and man/woman through the fluidity of their roles even during a single day and makes it difficult to find out who is really who.
{"title":"“Who the Hell Are You?”","authors":"Nilay Erdem Ayyıldız","doi":"10.4312/an.56.1-2.53-65","DOIUrl":"https://doi.org/10.4312/an.56.1-2.53-65","url":null,"abstract":"Tom Stoppard is an outstanding playwright, embellishing his plays with scientific and philosophical approaches and presenting complicated, mysterious plots to the reader. He bases the plot of his postmodern play, Hapgood (1988), on quantum theory and draws an analogy between Werner Heisenberg’s principle of indeterminism, termed “The Uncertainty Principle”, and international espionage. Thus, he constructs the complicated relationship between the particle and the whole throughout the play to depict the relativistic and deceptive relationship between sex and gender. Focusing on the title character of the play, the present study proposes that the play represents the fluid and indeterminate nature of gender and identity within the context of espionage and indeterminism. Hapgood, who is a mother, a lover and a successful master agent in a man-dominated British secret service, navigates between “masculinity” and “femininity” during a day. Moreover, she metamorphoses into her twin, who is entirely different from her, except for their identical faces, to entrap the mole in the office. The study consults Judith Butler’s theory of gender performativity and fluidity to indicate the unpredictable and uncertain nature of ‘gender identity’, which formulates itself through performances in social relations and trespasses the heterosexual matrix. It juxtaposes the Butlerian approach with the Uncertainty Principle in quantum theory pertaining to the confusing relationship between gender, the body and identity. The Butlerian analysis of the play reveals that particularly the modern way of life makes women transgress the Cartesian dichotomies of sex/gender, masculine/feminine and man/woman through the fluidity of their roles even during a single day and makes it difficult to find out who is really who.","PeriodicalId":53820,"journal":{"name":"Acta Neophilologica","volume":"24 12","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138589921","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}
The article discusses ontological metaphors with the target domain HEART in the text of the New Testament. It aims at exploring cross-domain mappings through the analysis of metaphoric expressions, involving lexeme heart, obtained by the Bible corpus analysis employing the method of continuous sampling. The research is based on the principles of Conceptual Metaphor Theory and proves its tenet that abstract ideas are conceptualized on the basis of knowledge about basic concrete things. It is stated that the two superordinate mappings involve domains THING and PERSON. Each of these mappings has elaborations and metaphoric extensions, which unravel the heart’s non-ordinary and unexpected features, justifying a different viewpoint to its understanding. The obtained results can be useful for adapts of Christianityб theologists and literary scholars as they provide insight into conceiving one of the essential theological concepts – HEART, deeper than its literal reading, which contributes to a more profound understanding of the Biblical messages.
{"title":"What is the Human Heart?","authors":"Eldar Veremchuk","doi":"10.4312/an.56.1-2.39-51","DOIUrl":"https://doi.org/10.4312/an.56.1-2.39-51","url":null,"abstract":"The article discusses ontological metaphors with the target domain HEART in the text of the New Testament. It aims at exploring cross-domain mappings through the analysis of metaphoric expressions, involving lexeme heart, obtained by the Bible corpus analysis employing the method of continuous sampling. The research is based on the principles of Conceptual Metaphor Theory and proves its tenet that abstract ideas are conceptualized on the basis of knowledge about basic concrete things. It is stated that the two superordinate mappings involve domains THING and PERSON. Each of these mappings has elaborations and metaphoric extensions, which unravel the heart’s non-ordinary and unexpected features, justifying a different viewpoint to its understanding. The obtained results can be useful for adapts of Christianityб theologists and literary scholars as they provide insight into conceiving one of the essential theological concepts – HEART, deeper than its literal reading, which contributes to a more profound understanding of the Biblical messages.","PeriodicalId":53820,"journal":{"name":"Acta Neophilologica","volume":"60 10","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138587347","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 : 2023-12-08DOI: 10.4312/an.56.1-2.209-228
Claudia Dathe
Ausgehend von einigen grundsätzlichen Überlegungen zur Verfasstheit weniger präsenter, so genannter „kleiner Literaturen“ (Kafka) befasst sich der vorliegende Artikel mit Erscheinungs-, Darstellungs- und Reflexionsformen von kultureller und nationaler Zugehörigkeit und Mehrsprachigkeit in der ukrainischen Literatur. Die ukrainischen Autorinnen Sofija Jablons’ka und Has’ka Šyjan setzen sich in ihren Texten autobiografisch und fiktional mit kulturellen Zugehörigkeiten, Zuschreibungen und Konzepten von Gemeinschaft und Nation vor dem Hintergrund transkultureller Erfahrungen auseinander. Sie wurden vom mehrsprachigen Raum Galiziens und dem Leben in verschiedenen kulturellen und nationalen Räumen geprägt. Der Beitrag zeigt anhand der Travelogues Der Charme von Marokko und China, das Land von Reis und Opium von Sofija Jablons’ka und des Romans Hinter dem Rücken von Has’ka Šyjan verschiedene Beobachtungs- und Reflexionsperspektiven im Kontext multipler kultureller und nationaler Zugehörigkeiten und thematisiert anhand von Übersetzungen ins Deutsche die unterschiedlichen Adressatenperspektiven für die vorgestellten Werke.
{"title":"Mehrsprachigkeit in der ukrainischen Literatur am Beispiel der Autorinnen Sofija Jablons’ka und Has’ka Šyjan","authors":"Claudia Dathe","doi":"10.4312/an.56.1-2.209-228","DOIUrl":"https://doi.org/10.4312/an.56.1-2.209-228","url":null,"abstract":"Ausgehend von einigen grundsätzlichen Überlegungen zur Verfasstheit weniger präsenter, so genannter „kleiner Literaturen“ (Kafka) befasst sich der vorliegende Artikel mit Erscheinungs-, Darstellungs- und Reflexionsformen von kultureller und nationaler Zugehörigkeit und Mehrsprachigkeit in der ukrainischen Literatur. Die ukrainischen Autorinnen Sofija Jablons’ka und Has’ka Šyjan setzen sich in ihren Texten autobiografisch und fiktional mit kulturellen Zugehörigkeiten, Zuschreibungen und Konzepten von Gemeinschaft und Nation vor dem Hintergrund transkultureller Erfahrungen auseinander. Sie wurden vom mehrsprachigen Raum Galiziens und dem Leben in verschiedenen kulturellen und nationalen Räumen geprägt. Der Beitrag zeigt anhand der Travelogues Der Charme von Marokko und China, das Land von Reis und Opium von Sofija Jablons’ka und des Romans Hinter dem Rücken von Has’ka Šyjan verschiedene Beobachtungs- und Reflexionsperspektiven im Kontext multipler kultureller und nationaler Zugehörigkeiten und thematisiert anhand von Übersetzungen ins Deutsche die unterschiedlichen Adressatenperspektiven für die vorgestellten Werke.","PeriodicalId":53820,"journal":{"name":"Acta Neophilologica","volume":"84 23","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138586659","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 : 2023-12-08DOI: 10.4312/an.56.1-2.269-283
Vesna Kondrič Horvat
Neben einer beträchtlichen Zahl an umfangreichen Romanen veröffentlichte der namhafte, mehrfach ausgezeichnete Schweizer Schriftsteller Adolf Muschg (1934) auch einige Bände mit Kurzprosa, welche, ebenso wie seine Romane und Erzählungen, sein reiches literarisches und psychologisches Wissen, seine wuchernde Phantasie und sprachliche Sensibilität bezeugen. Wenn die Kritiker anlässlich der sprachlichen und kompositorischen Brillanz seiner ersten Romane fast schon von einem L’art pour l’art sprachen, so bewies er mit seiner Kurzprosa, dass er ebenso meisterhaft die Komprimierung, den disziplinierten und zurückhaltenden Stil sowie eine klare Diktion beherrscht. Der Beitrag versucht zu zeigen, wie Muschg in seiner Kurzprosa, die mehrfach autobiographische Züge aufweist, viele Stile und Sprachen nicht nur geschickt imitiert, sondern oft auch karikiert und dem Leser somit in den Geschichten, die keinesfalls nur privat sind, viel Freiraum lässt.
{"title":"Alles könnte auch anders gewesen sein","authors":"Vesna Kondrič Horvat","doi":"10.4312/an.56.1-2.269-283","DOIUrl":"https://doi.org/10.4312/an.56.1-2.269-283","url":null,"abstract":"Neben einer beträchtlichen Zahl an umfangreichen Romanen veröffentlichte der namhafte, mehrfach ausgezeichnete Schweizer Schriftsteller Adolf Muschg (1934) auch einige Bände mit Kurzprosa, welche, ebenso wie seine Romane und Erzählungen, sein reiches literarisches und psychologisches Wissen, seine wuchernde Phantasie und sprachliche Sensibilität bezeugen. Wenn die Kritiker anlässlich der sprachlichen und kompositorischen Brillanz seiner ersten Romane fast schon von einem L’art pour l’art sprachen, so bewies er mit seiner Kurzprosa, dass er ebenso meisterhaft die Komprimierung, den disziplinierten und zurückhaltenden Stil sowie eine klare Diktion beherrscht. Der Beitrag versucht zu zeigen, wie Muschg in seiner Kurzprosa, die mehrfach autobiographische Züge aufweist, viele Stile und Sprachen nicht nur geschickt imitiert, sondern oft auch karikiert und dem Leser somit in den Geschichten, die keinesfalls nur privat sind, viel Freiraum lässt.","PeriodicalId":53820,"journal":{"name":"Acta Neophilologica","volume":"32 30","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138588926","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}
In the 1980s and 1990s, an ethical turn began to take place in literary studies and in the humanities in general, leading to an increased interest in exploring the relationship between literature and ethics. The field that deals with this topic is now called ethical literary studies or ethical criticism. One of the less explored areas of ethical literary studies is the relationship between ethics and cognitive aspects of reading. In this article, I therefore analyse the neurobiological foundations of literary reading. I consider reading as a technology consisting of various embodied mental, emotional, motor, sensory, memory and other cognitive processes. The temporal and spatial dimension of the processes, which I also call “openness”, is particularly important. The latter conditions the diversity of reading on an experiential level and, finally, the possibilities of the relationship between literature and ethics, namely in relation to literary characters, narratives, implicit and real authors and readers.
{"title":"Cognitive Foundations of Ethical Literary Studies","authors":"Igor Žunkovič","doi":"10.4312/an.56.1-2.75-89","DOIUrl":"https://doi.org/10.4312/an.56.1-2.75-89","url":null,"abstract":"In the 1980s and 1990s, an ethical turn began to take place in literary studies and in the humanities in general, leading to an increased interest in exploring the relationship between literature and ethics. The field that deals with this topic is now called ethical literary studies or ethical criticism. One of the less explored areas of ethical literary studies is the relationship between ethics and cognitive aspects of reading. In this article, I therefore analyse the neurobiological foundations of literary reading. I consider reading as a technology consisting of various embodied mental, emotional, motor, sensory, memory and other cognitive processes. The temporal and spatial dimension of the processes, which I also call “openness”, is particularly important. The latter conditions the diversity of reading on an experiential level and, finally, the possibilities of the relationship between literature and ethics, namely in relation to literary characters, narratives, implicit and real authors and readers.","PeriodicalId":53820,"journal":{"name":"Acta Neophilologica","volume":"6 4","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138586589","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 : 2023-12-08DOI: 10.4312/an.56.1-2.175-188
Tomaz Onic
Tituba, a supporting character in Arthur Miller’s 1953 play The Crucible, can be associated with the concept of otherness in several respects. For one, she is not free like the rest of the population of Salem, Massachusetts, where the play is set, but was brought to the community from the island of Barbados by Reverend Parris as an enslaved woman. Being of Caribbean origin, she is also not an English Protestant like the rest of the village, and despite having accepted her master’s church, as was common for the enslaved throughout the British colonial period, Protestantism is not her first religion. Finally, the two most evident and immediately perceivable characteristics placing her in the category of the Other are her skin colour and her language, which also seem to be the main reasons that she was the first person to be accused of witchcraft in Salem. This paper focuses on Tituba’s speech, particularly from the point of view of the possibilities as well as difficulties of translating her utterances into Slovene. The contrastive analysis includes Miller’s original play, its two Slovene translations, Lov na čarovnice, the published one (1964) and the unpublished theatre translation (1997/2019), as well as a brief insight into two theatre productions of the play at the Maribor National Theatre.
{"title":"Witchcraft or Otherness","authors":"Tomaz Onic","doi":"10.4312/an.56.1-2.175-188","DOIUrl":"https://doi.org/10.4312/an.56.1-2.175-188","url":null,"abstract":"Tituba, a supporting character in Arthur Miller’s 1953 play The Crucible, can be associated with the concept of otherness in several respects. For one, she is not free like the rest of the population of Salem, Massachusetts, where the play is set, but was brought to the community from the island of Barbados by Reverend Parris as an enslaved woman. Being of Caribbean origin, she is also not an English Protestant like the rest of the village, and despite having accepted her master’s church, as was common for the enslaved throughout the British colonial period, Protestantism is not her first religion. Finally, the two most evident and immediately perceivable characteristics placing her in the category of the Other are her skin colour and her language, which also seem to be the main reasons that she was the first person to be accused of witchcraft in Salem. This paper focuses on Tituba’s speech, particularly from the point of view of the possibilities as well as difficulties of translating her utterances into Slovene. The contrastive analysis includes Miller’s original play, its two Slovene translations, Lov na čarovnice, the published one (1964) and the unpublished theatre translation (1997/2019), as well as a brief insight into two theatre productions of the play at the Maribor National Theatre.","PeriodicalId":53820,"journal":{"name":"Acta Neophilologica","volume":"92 11","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138586629","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}
According to Boris A. Novak (2016), haiku has become one of the most popular poetic forms in the world (45). The article elucidates the initial reception and later development of this micro-poetic form in the former Yugoslav republics, particularly in Slovenia, Serbia and Croatia. Analyzing some representative poems, with particular attention to understatement as one of the vital aesthetic features of haiku, the article demonstrates that it responds to local socio-political and cultural realities and has the potential to make a distinctive contribution to contemporary public life and interpersonal relations.
Boris A. Novak(2016)认为，俳句已经成为世界上最流行的诗歌形式之一(45)。本文阐明了这种微诗形式在前南斯拉夫各共和国，特别是在斯洛文尼亚、塞尔维亚和克罗地亚的最初接受和后来的发展。文章分析了一些具有代表性的俳句诗歌，并特别注意轻描淡写作为俳句的重要美学特征之一，论证了俳句对当地社会政治和文化现实的回应，并有可能对当代公共生活和人际关系做出独特的贡献。
{"title":"The Appeal of Haiku in the Countries of the Former Yugoslavia","authors":"Danica Čerče","doi":"10.4312/an.56.1-2.21-37","DOIUrl":"https://doi.org/10.4312/an.56.1-2.21-37","url":null,"abstract":"According to Boris A. Novak (2016), haiku has become one of the most popular poetic forms in the world (45). The article elucidates the initial reception and later development of this micro-poetic form in the former Yugoslav republics, particularly in Slovenia, Serbia and Croatia. Analyzing some representative poems, with particular attention to understatement as one of the vital aesthetic features of haiku, the article demonstrates that it responds to local socio-political and cultural realities and has the potential to make a distinctive contribution to contemporary public life and interpersonal relations.","PeriodicalId":53820,"journal":{"name":"Acta Neophilologica","volume":"84 21","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138586661","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 : 2023-12-08DOI: 10.4312/an.56.1-2.303-323
T. Smolej, Tanja Žigon
Die dramatischen Werke des deutschen Dramatikers, Schriftstellers und Librettisten August von Kotzebue (1761–1819) gehörten in der ersten Hälfte des 19. Jahrhunderts nicht nur zum festen Repertoire des Ständischen Theaters in Laibach (Ljubljana), sondern Kotzebue gehörte in den 1830er-Jahren, wie aus den Spielplänen ersichtlich, zu den meistgespielten Dramatikern auf der Laibacher Bühne. Es wurden sowohl seine ernsteren Schauspiele als auch Werke komischen Inhalts aufgeführt. Vor allem bei den Letzteren ist eine rege Vielfalt an komischen dramatischen Formen (z. B. Lustspiel, Schwank, Posse) zu verzeichnen, was bei den gespielten Werken anderer Autoren und Autorinnen zu dieser Zeit nicht der Fall war. Im vorliegenden Beitrag werden in Hinblick auf die in Laibach aufgeführten Stücke von Kotzebue die verschiedenen komischen dramatischen Formen dargestellt und erörtert.
{"title":"Kotzebues komische dramatische Formen auf der Ständischen Bühne in Laibach von 1830 bis 1840","authors":"T. Smolej, Tanja Žigon","doi":"10.4312/an.56.1-2.303-323","DOIUrl":"https://doi.org/10.4312/an.56.1-2.303-323","url":null,"abstract":"Die dramatischen Werke des deutschen Dramatikers, Schriftstellers und Librettisten August von Kotzebue (1761–1819) gehörten in der ersten Hälfte des 19. Jahrhunderts nicht nur zum festen Repertoire des Ständischen Theaters in Laibach (Ljubljana), sondern Kotzebue gehörte in den 1830er-Jahren, wie aus den Spielplänen ersichtlich, zu den meistgespielten Dramatikern auf der Laibacher Bühne. Es wurden sowohl seine ernsteren Schauspiele als auch Werke komischen Inhalts aufgeführt. Vor allem bei den Letzteren ist eine rege Vielfalt an komischen dramatischen Formen (z. B. Lustspiel, Schwank, Posse) zu verzeichnen, was bei den gespielten Werken anderer Autoren und Autorinnen zu dieser Zeit nicht der Fall war. Im vorliegenden Beitrag werden in Hinblick auf die in Laibach aufgeführten Stücke von Kotzebue die verschiedenen komischen dramatischen Formen dargestellt und erörtert.","PeriodicalId":53820,"journal":{"name":"Acta Neophilologica","volume":"14 7","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138587751","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 : 2023-12-08DOI: 10.4312/an.56.1-2.107-124
Irena Samide
Vor dem Hintergrund der Human-Animal-Studies werden im folgenden Beitrag die Tiergeschichten zweier herausragender österreichischer AutorInnen des 19. Jahrhunderts, Marie von Ebner-Eschenbach und Ferdinand von Saar, näher untersucht. Dabei wird der Frage nachgegangen, inwieweit sich bereits in der Literatur des ausgehenden 19. Jahrhunderts tierethische Aspekte nachweisen lassen und welche Formen diese annehmen. Der Beitrag fokussiert sich auf diejenigen Erzählungen, in denen Mensch-Hund-Beziehung im Mittelpunkt steht. Es stellt sich vor allem die Frage, ob Ebner Eschenbachs und von Saars Texte als tierethische Literatur gesehen werden können, oder bei ihnen noch immer der anthropozentrische und anthropomorphe Ansatz vorherrscht. Die Beantwortung dieser zentralen Forschungsfrage enthüllt, dass die Erzählungen stark dem traditionellen anthropozentrischen Weltbild verhaftet sind und dass wenigstens in Tambi und Krambambuli auch ein eindeutig anthropomorpher Blick dominiert. Dennoch offenbart eine eingehendere Analyse auch eine subtile Kritik am Anthropomorphismus. Gerade die Vermenschlichung der dargestellten Hunde und die damit einhergehende Vernachlässigung ihrer ursprünglichen tierischen Natur sind nämlich für das tragische Schicksal der beiden tierischen Protagonisten und den damit verbundenen physischen und/oder psychischen Niedergang ihrer Besitzer verantwortlich.
{"title":"Die Mensch-Hund-Beziehung in der deutschen Literatur des 19. Jahrhunderts","authors":"Irena Samide","doi":"10.4312/an.56.1-2.107-124","DOIUrl":"https://doi.org/10.4312/an.56.1-2.107-124","url":null,"abstract":"Vor dem Hintergrund der Human-Animal-Studies werden im folgenden Beitrag die Tiergeschichten zweier herausragender österreichischer AutorInnen des 19. Jahrhunderts, Marie von Ebner-Eschenbach und Ferdinand von Saar, näher untersucht. Dabei wird der Frage nachgegangen, inwieweit sich bereits in der Literatur des ausgehenden 19. Jahrhunderts tierethische Aspekte nachweisen lassen und welche Formen diese annehmen. Der Beitrag fokussiert sich auf diejenigen Erzählungen, in denen Mensch-Hund-Beziehung im Mittelpunkt steht. Es stellt sich vor allem die Frage, ob Ebner Eschenbachs und von Saars Texte als tierethische Literatur gesehen werden können, oder bei ihnen noch immer der anthropozentrische und anthropomorphe Ansatz vorherrscht. Die Beantwortung dieser zentralen Forschungsfrage enthüllt, dass die Erzählungen stark dem traditionellen anthropozentrischen Weltbild verhaftet sind und dass wenigstens in Tambi und Krambambuli auch ein eindeutig anthropomorpher Blick dominiert. Dennoch offenbart eine eingehendere Analyse auch eine subtile Kritik am Anthropomorphismus. Gerade die Vermenschlichung der dargestellten Hunde und die damit einhergehende Vernachlässigung ihrer ursprünglichen tierischen Natur sind nämlich für das tragische Schicksal der beiden tierischen Protagonisten und den damit verbundenen physischen und/oder psychischen Niedergang ihrer Besitzer verantwortlich.","PeriodicalId":53820,"journal":{"name":"Acta Neophilologica","volume":"51 32","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138588030","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}
In recent years, we have conducted research in various areas within the framework of the research programme Intercultural Literary Studies (No. P6-0265), especially on ethical aspects in literature, on the role and significance of translation as an intercultural mediation, on the literary-historical aspects of interculturality, and on the didactics of literature and translation. In the second part of this year’s double issue of Acta Neophilologica we present the latest findings of the researchers who make up the Intercultural Literary Studies programme group, and we have also invited colleagues from other programme groups as well as two colleagues from abroad.
{"title":"From Ethical Aspects of Literature to Literary Historical Studies in an Intercultural Context","authors":"Adriana Mezeg, Tanja Žigon, Petra Kramberger","doi":"10.4312/an.56.1-2.69-74","DOIUrl":"https://doi.org/10.4312/an.56.1-2.69-74","url":null,"abstract":"In recent years, we have conducted research in various areas within the framework of the research programme Intercultural Literary Studies (No. P6-0265), especially on ethical aspects in literature, on the role and significance of translation as an intercultural mediation, on the literary-historical aspects of interculturality, and on the didactics of literature and translation. In the second part of this year’s double issue of Acta Neophilologica we present the latest findings of the researchers who make up the Intercultural Literary Studies programme group, and we have also invited colleagues from other programme groups as well as two colleagues from abroad.","PeriodicalId":53820,"journal":{"name":"Acta Neophilologica","volume":"47 32","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138588658","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}
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