The present study focuses on imagology. Starting from the theoretical aspects of the concepts self-image and hetero-image, the analysis ponders upon the imagological constructs of two ethnical groups in the novel of the Romanian German-language author Andreas Birkner. In this analysis, the self image identifies with the one of the Transylvanian, and the image of the other is that of the Roma. The analysis of Birkner's novel leads to the conclusion that there have been certain mental images deeply rooted in historical reality and which can be, partly, explained by means of collective memory parameters. Stereotypes and prejudices should be considered in this context.
This paper aims to reveal the relevance of a so far neclected essay, written by Petru Dumitriu in German and originally published in 1965. This essay discussed the situation of the novel and argue against some shortcomings in contemporary conceptions of literature.
Beyond the communicative function of death notices, to informe about a death case, one will be repeatedly surprised by auxiliary functions of this category of private notices. The following article analizes from an intercultural perspective the representation of the (professional) identity in obituaries and death notices pertaining to a Romanian and a German corpus – the achievements attained to in the job environment and – in case of a blurred or merely outlined professional identity – on interests outside of one’s job, which were cherished by the deceased to the effect of shaping and defining him.
The writer Emil Witting (1880-1952), known by German readers through the descriptions of the forests and pastures of the Carpathian Mountains, author of extensive relations dedicated to the bear (Frate Nicolae) and to deer (Scrimerul), conceives a novel dedicated to a painter connected to the Szekler’s world. Imre Nagy (1893-1976) served as a model for the main character. From this unfinished writing, three fragments were published. These have recently been translated into Hungarian, printed in Miercurea Ciuc in an illustrated edition containing Imre Nagy’s paintings and graphic works.
Herta Müller’s leaning towards word for word transfer of Romanian set phrases in her texts can be explained by the environment in which she lived until her emigration to West Germany and this admittedly intensifies with the gradually increasing general interest in multi-lingualism. The fact that the authoress speaks of the German-Romanian transfer in her acceptance speech on the occasion of the Nobel Prize award proves the important role, which Hertha Müller ascribes to this procedure.
Also at the centre of the latest books by Balthasar Waitz stands the multicultural region of the Banat. The author seems to be gripped by the plurilingualism of the immediate surroundings of his homeland. Different forms of Romanian, from slang to everyday speech, but occasionally also Hungarian, Slovak and Serbian phrases find their way into the texts of the Banat author. In this manner just as with Hertha Müller, language images come into being, new light. Thus literary multilingualism in both writers enables one to have a novel access to the relation between literature and reality.
The Black Church, the largest sacral building in Transylvania, has been given a central role in the local identity narratives. As a historical place of remembrance, it mediates and mobilizes elements of historical knowledge, and at the same time constructs a myth.The article examines how the Black Church in Brasov, one of the most important symbols of the Transylvanian Saxons, is poetically constructed as a place of cultural memory in the German, Romanian and Hungarian poems of the interwar period, how the concrete place is reinterpreted as a space for creating identity, while the ethnic dimension should not be ignored. It examines the question of what symbolic value it has for the German, Romanian and Hungarian populations and how this can be seen from the lyrical texts of the time.
This article addresses a little known poem by Goethe, Planetentanz (Dance of the Planets) and analyses it’s content referring to mythology, astronomy and dramaturgy. Goethe’s planets are defined by the character of their namesake gods and goddesses as well as by the physical characters of the rocky or gaseous heavenly bodies known today with their characteristics explored by Goethe’s contemporaries. It has been shown that Goethe corresponded with some of the most influential astronomers of his time.
Using the example of Lavinia Branişte’s novel Null Komma Irgendwas, the present article will explore the value of intercultural literature through a specific poetry. I will analyze with a close reading how questions of values as well as questions of apprehension of’ home’ are presented through a specific narrativ. I will draw paralells to Gottfried Keller´s Die drei gerechten Kammmacherandto Friedrich Nietzsche’s poem Vereinsamt.