ICLA 2016 – Abstracts Group Session Panels Content Computational Comparative Literature

Home , And Her Name Was Maud, Elisa Aaltola, Escapology, Hermann Broch, Maria Kuryluk, Melmoth the Wanderer

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

ICLA 2016 – Abstracts Group Session Panels Content Computational Comparative Literature. Corpus-based Methodologies ...... 5 16082 - Assia Djebar et la transgression des limites linguistiques, littéraires et culturelles ...... 7 16284 - Pictures for Everybody! Postcards and Literature/ Bilder für alle! Postkarten und Literatur . 11 16309 - Talking About Literature, Scientifically...... 14 16377 - Sprache & Rache ...... 16 16416 - Translational Literature - Theory, History, Perspectives ...... 18 16445 - Langage scientifique, langage littéraire : quelles médiations ? ...... 24 16447 - PANEL Digital Humanities in Comparative Literature, World Literature(s), and Comparative Cultural Studies ...... 26 16460 - Kolonialismus, Globalisierung(en) und (Neue) Weltliteratur ...... 31 16499 - Science et littérature : une question de langage? ...... 40 16603 - Rhizomorphe Identität? Motivgeschichte und kulturelles Gedächtnis im europäischen Kulturraum ...... 41 16609 - FROM EUROPE TO BRAZIL: THE CIRCULATION OF LANGUAGE AND CULTURE IN THE PORTUGUESE-SPEAKING WO ...... 43 16657 - Workshop: Productivity of plagiarism ...... 49 16658 - Comparative Literature as a Transcultural Discipline ...... 58 16661 - The Ineffability of Language and Mystic Utterances ...... 65 16679 - Langues et littératures de jeunesse ...... 69 16680 - Mapping Multilingualism in 19th-Century European Literature:… ...... 74 16691 - Translation as Utopia/Dystopia ...... 82 16692 - Secular Literary Texts and Sacred Exegesis ...... 84 16711 - The Chinese Scriptworld and World Literature ...... 86 17430 - Denkbilder der Übersetzung ...... 90 16740 - Translation Within a Single Language ...... 91 16791 - 'Autor', 'Text' und 'Leser' im Kontext. Komparatistik und Sozialwissenschaften...... 94 16802 - (POST)IMPERIALE NARRATIVE IN DEN (ZENTRAL)EUROPÄISCHEN LITERATUREN DER MODERNE ...... 98 16829 - Prismatic Translation ...... 104 16832 - Speaking About Small Literatures in Their Own Language ...... 111 16881 - New Perspectives on the Paragone ...... 117 16929 - Languages of the Imaginary: interdisciplinary reflections ...... 124 17052 - The Text as Being: Ontologies of Redemption and Repair ...... 129 17093 - WORKSHOP: Begegnungsorte und -medien. Transfer, Medialität und Situativität jüdischer Literatur ...... 135 17121 - One theme: different media ...... 142 17126 - Dans quelle mesure l'effet de vie est-il la condition du langage de l'art ? ...... 146 17218 - (Queer) Relationality: Gender and Queer Comparatists at Work Sponsored by the Comparative Gender Studies Committee ...... 149 17220 - ATELIERS : Aspekte der österreichisch-französischen Kulturbeziehungen / aspects des relation ...... 157 17222 - Island Fictions and Metaphors in Contemporary Literature ...... 158 17228 - Indian Theatre, Ritual and Drama: Towards an Intercultural Understanding of the Dramatic Mode ...... 166 17229 - The Rhetorics of the Anthropocene ...... 173 1

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

17234 - Language Policy and Literary Evolution ...... 179 17248 - Embracing the Other ...... 181 17252 - Hybridisierung literarischer Sprachen und Ausdrucksformen als Innovationsmodus ...... 189 17254 - Wer spricht im Gedicht? ...... 195 17255 - Comparing the arts: art as a universal language ...... 197 17256 - France - Russie: Littératures croisées. Présences et représentations de la langue de l'autre199 17257 - Texts with No Words: Communication of Speechlessness ...... 206 17259 - World fantastic literature: multiple languages, multiple perspectives ...... 213 17261 - Languages of Climate - Comparative Approaches to the Environment ...... 218 17267 - Translingual entanglements - African francophonie and its "others"...... 223 17268 - Stylistic Phenomena in Multilingual Literature since 1900 (Finno-Ugrian Studies/ Scandinavia ...... 225 17277 - The Many Languages of Medieval Literature, 4 sessions ...... 230 17278 - Intermedialität: Konzeptionalisierungen und Methoden...... 235 17280 - Comparison and Intermediality: The Gesamtkunstwerk ...... 238 17281 - The Languages of Theory ...... 247 17282 - Pratiques littéraires du plurilinguisme - mondes arabes ...... 256 17283 - Poetics through time : the comparatist perspective ...... 259 17284 - INTERFERENZEN: Dimensionen und Phänomene der Überlagerung in Literatur und Theorie ...... 263 17285 - Towards a New World Literature ...... 274 17286 - The Atlas Project ...... 281 17287 - Comparing Comparative Literatures: Models and Methods ...... 285 17288 - SOUTH ASIAN PATHWAYS : LANGUAGES, GENDER AND POLITICS ...... 288 17289 - Sprache und Liebe ...... 302 17290 - Quand le recours aux langues d'origine fait la différence ...... 305 17292 - A challenge for Comparative Literature: … ...... 311 17294 - Lektüre und/als Theorie. Zwischen Metasprache und Artefakt...... 317 17295 - Original / Translation. The implied languages of imagined translations ...... 325 17297 - The Serialization of Literature and the Arts: Comparative Approaches...... 331 17299 - Modernism and Translation ...... 335 17300 - Translation as a common language / La traduction comme langue commune ...... 338 17301 - Bilingualism in world poetry: languages and cultural transfer ...... 342 17303 - Langages, voyages et migrances au féminin ...... 346 17304 - Old and New Concepts of Comparative Literature in the Globalized World ...... 348 17305 - How can Comparative Literature and the UNESCO Memory of the World Programme cooperate? ...... 354 17306 - The Many Languages of Communist Cultural Resistance in India ...... 355 17307 - Literature, Philosophy and Intellectual History: The Language of Interdisciplinary Research ...... 359 17308 - Workshop: Die vielen "Sprachen" der Klassiker. Eine medienorientierte Perspektive ...... 364 17310 - Die Arena der Stimmen: Intermedialität, Intertextualität und Sprachenvielfalt in Literatur und Film Lateinamerikas ...... 372 17311 - Brazil-language: toward a multipolar globalization in the field of culture ...... 376 17312 - Languages of Dwelling, Solidarity and Community: A Comparative Semiotics of Urban and Archit ...... 380 17313 - Leftism and Love: The Languages of Anna Lacis's Latvian Legacy ...... 381 17314 - Eastern European writers into "major" cultures between 1945 and 1989: ...... 384

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

17316 - Fremde Literaturen im Web 3.0? ...... 385 17317 - When narratology does not travel well ...... 388 17318 - Comparative Literary Histories of Slavery: Group Session, Section E ...... 393 17319 (Wissenschafts-)Sprachen an der Grenze: Phänomene der Überforderung im Wissen vom Menschen um 1800 ...... 396 17320 - Comparative Studies in Central European Context ...... 400 17322 - The Languages of Immersion ...... 405 17324 - Cartographie européenne de l'écocritique ...... 408 17325 - Variety of texts and languages in Baltic region of early modernity ...... 414 17326 - Poetics of Code ...... 415 17327 - Theory in Love ...... 417 17328 - Cultural Anxiety as Creative Potency of Cosmopolitan Perspective in Comparative Literature ...... 425 17329 - Die vielen Stimmen des Georg Lukács: ...... 428 17331 - IRANIAN COMPARATISM: Recent Challenges and Future Opportunities ...... 429 17332 - The Metaphor and languages of the diseases, the healing and the medicine since 20th century...... 431 17333 - Media, mediation, fiction. Medium as a language? ...... 435 17334 - Das Werk Heimito von Doderers in Übersetzung - Probleme und Chancen ...... 441 17335 - Unsettled Narratives: Graphic Novel and Comics Studies in the 21st Century ...... 442 17336 - Engaging Publics In and Through Translation ...... 449 17337 - Emotion Metaphors and Literary Texts ...... 454 17338 - Affective language between action and passion ...... 459 17339 - Do you speak digital? The Past, Present, and Future of Electronic Literatures ...... 464 17340 - Disturbing Crossings: Untranslatability and the Languages of Crossing Borders ...... 464 17341 - Literature and the Language ...... 466 17343 - Metaphor and the Conceptualization of Fictionality ...... 473 17346 - Comparative Literature in India and the Many Languages of Indian Literature ...... 475 17347 - Kulturtransfer in fiktionalen Fernsehserien ...... 483 17353 - New Man, New Languages ...... 485 17354 - Der Süden als Metapher. Komparatistische Annäherungen an eine transkulturelle Literaturwisse ...... 488 17358 - HISTOIRE LITTERAIRE ET CULTURELLE DES AVANT-GARDES. LES CIRCULATIONS TRANSATLANTIQUES DANS ...... 499 17370 - Afriphone literature: the contribution of African language literature to a comparative liter 502 17400 - Sprache der Migration. Migration der Sprache. Transkulturelle Literatur im Zeitalter...... 502 17403 - The Teaching Function of Literature and its Aesthetic: ethical literary criticism...... 515 17408 - Die Sprachen der Biographie ...... 522 17416 - The language of satire ...... 526 17417 - Transnational dynamics of global/local literature. A new idea of world literature? ...... 532 17429 - MUTENESS ...... 536 17462 - Global Modernisms and Transvisual Studies ...... 538 17477 - A VIEW FROM THE SOUTH ...... 541 17495 - English language for "Universal Brotherhood"? Trans-national Networks, Appropriations and C ...... 546 16497 - Comparative Literature: Global Practice ...... 548 17503 - La « forme pure », « l’art absolu », la « littérarité » : utopie artistique ou essence de la ..... 552 17619 - Panel der Kommission der OEAW The North Atlantic Triangle ...... 559

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

17691 - Cultural Memory: Humanistic and Neuroscientific Perspectives ...... 561 19247 - The State of Adaptation Studies Today ...... 565 19351 - Migrations/Notions/Translations: Concepts of Literature in European Context ...... 568 19438 - Historizing the Dream ...... 569 Author Index: ...... 576

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

Computational Comparative Literature. Corpus-based Methodologies Date: Monday, July 25th Room: Hs 48 Chair: Christine Ivanovic

Computational Comparative Literature. Corpus-based Methodologies Ivanovic, Christine (Institut für Europäische und Vergleichende Sprach- und Literaturwissenschaft, Austria)

This session will focus on corpus-based literary studies and examine these new modes and methodological approaches of reading, analyzing, interpreting, translating and editing literary texts in the context of large text corpora. The examples will demonstrate latest research efforts and research results of corpus-based studies of literature, computational philology, digital editions, analytical text encoding practices, and electronic text analysis applications.

9:00 AM - “THIS IS NOT WHAT I INTENDED.” The Last Days of Mankind by Karl Kraus in English as compared to its German Original “Ich habe es nicht gewollt.” Biber, Hanno (Austrian Academy of Sciences)

“The Last Days of Mankind” by Karl Kraus starts with the voice of a newsboy shouting to sell a newspaper and ends with the devastated planet. The drama which depicts the tragedy of the First World War, which is also a tragedy to be observed in the language of its time, has a strangely poetic epilogue called "The Last Night" that, after the planet Mars has discontinued its relation with the earth and a rain of meteors has caused total extinction and silence, ends with God's voice uttering the famous words of Emperor Wilhelm II of Germany, one of the dangerous "criminals on the throne": “THIS IS NOT WHAT I INTENDED!”. New methods of digital literary studies can be used for the analysis of this text from the time of the First World War and its translation into English which came out this year. The language of “The Last Days of Mankind” and the translation of its German texts into English can be used as exemplary objects of a scholarly investigation into the translation process by making use of digital methods.

9:30 AM - Thomas Bernhard - Lost in Translation Breiteneder, Evelyn (Austrian Academy of Sciences)

New methods of digital literary studies can be used for the analysis of the text “Wittgensteins Neffe” by the Austrian writer Thomas Bernhard and its translations into English as well as for the study of its complex reception history. The narration that has a well known philosopher’s name in its title can be used as an exemplary object of a scholarly investigation into the reception process making use of digital methods . The language of “Wittgensteins Neffe” and the translations of the German text into English as well as the relations, the patterns and the distribution of the transformation process from one culture into another will be examined in this paper.

10:00 AM - Surface Reading. Digital Approaches to Yoko Tawada's multi-lingual corpus Ivanovic, Christine (University of Vienna)

Yoko Tawada gehört zu der im Verlauf des 20. Jahrhunderts zunehmenden Zahl von AutorInnen, die einen Sprachwechsel vollzogen haben und deren Werk mehrsprachig angelegt ist. Dies Problem wird umso virulenter, wenn der Autor/die Autorin Paralleltexte schafft, die nur „quasi Dasselbe“ (U.Eco) in zwei verschiedenen Sprachen zum Ausdruck bringen. Die Erfassung und Analyse dieser Werke stellt manche der bisher in den Literatur- und Kulturwissenschaften gängigen Zugangsweisen und Klassifizierungskonventionen vor Schwierigkeiten und fordert neue Ansätze ihrer Erforschung. Im Vortrag soll gezeigt werden, welche neuen Untersuchungs- und Darstellungsmöglichkeiten die digital gestützte Texterfassung und Literaturanalyse in diesem Problemfeld anzubieten haben. 5

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

11:00 AM - The Corpus of Parallel Texts in Contrastive Studies Dobrovolskij, Dmitrij (Russian Academy of Sciences)

The aim of the present article is to attempt to determine the extent to which corpora of parallel texts can serve as a useful instrument for solving problems of contrastive linguistics; i.e., for describing specific features in the functioning of Russian forms compared with those of another language. The study is based on empirical data taken from the Russian-English/English-Russian and Russian- German/German-Russian parallel corpora of the Russian National Corpus. I focus on lexical phenomena of these pairs of languages, particularly cross-linguistic equivalence connected with the language-specific nature of certain lexemes. The analysis of lexical units that lack standard equivalents in other languages indicates that parallel corpora can help identify both the non-trivial semantic and discursive properties of such words and the character of their cross-linguistic functional correspondences.

11:30 AM - Cultural Transfer from a Malaysian Perspective Sharandin, Artem (Russian Academy of Sciences)

Kulturtransfer liegt an der Schnittstelle vieler Wissenschaften: Kulturanthropologie und Ethnologie siedeln ihr Forschungsinteresse eher bei Übertragung und Aneignung von kulturellen Objekten und Praktiken an, Literaturwissenschaft beschäftigt sich mit der Einflussfrage von literarischen Werken einzelner Autoren auf die anderen Schriftsteller und natürlich auf den Leser selbst. Auch in der Übersetzungswissenschaft kommt dem Kulturtransfer eine bedeutende Rolle zu, denn der bei der Translation stattfindende Wechsel von einer sprachlichen Welt in die andere sprachliche Realität ist nur dann möglich, wenn bestimmte systemhafte sprachliche Phänomene aufeinander abgestimmt sind und wenn alle zielsprachlichen Lücken im Begriffssystem geschlossen sind.

Im vorliegenden Beitrag wird vor allem auf sprachliche Entitäten beim malaiischen Translationsdiskurs eingegangen. An einigen Beispielen wird gezeigt, wo verbale und nonverbale sprachlich sensitive Punkte bei malaiischer Kommunikation liegen.

12:00 PM - Constellations of Karl Kraus: A visualization of toponyms in "Die Fackel" Barbaresi, Adrien (Berlin-Brandenburg Academy of Sciences)

"The Internet actually offers the ideal stage for literary criticism"

"das internet bietet eigentlich die ideale bühne für literaturkritik" https://schreibschrift.wordpress.com/2011/05/15/web-2-0-und-literaturkritik/

Is there something like a German literary blogosphere? Creation and reception of literary works will be examined in the light of a corpus-based analysis of blogs in German and of websites from Austria.

Selected examples will be discussed, and attempts to grasp the relevant community as well as most salient topics will be described.

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

16082 - Assia Djebar et la transgression des limites linguistiques, littéraires et culturelles Date: Friday, July 22nd // Saturday, July 23rd Room: IoeG Chair: Asholt, Wolfgang; Gauvin, Lise

2:00 PM - Écrire, dit-elle : le métadiscours sur l'écriture dans l'oeuvre de Djebar Gauvin, Lise (Université de Montréal, Montréal, Canada)

Dans l’oeuvre d’Assia Djebar, la réflexion sur l’écriture a donné lieu à un recueil de textes, Ces voix qui m’assiègent, dans lesquels la narratrice revient sur son propre parcours et en explique les enjeux. Mais déjà dans l’Amour, la fantasia, le métadiscours sur l’écriture était présent sous la forme d’une prise en charge du récit par un personnage en situation d’écriture qui se dédouble à son tour en plusieurs figures d’écrivains et qui sont autant d’instances concurrentielles. La compétence littéraire est ainsi partagée entre ces instances, celles-ci servant de relais à une plus vaste problématique de l'écriture, chaque figure d'écrivain devenant ainsi les maillons d'une chaîne ininterrompue, comme les variantes inépuisables d'une histoire/Histoire à déchiffrer et comme une frontière impossible à définir entre vérité et fiction. « L'écriture autobiographique, me confiait Djebar, est forcément une écriture rétrospective où votre « je » n'est pas toujours le je, ou c'est un « je-nous » ou c'est un « je » démultiplié. » J’examinerai ces figures d’écrivains dans ce qu’on peut désigner comme des autofictions, L’amour la fantasia et Nulle part dans la maison du père, et dans les romans Oran, langue morte et La disparition de la langue française.

2:30 PM - Écrire dans les plis du/de la/du soi(e) ou pour une éthique du nulle part Fisher, Dominique (UNC, Chapel Hill, Chapel Hill, USA)

Nulle part dans la maison de mon père engage l’écriture dans un « tangage » entre autobiographie, historiographie et fiction. Ce roman a été souvent lu par la critique dans la continuité de L’Amour et la Fantasia et sous l’éclairage des dominations (post)coloniales et patriarcales. Or, ce roman soulève des questions très complexes quant aux rapports entre sexe et genre, colonialité et écriture, colonialité et dissidence, dans un cadre transnational et transculturel, avant, sous, et après la colonisation. Je montrerai que les multiples références à la lecture, à l’écriture, au voile, que fait la narratrice dans ce roman esquissent une éthique (au sens où Spinoza entend ce terme) dissidente du nulle part, dans un cadre transculturel et transhistorique.

3:00 PM - Silences d'Assia Djebar Kirsch, Fritz Peter (Institut für Romanistik, Austria)

Les thèmes du silence chez Assia Djebar sont inséparables des thèmes de la voix, au singulier comme au pluriel. Pour changer la valeur de la parole féminine, marginalisée et déviée au cours de l'histoire des pays islamiques, l'écrivaine doit recourir à l'écriture, donc passer par le silence du recueillement créateur, où s'opèrent les transgressions nécessaires. Bien des analyses de l'oeuvre littéraire d'Assia Djebar explorent ce jeu des voix et du silence. Parfois, on invoque le conflit des langues maghrébines, pour mieux préciser l'impact du silence qui sous-tend, à des degrés divers, la présence du français, de l'arabe et du berbère chez l'écrivaine. Il semble cependant que le rôle du silence chez Assia Djebar est assez complexe pour inspirer d'autres recherches encore, notamment celles qui s'orientent vers les thèmes de la condition humaine en tant que source de création poétique. Un survol des oeuvres djébariennes peut faire naître l'idée que le silence concerne de près l'affrontement de l'Homme et du Monde dans des contextes d'histoire à la fois divergents et semblables. Les romans et les nouvelles de l'auteure orientent la lecture par des structures spatiales bien solides pour ne pas dire d'une rigidité contraignante. La nappe pas toujours souterraine du silence dont les acteurs humains font 7

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 l'expérience à des moments privilégiés est là pour ouvrir des perspectives pour ainsi dire cosmiques en se combinant toutefois avec les thèmes du vide permettant à l'humain de faire sauter parfois, par une réaction "gratuite" et peut-être funeste, l'ordre des choses et des conditions instaurées par l'histoire.

4:00 PM - Assia Djebar, devant la douleur des autres Lionnet, Françoise (Harvard Univ, Cambridge, MA, USA)

Lors de la remise du prix Neustadt, qui lui est attribué en 1996, Assia Djebar invoque le poète syrien Adonis. Je la cite en anglais, car c’est la seule version publiée : “When I heard that I had been awarded the Neustadt Prize, I received the news with both joy and sadness. ‘I am happy, I am unhappy,’ I told Djelal Kadir over the telephone. ‘Happy for myself, unhappy for my country in the present time.’ I was both unhappy and happy for all my friends and colleagues who had died, for all those who had fallen: foreign priests, young women teachers and journalists, and the many anonymous dead in Algeria today. Happy that they have come with me, for as I present myself today before you, they are all around me; unhappy each time I speak of them, each time that I write of their absence . . . . The Arab poet Adonis has written: ‘Joy has wings but no body / Sadness has a body, but no wings!’ Unlike my poet friend, I would like to thank you by offering a response that would have the wings - or the energy - of sadness, and that would give a body, a solidity, to the joy of our encounter here today.” Djebar nous a quittés trop tôt pour avoir eu le temps de se prononcer sur les transformations que vit le monde arabe, du printemps Tunisien aux révoltes en Syrie. Mais son oeuvre a toujours fait corps avec “la douleur des autres” et je m’attacherai ici à montrer en quoi la poésie et la prose poétique ainsi que les images qu’elles véhiculent sont pour elle un détour, une révolution, dont les ailes nous ramènent toujours à la solidité du réel et de ses joies, à la densité du corps souffrant et à la matérialité de la voix ou de la langue qui représente et fait voir et sentir la douleur. Joie et tristesse sont des vecteurs de cohésion et de sociabilité par delà les divisions linguistiques ou ethniques. C’est à travers les r/é/volutions du sentir et du voir qu’un nouveau ‘nous’ se constitue, et l’approche de Djebar nous oblige à repenser et ce que Susan Sontag (On the Pain of Others) dénonce comme voyeurisme devant la violence et ce qu’Adonis fragmente inutilement en reproduisant une très ancienne dichotomie du corps (triste) et de l’esprit (gai). Au final, c’est là la transgression fondamentale de Djebar : renouer, relier, reconstruire ce qui fragmente et divise dans et par la violence.

4:30 PM - Amour en fuite. Une connaissance d'un autre genre. Calle-Gruber, Mireille (Université de Paris, Sorbonne Nouvelle - Paris 3, France)

On proposera une lecture de /La Beauté de Joseph/ (Actes Sud, 1999) afin de considérer à l'oeuvre le processus d'interprétation – au sens herméneutique des textes et au sens musical d'une partition - d'Assia Djebar ; et d'analyser comment c'est l'orchestration de plusieurs récits, de langues et de cultures différentes, chacun présentant une variation sur le motif de "Joseph et la femme de Putiphar", qui donne naissance à une révélation de la parole critique. Reprenant alors l'interrogation d'Augustin, selon quoi "la mémoire est comme l'estomac de l'esprit... Quand joie ou tristesse sont confiées à la mémoire, elles peuvent, comme si elles passaient dans un estomac, s'y déposer, elles ne peuvent pas y avoir de goût... Mais alors, pourquoi dans la bouche de la pensée ne sent-on pas ?", on verra en quoi l'écriture d'Assia Djebar parvient, "dans la bouche de la pensée", à faire /sentir l/e goût des mots des autres et, par eux, le goût de soi-femmes et la grâce de la connaissance d'aimer.

5:00 PM - Une esthétique "en marge": l'entre-les-langues d'Assia Djebar Asholt, Wolfgang (HU Berlin, Berlin, Germany)

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

Assia Djebar a donné au poèmes et aux essais de Ces voix qui m’assiègent (1999) le sous-titre : ... en marge de ma francophonie. Cette marge envisage un lieu qui est d’abord caractérisé par un « entre- deux-langues », mais aussi un « triangle linguistique », pour devenir dans certains romans celui d’un « entre-les-langues », espace menacé et précaire, pas seulement pour les raison politiques et idéologiques dans La disparition de la langue française (2003). L’analyse de l’œuvre hétérogène, caractérisée par une multiplicité de « voix » va essayer de préciser le jeu et le rôle de(s) langues dans « L’écriture de l’expatriation » qui caractérise l’œuvre entier de l’écrivaine, de La Soif (1957) jusqu’à Nulle part dans la maison de mon père (2007). Mais elle va aussi poser la question s’il s’agit d’un lieu d’écriture personnel et exceptionnel, un moment historique de l’entre-deux (colonialisme – post- colonialisme) ou du modèle d’avenir d’une « écriture-entre-les-langues ».

Date: Saturday, July 23rd

9:00 AM - Pour une personnalité maghrébine complexe. Le Livre des Pères inachevé d'Assia Djebar Ruhe, Doris (Ernst-Moritz-Arndt-Universität Greifswald, Würzburg, Germany)

Le projet autobiographique d’Assia Djebar était conçu comme un quatuor. Elle n’a pas pu achever le quatrième tome dont elle avait parlé à maintes reprises. Motivé par une série d’interviews radiophoniques qu’Assia Djebar a données en 2006 à la journaliste Laure Adler, mon exposé se focalisera sur le problème de l’inachèvement qui a occupé l’auteure moins comme une donnée narratologique que comme sujet de réflexion qui ouvre des perspectives sur une société maghrébine du futur. Elle la souhaite ouverte et plurielle, consciente, à travers ses auteurs et ses langues, des ressources multiples dont elle pourrait profiter en renouant avec son ou plutôt ses héritages. En se référant d’un côté à un personnage phare du monde romano-chrétien tel que saint Augustin, né à Thagaste, l’actuel Souk Ahras algérien, et de l’autre à des auteurs andalous tel que Ibn Hazm, poète et philosophe du 11e siècle, elle réclame l’intégration du Maghreb dans une civilisation méditerranéenne au sens large. Dans son désir de combler le fossé qui s’est creusé dans sa propre génération entre ce qu’on peut appeler les différentes cultures de l’Algérie, elle s’adresse dans un deuxième temps à l’autre tout proche, à ses confrères pied-noir comme Jean Pélégri et surtout Albert Camus. Dans l’inachèvement de son œuvre à elle, Assia Djebar rejoint l’auteur pied-noir le plus célèbre qu’elle voudrait récupérer pour créer une personnalité maghrébine complexe.

9:30 AM - La Représentation des langues dans Nuits de Strasbourg Vers un espace interculturelle Boukail, Amina (University of Jijel- General and compare literature -Annaba University, Constantine, Algeria)

Les textes d’Assia Dejbar présentent bien l’Algérie plurilingue à travers ses rapports complexes et parfois paradoxaux. Ce n’est donc pas un hasard si les langues occupent une place importante dans le roman Les Nuits de Strasbourg où celles-ci deviennent un espace d’interculturalité. Nous analyserons les rapports entre ces langues et leur signification au niveau du contexte historique à travers les axes suivants :

1-les langues face au conflit ou coexistence

2-La représentation du Moi face l'Autre

3-Les langues face à la mémoire, leur présent et leur futur.

10:00 AM - Les citations d'auteurs français comme mode de positionnement identitaire SANSON, Hervé (RWTH-Aachen (Allemagne), Aachen, Germany)

Assia Djebar a élaboré une œuvre singulière pendant 40 ans, fruit d'un entrecroisement de traditions culturelles hétérogènes, une tradition orale autochtone nourrie par la résistance à la conquête française, et une tradition écrite occidentale acquise durant sa scolarité en Algérie coloniale puis en 9

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 métropole. Son œuvre comporte un certain nombre de références à la littérature française ; nous nous interrogerons sur la portée de ces citations et la valeur qu'elles revêtent dans le texte djebarien, et plus spécifiquement sur ce qu'elles nous disent du positionnement identitaire de l'auteure.

11:00 AM - L'Intarissable conteuse: Assia, Schéhérazade, et le récit périlleux de la résistance Hiddleston, Jane (University of Oxford, Oxford, United Kingdom)

Dans plusieurs de ses textes, et surtout dans Ombre sultane, Assia Djebar fait référence aux Mille et une nuits. D’ailleurs, il serait possible de comparer son propre projet de création littéraire à l’activité de narration entreprise par Schéhérazade. Dans notre intervention, nous projetons ainsi d’analyser la signifiance de cette comparaison et la production complexe du récit de la résistance féminine. D’un côté, comme Schéhérazade, Assia Djebar assume le rôle de la conteuse en espérant libérer les femmes de la loi patriarcale autoritaire par le biais de ses histoires, conçues pour changer les attitudes et pour réclamer la justice. De l’autre, elle finit en même temps par révéler la fragilité de la parole littéraire ainsi que le conflit entre femmes que peut engendrer le travail de la narration. La lecture de Djebar à travers l’intertexte des Nuits sert à nous montrer donc le pouvoir de la narration, son caractère provocateur, multiple et colorié, ainsi que les tensions qu’elle apporte dans son sillage.

11:30 AM - Relire Loin de Médine; l'écriture "ghobar " d'Assia Djebar, un message féminin, contemporain, audacieux et "signé" d'une femme de lettres du Maghreb. Bouchentouf-Siagh, Zohra (Institut für Romanistik, Wien, Austria)

L’écriture ghobar ("poussière" en arabe) est une forme de calligraphie arabe servant à signer et à copier des corans miniatures. Au-delà du renvoi à la (calli-) graphie, le mot "écriture" dans le titre de cette communication, entend tenter de mettre en évidence les procédés multiples d’imbrication des textes que l’écrivaine élabore dans le roman. Ainsi, dans cette fiction, l’écrivaine-historienne renverse audacieusement la tradition islamique des "rawis" (chroniqueurs chargés de rapporter faits et dits de la geste du prophète Mohammed) en inventant des "rawiyates", personnages de chroniqueuses, commettant de ce fait une transgression, non seulement par rapport à la tradition historiographique arabo-musulmane essentiellement masculine, mais aussi par rapport à la doxa toujours en place dans les pays musulmans, sur ce qui est considéré par certains comme sacré ou intouchable. Cette lecture reposera sur certains éléments de grammaire des civilisations arabo- maghrébine (Fernand Braudel) et une analyse poétique du texte.

12:00 PM - Enjeu narratif et identité double: l'émancipation par la plume dans Ombre Sultane d'Assia Djebar MALVAL, Wessal (Université François Rabelais de Tours, Tour, France)

D’une manière générale, la littérature maghrébine d'expression française est née dans l'urgence et la nécessité de témoigner poétiquement de la situation d'inconfort politique et social, où vivaient les pays du Maghreb sous la colonisation, et notamment en Tunisie, en Algérie et au Maroc. La diversité de cette littérature sera renforcée après l’indépendance, impliquant la création des œuvres aussi multiples que variées. Assia Djebar, faisant partie de ces algériennes ayant choisi la plume, va marquer incontestablement la littérature algérienne d’expression française. Son écriture engagée revendique une certaine transgression des tabous sociaux et religieux dans ce monde arabo- musulman où la femme est menacée jusque dans sa liberté la plus individuelle,

C’est à cette réflexion que notre étude sur le roman d’Assia Djebar : Ombre Sultane, souhaite contribuer en s’efforçant de tracer une voie dans la relation entre son engagement féministe et identitaire et l’évolution d'écriture et de structure romanesque. Nous allons nous intéresser tout particulièrement, à la rencontre d’une identité féminine avec l’Autre qui se traduit aussi bien dans le travail de la langue française que dans l’engagement politique et social. L'enjeu du questionnement à 10

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 l'œuvre est donc aussi, de montrer la perspective féministe qui se confond dans une vision intimiste et biographique.

Par ailleurs, il ne serait pas anodin de s’attarder sur l’écriture du corps et de la sensualité féminine qui guide la narration et détermine la structure de l’œuvre. Le corps qui est décrit dans le roman est avant tout le corps du désir recherché dans la rencontre de la femme avec l’homme à travers la sensualité et l’érotisme.Le roman porte aussi en exergue la libération de la femme arabo-musulmane de la domination masculine et des contraintes que lui impose la tradition. L’engagement politique et idéologique de l’écrivaine puise dans le combat quotidien de la femme algérienne afin de libérer sa parole et exprimer sa souffrance. Son écriture représente une quête de la voix et de l’identité féminine qui n’hésite pas à introduire l’oralité dans les textes littéraires. À cet égard, la plume est pour elle, le moyen de témoigner d’une culture féminine qui existe dans l’ombre et qui s’inspire aussi bien de l’Histoire algérienne que de ses souvenirs personnels.

16284 - Pictures for Everybody! Postcards and Literature/ Bilder für alle! Postkarten und Literatur Date: Saturday, July 23rd Room: Seminarraum Geschichte 2 Chair: Sauer-Kretschmer, Simone

9:00 AM - Rilke und die Postkarte, Abstract Hagemann, Alfred (-, Stuttgart, Germany)

Die ab ca. 1865 erscheinende Postkarte entwickelt sich bis 1900 zum favorisierten Massenkommunikationsmittel. Rilke, Jahrgang 1875, wächst in diesem „Âge d’or“ der Postkarte auf und entwickelt sich in ihm zum Dichter. Als junger Mann, 1898, verschickt er noch ganz selbstverständlich Ansichtskarten, mit sorgfältiger Abstimmung der Bild- und Textseite. Im Prozess der dichterischen Selbststilisierung entdeckt er zunächst das Tagebuch, dann den Brief als adäquates Dokumentations- und Kommunikationsmedium für sich, was zu einer „Abneigung gegen Post- und Ansichtskarten“ (Rilke) führt – zumindest auf programmatischer Ebene. Gleichwohl lassen sich zahlreiche Belege bzw. explizite Hinweise und Aufforderungen finden, dass beiliegende Ansichtskarten beachtet werden sollen. Ansichtskarten wachsen sich bei Rilke punktuell zu Briefen aus, was auf der Meta-Ebene positiv thematisiert wird. Rilke imitiert mit Briefpassagen die Darstellungs- und Beschreibungsfunktion von Ansichtskarten und erzeugt auf diese Weise, ganz ohne Vorlage, eine „geschriebene Postkarte“ (Rilke). Der Dichter nutzt Bildpostkarten, ihre Perspektivik und Bildarrangements zur räumlichen Beschreibung. In Paris, in der Entstehungsphase der "Neuen Gedichte" (1902-1908), gerät Rilke mit den Tier-Sujets seiner Lyrik in ein Spannungsfeld zur Postkartenindustrie (und Tiermalerei). Beobachtete Details, die in die Gedichte eingehen, können durch zeitgenössische Ansichtskarten belegt werden. Die den Briefwechseln beigelegten Ansichtskarten werden in den vorliegenden Editionen bisher häufig nur vermerkt, erst die neueren dokumentieren die Bild- und Textseite vollständig. Auf die Literarizität von Rilkes Briefen und ihre besondere Stellung im Werk sei abschließend nur kurz hingewiesen. Die skizzierten Beobachtungen wurden im Kontext einer Forschungsarbeit (mit anderen Schwerpunkten) gemacht, genauere Untersuchungen stehen noch aus.

9:30 AM - Post und Poesie: Gedichte auf Postkarten und Postkarten in Gedichten Heimgartner, Stephanie (Ruhr-Universität Bochum, Bochum, Germany)

Post und Poesie: Gedichte auf Postkarten und Postkarten in Gedichten 11

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

Die Kombination von Gedichten mit Postkarten drängt sich geradezu auf: Wo Lyrik auf Karten gedruckt wird, verbinden sich zwei Genres, die formal zueinander passen und für viele Rezipienten eher nostalgischen Wert haben. Eine Lyrikpostkarte signalisiert die Gesuchtheit und Preziosität literarischer und persönlicher Kommunikation.

Weil in der Postkarte zusehends eher ein preisgünstiger Dekorationsgegenstand denn ein Kommunikationsmittel gesehen und Lyrik eher als altmodische Gattung begriffen wird, wenden sich Lyrikpostkarten an konservative und postmaterialistische Konsumenten. Die über den Buchhandel, aber auch über den Geschenk- und Dekorationseinzelhandel angebotenen Postkartensets oder - kalender mit Gedichten ergänzen und ornamentieren eine Besinnlichkeitskultur, in der die angebotenen Lebensweisheiten an ein ephemeres Medium gebunden werden und daher wohl vorübergehend erfreuen, aber nicht verpflichten.

Neben dieser spätmodernen Populärgattung existiert aber auch der umgekehrte Fall: Hier wird nicht ein vorab verfasstes Gedicht ausgewählt, um mit einer Karte kombiniert zu werden, und so gleichsam das Gedicht im Medium der Postkarte für neue Rezipienten zur Verfügung gestellt, sondern das Medium Postkarte wird im Gedicht reflektiert. Dichter wie der manische Sammler von Postkarten Paul Éluard oder der italienische Literaturwissenschaftler Edoardo Sanguineti haben das eigentlich zur pragmatischen Mitteilung erdachte Medium in lyrischen Zyklen reflektiert; daneben gibt es zahlreiche Einzelgedichte, z.B. von Margaret Atwood, James Schuyler oder Wallace Stevens, die auf Postkarten rekurrieren.

Der Vortrag beleuchtet die verschiedenen Spielarten der Kombination von Post und Poesie, denen eins gemeinsam ist: die Reflexion über die Medialität von Literatur und die Rezeptionsbedingungen marginaler Genres.

11:00 AM - Lückenfüller. Comic-Postkarten um 1900 und die Ästhetik des Comic Bachmann, Christian (Ch. A. Bachmann Verlag, Berlin, Germany)

Der nordamerikanische Zeitungscomic etabliert sich um 1900 als eigenständige Form graphischer Narration vor dem Hintergrund und dem Einfluss europäischer Erzählformate aus, wie sie u.a. Rodolphe Töpffer, Wilhelm Busch und Amédée de Noé seit der Mitte des 19. Jahrhunderts entwickeln. Serielle Produktions- und Rezeptionsweisen gehören ebenso zu den medialen Charakteristika des comic strips wie ein spezifisches Zeicheninventar und die Strukturierung der Narration in Bildsequenzen – v.a. letzteres Merkmal wurde retrospektiv als Unterscheidungskriterium von Comic und Cartoon gesetzt. Um 1900 produzieren jedoch diverse Comicautoren, darunter Richard F. Outcault und Winsor McCay Postkarten mit Motiven ihrer comic strips, so dass der Comic hier als Ein-Bild-Cartoon erscheint und die spätere Trennung zweifelhaft wird. In diesem Zusammenhang ist besonders eine Reihe von Postkarten bemerkenswert, die 1906 als Beilage des American Journal veröffentlicht wurden. Sie zeigen Zeichnungen beliebter comic strips, etwa Frederic B. Oppers "And Her Name was Maud", F.M. Howarths "Lulu and Leander" oder Rudolph Dirks’ "Katzenjammer Kids". Um trotz der Karten-füllenden Einzelbilder eine sequentielle Narration herstellen zu können, sind die Bilder mit "unsichtbarer Tinte" überdruckt, die bei Erhitzen sichtbar wird. Diese als "novelty items" gedachten Karten nehmen einen besonderen Platz im Reigen sequentieller Narration ein, insofern sie die räumliche Sequenz des Comics in eine zeitliche Sequenz transformieren, ohne sich von der Statik der Bilder zu lösen. Der Vortrag geht der speziellen Ästhetik dieser narrativen Postkarten im Kontext der zeitgenössischen Comics nach, auf die sie sich beziehen, und wirft basierend darauf einen Blick auf die Beziehungen, die Comics später im 20. Jahrhundert zur Postkarte aufnehmen (etwa bei Anke Feuchtenberger oder im Rahmen von Merchandising).

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

11:30 AM - Nick Bantocks Postkarten-Trilogie "Griffin&Sabine" - zur Inszenierung eines literarischen Texts mittels Intertextualität und Intermedialität Klomfaß, Vanessa (Ruhr-Universität Bochum, Bochum, Germany)

In Nick Bantocks ›Griffin&Sabine‹-Trilogie wird das Kommunikationsmedium Postkarte nicht lediglich in einen literarischen Text integriert, sondern es generiert – zusammen mit dem Medium Brief – das literarische Werk. Der zu rezipierende ›Text‹ besteht demnach zum einen aus den (hand)schriftlich fixierten Botschaften der Protagonisten, zum anderen – und hier wird der Fokus des Vortrags drauf liegen – aus den zunächst irrelevant erscheinenden Informationen, die sich an den Rändern der Karten anhäufen. In meinem Vortrag möchte ich zeigen, dass das Schreiben eines Datums, die Wahl der Briefmarke oder des Postkartentitels keinesfalls beliebig oder gar bedeutungslos ist und dass das visuelle Element ›Schriftbild‹ in gleicher Weise zur Text-Bild-Beziehung beiträgt wie die Postkartenbilder. Bei dieser Untersuchung wird dem zentralen Konzeptionselement der Intertextualität, das sich bis in den Paratext hineinzieht, besondere Aufmerksamkeit zukommen.

12:00 PM - Sebalds Postkarten - Sebald's postcards Schmitz-Emans, Monika (Ruhr-Universität Bochum, Bochum, Germany)

Unter den reproduzierten Bildmaterialien in W.G. Sebalds Büchern finden sich auch diverse Postkarten. Der Autor hat alte Photo-Postkarten (wie auch andere alte Photos) gesammelt, die in seinem Nachlaß erhalten sind. Auf dieser Sammlung beruhen auch die Reproduktionen in den Büchern. Teilweise dienten die Postkartenbilder aber auch als Motivvorlage für textinterne Darstellungen; sie lassen sich dabei bestimmten (Leit-)Motivkreisen zuordnen. An ausgewählten Beispielen der von Sebald als literarisches Material verwendeten Postkarten und ihren literarischen Kontexten sollen Aspekte skizziert werden, unter denen die Postkarte zum literarischen Reflexionsmodell wird – nicht nur, aber auch bei Sebald: (a) In ihrer Eigenschaft als photographische Bilder lösen die Postkarten Reflexionen über den Wirklichkeitsbezug des literarischen Werks aus. Trotz ihrer Einbettung in fiktionale Kontexte haben sie Teil an der Realismussuggestion photographischer Aufnahmen; zudem sind sie oft verbunden mit spezifischen ‘Realitätseffekten’. (b) In ihrer Eigenschaft als postalisch verschickte, aufgehobene Erinnerungsstücke stehen sie metonymisch für die bei Sebald thematisch zentrale Thematik der Erinnerung. Auf deren Grenzen und deren Scheitern verweist u.a. der Umstand, daß die ursprünglichen Sender ebenso wie die Adressaten selbst inzwischen nicht mehr auszumachen sind. (c) In ihrer Eigenschaft als Medien der postalischen Kommunikation zwischen Abwesenden unterstreichen sie die spezifische Akzentuierung, unter der Sebald (und andere) sich mit Abwesenheit auseinandersetzen – insbesondere mit der Zeitlichkeit und Vergänglichkeit nicht bloß des jeweils Erinnerten, sondern auch der Erinnerungen selbst. (d) Die Postkarte ist zudem metynomisch mit dem Sammeln assoziiert und verweist insofern auf den Bedingungszusammenhang zwischen Sammlung und Poiesis.

2:00 PM - Postkarten in Herta Müllers "Reisende auf einem Bein" Marisescu, Tonia (Universität Duisburg Essen, Essen, Germany)

Postkarten sind im frühen Werk Herta Müllers sekundäre doch persistente Erscheinungen. Die intradiegetische Inszenierung der Postkarten in Reisende auf einem Bein fügt sich in eine Vielfalt von Strategien ein, welche die ständig transitorische Position der Protagonistin und ihre Fremdheit andeuten. Der Raum artikuliert eine subjektive Art der „Wirklichkeits“- Wahrnehmung, die auch in den Postkarten(texten) reflektiert wird. Der Zusammenhang zwischen der Postkarte und der Mobilität bleibt in Reisende auf einem Bein noch erhalten, allerdings handelt es sich hier um die defizitäre Mobilität der Hauptfigur, die sich auf einer Dauerreise befindet. Die Merkmale des Mediums verlieren folglich ihre Gültigkeit, beispielsweise werden die Postkarten oft deren phatischen Funktion entledigt. Nicht selten, nachdem sie geht und sieht, schreibt die Protagonistin 13

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

Postkarten. Sie enthalten momentane Eindrücke, Erinnerungsbrüche, fungieren als Mikrobekenntnisse, akutisieren das Verhältnis von Privatheit und Öffentlichkeit und setzen den Text en abyme. In meinem Beitrag werde ich anhand der exemplarischen Textanalyse die Bedeutung der Postkarte in Reisende auf einem Bein auf motivischer und poetologischer Ebene untersuchen sowie die (möglichen) Beziehungen zu der ersten in Form von Karten veröffentlichten Collagensammlung Müllers, Der Wächter nimmt seinen Kamm, herausarbeiten.

2:30 PM - Medien der Täuschung. Postkarten bei Vladimir Nabokov und Alice Munro Sauer-Kretschmer, Simone (Ruhr-Universität Bochum, Bochum, Austria)

Der Brief ist ein Geheimnisträger, während sich die Postkarte offen zur Schau stellt. Dass diese kurze These zur Mediendifferenz von Brief und Postkarte nicht nur provokativ, sondern auch falsch ist, bestätigen ganze Serien subversiver Postkarten der Mail-Art Bewegung, bspw. aus der DDR, aber auch aus Südamerika. Dennoch zielten die der Postkarte entgegengebrachten Zweifel, prominent formuliert etwa von Jean Améry, genau in diese Richtung, wobei die Postkarte als Träger knapper Textfragmente verstanden wurde. Doch gerade aus der formal vorgegebenen Kürze des Postkartentextes, insbesondere im Zusammenspiel mit der Bildseite einer Karte, lässt sich auch durchaus Rätselhaftes gestalten, nicht zuletzt in der Literatur. Wenn dann noch eine komplexe oder ganz und gar undurchsichtige Beziehung zwischen Sender und Empfänger hinzukommt, wird es Zeit, sich das Phänomen der Postkarte als Medium der Täuschung genauer anzuschauen. Konkret wird es in meinem Vortrag um die Maskenspiele des Mediums Postkarte in Vladimir Nabokovs Roman „Die Mutprobe“ (Orig. „Podvig“) und Alice Munros Kurzgeschichte „Postcards“ gehen.

16309 - Talking About Literature, Scientifically Date: Tuesday, July 26th Room: Hs 29 Chair: Sarkhosh, Keyvan; Knoop, Christine A.

2:00 PM - Einleitung Knoop/Sarkhosh, …

2:15 PM - Competing Knowledge or Parallel Worlds? A Meta-Analysis Knoop, Christine A. (Max Planck Institute for Empirical Aesthetics, Frankfurt, Germany)

In 2011, the New York Times published an exchange between Alex Rosenberg, professor of philosophy at Duke University, and William Egginton, chair of the Department of German and Romance Languages and Literatures at Johns Hopkins University, which can be considered exemplary of the divide between the sciences and literary studies today. The disagreement is no longer between the sciences and literary studies as separate disciplines, but has moved within the discipline, to be settled between the scientific and the traditional sides of literary studies itself. The exchange was therefore based on the mutual understanding that the sciences and the humanities have successfully merged into fields like neuroscientific literary studies, but the scholars disagreed on whether such neuroscientific approaches should replace the more traditional ones in the production of knowledge. Rosenberg argued that “neuroscience’s explanations and the traditional ones compete; they cannot both be right.” Egginton, by contrast, pointed out the myriad questions in literary studies which scientific approaches cannot sufficiently answer, thereby maintaining that the research interests of the more scientific and the more traditional sides of the discipline are not, in fact, comparable. This paper will offer a meta-analytic overview of a number of recent scientific and 14

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 traditional research papers who share the same interests and questions regarding the study of literature: at what results do they arrive? In what ways do their methods, language, and conclusions differ from each other, and at what cost? To what extent is it really the ever popular neuroscience which has added the most to scientific literary studies, as opposed to, for instance, experimental psychology or formal logic? And is it, in the end, true that the approaches “cannot both be right”, as Rosenberg claims, or is their creation of meaning really radically different, yet equally valuable, as Egginton maintains?

2:30 PM - Logocentrism, Vision and the Supremacy of the Sciences? Sarkhosh, Keyvan (Max Planck Institute for Empirical Aesthetics, Frankfurt a.M., Germany)

“The Matter of Vision” is the title of a book the British filmmaker Peter Wyeth has published in early 2015. Controversial and untenable as many of his claims and conclusions may be, Wyeth’s initial thesis is intriguing and takes us right into the heart of this conference, and this panel section in particular, i.e., language and its significance in the context of the humanities and the sciences. Wyeth takes his starting point form a critique of logocentrism, lamenting that our modes of reflection upon cultural artefacts are born out of a tradition that “places a greatly exaggerated value on the Word” – at the expense of vision. To him, vision is a much more powerful tool than language as it capable to grasp and process larger amounts of information. Language, on the other hand, is simply an insufficient translation of what vision provides to the mind. Therefore, it cannot be taken as “a source of meaning” – unlike vision. This closely links vision to the sciences. The author not only claims “that everything is capable of explanation in time through Science”, but also “that everything has a solely physical explanation”. Leaving aside Wyeth’s dubious tendency of talking in absolutes, the book offers a strong basis for discussing critical questions concerning the integration of literary studies – or, broadly, the humanities – and the sciences such as the legitimacy of theories in the humanities and their ability to be tested under experimental conditions, or the problem of scientific reductionism. Moreover, turning to the place of vision in the sciences and in particular the notion of visual evidence, one could address the role and the value of “graphs, maps and trees” (F. Moretti) in (empirically infused) literary studies. This will eventually lead to a discussion whether and how the sciences are able to contribute not only to a deeper quantitative but also qualitative understanding of literature and the arts.

2:45 PM - Talking (non)-metaphorical Goldmann, Luzia (Universität zu Köln, Köln, Germany)

The study of metaphor may be regarded as one of the most popular examples of a topic that has attracted the mutual interest of classical disciplines of the humanities as well as of empirical disciplines such as cognitive linguistics, communication sciences and neurosciences. The latter seem to question fundamental positions of philosophy and literary studies such as the deconstructivist claim that language is irreducibly metaphorical and seem to substitute it instead by rather positivist definitions and clear procedures of their identification, survey and interpretation. As a result, the entity discussed (metaphor) seems to have changed completely along with perspectives under which it is focused on and the influences of the cognitive turn seem to be undeniable on a terminological as well as on a conceptual level. A closer look to the different approaches reveals a rather differentiated set of definitions of metaphor and points of interest on both sides and various approaches to their investigation. Cognitive Metaphor Theory does not only draw back on older concepts of metaphor but takes up classical procedures of the humanities as basis for their own methods. Taking that into account, I want to suggest a perspective that regards the different methods and procedures of the disciplines rather as in a continuum based on different levels of ‘empiricism’ than in binary oppositions in order to identify possible zones of overlapping interest and

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 common procedures. From that perspective I would like to point out aspects of the debate that seem to encourage a further engagement of literary studies with theories and results of the different empirical disciplines e.g. the increasing possibility for systematic precision. At the same time I would like to highlight where the shortcomings of the latter seem to ask for an intensified contribution from the classical humanities to their perspectives and research questions.

3:00 PM - Writing - and publishing - about literature, scientifically Schoof, Kerstin (Max-Planck-Institut für empirische Ästhetik, Frankfurt am Main, Germany)

Questions of different vocabularies drawn upon in the humanities and the sciences also include and extend to questions of different cultures of publishing. „Talking about literature, scientifically“ consequently raises issues concerning „writing about literature, scientifically“. Monographs vs journal articles or the different speed of research results becoming outdated are only two aspects of a rather complex subject. Where and how to publish research taking a different route from the ones established in traditional science or literary studies journals? Publishing in one of the two traditions exceeds vocabulary and style: different formats, structures, ways of constructing an argument are required by the respective journals. Are journals actually changing to accommodate the new “hybrid” research, or do researchers find themselves in need to somehow adapt to the existing structures? How do different approaches to Open Access, publication fees, print and online publications etc. come into play? The talk aims to consider the field of publishing about literature from a research librarian’s perspective, drawing upon experience gathered in the domain of empirical aesthetics.

16377 - Sprache & Rache Date: Monday, July 25th // Tuesday, July 26th Room: Übungsraum Germanistik 3 Chair: Prade-Weiss, Juliane

2:00 PM - Introduction Prade, Juliane (Goethe-Universität Frankfurt, Institut für AVL)

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2:20 PM - Kantische Imaginationen: Verrat, Rache und Rechtfertigung in Kleists "Michael Kohlhaas" Wasihun, Betiel (University of Oxford, Oxford, United Kingdom)

Kleists intensive Auseinandersetzung mit der Kantischen Philosophie ist bekannt. Seine Novelle Michael Kohlhaas ist in vielerlei Hinsicht eine Ausgeburt der berühmten Kant-Krise, die der Schriftsteller erlitt. Gleich zu Beginn wird Kleists Titelheld als „rechtschaffenster“ und „entsetzlichster Mensch seiner Zeit“ beschrieben (MK). Die Verkopplung von Gegensätzen wie Rechtschaffenheit vs. Entsetzlichkeit und Rechtsgefühl vs. Verbrechen zeugt von einer „gebrechlichen Einrichtung der Welt“ (MK), die den ganzen Text konstituiert. Gleichzeitig bilden diese Oppositionen aber die ethische Prämisse des Texts; Recht und Rache entpuppen sich als zwei Seiten derselben Medaille – und zwar ganz im Sinne René Girards, der in La Violence et le sacré behauptet, dass Recht und Rache sich nicht unbedingt ausschließen müssen. In diesem Vortrag möchte ich darlegen, dass Michael Kohlhaas – Kleists exemplarischer Text über das Phänomen der Rache – nicht nur auf Kants Erkenntniskritik beruht, sondern auch eine praktische Umsetzung von Kants Paragraphen 83 aus seiner Anthropologie in pragmatischer Hinsicht zu sein scheint. Dort heißt es, dass die “Rechtsbegierde” in “Hass aus erlittenem Unrecht“ – d.h. der „Rachbegierde“ – wurzelt. Auch wenn Kleists Kenntnis dieses Kantischen Texts nicht dokumentiert ist, ist die Analogie schwer von der Hand zu weisen, denn auch im Michael Kohlhaas erscheinen Hass und Rachezug des verratenen 16

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

Pferdehändlers als Folgen eines „erlittenen Unrechts“. Im Namen der Gerechtigkeit begeht der rechtschaffene Kohlhaas ein Verbrechen nach dem anderen und scheint damit seinen eigenen Rechtsbegriff fortwährend zu verraten. In einer detaillierten Textanalyse soll gezeigt werden, wie dieser komplexe Konnex von Verrat, Rache und Recht(fertigung) in Kleists Novelle sprachlich manifestiert wird.

2:40 PM - Die Rache roher Texte. Dingaufstand in Märchen der Brüder Grimm Koerte, Mona (Zentrum für Literatur- und Kulturforschung Berlin, Berlin, Germany)

In den Kinder- und Hausmärchen der Brüder Grimm treten die Dinge den Menschen als ein Böses und Fremdes entgegen und marodieren durch deren Hütten und Herbergen. Als Lum•pen•••gesindel ziehen sie eine Spur der Verwüstung hinter sich her oder begehen wie im Mär•chen Herr Korbes einen Mord. Dabei trägt ihr Eindringen in die Sphäre des Häus•lichen deut•liche Züge eines Rache•akts. Mit der Frage nach dem Verhältnis von Vergeltung und Verkettung akzentuiert der Vortrag die narrative und poetologische Dimension der Märchen in ihrer Urfassung aus dem Jahr 1810. Dabei wird deutlich, dass der die Erstfas•sun•gen charakte•ri•s•ierende Deutungs•spielraum zwischen Rache und Eskalation, Intention und Fügung die spezifische F(r)aktur der Grimmʼschen Märchen•philologie tangiert: Denn im Ge•gen•zug zur euro•päischen Märchentradition eines Giambattista Basile oder Charles Perrault erhalten hier Text•lücke und Bruchstück einen Eigenwert als Symptom der Ablösung einer oralen Über•lieferung durch das sog. Buchmärchen – in der Einbehaltung von Sinn offenbart sich ihr ‚rachsüchtigesʼ Moment.

3:00 PM - Herders Rache Albrecht, Tim (Zentrum für Literatur- und Kulturforschung Berlin, Bonn, Germany)

Die edlere Rache, so Herder in seinem gleichnamigen Gedicht, ist das Schweigen. Ausgehend von dieser Gedankenfigur untersucht der Vortrag Figurationen der Rache in Herders Werk, vor allem im Licht des Verhältnisses von Sprache, Kultur und Rache.

11:00 AM - Despite Language: Adalbert Stifter's Revenge Fantasies Weitzman, Erica (Northwestern University, Evanston, USA)

This paper proposes to examine the relationship between Sprache and Rache in Adalbert Stifter’s short story “Turmalin.” Stifter’s story is premised on a renounced act of revenge: on finding out that his wife has cuckolded him with the actor Dall, the victim – known in the story only as the “Rentherr” or the “ Pförtner ” – turns from his initial (traditional) thoughts of revenge to instead withdraw himself from human society. And yet in the Rentherr’s withdrawal a displaced or substitute – and thus all the more trenchant – revenge is effected, in the form of the physical and mental stunting of the Rentherr’s young daughter. This stunting is above all one of language, as the girl emerges from her enforced isolation to join the pantheon of Stifter’s wild children and Kaspar Hauser stand-ins. The Rentherr’s captivity of his daughter is thus not only a proxy revenge on his wife and on the cruelty of the world, but also and especially a revenge on language itself in its relation to both reason and law, in the context, moreover, of the presumed difference between spoken and written language. This paper will argue that both “Turmalin” in specific and Stifter’s writing in general is at once haunted by and ineluctably drawn to the possibility of taking revenge on language itself, as at once the epitome of cognitive order and its own ever-present threat of disintegration and betrayal.

11:30 AM - Language Comes Back to Roost - Werner Schwab's Constructive Revenge Klenner, Jens (Bowdoin College, Brunswick, ME, USA)

“die rache / der sprache / ist das gedicht” Language, so Ernst Jandl, takes vengeance by speaking otherwise, by alienating trusted references, and hence by generating differences. Put differently, the 17

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 retaliation of language rests in its ability to unsettle bourgeois norms and expectations through shifts in meaning and designation. Or once more, language comes back to roost through changes in form. In this paper, I argue for a constructive nature of revenge in the prose of Werner Schwab. The aggressive nature of revenge often covers its creative and generative aspects. The alleged destructive characteristics of revenge divert from its drastic, yet constructive, structural, even poetic, transformative nature. Werner Schwab’s poetic project is decidedly anti-humanistic and destructive in form. In the company of Thomas Bernhard and Elfriede Jelinek, Schwab systematically transgresses the discursive boundaries of the human, of what he calls the “menschenschaftliche” in his Abfall, Bergland, Cäsar. (73) “aber wir, die autorenschaft, wollen nichts spielen, als ein erstlinigen menschenhaß, nichts wollen als gemeine menschenkenntnis, nichts lieben als beabsichtigte menschenanerliebung, nichts bedeuten als monumentale menschenbedeutungslosigkeit, ABfall, blutStau, MATERIALERMÜDUNG.” (89) To sever and to recombine are two fundamental operations of Schwab’s generations of linguistic forms. And the material of his recombinations is of human origin—it is man himself. Man’s materiality, however, is not a substance but a process. Schwab is interested in the transformative processes of human material: death and decay, the vengeful destruction of bourgeois existence becomes a creative instrument to analyze socio-political relations. Just as a poem renders language strange, Schwab’s linguistic deformations continually undermine the boundaries between the self and the other.

12:00 PM - Inscriptio der Gewalt: Rache als Logik des Terrors Heinrich, Tobias (University of Oxford, London, United Kingdom)

Jean Baudrillard hebt in seiner Reaktion auf die Attentate des 11. Septembers die Natur des Terrorismus als symbolischen Tausch hervor. Es geht dabei, so Baudrillard, um die Widerherstellung eines archaischen Gleichgewichts zwischen Gut und Böse, für das die abendländische Philosophie der Aufklärung keine Begriffe mehr zur Verfügung stellt. Als Rechtfertigungsgrund wird dabei das Narrativ der Rache ins Feld geführt – als affektiv besetzter Gerechtigkeitssinn eines vor- bzw. außerjuridischen Diskurses. Im Rahmen dieses Vortrags sollen Interviews, Selbstaussagen und Bekennerschreiben des RAF-Mitbegründers Andreas Baader und des deutschen IS-Protagonisten Christian Emde auf die inhärente Sprachlogik der Rache und deren Verarbeitung von Gewalt-, Männlichkeits- und Autonomiekonstruktionen hin analysiert werden. Als Hintergrundfolie fungiert Heinrich von Kleists Michael Kohlhaas und die sprachliche Domestizierung seines Fehdefeldzugs in der narrativen Ausgestaltung des Textes. Rache als Versprachlichung der Gewalt wird somit als Vehikel der Diskursivierung deutlich und zeigt, wie sich Terror erst in seiner sprachlichen Verfasstheit als solcher konstituiert.

16416 - Translational Literature - Theory, History, Perspectives Date: Friday, July 22nd // Saturday, July 23rd Room: Hs 48 Chair: Ivanovic, Christine; Hassan, Wail

9:00 AM - Translation and Ideology Salih, Hamza (Mohammed 5 University, Rabat, Marocco)

No longer viewed as a mere replacement of linguistic codes from one language to another, translation has increasingly been considered, especially with the advent of the cultural turn in the late 70's, in relation to the broader external context in which it takes place. According to scholars in the field, the translation process is determined by the political, economic and cultural values which exert external pressures on the translator. Correspondingly, a growing body of research which 18

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 addresses the relationship between translation as an act of re-writing the original text and ideology has already been established. In fact, After the domination of the empirically-oriented linguistic approaches in translation studies, the relationship between translation and ideology has been foregrounded in recent research, particularly with Venuti, Simpson and Schaffner, to draw attention to the fact that the translation process is not a mere text-to-text linguistic transfer, but, on the contrary, takes place in the midst of economic, political, cultural and religious variables, which some scholars subsume under the category ideology. In my paper, I will address the issue of how ideology comes into play in the translational process, what strategies does the translator adopt to foreground or circumvent ideological constraints. Along with this, I will touch upon the notions of censorship, manipulation, subversion and domestication which I deem are of relevance to my topic.

9:30 AM - The Impact of Ideology on Translation Based on Fairclough's Approach Shahsavar, Zahra (Shiraz University of Medical Sciences, Shiraz, Iran)

Language and translation are two of the most challenging areas of ideological influence. Various approaches have been used to investigate the impact of ideology on translation. This study tries to investigate if Fairclough’s (1989) approach is a good framework to investigate the relationship between translators’ lexical choices and ideology. The corpus of the study consists of the novel “A Tale of Two Cities” written by Charles Dickens (1859) along with its two Persian translations produced by two Iranian translators. One of them was rendered by Ebrahimi (1980), and the other one was produced by Younesi (1999). Thirty chapters out of 45 chapters were selected randomly from the source book. The researcher applied Fairclough’s (1989) approach to analyze the relationship between translators’ lexical choices and ideology. A significant difference between the two translated versions and the source book indicates that Fairclough’s approach is a good framework to analyze the relationship between translators’ lexical choices and ideology. The results can help not only translators to analyze their translation but also translation students to improve their translation skill. The implications of the findings and further research are also discussed.

10:00 AM - Textual Self-Translation of Dialect in the Bukhala' of Jahiz Blankinship, Kevin (The University of Chicago, Chicago, USA)

“A language is a dialect with an army and navy.” This quip, often attributed to sociolinguist Max Weinreich, illustrates both the arbitrary distinction between language and dialect, and the close connection between language and power. These two points bear on the writings of medieval Arab polymath Jahiz (d. 869 AD), especially his classic work Kitab al-bukhala' (The Book of Misers), a humorous meditation on thrift as a vice. Therein readers encounter satiric portrayal of the culture, religion, and language of 9th-century Iraq, including Arabic slang of the medieval underworld criminal society known as Banu Sasan. Regarding the point about the closeness of language and dialect, Jahiz treats the non-standard criminal argot of Banu Sasan as if it were a foreign language. In two scenes from the Bukhala', he places Arabic slang in the mouths of two professional beggars, then follows with glossaries of their jargon inserted directly into the text. The presence of these glossaries anticipates reader confusion at the jargon, requiring translation of criminal argot for readers not in the know. The text translates itself, mediating between Arabic slang as a foreign language and readers unfamiliar with that language. But reader confusion is exactly why Jahiz includes Arabic thieving slang plus glossaries. Speaking to the link between language and power, the text’s self- translation and the reader estrangement it provokes signals the alterity, or otherness, associated with the Banu Sasan and their marginal sociocultural status within 9th century Arab society. Medieval Arabic underworld jargon like that of the Bukhala' served as one of several markers of this alterity, along with non-Arab cultural heritage and questionable professions like thieves, quack doctors, and magicians. In this way, the Bukhala' is a very early example in Arabic literature of cross-

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 pollination between “high” and “low” social classes, since Jahiz — a canonized author of elite literary status — includes underworld culture as a such a prominent element of his text.

11:00 AM - The Possibility/Impossibility of Translating Alice in Wonderland into Arabic el kholy, nadia (cairo university, cairo, Egypt)

This paper deals with the difficulties of translating Alice in Wonderland into Arabic. The text contains parodies, puns (especially homophones), wordplay, verbal humour, “speaking” names, , as well as other elements of Carroll’s creative style which appear almost on every page and result in paradoxically comic effects, making this book a real challenge for translators. In addition to the story’s varied and distinctive use of style, special tone of voice, clear intertextuality and the clever interplay between fiction and reality. In Wonderland, all kinds of phonological, morphological, lexical and grammatical “mistakes” or language tricks occur, and virtually everything is confused or (mis)taken for something else. The clever and witty implementation of pungent satires, cunning puzzles, nonsensical riddles, all contribute to the creation of an extremely challenging text to translate. My main concern when translating Alice was to see how much of all this ingenious play with words will/will not be lost in translation. I used my own intuition to catch the true meaning and intended message, lying at different levels behind the overall structure of the source text and tried to put them adequately into Arabic with the intention of not losing the entire flavour of Carroll’s play on words and at the same time maintaining a kind of domestication in the target language that will not alienate the child/adult reader from the text. I have endeavoured to retain in the Arabic translation as much as possible from this rich and unrivalled manipulation of language following a domestication strategy which inevitably entailed losses but also retained meaning.

11:30 AM - Translating Traditions: Eristic Imitations of Petrarch and Hafez Morrell-Yntema, Sarah (Indiana University, Bloomington, USA)

Comparatists have not yet fully explored the similarities between European and Persian traditions of imitation for several reasons. Persian was the literary language for most of Asia during the early modern period, while the same period in Europe witnessed the proliferation of vernacular literatures. Because Persian had been a literary language for several centuries, its own tradition had already undergone canonization just as Europe’s vernacular literatures were emerging. However, the similarities underlying the two literary polysystems can serve to illuminate phenomena within both. This paper examines the similarities of imitative and translational practices surrounding the legacies of Petrarch in England and France and Hafez in the Persianate world in order to outline a comparative approach able to integrate extra- and intra-lingual translations into a larger literary trend of eristic imitation. The cases of Petrarch and Hafez are both ones in which the model poet’s work becomes the basis for original poetic composition spanning centuries. In the sixteenth century, the literatures of both Western Europe and the Persianate regions of Asia grapple with their literary legacies through imitations of these two poets. European imitations took the form of both translations and adaptations. In Persianate regions, imitation took the form of “response poems,” in which the imitative poet adopts the meter and rhyme of his model and replies to the original through a manipulation of the original poem’s themes and conceits. Both of these bodies of works can be considered translational texts in that they rely on a recognition of the model (foreign) text for full appreciation. By combining translation theory with the critical lens applied to the Persian response poem, this paper attempts to reconcile the two bodies of imitative and translational literature for a new understanding of imitation, translation, and differentiation.

12:00 PM - In(constant) Translation: Metafiction, Translatability, Trespasses in Slow Man and Jacobo el Mutante Falcon, Adan (San Francisco State University, San Francisco, USA) 20

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

In Slow Man by JM Coetzee and Jacobo el Mutante by Mario Bellatín, both novels recreate a mimetic mode of translation in their texts in a digressive narrative their protagonists must come to terms with. In Slow Man , Paul Rayment, a French expatriate living in Australia, experiences an extreme difficulty understanding and translating his own experience when the suspected author of a book he's in disrupts his life after losing his leg. As for Jacobo el Mutante , Jacobo, an ersatz rabbi and owner of a roadside tavern, undergoes an age and gender transformation at the hand of his author during a baptism in which the translator of the text tries to understand the religious motivation of the decision. Both protagonists experience a form of trespassing by their respective authors in order to arrive at a form of knowledge through displacement in narrative and time. Under the gaze of translation, however, each work fails to arrive at an understanding of their situation. The fragmented language and trajectory of their narratives creates a dilemma in the ethical stance of the authority each author has in the limits and boundaries necessary to recreate a linear narrative. The transitory and fragmented spaces in which these character occupy, however, creates a presence for the interactions between authors and characters (and to a further extent author and reader) to negotiate their being and becoming as either trespasses or invitations for other forms of narrative and time. The question this project attempts to bring forth in comparing these two novels and their metafictional spaces is whether the surprises and translations of those surprises between the author and character, and author and reader, create a hospitable space for new forms against, what Benjamin would consider, the “homogenous and empty time” of a linear narrative towards progress and knowledge.

Date: Saturday, July 23rd

9:00 AM - Issues of Nationalism, Identity and Translation: The Theory and Practice of Krishna Kanta Handiqui (1898-1982) as a Comparatist and Translator Nath, Sanjeev (Gauhati University, Guwahati, India)

Krishna Kanta Handiqui’s internationally acclaimed work of translation, critical exegesis, and scholarship involving the comparative method, as evident in his translation of a tenth-century Sanskrit epic in Naiṣadhacarita of Śriharṣa (1934), of a tenth-century Jaina text in Somadeva’s Yaśastilaka: Aspects of Jainism, Indian Thought and Culture (1949) and of a fifth-century Prakrit epic in Pravaraseana’s Setubandha (1976) is characterized by minute attention to details concerning correct meaning. However, in 1920, many years before he started producing his own scholarly translations, and while pursuing his postgraduation course on Modern History at Oxford, Handiqui had taken part in a debate on translation in an Assamese literary journal, and had forcefully argued for un-scholarly, free translations from European languages, particularly English, into Assamese, his mother tongue. The apparent contradiction between his advice to prospective Assamese translators and his own practice as a translator later cannot be explained merely as a change of opinion with time, or as different perspectives on translation from and into English. In fact, the two differing attitudes concerning translation, language and meaning are associated with ideas of nationalism and identity. Through an exploration of his theory and practice of translation, I hope to bring to the fore issues of nationalism and identity that had received special emphasis in India through the thought and action of individuals like Handiqui who ushered in a new climate of nationalistic feelings coloured not by a rejection of European or colonial culture, but an acceptance of what was perceived as beneficial for one’s language and culture.

9:30 AM - Historiography of Translation Practices in India with Specific References to Rajbansis SENGUPTA, PRAGYA (University of Hyderabad, Hyderabad, India)

In relation to our understanding of translation in India, a severely endangered language like Rajbansi needs to be taken care of in terms of both language documentation and translation. This paper 21

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 attempts to see how translation of Rajbansi folk narratives becomes an act of re-reading the history/s of mainstream and marginalised communities. In case of folk-lores and mythic narratives, the discourse comprises of both real and imaginary events, but as Hayden White proclaims that there is no obligation to keep these two orders of events distinct from each other. When meaning is shifted from one social space to another by narrative means, the reality also makes a shift. Therefore the former reality tends to come to a close. Thus when we are trying to formulate a historiography of translation practices in India, the contribution of folk-languages cannot be neglected . In terms of linguistic as well as cultural historiography, the involvement of Rajbansi cannot be ignored because in their narratives we can find the traces of ancient practices popular among the natives of north Bengal and Assam. For example, the term for Thursday in Rajbansi is ‘bisti’, which can be related to the word ‘Brihaspati’ in both Bengali and Assamese. The word for cooking is termed as ‘Aandha’, which is closer to ‘Randha’ in Bengali while the term for wearing is ‘Pinda’ which is closer to ‘Pindha’ in Assamese. The festivals like ‘Noya Khoya’ are closely related to the ‘Nobanno’ in Bengal. The fertility cults, the harvest festivals, the tree worships, the absence of idol worships etc in Rajbansi community delivers us a picture of different Bengal or different Assam, which is relatively non-Aryan. Unless the symbols represented through their cultural practices is involved within the boundaries of translation historiography, a large part of knowledge documentation will be ignored.

10:00 AM - Translating Legal Petitions in Colonial India: The Andaman Connection Rath, Akshaya (National Institute of Technology, Rourkela, India)

In this paper, with archival resources and semi-biographical narratives, I intend to explore juridical petitions and native speeches pertaining to the political prisoners incarcerated in the Cellular Jail in the Penal Settlement of the Andaman Islands. The first category include Gopal Chandra De, the eldest brother of Bidhu Bhusan De (1914) and Yamunabai, wife of V.D. Savarkar (1921) and the second include ‘Proposed Prosecution in respect of speeches delivered in Calcutta’ (1937) by Indian women for repatriation of political prisoners. Both the categories of texts address complex issues of translation which I intend to explore in this paper. First, the native tongues found a splendid political move in juridical literature. Second, the eventuality of native expressions provides a serious transgression of native ideology. And third, in translating the alternative tongues to juridical tongue does the Administration negotiate in the formation of a convict society. In short, this paper will read juridical petitions and translated repatriation speeches to argue in favour of an alternative site of postcolonial translation.

11:00 AM - Archetypos and Typos in Celan's Conception of the Image Koch, Julian (Queen Mary, University of London, Luedenscheid, Austria)

My paper seeks to approach translation and its implied unilateral dependence on the original from a different angle by scrutinising how Paul Celan retraces the trajectory of a similar dualism, that of archetypos and typos, and renegotiates its philosophical premises in his conception of the image. The image as typos in Greek and Judaeo-Christian philosophies is contingent on its archetypos which prefigures the image yet, paradoxically, cannot itself be visually captured. Thus, the dualism of archetypos and typosplays out entirely on the visual body of the image, whose very visuality itself embodies the discrepancy from its archetypos. As such, the image's simulating its archetypos implies a creative act through which this discrepancy is marked. This creative potential motivates the trope of the image in Celan through which he reflects on the poetic and creative endeavour that is nonetheless underscored by a destructive momentum, since inscribed upon the image is not the archetypos but its difference to the archetypos.Thus, the image's creative-destructive force reflects and sustains the entire development of the poem 'Tenebrae' when, in the concluding stanzas, God seems to transubstantiate in his image formed in a trough of blood. The embodiment of God as

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 visual image places the supposed divine archetypos in a subsequent position to its inherently deficient typos, an effective uncreation of both facing the perpetrations of the Holocaust. Paradoxically, the poetic word still persists through this questioning of religious belief and the expressive capacity of poetry itself. In 'Wortaufschüttung', this conception of the image is echoed and radicalised as the image only ever appears duplicitous. Yet, such scepticism of the archetypos seems to entail the possibility for poetic renewal that also resonates in 'Halbzerfressener' where the typos outgrows, trans-lates beyond its dependence on its archetypos in what seems to be a cautious revaluation of the power of poetry.

11:30 AM - The image of the child across the works of Wolfgang Borchert and William Faulkner Bubar, Mallory (Pennsylvania State University, State College, Pennsylvania, USA)

This paper looks at the writing styles of German Trümmerliteratur author, Wolfgang Borchert, and Mississippi native, William Faulkner through a translation task. Although both could be considered world literature with their easily relatable themes, Borchert has not been as widely translated throughout the world as Faulkner. In this paper Borchert’s short story, “Nachts schlafen die Ratten doch,” with the theme of the divided child will be translated from German into English. In addition to this, portions of Faulkner’s short story “Barn Burning” will then be translated from English into German in an attempt to show a similarity between themes. Both stories provide the reader with the perspective of a child and it’s struggle between loyalty to family and doing the right thing. Borchert’s child is placed in the ruins of post World War II Hamburg and Faulkner’s child in the poverty-stricken share cropping society of Mississippi. The goal for this translation task is to capture these elements of an inner struggle of a child while still maintaining the distinct stylistic methods of both Faulkner and Borchert. Both authors make use of the literary tools and structures that their languages have to offer. Maintaining the imagery and overall message of the stories in the translations is essential but is often difficult due to the different constructions across the languages. Nevertheless, the translations are necessary because of the child imagery and its relevance across different cultures.

12:00 PM - Language and Political Crisis at the Fin-de-Siècle: Hugo von Hofmannsthal's Ein Brief Jicinska, Veronika (Jan Evangelista Purkyne University, Usti nad Labem, Czech Republic)

The paper shows the so-called language crisis experienced in Austrian thought at the end of the nineteenth century from the perspective of a theory of translation and tries to trace tropes of translation in literary texts from that period. My point of departure is that this crisis was caused by a loss of confidence in sovereign power. As the guarantor of Austrian socio-political meaning, the disappearance of an easily identifiable institutional structure and a clearly recognizable, powerful sovereign undermined language at its core: the ability to express accurately a speaker’s intentions. This, coupled with the rise of nationalist minority movements with their own claims to linguistic hegemony, gave rise to an understanding of language as inherently arbitrary and in a constant state of translation. Seeking a stable, universal language as a surrogate to monarchical sovereignty, Austrian intellectuals posited the primacy of the body as a communicative organ over and above the failed linguistic utterance. Verbal language became the irredeemable translation of bodily intention that was thought to be only now for the first time apprehended in its unmediated (untranslated) state. In the paper, I will concentrate on Hugo von Hofmannsthal’s turn away from writing verse, announced in his poetic anti-manifesto Ein Brief (1903). Contrary to the prevalent scholarly opinions, this turn was due not to a loss of faith in poetry, but instead to the belief that the world had become poeticized to such an extent that it was no longer possible to say where poetry ended and bureaucracy began. The Brief extols a new poetic language of the body in energetic motion as the proper mode for authentic communicative signification as the translation of the body. These reflections are bound to Hofmannsthal’s political writings and speeches, in which he calls for a

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 vigorous renewal of symbolic, embodied sovereign authority and the abandonment of political metaphor or, said differently, the political translation. From this point of view, translation becomes an epistemological horizon against which one can measure the extent to which nation and culture are arbitrary assemblages given the weight of objective fact by transnational linguistic practices.

16445 - Langage scientifique, langage littéraire : quelles médiations ? Date: Monday, July 25th Room: Hs 26 Chair: Dahan-Gaida, Laurence

2:00 PM - Le diagramme entre écriture littéraire et écriture savante Dahan-Gaida, Laurence (université de franche-comté, Besançon, France)

L’objectif de cette communication est de proposer des éléments de réflexion sur le diagramme en tant que procédure cognitive commune à l’écriture scientifique et à l’écriture littéraire. Dans Les enjeux du mobile, Gilles Châtelet a établi un parallèle entre diagrammes et métaphores créatrices. Si le diagramme peut, d’après lui, être considéré « comme le véhicule idéal de la pensée quand elle forge de nouvelles intuitions, c’est parce qu’il est un langage non-verbal évitant ainsi d’importer uneontologie obsolète »1. Tirant tout son dynamisme d’une « co-pénétration de l’image et du calcul », il représente un effort pour « visualiser » le calcul et parvenir plus vite au résultat2. En cela, il peut être rapproché de la métaphore qui, elle aussi, contient un moment iconique, dans lequel Paul Ricoeur voit précisément le site des significations naissantes. Avec le diagramme, l’image devient l’élément dans lequel la pensée se déploie et construit son objet. Répondant à une démarche constructive et dynamique, le diagramme ne vient pas illustrer une idée qui serait déjà là mais il incarne le mouvement à travers lequel une idée se cherche et finit par se formaliser dans une figure. Le diagramme, c’est l’idée émergente rendue visible, une « image de la pensée » en train de se faire. Ne pourrait-on dès lors l’envisager comme un « régime de pensée »3 susceptible de s’investir aussi bien dans l’écriture littéraire que dans l’écriture savante : à la fois calcul et figure, acte de l’imagination et instrument d’intelligibilité, le diagramme est en effet comparable à la figure (rhétorique) qui se construit sur deux ordres – verbal et iconique – et confond ainsi la connaissance et l’art en un système commun.

1 Alexis de Saint-Ours, « Les sourires de l’être », TLE n°22/2004, p. 29-53. p. 47.

2 Gilles Châtelet, « Les mondes possibles », ENS Séminaire 1997. Cité par Alexis de Saint-Ours, ibid, p. 32.

3 Noëlle Batt, « L’expérience diagrammatique : un nouveau régime de pensée », p. 5.

2:20 PM - La corruption poétique du langage scientifique. Sur Livre des poisons d'Antonio Gamoneda Gamoneda, Amelia (Universidad de Salamanca - Spain, Salamanca, Spain)

Sous le titre Livre des poisons. Corruption et fable du sixième livre de Pédacius Dioscoride et Andrés Laguna, sur les poisons mortifères et les bêtes sauvages qui crachent le venin , du poète espagnol Antonio Gamoneda, une polyphonie de voix se fait entendre : celles, juxtaposées ou superposées, de Dioscoride, Laguna, Mattioli et même (en traduction française) celles d’Antoine Du Pinet et de Jean Des Moulins. Le travail de ce livre de création agit sur la matière et le discours scientifique de deux façons : en reconnaissant l’érosion poétique que le temps produit sur le langage scientifique et en ajoutant une nouvelle couche de création sur une science pas tout à fait dégagée du mythe. La 24

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 poésie tient donc ici de la « géologisation » du langage. Quels glissements y reconnaître entre science et poésie ? Quelle densité et quelle compacité sont celles du langage poétique composé du scientifique? Comment ce langage scientifique ancien devient le langage d’un poète actuel ? De la « géologisation » qui dépend du temps découle une corruption du langage, de sorte que ce langage à vocation de désignation précise scintille de métaphores. Dans cet humus formé d’un langage scientifique qui s’est longtemps exercé à nommer le corps et l’organique, une corruption du sens s’est produite : le langage se corrompt poétiquement dans la fréquentation de la chair. Le langage devient ainsi lui-même nature vivante, assume un processus naturel de dégradation de sa matière. La poésie est ici le résultat d’une « biologisation » du langage. Que la fable du titre pousse dans cet humus ne saurait plus étonner le lecteur.

2:40 PM - Le pont de Poincaré : de la topologie comme traduction. González, Francisco (Universidad de Oviedo Spain, Oviedo, Spain)

Les métaphores que l’on emploie habituellement dans les différentes études portant sur les rapports entre la science et la littérature révèlent l’existence d’un déséquilibre bien manifeste. Synergie, osmose, symbiose, vases communicants : toutes ces images dont on se sert habituellement dans ce genre de travaux pour mettre en évidence une telle liaison proviennent de façon significative du domaine scientifique et rendent ainsi visible à leur insu l’asymétrie entre ces deux champs du savoir. La troisième culture que réclamait de ses vœux Snow n’est point devenue un espace d’échange d’idées authentique, mais plutôt une voie intermédiaire que les savants ont su emprunter pour populariser leurs découvertes scientifiques. Aussi, sans doute afin de sauver un dénivellement épistémologique indéniable, le pont jeté entre les sciences et les lettres –autre lieu commun– s’avère-t-il beaucoup plus difficile à parcourir en partant du rivage des lettres, et la littérature et les arts sembleraient être condamnées à envisager la science comme un immense placard d’où l’on prendrait de belles métaphores. Il s’agit ici de savoir s’il est improbable que les hommes de science tirent quelque profit pour leur discipline de la lecture d’un poème ou d’un roman. Les idées artistiques, par exemple, de Galilée –sa méfiance envers les anamorphoses et les allégories– jouent en ce sens un rôle décisif pour comprendre le singulier silence qu’il porta sur le modèle elliptique des orbites de Kepler. Mais c’est à Henri Poincaré que l’on consacrera surtout ces réflexions, car cet éminent savant, épris depuis sa jeunesse de poésie et de théâtre, ne manqua pas de revendiquer la lecture d’œuvres littéraires et la pratique de la traduction pour la formation des jeunes mathématiciens, d’autant plus que dans ses essais mais aussi dans ses propres découvertes, notamment en topologie, le thème et la version occupent une place centrale.

3:00 PM - Gebrochene Gestalten und gebrochene Gestaltung : Wissen vom Wahnsinn in der Literatur des späten Goethe und bei Büchner Haberl, Hildegard (Université de Caen Normandie, Caen, France)

Einerseits ist der Roman Die Wahlverwandtschaften von Goethe sehr streng durchkomponiert, andererseits wird diese Komposition ständig gebrochen (durch die Einfügung von Fragmenten, Briefstellen, Aphorismen etc.). Außerdem wirft das Ende des Romans interessante gattungstheoretische Fragen auf, wobei hier die Figur der Ottilie eine zentrale Rolle spielt. Die Darstellung ihrer Krankheit und ihres Todes sowie die Darstellung anderer psychisch kranker Figuren im Spätwerk Goethes soll im Spiegel der Psychiatriegeschichte analysiert werden.

Was kann beispielsweise die Spannung zwischen klarer, geordneter, geschlossener und komponierter narrativer Form versus formaler Offenheit und narrativen Brüchen bedeuten, wenn Autoren sich für die Medizingeschichte interessieren (in unserem Fall u.a. Johann Christian Reils „Rhapsodieen über

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 die Anwendung der psychischen Curmethode auf Geisteszerrüttung“, 1803), das Wissen darüber in den Text einfließen lassen und dieses problematisieren?

Inwieweit kann Goethes Darstellung gebrochener Figuren (und nicht nur des Werther!) als Modell für Büchners Lenz gesehen werden, der die Darstellung „des Lebens der Geringsten“ noch radikaler gestaltet?

16447 - PANEL Digital Humanities in Comparative Literature, World Literature(s), and Comparative Cultural Studies Date: Friday, July 22nd Room: Hs 45 Chair: Totosy de Zepetnek, Steven; Graciela Boruszko

9:00 AM - Multilingual Digital Humanities and Translation Menon, Nirmala (Indian Institute of Technology (IIT), Indore, India)

This paper will look at the borders of languages and disciplines and re-imagine Digital Humanities for a multilingual Asian context from the point of publishing and translations.

Both Digital Humanities and Publishing will have to be radically re-conceptualized in multiple languages for its success. I believe that Postcolonial DH should consciously facilitate projects in multiple postcolonial languages so as to preempt any canonical/linguistic hierarchy of languages. There is exciting potential to be able to do just that with the aid of technology that facilitates ventures such as publishing and translating with a lot more ease than ever before. The said tools are still nascent and often unsophisticated (especially the ones for translations) but that is precisely the challenging space of critical evaluation that calls for the Humanities in Digital Humanities. In other words, it is not about simply re-engineering computing excellence but a conscious attempt at reimagining postcolonial publishing paradigms. This paper examines the critical work being done in various language literatures in India and its non-representation in postcolonial and other theoretical frameworks. My pilot project (with my PhD students) tries to build a database that indexes scholarship from three different languages. Once the database is launched, it will provide an access for scholars who want to do literary research, specifically comparative research, a platform to know about these works. I argue that a Digital Humanities project that provides a platform for conversations between these various critical works in literature will enrich and deepen our understanding of postcolonial conditions beyond the Anglophone writings. This digital database: 1) compels visibility and conversation between scholars of these different languages and 2) enable translations between the languages and into English of academic publishing in various languages. This will require a two step strategy: 1) Develop a comprehensive collaborative project that will provide the infrastructure for a multilingual digital project and 2) expand the project to include translations from and between the various discourses. I expect it will cross the borders of liminality across languages. This is just a beginning of that long term project of enabling conversations across multiple languages.

9:30 AM - Applying Taxonomical Order to a Digitally Translational Database Bahrevar, Majid (Charles University in Prague, Czech Republic, Prague, Czech Republic)

Literature in Samuel Coleridge's words, works as an “intermedium.” So as to meet an efficient communicative research today, it calls for systematic digitally-made databases for documents of world literature. A taxonomical model of comparative cultural studies has been revised and

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 suggested by Steven Totosy de Zepetnek (2002) in which the production and post-production procedures of a translational text were categorized. http://docs.lib.purdue.edu/clcweblibrary/ccstranslationstudies Here as a subject of debating on translational circulations enjoyed in world languages, literatures, and cultures, "The Rubaiyat of Omar Khayyam" has been chosen which followed by some digital guides to, examples are Omariana, the digital news bulletin of the Dutch Omar Khayyám Society http://www.omarkhayyamnederland.com/omariana/index.html or web archive designed by Bob Forrest in UK, http://www.bobforrestweb.co.uk/The_Rubaiyat/index_of_the_rubaiyat_archive.htm besides traditional bibliographies by A. G. Potter and others. The field necessitates to be systematically digitalized in order to be a global informational socialism, but approaching by a taxonomical category-based, here at work failed to get an integrated accessibility, facing a categorical shortfall in Totosy's alphabetical order as well. The bibliographies, references, and archives made for translations of the Rubaiyat did not cover the global texts and contexts, while Totosy's detailed factors of each category needs to be tested and implemented especially at its third and fourth process of cultural production, i.e. reception, and post-production by observing the real translational and meta-textual reverberations of a single text.

Key-words: Comparative Cultural Studies, Interdisciplinary, S. Totosy, Digital Humanities, Taxonomy, Rubaiyat.

10:00 AM - Transformative digital intermedia studies. Using computer based conceptual modelling to study media differences Eide, Øyvind (Universität Passau, Passau, Germany)

The proposed paper will introduce transformative digital intermedia studies, which is an area of research located at the cross section between digital humanities and intermedia studies. This will be done by presenting critical stepwise formalisation, a method for studying media expressions through the process of rewriting them into new expressions in another medium.

The rewritings are done though computer based conceptual models of readings of the source expressions. The aim of producing the target media products is not to create new media products as such, as in modelling for production, but rather to study the process, as in modelling for understanding. Thus, the main goal of such studies is what is lost in the process of critical stepwise formalisation rather than the end products created by it.

The method will be linked to the current understanding of modelling in digital humanities that connect modelling to traditions not only from computer science and the natural sciences but also to the long traditions of modelling and abstraction in the humanities. This is done by using a semiotic framework to understand the complex relationship between model and modelled object.

The strength of this approach is the explicitness in which media expressions can be studied at a detailed level, giving a solid basis on which to evaluate specific expressions in relationship to the media they represent. A potential weakness of the method which is common to much research in digital humanities will be raised in the paper as well: the limited level to which one reaches results of significance to the development of thinking in the non-digital humanities.

Transformative digital intermedia studies will be exemplified through research linked to spatial understanding expressed in texts, where the critical stepwise formalisation process is used to see what happens when the textual spatial understanding is translated into the map medium.

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

11:00 AM - The Literary Encyclopedia as a model of digital scholarly publishing for the new posthumanist age Sandru, Cristina (The Literary Encyclopedia, Bristol, United Kingdom)

The Literary Encyclopedia was founded in 1998 with the aim of providing a reliable scholarly online reference work for English-language readers, primarily in the higher education humanities. At the time, ‘going digital’ was still in its infancy, especially in literary and cultural studies, and often frowned upon or dismissed among respectable academic circles in the humanities. Much has changed since, to such an extent that it is now virtually impossible to find a major academic publisher without a strong online component. Yet what distinguished the Literary Encyclopedia from its very inception was the fact that it was built with the online user in mind (so emphasizing ease of access and functionality of content), and organized its data in easy to update and cross-linking tables of information. Because this architecture has been constantly improved over 15 years, it is easy to use, flexible and robust.

What distinguishes the LE from similar reference projects are 3 things:

1. An emphasis on making its digital platform responsive to the needs and limitations of today’s readership.

2. A preoccupation with covering all writing of value produced throughout the world, in an age and environment in which world& comparative literature, especially in the English-speaking academic context, face an increasing threat of irrelevance. We seek to offer accessible critical content, written in English, on writing and cultures on which such reference information is not readily accessible.

3. A belief that authors, editors and translators should be properly rewarded for the time, energy and knowledge they put in. This is an inverse trend to the increasing corporatization of knowledge, and the effective control of scholarly publishing by a handful of major corporations. Instead, what we propose is a co-ownership model which renders our project effectively a not-for-profit one: all revenues in excess of running and development costs are distributed as royalties to contributing members.

11:30 PM - Mobility, transparency, and permanence of the object "word" in scholarship in digital humanities boruszko, graciela (Pepperdine University, Simi valley, USA)

Does “the word of the author” and the “words of the author” conspire in the digital text? Does the digital publication behave as an adjuvant or as a hindrance so that the author arrives to mean what he or she says and assigns a meaning to everything the writer says? How does the digital word achieve social relevance to a student body that manifests less interest in the study of literature and cultures?

This article will analyze how the digital word engages in the pedagogical and scholarly journey. What is the role of the digital word in the theoretical realm as well as in the practice of that pedagogy? Is the digital word distant from the printed word? How do either word relate to a globalized pedagogy? Is the digital word the best instrument to insert scholarship beyond borders? How is the digital word relating students, faculty, researchers and the general public in a fast paced world thriving to consume the posts on the wide world web?

The millennial generations are trained by our society to engage and consume what pertains to social relevance, so how do they interact with scholarship published in digital humanities? Can scholarship remain true to the deepest thoughts and achieve social relevance within the digital humanities? How

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 successful is digital humanities to bridge practice, pedagogy and research conceived in the globalized theater of the wide web?

The digital word has to answer to these challenging scenarios and once again succeed to convey the pondering of academia to new generations that have been trained to dig into the wide web to find the answers to their personal quests.

2:00 PM - Combining quantitative and qualitative methods to visualize, measure and analyze the corpus of Alexander von Humboldt. Bärtschi, Sarah (Universität Bern, Bern, Switzerland)

From 1788 to 1859 the explorer and scientist Alexander von Humboldt published about 750 articles and essays in over 150 periodicals. These texts are written in different genres and for different target groups. And they are multilingual and multidisciplinary. In my talk, I discuss the combination of quantitative and qualitaitve methods in order to visualize and describe the complexity and heterogeneity of this corpus. In switching between distant and close reading I try to answer research questions as follows: How can we measure Humboldts rhetorical strategies, his writing style, and his use of specific vocabulary? How can we determine the discussed disciplines in each article and give an overview of Humboldt’s inter-, multi- and transdisciplinarity? How can we visualize the involved translation work and differences in text versions? By several examples, I show how I prepared the corpus to enable these quantitative analyses and discuss the challenges in working with historical corpora and ancient spelling.

2:30 PM - A Study on Ba Jin in Chinese Electronic Media Wang, Miaomiao (North China Electric Power University, Beijing, China)

A Study of Ba Jin (李尧棠) in Chinese Electronic Media

Ba Jin (Li Yaotang, 1904-2005) is known as one of the six most influential writers in modern Chinese literature (the others are LuXun, Guo Moruo, Mao Dun, Lao She, and Cao Yu). According to the data collection of the webpage about Ba Jin in Chinese, the paper gives an outline of the core concerns in Chinese Electronic Media. It discusses what is happening about Ba on the Chinese Internet in China, including the developments on the introductions to Ba; the autobiographies of Ba; the works of Ba, which takes Turbulent current trilogy as the example; politics, especially on anarchism and populism; and images of the female, etc. Besides, it also discusses how the criticism and reception of Ba online in Chinese are different from those in the US-America. The paper analyzes the hidden reasons, most of which are owing to the specific historical and theoretical values, expecting to provide important points of reference for a global understanding and appreciation of Ba’s works, and contribute to the study of Ba in and abroad.

3:00 PM - Remediating Travel Writing: A Cross-Cultural Approach to Western and Chinese Travel Books and Blogs Calzati, Stefano (University of Leeds, Leeds, United Kingdom)

Being a genre that is paradigmatically based on the encounter between self and other, travel writing constitutes a privileged object of study for a cross-cultural analysis. Here, such analysis is extended to the digital realm, by advancing a comparison between a number of contemporary travel books and blogs about China. Firstly, western-authored travel writings, written either in English, French, or Italian, are compared. The main argument is that there are no sensible differences – neither online, nor in print – among these texts, as for what is recounted, despite the fact that travellers come from

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 different contexts. To change, however, are the kinds of knowledge that the book and the blog, as medial formats, promote: in print travelogues the encounter is represented as a gradual discovery, while travel blogs manifest an objectification of the account, which implies a commodification of the experience. This means that, while the genre is transcultural in content, it undergoes a radical reworking of its form and embedded knowledge depending on the medium. In the second part, the same analysis concerns Chinese-authored travel books and blogs. Findings point to a widespread homogeneity – in content, form, and kind of knowledge – among Chinese and western travel blogs. On the contrary, printed Chinese travel writings differ from western ones, in terms of formal features and the conception itself of the genre. This suggests a degree of incommensurability proper to printed travelogues – but not digital ones – when the comparison transcends western literary borders.

4:00 PM - Comparative Literature and Digital Humanities- The Possibilities of Interrelationships Bhowmik, Ranjamrittika (Jadavpur University, Kolkata, India)

If the history of Comparative Literature is traced one would be reminded of Goethe’s famous dialogue with Eckermann in which he declares the last days of National Literature and the emergence of Weltliteratur.Tagore’s idea of Vishwasahitya was founded on the belief that the ‘literatures’ of the world can be studied in the most humane, collaborative and deterritorial manner. Charles Mills Gayley and Hugo Meltzl had both argued in favour of collaborative work as the most effective way for comparative literature to combine the depth and breadth of its study. Hutcheson Macauley Posnett had stressed that “comparative study should be a scientific enterprise focused on broad literary and social movements rather than on a Romantic-style appreciation for the outpourings of individual genius.” Gayley wanted to build a massive database of analysis from which the laws of genre and literary evolution could be governed. This dream of a “new science of literature” was essentially interdisciplinary in nature and this vast and comprehensive endeavour would require a scientific collaboration in a “society of comparative literature.”

This paper will try to argue that, Digital Humanities is such a world “society”, which enables collaboration and building up of a massive database in proportions unimagined before.Processes like data-mining,quantitative text analysis, data visualization, digital archiving etc not only make the process of preserving, producing, disseminating and circulation of knowledge easier but also act as catalysts to enable better qualitative analysis of literary, cultural, sociological and political works creating an infinite network of communication and interaction. In the digital age, a system of hypertexts can be modified at any time and has many centres from where meaning originates. This is a paradigm shift in literary history, the history of publishing and cultural interaction. It is no more a linear relationship between the text and the reader but a participatory framework where one is allowed to contribute criticize, modify content. If we as students of Comparative Literature create such multimedia platforms, and exploit the medium of Digital Humanities to create inter-media and multimedia representations of literary, historical, political, religious and socio-cultural works, it will only help researchers to go ahead with their research on a specific topic and reduce the perils of unavailability or lack of access to certain rare materials.

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

4:30 PM - Neoliberalism, World Literature, and the Promise of Digital Publishing Di Leo, Jeffrey R. (University of Houston-Victoria, Houston, USA)

Jeffrey R. Di Leo discusses the potential of digital publishing for supporting world literature--the backbone of the humanities and comparative literature. It is both a critique of the neoliberal global publishing industry and a call for more writers to embrace avenues outside of it opened up by new digital publishing technologies. Di Leo’s exploration of digital publishing in support of the notion of world literature is in part inspired by the case of Dalkey Archive Press author, Svetlana Alexievitch, the 2015 winner of the Nobel Prize in Literature. At the time of the award, the press (which is on the campus of the University of Houston-Victoria) only had one hard copy of her masterwork, Voices from Chernobyl, in their inventory, but used digital publishing to meet world demand for the book in a matter of hours.

5:00 PM - Digital Humanities, Data Science, and the Study of Literature Tötösy de Zepetnek, Steven , Other / Andere

In his presentation Steven Tötösy de Zepetnek discusses the historical background of electronic data (theory and application) and the current landscape of scholarship and practices of data science including the relevance of "big data" in and for the study of literature. Starting in the 1980s, theoretical and applied frameworks such as Bibliologie and the Empirical Study of Literature, the relevance and importance of data obtained electronically has been put on the landscape of new scholarship in theory, application, teaching, and research practices. Facilitated by computer networks and the internet and thus the availability of "big data," by the late 1990s to current applicabilities and the relevance of electronic data evolve(d) to significant advances in order to research and analyze literary texts empirically both quantitatively and qualitatively. It is in this context that Tötösy de Zepetnek discusses the current landscape of scholarship as to how data science facilitates new insights about various aspects of and in the study of literature. Data science applied in the study of literature confirms already established paradigms and analyses arrived at in traditional scholarship while others alter and revise established paradigms and change the study of literature in research, teaching, and publishing.

16460 - Kolonialismus, Globalisierung(en) und (Neue) Weltliteratur Date: Friday, July 22nd // Saturday, July 23rd Room: Hs 26 Chair: Sturm-Trigonakis, Elke

9:00 AM - Herausforderungen postkolonialer Studien im einundzwanzigsten Jahrhundert Albrecht, Monika (Universität Vechta, Vechta, Germany)

Die traditionellen postkolonialen Studien gehen von der Relevanz postkolonialer Theorien für das Verständnis der gegenwärtigen Welt aus. Ihre Aufmerksamkeit gilt jedoch den europäisch- kapitalistischen Imperien und ihren kolonialen Opfern, ein großer Teil der Welt kommt in diesem vermeintlich weltumspannenden Ansatz gar nicht vor. Das Fehlen zweier kolonialer Machtzentren fällt dabei besonders ins Auge: Einmal hat die Nähe zu kapitalismuskritischen und marxistisch orientierten Diskursen den postkolonialen Ansatz auf dem linken Auge blind gemacht, so dass die russische und sowjetische koloniale Expansion und die postkolonialen Nachfolgestaaten des sowjetische Imperiums die längste Zeit nicht in den Blick gerieten. Zum anderen wird der Nahe Osten, speziell das Osmanische Reich des 19. Jahrhunderts, von vielen trotz seiner durchaus bekannten imperialen Aggression bis heute meist nur als Opfer der anderen globalen Mächte 31

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 wahrgenommen. Aus postkolonialer Sicht gilt dieser 'klassische Raum' von Edward Saids "Orientalismus" ohnehin als nicht kritisierbar.

Die Glaubwürdigkeit und intellektuelle Relevanz des Postkolonialismus wird künftig nicht zuletzt davon abhängen, ob und inwiefern er sich den Herausforderungen eines tatsächlich globalen Ansatzes stellt. Was jedoch beim Einbezug bislang vernachlässigter (post)kolonialer Situationen mit konzeptuellen und politischen Vorannahmen der traditionellen postcolonial studies geschieht – wenn etwa die 'koloniale Logik' in anderen Kontexten anderen Gesetzen gehorcht und 'koloniale Mentalitäten' andere Auswirkungen als die bislang vertrauten zeigen –, ist gegenwärtig noch nicht absehbar. Der Vortrag geht diesen und anderen Fragen nach, diskutiert Konsequenzen eines in diesem Sinne erweiterten Verständnisses von Postkolonialität und macht Vorschläge für Neukonzeptionen.

9:30 AM - (Literary) Theory from the South Helgesson, Stefan (Stockholm University, Stockholm, Sweden)

In their book, Theory from the South , John and Jean Comaroff claim that the North is evolving towards Africa, with fiscal meltdown, precarity and state privatization reflecting developments which the “Global South” has experienced for much longer. The time has come, in other words, for the North to learn a lesson or two from theSouth. As the Warwick Research Collective (WReC) argue in their recent book Combined and Uneven Development, however, this is hardly anything new: within the evolving capitalist world-system, its unevenness has always been most keenly evident in the peripheries of the system. The critic – in the WReC mould– who reads fiction for its encoding of the unevenness of the world-system,will therefore find some of the strongest and oldest instances of “world-literature” emerging from colonised and formerly colonised regions of the world: Multatuli’s Java, Machado de Assis’s Brazil, Olive Schreiner’s Cape colony. Taking this a critical point of departure, the present paper will look at some twentieth-century instances of how literature has been theorised and studied in the South. The assumption here is that, on closer inspection, earlier phases of literary study in the South produce implicit (and sometimes explicit) theories of world literature that prefigure contemporary debates. To show this, the paper draws on a Brazilian and South African archive, looking specifically at how critics have negotiated the dialectic of the local and the cosmopolitan, and the national and international, under conditions of (post)coloniality in the 1960s and 1970s.

10:00 AM - Hybride, Nomaden, Verpflanzte: problematische Narrative des Selbst in der "afropoliten" Literatur Heimgartner, Stephanie (Ruhr-Universität Bochum, Bochum, Germany)

Unterschiedlich motivierte Migrationsbewegungen haben in ihrem Ausmaß, ihrer Dynamik und ihrer Reichweite seit dem letzten Weltkrieg rapide zugenommen (Han 2005); dies führt zu einer Vervielfachung kultureller Kontakte und interkulturell wirksamer Diskurse. Wo Kulturen, Individuen oder Texte mehrerer, manchmal auch undefinierbarer Herkünfte in Kontakt kommen, benötigt auch die Literaturwissenschaft nicht nur ein verlässliches, sondern, wie die zahlreichen Vorschläge in diesem Feld vor allem in den letzten 20 Jahren zeigen, auch ein flexibles begriffliches Instrumentarium abseits des nationalliterarischen Paradigmas. Literarische Werke spiegeln solche massiv zunehmenden Kulturkontakte und globalen Diskurse in tendenzieller Mehrsprachigkeit, in der Hybridität von Gattungen und dem Rückgriff auf fakturielle Merkmale unterschiedlichster Provenienz. Nicht zuletzt verarbeiten sie zeitgenössische Erfahrungen fragmentierter Subjektivität in der Formung ihrer Protagonisten. Die Kritik am Ungenügen des breit diskutierten postkolonialen Paradigmas, das Menschen innerhalb und außerhalb der Literatur in erster Linie an ihrem Herkommen aus einer kolonialen Geschichte der Unterdrückung und Nötigung (als „Opfer“, „Täter“ 32

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 und Mischform) beschreibt, wird dabei immer lauter. Flexiblere Beschreibungsparameter für eine „neue Weltliteratur“ können auf neuere Ansätze wie die Nomadic Theory von Rosi Braidotti (1994/2011) oder die Greffologie von Ottmar Ette und Uwe Wirth (Nach der Hybridität, 2014) zurückgreifen. Diese Ansätze werden in meinem Beitrag an neueren Romane von afrikanischen Emigranten erprobt, die Prozesse problematischer Subjektkonstitution bei ihren Protagonisten darstellen.

11:00 AM - Zwischen Ver- und Entortung. Der dritte Raum in der Post-DDR-Literatur Nagelschmidt, Ilse (University of Leipzig, Leipzig, Germany)

Meine Freunde im Osten verstehe ich nicht mehr [...] Nirgendwo bin ich angekommen. Nirgendwo war ich zuhaus. Das stelle ich fest ohne Trauer. Was also hole ich her, wenn ich bleibe was sollte bleiben, wo es jetzt ist.1 Noch weit über zwanzig Jahre nach der deutschen Wiedervereinigung gibt es in der germanistischen Literaturwissenschaft in keiner Weise eine Einheitlichkeit in der Begriffsbestimmung zu der nach 1989 in Ostdeutschland geschriebenen Literatur. Termini wie Wendeliteratur, Regionalliteratur, ostdeutsche Literatur und Post- DDR-Literatur bestimmen die Aussagen. Dabei ist auffallend, dass in literaturwissenschaftlichen Abhandlungen der postkoloniale Diskurs über Jahre weitestgehend ausgeblendet bzw. sofort wieder in Frage gestellt wird (Wolfgang Emmerich). In der Aufnahme postkolonialer Verfahren ist es das Ziel des Beitrages, den dritten Raum in der Post- DDR-Literatur zu bestimmen und die vom amerikanischen Kulturwissenschaftler und Philosophen Homi K. Bhabha geprägten ‚Gegengeschichten' in ihrer Bedeutung zu erschließen, da sie kritische Perspektiven auf Einheit und Vielheit einer Nation sowie deren Postulat einer stabilen, teleologisch und hegemonial informierten Geschichtspolitik artikulieren können. Im Vortrag sollen Texte von Wolfgang Hilbig, Angela Krauß und Christa Wolf im Hinblick auf das subversive Potenzial untersucht werden, um so die von Bhabha eingeforderte "Zeitlichkeit der Repräsentation, die sich ohne zentrierte Logik zwischen kulturellen Formationen und sozialen Prozessen bewegt"2, den ‚Historismus' der von der Gleichwertigkeit von Idee und Ereignis ausgeht und "gewöhnlich ein Volk, eine Nation oder eine nationale Kultur als eine empirisch soziologische Kategorie oder eine ganzheitliche kulturelle Größe bezeichnet"3, entgegenzusetzen.

1 Drawert, Kurt: Ortswechsel. In: ndl 41 (1993), 7, 24.

2 Bhabha, Homi K.: DissemiNation, Zeit, narrative Geschichte und die Ränder der modernen Nation. In: Homi K. Bhabha: Die Verortung der Kultur. Tübingen 2011, 210-211.

3 Ebenda, 209.

11:30 AM - Bosnien als Dritter Raum in den Texten Dzevad Karahasans Vojvoda, Gabriela (Universität des Saarlandes, Saarbrücken, Germany)

„Ich komme aus der Dritten Welt“ sagt Dževad Karahasan, eine der wichtigsten literarischen Stimmen aus Bosnien. Die Trefflichkeit und Doppeldeutigkeit der Aussage wird bei der Betrachtung insbesondere seiner nach den jugoslavischen Zerfallskriegen entstandenen Texte, deutlich. Jugoslavien gehörte nach dem 1948 erfolgten Bruch zwischen Tito und Stalin der Bewegung der Blockfreien und somit per definitionem der so genannten Dritten Welt an, die sich über die Erste Welt des westlichen Kapitalismus und die Zweite Welt der kommunistischen Ostblock-Staaten definierte. Einen kulturwissenschaftlichen Zugang zum Dritten Raum bietet die postkoloniale Theorie. Der Begriff „Dritte Welt“ assoziiert neben Krieg und Armut nämlich noch ein anderes: Kolonialismus. Verschiedene Kulturen, Religionen und Ideologien haben in Bosnien bei über Jahrhunderte andauernder – nicht immer friedlichen – Koexistenz der monotheistischen Religionsgemeinschaften (Christentum, Islam, Judentum), ihre Spuren hinterlassen. Homi Bhabhas (1994) in der postkolonialen Theorie entwickeltes Konzept des Dritten Raums (Third space) bzw. des „Zwischen“-Raums (in- 33

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 between) lässt sich auch auf kulturelle Gegenwart Bosniens übertragen. Bosnien, geprägt durch Fremdherrschaft im Osmanischen Reich und in der Habsburger Monarchie, erweist sich aus dieser Perspektive als „Kolonie“ verschiedener Kulturen und Religionen. Obgleich die postkoloniale Theorie im Allgemeinen und die postkoloniale Narratologie im Besonderen in Folge der weltweiten Kolonisierung durch die europäischen bzw. „westlichen“ Kolonialreiche und mit Blick auf die Spuren, die sie in den einstigen Kolonien in Afrika, Asien und Südamerika hinterlassen haben, entwickelt wurde, ist es sinnvoll, auch die – europäische – Literatur Bosniens aus der Perspektive der postkolonialen Erzähltheorie zu betrachten. Mit der Kolonisierung Bosniens durch das Osmanische Reich, später durch die Habsburger Monarchie, durch die Zugehörigkeit Bosniens zu den Königreichen sowie zum sozialistischen Jugoslavien und nicht zuletzt durch die jugoslavischen Zerfallskriege hat(ben) die kulturelle(n) Identität(en) der Menschen in Bosnien unterschiedliche Herrschaftssysteme durchlaufen, die ihren Widerhall in der Literatur finden.

Entgegen den seit den 1990ern anhaltenden Nationalisierungstendenzen in den Nachfolgestaaten Jugoslaviens handeln Karahasans Texte kulturelle Identitätsentwürfe jenseits nationaler Zuschreibungen aus. Der Vortrag konzentriert sich auf die Implementierung dieses (anderen) Raum- und Identitätsdiskurses in die narrativen Strategien. Begegnungsraum und Verhandlungsinstanz für die Interaktion kultureller Gemeinsamkeiten und Differenzen ist stets Bosnien, das in Form eines facettenreichen Dritten Raums in Erscheinung tritt, in dem die Dichotomien von entweder oder zugunsten einer kulturellen Vielstimmigkeit ausgehebelt werden.

Gabriela Vojvoda hat in Saarbrücken studiert und wurde 2013 an der Martin-Luther-Universität Halle-Wittenberg im Bereich der Südslavistik promoviert. Zurzeit ist sie wissenschaftliche Mitarbeiterin an der Universität des Saarlandes und koordiniert die Europa-Gastprofessur.

12:00 PM - Postkoloniale Ökokritik in der Kinder- und Jugendliteratur am Beispiel von Hermann Schulz' Tanganjika-Romanen Kanjo, Judita (University of Education Ludwigsburg, Karlsruhe, Germany)

Postkoloniale Tendenzen sind nicht nur in der Allgemeinliteratur, sondern auch in der Kinder- und Jugendliteratur mit Erkenntnisgewinn zu verfolgen. Eine neue Dimension eröffnen theoretische Ansätze, die die postkoloniale mit einer ökokritischen Perspektive verknüpfen. Auf diese Weise wird eine Verbindung zwischen sozialen und Umweltfaktoren hergestellt, wobei sowohl der Anthropozentrismus des Postkolonialen als auch die universalistischen westlichen Ökologievorstellungen eine Ergänzung erfahren. Der postcolonial ecocriticism ermöglicht neue Lesarten der hier exemplarisch ausgewählten Romane Hermann Schulz‘, die beide geschichtlich und topographisch auf dem Gebiet des britisch beherrschten Tanganjika zu verorten sind. Die Texte zeigen zwei unterschiedliche Gesichter dieses historischen Raumes: Der Jugendroman Auf dem Strom schildert die Auseinandersetzung eines deutschen Missionars mit der afrikanischen Wildnis, indem er mit dem mächtigen und tückischen Fluss um das Leben seiner Tochter ringt. Eine anfängliche Animalisierung und Ablehnung einheimischer Heilkunst weicht der Anerkennung der Naturnähe und des Wissens der Afrikaner, ohne diese idealistisch zu verklären. Der europäisch- maskulin geprägten Vernunftzentrierung wird nicht zufällig die Heilkraft einheimischer Frauen entgegengesetzt. Der Kinderroman Wenn dich ein Löwe nach der Uhrzeit fragt konstituiert dagegen urbane Räume, indem die Geschichte einer interkulturellen Familie in den Mittelpunkt rückt, die bereits in Auf dem Strom eine Nebenrolle spielte. Eisenbahn, Autos und Lkws bestimmen das Stadtbild, die traditionelle afrikanische Fauna musste bereits der Besiedlung weichen. Die Natur wird durch Bergbau und monokulturelle Landwirtschaft ausgebeutet – der Verbreitung westlicher Agrarkenntnisse dient sogar eine landwirtschaftliche Versuchsstation. Die ursprüngliche Kraft der Natur scheint allerdings im Erinnerungsbild eines Vulkanausbruchs auf, welches mit seinem

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 eindrucksvollen „kirschroten Lapilliregen“ auch nach dem Tod des geliebten Vaters familiäre Nähe stiftet.

Date: Saturday, July 23rd

9:00 AM - Literary Mappings of Colonial and Postcolonial Cities: A study of Genre Crossings in contemporary fictions from Germany and India. sabharwal, jyoti (Department of Germanic and Romance Studies, Delhi, India)

This paper relates to the fictional representation of the city in a comparative frame-work, cutting across genres of the short story, novel, travelogue and autobiography to engage with issues pertinent to this conference. The intent is not to compare texts on the basis of authors or genres. I base my comparative framework on a premise in comparative studies where historical or sociological phenomena are used as connectors within texts.The basis of the comparison is the modern metropolis as a trope in the narrative space of some representative fictional texts across regions and languages.1If all contemporary literature is city literature 2it is worthwhile to analyse how the city impacted the narrative of some representative fictions from Germany and India.

Through the readings of these contemporary fictions from German, Urdu, Hindi and English it is hypothesized that the emergence of the modern city as a literary trope led to a creative impulse to break and recreate the structures of the chosen genre by authors,to frequently create a hybridity of genres.Over the past thirty years, researchers working across a range of disciplines have revolutionized the way we think of genres,challenging the idea that genres are simple categorizations of texts and offering instead an understanding of genre that connects texts to social actions and an understanding of when,why and where to use genres;and how a genre relates to other genres.3

Within this reference-framework the comparisons here will not be undertaken on the basis of binaries of similarity and difference but what Gayatri Spivak sets out as the programme of comparativism in her essay, Rethinking Comparativism, of creating equivalence through giving lesser read languages in the world credence by shifting focus to erstwhile colonised countries and creating an epistemology of gender and subaltern perspectives.

1 Angelika Corbineau-Hoffmann: Komparatiskit. Eric Schmidt Vlg, Berlin 2005. S.96-97

2 Imagined Cities: Urban Experience and the Language of the Novel, and: Writing the City: Urban David Spurr: Visions and Literary Modernism . James joyce quarterly review. Volume 44, Number 2, Winter 2007 pp. 370-376 | 10.1353/jjq.2007.0046

3 Anis S. Bawarshi and Mary Jo Reiff: An Introduction to History, Theory, Research, and Pedagogy, Parlor Press, West Lafayette, Indiana 2010.P.2

9:30 AM - Istanbul und Mexiko Stadt Nissler, Paul (Stanford University, Stanford - Kalifornien, USA)

In my proposed workshop contribution, I would be interested in considering some broader terms and then applying these to a group of (mostly) literary examples. I would like to consider cultural anthropology and historical economics, such as in David Graeber’s Debt. The first 5,000 years, the political in Vijay Prashad’s The Darker Nations (with backdrop of Fanon’s The Wretched of the Earth, a.o.), and the philosophical in Josef Estermann’s Si el Sur fuera el Norte, and linguistic and literary in Martin Lienhardt’s La Voz y su Huella.

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

In developing cultural anthropological, historic-economical, political, philosophical, linguistic and literary considerations, I would like to apply certain parameters to presentations of two spaces, namely that of Istanbul and Mexico City (and their broader nuances).

East and West, Asia and Europe, crossroad lands at crossroad moments; here, in many respects, Istanbul could be seen embracing this dynamic. I would like to include considerations from Deniz Utlu’s Die Ungehaltenen, or Fatih Akin’s films (Auf der anderen Seite, Gegen die Wand), and Yasar Kemal’s Auch die Vögel sind fort, Geeert Mak’s Die Brücke von Istanbul and O. Pamuk’s Istanbul, (fleetingly) Abbas Khider´s Der falsche Inder, (background) Nazim Hikmet´s Die Romantiker and (through extension) Kurban Said’s Ali und Nino.

At this point I would like to expand the discussion by including considerations of the space of Mexico City. East and West, Europe and the Americas, North and South, the Europe/US and Mexico/Latin America find a nuanced center in presentations of Mexico City. Here I would like to consider writings from and of Alexander von Humboldt, works from Octavio Paz, R. Bolaños, L. Esquivel, and newer considerations, for example in films, such as Iñaritu’s Amores Perros or from Chicana literature, such as Richard Rodriguez´s “India” (Days of Obligation), (a. o.). Further examples of the broader nuance coming from the ‘South’ can be found in many works, both older and newer, such as in Rainer Simon, Eduardo Galeano, Gioconda Belli, and Jose Maria Arguedas (a.o.).

10:00 AM - PROPOSING PLURALITY AS A "LANGUAGE" OF COMPARATIVE LITERATURE Chanda, Ipshita (Dept. of Comparative Literature, Jadavpur University, Kolkata, India)

Presenting cases from contemporary literatures written in different languages located in the ‘globalised’ ‘postcolonial’ plural culture of the Asian subcontinent, the paper begins from the assumption that literary culture is produced through the dialogue between the literary and the social systems,which includes the contact between literatures in different languages . These readings are used to suggest that the plural culture in which the texts are located can be more profitably addressed through the idea of interliterariness which is at the base of the comparative method. Despite – or due to - their writing and reception in the globalised postcolonial world, the concepts of ‘location’, ‘contact’ and ‘hospitality’ deployed by this method help us to approach the texts through the language-literary systems they inhabit, rather than through epistemic formations predicated upon historical periods. Plurality is a result of pre-colonial contact, characteristic of the milieu into which the coloniser brought his ‘culture’. Plurality, ironically, is also the sacrificial offering to homogenised institutionalised ‘difference’ that is characteristic of globalisation.It stands, thus, in an ambiguous relationship to colonialism/'post'colonialism and/or globalisation. Through readings of literary works from different Indian languages, this paper argues that despite the dilation marked by the proposal for this workshop, the critical categories of colonialism/postcolonialism and globalisation, do not answer the needs of literary scholarship in plural literary cultures. Extending the scope of the method to include texts written in European languages by authors from once-colonised African societies, this paper proposes to consider plurality conceptually and methodologically as an oft cited but rarely learnt language in the conversation of comparative literature.

11:00 AM - Regionales Agieren - globales Reagieren. Aktuelle Kriminalromane und die "Neue Weltliteratur" Neubauer-Petzoldt, Ruth (Universität Erlangen-Nürnberg, Institut für Neuere deutsche Literaturgeschichte, Eckental, Germany)

Die Kriminalliteratur befasst sich mit den großen ‚Ungerechtigkeiten‘ und Verletzungen der (gesellschaftlichen) Ordnung, die im Verlauf des Erzählens wieder hergestellt werden soll, wenn am Schluss der Täter überführt, das Verbrechen gesühnt sein soll. Wie aber geht die aktuelle

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

Kriminalliteratur mit der zunehmenden Internationalisierung der Schauplätze und den global agierenden Tätern, mit der Komplexität dieser oft postkolonialen Zusammenhänge um? Mein Beitrag möchte sich in Anlehnung an die Neue Weltliteratur als „systemische Reorganisation des fiktiven Raumes“, so Elke Sturm-Trigonakis, und in Verbindung mit einer genrespezifischen Analyse der Räume mit aktuellen Beispielen der Kriminalliteratur befassen: z.B.: John Grishams Thriller Gray Mountain (2014), Arne Dahls Serie um das internationale Europol- Ermittlerteam, das die Todsünden Gier (2011), Zorn (2012), Neid (2013) und Hass (2014) im Titel thematisiert, sowie dem Regional- Krimi Einkehr von Tommie Goerz (2014). Diese beziehen sich u.a. auf aktuelle Ereignisse der Weltpolitik - von terroristischen Anschlägen islamistischer Gruppen bis zu die Umwelt zerstörenden internationalen Unternehmen. Dabei wird der regionalen Verortung und lokal verwurzelten Typen mit hohem Identifikationspotential für den Leser eine globale Verantwortung und ethische Perspektivierung gegenübergestellt, wie dies auch der Ecocriticism beschreibt. Die fiktiven Räume im Kriminalroman orientieren sich an genrespezifischen Erzählmustern, etwa der Idylle oder typischen Verortungen des ‚Bösen‘, die jedoch in neue globale Zusammenhänge gestellt werden, so dass der Rezipient mit einer international agierenden Vielfalt an Tätern, Opfern und Ermittlern von unterschiedlicher kultureller Herkunft konfrontiert wird. Auf mehreren Ebenen soll daher die narratologische Inszenierung dieser kriminalistischen ‚Weltliteratur‘ analysiert werden,– mit kurzen Exkursen zu paradigmatischen Kriminalromanen, die für Subgenres wie den Ökokrimi, den Regionalkrimi etc. prägend sind.

11:30 AM - Kolonialgeschichte(n) und Transkulturalität im Spannungsfeld von Globalem und Lokalem am Beispiel angloindischer und deutschsprachiger historischer Romane des 21. Jahrhunderts Hinzmann, Maria (Bergische Universität Wuppertal, Wuppertal, Germany)

Sogenannte ‚historische Romane‘ haben derzeit in vielen Sprachen Konjunktur und bilden dabei insgesamt ein heterogenes Feld. Der Beitrag setzt sich mit einem Teilbereich dieser Menge auseinander, nämlich gegenwärtigen Romanen, die sich in der Schnittmenge der Systeme ‚historischer Roman‘, ‚Neue Weltliteratur‘ und ‚postkoloniale Literatur‘ verorten lassen, insofern sie (1.) Gattungsmerkmale des historischen Romans aufweisen, (2.) den historischen Roman in der Verhandlung und Reflexion von Globalisierungsprozessen in einem transkulturellen Paradigma und zugleich im Spannungsfeld von Globalem und Lokalem (vgl. Sturm-Trigonakis) situieren, (3.) Kolonialgeschichte(n) verhandeln, neu perspektivieren und sich in das Diskursfeld des Postkolonialismus einschreiben (vgl. Honold).

Vor diesem Hintergrund relativiert sich die vermeintlich ausschließliche Aktualität von transkulturellen Reise- und Migrationsbewegungen ebenso wie die eines gegenwärtigen ‚Zeitalters der Globalisierung‘. Der Beitrag argumentiert, dass die in der Schnittmenge liegenden Texte Phänomene der Gegenwart (als einer ‚dritten Globalisierung‘) über die Auseinandersetzung mit der ‚ersten‘ und ‚zweiten Globalisierung‘ verhandeln und reflektieren (vgl. Pinheiro/Ueckmann) und dabei nicht zuletzt das Verhältnis von Globalem und Lokalem als relationale, einander durchdringende Phänomene (vgl. Robertson) ausloten. In der Absicht, von der Schnittmenge ausstrahlend, auch Aufschluss über Spezifika der Systeme und ihr Verhältnis zueinander zu gewinnen, werden angloindische und deutschsprachige Romane des 21. Jahrhunderts exemplarisch untersucht (Amitav Ghosh: Sea of Poppies; Christof Hamann: Usambara; Lukas Hartmann: Bis ans Ende der Meere; Salman Rushdie: The Enchantress of Florence).

12:00 PM - Postkoloniales Er-Schreiben des Kolonialen: Ilija Trojanows "Der Weltensammler" (2006) Alex Campus Roman "Eine Frage der Zeit" (2007) Mayer, Michael (Universität Bayreuth, Bayreuth, Germany)

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

Sind die Handlungen der Romane „Der Weltensammler” (2006) von Ilija Trojanow und „Eine Frage der Zeit“(2007) von Alexander Campus in die Kolonialzeit verlegt, entfalten die Texte doch postkoloniale Perspektiven auf die europäischen Kolonien. In „Der Weltensammler“ setzt sich die Figur Richard Francis Burton, die an der gleichnamigen historischen Person orientiert ist, intensiv mit der jeweils anderen, kolonisierten Kultur auseinander. Der Weg führt Burton von Indien bis Ostafrika. Dieses Einlassen Burtons auf das Fremde wird durch andere Figuren vermittelt. Dadurch erzeugt der Roman vielfältige Perspektiven auf die außereuropäischen Länder. Der Roman „Eine Frage der Zeit“ macht eine deutsche Kolonie in Afrika während des Ersten Weltkriegs zum Schauplatz. Dabei werden stets kulturelle Eigenschaften der deutschen Figuren verhandelt. Ein „koloniales Begehren“ (Homi K. Bhabba: Remembering Fanon, 1986) ist diesen nicht zu attestieren, fragt der Roman selbst nach den Möglichkeiten der ästhetische Darstellung des Fremden.

Beide Romane loten diese Möglichkeiten der Darstellung literarisch aus, indem verschiedene Perspektiven und Stimmen in Erscheinung treten. Somit setzen sie im Sinne eines postkolonialen Erzählens die eigene Erzählstimme und Perspektive nicht mehr absolut. Das Postkoloniale hat sich in beiden Romanen zur narrativen Strategie entwickelt, um das Koloniale literarisch neu zu verhandeln. Der postkoloniale Blick nach Paul Michael Lützeler (1998, 2005) soll für die Analyse herangezogen werden. Bringt dieser Ansatz einige Probleme mit sich, so möchte der Vortrag für einen postkolonialen Fokus plädieren, der Multiperspektivität als sein wichtigstes Element entwickelt. Dieser Ansatz soll an den Werken diskutiert werden, um herauszufinden, ob diese Texte eine „Weltliteratur des Kolonialen“ bereits ad absurdum führen.

2:00 PM - The Other Europe: The Revolution of the Other Li, Xingbo (Norwich University, Northfield, VT, USA)

The proposed paper will address Andre Malraux’s two revolutionary novels set in China, The Conquerors (1928) and Man’s Fate (1933), the first two French novels of the proletarian revolution of the twentieth century. I will argue that the evocation of China as a world of madness and terror in Malraux’s fictions is a projection of the anxieties of the French bourgeoisie in a specific time period of history. The revolution of the Other is a myth. The shape the myth takes, and therefore the character of the revolution itself, depends not so much on facts and discoveries as on the psychological and symbolic needs and attitudes of the civilized white man who creates the myth.

Despite his efforts to write a history of the Chinese revolution and to justify himself as an anti- colonialist writer, Malraux cannot transcend his own historical background and extract himself from the colonizing mind-set. In Malraux’s novels, Chinese culture is abstracted and alienated from the social present and made into a timeless attribute of peoples. Abstraction is the starting point of cultural imperialism as hegemonic ideology. There are no attempts to develop an account of the world which treats the native perspective as primary. The coolies are left to the white people’s guidance, the writer’s among them.

2:30 PM - Ondjaki's classmates read Honwana: towards a trans-colonial theory Lukaszyk, Ewa (University of Warsaw, Kraków, Poland)

The adjective 'trans-colonial' may refer to any form of collaboration of transfer of ideas occurring between (ex-)colonies. In parallel, it may refer, in a broader sense, to the process of Verwindung, symbolical “healing” of the colonial wound and closing its post-colonial renegotiation in order to initiate a new stage of cultural development. Nós chorámos pelo cão tinhoso, the short story by the Angolan author Ondjaki (born in 1977), in clear intertextual relation to the classical text by Luis Bernardo Honwana, Nós matámos o cão tinhoso (1964), marks such a passage from post-colonial to trans-colonial. The classical text showed the symbolical oppression exerted in the framework of the

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 colonial school; the narration by Ondjaki shows the post-colonial school in which the former text is read. The main aim of trans-colonial studies is to study the conditions of such an ultimate healing, in which the colonial/postcolonial period in history may be definitively closed, together with its mental consequences such as a specific “postcolonial state of mind”, that may be understood as a victimization syndrome and a cultural void. There is no simple return to a pre-colonial state of culture. The only way is to create a new cultural heritage based on a process of Verwindung of the post-colonial state of mind. In the short story by Ondjaki, the classmates complete a cycle of mourning, liberating themselves from the image of the mangy dog, that first had been killed in name of the imposed colonial ideals (“hygiene”), and then “spoken-through” in the post-colonial literature. Ultimately, the children mourn the death of a text, not of the dog, hopefully opening a new stage in the development of their culture. Significantly, they break through their local condition, not only reading Mozambican text in Angola, but also, arguably, reading it as a part of world literature, not as a part of the Portuguese/Lusophone (post-)imperial horizon.

3:00 PM - Title: The protesting action for overcomig the absurd times through the reception of German literature in Korea Chin, Sang BUm (Kolonialismus, Globalisierung und Weltliteratur, Jeonju, South Korea)

German literature was transmitted into Korea through Japan, in which lots of works on german literature were translated in Japanese under the colonial period of Japan. At that time it was mode that most of korean intelligent young people went to Japan to study foreign lanuages and literatures They had hard times for overcomig such dark difficulties under colonial era to read most of works on German literature translated into Japanese easily, which has simiiar structure of Korean language. Although Korean young intelligents confronted with the dark colonial situation, they accepted German literature such as Goethe, Schiller, Heine and expressionistic writers positivly not only to escape from strong surppessed society, but also to reform such conservative society of korea at that times . Especially young writer Kim, Woo-jin could find a way to overcome the troubles of the times in German Expressionism. Though expressionistic drama " Shipwreck" he tried to reform the conservative way of thinking that korean old generation had. I will examine how Kim, Woo Jin showed us the father and son conflicts existing between old and young generation just like Hasenclever "Der Sohn". On the other hand from the 1970s until the late 1980s South Korea was fallen in the absurd political situation. At that time the freedom of expression and the human rights were suppressed by political military dictatorship, Lots of korean young writers had to expierence the hard time with torture, after their going to prison. they could help protesting against such political absurd situations through writing. I will consider how over mentioned Korean writers accepted and transformed Kafka literature in their works as the escaping way in despairing situation which could be not communicated with each other. This paper aims to analyze in which social absurd conditions the over mentioned Korean writers should accept German expressionim and Kafka Literature in following poetical works: Kim, Seung Hi's "horror movie", Kim, Goang Gyu's poems just like "dreams and sleep," "Requiem", "ghost", "court", Kim, Jing Yon,s poety " To Kafka" ,, Lee ,Sonbok's poety "withering son". On the other hand, Kim, I will investigate how the elements of Kafka Literature are expressed in the following novels: Young-hyun's novel "insects" , Gu, Hyo-So's 'the night reading Kafka' and Choi, Su Cheol's "life of cicada"

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

16499 - Science et littérature : une question de langage? Date: Monday, July 25th Room: Hs 26 Chair: Weber, Anne-Gaëlle

4:00 PM - L'utopie entre expérience de la polyglossie et projet de langue philosophique au XVIIe siècle : modèle scientifique et dérives fantastiques CORREARD, Nicolas (Université de Nantes, Nantes, France)

Les projets de langues artificielles du XVIIe siècle, tout particulièrement l'Essay towards a Real Character and a Philosophical Language de John Wilkins (1668), ont stimulé l'imagination des utopistes, notamment Veiras, Foigny et Swift. Or, leur réaction va de l’émulation à la franche satire, en passant par la parodie. Le corpus utopique manifeste ainsi l'attraction et la résistance envers le modèle scientifique de réforme des langues au XVIIe siècle, aspirant à éliminer la littérarité des langues naturelles, effet de leur imperfection : l'utopiste feint d'abolir la polysémie, qu'il manie pourtant inévitablement par la démiurgie onomastique, le détour métaphorique et l'ironie.

4:30 PM - Vues d'esprit et dérèglements de l'imagination : le style comme critère de validation du savoir Vuillemin, Nathalie (Université de Neuchâtel, Baulmes, Switzerland)

« Ça ne m'etonne point que vous ayez trouvé un bien mauvais style et une imagination quelquefois dereglée dans l'ouvrage de Turpin mais sans vouloir defendre a la rigueur ses idées je crois cependant que lorsqu'on les depouille de la forme trop hypothetique qu'il leur a donnée il y a de la realité dans plusieurs et qu'elles meritent d'etre meditées ; Quant aux idées allemandes sur les metamorphoses ce sont des metaphores plus ou moins ingénieuses et qui peuvent aussi faire naitre des idées des recherches ; je n'en avois aucune connoissance quand j'ai publié la théorie elementaire et je suis charmé d'avoir été dans cette ignorance. » Cet extrait d'une lettre du botaniste genevois De Candolle à l'un des membres du Muséum de Paris est significative de la manière dont, dans la première moitié du XIXe siècle, la question du style de l'écriture scientifique commence à faire l'objet de débats aussi bien publics que privés parmi les naturalistes. Certes, l'interrogation sur les qualités d'une « bonne » langue scientifique émerge dès les travaux de Bacon. Mais la lettre de Candolle cible ici un problème beaucoup plus précis : peut-on encore, en 1822, distinguer les idées du style dans lesquelles elles s'expriment ? Un terme inacceptable dans une optique purement scientifique peut-il devenir une métaphore porteuse de nouveaux objets de recherche ? Enfin, l'espace de l'image linguistique favorise-t-il la rencontre de certaines visions élaborées sur la base de principe théoriques différents, incommunicables peut-être ? Ces questionnements ne sont pas rares dans les correspondantes savantes de l'époque. Ils témoignent d'une préoccupation d'ordre épistémique, mais également de la complexité des processus de reconnaissance et de validation du savoir entre pairs. Sur la base de cas particulier – celui de Turpin, notamment, dont le statut de savant était contesté à cause, précisément, du caractère trop esthétisant de ses travaux –, on examinera comment l'usage de la métaphore, les libertés stylistiques, l'image heuristique sont thématisés et quelles sont les conditions de leur validation par une communauté. On se basera sur un corpus de textes aussi bien publiés que manuscrits, émanant notamment des correspondances conservées au MNHN.

5:00 PM - "Parodies et satires des langages savants au XIXe siècle" Weber, Anne-Gaëlle (Université d'Artois, Arras, France)

Au XIX e siècle se développent, dans la lignée de Butler, les satires des langages savants. Aux tentatives des savants pour définir un langage qui leur soit propre, répondent les écrivains qui non 40

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 seulement raillent l'obscurité des langages spécialisés mais revendiquent aussi l'usage commun des mots ou des noms savants. Nous observerons dans cette intervention l'émergence en Europe de textes parodiques et comiques mettant en scène, de manière polémique, la possible définition de langages scientifiques et rejouant la guerre des sciences contre les lettres.

16603 - Rhizomorphe Identität? Motivgeschichte und kulturelles Gedächtnis im europäischen Kulturraum Date: Friday, July 22nd Room: Hs 29 Chair: Piszczatowski, Pawel; Godlewicz-Adamiec, Joanna

11:00 AM - Wien und Berlin - differente Zentren der klassischen Moderne Sliwinski, Alexandra (University of Warsaw, Warsaw, Poland)

11:30 AM - Handschrift als Grundlage einer vertieften philologischen Lektüre Just, Anna (Universität Warschau, Warszawa, Poland); Opalinska, Monika (University of Warsaw, Warsaw, Austria)

Im Fokus des Beitrags stehen mittelalterliche Übersetzungen von Pater Noster in ausgewählte germanische Sprachen/Dialekte.

12:00 PM - Zwischen Sacrum und Profanum - Erotik in der Literatur des europäischen Mittelalters Godlewicz-Adamiec, Joanna (Universität Warschau, Warszawa, Poland); Piszczatowski, Pawel (Universität Warschau, Warszawa, Poland) Oft wird das Mittelalter – im Gegensatz zu der freizügigen Antike – als eine erotikfeindliche Zeit angesehen. In den literarischen Texten aus dieser Zeit aber sind oft Sinnlichkeit und Sexualität geradezu ihr strukturelles Model. Von der Liebeslyrik der okzitanischen Troubadours und der deutschen Minnesänger, über die meist lateinische Vagantendichtung und die epischen Stoffe um Tristan und Isolde, bis hin zu den ekstatischen Bildern der europäischer Mystik ist die Erotik ein grundlegender Bestandteil der literarischen Tradition der Medii Aevi.

Das Ziel der geplanten Präsentation liegt darin, die verschiedenen Ausprägungen der Erotik in mittelalterlichen Texten aufeinander zu beziehen (etwa den Sprachgestus der Minnesänger und die Bilder der Unio Mystica bei Mechthild von Magdeburg).

Darüber hinaus soll sie eine Anregung sein zu der Spurensuche nach Ursprüngen der Liebesmetaphorik des christlichen Mittelalters einerseits in der islamisch-arabischen Tradition, die über das islamische Spanien zuerst auf Südfrankreich und später auf ganz Westeuropa einwirkte, andererseits aber in der hebräischen Tradition des Hoheliedes und ihrer Vermittlung durch die christliche Liturgie und das Schrifttum der jüdischen Diaspora in Westeuropa und dem islamischen Spanien.

2:00 PM - High Fantasy's Dialogue with the Past Blaszkiewicz, Bartlomiej (University of Warsaw, Warsaw, Poland)

The aim of the argument will be to juxtapose the European tradition of heroic literature with contemporary literary genres which derive their heritage, as well as the formal array of literary devices, from that cultural context. More directly,we shall observe how modern high fantasy tradition which has developed during the last fifty years out of prof. Tolkien's seminal theoretical and

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 literary achievement incorporated the legacy of the classical and medieval form of the epic, as well as well as the uniquely medieval genre of the courtly romance.

We shall thus observe the way in which the genre of high fantasy positions itself against such as vast and varied legacy and we shall trace a number of formal attitudes and practical approaches exhibited by the leading contemporary exponents of the genre. Hence, alongside the classical tolkienian model, the argument will refer to the interplay between the epic grandeur derived for the Antiquity and the narrative pattern of the interlaced romance in the work of George R. R. Martin, the postmodernist tensions between the heroic tradition and the formal realist novel marking the work of Susanna Clarke, and also the mock-heroic, quasi-Augustan dialogue with the past defining the character of the literary output of Terry Pratchett.

The thrust of the argument will be to emphasise the strong bond of continuity between contemporary high fantasy and its medieval roots and to argue for the existence of a lasting link of literary tradition between the medieval and contemporary manifestations of heroic literature.

2:30 PM - « L'héritage qui m'encombre» Le rôle de la mémoire et de l'histoire dans la formation de l'identité postcoloniale (L'Amour, la fantasia d'Assia Djebar) Sokolowicz, Malgorzata (University of Warsaw, Warsaw, Poland)

L’Amour, la fantasia d’Assia Djebar semble s’inscrire dans la catégorie du Rhizome de Deleuze. L’histoire de la narratrice, alter ego de l’auteure, une jeune fille algérienne envoyée dans une école française se m?le avec celle de l’Algérie coloniale et postcoloniale. Les ordres temporels se juxtaposant, le roman se compose de sc?nes-souvenirs de la narratrice, de relations des événements tragiques de l’époque coloniale (entre autres des fragments d’écritures d’Eug?ne Fromentin), de témoignages racontant des luttes atroces pour l’indépendance au XXe si?cle. De ces multiples rhizomes émergent, d’une part, l’identité hybride de la narratrice qui vit toujours entre la culture arabe, berb?re, et la culture française, qui choisit la langue française et profite du patrimoine culturel européen, mais n’oublie jamais ses origines et, d’autre part, l’histoire de l’Algérie fort marquée par l’influence européenne, pas toujours positive.

L’Amour, la fantasia est un essai postcolonial de se réconcilier avec l’Histoire, de retrouver ses origines, son identité et sa mémoire. Qu’est-ce que c’est la mémoire de l’Algérie ? De quels éléments se compose-t-elle ? De souvenirs des Français qui visitaient le pays au XIXe si?cle ou bien de ceux que les Algériens transmettaient oralement d’une génération ? l’autre ? De relations des journaux français ou d’histoires que les femmes algériennes luttant pour l’indépendance racontaient ? Assia Djebar ?

Dans son discours de réception ? l’Académie française, Assia Djebar expliquait qu’elle écrivait pour se guérir et pour se retrouver. Est-ce possible de se retrouver entre les rhizomes de l’Histoire et de la mémoire ? Dans L’Amour, la fantasia, la narratrice parle de « l’héritage qui [l]’encombre ». « Vais-je succomber ?... », se demande-t-elle. Qu’est-ce que c’est cet héritage ? S’agit-il de l’héritage européen ou de l’héritage algérien? Ou peut-?tre de l’Histoire qui a bien marqué les Français et les Algériens, en unissant leurs passés et leurs présents.

3:00 PM - Renaissance rhisomorphe? Renaissance et ses modèles dans la perspective deleuzienne Krawczyk, Dariusz (University of Warsaw, Warsaw, Poland)

La renaissance poursuit une réflexion et autoréflexion très profonde sur ses rapports à l’antiquité, et, on le sait déjà, l’application des modèles antiques pouvait n’avoir rien d’automatique. Ils étaient, par la force des choses, fragmentaires, parce que la connaissance des cultures antiques l’était, ils pouvaient se heurter à des traditions existantes très fortes qui ralentissaient ou tout simplement 42

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 empêchaient leur acculturation, ils pouvaient aussi, au passage, être vidés de leur substance. Les combinaisons étaient nombreuses, loin de ce que pendant longtemps ont affirmé les historiens d’art et de littérature qui voyaient comme modèle dominant une acculturation rapide. Gilles Deleuze et Félix Guattari affirment que « Le rhizome procède par variation, expansion, conquête, capture, piqûre », ce qui semble pouvoir apporter une perspective intéressante aux études littéraires renaissantes. La communication sera donc une réflexion au sujet de la possibilité d’application de la théorie du rhizome et les bénéfices potentiels. Il va concerner, en particulier, le problème des formes poétiques des années 1540-1555, quand les formes héritées de Clément Marot et de son école sont concurrencées par les modèles inspirées des sources antiques prônées par les poètes de la Pléiade.

16609 - FROM EUROPE TO BRAZIL: THE CIRCULATION OF LANGUAGE AND CULTURE IN THE PORTUGUESE-SPEAKING WO Date: Friday, July 22nd // Saturday, July 23rd // Monday, July 25th Room: Erika-Weinzierl-Saal Chair: Jobim, José Luís

4:00 PM - Between Lusophony and World Literature: Challenging Comparative Approaches to the Literatures of Portuguese-Speaking Africa Santos, Emanuelle (University of Warwick, Coventry, Austria)

Drawing on a comparative study comprehending contemporary works of the five Portuguese- speaking African countries – Angola, Cape Verde, Guinea-Bissau, Mozambique and São Tomé and Príncipe –, the proposed paper aims at showing the problems and limitations inherent to two interconnected pathways of comparative analysis: Lusophony and World Literature.

Departing from the intrinsic relationship between literary form and content in which context relates to aesthetics, the paper argues that as a method, World Literature – be it as conceived by David Damrosch (2003) or the Warwick Research Collective (2015) – does not fully eliminate agency problems already known in the realm of “Lusofonia”. In do so, the paper aims at recovering the importance of transnational specificity as an essential factor to be combined with systemic views of the world which are always and already myopic in nature.

4:30 PM - Le projet d'Encyclopédie Brésilienne, la politique des langues et la circulation des idées de démocratisation de la culture, durant la période du gouvernement Juscelino Kubistchek Mariani, Bethania (Universidade Federal fluminense, Rio de Janeiro, Brazil)

Le premier projet d’une Encyclopédie Brésilienne fut rédigé par Mario de Andrade en 1939. La seconde initiative de création d’une Encyclopédie Brésilienne fut présentée en 1957 et formulée par E. Cannabrava, dans le cadre de l’Institut National du Livre, dirigé par José Renato S. Pereira. Le contexte politique, linguistique et culturel du gouvernement Juscelino Kubistchek donna jour à de nombreuses actions de l’État en vue de soutenir, développer et apporter des fondements au débat sur la(les) langue(s) parlée(s) au Brésil et sur la culture brésilienne. La politique qui concrétisait le slogan “50 ans en 5” est marquée par un ensemble hétérogène d’activités telles que le Ier Congrès sur la langue parlée au théâtre ; l’instauration de la NGB [Nomenclature Grammaticale Brésilienne] ; l’application du questionnaire linguistico-ethnographique de Jucá Filho et le Ier Congrès de Dialectologie ; l’inclusion du recensement démographique ; l’institutionnalisation des recherches sur les langues indigènes ; la création de la Revue du Livre, la création de l’Institut Supérieur d’Études Brésiliennes, entre autres initiatives. Comme nous le rappelle, à juste titre, C.G. Mota, il s’agit d’une période complexe où les idées qui circulent sur la culture brésilienne et le travail intellectuel sont 43

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 liées à des objectifs de développement nationalistes. L’objectif de cette étude est de comparer les deux projets d’organisation d’une Encyclopédie Brésilienne en observant surtout, par une analyse discursive, les processus de signification de la langue et de la culture durant la période du gouvernement Juscelino Kubistchek.

5:00 PM - CANNIBALISM AS A METAPHOR FOR CULTURAL APPROPRIATION Jobim, José Luís (Universidade Federal Fluminense, Rio de Janeiro, Brazil)

Within literary and cultural circulation between the Americas and Europe, cannibalism played different roles at different times. This paper will present an overview of the appropriation of the figure of the cannibal in Latin American essays.

Date: Saturday, July 23rd

9:00 AM - Portuguese as source-language in literary translation: the case of João Ubaldo Ribeiro Antunes, Maria Alice (UNIVERSIDADE DO ESTADO DO RIO DE JANEIRO, RIO DE JANEIRO, Brazil)

Brazilian writers and their literary works have been the object of interest of researchers for different reasons for some time. It is true, however, that the impact of Brazilian literature outside the literary system of origin (the Brazilian one) is little. Among the few writers who have managed to cross the Brazilian (literary) system borders is João Ubaldo Ribeiro. His works have been translated into a variety of languages although the circulation of his work is limited, as the writer himself states in an interview (Cadernos de Literatura Brasileira, 1999). Also, the strategy used by the author, namely self-translation, can be considered unique in Brazil for there are hardly any cases of (Brazilian) writers who have chosen to translate their own literaty text. Based on the notion of patronage, "something like the powers (persons, institutions) that can further or hinder the reading, writing and rewriting of literature" (Lefevere, 1995, p. 15), the purpose of this talk is first to describe the agents that have furthered or hindered the circulation of the novels translated by João Ubaldo Ribeiro in the English- speaking world. Secondly, we will analise the role that persons and institutions in general have played to make his work reach the English-speaking audience. This analysis shows agents and institutions acting to further or hinder the reading of novels by the Brazilian writer.

9:30 AM - La contribution de Manuel Rui Monteiro à lŽunivers pluriel de la langue portugaise Batalha, Maria Cristina (Universidade do Estado do Rio de Janeiro, RIO DE JANEIRO, Brazil)

RÉSUMÉ

Lóbjectif de la communication est dánalyser le conte “O relógio” (“La montre”), du poète et conteur angolais Manuel Rui Monteiro, deuxième conte figurant dans lún des premiers recueils publiés après líndépendance de lÁngola , Sim, camarada! ( Oui, camarade !), en 1977. Rui se propose de présenter une critique goguenarde et irrévérente de la société angolaise, marquant la langue portugaise du sceau de límaginaire social et culturel du pays, tout en rassamblant des ressources narratives provenant de la modernité et de la tradition. Ce procédé, tel le montrent Deleuze et Guattari, est lúne des marques essentielles qui nous permettent dídentifier une “ littérature mineure ” , car, selon les auteurs, “ mineur ” signifie marginalisation, dévalorisation et survalorisation de certaines esthétiques par rapport à dáutres. Cést par là quélle renferme la force de devenir qui lui est propre, car elle s´éloigne de la prison quúne culture et une histoire déjà bien établies imposent à une langue et à une littérature “majeures”. Lorsquíl prend la parole, le narrateur de ce conte imprime à lárt de conter une perspective nouvelle, ancrée sur lóralité, mode de transmission des valeurs et coutumes des sociétés traditionnelles en Afrique. Partant, Manuel Rui met en scène la complexité des rapports entre deux univers culturels distincts (oral et écrit), mais responsables à part égale de lídentité de son pays. Pour lui, lóralité africaine est porteuse de signes qui sont perçus de 44

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 manière individuelle, subjective, mais aussi perçus collectivement par tous ceux qui les reçoivent. Dès lors, le binome tradition-modernité se dédouble dans lóption pour l´ “orature”, particularité qui définit son oeuvre, ainsi que celle de nombreux écrivains de lÁfrique. Il y a dans le conte “La montre” la superposition de trois histoires : celle de la montre, les histoires des luttes pour la libération du pays, et, en même temps, l´histoire du parcours de construction dúne narration, ce qui permet de remettre en cause les rapports entre les données historiques et la création fictionnelle. En somme, tout ce qui touche aux langues touche aussi à l´histoire et à la culture et ce lien est loin d´être innocent ou neutre.

11:00 AM - La réception de l'esthétique de la légèreté de Milan Kundera au Brésil et Budapest de Chico Buarque Barroso Filho, Wilton (University of Brasilia, Brasilia, Brazil)

Vu des nos jours l’œuvre romanesque de Milan Kundera représente beaucoup pour la littérature du xxème siècle, il est certain que son art de la composition a influencé des nombreux écrivant au tour du monde, mais on ne parle pas de tout de cet influence chez les auteurs brésiliens. Il m’est venu à l’esprit Budapest de Chico Buarque, non pas pour qu’il approche l’Europe Central au Brésil, mais parque que son récit est peuple de similitude et d’éloignement de l’art de la composition qui Kundera à la fois réfléchit dans son Art du roman comme pratique dans la narratif des ses romain. Donc la présente proposition souhaite faire une analyse sur cet influence dans le cas précis de Budapest et au même temps montre où cet inspiration kunderiene n’existe pas.

11:30 AM - Métaphorologie: Une étude à mi-chemin entre création et signification Pereira, Deise (Universidade do Estado do Rio de Janeiro)

12:00 PM - Refuser la vérité interne et rejeter les « méthodes » : retrouver l'affectivité à l'intérieur du texte littéraire Lima, Rogério (Universidade de Brasília, BRASíLIA-DF, Brazil)

Quels sont les gestes qui nous permettent de nous identifier comme lecteurs? Quels sont les gestes qui nous identifient comme des chercheurs de la littérature? Dans son livre « la littérature en péril » Tzvetan Todorov plaide contre : « Une conception étriquée de la littérature, qui la coupe du monde dans lequel on vit, s'est imposée dans l'enseignement, dans la critique et même chez nombre d'écrivains. Le lecteur, lui, cherche dans les œuvres de quoi donner sens à son existence. Et c'est lui qui a raison ». Dans son ouvrage Todorov rejette la littérature qui est devenue « objet langagier clos, autosuffisant, absolu », il plaide contre une séparation entre le monde « réel » et le monde créé par la fiction littéraire. Hans Ulrich Gumbrecht propose une lecture du texte littéraire qui porte à la fois sur l’atmosphère, l’ambiance, le Stimmung du texte : sur un potentiel cachet de la littérature. Cette rapproche Ce rapprochement du littéraire lui remet vers la proposition de Lukacs sur les relations avec l’art dans son essai L’âme et les formes: « L'âme, pour réaliser ses aspirations les plus profondes, doit dépasser le morcellement du monde extérieur et atteindre, dans l'œuvre d'art, la forme, manifestation sensible du principe unificateur, de l'Idée, illisible dans l'informe quotidienneté ». Gumbrecht, depuis le moment qu’il a pu choisir ce chemin critique, il refuse de chercher dans la littérature sa vérité interne; il rejette les « méthodes », il cherche à trouver l’affectivité à l’intérieur du texte littéraire, il recherche à trouver une expérience sans définition pour l’instant. Cette communication s’intéresse sur l’analyse du changement de la forme d’abordage critique de la littérature, qui privilégie la sensibilité, l’atmosphère de l’œuvre d’art littéraire, ce qui permet de reconnaître comme caractéristique humaine universelle la capacité de voir une dimension esthétique dans toutes les formes d’activités et de production.

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

2:00 PM - Os sertões Beyond Brazil MacKinnon, Chloé Brault (University of Toronto, Gatineau, Canada)

Gilberto Freyre wrote in 1966 that Euclides da Cunha’s Os sertões (1902)—a historical epic of the War of Canudos—had influenced both Brazilians and foreigners to Brazil more than any other work by a national writer (1966: 59). In order to trace the lasting influence of Os sertões beyond Brazil, my paper offers a publication history of this seminal work with a focus on its first English translation. First, I examine government patronage of da Cunha’s work in both popular and scholarly spheres under Getúlio Vargas’ Estado Novo regime and link this domestic context to the burgeoning political relationship between Brazil and the United States in the 1930’s and 40’s. Second, this historical background allows for a discussion of the context and importance of Samuel Putnam’s 1944 English translation of Os sertões funded by the United Office of the Coordinator of Inter-American Affairs as part of the ‘‘Good neighbour policy’’ maintained until the 1980’s. It was such sponsored translations that made possible the emergence of Luso-brazilian studies in American universities, especially between 1939 and 1945, and thus the circulation of books written in Brazil on a global scale. Whereas in 1944 Os sertões was already widely recognized as a classic in Brazil, Putnam’s English translation allowed for foreigners to Latin America, at least in academic circles, to access Brazil, a geopolitical periphery at the time. In conclusion, I suggest with reference to numbers of books sold that Euclides da Cunha’s Os sertões is more widely read in translation and indirectly in its fictional rewritings published after 1944 than the original text itself, and thus reaffirm the importance of the first English translation.

Ref.: Freyre, Gilberto. “Euclides da Cunha, revelador da realidade brasileira”. 1966. Revista do livro da Biblioteca Nacional. Revista do livro no 52. Ano 17. Março 2009. Rio de Janeiro: Ministério da Cultura Fundação Biblioteca Nacional, 2009. Print.

2:30 PM - New Criticism and Nouvelle Critique in brazilian criticism Brandini, Laura (University of Londrina, Londrina, Brazil)

In the twentieth century, the 60’ and 70’ are key moments for the brazilian criticism: the discussions about it in the news papers show a shift from a dilettante criticism to an academic or universitary criticism; or, in other words, from a very personal and subjective way of writing about literature to an objective discourse based on structuralism. This process create tensions envolving french and american patterns, as far as some attempts to build a brazilian criticism: in this moment, the New Criticism and the Nouvelle Critique are discussed in Brazil in order to settle not only the concept of criticism, but also the mainly idea of literature and its objects. The quarrels in the newspaper as O Estado de S. Paulo, for example, reveal a foreign critical terminology in brazilian territory and its acceptation or refusal by the Critics. This paper aims to describe the circulation of critical ideas, notions and concepts belonging to the New Criticism and the Nouvelle Critique in Brazil and analyse the conflicts between it and the idea of a brazilian critical system, by Adolfo Casais Monteiro, Afrânio Coutinho, Antonio Candido articles and essays.

3:00 PM - Walter Scott relu par le Romantisme brésilien Peres, Marcos (University of São Paulo, Sao Paulo (SP), Brazil)

Le chapitre 1 de Waverley (“Introductory”), de Walter Scott, oeuvre non seulement l'un des romans les plus influents de tout le XIXe siècle, mais fournit la clé par lequel le reste du livre doît être lu – c´est-à-dire, l’opposition entre, d’une part, l’histoire et, de l’autre, le romanesque. Sa réfutation des romans de chevalerie, en refusant d´attribuer au héros un nom qui puisse évoquer l’ancien genre, a ouvert le chemin à beaucoup d´écrivains de fiction - la preuve la plus significative est “L’Avant-propos 46

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

à la Comédie Humaine”, de Balzac - mais aussi à des critiques très sérieuses – par exemple, Gyorgy Lukacs va développer la notion de “héros moyen” (dans Le roman historique), tandis que Alexander Welsh ira formuler le concept de “héros passif” (dans The hero of the Waverley Novels) .

La fiction brésilienne du XIXe siècle, ainsi que léuropéenne et láméricaine (comme celle de Fenimore Cooper), a également souffert l’influence écrasante de Waverley, en particulier son principal nom, José de Alencar. Toutefois, une lecture contrastive de Waverley et le roman historique dÁlencar Les mines dárgent nous montre, toutefois, des formulations très différentes sur la nature du héros défendue par Scott dans le premier chapitre de son roman. Lánalyse de la traduction de Waverley quÁlencar a probablement eu accès (celle de Caetano Lopes de Moura, imprimé par Aillaud à Paris en 1844) suggère une interprétation très persuasive: cette traduction est similaire dans presque tous láspects à l'original en anglais, sauf en ce qui concerne un seul détail: le premier chapitre a été suprimé, justement où le narrateur réfléchit sur la nature du héros romanesque.

Le paper propos ici vise à réfléchir sur la façon dont cette lecture partialle de Scott, faite à partir d`une traduction incomplète, a conduit Alencar à favoriser, dans son roman, une nouvelle modalité de roman historique, beaucoup plus liée au “roman d'aventures” et au romanesque, tel que il est défini par Jean-Yves Tadié - ce qui, enfin, fournit à l'histoire du Brésil un sens très différent de celui proposé par Scott sur l'Écosse, dans Waverley.

Date: Monday, July 25th

09:00 AM - Surrealism and Anthropophagy Rio Doce, Cláudia (Universidade Estadual de Londrina, Londrina, Brazil)

The work intends to read the anthropophagy movement as a brazilian version of surrealism, showing the deep affinities between both of them. The proposal goes on a dual way. On the one hand, it shows that even in the '20s we had among us a vanguard demonstration within the modernist movement, which can be understood as brasilian´s own version of surrealism (against the authors that claim there was no surrealism in Brazil or its manifestations were superficially), on the other evaluates the anthropophagy as one of the richest and most productive aspects of modernism, leading Augusto de Campos claims that if Oswald de Andrade had written in English, French or Spanish, his anthropophagy would have entered the constellation of ideas from original and unorthodox thinkers known around the world. Over time, the concept of anthropophagy was revisited in several ways. If analyzed in its roots, however, can achieve the powerful and radical verve forged by Oswald de Andrade as a way to rescue a weakened modernism.

09:30 AM - FROM THE "BOTTOM OF THE VIRGIN FOREST" TO SÃO PAULO: MARIO DE ANDRADE, MACUNAÍMA AND BRAZILIAN LANGUAGE Campos, Sheila (Universidade Federal de, Boa Vista, Brazil)

“I am hungry of the North, you can not imagine. (...). But I can surprise the secret of the simple things of my land. And my land is still Brazil. I am not local.” It is with this declaration that Mário de Andrade, in a letter to Câmara Cascudo on September 26, 1924, defines his curiosity for Brazil. Of the huge correspondence that Mário de Andrade exchanged with several friends and intellectuals, the letters exchanged with Câmara Cascudo (whom at first he did not know personally) are the most reveal the interest of the author of Macunaíma for the things of Brazil. The Northern region appeared as emblematic of the unknown (since he still did not know), and of the curiosities that he had, artworks, wooden sculptures, churches, authors, and especially the Brazilian language. Of his interest for the folklore and for the language as elements able of uniting a country so geographically dispersed, Mário publishes in 1928, Macunaíma, influenced by reading Vom Roraima zum Orinoco, of the German ethnographer Theodor Koch-Grunberg. Thus, this Communication is to reflect on how 47

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 the interest of Mário for his land (as his correspondence demonstrates) flows into the linguistic plurality that Macunaíma represents (the “Letter for the Icamiabas” is an example of that), whose tongue / language reveals the many Brazils that go from São Paulo to "bottom of the virgin forest".

10:00 AM - STRATÉGIES DE CONSTRUCTION DE L'IMAGE AMAZONIQUE DEDANS NENÊ MACCAGI (RORAIMA) ET DALCÍDIO JURANDIR (PARÁ) Mibielli, Roberto (Universidade Federal de Roraima, Boa Vista, Brazil)

La langue portugaise est ce qui nous unit, au moins telle est la devise avec laquelle le Musée de la langue portugaise a été créé. Cela semble également être l'assertif qui cède la place aux préoccupations de ceux qui, en faisant usage de cette langue dans sa production littéraire, ils cherchent à mettre en place un double mouvement, dans la relation entre centre et périphérie pour situer le lieu d’oú ils vient et ses caractéristiques: dans un premier moment, il est traité d'inclusion des zones périphériques d'où parlent / écrivent dans le contexte national, faisant qu'ils deviennent connus et reconnus; dans un deuxième moment, , il a été traité d'identification de caractéristiques sui generis, avait comme des marques d’identité de cette zone, la tournant différent avant le(s) centre(s). Des écrivains comme Nenê Maccagi (Roraima) et Dalcídio Jurandir (Pará), même s’ils ont vécu la plus grande partie de leur vie à Rio de Janeiro, à des moments différents, ont cherché à utiliser stratégies linguistique-stylistiques dans la caractérisation de leurs régions et du district fédéral. Ces stratégies sont, en partie, en raison de la renommée et l'importance relégué ces auteurs sont responsables de l'image de soi de ces populations ou l'image qu’on fait, dans les grandes villes, de ces endroits. Ce document vise à étudier et constituer un connexion standard à la façon dont ces scribes amazoniennes construit ces images, établissant un modèle de représentation dans la production de ces écrivains.

10:00 AM - Internationalizing Brazilian Literature: Companhia das Letras' Amores Expressos Project Raynor, Cecily (McGill University, Montreal, Canada)

Amores Expressos is an ongoing literary project that originally sent sixteen Brazilian authors abroad to write a love story. Upon their return they would have the opportunity to publish their books. In the end, not all of the novels were published by Companhia das Letras , nor have all of the initial projects been completed as of 2015. Many critics have associated the literary project with a national desire to internationalize Brazilian literature, and a handful of the works are being translated into English. In this paper, I examine the Amores Expressos project and historicize it within the scope of contemporary Brazil. What might it tell us about Brazil and the Portuguese language within a global context? Importantly, I also examine the corresponding literary blogs, which accompanied the writing of the books. The blogs act as a type of digital ruin, as they have largely been abandoned. I argue that the fate of these online artifacts reflects some of the complexities of the project itself, which has taken a range of directions, often highlighting tensions between the writers and the publisher. Finally, I look at the history of the project, which, rather than novels, was originally envisioned as a series of films. This can be seen in the header of the blogs, which shows the support of "RT Features." What relationship exists between the visual culture of film and contemporary literature in Brazil? Furthermore, what might some of the recent film adaptations of the novels tell us about the project's international reach? Given its rich history and its ongoing status, the Amores Expressos project offers a variety of important lessons when considering Brazilian literature within a globalized context.

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

16657 - Workshop: Productivity of plagiarism Date: Friday, July 22nd // Saturday, July 23rd // Monday, July 25th // Tuesday, July 26th Room: Hs 50 Chair: Polubojarinova, Larissa; Baron, Christine; Krauss, Charlotte

9:30 AM - Diderot et le savoureux plagiat de la matière rabelaisienne Nadège, Langbour (Université de Rouen / CEREdI, Rouen, France)

Le goût de Diderot pour Rabelais est incontestable. Le directeur de la première Encyclopédie française a une profonde admiration pour celui qui introduisit, au XVIe siècle, le mot « encyclopédie » dans la langue française. Cette admiration le conduit à réécrire et à plagier régulièrement Rabelais. Preuve en est l’évocation de la « dive boutique » dans Jacques le fataliste. Preuve en est aussi, dans ce même roman, la paysanne qui, après l’acte sexuel, se plaint de son oreille et se déclare enceinte, faisant ainsi écho à la naissance de Gargantua par l’oreille de Gargamelle. Preuve en est encore la correspondance de Diderot où celui-ci va jusqu’à revendiquer le plagiat du style rabelaisien pour écrire certains textes. Si ma proposition vous intéresse, je souhaiterais développer ce propos et présenter, en français, une intervention sur ce savoureux plagiat de Rabelais par Diderot.

10:00 AM - Falschgeld und Alchemie. Zur literarischen Produktivität der Fälschung in Charles Sorels Histoire comique de Francion und Tristan L'Hermites Le page disgracié Urban, Urs (Universidad de Buenos Aires (UBA), Buenos Aires, Argentina)

Die Kopie – und mit ihr das Plagiat – hat, insbesondere seit den Diskussionen der so genannten Postmoderne, eine radikale Aufwertung erfahren – die soweit gehen konnte, dass letztlich nicht nur die Herkunft der jeweiligen Bezüge offen einbekannt wurde, sondern dass Kopie und Original gänzlich in eins fielen und so die Unterscheidung zwischen beiden vollständig obsolet wurde: man denke nur an die prominente Rezeption von Borges’ Erzählung über den Autor des Quijote. Fragt man nach Funktion und Bedeutung der Fälschung für die Literatur, so zeigt sich schnell, dass nicht nur der literarische Text selbst fälschen und gefälscht werden kann, sondern dass er die Fälschung auch thematisiert – und auf diese Weise nicht selten auch das eigene prekäre Verhältnis zum (‚faktischen‘) Vor-Bild problematisiert. Zu den literarisch besonders produktiven Motiven der Fälschung gehört das Motiv des Falschgelds – man denke nur an die einschlägigen Texte etwa von Baudelaire und Gide und ihre nicht minder prominenten Exegeten (Derrida, Goux). Das Phänomen des Falschgeldes ist kulturtheoretisch interessant, weil das Geld selbst erstens kein Original voraussetzt und zweitens reproduzierbar sein muss, um zu funktionieren – und eben dennoch gefälscht werden kann. Wenn Geld nurmehr Information ist, steht dabei indes lediglich seine Referenzialität auf dem Spiel. Zu einer Zeit, in der das Geld noch nicht gänzlich in seiner Zeichenhaftigkeit aufging, sondern selbst noch einen mehr oder weniger massiven Substanzwert besaß, ging es um anderes und mehr als nur die Verlässlichkeit seiner Verweisfunktion: und mithin um anderes und mehr als nur die Fälschung eines Mediums. Genau das hat bereits die Literatur der Frühen Neuzeit bedacht und zwar insbesondere in der niederen Gattungsvariante des komischen Romans: etwa in Charles Sorels Histoire comique de Francion, deren Protagonist Geld fälscht, oder in Tristan L’Hermites Le page disgracié, der Gold produziert. Ich möchte mir ansehen, was diese Texte über die Logik von Geld und Falschgeld wissen, und herausarbeiten, wie die Fälschung hier literarisch produktiv gemacht wird.

11:00 AM - The Fascination with Falsification. Russian Tsars in 19th Century Literature Krauss, Charlotte (Albert-Ludwigs-Universität Freiburg, Freiburg, Germany)

In 19th century European literature, the fascination with Russian tsars goes hand in hand with the fascination for falsification and fraud. This phenomenon achieved great success and introduced a 49

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 series of fictional tales, overcoming language barriers. Nowadays, plenty of these adaptations would be referred to as plagiarism. At the time, several more or less true stories of falsifications circulated about the dreadfully clever and dreadfully brutal figures taken from Russian history; these will be the subject of my presentation. The most famous story is that of the “False Dmitriy”, taking place at the turn of the 17th century. In 19th century, this tale inspired writers and historians, like Friedrich Schiller, Nikolay Karamzin, Alexander Pushkin and Prosper Mérimée, illustrating how difficult it can be to draw the boundary between history and fiction in the case of an unresolved fraud. The story of Peter I travelling incognito was not only reflected by Albert Lortzings’ successful opera (Tsar and Carpenter, 1837), but also found its way in to popular literature as a topos of the omnipresent Father Tsar. Among other second-rate stories of fraud and falsification, one must also mention the spectacular story of Peter I’s – demonstrably false – testament, which was recounted for several decennia. On the basis of the afore mentioned examples, my presentation will examine the literary fascination with falsification. More specifically, it will investigate how “virally” spread rumors and stories of fraud provoke literary production, and how these stories prolifically change through a series of imitating, maybe plagiarizing texts.

11:30 AM - "Aber was soll uns Turgenjew?": Zum Habitus-Plagiat am Beispiel der Strategie Leopold von Sacher-Masochs im literarischen Feld der 1860-er Jahre Polubojarinova, Larissa (Staatliche Universität Sankt Petersburg, Sankt Petersburg, Russian Federation)

Im Referat soll mithilfe von Pierre Bourdieus Theorie gezeigt werden, dass auch textexterne Momente durchaus plagiatsträchtige Aspekte zeitigen können (wie Image-Diebstahl). So wurde z.B. Leopold von Sacher-Masoch (1836-1895) seit dem Erscheinen seiner ersten "Galizischen Geschichten" Ende der 1860-er Jahre von der literarischen Öffentlichkeit in Deutschland wie in Frankreich als eine Kontrafaktur des bedeutenden und überaus erfolgreichen (auch kommerziell) Iwan Turgenev (1818-1883) wahrgenommen. Die Charakteristika „ein galizischer (bzw. österreichischer) Turgenev“ tauchten öfter in den Buchbesprechungen des jungen Grazer Autors auf, dessen Texte, seinem russischen Vorbild nicht ungleich, "slawische" Realien von Osteuropa, aber im Medium der deutschen Sprache darstellten. Diese "Authentizität" eines auf Deutsch schreibenden "Slawen" versucht in seinem Vorwort zu Sacher-Masochs Novelle „Don Juan von Kolomea“ (1867) der wortmächtige Wiener Feuilletonist Ferdinand Kürnberger (offensichtlich zu Ungunsten des hiermit in die Eastern Europe-Schranke verwiesenen Turgenjev) ins Spiel zu setzen, wenn er schreibt: "Aber was soll uns Turgenjew? Er ist ein Russe. Er gehört nicht in unsere Literatur, bloß unserer Übersetzungsliteratur. Wie wäre es also, wenn wir statt des Großrussen Turgenjew einen Kleinrussen, einen Ostgalizier, d.h. einen Österreicher, d.h. einen Deutsche hätten?" Es soll die plagiatorische Legitimationsstrategie offen gelegt sein, mit deren Hilfe Sacher-Masoch als literarischer Anfänger die Grundparameter seiner Image-Konstruktion folgerichtig nach dem Vorbild Turgenevs orientierte, um die von dem Russen im deutschsprachigen und europäischen "literarischen Feld" besetze Nische eines "naturnahen Slawen" für sich zu beanspruchen.

12:00 PM - Plagier ou être plagié : Camille Lemonnier ou le "Zola belge" (titre provisoire) Goutaland, Carine (INSA de Lyon / UMR LIRE, Lyon, France)

En 1886, l’écrivain belge Camille Lemonnier publie Happe-Chair , un roman qui dépeint la condition ouvrière dans les laminoirs et présente de nombreuses similitudes avec Germinal , paru en volume l’année précédente. En 1892, celui que l’on surnomme déjà le "Zola belge" semble condenser, dans La Fin des bourgeois , la matière des volumes déjà parus des Rougon-Macquart . La critique belge comme la critique française, selon son degré de bienveillance, verra en Lemonnier "le meilleur plagiaire de Zola" ou bien "un disciple attardé du grand Zola", voire l’un des suiveurs sans relief de "la queue de Zola". Tout en estimant le chef de file du naturalisme à qui il fait lire ses ouvrages,

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

Lemonnier refuse une telle étiquette – comme, d’ailleurs, toute étiquette : "lorsqu’il me serait lucratif et commode de me cantonner, à l’exemple d’autrui, dans un immuable périmètre – (les firmes fructueuses ne sont qu’à ce prix), – je m’évade vers de variables latitudes et rechigne à me laisser cataloguer sous une étiquette." ( Dames de volupté , 1892) Condamné à plusieurs reprises pour ses audaces naturalistes, Lemonnier trouve en Zola, en retour, un ardent défenseur qui lui confie même un jour : "Je ne vous relis pas de peur de vous plagier". Par-delà un intérêt commun pour des milieux et des thématiques, par-delà des affinités dans les procédés d’écriture – qui, nous le verrons, situent la démarche de Lemonnier à la fois en deçà et au-delà du naturalisme zolien – nous souhaitons nous interroger sur la signification même de l’imitation aux yeux de deux écrivains qui, chacun à sa manière, affirment leur volonté de reproduire le réel, et de "s’abreuver" à toutes les sources de documentation disponibles, selon les termes de Zola. Essence même de la démarche naturaliste, cette forme d’intertextualité superlative qu’ils revendiquent leur permet à la fois de légitimer une esthétique nouvelle, et de susciter des émules.

Date: Saturday, July 23rd

9:00 AM - Paul Celan und Ossip Mandelstam Bogumil-Notz, Sieghild (Ruhr-Universität Bochum, Allgemeine und Vergleichende Literaturwissenschaft, Bochum, Germany)

Das Thema unseres workshops setzt nicht nur voraus, sondern akzeptiert und verteidigt sogar die Aufwertung des Plagiats. Unter diesen Umständen stellt sich die Frage, ob Cervantes Recht hatte, seinen Don Quijote gegen das Plagiat, das seinem Werk widerfahren sollte, zu schützen, indem er einen zweiten Band verfasste, in welchem er seinen Helden sterben ließ. Und wie steht es um die Aufklärung, die die Basis für die Institutionalisierung der Idee des Plagiats geschaffen hat, das seitdem als ein illegaler Akt von der Justiz verfolgt werden konnte? Man denkt auch an die berühmt- berüchtigte Affäre Goll, unter der Paul Celan nur allzu sehr gelitten hatte. Seit jenen unhaltbaren Vorwürfen datierte er seine Gedichte. In der Gegenwart stellt sich uns die Frage, warum uns die Garantie der Autorschaft im Internet so wichtig erscheint. Und um ein letztes Beispiel zu zitieren: Ist die feministische Kritik zu verteidigen, die die männlich dominierte Gesellschaft bezichtigt, die weibliche Identität zu usurpieren? Ein vorzügliches Beispiel bietet die Idee des Heldentums. Die Heldin wurde in der Geschichte im allgemeinen und in der Literaturgeschichte im besonderen lediglich als die weibliche Variante des Helden ohne distinktive Merkmale betrachtet. Die Brüder Grimm investieren in ihrem Lexikon nicht mehr als 2 Zeilen einer Kolumne, um die Frau als „Heldenweib“ (virago) zu definieren, während sie der Beschreibung des Helden nahezu vier Kolumnen widmen. Intention meines Beitrags ist es, Licht in das durch Kultur, Geschichte und Ideologie verursachte Gewirr von Begriff und Sache zu bringen, um darauf eine neue Art zur Diskussion zu stellen, das Verhältnis der Autoren, die explizit oder implizit auf einander Bezug nehmen, zu denken. Das Verhältnis von Paul Celan und Ossip Mandelstam wird als Grundlage dienen. Französische und englische Versionen meines Vortrages werden zur Verfügung gestellt.

9:30 AM - Fiktive Übersetzung oder inszeniertes Plagiat? Valery Larbauds Poésies de A.O. Barnabooth Gerling, Vera Elisabeth (Heinrich-Heine-Universität Düsseldorf, Düsseldorf, Germany)

Der französische Autor Valery Larbaud (1881-1957) ist im übersetzungswissenschaftlichen Kontext durch seine Essaysammlung Sous l'invocation de saint Jérôme (1946) bekannt. Die Besonderheit seines frühen übersetzungstheoretischen Ansatzes liegt in seiner modernen Textkonzeption, vertritt er doch die These, gedruckte Texte seien keine stillgestellte Sprache, es handele sich vielmehr um lebendige, sich stets wandelnde Wesen: „L'immobilité du texte imprimé est une illusion d'optique.“ (Larbaud 1997: 78), so sind bei ihm Texte als ‚Reisende‘ konzipiert. Larbauds Werk fußt also auf 51

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 einem Hierarchien und Traditionen durchkreuzenden Textverständnis abseits des Originalitätsgedankens. Vor diesem Hintergrund möchte ich in meinem Vortrag die Gedichte Larbauds betrachten, die integraler Bestandteil seines literarischen Hauptwerks A. O. Barnabooth. Ses œuvres complètes, c’est-à-dire un conte, ses poésies, et son journal intime (1908) sind und als fiktive Übersetzungen inszeniert werden, wobei die Originale Leerstellen bleiben. In meinem Vortrag möchte ich der Bedeutung dieses Konstruktionselements auf zwei Ebenen nachgehen:

1) Wie spiegelt sich das literarische Konstrukt der Pseudoübersetzung in der ästhetischen Qualität der Gedichte wider? Welche Bedeutung kommt ihnen als intratextuelle Elemente des Werks zu? Wie findet sich in den ästhetischen Verfahren dieser Lyrik die Verunsicherung des Originalitätsgedankens realisiert?

2) Wie lässt sich die Bedeutung dieser Gedichte zu den übersetzungstheoretischen Äußerungen des Autors selbst und zu andere übersetzungswissenschaftlichen Konzepten wie Pseudotranslation (Toury) oder fiktive Übersetzung (Bassnett) in Bezug setzen?

10:00 AM - Dialogues and appropriations in 'The year of the death of Ricardo Reis', by José Saramago Grünhagen, Sara (Rio de Janeiro State University, Rio de Janeiro, Brazil)

This paper proposes an analysis of the novel The year of the death of Ricardo Reis, by Portuguese writer José Saramago, which builds the story from a heteronym by Fernando Pessoa, from other texts and characters of literature and from historical events and figures. First published in 1984, the novel uses the biographical data of Pessoa’s heteronyms, making Ricardo Reis return to Portugal at the end of 1935, shortly after the death of his creator Fernando Pessoa. At first, the heteronym appears with the profile and the characteristics by which he is known: a cold and stand-offish man that seeks to alienate himself from the world as much as possible, a monarchist doctor and poet in his spare time, whose style stands out for its erudite language, for the use of odes and for recurring themes and figures, like the gods, death, time and the transience of life. Ricardo Reis is thus a representation of the classic tradition, and as such he is challenged and deconstructed throughout the novel, which confronts him with his view that ‘Wise is he who is satisfied with the spectacle of the world’. Hence, in this work we aim to examine such appropriation of the heteronym, his poetics and his biography, something that could be considered plagiarism, especially because often the author does not indicate the authorship of poems, quotes and texts, including newspapers of the time. For instance, on his trip to Lisbon Ricardo Reis brings a novel that he borrowed and did not return from the ship’s library: The god of the labyrinth, by Herbert Quain (in Spanish and Portuguese, a pun with “who”), the Borgian author from the short story “An Examination of the Work of Herbert Quain”. There are several other appropriations in the novel, and we will seek to show that they can be understood as a “productive plagiarism” that will engage in a dialogue with literature and history in order to discuss both.

11:00 AM - Walter Scotts "St Ronan Well" und die Konstruktion des Kurort-Diskurses in der russischen Literatur Kulishkina, Olga (St Petersburg University for Technology and Design, Sankt Petersburg, Russian Federation)

Von Alexander Puschkins Romanentwurf "In den Bädern des Kaukasus" (1830) über Michail Lermontovs "Ein Held unserer Zeit" (1841) bis hin zu Fjodor Dostoevskijs "Spieler" (1866) und Anton Tschechovs "Die Dame mit dem Hündchen" (1899) (um nur die herausragendsten Beispiele zu nennen) erstreckt sich der spezifische Kurortdiskurs der russischen Literatur im 19. Jahrhundert. Die darin umgesetzte heterotope Raumkonstruktion mit dem ihr inhärenten Travestie-, Spiel- und Devianzpotential bringt es mit sich, dass die Texte dieser Reihe im Laufe von Jahrzehnten mit

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 besonderer Eindringlichkeit für die Aufstellung von spezifischen Identitätskonzepten und narrativen Verfahren gesorgt haben, die literarhistorisch üblicherweise als "genuin russisches" Spezifikum ("der Russe in den Bädern") verwertet werden. Wenig Beachtung findet allerdings die Tatsache, dass eigentlich ein englischer Text – der 1823 erschienene, in Russland seit 1824 in französischer Übersetzung bekannte Roman von Sir Walter Scott "St Ronan Well" zum Auslöser der ganzen "Kurortlinie" der russischen Literatur wurde – wobei man viele Übernahmen heute wohl als Plagiate bezeichnen würde. In England fand der einzige Gegenwartsroman des prominenten "Waverley"- Autors keine Resonanz und galt als misslungen. Ganz anders in Russland: Hier übernahmen die Autoren (zuerst und ganz ausdrücklich Puschkin) zum einen die thematischen und motivischen Elemente Scotts, etwa eine in das national wie sozial heterogene Milieu des Kurorts versetzte Liebesgeschichte, eine grotesk anmutende "Typen"-Reihe, unzuverlässige Erzählerfiguren oder das idyllische Topoi des "Eingegrenztseins". Zum anderen bedienten sie sich auch der von Scott im Vorwort seines Romans ausführlich dargelegten "Theorie" des Kurortes als eines auf die Produktion der kulturellen Devianz hin orientierten Raumes. Im Vortrag soll der Art und Weise dieser Aneignung und Umsetzung am Beispiel von Texten Puschkins, Bestuzhev-Marlinskys, Lermontovs, Turgenevs, Dostoevskijs und Tschechovs nachgegangen werden.

11:30 AM - The Imitation of Werther: Chinese Translations and Adaptation Kaminski, Johannes (Academica Sinica, Taipei)

This paper traces the dissemination of Goethe’s Sorrows of Young Werther in the Far East during the early twentieth century. After its original publication in 1774, it first took late-Meji-era Japan, then Republican China by storm. Its translations coincided with a period of radical linguistic change that saw the advent of the vernacular language, baihua. During this process, the Chinese language received important impulses from foreign fiction. (Cf. Michael Gibbs Hill, Lin Shu, Inc. (Oxford: OUP, 2012), pp. 54-70.) In this process, Guo Moruo’s seminal 1922-translation of Werther played an important role and provides the case example for this contribution to the workshop. While Guo first became acquainted with the text in Japanese, his Chinese translation is based on a word-by-word rendering of the German original. From the perspective of the source language, this translation’s excessive fidelity foreshadows Guo’s re-writing of Werther in short stories, which emulate the thoughts, style and emotional states featured in Goethe’s original. Very soon, Guo fashioned himself as the Chinese Goethe – a self-conscious form of epigonism, which is also reflected in his prose. In Guo’s plagiarism, the tasks of the translator and of the author merge. It is the result of literary mimicry within the globalised context of world literature. While it entails the imitation of the culture of the colonisers, it also allows for a disruption of its authority (Bhabha 1994). Thanks to Guo’s reinterpretation of Werther as a revolutionary hero against feudal society, the text is endowed with previously unheard-of connotation of political and national emancipation. After all, Benjamin’s 'mimetisches Vermögen' does not relate to understanding Werther as a historic text, but of the needs of a new audience. BIO: Currently, I am a Postdoctoral Fellow at the Academica Sinica in Taipei, Taiwan. Prior to this, I was a British Academy Postdoctoral Fellow at Cambridge University, UK (2012 to 2015). My publications include a monograph on Goethe (Der Schwärmer auf der Bühne: Ausgrenzung und Rehabilitation einer literarischen Figur in Goethes Dramen und Prosa (1775-1786), Hannover 2012) and around fifteen articles on classic literature in the German and Chinese tradition.

12:00 PM - Weltoffene Zeichenverschiebung: "Tausendundeine Nacht" als Rahmenstruktur des koreanischen Comics Lisitsyna, Daria (St. Petersburg State University, St. Petersburg, Russian Federation)

Die Sammlung morgenländischer Erzählungen, die in der ganzen Welt unter dem Namen „Tausendundeine Nacht“ bekannt ist, gilt schon seit Jahrhunderten als eine unerschöpfliche Quelle

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 der Motiven, Sujets und Figuren für weitere literarische Produktion und ist in vielen Texten der Weltliteratur an zahlreichen Nachahmungen, Erwähnungen, Allusionen und intertextuellen Bearbeitungen zu erkennen. Nur im 20.sten Jahrhundert sind solche beträchtlichen Autoren zu erwähnen wie Jorge Luis Borges, John Barth, Italo Calvino, Yukio Mishima und viele anderen, die bedeutende schöpferische Impulse in den Geschichten von Shahrazad gefunden haben. Auch die modernen asiatischen Comic-Autoren bedienen sich des prägnanten erzählerischen Potentials der „arabischen Nächte“. Unter denen ist aber das 11-bändige Werk der Koreaner Han Seung Hee und Jun Jin Suk von besonderem Interesse, das die Geschichte von Shahrazad mithilfe eines anderen Mediums nicht nur nacherzählt, sondern auch die geographischen, zeitlichen und sogar geschlechtlichen Grenzen der Originalfassung weit überschreitet. Fraglich ist aber die Stelle solcher intermedialen Adaptionen im Literaturprozess (wenn Comic-bücher überhaupt zu dem gehören) und die Art und Weise, wie solche Erscheinungen bewertet sein können. Diese Themen möchten wir im Rahmen des Workshops ans Licht bringen.

Date: Monday, July 25th

9:00 AM - Les paradoxes du plagiat dans la Roumanie communiste Bud, Crina (York University Toronto, Toronto, Canada)

Après avoir passé en revue le contexte politique et législatif lors de deux grandes étapes du communisme roumain (le régime stalinien de 1947-1964 et le nationalisme communiste de 1965- 1989), la présentation se doit d’investiguer quelques domaines qui se sont confrontés au problème de vol idées. Un premier niveau analysé sera celui idéologique. On y mettra en évidence la mise en œuvre d’un grand code totalitaire opposé au grand code culturel de la Bible (cf. Northrop Frye). Le nouveau code totalitaire est fondé sur un christianisme inversé et vidé de sens, les valeurs judaïques et chrétiennes sont renversées dans une religion athéiste. Ensuite, seront présentées de manière succincte des études de cas concernant le vol d’idées dans le domaine industriel, les emprunts, souvent non avoués, de la musique occidentale et le plus retentissant cas de plagiat littéraire de l’époque. Les conclusions feront ressortir l’oscillation paradoxale de ces pratiques entre leur condition pénale et leur valeur subversive de source de certains codes culturels et intellectuels.

9:30 AM - Geschichtsumschreibung. Plagiate Paul Zechs Gerlach, Hannah (Albert-Ludwigs-Universität Freiburg, Freiburg, Germany)

Die Werke Paul Zechs, der vor allem mit Beiträgen in Kurt Pinthus' Menschheitsdämmerung und Nachdichtungen der Lyrik Rimbauds und Villons bekannt wurde, durchziehen Dutzende von Plagiaten. 1929 bereits wurde der Dichter nach entsprechenden Klagen aus dem deutschen Schriftstellerverband ausgeschlossen. Diverse druckfertige Typoskripte im Nachlass Zechs enthalten weitere nicht markierte Übernahmen aus fremden Werken; hier lassen sich etwa wörtliche wie strukturelle Übereinstimmungen mit Texten Georg Lukács', René Schickeles oder Oswald Spenglers nachweisen. Einige dieser noch immer unveröffentlichten Arbeiten Zechs, Kurzdarstellungen von Autorinnen und Autoren wie Friedrich Hölderlin, Caroline Schelling oder Stefan George, sollen im Mittelpunkt des Vortrags stehen. Eine Besonderheit der ab circa 1944 in Argentinien entstandenen Texte ist ihre explizit politische Ausrichtung: Werke wie Charaktere fast aller Beschriebenen werden von Zech als gänzlich unvereinbar mit nationalsozialistischen Positionen präsentiert, teils mithilfe passend gefälschter Dokumente. Plagiate innerhalb der Essays sind keineswegs Gesamtkopien von Textvorlagen, sondern den in Zechs Darstellungen vertretenen Ansichten angepasste und kombinierte Auszüge. Als eine Hauptfunktion übernommener Textpassagen erscheint die Suggestion eines so sicher nicht vorhanden gewesenen, umfassenden literaturgeschichtlichen Wissens Zechs, das zunächst auch die Glaubwürdigkeit seiner politischen Behauptungen stärkt. Beispiele für Zechs in diesem Sinne produktives, zu neuen Textaussagen führendes Plagiieren sollen im Vortrag gegeben 54

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 werden. Sie verweisen letztlich auch auf die Frage, inwieweit Verwerflichkeit des Plagiierens von ihm zugrunde liegenden Absichten abhängt. Gefahren selbst ‚gut' gemeinten Betrugs verdeutlicht übrigens schon Zechs Biographie: 1916 ließ er den gerade verstorbenen Émile Verhaeren per Brief zum Frieden aufrufen. Da die Fälschung kurz darauf bekannt wurde, blieb ihr Effekt Zechs zerstörter Ruf.

10:00 AM - Exposition des sources et « reconstitutions » dans quelques œuvres de fiction et nonfiction contemporaines Grall, Catherine (Université de Picardie-Jules Verne, Paris, France)

Dans Reenactments - a memoir (W. W. Norton, 2013), Nick Flynn raconte et commente des moments d’élaboration et de tournage du film adapté de son récit autobiographique, Another Bullshit Night in Suck City - a memoir (W. W. Norton, 2005) : que signifie voir Paul Dano jouer des scènes de sa vie, avec Robert de Niro à la place de son père, et Julian Moore à celle de sa mère suicidée ? Comment travaille le réalisateur, Paul Weitz, pour l’adaptation et l’écriture du scénario (Being Flynn, Twenty Century Fox, 2007)? Que disent les neurosciences du fonctionnement de notre mémoire et de l’écriture par celle-ci de nos souvenirs ? Des romanciers, des poètes, qui ont nourri l’inspiration de Flynn lui permettent également de composer cette dernière œuvre qui marie récit, réflexions et questionnements directs partagés avec le lecteur : des références variées sont données dans un abondante liste des sources, à la fin de Reenactments comme dans les précédentes nonfictions de Flynn. D’autres œuvres ressortissent à ce genre, avec influence du modèle de l’enquête (W.T. Vollman), du témoignage accusateur (M. Winckler), avec investissement autobiographique. Quel rapport ces « expositions des sources » entretiennent-elles avec la pratique de romanciers contemporains, qui indiquent également des textes qui ont servi à la composition de leur œuvre – cf. « l’atelier » de L’Empreinte à Crusoë, par Patrick Chamoiseau ( Gallimard, 2012) , ou la bibliographie des Samothraces, par Nicole Caligaris (Mercure de France, 2000) ? De manière générale, ces espaces paratextuels qualifient le corps de l’œuvre en termes de genèse de celle-ci et de rapport au monde ; ils sont encore le lieu d’une énonciation et d’une « présentification » privilégiée de l’auteur, qu’on se propose d’analyser ici, et qui rend secondaire la question de la mimèsis.

11:00 AM - "- wenn Schönherr und Handel-Mazzetti dasselbe tun, ist es nicht dasselbe" (Karl Kraus, 1911) Literarische und moralische Argumentationen im Rahmen der Plagiatsvorwürfe gegen Karl Schönherr Steinsiek, Annette (Forschungsinstitut Brenner-Archiv, Universität Innsbruck, Innsbruck, Austria)

Karl Schönherr (1867-1943) wurde 1896 in Wien zum Doktor der Allgemeinmedizin promoviert. Seine schriftstellerischen Ambitionen sind seit 1888 nachzuweisen, um 1900 gab es einen ersten öffentlichen Erfolg, das Stück Glaube und Heimat (UA 1910) schließlich machte ihn berühmt. In Folge der Aufführung kam es zu Plagiatsvorwürfen. Eine eigene Publikation trug die Artikel und Argumentationen verschiedener Seiten zu dem Fall zusammen (M. Anklin: Enrica von Handel- Mazzetti und Karl Schönherr. Gedanken zum neuesten Literaturstreit. Berlin 1911). Einerseits wurden literarische Begriffe wie „Stoff“ und „Sujet“ pauschal verwendet, andererseits wollte ein synoptischer Vergleich „Wortgleichheiten“ als eindeutige Beweise vorlegen. Nach diesem „Literaturstreit“ versuchte ein anonymer Schreiber in einem Brief an die schon zuvor involvierte Augsburger Zeitung (uns liegt der Durchschlag des Briefes vor), Schönherr ein weiteres Plagiat nachzuweisen: Auch das Stück Erde (UA 1907) sei „Zug für Zug“ das Plagiat einer Novelle aus dem 19. Jahrhundert (welche, soll erst der Vortrag verraten).

Die einen Plagiatsvorwurf begründenden (literarischen) Kriterien sind immer auch Strategien im Streit um „symbolisches Kapital“ – aber letztlich führen sie tief in die Struktur des Literarischen im historischen Kontext: Welche Elemente werden genannt, wie werden ihre Funktionen im Text 55

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 gewertet? Im Vortrag soll vor allem anhand zeitgenössischer Mitteilungen eine Kriterienliste präsentiert werden, die es erlaubt, die Vorwürfe exemplarisch zu prüfen und literarische, moralische und juristische Aspekte zu entwirren. Gemeinsam könnte geprüft werden, ob diese Kriterienliste auch in anderen Fällen dienlich sein kann. Erstmals kann anhand zahlreicher bisher unbekannter Briefe von Karl Schönherr (knapp 100 Stück) seine Arbeitstechnik nachgezeichnet werden, die ihn auch in der Tradition der im 19. Jh. üblichen Dramatisierungen von Prosaarbeiten zeigt. Streitverhandlungen um diese Dramatisierungen waren ein wesentlicher Schritt zu dem Urheberrecht, wie es uns heute noch bekannt ist, gewesen. *** Gemeinsam mit Ursula A. Schneider. ***

11:30 AM - Das literarische Verfahren des Plagiats als Mittel der Differenz: Franz Kafkas "Das Schloß" und Libu'e Moníkovás "Pavane für eine verstorbene Infantin" Bakirova, Elena (Universität St. Petersburg /Graz, Graz, Austria)

Im Vortag wird das Phänomen des Plagiats am Beispiel der komparatistischen Analyse von Libuše Moníkovás "Pavane für eine verstorbene Infantin" untersucht. In diesem literarischen Werk entlehnt die Schriftstellerin nicht nur den Titel vom musikalischen Stück Maurice Ravels, sondern lässt die Protagonistin Francine Pallas den Roman Franz Kafkas umschreiben und imitieren. Demzufolge handelt es sich um einen Fall der Metafiktionalität, indem sich das literarische Verfahren des Plagiats einerseits produktiv und funktional, andererseits selbstreflexiv und entfremdend erweist.

12:00 PM - Geisteskrankes Eigentum: Die Plagiatsvorwürfe gegen Heinar Kipphardts "März" Tashkenov, Sergey (RGGU Moskau, Moskau, Russian Federation)

Was kann plagiiert werden? Ein Text, eine Person, eine Sprache? Der 1976 entstandene Roman "März" von Heinar Kipphardt, der zum Kultbuch der antipsychiatrischen Bewegung wurde, stellt einen besonderen Fall des Umgangs mit fremden Texten, Denk- und Schreibweisen sowie Persönlichkeiten dar, welcher nicht selten als Plagiat etikettiert wird. Für das große "März"-Projekt, das einen Film, einen Roman sowie Theateraufführungen umfasst, verwendet Heinar Kipphardt lyrische Texte des heute schon gut bekannten Schizophrenen Ernst Herbeck (auch unter dem Pseudonym Alexander Herbrich), die Kipphardt zitiert und umgestaltet und deren Stil er übernimmt. Der berühmte Wiener Psychiater Leo Navratil, der dem Autor einen möglichst breiten Zugang zur Persönlichkeit seines Patienten freundlich zugestellt hat, äußert nach der Veröffentlichung des Romans Plagiatsvorwürfe, welche eine Debatte in der Presse und dem Briefwechsel auflöst. Der Vortrag hat zum Ziel, sich mit diesem Fall ausführlich auseinanderzusetzen: Wie geht man mit dem geistigen Eigentum um, wenn dieses "krank" ist, wobei der künstlerische Wert solcher Werke immer noch im Zentrum der Diskussionen steht? Und kann es als Plagiat bezeichnet werden, wenn die sogenannte "verrückte Sprache" angeeignet wird, die in der Schizolinguistik allgemeinere Züge hat und nicht die individuellen?

Date: Tuesday, July 26th

9:00 AM - Plagiat psychique et création BARON, Christine (Université de Poitiers, POITIERS, France)

Depuis The Anxiety of influence (Harold Blomm, 1973), en théorie littéraire, il semble acquis que tout véritable auteur s'efforce de se démarquer de ce qui le précède. La peur esthétique de l'influence jointe à la crainte juridique de la contrefaçon créent un interdit de répétition, et les procédures judiciaires se multiplient à l'encontre de nombreux écrivains depuis le dernier tiers du XXe siècle. En 2007, Camille Laurens impute à Marie Darrieussecq un "plagiat psychique" à propos de la publication de Tom est mort qui raconte la perte d'un enfant du point de vue de la mère. Frappée par un deuil similaire, Camille Laurens avait écrit dix ans plus tôt cette douloureuse histoire et elle accuse Marie 56

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

Darrieussecq de lui avoir volé ce thème, mais surtout de l'endosser sans en avoir vécu la violence intimement d'où l'invention du terme "plagiat psychique" qui définit cette intrusion dans la douleur de l'autre. Or, le travail de l'écrivain consiste précisément à explorer les variations du moi, à se glisser dans des identités multiples. En répondant à Camille Laurens dans Rapport de police , Marie Darrieussecq ne fait pas l'éloge du plagait mais souligne la nécessité de dissocier expérience vécue et pratique littéraire. La possibilité de ces "variations imaginaires du moi" (Ricoeur) qui caractérise tout écrivain lui ouvre les portes de tout thème, et aucun ne peut se dire propriétaire d'un sujet de récit; reprendre un thème conduit à le réexaminer et à l'enrichir sous des formes autres et bien des réécritures qui contribuent à la diversité du paysage littéraire seraient impossibles aujourd'hui, à l'aune de cette judiciarisation du paysage éditorial. Distinguer la contrefaçon de l'empathie psychique suppose parfois des frontières ténues que cette contribution examinera sous divers éclairages; juridique, théorique, psychologique.

9:30 AM - Plagiate fremder Identitäten - skandinavische Autofiktionen der Gegenwart und ihre Folgen Gruenewald, Jennifer (IGK 1956 Kulturtransfer und kulture Identität, Freiburg, Germany)

Das hybride Genre zwischen fiktionalem Erzählen und biographischem Schreiben, das bereits seit den 70er Jahren den Begriff der Autofiktion trägt, erfreut sich unter anderem in Skandinavien in den letzten Jahrzehnten einer großen Beliebtheit. Bereits 1993 wurde Peter Høegs De måske egnede und die drohenden rechtlichen Konsequenzen heftig in den Medien diskutiert – so lange bis der Autor sich von den autobiographischen Hinweisen im Werk distanzierte. Auch Karl Ove Knausgård musste sich letztlich mit ethischen und rechtlichen Fragen auseinandersetzen, als sich zahlreiche Personen zu Wort meldeten, um ihre Darstellung in seiner international viel beachteten Romanserie Min Kamp zu verhindern. Kjersti Annesdatter Skomsvold schrieb in ihrem autobiographischen Werk Monstermenneske über die belastende Beziehung zu dem bekannten Autor Stig Sæterbakken, den sie als weibliche Schlüsselfigur auftreten ließ – für die norwegischen Leser_innen anscheinend klar erkennbar. Kurz: eine ganze Reihe sowohl in ihren Heimatländern als auch international etablierter Autor_innen wagt sich an diese Form der Literatur und tritt damit ein in einen Grenzbereich von Kunst und Privatsphäre. Durch die Fiktionalisierung von faktualen Subjekten ohne deren Einverständnis zerstört diese Textgattung nicht nur den sonst eindeutigen Vertrag zwischen Autor_in und Leser_in und schafft damit eine Deutungsunsicherheit; Literatur betritt damit auch einen moralisch gefärbten Bereich und weist Elemente eines Plagiats auf, indem sie fremde Persönlichkeiten kopiert und ihre Darstellung gewinnbringend nutzt. Mein Vortrag soll zunächst das hybride Genre der Autofiktion an exemplarischen skandinavischen Texten analysieren und die Verortung von Plagiatselementen überprüfen. Weiterführend soll der Zweck der Poetisierung real existierender Personen und die narrative Wirkung diskutiert werden.

10:00 AM - Ethique du plagiat dans l'oeuvre de Calixthe Beyala Sicard-Cowan, Helene (St Leonards School, St Andrews, United Kingdom)

Ma communication porte sur les enjeux éthiques des pratiques intertextuelles extrêmes qui caractérisent l’œuvre de la romancière franco-camerounaise Calixthe Beyala. Ces pratiques valurent à son auteure d’être condamnée pour ‘contrefaçon partielle’ pour le roman intitulé Le petit prince de Belleville (1992). Dans un autre cas de supposé plagiat qui fournit le contexte de mon intervention dans cet atelier, le critique littéraire Pierre Assouline informa l’écrivaine française Paule Constant que Beyala avait copié un de ses romans, White Spirit (1989), dans son propre roman intitulé Assèze l’Africaine (1994). Cette nouvelle accusation de plagiat entraîna la publication consécutive de deux romans : Confidence pour confidence (1998) de Paule Constant, dans lequel la romancière met précisément en scène une plagiaire, et Amours sauvages (1999), roman qui peut être considéré

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 comme la réponse de Beyala au roman de Constant. À travers l’évocation de deux romans de Beyala, Assèze l’Africaine (1994) et Amours sauvages, je souhaite revoir la réception négative que Constant, Assouline et autres lecteurs pressés réservèrent aux pratiques intertextuelles extrêmes de Beyala dans les romans en question. Pour être plus précise, je défendrai l’idée que l’imitation littéraire dans les œuvres en question peut se lire comme un geste éthique par lequel la romancière souligne les liens partagés par les anciens colonisateurs et colonisés par-delà les divisions de toutes sortes. Je montrerai notamment que l’appropriation des œuvres de Constant par Beyala peut s’interpréter comme un geste d’amitié et un témoignage de solidarité envers l’auteure imitée de la part de la « plagiaire ». Ma communication est une version abrégée d’un chapitre de mon livre intitulé Vivre ensemble : éthique de l’imitation dans la littérature et le cinéma de l’immigration en France (1986- 2005) qui paraîtra en 2016 aux éditions Peter Lang.

16658 - Comparative Literature as a Transcultural Discipline Date: Monday, July 25th // Tuesday, July 26th Room: Hs 46 Chair: Coutinho, Eduardo

9:00 AM - Comparativism in Latin America in the XXIst Century. Coutinho, Eduardo (AC Studies Center, Rio de Janeiro, Brazil)

Considering Comparative Literature as a dialogue among cultures, that is, as a discipline that, far from being limited either to studies of a binary sort (between works, authors and literary movements), or to the canon of Western tradition, is rather open to different types of literary and cultural expressions and to the contributions of other areas of knowledge, we will draw a reflection in this paper about the role of this new type of comparativism in Latin America. Our focus will fall on the transformations that have taken place in the late decades regarding the dialogue between Latin American thought and the contributions coming from Europe and the USA, and on the wider scope the discipline has achieved in the Latin American context.

9:20 AM - Littératures migrantes ou transnationales: élargissant les frontières des esthétiques transculturelles. Bernd, Zila (zila bernd, Porto Alegre, Brazil)

Résumé : Problématiser la « Littérature Comparée », comme discipline, au moment actuel de la modernité tardive, où le concept d´identité nationale ne se soutient plus ; réfléchir sur les migrances, les déplacements et les mobilités ethniques et culturelles, qui obligent à repenser le concept stable de Littérature Comparée, à la lumière des perspectives multi, inter et trans-disciplinaires et multi, inter et transculturelles.

Mots-clés : littérature comparée; esthétiques transculturelles; transnationalismes; esprit migrateur; mobilités culturelles.

Professeur à l´Université Fédérale du Rio Grande do Sul – Brésil et au Unilasalle/Canoas/Brésil. Chercheur avec Grant du CNPq (Conseil national de développement scientifique et technologique)

9:40 AM - Worlds of difference, worlds of concord: between the Anthropocene and an indigenous African myth of origin van Vuuren, Helize (Nelson Mandela Metropolitan University, Port Elizabeth, South Africa)

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

A /Xam archive of oral tradition was recorded in 1919-1921 by G.R. von Wielligh in Afrikaans. Unlike the Bleek & Lloyd /Xam archive recorded from 1911 to 1936, which has attained UNESCO World Heritage status (lloydbleekcollection.cs.uct.ac.za), the Von Wielligh /Xam archive has been rather neglected due to its Afrikaans language medium, inaccessible to many scholars of Bushmen studies. Recuperating what is of value in this more or less forgotten archive, the focus for the proposed paper is a central myth of origin, read comparatively with other recorded hunter-gatherer traditions and beliefs, as well as with Greek mythology. The view of an original "land of plenty" in the mythological narrative is brought to bear on the present era of the Anthropocene (the dire state of ecology through climate warming), and linked contextually to recent developments in palaeo–archaeology, dating the origin of "homo symbolicus" (D’Enricco & Henshilwood 2011) at Blombos cave in South Africa to about 100,000 years ago. A "cold reading" of the text on its own, followed by a comparative, transdisciplinary and culturally informed reading, illustrate the restrictive aspects of the one approach versus the other. The different reading methods utilised, highlights the challenges to the researcher, as well as the contribution to final understanding, gained from a transdisciplinary comparative perspective.

10:00 AM - Wandering Subjects. Brazilian and Portuguese narrative travels. Radlwimmer, Romana (Universidade de Lisboa, Lisboa, Portugal)

In my paper, I would like to cross-read contemporary (post-millennium) Brazilian and Portuguese literatures. Various texts (of João Gilberto Noll, António Lobo Antunes, Andréa del Fuego, amongst others) shall be analyzed and compared with regard to their "moving" quality in time and space. On both sides of the Atlantic, these literary texts lay gentle trails of subjects wandering through concrete and/or abstract spaces. By collecting these nomadic narrative strings and its related, embedded subject fantasies, a regionally, nationally and transnationally marked topography appears: Brazilians in Portugal and Europe, Portuguese in Brazil, Brazilians in Brazil, Portuguese in Portugal and Europe. Can this mapping reveal constructive forms of un/thinking literary relations in the complex field of Brazilian-Portuguese histories, spanning over post/de/colonial complexes? What kind of literary, cultural and political discussions do these texts open up?

11:00 AM - Imagology and transnationalism: stereotypes, heteroimagotypes and allophilia in Rhys Hughes and João de Melo Simões, Maria João (Faculdade de Letras da Universidade de Coimbra, Coimbra, Portugal)

Singularity and alterity are concepts that have long been the object of attention of philosophers, and some of them stress the importance of social contexts for a full understanding of those concepts. More recently, Social Psychology has carried out many surveys and studies on relations between social groups and has shown the importance of stereotyping processes in the configuration of groups vis-à-vis the otherness of different groups, as researchers like Craig McGarty, Vincent Yserbyt and Russells Spears explain. Literary Imagology can enlarge this field of knowledge by providing new insights into perspectives of the construction of imagemes, since, according to Manfred Beller and Joep Leersson, “the origin and function of characteristics of others countries and peoples, as expressed textually” is the main objective of imagological studies. The rebound of Imagology traces a new path in Comparative Literature since this domain ascribed itself the study of culture clashes and of transcultural experiences represented by literary works.

Moreover imagological studies can evolve with the input provided by the so called ‘transnational turn’ and the studies on transnationalism that focus on cultural hybrid phenomena as they are figured in literary texts.

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

This paper will depart from a conceptualization on stereotypes and imagotyptes in order to observe how the foreigner and othernesss are represented in novels such as O Mar de Madrid ( Madrid Sea ) by João de Melo, and A Sereia de Curitiba ( The Mermaid of Curitiba ) by Rhys Hughes. Finally, the presence of cultural hybridism will be investigated and the possibility of transnational representations will be pointed out.

11:30 AM - Cultural Territories as Post-Nacional Spaces Resende, Beatriz (Universidade Federal do Rio de Janeiro, Rio de Janeiro, Brazil)

When we talk about contemporary art as global art, we refer to the cultural and artistic production that circulates without borders, without framing national identities, created beyond the idea of nation. In this post-national organization, however, references of territories of origin frequently arise in contemporary literature, as well as in other art forms. References to territories may apear both within critical visions or in evocations of positivity. These territories go beyond spatiality, geographic or even ethnic boundaries. They may be adjacent areas or networked communities that create new solidarities, despite differences between people or places. To speak of the territories where literature is produced, of where it circulates and is consumed, becomes important for the critical thinking that is interested in establishing relations between literature and politics, but refuses, however, concepts such as national literature. Throughout experiments originated in Brazil, I will analyze how certain artistic practices are presented today, dealing with literature in dialogue with other arts, such as visual and performing arts, and how the concept of territory becomes important for these studies.

12:00 PM - Cosmopolitanism(s) and National Literatures: an Intercultural Dialogue at the Postnational Cartographies Era. Gomes, Renato (Pontificia Universidade Católica do Rio de Janeiro, Rio de Janeiro, Brazil)

An Eurocentric conception of cosmopolitanism is questioned by thinkers as K. Appiah, Walter Mignolo, Silviano Santiago among others, to search possible re-semantizations of the term in the contemporary context, marked by the globalization, the multiculturalism and the expansion of the new technologies of communication. Considering this confrontation of comopolitanisms, this paper inquires how the tensions between cosmopolitanism and nationalism had grown up at the postnational cartographies era (Appadurai). This research, on the other hand, aims to confront such interpretations with those that appear at the beginning of XXI century, when the nation is anymore the center of a system of signification (Martín-Brabero), at heterogeneous time (Chartejee) and of globalization, when is it possible to speak about “cosmopolitismo do pobre” (subaltern cosmopolitanism) and diaspora formulated by Silviano Santiago.

2:00 PM - Minimal Writings: the Traditions of Ernest Hemingway and Dalton Trevisan. DIAS, ANGELA (Universidade Federal Fluminense, Rio de Janeiro, Brazil)

Ernest Hemingway (1899-1961), without any doubt was the predecessor of the literary minimalism, emerged in the United States, during the decade of 1970. His style composed under the “iceberg theory” is skilled by the procedures of reduction and simplification of the materials and resources. It is constructed by means of simple and coordinated sentences, deprived of internal punctuations and any species of rhetoric excess. His prose appropriates cinematography effects either using simultaneous images or exploring collage of snapshots, by cutting them. In 1954, Hemingway is awarded the Nobel Prize for Literature.

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

In Brazilian literature, only in the end of the 1950’s, appears an accent more systematically minimalist, through the work of Dalton Trevisan (1925). His obsessive quest for silence, in the capture of the elusive real influenced for him being awarded the Jabuti Prize of Brazilian Chamber of Books, with his work Dissuasive short stories (Novelas nada exemplares) publicized in 1959. Besides another prizes, the writer conquests in 2003, the Portugal Telecom Prize, which he shares with Bernardo Carvalho.

Hemingway begins his literary career as a short stories’ writer, as well as the Brazilian writer, which work, except for one of his books, is all composed of short stories.

This present paper aims to establish a comparative study between the themes and styles of these two writers, both of them acknowledged and consecrated .

2:20 PM - Black Orpheus. Challenges for Transcultural Comparisons Kopf, Martina (Johannes Gutenberg-Universität Mainz, Mainz, Austria)

Comparative literature is often reduced to European literature or to North American classics even if its objective is World Literature. The “Western Canon” (Bloom) still seems to dominate the scientific landscape although the discussion about „New World Literature“ has been conducted for some time. So what about the literature of the “rest of world”, including African, Asian, Australian, Middle and South American literature? Why do we avoid transcultural comparisons? In her book All the Difference in the World: Postcoloniality and the Ends of Comparison US comparatist Natalie Melas asserts that, whereas a temporal scheme of evolution unified the comprehensive field of an earlier positivist comparatism, a spatial scheme of sheer extensiveness undergirds this new attention to comparative scope. The question consequently shifts from “what do you compare?” to “on what grounds do you compare?” The general argument Melas develops is that, under these conditions, comparison involves a very particular form of incommensurability: Space offers a ground of comparison, but no given basis of equivalence.1 My contribution focuses on the challenges of transcultural comparison. In breaching cultural borders from European to non-European literature or vice versa cultural differences become clear. They might challenge the reader and the comparatist who is not familiar with the foreign language, nor with particular cultural characteristics such as traditions, rituals etc. and of course with transcultural literature per se which puts the term national literature vehemently into question. To avoid any non- or misunderstanding or even eurocentric interpretation, deeper insight into cultural context, original language etc. might be necessary. But what if differences dominate similarities? Does the comparison then become a real challenge and perhaps prove to be questionable in the end? These questions should be answered by examining non-European receptions of the Orpheus myth as Brasilian writer Vinicius de Moraes’s Orfeu do Carnaval/Orfeu da Conceição which was picturised by Marcel Camus as Orfeu Negro (1959) and Nigerian writer Wole Soyinka’s Season of Anomy (1973). 1Melas, Natalie: All the Difference in the World: Postcoloniality and the Ends of Comparison. Stanford 2007, p. xii.

2:40 PM - Sor Juana Inés de la Cruz (Mexico, 1651-1695) and Gregório de Matos (Brazil, 1636-1695): the Ludicrous Machinery of Baroque Irony. Marinho, Marcelo (Federal University for Latin-American Integration (UNILA), Foz do Iguacu - Parana, Brazil)

This paper is aimed to bring forth new poetic perspectives at the very crossing point of Mexican and Brazilian literary representations of religion and society . Far beyond the study of national literatures, we search to approach, on the basis of literary interpretations and through the theoretical tools of Stylistics and Comparative Literature, the common ground reached by writers expressing such a poetic experience in Latin-American literature. In their work, Sor Juana Inés de la Cruz (1651-1695) and Gregório de Matos (c.1636-1695), throught a broad ensemble of linguistic resources, express a

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 deep disapproval in face of the dogmatic control of society by the Catholic Church, despite the risks brought about by the omnipresent actuation of the Tribunal of the Holy Office of the Inquisition . We'll unveil some poetic strategies adopted by both writers to exercise their freedom to express themselves while ensuring, on the other hand, their own physical and psychic survival. Henceforth, this paper is focused on the study of the main language devices employed to produce expressive and delusive artwork, through two well known poems used to be respectively qualified as merely ludicrous or religious poetry . Openly crossing those cultural borders, t he results should eventually lead to broader stud ies of the dialogue between both multicultural countries.

3:00 PM - A Geo-Writing by Manoel de Barros Moraes, Paulo (Paulo Benites, Campo Grande, Brazil)

The aim of this work is to study the geopoetic's category inside Manoel de Barros' work. This is a particular area inside comparative literature studies expanding discussions about the relationship between literature and space. The work looks for an objective comprehension of regional manifestation way in our days. Thus, initially it considers that every regionalization is temporary and programmatic cut. In the first place, to discuss concepts involved we are going to use Rogerio Haesbaert's reflections about region, regional and regionality (2006; 2010; 2012); Walter Moser about forms of mobility that are bound to narrators, times and contemporary spaces (2004); Jean Béssière about the relation between center/centers and the new literary models (2011); interrelated fields of aesthetic and politics in Jacques Ranciére and discussions between literature and humanities, mainly relation between literature and geopoetic, drafted by Daniel Henry-Pageaux (2011). Talking of geographical poetic implies that there is, in a separate plan, a symbolic language to represent the space. Starting from Manoel de Barros' meaningful work readings, research shows how spatial images, which highlight the natural and cultural sights, create a spaces's literary representation.

Date: Tuesday, July 26th

9:00 AM - Comparative Literature, World Literature and Ethical Literary Criticism Talvet, Jüri (University of Tartu, Tartu, Estonia)

Relying on some of the ideas of Yuri M. Lotman on “semiosphere”, the dynamics and dialogue between “centers” and “peripheries”, as well as on my own ideas on cultural symbiosis exposed in my essay books “A Call for Cultural Symbiosis. Meditations from U” (Toronto, 2005) and “Ten Letters to Montaigne. ‘Self” and ‘Other’” (in Estonian, 2014; in English, 2015) and inspired by the recent foundation in China of the International Association of Ethical Literary Criticism (2012), I will try to meditate on the interrelation of Comparative Literature, World Literature and Ethical Literary Criticism both in theory and in the practice of teaching and researching literature at universities and high schools. The main purpose is to look at the ways how a “self”-centered practice of literary research and teaching (formalistic as well as sociological approaches, restricting World Literature to the Western mainstream, or just dealing with one’s own national literature, avoiding its comparative contextualization) could be gradually replaced by a symbiotic-dialogical treatment of literature, capable of providing our activity with a firm and solid ethical dimension, something that would definitely strengthen the position of humanities in the world academia. At the same time it would mean a new approach to the currently over-exploited trend of interdisciplinarity: contrary to the mainstream of merging and dissolving humanities in science with little if any moral sense and effect, the aim would be inter- , trans- as well as intra-disciplinarity within literature and humanities 62

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 themselves, capable of revitalizing their cultural-spiritual and moral nucleus and potentiality, in harmony with the needs of the present-day and future world (human) ecology.

9:20 AM - How to Face the Terror of Reason: from Literature to Philosophy. Krause, Gustavo Bernardo (Universidade do Estado do Rio de Janeiro, Rio de Janeiro, Brazil)

This paper discusses the influence of literature in philosophy. It assumes that the work of two Czech writers, Franz Kafka and Jaroslav Hašek, is essential for the nature the thought of the Czech-Brazilian philosopher Vilém Flusser. Two novels of these writers, The Metamorphosis (1915) and The Adventures of Brave Soldier Švejk (1921), prefigure the terror of reason. Flusser is a victim of this terror. In 1939, the philosopher flees from Prague in the direction of Brazil, leaving behind all his family. His parents and his sister are murdered in concentration camps. His philosophy faces this terror, assuming he is inspired by the symbolic strategies of Kafka and Hašek. Due to this, the Brazilian philosopher Sérgio Paulo Rouanet, Flusser’s friend, calls him a kind of “meta-Švejk”. In response to Rouanet, Flusser agrees, adding that he also considers himself a “post-Kafka” thinker. Flusser’s philosophy can be said to be the most complete way, then, of what Abraham Moles called “philosophical fiction”.

9:40 AM - On Ibsen's Thoughts and the German Culture Li, Yinbo (College of Arts & Law, Wuhan University of Technology, Wuhan, China)

This thesis explores the influence of the German culture on Ibsen’s thoughts from the intercultural communication perspective. The thesis begins with the analyzing of the intimate relationship between Ibsen and Germany, and holds that he was influenced by German culture throughout his life. Then it discusses the influence of the German culture on his religious and ethnical thoughts respectively, and holds that his changing attitude to Christ Church from enthusiasm to indifference was due to German philosophy and industrialization, and his change from “Norwegian nationalism” to “Scandinavianism” to “Pan-Germanism” was due to Prussian militarism and German Unification. Therefore, the German culture impressed Ibsen’s thoughts deeply, and made his dramas more popular and charming not only in artistry but also in thoughts.

10:00 AM - Comparative Literature and the Challenge of Digital Media. Zilberman, Regina (Instituto de Letras - UFRGS, Porto Alegre - RS, Brazil)

At first, it seemed only a question of transposition: from paper to screen, from print to digi-tal. A good software would realize the mutation without major ou significative changes. However, the virtual support determined modifications in the literary materiality, reproduc-ing what happened when the press appeared in the fifteenth century and has been institu-tionalized from the sixteenth century on. Consequently, new literary forms appeared, as the blog, not just a space in cyber sphere, but a genre with its own characteristics. Later arose the social networks, who threw blogs into the background and set new verbal expression paradigms. Have the Science of Literature and Comparative Literature parameters to exam-ine and evaluate these productions, some quite volatile, but no less important? If so, which are they? If not, a task presents itself - to define what could be these new parameters, in-cluding the clarification of its scope and limits.

11:00 AM - Hafez and Emerson: Reception as a Transcultural Interaction Fomeshi, Behnam (Shiraz University, Shiraz, Iran)

The relationship between Hafez and Emerson has been extensively studied. Those studies referred to influence of Hafez on Emerson, similarity between the two poets, Emerson studying and translating Hafez, Emerson’s infatuation with Hafez and Hafez as an inspiration for Emerson. Although these works covered some aspects of the relationship, none of them did touch upon whyness. Why did an 63

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American philosopher become interested in and inspired by a poet from a remote time and place and with a different language and culture? The present paper is aimed at finding the reasons behind Emerson’s reception of Hafez in the political, social and cultural discourses of Emerson’s time and the correspondence between mystical thoughts of Hafez and Emerson’s transcendentalism. The American poet’s reception of his Persian counterpart is an evidence of that phenomenon as a transcultural interaction.

11:30 AM - Language and Identity in J.M. Coetzee's memoirs: Boyhood, Scenes of Provincial Life I and II and Summertime Hanna, Vera (Universidade Presbiteriana Mackenzie, São Paulo, Brazil)

This study derives from a project concerned with the trilogy of fictionalized memoirs by J.M. Coetzee, Boyhood, Scenes of Provincial Life, a memoir (1997), Youth, Scenes of Provincial Life II (2002), and Summertime (2009). Post-colonial literatures have given rise to contend about history and fiction (history and legitimation), narrativity and indeterminacy, time and space; fundamental issues such as home, language and identity can be viewed in one´s everyday life through practices of ordinary life in narratives. The role of location/dislocation/relocation and language in the constitution of an ambivalent identity will be analyzed in all the three mentioned books. Themes such as displacement, personal moments of lack (or not) of intimacy with Afrikaners/English, Afrikaans/English language, and the distinction between the author-protagonist´s English self and his Afrikaner self-feeling will be examined. The research argues that fictionalized autobiographical memoirs represent an important area of enquiry for it is related to an agent of temporalities that faces challenges to report what was experienced or observed in the plot of everyday events - exceeded by its quality of decoding experiences, aspirations and beliefs, for it is registered in facts and fiction commonplace, major and minor occurrences. Either viewed as a literary genre or autobiographical record, it involves the idea of interpretation - as interpretations expand, the criterion of truth is transformed into the truth of the text, and in coming into the context, countless interpretations arise.

The issue of narrative/unconventional autobiography (Coetzee´s ‘autrebiography’) will be seen through the lens of recent studies on contemporary memory studies and its relationship to the History of the Present and authenticity. The research starting point will focus on Coetzee's claim about the impracticality to tell the entire truth ( he states the truth contains too many facts) in autobiography when having to pick up “certain memories from a reservoir of memories ” and let a number of others untold, “You choose the facts insofar as they fall in with your evolving purpose” ( Doubling the point: essays and interviews, 1992: 18 ).

12:00 PM - The Cultural Polylogue of Milos Crnjanski's 'Roman o Londonu' (A Novel about London) Krstic, Visnja (University of Warwick / University of Belgrade, Belgrade, Republic Serbien)

This discussion opens with a brief synopsis of Milos Crnjanski’s Roman o Londonu (A Novel about London): namely, the novel is about immigrants Nikolaj and Nadja Rjepnin, an exiled Russian couple living on the breadline in post-WWII London. The intersection of English, Russian and Serbian cultures ranges from copious instances of intertextual references to older texts to those where cultural elements are linguistically conflicted. In the wake of Kristeva’s understanding that ‘[a]ny text is constructed as a mosaic of citations’, I shall discuss how Crnjanski creates the dialogical space of his text, since the framework of his novel does not draw examples from one or two national literatures, but from the vast field of Weltliteratur. Furthermore, Roman o Londonu abounds in polyglossic phrases – predominantly but not solely in English and Russian – occurring throughout the otherwise Serbian text. The paper systematically reassesses the relations among these intricately connected languages in the target as well as in the source text. While Russian familiarity stands in stark contrast to the ‘otherness’ of London, Serbian serves as a metalanguage. The difficulty of 64

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 preserving the foreign gaze onto the English culture arises when the metalanguage of the novel vanishes in translation, leaving English xenisms to blend in, what is now, an all-English text. In conclusion, the paper challenges a commonly encountered assessment that the novel’s translation into English is destined to failure because the source text heavily relies on the interplay between Serbian and English, which would inevitably be lost in translation. Rather than regarding Roman o Londonu as a mere linguistic experiment, the paper shows that the novel’s true value lies in the cultural polylogue that Crnjanski masterfully creates.

16661 - The Ineffability of Language and Mystic Utterances Date: Wednesday, July 27th Room: Seminarraum Skandinavistik 1 Chair: Figueira, Dorothy

9:00 AM - De Certeau's heterology: from mysticism to the recognition of the Other BESSIERE, Jean (Université Sorbonne Nouvelle, Paris, France)

From the analysis of De Certeau’s Le lieu de l’autre : histoire religieuse et mystique to today expressions of mysticism and religious feelings in francophone literatures, we will try

1. to define the linguistic status of these expressions — De Certeau sees them as a performative which is the result of the move from the written religious text to its flexible reiteration by the believer. We should add that for De Certeau, this reiteration reveals the true belief.

2. To analyze how some francophone African novels organize the exemples of this reiteration ;

3. To extend the analysis and the argument it should command to novels which do not specifically highlight mystical discourses, in order to decide whether the linguistic status of mystical expressions or creeds can define the linguistic status and symbolizations of these novels with no mystical or religious references. One foresee that the answer should be positive. Consequently, one will have to consider this kind of literary extension of mysttical expressions as a cultural means to write novels.

9:20 AM - Modes of Literary Representation of the Ineffable: el Duende and Jibandebata Bogumil-Notz, Sieghild (Ruhr-Universität Bochum, Allgemeine und Vergleichende Literaturwissenschaft, Bochum, Germany)

Where does the capacity of creativity in man/woman come from? Is it a gift or an acquired skill? Independent from social, religious, ethical, linguistic backgrounds or depending on them? Is it a mental attitude or the result of emotional conflicts rooted in the childhood of the creative person? Or is it the result of a divine possession supported by a mystically transgressing language? The problem of grasping the source of inspiration is due to its instantaneity. It appears in a flash of images, voices, words – coming from where and why? Hence, poets – let us restrict to them – of different times and cultures have shaped the ineffable lucidity. The title of my paper refers to two examples of allegories taken from the Spanish and Indian tradition. We may ask whether we can consider them representations of one identical experience or whether they are written into their own languages/literatures with their specific ethical, aesthetic, and religious background. In the first case we may assume that the experience of inspiration is the same throughout all cultures whereas, if the latter case held true, creativity would denote an experience of its own in each language. However my questioning of the representation of the ineffable will be different. I would like to point out the way the mystical and/or mythical inscription of the personifications into the literary texts become concrete beings by the author’s organizing the social, aesthetic and ethical situation of a 65

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 given society. Thus it will become obvious that writing the ineffability literatures enounce clearly their convergences and discontinuities across centuries and cultures thereby displaying new “interpretive operations” (Eco) of their own social, ethical and aesthetic situation.

9:40 AM - TWO AND A HALF SYLLABLES OF LOVE : QUESTIONS ABOUT MYSTICISM AND LANGUAGE Chanda, Ipshita (Dept. of Comparative Literature, Jadavpur University, Kolkata, India)

“Mysticism”, says Michel de Certeau, “is the story of the Christian Occident.” This admission gives me space to shift the terms of our discussion by relocating the conceptual frame that we may use to think about the relation between language and the mystic experience. Through the ages, those who have pondered the relation between the human and the divine, or the creator and the created, have considered language as a medium of this relation. Bhartrihari, for instance, says that whether one speaks of the self or of the other-than self, to speak, one can only use words – there is an order of things that exists only in the word. Language gives outer shape to this nothing, while leaving its interior mysterious, silent. This capacity of language, to reveal and to conceal, is used by literature: mystic speech may be thought of as that metaphorical speech, which ‘refers’ wholly to the world beyond the empirical. In the poetry written in Asian subcontinental languages by poets who were identified as bhakt/devotee or sant/sage, we discover that faith in the existence of the ineffable creator or creative spirit is expressed in the language of human relationships. But in the most articulate expression of emotion towards another human nestles, the unspeakable mystic experience of self-transcendence and union with the divine, akin to a secret meeting between lovers: it can only be spoken of through the devices of literature. This does not detract attention from the ‘modernity’ of medieval ethical solutions to social crises, ironically echoed by contemporary poetry written in these languages. Rather, juxtaposition of spatial and temporal locations indicates that the nature and status of mystic experience depends on the view of being and language historically held or traditionally passed down within cultures. A comparative research framework can take cognisance of both these facts.

10:00 AM - A STANDS FOR AGALMA: THE MYSTIC SYMBOL OF UNUTTERABLENESS IN NATHANIEL HAWTHORNE¿S THE SCARLET LETTER De Angelis, Valerio Massimo (University of Macerata, Department of Humanities, Macerata, Italy)

In “The Custom-House,” the introductory sketch to Hawthorne’s The Scarlet Letter, the narrator inexplicably places on his breast “a certain affair of ﬁne red cloth, much worn and faded,” casually found in a bundle of old documents. He immediately feels “a sensation not altogether physical, yet almost so, as of burning heat,” and lets the object, the letter A, fall to the floor. This “ornamental article of dress” is the “mystic symbol” The Scarlet Letter revolves around in the attempt to extract some “deep meaning,” but always failing to do so – or better, substituting this hidden, ineffable truth, which subtly communicates to Hawthorne’s and (by proxy) the reader’s “sensibilities” “evading the analysis” of their minds, with the proliferation of a virtually endless series of possible external, “surface” meanings. What is missing, in this process of semantic dissemination, is not only the obvious “mystery” the symbol covers instead of revealing it (the name of Hester Prynne’s accomplice, Arthur Dimmesdale, in the crime of Adultery, a word totally absent in the romance), but also its very origin, desire, a concept which according to Jacques Lacan may have some kind of expression only indirectly, by way of the objet (petit) a. In his 1960-61 seminar Lacan articulates the objet (petit) a with the Greek term agalma – a precious ornament hidden in a worthless vessel which alludes to, but cannot fully manifest, the ineffable dimension of desire. In my paper I will try to show how, throughout Hawthorne’s romance, the mystic token on Hester’s breast operates as the mobile signifier both for the impossibility of giving utterance to this desire and for the surplus of meaning Hester creates with her artistic re-writing of the letter. The mystic potential of the scarlet letter

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 might then be found in its capacity of telling without telling, or better of telling precisely by way of the ethical choice of refusing to tell, of staging the ineffable in the most visible way.

11:00 AM - Mystical Speech Figueira, Dorothy (University of Georgia, Athens, Georgia, USA)

Regarding the status given to mystical literary works, the problem has always been how to speak about the so-called ineffable experience which cannot be spoken about. Michel de Certeau theorized that such an experience of possession (divine possession as in the case of mysticism) has no language of its own, but is marked in theological discourse and inscribes itself in the effects it has on the discourse it borrows from its given religious tradition. Mystical speech is thus written into religious language as a discourse of transgression.

This problem of ineffability informs the theorizing of mysticism in all religious systems.. Significantly, it also contributes to the manner in which literature is inscribed in the ineffable. Gershom Scholem claimed that modernity could not have produced Kafka had it not been for the kaballah. He supported this claim by demonstrating that Kafta's aesthetic project, in which language no longer anchors itself in semantics, drew on a long Jewish mystical tradition with ties to Gnosticism, medieval Zoharic schemes and a belief in a hidden God. Once one can imagine language outside of description. Scholem's theorizing is but one example of the modern phenomenon in which scholars see texts working mystically to shift a reader's attention away from the communicable toward the ineffable, away from the epistemological and toward a representational "beyond." This shift appears to coincide with the convergence of religion, ethics, and literature as axes around which contemporary problems are reframed so that these three disciplines taken together stage new contexts for resolving social crises. This paper will examine these issues.

11:30 AM - HIGH, LOW, AND NO PLACE: PLACEMENT IN MYSTICAL EXPRESSION Gillespie, Gerald (Stanford University, Stanford, California, USA)

Since European antiquity there is a rich diversity of expression of the mystical experience of approaching a sacred realm or recondite godhead itself. Despite all differences one often can detect broad analogies of positionings in certain tropes, such as ascending a mountain, harrowing hell, turning into the interior realm of night or time or the mind, seeking entrance through a gate. Beyond the sacred heights of Olympus and Cythaeron, poet-pilgrims visit Chrétiens’ and Wolfram’s Montsalvage, Dante’s mountain of Purgatory, Petrarch’s Ventoux, Mechtild’s burning mountain, Balde’s heavenly pass, Goethe’s pinnacle ruled by the Virgin Mary, Shelley’s Mont Blanc, Th. Mann’s magic Mountain – to name but a few examples. Both Odysseus and Aeneas are vouchsafed numinous encounters in the underworld and go on to assert legitimate orders on earth, but Dante takes the cake by exiting normal history and traversing hell before he climbs past our primal Edenic home to witness heaven, and implicitly comes back to record the awesome vision. Marlowe gladly seduces his audience with Faustus’ living dream of marriage with Helen of Troy, while Cervantes wraps Quixote’s vision of the lost chivalric world in the Cave of Montesinos episode in an ambiguous layering of baroque irony and nostalgia, whereas his contemporary Bidermann shows that Cenodoxus’ purely mental experience of heavenly raptures is a fatal hellish seduction. More starkly radical in the so- called Middle Ages were attempts by mystics to empty the mental scene of obstacles, even words, in order to approach the divine. Some were baffled by the threat of nothingness in this quest. Some flirted with the then contemporary boundary-line of heresy by grasping the soul to be the source or discoverer of God or reciprocal with God in a love match. Recouping past knowledge of European beliefs and acquiring systems such as kabbalah as a trove, Renaissance writers were predisposed to

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 imagine how a hidden God would be detectable in phenomena of the creation and to exploit androgynic patterns to explain natural and spiritual matters.

12:00 PM - Universal homes and universal homelessness: The curious Spinozism of Clarice Lispector and Stefan Zweig Lally, Katie (University of California, Santa Cruz, Santa Cruz, California, USA)

What is the presence of writing in a Spinozan universe? What is the presence of mourning? When such questions are posed to the texts of Clarice Lispector and Stefan Zweig, one finds that these two prolific authors of the 20th century, both Jewish refugees born in Ukraine and Austria, respectively, and who lived out their final years in Brazil, share much more than certain biographical details. Lispector's and Zweig's mutual reconstruction of the natural world through literature imagines it as a space of divine and yet amoral, causal and yet purposeless, creation. While Lispector's oeuvre in particular is not overtly Jewish in theme nor in content, one recognizes her texts' embodiment of Spinozan naturalism, even of a mysticism that hints at kabbalah, as disclosing a distinctly Jewish thread that can be traced below the surface of the myriad worlds she creates. As her writing exemplifies the subject positions of characters as Spinozan modes of the work at hand, creating and created by the text in which they exist, it may likewise reimagine and aesthetically restage substantive Jewish life as a modality itself -- one that may adapt and be at home in all places while simultaneously expressing a sense of homelessness and continued mourning. Zweig is likewise known to have taken refuge in what he called the "spiritual freedom" of weltbürgerlich , diasporic being offered to him by his Jewishness, as a counterpoint to nationalism, when his claim to a European home was destroyed. Observing Zweig's final, autobiographical account, The World of Yesterday , we see that even in his last, hopeless years, the author textually and substantively stages his own being in the world in a way that resists the Nazi aims of geopolitik . By reading both Lispector and Zweig in context of Spinoza's influence, I hope to illuminate their individual stagings of Jewishness as modality.

2:00 PM - The Symbolatry of the Here and Now: Immanence and Unutterable Marvels from Metamorphoses to Fireworks Mild, Matthew (The Tapestry, Cambridge, United Kingdom)

Symbols provide ritual tokens of ineffable mystical experiences. This reading of Carter’s short stories Fireworks and the Metamorphoses by Apuleius applies Spivak’s understanding of subaltern reversal to the subversive renewal and allure of mystical symbols channelling the experience of immanence in the here and now. Through their rhetorical insistence on Egyptian hieroglyphs and Japanese ideograms, both works carve marvellous engravings of mystical utterances. This intertextual discussion deals with the symbols of the holy male and female prostitute, carnival, and the night. While Apuleius blends these allegories with distancing digressions apt to furnish detailed descriptions of mesmerizing icons and effigies, Carter merges her symbols of unutterable immanence with the pebbles and seaweed of wintry landscapes. Both narrations contrive to utter the ineffable and the ephemeral by devising a self-reflexive profusion of estranging authorial nods and winks. The two authors share a self-avowed purposefully unnatural use of everyday language and lyrical prose, which is intended to enhance their adamant endeavour to expose the constructs and simulacra of jealous heavenly gods and crystallized gender roles. Daily life on earth and sex become the axis of social and ethical renewal summoned by the unutterable marvels of Lady Purple and the prodigious ass. Their joyful celebration of sex, masks, and shadows forms a symbolatry transgressing transcendence. A new ecstasy of the here and now pervades the elusive aesthetics of both texts. Both subtle and blatant mimicries of the myth of Eros and Psyche are deftly woven together by 68

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Apuleius and Carter. This reading discusses their veiled revelries on the two initiatory journeys set in late antiquity and countercultural Eurasia. Holy sex work, carnival, and the night supply subversive codes of intangible experiences and apparitions.

2:30 PM - The Need for Apostasy Millet, Kitty (SF State University, SF, USA)

In the 17thc, Kabbalist prophet, Nathan of Gaza, declared to the Kabbalist communities of Safed, Jersualem, Smyrna, and throughout the Ottoman Empire, that the Messiah had come in the person of Sabbatai Zevi. Many Jews, throughout the Ashkenazic and Sephardic world lauded the Messiah's appearance, giving birth to the Sabbatean movement. When the ottoman ruler threatened to kill Zevi for preaching heresy, unless he converted to Islam, Zevi converted. His prophet declared that Zevi's apostasy reflected his battle with Leviathan in another world. Many of his followers rushed to follow him, believing that they too would experience messianic redemption through apostasy. His followers embraced this practice as a "redemption through sin." The Sabbatean movement became characterized by this orientation so that mystical ecstasy was paired with the violation of the Law . After Zevi's death, the movement continued, but as Gershom Scholem notes, its followers were more likely to adopt Art rather than Religion to express Sabbatean principles, i.e. their mysticism displaced on to the aesthetic. This paper analyzes the works of Adam Mickiewicz (19thc Polish poet and Sabbatean ), Bruno Schultz (20thc Polish novelist), Kafka, and Philip Roth, to examine how Sabbatean mysticism might appear in literature and why it's ethically important.

3:00 PM - Östen Sjöstrand and the Mystery of Poetic Language Sondrup, Steven (Brigham Young University, Salt Lake City, UT, USA)

Östen Sjöstrand, one of the most prominent Swedish poets during the second half of the twentieth century, had a profound spiritual experience as a young man that was the point of departure for his poetic debut. His first two volumes of poetry, unio and Invigelse (Consecration), reflect not only his highly personal religious commitment, but also a growing understanding of the strains in the broadly European mystic tradition extending back to Meister Eckhart, Johannes Tauler, Saint John of the Cross, and Teresa of Avila, among many others. At the same time, however, he had a sense that mystic experience is not readily amenable to verbal expression and any effort to breach its fundamental ineffability is a concession to the world that does violence to ultimate truth. Realizing, though, that he could not entirely desert the house of language, he entitled his next collection of poetry Återvändo (Return) and thereby affirmed his commitment to his calling as a poet, at least in part. From that point on, he examined in his poetry, essays, and translations the complex relationship between twentieth century mysticism and various contemporary poetic traditions. His comparative engagement with the works of T.S. Eliot and most particularly with the “Four Quartets” foregrounds not only his continuing interest in mysticism in contrast to poetic evocation, but also important aspects of Eliot’s approach to what has been described as the negative way of language.

16679 - Langues et littératures de jeunesse Date: Friday, July 22nd // Saturday, July 23rd Room: Hs 46 Chair: Benert, Britta; CLERMONT, Philippe ; E. O’Sullivan; M. Chmurski; E. Kaess; A. Knauth

9:00 AM - Introduction ,

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

9:30 AM - La fable animale, multilingue et métalinguistique Knauth, Alfons (Ruhr-Universität Bochum, Romanisches Seminar, Bochum, Germany)

Avec sa tradition plus de deux fois millénaire et sa diffusion mondiale, la fable animale, classique et post/moderne, peut se considérer comme un paradigme universel de la littérature de jeunesse. Par sa dimension weltlittéraire, elle offre une polyglossie à tous les niveaux, intertextuel et intratextuel, intralingue et interlingue, traduction comprise. À travers la représentation linguistique et métalinguistique du langage des animaux et des humains, la fable explore un domaine très à part du plurilinguisme littéraire.

La spécificité juvénile du genre découle de la proximité et de l’affinité rapprochées entre les jeunes et les animaux, liées à des facteurs phylo- et ontogénétiques. Cette caractéristique a amené la fable animale à se constituer très tôt comme genre didactique, d’abord en tant qu’institution du prince, comme le Panchatantra oriental ou encore les Fables de La Fontaine. Dès l’antiquité, le manuel des Progymnasmata d’Aphthonios proposa la pratique de la fable ésopique comme un exercice rhétorique de base dans les écoles. La simplicité, l’humour et la portée zoo-anthropologique de la fable lui donnent une éminente valeur pédagogique, porteuse d’instruction et de plaisir.

Vu l’enjeu idiomologique de notre propos, on se concentrera sur les fables dédiées aux psittacidés. Ceux-ci ne livrent pas seulement le prototype du langage zoo-anthropomorphe, mais aussi une perspective weltlittéraire, puisque le bibliotope du perroquet s’étend de l’Inde à l’Amérique et à l’Europe, de l’antiquité à nos jours. Cela implique des vues très contrastées sur l’humanimalisme (Supervielle) de la fable, autrement dit le rapport entre la nature humaine et animale, y compris le langage.

La réécriture de la fable animalière fera l’objet d’une réflexion didactique. Elle sera développée à partir de l’analyse littéraire et/ou du psittacisme primaire du langage humain.

11:00 AM - Words and Language in Moveable Books and Pop-ups Schmitz-Emans, Monika (Ruhr-Universität Bochum, Bochum, Germany) workshop: Langues et littérature de jeunesse (Britta Benert)

Monika Schmitz-Emans: proposal

Words and Language in Moveable Books and Pop-ups

Among the books specifically produced for young readers since the 19th century, movable books (and since the 1920’s also pop-ups as a new subgenre) play a quite special role: They usually contain words and images and thus can be read or just regarded, but additionally they invite their users to playful experiences, putting characters and objects in motion, staging little scenes or explaning ‚how things work’. Especially metamorphotic processes are most convenient to the medium as such. Pop- ups provide three-dimensional paper sculptures that open up surprisingly when the book pages are turned around. Recent paper architects and book artists allude to and profit from the playful character of 19th century movable books, but they also refer to these books’ long (pre-)history as a special device to mediate knowledge in medieval and early modern books.

What kind of role do words and language play as subjects within such books? In how far can langage be ‚staged’ and reflected by the special devices of moveable book architetures? Several examples will be presented in order to illustrate, in how far movable books have been constructed as books about words, letters, languages and the elements of texts. (a) Like other books for young readers, moveable books can be designed in order to teach words and verbal phrases or to stimulate plays with verbal elements. ( b ) Using the specific technical devices of recent book engineering, movable books can 70

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 provide for acoustic experience as well, for instance in order to make the birds’ ‚languages’ or other animal sounds audible. (c) The alphabet has been chosen as a subject of ‚paper staging’ by several book engineers, thus setting the elements of texts into motion as if they were alive. (d) As representations of fictitious or even real topographies, the pages popping up can visualise complex spaces of lettering – even (in special examples) multilingual and multiscriptural spaces.

11:30 AM - Spielerische Erfahrungen von Mehrsprachigkeit: Der Arche Literatur Kalender (2011ff.) Bohnengel, Julia (Universität Heidelberg, Institut für Deutsch als Fremdsprachenphilologie, Heidelberg, Germany)

Seit 2011 erscheint jährlich eine mehrfach ausgezeichnete Publikation: Der von der Internationalen Jugenbibliothek in München herausgegebene und mit einem Vorwort renommierter KinderbuchautorInnen versehene Arche Kinder Kalender. Darin wird 'Kindern allen Alters' wöchentlich ein Gedicht in Originalsprache (und ggf. -graphie) und in deutscher Übersetzung geboten. Illustrationen aus den Originalen treten als drittes Element in ein spannungsreiches Verhältnis zu den fremd- und deutschsprachigen Texten.

Der Vortrag möchte zum einen den Arche Kinder Kalender vorstellen: Seine Entstehungsweise und Präsenz auf dem Buchmarkt, Kriterien der ausgewählten Texte sowie Tendenzen der Übersetzungspraxis und der Bild-Text-Relation. Darüber hinaus zeigt er, wie der Kalender auf spielerische Weise die neueren Eregebnisse der Forschung zu Mehrsprachigkeit und Kinderliteratur umsetzt: Kindern wird in diskreter Weise, aber regelmäßig, in überschaubaren Zeiträumen das Angebot gemacht, ganze, aber kurze Texte eigener und fremder Provenienz kennenzulernen. Sie erhalten so die Möglichkeit, auf diversen Wegen Zugang zu unterschiedlichen Ebenen sprachlicher Strukturen zu gewinnen. Die Differenzerfahrung zwischen Original und Übersetzung lässt nicht nur Spielräume zur Phantasieentwicklung zu, sondern übt auch in die Erfahrung der Relativiertheit kultureller Gegebenheiten ein. Unterschiedliche Bildtraditionen erlauben einen nonverbalen Zugang zu den Gedichten, können aber auch die Fremdheitserfahrung steigern. Obwohl die Kombination von Text(en) und Bild hohe literarische und visuelle Anforderungen an die Rezipienten stellt, bedetet die Abgeschlossenheit eines Kalenderblatts eine überschaubare Aufgabe. Der Kalender leistet so einen unaufdringlichen, aber wichtigen Beitrag zur literarischen Sozialisation komplizierterer Texte, indem er sprachspielerische Vorlieben von Kindern aufgreift und über vergnügliche Unterhaltung auf die Erfahrung von Mehrsprachigkeit einstimmt.

12:00 PM - Pour adultes. Le langage des images dans la littérature pour la jeunesse. DANGELO, BIAGIO (Universidade de Brasilia - Instituto de Arte, Brasilia, Brazil)

Cette communication prétend développer quelques réflexions personnelles de ces dernières années. On sait bien qu’il n’est plus possible de penser l’histoire des arts et des littératures à partir d’un discours monolithique et linéaire. Si aujourd’hui les historiographies se mobilisent dans des axes pluriels et transitoires, c’est pourquoi l’histoire de l’art et celle de la littérature ne peuvent être considérées que comme transgression, c'est-à-dire coexistence de différents facteurs qui constamment renouvellent le paradigme historiographique, ainsi que l’ensemble traditionnel des éléments théoriques qui font de la littérature et de l’art un lieu de production de connaissance, par nature, transgressive.La littérature pour la jeunesse est devenue, peu à peu, un lieu spécifique où les artistes peuvent transgresser les limites, briser les règles, reconstruire les paradigmes à la base de l'innovation des processus culturels.Le livre-objet et le livre d’artiste, dans le domaine, tristement connu sous la nomenclature de «littérature pour la jeunesse», peuvent être considérés comme une hypothèse de stratégie discursive et esthétique qui, en évitant le péril de la stabilisation, se configure comme un aspect finalement totalisant de l’art et de la littérature, et non pas un aspect réducteur.

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

Pour plusieurs auteurs-écrivains-illustrateurs, la littérature pour la jeunesse est un champ paradigmatique d’expérimentations et de confluences entre la lettre et l’image. C’est ce que la communication se propose de montrer.

2:00 PM - Philosophie du langage dans Le Hollandais sans peine de M.-A. Murail Benert, Britta (Université de Strasbourg, STRASBOURG, France)

Marie-Aude Murail a pu se vivre au début de sa carrière « comme écrivaine pour non lecteurs, vouée à faire des livres qui ne devaient jamais dépasser 200 pages » (cité dans Prince, 2015 : 152). Le Hollandais sans peine, petit ouvrage illustré de 56 pagesparu en 1989 dans la collection Mouche/ L’école des loisirs, relève de ce que d’aucuns continuent à opposer à la vraie littérature : la littérature de jeunesse/pour la jeunesse. Par la présente communication, je propose de montrer le coup de génie que réussit ici encore l’auteure, en coulant dans un récit écrit aussi/d’abord à destination de jeunes enfants, des éléments parmi les plus essentiels de la critique du langage que forgent Mallarmé dans le domaine de la poésie, Nietzsche dans celui de la philosophie.

2:30 PM - Strange signs. Invented languages from alienation to zany O'Sullivan, Emer (Leuphana Universität Lüneburg, Lüneburg, Germany)

A number of graphic novels and picturebooks published in the past decade have presented various forms of invented languages both in books which have been hailed as ‘wordless’, such as Shaun Tan’s epic tale of migration, The Arrival (2006), or in Baloney (Henry P.) by Jon Scieszka and Lane Smith (2005), the tall tale of an alien which creatively blends at least twenty different ‘Earth’ languages. While in The Arrival the system of incomprehensible yet unsettlingly familiar symbols which take the place of words on signs and documents both underscores the alienation of the protagonist in his new environment and enables the reader to experience a similar disorientation, the creative and performative approach by the protagonist in Baloney, who masters a melange of languages, is employed solely for entertainment purposes.

This paper will discuss these and other examples (such as David Wiesner’s Mr Wuffles! (2013)) in the context of multilingualism in children’s literature. It will address the functions which can be attributed to invented languages and will take a brief look at how these are translated, when the books appear in other languages.

3:00 PM - A la croisée des langages : création linguistique et interprétation sémiotique dans His Dark Materials de Philip Pullman Bazin, Laurent (Université de Versailles, St Germain en Laye, France)

La trilogie A la croisée des mondes ( His dark materials ) de Philip Pullman constitue l'une des tentatives les plus originales du roman contemporain pour adolescents et jeunes adultes pour déployer un univers (plus exactement une galaxie d'univers) ouvert à la prolifération des possibles. L'invention diégétique y est donc de mise, avec la prolifération de personnages, objets et lieux créés de toute pièce au gré des mondes explorés ; la langue se met au service de ce souci créateur en multipliant les emprunts, dérivations et autres relexicalisations chargés de formaliser dans les mots le travail d'innovation. Mais l'imagination linguistique va bien plus loin qu'un simple effort terminologique, certes impressionnant dans son extension mais qui ne constitue que la surface d'un travail ambitieux mené en profondeur sur la nature et le statut du langage, ainsi érigé en thème structurant de l'ouvrage dont il polarise les ambiguïtés autant que les enjeux.

9:00 AM - Les fictions linguistiques dans les Aventures de Tintin : voies et voix du bruxellois GRUTMAN, Rainier (University of Ottawa, Ottawa, Canada)

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

Dans cette communication, je me propose de regarder de plus près la façon dont les Aventures de Tintin (ne) gèrent (pas) l’altérité linguistique qui, comme l’a brillamment montré Jan Baetens dans Hergé écrivain (Labor 1989, rééd. Flammarion 2006), leur est constitutive. J e me concentrerai sur les albums qui ont recours au dialecte bruxellois pour créer des langues fictionnelles (l’arumbaya, le syldave, le bordurien) au statut ambigu : indéchiffrables et « inventées » aux yeux—et à l’oreille—de tout lecteur francophone belge et a fortiori étranger, elles sont toutefois beaucoup moins « fictives » pour les Bruxellois de la génération d’Hergé—qui les entendent (au double sens du mot) grâce à leur connaissance passive (et parfois active) du dialecte flamand de la capitale belge. Ce sont, dans l’ordre chronologique de leur publication originale : l’Oreille cassée, le Sceptre d’Ottokar, l’Affaire Tournesol et Tintin chez les Picaros … Le premier de ces albums est doublement intéressant : 1) parce qu’Hergé y met en scène une figure d’interprète (Ridgewell) et crée dès lors des scènes de traduction, qu’il s’agit de traduire… 2) parce que la langue que prête Hergé aux indigènes arumbaya a reçu un traitement tout à fait particulier dans la traduction britannique.

Date: Saturday, July 23rd

9:30 AM - Le Bon Gros Géant de Roald Dahl (1982) et ses avatars sur l'exemple de ses traductions en français, polonais et tchèque Chmurski, Mateusz (Université de Lorraine, Nancy, France)

Depuis trois décennies, le Big Friendly Giant de Roald Dahl appartient aux classiques de la littérature pour enfants. Rééditée neuf fois en Grande-Bretagne, traduite en plusieurs langues et récompensée par de nombreux prix, cette histoire d’une fillette enlevée par « un gentil géant » a été adaptée pour le cinéma en 1989 (Brian Cosgrove) et est en train d’être filmée par Steven Spielberg (sortie prévue en 2016).

Des syllabes inversées à la pléthore de néologismes, l’œuvre de Dahl se distingue par une mise en abyme de la langue au seuil de la dyslexie, tant à des fins humoristiques qu’éducatifs : il suffit de rappeler la richesse de patronymes employés dans le texte (du Childchewer, le mâcheur d’enfants, au Fleshlumpeater, l’avaleur de la chair fraîche, ou le Bonecruncher, le croquer d’os). Écrivain gallois né des parents norvégiens (1916-1990), proche de Tomi Ungerer (Le Géant de Zéralda, 1971), Dahl emploie la création littéraire afin d’aller à l’encontre des stéréotypes et constituer un cadre fictionnel dans lequel la socialisation est mise en récit et l’altérité se voit négociée dans et par la langue. Car c’est la langue inventée de ses gentils géants, déformée à volonté, qui dépeint cet Autre tant effrayant qu’attrayant.

Ainsi, traduire Dahl reste un défi et les avatars de ses héros dans d’autres langues, accompagnés d’illustrations, permettent de questionner les enjeux de tradition et traduction littéraires à la fois. Comparer les différentes incarnations de son texte et les moyens servant à rendre le parler des géants, figures de l’altérité identitaire, permettra d’exposer différents emplois de la mise en jeu de la langue dans la littérature pour la jeunesse. À travers les traductions françaises (Camille Fabien 1984), polonaises (Michał Kłobukowski, 1991 et Jerzy Łoziński, 2003) et tchèque (Jan Jařab, 1998) du BGG nous allons questionner non seulement les limites de l’innovation que ceux de la déformation dans la construction du monde dans et par la langue.

11:00 AM - « - Malheur à moi, petit ballon vert... » Le langage poétique dans la littérature de jeunesse en Union Soviétique Kaess, Elisabeth (Université de Strasbourg, Strasbourg, France)

Lorsque Roman Jakobson fit publier à Berlin en 1931 La Génération qui a gaspillé ses poètes, il ne savait pas encore que le nombre de ces poètes sacrifiés qu’il avait nommés, un par un, continuerait de croître : des sept cents écrivains présents lors du premier congrès de l’Union des écrivains 73

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 soviétiques en 1934, seuls cinquante étaient encore en vie en 1954 et purent participer au second congrès (Conquest, 1995, p.758). Il ne savait pas non plus que l’effacement des « possibilités créatrices » et « la mort du poète » (Jakobson, 2001, pp.7-8) deviendraient un des objectifs importants de la politique stalinienne. Les auteurs qui refusaient de conformerleur parole aux normes dictées par le Parti se trouvaient interdits de publication et condamnés au silence - première étape d’une disparition programmée. Ossip Mandelstam, Daniil Harms et Korneï Tchoukhovski, entre autres, choisirent d’écrire pour la jeunesse, pour survivre et faire vivre la littérature « à demi fusillée » (Svirski, 1981, p.23). Pourtant, la « littérature pour enfants n’est pas une activité de tout repos », écrit Mandelstam en 1927, elle « doit être surveillée de près ». Ils se réfugièrent alors dans le langage poétique, dont les mystères ou les ambiguïtés leur permettaient de se jouer de la censure, le temps d’un poème, de préserver leur identité déniée et d’inscrire la liberté au creux des vers. Dans les oeuvres pour la jeunesse de Mandelstam, Harms et Tchoukhovski (une traduction française des oeuvres non traduites encore à ce jour sera proposée), le langage poétique devient un « langage métaphysique » qui contribue à résister au « mensonge totalitaire » (Coquio, 2015, p.44).

11:30 AM - Playing in the same language - História de D. Redonda e da sua gente (1942) by Cortez, Maria Teresa (Universidade de Aveiro /University of Aveiro, Aveiro, Portugal)

Until the mid-twentieth century,the tête-à-tête of different of nationalities as a means to address identity questions is rather an exception in Portuguese children’s literature. Virgínia Castro and Almeida, a renowned writer for children who came to collaborate with Salazar’s dictatorship, is one of the few authors who explores multicultural environments in her work. Her children’s novel Em pleno azul (In Full Blue, 1907) takes place in two Swiss boarding schools, where three Portuguese upper class boys and a girl live, learn and play with children of different nationalities; and in História de D. Redonda e da sua gente (History of Mrs. Round and Her People, 1942) an English and a German boy come to Portugal because of World War II and make friends with a Portuguese boy.With the help of a little black girl from the Portuguese African colonies, who speaks a “sort of Portuguese” of her own, they access the fantasy realm of two eccentric ladies who refuse to be “grown-ups” – a Portuguese fairy tale writer, D. Redonda (Mrs. Round), and an English toy artist, D. Maluka (Mrs. Krazy) – who live together in a picturesque house in the pine forest. The foreign characters have apparently no big problems with the Portuguese language, in which they communicate from the beginning, although they sing in their native languages. Nor do they face special integration problems, for in Mrs. Round’s magic land they are all given space to remember their national identity and to represent their homeland abroad. The present paper will focus on the strategies chosen by the author to bring together children with different national backgrounds and to create an image of Portugal as an open multicultural and multiracial land at a time when war overheated nationalist feelings. The construction of auto- and hetero-images, mostly related to the personality, behaviour and preferences of the different characters, but also to the way they express themselves will be also brought into discussion.

16680 - Mapping Multilingualism in 19th-Century European Literature:… Date: Friday, July 22nd // Saturday, July 23rd Room: Hs 24 Chair: Weissmann, Dirk

9:00 AM - Entre rupture et continuité : multilinguisme des auteurs juifs d'Europe Centrale et Orientale au XIXème siècle. Yiddish, hébreu et langues nationales Paret Passos, Marie-Hélène (PUCRS/ITEM, Porto Alegre- RS-, Brazil)

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

Au cours du XIX siècle, en Europe Centrale et Orientale, de profonds changements, hérités du siècle précédent, viennent bouleverser le mode de vie social et culturel des communautés juives. Inspirée des Lumières (France) et de l'Aufklärung (Allemagne), la Haskala (Lumières juives), introduite et développée au XVIII siècle par Moshe Mendelsshon et les Maskilim (adeptes de la Haskala), vise à libérer les populations juives des limites du ghetto et à rompre avec l’utilisation du yiddish qualifié de « jargon ». Au sein du monde juif dans les différentes provinces de l’empire austro-hongrois et de l’empire russe, s’instaure un conflit sociétal opposant tradition et modernité, au cœur duquel la bataille linguistique est un point névralgique. Je propose de présenter un panorama des langues en présence, yiddish et langues nationales, puis des tensions et affrontements qui opposent, tout en les mêlant, le yiddish à l’hébreu, dans le contexte des langues nationales de cette partie de l’Europe. Ce panorama montrera également comment, de cet affrontement, émergent une presse et une littérature hébraïques ainsi qu’une littérature yiddish.

9:30 AM - Le plurilinguisme italien du XIXe: le siècle des contraires Sciarrino, Emile (Paris III, Gentilly, France)

1. Rappel rapide du contexte historique. Si une certaine historiographie considère le XIXe comme le siècle d'affirmation du monolinguisme littéraire en Europe, en lien avec l'essor des États-nations, l'Italie présente un cas divergent. Dominée par des pays étrangers, restée en marge des principaux courants de pensée modernes, l’Italie connaît une réunification très tardive par rapport aux autres pays européens (1861). L'unification de l'italien en tant que langue nationale est plus tardive encore.

2. Le modèle monolingue. Pourtant, il faut reconnaître les avancées considérables du monolinguisme littéraire du XIXe siècle italien. D'une part, la langue poétique continue d'être fortement tributaire des modèles élaborés depuis la Renaissance, notamment en ce qui concerne le classicisme poétique. D'autre part, on assiste à la fondation d'une langue italienne moderne pour la prose et le roman (Alessandro Manzoni). C'est l’effacement du plurilinguisme en faveur du monolinguisme.

3. Contre-modèles plurilingues. De nouvelles lectures historiques au XXe siècle ont mis en valeur des contre-modèles plurilingues (cf. articles de Sanguineti).

D'une part, en poésie, l'apparition du vers libre permet une plus grande liberté linguistique. On peut trouver notamment en Pascoli le modèle d'une poésie plurilingue (en particulier, son poème Italy).

D'autre part, le développement du vérisme sicilien ouvre d’autres perspectives pour le roman. Ce courant s'inspire fortement du réalisme français tout en puisant dans une diversité linguistique dialectale. Le plurilinguisme y est fondamental, en accord avec la vision du monde vériste (cf. les analyses d’Alfredo Stussi). Ces deux modèles annoncent les expérimentations du XXe siècle.

10:00 AM - Écrivains russes du XIX siècle : écrivains plurilingues ? ANOKHINA, Olga (CNRS, VERSAILLES, France)

Le XIX siècle était marqué par l’omniprésence de la langue française qui a acquis un rôle de première importance auprès des élites européennes et internationales. En Russie, la majorité des élites était au moins bilingue (français-russe), voire plurilingue. On pouvait assister à une situation étonnante où la langue dite « maternelle », c’est-à-dire la langue de communication entre les parents et les enfants, était le français, l’apprentissage de la langue russe arrivant plus tardivement et servant à la communication avec les domestiques.

Même si cette situation diglossique n’était propre qu’à une couche bien particulière de la société russe, elle a profondément marqué la littérature russe dans la mesure où un grand nombre d’écrivains appartenaient à cette élite plurilingue et pluriculturelle et, par conséquent, avaient des pratiques linguistiques multiples non seulement dans leur vie quotidienne, mais aussi dans leur 75

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 activité d’écriture. L’exemple emblématique est le roman phare de la littérature russe Guerre et paix de Léon Tolstoï qui s’ouvre sur plusieurs pages du texte français.

Si, pour des raisons évidentes, les œuvres publiées à cette époque gardent, dans leur ensemble, une apparence nationale unilingue, l’examen des documents de travail des écrivains (brouillons, plans, scénarii, carnets de notes, correspondance, etc.) laisse apercevoir le fait que la créativité d’un grand nombre d’écrivains russes nationaux (Tolstoï, Pouchkine, Tourguéniev, Bounine…) est profondément nourrie par l’apport d’autres langues et d’autres cultures, et notamment par celle de la langue et de la culture françaises.

11:00 AM - Sur les traces du multilinguisme des exilés dans le sud de la France au XIXème siècle. Kowalska, Magdalena (Uniwersytet Warszawski, Warszawa, Poland)

Après 1795 Pologne a disparu des cartes d’Europe, morcelée entre l’Empire russe, le Royaume de Prusse et l’Autriche. Le pays n'existait plus en tant que tel et la vie culturelle harcelée par la censure cesse d’être animée. Après la fin tragique de la guerre polono-russe de 1830–1831, les jeunes générations polonaises ainsi que les représentants de la noblesse sont allés en exil dont la direction principale est devenue la France. Konstanty Gaszyński est venu en Provence en 1834 (après le séjour court au dépôt pour les militaires polonais à Avignon) comme poète débutant et soldat, par contre quand il a quitté cette région dix ans plus tard, il était déjà éditeur reconnu de “Mémorial d’Aix”, auteur d’un recueil de sonnets et des textes prosaïques consacrés à la Provence. Dans les recherches modernes polonaises il est reconnu comme poète guerrier (l’auteur de chants de lutte) et au niveau plus faible comme l’auteur des comédies théâtrales ou romans romantiques en polonais. Cependant, pendant son séjour en France il a essayé d’écrire les poésies en français. Ses œuvres dans lesquelles il a démontré son style individuel (non seulement l’imitation des grands romantiques de son temps) restent ses récits écrits en français dans le recueil Nord et Midi: souvenirs (1839) ainsi que les articles dans la presse locale (ce sujet a été mentionné dans l’article de M. Albisson, «Le romantisme et les débuts de la presse locale à Apt en Provence: la Revue aptésienne 1834–1836 », in: L’occitanie romantique, éd. C. Torreilles, Pau 1997). L’œuvre multilinguistique de Gaszyński ne constitue pas un cas isolé dans l’histoire du romantisme polonais, il reflète plutôt la tendance de toute la génération, avec les exemples si fameux comme Mickiewicz et ses cours des littératures slaves au Collège de France menées en français.

11:30 AM - Italian Drafts, Greek Verses (?): Aspects of Bi(multi)lingualism in the Poetry of Dionysios Solomos Pavlou, Kostis (External member of the ITEM UMR 8132 CNRS/ENS, Nicosia, Cyprus)

The issue of bilingualism, and multilingualism in general, in the case of Dionysios Solomos (1798- 1857) seemed to be, till the beginnings of the 20th century, almost sacrilegious: Solomos is considered to be the “national poet” of Modern Greece; the poet who praised the heroism of the Greek War of Independence (1821-1830) and the author of the Hymn to Liberty (1823) the first two stanzas of which have been adapted as the National Anthem of Greece. Since the late 1940s, and especially after the publication of the poet’s autographs in 1964, a more objective consideration of Solomos’ bilingualism-multilingualism has begun; a bilingualism-multilingualism which can be explained by both the poet’s social background (although the Ionian Islands where Solomos was born had ceased to be under Venetian rule in 1797, Italian culture there was still prevailing throughout the 19th century) and the fact that he studied for 10 years in Italy, where he acquired a concrete Italian education; indeed, his first poetical attempts in Italian reflect his high degree of assimilation of the Italian literary language. The publication of his autographs brought to light the method of composition of Solomos’ Greek work of maturity (c. 1824-1849) as well, which can be roughly described as follows: Italian drafts “in prose” and gradual translation-adaptation of these drafts in 76

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

Greek verses. What is more, Solomos’ manuscripts abound with citations in Classical Greek, Latin and French, as well as notes in Italian, which incorporate his readings of his contemporary German philosophical and aesthetical thought. This paper will present briefly the terms and consequences of Solomos’ bi(multi)lingualism. Furthermore, it will describe the bi(multi)lingual way of Solomos’ writing with reference to the most predominant interpretations provided by modern scholarship. At the same time there will be a critical discussion of certain aspects as well as a reconsideration of the virtually accepted opinion that drafts in Italian “prose” lead to Greek verses; in fact, an intentional metrical structure of the Italian drafts is quite often attested in manuscripts, while there is evidence of an interpenetration of the two languages not only in a linguistic level but also in the level of rhetoric structures and strategies.

12:00 PM - Multilingualism from Latin America to Europe in the 19th Century Nissler, Paul (Stanford University, Stanford - Kalifornien, USA)

In my presentation, I would like to explore the role of Latin America and languages spoken in Latin America (Spanish and Portuguese, as well as Indigenous Languages, such as Quechua, Aymara, Garani, Nahuatl, and Mayan, a.o.) in multilingualism in 19th century European literature. There is obvious interplay between Spain and Portugal and Latin America. I would like to explore further and broader nuances in Europe. Here, I would like to consider translation and its reception, understanding Indigenous literacy (Birgit Brander Rasmussen’s Queequeg’s Coffin, Martin Lienhardt’s la Voz y su huella) and its influence in European multilingualism, and broader nuances of Latin American multilingualism within European multilingualism. I would like to explore translation – as well as institutes and patrons of their promotion (e.g. in Paris, Berlin and Vienna), for example of Quechua – first translated into German by the Swiss J.J. von Tschudi (published in Vienna), later – Quechau, Aimara and Muchik - by Ernst Middendorf (published in Berlin). An interesting figure within this discussion (a.o.) is Alexander von Humboldt and his writings (in German and French) and presentations and early establishment, of the study and diaspora of Latin American language (esp. Quechua, Nahuatl). Latin American multilingualism in Europe and within European multilingualism can be seen, for example, in the visits (and accompanying literature) of Peruvian Juan Bustamente and Bolivian Emeterio Villamil de Rada in the nineteenth century to Europe.

2:00 PM - Monolingual city, multilingual voices: Polish exile writers in 19th century Paris Mende, Jana-Katharina (Universität Vechta, Vechta, Germany)

Paris as the capital of the 19th century is usually viewed from a European and French perspective. In the 19th century, Paris was also the most popular destination for Polish political immigrants who came to France after the failure of the November uprising in the Russian part of Poland in 1830/31. Among those immigrants were Adam Mickiewicz and his younger colleague Juliusz Slowacki, the most famous Polish writers of the time, shaping Polish romanticism in exile. While the French society sympathized with the Polish quest for independence, the exiled poets and politicians found themselves living as immigrants in a different culture and surrounded by a different language. Coming from multilingual surroundings in their home countries like the multilingual part of the Habsburg monarchy, Galicia, the well-educated Polish intellectuals soon found their way into the French discourse. Mickiewicz avoided French monolingualism by using multilingual strategies as an individual and in his lectures on Slavonic language and literature. As a consequence, his Parisian lectures at the Collège de France can be viewed as a multilingual text in a multilingual setting. On a social level, multilingualism appears in the languages spoken by the immigrants within a monolingual French society. Individual multilingualism surfaces in the language portraits of those exiles who were fluent in many languages. Mickiewicz’s lectures offer proof of textual multilingualism demonstrating 77

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 intratextual and intertextual multilingualism in different translations of the lectures. The social, individual and textual levels of multilingualism lead to a discursive understanding of multilingualism in Paris in the mid-19th century. My talk aims at presenting the multilingual discourse within a predominantly French discourse in Paris between 1830 and 1850 through the eyes of the ‚Great‘ Polish migration and its most famous representative, Adam Mickiewicz.

2:30 PM - The Intrinsic Multilingualism of Verse Making: German Lyric Poetry from the 19th Century Dembeck, Till (Université du Luxembourg, Esch-Belval, Luxemburg)

Through readings of German poetry from the 19th century, this paper investigates structures of literary multilingualism that are particular to verse. These structures comprise, on the one hand, latent forms of linguistic diversity, as, e. g., the use of metric structures or prosodic principles formerly applied in different linguistic contexts; and, on the other hand, more manifest forms of multilingualism, e. g., the insertion of words from other languages, which amplify the available prosodic material. The analysis of these seemingly minor forms of literary multilingualism will not only enhance the theoretical description of lyric poetry as a genre, but also highlight the multilingual underground of a literary period, which is commonly considered almost entirely subjected to monolingual norms. Starting out from a short survey of some developments in the romantic period (Hölderlin’s adaption of Greek ode forms; Goethe’s experiments with metric structures of very divers linguistic backgrounds), the paper juxtaposes lyric poetry by Heinrich Heine and August von Platen. These two authors were not only notoriously entangled in public controversy, but also represent two very different approaches to literary multilingualism: Whereas Platen experimented with the adaption of antique and oriental metrical forms (e. g., Pindaric metre and ghazal), Heine made intensive use of ‘foreign’, mostly French words in order to enrich his poetic vocabulary and to achieve alienation effects. Both techniques will be closely described and examined with regard to the underlying politico-cultural strategies. Eventually, it will be asked, in how far the two authors and the strategies they employ are representative of literary multilingualism in 19th century German lyric poetry.

3:00 PM - Marginal Languages, Multilingual Audiences: The Case of Georg Brandes and the Modern Breakthrough Allen, Julie (University of Wisconsin-Madison, Madison, Wisconsin, USA)

Beginning in the 1870s, Scandinavian literature erupted onto the European literary scene, with dramas by Henrik Ibsen and August Strindberg playing in Berlin and Paris, while novels by Sigbj?rn Obstfelder and J.P. Jacobsen inspired authors across Europe, from D.H. Lawrence and Thomas Mann to Rainer Maria Rilke and Stefan Zweig. The man credited with bringing about the Nordic ?Modern Breakthrough? was the Danish literary critic Georg Brandes (1842-1927).

By 1880, Brandes was known throughout Europe for his articulate promotion of modern literature, in particular Zola?s realist aesthetic and John Stuart MillÕs socially critical agenda. Brandes? provocative lectures on Main Current in the Literature of the 19th Century, launched in November 1871 at the University of Copenhagen, brought him both international prestige and domestic opposition that denied him a professorship. In 1877, Brandes exiled himself to Berlin, where he attempted to establish himself as a literary journalist in the German media.

Throughout his career, one of the persistent challenges that Brandes faced was the status of Danish as a marginal language with a very limited readership and a fairly narrow literary tradition. Multilingualism was thus crucial to Brandes? success, both in terms of sources of inspiration and markets for distribution of his works, to say nothing of networking with literary and political figures across the Continent. His own fluency in French gave him access to the works of Sainte-Beuve and

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

Taine, while his reading knowledge of English enabled him to translate Mill?s The Subjugation of Women into Danish. The international distribution of his own works in Germany initially depended on external translations, but Brandes eventually began writing his works in Danish and German for simultaneous publication. This paper explores how Brandes? own multilingual career illuminates broader issues of nationalism, globalization, and translingual communication.

4:00 PM - Mehrsprachigkeit in der Literatur des deutschen Vormärz (Heine, Büchner, Börne u.a.) Weissmann, Dirk (Université Paris-Est Créteil, Créteil, France)

Mehrsprachigkeit in der Literatur des deutschen Vormärz (Heine, Börne, Büchner, u.a.) (Vorschlag des Sektionsleiters: Abstract folgt)

4:30 PM - Jens Baggesen oder der Versuch, Anfang des 19. Jahrhunderts auf Europäisch" zu schreiben Tabarasi-Hoffmann, Ana-Stanca (Roskilde University, Roskilde, Denmark)

Jens Baggesen (1764 - 1826) gilt als Grenzgänger zwischen der dänischen, deutschen und französischen Kultur, zwischen Adel und Bürgertum und zwischen Klassizismus, Empfindsamkeit und Romantik. Er dichtete auf Dänisch, Deutsch und gelegentlich Französisch, und seine Korrespondenz weist einen regen Sprachwechsel auf, den Baggesen als „Schreiben auf Europäisch" bezeichnete. Doch obwohl Baggesens Schriften zahlreiche Metareflexionen über den Sprachwechsel, über das Verhältnis der drei von ihm verwendeten Sprachen zu einander und über die ideale Metrik, die in den jeweiligen Sprachen zu verwenden sei, enthalten, wurde sein Werk bereits von seinen Söhnen Carl und August sorgfältig nach Sprachen aufgeteilt ediert, wobei die Rolle des Dänischen als Nationalsprache überhöht wurde und nicht-dänische Passagen seiner Tagebücher stillschweigend ins Dänische übersetzt wurden. Diese nachträglich konstruierte „nationale" Perspektive auf Baggesen prägte seine Rezeption im 19. und weitgehend auch im 20. Jahrhundert. Doch bereits zu seinen Lebzeiten stand Baggesens Selbstauffassung als „Europäer" im Kontrast zum Widerstand, der sich in dänischen (und norwegischen) Kreisen gegen die deutsche Kulturhegemonie regte; sie weckte aggressive Polemiken, die Baggesen zu fluchtähnlichen Auslandsreisen zwangen. Und als Professor für dänische Sprache und Literatur in Kiel (1812-1813) stand Baggesens Lehre im Gegensatz zu den dänisch-nationalen Politisierungstendenzen, die eigentlich mit seiner Stelle verbunden gewesen waren, weswegen er die Stelle nach einem Jahr aufgab. Der Beitrag rekonstruiert Baggesens Ansichten über den Sprachwechsel und über die unterschiedliche dichterische Wirkung der jeweiligen Sprachen und diskutiert sie am Beispiel einer Ode an Napoleon, die Baggesen in einer französischen, einer deutschen und einer dänischen Fassung veröffentlichte.

5:00 PM - "Wie froh bin ich, dass nunmehr die geliebte Sprache lebendig wird" - Form and Function of Multilingualism in travel writing 1800-1850 Vlasta, Sandra (Johannes Gutenberg-Universität Mainz, Halle (Saale), Germany)

„Wie froh bin ich, dass nunmehr die geliebte Sprache lebendig wird“ – thus is Johann Wolfgang von Goethe’s reaction in his Italienische Reise [ 1813-17; Italian Journey ] when he eventually reaches the first place where Italian is spoken. In fact, Goethe knows Italian and he uses the language also in his travelogue on Italy, for instance when he depicts encounters with Italian people or when he gives information and explanations on Italian names of places or buildings. Similarly, he uses also other languages in this text, such as Latin. In doing so, Goethe takes up and continues a long tradition in travel writing: in fact, multilingualism can be called a typical feature of travelogues.

In the 19th century, in particular during the first half of the century, travel writing was an extremely popular genre all over Europe. From the end of the 18th century, the genre had been changing its character from encyclopaedic to more entertaining literary and aestheticized forms. To some degree, 79

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 this transformation has to do with the fact, that by then more writers could afford to travel and published their experiences in the form of travelogues. Nevertheless, the interest in foreign places and people, in ‘the other’, supposedly stands in stark contrast to the process of nationalization. In particular, the genre’s multilingual character defies the view that the 19th century was “the epoch that most effectively promoted nationalist monolingualism” (cf. the panel’s abstract).

In the proposed paper, I will give examples of multilingualism in travel writing in the first half of the 19th century. I will furthermore discuss the function of this stylistic feature and ask whether its use in fact defies nationalist developments or, rather, enforces the idea of cultural difference.

The proposed paper can be given either in English or in German.

Date: Saturday, July 23rd

9:00 AM - Mehrsprachigkeit in den Reiseberichten Heinrich Heines und Hermann von Pückler- Muskaus Brückner, Leslie (Université de Lorraine, Metz, Strasbourg, France)

Im Kontext der Nationalbewegungen des 19. Jahrhunderts ist Einsprachigkeit die zentrale literarischen Norm. Nur die Reiseliteratur widmet mit der Darstellung fremdkultureller Kontakte auch der Fremdsprache mehr Raum. Welche Funktionen hat Mehrsprachigkeit in der Reiseliteratur der ersten Hälfte des 19. Jahrhunderts? Dieser Frage möchte ich anhand zweier prominenter Englandreiseberichte des Vormärz nachgehen: Heinrich Heines "Englischen Fragmenten" (1830) und Hermann von Pückler-Muskaus "Briefen eines Verstorbenen. Ein fragmentarisches Tagebuch aus England, Wales und Irland und Frankreich" (1830-31).

Im ersten Teil soll die Rolle des Englischen bei Pückler und Heine vergleichend untersucht werden. Beide Autoren verwenden englische Begriffe, um ihre Reiseberichte mit Lokalkolorit anzureichern: Heine demonstriert sein kulturelles Wissen durch Wendungen wie "my home is my castle" oder "the west end of the town"; Pückler erklärt von "butler" über "pantry" bis "tenniscourt" die kulturellen Besonderheiten des bereisten Landes. An welchen Stellen verwenden die Autoren fremdsprachliche Begriffe? Welche kulturellen und politischen Konzepte werden mit englischen Termini präsentiert? Gibt es unübersetzbare Begriffe?

Im zweiten Teil sollen die Funktion des Französischen und das Verhältnis zwischen den drei Sprachen genauer betrachtet werden. Fürst Pücklers Stil ist von der adeligen Zweisprachigkeit des 18. Jahrhunderts geprägt. Auffällig ist, dass er für Berichte über Menschen verstärkt sein Salonfranzösisch verwendet, Landschaftsschilderungen hingegen ausschliesslich in deutscher Sprache verfasst. Spuren des Salonfranzösischen finden sich auch bei Heine. In den "Englischen Fragmenten" ist besonders interessant, wie Heine französische und englische Begriffe verwendet, um die politischen Systeme Englands und Frankreichs einander gegenüber zu stellen.

9:30 AM - Vielstimmige Weltansichten? Humboldts und Herders Sprachphilosophien als Wegbereiter moderner Mehrsprachigkeitskonzepte Kremer, Arndt (University of Cologne, Cologne/ Köln, Germany)

Wilhelm von Humboldts und Johann Gottfried Herders Sprachphilosophien werden bis heute meist vor allem als Konzepte nationaler Einsprachigkeit zur Schaffung und Sicherung der einen deutschen Kulturnation gewertet. Auf ursprünglich multilinguale und sozial wie rechtlich stark benachteiligte Minderheitskulturen wie die deutschen Juden übte diese Denkrichtung eine große Anziehungskraft aus, weil sie die Einbindung in die Nation an die Beherrschung der Nationalsprache zu koppeln schien. Dabei wird nicht oder nicht genügend berücksichtigt, dass beide, Humboldt wie Herder, Fremdsprachenerwerb und Mehrsprachigkeit ausdrücklich positiv bewertet haben. Durch 80

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

Fremdsprachenkompetenz vermag das Subjekt den Geist – enger gefasst: die Kultur – eines Volkes so kennenzulernen, als würde es ein bestimmtes Individuum kennenlernen; erst dadurch kann es wirklich aus der Innenperspektive seines Geistes heraustreten, der ihm die Gegenstände der Welt immer nur in Sprache vermittelt. Das Subjekt überprüft seine überkommenen Ansichten anhand neuer Standpunkte und objektiviert seine individuelle Weltsicht. Indem der Einzelne den Geistesgedanken anderer Völker näher steht, wenn er deren Sprache kennenlernt, nähert er sich dem „allgemeinen Endzweck“ menschlicher Existenz, von dem Humboldt spricht: dem Wissen um die ganze Menschheit, das jedem menschlichen Individuum innewohnt. Hierin und in dem Gedanken einer transnationalen Ursprache aller Idiome mit entsprechenden ‚Universalien‘ zeigt sich wohl am deutlichsten die humanistisch-kosmopolitische Dimension der Humboldtschen Sprachphilosophie . Die enge, rationell-emotionale Bindung des Sprachsubjekts an seine Muttersprache wird durch Fremdsprachenerwerb nicht beeinträchtigt, im Gegenteil: Sie lässt sich durch das Verständnis für andere Denk- und Empfindungsweisen noch verstärken. Sukzessive wie simultane, funktionale wie durchgängige Mehrsprachigkeit sind in diesem Konzept immer eine Option. Der Vortrag versucht der Frage nachzugehen, inwiefern Humboldts und Herders Gedanken zum Fremdsprachenerwerb und zur Mehrsprachigkeit, die ja in ihren Werken sprachphilosophische Ideologien des ausgehenden 18. und des 19. Jahrhunderts (z. B. bei Hamann) aufgreifen, transformieren und neu formulieren, nicht nur essentiell waren für den Kampf unterdrückter Minderheiten um Anerkennung im 19. Jahrhundert, sondern auch relevant sein können für heute Mehrsprachigkeitskonzepte.

10:00 AM - "Literatur und Mehrsprachigkeit" Das Konzept eines Handbuchs zu einem wachsenden komparatistischen Forschungsfeld Parr, Rolf (Universität Duisburg-Essen, Fakultät für Geisteswissenschaften, Essen, Germany); Dembeck, Till (Universität Luxemburg) Gegenüber dem klassischen Vergleich von Texten verschiedener Sprachen und Kulturen stehen solche Texte, die von vornherein in mehreren

Sprachen geschrieben wurden, bisher nicht unbedingt im Zentrum komparatistischer Forschung, auch wenn die Beschäftigung mit mehrsprachiger Literatur– vielfach stimuliert durch sprachwissenschaftliche Ansätze – zurzeit auch in den Literatur- und

Kulturwissenschaften einen Aufschwung erfährt. Davon kündet eine Reihe von Sammelbänden und Zeitschriften ebenso wie die Etablierung einschlägiger Forschungsinstitute und die Einrichtung von einschlägigen

Studienmodulen. Drei Gründe sprechen dafür, diese Entwicklung zu begrüßen: Erstens verspricht die Beschäftigung mit und die Analyse von mehrsprachiger Literatur denjenigen, die sich für Fragen der Inter- und

Transkulturalität, der Migration etc. interessieren, einen wichtigen

Zugang zu Phänomenen sprachlicher, kultureller und auch sozialer

Differenz. Zweitens kommen mehrsprachige literarische Texte dem neu erstarkten Interesse an der sprachlichen Struktur der literarischen

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

Textualität entgegen. Damit stellen sie auch eine Herausforderung an die

philologischen Arbeitsinstrumentarien dar, die sich verstärkt linguistischer Konzepte und Terminologien annehmen oder diese adaptieren

müssen, um ihren Gegenständen gerecht zu werden. Drittens schließlich bietet Mehrsprachigkeit die Möglichkeit, die Einschränkungen der nationalphilologischen Betrachtungsweise zu überwinden. Dies ist insbesondere vor dem Hintergrund der aktuellen Diskussion um

‚Weltliteratur‘ und die sich wandelnde Rolle der ‚Allgemeinen und vergleichenden Literaturwissenschaft‘ reizvoll. – Das Konzept des vorzustellenden Handbuchs geht davon aus, dass sich die Erforschung literarisch manifestierter Mehrsprachigkeit in erster Linie durch ihre

Fragerichtung und ihre Methodik auszeichnet. Daher stellt der Vortrag

über das Gesamtkonzept des Bandes hinaus einige ausgewählte Verfahren literarischer Mehrsprachigkeit vor.

16691 - Translation as Utopia/Dystopia Date: Monday, July 25th Room: Hs 24 Chair: Kothe, Ana; Bernstein, Lisa

2:00 PM - Translating History into Herstories: Utopian Impulses and Dystopian Worlds of Christa Wolf and Carmen Boullosa Bernstein, Lisa (University of Maryland University College, USA)

East German writer, Christa Wolf, and Mexican writer, Carmen Boullosa, translate gendered East- West relations of the past into today’s world by writing utopian and dystopian imaginary lives for historical/ mythological women from countries, cultures, and eras far removed from their own. Wolf’s Cassandra (1983) and Boullosa’s Cleopatra Dismounts (2000) construct alternative histories of these two legendary figures to critique their heroines’ and their own societies, and to envision alternative models of subjectivity and relationship for their readers. Written before the fall of the Berlin Wall and Germany’s reunification, Cassandra recounts Greece’s conquest of Troy through the Trojan princess’ perspective, thematizing contemporary issues of “becoming like them” and perpetuating endless war. Writing one year before 9/11, Boullosa ends Cleopatra’s story with the eerily prescient proclamation of the division of East and West, with the Romans’ domination of the area that now constitutes the Middle East. Both writers incorporate post-modern literary techniques of self-reflexive narration, historical and inter-textual references, and parody, to foreground the fictitiousness of their texts and question literary and historical representation. At the same time, both Wolf and Boullosa create within their texts a feminist space beyond patriarcal society, through which they exhibit Ernst Bloch’s notion of a “utopian impulse,” or “anticipatory consciousness” of imagined possibilities that have not yet been realized in the existing world. My paper explores the cultural translation work of these authors who, coming from different geographical, historical, and 82

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 political contexts, offer a critical-utopian view of “othered” women in order to address gendered violence, war, and injustice in and beyond their own historical moment.

2:20 PM - Utopian horizons: Translating Yarimar Padua's The Witches of Latrop Kothe, Ana (Humanities Dept. University of Puerto Rico at Mayagüez, Mayagüez, Puerto Rico)

Las bujas de Latrop, published in January 2015, falls within the utopian/dystopian literary genre of young adult fiction. It deals with students, witchcraft, fantasy, and fable. At the same time, it registers very real and contemporary concerns about the well-being of a country and the personal development of young women. Ms Padua’s protagonist, Emilia, is a cross between Katniss (The Hunger Games) and Hermione (Harry Potter). Like the Harry Potter series, The Witches of Latrop embodies both utopian and dystopian elements while retaining cultural specificity. For example, Harry Potter’s school, Hogwarts, elevates the British boarding school experience into the utopian realm of fantasy while retaining a profound sense of “Englishness.” Despite Ms. Padua’s efforts to create a “translatable” fantasy world, particularly with an eye to breaking into the English-language book market, I argue that – like the Harry Potter series – there is an undeniable “Puertoricanness” to her fantasy world, a Puertoricanness that eludes literal translation practices.

I am currently working with the author on the translation. This translation project involves what Homi Bhabha calls in The Location of Culture a culturally performative act. What Ms. Padua and I must keep in mind is the spirit of the work, not just the words. I side with José María Rodriguez- García in his essay “Literary into Cultural Translation,” when he in turn sides with Luis Borges and Walter Benjamin as they lament literary translations which do not retain a certain ineffable spirit of the work. Using Benjamin’s metaphor of translation as reconstituting a shattered amphora to show that Benjamin understood the fact that “the original that had previously held as a complete and self- contained masterpiece is itself a fragment of a larger fragment” (4). Derrida also points this out – there is no “singular” language, all language contains plurality, is infected with other languages and cultures. Ms. Padua’s fantasy world lies, as Eduardo Galeano writes, “at the horizon,” always causing author and translator alike to advance, to walk forward.

2:40 PM - "Let's meet wherever you are @ home": How Utopian is Creating a Global Virtual Collaborative Learning Environment for Foreign Language Students? Pillet, Stephane (Humanities Dept. University of Puerto Rico, Mayagüez, Puerto Rico)

Acquiring a target language is painfully slow. To really learn a foreign language, it is often agreed that immersion programs are far better than taking a course within the four walls of a classroom. Yet it is not an option that everyone can enjoy. The goal of this presentation is to encourage colleagues to create with me an interdisciplinary platform offering a virtual collaborative learning environment based on social constructivist approaches to facilitate interaction and cooperation among students and instructors on a global scale. Furthermore, I wish to interrogate to what extent such a project constitutes a utopian linguistic and cultural translation.

Knowledge about languages and cultures is by nature “out there.” Students in Germany, for example, share the knowledge that US students in German classes would love to acquire. Inversely, American students know “the materials” taught in English classes in Germany. The platform would have for objective to facilitate such virtual encounters that could be beneficial for everyone. Are we creating a virtual “non-place” (utopia) that is actually a new form of place?

This virtual collaborative environment could also be interdisciplinary and intercultural. Engineering students could work on a same project, and literature students share their readings of a same book. This kind of exchange and collaboration involves linguistic aspects as a type of translation. If communication fails not because of the language but because of mutual cultural misunderstanding, 83

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 then knowledge about intercultural communication should be at least as important as the use of a grammar rule. Because of its inherent multicultural interactions, a global virtual environment could make learners identify areas of agreement and disagreement to seek consensus and cross-cultural understanding as both sets of participants are “translated” into a virtual topos.

3:00 PM - Locating Translation Huffmaster, Michael (Humanities Dept./University of Puerto Rico, Mayagüez, Puerto Rico)

This paper employs cognitive linguistic theory to interrogate the topic “Translation as Utopia/Dystopia” with a number of goals in mind. First, I discuss and explain the dominance of spatial metaphors in our understanding of language in general—as a social and mental phenomenon—and consequently in translation theory specifically. Next, I explore the spatial metaphorical underpinnings of the concepts utopia and dystopia in order to suggest how they might offer a particularly useful model for theorizing the distinction between translation as process and translation as product. I then apply this model in reconceptualizing some canonical positions in translation theory from the German intellectual tradition, for example, Schleiermacher and Benjamin. In conclusion I argue that such a theoretical model has unique potential to foster insight into the nature of language and the human mind as understood in contemporary cognitive science, and I discuss the important ramifications of that potential for foreign language teaching in higher education today.

16692 - Secular Literary Texts and Sacred Exegesis Date: Monday, July 25th Room: Hs 16 Chair: Steven, Shankman

4:00 PM - Analysing Shakespearean Tragedy in the Light of Indian Religious Thought Bhela, Dr. Anita (University of Delhi, New Delhi, India)

Shakespeare’s greatness as a dramatist may not only be valued more but also better understood in the light of Indian religious thought .The Indian epics, the Ramayana and the Mahabharata portray the conflict between good and evil as an essential feature of the human condition. Homo sapiens are distinguished from beasts by their possession of ‘god-like’ reason or intelligence. This intelligence gives them the knowledge of right and wrong, good and evil. Alongside, humans have the freedom to choose either good or evil, it therefore follows that good and evil must co-exist in this universe. The principle of evil thus becomes an essential feature of the human condition. However, good and evil being opposing forces are always in conflict. Moreover, the agents of good and evil being human beings, human life is a continual warfare between the forces of good and evil. In this conflict, if goodness is passive or weak, then evil wins, but if goodness is active and strong then it overcomes evil and good prevails. This is the philosophy portrayed in the Indian epics. This paper examines the nature of evil presented in some of Shakespeare’s tragedies in relation to Shakespeare’s concept of what constitutes ‘ideal’ goodness and comes to the conclusion that a philosophy akin in many ways to the philosophy of good and evil depicted in the Indian epics prevails in at least three Shakespearean tragedies, namely Macbeth, Hamlet and King Lear. At the end of these tragedies, order is established and an atmosphere of peace and harmony prevails, and the outstanding forces of good establish this order.

4:20 PM - Gitagovinda and Song of Songs: An Interreligious Reading of Erotic Love Greenberg, Yudit (Rollins College, Winter Park, Uzbekistan)

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

In my paper, I willunderscoreJewish and Hindu interpretive notions and approaches to reading sacred texts. These include highlighting that Sanskrit terminology in particular, not only conveys the moods, tastes, and emotions of love but also provides theories for classifying and understanding human emotions and the dialectics and multilayered phenomena of love, both human and divine. A primary example of such asystematic approach to love is the theory of erotic rasa and the Sanskrit designation of viraha as the phenomenon of “love in separation” (Roberts, 2014, Schweig, 2014, etc.). Another notion of reading texts, especially the Hebrew Bible, is sprachdenken (“speech- thinking”), developed by modern German and Jewish philosophers such as F. Rosenzweig, who epitomizes it in his reading of the Song of Songs (Rosenzweig, 2005; Greenberg, 1996, etc.). Accordingly, the speech of the lover and beloved is examined in terms of its dialogical/grammatical elements and as such, theologized as the ideal human-divine encounter. Rasa and viraha can be usefully applied to the Song of Songs, and, conversely, analysis in terms of sprachdenken might reveal hidden facets of the Gitagovinda.

4:40 PM - Reading Dante. Tom Phillips' "Dante's Inferno" as artistic reflection about exegetic practices Schmitz-Emans, Monika (Ruhr-Universität Bochum, Bochum, Germany)

In literature and art, innumerous comments, re-tellings, quotations, and allusions refer to Dante’s „Commedia“ as to the probably most important European example of theologically grounded fictitious literature. In the 1980’s, the British artist and writer Tom Phillips dedicated a large and complex project to the first part of the Floretine’s famous work: „Dante’s Inferno“ consists of a large series of images that visualize the XXXIV canti of the „Inferno“ - or rather: the artist’s own and often self-referential interpretations of Dante’s texts. Phillips’ artwork is combined with an English translation, also provided by the artist himself, and, additionally, the book version of Phillips’ work contains the artist’s critical commentary on his visual interpretation of Dante. There are four images dedicated to each canto, created from multiple materials and sources.

By Phillips’ triple interpretation - (1) English Dante translation, (2) images, (3) comments about the images -, the art of interpretation as such is reflected on more than one level – with special references to mediaeval exegetic practices and the distinction between a literal, allegorical, moral and anagogical meaning.

Phillips’ commentary about the veltro image (Canto I, image 4) can be read as a mise-en-abyme of his entire meta-exegetical enterprise, as here the distinction between different layers of meaning according to medieval exegetic practices is explained - using Dante's own words. („I have used the cryptic ‚Veltro’ image to indicate what and of what kind these layers are. Dante writes, as quoted in the surrounding text of the image: ‚. . . that the sense of this work is not simple, but on the contrary it may be called polysemous, that is to say of more senses than one, for it is one sense which we get through the letter, and another which we get through the thing the letter signifies.’“).

In my paper, I will (a) give an outline of Phillip’s artwork in „Dante’s Inferno“, (b) focus on the subject and the respective strategies of interpretation and (c) illustrate the meta-exegetic interest Phillips takes in Dante’s infernal visions.

5:00 PM - Melanchthon, Aristotle, and Orthotomein, the sacred knife of dialectic Major, Julia (University of Oregon, Eugene, Oregon, USA)

This paper investigates commentaries on Aristotelian ethics written by the German humanist and reformer, Philipp Melanchthon, in light of revisionist scholarship on Aristotle in the Renaissance. I argue that Melanchthon’s cultural translation of Aristotelian political ethics, fused with his teaching of dialectic as practiced in the framework of Reformation education, oratory and political science, 85

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 created an enduring effect on later ways of reading. Recently perceptions of Aristotle’s influence during the Renaissance have been revised to suggest that it was more extensive than previously thought. Melanchthon,the first Greek professor at the University of Wittenberg, was in the vanguard of northern European humanists, mainly university teachers, who were dedicated to restoring and re-reading a purified Aristotle translated from the original Greek. Melanchthon’s sixteenth-century commentaries on Aristotle’s Ethics have been hailed as primary loci for the translation and transmission of the term koinonia politike into vernaculars such as English, where it became the keyword civil society. This paper examines Melanchthon’s philological re-reading of Aristotelian ethics as it shaped and expanded Reformation views on the political ethics of the law-governed state. As an example of his dialectical approach, adapted from Aristotle and deployed as a biblical hermeneutic, in the dedication to the Erotemata Dialectices , Melanchthon argues that orthotomein , found in Paul’s instructions to Timothy in the New Testament and often translated as “properly dividing the word of truth,” refers not only to the Hebrew priestly practice of dividing, or cutting up, the sacrificial animal and proper distribution of its parts, but also to the right practice of dialectic. Melanchthon’s dialectical re-reading of scripture seeks to valorize both the practice of dialectic-- metaphorically, the sacred knife of sacrifice-and the role of teachers as moral agents, or priests, in civil society.

16711 - The Chinese Scriptworld and World Literature Date: Friday, July 22nd // Saturday, July 23rd Room: Hs50 / Audimax Chair: Sowon Park; Karen Thornber; Jing Tsu; David Damrosch

2:00 PM - The Chinese Scriptworld Park, Sowon (Corpus Christi College, Oxford, Oford, United Kingdom)

The Chinese script was the ‘universal’ writing system used across the multilingual terrain that stretches across China, Korea, Japan and Vietnam. While people spoke in a variety of Chinese languages, Korean, Japanese and Vietnamese, they wrote in Chinese. Thus the written word was not only thought of as a method of capturing speech but as a distinct form of communication in and of itself.

A non-‘phonocentric’ relation between writing and speech is a distinctive feature that literatures of the Chinese ‘scriptworld’ have in common. Other features include a shared scaffolding of concepts derived from canonical Confucian and Zen Buddhist texts through which literacy was acquired. More speculatively, the ‘ideographic’ system of signs has been thought to produce a cognitive world distinct from those of other scriptworlds.

This paper will examine some of these ideas and propose the analytical unit of scriptworld as a foundation for gauging the interconnections and interactions between national literatures of a variety of different linguistic traditions. By focusing on the structural parallels and discontinuities that the edifice of script provides, this paper aims to develop practical, informed strategies for reading world literature.

2:30 PM - Scriptworlds: From Assyria to East Asia. Damrosch, David (Harvard University, Cambridge MA, USA)

In this paper, I'll describe the genesis of the term "scriptworld" in studies of the ancient Near East, and discuss how the concept can best be adapted to the East Asian Sinosphere, with special attention

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 to the implications for literary production and cultural memory when a country shifts from one script system to another, using examples from Korea and Vietnam.

3:00 PM - Heterographics: on Roman Letters and Phonetic Indifference Lock, Charles (Dept of English, Germanic & Romance Studies / University of Copenhagen, Copenhagen, Denmark)

It is a truth universally acknowledged that while our own writing system is perfectly natural we must be startled by any other. How idiosyncratic, how difficult to master (poor children!), how inefficient, and frankly, as foreigners tend to be, rather selfish. It is commonly supposed that while other alphabets are specific to a particular language – Hebrew, Amharic, Arabic, Korean, Cyrillic, Greek, Armenian and so forth – the Roman alphabet can offer hospitality in writing to many different spoken languages. This has given the Roman alphabet a claim to universal sovereignty of utmost benevolence.

The supposedly ‘strictly phonetic’ properties of the Roman alphabet have often been adduced as the reason for its global success, even for its ‘superiority’ over all other scripts. The history of writing as told in the modern West has been greatly distorted by the fact that its alphabet is phonetic. It has been even more distorted by the refusal to question whether the Roman alphabet is as purely phonetic as it is supposed to be. It is all but universally assumed that the purpose of writing is to convey human speech. No such premise would be universally accepted in any writing system that used ideograms or pictograms. These words themselves need to be interrogated as the vague or desperate terminology of scholars devoted to and enthralled by the Roman alphabet.

The standard histories of writing and script – e.g. Diringer (1963), Coulmas (1989), Fischer (2001) – all invoke a modifier such as ‘writing proper’ or ‘complete writing’ (Fischer) by which to distinguish the phonetic alphabet from what is termed ‘incomplete writing’ or ‘pre-writing’. The assumption that writing presupposes the prior existence of speech dies hard, despite the argument of Derrida’s De la grammatologie (1967), and Derrida’s reliance on André Leroi-Gourhan (1965) and despite the latter’s invoking of a source as ancient as Gregory of Nyssa (c. 380).

This essay will set out a counter-tradition of thinking about writing as merely contingently related to speech. The assumption that ‘proper writing’ must be phonetic has inhibited and distorted all our attempts to understand the global variety of scripts; ‘our’ indicates all those (even this one) that express themselves through the Roman-lettered writing system. What, finally, have been the implications of its phonetic inadequacies for any language apart from Latin?

4:00 PM - The Chinese Script in the Chinese Scriptworld. McDonald, Edward (SunYat-Sen University, China)

In traditional Chinese cosmological thinking, ‘humans’ (rén 人) were the link between heaven and earth; and ‘civilised pattern’ (wén 文 – to use only one of the many meanings of that polysemous term), was a manifestation of the Way, and the key feature separating humans from the beasts (Shih 1959/1983: Ch.1). Wén was also the term for most kinds of meaningful linguistic patterning, including script, writing, language, and text. The script, in the authorized lineage stemming from its inventor Cang Jie, scribe to primal cultural ancestor the Yellow Emperor, embodied the link between civilization and the cosmos (O’Neill 2013). In scholarly thinking about the Chinese character script, roughly equal emphasis was put on links between the characters and aspects of the world, on the one hand, and the sound of the words they represented, on the other. Pedagogical traditions, however, tended to stress easily memorisable “just so stories” about the construction of individual characters; and it was this aspect of the Chinese script that struck Western observers most strongly in the pioneering reports of the Jesuit missionaries, coincidentally just at a time when European

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 scholars were enthusiastically exploring the possibilities of a “universal character” (Mungello 1985). The fundamental building blocks were thus laid for an ideological complex of characters as “ideographs”, or symbols of ideas and things rather than words, an ideology constructed in the West but later reimported into China and nativised by Chinese intellectuals. For the West, the Chinese script held out the promise, embraced particularly eagerly by the literary and artistic worlds, of a visual language not complicated by questions of sound, and thus by the arbitrary impositions of individual languages (Bush 2010). ...

4:30 PM - Modern Korean Literature and 'Hansh' Translation Park, Sungchang (Seoul National University, Seoul, South Korea)

Modern Korean Literature and Hanshi (漢詩) Translation

Today, a widely-accepted theory tells us that modern Korean poetry began as rebellion against traditional Korean lyrics such as hanshi (Literary Chinese verse) and sijo (Korean folk-verse). In the early stages, modern Korean poets imitated and transformed the modern poetry of the West, which had made its way to Korea through Japan. The first modern book of Korean poetry, Dance of Anguish (1921) is a collection of translations of the 19th Century Symbolist poems, and shows well how the aforementioned literary diffusion took place. For those early 20th Century Korean poets, modern poetry meant free verse, and until the introduction of the modern free verse, the traditional concept of poetry for Koreans was hanshi, which are compositions of strict literary forms. Thus, the coexistence of modern poetic forms and hanshi may seem difficult.

However, during the birth and development of modern Korean poetry, the tradition of hanshi was kept alive. In fact, modern poetry did not immediately replace hanshi. Instead, the two distinct styles coexisted for a long period of time, supplementing and competing with each other. Among the poets from the colonial era, those who are considered to have been influenced by hanshi are categorized into these three types: 1) those who wrote their original hanshi, 2) those who employed hanshi versification in composing modern poetry through hanshi translations, and 3) those who demonstrated the uniqueness of hanshi philosophy and its form. This essay focuses on Kim Uk (1896~?), who is considered to be the most representative translator and poet of the colonial era. During his time, Kim Uk translated and published a number of collections of Chinese and Chosun hanshi.

It is common that in analyzing the issue of modern Korean poetry and translation, scholars mostly focus on the influence of modern Western poetry. However, the roles that hanshi and other traditional Literary Chinese culture played in the development of modern Korean poetry are ignored.

...

Date: Saturday, July 23rd Room: Audimax

9:00 AM - Translation as a New Tool for Rethinking the Local and the Global in the History of Revolutions: Luther and Mao Sinkwan, Cheng (University College London, UK)

My paper investigates how both Luther and Mao instigated a revolution by translating a universalist ideology into a “vernacular.” In so doing, Luther inaugurated a new national idiom while Mao founded a new nation. I then examine the discontinuities between the two revolutionaries, only to bring them together again in a comparison of the success of both in universalizing their faiths preached with a local accent.

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

My arguments begin by pointing out how both Luther and Mao made “mistranslation” into a tool for challenging the authority of the source culture and creating an autonomous voice for the target culture (a new national idiom, so to speak). Through his Bible, Luther became the creator of the new High German language. “Mistranslation” was also vital to Mao’s assertion of the dignity of the Chinese culture and nation. By rereading Hegelian-Marxist dialectic via yinyangphilosophy, Mao transformed what the West deemed to be “illogical contradictions” into interdependent entities, thus transforming Marxist Internationalism and Chinese Nationalism into mutually enhancing rather than mutually exclusive ways of thinking. This is important because nationalism was no less important than communism for China’s struggle against colonialism and Western domination— including possible “colonization” by dogmatic Marxism according to which China was deemed “not ready for socialism/communism” due to her “backward” agricultural economy.

Behind such similarities between lurch critical differences. Luther translated the Bible into one language only. Yet he claimed that it was his German re-interpretation of the Bible that offers the “real truth” of the Holy Scriptures, on the basis of which he founded a new “universal” religion.

In contrast to Luther who made universalistic claim with his German translation, Mao concerned himself primarily with formulating a Marxism suitable for his own nation (and, by extension, for other third-world nations), and this despite the fact that The Little Red Book had already been translated into 65 languages by 1967.

9:30 AM - Two Historical Narratives of Japan within Ancient East Asia as the Chinese Script-world Tokumori, Makoto (Universiry of Tokyo, Tokyo, Japan)

My presentation deals with the relationship between ancient East Asia as the Chinese script-world and cultural identity constructed by historical narratives in Japan as a case study, referring to works of an early modern Japanese scholar Motoori Norinaga (本居宣長 1730-1801). In the eighth century Japan where they have no other form of writing than Chinese character, two distinct historiographical texts were established by imperial command in quick succession: the 712 Kojiki (古事記), or Records of Ancient Matter and the 720 Nihon Shoki (日本書紀), or Chronicles of Japan. They are both concerned with the origin of the country and imperial family but different in narrative and style; the Nihon Shoki is written in literary Chinese and modeled on authentic Chinese histories, while the Kojiki is written in amalgamated Chinese and Japanese syntax and does not adopt chronological approach in describing the past. What kind of cultural identity do these ancient texts show? I will consider this problem by critical examination of Norinaga’s project in the eighteenth century. Against the long-held tradition of regarding the Nihon shoki as an authoritative history he put higher priority on the Kojiki in terms of textual originality. His hermeneutical studies on the two documents were motivated by his longing for one genuine culture indigenous to Japan and confidence of discovering it in those records written in Chinese characters. But on the other hand his careful research reveals the fundamental effects of the script and common Chinese classical culture on the texts. Through close analysis of the two historiographical texts and Norinaga’s argument on them, I would like to bring up a topic for discussion about the relations between script systems and literary texts.

10:00 AM - The Chinese Poetics of Xing-xiang: One of the Earliest Digital Poetics in the World Zhao, Guangxu (University of Ottawa, Ottawa, Canada)

The Chinese Poetics of Xing-xiang: One of the Earliest Digital Poetics in the World

Guangxu Zhao (School of Translation and Interpretation, University of Ottawa) 89

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

In ancient Chinese poetics, Xing and Xiang are two separate concepts. Xing means lifting something up because its hieroglyphic on bones or on tortoise shells looks like four hands holding something, which indicates a kind of collective action or celebration. Xiang refers to something connected with activities; in this hieroglyphic, it obviously indicates the thing surrounded by the hands. In Han dynasty, Xing and Xiang were developed as an allegory with which to let the authorities to accept good suggestions. In Wei-Jin and Southern-Northern Period, Xing and Xiang were used to explain artistic creation. Xiang became something rouses the creator's affections. When talking about the relationship between Xing and Xiang in literary creation, Liu Xie in his Wenhsin Tiao-lung said, "... that which that which rouses the affections depends on something subtle for the sake of reflective consideration." It was in Tang dynasty, these two concepts were combined together by Yin Fan to form a systematic literary conception of form and meaning. With the concept of Xing-xiang as guide, there appeared a lot of Xing-xiang poems in Chinese literary history. Comparing the up-to-date digital poetics, we find the concept of Xing-xiang meets some criteria of digital poetics. This paper attempts to make a comparative study in the following aspects: 1, the art of Chinese calligraphy and the basis of digital poetics; 2, ancient Chinese Xing-xiang poems and contemporary E-poems; 3, translating Xing-xiang poetry and creating E-poetry; 4, the idea of One and Many as the philosophic basis of Chinese Xing-xiang poetics and Phenomenology of Perception as the philosophic basis of digital poetics. Through this study, this paper attempts to reveal the role that Chinese Xing-xiang poetics plays in constructing digital poetics.

Key words: Xing-xiang poetics, digital poetics, Xing-xiang poems, E-poems

11:00 AM - Chinese Script in the Alphabetic Age Tsu, Jing (Yale University, New Haven, CT, USA)

For more than five centuries, the Chinese script has wrestled with the question of its fate in the modern age. From early Jesuit bilingual dictionaries to typewriting, phonology (yinyun xue) to character retrieval methods (jianzi fa), the Chinese script’s strivance for modernity was the longest revolution of the twentieth century--and continues in the digital age. This phenomenon has been of obvious interest to the Chinese, especially in the general atmosphere of nationalism and standardization. But the Chinese script revolution was never just a question about the Chinese language for the Chinese. Unlike most writing systems, it has been a multi-scriptive global venture in struggling for an ever larger medium, involving as many outsiders as insiders. Examining some of its many faces, this paper constructs the first material and technological account of how the Chinese script became modern under the condition of alphabetic dominance. Instead of succumbing its own historicity to the modern power of western science, the Chinese writing system brought its own empirical truths and methods to bear on the possibility of a scientific operation..

17430 - Denkbilder der Übersetzung Date: Friday, July 22nd Room: Übungsraum Germanistik 5 Chair: Eva Matt (Universität München), Ulrich Meurer (Universität Wien / Bochum), Michael Paninski (Brown University)

9:00 AM - Einleitung zu "Denkbilder der Übersetzung" Oikonomou, Maria (Universität Wien)

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

9:30 AM - Multidisziplinäre Übersetzungsparadigmen und synonymische Phänomene vor 1800 Keller, Andreas ((ZfL Berlin))

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10:00 AM - Die literarische Darstellung der Übersetzung als Knotenpunkt literaturtheoretischer Reflexion Babel, Reinhard ((Universität München / DAAD Bogotá))

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11:00 AM - Merci, Mercy. Über die Pflicht und Schuldigkeit des Übersetzens bei Jacques Derrida Sauter, Caroline ((ZfL Berlin))

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11:30 AM - Zwitter/Zwilling: Genetische Bildungen von Übersetzung Oikonomou, Maria ((Universität Wien))

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16740 - Translation Within a Single Language Date: Monday, July 25th // Tuesday, July 26th Room: Seminarraum Geschichte 2 Chair: Hayot, Eric; Saussy, Haun

9:00 AM - The Decipherings: The Inter- and Intra-languages of Pound's Asia Bush, Christopher (Northwestern University, Evanston, IL, USA)

My paper attempts to re-conceptualize the familiar topic of Ezra Pound’s translations from Chinese and Japanese by considering them as part of an expanded “Sinosphere,” with analogs and precedents in East Asian tradition. The first portion of the talk describes the unappreciated extent to which Pound’s work was influenced by and was consonant with Japanese conventions of reading and writing Chinese. Scholars have applied the term “interlanguage” to these conventions because of their both/and, neither/nor character. Such traditions as kundoku frustrate any easy opposition between “translation” and reading, interpretation, glossing, and so on, as evidenced by even conventional treatments of the topic. The second portion of the paper then considers whether such a reading of Pound’s translations as a kind of interlingual practice confirms and undermines readings of them as an intralingual practice within English. My examples will be drawn primarily from Cathay and The Classic Noh Theatre of Japan.

9:30 AM - Versification and prosification as translation and literary commonality COSTE, Didier (Bordeaux-Montaigne University, ESCOURCE, France)

Versification and, asymmetrically, prosification, activate additional constraints to the grammar and lexical selection of "natural languages," as they play with the limits between langue and langage . They thus engage the otherness and strangeness of langue to itself, de-naturalizing it for the hermeneutic as well as the aesthetic reader. Considering them as "translations within a single language" will not only support the now rather banal notion that no language is a single language when it is used literarily, it may help us realize that the perceivable difference of the constraints of prose and verse forms brings different linguistic cultures closer together. Such an approach would benefit from existing methods of comparative reading, but it could be turned into an enabling 91

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 research and pedagogical experiment in inter- and translingual literary comparison: 1) In what cultural and linguistic contexts can a text be perceived as transferred from a possible original that was not actualized (e.g. written in verse instead of prose or the other way around)? 4) How far does the study and theorization of versification and prosification offer patterns that could help modify and improve translingual comparison, and understand the benefits of "transreading"? 6) Can the products of versification and prosification be considered as experimental fields of interlinguistic commonality, or even prototypes of literary universals? Examples used will range from Petrarca's sonnets to The Golden Gate by Vikram Seth and Vivre sa vie by Jan Baetens.

11:00 AM - The Pharisees Hayot, Eric (Pennsylvania State University, University Park, PA, USA)

An experiment in translation, pulling back as little as possible from the limits of Borges's Pierre Menard, this talk is a translation into English of Virginia Woolf's To the Lighthouse. No tricks, minimal transformation, with the goal of producing a text that would strike an ordinary, well- informed reader as just as good as the "original," which emerges, in the light of this new shadow, as itself a shadow of some other ur-text that this act of "translation" makes visible for the first time.

11:30 AM - Interdisciplinarity as Translation Solovieva, Olga (University of Chicago, Chicago, IL, USA)

Disciplines have their own languages, which operate within their own hermeneutic horizon. When we learn a discipline, we learn how to speak its language. This competence goes beyond acquisition of what might be called a professional jargon. It implies a specific disciplinary grammar and syntax, inherent in the disciplines’ epistemological dimension. Interdisciplinary comparative literature is a work of translation. Its success depends on good knowledge of different disciplinary languages and skills in translating among their epistemes, though nominally within a single language. This translation is inevitably a transmutation. But unlike with the foreign-language translations, where a cultural transmutation is a by-product, often undesirable, here it acquires the methodological salience. Some disciplinary languages are more easily mutually translatable than others. Thus the work of interdisciplinary translation implies different levels of conceptual complexity. This paper investigates through the examples of texts from different disciplines (philosophy, religious studies, literary criticism, law, cinema, and science) the questions of translatability, its limitations and epistemological potential.

12:00 PM - Translating the Family's Nazy Legacy to Bridge a Floating Gap Yoeurp, Mélanie (German Department of the University of Wisconsin-Madison, Lognes, France)

Since the millennial turn, a spate of family narratives foregrounds narrators who seeks to understand their parents or grandparents’ involvement in the Third Reich by contextualizing the family archive that the latter left, such as memoirs, photographs, or family legends. But those documents, although available in the narrators’ language, are not readily accessible. Since the narrators’ intergenerational understanding occurs in the context of a ‘floating gap’ that accompanies the shift of generations (Jan Assmann), i.e., at a time when the communicative memory of WWII is transitioning into a cultural memory, those documents reflect a past where cultural norms and values differ from those of today. How can the narrators make sense of them and relate to them?

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

In my presentation, I claim that viewing the narrator as a translator allows us to examine intergenerational understanding against the background of historical upheavals. More specifically, it illuminates how contemporary German narrators engage with their families’ Nazi legacy and stand towards it nowadays. Inspired by Lawrence Venuti’s and Bella Brodzki’s concepts of translation respectively understood as a hermeneutic process and as a trope of ‘carrying over,’ I first define the narrator/translator as choosing a target discourse that can ‘carry over’ a narrative from the past. I then explore the implication of this definition: The narrators’ choice in terms of translation reveals their positioning towards their family’s past. With the example of Uwe Timm’s autobiographical novel Am Beispiel meines Bruders, I show how Timm effects a break with family legends by contrasting them with a post-1989 memory discourse. With an analysis of Anne Weber’s essay Vaterland, I demonstrate how her reinterpretation of her great grandfather—and his ideas that could anticipate Nazi ideology—as a Humanist man brings him closer to her.

Date: Tuesday, July 26th

2:00 PM - To say it differently Rath, Brigitte (Freie Universität Berlin, Berlin, Germany)

Thomas Carlyle's _Sartor Resartus_ (1833/34) chronicles an invented editor's progress with translating a fictitious work of German idealism into English. The editor's biggest challenge lies not in the translation from German into English, but in how to present idiosyncratic idealistic thoughts to readers schooled in empiricism; the editor sees himself as building a bridge across the abyss dividing different philosophical disciplines. At a time when the natural sciences differentiate and develop increasingly complex nomenclatures, _Sartor Resartus_ engages with the threat that using a single language no longer guarantees comprehensibility. To be understood by a broad audience, one may have to be able to say what one wants to say differently in the same language. In the case of _Sartor Resartus_, readers following the editor's effort only have his "translation" to go by. The editor's detailed report of his struggles with the fictitious "original text" extends an invitation to the reader to imagine how the text one reads could have been written differently. This moment of seeking alternatives creates an awareness for the context and the audience of each utterance, for the tacit assumptions that shape how we speak and write. The always present possibility or perceived necessity of translating within one language allows us to reflect what we do when we decide to say things this way.

2:30 PM - My Idiolect, If I Have One Saussy, Haun (University of Chicago, Chicago, USA)

Julia Kristeva once observed that “Tout texte se construit comme mosaïque de citations, tout texte est absorption et transformation d’un autre texte” ( Sêmeiôtikê , p. 85). It was challenging to say this in the sphere of literary studies circa 1965, a time when the death of the author was still a secret whispered among initiates and analysis of style and form reigned. She wrote, too, before the rise of translation studies; and translation risks making her bold statement a statement of the obvious. For a translation of, say, Don Quixote is through-and-through a citation of the Quixote , an absorption and transformation of it into another text. A translation of the Quixote , or almost any other work, must also be a chain of "citations" from the language into which the 93

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 translation is being done-- or if the word "citation" shocks, then we can say idioms, phrases, topoi, mannerisms. A literary translation is surrounded and carried by an ambience of precedent in the language of arrival. Like screen actors, authors in translation are "dubbed," often with voices familiar to the movie-going audience. The work that we know as translation typically involves two or more languages foreign to each other, but within these languages too there is active work to do. Before translating, the translator as reader must have determined what in the work needs to be brought across; and while the work is still flying across the interlinguistic gap, the translator as writer must begin to settle on the correlative style, manner, ethos, rhythm, etc., that will host the work in its new home. To invert one customary assumption about translation, and with a deep bow to the polysystems theory, I will suggest, through examples, the benefit of reading translations as monolingual artifacts.

3:00 PM - From English To English: A Polysystems Approach To The Vernacular. Saxena, Akshya (University of Minnesota, Minneapolis, USA)

In the proposed paper, I use the polysystems approach to conceptualize the critical paradigm of the vernacular in comparative literature today. I show the vernacular not as a position of permanent opposition to discourses of power or an untranslatable theoretical impasse, but as the very condition of translatability that is formative to visions of political modernity. I study the circulation of the English language across three simultaneous systems in India to reveal the heterogeneity of its meaning in a postcolonial context. Contrary, to the approach to the English language in postcolonial studies and in comparative literary studies, as principally a global force or a colonial legacy, I show that its presence across these different referential fields, shapes English as part of specifically vernacular discourse. With key examples from 1) state policies on the legislation of English in post-Independence India 2) the use of Hindi-English hybrid language in Hindi print media and 3) Anglophone Indian writing, I argue that an appeal to “common people,” has always animated the life of English. Both these political and cultural systems have shaped the career—the changing norms and models—of Anglophone Indian writing.

16791 - 'Autor', 'Text' und 'Leser' im Kontext. Komparatistik und Sozialwissenschaften. Date: Saturday, July 23rd Room: Hs 27 Chair: Batorova, Maria; Pospisil, Ivo

9:00 AM - Slowakische Literatur der Moderne im Kontext der europäischen Moderne. Komparatistik und Sozialwissenschaften Batorova, Maria (Institut für Weltliteratur, Bratislava, Slowakei, Slovakia)

Abstrakt: An hand der langjährigen Forschung, an hand der publizierten Monographien über tabuisierte Themen der Literatur, darunter Autoren, die als Dissidenten ein Teil des professionellen Lebens lebten, zeigt sich die Forschung im Rahmen des soziologischen Aspekts entscheident. Dieser kommt aber hand in hand mit dem historischen Aspekt, sowie mit der minuziösen Analyse der gewählten Texte eines Autors, dessen möglichst komplexen Kontext (Archive, Korespondenz, Interviews usw.) rekonstruiert wird.

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

Schlüsselwörter: Kontext eines Autors, Kontext des Textes Kontext des Lesers, (historische Bedingungen der Akzeptanz), literarische Moderne, der europäische künstlerische Raum, Rekostruktion

9:30 AM - Comparative Literary Studies and Area Studies: Advantages and Obstacles Pospisil, Ivo (Faculty of Arts Masaryk University, Brno, Czech Republic)

The author of the present contribution deals with the connection od comparative literary studies and area studies, its advantages and obstacles or pitfalls. He opens his explanation with the analysis of various concepts of space and time in the literary artefact, of the space as a constitutive element of the formation of the artefact. The danger of the application of area studies in general to comparative studies consists in the defocusing and obscuring of the philological, textual kernel of literature in its comparative aspect.

10:00 AM - Der Sammler als Autobiograph Schmitz-Emans, Monika (Ruhr-Universität Bochum, Bochum, Germany)

Wer sammelt, produziert nicht selbst - so scheint es. Und doch ist die Zusammenstellung einer Kollektion von Objekten bei genauerem Hinsehen ein konstruktiver Prozeß, dessen Ergebnisse den gestalterischen Willen des Sammlers zum Ausdruck bringen, und zwar sowohl bezogen auf die Art der jeweils gesammelten Objekte wie auch auf deren Anordnung. Dies gilt auch, wenn dieser Wille des gestaltenden Sammlers sich wohl nie erschöpfend umsetzen läßt - zum einen, weil "Vollständigkeit" beim Sammeln wohl meist eine Utopie ist, zum anderen, weil diverse äußere Faktoren auf die Genese der Sammlung Einfluß nehmen - nicht zuletzt das manchmal schwer zu handhabende Material selbst. Werden nicht physische Dinge ("res"), sondern Texte, Textbausteine, Zitate, Vokabeln oder ähnliche sprachlich verfaßte Gegenstände ("verba") gesammelt und sortiert, wie etwa beim Exzerpieren und Verzetteln, dann ist die kreative Dimension des Sammelns noch evidenter, gleichzeitig aber natürlich auch die Abhängigkeit von äußeren Bedingungen. Sammler agieren, stichwortartig gesagt, in einem Zwischenraum zwischen auktorialem Verfügen über ihren Stoff und der Rolle eines bloßen Mediums, das Gegenstände der Erfahrung und des Wissens arrangiert, die es nicht selbst hervorgebracht hat. Dies ist wohl einer der Gründe, warum Sammler in jüngerer Zeit - genauer: in einer Phase kontroverser Diskussionen über Autorschaft und auktoriale Produktivität - zu interessanten literarischen Reflexionsfiguren werden. Vorgestellt werden unter diesem Aspekt ausgewählte Texte über Sammler. Leitend ist dabei die These, daß sich in deren Tätigkeit - insofern sie literarisch dargestellt wird - Aspekte der literarischen Arbeit selbst bespiegeln: einer Arbeit im Spannungsfeld zwischen auktorialer Disposition über Materialien und medialer Funktion des Schriftstellers gegenüber den Dingen. Auch diese mediale Funktion muß dabei nicht einseitig als defizitär wahrgenommen werden, denn wer sammelt, bewahrt ja kulturelle Bestände und schützt vom Untergang bedrohte Objekte und Erinnerungen. Vorgesehene Beispiele: Georges Perec: "Un cabinet d'amateur"; W.G. Sebald: "Austerlitz"; Edmund de Waal: "The Hare with Amber Eyes".

11:00 AM - The Metafiktion in the postmodern prose Zilka, Tibor (Institute of Languages and Cultures of Central Europe, Faculty of Central European Studies at Constantine the Philosopher University in Nitra, Nitra, Slovakia)

In a realistic novel the fiction takes place inside the frames of the real world but the author or narrator pretends as if it was reality, as if (s)he did not make up anything, as if the entire story was merely transferred into the text from reality. Contemporary author discloses the proceedings of his/her writings, (s)he also reveals when it is a fabrication, a fiction and when something is brought

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 over into the text directly from reality. In Slovak literature this effect most often features in the writings of Pavol Vilikovský.

Metafictional processes are typical signs of a postmodern text, although similar elements were detectable in literature of previous centuries, however, not in such extent as today. At the end of the 1990s and in the course of the first decade of the 21st century, there was a growing number of authors with significant signs of postmodern prose in Slovak literature such as Peter Pišťanek, Pavel Vilikovský, Viliam Klimáček, Daniela Kapitáňová, Michal Hvorecký, Pavol Rankov and others. Metafiction undisputedly belongs to the typical characteristics of the postmodern text, due mainly to greater presence of these elements than in the past.

Key words: metafiction, World literature, postmodernism, reception, narrator, self-reference

11:30 AM - The author and metarepresentationality: comparative analysis Kuzmikova, Jana (Institute of Slovak Literature, Bratislava, Slovakia, Bratislava, Slovakia)

Only interdisciplinary systemization of new understandings, methods and perspectives connected with literature, invented in contemporary sciences and humanities, directs to deeper understanding of literary communication. Among others, also cognitive literary theory aims at the research of literary creation. The contribution discusses, in particular, the mental processes of metarepresentationality which are connected with episodic and semantic memory. Using source- monitoring analyses, we can better understand the role of the author in a literary work. This method is applicable also in comparative approach. The analyses considers metarepresentationality in works of foremost Slovak prosaists.

12:00 PM - Kommunikation und Schweigen in Prosatexten von Arthur Schnitzler und Stefan Zweig (Kontextualisierung als Weg zur Komparation typologischer Zusammenhänge) Zechelova, Katarina (Institut für Weltliteratur SAW, Bratislava, Slovakia)

Die Epoche der Wiener Moderne gehört bis heute zu großen Inspirationsquellen der Kunst und der Wissenschaft. Unter der Klima der alten Österreichisch – Ungarischen Monarchie wachsen an der Wende vom 19. zum 20. Jahrhundert junge Künstler, Schriftsteller und Intelektuelle, die eigene Ausdrucksprache suchen. Und es gibt vieles, was unter ihrem Deckel brodelt- Kampf mit der älteren Generation, Verlust der moralischen und geistigen Werte, Infragestellung des menschlichen und wissenschaftlichen Erkennens, politische Starrheit, Judenfrage, Aufstieg der Masse, Entdeckungen der Psychologie, Krise des Individuums, usw. Wie aber sollte man das alles zum Ausdruck bringen, wenn wovon man nicht sprechen kann, müsse man schweigen (L. Wittgenstein)?

Der Beitrag sucht die Antwort Anhand den Prosawerken zweier bedeutenden Autoren der Wiener Moderne Arthur Schnitzler und Stefan Zweig. Ist das Schweigen beim Schnitzler definitiv, oder kann es noch durchgebrochen werden? Welche Funktion erfüllt der Erzähler beim Zweig und um welche Art der Kommunikation handelt es sich in meisten seiner Erzählungen? Wer und wie spricht man in ihren Werken?

Der Beitrag demonstriert die folgenden Problemstellungen anhand der Methode der Kontextualisierung, indem die Verknüpfungen zwischen dem Text, Autor und dem Kontext untersucht werden. Ausgehend vom Text werden das Motiv des Schweigens, bzw. der Kommunikation, die naratologischen Kategorien und Kompositionstechniken als Widerspiegelungen von Poetiken beider Autoren miteinander verglichen. Die theoretischen Grundlagen für diese Art der 96

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Interpretation bilden die Studien und Publikationen slowakischer Literaturwissenschaftlern Dionýz Ďurišin und Mária Bátorová.

2:00 PM - Péter Esterházy: the Author, the Text, the Reader or All of Them? Paszmár, Lívia (Institute of World Literature SAS, Bratislava, Slovakia)

The end of the 1970s meant the beginning of a poetic shift that completely changed the language of Hungarian literature. It referred to the language of prose and poetry as well. According to the outstanding literary theorist Ernő Kulcsár Szabó the year 1986 was of great importance in relation with that shift, because two key works were published that terminated the process of thischange: Book of Memories (Emlékiratok könyve) by Péter Nádas and An Introduction to Literature (Bevezetés a szépirodalomba) by Péter Esterházy. In my work I deal with the latter who is evidently one of the key figures of the Hungarian postmodern literature.

As a PhD student of the Institute of World Literature SAS I had to choose a perspective that interests the Slovak literary-cultural environment, therefore I have focused on the aspect of intertextuality in the works of Péter Esterházy and I have also investigated the interpretation of that aspect in his Slovak reception – essays, studies and journals of various kind. However, Slovak cannot be the only literary-cultural environment that is interested in the questions of intertextuality in the works of Esterházy, because after meeting with a warm response in German context, he has gained prestige through Europe and has become the subject of studies outside the borders of Hungary.

Texts of other authors are natural components of Esterházy´s texts: some of his works contain (incomplete) bibliography or footnotes and some of them do not. The latter kind I consider more complex and therefore more interesting subjects of comparative analysis: they question the author, the text and also the reader who in Barthes´s way can situate him or herself to the author´s position. In my presentation I would like to focus on the author, the text and the reader in Péter Esterházy´s world of texts which are both installed and subverted.

2:30 PM - Neo-sincere Theory in Comparative Literature Anetta, Kristof (Institute of World Literature, Slovak Academy of Sciences, Bratislava, Slovakia)

The intuition of scholars all over the world suggests that postmodernism has a successor - one that steers away from postmodern irony, nihilism, and “brainless destruction of convention” (Thomson and Childish in their Remodernism manifesto) towards authenticity and humanity, the “plain old untrendy human troubles and emotions,” as put by David Foster Wallace. Performatism, remodernism, metamodernism, transmodernism, and, finally, post-irony and New Sincerity - the sheer number of words invented to describe the successor’s mutations attests to the strength of the central concept they all share. It is true that most of these pigeonholes lack the methodological robustness of the apparatus used to diagnose postmodernism, but at such young age and without an inviolable assortment of literary deities, no era could be expected to do better. Let us briefly abandon the technical aspects and focus on the philosophical pendulum, returning from a fleeting visit to the existentialist-nihilist side (likely producing Beckett’s prose at the extreme) back towards moral realism or even pragmatism. This project maps the theoretical landscape where neo-sincere criticism could be built, involving a shift in the understanding of literature towards that of the philosophers Richard Rorty and Martha Nussbaum, who believe that works of fiction are essentially works of (moral) philosophy, and the notion that the historical role of the novel is a moral one – to document and preserve the European “respect for the individual, for his original thought, and for his right to an inviolable private life” (Kundera, The Art of the Novel). The consequence for comparative literature might be a broader justification of its tendency to contextualize and use an even balance of author, text, and reader in its search for connections and differences.

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

16802 - (POST)IMPERIALE NARRATIVE IN DEN (ZENTRAL)EUROPÄISCHEN LITERATUREN DER MODERNE Date: Saturday, July 23rd Room: Hs 31 Chair: Müller-Funk, Wolfgang; Chovanec, Johanna

9:00 AM - (post)kolonial vs. (post)imperial: Grundsätzliches. Ruthner, Clemens (Trinity College Dublin, Dublin, Ireland)

Im literatur- und kulturwissenschaftlichen Diskurs zeichnete sich in den letzten Jahren ein Paradigmenwechsel von 'postkolonial' zu 'postimperial' bzw. 'global' ab. Doch was genau ist der Unterschied - vor allem, wenn es um Phänomene der inneren Kolonisierung in Europa geht (zB im Rahmen der Habsburger Monarchie und ihrer Nachfolgestaaten)?

Der geplante Vortrag wird genau dies diskutieren und Vergleichskategorien ausarbeiten. So wird beispielsweise argumentiert werden, dass sich eine postimperiale Forschungsoptik besser dazu eignet, äußere und innere Kolonisierung als die beiden Seiten einer Medaille und damit also als Komplemetärphänomene zu denken. Weiters bleiben die Effekte, die eine wie auch immer geartete Postkolonialität hat, besser im Blick - und zwar nicht nur auf Seiten der ehemals kolonisierten Peripherien, sondern auch, was das Zentrum/den Kolonisator selbst betrifft. Grosso modo hilft eine Refokussierung also, plumpe Dichotomisierungen zu vermeiden bzw. Polaritäten miteinander und nicht bloß gegen einander zu denken.

9:30 AM - TEIL I: Post-imperiale Melancholie: ein Vergleich zwischen der österreichischen und türkischen Literatur Müller-Funk, Wolfgang (Universität Wien, Austria)

In our presentation we want to emphasize on parallels between the Austro-Hungarian Monarchy and the Ottoman Empire and focus on the myths which were subsequently created about them and which can be found in the literature of both. The aftermath of the empires is characterized by the processes of modernity, its positive and negative effects and by competing national narratives with the question of economic, cultural and geo – political positioning.

In both geographical regions the loss of an empire, which was regarded as stable, calm, peaceful and safe, led – particularly in times of political and economic uncertainties – to the creation of myths. Central elements in the establishment of these myths are nostalgia and glorification of the lost empires which are being expressed in literature and which are a discourse in politics.

Post-imperial melancholy can be seen as a common characteristic in a specific type of Austrian literature, for instance in the works of Stefan Zweig and Joseph Roth, but - as Orhan Pamuk´s œuvre makes evident - also in contemporary Turkish literature. ‘Hüzün’ is the Turkish term for melancholy and tristesse. In Pamuk’s novel Istanbul he uses the expression to describe the missing cultural link to the Ottoman past as well as the ongoing decline of the old cityscape of the former capital Istanbul which is successively replaced by ‘non-places’ like shopping malls.

In analogy to Claudio Magris’ ‘Habsburg Myth’ it is goal of this presentation to describe the characteristics of the so called ‘Ottoman Myth’. Following a comparative approach, attention will be drawn on the importance of these concepts within the particular national narratives.

10:00 AM - TEIL II: Post-imperiale Melancholie: ein Vergleich zwischen der österreichischen und türkischen Literatur Chovanec, Johanna (Universität Wien, Brunn am Gebirge, Austria) 98

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11:00 AM - Fragile Ordnung. Habsburg als Großreich und Großerzählung Magerski, Christine (Universität Zagreb, Croatia)

Dem von Franco Moretti vorgelegten Atlas des europäischen Romans liegt die Annahme zugrunde, dass verschiedene literarische Formen unterschiedliche Räume benötigen. Der Roman, so Moretti am Fall der europäischen Literatur des 19. Jahrhunderts, benötigt den Nationalstaat bzw. die Entwicklung nationaler Identitäten. Was aber, wenn man den Fokus auf das 20. Jahrhundert und in ihm auf ein Großreich wie die Donaumonarchie verschiebt? Der Vortrag fragt nach der Bedeutung des Chronotopos für das Genre der Großerzählung, indem er die Romane von Joseph Roth und Robert Musil als Thematisierung des Zerfalls und der Neuordnung im politischen und literarischen Raum liest. Theoretisch ins Verhältnis gesetzt werden geopolitische und literarische Ordnung mithilfe der von Herfried Münkler erarbeiteten Imperientheorie und seines Begriffs des politischen Mythos.

11:30 AM - Ein Skandal in der postimperialen Stunde null. Zu Miroslav Krlezas Text Eine trunkene Novembernacht 1918 Bobinac, Marijan (Universität Zagreb, Croatia)

In seiner autobiographischen, leicht fiktionalisierten Aufzeichnung Eine trunkene Novembernacht 1918 (Pijana novembarska noć 1918, entst. 1942, erstveröff. 1952) sucht Miroslav Krleža einen Aufsehen erregenden Skandal zu rekonstruieren, zu dessen Entstehung er selbst wesentlich beigetragen hat: Im November 1918, im Interregnum zwischen dem Zerfall der Habsburgermonarchie Ende Oktober und der Gründung des SHS-Königreichs Anfang Dezember, sah er sich bei einer in Zagreb zu Ehren der serbischen Offiziere veranstalteten Teeparty genötigt, laut gegen die Rede des ehemaligen hohen k.u.k.-Offiziers Slavko Kvaternik zu protestieren. In seinem Zwischenruf behauptete Krleža, Kvaternik, zu diesem Zeitpunkt Generalstabchef des provisorischen Staates des Nationalrates der Slowenen, Kroaten und Serben, sei keine geeignete Person, einen Trinkspruch auf die Offiziere aus Serbien zu halten, da er als „Generalstabschef des Belgrader Gouvernements 1916“ im besetzten Serbien Menschen aufhängen ließ. Krleža, dessen Zwischenrufe sich auf die moralische Korruptheit der bisher prohabsburgischen, jetzt plötzlich projugoslawisch gewordenen einheimischen Elite bezogen, wurde er als Unruhestifter aus dem Saal verwiesen.

Der öffentliche Skandal in der ‚postimperialen Stunde null’ hat Krleža nachträglich in seiner Überzeugung von der Misere der zeitgenössischen kroatischen Elite bestärkt; seine Hoffnung, dass nach der Auflösung der kompromittierten k.u.k-Herrschaftsform die südslawischen Völker zu einer nationalen, politischen und sozialen Emanzipation vorstoßen könnten, wird bald durch die nüchterne Erkenntnis ersetzt, dass an die Stelle des imperialen Habsburgerreiches ein kleinformatiges, auf Dominanzverhältnissen aufgebautes postimperiales Gebilde getreten sei.

12:00 PM - Der antihabsburgische Mythos in der kroatischen Literatur: der Roman Republikanci (1914 - 1916) von Marija Juric Zagorka Spreicer, Jelena (Universität Zagreb, Croatia)

Unmittelbar nach dem Ausbruch des Ersten Weltkriegs beginnt in der Zagreber Zeitung „Ilustrovani list“ die periodische Veröffentlichung des Romans Republikanci (Die Republikaner, 1914‒1916) von Marija Jurić Zagorka, der ersten kroatischen Journalistin und einer der fruchtbarsten kroatischen Autorinnen der ersten Hälfte des 20. Jahrhunderts. Zagorka, bekannt für ihre Kritik an der Germanisierung und Magyarisierung Kroatiens in der Donaumonarchie, behandelt in diesem Roman, unter anderem, das Thema der Jakobinerverschwörung 1794. Die misslungene Verschwörung unter der Leitung des Franziskanermönchs Ignaz Joseph Martinovics, für deren Ziel die politische Unabhängigkeit aller Völker der Habsburgischen Monarchie erklärt wurde, dient als Folie für die 99

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Diskussion eines demokratischen Gegenmodells zum damals aktuellen österreichisch-ungarischen Staatsgebilde. In diesem Beitrag wird Zagorkas Roman als ein kroatischer Gegenpol dem Konzept des „Habsburgischen Mythos“ von Claudio Magris und eine idealisierte Projektion der nationalen Konsolidierung interpretiert.

2:00 PM - Türken, Habsburger, Russen, Araber Wandel der Alteritätsbilder der ungarischen literarischen und kulturellen Öffentlichkeit vom Mittelalter bis zur Moderne Pesti, Brigitta (Institut für Europäische und Vergleichende Sprach- und Literaturwissenschaft, Wien, Austria)

Die in Europa ab dem 14. Jahrhundert vor dem Hintergrund der osmanischen Expansion aufkommende sog. „Türkenfurcht“, die sich nach der Einnahme Konstantinopels 1453 bedeutend verstärkte, beförderte die Herausbildung einer ideologischen Basis für eine bedeutende und langanhaltende Alteritäts- und Identitätskonstruktion in der ungarischen Literatur. Das Bild des „wilden und gottlosen türkischen Volkes“, das bis dahin als nur einer der ketzerischen Feinde behandelt wurde, wurde besonders infolge der propagandistischen Bestrebungen der Reformation zur „Geißel Gottes“, zum „Erzfeind“ und „Verfolger des Christentums“, zum „barbarischen Volk der Apokalypse, und bestimmte bis ins ausgehende 17. Jahrhundert den ungarischen literarischen und kulturellen Diskurs. Die Topoi über einen mythisierten Nationalfeind und über die herausragende, fast heroische, jedoch tragische Rolle der ungarischen Nation, die in diesen Jahrzehnten entstanden sind, reichen weit bis in die Moderne herein.

Die hier geborene Tradition der Fremdenfeindlichkeit löst sich nach den Türkenkriegen nicht auf, sondern wird auf „neue Fremde“ projiziert. In der literarischen und kulturellen Öffentlichkeit werden aus Türken erst Habsburger, dann Russen und seit kurzem Araber. Der Vortrag versucht eine kurze Zusammenfassung der langen Geschichte der ungarischen Alteritätsbilder zu zeigen.

2:30 PM - Die napoleonischen Kriege im kroatischen kulturellen Gedächtnis Dukic, Davor (Universität Zagreb, Croatia)

Die Zeit der napoleonischen Kriege war auf dem Gebiet der kroatischen Länder besonders turbulent: Die politischen Grenzen wurden zwischen 1797 und 1813 mehrmals neu gezogen, wobei Dalmatien 1805, vier Jahre später auch die Teile von Zivilkroatien, Militärgrenze und Istrien unter die französische Herrschaft kamen. Bei den relativ seltenen Kriegshandlungen standen die Soldaten desselben Volkes oft auf zwei verfeindeten Seiten. Viel intensiver verlief in den kroatischen Ländern der politisch-ideologische Kampf zwischen den beiden Imperien, dem österreichischen und dem französischen, ein Umstand, der in den Texten verschiedener Gattungen konkretisiert wurde, die zugleich als die ältesten Exemplare des kroatischen propagandistischen Diskurses betrachtet werden können. Die französische Herrschaft und die napoleonischen Kriege waren ein beliebtes publizistisches/literarisches Thema auch in den darauffolgenden Jahrzehnten, insbesondere in der Zeit der kroatischen nationalen Integration, in der sogenannten Kroatischen Nationalen Wiedergeburt (1835–1848). Dieses Thema, als ein wichtiges Motiv des nationalen historischen Narrativs, wurde in der kroatischen Geschichtsschreibung von der zweiten Hälfte des 19. Jahrhunderts bis in unsere Gegenwart oft behandelt. Anhand der Analyse ausgewählter Quellen aus dem 19. und 20. Jahrhundert sollen im vorliegenden Beitrag folgende Fragen erörtert werden:

- Welche sind die Hauptmerkmale der zeitgenössischen napoleonischen und habsburgischen politischen Diskurse? - Welches ideologische Potenzial hatte das „napoleonische Thema“ im Illyrismus (in der Kroatischen Nationalen Wiedergeburt)? - Wie wurde das Narrativ über die napoleonische Zeit in das kroatische nationale Narrativ integriert?

3:00 PM - Das Theater im Krieg - die Koexistenz des Nationalen und des Imperialen? Car, Milka (Universität Zagreb, Croatia) 100

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Ging es darum, unterschiedliche soziale Schichten, religiöse Glaubensgemeinschaften, Ethnien oder Nationen in einem Nationsbegriff oder in einer politischen Bewegung zu einen, so wurde das Theater zu einem bevorzugten Ort, an dem die identitätsstabilisierenden Diskurse produziert werden. Man appellierte an übergeordnete Gemeinsamkeiten und stützte sich auf verschiedene Traditionen, was insbesondere im Laufe des Ersten Weltkrieges im Kroatischen Königlichen Landestheater in Zagreb (Kraljevsko zemaljsko hrvatsko kazalište) zu beobachten ist. Um den Zusammenhalt der disparaten Teile in der Österreichisch-Ungarischen Monarchie zu gewährleisten, wird die imperiale Macht auch im Theater inszeniert, in einer Zeit, in der „imperiale Erwartung und nationale Erfahrung“ immer weiter auseinander fielen (Leonhard/Hirschhausen 2009: 60). Zugleich wird die nationalbildende und nationalintegrative Funktion des Theaters in Kriegszeiten besonders hervorgehoben, so dass im Repertoirebild in den Saisonen 1914/15 bis 1917/18 beide Tendenzen abzulesen sind. Auf einer kultur- und theaterwissenschaftlichen Basis sollen zentripetale Strategien der nationalen Bewegungen und die imperiale Herrschaft im Vielvölkerstaat vor dem Hintergrund unterschiedlicher nationaler Narrative vergleichend verfolgt werden.

4:00 PM - Blick und die Reizkultur um 1900 - Zur Genealogie der imperialen Poetik im Jung-Wien Preljevic, Vahidin (Universität Sarajevo, Bosnia Herzegowina)

Schon Said hat beobachtet, dass die koloniale Konstellation und ihre jeweiligen Rahmenbedingungen eine besondere Wahrnehmungskultur hevorbringt, die sich dann vor allem in der Literatur (und Kunst überhaupt) als einem Sensorium gesellschaftlicher Prozesse bemerkbar macht. Kann man in diesem Zusammenhang von einer Poetik des Imperialen sprechen, die sich über konkrete Blickführungen in Texten (Gestaltung der Erzählperspektive, Beschreibungsmodi, Selektionsmechanismen u.a.) rekonstruieren ließe? Gehört dazu einerseits der allumfassende Blick andererseits die inszenierte Vielfalt der Reize, deren Entsprechung in einer neuen Wahrnehmungskultur der Metropole (Crary, Asendorf) zu suchen ist? Solche Ordnungen der Sichtbarkeit implizieren auch Inszenierungen ethnischer, sozialer und geographischer Diversität, und eine spezifisch imperiale Durchlässigkeit der Grenzen (Münkler). Diesen Fragestellungen wird in ausgewählten Texten der Jung-Wiener Autoren wie Leopold von Andrian, Hugo von Hofmannsthal u.a. nachgegangen werden.

4:30 PM - Konjunkturen des Imperialen. Zur Transfergeschichte von Hermann Bahrs Dalmatinischer Reise Vidulic, Svjetlan Lacko (Universität Zagreb, Croatia)

Hermann Bahrs Dalmatinische Reise (1909) gilt als »bemerkenswertes Zeitbild«, das die »letzten Atemzüge des monarchistischen Vielvölkerstaats« »am Beispiel der Verwaltung der Provinz Dalmatien schildert« (Einleitung zur Ausg. im Rahmen der Kritischen Schriften, 2012). Ein Zeitbild ist der Reisebericht auch in dem Sinne, das Grundzüge seiner politischen Argumentation und seiner literarischen Strategie – Bahrs Version des habsburgischen Mythos mit Betonung der ›pluralistischen Identität‹ (Marie-Caroline Foi) sowie Bahrs Version des ›Nestingorientalism‹ (E. W. Said/M. Bakić- Hayden) – aufs Engste mit der Logik und dem Status imperialer Herrschaft verbunden war. Dies soll am Text selbst sowie an seiner primären Rezeption im deutschsprachigen und im kroatischen Raum (u.a. A. G. Matoš) aufgezeigt werden. Ein Ausblick auf die neueste Rezeption (kroat. Übersetzung 1991, ital. Übersetzung 1996, mit einem Vorwort von Predrag Matvejević) prüft den Bezug zu den Konjunkturen ›postimperialer‹ Erinnerungskultur.

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5:00 PM - Psychiatrie und Psychoanalyse in Czernowitz: Robert Flinkers Prosa Palimariu, Ana-Maria (Alexandru-Ioan-Cuza-Universitaet Jassy, Romania)

I n Robert Flinkers (1906 - 1945) Prosaband Der Sturz ( entstanden 1941 , zuerst in Bukarest 19 70 erschienen ) sowie in seinem Prosaband Fegefeuer ( entstanden 194 0 - 4 4 , zuerst in Bukarest 1968 erschienen) lassen sich die Narrative , wenn auch i n eine m Stil geschrie ben, der an Kafka erinnert, an die historischen Ereignisse ihr er Entstehungsj ahre doch anknüpfen. Der jüdische Czernowitzer, der in Wien Medizin studiert, in Deutschland und der Schweiz beschäftigt ist, dann sich im Bukarester Exil als Nervenarzt aufhält u nd für seine Schublade in deutscher Sprache Prosa schreibt, um sich schließlich umzubringen, lässt sich (wenn auch in allen Erzählungen nur Jahresangaben aber keine Ortsangaben bestehen), doch mit den Figuren aus den genannten Prosab ä nd en vergleichen. Ande rs die Erzählung „Absalom. Eine Legende“. Auch in der bisherigen sehr bescheidenen Flinker - Forschung wird sie kaum beachtet. Daher wird i m vorliegenden Beitrag der Frage nachgegangen , ob die Erzählung „Absalom. Eine Legende“, die an die biblische Legende v om Alten Testament anknüpft , jedoch einen deutlichen Akzent auf die Episode des Gerichts setzt, und verzweifelt nach einer legendären „ Schuld“ zu suchen scheint, nicht auch als Erkl ä rung f ü r den Erfolg, den Psychiatrie und Psychoanalyse in Czernowitz hatte n, gelesen werden kann

6:00 PM - Memoria & Postmemoria Deutsch-Südwestafrikas in der Literatur Gärtner, Julian (Universität Bielefeld, Bielefeld, Germany)

Im Gegensatz zu Frankreich und Großbritannien, wo spätestens seit Beginn der Nullerjahre, befördert durch die Verleihung des großen Prix Goncourt oder analog des großen Booker Prize an AutorInnen aus ehemaligen Kolonien, ein reges Interesse für deren Geschichten einsetzt, bleiben ähnliche Phänomene in Deutschland aus. Abgesehen davon, dass Deutschland eher über eine Vielheit an mittelgroßen Zentren verfügt, bleibt eine vergleichbare Bewegung von non- white people nach Deutschland und letztlich die Entwicklung einer postkolonialen Literatur aus – so ließe sich argumentieren.

Überzeugender allerdings scheint es, andere Arten und Weisen der Memoria und Postmemoria für Deutschland anzusetzen: Freilich kann in Deutschland viel weniger von einer organisierten Gruppenbewegung oder -strömung, geschweige denn einem politisch-öffentlichen oder buchmarktmäßigen Interesse die Rede sein als das etwa in Großbritannien der Fall ist. Dennoch ist in der deutschsprachigen Literatur eine anhaltende und intensive Beschäftigung mit der (post- )kolonialen Vergangenheit zu erkennen. Das wird besonders deutlich am Beispiel Deutsch- Südwestafrikas, dem heutigen Namibia, das von 1884 bis 1915 als erstes sogenanntes deutsches Schutzgebiet erworben wurde.

Anhand ausgewählter Werke soll überblickshaft die Memoria und Postmemoria Deutsch-Südwestafrikas – die Paradigmen des Erinnerns, ihre thematischen und formellen Verschiebungen – nachgezeichnet werden: Gustav Frenssens Peter Moors Fahrt nach Südwest (1906) kann als erstes grundlegendes Paradigma sowohl der nationalistischen-soldatischen als auch der solidarischen Erinnerung gelesen werden. In direkter zeitlicher Nähe zum zweiten Weltkrieg leitet Alfred Anderschs Weltreise auf deutsche Art (1949/59) die Frage der Ursache ein, die sich gewissermaßen in Uwe Timms berühmten Roman Morenga (1978) zu einer nüchternen und objektiv-kritischen Haltung verdichtet. In der neueren Literatur wandeln sich die Modi des Erinnerns zum touristischen oder absurd-spielhaften wie etwa in Christof Hamanns Fester (2003) oder zur Beschäftigung mit der eigenen Familiengeschichte wie in Stephan Wackwitz' Ein Unsichtbares Land (2005) oder Ludwig Fels Herero (2015).

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6:30 PM - Warten auf die Barbaren: Kafka und Coetzee Karakassi, Katerina (Kapodistrias Universität Athen, Greece)

In Kafkas Beim Bau der chinesischen Mauer (1917) scheint die Einheit des Volkes, die Identität der Nation durch die Grenzen des Eigenen nur potentiell bedrohenden Barbaren bestätigt bzw. bestärkt zu werden. Doch sie wird nicht nur durch den unerklärlichen Teilbau, sondern auch von der Unmöglichkeit die Mauer zu vollenden als illusorisch entpuppt. Hinzu kommt, dass dieses unendliche Projekt des Mauerbaus, das die Labilität bzw. Variabilität der Grenzen nach Außen zu betonen scheint, im Text Kafkas mit der Schwierigkeit zusammenhängt, den entsprechenden Innenraum und dessen Zentrum zu eruieren. Um die vertrackte Beziehung zwischen Zentrum und Peripherie kreist auch Coetzees Waiting for the Barbarians (1980), ein Roman, der als eine Art Fortsetzung bzw. Variation des Erzählfragmentes Beim Bau der chinesischen Mauer gelesen werden kann. So finden hier zwar im Gegensatz zu den China-Fragmenten Begegnungen mit den Barbaren statt. Der Fremde entpuppt sich jedoch stets als ein deutungsbedürftiges, ja fast transzendentes Feld. Die Verworrenheit und die Fragmentierung des Bildes des Anderen korreliert dabei – wie auch bei Kafka – mit der Unmöglichkeit die eigene Welt zu deuten, was auch das Unverständnis der fremden Welt gegenüber radikalisiert. Dass die Barbaren bis zum Ende der Narration, die wie ein Bericht konzipiert ist – nicht kommen, lässt das Vorhaben der Hauptfigur die „Wahrheit“ zu sagen, ein Vorhaben, das der Magistrat mit dem Chronisten Kafkas teilt, als eine semiotische Geste erscheinen, die das Warten auf die Barbaren bzw. die Grenzen in ein polyvalentes Bedeutungsfeld verwandelt. Und gerade diesem Feld, das uns über Zentrum und Peripherie spekulieren lässt, ist der vorliegende Beitrag gewidmet.

7:00 PM - Imperial and Post-imperial References in Ingeborg Bachmann's Gender-Theatre of Todesarten Festic, Fatima (University of Amsterdam, Amsterdam, Netherlands)

The paper will discuss imperial and post-imperial references in Ingeborg Bachmann’s prose-cycle Todesarten (“Ways of Dying”) with the focus on the problem of the formation of the question of history and identity in it.

Since Bachmann uses two cognitive prisms – gender and theatricality – through which she activates her narrative text to pass into its social and historical ground, the paper will explore how that practice in Bachmann’s work elucidates that specific tangle of power-structure and production of knowledge. It will also emphasize the processing of axiological scales within the connection power- knowledge which could be one of the keys toward understanding the complexity of Bachmann’s work.

In an interview (1969 [1983]) Bachmann claimed that because Austria was an empire it’s possible to learn something from its history, and “because of the lack of activity into which one is forced there enormously sharpens one’s view of the big situation and of today’s empires.” It is from that legacy that Bachmann multiplies, historicizes and contemporizes contexts of her life-“Exile” into the writerly-readerly positioning and conceptual, sub-textual, inter-textual, inter-medial and physical nomadization of her memory and script (or also “creolization” of her constant Vienna) - as a politically informed account of an alternate subjectivity that she manages to affirm albeit through ambiguity, as a literary and theoretical avant-garde indeed.

The paper will argue that pervading evocations-reconstructions of the imperial references that Bachmann keeps complementing with the post-imperial references throughout the “Ways of Dying”,

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 inscribe her own version of a non-colonial po-i-et(h)ics, illuminative of the performative memorizing of some aspects of the monarchic along with other times.

16829 - Prismatic Translation Date: Monday, July 25th // Tuesday, July 26th Room: Hs 41 Chair: Park, Sowon; Walid Hamarneh; Stefan Willer; Robert Young; Eva Horn; Vladimir Biti; Robert Stockhammer

9:00 AM - Variorum Translations Reynolds, Matthew (OCCT - Oxford University, Oxford, United Kingdom)

There are various partial and competing theoretical paradigms for thinking about multiple translations. They can be seen in terms of ‘reception’, ie as manifestations of historical and cultural difference; as indexes of period or personal styles; as eruptions of the signifying potential of the source text. This paper will begin by reaching back to classic 1970s and 80s work on texts and interpretation by Fish and de Man to ground a more comprehensive theorisation in terms of an agonistic and yet generative relationship between the many and the one.

Variorum editions display a range of variants as evidence for the selection of a ‘best text’ while at the same time eroding confidence in that text by revealing the many different choices that have been made in the past. Each branch of the paradox is reliant on the other: the ‘best text’ conjures into being a crowd of less good readings that it is being preferred to; while the idea of the ‘variant’ assumes the existence of a unitary text that it varies from. In many respects, the same tensions are generated by multiple translations.

The paper will go on to ask how much this state of affairs owes to a particular set of institutional assumptions, the regime of standard languages and the technology of the book. Here, it will draw on Matthiessen’s 2013 argument about the relevance to translation of ‘agnation’, ie the shadowing of texts by innumerable possible alternative expressions. It will consider whether new ways of presenting prismatic translations, both in print and in electronic media, might move on from the example of the variorum so as to nourish new reading practices and point towards fresh ideas about textuality and meaning.

Other points of reference are likely to include multiple translations of Inferno 33 into English and of Jane Eyre into French and Italian; Peter Robinson Poetry and Translation; new media artworks by John Cayley; the 2015 Prismatic Translation conference at OCCT (Oxford).

9:30 AM - Translation through the Lens of Language Young, Robert (New York University, New York, USA)

While much attention has been directed towards the role of translation in its relation to the range of differences between source and target languages, comparatively little thought is given to its relation to the ways in which language itself is conceptualised in such transactions. In this paper I shall argue that it makes little sense to conceptualise translation without first asking ‘what is a language?’ Since this is quite possibly an unanswerable question, this in turn causes difficulties for any concept of translation. What becomes clear is that translation, in its modern understanding, is founded on a particular concept of language, which is rarely articulated and when it is, can be seen to be profoundly problematic from a conceptual and practical point of view. As a result, it might be said that far from mediating the differences between languages, it is translation that produces them 104

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Chair: Stefan Willer

10:00 AM - Ideographic Translation Park, Sowon (Oxford University, Oxford, United Kingdom)

Writing systems are typically accepted as transparent tools for transcribing spoken languages. This view is encouraged by phonetic alphabetic writing, which encodes the sound of speech. Yet the relations between writing and speech are complex. Speech is at times simply an intermediary between thought and writing; at times it is the immediate manifestation of thought from which writing derives; at others, speech and writing are quite separate. The relations between writing and speech are also as various as the different script systems. Translating literature written in one script system to another might be precisely where the variation would be most evident. Yet translation theories have been notably uninterested in how script shapes meaning, focusing almost entirely on the differences between spoken languages. This phonocentric approach to translation critically neglects the gap between speech and writing, as if speaking and writing are more or less approximate. By being unaware of the range of script systems and naturalising the specific convention that is phonetic writing, we limit our perspective to this one kind of written language – ‘speech for the eyes’ – instead of seeing the full spectrum. This paper examines writing from a more visually inclined prism and brings into focus ‘ideographic’ translation, which bypasses sound and operates directly from visual image to meaning.

11:00 AM - Translating Happiness Howell, Yvonne (University of Richmond, Richmond, USA)

It has long been noted that words for ‘happiness’ (Freude, Glücklichkeit, schastie, radost, bonheur, raha, etc. ) do not translate seamlessly across even closely related languages. The etymological roots of words that designate happiness – presumably a highly subjective state that is, nevertheless, a universal human capacity – point to intriguingly different cultural and philosophical notions of what ‘happiness’ entails. This paper will examine recent attempts to theorise cross-cultural notions of ‘happiness’ and look more closely at the words used to designate (and translate) the concept in several different literary traditions.

11:30 AM - Translation and the (Un-)making of Meaning Value Hamarneh, Walid (University of Richmond, Richmond, USA)

During the past two decades scholars have been engaged in studying the role of translation in the different and diverse processes that helped universalise the western ‘modern’ and its spread in different societies and cultures especially during the historical moments of colonialism and globalisation. These two historical moments, highly controversial and difficult to disengage temporally, have been moments of interaction and strife, contact and confrontation, encountering and countering, sharing and separation, or at least attempts at all that. The, by now accepted, central role that translation played in these complex processes has been difficult to theorise due to the different historical conditions and cases that were studied. Most theoretical pronouncements depended on particular cases or cases from contiguous areas.

The global circulation of signs and the ways their meaning values are made and unmade problematise further the issues of equivalence and reciprocity of meaning that have been central to theories of translation. This is especially the case when we are confronted with cases where reciprocity becomes a problem in trans-lingual and trans-cultural exchanges where predominantly unequal forms of global exchange characterise the material and intellectual conditions of that

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 exchange. Such en-counters become more interesting when they are performed with the pretext of ‘authenticity’ envisioned under these conditions of unequal exchange.

To examine some theoretical aspects of such processes, I have chosen two cases, one from Egypt (Mujstafa Lutfi al-Manfaluti 1876–1924) and one from China (Lin Shu 1852–1924). The two were contemporaries who had no or little command of any foreign language and were proponents of the resuscitation of classical modes of literary discourse. Yet both worked mostly in ‘translation’. They translated works from the western cannon, especially novels, and from languages they did not know. However, their ‘translations’ were very popular to the extent that they became a part of the canon in their respective cultures.

Chair: Robert Young

12:00 PM - Translation, Interpretation, Orientation Chaouli, Michel (Indiana University, Bloomington, USA)

‘“Interpretation”,’ Harold Bloom writes at one point, ‘once meant “translation,” and essentially still does’ (A Map of Misreading, 1980, 85). If his proposition has merit, then it encourages us to think of translation on a scale of complexity that we ordinarily reserve for the idea and practice of interpretation. But do we know how to think of interpretation? How might we conceive of this idea so that it is apt to enrich, rather than diminish, the notion of translation?

The most entrenched notion of interpretation, developed in ancient times as part of the practice of turning religious and legal codes into canonical texts, relies on a semantic model that is essentially substitutive: the interpretation comes to take the place of the religious or legal text. We often think of interpretation as being parasitic on the text to be interpreted, but in this classical model, the interpretation stands in for the law, in effect becoming the law. If we follow this model, translation will look like a process of substituting one set of words (in one language) for another set of words (in another).

Yet there are other models of interpretation that we might use as our point of departure. What if we thought of interpretation not as a way of substituting one set of meaningful signs for another, but as a mode of comportment? It would be a way of knowing what I must do in a certain situation (rather than figuring out what someone else is saying). Using Wittgenstein’s language (without taking on all of his philosophical baggage), we might say that interpretation would involve ‘knowing what to do next’, moving about a new world, learning to orient oneself in it. Depending on the signs I set out to interpret and depending on my mood, the ways I orient myself may be narrow or they may leave great latitude, but they would have to be understood as being constrained, for without constraints the notion of learning to orient oneself in a world would have little sense. In my talk, I hope to develop the idea of interpretation as a form of orientation and what promise it might hold for the notion of translation.

Chair: Eva Horn

2:00 PM - Language-stretching, parallel aesthetics and poetic equivalence:

Poetic idioms in a multilingual literary culture Orsini, Fransecsa (SOAS, University of London, London, United Kingdom)

One would expect that in a multilingual literary culture there would be a great many translations – isn’t that one way newness enters a literature? But my experience with early modern literary culture 106

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 in north India is that formal translations were, in fact, remarkably few. From what we can glean from the texts we have and the relatively few multilingual traces in the mostly monolingual archives, the multiple poetic tastes and idioms that existed and were cultivated did not travel through translation. How did they travel, then? Using examples from courtly and devotional Persian, Hindi, and Urdu texts, I will argue that either the differences between the poetic idioms were stressed and these were consciously cultivated in parallel from each other, or else it was poetic ideas, images, and expressions – rather than whole texts – which travelled from one language to the other. The result was either the setting up of poetic equivalences (X image in Persian is equivalent to Y image in Hindi), the conscious mixing of poetic images and key terms in a macheronic idiom, or language-stretching – the introduction of new words or ideas or stretching old ones to new meanings. Another outcome was that poets and audiences in the various languages became familiar with the different poetic idioms and repertoires even in the absence of formal translations and of widespread literacy, given the oral-performative contexts of much of this poetry. The Indian example, then, helps us think about the “carrying over” of poetic ideas and significant terms beyond formal translation.

And while modern language ideologies taught people to believe that “Persian and Urdu belong to Muslims” and “Hindi is the language of the Hindus”, not just pragmatic language use but also poetic tastes were and remained eclectic longer after those ideological pronouncements.

4:00 PM - From Space to Event: The Development of Yuri Lotman's Concept of Translation Norimatsu, Kyohei (University of Tokyo, Tokyo, Japan)

Yuri Lotman (1922–93), the leading scholar of Soviet semiotics, in his later years focused his attention on translation and dialogue between various semiotic systems. This enabled him to escape the limitation of static description inherent in a given sign system and to describe and clarify the dynamic process of production of new meanings. In this sense, his notion of translation was highly prismatic. At the same time, Lotman developed the concept of the ‘semiosphere’, which embraces various semiotic systems and functions as the basis for translation between them. This virtual space which precedes any semiotic systems and supplies the precondition for prismatic translation, is reminiscent of the imperial space that was the Soviet Union, uniting various nations and cultures. In the last few years of his life, however, Lotman moved away from this ‘imperial’ view of translation, reconceptualising it as ‘explosion’; he now described the production of new meanings through translation as an unpredictable event in time. Referring to other contemporary Russian cultural theories on translation and dialogue, this paper examines the shift in Lotman’s view and thus explores problematics of prismatic translation.

4:30 PM - What remains Untranslated in translatio imperii?Translation as Political Operation Biti, Vladimir (Institut für Slawistik, Wien, Austria)

As if by definition, translation lays claim to continuity, refusing to accept any substantial break between its states of departure and arrival. The latter declares fidelity to the former, suppressing the betrayal which is being committed. The same repudiation characterizes the operation of translatio imperii carried out along an irreversible historical axis, even if it transfigures political rather than linguistic states into one another. Inasmuch as the asymetry between the internal structures of these states underlies the same denial in both translatio and translation, the analogy between the suppressed political kernels of these two seemingly completely heterogeneous transitions appears to be illuminating. Although their states of departure and arrival are both discontinuous and dislocated with regard to one another, the successor erases this peculiar conjunctive disjuncture in order to ensure the sovereignty of both relates. Interpreting translatio(n) as the successor’s self-asserting reaction to the “spectral” address of the model, I, on the contrary, intend to question both the model’s and the successor’s sovereignty. The model, inasmuch as the successor’s unequal 107

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 constituencies experience it, turns out to be a conflict-ridden constellation rather than sovereign. However, if the successor’s constituencies cannot respond to the model’s uncertain address without competing with other internal constituencies, their sovereignty is equally questionable. It is precisely translatio(n) as a camouflaged self-establishment which the successor’s constituency needs to become sovereign. Translatio(n) is an eminently political operation because it only promotes the constituency that authors it to the status of agency, while relegating other constituencies to the status of its enablers. This constitutive bifurcation points to an apocryphal untranslated residue amid the publicly translated state, uncovering the possibility of different translatio(n)s.

Chair: Vladimir Biti

5:00 PM - Cultural Translation or the Political Logic of Prismatic Translation Habjan, Jernej (Research Centre of the Slovenian Academy of Sciences and Arts, Slovenia)

In political terms, the transition from translation as channelling of equivalences to translation as refraction of differences can be viewed as part of the shift from consensual translation to cultural translation. Arguing for consensual translation, J ü rgen Habermas speaks of a process of returning excluded individuals into the community by translating their pathological private languages into public communication. On the other side, Homi Bhabha ’ s and Judith Butler ’ s cultural translation is a process of universalising the very sphere of public communication by making it recognise its excluded other. Both Butler and Bhabha have convincingly criticised Habermas ’ s therapeutic essentialism, which shares much of its flaws with the channelising translation as compared to prismatic translation. Like channelising translation, Habermas ’ s universal pragmatics subsumes otherness under equivalence, and only Butler ’ s and Bhabha ’ s proposals of cultural translation grant otherness the status of difference. However, according to the Viennese collective eipcp, and notably Boris Buden, Butler ’ s and Bhabha ’ s models of translation are prone as much as Habermas ’ s to the post-political ideology of balancing the impossibilities instead of facing the impossibility of balancing. In my paper, I will focus on Butler ’ s proposal of cultural translation as an endless process of translating identities excluded from the legal notion of universality back into this notion, which is thereby itself retroactively universalised. I will argue that Butler ’ s proposal rests on a misreading of (Derrida ’ s misreading of) Austin ’ s speech act theory, and try to show how such a reification of performativity could be avoided in the shift from channelising translation to prismatic translation.

Date: Tuesday, July 26th

9:00 AM - Literary Dictionaries as Meta-poetical Projects Schmitz-Emans, Monika (Ruhr-Universität Bochum, Bochum, Germany)

According to the linguist Mario Wandruszka („Interlinguistik“), we are multilingual within the realms of our own language, using different languages corresponding to diverse practical contexts of living. Languages are no monosystems, and thus there is only a relative difference between the speaking of the different idioms any language is consisting of and real multilingualism. Moreover, we never master our native language perfectly; it remains, at least partially, a foreign language for us. - Examples of experimental poetic writing have been interpreted as intralingual translation projects ponting to the relativity of this difference and revealing strange and unexplored dimensions within the seemingly familiar everyday language. Especially with regard to the French poet Michel Leiris, but also to Edmond Jabès and Georges Perec, the writer and literary criticist Felix Philipp Ingold has stressed the significance of what he (also) calls intra-lingual translation as a basic poetical strategy. To his opinion, a closer and more systematical investigation on this topic would lead to important 108

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 discoveries concerning the theory of translation as well as of literature. Intralingual translation, to Ingold’s opinion, is dominating large, though peripherical areas of poetical art, including phenomena as anagrammatical texts, palindroms, phonetical readings, and other kinds of experiments based the language- and letter-“materials“.

In literature, the dictionary can be regarded as an important reflection model that points to a fundamental self-referential interest of literary writing in the nature and the potentials of language. It can firstly be modelled in its function as a device to foster communication and understanding, even with regard to the world of nonverbal things. But it can secondly also be viewed as a device of questionable value, as far as the ‚other’ in whatever respect is concerned. Literary dictionaries of invented languages are paradoxical object reflecting the borders of translation. Similarly, dictionaries containing unfamiliar words or proposing deviant explications stimulate reflection both about language itself and about the tension between the comprehensible and the incomprehensible.

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9:30 AM - The (Un-)translatability of 'Welt' Stockhammer, Robert (Ludwig Maximilians University Munich, Munich, Germany)

Paradoxically enough, there doesn’t exist a worldwide concept of world. Its translatability cannot even be guaranteed with respect to the three official languages of the ICLA conference in Vienna, 2016. Neither does the Vocabulaire européen des philosophies:Dictionnaire des intraduisibles contain an entry on monde, nor the Dictionary of Untranslatables: A Philosophical Lexicon an entry on world – both of them confine themselves on near-equivalent signifiers from other languages, olam (Hebrew), mir (Russian), and Welt (German). Leaving, with regard to my competences, Hebrew and Russian aside, even the equivalence of the English and German words, despite of their obvious etymological relation, cannot be taken for granted. It seems that the German signifier implies a philosophical dignity which is not always realised in the world wide web: ‘die Bezeichnung einer in sich sinnvoll gegliederten Ganzheit, einer intern strukturierten Vielfalt’ (to quote the Historisches Wörterbuch der Philosophie which heavily relies on the impressive entry on Welt in Grimm’s Deutsches Wörterbuch). German is a language especially presumed to make sense (see also Weltweisheit or Weltanschauung, composites without satisfactory equivalents in other languages – but there are similar, albeit less acknowledged problems if Weltliteratur is hastily translated as world literature). At the same time, however, the entries on Welt in Grimm’s Wörterbuch and in the Dictionnaire des intraduisibles make it plausible that the German word has, in its turn, developed its semantic abundance via the incorporation of related signifiers from other languages (Kant’s use of the German word, for example, is explicitly influenced by connotations of monde). In other words: At least some problems of (un-)translatability are produced, not so much by linguistic or cultural uniqueness (by the Greek or the German way of talking and thinking), but rather by prismatic refractions of earlier translations. Perhaps, Welt has been always already translated. My contribution will try to test this hypothesis, specifically via readings of the above mentioned dictionary entries as texts in their own right.

Chair: Robert Stockhammer

10:00 AM - Translation or Itinerary? Tracing the Path of Azerbaijani Literary Terms Geybullayeva, Rahilya (Baku Slavic University, Baku, Azerbaijan)

Words, like peoples, travel their own evolutionary path, which can be retraced in one way or another. Like families and tribes, the words crossbreed in fresh soil with other interpretations, acquiring new shades of meaning. These shades then spill out into new words which, at first glance, 109

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 have nothing in common with the previous meaning of their progenitor; for example, the lexical series – semeni-sema-semela-zemlya – where each word appears to be original.

Interpreting individual words in translation without any knowledge of their culturological context leads to contradictions. For example, how should we understand the ban on wine in the Holy Scriptures (sherab) and the praise of wine (sherab) in classical Islamic poetry of the same era? How did wine come to be divided into both drink and symbol in one and the same culture and historical period? Why do the Azerbaijani and Turkish languages have two words to mean the same drink wine (the semiotics of the word Russian vino [вино – wine] go back to the semiotics of the word of the same root vina [вина – sin]): sherab and chakhir, which are different from one another in terms of their lexical roots? Searches for an answer to these questions lead to the distant past (relatively) of the primary semiotics of sacred drinks, which through interpretation and translation enter different cultures in new semiotic dimensions.

In this work we suggest retracing the path of several literary terms of Azerbaijani and Turkish literature studies such as ədəbiyyat, tarikat, kitab, namə, xəmsə and also figures and images such as aşuq, ozan, Dədə, məcnun, saqi and şərab which are not mentioned (as well as other appropriate terms from other eastern cultures) in the Western textbooks and in Oxford Dictionary of Literary Terms by Chris Baldick. They are traditionally considered to have been borrowed from classical Islamic poetry in the Middle Ages by peoples newly converted to Islam. To restore their contemporary interpretation the medieval period is accepted as their point of origin. Although the question of the beginning of (primary) meaning, of the starting point or origin, is relative, like the beginning of national literature and culture of a nation or people. Parallels with, and divergences from, earlier cultures, cultures that are geographically close and not so close, can be found in these literary terms. They existed in the pre-Islamic period in other neighbouring cultures. Study of this path allows cultural matrix to be determined which reveal common names for different phenomena, different names for common phenomena or elements of so-called prismatic translation.

11:30 AM - The Hungarian Spectrum of Petronius' Satyricon Hajdu, Péter (Hungarian Academy of Sciences, Budapest, Hungary)

I would like to test the metaphor of translation as prism in the Hungarian translations of Petronius. It is always a challenge to translate Latin texts into non-Indo-European languages, which have completely different structure, and very probably different ideas about artistic merits of a text. The situation is especially delicate with Petronius for two reasons. On the one hand, the text does not everywhere fit in with the traditional standards of Latin, which is taught in schools and for which a canon of translation strategies have been developed. On the other, Petronius' work started being regarded as a novel in the 20th century, which solicited translators use free, creative strategies to apply the text to the expectations of novel readers. There are three Hungarian translation sf the work. István Székely (1910) and József Révay (1920) translated only the single long continuous fragment, Trimalchio's dinner, then István Károly Horváth (1963) all the available fragments. All the three translators can be regarded as professionals, since they translated a lot. Székely was a secondary school teacher, who translated several books from German and some from Latin. He produced the most innovative prose translation from Latin in his age. Interestingly enough he regarded the literary piece a xenophobic fable. Révay in that period of his life was a freelance translator and writer. He was not allowed to teach between 1920–45, so he translated from Latin, Greek, Italian and French, and wrote several informative books on ancient cultural history, but also a lot historical fiction. He rather standardised the Hungarian Petronius. Horváth was a university teacher and a talented scholar, who loved to do research in texts that he regarded as examples of

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 ancient popular realism. His Petronius is a realist writer. These three translations offer three rather different images of the Satyricon.

12:00 PM - 'Originalmäßig': Goethe/Retranslation/Diderot Willer, Stefan (Center for Literary and Cultural Research Berlin, Berlin, Germany)

Denis Diderot’s philosophical dialogue Le neveu de Rameau, written probably in the 1760s, remained unpublished until the beginning of the 19th century. In 1804, a handwritten copy was forwarded to Johann Wolfgang Goethe, who almost immediately started to translate the text. After this German version had been released in 1805, the French copy seems to have disappeared. However, some fifteen years later, in 1821, Le neveu de Rameau was published in the French edition of Diderot’s collected works – for which the editors, in lack of any copy of the original text, had tacitly re- translated Goethe’s German version. (It was only in 1890 that a copy from Diderot’s own hand was discovered.) In my talk I will reconstruct the story of this complex circulation of copies whithout originals. For this purpose, I will elaborate on Goethe’s own account of the matter, which he published in 1824. This essay comprises several (translated) documents of the case in question, e.g., a letter in which the French editor praises the fidelity of Goethe’s translation by means of which Diderot’s work could be restored ‘originalmäßig’ (= in the mode, shape, or measure of the original). This case story can be regarded as an inquiry into the predicament, but also the potential, of prismatic translation.

16832 - Speaking About Small Literatures in Their Own Language Date: Friday, July 22nd // Saturday, July 23rd // Monday, July 25th Room: Übungsraum Germanistik 3 Chair: Liina Lukas; Katre Talviste; Jeanne E. Glesener; Vanessa Matajc

9:00 AM - How to speak about Small Literatures? Preliminary Reflections on Terminology and Discourse Glesener, Jeanne E. (Université du Luxembourg, Esch-Belval, Luxemburg)

The issue of small literatures and their own language inevitably raises questions about metalanguage or/and terminology. Indeed, the very fact of referring to ‘small literatures’ (with an explanation of the term added in brackets) rather than using the canonized but highly inappropriate term of ‘minor literatures’ clearly shows that ‘speaking about small literatures’ also compels us to reflect on terminology. Just as the descriptive models and normative categories that are part and parcel of the literary scholar’s tool box mostly arise from the centres, so it is with terminology. Often, it too is just not quite right to describe or name phenomenon specific to small literatures. This terminological struggle is not restricted to scholarship alone but is also present in what I have called ‘the discourse on smallness’ as formulated and cultivated by small literatures, especially in the 19th and 20th century. Very much aware of their peripheral position and the circumstance of (what they perceived as) their ‘belatedness’ towards situations at the centre, their attempts at self-description are not exempt of terminological uncertainties and difficulties. This paper will present some preliminary reflections on the terminology related to small literature studies. It will put some general questions regarding the definition and description of small literatures before moving on to confront some of the more antagonistic terms available for their description (small versus minor; belatedness verses asynchronicity, etc.) and their implications. It will conclude by arguing that terminology is not only directly relevant as a descriptive tool, but that it is also a device to counter central visions dominant in some areas of general literary theory.

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9:30 PM - Contemporary Bilingual Literary Practice in Carinthia Leben, Andreas (Universität Graz, Graz, Austria)

The literary practice of Slovenes in Austrian Carinthia has undergone significant differentiations and expansions in light of the geopolitical agitations in Europe in the decades since the discontinuation of the literary journal mladje (1960-1991). At the same time, literature by Carinthian Slovenes has fully crossed over into bilingualism and worked its way into the center of German-speaking audiences’ attention – interacting more and more with authors who have a receptive, participative, or even production relationship with this literature. As such, in the space, surrounding a ‘small’ literature that can be defined as both the point of departure and the destination of a certain literary communication, there emerged a literary sphere of interaction, which appears tentatively indefinable according to language and topography. As conceptions assuming a regionally anchored minority-based literature appear to be inadequate to describe the associated processes of communication and interaction, the paper will present a concept that tries to expose an alternative model for the description of a multicultural literature sphere that is characterised by bilingualism and cultural transfer. The literature to be examined fulfils ideal requirements for a model study – focusing on its constitution, on its relations to central models and repertoires, and on the innovative potential of a ‘marginal’ literary sphere with regard to the need for the renewal of the involved cultural hubs. Since this concept encloses a reposition of literature by Carinthian Slovene authors within the literary systems, the centers and peripheries involved, there is also to address the question as to whether the shift to bilingual and trans-lingual literary production represents either an economic or an assimilation phenomenon to which minority-based practices and structures within the ethnic group may have a tense relationship.

Chair: Katre Talviste

10:00 AM - Ambedkar's Vision of Egalitarianism and Literature Jahan, Rahmat (Magadh University, Bodh Gaya, Gaya Bihar, India)

Ambedkar's Vision of Egalitarianism and Literature

With the continuance and perpetuation of out dated customs, traditions and the ever widening gap between our personal and social lives, we are witnessing the realization of the black prophecy of 1927 of Miss Katherine Mayo, an American journalist : "...if Indian self government were established tomorrow, and if wealth tomorrow rushed in succeeding poverty in the land, India, unless she reversed her own views as to her "untouchables" and as to her women, must still continue in the front line of the earth's illiterates."

(Katherine 1927:202) It is to be salvaged from this grim scenario that we seek shelter in Dr. Bhim Rao Ambedkar's ennobling theory of Egalitarianism. Dr. Ambedkar, India's greatest visionary, has wrongly been hailed as a leader only of the downtrodden. He was, in fact, an original thinker and was a rare embodiment of a historian, an economist, a revolutionary, a sociologist, an academician and above all the constitution maker. Ambedkar, the great visionary, was pledged to the emancipation of mankind from all kinds of exploitation as ordained by the egalitarian doctrines of Buddhism. His efforts, therefore, were not geared for the emancipation of the Dalits only, but of the entire human beings. It is rather unfair to compartmentalize him as a Dalit leader and utmost a 'constitution maker'. B.R. Ambedkar was the saviour who fought lifelong for the rights, liberties and equalities of the underdogs or 'dalits'. And ‘dalit’ represents the existential conditions of a group

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 subjected to subjugation, social, political, economic, cultural and religious. The present paper shall discuss in detail Ambedkar's contribution in the evolution of literatures of the 'marginalised'.

Dr. Rahmat Jahan

Professor, P.G. Deptt. of English

Magadh University, Bodh Gaya

Date: Saturday, July 23rd

2:00 PM - Le roman de fondation entre littérature politique et symbolique Le Baillif, Anne-Marie (Université Paris-Est Marne-la-Vallée, Marne-la-Vallée, France)

À la différence de pays comme l’Angleterre, la France ou l’Espagne pour lesquels la littérature accompagne l'évolution depuis le haut moyen-âge, la littérature estonienne se confond, jusqu'en 1920, avec la littérature du pays dont elle fait partie. Il n'est pas question pour autant de parler de littérature coloniale puisqu’elle n’a jamais été une « colonie » mais une province d'administration plus ou moins libre. Les écrivains qui sont les premiers à porter le qualificatif d'estoniens produisent une littérature originale et originelle. Dans le domaine de la culture, il s'agit de la recherche de différences propres à l'aire géographique qui peuvent constituer un socle commun et donner naissance à une culture spécifique.

Anton Hansen connut sous le pseudonyme de Tammsaare porte la primauté de la production littéraire estonienne. C’est à cet auteur que nous nous attacherons même s'il n’est pas le seul exemple de ce qui pourrait se désigner par « Roman de fondation »

C’est l’ensemble de la saga de Tammsaare qui « dit » la fondation de l’Estonie. J’emploie à dessein le terme juridique parce que c’est de cela qu’il s’agit. Le titre général a recours à cette voie : Vérité et Justice. Quels sont donc les éléments qui transforment cette saga, proche du roman d’apprentissage classique, en un texte à portée politique et fondatrice ?

Biographie

Anne-Marie Le Baillif a étudié à Rouen à Caen et à Paris, elle obtient son doctorat ès Lettres modernes à la Sorbonne en 1995. Elle a été en poste à Paris-Est Marne-la-Vallée de 2000 à 2010.

Actuellement elle s’interroge sur la concomitance entre l’émergence de démocraties européennes avec une littérature neuve les accompagnant : le « roman de fondation ».

2:30 PM - Mapping the world literary system and small literatures: the aspect of geo-politics and geo-political poetics Matajc, Vanesa (Dep. of Comparative Literature and Literary Theory, Faculty of Arts, University of Ljubljana, Ljubljana, Slovenia)

In Moretti's graphs, maps and trees which represent the model of the world literary system, the form acts as the central research category. However, the very practical result, such as monumental work The Novel (2007), reveals that small literatures can easily disappear from the world literary system: in this many-sided presentation of the novel genre, one could hardly find European novels written in the small-power languages, although they create divergences of the historical, social-critical and proletarian novel genres, including literary strategy of the historiographical metafiction too. In the second half of the 20th century, these divergences can be explained either as confirmations or subversions of the dominant poetics that were distributed by the geo-political centres during the 113

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 period of the Cold War. In this view, a number of European small literatures of this period perform the morphospace of the border, i.e. the collision of the geo-political poetics that significantly created the world literary system. This will be argued by the case of Slovene collections of novels that represent and confront three different images of the world novel. In short, small literatures can re- appear in mapping the world literary system by taking into account the divergences of form motivated by the geo-political aspects of morphospaces.

Chair: Jeanne E. Glesener

3:00 PM - Le théâtre luxembourgeois: spécificités et problématiques d'un petit genre De Toffoli, Ian (Université du Luxembourg, Institut de langue et de littératures luxembourgeoises, Esch-Belval, Luxemburg)

Il faut faire du théâtre là où on a quelque chose à dire, là où l’on a développé des relations avec les gens, c’est-à-dire, le plus souvent, là d’où l’on vient, avait l’habitude de répondre Frank Feitler, directeur du Grand Théâtre de Luxembourg de 2001 à 2015. Aussi exhortait-il les écrivains dramatiques luxembourgeois à écrire dans la langue « vernaculaire, maternelle ou territoriale » 1 , donc en luxembourgeois, au lieu de l’allemand ou du français, langues véhiculaires. Évidemment, le choix de la langue d’écriture, au théâtre luxembourgeois, qui ne connaît son véritable essor professionnel que depuis une quarantaine d’années, est loin d’être anodin. L’étude que nous proposons présenter au cours de la section de groupe « Speaking About Small Literatures in Their Own Language », voudrait donc analyser, dans un bref survol, l’évolution du théâtre luxembourgeois, de ses débuts populaires (le plus souvent en luxembourgeois), avec l’apparition d’une conscience nationale qui passe par la littérature, au théâtre contemporain (souvent plurilingue) qui se veut plutôt comme une critique des symboles d’identité culturelle et nationale, selon trois points de vue différents : linguistique (usage innovant de la langue vernaculaire et brassage des langues afin de créer des pièces spécifiquement luxembourgeoises), thématique (spécificités formelles et de contenu du drame luxembourgeois au sein d’une petite littérature) et pratique (difficile professionnalisation du théâtre sur la scène culturelle d’un petit pays). Bibliographie sélective 100 Jahre Theater in Luxemburg , Simon Baldauff-Beck et Marc Linster (éds.), collection « Amphitheater », 7/8 , Echternach, Phi, 1989. Dossier « Theater in Luxemburg », Forum , n° 260, octobre 2006. Roger Muller, « Von den Anfängen des lëtzebuergeschen Theaters », Galerie , 30 (2012) n° 3, p. 355. 1 Gilles Deleuze et Félix Guattari, Kafka. Pour une littérature mineure , Paris, Minuit, 1975.

4:00 PM - "Wer hierzulande schreibt, kennt sein Risiko" - Literatursoziologischer Blick auf das Luxemburger Literatursystem Gilbertz, Fabienne (University of Luxembourg, Esch-Belval, Luxemburg)

Das Luxemburger Literatursystem ist nicht nur durch Mehrsprachigkeit geprägt, sondern auch durch die oftmals ambivalente Spracheinstellung seiner Akteure. Während die Luxemburger Literaturproduktion in deutscher und französischer Sprache lange Zeit als sprachlich mangelhaft angesehen wurde, blieb das Luxemburgische als Literatursprache überwiegend auf die Genres der Kriegs- und Heimatliteratur beschränkt. Die damit verbundenen, von vielen Akteuren verinnerlichten und für ‚kleine‘ Literaturen gängigen Topoi der Provinzialität und Verspätung prägten die Selbstwahrnehmung mehrerer Generationen und werden insbesondere in literaturgeschichtlichen Darstellungen offenbar (Hoffmann 1989).

In meinem Vortrag, der Elemente meiner Dissertation aufnimmt, soll gezeigt werden, dass im Falle der Luxemburger Literatur ästhetische Fragestellungen nur im Zusammenhang mit einer Analyse der literatursoziologischen und soziolinguistischen Rahmenbedingungen diskutiert werden können. Mit 114

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Blick auf die sechziger und siebziger Jahre des 20. Jahrhunderts möchte ich beschreiben, wie insbesondere die fehlenden institutionellen Strukturen die Entwicklung eines autonomen und professionellen Literatursystems hemmten (vgl. Manderscheid 1977, Hausemer 1985, Rewenig 1985 u.a.). Die Theorie der Polysysteme (Even-Zohar 1990) scheint dafür ein interessantes Beschreibungsmodell zu liefern, da sie im Gegensatz zu anderen systemischen Konzepten (z.B. Casanova 1999) literarische Mehrsprachigkeit explizit berücksichtigt. Darüber hinaus kennt die Theorie verschiedene Gründe und Formen der literarischen Interdependenz und vermag somit, die Entwicklung des Luxemburger Literatursystems literaturgeschichtlich und -soziologisch zu kontextualisieren.

4:30 PM - Literature defined by language? Kõvamees, Anneli (Tallinn University, Tallinn, Estonia)

In the era of hyphenated identities where the relationship between foreign and own is shifting, the exact definition of national literature is also under question. In Estonia an interesting literary debate erupted in connection with the Estonian Russian writer Andrei Ivanov (born 1971) who turned out to be difficult to classify. Some of the questions that arose were: is Estonian literature a literature written in Estonian or is it a literature written in Estonia? Should Estonian literature be only in Estonian-language? Especially small nations like Estonians tend to define one’s identity according to the language spoken and ethnicity, not the citizenship. There are various significant shifts in Estonian literature. For example, in Estonian literary history one finds at the beginning of Estonian literature various Baltic German authors, J. Undusk has noted that “For a long time Estonian literature was part of Baltic German literature in Estonian” (J. Undusk, Eesti kirjanduse ajast, ruumist ja ülesandest XX sajandil. – Looming, No. 2, 1999, p. 251), but at one point Baltic German authors were excluded from Estonian literature or noted only in the remarks as peripheral phenomena. It is only recently that the inclusion of Baltic German literature into Estonian literature is taking place. The position of Estonian Russian literature has also shifted from rejection and periphery in the spotlight. The works by Andrei Ivanov have played an important role in that process. Taking the Estonian Russian-language literature as the basis, the paper deals with the questions of defining national literature; various smaller literatures inside small literatures; peripheral literature inside peripheral literature; and the aspect of language in these matters.

Chair: Vanessa Matajc

5:00 PM - Moving centres and peripheries in the lives and works of L. Welch and P. Joris Hansen-Pauly, Marie-Anne (University of Luxembourg, Mersch, Luxemburg)

Welch and Joris are originally from Luxembourg, a small country where participation in literary communities is linked to language choices (Luxemburgish, French, German) and a search for cultural models. For writers, this implies multiple, uncertain notions of centres and peripheries, as well as complex orientation questions. Above all, this situation opens up issues of centripetal and centrifugal forces constantly interacting.

Both Welch and Joris leave Luxembourg as young adults and while continuing their travelling they ‘settle’ in North America: Welch in Canada and Joris in the United States. For their writing, they choose English, a language which was not part of their original linguistic background. This paper aims at showing how, on the one hand, their work gives evidence of their attraction for the great languages of culture outside Luxembourg while, on the other hand, much of their writing deals with the literary concerns of cultural communities, usually perceived as peripheral. For Welch the focus

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 will be on her close links to the Canadian Maritimes whereas Joris’s ongoing interest in Arab literature in French offers further insights into his understanding of centre and border.

So where do they belong? How do they perceive themselves as writers? Who do they address? How and where will they be remembered, studied? Their viewson the position of the literature created outside the centres will be analyzed with some of the concepts or metaphors they have used themselves: e.g. migratory lives (Welch), nomadic literature (Joris).The rich output by the two writers is sufficiently diversified to allow links with current debates on transculturalism and multicentricity. Finally considerations on the reception of Joris’s and Welch’s work lead to an examination of new models of mapping literature, which take into account multiple locations and its dynamic and dialogic nature.

Date: Monday, July 25th

11:00 AM - Die Weltliteratur als Bestandteil kleiner Literatur Lukas, Liina (Universität Tartu, Tartu, Estonia)

Die kleine, dem „literarischen Meridian von Greenwich“ (Casanova) fern liegende Literatur kann „an der Existenz der Anderen nicht vorbeikommen“ (Masing). Sie konstruiert sich eine „Weltliteratur“, die sie als einen Teil ihrer eigenen literarischen Tradition betrachtet. So gewährleistet sie sich eine „Verdichtung der geistigen Atmosphäre“ (Oras), die nötig ist für ihre ästhetische Erneuerung. Nach einer essentialistischen Kulturauffassung könnte solch eine Art „kultureller Kreditnahme“ als Fremdeinfluss oder „Selbstkolonisierung“ erscheinen. Geht man hingegen von einem dynamischen Kulturbegriff aus, so „findet eine Kultur den sichersten Garant ihrer Lebenskraft im Dialog mit anderen Kulturen, ja mit der Weltliteratur im weitesten Sinne“ (Talvet).

Nachgegangen wird dem Begriff der Weltliteratur (als einer Konstruktion des (meta-)literarischen Kommunikatisonsprozesses) einer kleinen Literatur am Beispiel der estnischen Literatur - mit ihren knapp eine Million potentiellen Lesern eine der kleinsten unter den europäischen Literaturen. In ihrer Aneignung der Weltliteratur hat sie eine lange Tradition, die auf ihrem multilingualen Entstehungskontext gründet. Sie entwickelte sich im intensiven Kontakt mit anderen Sprachen. Sie entstand anderssprachig, so dass die Grenzziehung zwischen dem Eigenen und dem Fremden unmöglich wird. Interessanter als die Suche nach der Originalität, ist die Frage, weshalb zu dieser oder jener Zeit bestimmte kulturelle Elemente ausgewählt und neu zu einem funktionalen Ganzen zusammengesetzt worden sind.

Freilich darf man den kolonialen Charakter des historischen Modell der Kulturvermittlung zwischen den großen und den kleinen Kulturen in Europa nicht übersehen. Es gilt zu prüfen, ob es das „eingeübte“ (koloniale) historische Modell des interkulturellen Verhältnisses im Baltikum in der postkolonialen Ära ermöglichte, offene Kulturtransfermodelle aufzubauen. Der „Weltliteratur“ kommt eine Schlüsselrolle bei der Bildung der postkolonialen Identität zu.

11:30 AM - Small translations of a big text: fragmentary translations of Marcel Proust's "A la recherche du temps perdu" in Estonian Kütt, Madli (University of Tartu, Tartu, Estonia)

Marcel Proust’s A la recherche du temps perdu has been translated into Estonian only in small and very personally selected portions. These selections have been made by translators themselves, who have not been turned down by the length and the greatness of the job but have been inspired by their own necessity for one piece or another of this river novel. The fragmentary nature of these translations does not however have to be considered in negative terms for “missing out” but may 116

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 also be seen as an advantage for giving additional information about translators’ personal relationships with the text and with its fictional subject.

In my paper I would like to present a comparative study between translations of Proust's "Recherche" in Estonian to discuss the ways that translators deal with spatial expressions of the fictional subject, and how the translators’ aim to remain invisible or not meets with the Proustian dialectics of visibility and invisibility.

12:00 PM - 0 to 100 in less than 10 Years. A Story of a History of 20th-Century Literature Talviste, Katre (University of Tartu, Tartu, Estonia)

A small literature, such as the Estonian literature, often regards itself in a comparativist perspective, both in academic studies and literary pedagogy, looking for ways to become a part of a larger, inter- or transnational literary tradition and also to find its own specific identity within the larger tradition. Awareness of this constant contact with other cultures is perceptible in all literary practices, including teaching reading and literary history. Literary pedagogy, in turn, has to help readers acquire and handle this awareness, explain the difference, the parallels and the connexions between Estonian literature and others. The priorities in selecting the other literatures and the way of defining Estonian literature’s relations with them have varied over time, depending on both literary and extra-literary circumstances and agendas.

I will describe some aspects of Estonian teaching traditions: the representation of Estonian literature and other literatures in textbooks over the past hundred years, the recent changes in curriculum, and the challenges brought by the changing pedagogical and academic concepts. I will particularly focus on the pedagogical and historiographical issues encountered in the process of creating a high-school textbook on 20th-century literature (Tallinn: Avita, 2015) of which I am a co-author (with Janek Kraavi, Liina Lukas and Katrin Puik). The issues stem from three new tasks we had undertaken: 1) to offer a brief comprehensive history of the entire 20th century, a period which has only recently become available for such a synthetic consideration; 2) to describe literary processes without categorizing literature on national basis, while respecting the diversity of world literature and the need for a certain continuity in the teaching tradition; 3) to take advantage of the new, digital support for presenting literature as a part of wider cultural practices.

16881 - New Perspectives on the Paragone Date: Monday, July 25th // Tuesday, July 26th Room: Übungsraum Germanistik 2 Chair: Thoss, Jeff; Mathieson, Jolene

9:00 AM - Paragone as an analytical device Bruhn, Jørgen (Linnæus University, Complit, Växjö, Sweden)

The field of Interart and Intermedial studies has proposed a number of analytical tools that aim to describe the intermedial aspects of individual media products, for instance literary texts, as well as the constellations of historical forms. The historical idea of Paragone, in the beginning relating to the battle between arts in the early modern period, has most often been applied as a contextual support, a useful background that might help explain specific aspects of individual media products or the

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 relation between ore than one media product. In my paper I would like to modify this historisizing approach to a certain extent.

Initially, I briefly discuss some of the existing critical attempts of actualizing the concept of Paragone in recent years. This leads me to the main objective of my presentation which is to suggest that the Paragone might be transformed from a historical fact to a analytical category that might prove to be a productive part of intermedial literary analysis.

9:30 AM - Der Paragone in mediologischer und kultursoziologischer Perspektive Wolf, Norbert Christian (Uni Salzburg, Salzburg, Austria)

Die Debatten um den Paragone wurden als Phänomen des Wettstreits zwischen den Künsten lange ausschließlich auf symbolischer Ebene untersucht. Erst in den letzten Jahren hat man auch die soziale Ebene der Distinktionsbildungen als Motor künstlerischer Einsätze und Produktivität in den Blick genommen. Der Vortrag soll einschlägige Ansätze neuerer Theoriebildung präsentieren und anhand ausgewählter Beispiele aus der deutschsprachigen Literatur- und Kulturgeschichte kritisch mustern.

10:00 AM - Reflections on a myth - reading text and image in a new perspective Führer, Heidrun (Department of Arts and Cultural Sciences, Lund, Sweden)

Paragone is a well-known and often applied category to discuss the interrelationship of the Sister Arts.However, it does not seem to be a sufficient label to respond to the general questions raised about representation, mimesis and identity brought together in the postmodern intermedial writing of The Matisse Stories (1993), by A.S. Byatt, which was influenced by French avant-garde in literature and visual arts. Therefore, I propose the integration of the reader as a third part by drawing on the peritextual design as well as on circumtextual and intratextual frames. Such alternative allows me to anchor an emblematic tradition of perceiving the materialised form of the printed book that in postmodern rhetoric plays both with the interdependency of text-image and their contextual relationship along with the Sister Arts and their marginalised little brothers.

11:00 AM - "The physiology of the nervous system and the processes of the imagination": ekphrasis and artful language in William Carlos Williams' Spring and All Gander, Catherine (Queen's University Belfast, Belfast, United Kingdom)

Taking the visual literacy required by artworks as a point of intellectual departure, poet and physician William Carlos Williams presents his hybrid book Spring and All (1923) as an experiment in language; in the ways in which writing, like painting, should not be a method of mirroring the world, but rather of both (re)cognising and (re)creating it. This said, scholarly approaches to his ekphrastic poems have interpreted them as transcriptions of the visual artworks to which they respond, thereby participating in the separation of subjects that the discussion of ‘the verbal representation of visual representation’ implies. The poem I examine from Spring and All (later called ‘The Pot of Flowers’) is constructed visually, aurally and linguistically to evoke the receptive and creative processes generated by one’s encounter with an artwork (Charles Demuth’s ‘Tuberoses’). However, as Williams writes, ‘[t]he reason people marvel at works of art and say: How in Christ’s name did he do it? – is that they know nothing of the physiology of the nervous system and have never in their experience witnessed the larger processes of the imagination’ (123). For Williams, then, the cognitive and the creative are interdependently connected: a deeper understanding of the neuro-scientific bases of imaginative processes is needed in order to comprehend art’s emotive effect. This paper employs recent developments in areas of neurophysiology, aesthetics and cognitive poetics (apparently ‘conflicting’ fields in which Williams nonetheless had a strong working interest) to investigate whether ‘comparison’ (paragone) between the visual and the verbal in ekphrasis can be reconfigured as ‘correspondence’. This rooted in process – specifically, the embodied cognitive, perceptual 118

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 processes of reception of both painting and poem. Via this combinative approach I throw light on how we might read Williams’ poetry the way he intended: as ‘the force upon which science depends for its reality’.

11:30 AM - Sarah's Silence: The Paragone and Feminist Critique in John Fowles' The French Lieutenant's Woman Mathieson, Jolene (Universität Hamburg, Hamburg, Germany)

Although a fairly substantial theoretical literature on the subject of Fowles’ postmodern narrative techniques in The French Lieutenant’s Woman has sprung up in the last decades, scholars have ignored the paragonal relationship between his use of 19th-century English pictorial aesthetics and the act of narration; which is regrettable considering that via its metanarrative voice, TFLW directly engages and critiques the texts of Victorian aestheticians and artists, especially in regards to how they viewed the role of women in Victorian society. When read in the context of the paragone, TFLW reveals aspects of theme, especially concerning the relationship between verbal and visual representation, that have hitherto been overlooked. This paper examines the ways in which pictorial aesthetics is used to create the two protagonists, Charles and Sarah, and argues that its use can be understood as a type of performative paragone; that is, as a gendered struggle for dominance over identity. By subjecting the visual art symbol to the power of language, TFLW not only champions the act of narration, it foregrounds emplotment’s (in)ability to provide a viable voice to the historically silenced image. The envisioned goal to show how the paragone can be/is used as a feminist critical tool.

12:00 PM - Beyond Paragone: Artistic Collaboration in 'Girl with a Pearl Earring' Gil Curiel, German (UCC, Cork, Ireland)

Adaptations have been crucial to cinema from its inception. However, the focus was for a long time devoted to issues of fidelity and later medium-specificity—what we might call paragone debates of sorts—, and it is only relatively recently that the field has opened up to new approaches. Some of these, such as the search of the predominance of visual aspects beyond the literary, or the strategies adaptors follow to localise a story—film content—to make it relevant across cultures, or the concept of adaptation as a collaborative art, are among the most innovative. It is precisely these approaches that are the subject matter of my proposed paper. On the basis of a theoretical framework that sees adaptation as a collaborative process, which entails a dynamic interaction between the arts rather than their competition, my proposal seeks to investigate the role played by the various arts— literature, theatre, poetry, painting, music and cinema— in the film Girl with a Pearl Earring. Based on the homonymous novel written by Tracy Chevalier and published in 1999, Girl with a Pearl Earring was directed by Peter Webber in 2003, featuring an original music track. Ostensibly on the fictionalized history of the painting of the same name by Johannes Vermeer in 1665, Girl with a Pearl Earring involves the interweaving and harmonization of the contributions made by the various arts into a unified whole that I contend successfully demonstrates cooperation instead of competition, bringing earlier theorisations of the total art (by Wagner, and recently by Peter Greenaway) more relevant and fruitful for this kind of artistic and intermedial relation.

2:00 PM - Embracing the Rival? Intermediality as a Literary Posture in Austrian Pop Literature Degner, Uta (Uni Salzburg, Salzburg, Austria)

Mein Beitrag befragt die intermedialen Tendenzen in der österreichischen Pop-Literatur der späten 60er und frühen 70er Jahre vor dem Hintergrund der Paragone-Frage. Ich werde dabei die These vertreten, dass die in der Konkurrenz der Künste angelegte Agonalität innerliterarisch funktionalisiert wird.

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2:30 PM - Gegen die "digitale Sünde" - Literatur als Reflex auf den Medienumbruch zum digitalen Zeitalter am Beispiel des Romans "Die Meisen von UUsimaa singen nicht mehr" von Franz Friedrich Sommerfeld, Beate (Adam-Mickiewicz-Universität Posen, Poznan, Poland)

Dass Literatur die Entwicklung der Künste reflektierend begleitet und sich neuen Kunstformen gegenüber positioniert, sich von ihnen abgrenzt oder mit ihnen interferiert bzw. sich von ihnen affizieren lässt, ist ein Gemeinplatz der Komparatistik. Auch der Umbruch vom analogen zum digitalen Zeitalter wird in allen Künsten, auch in der Literatur, reflektiert, führt zu Umgruppierungen und Wertungsverschiebungen im System der Künste, Ein Beleg dafür ist der Roman "Die Meisen von UUsimaa" des Experimentalfilmers und Autors Franz Friedrich (2104). Stark polariserend bezieht der Roman zum Medienwandel Stellung und schlägt sich auf die Seite der Analogmedien Fotografie und Film, wobei er auf den Fotografie- und Filmdiskurs des 20. Jahrhnderts (von Bela Balazs, Walter Benjamin bis hin zu Roland Barthes und Georges Didi-Huberman) zurückgreift. Indem der Roman ein Gewebe aus photoästhetischen Topoi, Metaphern und Diskursen spinnt, modelliert er eine Ästhetik des Abdrucks und der Berührung, in der das Medium als Membran und Kontaktfläche gefasst wird, die die Subjekt-Objektgrenzen zum Vibrieren bringt. Diese auf dem "Analogiezauber" (Cassirer) der analogen Medien beruhenden Resonanzeffekte will Friedrich in die Literatur übertragen. Der Text entfaltet eine Poetik halluzinatorischer Bildlichkeit und Resonanzen, die sowohl auf Barthes' Modell des "vokalischen Schreibens" als auch auf das Konzept des Resonanzraums der Stimme rekurriert, wie es im Rahmen des Logozentrismus ins Feld geführt wird. Das Unbehagen an der Repräsentation, das aus Friedrichs Roman spricht, geht mit einer nostalgisch gefäärbten Sehnsucht nach dem Authentischen einher. Es ist die Frage zu stellen, wo die Grenzen einer unironischen Rede vom authentischen Abdruck liegen.

Date: Tuesday, July 26th

9:00 AM - Depicta poesis: intertextual links between Horace's Latin verses and the images of baroque Portuguese tiles Araújo, Filipa (University of Coimbra, Sebal, Portugal)

Many centuries after the composition of Horace’s literary monumentum, the humanist Otto van Veen published an emblem book entitled Q. Horatii Flacci emblemata (1607). The first version contained only Latin texts from classical authors with allegorical pictures, but in the third edition (1612) the Latin texts were accompanied by Dutch, French, Italian and Spanish quatrains, in order to illustrate the former compositions. The exquisite work reflected the collaboration of various artists (printers, commentators, engravers) and it certainly reached different audiences, according to its multiple languages and semiotic codes. The emblem book inspired by Latin poets circulated widely around Europe along the 18th century and it was repeatedly translated and adapted, benefiting from the extraordinary editorial success of emblematic models during Modern Although a Portuguese version of the Q. Horatii Flacci emblemata has never come into light, there is an unpublished translation, hold in a luxurious manuscript, decorated with golden watercolour paintings, which seems to have been produced as a speculum principis.Therefore, this study aims to disclose that unknown codex, analysing its relevance within the reception of Van Veen’s emblem book around Europe. In addition to this comparative process, the dialog between literature and the visual arts will be extended to the universe of Portuguese baroque tiles. Comparing the emblematic compositions drawn by van Veen with the motives hand-painted on a selected corpus of 18th century ceramic panels, thematic resemblances will be pointed out, in order to demonstrate the connection between verbal and visual languages.Following the comparative trends which emphasize the dialog between Literature and other arts, especially in what concerns text and image studies, this paper focuses on 120

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 the analysis of complex intertextual relations and proposes a travel across different cultural spheres, challenging the linguistic borders of the human communication.

9:30 AM - The Art of Instruction: 17th-Century History Painting and "Advice-to-a-Painter" Poems Thoss, Jeff (Freie Universität Berlin, Berlin, Germany)

This paper proposes to examine “advice-to-a-painter” poems – a peculiar phenomenon of 17th century English poetry – as a new stage in literature’s involvement in the paragone. While the visual arts were dominated by portraiture in 16th-century England, the 17th century brought an increasing range, visibility and connoisseurship to painting, thus renewing the field of debate. Of particular interest is the rise of history painting, which had not only been declared the most noble of genres by Alberti but also appeared as the most literary due to its focus on narrative. As such, it represented the greatest challenge to literature from the visual arts yet, inevitably provoking reactions on the part of poets. These most prominently came in the form of “advice-to-a-painter” poems. At first glance, the strategy pursued in these texts appears to be obvious: the poet gives instructions to a painter, charging himself with the intellectual work of the painting’s design and reducing the painter to a manual labourer, thus reproducing the hierarchy of the arts the Italian Renaissance had rebelled against. In addition, the poet clearly describes “unpaintable” paintings, ekphrastic fantasies which can only be created through words. Yet, in spite of their seemingly blunt and lopsided approach, these poems exploit the rivalry between the arts to create new forms of literature, revealing the paragone to be an open-ended dynamic process that continually unsettles hierarchies and triggers reflections about mediality and medial difference. I will support these points via an analysis of two examples, Edmund Waller’s “Instructions to a Painter” (1666) and Andrew Marvell’s “Last Instructions to a Painter” (1667).

10:00 AM - "O, Hogarth, had I thy Pencil!" Henry Fieldings literarische Karikaturen Faßhauer, Vera (Uni Frankfurt, Frankfurt am Main, Germany)

Im England der 1830er Jahre stellten der Schriftsteller Henry Fielding und der Maler William Hogarth die von den Klassizisten propagierte Vorbildfunktion der Antike für die moderne Kunst grundsätzlich in Frage: Statt der idealisierenden Darstellung des Schönen wandten sie sich in kritischer Auseinandersetzung mit den Sitten der modernen Welt der Nachahmung des Hässlichen und Lächerlichen zu. Wenngleich die Werke beider, zumal nach damaligen Maßstäben, zahlreiche burleske und karikierende Elemente aufwiesen, verwiesen sie auf den moraldidaktischen Nutzen ihrer Schilderungen, um die Assoziation mit den niederen Gattungen zu unterbinden. Stattdessen platzierten sie ihre Werke gattungshierarchisch zwischen dem Erhabenen und dem Grotesken; die darin vorkommenden Figuren stellten sie in die Tradition der Charaktere Theophrasts.

In ihrem gemeinsamen Anliegen, dem Hässlich-Komischen in der Welt der Kunst zu höherem Ansehen zu verhelfen, treten der Schriftsteller und der Maler in einen spielerischen Wettstreit mit der natura naturans, deren Schöpfungen es auch im Bereich des Hässlichen getreu nachzuahmen und zu übertreffen gelte. Die Zuständigkeitsbereiche beider Künste vorgeblich klar voneinander trennend, sieht Fielding sich bei der Schilderung des moralisch Hässlichen gegenüber Hogarth im Vorteil: Der Maler, dem ausschließlich visuelle Mittel zur Verfügung stünden, sei weit eher der Gefahr des Karikierens ausgesetzt als der Schriftsteller, dem das flexiblere Medium Sprache ein breiteres Spektrum an erzählenden, beschreibenden und andeutenden Darstellungsmitteln zur moralischen Schilderung eröffne. Scheinbar die Unterlegenheit der Literatur bei physischen Schilderungen anerkennend, verzichtet Fielding umgekehrt gelegentlich auf eigene Figurenbeschreibungen und verweist stattdessen auf Hogarths Bilder. Bei genauerem Hinsehen zeigt sich jedoch, dass beide Künstler sich einer strikten Trennung der Zuständigkeitsbereiche ebenso wenig verpflichtet fühlen wie dem Gebot der getreuen Naturnachahmung: Greifen Hogarths 121

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Bildserien, in denen ausschließlich typenhafte Verkörperungen von Tugenden und Lastern agieren, prozessuale Erzählstrategien der Literatur auf, so schrecken Fieldings Romane keineswegs vor teilweise grotesken physischen Karikierungen zurück. In spielerischer Inversion des Urbild-Abbild- Verhältnisses belegt er dabei die „vollkommene Naturtreue“ seiner eigenen Figurenschilderungen durch Vergleiche mit ebenso „wahrheitsgetreuen“ hogarthischen Zeichnungen.

11:00 AM - An Anthropologist's Paragonal Project: Cultural and Artistic Alterity in the Poetic and Critical Writing of Edward Sapir Reichel, A. Elisabeth (University of Basel, Department of English, Basel, Switzerland)

This paper investigates the political and ethical ramifications of the rivalry between literary writing and music in the ethnomusicological project of Edward Sapir (1884-1939). Sapir, a student of Franz Boas and the mentor of Benjamin Lee Whorf, played a central role in the formation of cultural anthropology and the early development of linguistic anthropology. What is far less known is that he is also the author of over five hundred poems and numerous studies of music and literature, many of which were published in renowned little magazines of the time. It is this largely unexplored corpus of poems and criticism that forms the basis of the present paper. Starting from a conception of music as sound structured according to a set of historically contingent, socially and culturally constructed rules, the paper probes Sapir's treatment of different musical conventions and genres: first, what was then considered 'primitive music' and, second, European classical music. The close analysis of the poems "The Clog-Dancer" (1919) and "To Debussy: 'La Cathédrale Engloutie' " (1917) together with the essays "Percy Grainger and Primitive Music" (1916) and "The Musical Foundations of Verse" (1921) shows that the rivalry between music and literature in Sapir's writing is inflected by the ideological associations with which these specific categories of music are fraught. That is, while 'western' classical music is conceived as a fully developed system of codes, 'primitive' music is denied the same sophistication, being placed in an earlier stage of artistic development and serving as an adjunct to literary writing at best. While "The Clog-Dancer"'s ekphrasis is thus an appropriation of a 'primitive' musical Other, the poem "To Debussy" does not represent an object at a distance but imitates music in such a way as to render the artistic alter part of the persona's I- here-now.

11:30 AM - New Perspectives on the Paragone - A Case Study of Jiang Zhaohe's (1904-1986) Figure Painting Chen, Joan (School of Art, Central China Normal University, Wuhan, China)

Jiang Zhaohe left inscriptions in large amounts of his ink-wash figure paintings, either in the form of poems or short essays. Among the richness of inscriptions in the history of Chinese ink-wash paintings, Jiang’s texts are different, or modernized. The words are uttered no longer by the author but by the figure in the painting. The text in the painting titled Selling Her Son (Picture 1) reads, “My dear you were born like a phoenix, but it is hard to cherish you during the famine year.You must take more care of yourself after leaving, never take for granted that Mum would be by your side anymore.” In this case his painting looks like one ceased scene from a drama, not merely a combination of an image and a diary-like note of the painter, as the traditional Chinese paintings normally do. It is safe to point out the possibility of this style of using texts being influenced by other genres of art, such as woodblock-printed illustrations and western caricatures, though we may not able to know the details. However, the life-size figures in Jiang’s paintings hold so powerful expressions that the audience will be impressed without even reading the texts. One of the

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 interesting sequence of the verbal-visual relation in this case is that the rivalry of the words and image is hard to negotiate. With the first person in the inscription refers to the figure instead of the author, the painting becomes an illustration to the written text as well as a note to the image, while the emptiness of the background offers enough space and traditional similarity for the audience to switch from the visual grammar to the verbal ones which otherwise would be impossible to reach.

12:00 PM - Parergon and Paragone Nagy, Fruzsina (University of Szeged, Szeged, Hungary)

The following presentation is aiming to denote the borders arising between fine arts and literature and investigates the consequences of breaching, transgressing these borders. We take a look at the borders and frames which not only protect but also reveal, or get into conflict with each other by getting in touch with the works of art they enframe. The presentation sets out from a special case of framing, the phenomenon of parergon. First, it takes into account the most decisive milestones of the history of the notion and its various meanings in antique literature, then its rediscovery by Kant in painting and sculpture, and finally by placing it in the language philosophy discourse with the help of Derrida's writing. From the rivalry of these forms of art from antiquity till the present day newer and newer chances of interpreting the parergon appear and they gain importance or disappear for good. Fitting into the line of meanings of interpreting the parergon and by distancing itself from those, this presentation seeks to offer a new chance of interpretation upon re-reading the notion. We examine the parergon (which we can also identify as a basic by-product of the paragone) through the motif and/or phenomenon of the 'cloud ' which we approach through a biblical (literary), a romantic (painting) and a modern (photographic) example, trying to broaden its horizon of interpretation by new applications. The extended applicability may raise the question of redefining the notions and through this the presentation wishes to join the goals of the panel entitled New Perspectives on the Paragone.

2:00 PM - Invisible Texts Isherwood, Tim (University of Salford, Salford, United Kingdom)

Typefaces have a unique set of characteristics that define context. These definitions are subtle but create myriad contrasting outcomes, affecting how a reader appreciates a text. This consideration presents a strategy employed by typeface and graphic designers alike, in demonstrating the conventional superiority of texts through appropriate selection and use, presenting the reader with the most compatible version of the text. This paper documents collaborative work by the author and visual text poet Judy Kendall, both contributing a discourse on the creation and visualization of text, considering the visibility of language and the impact typeface creation has on the written word. The author will outline his approach to creating a specific typographic treatment that uses GPS technology as a drawing tool to make large scale physical letterforms across an urban environment, creating performative responses to the text. The paper will examine the semantics of the works production, whilst considering Debord’s Situationist and Le Maitre’s Lettrist concepts of psychogeography and hypergraphy, which regard the synthesis of writing with other modalities. This paper will question the superiority of text within visual communication, typography as visual artefact, and the interface between these two aspects.

2:30 PM - Effects on Text of the Foregrounding and Foreignisation of Typeface Kendall, Judy (University of Salford UK, Salford, United Kingdom)

Effects on Text of the Foregrounding and Foreignisation of Typeface by Dr Judy Kendall, University of Salford

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The extent to which written text relies upon the expressive medium of typeface for its communication and effect is often unacknowledged. Typeface translates text for the reader not just in terms of conveying semantic meaning but in terms of atmospheric, emotional, and rhythmic effects and affects, which, of course, also have a bearing on meaning. Conventionally, as in this abstract, type designers and typesetters work to ensure that the features of the typeface selected and the ways in which it is set out on the page contribute to ensure its persisting invisibility: it remains a transparent purveyor of the text that it contains. Such transparency, as Lawrence Venuti has shown in the field of translation, domesticates the text for readers. In other words, the extraordinary care that is often taken not to draw attention to the typeface in which the text has been set means readers remain affected by but unaware of its atmospheric, emotional, and semantic qualities. Conversely, foreignisation of the text by means of alteration of typeface shape, size, spacing, use and conventions, makes the readers aware not only of what that typeface is but of what it is not. When such foreignisation takes place, interesting changes occur to the reader's perception of both text and tyepface. At the extreme end of the continuum, the text becomes more seen than read, transformed into a visual artefact of type. Drawing on the work of typographic designer and creative writer Sam Winston, whose creative visual and textual manipulations of sculpture, drawings and books directly questions conventional understanding of words as carriers of messages and information, this paper will seek to define the tipping point beyond which written text is transformed into a visual artefact of type, and to analyse the effects on both reader and text when that point is reached and then breached.

Note: while this article could stand alone, it is designed to work best as a prequel to Tim Isherwood's paper on t ypography and text, also submitted to your strand.

16929 - Languages of the Imaginary: interdisciplinary reflections Date: Friday, July 22nd // Saturday, July 23rd Room: Hs 23 Chair: Valenzuela, Sandra Trabucco; Baseio, Maria Auxiliadora ; Cunha, Maria Zilda

11:00 AM - Littérature et Sculputure dans la Poésie Brésilienne Contemporaine Berwanger da Silva, Maria Luiza (UFRGS ; UNILASALLE, Porto Alegre, Brazil)

Tout en partant de la configuration de l’imaginaire comme « compréhension » et « transformation » de la relation dialogique établie entre des champs symboliques et non symboliques mis en intersection, cette communication se proposera à mettre en évidence l’efficacité de ces relations interdisciplinaires, examinant la Poésie Brésilienne Contemporaine produite sous l’égide des rapports Littérature/Sculputure. Pour ce faire, cette communication fixera comme échantillon exemplaire l’œuvre Bernini (2014) du poète Horácio Costa approchée à celle du sculpteur Bernini sinthétisée par Mémoire sur mon séjour à Paris (2015). Cette communication présuppose que l’appartenance de ces œuvres à des genres distincts constitue un lieu fertile pour l’émergence de relations intertextuelles, interartistiques et interculturelles, configurées comme représentations privilégiées du rôle joué par l’imaginaire. Dans ce sens, si comme « compréhension », cet imaginaire démarque la singularité de chaque champs à faire dialoguer, comme « transformation » il produit des entrecroisements qui favorisent l’innovation réciproque, et, en même temps, la création d’un espace intervallaire qui en découle. Ainsi donc, cette communication examinera tout autant la cartographie de ces innovations que celle de ce territoire nouveau auquel les langues de l’imaginaire perçues dans leur pluralité permettent d’aboutir.

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11:30 AM - I TELL, THEREFORE I KNOW: NARRATIVE AS A LEARNING MODEL Carelli, Fabiana (University of Sao Paulo, Sao Paulo, Brazil)

Since Mankind has learned to communicate through multiple languages, Man tells stories. Over thousands of years, narratives were assumed to have been playing multiple roles and were praised as a model for the personality development (Freud 2010); as an experience sharing model (Benjamin 2011); as models for the constitution of societies and cultural and political sharing (Eliade 2013; Vernant 2006); as one among the human rights, the right to fabulation and idealization and realization of utopias (Candido 2012). In the last fifteen years, the raise of the so-called Narrative Medicine in healthcare environments has sought to demonstrate that narrative models, once considered only by literary and artistic studies, in fact extrapolate the universe of literature and art and constitute an ontology, a form of knowledge and action upon reality (Greenhalgh, Hurwitz 1998; Carelli, Pompilio 2013; Carelli et alii 2013; Carelli, Marques 2014). In the wake of thinking literary models intertwined with other areas of knowledge, this paper seek to introductorily demonstrate that the development of narrative skills seems also to be the basis for the improvement of learning in children, through the contrast of literary concepts with some XX and XXI Centuries theories of cognitive development (Piaget 2013; Vygotsky 2012; Freire 2013; Siemens 2006; Kapp 2012). From a concrete experience with new technologies in the classroom (a system based on the development of teaching materials for tablets, tested in a pilot project at a Brazilian public school), we aim to show how narrative models can revolutionize the design of teaching methods for formal education and be thought as an effective model for learning.

12:00 PM - Of Paint and Pen: Tim Rollins + K.O.S. and the (Dismantled) Literary Text Haller, Jennifer (The Graduate Center, CUNY, New York, USA)

Tim Rollins and K.O.S. have garnered praise for their intertextual dialogue between painting and the written page. In using pages from canonical literary texts by Melville, Kafka, et al. to the inclusion of musical scores, the artists use the texts for a dual purpose: as both subject and base for their visual art. Since the 1980s, the artists have been engaged in a decades-long conversation with the visual and the literary and the authority of the canon. This paper seeks to continue this dialogue, parsing the relationship between text and image, as well as the use of text as image (sign). Further, this paper seeks to examine the complicated relationship between literary text and (artistic) image: what happens when the visual image threatens to undermine textual authority? With these considerations, this paper will argue that the intentional subversion and (literal) deconstruction of the literary text, provides a space in which the socio-political issues come to the fore.

2:00 PM - Die Stimme der Verführung: "Die Sirene" (1980) von Dieter Wellershoff Carrington, Maria Cristina (University of Aveiro, Aveiro, Portugal)

Der berühmte Mythos von Odysseus und den Sirenen wurde mehrmals in der deutschsprachigen Literatur behandelt und von Autoren wie Rilke, Kafka, Brecht, Ingeborg Bachmann u.a. neu bearbeitet. Dieter Wellershoff kehrt in seiner Novelle 'Die Sirene' (1980) zu diesem Thema zurück.

Der Autor war einer der Vorreiter des ’Neuen Realismus’, einer Strömung der 70er Jahre, die die unversöhnliche Realität des Alltags darstellt, um so das ritualisierte Verhalten des Kleinbürgertums, die neurotische Routine der Häuslichkeit, der Familie und des Berufs aufzudecken.

Die Novelle von Wellershoff erzählt eine ‘unerhörte sich ereignete Begebenheit’, die Verführung des Pädagogik- Professors Elsheimer durch eine ihm unbekannte weibliche Stimme am Telefon. Die anfängliche Verführung wandelt sich zu einem Kampf, in dem zwei Welten einander gegenüberstehen: die bürgerliche Existenz eines Mannes und das verborgene Leben einer Frau, die etwas ganz Anderes repräsentiert – Wunschtraum, Gefahr und Utopie zugleich. 125

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Nicht nur der intertextuelle Spiel mit dem Sirenen-Mythos, sondern auch die Spannung zwischen Stille und (imaginäre) Kommunikation wird sich als Angelpunkt des vorliegenden Beitrags konstituieren.

2:30 PM - Textual Reality to Virtual Reality: Cultural Politics and Representation of Humiliation, Caste and Social Justice in Amarchitrakatha, Bhimayana and Gardener Ingole, Prashant (Indian Institute of Technology, Gandhinagar, Ahmadabad, India)

The paper focuses on the contemporary graphic narratives and rise of the dalit literature which centers the discourse of humiliation, caste, social justice and biographical illustration of the emancipatory personalities; specifically from Jotirao Phule To Ambedkar. The paper forms the basis through comparative and cultural studies perspective to study the representation in art language and to understand the reconstruction of the story of Phule and Ambedkar as emancipatory figure and icons for Dalit, voice of social justice and equality. In recent years thrust to understand or interpret Phule and Ambedkar has grown up. Because of the multiplicity of the reasons such as politics of exclusion and inclusion, politics of vote bank, politics of co-option and so forth. This is happening through various modes of representation. Therefore, this paper aims to illustrate how Phule and Ambedkar are represented to attract and to exclude their journey against caste consciousness and against traditional religious beliefs? How politics of representation makes difference in visual and verbal genres? Moreover, paper argues taking clue from Gopal Guru that, bringing Phule and Dr. Ambedkar into elite (mainstream) public sphere caste and their fight against caste eradication can be understood, but hatred against them or hatred against Dalit community will be rare help to improve pre-conceived notion of brahmanical forces. In addition it also deals to bring out the underlying ideological problems of representation in Indian literature. Moreover, focusing on Amarchitrakatha series portrays Ambedkar in very idiosyncratic way with its effect of the 'defined' culture. However, Bhimayana and Gardener graphs Phule and Ambedkar against Amarchitrakatha's cultural politics of representation. Brings everyday suffering of Caste and the fight for social justice with the aesthetical effect of Adivasi Gond Pradhan art form and Popular imagination. Notwithstanding, the illustration of these texts based on Phules and Ambedkar's writing which differs in illustration.

3:00 PM - Once upon a time and so many other times: Hansel and Gretel, from the craft to the audiovisual narrative Valenzuela, Sandra Trabucco (Universidade Anhembi Morumbi, São Paulo, Brazil); Cunha, Maria Zilda (Universidade de São Paulo, São Paulo, Brazil); Baseio, Maria Auxiliadora (Universidade Santo Amaro, São Paulo, Brazil) Fairy tales constitute a huge imaginary heritage that keeps stories, which origins bring us the time when time could not be counted. These anonymous narratives that circulated orally, from generation to generation, have changed along the time in different cultures and societies. This "mouvance" process (ZUMTHOR, 1993), articulated in mnemonic networks, enables the creation of intervocalization and intertextuality connections, which achievement is rended in different semiotic systems, in a circular movement that allows exchanges, transformations and disruption. In these dynamics, some invariant elements remain and enable us to recognize narratives, without considering time, place and new artistic systems where they are inserted. Reinvented in different codes, languages and supports, in these creative translations (PLAZA, 2003), when there are new elements, those narratives — marked by vocal gesture — are covered in each context of production and reception. And so, they indicate different ways to represent their passions, aspirations and ideas. In this work, from the perspective of semiotic studies and comparative literature, we will analyze one of those tales that enchants children and adults — Hansel and Gretel — by Brothers Grimm, collected from oral tradition. It will be compared with the audiovisual version of TV series Once upon a Time, first season, episode nine, entitled "True North". The perspective here adopted is far away from the

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 notion of allegiance, or sources and influences of one version over the other; differently, the study is based on intersemiotic dialogue, interartistic and intercultural perspective. The proposal is to analyze the audiovisual narrative in its dialogue with the narrative craft, peering into the transition of this narrative by brackets, codes and languages, in order to reflect on its rereading in the contemporary era.

4:00 PM - Temporality and finitude: the Wolf in João Guimarães Rosa and José Roberto ToreroŽs fiction Prando, Fabiana (Universidade de São Paulo, São Paulo, Brazil)

The wolf, as a symbolic vector, is a highly complex image because it keeps positive and negative polarities. Symbols are essentially pluridimensional and express relationships and not a conceptual logic. The symbol permits a relationship of complementarity and it is susceptible to an infinite number of dimensions. To the Western imagination, the wolf is the wildest animal of all. According to Durand, the Big Bad Wolf, in a more advanced thought, is close to the Gods of Death and to underground forces. In the Egyptian pantheon, Anubis, the great psicopompo God is the one that has the shape of a wild dog and it is worshipped as the God of the Hell. The dogs equally symbolize Hecate, the dark moon and the waning moon - sometimes represented by Cerbero under a three-headed-dog. Time disguised in a wolf fur, the terrible eater that reveals the anguish before the becoming future is the conductor of our investigation about the relationship between the books Fita verde no cabelo , by João Guimarães Rosa and Chapeuzinho Preto , by José Roberto Torero. We will observe how the anguishing attitude of the human being facing death and time will be revealed in their fictions. Fita verde has faced death visiting her grandmother and became aware of the wolf that peeps all of us. Chapeuzinho Preto saw in the mirror a woman instead of a girl. She realized that time has passed and the death will come someday… The consciousness of their own finiteness is the blessing of the encounter with the wolf. Benedito Nunes, Paul Ricoeur, Heidegger and Durand will give the theoretical background to our research.

4:30 PM - La lumière dans les romans arthuriens et le Livre des rois de Ferdowsi Ringgenberg, Patrick (Universite de Lausanne, Arzier, Switzerland); Abai, Andia (Shahid Beheshti University Tehran, Arzier, Switzerland) L’étude comparée des textes épiques de l’Occident et de l’Iran médiévaux demeure embryonnaire, alors même qu’une communauté de thèmes et de procédés, souvent d’origine indo-européenne, offre matière à d’intéressants rapprochements et d’utiles confrontations. Cette étude propose une approche croisée de l’emploi littéraire, esthétique et symbolique de la lumière dans les romans chevaleresques du Moyen Âge occidental (romans arthuriens du XIIe-XIIIe siècle) et dans l’épopée iranienne du Livre des rois de Ferdowsi (début du XIe siècle). Lumière clarté, brillance, rayonnement : cette étude aimerait évoquer la manière dont ces motifs se déclinent dans des registres sacrés, royaux et chevaleresques, et comment le recours à des métaphores de lumière, dans le discours de textes situés dans des espaces culturels éloignés (Occident chrétien et Iran islamique), débouche sur des fonctions narratives et symboliques somme toute analogues, mettant en évidence une universalité de la lumière comme motif et la parenté culturelle des textes épiques.

Date: Saturday, July 23rd

11:00 AM - THE PAULO AFONSO FALLS BY CASTRO ALVES (1876): INTERWEAVING POETRY AND SOCIAL IMAGINARIES Gobbi Alves Araujo, Giovanna (University of Sao Paulo, Sao Paulo, Brazil)

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The aim of this paper is to examine visualizing rhetorical techniques in the poem The Paulo Afonso Falls by Castro Alves (1847-1871) in association with the pictorial construct of the waterfalls in the Brazilian social imaginaries of the nineteenth century. Enargeia is the visualizing effect achieved in discourse through the use of rhetorical devices that enable the speaker to create “imaginary scenes” conveying immediacy and concreteness to the narrated event. The intended effect is to present a scene as if it were happening before the eyes of the audience so as to stimulate pathos both in the poet and in the listeners. In The Paulo Afonso Falls , the metaphoric configuration of the natural setting stages the tragic drama of slavery with graphic vividness in addition to the sublime. The water element plays a prominent role, since it is structurally articulated with the development of the narrative as well as the main characters’ fate. It reflects central concepts to the plot (purity, dishonor and resistance), embodying the essence of lively metaphorical expression. We propose that the enargetic manifestation of violence and opression – represented by the ekphrasis of ‘Laokoon and his sons’ – works as a persuasive feature in the poetic reflection on slave freedom. Given the pictorial aspect of the waterfalls in the poem and the intricate relations between poetry and visual arts, this analysis will also benefit from a commentary on the centrality of the Paulo Afonso Falls in the Brazilian visual culture of the nineteenth century. Its most iconic image, by Auguste Stahl (1860), which depicted a Black man against the turbulent torrent, became a visual paradigm, and along with travel narratives, generated social imaginaries on collective representation and power relations. The poem by Castro Alves inserts itself in this narrative and pictorial tradition, presenting the Paulo Afonso Falls as a metaphor for slave freedom and a national icon related to social liberation.

11:30 AM - Unveiling the Sorceress: Word and Image Encounters in the Works of Three South American Women Poets Puppo, María (Universidad Católica Argentina / CONICET, Buenos Aires, Argentina)

Since its XIXth century origins, Comparative Literature has traced the thematic and formal links between literature and painting, whereas for the last decades, Visual Studies have emphasized the historicity of the act of seeing and the social circulation of images. In continuity with both approaches, today we mainly focus on the tension and complexity implied in interartistic relations (Monegal 2003, Nancy 2005).

In this paper we propose to examine how the visual and the verbal intertwine in some works by Amanda Berenguer (1921-2009), Marosa di Giorgio (1932-2004) and Alejandra Pizarnik (1936-1972), three leading female voices in Twentieth Century Uruguayan and Argentinean Poetry. In order to unveil the role played by visual imaginaries in the composition of some of their poems, we shall distinguish and analyze several poetic procedures that include the avant-garde techniques of assemblage and collage, the strategic use of framing and perspective, the deliberate transformation or obliteration of iconographic sources and the fusion of words and images in kinetic poetry.

12:00 PM - Storytelling in Advertising: "The last wishes of Volkswagen van" Valenzuela, Sandra Trabucco (Universidade Anhembi Morumbi, São Paulo, Brazil); Bonaldo, Luciane Ferreira (Universidade Nova de Lisboa, São Paulo, Brazil) Storytelling is one of the fundamental components of a culture; it is a resource to find plausible explanations for the reality seen from the inside of Plato's cave. Enraptured before the narrator, the social group seeks to discover, to understand, to experience and to internalize viewed, heard or imagined experiences related to real or fictional universe instigated by outside the cave light. This metaphor may be applied to postmodern contemporary time (Maffesoli, 1984; Baudrillard, 1981; 1991), which light comes from the computer screens and any kind of electronic devices that offer the chance to navigate between the real and the sacred: the truth(s) is (are) in the cloud. Stories told through the media gain scale of unquestionable truths, destined to be read, interpreted, assimilated 128

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 and incorporated into daily life permeated by imagination. As a privileged tool, media communication arrogates the oral narrative as a dialogical strategy to approach the receiver/consumer, retaking the practice of that oral tradition, coupled to the non-verbal representations of pictorial and sound tissues, resulting in works that aim to build a memorable and exciting communication. Advertising creation identifies in this dialogic relationship established between narrator and receiver/consumer the opportunity to produce films which are able to offer a plunge into the world of imagination, dreams, desires, establishing a chance to satisfy the imaginary, when the receiver feels himself/herself as the protagonist of the story, through the mnemonic resource. The aim of this study is to analyze the advertising video production entitled "The last wishes of Volkswagen van", 2014, created by AlmapBBDO for Volkswagen Group in Brazil. Narrated in first person, the vehicle tells its story in a testimonial form, with an omniscient narrative. The van is like an old lady telling the receiver her story, as Walter Benjamin's metaphor, spelled out in "The storyteller" (Benjamin, 1985), the "trading seaman". The film features a contemporary trend in advertising production: the storytelling (Cogo, 2013).

17052 - The Text as Being: Ontologies of Redemption and Repair Date: Friday, July 22nd // Saturday, July 23rd Room: Hs 42 Chair: Millet, Kitty

2:00 PM - No Regrets: On the Pagan Possibilities of Being in the Americas Johnson, Dane (San Francisco State University, San Francisco, USA)

In Zitkala-Sa / Gertrude Bonnin’s 1902 essay “Why I Am a Pagan,” she depicts herself as “a wee child toddling in a wonder world,” expansively positioning herself beyond the fixed spiritual confines and ontological possibilities of either “the pale-faced missionary” or “the hoodooed aborigine.” Zitkala-Sa / Bonnin invokes contemporary confines and dark pasts only to suggest a playful possibility – or performative hope -- of moving forward with no regrets, a pagan “I” who contains multitudes.

This paper is part of a book-project provisionally titled “’I’m Me’: The Hidden History (or Open Secret) of Being in the Americas,” which explores ways in which certain tropes of being deployed primarily in fictional narratives—exemplified by the “I’m Me” of the title—foreground a sense of split or multiple consciousness as constitutive of being in the Americas. These tropes go back at least to the founding discourses of the “New World,” and I analyze them going back to the nineteenth century. In these texts, the protagonists both display and resist received scripts and disparate cultural histories. They search for a space where it is possible to shed their overdetermined identities without becoming invisible--searching for a place to say, as Morrison's character Sula does, "I'm me."

For this section, my focus is on moments in an array of literary texts where religious language and/or a representation of religious experience, often of a pantheistic nature, combines with mixed languages, or at least mixed ideolects, to become a representational space that challenges purist foundations of the very languages, religions, and identities on which these artists draw, that questions redeeming one past while rejecting another, and that, as in Zitkala-Sa, often looks forward with no regrets, even if it is a haunted and haunting hope.

2:30 PM - Rahmana: From Text to Maternity On Emmanuel Levinas Talmudic hermeneutics Dal Bo, Federico (Institute for Cultural Inquiry (ICI Berlin), Berlin, Germany)

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 works. In order to manifest Levinas’ implicit "Textualism” I will specifically focus on his treatment of the Aramaic term Rahmana: “the Merciful One.”

With respect of (Talmudic) linguistic evidence, the Aramaic term Rahmana may designate both “God” and “Scripture:” namely, the One who is merciful and the means by which He is merciful. I assume that Levinas usually neglects such a subtle semantic difference and that he rather describes Rahmana as “God:” or, better put, with God’s “maternal side.” By emphasizing only this sense of the term Rahmana Levinas identifies God with Scripture but this apparently “metaphysical” assumption has to be corrected with respect of Levinas’ implicit notion of “secularization” that is also connected to a specific reception of Heidegger’s notion of Seinsgeschichte.

On the one hand, Levinas identifies God with Scripture in this precise traditional sense: the very Jewish way by which God has revealed Himself to the people of Israel is indeed through Scripture. With respect to this, there cannot be, in principle, any “distinction” (or “ontological difference”) between God and Scripture.

On the other hand, Levinas doesn’t intend to propose an immanent, ontological “textualism.” The identification of God with Scripture shall rather be interpreted as a sort of “scriptural theism.” True, Scripture is the very means by which God has revealed Himself to the people of Israel. Yet this traditional “religious” assumption has to be corrected with a supplementary, “philosophical” one: the text of Scripture has to be “secularized.” In other terms, Scripture as to be transcended towards to ethics, especially towards to “maternity.”

In my paper I will prove how this dialectics between “text” and “maternity” is founded on Levinas’ unilateral interpretation of the term Rahmana on account of a number of gender issues, such as the oppositions between: male/ female, metaphysics/ ethics, philosophy/ Judaism as well as “(traditional) religion/ religio (in its etymological sense as “bound”).

3:00 PM - Beggars, Runaways and Prodigal Daughters - The Construction of Life Stories and the Deconstruction of Storytelling in the Prose of Alice Munro and Marie NDiaye Heimgartner, Stephanie (Ruhr-Universität Bochum, Bochum, Germany)

In Alice Munro’s stories, people are often damaged by others and even more often damage themselves by way of their faulty choices. Above all, there is the protagonist’s choice to limit herself or to view her life and possibilities in a reductionist way that she is not able to change.

The impression of authenticity is so strong that one can easily overlook how the narrative itself promotes it. Sometimes, the narrator draws her own story from first-hand narration, selecting and then constructing somewhat mischievous, compulsive curricula from which the protagonists seemingly cannot escape, thus forming their lives into a text presupposing ontologies of regret, mistrust, self-betrayal and limitation. At other times, multiperspective narration leads to uncertainty about the rendered events and the characters’ intentions. Either way, the unreliability of observation and narration forms the texts’ opaque center, thus suggesting both the possibilities and the limits of giving substantial information about a person’s life and character, and presenting a seemingly authentic narration as highly artificial. Whereas Munro’s stories leave the realm of realism only rarely, French author Marie NDiaye shifts her characters’ perspectives until surreal effects start showing. Often, the narrator in NDiayes novels becomes more and more uncertain about the line between perception and imagination and the factuality or fictionality of events. Generally, her characters move in circumstances and relationships that verge on the margins of the emotionally tolerable while trying to maintain the impression of being in control. The work of both authors demonstrates how narration fails as a coping strategy for fictional characters – thus questioning its role even outside the literary text. 130

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4:00 PM - Violence and the Imagination: An Aesthetics of Contact Borato, Meryl (York University, Toronto, Canada)

I propose to look at the relationship between violence and the imagination as explored in three literary representations. In Martin Crimp’s play, The City, expression is restricted to imperfect imitations of whatever the individual happens to consume, such that one of the characters wants to celebrate his new job by “driving into oncoming traffic,” an absurdly literal interpretation of what he more than likely observes on television (38). In Richard Flanagan’s The Unknown Terrorist, the individual is lamented to be nothing more than a product of vicious external conditioning, which finds its only relief in death. The third text, however, points a way forward through aesthetic expression. In Pat Barker’s Double Vision, the individual attempts to recover itself in artistic creation against the threat of hollowness that accompanies the experience of violence.

In the first half, I propose to discuss the problem of expression as an investigation of art as a commodity form. Having established the diminished role of human creativity in contemporary life, I will explore the extreme consequences of these conditions with the theoretical framework of Hannah Arendt and Moishe Postone. Then, I will offer a reading of Pat Barker’s Double Vision to show how the text refuses violence as a creative instrument by using sculpture as a vehicle for imaginative contemplation. I argue that Double Vision puts forward an aesthetics of contact or of touch in opposition to the voyeurism of other media. I thus distinguish between spectatorship and genuine engagement. I argue that voyeurism is the narcissistic perversion of desire and is consistent with art as a commodity form. Aesthetic engagement is its opposite, inviting the response of another and encouraging the formation of new ontologies. Then, I will conclude with some thoughts on the romantic mode and political imagination as articulated by Fredric Jameson and Northrop Frye.

4:20 PM - Reading Elfriede Jelinek for an Ethics of Violence Lally, Katie (University of California, Santa Cruz, Santa Cruz, California, USA)

Can violence ever be ethical? Such is the disquieting question that may arise when one encounters the work of Elfriede Jelinek, whose prose and theater pieces implicate their audience in a violence that the passive reader or observer may not wish nor expect to occupy. Analyzing the Austrain feminist author's Die Ausgesperrten (Wonderful, Wonderful Times), published in 1980, and Krankheit oder Moderne Frauen. Wie ein Stück (Illness or Modern Women), first published in 1984 and premiered on stage in 1987, I will interrogate the role of the observer in the co-creation of both acts of violence and their representation. Turning to Jelinek's literary and performance-based inheritances from such thinkers and Austrian cultural staples as Freud and artistic movements such as Wiener Aktionismus, I will suggest that the violence that the author demonstrates, both public and domestic, seen and obscured, acts not as a facile nor gratuitous sort of entertainment but causes the audience to question their own involvement, as witnesses, victims, or perpetrators by virtue of their complicity. Jelinek's textual world in her novels experiments with the slippage of subject positions, so that one in reading is forever moving between the space of the objective and the subjective, acting and being acted upon, guiltess and suddenly on trial. Jelinek's work, often occupied with historical themes of fascism and the Holocaust as well as forms violence against women, particularly focuses on Austrians' refusal to accept a cultural and historical role in Naziism. The result of this non- identification, Jelinek claims, is that Austria "is stuck in the alternative of lightness or mountains of corpses." Thus, we may see Jelinek's depictions of violence as both carving new terrain for feminist modes of writing and critique in a marriage of high and low culture, and an ethical grappling with multigenerational crimes against others.

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4:40 PM - Trauma, emotion and ethics in the narratives of Martin Amis Constantinescu, Catalin (Johannes-Gutenberg-Universität Mainz, Mainz, Germany)

My paper investigates the complex relationships between trauma narrative, emotion and ethical choice in reading fiction. The research focuses on two novels of Martin Amis (Time's Arrow and The Zone of Interest), in order to reveal the consequences of an unemotional exploring of the Holocaust from a postmodern perspective. I suggest that is possible an ethical criticism that should give answers to questions like: how deep are the moral implications of such trauma narratives, how far can we go with the speculations on the emotions implied, and if these emotions are moral. Do we need a special kind of ethical reading? Ethical reading (a term coined by J.Hillis Miller) may be related to ethical literary criticism. A comparative approach reiterates fiction's function of teaching: literature as teaching an emotional or behavioural grammar. Taking an ethical stand as author or reader may imply emotion and cognition. Moral emotions are related to an ethical behaviour, and one may say that moral action is supposedly based on empathy, which is an emotion (structure of feeling, in terms of Raymond Williams) implying cognition (Suzanne Keen, Martha Nussbaum, Antonio Damasio, Leda Cosmides, John Tooby, Nancy Eisenberg, Martin Hoffman). Readers’ cognitive and emotional responses do not inevitably lead to empathizing with victims of ontological fictions, but fiction may uncover empathy and ethics in understanding the past and the human race. Martin Amis has delivered two of the most prominent fictional accounts of the haunting past, trying to imagine a reader searching to answer not to the question ‘How was possible the Holocaust to happen?’, but ‘Why was possible?’.

5:00 PM - An Ethics for Missing Persons Millet, Kitty (SF State, SF, USA)

An excluding condition for most philosophers in modernity (Lyotard, Levinas, Kant), literature as a production of the imaginathon has been understood as incapable of articulating an ethics because the faculty associated with ethics, Reason, must not intervene in Art. Such intervention would suppress the imagination's liberation, giving instead either an ideological object or a legal maxim. Furthermore, the reception of art elicits the imagination too. As a faculty, the imagination is not required to know facts or the truth about any historical event. Readers need not worry about such details. But if history has imposed an event that erases all knowledge of the human, then, the imagination pushes against its exclusion in order to represent the crisis of human loss, the unknown victims of modernity. This paper examines works by H.G. Adler, Anita Desai, and Jorge Semprun, in order to think about how literature might propose an ethics for "missing persons."

Date: Saturday, July 23rd

2:00 PM - Romantic Being in English and Slovak Literature Pokrivcak, Anton (University of Ss. Cyril and Methodius, Trnava, Slovakia)

The paper will deal with the role of the language of emotions in Romantic imagination. The first part will discuss the attitudes to emotions in several historical periods, the second part will concentrate on Romantic definition of poetry as “spontaneous overflow of powerful feelings” taking its “origin from emotion recollected in tranquillity”. Finally, attention will be paid to the interpretation of some William Wordsworth´s poems as examples of the ontological aesthetics in which emotion and imagination determine the depth of lyrical subject´s involvement with the nature of being. Wordsworth´s ontological aesthetics will then be compared with the expression of Romantic feelings of anxiety, loss and tragedy, in the work of Slovak Romantic poets, especially Janko Kráľ. The last part of the paper will be concerned with the reassessment of the place of Romanticism in contemporary 132

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 critical approaches to literature, stressing its potential to address the essential aspects of human life at the expense of the still prevailing obsession with the superficiality of ideological determinants, mostly based on ethnic or cultural distinctions.

2:30 PM - A Note on Names and Generic Labeling Weiss, Vered (UIUC, Urbana, USA)

This paper explores generic labeling and the productive use of names in Frankenstein, Jane Eyre, Dracula, Rebecca, and the Golem, ‘Ha’adonit veHarochel’, ‘Tehila’, ‘Mishael’, ‘Ad Hennah’, and Khirbet Khizeh. In these texts, the use of names conveys meaning, and the generic labeling of the texts themselves is significant for their comprehension as cultural artifacts. From the lack of names to the profoundly meaningful, names are crucial for these texts. For example, the nameless creature in Frankenstein offers a striking contrast to the Golem, as the former is nameless and rejected while the latter is, indeed, named and embraced. Bearing in mind the importance of names and signification as a productive aspect of creation within the Judeo-Christian tradition, this paper seeks to uncover the connection between literary naming and generic categorising. In both the Hebrew and English texts we see how the generic appropriation influences the reading of the texts as participants of cultural discourses. Previous readings of the texts in English within post-colonial and feminist discourses might obscure their ambivalence. Similarly, even while Agnon and Bialik wrote in Hebrew, their work was not always accepted as part of the Hebrew literary world. Like a name, which binds a certain essence to the thing or character, genre functions as a productive constraint. I propose considering genre in the same ontological category as a name, as restrictive bind that invites greater creativity. The question, eventually, is how the identity of the text and the identities explored in the text correspond in a productive manner.

4:00 PM - Kafka's Legacy. Wound, Damage, and Repair in Delay. Park, Saein (Northwestern University, Chicago, USA)

This paper reconsiders Kafka’s literary-ethical legacy in two contemporary East Asian “Kafkaesque” writers, while it focuses on the recurring motif of the wound and the time-space of repair-in-delay. It first revisits the representations of the wound in Kafka’s The Country Doctor and In the Penal Colony, examining how these short stories avoid linear-temporal, causal narratives of the wound and, by doing so, do not partake in the long-historical discourse of sin and punishment in both Christian- theological and modern legal-political senses. I argue that the narratives, instead, open up a time- space of repair in permanent delay, attempting to contain the wounds and damages that are non- representable in historical discourses. This way of narrating wounded and damaged beings then becomes adopted as a major narrative technique in the two contemporary “Kafkaesque” novels, Murakami Haruki’s Kafka on the Shore and Young-Ha Kim’s Empire of Light, especially as it concerns the problematic of the historical trauma of war and national division. Going against the grain of the common understanding that both Haruki and Kim reject literature’s role of healing historical trauma as they aim to innovate contemporary literature, I argue that the narratives of the unhealed wound and the damaged subject found in their works inherit the Kafkaesque time-space of repair-in-delay and critically renew its literary-ethical significance.

4:30 PM - Oe Kenzaburo Says Go to Hell Archambault, Brandon (European Graduate School, Saas-Fee, Switzerland)

In his essay “An American Traveler's Dreams—The Huckleberry Finn Who Goes to Hell,” Oe Kenzaburo, the second Japanese writer to win the Nobel Prize in Literature, discusses the singularly heroic power that Huckleberry Finn holds for him. That is, Huckleberry is a hero against the forces of racism, postcolonialism, and military aggression that have concerned Oe since childhood—a fact

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 which Oe initially considers astonishing, given Huckleberry's position in American literature and culture. After thorough consideration of the the racial and military climate of the 1960s under which he composed the essay, Oe comes to the conclusion that Huck's heroism consists in his choice to go to hell . Huck's incredible decision makes him fearless and free, and therefore “the first hero [Oe] acquired through literature.” This gave Oe , for the first and apparently only time, a figure who could separate him from the rhetoric of fascist Japan and also, after the war, a figure who could show him how to resist the “oppressing, demonic power of the word America” which he felt even then afflicted him. What I wish to analyze is the incredibly unconventional reading Oe gives: he offers us a Huck who does not act to save his travel partner, the runaway slave Jim; who is patently anti-American; and who above all attains his heroism through his suicidal relationship to hell. What, specifically, about the new Huck that Huck becomes (the Huck who goes to hell, as opposed to the one who hadn't) is so freeing and healing? And even more importantly: What hope of freedom and fearlessness can this subject, suddenly and counterintuitively universalizable in Oe's reading, offer us today?

5:00 PM - Extrahuman Transcendence in Oscar Wilde's The Picture of Dorian Gray Fry, Katie (University of Toronto, Centre for Comparative Literature, Toronto, Canada)

Oscar Wilde’s 1891 novel The Picture of Dorian Gray can be read as a literary experiment in a diabolical sort of redemption: the young and beautiful protagonist is ‘redeemed’ from the human affliction of aging and is granted the ability to remain eternally young and beautiful. In the novel, Dorian makes a Faust-like pact with an unspecified supernatural force so that he can take on the eternal and unchanging form of a work of art (specifically that of his portrait) and thereby preserve his beauty from being tarnished by experience and the passage of time. Wilde once remarked that Dorian represents “what I would like to be—in other ages, perhaps.” Despite the fact that Dorian in some sense fulfils the author’s (otherwise unattainable) wish to transcend the temporal conditions of human life, the novel’s tragic conclusion—in which Dorian ultimately chooses death over eternal youth—suggests that Wilde recognized the incoherence inherent in this wish to remain unchanged.

My presentation will examine Wilde’s treatment of the prevalent human desire to be redeemed from the transient nature of life in light of Martha Nussbaum’s discussion of internal and external transcendence in her essay “Transcending Humanity.” According to Nussbaum, human values—such as love, compassion, and courage—are dependent on human limitations (mortality, neediness, imperfection) and become meaningless when deprived of these constraints. Dorian’s descent into the depths of moral reprehensibility and his inability to enjoy his eternal youth similarly suggest that human notions of the good are inextricable from the context of transient life and the deterioration of the body. My paper will explore how Wilde’s radical experiment in subjecting life to aesthetic principles in the pursuit of perfection or redemption shares certain characteristics with what Nussbaum would call otherworldly or “extrahuman” forms of transcendence.

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17093 - WORKSHOP: Begegnungsorte und -medien. Transfer, Medialität und Situativität jüdischer Literatur Date: Monday, July 25th // Tuesday, July 26th Room: Übungsraum Germanistik 4 Chair: Terpitz, Olaf; Windsperger, Marianne

9:30 AM - The Honourable Woman': Figuring Israel and Palestine from a British Viewpoint Vice, Sue (University Sheffield, Sheffield, United Kingdom)

In this paper, I will analyse the ways in which the recent BBC television series The Honourable Woman (Hugo Blick 2014) constructs its central female character, Nessa Stein (Maggie Gyllenhaal) as a figure of transfer and encounter between Britain and Israel. Nessa takes this form by virtue of her construction as a Jewish woman, an ‘Anglo-Israeli’ whose efforts to redeem the effects of father’s Israeli arms dealing take the form of philanthropic ventures in the Palestinian Territories. Thus personal and political impulses intersect in the character of Nessa, as revealed in terms of the drama’s plot – with its clear intertextual debt to John LeCarré’s An Honourable Schoolboy – as well as its cinematography. In relation to the latter, the cost of Nessa’s activities is revealed in the drama’s final episode by a montage consisting of fictional and archival film footage, of Nessa’s childhood alongside the history of the Middle East. Such a technique implies that The Honourable Woman is an instance of what Joshua Hirsch has called ‘post-traumatic cinema’, in which historical trauma is filtered through the subjectivity of a British-Jewish woman. However, I will argue that the drama’s inconsistent view of the connections between Jews and Israel, and of halachic Judaism, reveals its conflicted generic nature. Nessa’s Jewish ‘inheritance’, as she puts it, is paternal, while her own son, Kasim, is described as ‘Palestinian’, despite his Jewish mother. Thus nationality and religion are confused, while femininity is central to the drama’s plot yet marginalized. Indeed, its title is ambiguous, perhaps referring to Nessa’s Palestinian friend, the ideologue Atika, rather than to Nessa herself. Thus the tropes of British-Jewishness and Middle Eastern conflict are used for narrative reasons, to exemplify, as the writer and director Hugo Blick puts it, of ‘personal reconciliation’ in a situation of ‘irreconcilability’.

11:30 AM - The Cosmopolitan Survivor Millet, Kitty (SF State University, SF, USA)

Cosmopolitanism has often been applied to Jews, both in Germany and the U.S.; it refers to Jews who cross all kinds of boundaries. In the U.S., it carries positive connotations while its earlier German history suggests the opposite. As Götz Aly notes, through a series of laws leading up to and after emancipation, German Jews ‘break out of the ghetto,’ and move into formerly foreclosed occupations. Thus ‘Germans felt they had lost something and Jews appeared to gain it.’ Their route to emancipation appeared as a dizzying social mobility in which Jews moved quickly to embrace the possibilities of liberation. Their ‘cosmopolitan’ attitudes enabled them to circulate within modernity as ‘stateless,’ ‘citizens of the world.’ However, this attitude transformed ‘cosmopolitans’ into ‘parvenus,’ and then into ‘pariahs’ (Arendt). H.G. Adler describes the effect of this transformation on the survivor in his novel, Eine Reise; Jean Améry (2009) links it to his experiences at Auschwitz and wonders if they ‘echo’ other historical oppressions?

Commensurability and its implications emerge again in a private memoir of a Polish survivor who was hidden as a child in a Belgian convent during the Holocaust. Recently commissioned to edit the 135

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 memoir, historian Julie Wheelwright, identifies an experience, unknown in other survivor narratives. The young boy insists that at the end of the war, camp survivors were brought by the Allies to a ‘collecting station’ at Brussels, where they stood on tables, waiting for someone to claim them. His mother was there, but the narrator refused to enter and ‘collect her.’ He remembers refusing to see his mother exhibited, waiting to be claimed. Recalling the images of slave auctions, in Mary Prince and Olaudah Equiano, the young narrator realizes that his mother’s liberators have made her reentrance into the world after the Holocaust, contingent on his adoption of a narrative of her exhibition as abject slave.

In this paper, I analyze the collision between cosmopolitanism and the Holocaust survivor in order to identify the implications of this collision and to ask how literature repositions these implications in relation to other groups’ experiences of oppression. Through an examination of Anita Desai’s Baumgartner’s Bombay, Ruth Klüger’s Weiter Leben, and Eduardo Halfon’s The Polish Boxer, I look at the complexities of ‘the cosmopolitan survivor.’

12:00 PM - Narrating the other, discovering the self? Literary recuperations of Yugoslav Jewry Zivkovic, Yvonne (Cambridge University, Lucy Cavendish College, Stuttgart, Germany)

As the British historian Tony Judt has noted, the collapse of communist systems in Eastern Europe since the 1990s triggered a multifold “return to memory:” it signified both a recuperation of nationalism as well as an unearthing of memory related to the Holocaust and fascism. One of the most striking examples for this is the disintegration of the Socialist Republic of Yugoslavia.

The Yugoslav official rhetoric of progress, plurality and unity left no room for inconvenient truths that might ignite conflicts between its numerous ethnicities. This was particularly true for the crimes committed against Jews and Serbs by the Nazi puppet state of Independent Croatia (NDH). While Socialist ideology promoted the image of the partisan hero who had liberated the South Slavs from the grip of fascism, it also subsumed all victims in one indistinct mass, into which the Jews was quietly assimilated. This changed during the Yugoslav civil wars, which were staged by both Croatian and Serbian nationalists as the continuation of conflicts from the Second World War. The role of critical memory was consequently taken over by writers who sought to recuperate those aspects of history that had been carefully edited by the Socialist regime, of which Jewish history was an integral part.

This paper examines to which extent literary recuperations of Jewish life and the Holocaust counter efforts of memory manipulation on one hand, and construct a new collective identity with the transnational Jewish citizen as role model on the other. I will analyze the writings of Miljenko Jergović, a non-Jewish Croatian author, to demonstrate how the Jewish legacy is used to re-examine important chapters of Yugoslav history, from the Habsburg Empire to the Second World War. In his short story collection Mama Leone (1999) which reveals his family’s entanglement with fascism, as well as in his novel Ruta Tannenbaum, (2006) which traces the fate of a Jewish woman in Nazi occupied Croatia, Jergović asks crucial questions of responsibility and justice. Even more strikingly, he creates intertextual parallels to the Serbian-Jewish authors Danilo Ki š and Aleksandar Tišma, both Yugoslav literary icons during the 1970s, but whose Jewish topics were continuously downplayed.

2:00 PM - Fool and jester. The literary figures of the "Schlemiel", the "Schelm" and the "Don Quijote" between ambivalence and encounter Terpitz, Olaf (Institut für Slawistik, Wien, Austria)

The literary figures of the „Schlemiel“, the „Schelm“ and the „Don Quijote“ are usually ascribed to and perceived in various national literatures and, thus, to/in national languages – all in accordance to the concept of nation as formulated by Herder –, and what is more to/in the divide between Jewish 136

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 and non-Jewish (in this case Christian) literatures. However, at a second glance, those literary figures have more in common than their differences (as constructed since the late 19th century under the notion of the „nation“, the „particular“) suggest. Arguing with Bakhtin’s theory on carneval those three figures serve/d as literary means to mark the voice of resistance, of non-conformity, the voice of a stranger through irony and ambivalence. As observers and commentators, they assume/d a critical role towards the official or mainstream discourse and question/ed accepted norms and values. Obliged to their critical potential of (world) enquiry I will formulate in my talk first ideas on the distant – close relation of those three literary figures, especially in respect to times of societal and cultural upheaval, as for instance embodied by the fault zones of modernity, i.e. beyond the lingual „divides“ of Yiddish, Spanish, German, Russian or Polish.

2:30 PM - Nokhem Shtif in Berlin: emigré life through the lens of Yiddish feuilletons Nath, Holger (University of Regensburg, Regensburg, Germany)

The feuilletons of the Yiddish philologist, literary critic, cultural activist, and founder of YIVO, Nokhem Shtif (1879-1933) were written during his stay in Weimar Berlin in the early 1920s.

His essays on life in Berlin differ from the literary works of his fellow emigrés, like Dovid Bergelson, Der Nister, and Moyshe Kulbak. While their work described life in the big city and living among non- Jewish refugees, Shtif pursued other themes. He perceived himself as an outsider even among fellow emigrants and became infamous for his harsh criticism of the Yiddish literary scene. His cultural conservatism reflected a deep suspicion of modern life which influenced his views of Yiddish cultural autonomy. Along with Nietzsche's concept of the here and now, folk culture and folk language, i. e., “in Yiddish for Yiddish”, shaped his approach and his hopes for a flourishing Jewish/Yiddish society. Evoking images of everyday situations, from dog walking to descriptions of his journalist colleagues, he also strove to connote the plight of the Yiddish writer and the difficulties of making a decent living. Writing for a predominantly Jewish American audience and publishing in New York's Der morgen zhurnal may (for better or worse) have helped to reinforce his out-group status among Jewish intellectuals.

Shtif's series of essays ended 1925 with his return to Kiev to work at the Chair for Jewish Culture at the Ukrainian Academy of Sciences. An analysis of these works (which have until now been largely in the academic literature) should provide new insights into the study of the Yiddish renaissance and of Yiddish culture during the interbellum years.

3:00 PM - Autobiography as a Synthesis of Russian and Yiddish Literature: Osip Dymov's Memories Mikula, Thomas (Institut für Slawistik, Wien, Austria)

Der Vortrag befasst sich mit dem russisch-jüdischen Prosaschriftsteller und Dramatiker Osip Dymov (geb. Iosif Perel’man, 1878-1959). Anfang der 1900er Jahre trat er in der russischen Literatur zunächst mit Erzählungen und Feuilletons sowie als Theaterkritiker in Erscheinung. Unter dem Eindruck der Pogrome in seiner Heimatstadt Białystok sowie unter dem Einfluss Vladimir Žabotinskijs wandte er sich jüdischen Themen zu, so etwa im Drama “Slušaj, Izrail’” (1907) und “Večnyj strannik” (1913). Im deutschsprachigen Raum wurde Dymov ab 1908, als seine Tragödie “Nju” am Deutschen Theater in Berlin von Max Reinhardt aufgeführt wurde, rezipiert.

Ab seiner Ausreise in die USA im Herbst 1913 verlagerte sich sein Wirken fast ausschließlich auf das jiddische Theater, vor allem in New York, später auch den Film. Nach mehrjährigen Aufenthalten in Mitteleuropa in den späten 1920er und 1930er Jahren, wandte sich Dymov ab den 1940er Jahren vor allem der Niederschrift seiner Lebenserinnerungen zu. 137

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In seinem autobiographischen Hauptwerk “vos ikh gedenk”, das zunächst in der jiddischen New Yorker Zeitung “forverts” und anschließend in zwei Bänden publiziert wurde, nimmt vor allem die Frage nach dem Verhältnis zwischen russischem und jüdischem literarischem Schaffen im Russländischen Reich eine zentrale Rolle ein. Im Versuch, die eigene literarische Produktion in den jüdischen kulturellen Kontext einzuordnen, bezeichnet er die russische Literatur als Brücke zwischen den Völkern: “Das russische Wort war für meine jugendliche Natur das halb maskierte jüdische Wort - eine Übersetzung, Deutung oder alles gemeinsam…”

Der Vortrag beschäftigt sich mit den Strategien, Möglichkeiten und Grenzen der nachträglichen Sinn- und Identitätsstiftung im autobiographischen Schreiben.

Date: Tuesday, July 26th

9:30 AM - Judezmo in Multilingual Literary Texts Güde, Elisabeth (LMU München, Berlin, Germany)

Der Beitrag setzt sich mit (zumeist) autofiktionalen Texten auf Türkisch, Französisch und Englisch auseinander, zu deren mehrsprachigem Repertoire Judezmo (Judenspanisch) gehört. Als Großelternsprache oder heritage language ist das Judenspanische diesen überwiegend seit den 1970er Jahren entstandenen Texten zum einen unmittelbar eingeschrieben; zum andern bergen sie metasprachliche Reflexionen und Auseinandersetzungen um Mehrsprachigkeit, 'Jargon' und Hochsprache, Sprachtod und Archiv. Es handelt sich um ein literarisches Phänomen, das klar zu umgrenzende lokale Bezugspunkte (z.B. Istanbul) aufweist und gleichzeitig – bedingt durch vielschichtige Migrationsbewegungen – auf globaler Ebene Querverbindungen zwischen Texten verschiedenster Provenienz ziehen lässt und so durchaus vor dem Hintergrund der „neuen Weltliteraturen“ zu lesen ist. Historisch sind besonders türkisch-sephardische Begegnungsorte relevant, für die der Übergang vom Osmanischen Reich zur Türkischen Republik von maßgeblicher Bedeutung ist. Damit schließt der Beitrag in mehrfacher Hinsicht an die im Abstract zum Workshop aufgeworfenen Fragen zu „Konzepten des Transfers, des Austauschs und der Übertragung“ an. Der Schwerpunkt der Betrachtung liegt – passend zum Überthema der ICLA-Konferenz 2016 –auf den Dynamiken von Ein- und Mehrsprachigkeit und deren Verschriftlichung bzw. literarischer Verarbeitung; zentral für die Thematik sind zudem Exil, Migration und Diaspora, ohne die sephardische Geschichte und Kultur nicht zu denken sind. Da sephardische Themen innerhalb der Literaturwissenschaft und auch im Kontext jüdischer Literaturen im Allgemeinen wenig behandelt werden, ergibt sich hieraus in Hinblick auf die im Workshop angelegten Diskussionen eine Erweiterung, gerade in der Frage nach „jüdischen Literaturen“.

10:00 AM - Commemoration, Memory and the Literary Construction of the Self in the “Minor Languages” (Franco) Yiddish and Romanian – A Comparative Approach to Texts by Myriam Anissimov and Norman Manea Aistleitner, Judith (Universität Wien, Wien, Austria)

Der vorliegende Aufsatz präsentiert die Ergebnisse einer eingehenden Lektüre und textnahen Analyse der Werke La soie et les cendres, Dans la plus stricte intimité und Sa Majesté la Mort von Myriam Anissimov sowie Intoarcerea huliganului / Die Rückkehr des Hooligan von Norman Manea. Myriam Anissimov, franko-jiddische Autorin, und Norman Manea, rumänischer Exil-Schriftsteller jüdischer Herkunft, überlebten beide im frühen Kindesalter die Shoah. In den Texten des Korpus stellen sie die extrem traumatischen Erfahrungen in den Kontext einer literarischen Rückschau auf das eigene Leben. Charakteristisch für die Texte beider sind eine ausgeprägte Selbst-Referentialität sowie eine intensive Sprach-Reflexivität. Der Ausgangspunkt dieser vergleichenden Erforschung liegt 138

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 in der besonderen sprachlichen Situation der Autor_innen , die sich auf die Narrativisierung persönlicher Erinnerung und kollektiv-familiären Gedenkens ebenso sehr auswirkt, wie auf die angewandten textuellen Strategien, Lebensmodelle jüdischer Identität zu artikulieren. Im Rekurs auf Jacques Derridas Konzept der Einsprachigkeit des Anderen wurden Myriam Anissimovs Texte auf die darin sprachlich-kulturell verhandelten Konfigurationen jüdischer Identität nach der Shoah befragt. Die Präsenz der jiddischen Sprache im französischen Textuniversum der Autorin legt die Einreihung ihrer Texte in die Tradition der „kleinen“ oder „deterritorialisierten“ (Deleuze/Guattari) Literaturen nahe. Aus Norman Maneas Texten wurde die Problematisierung jüdischer Identität im Weiterleben nach der Shoah durch Rückgriffe auf Grundtopoi der Literaturgeschichte herausgearbeitet. Mittels intertextueller Verweise auf jüdische Autoren wie beispielsweise Franz Kafka, Bruno Schulz, Marcel Proust und Mihail Sebastian artikuliert er die Bedingungen, jüdisch-osteuropäische Identität zu leben ebenso, wie Erinnerungen an traumatische Zäsuren in seiner Biographie.

11:00 AM - Versing a “Kulturnation” – Anthologies of Poetry in the National Jewish Discourse in the Beginning of the Twentieth Century´ Reichert, Carmen (Ludwig Maximilians Universität München, Munich, Germany)

Als die individuelle Emanzipation über Assimilation und Aufgabe jüdischer Identität sich im Westen als Trugschluss erwies und im Osten neue Pogrome jede Hoffnung auf eine solche im Keime erstickten, antworteten Herausgeber und Autoren aus (kultur-)zionistischen und nationaljüdischen Kreisen mit der Arbeit an einer eigenständigen, nationaljüdischen Kultur und versuchten nun auf kollektiver Ebene, über die Anerkennung als Kulturnation, eine Emanzipation zu erreichen. Der Literatur als Kronzeugin von Kultur und Bildung kam dabei eine zentrale Rolle zu.

Während jiddischsprachige Anthologisten wie Shaul Ginzberg und Yankev Fikhman in Osteuropa an der Schaffung einer säkularen jiddischen Nationalliteratur arbeiteten, versuchten Kulturzionisten um Martin Buber und Berthold Feiwel, mit Hilfe von Anthologien das jüdische „Nationalbewusstsein“ zu stärken. Beide Konzepte bezogen sich dabei auf Herder’sche Ideen wie der Volksgeistlehre, dem Glauben an die Wirkmacht von Dichtung und die Konstruktion eines mythischen Verhältnisses von Volk und Dichter und auf Goethes Konzept von Welt- und Nationalliteratur.

Wichtigstes Medium bei der Arbeit an der Nationalliteratur, auch das ein Erbe aus der deutschen Romantik, war die Lyrikanthologie. Mein Vortrag wird von den Vorworten deutscher und jiddischer Anthologien ausgehend nicht nur nach der Rezeption deutscher Theorien von Nationalliteratur fragen, sondern auch den Wechselwirkungen zwischen jiddischer und deutschjüdischer Literatur nachgehen: Während den deutschen Juden das Ostjudentum als authentisches, von der Assimilation unverfälschtes Judentum eine wichtige Inspirationsquelle für neue Dichtung war, ist der Einfluss der deutschen Klassik und Romantik aus der jiddischen Dichtung nicht wegzudenken. Da die Wahl der Sprache, in der eine Nationalliteratur geschaffen werden soll, ein Politikum ist, das sich nicht nur zwischen Deutsch und Jiddisch abspielt, wird am Rande auch die Diskussion um eine neuhebräische Literatur einbezogen werden.

11:30 AM - Surfaces of Encounter: The reader of Modern Hebrew Literature during the First decade of the Twentieth Century Nethanel, Lilach (Bar-Ilan University, kibutz yakum, Israel)

This talk is dedicated to the enigmatic figure of Modern Hebrew literature's reader during one of its most fertile periods. It seeks to decipher the far-reaching consequences of the transnational and mobile construction of the Modern Hebrew literary field. By the end of the nineteenth century, the writing and reading of Modern Hebrew in Europe was neither part of a religious practice, nor did it merely satisfy a purely aesthetic inclination. It mainly functioned as an ideological means used by a

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 minority of Jews to support the linguistic-national Jewish revival. Given the absence of a particular geographic center and political hegemony, the reading of modern Hebrew literature could be considered as a unique surface of encounter, where national Hebrew literature gradually gained its political power. However, some fundamental contradictions put into question the actual influence of this literature on the political sphere: How did the non-spoken Hebrew language come to produce popular Hebrew writings? How did this literature engage the common Jewish reader? In this talk I propose a new consideration of Hebrew reading practices. I argue for the inclusion of the non- reading readers as important contributors to the constitution of the Jewish literary nation. Hebrew readership never extended beyond a social minority of engaged Hebrew readers, who for the most part were themselves Hebrew writers. The larger part of the Hebrew literary field was composed by latent participants: Those who did not read Modern Hebrew but supported the linguistic revival project, and recognized the cultural importance of its authors. Functioning in a literary field composed by transnational chain of communication, and influenced by the constant mobility of its writers and readers, Modern Hebrew literature mainly aimed to create a national library instead of a common reader. Therefore it should not be seen as a project of reading. It should be better defined as an attempt to reposition literature as a worldly object to a non-reading audience.

12:00 PM - In Search of a Lost Shtetl-World? A History of Yiddish Literature in American Culture Windsperger, Marianne (Institut für Germanistik, Wien, Austria)

“We do have writers whose private libraries of meaning are more like those of their Yiddish predecessors than their American English ones”, states the American author Dara Horn and points at lines of continuity in the literary history of Yiddish.

Commonly reflections on Yiddish language transmission in the United States emphasize discontinuities: Yiddish is regarded as a displaced and disappearing language that made its way from “the Shtetl to the Lower East Side”. In my contribution I aim at taking a closer look at the role of Yiddish literature in American Culture and the processes of mediatization and media changes that characterize “postvernacular languages” (Jeffrey Shandler): With the gradual fading of language transmission within families, strong images, proverbs and songs as well as transferable literary figures (e.g. The Fiddler on the Roof) represent important ways of connecting with Yiddish culture. These developments point to the commodification of a language and literature in which consumability replaces the active ability to speak, read and write. Labeled as “New Ashkenaz” or “Scribblers on the Roof”, a young generation of writers in the United States reconnects to Yiddish texts (Dara Horn, Rebecca Goldstein, Nicole Krauss) and to aesthetic practices of Jewish Eastern European Culture.

· In a first step, I will interlock a reading of American literary histories and anthologies with phenomena of American popular culture drawing attention to the classification, labelling and contextualization of Yiddish texts.

· In a second step, I will ask for the self-positioning of American Jewish authors who regard Yiddish as their cultural heritage.

· In my analysis of literary works I will examine the function of intertextual references to Yiddish literature highlighting the concrete mediality of the intertext (e.g. acts of reading, writing, viewing and listening that are staged in the novels).

2:00 PM - Henriette Herz (1764-1847) as a Cultural Mediator Conterno, Chiara (Università di Verona, Verona, Italy)

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In meinem Vortrag werde ich mich mit der deutsch-jüdischen Salonniere Henriette Herz auseinandersetzen. In Berlin führten sie und ihr Mann den sogenannten „Doppelsalon“. Während er hochgestellte Gäste aus Politik und Kultur empfing und Gesprächskreise zu wissenschaftlichen und philosophischen Themen führte, sammelte sich um Henriette Herz ein Kreis von Literaturliebhabern und Literaturinteressierten. Daraus entwickelte sich der bekannte Salon (1780-1803), der sowohl von Politikern und Wissenschaftlern als auch von bildenden Künstlern, Literaten und Philosophen besucht wurde. U.a. verkehrten dort Jean Paul, Karl Philipp Moritz, die Brüder Humboldt, Mendelssohn, Madame de Staël, die Schlegels, Goethe und Schiller, der junge Börne und Friedrich Schleiermacher. Mit der Begierde, Neues und Fremdartiges zu genießen, begegnete Henriette Herz den zeitgenössischen kulturellen Strömungen und literarischen Phänomenen. N och vor Rahel Varnhagens Salon stellte der von Henriette Herz eine neue Form des geselligen Lebens dar und wurde Mittelpunkt des kulturellen Lebens Berlins, ein Ort der deutschen Literatur- und Geistesgeschichte.

In diesem Kontext zielt der Vortrag darauf ab, die Rolle von Henriette Herz als Kulturvermittlerin zu beleuchten, denn es war ihr Verdienst, Kontakte und Freundschaften zwischen vielen Gelehrten, Künstlern und Wissenschaftlern hergestellt zu haben. Dank ihrer Offenheit und Wissbegier konnten unterschiedliche literarische Strömungen, Epochen und Gesellschaftskreise bei ihr zusammenfinden und in ihrem Salon wurde zudem der Weg zur geistigen Emanzipation der Frau vorbereitet. Dieses bunte Kulturleben wird anhand der Erinnerungen und Briefen der Henriette Herz sowie von den Zeugnissen Dritter wiedergegeben. Die Verschränkung der verschiedenen Quellen vermittelt einzigartige Porträts damaliger Autoren und einen aufschlussreichen Einblick in eine Epoche an der Schwelle zwischen Aufklärung und Romantik.

2:30 PM - Isaac Bashevis Singer, an intercultural reading. Stepien, Aneta (Trinity College Dublin, Dublin, Ireland)

Isaac Bashevis Singer has been described as Polish born Jewish-American author and what can often be observed is ghettoization of his work read through either exclusively Jewish, Polish or American lens. It is indeed the transnational nature of Singer’s fiction, drawing from both the local and European culture, that pose some interpretative challenges. My research on I.B.Singer centres on gender and sexuality with particular focus on the construction of masculinity in the writer’s novels. More specifically, the study considers the way Poland’s nineteenth century impulse towards modernity and rapidly modernizing society informed the performance of Jewish masculinity and Jewish male sexuality. Other important questions addressed in the study are to what extent, if at all, the late nineteenth and early twenty century Polish literature shaped Singer’s literary style, themes and genres? What are the influences of Viennese modernism and writing on race, gender and sexuality Singer came across with while living in Warsaw in the 1920s and 1930s on his views on literature, gender and his own male subjectivity? How the condition of living in the Diaspora, Jewish migration and issues of belonging are embodied in the construction of his characters? Even though the scholars such as Monika Adamczyk-Garbowska strongly rejects the idea that Singer patterned his works on known Polish writers, such as Bolesław Prus, arguing that Bashevis’ characters are created from a critical perspective, which “contrast strongly with the patriotically heroic point of view characteristic of many Polish authors”, it is precisely the opposition of this tendency that demonstrates engagement with the surrounding culture and literary currents. In this workshop I want to suggest the need for intercultural study of Singer’s work and offer some readings of his texts through gendered perspective with a reference to the questions listed above.

3:00 PM - Georg Brandes and his Transnational Vision Blak Hjortshøj, Søren (Department of Culture and Identity,Roskilde University, Roskilde, Denmark)

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My PhD project is an interpretation of Georg Brandes´ innovative oeuvre in the light of his background as a Danish-Jewish intellectual. I suggest a new perspective on the category “19th century assimilated Jewishness,” since this term does not hold as a suitable label either for Georg Brandes or the many other cosmopolitan-orientated bourgeois European-Jews who struggled to find their place in the different Western European national cultures in the latter part of the 19th century and fin-de-siécle.

My focal point will be to show a unique cosmopolitan ideal that Brandes constructs in his early writings. I call this ideal “the transnational vision.” With “the transnational vision”, Brandes projects a liberal universal ideal which he represents through the figures of “the modern Jew”, “the emigrant”, and “the critic.” However, as a result of a certain Jewish “race” heritage, Brandes claims that “the modern Jew” has a particularistic precedency in developing “the transnational vision” and, in fact, Brandes advocates that “the modern Jew” is the most innovative individual in the development of the modern world. Still, it is noticeable that at the same time Brandes venerates “modern Jewishness” and other “modern Jews” such as Baruch Spinoza, Heinrich Heine, and Berthold Auerbach, he also distances himself from being Jewish influenced. For the later part of his writings, I show that this ambivalent representation continues through Brandes’ original interpretations of the influential 19th century dichotomy “Athens vs. Jerusalem”, and I will also formulate the constituents of this ambivalence. In doing this, I argue that this indistinctiveness has been a strategy for Brandes in his effort to build himself a career as a “critic” from the 1870s onwards within the domain of the majority society.

17121 - One theme: different media Date: Friday, July 22nd Room: Seminarraum Skandinavistik 1 Chair: DINIZ, THAIS

9:00 AM - A Glance at the Attitudes towards Film Adaptation in Iran Khojastehpour, Adineh (Shiraz University, Shiraz, Iran)

Developed more than fifty years ago, adaptation theory has gone through significant changes, mainly after the rise of postmodern theories and concepts such as post-structuralism and intertextuality. Recent theorists of adaptation see it mostly as an independent, rather than a secondary work endeavoring to keep the "essence" of an "original". Also, today, the "originality" of the adapted work is to a great extent questioned as it is itself seen as an intertext influenced by and interacting with a large network of texts, including both written and visual texts. In spite of all these changes of views, adaptation theory needs to develop further. In countries such as Iran, the attitudes towards adaptation and especially film adaptation tends to be traditional. Though some filmmakers have tried to make independent works of free adaptation, the theory of adaptation still moves around seeing the adaptation as a secondary work, obliged to follow the lead of the "source" faithfully. This paper studies the issue of film adaptation in Iran, with a focus on the critics and thinker's attitudes toward the issue.

9:20 AM - Film narration in contemporary literature: an Argentinian example Mattos, Cristine (Mackenzie Presbyterian University, Jardim da glória, Brazil)

This paper aims to investigate the presence of film language in contemporary fiction through the example of two novels of the Argentinian writer Tomás Eloy Martínez: The Perón Novel (1985) and Saint Evita (1995). Despite the attested interchange between literature and cinema - especially when 142

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 we think about adaptation from book to screen - critical studies about filmic characteristics in narration still have no established focus. Analysis mixing themes, media and structures in movies and written stories usually offer only partial and superficial conclusions due to a lack of theoretical considerations about concrete medial configurations and their specific intermedial qualities. In Rajewsky terms, my analysis examines the way contemporary novel, as the one here taken as an example, uses intermedial references from film language. Considering the aspects of each of the media involved, I will also discuss the conditions of novelistic production and reception inside the Hispanic literary traditions, that enable the presence of film intermedial references in narration.

9:40 AM - The Fabulative Function of Magic and Spiritualism in "Eisenheim the Spiritualist"/The Illusionist Lin, Wan-shuan (Yuanpei University, Hsinchu City)

In Steven Millhauser’s “Eisenheim the Illusionist,” the illusionist is accused of subverting the Empire of the Hapsburgs by blurring the boundaries between illusion and reality. Facing arrest, the illusionist breaks free from the grip of the empire and even brings down the heir to the throne by performing a series of magic routines, one of which disturbingly combines escapology and spiritualism, in The Illusionist, the film adaptation of the short story. The public hails his performance as a revolutionary movement through which the empire is to be turned into a certain spiritual republic. This paper aims at comparing Millhauser’s fiction and its filmic adaptation and exploring why magic and spiritualism, often slighted as no more than tricks and illusions, may contribute to allowing the new possibilities in politics to emerge. I argue that magic and spiritualism have a social and political function when considered as examples of fabulation in the Deleuzian sense. Gilles Deleuze takes up the Bergsonian notion of fabulation, a hallucinatory power that creates images of spirits and gods, and gives it a political sense by reconsidering it as part of the creative process that inspires every advance into the new. Artistic invention is a manifestation of such a process of creation which produces intense images that falsify those of the dominant social order. A space is thereby opened up where the possibility of something new is suddenly seen and a new collective, or a people to come, can be invented. Thus, Eisenheim’s magical art, described as being able to bend the law of life and death as well that of time and space, demonstrates how the fabulative function is set into motion.

10:00 AM - Redeeming Time: The Hollow Crown and Chimes at Midnight and their Transit through Tavern, Castle, and Battlefield in Henry IV Part 1 & Part 2 Monteiro, Flávia (Universidade Federal de Minas Gerais, Contagem, Brazil)

Even though Henry IV Part 1 & Part 2 have not received the same amount of attention as other Shakespearean plays concerning adaptations, the works derived from these plays provide a fruitful ground of analysis in the field of adaptation studies. The filmic adaptation Chimes at Midnight and the TV production The Hollow Crown are examples of explorations of these plays in other media. The study of these adaptations supplies an illustration of the historical development of entertainment -- Theater → Cinema → Home entertainment (TV series) along with the specificities of each medium. Tavern, castle, and battlefield are the main settings of comparison and contrast of particular devices and contexts involving the source text and its adaptations, film and TV series. Ultimately, the analysis of elements belonging to these settings, taking into consideration the use of devices particular to each medium, results in a view of each work as an object of art, with its own value and without the veil of prejudice which attributes a supposed superiority of one medium over the other.

11:00 AM - Toward a People's Art - A Study of the Odessa Collective and the Third Theatre Bhowmik, Ranjamrittika (Jadavpur University, Kolkata, India)

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

Very few art movements in the world are directed towards the economically poor and illiterate masses and address their artistic and cultural needs. Historical materialism attempts to relate the production and reproduction of culture to the organization of the material conditions of life. From the Marxist viewpoint, can it be said that a market-made culture is being sold to an audience who are compelled to buy it? In order to address this question among others, this paper will try to study The Odessa Collective of Kerala, and The Third Theatre of Badal Sircar (West Bengal) as two significant examples, which brought about socio-cultural awakenings in the fields of cinema and theatre in India. The Odessa collective was a socialist group started by filmmaker John Abraham in Calicut in 1984, which transformed the process of film production and distribution into a collaborative effort of independent filmmaking, whereas Sircar in the 1970s made the revolutionary move of distancing theatre from the structure of the Western proscenium. He developed a theatre that would rely on the human body where primacy would be given to the power of physical performance without relying on any external embellishments. Various forms of ‘dominant’ or ‘popular’ ideologies have tried to shape the ‘rural’ and ‘subaltern’ consciousness through the medium of art and culture, and by studying some of the most eminent plays of Sircar and films of Abraham as texts, this paper will try to raise and answer the above questions. Both the artists envisioned art for the common people: a people’s cinema and a people’s theatre. The unconventional screenings of both the Odessa Collective and Third Theatre relocated the audience from the enclosed space of the theatre to the outside world, made the performance accessible to the public, granted the audience greater agency by enabling it to participate rather than merely view the spectacle and facilitated a rural-urban synthesis in two different artistic mediums.

11:30 AM - Literature and the Visual Arts: William BlakeŽs different Tygers Oliveira, Solange (Federal University of Minas Gerais Brazil, Belo Horizonte, Brazil)

Considering the variety of treatments available for the development of similar themes in different media, especially as regards the limitations imposed by the possibilities of each medium, the paper discusses the contrast between the text of William Blake´s The Tyger and various intermedial transpositions of the poem to modern paintings. The analysis brings forth a number of pertinent questions, including the ancient rivalry between the power of the image and the power of the word, the paragone foregrounded in Jean Hagstrum´s canonical work, The Sister Arts . As a conclusion of the analysis, the paper sides with those who argue for the superiority of literary over pictorial representations_ a consequence of the abstraction and greater power of concentration afforded by verbal art. In this connection, we may briefly recall Hegel´s view on poetry as the highest of art forms, raised above, in ascending order, architecture, sculpture, painting and music. In his Aesthetics: Lectures of Fine Art, the philosopher argued that (verbal) language is the most spiritual, least material of the artistic media. Poetry is therefore best able to fulfill the primary tasks of art, and, in this regard, has been privileged over painting. This argument would explain why certain artists have restricted their pictorial representation to the first stanza of Blake´s poem, and even then have thought it necessary to split their painting into several sections, each focusing on a single descriptive aspect of the few verses of the stanza.

12:00 PM - Variations on a theme: Kandinsky, Joyce, and Vittorini Viselli, Antonio (Wilfrid Laurier University, Waterloo, Canada)

This paper will explore the intermedial adaptation of musical fugue in painting and literature. By studying not only a common theme amongst the sister-arts, but by defining what the term “theme” signifies in various media, I will question why particular artists revert to fugal form in different, even conflicting, media. Such transpositions problematize spatio-temporal boundaries, mimesis, and semiotics, and are in direct relation with a modernist representation of subjectivity. Fugue is by

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 definition the contrapuntal variations of a single subject or theme. Therefore, in lieu of retrieving a “source text” or hypotext – such as Bach’s unfinished Art of Fugue, for example–, I will question how and why particular artists of a certain period re-create a similar form/theme – or “style,” as musicologists have defined the fugue – beyond music in the works of Kandinsky, Joyce, and Vittorini.

2:00 PM - Iconicity, Rebelliousness, and Intermediality in Rock Music Culture Amancio, Maria Angelica (Universidade Federal de Minas Gerais (Brazil), Belo Horizonte, Austria)

Long hair, leather pants, boots, thumbtacks: Rebelliousness in rock is not only a musical phenomenon, but also – and, sometimes, mainly – a visual one. Jim Morrison, Ozzy Osbourne, Kurt Cobain, and many other rock stars have always been responsible, intentionally or not, for dictating styles and fashion trends. But how does iconicity interfere in what is supposed to be the most important medium of their music, i.e., their albums? Considering that nowadays audiences can easily download their favorite songs thanks to new technological tools and particular websites, the music industry has started to pay more attention to objects that can be attractive for their historical, visual and material/tactile aspect, such as: anthology box sets (The Beatles Anthology (1995) being one of the first examples in the CD era); new booklet formats; artist’s books ( such as the one that reproduces Bruce Springsteen’s lyrics notebook); and several other types of collaborations among musicians, lyricists, and graphic designers. Back in the 1980s, we can find this tendency in one of the most famous heavy metal bands in the world. Their mascot, a monster called Eddie, as well as the peculiar font used on the band logo, were present in all the covers and helped create a personality for the band. This logo font is now part of Microsoft Word font database, which helps us have an idea of its importance and success. By extension, booklets can help us reassess the role of authorship and authorial images in a moment when individuality and originality have lost their legitimating power. This paper analyzes the relevance of iconicity in those objects across three decades, comparing how the theme of Rebelliousness is treated in different media: visual and musical ones. It also notes how material transformations alters the ways in which culture is produced and consumed. Methodologies providing support to the analyses to be carried out include intermediality (Liliane Louvel, J.T.W. Mitchel, and Anne-Marie Christin) structuralism (Gérard Genette’s paratext theory) and postmodern theory (Frederic Jameson).

2:20 PM - Images from artists' studios Arbex-Enrico, Márcia (Universidade Federal de Minas Gerais -UFMG, Belo Horizonte, Brazil); Baptista do Lago, Izabela (Universidade Federal de Minas Gerais, Belo Horizonte, Brazil) This proposal aims at discussing the relationship between the arts and media from one of its most recurrent topoi: the artist's studio. In literature, this space is constantly referred to, in both nineteenth century narratives and contemporary texts that renew the tradition of Künstlerroman, when presenting characters – painters or photographers, as well as models and images – in this privileged space of creation. Metaphor of such literary creation space, the atelier takes many forms of ekphrasis that dialogue with pictorial representations of the artist's studio, also abundant in art history. The confrontation between the literary text and painting depicting the artist's workplace will allow us to identify the intrinsic characteristics of each of the media, their points of friction, as well as their contact points, in order to establish a parallel between the figure of the artist and the writer who, in a mirrored relationship, unveil their creative processes.

2:40 PM - One term, several meanings: transmedia according to different areas of study Figueiredo, Camila (Universidade Federal de Minas Gerais, Brazil, Belo Horizonte, Brazil)

The term “transmedia” arised from the recognition of some fluid medial characteristics, and has been useful and appropriate in the analysis of contemporary cultural products. Based on the triad

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 convergence of the media, participatory culture and collective intelligence, transmedia has described a strategy commonly used to expand narratives, explore fictional universes and develop medial characteristics that cannot be exhausted in one medium, but transcend to several other media. It has also come to be a profitable opportunity because it ultimately wins consumers from different niches and increases the engagement of the public. But more than simply the idea of “across media”, the definition and scope of the phenomenon vary according to the area of study. From transmediality to transmedia storytelling, from expanded or distributed narratives to cross-sited narratives, from multiplatform narratives to transmedia branding, transmedial practice has been defined in distinct ways and has also designated different phenomena. This text will investigate distinct views on the term, more specifically from the field of Narratology, Media Studies, Marketing and Intermediality. Understanding that the perspectives from these fields may collaborate so that the transmedia phenomenon can benefit from analyses in different approaches, this text will also propose a classification that aims to be useful to those research areas..

3:00 PM - Samambaia: a house as poem, novel and film Vieira, Miriam (ufmg, Belo Horizonte, Brazil)

Samambaia is a modernist house located in the outskirts of Rio de Janeiro, Brazil. Besides being the inspiration for Elizabeth Bishop’s Pulitzer winner poem Song for the Rainy Season (1960), the house has been remediated in other media, such as novels and a film — The More I Owe You (2010), by Michael Sledge; Rare and Commomplace Flowers : The Story of Lota de Macedo Soares and Elizabeth Bishop (1995), by Carmen Oliveira, and its film adaptation, Reaching for the Moon (2013), directed by Bruno Barreto. Since reception plays a major role in intermedial transformation processes, I argue that each time this architectural environment is remediated, it supplements not only the house per se, but also all of its transmediations in different media. Therefore, based on the notion of architectural ekphrasis, this paper aims at discussing different processes of intermedial transformation in different contemporary media products.

17126 - Dans quelle mesure l'effet de vie est-il la condition du langage de l'art ? Date: Monday, July 25th Room: Hs 42 Chair: Münch, Marc-Mathieu ; Guiyoba, François; Couto Pereira, Helena Bonito

9:00 AM - "L'effet de vie" de la lecture Lushenkova, Anna (Université Paris 4-Sorbonne, Villeurbanne, France)

Proposition de communication pour la table ronde "Dans quelle mesure l'effet de vie est-il la condition du langage de l'art ?"

A la lumière de la théorie récente de l’effet de vie, je souhaite interroger la vision des auteurs de la première moitié du XXe siècle des liens essentiels qu’entretiennent la littérature et la découverte de la « vie pleine ». L’effet esthétique de la lecture en est à l’origine dans un grand nombre de romans d’initiation du XXe siècle, et en particulier ceux de Marcel Proust. Les auteurs russes émigrés en France dans la première moitié du XXe siècle entament un dialogue littéraire avec Proust, en particulier autour des questions des rapports entre l’art, la lecture et la vie. Je souhaite interroger les visions de Marcel Proust, d’Alexeï Remizov, d’Ivan Bounine, de Iouri Felzen et d’autres auteurs autour des problématiques inhérentes à la réflexion sur la littérature et « l’effet de vie ».

Selon la théorie de l’effet de vie, l’effet esthétique de la lecture se rapporte essentiellement à une question de flux. Il s’agit d’un flux bilatéral, lorsque la lecture, alimentée par le « corps vital » du 146

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 lecteur, le nourrit simultanément. Ainsi, interroger la conception de la lecture par l’artiste permet de réfléchir à la question « Dans quelle mesure l’effet de vie est-il la condition du langage de l’art ? »

9:30 AM - La Notion d'invariant dans l'œuvre du poète syrien Adonis. bouderbala, tayeb (University of Batna-Algeria, Batna, Algeria)

Nous nous attacherons à étudier la notion d’invariant qui se dégage de l’œuvre de l’écrivain syrien Adonis dans la perspective de la théorie de l’effet de vie. En effet, toute l’œuvre de cet écrivain est informée par cette riche dialectique qui tente de mettre en perspective tout en les dépassant, la spécificité de l’expression littéraire et artistique et son inscription dans l’universalité. Autrement dit, les structures transhistoriques, appelées parfois structures anthropologiques de l’imaginaire, sont omniprésentes. Mais ces structures se déploient dans l’espace et dans le temps, selon une historicité particulière. En effet, la poétique arabe qui trouve son expression authentique et magistrale dans les textes d’Adonis essaie de concilier esthétique spécifique profondément enracinée dans l’héritage culturel arabe, et un fonds humain qui relève des universaux. La notion de l’effet de vie nous fournit ici une grille de lecture de cette œuvre, tant en amont qu’en aval, au plan de la forme, comme au plan de la signification. Nous fournirons des exemples vivants, en poésie comme en prose, pour illustrer cette notion qui est le fondement de tous les arts.

10:00 AM - La fraternité des arts à lŽépreuve des adaptations du poème Morte e vida severina, de João Cabral de Melo Neto PEREIRA, HELENA (Mackenzie Presbyterian University, Sao Paulo, Brazil)

Il ságira d´étudier la fraternité des arts dans lóeuvre de João Cabral de Melo Neto, Morte e vida severina, qui est un long poème dramatique, puis dans ládaptation avec musique de Chico Buarque en 1968, pendant la dictature, et enfin dans la version vidéo de 1981. Ma contribuition montrera comment chacune des trois oeuvres considerées met au service dún même effet de vie les moyens qui lui sont propres et, le cas échéant, comment elle les conjugue harmonieusement.

11:00 AM - Multiplicité d'art et de vie dans La piel que habito, de Pedro Almodóvar RODRIGUES-ALVES, Maria-Cláudia (IBILCE- Universidade Estadual Paulista, São José do Rio Preto - SP, Brazil)

Ayant pour inspiration le roman Mygale (1984) de Thierry Jonquet (1954-2009), le film La piel que habito (2011) est marqué par la multiplicité de références artistiques, de genres, d’identités. La peinture et le piano, passe-temps de Vincent/Eve, protagoniste de Mygale, devenu Vicente/Vera à l’écran, et leurs fonctions dans le roman (plutôt mélancoliques et provocatrices) ne peuvent pas être comparés aux activités créatrices du personnage recréé par Almodóvar, qui, plutôt que l’évasion, recherche son identité au moyen de l’art et de la méditation. Vincente/Vera survit dans sa condition captive avec le soutien des cours de Yoga à la télé et de la sculpture (l’œuvre de Louise Bourgeois), activités à partir desquelles il/elle donne vie à ses propres créations, en forgeant aussi sa nouvelle identité. L’univers du réalisateur espagnol sert de cadre à ce contexte de mort/vie. La mythologie et l’art, ses repères à lui, son identité, et pourquoi pas, son ADN y sont constamment présents, comme s’il voulait aider Vera à finalement se reconnaître en tant qu’individu, en tant que femme. Almodóvar, lecteur de Jonquet, devient alors le conteur d’une nouvelle histoire, où l’art sauve, et transforme le roman noir de l’écrivain français en une histoire épouvantablement lyrique et pleine de vie.

11:30 AM - LA PLURIVALENCE AU COEUR DE LA CREATION LITTERAIRE ET CINEMATOGRAPHIQUE DE SEMBENE OUSMANE DJOB-LI-KANA, Edouard Christian (Effet de vie, Trondheim, Norway)

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A travers l’idée de l’effet de vie, Marc Mathieu Munch propose une théorie esthétique où l’appréciation des oeuvres d’art se fait par rapport à l’effet qu’elles pourraient exercer sur les récepteurs. Munch pense que toute oeuvre d’art dite réussie est celle qui arrive à créer dans la psyché du récepteur co-créant un effet de vie, c’est-à-dire une vie artificielle, une seconde vie provoquée par la lecture de l’oeuvre et dans laquelle évolue ce récepteur. L’oeuvre d’art déclenche chez ce dernier les rêves, les souvenirs, les émotions, en lui ressuscitant un monde connu ou en lui faisant découvrir de nouvelles réalités. Donc pour Munch, la valeur esthétique d’une œuvre se mesure proportionnellement à sa force, c'est-à-dire à sa plurivalence. Chaque auteur devrait donc travailler à doter son texte d’une plurivalence, d’une esthétique capable d’installer une tension dans la psyché des recepteurs parfois venant de cultures différentes.

A tout prendre, l’on comprend que malgré la diversité des formes d’art, des démarches et des publics, la plurivalence, corollaire de l’effet de vie, est un élément universel et transversal des œuvres. Cet article le démontrera en montrant comment elle structure la création littéraire et cinématographique de La Noire, deux œuvres artistiques de sembène Ousmane.

12:00 PM - De la lecture intuitive à la lecture critique - Le spectacle de masques dans le roman d'Abe Kôbô La Face d'un autre Brock, Julie (KYOTO INSTITUTE OF TECHNOLOGY (KIT), KYOTO, Japan)

Le roman de l'écrivain japonais Abe Kôbô La Face d'un autre (1964) est à la fois un spectacle de masques et une réflexion sur le spectacle de masques. Dans notre communication, nous montrerons d'abord que la thématique du masque en tant que « nouveau visage » peut s'interpréter comme une fiction au premier degré, mais qu'elle a également une signification en tant que métaphore du roman lui-même dans une lecture du second degré. Ayant admis cette dualité, nous chercherons à en découvrir l'unité par le biais du témoignage. En nous fondant sur les éléments d’une lecture que nous avons faite il y a trente ans, et qui nous a engagée dans une longue pratique de l’analyse critique, nous interrogerons rétrospectivement notre pratique de recherche afin d'expliciter comment s’est articulé, dans notre expérience, le passage entre la lecture spontanée et la réflexion critique. Nous espérons par ce questionnement éclaircir le processus par lequel un lecteur ordinaire se transforme en un lecteur critique, et comment il prend conscience des enjeux de la création. En conclusion, nous montrerons que la lecture, en tant qu'activité intellectuelle, constitue son objet en fonction d'un horizon d'attente plus ou moins formulé et conscient. Cette part de l’activité peut faire l'objet d'un partage entre différents lecteurs et alimenter une discussion profitable à tous. Mais nous montrerons également qu'une autre part de la lecture, stimulant des zones plus profondes de la conscience, procède de la structure de l'inconscient, du rêve, c'est-à-dire d'une réalité non objective, et qu'il est impossible d'admettre au rang des objets scientifiques. Pour finir, nous poserons la question de savoir si le propre de la littérature - notamment romanesque - n'est pas justement d'atteindre à ces profondeurs inconscientes de la psyché, favorisant l'éveil de la conscience du lecteur sur les éléments constitutifs de son « moi » le plus intime... et paradoxalement d'un « moi » étrange, non familier.

2:00 PM - Fiction et effet de vie, deux faces du même code universel des arts. Münch, Marc-Mathieu , France

Les nombreuses recherches récentes sur la fiction semblent bien se rencontrer dans l'idée que l'être humain ne peut vivre et survivre que grâce au cerveau que l'évolution lui a donné. Celui-ci fonctionne en modélisant le monde, lui-même et l'avenir. Or cette puissance de prévoir, de faire des hypothèses, d'imaginer peut aussi servir à créer des mondes fictifs que la dextérité des artistes peut rendre présents et faire vivre dans l'esprit du récepteur.

Je vous prie de recevoir l'expression de mes hommages distingués

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2:30 PM - La fraternité des arts en Afrique Guiyoba, François (Ecole normale supérieure de Yaoundé, Yaoundé, Cameroon)

Mon propos va se situer sur l'axe de "La fraternité des arts" et va porter sur « La fraternité des arts en Afrique traditionnelle : polyvalence des artistes et entrelacement des arts ». Il s'agira de montrer que, dans la société traditionnelle de ce continent, les arts fraternisent tout naturellement en raison de la polyvalence de tout artiste digne de ce nom. Sous ces cieux, on n'est pas musicien ou sculpteur ou conteur, etc., mais musicien et sculpteur et conteur, etc. Un peu comme si l'art ne se déclinait qu'au singulier, pour ne se manifester qu'en un pluriel interdisciplinaire, voire transdisciplinaire.

17218 - (Queer) Relationality: Gender and Queer Comparatists at Work Sponsored by the Comparative Gender Studies Committee Date: Friday, July 22nd // Saturday, July 23rd // Monday, July 25th // Tuesday, July 26th // Wednesday, July 27th Room: Hs 21 Chair: Spurlin, William

11:00 AM - Stein's and Hemingway's Queer Relationality Coffman, Chris (University of Alaska Fairbanks, Fairbanks, AK, USA)

This paper will examine Gertrude Stein’s highly fraught friendship with Ernest Hemingway. Hemingway’s initial supplication to Stein’s tutelage transformed into retaliatory aggression once he noticed Alice B. Toklas’s power over her. Whereas Stein admits in The Autobiography of Alice B. Toklas to having “a weakness for Hemingway” despite his faults (208), Hemingway—who notoriously spoke of wanting to “lay” Gertrude—spitefully attacked her relationship with Toklas in his memoir A Moveable Feast (Benstock, Women of the Left Bank, 171). Considering that text as well as Stein’s portraits of Hemingway, I will argue that the homophobia evident in Hemingway’s treatment of Stein was a form of paranoia about the prospect that their masculine homosocial bond might also have included masculine homosexual desire. The result of this reaction was a volatile mix of “desiring, identifying, representing, repelling, paralleling, differentiating, rivaling, leaning, twisting, mimicking, withdrawing, attracting, aggressing, warping, and other relations”—forms of relationality that play out in the texts through which Stein and Hemingway engage one another (Sedgwick, Touching Feeling, 8).

11:30 AM - Between Queers, Queers Between: HIV, Community, and Bi Queer Erasure Greenblatt, Jordana Marion (University of Toronto, Toronto, Canada)

Listing who might benefit from HIV PrEP, the US Center for Disease Control mentions gay/bisexual men and “ heterosexual[s] …with partners …at substantial risk of HIV infection (e.g., people who inject drugs or have bisexual male partners).” Eliding bisexual women and conflating gay/bi men reflects safer sex organizations’ broader tendency to ignore bi women and/or lump non-monosexual queers in general with gay men or lesbians. Extending beyond safer-sex info to broader queer culture, such lumping ignores the health needs of bi queers and denies the existence of bi queer community. As Patrick Califia notes, “ …HIV education programs …for ‘gay/bisexual’ men …never include any information relevant to bisexual men’s female partners.” Neither does most information for “lesbian/bisexual” women, which primarily addresses sex between cis women. Framed as “gay” or “heterosexual” depending on their partner, bi queers who only or primarily have sex with other queers find no information geared to their specific needs, a lack disproportionately affecting queer women who have sex with queer men. Recognition of such queers exists only rarely in the margins of 149

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 safer sex information, and more commonly in writing by queer-not-gay authors such as Califia and Carol Queen. Their work (fiction and non-) contrasts with monosexual queer literature, such as Sarah Schulman’s People in Trouble, wherein Kate is a tourist with less stake in the AIDS crisis even than “proper” lesbian activists, and her bisexual practice is framed as an inability to give up hetero privilege. As Kenji Yoshino notes, hetero- and homosexuals share investments in policing identitarian boundaries by eliding bi queers. This reassertion of “clean and proper” community boundaries replicates the investment in reasserting clean and proper bodily boundaries that William Haver observes within HIV safer sex discourse—a reassertion that comes at the cost both of recognition and of the sexual health needs of queers “in between.”

12:00 PM - Transgender Boom?: (Non)Relativities of Contemporary Transgender Autobiographies in Transnational context Mahasupap, Saran (Transgender Boom?: (Non)Relativities of Contemporary Transgender Autobiographies in Transnational Context, San Francisco, USA)

Currently, transgender is put in the spotlight in media and public. At present, popular culture creates the new bar of tolerances and (re)open space for voicing transgender existence. In cultural aspects, this phenomenal implicitly reshaping and, gradually, ameliorating tolerance toward transgender. This seems to give a better picture of transgender issue. However, what is represented through media and public remains prejudice. In other words, transgender seems to be created with a sense of distorted or foreign body and fabricated femininity. Transgender seems to be generalized as a strange body.

Repetitive prejudice toward transgender in media is still galore. Therefore, transgender have to use tactics of empowering their self- narrative. Transgender autobiographies thus are applied as a tool in arguing and creating power and agency of transgender. Exploring current autobiographies of transgender, it gives the sense of relativities of "becoming" transgender and depicting performative and constructive identity of transgender through narratives. Self as foreign identity and body are narrated and depicts its closely bound as relativities of how to become a transgender. Autobiographies of transgender employ the process of narration to redefine self and creatively recreate the concept of foreign body based on their experiences.

The concept of foreign body becomes a one of the core ideas that reach to construction of transgender identity. However, the relativities of transgender identity in contemporary autobiographies is not ideally related and share the similarity. The narrative of transgender vividly has tensions in variants of differences like race, religion and spaces. This differences is able to break the relativity of transgenders and give the diversities of transgender itself. Transgender autobiographies therefore enable to be in-between space and transitional point of not only gender but the nexus of several discourse like bodies, races, religions and nations.

This study aims to explore the relativity and its limit in contemporary transgender autobiographies in Thailand, India, China USA and Germany and also gives the analysis of in-between position of transgender which is not only sharing gender concepts but also differs and unique itself by the various conditions seen in different discusses and spaces.

Date: Saturday, July 23rd

11:00 AM - Running against the Limits of Language: Nathanaël's "Paper City" ("Papierstadt") Tutschek, Elisabeth (Université de Montréal, Montréal, Canada)

Following Wittgenstein’s remark in conversation with Waismann, “[a]nrennen gegen die Sprache? Die Sprache ist ja kein Käfig” (Wittgenstein, Schriften, Bd. 3 117),1 this paper aims to queer 150

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 translation and explore the space ‘in-between’ languages and the notion of ‘untranslatability.’ Its objective is, on the one hand, to create a link between expressions of ‘queer’ and Wittgenstein’s language philosophy, and, on the other hand, to illustrate translational practices that are “at odds with the normal, the legitimate, the dominant” (Halperin 1995: 62). Turning to Nathanaël’s Paper City (2003), I will first show how this text is queer as it transcends binary oppositions, exploring the frontiers of language, sexuality, and genre. The sexual attributes and linguistic gender of its protagonist n corrupt the heterosexual matrix: “n tucked her soft cock into her skirt” (11). Another character, “[kw?t],” is “unnameable” (17) as it crosses the linguistic boundaries of the French ‘quoi’ and the ’English ‘what,’ creating a lexical hybrid. This is how Nathanaël claims “l’intraduisible” (51).

By breaking open two linguistic systems through code switching and lexical amalgamations, Nathanaël creates a hybridity that also modifies the grammatical structure of her multilingual English and French writing. My paper confronts the (un)translatability of this hybridity and the queer text. It proposes translation strategies for the multilingual queer narrative and, in particular, Paper City, focusing on code switching and wordplay like the above mentioned ? (‘quat’) and their translation into a third language, German. My discussion hence brings the challenges faced in translating Die Papierstadt back to Wittgenstein’s mother tongue.

11:30 AM - Translation and/as Queer Politics in Contemporary Francophone Life Writing from the Maghreb Spurlin, William J. (Brunel University London, London, United Kingdom)

This paper scrutinizes new representations of same-sex desire and queerness emerging in postcolonial francophone literature by gay and lesbian authors from the Maghreb. It identifies and interrogates issues around linguistic and cultural difference and translation, and thus explores new sites of (queer) relationality. The paper argues that authors such as Nina Bouraoui, Rachid O, and Abdellah Taïa foreground translation and narrative reflexivity around incommensurable spaces of queerness in order to index their negotiations of multiple languages, histories, cultures, and audiences. These complex textual and political strategies respond to the fact that these writers are now living in diaspora and that Maghrebian spaces of gender and sexual dissidence are now increasingly inflected by globally circulating discourses and embodiments of queerness and therefore must be understood comparatively, given their simultaneous destabilisation of cultural norms around gender, sexuality, and national belonging both within North Africa and in Europe.

12:00 PM - Queering Coetzee: Kristien Hemmerechts' Transwriting of "Disgrace" Plate, Liedeke (Radboud University, Nijmegen, Netherlands)

In the summer of 2015 Flemish author Kristien Hemmerechts publishes her novel *Alles verandert* (*Everything Changes*), in which she transwrites J.M. Coetzee’s *Disgrace* (1999), transforming its main protagonist from male to female and moving the setting from post-apartheid South Africa to postcolonial Belgium. Hemmerechts stays close to Coetzee’s plot. Like David Lurie in Coetzee’s novel, Iris Verdonck is a professor of literature who loses her job after an affair with a female student. Verdonck is specialized in issues of gender, having developed a TransSexLit test, which demonstrates that, “Everything changes when you change the character’s sex” (47). The novel itself is, of course, such a TransSexLit experiment, exploring relations of language, violence, sexuality, gender and other power relations in the context of postcolonial and multicultural Belgium. Not only do straight sexualities become queer, but issues of race/ ethnicity, class and migration are brought to bear on the narrative, as she is molested by three women from North Africa who forced their way into the house where she stays with her son, who is housesitting for a Belgian diplomat.

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In this paper, I discuss *Alles verandert* as a transwriting; that is, as a rewriting in another language, a transposition to another socio-cultural and historical setting, and a transformation of gender, sex and sexuality that translates Coetzee’s *Disgrace* quite queerly. On the one hand, I inquire into Hemmerechts narrative, exploring how it relates to, touches, and transforms Coetzee’s novel. On the other hand, taking my cue from Eve Kosofsky Sedgwick’s “irreducibly spatial positionality of *beside*” (2003: 8) as generative preposition, I inquire into the space Hemmerechts’ transwriting opens up in between the two texts through the relations that emerge between the performative work of transwriting and that of transgender/transsexuality.

Date: Monday, July 25th

11:00 AM - Transgressing Translation/Translating Transgression: In Search of Lili Elvenes Caughie, Pamela (Loyola University Chicago, Chicago, IL, USA); Meyer, Sabine (Independet Scholar, Berlin, Germany)

In 1930 Danish artist Einar Wegener underwent a series of surgeries to become Lili Elvenes (a.k.a. Lili Elbe). Fra Mand Til Kvinde: Lili Elbes Bekendelser (published in Denmark in 1931, in Germany under the title Ein Mensch wechselt sein Geschlecht in 1932, and in Britain and the U.S. in 1933 as Man into Woman: An Authentic Record of a Change of Sex) is the life narrative of Lili Elvenes, considered by some scholars to be the first historical transsexual. Working with Danish translator Marianne Ølholm, we are producing a comparative scholarly edition of this work, with the first full-length translation of the Danish edition. Our separate comparative analyses have revealed numerous and significant differences between the Danish edition and the others. For example, the Danish edition contains several dream sequences missing from the others. Place names and names of characters also differ, as do dates of letters and the ages of characters. Significantly, a few passages in the Danish edition use the feminine pronoun for Lili where the German and English-language editions use the masculine or avoid the pronoun altogether. The Danish edition also gives Grete much more space, fleshing out her character as a “modern girl.” Differences due to translators’ choices and striking paratextual differences among the four editions affect the reading experience. Our presentation will consider the effect of these textual and paratextual variations and lexical differences on feminist, queer, and trans readings of the narrative. Trans life writing in general disrupts conventions of narrative logic by defying pronominal stability, temporal continuity, and natural progression. It thereby demands analysis beyond a conventional genre-based framework, work we have undertaken in separate publications on this narrative. Our particular focus in this presentation will be on the effects of these different translations on how transsexualism (a term of the time) gets constructed through this narrative. Where does transsexualism reside in such a multilingual narrative? Might any transnarrative be a translation, residing in the spaces between languages?

12:00 PM - Gendered Violence and the Digital Body? Zimmerman, Tegan (Okanagan College, Edmonton, Canada)

The popularity of online media like social media, video games, You Tube, blogs, etc. has been changing the landscape of how feminists understand and define embodiment for quite some time. This presentation, however, argues that given the proliferation of online gendered violence in the aforementioned mediums, an urgent re-assessment and rethinking of digital embodiment is necessary . Drawing on feminist scholarship on the body by Susan Bordo and Rosi Braidotti amongst others, I analyse several examples from online popular culture to support my argument that it is imperative for gender theorists to consider the digital body as embodied. One of my primary examples will be the potential to rape other online users in the video game Grand Theft Auto V. In my discussion, I will outline how I am using the terms embodied and disembodied, online and offline and proceed to question whether a differentiation between these ideas is useful or even makes sense when theorizing gendered violence. Moreover, I will touch on several key ideas such as s patial 152

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 and cultural notions of online physical proximity, perceived identities of and relations between online users, and how intersections between gender, sexuality, race, ethnicity, national and religious affiliation, as well as disability influence one’s conceptions and experiences of online embodiment and disembodiment. A relational analysis of “online” gender and violence is both suitable and necessary given that the political stakes of this timely topic.

11:40 AM - Challenging the Centre: Alternative History of 'Deviancy' in the Self-Representations of Women Sex Workers from India GUPTA, SEEMANTINI (Independent Scholar, KOLKATA, India)

This paper seeks to explore the construction of the identity of ‘deviant woman’ in contemporary India with specific reference to the issue of sexwork. I would be analysing self- representations of sexworkers in oral narratives to analyse how the sexworker’s subaltern ‘self’ plays a significant role in re-constructing the narrative of 'deviancy' in India. The purpose of the paper is to arrive at a better understanding of the processes through which the notions of deviancy and subalterneity are constructed.

In this paper, I analyse the history of sexwork in colonised India and argue that the ‘other’ing of sexworkers with respect to both cultural ideology and legislative parameters is a legacy of the Victorian moral and legal system. I analyse a few oral narratives of women sexworkers to find how the unique subjectivity reshapes one’s identity. I argue that in her construction of the ‘self’, a sexworker often challenges and subverts the master discourse which had criminalised her as a ‘deviant’ woman. These oral narratives asserts a ‘deviant’ woman’s agency-claim—over her body, sexuality and her profession and re-shape the narrative of deviancy.

I argue that these oral narratives are ‘non-traditional’ sources of history and are important in understanding the gaps and aporias in the traditional narratives of deviancy in postcolonial, post-globalised India. Read against various legislative measures which are taken by the Indian government to police sexwork in the country, these narratives help locate the silences of mainstream history and facilitate an understanding of the social motivation behind the silences. Reading the oral narratives, the marked biases in the dominant discourse on sexuality become evident. The self-representations also help the researcher to develop a perspective of the ‘centre’ from the ‘margins’ and have the potential to undo the system of male dominance which marginalises not only the ‘deviant’ sexworkers, but all women.

12:00 PM - Beautiful Boys on the Horizon of Cross-Cultural Spaces Arvas, Abdulhamit (Michigan State U, LANSING, USA)

This paper explores the beautiful boy as an erotic embodiment of territory to underscore the relationship between sexuality and space, between hierarchical sexual objectification and territorial objectification in early modern Ottoman and European representations. In tracing this sexual embodiment though a queer contrapuntal reading of literary and cartographic representations, I uncover a horizon of different spaces that makes possible what seems impossible through its heterogeneous significations. The boy on the horizon, I suggest, is subject to the homoerotic gaze of the poet, the cartographer,and the reader.

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Date: Tuesday, July 26th

11:00 AM - Frameworks, Rituals, Mirroring Effects. A Queer Reading of the S/M Relationship Fusillo, MASSIMO (University of L'Aquila, ROMA, Italy)

Sadomasochism played an important role in Michel Foucault’s reflection on power and sexuality; he «espied in Sm the potential for constructing an alternative form of community and relationality, which would escape regolatory and normative relations of knowledge and power, by playing with and de-contextualizing that power. SM dramatises the elasticity and two-way directionality of power […] by enabling players to reverse the roles of dominant and subordinate partner at any given point» (L. Downing, in D. Langridge – M. Barker (eds.), Safe, Sane and Consensual. Contemporary Perspectives on Sadomasochism, Palgrave Macmillan, 2013). According to this perspective, some theorists highlighted the queer potential of BDSM: the ability to create a space of experimentation of new relationalities (for example, in the same volume, R. Bauer, Playgrounds and New Territories: the Potential of BDSM Practices to Queer Genders). This vision certainly depicts some subversive aspects of BDSM culture, such as the figure of dominatrix or the practice of gender reversal, but it sounds, as a matter of fact, too anarchistic and one sided, since in the BDSM prevails a fascination for totalizing, pure and coherent roles. This paper will argue that the queer nature of the master and slave relationship lies in its performative and ritual character: in its exaggerating scenes and costumes in a specific setting, and in its presenting power as a consensual game, based on empathy and mirroring effects. After this theoretical discussion, which will cover Lacan’s concept of masquerade re-used by Linda Williams, the paper will analyse some of the few literary and artistic representation of BDSM devoid of stereotypes and morbid connotations: especially Roman Polanski’s filmic adaptation of David Ivers’ Venus in Fur, which rewrites von Masoch’s masterpiece, contaminating it with a reference to the myth of Dionysus; and some recurrent scenes in Robbe-Grillet’s narrative and filmic production, which can be read in parallelism with his wife’s Catherine Robbe-Grillet’s activity as dominatrix.

Date: Tuesday, July 26th

11:20 AM - Figures of Maternal Violence: Embodiments of Radical Otherness Schmidt, Rita Terezinha (Federal University do Rio Grande do Sul, Porto Alegre, Brazil)

Resistances to self-sacrifice, ambivalences, denials and plain rejection in relation to maternity or maternal nurturance are inscribed in the trope of the “unatural woman” that emerged in the XX century in literary works by female writers from different geopolitical and cultural locations whose deployment of post-romantic strategies delegitimizes romance plot considered part of an ideological apparatus for the maintenance and reproduction of the sex-gender system while encoding in their writings new rhetorical representations and symbolical/social inscriptions of agency for female characters. In the ground-breaking historical and theoretical considerations on motherhood as an institution with norms designed to keep women in servitude, Simone de Beauvior regarded the female reproductive body as inherently oppressive and decried ‘maternal instinct’ by stressing repeatedly that biological facts cannot ground human values. Since the seventies, the interdisciplinary field of theoretical inquiries into femininity, sexual difference, female subjectivity and identity, subject-formation, female body, reproduction and nurturing, grounded on a wide spectrum of philosophical perspectives and methodological frames, yet maternal violence as a historical fact and a fictional event has been sidelined and as it stands today, it constitutes a repressed subject matter, a taboo in western culture. My proposal is to examine figures of infanticide in two novels, Uma duas (One Two -2011), by the Brazilian writer Eliane Brum, and Ventos do apocalipse (Winds of Apocalypse -2010) by the Mozambique writer Paulina Chiziane. I will focus on the relational dimension of rage, grief and violence related to scapegoating and projections such as 154

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 marginalization, disavowal, denial and objectification, with aditional comments on the novel Beloved (1987) by Toni Morrison. But instead of privileging a textual interpretation predicated on the logic of cause/effect, I want to probe into the effect, an impossible scenario of unmitigated negativity, to explore the problematic of the limits of the human and the performativity of aesthetic narratives in the scope of current discussions on violence, law and ethical relationality.

11:40 AM - Voice and Self-Empowerment. On Sexual Violence against Women in 21st-Century Prose. Nenadovic, Ana (University Vienna, University Banja Luka, Vienna, Austria)

Multiple female experiences relate one to another across space, time and national literatures. A bonding female experience, in times of both war and peace, is sexual violence. Sexual assault and rape of women has been a literary motif since the Antiques, therefore, its representation has varied. Whereas the representations of, e.g. Lucretia's rape illustrate a self-determined female character, in recent Latin American and South African prose a trend to silence and victimize female characters, who experienced sexual violence as adults, can be distinguished.

By comparing various prose works by authors as recognized as Zoë Wicomb, Zakes Mda, J.M. Coetzee, Mario Vargas Llosa, Roberto Bolaño and Gabriel García Márquez, the representation of women by men and the female voicelessness, as theorized by Gayatri C. Spivak in her essay Can the Subaltern Speak? , is striking as is the victimization of the female characters.

Even though it is female characters, who experience sexual violence, it is the male characters' perspective the readers are confronted with. The male perspective in the works is achieved through the narratological strategies of focalization, distance and mode as described by Gérard Genette. By denying the female characters to talk about their experiences, the healing- process and, therefore, the way back to self-determination is impeded, as constituted by Judith Herman in Trauma and Recovery . While voicelessness appears on different levels, still the suffered trauma cannot be overcome. As a consequence, the female characters remain their predators' and traumas' eternal victims.

This presentation aims to demonstrate that, in selected works of prose from different Latin American countries and South Africa, victimization and voicelessness are tightly connected, leading to the conclusion that voice and self-empowerment predetermine each other.

Date: Wednesday, July 27th

11:00 AM - Die Kryptographie des queren Vertrauens: Subalterne Relationelle Erzählgestalten von Auf der anderen Seite bis Barbe-Bleue Mild, Matthew (The Tapestry, Cambridge, United Kingdom)

Im Erzählaufbau literarischer und sonstiger Texte spielen das Vertrauen in Relationen und das Verlangen nach der Entwicklung mehrerer Weltbilder durch immer neuere kryptisch messbare Vertrauenserweiterungen die Rollen von Eros und Psyche auf der Alltagsbühne der relationellen Erfahrungen. Sowohl auf dem Bildschirm als auch auf gedruckten Seiten steht das archetypische Abbild des queren, erweiterten Vertrauens im türkisch-deutschen Queerfilm Auf der anderen Seite (2007) von Fatih Akin und im feministischen Roman Barbe-Bleue [Blaubart] (2012) von Amélie Nothomb im Vordergrund. Diese Deutung vergleicht die zwei Texten mittels der Anwendung einer Spivakschen poststrukturalistischen subalternen Umkehrmethode und durch die Analyse der von 155

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Kimberle Crenshaw theorisierten Sozialintersektionen. Dabei werden auch noch intertextuelle Vergleiche zu den postfeministischen Queermusikvideos Lady Gagas, dem türkisch-italienischen Queerfilm Saturno contro [In Ewigkeit Liebe] (2007) von Ferzan Ozpetek und Angela Carters feministischen Werken diskutiert. In den reichen Erzählgestalten Akins und Nothombs verkörpern eine lesbische Militantin und die neue Hausmieterin eines Mörders schöpferische Darstellungen von Queer- und Frauensubversion. Wie im gleichnamigen Märchen darf die neugierige Hausmieterin die Kammer des Mörders nicht aufschließen und achtet das Verbot trotzdem nicht. Die Militantin im Spielfilm schließt mehrere verbotene Kammer ihrer Heimat auf. Relationelle Umwertungen sind für die beiden Figuren besonders wichtig. Diese Interpretation bespricht insbesondere deren phänomenologische Wahrnehmung struktureller Intersektionen, unkonventionelle Beziehungen und Versöhnung von Vertrauen und Verlangen. Heimat und Haus finden sich zu Schauplätzen einer kryptischen Überprüfung auf deren Unabhängigkeit verwandelt.

11:20 AM - Gesturing Toward Queer Temporality: Erotohistoriography in Renee Gladman's "Event Factory" and Bhanu Kapil's "Incubation" Dilts, Rebekkah (UC Santa Cruz, Los Gatos, USA)

Recent theories of queer temporality seek to attend to experiences of loss, trauma and marginality by advocating conceptions of history that fracture or at least deviate from “straight time.” Elizabeth Freeman’s notion of queer temporality in particular postulates that a queer writing of history can be both embodied and erotic. I am interested in considering what Freeman’s ideas about an embodied and erotic queer writing of history might yield when applied to Renee Gladman’s book Event Factory, and Bhanu Kapil’s book Incubation. These two authors have invested their work in questions about the relationship between texts and bodies, object and experience, language and intimacy, and their personal experiences as queer – variously as woman, lesbian, immigrant, racial minority – have called upon them to create their own queer relationships to space, language and personal history.

In Event Factory, I am interested in how the book’s defiant narrative structure and invention of an “un”-readable language offers a queer poetics that itself gestures towards a queer temporality that emerges from the act of reading.

In Kapil’s Incubation, I explore how the narrator’s act of hitchhiking is a queer one that seeks to abandon neat temporal frames like family, femaleness, and safety. The book’s invocation of the cyborg body, via the act of hitchhiking, seeks affinities in boundary-less or border spaces that require “queer” types of identification and intimacy.

In addition to Freeman’s figuration of queer temporality in her book Time Binds, I engage with theorists Judith Halberstam and José Muñoz’s definitions, outlined in In a Queer Time and Place and Cruising Utopia respectively. I will argue that the queer poetics employed by Gladman and Kapil, for us as readers, construct spaces where new forms of intimacy, where a queer temporality, can emerge.

11:40 AM - Identities Performed in Interaction: Queer Literary Theory and Positioning Theory Dell'Aversano, Carmen (Università di Pisa, PISA-PI, Italy)

Queer theory is ultimately a critique of identity, dissolving it into the performances out of which it is constructed.

My paper aims to explore the contribution that a recent methodology of the social sciences, positioning theory, can make to a queer literary criticism. By showing that identities are not essences but relations, and that they are constructed through the iteration of invariably interactive

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 performances, positioning theory can help build a research programme for literary criticism on queer theory’s most basic ontological assumption.

The originators of positioning theory, Harré and van Langenhove, define it as “the study of local moral orders as ever-shifting patterns of mutual and contestable rights and obligations to speaking and acting”. This definition makes it clear that, far from being an essence, identity is impermanent and only exists in interaction. The definition of the theory’s basic construct, “position”, as “a complex cluster of personal attributes which impinges on the possibilites of interpersonal, intergroup and even intrapersonal action” shows its intrinsically relational nature.

Because of the fluid nature of positions, positional analysis necessarily operates by focusing on minimal units of interaction. This is why a number of traditional fields of literary analysis, such as rhetoric and stylistics, can contribute significantly to the quality and interest of the results of positional analyses, even improving on the way they have so far been conducted and presented in the social sciences literature. By formulating research questions stemming from queer theory in such a way as to make it possible to answer them with the tools of rhetoric and stylistics, positioning theory has the potential to act as a bridge between the relatively abstract concerns of the former and the extremely sharp, but sometimes narrow, focus of the latter, and to make some of the most traditional metods of literary analysis relevant to queer theory.

17220 - ATELIERS : Aspekte der österreichisch-französischen Kulturbeziehungen / aspects des relation Date: Wednesday, July 27th Room: Übungsraum Germanistik 2 Chair: Karl, Zieger; Bachleitner, Norber

2:00 PM - Austrian Periodicals as Media of Cultural Transfer between France and Austria (ca. 1790 to 1848) Bachleitner, Norbert (Universität Wien, Vienna, Austria); Werner, Juliane (Institut für Europäische und Vergleichende Sprach- und Literaturwissenschaft, Austria) The paper will present a sample of magazines that were important for the transfer of French literature and other cultural areas. As a starting point we choose reports about French politics and literature at the time of the Great Revolution in conservative magazines such as the Magazin der Kunst und Literatur (1793-97; ed. by F. F. Hofstätter) and Französische Mord- und Unglücksgeschichten (1793/94; ed. by L. A. Hoffmann) as representatives of the reactionary phase under emperor Frances II. The paper will then highlight magazines dedicated to general information and entertainment, e.g. the Allgemeine Theaterzeitung (1806-60; ed. by A. Bäuerle), Der Sammler (1809-46; ed. by I. F. Castelli and others) and the Wiener Moden-Zeitung (1816-50; ed. by Johann Schickh and others). Due attention will also be paid to the role of French-language periodicals such as Le nouvelliste français (1815/16; ed. by Karl Reichard), Alliance littéraire (1839/40; ed. by L. Waiditsch), or the Journal de littérature étrangère (1841/42; ed. by Antoine Lagerhanns).

2:30 PM - Degeneration, Masochismus, späte Rezeption Übersetzungen österreichischer Literatur ins Französische um 1900 Mitterbauer, Helga (Université Libre de Bruxelles, ULB, Bruxelles, Belgium)

Während französische Kulturzeitschriften bereits ab Mitte der 1890er-Jahre regelmäßig auf die Wiener Moderne hinwiesen, setzte mit Ausnahme weniger Werke Arthur Schnitzlers die Übersetzung

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 der Publikationen von Jung Wiener AutorInnen erst mit einiger Verspätung ab den 1920er-Jahren ein. Im letzten Viertel des 19. Jahrhunderts interessierten sich die französischen Leser vor allem für Leopold von Sacher-Masoch: Von seinen jüdischen und galizischen Geschichten bis zu den erotischen Texten, auf Basis derer der Masochismus zu seiner Bezeichnung kam, wurde fast sein gesamtes Œuvre – meist von Anne-Catherine Strebinger – ins Französische übersetzt. Daneben wurde Max Nordaus Entartung intensiv diskutiert. Bekannte Autoren des Fin de Siècle wie Hofmannsthal, Rilke, Schnitzler in größerem Ausmaß, Werfel, Wassermann und Zweig wurden im Gegensatz dazu erst ab den 1920er-Jahren übersetzt, als man auch bereits die nächste Generation (Kafka, Max Brod, Vicky Baum) auf Französisch lesen konnte. Die Ausführungen zeichnen die historischen Entwicklungslinien der Übersetzungen österreichischer Literatur von 1880 bis 1930 ins Französische nach und erläutern deren Intentionen und Rahmenbedingungen anhand von Para- und Metatexten.

3:00 PM - L'image de l'Autriche dans quelques revues françaises des années 1920/30: vers une nouvelle identité culturelle? Zieger, Karl (Université Lille, Lille, France); Wilker, Jessica (Université Lille, Lille, France)

En France, pendant longtemps, l'Autriche a été associée à l'Empire des Habsbourg et à la conception d'un état multiculturel, considéré par les uns comme „une prison des peuples“ et par les autres comme état essentiel pour l'équilibre en Europe et rempart contre une domination prussienne en Europe centrale. Du point de vue littéraire et culturel, c'est notamment la „modernité viennoise“ qui a retenu l'attention et l'intérêt du public français. Que devient cette fixation à „l'esprit viennois“ après la chute de l'Empire et la création de la Première République? À cette question, cette communication tente de répondre en analysant des articles consacrés à l'Autriche dans les années 1920/30 dans différentes revues françaises, notamment le Mercure de France, revue avec une ambition artistique et esthétique affirmée, la Revue de Paris, grande revue „généraliste“ et la Revue des Vivants, revue moins connue que les précédentes, organe des „Anciens combattants“, proche des idéaux de la „Société des Nations“. Sera examiné notamment le rôle de ces articles et de leurs auteurs pour la compréhension de la culture de „l'autre“ et pour les échanges entre les deux pays.

Jessica Wilker (Université Lille, EA 1061 ALITHILA, F-59000 Lille, France)

17222 - Island Fictions and Metaphors in Contemporary Literature Date: Friday, July 22nd // Saturday, July 23rd // Monday, July 25th Room: Übungsraum Germanistik 4 Chair: Schödel, Kathrin ; Dautel, Katrin

11:00 AM - Out of time: literary islands and their distinctive temporalities Zubarik, Sabine (Universität Erfurt, Erfurt, Germany)

One of the main focuses of island studies – on fictional as well as real islands – usually lies on the distinctive spatiality of islands (given by their size and form, their extreme geological conditions and the distance from the mainland). Though acknowledging the important emphasis on the spatial categories, this paper wants to focus instead on the distinctive temporalities that island narrations propose and that so far – even if sometimes mentioned aside – are generally neglected by academic studies as a decisive topic (exceptions are e.g. Moser; Rod & Smith).

Many contemporary novels on islands dwell explicitly on the shifted experience of time, or even the entire loss of temporal relations, which the protagonists have to deal with or sometimes come to embrace (e.g. Kracht; Schrott; Wegehaupt; Hettche; Seiler; Eco; Cortázar; Pehnt).

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This contribution aims to analyze certain “other-time”-modalities in selected examples that propose a disruption with the globalized regime of international “common time”. Such modalities are: deceleration, standstill, individual versus socio-political time, unreliable time, stretched or distorted time, multilayered or superposed time, timelessness, and irrelevance of time.

The question behind this survey is: Why are island-settings in literature so extremely attractive for the discussion of alternative time concepts, and what does it mean for a society if abandoning the time-pressure of our present age needs exclusive, insulated-isolated spaces?

11:30 AM - Sebald on Walser on Kleist, and so on: Sebald's use of the island as a telescopic space Schwebel, Shoshana (McGill University, Montreal, Canada)

In two sentences, Sebald uses the spatial metaphor of the island to bring together Rousseau, Kleist, Keller, Robert Walser, and himself—overlaying nationalities, languages, and generations onto one small space. Yet for all that it collapses space and time, the island also (in Sebald’s configuration) functions like memory, and skews reality ever so slightly. My paper will start from Sebald’s reminder that the island in literature still signifies the clumsy translation of history into memory or narrative (as with Odysseus and the sirens), and, like memory, is a showcase of preservation and containment, as well as loss and repression—both Heimat and exile, to use Sebald’s words (Sebald 149).

In his tribute essay “Le promeneur solitaire,” written about Walser but named after Rousseau’s walking-journal, Sebald describes a series of connections that link him to Walser, though each connection is slightly out of sync and relies on the author’s assumptions: he discovers a photograph of Kleist’s house on the island of Aare, which has been tucked into a book on Keller belonging “almost certainly” to a German-Jewish refugee. The telling of this discovery brings Sebald’s own history of Manchester in the 1960s into fictional contact with the previous generation’s history of the Holocaust and exile, which is in turn linked to Germany’s literary legacy, the Bildungsroman. From this photograph, Sebald imagines Kleist and Walser witnessing each other’s final days of isolation from two sides of the same lake in Switzerland. Using the exilic point of the island as epicentre, Sebald creates an imperfect loop (like his own modern Bildungsroman hero), converging singular literary histories and the (fictional) memories that they inspire. Overall, my proposed paper argues that the island in Sebald’s essay functions as the key metaphor for writing about history and memory simultaneously, which is exactly the arena of contemporary writing that Sebald has been so influential in reshaping.

12:00 PM - "Only under water things stayed as they were". Narrating the ambivalence of truth in Juli Zeh's novel Nullzeit Dautel, Katrin (University of Malta, Naxxar, Malta)

Im 2012 erschienen Roman Nullzeit von Juli Zeh wird zunächst ein scharf umrissener Inselraum evoziert, dessen Grenzen im Laufe der Handlung jedoch analog zur Trennlinie zwischen verschiedenen Entwürfen von Wirklichkeit verschwimmen. Die Insel wird für den Auswanderer Sven, der sich in zehn Jahren auf der kanarischen Insel seine Version der Wirklichkeit zurechtgelegt hat, zum dystopischen Raum. Seine Taktik des Heraushaltens wird durch das perfide Spiel eines Schriftsteller- und Schauspielerpaars zunehmend in Frage gestellt und involviert den insularen Raum immer mehr ins „Kriegsgebiet“ der Beurteiler und Darsteller auf dem Festland, aus dem sich der Tauchlehrer vehement heraushalten wollte. Wahrheit wird zur sprachlichen Konstruktion, bald zweifelt der Leser auch an der Zuverlässigkeit des Ich-Erzählers. Es geht in Juli Zehs Inselszenario 159

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 jedoch auch um die Frage nach dem Grad der Einmischung in aktuelle politische Debatten, was auf das politische Engagement der Autorin selbst und ihre Tätigkeit als Juristin zurückzuführen ist. Der geplante Vortrag untersucht die Verbindung von räumlicher Darstellung und sprachlicher Konstruktion von Wirklichkeit über Juli Zehs literarische Evokation von Insel- und Unterwasserraum. Es soll aufgezeigt werden, inwiefern sich Diskurse im Raum materialisieren und darüber eine „Poesie des Zweifels“ (Daniela Otto) entworfen wird.

2:00 PM - Klippe, Küste, Insel Grenzerfahrungen und Geographie bei Raoul Schrott Schällibaum, Oriana (University of Zurich NCCR Mediality, Zürich, Switzerland)

Das Projekt möchte den vielfältigen Erfahrungen der Grenze in den Texten Raoul Schrotts nachgehen, die in intrikaten Verknüpfungen von Sprachlichkeit, Benennung und Weltschöpfung am Topos der Insel kristallisieren. In Raoul Schrotts monumentalem Roman „Tristan da Cunha oder die Hälfte der Erde“ (2003) ist die Insel Tristan im südlichen Atlantik der Brennpunkt aller Gedanken und Geschichten. Die historische Tiefendimension, die Schrott aufruft, zeigt alle Kuriositäten und Idiosynkrasien der Inseln im okzidentalen Diskurs: Ihre Unverortbarkeit, ihre Unzugänglichkeit, ihren Hang zur Utopie, ihre geographische Unstetigkeit und Besetzbarkeit mit Geschichten. Die vier Haupterzählstränge definieren sich durch ihr Verhältnis zur Insel – und zu einem „Anderen“, das damit untrennbar verbunden ist: In drei Fällen ist es eine Frau mit dem immergleichen Namen Marah als Fluchtpunkt des Verlangens, im vierten Fall erleben wir die Stimme einer Marah, die sich im Geflecht von Begierde, Trennung und Trauma artikuliert. Tristans geographische und geschichtliche Beschaffenheit bietet den Protagonisten „Muster und Figuren“ für ihr eigenes Leben – mit allen Brüchen, Klippen und Unzulänglichkeiten (Sylvie Grimm-Hamen). Auch Raoul Schrotts Erstling „Finis Terrae“ teilt „die Vorliebe für extreme, fast unbewohnbare Landschaften ausserhalb der ‚zivilisierten’ Welt“, verbindet „[e]rotisches und geographisches Begehren“ (Stefan Höppner).Die darin erzählten Enden der Welt sind vielfältig: Der Text Pytheas’ über die Fahrt nach Thule bricht ab, der todkranke Ludwig Höhnel wird bei Land’s end vermisst, in der Konstellation der Figuren tun sich mehrere Abgründe aus Inzest, Schuld und Sexualität auf. Zuletzt implodiert jegliches Sinnmuster im Verschwinden zweier Expeditionsteilnehmer auf der Südinsel des Turkana•sees. Auf der Insel schient eine eigene Gesetzmässigkeit zu herrschen, zeitliche Kategorien verlieren an Relevanz, stattdessen treten Ursprungsmythen zutage. Zuletzt hat Mustafa Kemal Mirzeler (2006) die Eingliederung dieses rätselhaften Verschwindens in die mündliche Tradition der El Molo untersucht und so versucht, die „andere Seite“ zur Sprache zu bringen – ein Unterfangen, das in „Finis Terrae“ nur anklingt.

2:30 PM - «Inseln sind Heimat im tieferen Sinne». Sardinien-Deutungen und Mythostransformationen in der deutschsprachigen Literatur der Gegenwart Serra, Valentina (Università degli Studi di Cagliari, Cagliari, Italy)

«Inseln sind Heimat im tieferen Sinne, letzte irdische Sitze, bevor der kosmische Ausflug beginnt» ( Ernst Jünger, 1955)

Die alte Faszination Sardiniens auf Schriftsteller und Reisende deutscher Sprache verfügt über eine umfangreiche literarische Tradition, die, abgesehen von einigen bedeutenden Essays und Bibliographien, noch nicht mit einer umfassenden und systematischen Studie untersucht worden ist.

Seit der zweiten Hälfte des siebzehnten Jahrhunderts weilten viele deutschsprachige Autoren, während ihrer langen und oft gefährlichen Reisen durch die Küsten des Mittelmeeres, auf der Insel Sardinien, die, von den Zentren der europäischen Kultur und Macht weit entfernt, immer als Peripherie gelitten hat und seitdem als «primitiv», «archaisch» und «unverfälscht» gespürt wurde. Das Land galt deshalb als eine von der Modernität ersparte und «unkorrupte» Welt, die am Rande Europas von „edlen Wilden“ bewohnt wurde.

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Das Bild Sardiniens hat sich aber im Laufe der Jahrhunderte wesentlich von einer isolierten, «unberührten» und «vergessenen» und damit von jeglicher Form der „Zivilisation“ oder der Korruption der Moderne bewahrten Insel verändert. Vor allem während des 20. Jahrhunderts wurde sie von einer in Reiseberichten als entfremdenden im pejorativen Sinn beschriebenen Dimension (18. und 19. Jahrhundert) zur in Romanen und Erzählungen als abenteuerlich und miragenhaft gedeuteten Realität (20. und 21. Jahrhundert), zur «unirdischen» (Max Niehaus, 1938) und «metaphysischen Heimat» (Ernst Jünger, 1955), zum verlorenen und von allen Menschen ersehnten Paradies (Fritsche, 2011), in dem der Mensch den Sinn seiner Existenz in Verbindung mit den Naturkräften nachholt und den ewigen Ur-Sinn des Lebens zurückgewinnt.

In dem vorgeschlagenen Beitrag werden die literarischen Imagen Sardiniens in Reisebeschreibungen, Romanen, Erzählungen und in der Lyrik als Metapher einer onthologischen und mythischen Dimension untersucht.

3:00 PM - "Quête" und "enquête" in Inseltexten von Annette Pehnt und Hubert Damisch Mattern, Pierre (Freischaffend, Offenburg, Germany)

„Quête“ und „enquête“ in Inseltexten von Annette Pehnt und Hubert Damisch

Pierre Mattern, Offenburg

„Quête“ meint die zur traditionellen Erzählung tendierende Suche nach einem Objekt, in der trotz Gefahren das Subjekt zuletzt das Gesuchte zu seiner Vervollständigung gewinnt. „Enquête“ ist dagegen eine Datensammlung, die zunächst einfach Materialien nebeneinander stellt. Das Subjekt kann in ihr jedoch von Grund auf in Frage gestellt werden, da ein Basis-Narrativ fehlt.

Den behandelten Texten – Annette Pehnts Roman „Insel 34“ (2003) und Hubert Damischs Prosa „Le Messager des îles“ (2012) – ist zunächst gemein, dass sie sich der ‚Bildlastigkeit‘ der Insel – ihre Übersättigung mit Bildern aus Märchen, Mythos, Literatur, Film – bedienen und sie mit dem gegenläufigen, ‚utopischen‘ und zur Reflexion führenden Moment ihrer notwendigen Abgetrenntheit kontrastieren. Sie unterstellen dieses Spiel aber den ganz unterschiedlichen Logiken der „quête“ und „enquête“.

So erzählt Pehnt eine weibliche Bildungsgeschichte und parabolische Selbstfindung: Die Erzählerin bereist drei Inseln; die „enquête“, die sie als Wissenschaftlerin auf die erste Insel führt, bleibt Episode, die „quête“ führt sie ins Reich der Bilder, aber auch zur Affirmation der Trennung. Der Kunsthistoriker Hubert Damisch bietet ein in eine Autorfiktion eingebundenes Dossier von kurzen fiktiven und essayistischen Texten, in dem die „enquête“ irreduzierbar wird. Während sich in den Essay-Texten das Subjekt souverän geben kann, taucht sein Bedrohtsein in den fiktiven Kurztexten aber immer wieder auf; in der rahmenden Autorfiktion wird schließlich vom rätselhaften Verschwinden des Autors erzählt.

4:00 PM - Pfaueninsel, Island Narratives around 1800, and Historical Fiction Williams, Seán (The University of Sheffield, Sheffield, United Kingdom)

This paper examines Thomas Hettche’s prize-winning novel Pfaueninsel: published in 2014, it has since won the Bavarian, Wilhelm Raabe and Solothurn book prizes, and was also short-listed for the German book prize. The novel is set on the historical Peacock Island in Berlin around 1800, but of course it was written for a present-day readership. Hence my paper has two parts.

First, I consider the role of (particularly inland) islands in the long eighteenth century. Islands played a major role in the literary imagination. The most obvious example is the literary afterlife of Defoe’s Robinson Crusoe (1719), which Pfaueninsel notes Marie, the protagonist, might have enjoyed. Jean 161

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Paul’s best-selling German novel Hesperus (1795) is inspired not only by Defoe, but also by Rousseau’s existence on St Peter’s Island in Lake Bienne in 1765. Further, the fictional island on which Hesperus is purportedly written is – like the real-life Pfaueninsel and Hettche’s representation of it – an example of Anglophilia. It is, moreover, a place of political prose against German court societies, as well as of poetological reflection. Paradoxically, then, the island around 1800 becomes a place of idyllic critique in German writing, a far-flung, aesthetic setting with problems that are all too close to home. The first part of my paper traces the intertextual references of Pfaueninsel, and attempts to read this work in conversation with island narratives around 1800, rather than reading the island metaphor as simply relevant to societal, intersectional discrimination today.

Second, I claim that the present-day context for Hettche’s narrative is not so much island novels, but instead a trend in German prose fiction towards re-imagining life and especially discourses of artistic and scientific subjectivity around 1800. Daniel Kehlmann’s Die Vermessung der Welt (2005) or Alissa Walser’s Am Anfang war die Nacht Musik (2010) are other examples of this trend.

4:30 PM - Dreaming of Islands': Evolution and the Individual Utopia in Samuel Butler, Aldous Huxley, and Michel Houellebecq Sreenan, Niall (University College London, London, United Kingdom)

This paper examines three works, Samuel Butler’s Erewhon (1872), Aldous Huxley’s Island (1962), and Michel Houellebecq’s La Possibilité d’une Île (2005), in which theoretically individuated geographical spaces stage conceptual and literary explorations of sociopolitical and philosophical tensions generated by Darwinian evolutionary theory. Butler's novel, in the tradition of More's Utopia, examines an apparently ideal, geographically remote, autarchic polis, that has evolved on divergent lines from his own. Huxley's work also explores an ideal society, one in which Darwin's evolutionary theory is venerated and mobilised as a source of enlightenment. Houellebecq's novel examines later developments in Darwinian biology - the displacement of competitive dynamics of selection to the social and political realm, the advances of genomics – and depicts a Utopia in which the individual's sovereignty is cardinal.

My approach is nourished by Deleuze’s philosophy of creation and individuation and its relation to Darwinian evolutionary thought and is motivated specifically by Deleuze’s essay “Desert Islands”. Here the fantasy of a desert island, of unadulterated individuality, comes to represent fantasies of pure political and conceptual individuation and (re)creation. Such dreams, however, are challenged by the central ethological precepts of Deleuze's philosophy of relation and Darwinian evolution.

My purpose is to show how these novels respond to Darwinian evolutionary theory and how, in doing so, they articulate the tension between Utopian fantasies of 'being already separate' (Deleuze) and 'the intimate, complex manner in which inhabitants of each country are bound together' (Darwin). This tension, I propose, is central to the power of the island metaphor, for the fantasy of the island is not only a political one, but, I suggest, is integral to the epistemological architecture of Utopian science and biological theories of the human itself.

5:00 PM - Man is an Island: On the Herme(neu)tics of Michel Houellebecq's Lanzarote Arnds, Peter (Trinity College Dublin, Dublin, Ireland)

Michel Houellebecq’s island fascination emerges primarily from his two novels La possibilité d’une île (2005) and Lanzarote (2000). The latter will be the focus of this proposed paper. It provocatively employs the narrative about the protagonist’s week-long holiday on the island of Lanzarote as a way of exposing various facets of European cultures and human experience as hermetic phenomena, as mental and cultural islands. Lanzarote itself features as a place of temporary exile for the tourist industry, a topos of primordiality and heterotopia for sectarian beliefs in extra-terrestrial life, 162

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 reflecting the island’s un-earthly but also mythical aspect. It is both isolated from Europe, its antithesis, but also a kind of underworld of ancient (Greek) proportions that throws into sharp relief other European island phenomena, a prism through which Houellebecq exposes a series of hermetic conceptual monads: from nations such as Belgium and Luxemburg, to sects, sexual practices and fantasies, natives versus tourists, cultural stereotypes as encapsulated views, and single man as an island (Rudie, the Belgian tourist in opposition to the two German lesbians Pam and Barbara). In its theoretical approach my paper draws on philosophy (the monad theory by Pythagoras and Leibniz) and myth (Hermes). Its topic is Lanzarote’s metaphoricity (with comparative glances at The Possibility of an Island), the hermeneutics of this text’s hermetic phenomena, as it were, bearing in mind the narrator’s role as Hermes with his multiple functions, such as god of commerce, protector of travellers, and guide to the underworld. The ‘small world’ of Lanzarote in this novel is a salient example for how an apparently insignificant “godforsaken Spanish island in the middle of the Atlantic” (Vintage, p.38), its history until recent times “a history of complete isolation” (p.34), opens up a broad intercultural web of references.

Date: Saturday, July 23rd

4:00 PM - Die deutsche "Strafexpedition" gegen die Insel Ponape (1910/11) und ihr Echo in der Gegenwartsliteratur Schwarz, Thomas (Rikkyo University, Tokyo, Japan)

In 1910, about 200 insurgents from the island of Ponape (Caroline Islands) rebelled against the German empire. The navy defeated the uprising with four warships. This was the most significant military operation of the German ‘East-Asia Squadron’ in the South Seas. My paper will deal with the peculiarities of warfare against a Pacific island, protected by a natural ally, the coral reef. The colonial masters executed 15 leaders of the rebels and deported more than 430 islanders. While only up to ten insurgents were killed in the armed conflict itself, general living conditions in exile resulted in a massive decimation of the rebel population. By imposing sanctions collectively, the colonial power experimented with a racist biopolitics backed by the German state. My discourse analysis examines the echo of the events in German media where German ‘Pacificism’ orchestrates the superiority of the Occidental colonial power and legitimizes the crushing of rebels, depicted as infamous and ignoble barbarians’. My thesis is that colonial literature reinforces the ideological effects of colonial discourse: Novels like Alwin Asten’s “The Combats on Ponape” (1911) and Richard Deeken’s “Racial Honour” (1913) reorganize the narration of the events as a story of national pride by glorifying the heroic death of German blue jackets. For a critical comparison, I will take into account two less known novels written from a postcolonial perspective, Gerhard Grümmer’s “Ponape in Rebellion” (1991) and “The Missionary” by Sibylle Knauss (1997). Against this background, I will critically elucidate the symptomatic historical void of Klaus Modick’s “The Greyness of the Carolines” (Das Grau der Karolinen”, 1986). Despite its aesthetic qualities, the novel omits the account of the Ponape rebellion while even shedding a positive light on German colonial rule in the Pacific.

4:30 PM - Grönlands Funktion als insularer Raum jenseits der Zivilisation im Werk Libuse Monikovas Stamm, Ulrike (Humboldt-Universität zu Berlin, Berlin, Germany)

In Libuse Monikovas novel "Treibeis" Greenland plays an important role. The description of this northern island opens up the stage for a text dealing with questions of power and history, civilization and wilderness, exile and love. In my paper I want to explore how Monikova deploys this island in order to create a space beyond which is not part of Europeans civilization and not situated at a border but - being an island - beyond borders. In which way is this position related to the fact that the main protagonist of the novel teaches Shakespearean theatre in a school in Greenland? And how is Monikova's presentation of Greenland related to the dialectic of islands as spaces of seclusion and 163

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 interconnection? In a second part of my paper I want to analyze the position of Greenland with regard to the topographic triangle that Monikova describes consisting of Greenland, Czecholovakia and Austria; these countries form the poles between which her reflections about history and the cultural imaginary of centre and periphery fluctuate. Which role does Greenland - imagined as an empty and barren space - play in relation of the dynamic of European history whig has, as Monikova points out, always lead to inequality and exclusion?

5:00 PM - Inseln der Gewalt Hoffmann, Sascha (Eberhard-Karls-Universität Tübingen, Metzingen, Germany)

Die Insel schafft Imaginations-Arsenal wie kaum ein anderer Ort. Sie ist ein Zwischen-Ort: Sie wirkt in sich geschlossen und lebt aus sich selbst, zeitgleich ist sie dem Unendlichen des Meeres ausgeliefert und definiert sich häufig über ihre Beziehung zum Festland. Die Insel als anderer Ort, gerade auch im Sinne Foucaults, unterscheidet sich grundlegen vom Festland. Ihre Disposition scheint bestimmten ‚Zuständen‘ und ‚Phänomenen‘ als Katalysator zu dienen und ihrem Erleben einen nicht vergleichbaren Charakter zu verleihen. Besonders deutlich wird dies am Gegenstand der Gewalt, welche in etablierten gesellschaftlichen Systemen in dieser Form nachzuvollziehen nicht möglich wäre oder wenigstens deutlich würde. Die Literatur dient gleichsam der Insel als Möglichkeit, Kritik zu üben und eine Versuchsfläche zu schaffen, auf der aktuelle Missstände und Gefahren aufgezeigt werden. Beispiele finden sich in unzähligen Romanen, die auf unbewohnten und bewohnten Inseln verortet sind. Sie verdeutlichen, dass Gewalt auf dem anderen Raum der Insel in vielerlei Hinsicht differenzierter darstellbar ist. Dabei fällt auf, dass die Beziehung zwischen Insel-Raum und dem Phänomen Gewalt uneinheitlicher Natur ist: Gewalt kann von außen über die Insel hinwegziehen, was sie zu einer Art Durchgangs-Station macht; Gewalt kann von außen auf die Insel gelangen und auf dieser ver-enden; Gewalt kann auf der Insel ausbrechen und auf dieser verbleiben, sie also nicht verlassen; und Gewalt hat die Möglichkeit, auf einer Insel zu entstehen, um von ihr aus nach außen zu drängen. Ein gezielter Blick auf literarische Inseln und diese tangierende Phänomene der Gewalt offenbart daher nicht nur das dispositionelle und Imaginations-Potential des Heterotopos Insel, sondern zeigt zugleich auf, welch Kausalität(en) die Gewalt selbst unterworfen ist.

Date: Monday, July 25th

4:00 PM - Sensing/Thinking Island Spaces Hartmann, Britta (University of Tasmania, Hobart, Australia); Samson, Barney (University of Essex, Colchester, United Kingdom) The second paper of the panel will examine the ways in which fictional island spaces are (re)conceived through human perceptions as well as the processes through which insular spatiality is constructed and configured through mental operations (Merleau-Ponty, Bachelard). Sensory perceptions will be highlighted and traced in Henry de Vere Stacpoole’s novel The Blue Lagoon and the Mutiny on the Bounty films. Island spatiality, in these cases, is bound to notions of perception: the gaze, auditory moments, descriptions of smells etc. all cause individual islands to be conceived and reconceived. Thus, the senses function as vital tools in the construction of these islands for both characters and readers. Mental operations, in turn, are examined with particular attention to Derek Walcott’s play Pantomime. Here, too, the notion of shifting insularities becomes apparent: readers and characters alike must imagine the island, interrogate their preconceptions, and engage with questions of definition. Overall, then, this paper proposes the notion that island perceptions and mental operations play a pivotal role in the (re)conceptions of fictional island spaces.

4:20 PM - On the Spatial Practice of Island-Making Graziadei, Daniel (Universität München, München, Germany)

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The third paper of the panel examines the construction of insular space(s) via spatial practices, be they corporeal, social, or imaginary. The paper will be divided into three parts. The first part offers a brief discussion of spatial practices in fiction (Lefebvre, de Certeau). It asks how narrative can be seen as a practice that produces space and examines the specific spatial practices required for the production of island space (such as swimming, circumnavigation, and landing). These reflections should allow for a set of precise questions concerning the processes and qualities of the spatial practice of islandmaking. This theoretical base will be used to investigate the literary (re)conceptions of the island spaces of H. G. Wells’s short story “Aepyornis Island”, Derek Walcott’s play Pantomime, and Steven Spielberg’s Jurassic Park films. This part will not only investigate the nature of the spatial practices and their relevance for the conception of island space, but will also address their (under)fulfilment of, or deviation from, other (pre)conceptions of island space within the narrative. Finally, the third part of the paper will use the findings of the close readings to ask whether any generalisations can be drawn about the spatial practice of insularity, islandness and archipelagicity.

4:00 PM - Island Meta-Poiesis in Contemporary Island Fictions Kinane, Ian (Trinity College Dublin, Dublin, Ireland)

This paper will examine the ways in which desert island topographies are (re)conceptualised for the reader/viewer through mediatory technologies in several contemporary examples of island literature and film. Focussing both on the mediatisation of the island trope within the cultural imagination and on the tendency of authors/directors working within the island genre to rely heavily on transmediality in bringing the desert-island image to life, this paper will examine how island spaces are reconceptualised through the palimpsestic layering of various forms of media. Texts to be discussed are Adolfo Bioy Casares’s The Invention of Morel, Michael Bay’s film The Island, and Steven Spielberg’s Jurassic Park trilogy. By highlighting the self-reflexivity and transmediality of the island topographies of these texts, this paper will explore the contemporary shift within island fictions towards constructing meta-islands, or fictional islands that engage with their own poiesis through literary and filmic mediation.

5:00 PM - Beyond Island Conception: Questioning Islandness through Fiction Riquet, Johannes (University of Zurich, 8032, Switzerland)

The fourth paper of the proposed panel reconsiders and challenges the categories of island conception and reconception developed in the previous three papers by discussing a set of texts that do not allow any stable island concept to arise. If the previous papers all emphasised the layered construction of islands through multiple conceptions and reconceptions, this paper engages with fictional islands whose spatiality perpetually withdraws from the grasp of protagonists, readers and viewers. Thus, in J. M. Barrie’s play Peter Pan, the island is conceived as a non-Euclidean space which perpetually reconfigures itself according to the needs of the narrative and the reader’s/viewer’s imagination; or put differently, the conception of the island resides precisely in its unceasing spatial reconception. In Patrick Chamoiseau’s postcolonial critique of island fictions, L’empreinte a Crusoe, the conception of the colonial island is deferred in that no conception, colonial or otherwise, is accepted. Finally, the recent television series Lost can be understood as an exploration of island re/conception which presents the ultimate refusal of island conception. The island of Lost is endlessly deferred and remains a potentiality; its visual (de)construction of island space teases and frustrates the (Western) viewer’s desire to view and understand islands, and thus constitutes a powerful response to a long tradition of fictional island-making.

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Re/conceiving Islands: Media, Perception, and Spatial Practice Riquet, Johannes (University of Zurich, Zürich, Switzerland); Kinane, Ian (Trinity College Dublin, Dublin, Ireland); Hartmann, Britta (University of Tasmania, Abels Bay, Tasmania, Australia); Samson, Barney (University of Essex, London, United Kingdom); Graziadei, Daniel (Universität München, München, Germany) This conference panel, proposed by the Island Poetics Research Group, is part of a project on the poetic construction of islands in popular island fictions across media, genres, and geographical regions. While traditional island scholarship tends to discuss islands as tropes for a set of often preconceived and fixed meanings (such as isolation, imprisonment, paradise, remoteness, etc.) and thus often bypasses the complex poetic processes through which islands come to be in literary texts, our intervention in the debate seeks to offer a precise analysis of the practices and operations through which islands are spatially conceived and reconceived.

The four papers of the panel examine different modes of island (re)conception in twentieth- and twenty-first-century island fiction. They discuss fictional islands as particularly mobile spatial figures that raise the question of what an island is, refusing to offer easy answers and allowing for a reconsideration of the role of islands in contemporary discourse. Against essentialist accounts of what islands ‘are’ and ‘mean’, our close readings of key moments within island fictions engage with the processes through which island spaces are constructed in different media.

The three modes of island (re)conception that will be discussed are mediation, perception, and spatial practice. Thus, the first paper will focus on the conception and reconception of islands through multimedial layering in island fictions like Alex Garland’s The Beach and Michael Bay’s The Island. The second paper will examine how a sense of islandness emerges through sensory perception and mental operations in texts like Henry de Vere Stacpoole’s novel The Blue Lagoon and the Mutiny on the Bounty films. The third paper focuses on spatial practice in H. G. Wells’s short story “Aepyornis Island”, Derek Walcott’s play Pantomime, and Steven Spielberg’s Jurassic Park trilogy. Finally, the fourth paper discusses a set of texts which complicate the difference between island conception and island reconception either by conceiving their islands as spaces in perpetual reconfiguration, or by refusing island conception altogether.

Please note that this is the general abstract for a panel consisting of four papers individually submitted by the authors. The papers build on each other.

17228 - Indian Theatre, Ritual and Drama: Towards an Intercultural Understanding of the Dramatic Mode Date: Saturday, July 23rd // Monday, July 25th // Tuesday, July 26th // Wednesday, July 27th Room: Hs 24 Chair: MAUFORT, MARC

2:00 PM - Versions of History: Girish Karnad's Play The Dreams of Tipu Sultan Davis, Geoffrey (Institut für Anglistik, Aachen, Germany)

Girish Karnad’s play The Dreams of Tipu Sultan, commissioned by the BBC as a radio play to mark the 50th anniversary of Indian independence, offers a fascinating introduction to his work especially for the British because it sets out to reinterpret aspects of the colonial history of India under British rule. As such it is an eminently post-colonial work.

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Speaking of the development of theatre in India Karnad has remarked: “independence had made history suddenly important to us; we were acutely conscious of living in a historically important era. Indian history as written by the British was automatically suspect.” Accordingly history and historiography are central to the concerns of the play. As in his previous play Tughlaq it features an Indian historian whose function is to provoke a debate on the very nature of historiography and to confront the British account. In its thematisation of the lack of unity of Hindu and Muslim at the end of the 18th century it also provides material for reflection on their fraught relationship at the time of the play’s composition in the late 1990s. It is an oblique reflection typical of Karnad on contemporary Indian politics.

A further interest of the play lies in its exploration of historical sources including the journal Tipu Sultan kept of his dreams. Tipu Sultan, who was both a fierce opponent of the British and a ruler fascinated by modern Western technological progress, was a complex figure and is still regarded as controversial in India.

The Dreams of Tipu Sultan is an intricately structured memory play which interweaves present and past, deploys history and legend, explores Western modes of thought and Indian tradition, and has recourse to both naturalistic and non-naturalistic staging techniques.

It is the aim of the present paper to examine the means by which Karnad has constructed a modern Indian history play and in so doing has contributed to the revitalization of theatre in India.

2:20 PM - The Absurd and the Classical Theory of Drama: A comparative study of the plays of Girish Karnad and Samuel Beckett Chatterjee, Abhinaba (DPO-1 (G), Air HQ (VB), Delhi, India)

Contemporary Indian drama has made use of bold innovations and daring experiments both in terms of themes and techniques. On the one hand, it has used history, myth, folklore and philosophies (such as existentialism and absurdity).

The present research project undertakes a study of the plays of Karnad and Beckett in order to explore the emergence of a composite conception of postmodern subjectivity in light of existential and absurd philosophies. The project also examines the nature of this subjectivity and its cultural- political implications. The rise of global metropolises in different continents and the necessity of multiple and often incompatible subject positions in a period of unprecedented speed of cultural changes has made the question of subjectivity extremely important.

Girish Karnad addresses the problematic of this subjectivity by employing the devices of myth, folklore and history. He uses these devices not just to visit the past but to look at the present and also to foreshadow the future. He uses myth and history to create a new consciousness of the absurdity of human life with all its passions and conflicts. In Hayavadana, Karnad uses myth and folklore to articulate the urge for completeness and to show how this urge leaves a wound in the subject. Karnad’s interspersing the absurdity in historical and mythical figures and their resemblance with the modern man’s alienation and frustration establishes the newness of his dramas and dramatic art.

This cosmic anguish and wonder for the ultimate realities of its condition is also aptly dramatized in the plays of Samuel Beckett, in their depiction of the human condition itself in a world where the decline of religious belief has deprived man of certainties. In Waiting for Godot, Waiting is the theme throughout the play. Although Godot breaks his promise, the two tramps have shown perseverance.

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Despite the heavy blow of painfulness, frustration and disappointment, they still keep on waiting because that is their only hope for they believe only Godot can save them.

2:40 PM - Twice-born Theatrical Sensibility¿ of east and west in Girish Karnad¿s Hayavadana Trikha, Manorama (CCS University, Meerut, Meerut, India)

Indian theatre has made a major contribution to solidify the national history, cultural and linguistic identity. European colonialism contributed significantly to the Indian theatre in English which is “twice born.” The idea of theatre as an expression of national culture and identity is mingled with the regional and folk theatre which brought along with it the Indian ethnicity also. The new national theatre is the “environmental theatre” as it blurs the gaps between life and theatre. It is not an isolated art form but is what Peter Brook claimed in The Empty Space that any “empty space” that could be taken as a theatre, simply by calling it a stage, This notion was practiced in Indian history and culture since ages when the episodes from Mahabharata and Ramayana were staged during the festival seasons.

If one attempt to include a play that brings out a unique amalgamation of the east and the west, one could discuss Girish Karnad’s Hayavadana, the horse-headed man which draws upon the traditional theatre with all its paraphernalia of masks, mime, half-curtain, dance and music in the concentric circles to hold the central story of two friends. The story- line is based on a folk tale from Kathasaritsagra but has drawn heavily from Thomas Mann’s reworking on the tale of Vetala Panchavimsati entitled The Transposed Heads also. The play contains all the features of contemporary India Drama. Its political undertones influence the whole scenario and exposes the reality of the immoderate demonstration of the national enthusiasm.

Karnad succeeds in creating a new form of play based on his theatrical perceptions adopting the techniques of the classical Sanskrit drama, Western drama and the performing traditional Folk art of India. The distance between the actors and spectators is reduced and “connectedness” reveals the basic human spirit claiming loudly that “The play is the thing” to quote of Shakespeare.

3:00 PM - Hayavadana:-- Interfacing Performance and Philosophy by yoking Epic Theatre and Yakshagana James, Jancy (CLAI, Trivandrum, India)

The alienation techniques of Brechtian theatre are intrinsic to Indian theatre from very ancient times. The audience is not expected to be lost to the play's emotion according to the Indian theatrical sensibility. Cautious introduction and intervention through a Sutradhara (a kind of narrator)cleverly prevented the viewers from emotional identification with what was performed on the stage. Naturally, the Epic theatre made its way into the works of many modern dramatists who wished to address the intellect of the audience with path breaking ideological or philosophical themes. The relevant indigenous performance styles or theatre forms of India were either improvised or merged with epic theatre techniques in order to achieve the cerebration/visionary indoctrination on the audience. When Girish Karnad used the story of Thomas Mann's novel The Transposed Heads in his play Hayavadana, and organised its structure and performance style heavily based on Yakshagana, he accomplished the distanciation and resultant thinking of the audience away from the bhava of the play and that of its source. Its spirit was Brechtian, though attired in the popular Indian dance drama style. I wish to present this paper with clippings of the scenes of the play. The interweaving of cultures, philosophical stances and theatre forms of India and the west contributes to the evolution of a new relevant theatre mode in India that not only responds to the artistic aspirations but also provides an appropriate idiom and medium for the effective articulation of postcolonial\decolonised India.

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Date: Monday, July 25th

11:00 AM - Traditional Indian Theatre and Kabuki: A Passage Towards a Total Theatre Choudhuri, indra Nath (Millennium Trust, Kent, UK, Delhi, India)

Traditional Indian Theatre (TIT) like Kootiyatam, Katthakali, Yakshagana, Jatra etc, have a classical (margi) structure with regional (loka) variations having folk as well as urban patronage. Swang, Nautanki, Maach, Tamasha etc are typical folk and different from TIT. TIT has inherited many classical conventions like sandhis (spans of the plot or ittivrita,) rasa i.e. art-activity as well as theatric experience, multiple interpretative acting or abhinaya . These regional variants, developed in a framework of continual communication, are recognized in the first book of Indian dramaturgy by Bharata (between 1st Cen BC and 1st Cen AD) as Pravrittis. Though TIT accepts the stylized conventions (natyadharmi) more than the naturalistic (lokadharmi) conventions of theatre yet the TIT has always remained a vehicle of expression of protest, dissent and reform and thereby induced, at one level, emotional enjoyment and, on another level, rational judgment. Kabuki, like TIT, can be termed as the popular live drama of Japan to distinguish it from the puppet drama or Joruri and Noh plays, which from its fixed repertory and partial simplicity might well be called the classical drama of Japan. Like TIT, Kabuki has taken many of its subjects and conventions from classical theatre, Noh but in a modified form. Kata style of acting which includes exaggerated pose miye, frozen appearances serideshi, appearing in a new costume hikkinuki and many other new and modified conventions. Both these theatres have their own complex history, their own traditional audience and their own social role but certain under lying theatric conventions and aesthetic factors make comparison between them of the greatest interest. This paper deals with three aspects of these two theatres: i) stylization which is not grafted from outside but grows within and lies in the slender margin between the real and the unreal; ii) participative theatre affording the double awareness of illusion and non- illusion and iii) total theatre not in the same way as Jean –Louis Barrault has used this concept but in Indian and Japanese terms.

11:30 AM - The Brechtian Specters of Other Modern Theatres: Comparing Habib Tanvir and Wole Soyinka's Visions of Dramatic/Theatrical Art Kumar, S Satish (University of Georgia, Athens, Georgia, USA)

Performative arts are imbued with a quality of immediacy unlike others, they are in every sense of the term “live.” Soyinka recognizes the power of this quality of the dramatic mode and theatrical art in his essay ‘The Fourth Stage’, and it is based upon this power that he defines theatrical art as moving towards an idea of communion- a form that facilitates the coming together of individuals to form a collective. In doing so, Soyinka, draws upon the Dionysiac origins of theatre and the mysteries of Ogun in Yoruba performative traditions. For the Indian dramatist, Habib Tanvir, on the other hand, theatre is a community art. In his essay, ‘Theatre is in The Villages’, he argues for an Indian theatre that is based on the “folk” performative traditions as opposed to urban Indian theatres that were based on western models. What connects these two playwrights, as culturally and geographically far removed from one another, is their vision of dramatic art. Both view Theatre as a communal art- an expression that is inextricably linked to the people whose collective consciousness it manifests. They are kindred souls in that they both seem to be articulating the need for a radically new form for modern Theatre, specific to the needs of their respective contexts. Both Soyinka and Tanvir recognise the living nature of theatrical art, and its immense potential- political and otherwise- as communal expression. In this paper I seek to explore, the Brechtian origins of these formulations and its implications for Soyinka’s and Tanvir’s artistic visions in their immediate contexts.

12:00 PM - Fear in Indian and Greek Drama Figueira, Dorothy (University of Georgia, Athens, Georgia, USA) 169

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Aristotle defined tragedy as the imitation of a good action which is complete and of a certain length, by means of language made pleasing for each part separately; if relies in its various elements not on narrative but on acting. Through pity and fear drama achieves purgation (catharsis) of emotions. The pity and fear created through imitation brings about the pleasure that is proper to tragedy. This insistance that the genre is concerned with the representation of the pitiable and fearful rather than other emotions is one of Aristotle's major contributions to the theory of tragedy. Sanskrit drama is not limited to the tragic. Ther are comic forms among the ten acknowledged types of plays written during the classical period, although the heroic and the erotic are the most prevalent. Tragedy, as we understand it in the Greek context does not exist in ancient India. While there is always an element of fear in the principle forms of Sanskrit drama, the crisis is always resolved by the end of the play. Indian dramatic theory, particularly as codified by Bharata, Abhinavagupta and Anandavardhana also speak of fear but unlike Aristotle, fear is always seen in the context of other emotions that ib the dramatic process become universalized as moods (rasas). This paper will compare the use of fear in the Greek and Indian traditions

Date: Tuesday, July 26th

2:00 PM - Performance in Plays: The Modern Metaphysical Mentality of Indian Playwrights Singh, Jayshree (Bhupal Nobles University, Rajasthan, India)

The emancipation objectifies reason, hope, and application of imaginary escape, social disciplining and calculative humanization of repression. The plays of Manjula Padmanabhan’s Harvest, Vijay Tendulkar’s Ghasiram Kotwal and Sakharam Binder and Mahesh Dattani’ Final Solutions and Girish Karnard’s Tughlaq have presented an imperfect world where the working classes, women and the margins socio-economic background is a challenge to face political, social, artistically and cultural difference. The manuscripts reflect the performance of characters on a makeshift stage on one hand, while at the same time the characters point out an assumed sense of self-importance and self- preservation. The playwrights’ passion, knowledge and the purpose not only reinvigorate the waning democratic spirit of the citizenry but these posit twenty-first century socialistic future ideals of a civil society in India. The playwrights’ theatrical insights portray not only human beings suffering from intense mental crisis, but they manifest potentially progressive temporality and a rational positive determination what a character wants and what he/she does not want.

2:30 PM - Performance and Literary Studies:Indian Context Bhowmik, Ranjamrittika (Jadavpur University, Kolkata, India)

Literature and performance have never really been separate concepts in India. Natyasastra has formed the basis, rather an eclectic basis, for all future works in specific fields of performance art in the classical stream. There have been works on the alamkaras, the ten rupakas, music etc, all of which are based on the slokas of Natyasastra by Bharata.

Be it the Mahakavya of the ancient times or the Keertana, Bhajan and Mangalkavyas of the medieval period, either Literature has been performed or performance has given birth to Literature. In fact, it is wise to state that performance and literature has been a complex whole, most of the times mutually constitutive, in both classical and folk-art. Thus the study of literature remains incomplete, without a study of performance. In order to understand the rhyming pattern of Mahakavya the study of the performance of Mahakavya is inevitable, as the rhyming pattern had originated from the way it was performed. In the same way several ritualistic and folk repertoire have given rise to literature, and in order to study those literatures, a study of performance becomes inevitable.

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Rabindranath Tagore talked about the importance of the ‘play-text’ in ‘Rangamancha’, whereas Badal Sircar’s ‘Third Theatre’ did away with any kind of externality of artifacts/pros/light/costume and relied solely on the performance of the body. Both, however, talked about the importance of imagination and interpretation in theatre from the perspective of the performer and audience. The traditional idea of the single and singular discipline is collapsing with the interdisciplinary approaches to understand both performance and literature.

This paper aims to study performance in consonance with literary studies in the Indian context and will explore some of the folk, traditional, ritual and popular forms of performance. In recent times, the differences between the disciplinary investments of literary studies and performance studies have been debated. A section of academicians are uncomfortable with the idea of performance studies, while rigidly distinguishing between ‘scholarship’ and ‘creative processes’ and ‘art making’. However, the paper will try to explore how an eclectic study involves the study of ritual, social events, visual arts, dance, theatre, architecture or any other artifact of culture as ‘performances’, that is, they are regarded as ‘practices,‘behaviour’, ’events’ by dismantling the sole authority of the written/oral text.

3:00 PM - "Staging Coyote's Dream": Reading the performance texts of Budhan Theatre, Gujarat, India and Native Earth Performing Arts, Canada. Bhattacharyya, Dheeman (Centre for Comparative Literature, Bhasa Bhavana, Visva-Bharati, Birbhum, West Bengal, India)

According to Professor Ganesh Devy ( Writer, activist who is working with the Denotified Tribes and the founder member of Tejgadh Tribal Academy, Gujarat) since the British did not understand the nature of the Indian economy properly and they wanted to turn citizenship into a revenue based contract, the communities who were service providers in traditional villages were ignored resulting into the segregation of such communities in a big way . The communities that have been identify as the Denotified Tribes (DNTs) are apparently the victims of the Criminal Tribes Act 1871 and subsequent policies that invaded their occupation post ndependence. These people have maintained cultural and occupational diversity in India despite legislative atrocities. The non-sedentary tribes have an enormous amount of knowledge of ecology, of psychology, of song and story, arts, painting, dance, magic, music and number of things. Representation of these voices in the street plays of Budhan Theatre (formed by the Chhara Tribes in the city of Ahmedabad, India) is a pedagogic shift (how things were perceived and how they are being received now) and needs to be carefully documented which contests academic Historiographies. In the present context of the proposed panel/Workshop the point of departure can be the idea of what happens when ‘they’ participate in the process of ‘meaning making’ and contest the schooling of minds, bodies and souls? This will also enable us to question the construct called “India”... whose India, which India are we addressing.

Through the cultural productions of Budhan Theatre, Gujarat I shall explore several questions pertaining to the negotiations of the tribes in question within the Neo-Liberal space in two forms of Colonies (India and Canada).

[i] The title of this paper has direct reference to Knowles, Richard Paul, and Monique Mojica (eds). Staging Coyote's Dream: An Anthology of First Nations Drama in English. Canada: Playwrights Canada Press, 2003. (Print). I have closely worked with Monique and will share several anecdotes she shared during workshops or shows during July 2010 to Jan 2011.

Date: Wednesday, July 27th

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9:00 AM - Ritual as Protest: Street Theatre in Contemporary India Mukherjee, Tutun (Centre for Comparative Literature, Hyderabad, India)

‘Ritual’ is a multifaceted term suggesting metaphysical connotation with moral, religious, mythical, or psychological significance. Yet it doesn’t happen for its own sake, is performed for a specific human need. Hence ‘ritual’ has been discussed in relation to political organization, identity formation and other dimensions of social life. Post-Durkheimian anthropologists went beyond sacred-profane binary towards more technical and expressive/symbolical understanding of ‘ritual’ as denoting contemporaneous coexisting aspects of expressive forms. The term will be explored this way in the paper through the study of theatrical representation. The thrust question is how ‘ritual’ operates in a nuanced manner in performances today which seek to address larger questions of identity, community, cultural-social-political problems of discrimination and oppression. The paper adopts the avant-garde use of the term as practiced by Pinter, Artaud, Grotowski, Dario Fo, Wole Soyinka, Badal Sircar and others and theorized by Schechner as a set of patterned gestures and acts to establish a ‘communion’ between the spectators and performers with the shared belief in the efficacy of the cultural form being presented: "the move from theatre to ritual happens when the audience as a separate entity is dissolved into the performance as participants”, as also the theatrical limitations of the ‘ritual’ event. The focus will be on Street Theatre as performed by Jana Natyamanch, Kerala Sastra Sahitya Parishad and Budhan Theatre that, inspired by the avant-garde experiments, sought to recover the function of theatre as socio-political intervention via multidomain meaning system comprising symbolism, gesture and language, social and political critique.

9:30 AM - Just the King's Postman? Re-Viewing Tagore's English Plays Ghosh-Schellhorn, Martina (TAS, Saarland U, Saarbrücken, Germany)

Just the King's Postman? Re-Viewing Tagore's English Plays

Martina Ghosh-Schellhorn, Saarland U, Germany.

Contemporary reviews of Tagore's English plays, with the notable exception of W.B. Yeats's and T.S. Eliot's adulation, tended to be less than enthusiastic. By meanwhile common critical consent in India, these plays of Tagore's are deemed to be unstageable. Apparently made up of nothing but "ideas" (whatever that is meant to be), his English plays have, unlike the Bangla ones, been increasingly neglected. This could be partly explicable by Tagore never having achieved the status of an 'Indian Shakespeare', and partly perhaps by his ousting from the limelight by prominent dramatists whose urban and urbane plays nowadays occupy center-stage. What is about Tagore's English plays that preclude appreciation? Is it the type of English into which he, and others, have translated these texts? Is it traceable to the plays unsuitability for the stage? Is it perhaps that Tagore's ideas are meanwhile rather outdated? Or is it something else altogether? In attempting to find answers, my paper will focus on some of his most well-known as well as meanwhile forgotten plays, in order to engage with the transcultural aspects of his achievement.

10:00 AM - Pava Kathakali : The Puppet Folk Theatre of India Akin to the Classical Kathakali Bhela, Dr. Anita (University of Delhi, New Delhi, India)

The culture of mythic storytelling in the varied forms of dance, drama, puppet theatre, song, and scroll painting has remained vital to the people of India throughout its history and this tradition is still a vibrant and vital living part of Indian culture. Puppetry is a popular folk theatre form in many regions of India. Four kinds of puppet theatre are popular – string puppetry, rod puppetry, shadow puppetry and hand/glove puppetry. The tradition, however, is distinct in each region. Puppets in each region are made from different materials - deerskin, cloth, or wood. The making and performing of the puppets is a sacred ritual. The puppets are assumed to have been infused with life by the 172

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 puppeteer, hence, the discarding of the worn out puppets is a ritualistic ceremony. Usha Malik’s observation that most puppetry traditions are linked to and almost parallel to the classical traditions of each region is interesting. This presentation deals with Pava Kathakali (pava means puppet, katha means story and kali means play) so it is a puppet story play.The interesting aspect of Pava Kathakali is that it is a hand/glove puppet theatre form of Kerala based on the classical theatrical form Kathakali performed by actors using masks. While the classical tradition of Kathakali is more exclusive and refined, Pava Kathakali is a folk tradition that is more approachable, having a general appeal. Pava Kathakali uses finely carved puppets made out of wood, decorated, painted, and adorned with headgear and colorful costumes imitating the classical costumes and headgear of Kathakali actors. The stories enacted are based on Attakatha, the stories used in classical Kathakali based on the great Indian epics, the Ramayana and the Mahabharata. While people move to places where Kathakali performances take place, Pava Kathakali puppeteers traditionally went from house to house putting up shows for their hosts. Almost a lost art form, it was revived by G.Venu at the instance of Kamala Devi Chattopadhyay.

17229 - The Rhetorics of the Anthropocene Date: Friday, July 22nd // Saturday, July 23rd Room: Seminarraum Nederlandistik Chair: Dürbeck, Gabriele

4:00 PM - The Rhetoric of the Anthropocene - Introduction Dürbeck, Gabriele (Universität Vechta, Vechta, Germany); Nesselhauf, Jonas (Universität Vechta, Vechta, Germany)

The concept of the ‘Anthropocene’ (Crutzen/Stoermer 2000) suggests a sustainable human impact on biological and geological processes of the earth and the earth’s atmosphere. Originating from the natural sciences, during the last years, the Anthropocene has become an interdisciplinary discourse in cultural sciences, literary studies, and the Arts. We suggest the combination of three aspects to explore the rhetorical and narrative strategies of a 'poetics' of the Anthropocene in literary works.

(a) A re-reading and thus a re-evaluation of literary texts written before the ‘invention’ of the Anthropocene concept—from the science fiction genre (e.g. post apocalyptic novels) to poems influenced by the 1960s and 1970s environmental movement (e.g. poetry by Gary Snyder or Erich Fried).

(b) The literary representation of (elements of) the Anthropocene concept in works of fiction (including film, television series, graphic novels and video games) of the past decade—for example in order to raise ecological awareness or ethical concerns (e.g. in the second season of the TV series Damages, in children's and youth literature, or educational comics) or to represent natural catastrophes and climate-related disasters (e.g. the ‘post-Katrina Literature’).

(c) The topic of posthumanism and the rejection of anthropocentrism in literary texts, replacing human beings as the narrative voice or the main character (e.g. in Frank Schätzing’s Der Schwarm).

4:30 PM - Anthropocene Temporalities Kost, Kiley (Dept. of German, Scandinavian and Dutch, University of Minnesota, Minneapolis, USA)

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The Anthropocene is particularly troubling, not only for the ecological damage and uncertainties it represents, but also for the concepts of space and time it disrupts. Despite being proposed as a new geologic epoch, the scholarship and debate surrounding the Anthropocene too often neglect its temporal dimensions and their consequences for the discourse. The ecological impact, while of great concern, cannot be grasped without considering the accompanying shifts in concepts of time. In addition to the notions of finitude that surface when regarding “the sixth extinction” and the collapse of human and natural history, as notably detailed by Dipesh Chakrabarty, the Anthropocene also requires reflection on extremely large time scales.

The humanities in general and Ecocriticism in particular are well suited for an investigation into the new temporalities of the Anthropocene and the consequences of living alongside exceptionally large finitudes through their materialization in literature. In this paper, I ask what temporalities emerge and which are foreclosed in the Anthropocene. Using theories of new materialist ecocriticism and object-oriented ontology, I will analyze how new temporalities manifest themselves in literature along with their effect on textual and narrative structures. I will focus on German-language literature written before the term was coined, including works by Peter Handke and Max Frisch, which nonetheless resonate with the current discourse of the Anthropocene.

(presentation and paper can be in English or German)

5:00 PM - Performative Aufarbeitung von ökologisch verorteten Weltuntergangszenarien in der etwas älteren deutschsprachigen Literatur Ohnesorg, Stefanie (University of Tennessee, Knoxville, Tennessee, USA)

(Literarische) Texte, in denen ökologische Fragestellungen zentral verhandelt werden, werden kaum – und wenn, dann nur sehr kursorisch -- in Überblicksdarstellungen und Einzelstudien zur Geschichte und von Ecocriticsm in der Literatur erwähnt und analysiert, wenn diese Texte vor den 70er Jahren des 20. Jahrhunderts entstanden sind. Ich sehe hier einen größeren Nachholbedarf und begrüße es, dass sich ein Schwerpunkt des Workshops zum Themenschwerpunkt „The Rhetorics of the Anthropocene“ darauf konzentrieren wird, eine Neulektüre und damit eine Neubewertung von Texten, die vor der Einführung des Begriffs 'Anthropozän' entstanden sind, vorzunehmen.

Ich versuche in meinen Lehrveranstaltungen zum Thema Nachhaltigkeit (mit Fokus auf den deutschsprachigen Kulturraum) die Entwicklungen der letzten 50 Jahre immer in einen historischen und interkulturellen Rahmen einzubetten und greife dabei sehr oft auf ‚etwas ältere‘ kulturelle Artifakte (Texte, Kunst, Musik, usw.) zurück, um Entwicklungs- und Verwerfungslinien zu zeigen, und um damit einhergehend jüngste Entwicklungen in Theorie, Praxis und Kunst/Literatur auch historisch einbetten zu können.

Ich möchte aus der Vielfalt der ‚etwas‚älteren‘ Texte, mit denen ich mich in diesem Zusammenhang beschäftige, insbesondere die folgenden 5 Texte im Rahmen dieses Workshops einer Neulektüre und damit einhergehend einer theoretischen Neuverortung unterziehen: Theodor Storms „Regentrude“ (1863), Günter Eichs „Träume“ (1951), Marlen Haushofers „Die Wand“ (1963), Franz Hohlers „Weltuntergang“ (1974) und Max Frisch „Der Mensch erscheint im Holozän“ (1979). Der hier gespannte zeitliche Rahmen umfasst mehr als ein Jahrhundert, so dass es auf den ersten Blick erstaunen mag, dass gerade diese 5 Texte gemeinsam (examplarisch) diskutiert und im im gegebenen Rahmen (Ecocriticsm / Rhetorik des Anthropozän) neubewertet werden sollen. Was diese Texte 174

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 allerdings vereint, ist ihr „Performanz-Potential,“ und insbesondere die vielfachen medialen Auf- und Überarbeitungen dieser Texte (Märchenstück, Puppenspiel, Kindertheater, Autorenlesung/szenische Aufarbeitung für Lesungen, Hörspiel, Film, usw.) erlauben es übergreifende Aussagen und theoretische Verortungen dahingehend vorzunehmen, wie hier die Thematik „Weltuntergang“ hier verhandelt und perforativ umgesetzt wird, und inwiefern diese (etwas älteren) Texte samt ihrer jeweiligen Um- und Überarbeitungen schon jene Fragen verhandeln, die im Zentrum des Anthropozän-Diskurses stehen.

Date: Saturday, July 23rd

9:00 AM - Eine Poetik für das Anthropozoikum? Naturgewalt, tellurische Macht und anorganische Materie bei Adalbert Stifter Schuster, Jana (universität bonn, bonn, Germany)

Als der italienische Geologie Antonio Stoppani 1873 das Erdzeitalter des "Anthropozoikums" ins Auge fasst, mutmaßt er, der Mensch könne es als "neue tellurische Macht" mit der "Kraft und Universalität der großen Naturgewalten" aufnehmen. Die Erzählungen des Naturwissenschaftlers Adalbert Stifter (1805-68) hingegen stellen das Wechselverhältnis von Mensch und Natur als zutiefst problematisch dar: Die Figuren, die hier an der Domestizierung und Kultivierung der Natur arbeiten, reflektieren ihr Unternehmen selbstkritisch als unabsehbar folgenreiche Einflussnahme auf den geobiologischen Lebensraum. Dem ambivalenten humanen Machtfaktor stehen in Stifters Prosa zwei Naturmächte gegenüber, die unter- bzw. oberhalb der wohltemperierten Mittelzone menschlicher Kultur auf der Erdoberfläche walten: die unvordenkliche geologische Tiefenzeit des Planeten, die menschliches Wirken zur erdgeschichtlichen Episode depotenziert, sowie die unsichtbaren Kräfte der Erdatmosphäre, die Stifter als schicksalsträchtige Geschehensmacht einsetzt. Indem Stifters Erzählungen die geologische Machtausübung des Menschen problematisieren und gezielt mit den raumzeitlichen Naturgewalten konfrontieren, entwickeln sie bereits eine kritische Poetik jener 'anthropozoischen' Epoche, die Stoppani fünf Jahre nach Stifters Tod optimistisch avisieren wird. Der Tagungsbeitrag soll diese These an Textbeispielen darlegen und aufzeigen, wie Stifters Erzählen in Abkehr vom Subjektiven nicht-menschliche Agenzien zu Handlungsträgern aufwertet: Sand in "Kalkstein" von 1853 und die Aggregate des Wassers in "Bergkristall" von 1853 oder "Aus dem bairischen Walde" von 1867. Mit der Eigengesetzlichkeit der anorganischen Materie zielen diese geologischen und meteorologischen Szenarien letztlich auf ein Nicht- bzw. Posthumanes, in dem sich Anfang und Ende des Universums vergegenständlichen.

9:30 AM - Vom Globus und Planeten: Zum Denken des Anthropozäns bei Alexander Kluge, Sebastião Salgado und Anselm Kiefer Radisoglou, Alexis (Columbia University, New York, USA)

In meinem komparativ und intermedial angelegten Vortrag “Vom Globus und Planeten: Zum Denken des Anthropozäns bei Alexander Kluge, Sebastião Salgado und Anselm Kiefer” setze ich mich kritisch mit Figurationen des Anthropozäns im erzählerischen Werk Kluges, der Photographie Salgados sowie der Malerei und Installationskunst Kiefers auseinander. Im Zentrum meiner Beobachtungen steht eine Verzahnung bzw. Konfrontation globalen Denkens mit einem Denken des Planeten: Im Werk aller drei Autoren und Künstler wird die Darstellung einer als global begriffenen Geschichte artikuliert mit Diskursen, die man als planetarisch oder kosmologisch bezeichnen könnte. Eine thematische und formal-ästhetische Auseinandersetzung mit unter dem Banner der Globalisierung firmierenden sozialen, historischen und politischen Prozessen sowie mit einer weitgehend als katastrophisch empfundenen Universalgeschichte vollzieht sich dabei vor dem Hintergrund einer weiter gefassten Konzeption menschlichen Daseins in der longue durée des planetarischen Lebens. Das Planetarische manifestiert sich als Kritik des Globalen, der Planet als epistemologische Gegenfigur zum Globus. 175

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Ausgehend von den äußerst heterogenen künstlerischen Praktiken Kluges, Salgados und Kiefers präsentiere ich verschiedene Spielformen von “Rhetorics of the Anthropocene” und setze dabei die Frage nach ästhetischen Auseinandersetzungen mit dem Anthropozän in Verbindung zu verwandten geisteswissenschaftlichen Diskursen wie etwa dem Planetarischen bzw. der “planetarity” oder der Zukünftigkeit bzw. “futurity”. Von besonderer Bedeutung ist für mich die Frage, inwiefern Rhetoriken des Anthropozäns auch als zeitgenössische Form einer politischen Ästhetik begriffen werden können. “Rhetorics of the Anthropocene”, so argumentiere ich anhand meiner Fallstudien, sind plural und heterogen und können verschiedenartigste politische Schlagrichtungen einnehmen. So lässt sich eine Ästhetik des Anthropozäns unter ein Projekt radikaler Demokratie im planetarischen Maßstab subsumieren, zeigt in anderer Form häufig aber auch eine Tendenz zu einem gleichsam kosmologischen Apolitizismus. Stets jedoch weist die Frage nach dem Anthropozän über die zeitgenössische sozial-historische Formation der Globalität – der Globus als Eines – hinaus und verhandelt somit als transzendentales Problem die Bedingung der Möglichkeit für eine andere Vorstellung von menschlichem In-der-Welt-sein.

Der Vortrag kann je nach Bedarf auf Deutsch oder Englisch gegeben werden.

10:00 AM - "Die Enteisung Grönlands": Vorboten einer Poetik des Anthropozäns in Döblins Berge Meere und Giganten Völker, Oliver (Goethe-Universität, Frankfurt a/M, Germany)

Der Vortrag argumentiert für die These, dass sich in Alfred Döblins Roman Berge Meere und Giganten (1924) eine Poetik ausmachen lässt, die wesentliche Bestandteile von gegenwärtigen Debatten zu einer erdgeschichtlichen Epoche des Anthropozäns vorweg nimmt.

In einem ersten Schritt zeigt der Vortrag, inwieweit Döblins poetologische Texte durch eine Leitmetapher bestimmt werden, deren Bildspender dem semantischen Feld der Geologie entstammt. Gegen eine Form des Erzählens, die das einzelne Individuum in das Zentrum stellt und den Eindruck einer zeitlichen Sequenz erzeugt, verwendet Döblin eine räumliche, ja stratigraphische Metaphorik, die eher zur Beschreibung von geologischen Formationen und Schichtfolgen zu passen scheint. In Bemerkungen zum Roman (1917) skizziert er den Prozess des Erzählens als ein „schichten, häufen, wälzen und schieben“; Sprache als Medium des Erzählens wird zu einer Abfolge von unterschiedlichen materiellen Schichten, einzelne Erzählstränge entsprechend zu „Anlagerungen“, sodass die Grenze zwischen Sprache und dem Raum einer nicht-humanen Natur nicht eindeutig bestimmt werden kann.

In einem zweiten Schritt wird rekonstruiert, wie sich diese Poetik in Berge Meere und Giganten niederschlägt. Der Roman rückt natürliche Prozesse in den Vordergrund, die normalerweise als Hintergrundphänomene der Wahrnehmung entgleiten, mithin auf Grund ihrer zeitlichen Dauer nicht zum Gegenstand einer Erfahrung einzelner Subjekte werden können: „Die Erde drehte sich Tag und Nacht. Trug Erdteile Meere Gebirge Flüsse mit sich. Gab von Jahr zu Jahr neuen Sommer und Winter von sich.“ Zudem umfasst der Roman nicht allein mehrere Jahrhunderte auf der Handlungsebene, sondern erzeugt durch seine enzyklopädische, nicht-lineare Struktur einen Effekt der zeitlichen Verlangsamung, sodass die gedehnten Räume erdgeschichtlicher Zeitepochen über die formale Gestaltung des Romans ästhetisch erfahrbar werden.

Die damit einhergehende Vertauschung zwischen Vorder- und Hintergrund erfolgt zusätzlich über die besondere Ästhetik der Romansprache. Durch die Nichtbeachtung orthographischer Regeln und die Enumeration von Nomina wird die Sprache in ihrer materialen und ästhetischen Präsenz auffällig und erhält dadurch die gegenständliche Erscheinungsform, die Döblin ihr in seinen poetologischen Texten zuschreibt.

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Berge Meere und Giganten erzeugt damit eine Erzählform und sprachliche Ästhetik, die eine Grenze zwischen Mensch und und Natur undeutlich werden lässt.

11:00 AM - Anticipating the Anthropocene: "Classical" and "Popular" Science Fiction Chattopadhyay, Kunal (Jadavpur University, Kolkata, India)

The concept of the anthropocene has been around only from around the turn of the century. But it can be fruitfully applied to reading Science Fiction both synchronically and diachronically.

The classical/canonical texts include Frankenstein, Wells’ When the Sleeper Wakes, and Capek’s RUR. All three have to be read today in the context of the anthropocene.

The dominant strain of popular (or pulp) US SF in the 1930s and 1940s, tended to ignore human impact on the ecology. But some fiction would be written against the grain. Two ecological issues that took precedence in US SF of the Campbell era were the threat of nuclear devastation, and population problems.

One could argue that Marx-Engels versus Malthus form a core opposition on the issue of population. We should keep these opposite positions on population when looking at SF novels on population. The highly popular novels where human action and its (often unintended) consequences are examined include novels by Isaac Asimov (Pebble in the Sky, The Caves of Steel, The Naked Sun) in the Campbell and immediate post-Campbell era, and John Brunner from the New Wave era. The most popular and powerful SF novel of nuclear devastation was Miller’s A Canticle for Leibowitz. Human ecocide replaced the nuclear threat in Brunner’s The Sheep Look Up.

Another fundamental question to be examined was, whether humans, because they have intelligence, can ethically dominate over all other species. Two authors to be discussed will be Cordwainer Smith, (Instrumentality of mankind) and Paolo Bacigalupi (The Windup Girl), written as notions of the Anthropocene begin to percolate.

Explorations of the problems involved in creating alternative ecosystems are done by Frank Herbert (Dune) and Anne McCaffrey (Pern).

This paper will argue that these authors consciously and sometimes quite systematically developed perspectives that are better understood today, because we are armed with the concept of the anthropocene.

11:30 AM - Der Planet der Affen im Anthropozän Shah, Mira (Universität Bern, Bern, Switzerland)

Wenig bringt die Verzweiflung über die (Selbst-)Zerstörungskraft der Menschheit pointierter ins Bild als die Schlussszene von Planet of the Apes (1968), in welcher der Astronaut Taylor an der im Sand versunkenen Freiheitsstatue erkennt, dass er nicht auf einem fremden Planeten war, sondern die Zukunft der Menschheit erlebt hat: „We finally really did it. [...] damn you! God, damn you all to hell!“ ist eine Botschaft, die sich aus dem postapokalyptischen Szenario zurück in die Vergangenheit richtet; es ist eine Botschaft an das zeitgenössische Publikum im Kinosaal.

Seit Pierre Boulles Roman La Planète des Singes (1963) zeigt der Planet der Affen-Stoff, der von einer Welt erzählt, in der der Mensch das Primat zugunsten der Menschenaffen verloren hat und auf seinen tierischen Zustand reduziert wird, die Ängste angesichts der Entwicklung und des Einflusses der Menschheit auf ‚ihrem‘ Planeten. Dabei offenbart er auch eine Faszination für die Mit-Primaten, die gleichzeitig öffentlichkeitswirksam von einer neuen Feldprimatologie erforscht werden. Diese stellt nicht nur menschliche Alleinstellungsmerkmale durch neue Erkenntnisse über Affen in Frage,

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 sondern warnt auch vor der fatalen Wirkung menschlicher Eingriffe ins Ökosystem (vgl. die Feldberichte von Goodall, Fossey, Galdikas oder Strum). Lange vor der Begriffsschöpfung des Anthropozäns zeigt diese Science/Fiction bereits eine affektive Auseinandersetzung mit dessen Charakteristika und bezieht die befürchtete Apokalypse explizit auf die biologische Gattung Mensch in Abgrenzung von ihren engsten Verwandten.

Wie zeitgeistig am Verhältnis Mensch-Affe der Albdruck des Anthropozäns verhandelt wird, zeigt sich im 21. Jhdt. mit den ‚Prequels‘ Rise of the Planet of the Apes (2011) und Dawn of the Planet of the Apes (2014). Diese beschäftigen sich noch intensiver mit der Selbstzerstörung des Anthropozäns, indem sie die Entwicklung hin zum Untergang aus den gegenwärtigen transgressiven Eingriffen des Menschen in seine Umwelt – und seine Mitwesen – heraus imaginieren.

Es bietet sich daher eine Relektüre des Stoffes unter zwei Blickwinkeln an: Erstens lässt sich der Einfluss der Erkenntnisse und Befürchtungen der Primatologie als Leitdiskurs der Anthropologie für die Selbstwahrnehmung des Menschen im Anthropozän an ihnen diskutieren, zweitens die zunehmenden Realisierung der Bedeutung dieses Anthropozäns in der Science/Fiction als Äußerungsmedium kultureller und wissenschaftlicher Diskurse nachvollziehen.

12:00 PM - Dawn of the Zoocene? Or: Humanity vs. the Rest of the Animal World in Recent SFF Film & Television Fuchs, Michael (Uni Graz, Graz, Austria)

The CBS show Zoo, which premiered earlier this summer, opens with the following voiceover, which explains the show's premise: "For centuries, mankind has been the dominant species. We domesticated animals, locked them up, killed them for sport. But what if all across the globe, the animals decided no more? What if they finally decided to fight back?" In the show, non-human animals across the planet start attacking humans and apparently turn into monstrous creatures.

Unlike the vast majority of representations of animals, monstrous animals, Julie Urbanik argues in her book Placing Animals (2012), "serve to do the opposite of anthropomorphizing [non-human] animals" (66), for, as Elisa Aaltola notes in her contribution to the Encyclopedia of Human-Animal Relationships (2007), representations of monstrous animals depict "animals as 'others,' as beings who are opposites of humans" (1199). Yet even though non-human animals attack human beings in Zoo, the non-human turns into a canvas onto which various fears related to globalization and the anthropocene are projected: The animals apparently evolved faster than usual because of food produced by the multinational corporation Reiden Global, making not the mere merging between humanity and nature, but humanity's control of nature in the current age explicit.

Despite all the attempts to critique the status quo, Zoo remains fully entrenched in anthropocentric discourses by, for example, embracing digital effects to subdue nature to human control (thus countering the overstated de-anthropocentering functions of digital cinema, proclaimed in William Brown's Supercinema, for example) and hammering home an overly didactic message (apparently intended for humans). In that regard, I will argue, Zoo is similar to the "natural nasties" (Tudor 1989) which emerged in the 1970s (e.g. Piranha, Frogs, and Grizzly), whose ecological didacticism demonstrates how animal Others are embedded in anthropocentric discourses, as the non-human is first and foremost a function of the human. The animal monsters in these movies are afforded no autonomous role, but merely function as vehicles for conceptualizing, understanding, and knowing the human. However, some more recent horror movies, I will show, are more aggressive and progressive in their challenging of human dominance by casting off animal monsters' semantic layers and thus liberating non-human species from their imprisonment in anthropocentric discourses.

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17234 - Language Policy and Literary Evolution Date: Monday, July 25th Room: Übungsraum Germanistik 5 Chair: Wang, Hongzhang; Zhou, Qichao; Chu, Xiaoquan; Wei, Yuqing; Li, Zhen; Wang, Jiaxing; Xia, Zhongxian; Chen, Tao; Dang, Shengyuan

2:00 PM - Roman Jakobson, J. Mukarzhovsky, Roman Ingarden and ¡°Literariness¡± ZHOU, Qichao (CHINA ACADEMY OF SOCIAL SCIENCES, BEIJING, China)

¡°Literariness¡± is a key concept affecting the destiny and the development of literary theory. Exploration of ¡°Literariness¡± by Roman Jakobson, J. Mukarzhovsky, and Roman Ingarden are believed to be the three milestones of ¡°literariness¡± in modern Slavic literary theory. Jakobson, advocate of ¡°trait theory¡±, develops ¡°literariness¡± in terms of the ¡°formalization¡±. Upholding function theory, Mukarzhovsky, expands ¡°literariness¡± space in the horizon of the ¡°semantization¡±. Ingarden, observer of composition theory, delves into generative mechanism of ¡°literariness¡± under the perspective of the ¡°intentionality¡±. They share in common on how the ¡°literariness¡± comes into being and on the scientificized approach to the literary research.

2:30 PM - TAO (¡°µÀ¡±) AND CHING (¡°Ÿ³¡±) DANG, Shengyuan (CHINA ACADEMY OF SOCIAL SCIENCES, BEIJING, China)

Chinese literary ontology is based on ¡°syncretism between heaven and man¡±, emphasizing integration of art and Tao(¡°µÀ¡±). This creative thought of ¡°syncretism between heaven and man¡± essentially implies that the artist in the creation and the created artworks should realize their own life value, universal life beauty and the ontology¡¯s metaphorical return of Tao(¡°µÀ¡±), to which Chinese artistic conception gives full expression. Chinese artistic creation highlights ¡°Tao (¡®µÀ¡¯) expressed by Ching (¡®¾³¡¯)¡±, which synthetically embodies the generative and cognitive meaning producing. In the aspect of its thinking mode and history, ¡°Tao (¡®µÀ¡¯) expressed by Ching (¡®¾³¡¯)¡± is closely connected with Chinese ancient ideographical mode. In Chinese traditional culture, vivid figuration (¡°ÏóÓ÷¡±) and its expressing way deeply influence and determine the existence of Ching (¡°¾³¡±) in Chinese traditional art. Ching (¡°¾³¡±) can be considered as the natural artistic coherence of Chinese cultural and artistic aestheticization of nature and life, i.e. ¡°syncretism between heaven and heaven¡±. Tao (¡°µÀ¡±) communicates with Ching (¡°¾³¡±) and vivid figuration (¡°ÏóÓ÷¡±) is under the perspective of ¡°Tao (¡®µÀ¡¯) expressed by Ching (¡®¾³¡¯)¡± , which pursuits a more harmonious and more organic artistic cognitive manner instead of the scientificized thinking logic.

3:00 PM - Liu Xie's Conception of Literary Evolution: A Functionalist View Wang, Hongzhang (College of Foreign Languages and Literatures, Fudan University, Shanghai, China)

In light of relevant theoretical and critical principles established in Russian Formalism, linguistic and literary, the present paper attempts to reconstruct the functionalist point of view of the evolution of literary genres and practical criticism of literature Liu Xie, the 5-6th century Chinese critic, implied in his The Literary Mind and the Carving of Dragons, intending to remove the stereotypical stamp imposed on Liu Xie as a classically conservative critic. The author of this paper argues that Liu Xie’s so-called “six points [aspects]” (“Liu guan” 六观) put forward succinctly in “An Understanding Critic” (“Zhi yin” 知音) constitutes a comprehensive and systematic methodology of practical criticism, regarding respectively the genre and style (Wei ti 观位体), the diction and rhetoric (Zhi ci 观置辞), the flexible adaptability (Tong bian 观通变), the application of traditional and newly emerged

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 techniques (Qi zheng 观奇正), the use of historical and literary allusions (Shi yi 观事义), and the musical pattern (Gong shang 观宫商) of a given piece of literary composition, and that any discussion of this methodology must take into account theoretical and critical ideas Liu Xie expressed in different chapters of his whole book.

“Flexible Adaptability to Varying Situations” (Tong bian” 通变) forms a separate chapter of Liu’s book, in which we find a clearly formulated conception of the laws of literary evolution that are primarily intended for the education of creative writers still in the making. But this historico- diachronic concept, as a critical one, also appears among the “six aspects”, taking on a synchronic dimension, by which we can judge the closed structure of a given work. On the one hand, it serves as a standard for critics to locate a specific work of literature in the total historical continuum of a given genre to which the work belongs. On the other hand, successful “flexibility to changing situations and contexts” within a work constitutes a self-sufficient micro-literary system whose constitutive elements follow their own natural tendencies.

4:00 PM - The Production of the Novel Doctor Zhivago and Its Reception in China WANG, Jiaxing (NANJING UNIVERSITY, NANJING, China)

The predominant idea of art Boris Pasternak displayed throughout the process of his creation of Doctor Zhivago is his so-called penetration of the light of force into life. Doctor Zhivago represents the reality affected by force, that is, the reality dislocated by emotion. The revolutionary era in which lived and the historical sense of his contemporaries were both represented under the impact of his extremely personal experience and emotion.

¡¡¡¡The author of the current paper argues that related issues concerning the genre of the novel can be looked at from what Pasternak called ¡°plant thinking¡±. Pasternak¡¯s talent and professional training in music, painting, and philosophy constitutes his unique idea of art. His poetic composition serves as a blueprint for his novelistic production. Dramatic monologues, dialogues and deployment of different kinds of characters are everywhere to be found in his novels. He constantly transgresses generic boundaries, resulting in his creative mixture of genres. Pasternak was trying to get a way out of the confusion of his day caused by the fragmentation of the literary form. For Pasternak, putting his own speech in the mouth of the characters he created is much safer than directly addressing it to the People. Compared to the poetic space which is full of gaps, the novel as a genre is more of vitality and substantiality.

¡¡¡¡Chinese reception of Pasternak¡¯s Doctor Zhivago has experienced three stages. Political and critical censure directed to the writer began in 1958. From the middle of the 1980s to the middle of the 1990s, increasingly heated discussions were done of the relationships between history and the individual, intelligentsia and revolution, social transformation and the survival of individuality, power and the free spirit. Meanwhile, related humanist issues also began to receive wide attention from the Chinese readers as well as academics. From then on, most of the Chinese writers who had had the opportunity to read Doctor Zhivago began to take it as a classic to be emulated in their own literary creation. The past two decades have seen Chinese literary academics doing aesthetic criticism of Doctor Zhivago.

4:30 PM - A DREAM OF RED MANSIONS AND ITS RELATION TO CARNIVALIZATION AND FOLK HUMOUR XIA, Zhongxian (BEIJING NORMAL UNIVERSITY, BEIJING, China)

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The carnivalization poetics which Bakhtin devoted himself to and elaborately designed for years is a broad and profound system, which covers such disciplines as mythology, folklore, cultural anthropology, linguistic, literary theory, etc. It advocates thinking modes with carnival spirit, new literary conception, and subversion and construction strategies and methodology, and greatly broadens the domain of literature research.

In recent years, there have been a lot of studies about A Dream of Red Mansions in the Chinese literary circles. There has existed an enormous literature on such studies. Different scholars at different times have made different comments. A reinterpretation of A Dream of Red Mansions with the help of the numerous achievements made in different disciplines is undoubtedly a new attempt and approach. Based on Bakhtin¡¯s theory of carnivalization, this paper attempts to give A Dream of Red Mansions ¡°a reexamination from the perspective of folk festivals and carnivals in the world of literature¡±, investigates into the memories in the novel genre, explores the writers¡¯ innovation strategies, and tries to offer a new perspective and method for the studies on A Dream of Red Mansions.

5:00 PM - Chung-shu Chien¡¯s Sublimation Theory (¡°»¯Ÿ³Ëµ¡±) From the Perspective of Bakhtin¡¯s Dialogism Tao, Chen (CHINA WOMEN'S UNIVERSITY, BEIJING, China)

Translation is de facto a process of using one language to express another one. It is a linguistic transfer, a cognitive process of trans-context, trans-cultural exchange expressing different cultural implications and an interactive process of different translation subjects which coincides with intersubjectivity of Bakhtin¡¯s dialogism. Sublimation theory (¡°»¯¾³Ëµ¡±) reflects the dialogue between subjects which hints that single subjectivity (i.e. translator-centre, original-writer-centre and reader-centre) should be avoided in the literary translation. Literary translator undertakes multiple tasks and needs to coordinate them harmoniously in the interactive process of self and other, of which Bakhtin¡¯s dialogism could better our understanding.

17248 - Embracing the Other Date: Friday, July 22nd // Saturday, July 23rd // Monday, July 25th // Tuesday, July 26th // Wednesday, July 27th Room: Hs 23 Chair: Kostova, Raina; Schweitzer, Petra

Opening Remarks Kostova, Raina ; Petra Schweitzer …

9:00 AM - EmPlacing the Other Romm, Stuart (Praxis3 - architecture and multidisciplinary design, Atlanta, USA)

The seeming keyboard slip in muddling the title of this seminar is intended as a useful provocation to those gathered at ICLA across many disciplines, from the literary arts to the plastic arts. In educating architects, the initiation into its very definition was historically proselytized in Bruno Zevi’s classic book title, Architecture as Space. Although in the cause of progressive modernism, a reductive implication of the text tended to draw an oppositional line across the space-time continuum; a separation between the timeless stasis of painting and architecture and the kinetics of theatre,

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 literature, and music (but note Von Schelling’s attempt at a bridging definition, in Philosophie der Kunst: “[Architecture] is music in space, as it were a frozen music.”)

The political dimensions of this opposition between the arts, their operating priorities of space vs. time, were illuminated in Margaret Crawford’s book Everyday Urbanism. Her following analysis both cites Michel de Certeau’s evocations of the practices of everyday life and indirectly the critique of Michel Foucault: "De Certeau drew a distinction between two modes of operation: strategies, based on place, and tactics, based on time. Strategies represent the practices of those in power, postulating 'a place that can be delimited as its own and serves as the base from which relations with an exteriority composed of targets or threats can be managed.' Strategies establish a ‘proper’ place, either spatial or institutional, such that place triumphs over time. In contrast, a tactic is a way of operating without a proper place, and so depends on time. As a result, tactics lack the borders necessary for designation as visible totalities: 'The place of a tactic belongs to the other.'"

Hence the provocation of the mistyped title: is place-ness + otherness an intrinsic paradox or an intersection awaiting new conceptualizations?

9:20 AM - Expanding Identities: Social and Environmental Justice in Indigenous American Literature Lobnik, Mirja (Oxford College of Emory University, Oxford, USA)

In the wake of large-scale events such as Hurricane Katrina, there is an increasing attention to racial bias in political systems and economies—from de facto segregation to toxic waste, food, and trade policies. What is more, social and environmental issues can no longer be separated in a world marked by the impact of colonial legacies and the effects of climate change on human migration and displacement. Featuring work from contributors of widely diverse backgrounds, Alison H. Deming’s and Lauret E. Savoy’s The Colors of Nature: Culture, Identity, and the Natural World addresses the gaps in environmental literature by revealing how a wealth of cultural perspectives is essential to creating a more textured understanding of histories and identities that may seem strange and unfamiliar. Informed by ecocritical theory and indigenous philosophy, this paper examines the work of indigenous writers such as Pauline Melville and Joseph Bruchac through a close engagement with the intersection of cultural diversity and ecological awareness, more specifically, with the ways in which these authors expand their audiences’ identifications to include both the human and the nonhuman. In doing so, it shows how an expanded circumference of “Self” incites and reinforces eco- centric perspectives that reflect a fuller range of human experience. Offering grounds for an aesthetics that expands identities, the paper argues for a reconfiguration of culture and place in ways that may help us embrace the “Other.”

9:40 AM - Migrants as Other: Xenophobia and Racism Schweitzer, Petra (Shenandoah University, Winchester, USA)

Migrants as Other: Xenophobia and Racism The paper addresses the refugee chaos across European countries and a new movement that takes place in Germany to aid asylum seekers, refugees and migrants. As reported in “The Spiegel,” the University Siegen has become an example of a national movement that is taking place in Germany. Anja Damerius, is one of the dozen volunteers at the University Siegen who are working with new arrivals. When the regional government placed approximately 200 seekers at the Gymnasium, they promised to find a shelter within days. Despite official promises, the asylum seekers were still on campus after one month. Among the details that identify the need for a solution, everyone at the university has no hope that anyone of the people present on campus can be placed anywhere else even though the university starts at mid –October. 182

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

Paradoxically, a student initiative and not the state has launched a program that supports the needs of people not only organizing primary medical care but also offering courses that will help the refugees to integrate into Germany’s social life. Like the University Siegen, other cities, regions and countries embody a different movement contrary to that of many states or racist attacks. How do we understand this new communal regional movement in relation to xenophobia and racist violence against asylum seekers, refugees and migrants in Western Europe? What distinguishes the relationship between the new measures of discrimination and intolerance of European Union countries against asylum seekers, refugees and migrants? Fundamental questions such as “What is xenophobia?” continue to evoke alternative discourse. I suggest that the fundamental question of “What is xenophobia” must be rethought in relation to economic globalization, as it operated toward an increasingly international labor force. We have to go beyond traditional cultural and xenophobia significations and start with the question: What was it like to be Other? It is within that framework Emmanuel Levinas’s expression Other (“autrui”/the other person) that I will explore the relation between the physical and psychological abuse against a vulnerable group of people and the responses of activists to “Embrace the Other.”

10:00 AM - Jelinek's Vienna: Cultural Elitism and Xenophobia Kostova, Raina (Jacksonville State University, Powder Springs, Georgia, USA)

“Vienna, the city of music! Only the things that have proven their worth will continue to do so in this city. Its buttons are bursting from the fat white paunch of culture, which like any drowned corpse that is not fished from the water, bloats up more and more.” This is the sarcastic portrait of Vienna that Elfriede Jelinek presents in her Nobel winning novel The Piano Teacher (1989), which has gained notoriety because of its explicit discussion of sadomasochism, sexual perversity, and violence. Behind its glaring depiction of the main character, Erika Kohut’s, socially unacceptable behavior, however, the novel resonates with a much more subtle allusion to the historical forces that have shaped contemporary Viennese culture, which will be the focus of my presentation. In the 1980s, the Viennese are immersed in a sensibility of hatred, violence, and exclusion reminiscent of the extreme nationalism and ethnocentrism of Nazi ideology. Ironically, it is classical music—the epitome of cultivation, freedom, and spirituality—that becomes the vehicle for segregation, expulsion, and cruelty. I will examine the power relations in the novel in view of Michel Foucault’s understanding of power as a network of nonsubjective mobile forces that “come into play in the machinery of production, in families, limited groups, and institutions.” From this perspective, the defeat of Nazi ideology at the end of WWII appears to be only nominal, as principles of exclusion and segregation thrive in the networks of private relationships in smaller groups and institutions protected by the law.

Date: Saturday, July 23rd

9:00 AM - Mainstreamed and Marginalized: Female Athletes as the "Other" in Sport Media Coverage Daddario, Gina (Shenandoah University, Wiinchester, USA)

Western media critics have long observed that female athletes seldom receive more than a minimal amount of the media coverage devoted to sport due, in large part, to the masculine hegemony that pervades sport and sport coverage. In the U.S. and other Western countries, men’s sports are overwhelmingly privileged in nearly all mediated contexts. Consequently, female athletes have been accustomed to being marginalized, sexualized and, in some cases, rendered invisible by media

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 outlets as they are situated as the “other“ in sport. Their otherness is manifested in the qualifiers used to talk about sports, as in “women’s” sport, and in the descriptors used to comment on athletes, such as “the girl next door.” According to feminist critics, sport normalizes men’s power and privilege as evidenced by the media’s tendency to highlight women’s physical attractiveness and psychological vulnerabilities rather than their athletic skills. Typically, gender bias in sport is manifested through differential commentary used to characterize male and female athletes rather than through blatant gendered stereotypes. This status quo has not gone unchallenged, however, as women’s participation in the Olympic Games has not only increased over time but, at present, is comparable to men’s. (In fact, women were not excluded from any events at the 2012 London Games and represented just under half of all athletes.) Similarly, the 2015 World Cup, by Western standards, enjoyed unprecedented media coverage and audience interest. In fact, the U.S. telecast of the Women's World Cup championship was the ‘most watched’ soccer game ever. However, despite the increased attention devoted to women’s sport, audience-driven spectacles like the Olympics, the World Cup and professional tennis and golf are the exceptions. This paper will explore the sometimes paradoxical relationship between women’s sport and “otherness,” where women can be both mainstreamed and marginalized in contemporary popular media.

9:30 AM - Agents, Orcs and Militant Mutants: Sameness as Otherness in Western Popular Culture Argiro, Thomas (Tunghai U., Dept. of Foreign Languages & Literature, Taichung)

Popular films and literature are often transmitters of ideology related to the discourses and issues informing difference and otherness. Yet the radical difference and otherness displayed by various fantastical characters and creatures in certain popular works more generally functions in juxtaposition to an undesirable sameness, presented as the prime catalyst of their stories’ agons, essential to the social and political messages of these works. For example, Peter Jackson’s Lord of the Rings film series, based on J.RR. Tolkien’s fantasy tales, the sci-fi dramas of The Matrix series, and the X-Men films derived from Stan Lee’s Marvel Comics all feature figures representative of an immovable sameness. These characters are generally cast as relentless villains and monsters arrayed against a variety of heroes and opponents, whose outstanding differences stand in sharp contrast to the entrenched herd mentalities, ideological dogmas and/or ontological inalterability of their respective antagonists.

Comprehending the ways that difference and otherness are perceived and purveyed in a larger socio-political context is of paramount concern in the practice of everyday life. Ergo, these works are important in that all mark out fictional territories wherein forms of difference and otherness are less problematical to the social stability of their various life-worlds than is a mandate for sameness disregarding the freedoms and rights of anyone not a part of their antagonists’ fixed agendas. This paper will illustrate how the treatment of unbearable sameness in these works constitutes a strong response to untenable political and cultural intolerance and its manifestations in the real world. Their culturally informed rhetoric demands vigilance toward agents, Orcs and militant mutants, whose intransigent sameness is the true otherness that unsettles the social, everywhere.

10:00 AM - THE OTHERNESS OF THE SIMILAR: UNCOVERING THE FACE OF THE MARROKAI SAKIN ("MOROCCAN KNIFE") IN THE FALAFEL KING IS DEAD, by SARA SHILÓ Oliveira, Leopoldo (Federal University of Rio de Janeiro, Rio de Janeiro, Brazil)

Published in Israel in 2005, Shum Gamadim Lo Yavo’u (literally meaning No Dwarves Are Coming, translated into English as The Falafel King Is Dead) is the first novel by Sara Shiló, and since then it has been awarded several prizes, even the Sapir Prize in 2007. Shiló (whose maiden name was Bavli) was

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 born in Jerusalem in 1958 and, after having married and graduated, went to live in the North of Israel, in the town of Ma’alot, close to the Lebanon border. And it is exactly the experience of living in the social milieu of these developing villages (ayarot hapituach in Hebrew) [1] what provides material for her novel. The narrative of Shum Gamadim comprises four interior monologues of the Dadon family members, on a night in which the village is attacked by Katyusha rockets, during the Lebanon war in 1982. Through the rebuilding of daily life in this family, of its innermost thoughts and desires, and by recreating its peculiar language, the author finally unveils to the Israeli the true face of the marrokai sakin (“The Moroccan knife”) [2] , the Jewish-Moroccan immigrant, victim of stereotypes and prejudices. Through the analysis of this poignant and thought-provoking novel, this work aims to examine the mishaps and biases of the insertion of Moroccan-Jewish immigrants in the Israeli society, as well as the impact this peculiar novel caused in debates on literature, its feature and function to Judaism as a whole, and for the Israeli society in particular.

[1] Small towns planned to receive immigrants in the inland areas of the country in order to populate the region and ensure a majority Jewish population in the area.

[2] A Jewish-Moroccan cultural trait is that men walk armed with a knife, which created in the Israeli society the stereotype that these immigrants supposedly would have violent behavior

Date: Monday, July 25th

9:00 AM - One Between Two: Godard's Goodbye to Language (2014) Choe, Steve (San Francisco State University, San Francisco, USA)

This paper reads Jean-Luc Godard’s 3D digital video, Goodbye to Language (2014), as proposing a model for non-human otherness. Drawing from close readings of the work, as well as writings by Rilke, Heidegger, Levinas, Derrida, Stiegler and others, this paper attempts to elucidate an ontological form that extends beyond our global, quantified notions of the human being. Goodbye to Language tells two loose narratives of two couples separating, both mingled with images of a stray dog. As the couples come to realize the limits of human language to consolidate relations with their ostensibly loved other, Godard seems to propose animal being as key to thinking otherness beyond language, beyond the mere givenness of human discourse. To think the animal, specifically to think how animals perceive and experience the world, is to love in a manner that does not conform to a humanistic, narcissistic form of loving. Godard seems to aspire toward this impossible alternative, toward becoming-animal, through the non-human means of the cinema. Throughout his career, Godard has explored the heterosexual couple as a model for thinking ontologically beyond binaries. In Goodbye to Language, Godard works with 3D cinematography and the binary between left and right (eyes and ears) to continue his inquiry into themes of difference and non-uniformity.

9:30 AM - Playing Deaf and Dumb: Disability and the Theatre World DiQuattro, Marianne (Rollins College, Maitland, USA)

This paper will explore how the “otherness” of disability continues to dwell at the periphery of theatre internationally, due in part to the movement of the “otherness” of race and nationality to the center as dramatic fodder. This paper will explore how in an age of gender and race requirements in casting, similar requirements are markedly absent or impossible as regards disability. Some plays, such as Martin McDonagh’s internationally successful drama, The Cripple of Inishmaan, comment explicitly on the presence of the double standard, as for instance when “Cripple Billy” Claven returns from his failed Hollywood screen test and quotes the film director as having wanted “a normal fella who can act crippled [rather] than a crippled fella who can’t fecking act at all.” This paper will argue that from theatre structures (the very danger of the backstage area) to the dramas themselves, the theatre remains an exclusionary art form in which the “otherness” of disability is forbidden from 185

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 making a move to “center” stage as anything other than a plot device to be played by able-bodied actors. Even in dramas that feature disabled characters, the dramatic structure itself can make the participation of a disabled actor impossible. For example, in Act I of Bruce Norris’s Tony and Pulitzer Prize-winning drama Clybourne Park a featured character is a deaf young woman. The requirements of staging seem to offer no barriers to the participation of a deaf actress. And yet, as Act II begins, the dramatic requirement that the same actress double a non-deaf role illustrates how the drama relies on able-bodied representations of disability. As the actress appears in the second role, the audience can indulge in a moment of aesthetic distancing, “ah, she was playing deaf,” to marvel in adopting the “otherness” of a group whose “otherness” can still be represented theatrically rather than included as a casting restriction.

10:00 AM - (Em)bracing Migrant Women as Others in Korean Cinema Chung, Moonyoung (Keimyung University, Daegu, South Korea)

Since the late 1990s, Korean cinema and other cultural products, broadly known as hallyu (Korean wave), have gained unprecedented international popularity. Recently Korean cinema becomes a major player in global film culture on the world stage. As we can see in cases of popular films made during the renaissance of Korean cinema for the past decade, both Korean cinema industry and discourse have sought for a new dynamic power by dealing with the issues of migrants, especially exploiting the roles of marriage migrant women as others. Thus this paper maintains that new Korean cinema can obtain its status as a major player paradoxically by bringing center stage obliterated minor characters who are repressed as others in margins of Korea ’ s socio-cultural context, such as marriage migration wives and maids. But it is also true that the migrant women do not exist yet and they are still missing in Korean films, although they are placed in the absolute foreground.

There are some Korean films which make them subjected instead of making them true subjects and at the same time show how they are what is missing. We can find Korean cinema ’ s true potentiality in these films. Thus this paper reads Failan (2001), Innocent Steps (Daenseo-ui sunjeong, 2005) The Yellow Sea (Hwanghae, 2010), The Taste of Money (Do-nui mat, 2012), and Mai Ratima (2013), searching for missing migrant women and analyzing their roles both as absent subjects and others in the mechanisms of Korean cinematic system. This study can provide a useful material for understanding otherness and Korean social and cultural context out of which these popular films arose and are consumed in the era of globalization.

Date: Tuesday, July 26th

9:00 AM - The Moors in George Peele's The Battle of Alcazar Barbouchi, Limame (Faculty of Letters and Humanities, Oujda, Marocco); El Maghnougi, Naima (Faculty of Letters and Humanities, Oujda, Marocco) For almost the last three decades, much ink has been spilt upon the issue of the presence of the Moorish villains in the European literary canon. In this regard, many post-colonial writers and critics have endeavored to delve into this canonical river so as to underscore the misrepresentation of the Moors in such texts. Their attempts have always been based on a discursive strategy. The laudable aim of this strategy has purportedly been to dismantle the European discourse on race. This discourse has indubitably been believed to be based on Eurocentrism. However, only few attempts have been made to explore the European - historically as well as canonically- marginalized texts which embrace the Moors positively. Believing that these texts inhabit an overlooked European literary discourse about the Other, This paper explores the province of a repressed literary history 186

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 that accommodates a rather different image about the Moors. In this discourse, unlike in Orientalist discourses, the Moor is branded as courageous, heroic and generous human being. In addition, this paper offers an account of the historical forces standing behind the reign of this ‘positive’ image. By doing so, this paper questions the homogeneity of the European literary discourse on race. As a roadmap, this paper structures its line of analysis around two major moments. Where primacy is, at the first level, accorded to providing a theoretical framework for this study, focus is, at the second level, placed on analyzing George Peele’s The Battle of Alcazar.

9:20 AM - Language of Nationalism and Martial Identity in the Muluk of Bir (brave) Gurkhas Sharma, Priyanka (Jadavpur University, Kolkata, India)

The non convergence of nation and state in South Asia creates a fertile breeding ground for various conflicting, co-existing and complicated regimes of truth. In 1815 the king of Gorkha came into direct conflict with the ‘British India’ (The East India Company) in the Anglo- Nepal war (1814- 1816). It was not merely a physical conflict. It was a conflict of ideologies, a conflict of two different languages: The language of fixed, well demarcated borderlines of the British colonial ideology and the language of shifting frontiers and changing membership of a subject in the Gorkha ‘muluk’.The Gorkha rulers referred to their territorial possessions as muluk. The king who was a malik (landlord) to his muluk assigned tenurial duties over the lands to his subjects who were free to change their political affiliation as the tenurial scheme was applied exclusively to the land not to the subjects of the king. My paper will trace the formation of the nation- state in Nepal which was initiated during this conflict that also marked the anthropological moment of the British ‘discovery’ of the Gurkhas: ‘the martial race’. I will further investigate the discourse of colonial project which built the foundation for the famed idea of Bir Gurkha in the British military history and anthropological writings. Taking this as my point of entry, I shall go on to investigate how the dynamics of nationalism engage with discourses of martiality in the body of literature I am investigating and look into the “problem of double consciousness of the deterritorialised Gorkha subjectivity that is torn between two seemingly conflictual impulses of a primordially constructed notion of the Gorkha jati (community) and the demands of a modern nation-state” .Among the writers I have already identified are Agam Singh Giri (1928- 1971), Bhupi Sherchan ( 1937-1990) Haribhakta Katuwal( 1935-1980 ), Indra Bahadur Rai(b. 1927 )and Lil Bahadur Chhetri(b.1923 ).

Date: Wednesday, July 27th

9:40 AM - Embracing the Other: Imaginary Freedom Brinkley, Tony (University of Maine, Bangor, Maine, USA)

To study Virginia Woolf's writing is to discover a freedom in writing. With the Berg manuscripts for TO THE LIGHTHOUSE as a point of departure, the paper I am proposing will attempt to theorize this freedom as a way pragmatic way of embracing the other. The theorizing will work from: 1.) Lacan's reading of the imaginary (with a particular concern for the moment--almost unmarked in Lacan's discussion--when the child discovers the image in the mirror as image but does not yet identify with the image as self); 2.) Bakhtin's understanding of the dialogic otherness of speech genres (where Dostoevsky's novels offer the paradigmatic examples); 3.) Peirce's sense of a complementarity between what he called "firstness" and "secondness"; 4.) Levinas and Irigaray's articulations of an ethics of otherness. A tentative hypothesis: Woolf responds in her writing to the freedom of her characters--not as she wishes them to be but as they find themselves to be (in Perice's terms to their "secondness"). In doing so, the writing joins in that freedom, the writer joins, the reader joins by embracing the other. 187

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10:00 AM - Afro-Caribbean Womanhood in Literature Harris, Ashley (Shenandoah University, Winchester, USA)

The notion of “Africanness” incorporated into the sense of self by a Diasporic African woman who has been separated from her motherland for countless generations creates various complex identities. To reclaim and understand their heritage transforms into numerous questions. Due to the Trans-Atlantic Slave Trade, that individual may have ancestry from any of the 18 countries that now make up West Africa. Even within those 18 countries there are countless ethnicities, language, religions, and tribes. Specifically in my essay I will be focusing on several literary pieces by Afro- Caribbean women such as: Edwidge Danticat, Beryl Gilroy, Nalo Hopkinson, Merle Hodge, and Jamica Kincaid. Throughout my essay I will portray not only the complexities of Afro-Caribbean womanhood but also the similarities between the islands and West Africa. Antiguan-American author, Jamaica Kincaid illustrates the struggles of a young girl who tries to thread together her racial identity, national identity, her sexuality but also her notion of womanhood in Annie John. Afro-Trinidadian novelist Merle Hodge also wrote of a teenage girl who was in the midst of understanding her womanhood in her book, Crick Crack, Monkey. In Sunlight on Sweet Water, Guyanese author Beryl Gilroy portrays life not too long after slavery and incorporates characters who remember West Africa. Jamaican author Nalo Hopkinson elaborates on identity within the Afro-Caribbean community within and outside of the West Indies in her compilation of short stories in Skin Folk. Lastly, Haitian author Edwidge Danticat’s Breath, Eyes, Memory demonstrates cultural notions of womanhood in comparison to that of American perceptions of womanhood through the eyes of Sophie Caco. Each of these novels allude to Pan-Africanism and give voices to identities within the African Diaspora that tend to go unheard of in Western Society.

10:20 AM - Embracing the Black Female Other through Feminine Writing in Toni Morrison's The Bluest Eye: A Study of Colors, Sounds and Shapes Hammami, Nodhar (University of kairouan, Tunisia, Kairouan, Tunisia)

In her novel The Bluest Eye, Toni Morrison reacts against the racist and sexist white society which sets the black race and the female sex as “other”. She attempts to embrace the black female other through the inclusion of a new linguistic mode, a new feminine style of writing which subverts the social and linguistic conventions. She questions both the bases of beauty and the standards of writing, revealing that they are grounded in a subjective standardization. Morrison proves to be subversive both in theme and style. She cries out for a room for the Afro-American culture within the white hegemony while asking blacks to stick to their communal ties, preserve their racial belonging, and hold to their cultural identity as a way to overcome their otherness. Stylistically speaking, Morrison shows a break with the traditional literary canon and uses a new feminine mode of writing where the liberation of language goes hand in hand with the writer’s desire to liberate her own race and sex.

The concern of the paper is to show how Morrison transcends the traditional literary discourse by embracing a new feminine writing, a mode in which an excessive and unconventional use of colors, sounds and shapes attempts to instill a new social and sexual order. The writer’s Break with the rules of the old linguistic game and creation of a feminine language aim at embracing the other, including the excluded and centralizing the marginal.

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17252 - Hybridisierung literarischer Sprachen und Ausdrucksformen als Innovationsmodus Date: Monday, July 25th // Tuesday, July 26th Room: Hs 34 Chair: Hintereder-Emde, Franz

9:00 AM - Ausgangspunkt Robert Walser: das Innovative hybrider Literatur Hintereder-Emde, Franz (Universität Yamaguchi, Yamaguchi, Japan)

Ein zentraler Ausgangspunkt dieses Workshops liegt in der Beschaeftigung mit dem Werk Robert Walsers. Inzwischen eine feste Groesse in der Literatur der Moderne, galt Walser lange als wenig ernst zu nehmender Einzelgaenger. Walsers Schreiben zeigt in verschiedener Hinsicht hybride Zuege, sei es in der Kombination von verschiedenen Gattungsformen, die Maerchen, Briefe und Szenisches verbindet, sei es in der Verknuepfung von ernsten und trivialen Stoffen. Demzufolge wurde der Autor in der Literaturkritik lange Zeit aus dem Bereich der "hohen" Literatur ausgegrenzt. Walsers scheinbar verspielt naive Diktion mit seiner Naehe zur Neuromantik und zum literarischem Jugendstil verdeckten fuer viele Leser den Blick auf die originaere literarische Qualitaet seiner Texte.

Hybrides Schreiben, also etwa die Vermischung und Kombination verschiedener Stile und Ebenen zwischen Trivialem, Abstraktem und Schoengeistigem duerfte in der Literaturgeschichte, etwa in der Fruehzeit des Romans, die ueberwiegendere Form gewesen sein. Erst eine staerkere Ausdifferenzierung und Hierarchisierung literarischer Gattungen schaerfte das Bewusstsein fuer "reine" Formen. Die Romantik hingegen amalgamisierte wiederum die Genres, und nicht zuletzt deshalb wurde Walser oft mit ihr in Beziehung gesetzt.

Walser war kritischer Leser und Beobachter des Literaturmarktes. Gegen Anmutungen, sich dem Stil renommierter Autoren anzupassen, hat er sich verwahrt, zudem stand er dem Zeitgeschmack durchaus kritisch gegenueber. Er nutzte Trivialliteratur ebenso wie Klassiker, etwa die von ihm geschaetzten Schillerschen "Raeuber" als Inspiration fuer seine spaete Kurzprosa, in der er diese kongenial extrahierte und verfremdete. Mittlerweile wird auch Walsers Person und Werk Objekt einer adaptierenden Neuinterpretation, die seine Literatur fortschreibt.

In meinem Referat will ich von Walser ausgehend das spezifisch Innovative hybrider Schreibweise in unterschiedlichen Perspektiven herausarbeiten.

9:30 AM - Darstellung und Zeitlichkeit. Zu Gotthold Ephraim Lessings gattungstheoretischem Vermächtnis Takeda, Arata (Freie Universität Berlin, Berlin, Germany)

Goethe und Schiller erklären in ihrer Programmschrift Über epische und dramatische Dichtung (1797) den wesentlichen Unterschied zwischen epischer und dramatischer Dichtung dadurch, „daß der Epiker die Begebenheit als vollkommen vergangen vorträgt, und der Dramatiker sie als vollkommen gegenwärtig darstellt“. Der Gedanke, Modi der Darstellung und Aspekte der Zeitlichkeit miteinander in Bezug zu setzen, stammt, wie eine sorgfältige Quellenforschung aufzuzeigen vermag, von Gotthold Ephraim Lessing. In der Hamburgischen Dramaturgie (1767–1769) versucht Lessing, eine kryptisch anmutende Stelle aus Aristoteles’ Poetik über Modus und Mittel der Darstellung in der Tragödie mit großem hermeneutischem – aber wenig philologischem – Aufwand auszulegen. Eine interessante Auslegung gelingt ihm dadurch, dass er den narrativen Modus mit dem Aspekt des 189

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Vergangenen, den dramatischen Modus mit dem Aspekt des Gegenwärtigen verknüpft. Spätestens seit Thomas Twinings Poetik -Übersetzung (1789) indes gilt es als philologisch unstrittig, dass die Kryptizität der betreffenden Stelle auf eine korrumpierte Textüberlieferung zurückzuführen ist. Nach der berichtigten Textauffassung stellt sich die Stelle als überaus einleuchtend dar. Gleichwohl bleibt diese Erkenntnis ohne Folgen für Goethes und Schillers spezifische Unterscheidung von epischer und dramatischer Dichtung, die ohne weiteres – und auch ohne Verweis – auf Lessings Gedanken zurückgreift. Der vorliegende Beitrag hinterfragt den Stellenwert von Goethes und Schillers zeitbezogener Unterscheidung von epischer und dramatischer Dichtung, die bei genauester Betrachtung auf einem Gedanken aufbaut, dessen Prämissen auf einer Fehlauslegung beruhen. Die Übernahme dieser Unterscheidung bis in die neueste Forschungsliteratur hinein und die damit einhergehende Auffassung von episch-dramatischer Gattungsmischung als Hybridisierung dargestellter Zeitlichkeit erscheinen aufgrund von Lessings produktiver Missdeutung in einem problematischen Licht.

10:00 AM - Dante-Comics zwischen Kanonischem und Populärkultur: Spielformen der Hybridisierung und Strategien der Selbstreferenz Schmitz-Emans, Monika (Ruhr-Universität Bochum, Bochum, Germany)

Wie wenige andere Werke wird Dantes „Commedia“ zu den Gipfelleistungen des weltliterarischen Kanons gezählt. Der Comic gilt demgegenüber als populärkulturell geprägte Gattung, schon aus historischen Gründen, auch wenn er mittlerweile weitgehend als ‚neunte Kunst’ betrachtet wird und es hochkomplexe Comics gibt, die ihren Kunstcharakter ostentativ zur Schau stellen. Um Brückenschläge zwischen kanonisierter ‚Weltliteratur’ und Populärkultur haben sich seit den 1940er Jahren insbesondere Literaturcomics bemüht, also Adaptationen weltliterarischer Werke im Medium des Comics und seiner spezifischen Codes. Zu Dantes „Commedia“ sind seit der Mitte des 20. Jahrhunderts unterschiedliche Arten von Comics entstanden. Vorzustellen sind neuere Beispiele: Seymour Chwasts Comic-Band „Dante’s Divine Comedy“ (London 2010), Michael Meiers Graphic Novel „Das Inferno“ (Kassel 2010-2012) und Joseph Lanzaras „Dante’s Inferno – The Graphic Novel“ (2012). Die Zeichner verfolgen unterschiedliche Intentionen: Zielt Chwasts Paraphrase zur Commedia (unbeschadet mancher Einschränkungen) darauf ab, durch eine Dante-Parphrase Wissen über die Commedia zu vermitteln, setzt Meier – vereinfachend gesagt – ein Wissen über die Commedia beim Leser schon voraus. Zu vergleichen sind diese beiden beide Dante-Comics im übrigen unter verschiedenen Aspekten: Beide arbeiten nicht allein mit einem zitierten Text (dem der Commedia), sondern auch mit Bildzitaten; beide entwickeln unterschiedliche Strategien der Hybridisierung von Text und Bild; bei beiden sind Formen der Selbstreferenz zu beobachten, mit denen der Literaturcomic unter anderem seinen Kunstcharakter betont. Lanzaras „Inferno“-Version beruht auf einer Hybridisierung besonderer Art: Um das „Inferno“ im Comicstil nachzuerzählen, collagiert er Bilder aus Gustave Dorés Illustrationen zu dantes Werk – und integriert insofern neben einem Werk der kanonischen Literatur auch ein kanonisiertes graphisches Oeuvre in seine Bildgeschichte.

2:00 PM - The Seeds of Young Werther: Japanese and Chinese Translations and Adaptations Kaminski, Johannes (Academica Sinica, Taipei)

The Seeds of Young Werther: Japanese and Chinese Translations and Adaptations

This paper traces the dissemination of Goethe’s Sorrows of Young Werther in the Far East during the early twentieth century. After its original publication in 1774, it took late-Meji-era Japan and Republican China by storm. Its translations coincided with a period of radical linguistic changes in both countries, which saw the advent of vernacular languages: genbun icchi and baihua. During this process, both languages received important impulses from popular literatures – as exemplified by

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 foreign fiction. (Cf. Indra Levy, Sirens of the Western Shore (New York: Columbia UP, 2006), pp. 39-40 and Michael Gibbs Hill, Lin Shu, Inc. (Oxford: OUP, 2012), pp. 54-70.)

While Japanese Werther-translations abound,* their linguistic features merely reproduced general trends of the gradual tradition between kanbun and genbun icchi. Important Werther-inspired texts, most notably Natsume Soseki’s Kokoro (1914), mirror this trend by focussing on the tragic love story. In China, meanwhile, the original’s linguistic particularities attracted special attention. Guo Moruo’s seminal 1922-translation paved the way by rendering whole sections of the German original word by word and overriding literary conventions. As a consequence, conservative critics dismissed it as pulp; nevertheless, the book market soon saw the advent of many prose adaption which also reproduced Guo’s linguistic oddities. Particularly its exclamatory style, formerly unseen in Chinese fiction, was quickly adopted as a dignified rhetorical device in high literature.**

* The translators are: Takayama Chogy?? (1891), Ryokudo Yashi (1893/94), Kubo Tenzui (1904), Hata Toyokichi (1914), ??no Hideo (1920), Tsuzumi Tsuneyoshi (1925), Takahashi Kenji (1928), Chino Shoyo (1928), Abe Rokuro (1935), Nakajima Ky??shi (1936) and Kimura Kinji (1938).

** Sinking (Chenlun) by Yu Dafu, Suicide Letter (Yishu) by Bing Xin, A Letter (Yi feng xin) and Everyman’s Sorrow (Huoren de bei’ai) by Lu Yin, Vagrant Girl (Liuniang) by Wang Yiren, The Undelivered Letter (Wufa toudi zhi youjian) by Xu Dishan and The Young Wanderer (Shaonian piaobozhe) and An Unsent Letter (Yi feng weiji de xin) by Jiang Guang Ci.

2:30 PM - Goethes "Faust" und seine Hybridisierungen de Boissieu, Michel (Yamaguchi University, Yamaguchi, Japan)

In unserem Referat wollen wir zeigen, wie Uebersetzer oder Filmregisseure in Goethes Faust fremde Elemente hineinfuehren, und wie diese Elemente den Sinn des Stueckes bedeutsam veraendern. Aus diesen unreinen Hybridisierungen werden wir besonders drei analysieren: Nervals franzoesische Uebersetzung, das franzoesische Oper Faust von Gounod, und F. W. Murnaus Verfilmung.

3:00 PM - Schulromane von Robert Walser und Soseki Natsume: hybride Darstellungsformen zwischen "hoch und niedrig" Wakabayashi, Megumi (Tokyo Gakugei Uni, Tokyo, Japan)

Robert Walsers Roman Jakob von Gunten (1909) spielt in einer Dienerschule. Um 1900 schrieben auch Autoren wie Hesse und Musil Schulromane, in denen die Qualen junger Schüler dargestellt werden, die sich durch die bürgerliche Gesellschaft unterdrückt fühlen. Während z.B. Hans in Unterm Rad in der elitären Klosterschule stufenweise „von gut […] auf Null“ herabsinkt, ist es erklärtes Ziel von Walsers Helden, „eine reizende, kugelrunde Null“ zu werden. Hier steht statt hoher Bildung und Wissenschaft die Niedrigkeit auf dem Lehrplan. Jakob von Gunten ist eine Parodie des Bildungsromans, mit der Walser die Ideale traditioneller Bildung ironisch unterläuft.

Zur gleichen Zeit schrieb auch Soseki Natsume in Japan den Schulroman Botchan (Der Tor aus Tokio) (1906). Anders als in den deutsch-schweizerischen Werken spielt hier ein Lehrer die Hauptrolle und mit humorvoller Komik werden die Beziehungen der Kollegen untereinander und tägliche Geschehnisse dargestellt. Im Vergleich zu seinen anderen Romanen ist Botchan eher triviale Unterhaltungsliteratur, bei der in populärer Naivität das Gute gewinnt und das Böse unterliegt. Hinter dieser Naivität verbirgt sich aber Sosekis kulturkritischer Blick auf die durch den jähen und drastischen Übergang zur modernen Zeit verzerrte Bildung in Japan. Hier wird also der Prozess der Europäisierung Japans um die Jahrhundertwende problematisiert. Damit würde der Roman die Grenze der Unterhaltungsliteratur überschreiten. 191

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In diesem Beitrag soll gezeigt werden, warum Schulromane gerade um 1900 sowohl im deutschsprachig-europäischen als auch im japanischen Kulturraum entstanden und auf welche Weise sie jenseits des Schemas „hoch und niedrig“ durch ihren hybriden Schreibstil neue Ausdrucksformen entwickeln.

4:00 PM - Parodie als Spiegel ? Zum Umgang mit nicht-literarischen Fach-, Trivial- oder Modesprachen in einigen Romanen von Erlend Loe. BOURGUIGNON, Annie (Université de Lorraine, PARIS, France)

Der 1996 erschienene Roman des norwegischen Autors Erlend Loe Naiv. Super ahmte zum Teil durch Vokabular, Syntax, rhetorische Mittel, Aufbau und Lay-out den Ratgebern der Vulgärpsychologie nach. Diese Schreibstrategie war bereits aus dem Titel ersichtlich, der eher an einen Werbeslogan oder an nichtssagende Ausrufe erinnerte als an ein schönliterarisches Werk. Ähnliches lässt sich bei dem Roman Fakta om Finland (2001, „Informationen über Finland“) feststellen, der sich für ein Sachbuch oder einen Reiseführer ausgibt.

Loe wird meistens zu den Schriftstellern gezählt, die die heutige skandinavische Gesellschaft darstellen, ihre Wandlungen und Ängste beleuchten. Im Gegensatz aber zu anderen Autoren, dessen Texte die veränderte Wirklichkeit mit Stilmitteln beschreiben, die noch weitgehend im herkömmlichen – also aus der zweiten Hälfte des 19. Jahrhunderts stammenden – Realismus und Naturalismus verankert sind, gebraucht Loe in seinen Erzählungen, die keine Collagen sind, nicht selten Fachsprachen und Soziolekte. Statt unsere Welt zu fotografieren, gibt er vielmehr ihre Selbstdarstellungen wieder. Indem diese aber als solche erscheinen, werden ihre sonst versteckten gesellschaftlichen und ideologischen Dimensionen bloßgelegt.

In meinem Beitrag habe ich vor, die Mehrsprachigkeit – im Sinne Bachtins – in Erlend Loes Romanen deutlich zu machen und ihre Funktionen zu untersuchen. Die Verwendung einer bestimmten Sprache in einem ihr fremden Zusammenhang wirkt oft parodistisch. Die Parodie wirft ein besonders grelles Licht auf ihren Gegenstand und lässt ihn deutlicher hervortreten als die scheinbar neutrale Beschreibung. Bei Loe wird die Wirklichkeit in erster Linie von der Parodie gespiegelt. Wobei die Frage entsteht, ob es sich um einen Zerrspiegel oder einen Vergrößerungsspiegel handelt.

4:30 PM - < das junge jakobli läßt den alten jakob grüßen > - Verdoppelung, Verstellung und Grenzüberschreitung in Friedrich Glausers Kriminalroman Die Fieberkurve Niimoto, Fuminari (Tsuda College, Tokyo, Japan)

Friedrich Glauser (1896-1938) ist heute noch als geistiger Vater der Wachtmeister- Figur Studer einem größeren Publikum bekannt und als Begründer der deutschsprachigen Kriminalliteratur geachtet. Glausers Beziehung zu dieser zeittypischen „niederen“ Literarturgattung war jedoch keineswegs exemplarisch. Eigentlich wollte er sich nicht als Kriminalautor definieren, auch von der Tendenz der zeitgenössischen Autoren, Genrenormen zu stiften und dadurch die „schlechten“ Genres auszugrenzen, distanzierte er sich ganz bewusst. In seinem Essay, Offener Brief über die Zehn Gebote für den Kriminalroman (1937) , widerlegt er den Normierungsversuch eines Kollegen und definierte sein gewagtes Krimiverständnis: es gehe ihm nicht um die Aufklärung der Wahrheit, sondern um die kleinen Wahrheiten im Rest der Seiten, um das Darstellen von „Menschen, ihrem Kampf mit dem Schicksal“ und „der Atmosphäre, in der sie sich bewegen“. Genau das war es, was Glauser sowohl bei der „niederen“ als auch bei der „hohen“ Literatur seiner Zeit vermisste . Was er theoretisch formulierte, praktizierte Glauser noch radikaler in seinen Kriminalromanen. In Matto 192

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 regiert (1937) beschrieb Glauser seinen Schicksalsort der Psychiatrie in allen Details und legte ihre Machtverhältnisse bloß. In Die Fieberkurve (1938) sprengte der Autor nicht nur die geforderte Einheit von Zeit, Ort und Handlung. Er bringt sogar die Identität der Figuren in Gefahr: Es wimmelt im Roman von Gebrüdern und Doppelgängern. Auf der Suche nach der Wahrheit wird der Wachtmeister von der Polizei überwacht , er verstellt sich, fährt unter falschem Namen nach Afrika, um dort den Haschischrausch zu erleben, auf dem Eselrücken zu frieren und schließlich in der Fremdenlegion arretiert und vor ein Gericht geführt zu werden. Unter der „Tarnkappe“ des Kriminalromans und vom Gesichtspunkt des grenzüberschreitenden träumerischen Wachtmeisters aus reflektiert Glauser seine Lebensetappen und verteidigt so deren kleinen Wahrheiten.

5:00 PM - Grimm 2.0 Die Brüder Grimm in der Postmoderne Jakli, Timon (Universität Wien, Wien, Austria)

In meinem ersten Beitrag im Rahmen des Tagungsnetzwerkes „Hohe und niedere Literatur“ bin ich auf die kollektive Identitätsstiftung durch Erzählungen am Beispiel des Diskurses um Volksmärchen der Brüder Grimm eingegangen. Mein zweiter Beitrag ging auf autoreflexives Erzählen in Graphiv Novels ein und zeigt, wie ein graphischer Text sich im literarischen Feld verortet. Nunmehr möchte ich im Rahmen des Panels „Hybridisierung literarischer Sprachen und Ausdrucksformen als Innovationsmodus“ diese beiden Ansätze zusammenführen.

Die Märchen der Brüder Grimm waren ab der Mitte des 19 . Jahrhunderts zum literarischen Allgemeingut geworden und international höchst wirkmächtig. Ihre Märchensammlung wurde in zahlreiche Sprachen übersetzt und Grimms Märchen gingen in das traditionelle Erzählgut vieler Kulturen ein. Im gegenständlichen Beitrag wird untersucht, wie das Erzählinventar der Grimms in der Postmoderne angekommen ist und wie durch die Hybridisierung literarischer Erzählformen der ursprüngliche Stoff verändert, aber auch neue Erzählräume geöffnet werden. Konkret wird die Comicserie Fables (Bill Willingham, 2002ff.) untersucht. Die Comicserie erzählt von Figuren aus Märchen und Sagen, die von einem „Widersacher“ aus ihrer Heimat vertrieben wurden und in der „realen“ Welt in Fabletown (bei New York) Zuflucht finden. Eine ähnliche Geschichte erzählt auch die Fernsehserie Once upon a time (Kitsis/Horowitz, 2011ff.) – hier wird Emma Swan in die Stadt Storybrooke geführt, in der ebenfalls Figuren bekannter Fabeln leben, sich aber an ihre Existenz als fiktionale Figuren nicht mehr erinnern können. Beide Produktionen siedeln sich im low brow Bereich an und bedienen sich an Versatzstücken traditioneller Erzählungen. Mit den Mitteln der Fantasy eröffnen sie jedoch eine Frage, die jedoch an den Anfang derselben Erzählstoffe zurückführt: Inwieweit ist der narrative Gehalt märchenhafter Erzählungen realitätsstiftend? In welchem Verhältnis stehen Realität und Erzählung? Inwieweit sind die Märchenfiguren archetypische Charaktere und wie verändern sie sich in einer postmodern gestalteten Erzählumgebung? Diesem Grenzphänomen geht der Beitrag nach.

Date: Tuesday, July 26th

9:00 AM - Emanzipation im Abendlicht. Vampirische Textausgeburten und Weiblichkeitsentwürfe in Elfriede Jelineks „Krankheit oder moderne Frauen‟ Zerovnik, Martina (Universität Wien, Wien, Austria)

Elfriede Jelinek arbeitet mit einer Vielzahl an Äußerungen literarischer wie außerliterarischer kultureller Praktiken und Medien. Hohe und niedere Elemente – würde solch eine Differenzierung verfolgt – lassen sich in ihren Texten nicht voneinander trennen. Sie gehen vielmehr symbiotische Verbindungen ein und schaffen ein dichtes, eigensinniges Textgewebe. Die Verbindung von Vampirismus und Geschlechtlichkeit, insbesondere die Thematisierung der Transgression der 193

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

Geschlechterrollen, war in der Vampirfigur von Anbeginn ihrer modernen literarischen Ausformung vorhanden. In ihrem Theaterstück „Krankheit oder moderne Frauen‟ (1987) verbindet auch Jelinek beide Aspekte miteinander und knüpft an vorangegangene Vampirerzählungen an, wie die Novelle „Carmilla‟ (1872), in der eine lesbische Vampirin die Protagonistin ist, und der Roman „Dracula‟ (1897), in dem ein Frauenpaar in einen Antagonismus von Gut und Böse der Emanzipation eingebettet ist. In allen Werken ist das Referenzsystem eine patriarchale Werte- und Normenordnung, die sich auf Dichotomien gründet und der Frau (wie der Vampirfigur) als das Andere des Mannes (Menschen) eine gesellschaftliche Außenseiter- und Grenzsituation zuweist, wodurch sowohl Weiblichkeit als auch der feministische Ausbruch aus der herrschenden Ordnung als Krankheit (vampirischer Art) dargestellt werden können. Im Beitrag soll untersucht werden, in welcher Weise Jelinek sich die literarischen Vorgängerwerke aneignet und ob die Autorin dem Vampirmotiv im Allgemeinen und der weiblichen Variante des Vampirismus im Speziellen – insofern eine solche festgestellt werden kann – weitere Perspektiven oder Neuerungen hinzufügt. Hierbei wird ein Hauptaugenmerk auf die Frage gelegt, inwieweit Jelineks Textherstellungsprozess selbst als vampirisch, im Sinne der Überschreitung, gewaltsamen Aneignung und eines möglichen Wiedergängermechanismus‛ von Sprache und Texten, verstanden werden kann.

9:30 AM - "Gossen-Orpheus" Jean Genet: deutsche Übersetzungs- und Rezeptionsschwierigkeiten eines poetisch-derben Stils Gay, Marie-Christine (Université Paris Ouest Nanterre la Défense / Universität zu Köln, Berlin, Germany)

Das Werk Jean Genets (1910-1986) sorgte in Frankreich und im Ausland für großen Aufruhr und wurde aufgrund des ungewöhnlichen Werdegangs des Dichters, dem Erziehungsanstalten und Gefängnisse nicht fremd waren, oftmals in die Tradition von François Villon gestellt. In der BRD genoss der skandalumwitterte Autor einen zunächst schüchternen, später etablierten Erfolg. Sein hybrider, oft schockierender Stil führte zu erheblichen Übersetzungsschwierigkeiten und löste heftige Debatten um die Rezeption dieses „Gossen-Orpheus “[1] aus.

Genets Werke schwanken stets zwischen poetisch anmutenden Passagen und derben, dem Volksmund entnommenen Redearten. Edle Wendungen werden abrupt unterbrochen und mit saloppen oder obszönen Ausdrücken versehrt oder gar von einem anderen Sprachniveau abgelöst: dem „Argot“ der Gaunersprache oder des Prostitutions- und Militärjargons. Darüber hinaus schöpft der Autor gelegentlich aus dem Wortschatz der ehemaligen französischen Kolonialsprachen Nord- oder Schwarzafrikas.

Es bietet sich an, den Transfer eines von solch vielfältigen kulturellen Einflüssen geprägten Stils in ein anderes sprachliches Umfeld zu untersuchen. Als Analysegegenstand des vorliegenden Vortrags wird beispielhaft das Algeriendrama Die Wände (1961) herangezogen, das in Frankreich zensiert war und am 19. Mai 1962 im Westberliner Schlosspark-Theater welturaufgeführt wurde. Der stilistische Vergleich des Originaltextes mit der ersten deutschsprachigen Übersetzung von Hans Georg Brenner (1961) weist zunächst auf die Schwierigkeit der Transposition hin: Die deutsche Fassung grenzt an Adaption. In einer rezeptionsästhetischen Perspektive stellt sich abschließend die Frage des Adressaten und der Aufnahme dieses stark umgearbeiteten Stückes durch das deutsche Zielpublikum.

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[1] Stiftung Akademie der Künste Berlin, Hans-Lietzau-Archiv 133. Herbert Pfeiffer : „ Orpheus aus der Gosse “ , Berliner Morgenpost, 21.05.1961.

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10:00 AM - Zur englischsprachigen Sebald-Rezeption in der populären Musik Schwabel, Friederike (Universität Wien (Dissertandin), 1090, Austria)

War W. G. Sebald im deutschsprachigen Raum vorerst weniger „breit” bekannt und seine Literatur wurde in Einzelfällen sogar pejorativ als „Trivialliteratur“ bewertet, wurden die Übersetzungen seiner Werke in den USA und Großbritannien von Anfang an mit Begeisterung im Kontext „hoher” Literatur rezipiert. Mit diesen speziellen Aspekten aus Sebalds Rezeptionsgeschichte vor Augen sollen Rezeptionsformen in der populären Musik, die durch englischsprachige Übersetzungen seiner Werke evoziert wurden, untersucht werden. Sebalds Schreibtechnik des Verwebens von Text und Bildmaterial, das Hybride und (Post)moderne seines Schreibens, der „Hang“ zur Intertextualität und Intermedialität insgesamt, scheint die Öffnung zu anderen Medien wachzurufen. In diesem Vortrag werden musikalische Auseinandersetzungen untersucht, in denen Grenz- und Genreüberschreitungen wiederum eine Rolle spielen. So wie bei Patti Smith, die „alles von Sebald“ auf ihrer „Literaturliste” hat und sich etwa mit „After Nature“ bei einem Konzert auseinandersetzte. Der britische Filmemacher Grant Gee, bekannt etwa durch seine Dokumentation über die Band „Joy Division“, begibt sich in seinem essayartigen Film „Patience (After Sebald)“ auf die Spuren von „The Rings of Saturn”. Untermalt wird dies vom Experimentalmusiker James Leyland Kirby („The Caretaker“) mit einem Soundtrack, der Schuberts „Winterreise” stark verfremdet. Bezüge zu Sebald finden sich auch in anderen Musikstücken, so in Titel („Rings of Saturn“) und Songtext des Musikprojekts „Sleeping States“. Durch Einblicke in diese intermedialen Rezeptionsvorgänge soll sichtbar gemacht werden, wie Sebald die Arbeiten von Musikschaffenden im anglo-amerikanischen Raum stimuliert, die als „GrenzgängerInnen“ zwischen Genres agieren, wobei die Betrachtung dieser Werke im Spannungsfeld „hoher” und „niederer”, „ernster” und “unterhaltender” Musik und Literatur unter Berücksichtigung neuerer Wertungskategorien erörtert wird.

17254 - Wer spricht im Gedicht? Date: Wednesday, July 27th Room: Übungsraum Germanistik 1 Chair: Klimek, Sonja

Room: Übungsraum Germanistik 1

9:00 AM - The Voice in the Poem: Triggering Specificity, Performing Embodiedness Zettelmann, Eva (Institut für Anglistik und Amerikanistik, Wien, Austria)

Within narratology, Lanser’s law (Lanser 1981) is assumed to guide readers in their quest for fleshing out a novel’s narrator-character with three-dimensional detail. In cases where the narrator’s sex is left indeterminate, readers are thought to invest the fictional narrator with the author’s sex as a default value. With poetry, which routinely omits even that most basic trait of personal identity, the lyric speaker’s sex, both theoreticians and critics of poetry tend to apply a radicalised version of Lanser’s law: Ignoring the ontological borderline between the autobiographical and the aesthetic, speaker and author are treated as one.

This paper focuses on the textual triggers and readerly projections of the agent behind the lyric discourse. It examines the shortcomings of a simplistic autobiographical reading and, drawing on cognition studies and cognitive narratology, investigates the cognitive parameters of the lyric persona and its reconstruction by the reader.

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9:15 AM - Figur und Person in lyrischen Gebilden Hillebrandt, Claudia (Universität Jena, Jena, Germany)

Die literaturwissenschaftliche Figurenforschung ist in starkem Maße von der Narratologie geprägt. Und diese analysiert Figuren selbstverständlich im Kontext von Erzählungen, zum Beispiel als Handlungsträger oder als wiedererkennbare, im Erzählgang aber auch veränderliche Textelemente. Um nur zwei Beispiele zu nennen: In Algirdas J. Greimas' Aktantenmodell werden Figuren in enger Abhängigkeit von der Erzählhandlung als Realisationen bestimmter Handlungsrollen konzipiert; die neuere kognitiv orientierte Narratologie nimmt an, dass Rezipienten mentale Modelle von Figuren entwerfen, und betont v.a. die Dynamik dieser Modelle.

Figuren finden sich aber nicht nur in erzählenden (oder dramatischen) Texten, sondern auch in lyrischen Gebilden. Wie Figuren in diesen Gebilden konstituiert werden und welche Funktionen sie dort erfüllen, diese Fragen sind in der Figurenforschung bisher nur in Ansätzen gestellt und kaum breiter diskutiert worden. Im Beitrag werden einige Überlegungen zur Beantwortung dieser Fragen mit Blick auf fiktionstheoretische, textanalytische und wirkungsästhetische Aspekte der Figurenkonstitution in lyrischen Gebilden zur Diskussion gestellt, die sich als Beitrag zu einer lyrikologischen Ergänzung der literaturwissenschaftlichen Figurenforschung verstehen.

9:30 AM - Der Publikationskontext in der Lyrikrezeption Syrovy, Daniel (Institut für Europäische und Vergleichende Sprach- und Literaturwissenschaft, Wien, Austria)

Eine Antwort auf die Frage, wen wir im Gedicht sprechen hören, kann nicht vernachlässigen, was bereits ein kurzer Blick auf die Literaturgeschichte zeigt: nämlich, dass einzelne Gedichte kaum jemals als selbständige Texte überliefert sind. Dass solche Publikationskontexte für die Rezeption von Gedichten nicht bedeutungslos sein können, liegt auf der Hand. Es ist verlockend, gleich systematisch die verschiedenen Pole der Rezeption zu verorten, das Persönlich-Biographische, die formale Kanonisierung (in kommentierten Anthologien), die wissenschaftliche Dechiffrierung (durch den Werkkontext und die Selbstexegese von Dichtern), die Konventionen verschiedener Formen und Gattungen (Liebessonette im Petrarkismus, Epithalamien) usw.

Ohne dies ganz außer Acht zu lassen, will der Beitrag jedoch zunächst einmal Daten dazu liefern, wie die Überlieferungsformen historisch aussehen (und sich verändern), von den antiken Dichtern bis zu Singer-Songwritern (Single; Album; Best-of-CD; iTunes-Playlist). Dabei ergeben sich eine Reihe von Fragen: Bis zu welchem Grad existieren die verschiedenen Kontexte parallel zur selben Zeit? Gibt es auch in der Kontextvielfalt historische Unterschiede? Suggerieren die Veränderungen (auch in der Präsentation konkreter Einzeltexte), dass bei Lyrik ein enger Zusammenhang zwischen Publikationskontext und Rezeptionsform steht, oder verweist die Austauschbarkeit der (mancher) Kontexte im Gegenteil auf eine relative Autonomie der Einzeltexte? Ohne für alles Antworten parat zu haben, handelt es sich dabei jedenfalls um einen Aspekt, der mir für die umfassendere Theoretisierung, etwa für die Erstellung eines (statischen, dynamischen) Schemas der Gedichtrezeption/ -interpretation, grundlegend scheint.

9:45 AM - Poet and Object of Poetry: The Voice of Mararetha Susanna von Kuntsch (1654-1717) Pailer, Gaby (University of British Columbia, Vancouver B.C., Canada)

Unter den Dichterinnen des deutschsprachigen Barock nimmt Margaretha Susanna von Kuntsch eine Sonderstellung ein, durch ihre Vernetzung frühneuzeitlicher Autorinnen und mehr noch den autopoetischen Impetus ihrer Poesie. In ihrer Ode angesichts des Verlusts ihres fünftgeborenen Sohnes (und neunten Kindes), beginnend "Alß dort Timantes Agamemnons Schmertz / Da Iphigenien man opfern wolte /...", zieht sie einen Vergleich männlicher und weiblicher Elternschaft und Kunstproduktion und schließt pointiert mit einem Topos der Unsagbarkeit, "Die ich ein Weib nur bin 196

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/ Ach! hier erstarrt mein Sinn". Geht es hier zum einen um die Frage des Schmerzes und seiner Darstellbarkeit (wie sie Lessing siebzig Jahre später im Laokoon behandeln wird), so mehr noch um die Evokation der "weiblichen Stimme" im Medium des frühmodernen Gelegenheitsgedichts.

10:00 AM - Autorschaft und Peritext - Werkpolitische Lenkung der Sprechinstanzen von Ich- Gedichten Klimek, Sonja (Universität Freiburg/CH, Freiburg, Switzerland)

Lyrik gilt nicht erst seit der Romantik als DIE Gattung für einen authentischen Ausdruck des Dichter- Ichs. Der Topos vom Dichter als demjenigen, der sich mit seiner ganzen Person für die Authentizität der Aussagen der Sprechinstanz im lyrischen Gebilde verbürgt, lässt sich über den Petrarkismus und die Renaissance bis in die antike Liebesdichtung zurückverfolgen (vgl. dazu Carolin Fischer: Der poetische Pakt. Heidelberg 2007). Interessant ist dabei, wie Autor/innen bereits vor der Romantik die Peritexte ihrer Gedicht-Veröffentlichungen nutzten, um ein bestimmtes Bild von der gedichtinternen Sprechinstanz zu erzeugen und bei den Rezipienten jene Vorstellung der Identität von gedichtinterner Sprechinstanz und empirischem Autor herzustellen. Eine Strategie dafür ist z.B. die Verwendung von Biochronotopen. Das sind, in Anlehnung an Bachtin, Orts- und Zeitangaben, die - als Formzitat aus Tagebucheintrag oder Brief - auf die (teilweise auch nur vermeintliche) Entstehungssituation des Gedichtes hinweisen und dieses in der Biographie des Dichters verankern. Der Vortrag wird anhand von kurzen Beispielen verschiedene formale Mittel dieser Rezeptionslenkung vorstellen und durch eine historische Situierung der Beispiele darlegen, wie sich bei veränderten Rahmenbedingung von Dichterschaft zwischen 1700 und 1800 auch eine Veränderung im Gebrauch der Biochronotopoi in den Peritexten der Lyrik niederschlägt.

17255 - Comparing the arts: art as a universal language Date: Monday, July 25th Chair: Oliveira, Solange

Room: Übungsraum Germanistik 5

9:00 AM - Towards the Universal Language of a People's Art : A Study of the Odessa Collective and the Third Theatre Bhowmik, Ranjamrittika (Jadavpur University, Kolkata, India)

The Odessa collective was a socialist group started by filmmaker John Abraham in Calicut in 1984, which transformed the process of film production and distribution into a collaborative effort of independent filmmaking, whereas Sircar in the 1970s made the revolutionary move of distancing theatre from the structure of the Western proscenium. He developed a theatre 197

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 that would rely on the human body where primacy would be given to the power of physical performance without relying on any external embellishments. Various forms of ‘dominant’ or ‘popular’ ideologies have tried to shape the ‘rural’ and ‘subaltern’ consciousness through the medium of art and culture, and by studying some of the most eminent plays of Sircar and films of Abraham as texts, this paper will try to raise and answer the above questions.

Both the artists envisioned art for the common people through a universal language: a people’s cinema and a people’s theatre. The unconventional screenings of both the Odessa Collective and Third Theatre relocated the audience from the enclosed space of the theatre to the outside world, made the performance accessible to the public, granted the audience greater agency by enabling it to participate rather than merely view the spectacle and facilitated a rural- urban synthesis through two different artistic mediums.

9:15 AM - Universality in Shakespeare's The Tempest : re-creations Diniz, Thaïs (ufmg, Belo Horizonte, Brazil)

Based on the argument that Shakespeare’s plays are considered as carriers of universal meanings and have been translated into different languages and cultures and expressed in different media and arts as well, this texts aims at analyzing how different universal elements like repetence, power , revenge and justice involved in The Tempest are expressed/translated into some of the artistic and literary recreations of the play. These archetypal elements will be analysed in films, short stories and paintings inspired by the play.

9:30 AM - The exploration of the encyclopaedic desire to absorb all knowledge as a search for universal knowledge Veneroso, Maria do Carmo de Freitas (Federal University of Minas Gerais - Brazil, Belo Horizonte, Brazil)

In accordance with the purpose of this Symposium, of discussing the universal linked to art, this communication has as its theme the exploration, by some artists, of the encyclopaedic desire to absorb all the knowledge in the world as a search for universal knowledge. This theme is approached through the establishment of dialogues and cross referencing between artists’ books, such as the Visual Encyclopaedia, of Wlademir Dias Pino and João Felício dos Santos, in the Special Collection of Artists’ Books of the Library of the Federal University of Minas Gerais - UFMG, and antique books, considered “rare” or “special”, such as the Encyclopédie of Diderot and d’Alembert, belonging to the Collection of Rare and Special Works housed in the same Library. The encyclopaedic desire to absorb the entire knowledge in the world can be considered similar to the unachieved ambition of Mallarmé, to produce an absolute book. The poet believed “that everything in the world exists in order to end up in a book”. This desire to subsume the whole of knowledge however brings with it a realization of the impossibility of so doing. This text will focus on encyclopaedism in artists’ books, by artists that create encyclopaedias to fulfil a utopic desire to embrace universal knowledge, the case of Dias Pino, as also by those that, on the contrary, question this possibility. Relations between the arts will have pride of place, transdisciplinary connections between the arts and other disciplines also being covered, within the artistic/literary archive as theme axis, the main reference being the relations between words and images. Dialogues will be established with the authors: Peter Burke, Michel Foucault, Paulo Pires do Vale, Stéphane Mallarmé.

9:45 AM - Picasso's and Ortiz's Guernica: a study on the archetypal representations of the tragic Alvarez, Aurora (Universidade Presbiteriana Mackenzie, São Bernardo do Campo, Brazil) 198

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

The arts can convey feelings and human experiences at a universal level when the subject at issue ignores temporal limitations and overcomes cultural borders. Aware of the universality feature inscribed in some artistic objects, the code employed by the arts helps overcome communication barriers, once it can visually translate common experiences not only related to mankind’s collective memory, but also to contemporaneity, especially in a globalized world where individuals from different cultures can have similar and/or different experiences. In this work, I intend to reflect particularly on the intertextual relations between two artistic creations addressing the tragic. Based on a study of this concept, rooted in Aristotle’s understanding of tragedy, I will analyze the tragic element in Guernica, a painting by Pablo Picasso, and in the homonymous animation by Marcelo Ricardo Ortiz. My purpose here is to discuss how these two artists borrow that concept and how they interpret the archetypal representation of the tragic. As a complement to the Aristotelian support, the work of Albin Lesky e Peter Szondi, among others, will be of great importance to this investigation. Also necessary to analyze the characteristics of those artistic manifestations is the theoretical understructure provided by studies in Intermediality. Such theories and foundations will be compared and articulated with the examined texts in order to show how different authors and media represent tragedy as an archetype and their personal view on the matter.

17256 - France - Russie: Littératures croisées. Présences et représentations de la langue de l'autre Date: Monday, July 25th // Tuesday, July 26th Room: IOeG Chair: Stemberger, Martina; Chvedova, Lioudmila

11:00 AM - Introduction Chvedova, Lioudmila ; Martina Stemberger …

11:30 AM - Dialogue interculturel entre la France et la Belgique autour de "l'inconnue russe" pendant l'entre-deux-guerres Cecovic, Svetlana (Université catholique de Louvain, Brussels, Belgium)

En analysant les transferts culturels entre la Belgique francophone, la France et la Russie pendant l’entre-deux-guerres, nous avons constaté une forte interaction entre les transferts et les images, voire une pression des images sur les transferts. Les transferts accomplis par le biais des médiateurs interculturels créent les images mais la pérennité des images peut également déterminer la genèse des transferts. Après la révolution de 1917, les auteurs belges et français se positionnaient constamment vis-à-vis du régime communiste perçu comme un phénomène russe relatif à la mystérieuse «âme slave». En outre, dans le dialogue avec les cultures étrangères, la situation de la culture belge se complexifie davantage par sa position périphérique par rapport à Paris. (Denis & Klinkenberg). La littérature russe devient ainsi « le remède à la dépendance morale et intellectuelle » dans laquelle la Belgique s’est trouvée à l’égard des modes parisiennes (Cecovic & Béghin). Nous nous proposons de présenter un ensemble des images de la Russie en Belgique francophone à partir des récits de voyage (J.Destrée, P.Daye, M.Thiry), des représentations théâtrales (L.Dumont-Wilden), de l’œuvre de fiction (Ch.Plisnier) et d’une vision religieuse (M.D’Herbigny). En construisant l’image de la Russie la plupart des auteurs belges mènent un dialogue explicite ou implicite avec la culture parisienne. Nous analyserons une tension entre les « archétypes schématiques » voire les images stéréotypées dans lesquelles la Russie apparaît comme « fundamental other» (E. Adamovsky) et une multitude d’images particulières issues de l’œuvre des médiateurs interculturels. Nous éclairerons 199

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 aussi un certain « contre-processus» (H.J. Lüsebrink), voire une forme de médiation focalisée sur la déstabilisation, voire la désintégration des images existantes. La meilleure représentante de ce type de médiation est la princesse russe Z. Schakhovskoy qui a réuni Bruxelles et Paris autour de la question russe.

12:00 PM - Images de la Russie et usages du russe dans Les Jardins de Tauride, une nouvelle inédite d'Irène Némirovsky Quaglia, Elena (Università degli Studi di Verona/Université Paris Ouest Nanterre La Défense, Milano, Italy)

« Il y avait encore, avec la caravane, qui de Pétersbourg à la Mer Noire, cheminait au hasard des auberges et des routes, l’espoir de s’embarquer sur un bateau français et de fuir la Russie » : Les Jardins de Tauride est une histoire d’exilés. Cette nouvelle inédite datant de 1934, que nous avons retrouvée à l’IMEC et dont nous allons bientôt publier une transcription, nous offre une perspective nouvelle sur ce thème, maintes fois repris dans l’œuvre d’Irène Némirovsky. Née à Kiev et ayant vécu à Saint Pétersbourg et à Moscou, elle a dû fuir la Russie avec sa famille à quatorze ans, lors de la Révolution.

Tout en voulant retracer ses souvenirs personnels, Némirovsky accomplit un travail littéraire sur son texte, surtout en ce qui concerne la représentation des lieux, teintée d’une atmosphère magique tant par les songeries enfantines, que par la réélaboration qui en est faite à la lumière de ses lectures. Dans sa description de la Crimée, l’écrivaine emprunte, d’un côté, à la littérature de son pays d’origine et, de l’autre, à une tradition de l’exotisme « à la française », dont elle reprend, de manière consciente, certains clichés, tout au long de son œuvre.

Dans un deuxième temps, nous allons montrer comment l’emploi du russe, qui surgit dans les brouillons de la nouvelle dans un passage méta-textuel, témoigne d’un usage naturel et instinctif de cette langue, bien différent de celui un peu construit des romans achevés, où, selon Martina Stemberger, l’auteur « trouve […] une possibilité de manifester sa double compétence culturelle, tout en sacrifiant à la « mode russe » de son temps ».

L’étude de la nouvelle nous permet ainsi d’entrer dans le laboratoire narratif de l’écrivaine et de voir comment dans ses références multiculturelles et dans son plurilinguisme agissent d’un côté un mouvement instinctif et autobiographique et, de l’autre côté, une construction plus réfléchie qui se sert de la fonction cognitive du stéréotype.

2:00 PM - Marina Tsvetaeva - l'obstination de l'étranger Leclerc, Natalia (université de Bretagne occidentale, Brest, France)

"(...) à l'étranger - 'la Russe', en Russie - 'l'étrangère' (...). Absolument seule - avec ma voix" écrit Marina Tsvetaeva le 17 octobre 1930 dans une lettre à Nanny Wunderly-Volkart, alors qu'elle est en exil, réfugiée en France. Je me propose d'étudier la singularité de la situation de Marina Tsvetaeva, exilée loin de son pays d'origine, après l'avoir fui par impossibilité d'y vivre, mais ne trouvant pas non plus sa place à Prague puis à Paris. Toute sa vie, Tsvetaeva fut donc une marginale, géographiquement, socialement, politiquement, et poétiquement bien sûr - elle qui a été contrainte d'"écrire dans la langue de l'ennemi", après une révolution politique et poétique dans laquelle elle ne se reconnaît pas - , d'une marginalité revendiquée, par refus de se sacrifier en tant qu'individu au nom d'une idéologie de la collectivité. Son exil est donc à la fois une source de souffrance et un choix délibéré et assumé, jusqu'à l'exil définitif hors du monde. Cette marginalité se traduit aussi sur le plan linguistique. Dans ses carnets, les textes en français se multiplient au fil des années - en effet, elle parle français et allemand depuis l'enfance. Par ailleurs, elle traduit des textes, notamment les siens, du russe au français, essaie de publier des textes écrits en français dans des revues françaises. Mais comme elle ne fait aucun compromis, en particulier au plan idéologique, elle n'est acceptée 200

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 nulle part. Elle vit dans la misère et ne fait rien pour "s'intégrer", pour rester l'étrangère, alors même que la Russie qu'elle a quitté ne lui est plus rien. Je souhaiterais donc étudier la manière dont cette posture singulière d'apatride, de Russe à l'étranger et d'étrangère en Russie, se manifeste dans ses carnets, dans son écriture intime, qui est aussi un laboratoire de sa poésie.

2:30 PM - Arthur Adamov : à la recherche de l'identité nationale, culturelle, créatrice. Dubrovina, Svetlana (House of Russian Emigration, Moscow, Russian Federation)

Arthur Adamov : à la recherche de l’identité nationale, culturelle, créatrice.

Né à Kislovodsk en 1908 dans la famille riche arménienne, élevé dans les traditions d’aristocratie russe, émigré après la Révolution russe en Suisse, en Allemagne, en France, Arthur Adamov a approuvé un état d’«exilé de partout » (L’Aveu) pendant toute sa vie. On peut trouver la réflexion de la situation d’émigration dans sa prose autobiographique, dans son théâtre (Tous contre tous, Je ne suis pas français). Jusqu’au début des années 1950e, Adamov se sentait « apatride » (le mot utilisé à propos d’Adamov par Gabriel Marcel lors des débats autour de Paolo Paoli). Sa position sociale d’intellectuel gauche a trouvé aussi l’expression dans son œuvre (hypocrisie du pouvoir dans Tous contre tous, racisme dans La politique des restes , régimes totalitaires dans La Grande et la petite manœuvre).

L’œuvre d’Arthur Adamov a éprouvé l’influence de la littérature allemande ( Heinrich von Kleist , Büchner , Rilke, Kafka), scandinave (Strindberg), russe (Tchekhov tout d’abord). Mais la présence de la culture russe dans son œuvre ne revient exclusivement à Tchekhov. L’épreuve aigue de l’inégalité sociale, la pitié pour « un petit homme », la force perçante de l’aspiration vers l’idéal rapprochent Adamov à la tradition russe métaphysique. De cette conception du monde, vient le procédé adamovien de montrer le destin de son héros non pas au moment singulier mais dans son évolution, sa durée. On pourrait faire des analogies entre le « je » des livres autobiographiques d’Adamov (L’Aveu, L’Homme et l’enfant) et les héros de Dostoïevski avec leurs recherches morales, étiques, le sens de la faute, la disposition pour la flagellation et, en même temps, l’aspiration vers le sacré.

Adamov a été l’intermédiaire brillant entre la culture russe et française : ses traductions et adaptations pour la scène, la radio et la télévision des œuvres de Tchekhov, Gorki, Dostoïevski, Gogol, méritent d’analyse particulière.

3:00 PM - Les interactions entre le russe et le français : la langue et l'identité dans la nouvelle de Vladimir Nabokov "Mademoiselle O " Chvedova, Lioudmila (Université de Lorraine, Nancy, France)

La nouvelle « Mademoiselle O » publiée par Vladimir Nabokov en 1936 a été initialement sous- estimée par l’auteur, mais elle est pourtant devenue un grand succès. C’est la seule œuvre de l’écrivain rédigée en français et écrite en trois jours, ce qui la distingue particulièrement des autres ouvrages de Nabokov. Dans le cadre de cette communication, nous nous intéresserons tout d’abord aux réflexions de Nabokov sur la situation identitaire des émigrés en Russie au XIX e et au début du XX e siècle, liée à leur altérité linguistique, que l’écrivain présente dans cette nouvelle autobiographique. Essaient-ils de s’adapter à leur milieu d’accueil ou bien restent-ils attachés à leurs origines au point de refuser d’assimiler la langue du pays d’accueil ? Les voit-on se replier dans leur altérité ou bien arrivent-ils parfois à atteindre un bilinguisme parfait? D’autre part, nous nous intéresserons aux idées de l’auteur concernant les influences d’une langue étrangère (le français), utilisée par la noblesse russe du XIX e siècle comme deuxième langue de communication, à la mentalité et à la façon de s’exprimer dans les milieux aristocratiques de la « Russie d’antan ». L’objectif de notre communication sera également d’étudier les personnages principaux de cette nouvelle de Nabokov du point de vue linguistique et identitaire et de comparer l’ouvrage examiné de 201

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Nabokov avec un extrait de son roman autobiographique Autres rivages, qui présente une version russe de cette nouvelle et comporte des modifications considérables par rapport à sa version française. Cette comparaison nous aidera à analyser les interactions entre les deux langues, le russe et le français.

4:00 PM - Traductions de soi-même (plurilinguisme et autotraduction) Lushenkova, Anna (Université Paris 4-Sorbonne, Villeurbanne, France)

La position de l’autotraducteur est double : il est à la fois l’auteur et le traducteur. Les problematiques propres à la traduction de ce type s’en trouvent affectées : certaines relevent des poetiques de l’ecriture, d’autres rejoignent les problemes inherents à tout acte de traduire. A partir du corpus des écrivains bilingues franco-russes des XXe et XXIe siècles, et à la lumiere des theories recentes du bilinguisme et de la traduction, j’explorerai en particulier les problematiques identitaires. Pour un écrivain plurilingue, l’identité est un concept encore plus mouvant que pour d’autres. Dans leur travail sociolinguistique sur l’implication de l’acquisition linguistique dans la formation identitaire, Pavlenko et Lantolf montrent que l’autotraduction permet aux migrants de donner une interprétation nouvelle à leur experience subjective, et d’avoir un effet unificateur au sein du « moi », depassant l’eclatement identitaire et devenant le lieu de rencontre des deux parts identitaires jusqu’alors perçus comme etant separes. Mais l’autotraduction peut egalement recouvrir une expérience de l’inquiétante étrangeté, étrangeté à soi-même, devenir une experience depaysante – deplaçant hors des coordonnées familieres, ce que Freud désigne comme « heimat ». La dialectique du Même et de l’Autre, impliquee dans toute traduction et expliquee par J.R. Ladmiral comme la propension de « l’alterite des signifiants de la langue-source, pour rejoindre le propre de la langue- cible », s’en trouve affectee. Elle est decuplee s’il s’agit d’une traduction des ecrits à composante autobiographique. Il s’agit de traduire une deuxieme facette de sa propre identite aux expressions variables, ce qui amene dans certains cas à exprimer ce qui n’a pas pu etre dit dans la premiere version. Dans ce cas de figure, l’autotraduction donne parfois lieu à un ouvrage inédit, comme c’est le cas pour les autotraductions successives du roman autobiographique de Vladimir Nabokov. De nombreuses problematiques metatheoriques relatives aux raisons et aux résultats de ces reecritures successives peuvent être soulevées ; la réflexion autour des traductions hypertextuelles s’en trouve ravivée, et projette une nouvelle lumière sur la pensée de la traduction.

4:30 PM - Les mots des autres - en d'autres mots. (In)traductibilité, identité et altérité dans le dialogue franco-russe de l'entre-deux-guerres Stemberger, Martina (Institut für Romanistik, Wien, Austria)

Cette communication sera consacrée à la réflexion – littéraire et philosophique – sur la notion de l’« intraduisible », la construction d’« intraductibilités » dans le dialogue – polylogue – franco-russe de l’entre-deux-guerres ; ceci à partir d’un corpus constitué de textes d’écrivains d’origine russe émigrés en France, d’écrivains « franco-russes » et d’auteurs français écrivant sur les « deux Russies » de l’époque, la nouvelle Russie soviétique – défi à l’autodéfinition de l’Europe, à l’affirmation d’une identité occidentale – et la Russie déterritorialisée en exil.

Les termes et tournures (prétendument ? réellement ?) « intraduisibles » – très souvent en même temps des termes-clés de l’auto/hétéro-stéréotypie – renvoient à la dynamique complexe de l’identification et de l’altérisation ; la traduction – ou plutôt son refus : mécanisme puissant de l’othering – joue un rôle crucial dans la construction d’un autre exotisé et essentialisé : « […] culture becomes essentialised in cases when translation is not attempted » (R. Iveković). Si traduire, c’est 202

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 toujours déjà trahir, la revendication de telle ou telle zone d’« intraductibilité » interculturelle trahit aussi le fantasme d’une identité « propre » mise à l’abri des hybridations, inévitablement « lost in translation » (ainsi, N. Tėffi plaisante sur la difficulté de « traduire l’âme russe en français »).

À partir du vocabulaire intraduit et du discours sur l’« intraduisible » – concept, dans ce sens, non seulement linguistique, mais éminemment idéologique –, il semble donc possible d’identifier des éléments d’une mythologie de l’autre (dans ce cas-ci, tout un imaginaire de la « francité » respectivement de la « russité » plus ou moins stéréotypée). Mais il s’agira aussi de montrer comment maints textes littéraires – écrits entre les langues, entre les cultures – mettent en question, d’une manière ludique, ces mêmes stéréotypes ainsi que le « dogme de l’intraductibilité » (R. Jakobson).

5:00 PM - La figure de la traductrice comme terme médiateur dans « Malentendu à Moscou » de Simone de Beauvoir Landry, Iraïs (Université du Québec à Montréal, Montréal, Canada); Leguerrier, Louis-Thomas (Université de Montréal, Montreal, Canada) « C’est à travers la littérature qu’on apprend le mieux un pays étranger; celui qui nous intéressait et qui nous intriguait le plus, c’était l’URSS, nous lisions tous les jeunes auteurs russes qui étaient traduits en français. » Cette citation, tirée des mémoires de Simone de Beauvoir, fournit une clé de lecture de sa nouvelle « Malentendu à Moscou », rédigée en 1966-67, mais parue seulement en 1992, soit peu de temps après la chute de l’U.R.S.S. Peu étudiée dans l’œuvre de de Beauvoir, cette nouvelle relate un malentendu s’exprimant sur deux plans et s’enracinant dans la rencontre des visions française et russe de l’avenir du communisme international : un malentendu intime, d’abord, entre André et Nicole, un couple français en visite chez la fille d’André, Macha, qui vit à Moscou depuis plusieurs années; un malentendu politique, ensuite, entre Macha et André, à propos de la situation qui se dessine en U.R.S.S. suite à la mort de Staline. La problématique qui sous-tendra cette communication est que Macha, traductrice de textes littéraires du russe au français, fait office de figure médiatrice se situant au cœur des malentendus en question. Ainsi, la traduction dans la nouvelle a pour fonction de dialectiser l’intime et le politique à travers une déconstruction à la fois de l’image que les intellectuels de gauche français ont de la Russie et de celle qu’André et Nicole se font l’un de l’autre. Dans un premier temps, nous nous intéresserons à l’opacité découlant de l’unilinguisme d’André et Nicole, source de leur incompréhension du pays, mais paradoxalement propice au règlement de leur malentendu personnel. Dans un deuxième temps, nous nous attaquerons plus directement à notre problématique et montrerons comment le bilinguisme de Macha la constitue en pivot narratif de la nouvelle. Il nous sera alors permis de conclure en reliant la dialectique du privé et du politique, un thème cher à de Beauvoir, à celle de l’exotisation et de la familiarisation.

Date: Tuesday, July 26th

11:00 AM - Transpositions « révolutionnaires » du drame catholique : autour de la tragédie "La Tiare du siècle" de Paul Claudel et Ivan Axionov Galtsova, Elena (Gorky Institute of Word literature, Moscow, Russian Federation)

Nous proposons une analyse linguistique et idéologique de la traduction de Claudel dans les premières années après la révolution de 1917 dans le contexte de la réception paradoxale de son oeuvre en Russe (commencée durant le « siècle d’argent » elle ne se réalisera qu’en 1918- 1923 ayant contribué au développement du théâtre de metteur en scène) et des recherches sur la traduction au premier quart du XX-e s. Nous avons choisi une traduction russe inédite de deux 203

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 drames de Claudel "L’Otage" et le "Pain dur" qui traduits ensemble sous le titre 'La tiare du siècle', faite en 1922-1923 par Ivan Axionov et jouée en partie par les étudiants de Meyerkhold. Il s’agit d’analyser les fidélités et les écarts dans la traduction, les transpositions langagières du « verset biblique » de Claudel en prose rythmée de la « tragédie révolutionnaire » d’Axionov. Nous aborderons le problème du multilinguisme du texte d’Axionov qui garde les mots en latin et en français ou les translittère en russe, cette tendance étant typique pour d’autres traductions des pièces de Claudel, celles par exemple, de Cherchenevich ("L’Annonce"), et elle est à l’opposé des tentatives de la traduction de Claudel d’avant la révolution où l’on perçoit une tendance nette de l’appropriation par russification parfois même un peu forcée (Thebotarevskaia qui traduit l’Annonce avec Sologub). Cela permettrai de voir comment ce multilinguisme et l’«étrangéïsation » de Claudel après la révolution correspondait aux tendances politiques (« mondialisation » de la révolution, la recherche des « sources » dans la Révolution française, etc.), et à la construction ambigue de l’image de l’Occident. Nous analyserons aussi la question du sacré et de son langage, les références à la mémoire du christianisme d’avant la révolution et des tentatives de transposer le sacré en termes psychologiques, ce qui fut la tendance de l’interprétation de l’"Annonce" et de l’"Echange" la fin des années 1910-début des années 1920 en Russie.

11:30 AM - Les lectures françaises d'Alexandre Schmemann et leur fonction dans l'architecture de son Journal Mikhaylov, Kalin (Sofioter Universität "Hl. Kliment Ohridski", Sofia, Bulgaria)

P. Alexandre Schmemann (1921-1983), un des plus grands théologiens orthodoxes du XXe siècle, n’a cessé tout au long de sa vie d’émigré russe de montrer un goût prononcé pour les belles-lettres. Ancien élève du prestigieux lycée Carnot à Paris, il comptait parmi les premiers interprètes et promoteurs d’Alexandre Soljenitsyne à l’Ouest. Voyageur constant entre les langues et les cultures russe еt française, Schmemann a laissé, entre autres, une œuvre de diariste remarquable qui témoigne de son intérêt vif pour un large éventail d'auteurs français. Ma communication se propose de scruter les empreintes de certains de ces auteurs dans le cogito du diariste pour essayer de trouver leur place et leur signification propre dans l’ensemble de son Journal.

12:00 PM - Between Petersburg and Paris: the Russian novel as an alternative model for Brazilian intellectuals. Gomide, Bruno (Universidade de São Paulo, São Paulo - SP, Brazil)

The works of Dostoevsky and Tolstoy started to be discussed in Brazil at the end of the 1880s. This occurred during the wave of international diffusion unleashed by France, especially by the book manifesto Le Roman Russe (1886) by catholic viscount Eugène-Melchior de Vogüé, primus inter pares in placing the Russians on a different symbolic level. They were transformed together and posthumously (with the exception of Tolstoy in this last respect) into a compassionate and humanitarian alternative to the surgical coldness associated with the French naturalist novel. Given this bipolar argumentation, and helped by a favorable socio-political conjunction, the Russians entered in a decisive way into debates of fin-de-siècle esthetics and culture. My objective will be, initially in a brief manner, to present the features of this debate in Brazil and the elements that contributed to the international critical paradigm. To follow, the more substantial part of the paper will comment on the peculiarities present in the peripheral point of view of the Brazilian intellectuals. At first sight, texts such as “Dostoievski – naturalismo russo” (1888) by Clóvis Bevilacqua, the essays of José Carlos Júnior published between 1887 and 1888, and the texts by Vicente Licinio Cardoso on Dostoevsky (1924) are variants on the polarization between the “Russian” and “French” models; but a closer reading reveals that the Brazilian essayists frequently saw in the inception of the novel in 204

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Russia, and in the type of “alternative literary modernity” that it represented, a possible solution to the problem that had obsessed generations of Brazilian writers: the creation of a national literature that was desired to be inspired with authentic traits, possessed of a greater degree of freedom in the recreation of European genres and, at the same time, esthetically relevant.

2:00 PM - Fonction des gallicismes dans la prose de Sacha Tchorny KHLOPINA, Oxana (Université Paris X - Nanterre, VIROFLAY, France)

Mises à part son ironie et sa légèreté attirantes, la langue savoureuse et métissée de la prose de Sacha Tchorny est une mesure juste de la distance que le narrateur crée entre le « moi » et « l’autre ». Or, cette distance existe toujours dans ses récits, qu’ils soient écrits en Russie ou en émigration. Ainsi, un passage de Verlaine cité en français dans "La Première rencontre", et quelques mots frivoles lancés dans "Un Ami", ou encore un dialogue entre un policier français et une fillette russe dans "Le Petit fourgon jaune" (qui inspirera Nabokov), - s’inscrivent dans cette intention de l’auteur. Les gallicismes présents dans la prose de Sacha Tchorny, ou, bien au contraire, absents là où leur apparition serait des plus logiques, la fonction et l’évolution de la connotation de ces mots, écrits souvent en cyrillique avec un accent russe voulu, méritent une attention particulière. Les mots français, dont l’accent est parfois outré, parfois gommé, qui accrochent l’oreille ou sonnent presque naturellement dans le langage quotidien, tiennent une place importante dans l’univers de l’écrivain, avec ses expressions dialectes, sa langue des soldats et des sirènes, ses néologismes et toute cette matière linguistique et culturelle qui lui sert de mémoire de ses deux patries : « Celle que l’on nommait la Russie » et la France.

2:30 PM - "La langue de l'autre" - L'expérience d'Andreï Makine Pinot, Anne (ICES (Vendée) and UBO (Laboratoire HCTI), Angers, France)

Sans négliger Le Testament français , mais en m'appuyant surtout sur des récits moins nettement autobiographiques, je voudrais montrer comment, chez A. Makine, la langue et la culture française ne servent pas tant de repoussoir à un passé douloureux, que de passerelle vers un autre soi-même, avec lequel il convient de se réconcilier. Chez Makine, dans "la langue de l'autre", tout "fait signe" : non seulement les mots, mais leurs sonorités ou leurs silences, l'émotion dont ils ont été un jour chargés, l'histoire qu'ils portent avec eux et en eux, et tout cela paraît rencontrer et féconder un imaginaire qui se structure en prospection (un pas vers l'avenir) et rétrospection (l'apaisement d'un passé dont les angoisses trouvent une réponse dans l'usage au présent d'une langue qui les nomme). La langue de l'autre devient ainsi le chant de l'être.

3:00 PM - « ...que nous quittions la douce violence russe, que tu écrives des livres, des livres et des livres... » (Mathias Énard) : la matière russe et ses enjeux métalittéraires chez Emmanuel Carrère Absalyamova, Elina (Université Paris 13 (Pléiade EA 7338), Paris, France)

« Cette terre ne m’est rien, seulement la langue qu’on y parle », tranche le narrateur autobiographique d’Emmanuel Carrère à mi-chemin dans ce parcours existentiel que dessine Un roman russe (2007). Si à ce moment du récit la Russie ne semble qu’un détour dans la recherche de soi-même, ce pays constitue pourtant une matière importante de l’œuvre : la vision personnelle de sa littérature, son passé et son présent peuvent donner lieu à une analyse enrichissante de la manière dont un écrivain français, petit-fils des émigrés russes, fait face à ce qu’il voit comme étranger, mais qu’il rêve de s’approprier. À part ce discours sur la Russie, le livre contient surtout de précieux témoignages et aveux sur la (ré)appropriation de la langue « maternelle » : emploi (parfois fautif) des mots russes dans le texte français et le retour obsessionnel d’un poème d’un côté, pratique du journal intime, non-linéarité de l’apprentissage et poids des représentations socio- 205

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 culturelles liées aux manières de parler une langue (le « joli russe »), d’un autre. Métalinguistiques, les remarques du narrateur-écrivain sur le russe prennent également une dimension métalittéraire. Entre deux citations – « Pour me représenter ma condition, j’ai toujours recouru à ce genre d’histoires » au début et « Je ne te dis pas que c’est vrai, je te dis juste qu’en Russie c’est un genre d’histoire qui arrive » vers la fin, – la Russie se présente comme la terre du récit, du récit « performatif » comme le dirait Carrère lui-même, puisqu’il est en même temps anticipé, voulu, guetté et créateur de destins et de liens humains. En guise de conclusion et afin d’avoir un échantillon témoin, il est instructif de comparer les pratiques textuelles de Carrère avec celles de Mathias Énard, écrivain attiré par d’autres aires culturels, mais faisant son passage par la Russie avec “éclat” : « J’ai compris que la Russie nous mangeait comme un ogre ».

17257 - Texts with No Words: Communication of Speechlessness Date: Monday, July 25th Room: Hs 45 Chair: Knaller, Susanne; Rieger, Rita; Pichler, Doris

9:00 AM - Introduction and Welcome Knaller, Susanne (Universität Graz)

9:30 AM - "What Speech Conceals and What Silence Reveals": Therapeutic Silence in Theater and Psychoanalysis Scheurer, Maren (Goethe-Universität Frankfurt am Main, Frankfurt am Main, Germany)

We think of psychoanalysis as the "talking cure," and yet, its process is riddled with silences. On the one hand, the silence of the analyst, a consequence of the technical requirements of neutrality and abstinence, has become a topos that inspires awe as much as ridicule. On the other hand, the analysand’s struggle to find words to express her predicament must often leave her speechless in the face of traumatic exterior experiences, inexpressible stirrings of the interior self, and intersubjective frictions. Literary texts have been drawn to psychoanalysis not just for its specific take on dialogue, but also because of these inevitable silences which reflect productively on the power(lessness) of language and the interdependence of silence and speech.

This paper seeks to trace this fascination through a comparative reading of the psychoanalytic theory on the use of silence in the therapist’s office and two theatrical takes on therapeutic silence: Tom Kempinski’s Duet for One (1980) and Sarah Kane’s 4.48 Psychosis (2000). Both plays are focused on therapeutic encounters, in which the characters fight with each other as much as they fight fatal illness and suicidal depression. In the written texts, speechlessness must be indicated, through stage directions such as "silence," or "pause," or through empty space on the page; in a theatrical production, all of this must be transformed into different forms of silence. A discussion of these texts thus not only allows for a reflection of the different functions of silence in therapy and their transposition into the literary realm - as a resistive barrier, as a protective container of words, as an overdetermined carrier of meaning -, but also allows for an exploration of the transmedial representation, performance, and reception of silence. These, in turn, are also pressing questions for psychoanalysis, opening up the possibilities for a much more wide-ranging interdisciplinary debate.

10:00 AM - The 'Sound-Space of Silence' in "Das Schweigen. VOX FEMINARUM" by Elfriede Jelinek, Ernst M. Binder und Josef Klammer Fauner, Eva (Universität Graz, Graz, Austria)

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The proposed paper discusses an example of thematized and performed silence as a special case of speechlessness. An analysis of the audio drama Das Schweigen. VOX FEMINARUM by Elfriede Jelinek, Ernst M. Binder und Josef Klammer shows that the overlay of diverse linguis-tic and noise levels combined with quiet sections is one possible aesthetic solution for mak-ing silence tangible in spite of its originally immaterial communicational sphere. The play performs the narrated process of breaking up communication confronting the ineffability of the intended content. The idea of transforming communicational mistakes and silence into noisy and quiet periods correlates with the play’s plot. It is a monologue on an attempt to compose a work about Robert Schuman, which is doomed to failure. The problems of speech and the assumed incompatibility of writing and voice evoke language barriers, speechless-ness and finally they culminate in silence. Silence and its lack of conceptual clarity open up a scene of inexplicability which reflects individual failure and social disorder.

I will proceed in three steps: A first step draws on the “Rhetoric of Silence” (Christiaan L. Hart Nibbrig) as a literary topos. Within this topos the expression of the inexpressible plays an important role. Grasping the thought of “Lauter Unsägliches” (Rainer Maria Rilke), which addresses the ambivalence between audible and non-audible speech, VOX FEMINARUM ex-plores whether speaking or writing is the better way to express the genius of Schumann’s oeuvre. Travestying the motive of the bigoted adoration of “Geistesgrößen” (Thomas Bern-hard) the play ends with the incapacity of speech when faced with true artistic creativity.

After highlighting the “Rhetoric of Silence” on the level of story, the second part of my paper focuses on the structural and poetic elements of creating a ‘Sound-Space of Silence’. There-fore, an elaboration of aesthetic strategies in Acoustic Literature is necessary. In order to understand the audiovisual transformations as a crucial point of Acoustic Literature, the concept of “Paramediale Rahmenanalyse” (Uwe Wirth) is going to be outlined and adapted to VOX FEMINARUM. The analysis will show that the thematized dichotomy between writing and voice finds expression by realizing not an orally but a scriptually conceptualized text in acoustic media. Thus the formal constitution of the play reflects its central statement “Schweigend, indem ich nichts tat, als über meine Schrift zu sprechen” (Elfriede Jelinek). When it comes to examine the sound and silent passages of the piece, media-scientific tools like cut, transition, compositing, montage, stereophony, music, noise, digital processings and manipulation are required.

In a third step the paper illuminates silence as speech-act (Alice Lagaay). Commonly, silence is understood as stillness and therefore it is not perceived as a specific communicational ac-tion. One possible clue to leave this presupposition is to draw on the language and the knowledge of the arts. The efficacy of the arts lies in their capacity to generate spheres which irritate everyday experience in order to reflect unquestioned perceptional structures. Silence is a kind of speech-act which provides a minimum of conceivability and a maximum of interpretability. In VOX FEMINARUM the wide range of possible interpretations is ex-pressed by overlapping diverse semantic and acoustic traces. The upcoming sound-space allows a hazy notion of meaning, but in the end it will never be clarified. When realizing this intractability a true scene of silence in the sense of communicational stagnation is installed.

11:00 AM - Against Speechlessness!

Talking about Silence and Talking instead of Silence in Elfriede Jelinek’s Das schweigende Mädchen Brod, Anna (Pädagogische Hochschule Freiburg, Freiburg im Breisgau, Germany)

In her play Das schweigende Mädchen (The Silent Girl, Münchner Kammerspiele 2014), Elfriede Jelinek refers to Beate Zschäpe’s defense strategy of silence in the trial against the so-called ‘National

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Socialist Underground’ (‘NSU’). Zschäpe’s silence and the concept of speechlessness semantically share the lack of words, but have a different cause: being speechless means that one is involuntarily unable to speak; in contrast, Zschäpe’s silence is (more or less) intended and functional.

Jelinek is dealing with Zschäpe’s silence by contrasting it – on a material level – with an abundance of text (313 pages in the Suhrkamp edition, 2015). By doing so, she’s opposing speechlessness as an expected reaction to acts of violence as committed by the ‘NSU’. For example, one of the characters in Jelinek’s play, called “Ich” (and thus potentially to be read in reference to the author), says: “Schweigen kann ich auch wieder nicht, das ist Ihnen wohl seit Stunden klar geworden. Nicht wie das Mädchen.” (“But I cannot be silent, as you have probably realized hours ago. Unlike the girl.“).

Zschäpe’s silence and the epistemic void associated with it (e.g., about the motives for the ‘NSU’ killings, but also about how the alleged terrorists lived together in hiding) can be considered as a trigger for media speculation and probably also for the author’s writing process. At the same time, the lack of language itself becomes topical in the play: Other characters discuss the effects of the girl’s silence and speculate about its reasons; the necessity for the accused and for the witnesses to talk in court is foiled by debates about the right to speak that are extensive, but ultimately without content; etc.

In my paper, I will describe and discuss these and other functions and layers of silence, speechlessness and talking about silence as they appear in Jelinek’s play.

11:30 AM - Hermann Broch's thoughts on "das stumme Unmittelbare" Doutch, Daniela (Institut für deutsche Sprache und Literatur I, Universität zu Köln, Köln, Germany)

In his 1932 essay Das Unmittelbare (‘the immediate’), Austrian writer Hermann Broch develops his thoughts on the state of contemporary literature by pointing out two essential features that characterize his time: “das Unmittelbare” and “die Stummheit” (‘muteness’). Whereas “Stummheit” refers ex negativo to language, “Unmittelbarkeit” – according to Broch – points to notions of presence in either a mystical or sensual way. Out of these two terms he creates the concept my talk will engage: “das stumme Unmittelbare.” Against the background of Broch’s novel trilogy Die Schlafwandler, which was published between 1930 and 1932, I want to discuss Broch’s idea of “das stumme Unmittelbare” as poetological-theoretical reflections on the novel as a literary genre that is challenged by the cultural conditions of the interwar period. In his lecture on Über die Grundlagen des Romans ‘Die Schlafwandler’ (1931), Broch raises the following question in consideration of the difficult economic conditions of the era: “[U]nter welchen Bedingungen hat ein Roman Daseinsberechtigung? Die nächstliegende Antwort: er hat überhaupt keine Daseinsberechtigung. […] Oder mit einem Schlagwort: in einer solchen Zeit brauchen wir keine Worte, sondern Taten.” The very notion of “Taten” (deeds) – the connecting link between “Stummheit” and “Unmittelbarkeit” – cannot merely be read in an ethical context, as the following remarks in Broch’s lecture illustrate: “Was heißt nämlich ‘Taten’? sicherlich etwas höchst Unmittelbares, eine unmittelbare Wendung zum Objekt, eine unmittelbare Verbindung zwischen dem Subjekt und dem Objekt, anders gesprochen, ein unmittelbarer Kontakt zwischen dem Individuum und seinem Leben, kurz mit der Welt.” From a media studies perspective, engaging theories of perception (e.g. Martin Heidegger, Michel Serres), I aim to demonstrate how Die Schlafwandler describes the cultural decay of the Wilhelmine Period as “ein unmittelbarer Kontakt” between men and material objects, which leads to a ‘communication breakdown.’ Given the war experiences, e. g. of lieutenant Otto Jaretzki who lost his left arm due to a gas attack, the “direkte geradezu haptische Berührung mit der Unmittelbarkeit,” as Broch put it in Das Unmittelbare, becomes even physically destructive, and calls into question hitherto existing orders of meaning (religious, social, philosophical, etc.).

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12:00 PM - ‘Oublier l’usage des mots’. Speech and speechlessness in First World War poetry Meidl, Martina (Alpen-Adria-Universität Klagenfurt, Klagenfurt, Austria)

The specific role of poetry in ‘translating’ unutterable experience into language has been stressed out frequently. Certainly, the extraordinary productiveness of poets writing about their front experiences during the Great War cannot be ascribed exclusively to literary traditions or production-related circumstances, disregarding the intrinsic properties of the poetical medium.

The role of poetry as preferred genre had been confirmed by the historical avant-garde of prewar time and its verbal and medial possibilities had been considerably dilated. On the one hand, vanguard aesthetics such as the cubistic techniques of fragmentation and montage, visual and acoustical effects of futurist battle representations, condensation and language reduction of hermetic poetry or expressionist techniques of cross fading may give expression to the experience of war. On the other hand, instead of intensifying their experimental modes of representation, many vanguard poets turned to more traditional forms when referring to front experiences.

This contribution is aiming to illustrate certain strategies of verbalization of traumatic war experiences employed in selected poems by French and Italian writers. Furthermore, it will focus attention on the issue of speechlessness as addressed by front soldiers.

2:00 PM - How to express ... - Jonathan Safran Foer's punctuation of unspeakable emotions Grillmayr, Julia (Institut für Europäische und Vergleichende Sprach- und Literaturwissenschaft, Austria)

Jonathan Safran Foer’s little-known short story A Primer for the Punctuation of Heart Disease is actually less a story, but exactly what its title claims it to be: an introduction into a punctuation of unspeakable truths and facts – like incurable diseases of family members, but also the holocaust, fear of loss and love. Coping with the deficiency of language, when it comes to strong emotions, the young American author helps himself with simple symbols which function on a different level of signification: There are, for example, “Barely Tolerable Substitutes” which can be used in place of the unbearable expressions like “‘→I←’, which approximates ‘I love you’”. There is ¡, an “unxclamation point” which, in opposition to the exclamation point, indicates a whisper, as well as ☺, the “corroboration mark”, which means corroboration, but has a whole different and more subtle usage than “Yes” or “I agree”. Of course, all the subtle significations of the used symbols cannot in turn be described in words; you can only learn them in context. Therefore, Foer practices his punctuation in little, touching dialogues. These furthermore visualise the unspoken dimensions of the conversations in general and make the speechlessness of the characters explicit – and not only by their heavy usage of the “silence mark” and the “willed silence mark”.

Foer mentions in the author’s note that A Primer for the Punctuation of Heart Disease is representative of his “concerns as a writer: the difficulties of expressions, family and love”. My claim and research question is, that in fact, the here proposed symbol language gets to the core of Foer’s poetics and can be a highly interesting as well as playful clue to his work. In my presentation, I will show that Foer’s famous novels Everything is Illuminated and Extremely Loud and Incredibly Close share exactly the same topics and problems of speechlessness as outlined in this short story. As I will elaborate, a “translation” of the dialogues in the two novels by means of Punctuation of Heart Disease sheds new light on the problem as well as on Foer’s own, peculiar poetics of emotion.2:30 PM - Breath-Writing: Articulating the Unspeakable (Paul Celan and Herta Müller) Heine, Stefanie (Universität Zürich, Zürich, Switzerland)

Paul Celan’s poems and Herta Müller’s novel Atemschaukel are informed by cultural and individual traumata induced by World War II: in Celan’s case the holocaust and in Müller’s the Soviet penal camps. They both write from a point zero, implying ineffability. In the paradoxical endeavour of 209

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 writing about what cannot be written, circling around traumata that render language inoperative, breath assumes a central role in both Celan’s and Müller’s poetics beyond representation. In Celan’s poems, formulations and compounds involving the word “Atem” point to an interval-space where the texts meet their edge and open to an Other: turning back, traumatic history or turning forward, an unknown ‘you’. Following his poetological notes and fragments, it can be argued that for Celan, poems open to possible but never ensured relations that remain as precarious as their (traumatic) point of reference. Readers might embrace the encounter opened by the poem pervaded by the author’s mortal being, inscribed in the poem by breath. Herta Müller’s expression “Atemschaukel” in her eponymous novel designates and actualises what cannot be named, what continually transforms itself and teeters on the brink. It breaks away from a clear reference, resisting a descriptive approach to a traumatic past. It is important to know that Atemschaukel is based on and inspired by the memories of Oskar Pastior, whose camp-words and camp-language Müller ‘borrows’. The words thus actually ‘come from’ the camps and are taken from the shattered language generated there. Thus invested with the past but encountered as material present language-blocks in the reading process, the words haunt the readers’ mind and memory. The novel Atemschaukel is determined by a chain of transformations and transferences, reaching from the writing to the reading process and the word “Atemschaukel” – as a stand in for speechlessness – performatively mirrors these.

3:00 PM - The Media-Specific Language of Wordless Graphic Novels and "Woodcut Novels" Grammatikopoulos, Damianos (Rutgers University, German Department, Brooklyn, USA)

In "Comics & Sequential Art", Will Eisner defines comics as a "montage of word and image" (8), as a language that requires both "visual and verbal interpretative skills" from the reader's part. The verbal and pictorial elements of a comic book, according to the author, are the essential elements of the medium and the success of a story depends on their skillful employment. At the same time, both Eisner and Scott McCloud acknowledge the possibility of telling a story through imagery alone by combining elements of pantomime (Eisner, 16) and by exploiting the full potential of the graphic, narrative tools. Words, as it seems, are an important component of the medium but they are not indispensable.

Not unlike the distinction between "silent film" and "talking pictures", comics too can be subdivided into two subcategories. The exaggerated gestures and facial expressions (pantomime), the distinct arrangement of panels on the surface of the page, and the use of inscriptions are just a small section of the vocabulary that wordless comics utilize to tell a story. If "woodcut novels" are added to the equation, a third type of wordless pictorial storytelling has to be taken into consideration.

If the suggested distinction between conventional and wordless comic books appears unsubstantiated at first glance, the difference between comics in general and woodcut novels is evident. According to the cartoonist Seth, "woodcut novels are more tied to the silent film than they are to comic strip." (Graphic Witness, 416) Those picture novels, as Seth underscores, refrain from the use of two of the most basic elements of the medium: multiple panels and speech balloons. Splash pages are the predominant means of framing the depicted action. As a consequence, the function of the "gutter" in woodcut novels is essentially different compared to comics books.

I argue that graphic novels, wordless comic books, and woodcut novels, despite the common denominators that they share, employ specific narrative devices that are partly unique. While the sequential nature of the storytelling process is the same in all of them, the techniques and the flow of narration are not. I my presentation, I will discuss the comics of Peter Kuper, Alan Moore, Shaun Tan and the woodcut novels of Lynd Ward and Frans Masereel. My main focus is the differences in terms of narration between conventional and wordless graphic novels on the one hand and between the latter and woodcut novels on the other. 210

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4:00 PM - When eating leeds to speech(lessness) Gillhuber, Eva (Karl-Franzens-Universität Graz, Zentrum für Kulturwissenschaften, Graz, Austria)

Both Eating and speaking pass the mouth in two opposing directions: food is incorporated, whereas speech is expressed. Similar to literature, eating can be looked at as a strategy to prevent death. It is undoubtedly linked to vitality and destruction. Therefore, the alimentary opens a grotesque circle of growth and decay, which especially fantastic narrations exploit in order to create and decompose the dichotomy real/unreal. As a very extreme alimentary practice cannibalism brings this to an extreme. In the so called „civilized world“ it is an alimentary taboo and awakens an anthropological fear of the other and the self. Thereby it figures as an outstanding „event“ worth telling. Its narrations tend to leave the reader/hearer speechless, but also the one who was eaten as he usually cannot give proof of what had happened to himself any more. This paper examines the link between anthropophagy and speechlessness on a functional-narrative level comparing the gastropoetics of Adolfo Bioy Casares „Invención de Morel“ (1940), Virgilio Piñeras „La Carne“ (1944), and Jorge Luis Borges „Evangelio según Marcos“ (1970). In these (neo)fantastic stories cannibalism plays a crucial role and leads to an abrupt ending and/or speechlessness of either the characters or the narrator, while paradoxically the narration itself keeps on speaking on its own, overcoming death and speechlessness.

4:30 PM - The “truth” about Auschwitz or: the paradox of criminal procedure Seewald-Juhasz, Christina (Universität Salzburg, Salzburg, Austria)

Some survivors of the largest Nazi extermination camp, Auschwitz, have testified as witnesses in Court, in the so-called Frankfurt Process, but have also given evidence regarding their experiences by writing memory texts. This conglomeration composed of both, French and German, legal and literary documents, allows to "track" elements of the “truth” about Auschwitz. The main question remains whether it is possible or not to express that "truth" – albeit an objective or a subjective one – by linguistic means.

Given the dimension of the "inexpressible” the victims have met in Auschwitz, "blind spots" are perceptible, both in the judicial testimony and in the memory texts. Those spots appear repeatedly, when the voice fails and the right words are missing. We are going to try to situate these “language barriers”.

The blind spots of failing language manifest themselves – in the oral testimonies in Court and in the written personal testimonies – in different rhetorical figures (such as ellipses, metaphors, paraphrases, etc.). The language barriers will be studied using a combination of legal and literary research approaches (in particular both methods of interpretation), regarding their causes (internal and external ones) and their consequences. It will be particularly interesting to analyze the literary and legal frameworks of the testimonies and the mechanisms applied to avoid blind spots.

The aim of the present research work is to achieve a new "dimension of understanding" with regard to individual and collective memory, to identity, to “objective” and “subjective truth”, by means of a trans- and interdisciplinary method. The separate consideration of testimony in a merely legal or a merely literary context would neglect the significant potential of their combination in order to get closer to the truth in Leibniz’s sense: by darting “pluri-perspective” looks at it.

5:00 PM - So-Called Speechlessness. Deviant Speech in Thomas Bernhard’s "Walking“. Ketterl, Anja (University of Maryland, Baltimore, USA)

Karrer ist verrückt geworden. In einer scheinbar endlosen Wiederholung markiert die Formel „diese schütteren Stellen“ in Bernhards Erzählung Gehen in doppelter Weise eine Grenzüberschreitung. 211

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Zum einen übertritt Karrer im Rustenschacher’schen Laden genau in dem Moment die Schwelle hin „zur totalen Verrücktheit“ als er diese Formel ununterbrochen abspult. Zum anderen aber wird Karrers Sprechen selbst zum Ort der Transgression und zwar nicht nur, weil das wiederholte Abspulen der immer gleichen Phrase zum Beleg für die Diagnose Wahnsinn wird. In viel entscheidenderer Weise ist die Grenze zwischen Sprechen und Schweigen, mithin die Überschreitung eines Sprechens hin zum Nicht-Sprechen betroffen, denn die Grenzüberschreitung ereignet sich im Moment des Sprachausfalls, in jenem Moment, in dem Karrer hatte noch etwas sagen wollen, es aber nicht mehr fertig brachte. Karrers Verrücktheit ist nicht so sehr durch die Wiederholung einer Rede und auch nicht durch den bloβen Mangel an Rede gekennzeichnet, sondern durch einen Modus, in dem sich das Sprechen gewissermaβen selbst verfehlt. Sprechen und Schweigen fallen hier zusammen.

Bernhards endlose Tiraden und die bis zur Erschöpfung vorangetriebenen Wiederholungen dominieren die Sprache seiner früheren Texte und sind nach wie vor ein beliebter Untersuchungsgegenstand in der Bernhard-Forschung. Für Gehen hat die Forschung überzeugend herausgearbeitet, inwiefern sich das Erzählverfahren und die Bewegungen des Gehens strukturell verschränken. Was bisher allerdings weniger fokussiert wird, sind die vielfach produktiven und die poetologische Anlage der Texte konstituierenden Momente des Nicht- oder vielmehr Anders- Sprechens.

In Anlehnung an die strukturelle Verzahnung von Gehen/Erzählen und in Auseinandersetzung mit Michel de Certeaus theoretischem Konzept des Gehens als Praxis der Verfehlung konzentriert sich mein Beitrag auf eben jene Momente der sogenannten Sprachlosigkeit und entwickelt ein Konzept des abweichenen Sprechens, das wesentlich durch die Struktur der Verfehlung konstituiert ist. Bernhards Erzählung, so die These, inszeniert über die spezifische Struktur eines abweichenden Sprechens die Grenze zwischen Sprechen und Schweigen bzw. Sprechen und Nicht-Sprechen in ihrer prekären Grundstruktur, als Grenze, die ihre eigene Grenzwerdung permanent verfehlt. Die Demarkationslinie zwischen Sprechen und Schweigen, so wird der Vortrag zeigen, erweist sich nicht als lediglich verschobene Grenze, sondern als das, was durch die Praxis des „vorüber“-Gehens konstituiert ist, das, was sich selbst wesentlich und immer schon als „schüttere Stelle“ ausweist. Es ist der sogenannte Sprachausfall, nicht als Moment blosser Sprachlosigkeit, sondern in seiner Struktur als verfehltes Sprechen, der hier Bedeutung konstituiert.

6:00 PM - Autopoietical structures of speechlessness of the dying narrators in Terézia Moras "Das Ungeheuer" and Franz Kafka's "Ein Traum" Färber, Christina (Freie Universität Berlin, Berlin, Germany)

Which other situation makes a subject more speechless in life than death? Not only is death a semantic fallout, a mere sign of sense which threatens a representational structure of language – but also the unavoidable, forecast end of speaking of I. In Terézia Moras Das Ungeheuer (2013) this metaphysical problem is solved autopoietically: the novel is divided into two plots, separated by a line in the middle of the pages. The upper plot narrates socially isolated Darius, who is on a restless mission to bury his wife; the unburied dead is not only disturbing the Diesseits of Darius but is an autonomous voice itself conveying the diary in the lower part of the book. Flora is once present consciousness, once a Derridarian absence present, a voice with no words, her part of the book is blank for several sections.

My approach distincts three levels here: the narrative act (by Darius and Flora, who ended conversation a long time ago), the body of the text, and the literary as an autopoietical authority. Flora is a communicative conscious, who entrusted her soul to her very own narration of herself. The textual body becomes a corpse which paradoxically is being able and unable to speak at the same 212

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 time. The autopoietical structures are complex: Flora’s writing was before death, when she could not speak, the speaking is after her death – in death she irritates the Diesseits, remains the boundary (the line) between here and there and refers in the play of those three levels autopoietically to the literary, which maintains a metaphysical speech – especially in the blank sections of her part. The reordering aim of the burial is accomplished by the body of the text, where the dead has her place and grave. Franz Kafka’s short novel Ein Traum (1920) shows the speechlessness by a sexton, facing the empty grave for “K.” while being watched by him; his hesitation to continue carving K.’s name into the gravestone shows how this textual body, too, becomes the necessary gravestone and rescues the narration from the speechlessness.

Death as the technically ultimate speechlessness and end of representative semiotics (as we do not know (what) it is) starts a semantical process. The literacy of Flora’s sections, unlike Darius’ who is unable to communicate, misunderstands letters not as dead, speechless signs but in fact as the presence of Flora’s regained ability to speak out; even without words, in speechlessness, there is the potential of communication in her presence.

17259 - World fantastic literature: multiple languages, multiple perspectives Date: Monday, July 25th // Tuesday, July 26th Room: Hs 23 Chair: Philippov, Renata; Amaral, Gloria

11:00 AM - An Encounter with the Fantastic-Grotesque: A Persian Case Shahbazimoghadam, Nahid (University of Semnan, Seman, Iran); Ghaderi, Farah (University of Urmia, Urmia, Iran)

An Encounter with the Fantastic-Grotesque: A Persian Case

As a pioneering critic of the fantastic and grotesque style of the Renaissance art and architecture, John Ruskin asserts that the evolution of these modes partly owe to the East, a major source of imitation and home to early civilizations. Ruskin refers to two fountainheads of the modes as the Egyptians, Jews, Arabians, Assyrians, and Persians in the east and south and Scandinavians in the west and north; which leaves him hesitant “whether most to admire the winged bulls of Nineveh, or the winged dragons of Verona” (159). Accordingly, despite some contemporary views dealing with the grotesque and fantastic as purely Western phenomena, this paper discusses the fantastic- grotesque in the transgressive subculture set in some Modern Persian short stories to highlight the depiction of such modes as a subversive medium for the critique of social issues at a symbolic level. In this regard, the present work basically draws on Tzvetan Todorov’s study of the fantastic and Ewa Kuryluk’s notion of the grotesque as an anti-world set against dominant culture as well as Wolfgang Kayser’s discussion of literary motifs associated with the fantastic and grotesque.

Keywords: fantastic, grotesque, Ewa Kuryluk, Wolfgang Kayser, Tzvetan Todorov, Modern Persian fiction

11:30 AM - Orphans of Eldorado (Milton Hatoum), otherness and melancholy TRUSEN, Sylvia (Universidade Federal do Pará, PA, Brazil)

Orphans of Eldorado, the work of Milton Hatoum published in 2008, begins his plot in an unusual way. The narrative voice recalls a scene: an Indian woman in the Indian language, attracted by her lover, be enchanted the Amazon, disappears in the river. The strange moment remembered is, in turn, translated by another voice - the one from “ama tapuia”, narrator of the legends that accompany the protagonist, Arminto Cordovil, he also charmed by an orphan who dreams of living 213

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 on the river bottom. The novel of Milton Hatoum thus seems to be woven from two large strings - otherness and melancholy - that intertwine to merge the mythical plan to the personal story of the narrator. This paper therefore seeks to examine the unusual character of the work, from the articulation of these concepts through the contributions of psychoanalytic and literary studies.

2:00 PM - All-Time Sinner or National Hero: Language and Politics of the Ukrainian Gothic Krys, Svitlana (Lana) (MacEwan University, Edmonton, Canada)

Oleksa Storozhenko’s novel Marko prokliatyi [Marko the Cursed, 1870-1879] is often viewed as an epitome of the Gothic sensibility in Ukrainian Romanticism. It borrows freely from the themes and aesthetics of the Gothic, including an atmosphere of horror, intensified by the numinous landscapes; the presence of an evil-doer, cursed by God; the crime and punishment motif, linked to a family sin/curse; and the theme of incestuous love — all of which are mixed with mythology and folklore. Some scholars even see links in the plot of Marko the Cursed to the two emblematic works of the frenetic Gothic: Matthew Lewis’s The Monk (1796) and Charles Maturin’s Melmoth the Wanderer (1820). However, what has been left outside the scholarly radar and distinguishes Storozhenko’s Gothic from his predecessors is the fact that he simultaneously endorses and undermines the horrific by turning the repulsive into the attractive. This article will examine the novel’s creative engagement with the Gothic discourse from a postcolonial perspective, aiming to uncover a political message behind its experiments with horror. Indeed, the novel was produced in the aftermath of the Valuev Circular (1863) and Ems Decree (1876), which banned the use of Ukrainian in print and served as a building block of the Russian Empire’s position on the national question. It references the Cossack era, a period of cultural flowering, viewed as a foundation for the development of the national idea in nineteenth-century Ukraine. Hence, a transformation of the Gothic sinner, Marko the Cursed, into a glorious Cossack-knight and a guardian spirit of Ukraine gains special significance. I propose that it is through the twist that Storozhenko puts on the Gothic aesthetics that his novel is able to promote the Ukrainian national heroes at a time when it could not do so directly, setting a model for the Gotho-fantastic discourse that finds its reflection even in twenty-first century Ukraine.

2:30 PM - EDGAR ALLAN POEŽS THE PHILOSOPHIES OF FURNITURE AND COMPOSITION: A SPATIAL TOPOANALYSIS FOR GOTHIC LITERATURE Colucci, Dr. Luciana (Universities of Surrey, Sao Paulo and Fed. do Triangulo Mineiro/CAPES, Guildford, Austria)

Luciana COLUCCI

Universidade Federal do Triângulo Mineiro (UFTM)

Universidade de São Paulo (USP)

University of Surrey (UK)

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (Capes)

Differently from many studies that focus on Edgar Allan Poe´s literary and critical texts, this paper aims at the analysis of the poetic principle involving the frame of the gothic spatiality in order to favor Poe as a theoretician of space in literature. Considering that contemporary literary scholars such as Blanchot (L´espace littéraire, 1955), Bachelard (The Poetics of Space, 1964), Lotman (The Structure of the Artistic Text, 1977), Tadié (Le Récit Poétique, 1978), Tuan (Landscapes of Fear, 1979), Botting (Gothic, 1996), Lothe (2000) and Borges Filho (Espaço & Literatura: Introdução à Topoanálise, 2007) have valued the importance of spatial category in fictional texts (a spatial turn), we affirm that Poe can be considered one of the predecessors of such studies for his “Philosophies”, of Furniture (1840) and Composition (1846), discuss the locale as something that was accurately planned, constructed and decorated in a way that “must not be confounded with mere unity of place” (The 214

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Philosophy of Composition, 1846). Poe´s scope of spatiality is “embroided with a very detailed and eccentric decoration with a range of interesting objects, furniture, antique since “Gothic fiction is the fiction of the haunted castle”, as Punter (1996) puts it and, also, as Vasconcelos (2002) and Botting (2006) highlights, is the fiction of excess. So, f rom the ancient castle to the city moderninsecurities, from gothic to fantastic mode , Poe presents a homology between space and character, creating a psychologicalchaos thatis bornof the confrontationbetween reasonandunreason. Summing up, Poe elaborates a poetics of the space in the gothic mode in a multiple perspective that is not only in harmony with our times, this so called 21st-century global-village scenario, but also represents a solid contribution to the spatial and topoanalytical studies in literature, enabling us to understand why this poèt maudit is so called the arch-priest of gothic fiction and its related modes.

3:00 PM - THE WHITE WHALE, THE DARK HORROR: GOTHIC AS MODERN EPIC IN MOBY DICK AND HEART OF DARKNESS Ghirardi, Jose (FGV Direito SP Brazil, Sao Paulo, Brazil)

In his classic Tolstoi or Dostoievski, George Steiner argues that the most far-reaching literary works of 19th century literature are to be found at the extremes of the literary galaxy – Russia and the United States. It is there that one can find what he sees as the epic drive of literary works, a drive that is significantly linked to qualities usually labeled gothic or fantastic. One of Steiner’s main examples of this mysterious force of literatures at the far ends of the galaxy is Melville’s Moby Dick (1851). This presentation discusses Steiner’s proposition and its view on the gothic by contrasting Melville’s work to Joseph Conrad’s masterpiece Heart of Darkness (1899).

4:00 PM - Edgar Allan Poe, Machado de Assis and the dead beloved woman: a critical reading of the fantastic. Bellin, Greicy Pinto (Federal University of Paraná, Curitiba, Brazil)

The death of the beloved woman is one of the most important and recurrent themes of horror and fantastic fiction, being thematized in many different ways. In this sense, it is almost impossible not to remember the name of Edgar Allan Poe, as his famous poem "The Raven" became the paradigm of a melancholic literary culture associated with the death of young and beautiful women. An author who also deals with this theme is Machado de Assis, although his so-called affilitation with Realism may dismiss the fantastic tendency of some of his fictional works. Such an affiliation can be questioned from the reading of stories like "Um esqueleto" and "Sem olhos", that address the theme of the dead beloved woman. Therefore, it is possible to establish a relationship between these two authors, in order to analyze and discuss the ways in which they are going to represent the theme, which seems to be related to an incorporation of European fantastic models in literatures like the Brazilian and the American ones. This communication's aim, thus, is to revisit the theme of the dead beloved woman in the fantastic fiction of Poe and Machado de Assis, perceiving it as a locus for problematizing and questioning the literary and cultural dependence maintained by both American and Brazilian literatures in relation to European models, more specifically with the ones represented by the fantastic. This analysis will focus on a comparison between "Um esqueleto" and "The oblong box", in which eccentric male figures like dr. Belém and Cornelius Wyatt are so obsessed by their dead wives that they decide to keep their corpses without entombment, in an attitude that can be interpreted as a metaphor for the male artist who is imprisioned by European models and is not able to get free of them. In Machado's case, a strong criticism against romantic stereotypes can be observed, as well as a parody of the fantastic, especially if we consider the reference to E. T. A. Hoffmann in the beginning of "Um esqueleto".

5:00 PM - Prosper Mérimée: fantastique et couleur locale Amaral, Gloria (Universidade São Paulo/Universidade Mackenzie, São Paulo, Brazil) 215

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Prosper Mérimée est d’abord connu comme l’auteur de Carmen. Pour les lecteurs du fantastique, il est surtout l’auteur de La Vénus d’Ille. Il y a aussi des lecteurs qui certainement connaissent Colomba imprégnée de culture corse dans laquelle il a plongé pendant ses voyages dans le poste d’inspecteur general des monuments historiques et qui révèle un intérêt pour la couleur locale tant aimée des romantiques. L’intérêt pour des cultures différentes est un des traits qui le caractérise comme auteur; c’est peut-être ce goût du différent qui l’a poussé vers le fantastique. Nous allons essayer dans cette communication de voir comment est-ce que ces deux tendances – couleur locale et fantastique -se croisent des nouvelles de Mérimée telles que La Vénus d’Ille, Lokis, Djoumane.

Date: Tuesday, July 26th

11:00 AM - Le paratexte et le texte fantastique RODRIGUES-ALVES, Maria-Cláudia (IBILCE- Universidade Estadual Paulista, São José do Rio Preto - SP, Brazil)

En tant que paratextes littéraires, les dédicaces et les épigraphes peuvent être considérées les vestibules des textes qu’elles précèdent. Leurs fonctions varient : elles peuvent tout simplement rendre hommage, introduire le texte/sujet, mais elles révèlent sûrement une afinité entre l’auteur et la figure par lui choisie (personne/personnalité, directement, dans le cas de la dédicace, et auteur, dans le cas d’un extrait littéraire ou autre, pour l’épigraphe). A part l’intention première de l’auteur, son lecteur peut aussi émettre des hypothèses et attribuer au paratexte une série de fonctions et sens, selon sa propre lecture, son répertoire personnel. Dans le cas des textes appartenant au genre fantastique, ce paratextes sont très souvent des éléments mystérieux de plus, qui contribuent à l’aspect insolite de l’ensemble du texte et qui intriguent le lecteur au lieu de l’éclairer. Il est, néanmoins, incontestable qu’il s’agit d’une invitation au lecteur à pénétrer le texte proprement dit. Nous proposons l’analyse de deux nouvelles fantastiques de Julio Cortázar où la dédicace et l’épigraphe assument divers rôles et nous révèlent un projet littéraire personnel, un réseau pluriartistique, atemporel et universel : le conte « Graffiti », dédié au plasticien catalan Antoni Tàpies et « Anneau de Moebius », dont l’épigraphe est extraite de l’oeuvre de la brésilienne Clarice Lispector.

11:30 AM - Un peaufinage pour le fantastique : la relecture BD Ramazzina Ghirardi, Ana Luiza (UNIFESP, Sao Paulo, Brazil)

Malrieu (1992) affirme qu’au XIXe siècle le « fantastique a produit ses principaux chefs-d’œuvre » et « qu’il a rencontré alors son plus grand succès parce qu’il était un monde d’expression particulièrement bien adapté pour rendre compte des interrogations qui traversent cette période. » C’est le siècle où la science et la laïcisation s’imposent. Le fantastique apparaît donc comme l’une des réponses possibles à la sensation diffuse que la vie ne peut pas être expliquée seulement par la rationalité scientifique. Steinmetz (2008) remarque que « le fantastique s’accorde avec le climat d’inquiétude ressenti par toute une génération ». Si le fantastique voit son apogée dans un moment si particulier, comment le considérer dans un nouveau contexte ? Le XXIe siècle selle-t-il la fin du fantastique ? Aujourd’hui, le fantastique est objet de plusieurs formes de re-signification et de relecture. Grâce aux nouvelles technologies, le genre retrouve un chemin inattendu à travers un ancien artifice : l’image. Elle permet au lecteur contemporain de le lire par un autre biais. A travers un récit séquentiel multimodal, la relecture BD du littéraire se prête à revivre et à immortaliser des histoires fascinantes en renouvelant ce que le texte monomodal le faisait autrement. Selon Boutin (2012), la BD conjugue multiples modes (textuel, visuel, gestuel, sonore, etc.) et « ‘lire’ de la bande dessinée, c’est nécessairement se confronter à un message narratif d’une complexité certaine et beaucoup plus dense que ne le laissent présager ses apparences. » Cette communication investigue les atouts dont le langage BD se sert pour saisir le suspens créé par le texte monomodal fantastique. Pour ce faire, on emprunte deux adaptations BD (Quinquet, 2012 et Rue de Sèvres, 2014) de Le Horla 216

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 de Maupassant pour faire découvrir l’articulation qui achève dans un récit provoquant chez le lecteur une indécision pour dévoiler « si l’être invisible qui le hante est imaginaire ou réel. » (CASTEX, 2004)

12:00 PM - Dialogues insolites avec Marco Polo: fiction et histoire Atik, Maria Luiza (Universidade Presbiteriana Mackenzie. Prof. Dra. Programa de Pós-Graduação em Letras, São Paulo, Brazil)

Dans la littérature contemporaine, le processus créateur recherche le nouveau en mettant en évidence une façon de raconter intrigante, où le regard renouvelle la lecture du monde et unifie la ficition et l´histoire, le passé et présent. L´Histoire et la Fiction sont des discours. L´Histoire écrit à propos des faits et des événements. La Fiction recouvre le monde, mais ce n´est pas la vérité ,ni la réalite.

Cést ce qui arrive avec le roman Viagem ao pavio da vela, de Renato Modernell, dans lequel un voyageur contemporain du temps de l´écriture, Roberto Lira, est poussé par une force étrange dáller à Venise. Parmi les adversités de voyage on voit sínstaler línsolite, cést-à-dire, au moment de la traversée dún pont, le touriste Roberto Lira se voit devant Marco Polo. En rompant avec le sens comum d´ un univers histórico ficctionnel, léxpérience vécue par le personnage met en doute notre perception du réel, du prévisible, du plausible. La narration circule tout le temps dans cet espace- temps et le personnage se transforme dáuditeur en narrateur. Le dialogue de deux personnages nous apporte des faits historiques dans un processus continu des juxtaposition des époques. Lóbjectif du narrateur est celui découter les aventures de Marco Polo, puisque celui-là voudrait connaître le monde futur lequel il ne vivra pas. Les chemins parcourus par l´humanité lui sont étrangres, malgré sa connaissance de tant de cultures et,moeurs extraordinaires. Tous les deux ont du mal à supposer les chemins parcourus par l´humanité aussi bien dans le passé que dans le présent. Donc, réfléchir sur la construction du discours narratif qui produit sens diferents, dans la limite de la ficition et de l´histoire, cést lún des défis qui nous propose le roman de Modernell.

2:00 PM - The multiple meanings of the fantastic in Aura, by Carlos Fuentes TREVISAN, ANA (Universidade Presbiteriana Mackenzie, São Bernardo do Campo, Brazil)

The narrative structure of the novel Aura (1962), by Carlos Fuentes, carefully outlines the fantastic as a literary genre, which broadly corresponds to the traditional fantastic narrative analyzed by T. Todorov in The fantastic: a structural approach to a literary genre (1970). In this work, the construction of hesitation and ambiguity, particularly noticeable in the wide spectrum of actions carried out by the characters Aura, Consuelo and Felipe Monteiro, builds up the narrative tension, increased along the chronology of events and the detailed description of places. Refined spams of the grotesque and terror emerge from the second-person point of view, thematically interwoven with individuals and their voices. The theoretical studies made by Rosalba Campos and Jaime Alazraki regarding the fantastic narrative shed light on multiple interpretations of the contemporary fantastic account and, in this study, are used to prompt reflections upon the meanings of the grotesque nurtured by overlapping time and plural identities. The fantastic puts forward a critical view on the Mexican culture, paradoxically realistic and dynamically seen as disconcerting, absurd and transgression-oriented.

2:30 PM - The fantastic in the post-modern South America: frontiers and dialogues Silva, Adriana (Universidade de São Paulo, São Paulo, Brazil)

From the 60’s the magical realism label started to define the narratives of Latin America. In the magical realism, the regionalism served as the principal element to evoke the phantasy at the same time that the realistic elements were considered treating the poverty and violence from a esthetic point of view. This definition, therefore, served to the literature critics, specially for those in the 217

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 centers of the culture industry, as United States and Europe, as a hand in a glove to force a homogeneity when the subject was the Latin American literature. Nowadays, when even those centers are problematized as the previous periphery has its own and regional centers of power, a tag to the Latin America literature, as it had been created by the Latin American Studies, is very problematic and not convincing. As the literature itself has new supports and a different space in the culture, the writing in Latin America involves different points of view in which its very complex scenario is represented. With the context of the mondialism, and the economic growth of the borders of the economic centers, the representation in Latin America had changed its basement. In Brazil, from the 70’s to the beginnings of the new century, authors as Sérgio Sant’anna, Caio Fernando Abreu and Hilda Hilst gave their own impressions about post-modernity. The magic that could be encountered in João Guimarães Rosa, for example, in his natural landscapes inhabited by metaphysical creatures is replaced by phantasy in the urban scenario which is more like a nightmare, an hallucination provoked by the stultifying and entangled routine that the post-modern men and women have to deal with. In Argentina, names as Juan José Saer, César Aira and Washigton Cucurto lend their colors to the new fantastic painting in literature. With humor, sometimes, they represent serious political and social problems through which the country has passed or is passing by. In this paper, I will analyze which are the possibilities of the post-modern fantastic literature in South America, specially in Brazil and Argentina, in view of these authors here mentioned, and the relation between their representation and the historical context in which the works are inserted, without forgetting the frontiers that separate them, and the possibilities of a transposition of those borders by literature.

3:00 PM - Ethics and Literature in Philip Pullman's His Dark Materials Monteiro, Rosario (CHAM-FCSH-UNL-Ac, Lisboa, Portugal)

In this paper, I propose an analysis of how Philip Pullman’s His Dark Materials presents and tries to solve several fundamental ethical issues, never loosing site of the target audience: adolescents. Two young characters, sometimes under supervision, face disturbing issues as death, truth, friendship, war, and love. However, most of the time they have to decide without guidance, relying on their consciousness, on principles inherited from the cultural milieu, and on their friendship. The two characters are complementary, and this characteristic allows them to make the right ethical choices, even the most painful. In their process of growing up, they are learn from their mistakes, but they also learn that to become full human beings they have to learn that ethical principles are not only fundamental, but com with a price hard to pay. At the same time, they are confronted with a fictional universe where ethic seems, most of the times, unimportant or even prejudicial.

Pullman proposes some radical transformations in literature for teenagers and young adults, and he also paved a road out of formulaic and/or post-Tolkien fantasy while, at the same time, fulfilled the “mission” of “speaking out of tone”, of contrasting and questioning cultural agendas of mainstream literature and culture. The possible worlds built by Philip Pullman are, in my opinion, complex and inspiring fictions that question the frames of the actual world, and this is, definitely, one of the most important functions of fantasy and fantastic literature, part of its genetic code.

17261 - Languages of Climate - Comparative Approaches to the Environment Date: Saturday, July 23rd Room: Seminarraum Skandinavistik 1 Chair: Nitzke, Solvejg Elisabeth; Horn, Eva

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Room: Seminarraum Skandinavistik 1

9:00 AM - Comparing Climates, Comparing Cultures Horn, Eva (Institut für Germanistik, Wien, Austria)

For a long time, climate has not been conceived as "global". On the contrary, climate was that which defined a specific location and marked its differences to other locations. From antiquity through Enlightenment, climate was seen as a determining factor of human natural habitats, explaining differences in culture, political systems, mentality and physical constitution by the forcings of meteorological conditions, but also the quality of the soil, the water sources, and the forms of livelyhood in a given location. Climate was a category of difference, yet a category mediating between man and environment, nature and culture, closely intertwining them. Only in the modern age, this intertwining between culture and climate has been dismissed as "deterministic". My talk will give an outline of this long tradition of climate as a category of comparison and as an explanation of cultural differences, focusing on its implications for the link between culture and climate.

9:30 AM - From Acclimatization to Assisted Migration: Sociobiological Metaphors in the Discourse on Climate Change Kranz, Isabel (Graduiertenkolleg Funktionen des Literarischen in Prozessen der Globalisierung LMU München, München, Germany)

According to Warwick Anderson, the term acclimatization is an invention of the late 18 th century. At the time, the introduction of hitherto non-native animals and plants to European botanical gardens was vigorously pursued in both England and France. Whereas the idea of human acclimatization was also investigated, mostly in the context tropical medicine, it went without saying that humans were considered the agents of this process and not its objects.

This power relation has been altered in significant ways in the anthropocene, i. e. at a time when man has been identified as a geological force to reckon with. As Dipesh Chakrabarty has pointed out, we are now encouraged to think of humanity as a species, therefore giving up the idea of humans being in control over processes they are, in fact, deeply enmeshed in. This repositioning of mankind has implications for our understanding of biological concepts such as acclimatization. Whereas to Linnaeus, Saint-Hilaire and Darwin, to name only a few, acclimatization was mostly a controlled economic endeavor, we are today increasingly faced with the unintended migration of plants and animals to new habitats. Humans are agents in these processes, whether directly or by proxy, which motivates environmental writers like Emma Marris to speak of the need for “assisted migration” and to consider the ethical problems these transfers entail.

I will investigate how this new configuration of humans in relation to flora and fauna in the anthropocene is treated in literature. Going back to Rudolf Borchardt’s learned and instructive thoughts on gardening and climate in Der leidenschaftliche Gärtner (written in 1938, published posthumously in 1951), I will analyze acclimatization, migration and the ensuing ideas of “invasive species” in contemporary literary and scientific texts as sociobiological metaphors that propose to reposition mankind but are nevertheless deeply imbued with a humanistic tradition they are unlikely to overcome soon.

10:00 AM - Closed System and Terraforming. Artificial Climate in Reinhard Jirgls Nichts von Euch auf Erden Bühler, Benjamin (Universität Konstanz, Konstanz, Germany)

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Science Fiction Literature often confronts men with a particular environment: Catastrophes or wars convert the earth to an uninhabitable place or space travellers are confronted with strange and hostile worlds. These imaginations of environment refer back to scientific discourses, but they also include the consequences of an uncommon environment for men and societies.

My talk will examine two scenarios, which are central for climate research: Firstly the making of an artificial climate in ‘closed systems’; secondly the fabrication of a whole new atmosphere through the technique ‘terraforming’. Therefore I will analyse Reinhard Jirgls novel Nichts von Euch auf Erden (2013).

11:00 AM - Émile Zola and the Literary Language of Climate Change Ungelenk, Johannes (Institut für Romanische Philologie der Universität München, München, Germany)

On February 7 1861, John Tyndall, professor of natural philosophy, delivered a historical lecture: he could prove that different gases absorb heat to a very different degree, which implies that the temperate conditions provided for by the earth's atmosphere are dependent on its particular composition of gases. The theoretical foundation of climate science was laid. However, nobody in the audience sensed the brewing of catastrophe that was taking place in the everyday reality of galloping industrialisation, to which this insight could and should have given the key... Ten years later, on the other side of the Channel, a young and ambitious author is working on a comprehensive literary analysis of the French Second Empire. Émile Zola has probably not heard or read of Tyndall's discovery. It is in another language – not Tyndall's scientific one – that the knowledge of climate speaks to him: in the language of literature. His literary attempts to capture the defining characteristic of the Second Empire lead him to an insight: its various milieus are all part of the same 'climate', the climate of an all-encompassing warming. Zola exhibits that this climate is men-made: the economic success of the Second Empire is based on metaphorical and literal heating, on stoking the steam-engines, on creating the hypertrophic atmosphere of the hothouse that enhances life and maximises turnover and profit. In contrast to Tyndall and his audience, Zola senses the catastrophic consequences of this warming: the Second Empire is inevitably moving towards a final débâcle , it is doomed to perish in local and 'global' climate catastrophes. In my paper I would like to pursue the supplementary status of Tyndall's physical and Zola's literary knowledge. As Zola's striking intuition demonstrates, literature appears to have a privileged approach to this phenomenon. It is this literary privilege for listening to and reconstructing the language of climate change that I would like to examine.

11:30 AM - Klima(wandel)wissen in den Bildsprachen von Karikatur und Cartoon Zemanek, Evi (Uni Freiburg, Freiburg, Germany)

Seitdem die gegenwärtige Beobachtung und Prognose eines Klimawandels in Form einer globalen Erwärmung zunehmend in den journalistischen Massenmedien thematisiert und kontrovers diskutiert wird, erscheinen dort Klimawandel-Cartoons, die Klimawissen primär visuell kommunizieren und satirisch kommentieren. Sie entwickeln als Modus der Wissenspopularisierung eine eigene Bildsprache, die weit hinaus geht über die grafischen Diagramme, derer sich die Klimatologie bedient, um ihre numerischen Messergebnisse und Extrapolationen zu visualisieren. Mein Beitrag untersucht diese Bildsprache, die visuellen Metaphern, Topoi und die Text-Bild- Interaktion im Cartoon auf zwei Vergleichsebenen, diachron und synchron: zum einen mit Blick auf Darstellungen des Klimas, meist in Form von Extremwetterereignissen, in Karikaturen aus dem 19. und frühen 20. Jahrhundert – also aus einer Zeit lange vor der Entdeckung des Klimafaktors ‚Mensch’ und der Popularisierung des Klimawandeldiskurses –, um Kontinuitäten und Brüche festzustellen; zum anderen mit Blick auf Cartoons aus anderen Kulturen hinsichtlich der Frage, inwiefern die Bildsprache universell oder aber kulturspezifisch ist, ggf. letztlich vom lokal- oder regionaltypischen 220

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Klima (d.h. vom Wetter, aber auch vom soziopolitischen ‚Klima’) abhängt und einer interkulturellen Übersetzung bedarf.

12:00 PM - How Not to Speak of Climate: Narrative Gaps in the Dystopian Genre Fuchs, Susanne (New York University, New York, USA)

The climate narratives implicated in movies depicting “extreme-weather”-scenarios and their relationship to scientific discourses of climate research are constantly changing. This paper focuses on a specific narrative technique gaining popularity within the dystopian genre: In movies like Reynold’s Waterworld (1995), Vinterberg’s It’s All About Love (2003), Hillcoat’s The Road (2009), and most recently Paltrow’s The Young Ones (2014), the presented chain of events is informed by a significant decline or rise in temperature. However, the plots set in an exceptional cold or hot climate do not resort to narratives of cause and effect as they simply leave the inner-diegetic change of temperature unexplained. According to Genette, such a paralepsis effects a modification of the narrative’s focalization, its point of view. Benjamin’s essay Der Erzähler emphasizes the necessity to leave a narration free of explanations. The effect of this limitation can be linked to Genette’s paralepsis as it is said to stress specific parts of a narrative that make it worth remembering (“merkwürdig”). Additionally, Benjamin links a loss of narration and a loss of experience, which is exemplified in the incommensurability of the industrial destruction during WW I, a devastation that created a landscape "in der nichts unverändert geblieben war als die Wolken [...]". In times of global warming, even this last fixed point of the story-teller’s world is challenged. Read with Genette and Benjamin, the omission of scientific discourses in recent dystopian movies enables a narrative focus on lives lived in a changed climate and thus defies the difficulty of narrating the complex realities and infinite implications of a changing climate. However, questions regarding the effects of this narrative trick remain: Do such paralepsis draw a veil over the causes of man-made climate changes? Or do they rather raise awareness for the causes by depicting possible effects? Is the audience inspired to fill the narrative gaps in retrospect, as Genette suggests? Or are the viewers rather led to accept the presented life worlds as an inevitable given?

2:00 PM - Mit dem Steigen des Meeresspiegels Stoffel, Patrick (Leuphana Universität Lüneburg, Lüneburg, Germany)

Von einem sintflutartigen Unwetter in einem abgelegenen Bergdorf in den Tessiner Alpen festgesetzt, zwischen jenen Gesteinsschichten, in deren Faltungen und Verwerfungen die Naturforscher des 18. Jahrhunderts die Vergangenheit der Erde zu lesen lernten und infolgedessen die geologische Tiefenzeit entdeckten, bleibt Herrn Geiser, dem Protagonisten von Max Frischs Erzählung Der Mensch erscheint im Holozän (1979), nichts als lesen, aber keine Romane, die „eignen sich in diesen Tagen überhaupt nicht“. Zu einem Zeitpunkt, wo nicht einmal die Höhe des Meeresspiegels ein für allemal geregelt scheint, versucht Herr Geiser – die Collagetechnik der Erzählung lässt den Leser an seiner Lektüre teilhaben – im Buch der Natur zu lesen.

Angesichts der Jahrmillionen der Erdgeschichte, die Herr Geiser lesend erschließt und auf Merkzetteln an die Wand heftet, um gegen das Vergessen, sein eigenes und das der Menschheit, anzuschreiben, stellt sich das Erscheinen des Menschen im Holozän (griech. ὅλος, „völlig“ und καινός, „neu“) als ein geradezu nichtiges Ereignis dar, auch wenn dieser sich die Erdgeschichte ausgehend von diesem kurzen Zeitabschnitt als seine Geschichte anzueignen suchte. Das mit dem Erscheinen des Menschen einsetzende Steigen des Meeresspiegels – damals, am „Ende der Eiszeit“, notiert sich Herr Geiser, „lag der Meeresspiegel mindestens 100 Meter tiefer“ – ist ihm Anlass, die Zukunft des 221

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Menschen als (mögliche) Katastrophe zu entwerfen: „wenn das Eis der Arktis schmilzt, so ist New York unter Wasser, desgleichen Europa, ausgenommen die Alpen“. Eine Katastrophe, so fügt Herr Geiser hinzu, wäre das allerdings nur, sollte der Mensch überleben, denn „die Natur kennt keine Katastrophen“.

Der Vortrag thematisiert den Konnex von Mensch und Klima im Holozän und die verschiedenen Modi des Sprechens über das Klima, wie sie in Max Frischs Erzählung in den Alpen, den Zeugen vergangener, aktueller und möglicher zukünftiger Sintfluten, erprobt werden.

2:30 PM - Raoul Schrott's Languages of Climate Change and Desertification: Writing and Reading Climate in the Desert Küpper, Achim (Freie Universität Berlin, Berlin, Germany)

The desert is a central topic in Raoul Schrott’s work that is in many ways linked with climatic issues: in several texts, the desert is depicted as the result of an ongoing ecological process of desertification related to natural and anthropogenic phenomena of global warming, it is the zone where the traces of climate change can best be read and studied. This climatic aspect is combined with a self- reflective, language related one: bringing to mind Derrida’s idea of the desert as the very place of writing, Schrott’s texts present it as a surface where traces are inscribed, yet only to ultimately disappear in the desert winds.

This is connected with another observation: Schrott’s deserts stage a conflict between different scales of space and time. The desert is not only among the places on earth where a geological “deep time” becomes most manifest, in Schrott’s work, the grains of sands are, in a peculiar shift from a microscopic to a macroscopic level, recurringly paralleled with orbs in the celestial sphere, with meteorites, moons, and stars. They thus gain a cosmic dimension which, in comparison, renders any human act of telling or writing about them infinitely small. The contribution will pursue the idea of a mineral, geological, or astral space and time in Schrott, which reduces every human language of the desert to a marginal and short-lived enterprise. The question will arise, then, how the human impact on or shaping of the environment has to be viewed with regard to this microscopic human scale.

Schrott’s languages of climate are thus essentially desert languages: the desert is the place where climate is read and written, but it is also a transitory area, where traces (signs) are only temporarily preserved an where any human articulation vanishes before the cosmic magnitude that is at work, for instance, in the infinitely slow “becoming” of the desert sands.

The contribution will include comparative perspectives on other works, and it may be presented in German.

3:00 PM - Climate and Biography - Mountaineering Narratives as Climatological Tales Nitzke, Solvejg Elisabeth (Institut für Germanistik, Austria)

The question of why one would risk one’s life to summit a mountain is as old as the apparent desire to do so and has been discussed at length and dismissed many times. Still, mountaineering has never lost its appeal and although it seems that there could not possibly be any more “firsts” to achieve it still retains its allure of exploration and adventure. Thus, it has to be more than the urge to prove one’s masculinity or one’s strength and durability that keeps so many going in their attempts to reach the highest peaks. When it comes to climbing summits far above an environment that could sustain life and especially when summiting mountains whose peaks provide climates hostile to any living thing or being, those who live to tell the tale have reached a climax within their biography.

By comparing fictional and non-fictional accounts of such summits (Christoph Ransmayr’s Der fliegende Berg, Thomas Glavinic’s Das größere Wunder, Reinhold Messners Der nackte Berg and Jon 222

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Krakauers Into Thin Air) this paper aims to show that there are not only strong conventions and traditions in how to tell a summit-story but that the rhetorical strategies of representing a summit cause the (auto-)biographical narrative to transform into a climatological tale. By organizing stages of life analogous to the vertical climates/climate zones of the mountain reaching and surviving the death zone of the mountaintop both biography and climb are told as an adventure that covers the Earth in its entirety. I will argue that tales of “High Places” (Cosgrove 2009) provide the poetological means to represent climates and, even more importantly, climate change in a way that provides a valuable alternative to the disaster-prone so-called Cli-Fi (Climate-Fiction). While being able to cover extremes these tales are offering ways to connect the unimaginable scale of the world and its atmosphere to what is humanly possible.

17267 - Translingual entanglements - African francophonie and its "others" Date: Tuesday, July 26th Room: Hs 29 Chair: Moji, Polo; Vassilatos, Alexia; Horne, Fiona

11:00 AM - Entangled Tastes: Gastronomy and Francophone Afropean Subjectivity in Leonora Miano's Soulfood Équitorial (2009) Moji, Polo (Univerity of the Witwatersrand, Johannesburg, South Africa)

Afropeanism has been presented as a potentially new discursive category in the literary representation of Africans in Europe (Brancato 2008). Léonora Miano (1973-) a Paris-based Cameroonian writer is credited with introducing the term “Afropean” into francophone literature through a collection of short stories entitled Afropean Soul et autres nouvelles (2008) and the novel Blues pour Elise - séquences afropéenes saison 1 ( 2010).

Miano has written two collections of philosophical essays on Afropean subjectivity, notably the essay, “Afropea” (Écrits pour la parole, 2012). In this the author employs the gastronomic metaphor of mixing French and Cameroonian dishes to describe an identity that is composed of “three languages in echo of four cultures”. This allows me to read the author’s use of culinary language in Soulfood équitorale (2009) as translingual and transcultural marker of her Afropean subjectivity.

The essay “Habiter la frontière” (Habiter la frontière, 2012) grounds Miano’s Afropean philosophy in the Glissantian notion of relational, hybrid subjectivities (Glissant, 1993). Although Soulfood équitoriale is not categorized as a part of Miano’s “Afropean series” of literary texts, I argue that this ode to the food of her childhood can be read through the lens of her Afro-(Euro)pean subjectivity.

I illustrate how Miano’s gastronomic childhood memories are reactualized as part of her present transnational consciousness of living in France. Using the notion of “Soulfood” as a marker of transatlantic Anglophone Afro-diasporic subjectivity, I consider how Miano’s culinary language subverts conception of Francophonie as a dialectical relation between France and its former colonies. “Jazz”, as a musical and culinary reference, frames Afropeanism as a rhizomic network of identitarian affiliations through Afro-American music, Cameroonian cuisine, French and Camfranglais – rendering Miano’s Francophonie a space of linguistic, cultural and historic entanglements.

11:30 AM - Mapping Francophonie and it "others" in the disciplinary space of French Studies in South Africa Horne, Fiona (University of the Witwatersrand, Johannesburg, South Africa)

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As highlighted by Emily Apter (2005), the notion of Francophonie lends itself to a multiplicity of meanings, denoting for example a linguistic platform, or emerging forms of literature in the global South. In this paper, I will attempt to delineate the symbolic value and discursive functions attributed to Francophonie in the translingual and transcultural disciplinary space of French Studies in South Africa. In the South African context, Francophonie has been used to describe the developing role(s) of French on the African continent within the post-apartheid democratic project, viz. as a language of diplomacy, economy, politics, development etc. (Peigné & Balladon 2010). It has also been used to describe the emergence of a locally rooted language identity, that is, of African Francophone migrants living in South Africa (Vigouroux 2003). In this paper, I explore the ways in which students and academics symbolically position themselves in relation to “Francophonie” through the disciplinary poles of language and literature. I will explore the ways in which “Francophonie” is assigned symbolic value and acts as an identity marker, inviting a reflection on the inclusion of translingual and transcultural competencies in “foreign” language teaching. In literary studies, Francophone literature becomes a marker for bridging gaps between local and global, and is endowed with values which inscribe it within the South African democratic project of nation-building (Everson 2008; Snyman 2010). This is further evidenced in intercultural approaches to Literature, where “Francophonie” becomes a transcultural space to reflect on the relationality of Self and Other. In this regard, over and above the centre-periphery parameter, I will demonstrate how Francophonie constitutes an intersubjective space of subject positioning and identity construction and plays a significant discursive role in the historical repositioning of French Studies in South Africa.

12:00 PM - Chaka Zulu in Francophone African literature or the transculturation of Thomas Mofolo's Chaka: from emerging Sotho literature to Negritude Vassilatos, Alexia (University of the Witwatersrand, Johannesburg, South Africa)

Thomas Mofolo’s Chaka was published in 1925. The novel, drawn from oral lore and written in Sotho by a Sotho writer, is about the life and times of the founder of the Zulu nation, King Chaka. Through its translations, the impact of Chaka on African literature and ideology has been immeasurable. Transculturation is a term first coined by Cuban sociologist Fernando Ortiz to encompass and “to replace the paired concepts of acculturation and deculturation that described the transference of culture in reductive fashion” between colonies and metropolis (Pratt 1992:228). In the case of Mofolo’s Chaka, transculturation takes place through its various translations and rewritings. The transference of culture does not follow a linear path but rather Chaka becomes transcultural through the variety of cultures it comes into contact with. I postulate that the complexity of Mofolo’s text and its transculturation stems from the novel’s many forms/(trans)form(ations). I will discuss the dialogue between the literary cultures from Anglophone Africa and Francophone Africa, which are traditionally treated as separate intellectual spheres to show that Mofolo’s Chaka is a transcultural text, which is at the source of a complex intellectual relationship between Southern Africa and Francophone Africa. This paper will deal with the ways in which an African writer’s ideas about the Zulu King (Léopold Sédar Senghor) have been shaped by another African writer (Thomas Mofolo) through its translations, and in particular its translation into French by Swiss missionary Victor Ellenberger. I will explore how Senghor’s adaptation/interpretation/translation/transposition of Mofolo’s novel impacted further Francophone writers, mainly by way of the Negritude mouvement, to create in the figure of Chaka an emissary of black liberation, sparking discussions on modern African governance across Francophone Africa.

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17268 - Stylistic Phenomena in Multilingual Literature since 1900 (Finno-Ugrian Studies/ Scandinavia Date: Friday, July 22nd // Saturday, July 23rd Room: Übungsraum Germanistik 1 Chair: Wischmann, Antje; Tischmann, Hannah; Wagner, Philipp; Laakso, Johanna

Room: Übungsraum Germanistik 1

9:00 AM - Multilingualism in late modern Finland-Swedish prose Malmio, Kristina (University of Helsinki, Helsinki, Finland)

From 1990s onwards various kinds of multilingualism have become a frequent and widely used aesthetic strategy in Finland-Swedish minority literature (Malmio 2011), a literature written in Swedish in Finland, and “situated” between two national languages, those of Finnish and Swedish. In this paper I will scrutiny the multilingual style and its functions in three contemporary novels by Finland-Swedish female authors: Emma Juslin, På barrikader av glas (“On the barricades of glass”, 2006), Marianne Backléns Karma (“Karma”, 2001), and Malin Kiveläs Du eller aldrig (“You or never”, 2006) in order to recognize the diversity and variety of effects of multilingualism as a literary phenomenon. I will also discuss the novels as approaches to globalization, and the changing position of the mother tongue and minorities in the world of late modernity. The emphasis will be on two contradictory “trends”, those of the monolingual paradigm and the multilingual practice, identified by Yasemin Yildiz in Beyond the Mother Tongue (2012). According to Yildiz, we have entered a postmonolingual situation. The monolingualizing pressure has slowly started to diminish due to globalization and the ensuring renegotiation of the place of the nation-state, migration and the development of new communication technologies. In this current situation, literature can imagine new formations, and modes of belonging, and offer a critical way of dealing with the monolingual paradigm, and disrupt the homology between languages and ethno-cultural identity.

A focus on the monolingual paradigm and multilingual practice in these contemporary Finland- Swedish novels exposes various forms of social and ethnic but also poetic and critical uses of multilingualism. The forms and functions of multilingualism portray in an ambivalent manner the conditions of a linguistic minority literature in the postmonolingual world.

9:30 AM - "Saatana. Mie se kyllä kiroan". Zur literarischen Funktion finnischer Schimpfwörter in schwedischer Literatur nach 1970 Wennerscheid, Sophie (Universität Gent, Gent, Belgium)

Anhand ausgewählter schwedischer Romane, in denen ProtagonistInnen eine zentrale Rolle spielen, die Finnisch als ‘Muttersprache’ haben, soll untersucht werden, welche literarische Funktion der Gebrauch finnischer Schimpfwörter hat. Wird der spezifische finnische Sprachgebrauch genutzt, um den ProtagonistInnen eine subversiv-widerständige Stimme zu verleihen, wie es in einigen Forschungsbeiträgen heißt? Wird ihnen vulgärsprachlich eine besondere emotionale Kraft zugeschrieben? Oder haben wir es mit einer Stereotypisierung oder einem ‘Othering’ zu tun, das die entsprechenden Figuren als ungebildet oder ‘unterklassig’ degradiert? Und wenn ja, wird damit der politische Impuls der Rebellion geschwächt oder gestärkt?

Mit Hilfe eines intersektionalen Zugangs wird nach dem Zusammenspiel verschiedener Identitätskategorien (Ethnie, Gender, Klasse und vor allem auch Alter) gefragt und die Bedeutung dieses Zusammenspiels für die poetische Funktion vulgärsprachlicher Ausdrücke untersucht. 225

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10:00 AM - Real language, real literature. Problems of authenticity in modern Finnic minority literatures Laakso, Johanna (Universität Wien, Wien, Austria)

Language culture in Europe has been characterized and shaped by the belief in THE standard language as an "ideal code" which contains as little variation and as few foreign influences (above all, loanwords) as possible, corresponding to the folk-linguistic, lexicocentric belief that loanwords are inherently inferior and an ideal language should use “words of its own”. These ideals of "precision" and "purity" have also been central in the linguistic emancipation, revitalization and standardization processes of numerous minority languages. Precision and purity are considered the hallmarks of a civilized and developed language, or a "real" language in contrast to a "dialect".

Revitalization and linguistic emancipation often involve the creation of literary texts in various genres. This is not just a practical issue of corpus planning (producing texts for the people to read, for example in school education) but also important for the image of the language: the existence of original poetry and prose or translations of canonic European literature (such as Shakespeare or Goethe) have played an important role in the emancipation of many European languages, “proving” that the language at issue can act as a vehicle for diverse types of European literary culture.

In young minority-language literatures, these two criteria may clash, especially if expectations are geared towards authenticity and realistic representation of the multilingual and/or multidialectal lives and experiences of today's minorities. This paper will analyse a few examples from Finnic minority literatures, focusing on the problems of reconciling multilingual authenticity and the social- indexical functions of language features with the macrogoals of identity-building and corpus planning at the service of the ethnocultural identity.

11:00 AM - Das Ende der Mehrsprachigkeit? Sprachbewusstsein in Sami Saids Väldigt sällan fin (2013) und Neftali Milfuegos Tankar mellan hjärtslag (2015) Tischmann, Hannah (Institut für Europäische und Vergleichende Sprach- und Literaturwissenschaft, Wien, Austria)

„[J]ag [Neftali] är inte som Jonas Hassen Khemiri som skriver på ett språk för att han behärskar en helhet.“ [ TMH , 111] Dennoch zeigt sich das hohe Sprachbewusstsein von Jonas Hassen Khemiris Debütroman Ett öga rött (2003) [ EÖR ] in anderer Form auch in Neftali Milfuegos‘ Debüt Tankar mellan hjärtslag [ TMH ], einem Roman der zu einem großen Teil in schwedischer Umgangssprache geschrieben ist. Khemiris Halim hat tunesische Wurzeln, Milfuegos Hauptfigur mit Namen Neftali chilenische. In einem dritten aktuellen schwedischen Debütroman, Sami Saids Väldigt sällan fin [ VSF ], reist die Hauptfigur Noha in das Eritrea seines Vaters. In Khemiris [ EÖR ]versteckt Halim seine vorhandenen Schwedischkenntnisse hinter einem fiktiven Einwandererslang. In Milfuegos TMH und Saids VSF hingegen ist die Dominanz der schwedischen Sprache im Leben der kulturellen Grenzgänger sofort ersichtlich. Ihr Alltag ist also nur äußerlich von Mehrsprachigkeit bestimmt, Sprachen und Sprachverstehen an sich werden aber regelmäßig thematisiert. Dieses wird der Ausgangspunkt meines Vortrags sein. Das hohe inhaltliche und stilistische Sprachbewusstsein der Debütromane von Said und Milfuegos und dessen Bedeutung für die jeweilige Erzählung soll genauer untersucht werden. Dazu werde ich mich u.a. damit beschäftigen, welche Haltungen die Figuren gegenüber der Sprache einnehmen und wie diese in der literarischen Schriftsprache „verarbeitet“ werden. Welche Bedeutung erhält der sprachliche Aspekt für die Konstruktion von Identität? Welcher Anspruch auf Authentizität entsteht durch eine Nicht-Betonung der ursprünglichen Mehrsprachigkeit? Welche (stilistische) Funktion besitzt die angedeutete Mehrsprachigkeit dann in so einem Fall?

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11:30 AM - Implizite Mehrsprachigkeit in August Strindbergs "Hemsöborna" (1887) und I Havsbandet (1890) Wagner, Philipp (Universität Wien, Mülheim, Germany)

Mehrsprachigkeit in literarischen Texten fällt besonders in ihrer intratextuell-expliziten Variante auf. Zugleich sind Fälle denkbar, in denen Mehrsprachigkeit auf intertextuell-implizite Weise in Erzählungen eingebaut werden, z.B. durch direkt übersetzte Redewendungen oder literarische Motive und Metaphern aus einer anderen Sprache. (Laakso 2011: 31 f.) Im Vortrag soll letzterer Fall anhand von August Strindbergs Romanen Hemsöborna (1887) und I Havsbandet (1890) näher analysiert werden. Schauplatz in beiden Fällen ist die Inselwelt des Stockholmer Schärengartens, die durch ihre Lage zwar internationale Kontakte (z.B. Schiffsverkehr) aufweist, was allerdings nicht durch intratextuell-expliziten Markierungen, abgesehen von Eigennamen, illustriert wird.

Für beide Romane lassen sich dennoch auf textexterner und -interner Ebene Referenzen auf das Thema Mehrsprachigkeit finden. So überlegte der mehrsprachige Autor Strindberg während der Entwicklung von Hemsöborna einen deutschsprachigen Roman abzufassen und die Lektüre des Protagonisten aus I Havsbandet ist keineswegs monolingual. (1) In einem ersten Analyseschritt gilt es deshalb die Erwägungen auf der Produktionsebene zu rekonstruieren und diese den Texten gegenüberzustellen. (2) In einem zweiten Schritt soll die wissenschaftliche Rezeption der Romane einbezogen werden. So wurde z.b. Hemsöborna aufgrund seiner „Inselterminologie“ bereits als Quelle von semantischen Übersetzungsproblemen identifiziert (Koller 1972) und I Havsbandet auf die Auseinandersetzung mit Friedrich Nietzsches Philosophie gelesen (Dahlkvist 2004).

Beide Schritte sollen zum Ausloten des Verhältnisses vom linguistischen Konzept impliziter Mehrsprachigkeit einerseits und Intertextualität im gängigen literaturwissenschaftlichen Verständnis andererseits dienen. Dadurch soll ein Beitrag zur theoretischen Diskussion der Kooperation von Linguistik und Literaturwissenschaft geleistet werden.

Date: Saturday, July 23rd

11:00 AM - Metapragmatische Positionierungen im Revolutionsdiskurs 1917/18 Spitzmüller, Jürgen (University of Vienna, Vienna, Austria); Leucht, Robert (Zürich, Switzerland)

Der Vortrag bezieht die in der Soziolinguistik und Linguistischen Anthropologie entwickelte Konzepte stance-taking in discourse und enregisterment auf literarische Texte und ihre heteroglossische Struktur. Ziel der vorwiegend an Texten Döblins, Landauers und Mühsams durchgeführten Positionierungsanalyse ist es zu zeigen, wie einerseits konkrete sprachliche/stilistische Praktiken über die soziale Bedeutung, die den Formen (interdiskursiv) zugeschrieben wird, zur Positionierung von Akteuren zu Ideen, Gegenständen und Sachverhalten (bspw. den revolutionären Ereignissen in Hannover, Kiel und München) sowie als Form des „Zueinander-Ausrichtens“ (social alignments) verwendet wird und wie andererseits durch rekurrente Positionierungs- und Bewertungspraktiken sprachliche und stilistische Formen in ihrer sozialen Bedeutung und sprachideologischen Indexikalität weiter verfestigt oder transformiert werden – ein Prozess, der sich in der Literatur bspw. in Sequenzen gehäufter Figurenrede genau beobachten lässt. Verschiedene „Sprachen“ und „Stile“ dienen dabei aufgrund ihrer jeweiligen sozial registrierten Indexikalität als Positionierungsanker. Sie sind aber keineswegs einfach nur soziale Ressourcen, deren sich die Akteure bedienen, um sich damit sozial in einer bestimmten Art und Weise zu positionieren, sondern sie sind, weil jede sprachliche Handlung auch immer eine reflexive Praxis ist, das (stets transitorische) Ergebnis genau der Positionierungs- und Registrierungsprozessen, die sich ihrer bedienen. Das heißt, was als distinktive „Sprache“ oder distinktiver „Stil“ gilt, wird in metapragmatischen Praktiken, nicht zuletzt auch in der

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Literatur, diskursiv bestimmt – und zwar, wie die Analyse zeigen wird, keineswegs nur durch explizite metasprachliche Bewertung, sondern schon allein durch die stilistische Praxis selbst.

11:30 AM - Deutsche Mütter und deren Diskurs in dänischer Gegenwartsliteratur Schröder, Stephan Michael (Universität zu Köln, Köln, Germany)

Ein auffälliges Phänomen in der dänischen Gegenwartsliteratur ist die Figur der deutschsprachigen Mutter, so z.B. in Erling Jepsens Kunsten at græde i kor (2002), in Morten Ramslands Hundehoved (2005) und vor allem in Knud Romers Den som blinker er bange for døden (2006). In dem Vortrag soll der Diskurs dieser Figuren zunächst – u.a. unter Rückgriff auf die einschlägige, wenn auch das Problemfeld eher andeutende als aufarbeitende Forschung Vinges, Holzapfels und Pauls – im Kreuzungspunkt zwischen der Tradition deutschsprachiger Figuren der Alterität (Soldaten, Kaufleute, Juden, EU-Deutsche – z.B. Holberg, Raage, Rifbjerg –) in der dänischsprachigen Literatur seit dem 18. Jh. einerseits und den deutschsprachigen Figuren des Eigenen (Holsteiner zu Gesamtstaatszeiten, deutschsprachige Minderheit nach 1920, jüdisch- dänische Bevölkerung – z.B. Goldschmidt, Lemche, Nathansen, Levy –) andererseits verhandelt werden. Dabei muß es auch um die Frage gehen, wie die auffällige Häufung dieser heteroreferentiell vergleichsweise seltenen Figur vor dem Hintergrund zu erklären ist, daß sich das Dänemark der nuller Jahre zunehmend als Einwanderungsland reflektierte. In einem zweiten Schritt ist zu analysieren, welche Stilphänomene in der Diglossie der Texte zu beobachten sind und wie die deutschsprachigen Passagen narrativ funktionalisiert werden.

12:00 PM - Mehrsprachigkeit in Verfilmungen - funktionale und indexikalische Aspekte Fredsted, Elin (Europa-Universität Flensburg, Flensburg, Germany) nDer theoretische Ausgangspunkt des Vortrages ist Asif Aghas Bearbeitung und Nuancierung von Bakhtins Theorie der Stimmen, die sog. entextualized voicing contrasts (Agha 2005: 39ff), die durch Gumperz‘ Theorie über die funktionale Bedeutung des Kodewechsels ergänzt wird. Die Hypothese lautet, dass Mehrsprachigkeit (und damit auch Kodewechsel an sich) eine soziale und indexikalische Funktion hat, die ein ‚Mehr‘ an Bedeutung signalisiert. Die durch die Mehrsprachigkeit hervorgehobene Transparenz der Kontraste zwischen Sprachregistern legt nahe, dass Mehrsprachigkeit einem (Drehbuch)Autor dazu dienen könnte, eine individuelle oder soziale Typifizierung einer Figur durch als transparent vermittelten Kontrast der Stimmen vorzunehmen, was dem Bakhtinschen Fall entsprechen würde. Die Analyse widmet sich zwei Beispielen: Der postmoderne Film The Cuckoo (2002, kymrisch/englisch), in der eine literarische Metasprache (Englisch) mit einer (mutmaßlich fiktiven) persönlichen Geschichte und popkulturellen Scripts (Kymrisch) kontrastiert wird. Der Sprachwechsel markiert unterschiedliche Fiktionsebenen, da der Film zwischen Scripts wechselt, die für den Zuschauer nicht unmittelbar voneinander sind und es keine auktoriale Erzählposition gibt. Die zweite Analyse widmet sich der Verfilmung des Romans Kunsten at græde i kor (2002), 2006 in Sønderjysk gedreht, aber doch mehrsprachig, weil Titel, Untertitel etc. in Standarddänisch gehalten sind. Wie in der deutsch-österreichischen Koproduktion „Im finsteren Tal“ (2014) sprechen alle Figuren einen für Standardsprecher nicht verständliche dialektale Sprachvarietät, weshalb die Filme mit Untertiteln versehen sind. Beide Filme behandeln sexuellen Missbrauch und Gewalt. Es wird untersucht, welche Funktion diese Sprachwahl hat und wie diese Tendenz zum Gebrauch traditioneller Regionalsprachen im 21. Jahrhundert herzuleiten ist.

2:00 PM - Von der binationalen Verpflichtung zur offenen Diversität? Wischmann, Antje (Institut für Europäische und Vergleichende Sprach- und Literaturwissenschaft, Wien, Austria) 228

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In den Institutionen der dänischen Minderheit findet derzeit ein Generationswechsel statt, der unterschiedliche Phasen der Kulturförderung einschließlich der identitätspolitischen Agenda hervortreten lässt: Seit den Bonn-Kopenhagener Erklärungen 1955, die eine freie Sprachenwahl und eine individuell selbsterklärte Zuordnung zur dänischen oder deutschen Minderheit sicherten, sind Topoi der Bilateralität wie Grenzüberwindung, Ausgleich oder Parallelität gebräuchlich. Die Erfolge der Partei SSW und der Kulturvereinigung SSF trugen mit dazu bei, dass die neue Generation eine dynamisierte Figur des Dritten entwickelte, die mit einer Verstärkung der regionalen Selbstdefinition einhergeht. Aus dem Nebeneinander älterer Anschauungsformen einer Zweiheit und aktueller Ansätze zur Transnationalität und Diversität ergeben sich interdiskursive Konfliktfelder, die sowohl Chancen als auch politische Risiken beinhalten. Mit dem semantischen Kampf um Leitkonzepte setzen sich literarische Texte, Dokumentationen, Informations- und Policy-Materialien auseinander. Dieser Beitrag widmet sich vorrangig den Strategien der Authentizitätsvergewisserung im Sprachgebrauch, d.h. konkret vollzogener und dargestellter zwei- bzw. mehrsprachiger Kommunikation. Hierbei erhalten stilistische Mittel des Code-Switching und die Rhetorik des Idiolekts besondere Aufmerksamkeit.

2:30 PM - Stylistic aspects of Cia Rinne's multilingual visual poetry Domokos, Johanna (Universtiy Bielefeld, Bielefeld, Germany)

In this paper I will look at how multilingualism is formally as well as stylistically modeled in the poetry of Cia Rinne (b. 1973). My thesis is that Rinne’s different linguistic techniques make the reader reflect on how verbal and visual signs acquire the power of both the symbolic (cf. Cassirer 1979, Kristeva 1984) and as of poetic (c.f. Jakobson 1959/2000). In order to lend full consideration to the formal and stylistic aspects of Rinne’s poetry, I will proceed to our examples within the tripartite frame of intralingual, interlingual and intersemiotic stylistic devices. No matter how random it may appear in Rinne's case, the texts resulting from multilingual experiments are not accidental or purely entertaining. They account for an artistic opportunity to look from a new angle at the world, at a new world, at things not noticed before, at thoughts not thought before, at insights not obtained otherwise.

3:00 PM - A Screeching of Jackdaws. Sounds, Noises and Incomprehension as Aspects of Literary Multilingualism Huss, Markus (Södertörn University, Huddinge, Sweden)

Just as the distinction between what constitutes a sound as opposed to a noise is historically and contextually determined, so is the distinction between intelligible language and incomprehensible gibberish. Following theories on literary multilingualism emphasizing incomprehension as an aesthetic effect of the multilingual literary text (Tidigs 2014, Sommer 2004), my paper will explore the realm of sounds and noises in multilingual literature, as well as the need to approach these phenomena as an integral part of literary multilingualism.

I will, in particular, focus on the experience of language or languages perceived as foreign and opaque, both in terms of aesthetic effect on part of the reader, as well as motif and discourse in the multilingual literary text itself. In literary accounts of spoken tongues perceived as unintelligible and foreign, sounds, noises and musical metaphors are often used to illustrate feelings of alienation and disorientation (as in the title’s Kafka-quote), but also of playfulness and linguistic potentialities. Readers of sound poetry of the 20th and early 21st century, for example, are confronted with letters and sounds often inhabiting multiple languages, testifying not only to the contingency of language borders but also to the potential multilingualism of the monolingual text. The dynamic tension between written texts, different articulatory possibilities as well as sounds and noises escaping

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17277 - The Many Languages of Medieval Literature, 4 sessions Date: Monday, July 25th // Tuesday, July 26th // Wednesday, July 27th Room: Prominentenzimmer Chair: Matthias Meyer ; Peggy McCracken

Room: Prominentenzimmer

11:00 AM - The concept of desire in Ruusbroec's texts and its Latin interpretation Anokhina, Alexandra (Higher School of Economics, Moscow, Vniissok, Russian Federation)

The subject of my report is the concept of desire in Jan van Ruusbroec’s texts and its Latin interpretation by Jordaens, Grote, Surius. The general term of desire in Ruusbroec’s lexicon is begherte. It means the passive sense of yearning, which no one can satisfy. Also the begherte represents the agonizing expectation. This term translated as affectio and desiderium. In the Ruusbroec’s text there are several alternative forms of desire. The nearest term verlanghen means the active aspiration and rhythmically united with hanghen, which was translated as inhiare or est suspensi. Hanghen signifies desire as well as the specific state which is interpreted as presents in God and this dualism is lost in the Latin text. Thus Ruusbroec’s concept of desire includes the unity of the passive state and aspiration. Another term of desire is lust. In contrary with Latin “concupiscencia”, in Ruusbroec’s text this term includes the positive meanings and correlates with weldicheit (bliss), which was translated as voluptas and thus voluptas finds the highest positive sense. The similar term is smaec, which means a unity of the corporal and mental sensations and represents the stimulant element of the “spiritual hunger”. When smaec is interpreted as taste, there are two variants of translations in Latin (sapor and gustus). However in these translations the main meaning of smaec as desire is lost. The last term of “desire” is ghevoech which is associated with the sensual perception. Ruusbroec uses the poetic game to unite the aspiration (ghevoech) and pleasure (ghenoech), which also shows the dualistic character of desire as the unity of act and result. Thus these characteristics of desire in vernacular texts show the unity of act (yarning) and result (pleasure): in spiritual and sensual aspects, which represent the basis of Ruusbroec’s theology. This polysematism is lost in the scholastic adaptation and provides conflict between the strict Latin terminology and vernacular variety.

11:30 AM - Perceval und Parzival: Französischer Esprit und Deutscher Geist Kragl, Florian (Universität Erlangen, Dep. Germanistik, Erlangen, Germany)

Gegenstand des Vortrags ist ein punktueller Vergleich der Figurendarstellung Percevals bei Chrétien de Troyes und Parzivals bei Wolfram von Eschenbach. Zeigen will ich, dass sich die französische Vorlage und ihre deutsche Bearbeitung bei aller Ähnlichkeit doch grundlegend darin unterscheiden, wie Figurenzeichnung und Handlungsmotivation miteinander verschaltet werden. Während Chrétien seinen Perceval -- nicht nur in der Summe des gesamten Romantorso, sondern in beinahe jeder einzelnen Szene -- als eine vielschichtige Figur entwirft, entwickelt Wolfram daraus einen Parzival, in dessen erzähltem Innenleben fast ausschließlich dichotomische Strukturen verbaut sind. In der Konsequenz wird die mehr oder minder natürlich sich entwickelnde Handlung im 'Perceval' im deutschen 'Parzival' zu einer mitunter ungelenken, jähen, kantigen Ereignisfolge, der mit Percevals innerer Vielstimmigkeit gleichsam ihr motivationaler Motor abhanden gekommen ist. 230

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Szenen, die ich ins Zentrum des Vortrag stellen möchte, sind die Kindheit der Protagonisten, deren erstes Eintreffen am Artushof und die Frageverweigerung auf der Gralsburg.

12:00 PM - Träume in der deutschen und chinesischen Dichtung der Vormoderne. Ein interkultureller Vergleich Benjamin, van Well (Peking University, Berlin, Germany)

Der Traum als menschlich universelles Phänomen hat alle Kulturen fasziniert und wurde daher auch besonders oft literarisch verarbeitet. Für Traumerzählungen der mittelhochdeutschen Epik und der erzählenden Dichtung der chinesischen Vormoderne lassen sich dabei bemerkenswerte Parallelen beobachten. So deutet der Traum nach dem Verständnis beider Kulturen die Zukunft voraus, seine Quellen können überirdische Mächten sein oder auch Tagesreste. Doch während der Traum in der mittelhochdeutschen Epik die Seele des Traumempfängers in eine metaphysische Sphäre entrückt, lässt sich der chinesische Traum nicht klar von der empirisch erfahrbaren Realität trennen. Diese kulturspezifische Differenz in der Erzählweise soll am Beispiel verschiedener Träume aus der mittelhochdeutschen Epik und der erzählenden Dichtung der Ming-Dynastie (1368-1644) illustriert und die Gründe dafür im Rahmen des Vortrags diskutiert werden.

Date: Tuesday, July 26th

11:00 AM - Alain de Lille, Nature and Fallen Language Rollo, David (University of Southern California, Los Angeles, USA)

Early in the De planctu Naturae, Alain de Lille explains how Nature, appearing as a beautiful young woman, engages the narrator/protagonist in a protracted lament on the ills of humanity (which include drunkenness, gluttony, greed, pride, envy, flattery and, most notably, sexual irregularity). To do so, she must assume a human voice. Or, in Alain’s words, “she represented to me the process of intellection through the medium of a material voice and enacted, as sound, archetypal words that she had preconceived as ideas” (“mentales intellectus materialis uocis michi depinxit imagine, et quasi archetipa uerba idealiter preconcepta uocaliter produxit in actum” [6.11–13]).

By her own account, however, by having recourse to a human voice and using it to speak to the protagonist in the Latin language, Nature is in effect supremely unnatural: as she explains, in being forced to descend from the innermost sanctum of creation “to the vulgar whorehouses of the Earth,” Nature has been obliged to speak the fallen language of the sluttish environment she visits.

This concession is also an acknowledgment of some kind of higher “natural” language, certainly pre- Babelic, perhaps even pre-Edenic. In this paper I shall piece together the clues Alain scatters through his work in an effort to sketch the identity of this higher discourse: did it have a grammar or, as the passage quoted above implies, did it function purely through metaphor (if the latter, then, according to Nature’s remarks on language and sexuality, it would itself already be “unnatural”)?

11:30 AM - Languages of the Human, the Animal, and the Divine: Encounters in the Wilderness in Medieval French Literature Griffin, Miranda (St Catharine's College, University of Cambridge, Cambridge, United Kingdom)

In the wilderness, language is suspended yet crucial. Medieval texts across various genres often feature a defining encounter with an ambiguous being whose identity is rendered all the more difficult to understand by the wild space in which he/she/it is encountered. Is the interdiegetic spectator (and therefore the extradiegetic reader or listener) beholding an animal or a human? A saint or a sinner? A woman or a man? Or – perhaps more menacingly – a being which does not fit clearly into any of these categories? In a courtly or social space, these questions might be easier to answer, with recourse to the linguistic or symbolic hierarchies and codes familiar to an educated or 231

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 courtly audience. But in the desert, or the forest, in spaces beyond the confines of civilisation, such codes are unavailable; however (or therefore) they are more necessary to the interpretation of the unknown. In a space which might be understood as natural (in that it is not cultivated), human and nonhuman become intertwined, and sometimes indistinguishable. The language we use in order to distinguish ourselves from the world around us is revealed as incomplete, sometimes in opposition to the complete understanding afforded by the divine, which does not need to have recourse to flawed human hermeneutics.

This paper compares such encounters taken from medieval romances, lais and saints’ lives, and analyses the disparate beings (werewolves, princes, saints) that characters and readers meet in the medieval wilderness; and the resonances between the languages used to speak to and about them. I argue that the way in which the human characters in these texts confront that which cannot easily be framed in language reveals creative exchanges between texts and genres, and also indicates the limits of human language in an inhuman landscape.

12:00 PM - The Language of Jousting Hable, Nina (Universität Wien, Wien, Austria)

While reading narrations dating from the Middle Ages, it is very common to encounter a joust – a duel with lances between two knights on horseback. In Middle High German texts they appear over and over again, often to the chagrin of the reader. But the description of jousts communicates a lot more than a battle between two men, if one is willing to overlook its redundant narration and tries to decipher its actual meanings.

2:00 PM - Can comparative literature be monolingual? French as a supralocal language in the Middle Ages Gaunt, Simon (King’s College London)

This paper will take a case study (the so-called second redaction of the Histoire ancienne jusqu'à César in British Library MS Royal 20 D 1, written by an Italian scribe in Naples in the early fourteenth century) to show how texts written in a variety of different languages (French, Greek, Italian, Latin) and in a wide range of different places may converge in translation in a single language (French), but written in a non-standard and non-native form. What are the values that are instantiated by such a textual culture and by this kind of language usage? What kind of networks are assumed and brought into being by the textual practices represented in the Royal manuscript and by the manuscript itself?

2:30 PM - Lyric Alterity: Grammar, Poetics and the Language of Song Davis, Christopher (Northwestern University, Chicago, USA)

In this paper, I examine the status of medieval vernacular lyric not only as a literary genre, but also as a distinct category of language during the High Middle Ages. Focusing on poems by the Occitan troubadours and French trouvères, I argue that the musical and oral rhetoric so characteristic of these lyric traditions combines with increasingly complex and regulated media of textual transmission to produce new, hybrid models of lyric language-- at once oral and textual, material and immaterial. I draw on treatises by Dante Alighieri, Brunetto Latini and Geoffrey de Vinsauf, to show that debates about lyric aesthetics and poetics during this period hinge on the nature of lyric language as language. These poets and theorists, most notably Dante, deliberately seek to synthesize grammar with poetics, linguistic with poetic form in order to promote a vision of the lyric as vehicle for a kind of higher understanding, a kind of intellectual and aesthetic harmony, which empowers the lyric poet to erase or transcend actual linguistic differences. Citing examples of multilingual poetry, translation and barbarolexis, I further argue that the goal of these poetic experiments is to advocate for a kind of “cosmopolitan lyric vernacular,” which unifies vernacular speakers through a common 232

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 set of poetic practices and aesthetic values. Medieval lyric theory and practice thus became a significant site for defining vernacular poetic identity in respect to Latin literary culture, and also for conceptualizing the role of literary texts in the formation of cultural, political and national identities.

3:00 PM - Singing in (Different) Tongues Gilbert, Jane (University College London, London, United Kingdom)

The context of this paper is the recent renewed interest in literary form which links questions such as metrics, versification, and prosody, to the large social or cultural forms that structure how we think, feel, and live (see C. Levine, Forms: Whole, Rhythm, Hierarchy, Network (Princeton UP, 2015); M. Levinson, ‘What is New Formalism?’, PMLA, 122 (2007), 558-69). I am particularly interested in what happens to literary form in translation, especially given that medieval writing and reading took place in an inherently multilingual and comparative context (since literacy was, primarily, Latin literacy). ‘Trans-formation’ is primary, not secondary. My larger project proposes a literary history of transformation in medieval French, English, and Latin.

In the proposed paper I draw connections between the ways in which critics have talked about the sophisticated, literary lyrics inset into medieval French courtly narratives; about the learned Latin form of prosimetrum; and about the ‘political songs’ included in the chronicles by English historians Pierre de Langtoft and Robert Mannyng. The first two have been discussed principally in literary terms, the last as a matter of national cultural and linguistic politics. Bringing together these different kinds of code-switching will allow me to explore how social and aesthetic forms interact.

Date: Wednesday, July 27th

9:00 AM - The Language of Grief: Philomena and the Erotics of Loss in Medieval Affective Culture Moore, Megan (University of Missouri, Columbia, USA)

Long lauded by lovers, the nightingale sings a song that haunts the cool breezes of the night, its tune weaving a complex web of emotions. Sleepless lovers aching for their beloved, couples pausing in heated embrace, and those who pine at the moon for their perfect love all hear its cry. Yet for medievals, the song of the nightingale was a language that was not always harmonious, with undertones of danger, violence, and death. Many different media attest to the curious force of the nightingale—from sonnets to stained glass, from laïs to manuscript miniatures, from sermons to bestiaries—yet all remind medievals that they must be wary of the lure of love’s song, for it is a song whose sweet melody is paradoxically linked to death.

In this paper, I explore how the language of lament that underlines Chrétien de Troyes’s twelfth- century Old French Philomena reveals a relationship between eroticism and death in medieval culture. The language of grief is, I claim, the language of medieval love, and nowhere is this better metonymized than in the fraught depiction of betrayal, rape, infanticide and cannibalism that is the sad story of Philomena’s rape and subsequent mutilation by her brother-in-law. This tale showcases not only all the hallmarks of medieval love: distraught lovers’ sleepless soliloquies; laudatory passages on the whiteness of a virginal beauty; wooing and marriage and nobility; but it also uses the language of love to showcase a deep and abiding relationship between medieval eroticism and death, in the form of rape, mutilation, revenge, murder, infanticide, and cannibalism. I read the language of grief in Philomena in tandem with George Bataille’s Erotism to explore how medieval texts typify the emotions of desire (erotic love) as twinned to those of death (grief and mourning). The language of lament that begins with Philomena’s haunting, tongue-less song is woven throughout the tapestry of desires that engulfs the characters of the tale, and finds, I claim, its ultimate expression in love-as-revenge, desire-as-death, in the cruel killing of the child, Itys, to avenge his father’s wayward desires. 233

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Part of a larger monograph devoted to the medieval erotics of death, this work builds off of recent interest in medieval emotions, where there is a polarized debate between the innate/individual/biological nature of feelings and a socialized, community-determined performative understanding of emotions. In this paper, I claim an alternate space for reading medieval emotion in the tension between individual feelings and communal regulations, tying the articulation of privilege to the expression of feelings, what we see in Philomena as noble privilege articulated through the language of love and death.

9:30 AM - Crusading the Bedroom: Carmina Burana 48 and Otto von Botenlouben's "wie sol ich den ritter nu gescheiden." Sager, Alexander (University of Georgia, Athens, USA)

Dieser Vortrag untersucht die Beziehung zwischen dem lateinischen Kreuzlied "Quod Spiritu David precinuit" und der deutschen Tagelied-Strophe, die ihm in den Carmina Burana angehängt ist. In traditioneller Sicht (C. v. Kraus, O. Sayce) bestehen keine thematischen, nur prosodische Verbindungen zwischen den anderssprachigen Liedern (wie allgemein bei den mehrsprachigen Liedern dieser Handschrift). Die neuere Forschung (U. Müller, V. Mertens) sieht durchaus thematische Parallelen, wenn eher allgemeine. Darauf aufbauend und mit Blick auf die "Apellstruktur" des Liedes argumentiere ich für eine strenge und sinnige Konstruktion, wo auch der Mehrsprachigkeit eine besondere interpretorische Rolle zukommt.

10:00 AM - Languages of Confession Bowden, Sarah (King's College London, London, United Kingdom)

There are extant German-language confession formulae (‘Beichten’) from the 9th century on. These formulae are conventionally written in prose and in the first-person voice, contain broad admissions of sinfulness and are usually shaped by the catalogue of sins of Galatians 5:19–21 – that is, they admit (in a first person voice) the general sinfulness of mankind, rather than the specific sins of a single person. This paper will focus on confession formulae from 11th and 12th centuries, which seem to have been used in church for a public acknowledgement of guilt (known as ‘Offene Schuld’) in which the congregation would repeat the confession after the priest, after the sermon and in preparation for communion.

I start with the basic (even obvious) question: why are these formulae in German, not Latin? Then: is there something specific to the confessional practice that demands the vernacular (that is, is a different kind of understanding demanded of the congregation in respect to confession than in respect to other parts of the liturgy, such as the creed?)? I investigate more broadly the vernacularity of these formulae, which are surrounded by Latin (both in their MS transmission and, it seems, in their liturgical practice) and consider how a specific ‘language’( which may not necessarily be German or Latin, but rather a particular way of speaking) may or may not be necessary for a successful confessional practice. Finally, I draw into consideration the limitations of language when it comes to confession: how, for instance, can a contrite heart be made linguistically apparent? This will involve some speculation about internal communication with God vs social practice, as well as the linguistic presentation of emotion and gesture.

11:00 AM - The Language of Trauma: The Wounded Landscape in Late Medieval Francophone Poetry McGrady, Deborah (University of Virginia, Charlottesville, USA)

This talk puts in dialogue current sociologically-oriented research in Trauma Studies and late medieval poetry that explores the violence exerted on land and people during the Hundred Years War. The ideas of Jeffrey Alexander on “cultural trauma” and Kai Erikson’s work on the “traumatized 234

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 community” will inform readings of the Voeux du héron (c. 1346) and the Complainte des bons François (c. 1426). Special emphasis will be given to the language used to describe trauma avant la lettre, the symbiotic relationship these poets created between the human body and the landscape, and the role this discourse played in the construction of an emerging discourse on nationhood.

11:30 AM - Translation as Palimpsest Ventura, Simone (King's College London, London, United Kingdom)

While working on the first translations canonical works, such as Boccaccio’s Decameron, or on semi- obscure pieces of medieval historiography, such as the Histoire Ancienne jusqu’à César, the researcher deals with a phenomenon only too well known amongst medievalists: the existence, through time and place, of different versions of the same ‘work’. Different versions that, as with a palimpsest, represent a ‘second’ inscription, superimposed on a previous first act of writing, with which they remain in a tense relation. The two objects are inherently linked, and yet they may oppose each other in such a way that the second inscription denies the ‘original’. In this paper communication I will focus on two examples: the first versions of the Decameron in French (1411) and Catalan (1429) and the two redactions of the so called Histoire Ancienne jusqu’à César (c. mid 13th and first half of the 14th century). In the case of the first translations of the Decameron, the difference in language (source-text versus target-text) is mitigated by the programmatic will of letting us us ‘see’, en transparence, as in a palimpsest, the ‘original’, both in linguistic and material terms. On the other hand, the redactors of the Histoire Ancienne play with their sources in order to clear the traces they have behind: each version of the Histoire Ancienne is, literally, a new beginning.For this paper I will approach the problem of inter- and intra-linguistic translation (in a broader sense: translation includes here also the process of transcription) and its relationship with what lies behind – the ‘original’. Namely I will propose a reflection on the following conceptual (linguistic as well as cultural) pairs: work/tradition; difference/continuity; convergence/divergence.

12:00 PM - Talking Objects and the Scene of Interpretation Brown, Catherine (University of Michigan, Ann Arbor, USA)

“‘To me they speak sometimes,’” declares Agatha Christie’s detective Hercule Poirot. “‘Chairs, tables—they have their message!’” Hearing the mute speech of objects has long stood metaphorically for the act of interpretation. I’d like to use this talk as an opportunity to think about objects that take this metaphor as literally as possible. We’ll consider objects made to stage their own speech, either through inscription (the oggetti parlanti of ancient Greece, the medieval epitaph) or through visual representation (images of talking books from early medieval Iberia). How might study of such objects help us understand medieval thinking about language, things, objects, and interpretation?

17278 - Intermedialität: Konzeptionalisierungen und Methoden. ... Date: Friday, July 22nd // Tuesday, July 26th Room: Hs 31 Chair: Bosse, Anke; Paul, Claude

9:00 AM - Einführung - Introduction Bosse, Anke (Universität Klagenfurt)

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9:30 AM - Let's blow up intermediality! Eine mehrsprachige Annäherung an einen verwirrenden medienwissenschaftlichen Diskurs Helbig, Joerg (Universität Klagenfurt, Klagenfurt, Austria); Angela Fabris

Das Forschungsfeld der Intermedialität leidet seit jeher unter terminologischen Konfusionen. Weder im nationalen, schon gar nicht im sprachübergreifenden Kontext existiert ein einheitlicher Sprachgebrauch, um Intermedialität und die zahlreichen hierunter zu subsumierenden Phänomene zu beschreiben.

Anknüpfend an bestehende Forschungsansätze versucht unser Beitrag, diesem Mangel entgegenzuwirken. Zu diesem Zweck wird eine Terminologie in verschiedenen Sprachen (Englisch, Deutsch, Französisch, Spanisch, Italienisch) vorgestellt und zu einer Systematik der Intermedialität verbunden.

Die entworfene Nomenklatur soll anschließend an einem signifikanten Beispiel illustriert werden. Michelangelo Antonionis britisch-italienische Koproduktion Blowup bietet hierfür einen idealen Ausgangspunkt. Der Film thematisiert nicht nur verschiedene Medien (Fotografie, Musik, Malerei, Performance), sondern macht vor allem das Phänomen gestörter Kommunikation und die hieraus resultierende Ratlosigkeit zu einem zentralen Thema.

10:00 AM - De l'ntermédialité comme herméneutique des supports Mechoulan, Eric (Université de montréal, Montreal, Canada)

Dans mon intervention je voudrais présenter une conception de l'intermédialité qui déplace les questions habituelles de transfert médiatique ou d'histoire des médias. En comprenant l'intermédialité comme une herméneutique des supports, on se donne les moyens d'une théorie générale des effets de sens en rapport avec les matérialités des supports, les mises en jeu techniques, les types de dispositif et les institutions qui autorisent la circulation des communications.

2:00 PM - Intermedialität im internationalen Wissens- und Kulturtransfer. Vatter, Christoph (Universität des Saarlandes, Saarbrücken, Germany)

Intermedialität im internationalen Wissens- und Kulturtransfer. Zwischen globalen Dynamiken und kulturellen Aneignungsprozessen. Intermedialität als Konzept und Methode wird in verschiedenen verschiedenen Wissenschaftskulturen in spezifischer Art und Weise rezipiert und diskutiert. Gleichzeitig spiegeln sich in intermedialen Verfahren in Literatur und Medien auch globale Dynamiken des Austauschs und der Medienentwicklung wider. Diese Prozesse werden im Kontext des Wissens- und Kulturtransfers im deutsch-frankophonen Kontext herausgearbeitet und anhand von Fallbeispielen aus den frankophonen Kulturen illustriert.

2:30 PM - Intermediality, Media Networks and Media Histories Mueller, Juergen E. (Uni Bayreuth, Bayreuth, Germany)

My contribution to intermediality is not so much designed as a meta-element of a ‘closed’ intermedia theory; it is rather characterized by its opening of the possibility to take a fresh look at media history or histories. This is because the claim to devise a meta-theory of intermediality would be a rather naïve endeavour which would fail to do justice to the complexity of intermedia processes and phenomena—which in turn reveal themselves in the infinite number of possible intermedia combinations and interactions.

In my paper I will focus on some fundamental relationships and processes between media networks and media histories in the light of an intermedia research axis. On the basis of a selection of historical

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‘cases’ I shall present a series of theses with regard to the manifold interactions between media networks and intermedialities.

Date: Tuesday, July 26th

9:00 AM - Médias, Medien, Medium : pour une approche médiale de la fiction TANE, Benoît (LLA CREATIS, Université de Toulouse Jean-Jaurès, Toulouse, France)

La terminologie et les recherches consacrées à l’intermédialité semblent varier selon les aires culturelles.Peut-être faut-il cependant nuancer, en se projetant vers la fin de l’année 2016 et en tenant compte des recherches francophones, le retard pris dans ce domaine.Le laboratoire LLA- CREATIS (Univ. Toulouse Jean-Jaurès) articule par exemple ses programmes, développés à partir du «dispositif», à l’intermédialité.Surtout, le développement de ce vocabulaire recouvre des approches différentes; il requiert des mises au point qui pourraient profiter des pratiques dans d’autres domaines.D’une part, il semble bien que l’intermédialité prenne le relais des études inter-artistiques. Ce déplacement pose problème et la prise en compte des pratiques anglophones mais aussi allemandes, moins fréquente, s’impose. Le medium n’est pas une simple généralisation du matériau artistique; sa prise en compte est un changement de paradigme culturel... et devrait aussi l’être dans la recherche. Peut-être y a-t-il là une sublimation de l’objet de la recherche, dans lequel la matérialité est un parent pauvre. On tirerait profit ici d’une exploration du medium en revenant sur l’approche de McLuhan, la Medienwissenschaft... et la médiologie. Ou comment l’héritage commun latin du medium a subi des inflexions.D’autre part, les études littéraires ont parfois ouvert la voie. Pour les dix-huitiémistes par exemple, la prise en compte de la matérialité livresque s’impose et son articulation avec l’analyse de la fiction est bien reconnue, notamment pour l’illustration (voir mon livre Avec figures. Roman et illustration au XVIIIe s, PUR, 2014) mais aussi plus largement (voir Yannick Séité, «Pour une histoire littéraire du livre», Dix-huitième siècle, XXXX). On retournera la formule en revendiquant une «approche (inter)médiale de la fiction».On se permettra enfin d’évoquer le domaine hispanophone, bien représenté parmi les chercheurs de notre centre toulousain.

9:30 AM - Le débat théorique dans les "études de cas" de la revue Intermédialités Froger, Marion (Université de Montréal, Montréal, Canada); Caroline Bem

La revue Intermédialités est née en 2003, à l’initiative du Centre de recherche sur l’intermédialité de l’Université de Montréal et publie depuis, à raison de deux numéros par an, des textes qui témoignent de l’approche singulière de « l’école montréalaise » connue pour ses « études de cas ». Il s’agira tout d’abord de montrer comment l’étude de nouveaux objets considérés sous l’angle de leurs qualités et de leurs fonctions médiatiques, a favorisé une inventivité méthodologique qui, loin de « tenir à l’écart de la discussion théorique » ses principaux promoteurs, leur a permis au contraire d’avancer sur le terrain de l’analyse des médialités, et de la théorisation des dynamiques et des processus de médiation. De façon collective, à travers les « études de cas » qu’elle a publiées, Intermédialités s’est aussi souciée de comprendre les articulations entre médias, techniques, institutions, normes, imaginaires et discours sociaux qui se cristallisent dans des productions culturelles variées, artistiques ou littéraires. Si Mauss qualifiait de « fait social total » certaines pratiques artistiques, la revue propose de manière inverse d’appréhender certaines pratiques sociales comme autant de « faits intermédiaux » en identifiant pour chacune d’elle – désignée par un verbe : « rythmer », « reproduire », « animer », « bâtir », « inclure (le tiers) », etc. – un faisceau d’actions, une pluralité de réalisations et autant de configurations singulières qui les actualisent. L’analyse sémantique et indexicale des textes parus dans la revue nous permettra enfin de cartographier les cadres conceptuels mobilisés à partir des études de cas, pour les resituer dans les champs de recherche couverts par la revue – études urbaines ; médiation culturelle ; Memory 237

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Studies ; etc -. Il s’agira aussi de resituer ces études dans les courants interdisciplinaires qui font l’actualité de la recherche en sciences humaines et sociales – socio-anthropologie des arts, histoire culturelle des techniques, analyse des dispositifs énonciatifs et performatifs des œuvres, etc., afin de mesurer l’apport particulier de l’approche intermédiale défendue par la revue.

17280 - Comparison and Intermediality: The Gesamtkunstwerk Date: Friday, July 22nd // Saturday, July 23rd // Monday, July 25th // Wednesday, July 27th Room: Hs 46 / Marietta-Blau-Saal Chair: Fusillo, MASSIMO; Fischer, Caroline; Grishakova, Marina

Friday, July 22nd Room: Hs 46

4:00 PM - Graphic Divas: Reframing the Gesamtkunstwerk in Contemporary Italian Graphic Novels Graphic Divas: Reframing the Gesamtkunstwerk in Contemporary Italian Graphic Novels Seligardi, Beatrice (University of Parma, Parma, Italy)

The aim of this paper is to reframe the concept of Gesamtkunstwerk by looking at the intermedial relationship between art, life and cultural phenomena in three recent Italian graphic novels that sketch the life of historical famous and exceptional women: Superzelda (2011) by Tiziana Lo Porto and Daniele Marotta about Zelda Fitzgerald, and two works by Vanna Vinci, La Casati: la musa egoista (2013) about the life of the Marchesa Casati and Tamara de Lempicka. Icona dell'art déco (2015).

Firstly, the representation of the diva reframes the Gesamtkunstwerk on a thematic level, as it suggests the idea of making one own’s life like a work of art. The female protagonists, who lived between the Belle Époque and the Roaring Twenties and who performed extravagant and audacious styles, became icons of a new upcoming femininity and a new way of considering the relationship between life and art.

Secondly, the interplay between different media strategies, such as drawing, painting, literature, history, biography will show the intermedial attitude of graphic novels as new media. On one hand, as far as the process of composition is concerned, the authors make explicit reference to historical documents, archives, artistic sources. On the other hand, the reader creates her own personal references, by recognizing hints to paintings, novels, iconographies.

Thirdly, the relationship between the graphic novels and more general cultural phenomena will be considered, thus demonstrating the permeability of artistic boundaries and the necessity of looking at art from an intermedial point of view. As regards Superzelda , the publication of the graphic novel occurred in a period of revival of the Roaring Twenties and the Fitzgeralds. The publication of La Casati was immediately followed by a museum exhibition in Venice on the life of the Marchesa, while the realization of Tamara de Lempicka was specifically commissioned for two museum exhibitions on the painter’s work in Turin and Verona.

4:30 PM - Interfaces of the literary: Redefining literariness through contemporary narrative media Caracciolo, Marco (University of Freiburg, Freiburg, Germany)

In the Wikipedia entry on the American television series The Wire we read that “the show is recognized for its realistic portrayal of urban life, its literary thematics, and its uncommonly deep exploration of social and political themes.” In an age when the traditional outlets of the literary— 238

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 fiction and poetry in print—seem to play an increasingly marginal role in cultural dynamics (Birkerts 2006), we may be surprised by this casual use of the word “literary” in relation to a highly acclaimed television series. But this appeal to literature is hardly exceptional. In talk about contemporary narrative forms such as comics, television shows, or even videogames (see, e.g., Ensslin 2014), the adjective “literary” has become synonymous with complexity of storytelling and depth of engagement with ethical or philosophical issues.

This paper seeks to chart the trajectories of the literary in today’s media landscape, exploring how different—and sometimes competing—conceptions of literariness are negotiated in and through interactions across multiple narrative media. I will look not only at attributions of literary value(s) to non-print-based media, but also at how the novel—a quintessentially literary genre—has attempted to appropriate aspects of these media through so-called “multimodality” (i.e., the use of visual strategies such as iconic typography, illustrations, and so on). The contemporary Gesamtkunstwerk, this paper claims, is to be found in this complex network of intermedial transactions. Ultimately, the paper suggests that literature—conceived in both its formal and its thematic dimension—remains an important factor in shaping our appreciation of narratives that strive for seriousness of intent and comprehensiveness of scope: the notion of Gesamtkunstwerk cannot be revisited without taking into account the interfaces between literature and other media.

5:00 PM - Immediacy/immersion. An « Immediate Fiction » ? TANE, Benoît (LLA CREATIS, Université de Toulouse Jean-Jaurès, Toulouse, France)

The concept of Gesamtkunstwerk put emphasis on the relationship between different media in the same work of art. But it implicates distinctions between arts (music, visual arts...), between senses (hearing, sight...), and between media themselves.

But are we aware of the media the fiction uses ? Users, or consumers of fiction, and readers above all of them of course, accept the « suspension of Disbelief » which makes the illusion possible.

This talk is designed to explore the relationship between fiction and mediation. My thesis is that although Fiction is a mediated production, it deals with the illusion of immediate relation.

Have users to become aware of the mediation they forgot ? Such a question is perhaps more an ethical than an aesthetical one. But it is certainly worth asking, when the storytelling uses Fiction as a political weapon. It’s but quite a vain purpose : the illusion of immediacy should be the sine qua non condition of fiction. Immediacy is the efficacy.

Is it an historical evolution ? Examples from the past and from the contemporary literature show alternatively that it is a constant rule. We only have to think of Samuel Richardson’s motto, « writing to the Moment ».

But how does it work ? For instance, according to Jean-Marie Schaeffer, the « fictional immersion » (« immersion fictionnelle ») is the « power of imagination » (« puissance imaginative », Pourquoi la fiction ?, p. 180). Is it possible to compare it to the immediacy ? What I call the « immediate Fiction » is based on a specific relationship but it tends to become non the less than another name for the Fiction itself.

Date: Saturday, July 23rd Room: Marietta-Blau-Saal

9:00 AM - Creation as a « perpetuum mobile ». Michel Butor's adventures over the « edges » of narrative Chiurato, Andrea (Università IULM, Milano, Milano, Italy) 239

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Michel Butor has been one of the most eclectic artists on the French cultural scene in the last sixty years. After becoming famous as a successful nouveau romancier, he soon turned his attention to other artistic codes. In fact, since the beginning of his career, he struggled to break free from a rigid principle separation that, to him, was an obstacle rather than a spur for creativity. The aim of my paper is to highlight how this attitude made the author uncomfortable with the traditional critical taxonomies, besides explaining how it led him to conceive each one of his work as a « stratified microcosm ».

My ideal premise is based on Butor’s radical redefinition of the techniques of realism, a redefinition that implies a re-elaboration of the status of the concept of intertextuality. Following the Flaubertian project of an encyclopedic novel, he has indeed experimented various mixtures of literary genres, hybridizations between disparate media, not to mention his endless contributions for journals, catalogues, translations, etc. Never satisfied by the traditional forms inherited from the past, he has invented new ones, as in the so called « romanesque tetralogy ».

All these works, along with many others, reflect a personal, innovative re-interpretation of the « encyclopedic paradigm »: on the one hand, crossing over the boundaries between varied fields of discourse; on the other hand, adopting musical, visual, architectural structures in order to blend together different discursive forms within the same text.

Thus, according to the fascinating definition proposed by Mary Lydon, Butor’s entire production can be considered as a « perpetuum mobile »: « a network of trajectories » and an ever-widening archive similar to the one described in Borges’s tale The Library of Babel; a total work of art or, to be more precise, an entire world made out of heterogeneous languages and codes.

9:30 AM - The Intermedia Writing (and Rewriting) in the Narrative of the Convergence. The Case of S. by J.J. Abrams and D. Dorst: A Textual Representation for the Partecipatory Culture. Lino, Mirko (University of L'Aquila, University of Palermo, Palermo, Italy)

My talk focuses on the intermedia dimension in S. (2013) by J.J. Abrams and D. Dorst. This unusual novel is conceivable as a narrative space through which one can observe the textual dynamics of the participatory culture within the cultural production of convergence (Jenkins 2006).

S. is an augmented novel in which the virtual and material dimensions blur their edges. It is composed by three textual levels: an invented book, The Ship of Theseus by the enigmatic V. M. Straka; the handwritten notes at the margins of the pages by two young scholars who investigate the real identity of Straka revealing hidden codes of a conspiracy; the intermedia dimension made of different kind of objects such as postcards, photos, maps etc, physically inserted between the pages by the scholars.

The marked reference to the mythological Ship of Theseus stresses the relevance of writing and rewriting processes as fundamental practices in the storytelling of the convergence, and it shows a mediation between “writable text and readable text” (Barthes 1975): the act of reading and writing is visible into the text thanks to the handwritten notes of the scholars. Therefore the text is also similar to an open access software which is always rewritable by the users at every reading or access (Manovich 2010), and it works like a game in which the readers have to recompose verbal and visual codes scattered on the three textual levels.

Through examples from postmodern literature (especially Pynchon) my talk aims to demonstrate how the intermedia dimension produces an antihierarchical knowledge (the two scholars analyse many time and obsessively the novel to discredit a wrong theory circulating in the academic studies) 240

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 at the same time it generates a playful dimension for the reader through a fragmented hypertextual structure (Genette 1982; Landow 1992; Bolter & Grusin 1999; Manovich 2001) and it tries to represent the sensorial complexity of an immersive experience of reading.

10:00 AM - Is there a text in this box set? Dispersion, complexity and totality in contemporary TV series Rossini, Gianluigi (University of L'Aquila, L'Aquila, Italy)

Like film, Television series con be considered an intermedial form in at least two senses: they are constituted by a constellation of other media (images, music, written and spoken words, etc.), and they often embed intermedial references. TV series being collections of separated episodes produced in the span of many years, though, they usually build a much bigger narrative material and also allow a wider range of stylistic variations, opening endless possibilities for intermedial and intertextual references. Mad Men, for example, in 92 episodes and nearly 70 hours of narration, produced in the span of seven years, was able to describe the evolution of US Sixties culture referencing anything form movies to literature, from fashion to interior design. In this respect, contemporary TV series show two contradictory features: on one hand, their omnivorous intermediality and complex narration tend to disrupt coherence; on the other, there is a recent and unusual tendency to celebrate the television auteur (from David Chase to Shonda Rhimes) and stylistic consistency. Some recent experiments with more enclosed and compact narratives, as shown by the resurgence of the anthology format (American Horror Story, True Detective, Fargo, American Crime), seem to confirm this tendency towards consistency and closure. Since Raymond William’s idea of ‘flow’, the nature of television’s text has been widely debated; now, considering the technological and industrial development of television, contemporary television studies often accept as a given that a TV series can be studied as a single text. Anyway there still are few attempts to analyze the entire run of a series as a narrative unity. Given this context and all the questions that are still open, in this presentation I will address the problematic textual nature of the TV series using the six seasons of The Sopranos as a case study.

2:00 PM - Pulitzer's Iconic Language. Pulitzer Prize Winning Photographs as Gesamtkunstwerk: from Narrative to Visual Mythical Status Pala, Mauro (University of Cagliari, Cagliari, Italy)

Classical photojournalism à la Robert Capa or Eugene Smith sees pictures as “windows onto the world”, implying that they could act as prerequisites of citizenship and forms of moral obligations. And Pulitzer Prize winners certainly serve the historical record. Originally meant to encourage “public morals, American literature and the advancement of education”, these photographs have everything of the Gesamtkunstwerk, since each single shot ideally conveys a metonymic and universally shared perception of the world. Maintaining the inseparability of meaning, duration and mystery, Roland Barthes, Susan Sontag and John Berger, in line with Walter Benjamin, have argued at different times against the supposed transparency these images need to attain their iconic status. This paper reconstructs how Pulitzer winning snapshots have become easily recognizable images, working in several ritual and response registers, whose initial narrative is eventually transformed into something that exceeds words. Iconic pictures are today part of a visual rhetoric which, according to W.J.T. Mitchell, can be likened to the linguistic turn that spread across the human sciences in the late twentieth century. Exceeding formal borders as Gesamtkunstwerk do, iconic pictures such as Pulitzer winners provide suitable instruments for exploring how political action – or acquiescence- can be controlled through visual language, or how public art grounded in shared experience develops.

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Capitalising, among others, on Fred Richtin’s intuitions and expertise, on the enlarging aura of photography in a digital age, on Henry Jenkins’s scenario of convergent medias and Tod Papageorge’s analogies between photography and poetry, this work aims at highlighting how these iconic images assemble a collective memory and shape complex relationships between media producers and audiences

2:30 PM - Flusser and the city as Gesamtkunstwerk Seligmann-Silva, Marcio (Universidade Estadual de Campinas, Campinas - SP, Brazil)

Vilem Flusser can be considered one of the most creative art theoreticians of the 20th century. But the reception of his work is still very shy. In this presentation I will show an important aspect of his art theory: the transformation of the romantic topos of the Gesamtkustwerk into a city political issue. For Flusser, as we can read in his text “How to explain art”, in connection with the artistic vanguards, we still should have as our task to change the world using our imagination. Every inhabitant of the city should become artist and help by creating beautiful cityscapes. Since the second Industrial Revolution abolished the difference of public and private spheres, now we live in a post-historical city interconnected by a web. Our aim now is the fight against the transformation of the city into a closed system that would be equivalent to death. Through ludic strategies we should keep creating new information and feeding the system with them. From now on art should print its models on programs and transform the apparatus. Against Walter Benjamin prognosis, that saw in the contamination of politic by art a symptom of fascism, Flusser, on the opposite, saw in the construction of this new Gesamtkunstwerk the main way to combat it.

3:00 PM - Computer Games as Gesamtkunstwerk: The case of Dead Space Backe, Hans-Joachim (IT University of Copenhagen, Copenhagen, Denmark)

This paper offers a close reading of Dead Space (EA Redwood Shores 2008) to argue that the game is one of the most accomplished specimens of a recent wave of self-referential, artful AAA computer games. Existing research has shown how Dead Space has perfected the intradiegetic interface (Andrews 2010), how it carefully manipulates the player’s agency by withholding agency (Habel and Kooyman 2014), and how it positions the male, healthy body in a position of discursive power (Carr 2014). The central thesis put forth here is that these dimensions of the game – its audiovisual presentation, its gameplay, and its cultural subtext – are seamlessly integrated with one another and central themes of the narrative. The careful composition of integrated components qualifies Dead Space as a work of art in the sense of a Wagnerian Gesamtkunstwerk. By outlining how the different dimensions of Dead Space form an orchestrated whole to strive for a deeper meaning and reflect upon the conventions of modern action games, I want to expand John Sharp’s (2015) recently formulated argument for the appreciation of games as art from art games to commercial games. Compared to the regularly commented upon innovations in interface, audio design, and gameplay, the game’s narrative might appear as its weakest dimension. Yet the themes of Dead Space can be shown to not only resonate with each other, but to form a effectively calculated whole with game mechanics and visuals, layering meaning and meta-discourse in the style of a palimpsest, with the topmost layer – the sleek accessibility of a polished AAA title – partly, but not completely, obscuring the intricacies beneath it. BIBLIOGRAPHY Anderson, P.W.S. (dir.) Event Horizon. Paramount, 1997. Andrews, M. (2010). “Game UI Discoveries: What Players Want.” Gamasutra. http://www.gamasutra.com/view/feature/132674/game_ui_discoveries_what_players_.php?page=2 Beil, B. (2012) Avatarbilder. Zur Bildlichkeit des zeitgenössischen Computerspiels. Bielefeld: Transcript. Carr, D. (2014) “Ability, Disability and Dead Space,” in Game Studies vol. 14, no. 2. EA Redwood Shores. Dead Space. 2008. Multiplatform. Habel, C. and Kooyman, B. (2014) “Agency mechanics: gameplay design in survival horror video games,” in Digital Creativity, vol. 25, no. 1, pp. 1-

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14, DOI: 10.1080/14626268.2013.776971 Irrational Games. System Shock 2. 1999. Windows. Sharp, J. (2015) Works of Game. On the Aesthetics of Games and Art. Cambridge, MA: MIT Press.

4:00 PM - The myth of total cinema: aesthetics of the "direct effect" Grishakova, Marina (University of Tartu, Tartu, Estonia)

The myth of total cinema: aesthetics of the “direct effect”

The paper explores the usage of “direct effects” (Plantinga) in the naturalized film aesthetics of recent decades, their functions in multimodal film textures and the ways in which low-level perceptions are re-enforced, flattened or suppressed in various contexts. The direct effects result from technological and cinematographic manipulations (extremely low- or high-angle shots, close ups and zoom ins, free- range camera, rapid editing, computer generated, “perceptually realistic but ontologically fantastic” (Stephen Prince) images), draw viewer’s attention to salient environmental features (i.e. extremes of sound, space, size, time, luminance intensity) and elicit automatic response (startle, awe, wonder). They often transform objects beyond recognizability and evoke experiences resistant to conceptualization and interpretation – and, thereby, are felt as threatening, aggressive or cognitively demanding (suggesting re-conceptualization of previous experience). These immediate perceptual clues that may appear in-built in film texture as shortcuts of physical reality, analogues of Barthes’ “reality effect” or mimetic signals, function as selection, processing, bracketing or priming incentives in film’s aesthetic and narrative structures. Thus, extremes of rapid editing and cutting in Darren Panofsky’s Requiem for a Dream (2000) are perceived as forms of violence, materialistic analogues of manipulation and addiction, i.e. mental violence to which film characters are subjected. While using examples of indie and avant-garde film and Douglas Gordon’s installation 24 Hour Psycho, the paper explores aesthetic and narrative functions of perceptual bracketing and priming.

4:30 PM - Le «Gesamtkunstwerk» comme encyclopédie et base de données : «The Tulse Luper Suitcases» de Peter Greenaway et «L'Ouvroir» de Chris Marker Petricola, Mattia (Università di Bologna, Bologna, Italy)

Les projets The Tulse Luper Suitcases et L’Ouvroir, réalisés respectivement par Peter Greenaway entre 2003 et 2005 et par Chris Marker en 2009, déclinent le Gesamtkunstwerk comme œuvre aspirant à une double totalité : celle de l’art et celle de l’expérience.

Dans le projet-monstre de Greenaway, cette aspiration se concrétise dans la mise en scène transmédiale d’un gigantesque catalogue d’objets, renfermés dans 92 valises renvoyant à l’histoire de Tulse Luper, personnage capable d’incarner l’histoire du XXe siècle tout entier.

Dans le projet de Marker, la plateforme Second Life devient le site d’un véritable musée, nommé L’Ouvroir, qui résume la carrière de Marker lui-même en exposant une vaste collection de ses œuvres : livres, photographies, collages, affiches, installations vidéo.

Cette étude se propose d’interroger, d’un point de vue esthétique et épistémologique, la dimension encyclopédique du Gesamtkunstwerk qui émerge des travaux de Greenaway et Marker,à partir de la pluralité de traitements intersémiotiques auxquels les objets et les œuvres d’art sont soumis en tant que fétiches mémoriaux, objets de collection et pièces de musée. Les valises de Toulse Luper existent en trois formes différentes : elles sont narrativisées dans le quatre films du projet ; elles “débordent”

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 dans notre réalité dans l’exposition Tulse Luper at Compton Verney ; enfin, elles se dématérialisent dans la base de donnés, accessible par internet, qui représente le véritable cœur structurel du projet. Au contraire, les œuvres de Marker, reproduites et organisés dans un espace digital ouvert à tous, semblent parcourir le trajet inverse, des musées matériels à une collection immatérielle.

L’étude vise en outre à montrer comment le deux projets soient voués à la création d’hétérotopies foucaultiennes capables de “développer” les travaux mémoriaux et “muséographiques” d’artistes tels que Duchamp, Cornell et Boltanski, en les projetant dans une nouvelle dimension esthétiquement totalisante.

5:00 PM - Merging Cinematographic Narratives in Ziad Doueiri's West Beirut Schwerter, Stephanie (Université de Valenciennes, Framas, Austria)

As epicentre of a violent political conflict, Beirut has been a popular setting for films belonging to a variety of genres. The city’s fragmented urban space as well as its internal ethno- religious boundaries have inspired a great number of action films featuring spies, criminals, paramilitaries, shootings and bomb explosions. In this paper, I shall focus on Ziad Doueiri’s West Beirut (1998), a film set in the 1970ies at the outbreak of the Muslim-Christian conflict. The civil war is perceived through the eyes of Tarek and his friend Omar, who navigate the war-torn city in their own way. The two boys attempt to seize the segregated urban space with the help of an old camera. The images captured in black and white reflect a particular vision of political violence. Through the impressions of war perceived from a youth perspective, Doueiri creates an independent cinematographic narrative within the film. Whereas the perspective of young people is rendered through the boys’ camera in black and white, the adult world is expressed through multi-coloured images seen from an external point of view. In this way, two contrasting discourses of political violence enter a dialogue in which different perspectives merge and contradict each other. With the help of a cinematographic frame narrative, Doueiri visualises the various facets of the local conflict. Thus, the horrors of a full-scale war become expressed in form of a Gesamtkunstwerk, in which conflicting value systems are illustrated through different sets of images.

Date: Monday, July 25th Room: Marietta-Blau-Saal

9:00 AM - What cinema does with/to the music of novels Landerouin, Yves (Université de Pau (Faculté de Bayonne), BAYONNE, France)

Music, as an art, plays an important part in many novels, especially at the beginning of the 20th century (for instance in Thomas Mann, M. Proust or E.M. Forster's novels). Sometimes, novels only mention the piece a character is playing or listening to, sometimes they attempt to describe it in detail, producing what R.S. Edgecombe calls melophrasis. Sometimes the piece is just fictional (like the famous Sonate de Vinteuil), sometimes it is a real one and can appeal to the reader’s memory. These situations raise numerous questions that, notably, some Comparatistes actively tries to answer (see the book I edited with Aude Locatelli : Musique et roman ). But it may also be useful to study how cinema deals with such textual elements when it adapts these novels. Film borrow then its material from both literature and music at the same time, a very special meeting between three kinds of media, which obviously conveys new meanings (compared to the effects of the text adapted on readers). Focusing on three or four examples, we propose to show the impact of these changes on the text reception, arguing that playing (or not playing) the music of the novel on screen can be a 244

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 most decisive process in the making of meaning.

9:30 AM - "L'admirable féerie": La notion de féerie comme genre théâtral dans le roman de Marcel Proust von Hagen, Kirsten (Universität Gießen, Institut für Romanistik, Gießen, Germany)

Comme l’a souligné Claude Vallée, la féerie et l’œuvre de Marcel Proust ne s’opposent pas, bien au contraire. Dans ma conférence, je vais me concentrer sur trois scènes dans lesquelles la féerie joue un rôle déterminant. De cette façon, nous serons en mesure d’analyser la notion de la féerie chez Proust, pour qui celle-ci est non seulement une forme de média mais aussi un moyen de penser la modernité. La formule de ‘l’admirable féerie’ chez Proust s'inscrit dans le contexte du téléphone et marque une scène souvent commentée, car centrale pour l’esthétique et la poésie de Proust. Chez Proust, ce ne sont pas seulement les nouvelles technologies qui se présentent comme des féeries, mais aussi l’art culinaire de Françoise. Il a souvent été souligné que Françoise et son don de préparer des repas peuvent être analysés comme une métaphore pour l’art poétique du narrateur. Sa façon de préparer ce fameux « bœuf mode » ressemble curieusement au processus créatif de l’art poétique du narrateur, en ce qui concerne la sélection minutieuse des choses, leur assemblage et la façon de les mélanger. Dans ma conférence je vais essayer de montrer, comme la féerie en tant que genre théâtral est intégrée et fonctionnalisée dans le roman de Proust tout en entreprenant une analyse intermédiale des relations entre la fiction, la narrativité et les médias .

Date: Wednesday, July 27th Room: Marietta-Blau-Saal

11:00 AM - Video art Facing Wagner Fusillo, MASSIMO (University of L'Aquila, ROMA, Italy)

Videoart plays a significant role in contemporary intermedial practices, and in particular in the contemporary flourishing and reworking of the Gesamtkunstwerk. Some video artists uses, for example, cinema as memory and iconic material in order to create complex challenging works, which can reach the ideal temporal extension of a tragic cycle, 24 hours: Douglas Gordon famous 24 Hours Psycho (1993), or Christoper Marclay the Clock (2012), in which one day is constructed by single shots, each one showing a clock in a single minute, taken by various movies. On the other hand Matthew Barney’s Cremaster Cycle can be certainly considered the most radical and convincing recent example of total work of art.

The paper will analyse two direct confrontations of video-artists with the archetype of Gesamtkunstwerk: Richard Wagner. In 2004 in Paris and Los Angeles the prominent video artist Bill Viola conceived a 5 hours video for Peter Sellars’ production of Tristan und Isolde; in this Tristan project, which gave birth to some autonomous non-musical videos, Viola’s poetics of archaic symbolism and primeval archetypes brilliantly interacts with Wagner masterpieces about love and death profound connection.

In the Valencia production of Wagner’s Ring der Nibelungen by the Catalan experimental group La Fura dels Bauls, stunning video projections from a tower are combined with acrobatic performances and a rich imagery coming from cartoons, cyberpunk, science fiction. The 21th century Gesamtkunstwerk becomes thus a complex intermedial fusion of theatre, dance, cirque, music, video and performance, which reflects on the multiple symbols of nature, power, and desire in

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Date: Wednesday, July 27th

11:30 AM - (De)gendering genres. Androgyny and the Total Work of Art in Matthew Barney's Cremaster Cycle Agamennoni, Francesca (Università dell'Aquila, L'Aquila, Italy)

In his seminal essay Wagner Androgyne (1993) Jean-Jacques Nattiez emphasizes the role of the platonic myth of the “androgyne” within Richard Wagner's work, explaining how the longing for an original (and lost) unity of male and female (a recurring theme from the Ring to Tristan und Isolde, and then to Parsifal) could be conceived as a metaphorical expression of the theoretical thoughts about Gesamtkunstwerk, developed in the “Zurich Writings” (1849-51). Following the idea of a symmetrical relationship between genders and genres, narrative patterns and formal discourse, this paper aims at showing how the meta-textual use of androgyny (conceived as a means by which Art becomes “a Metaphor of Itself”) has informed the work of Matthew Barney, an artist who has often been referred to as a contemporary heir of Richard Wagner's poetics of the Total Work of Art. Focusing on the five-parted project The Cremaster Cycle, whose narrative is totally based on of the loss of a primitive androgynous unity once enjoyed, but referring also to the following works, such as Drawing Restraint 9, this analysis will underline not only the connections between Matthew Barney's understanding of androgyny (and, thus, of the Gesamtkunstwerk) and its Romantic and Wagnerian roots, but also the important transformations that this inheritage has been going through in its contemporary reception: the passage from the (wagnerian) idea of a perfect re-integration of genders to the undifferentiated, de-gendered, condition staged by Barney will symmetrically mark the struggle between two different and antithetical models for a Total Work of Art.

12:00 PM - Cross-perceptual Metamorphosis: from Analogue Art to 3D e-Installations López-Varela, Asun (Universidad Complutense de Madrid, Madrid, Spain)

This paper explores the idea of the complete work of art or Gesamtkunstwerk in relation to cross- sensory perception and neural plasticity in the form of synesthesia in contemporary artistic performances.

The term was first used by the German writer and philosopher K.F.E. Trahndorff[1], and reformulated by Richard Wagner in accordance with his aesthetic ideals regarding opera as a fusion of music, poetry and painting.

The 20th-century saw a gradual re-evaluation of the visual arts with the development of technologies that enabled the cheaper reproduction of images –photography and moving pictures or cinematography. These innovations enabled a greater interplay of perceptual modes, enhancing diverse forms of emotional and aesthetic charge, and enabling the projection of simultaneous occurrences in narrative, for instance, by borrowing techniques from montage in the visual arts. In the second half of the century, artists used this interplay in order to manifest the plasticity of art . Nowadays, digital media adds information data through screens able to read augmented reality infor•mation, were objects in themselves can carry live visuals and with them a whole range of information, including a history of the object, for instance, a visual timeline. With the introduction of digital technologies and multimodal representations, the discussion on ekphrasis has shifted toward the study of intermedial aspects and the perceptual and cognitive cross-sensory patterns that emerge with digitalization.

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Within 3D motion-based environ•ments the simulation of the cross-modal condition of synesthesia can be an asset when planning for complex user interaction in 3D space. Many of these works seek to immerse the viewer in a broader multimodal sensory experience that questions the dimensions of space and time as permanent and stable. This paper examines and compares examples from Simon Biggs’s and Steven Gibson’s repertoire.

2:00 PM - Tension and Dialogue between Media in Multimedia Performance Saro, Anneli (University of Tartu, Tartu, Estonia)

Marshall McLuhan noted: "The effects of technology do not occur at the level of opinions or concepts, but alter sense ratios or patterns of perception steadily and without any resistance. The serious artist is the only person able to encounter technology with impunity, just because he is an expert aware of the change in sense perception." (Understanding Media: The Extension of Man, 1964: 19) Despite certain disputability of the statement, it inspires to explore multimedia performances in theatre from the point of view of perception. Nowadays film, video and computer- generated images are so familiar tools of artistic expression that they do not attract any particular attention, since perception patterns of spectators have become adjusted to the new technological medium. To investigate the effects of technology on perception in the framework of theatrical performances, I will go back to the 1990s when Estonian theatre makers started exploring new technological tools more extensively, explicating also dialogue and tensions between different media. In this respect, works and ideas of three theatre artists - Peeter Jalakas, Tiit Ojasoo and Ene- Liis Semper - deserve special attention. Thus theatrical performance that has been considered as the total work of art par excellence, exemplifies not only the convergence of media but also power relations in intermediality.

2:30 PM - "Virtual Bodies, Actual Performance in Gesamtkunstwerk: 'Biped' by Merce Cunningham (1999)" Guedon, Cecile (Harvard University, Cambridge, USA)

This paper examines a choreographic piece entitled "Biped" by the late Merce Cunningham (1999); I will suggest it can be understood as a contemporary example of a Gesamtkunstwerk integrating motion-capture techniques to real gestures performed by dancers from the Cunningham company on stage. In keeping with the theme of virtual/actual presences in performance, I will look into a wide array of other instances where digital technologies are being used live ("Gorillaz"), while tracing a lineage encompassing Bauhaus practices and Black Mountain College performances.

17281 - The Languages of Theory Date: Friday, July 22nd // Saturday, July 23rd Room: Marietta-Blau-Saal / Hs 7 / Audimax Chair: Moser, Christian

9:00 AM - Philological Understanding in the Era after Theory Geisenhanslüke, Achim (Universität Frankfurt a.M., Frankfurt a.M., Germany)

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„The golden age of cultural theory is long past“ – with this statement, Terry Eagleton started his puzzling reflections on the era After Theory. But what theoretical implications go along with the discourse of a possible and even probable end of theory? In this so-called era after theory, literary criticism soon decided to take new steps: the anglo-american tradition of Cultural Studies tried to replace the theoretical impact of French theory by more empirical proceedings in dealing with literary texts. At the same time, philology raised its hand to oppose to the topographical turn of cultural studies as well as to the deconstructive turn against all forms of presence. But is it possible to mediate between the different theoretical approaches of philology and cultural studies? To answer this question, the paper inquires into the difference between philological hermeneutics (Szondi, Hamacher) and discourse analysis (Foucault) before turning to Foucault’s history of infamous people as a paradigmatic example of a theoretical concept that needs philological understanding as a complement to its own impact. As Foucault’s history of infamy shows, a theory of discourse that wants to be at the same time a theory of power and a theory of subjectivity cannot neglect literature and therefore has to integrate philological understanding in its own way of dealing not only with historical documents, but also with poetic texts.

9:45 AM - Philology with a Facelift? The Case of Roland Barthes¿ S/Z Strätling, Regine (Universität Bonn, Bonn, Germany)

Structuralist literary theorists – and notably Roland Barthes – attempted to replace the traditional forms of academic criticism, its unreflective claim of objectivity, its mystification of meaning and its dominant methods of ‘text explanation’ (‘explication de texte’), by science-based approaches that were extensively drawing on ideas and terminology of theoretical corpora such as Marxism, Existentialism, psychoanalysis, and linguistics. Promoting in particular a technical vocabulary derived from structural linguistics, Barthes entirely re-conceived the activities of writing, reading, and literary criticism.

These features make Barthes’ work an interesting case-study in view of the fate of philology in such an ambitious theoretical endeavour, all the more as Barthes, who holds a university degree in Classical Philology, clearly opposes e.g. in his 1973 entry in the Encyclopaedia Universalis “Texte (théorie du)” his own notion of textual analysis to philology. According to Barthes, the later seeks to constitute the literary work as a closed object with a determinable meaning, whereas the former rejects the idea of an ultimate referent.

My contribution would place the emphasis on S/Z [1970], Barthes’ most technical literary analysis and, as to Barthes, the first exhaustive structural analysis of a narrative text. I would like to discuss to what extent and how Barthes’ theoretical advancements take up and build on philological approaches, and ultimately may serve to re-orientate philology itself (beyond the so-called new philology’s preoccupation with the ‘death of the author’). This cannot go without singling out at least to a limited extent which notions of philology are and which are not compatible with Barthes’ theory of the text, and which may even form an integral part of it. If philological interpretation does indeed form part of Barthes’ theoretical position, what is its exact place and function? And what happens to philology in such a theoretical environment? Does it simply gain a ‘facelift’ or does it find itself adapted to theoretical insights that cannot be dismissed? This question also points toward aesthetic aspects of Barthes’ theoretical language, and I would like to end my contribution with a change of perspective to examine if a particular relation between theory and philology has a part in the overwhelming success, the obvious attractiveness of Barthes’ language of theory.

11:00 AM - Genealogy and Philology Winkler, Markus (Université de Genève, Genève, Switzerland)

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Nietzsche, Foucault and their more recent successors use the term genealogy to designate a critical method of unmasking and de-legitimizing established and cherished values, concepts or practices by questioning their founding historical narratives. In doing so, they leave out the fact that this use of the term is metaphorical. In its dominant, non-metaphorical use, genealogy means “[a]n account of one’s descent from an ancestor or ancestors, by enumeration of the intermediate persons” (OED), in other words, a family pedigree, which may very well have a legitimizing function (in aristocratic societies for example). Reflecting from a philological point of view on the metaphorical status of the theoretical use of the term genealogy therefore makes us realize that this use conveys a semantic complexity which opposes conceptual simplification. Philological analysis may in turn draw on this complexity to highlight specific qualities of literary texts. We will thus try to establish a relation between genealogy and philology and highlight its productivity with examples taken from both theoretical and literary texts.

11:30 AM - Acts of swearing. The language of the oath and its investigation by Agamben and Foucault Simonis, Linda (Ruhr Universität Bochum, Bochum, Germany)

The notion of the oath and the lexical field attached to it have recently been given a renewed attention in cultural theory. The perhaps most remarkable and elaborate contributions to this reconsideration of the oath have been proposed by Giorgio Agamben in his seminal study The sacrament of language. An archaeology of the oath (2008) and by Michel Foucault in two of his posthumously published lecture series, The government of the living (2012) and Wrong-doing, truth- telling: the function of avowal in justice (2014). What these studies have in common is the attempt to develop a theoretical concept of the oath by means of a historical and philological investigation of the origin and history of the term, the development of its linguistic forms and meanings. To work out a philological genealogy of the oath, Agamben draws on the corpus of the ‘Indoeuropean institutions’ established by Émile Benveniste in his major work (Indo-European Language and Society). While at the level of a first approach the oath reveals itself as a linguistic practice situated at the interface of law and religion, this double affiliation, according to Agamben, points to an even older domain or ‘institution’ which precedes the formation of legal and religious institutions and can be equated with the force of language itself. Thus by retracing the history of the term and its legal and religious usages, Agamben works out a theoretical account of how language, in the form of a specific speech act, operates as a binding force which is able to create a form of commitment claiming validity in the social and institutional world.

Similarly, Michel Foucault goes back to historical sources of Greek antiquity, the Iliad and Oedipus the King, in order to explore the specific status of the oath as a subjective utterance as well as institutional practice. The act of swearing, according to Foucault, forms part of what he calls a ‘regime of truth’, that is a framework of discourse in which the legal and political mechanisms of establishing truth coincide with a mode of speech that demands an articulation of the self. Drawing together Agamben’s and Foucault’s approaches and the tools of analysis they offer, my paper will try to work out what kind of truth-telling and subjective commitment becomes possible in a field of discourse where the operations of power are traversed by the urge of the subject to articulate his or her own truth.

2:00 PM - Deleuze's Le pli and baroque language Schumm, Johanna (LMU München, München, Germany)

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In his endeavor to present Leibniz’s philosophy and the Baroque ( Le pli 1988) Deleuze narrowly combines philology and theory. On the one hand, the all-encompassing concept of the book can be understood as philological, i.e. the attempt to “unfold” baroque aesthetics and philosophy out of the word “pli”, its semantics, its relations and its compounds (e.g. “plier, déplier, replier“ (189)) as well as its appearance in different disciplines as ontology, aesthetics, geometry or algebra. Regarding Leibniz, however, philology is often put aside: Frequently, it is difficult to tell, if Deleuze is paraphrasing Leibniz or arguing himself, and steps from one discourse to a highly distinct one happen without comment. Both the playful unfolding of “pli” and the freehand philosophizing add to a theory of the baroque, which refers to the 17 th century as well as to modernity.

My contribution will connect these characteristics of Deleuze’s Le pli to similar features of (historic) baroque writing and thinking and hence to its own object. Leibniz’s writing combines mathematical, ontological and theological arguments and is highly figurative, for example when Leibniz states “Les Monades n’ont point de fenêtres” ( Monadologie §7) or describes substance as an “Etang plein de poissons” (§67). He unfolds such figures in slight variation in different contexts. One can observe comparable transgressing features in other baroque writings as well, for example in Conceptism (which is also important for Deleuze). Conceptism is per se a combination of philology and theory, paradigmatically observable in Graciáns Agudeza y arte de ingenio (1648). At first glance the text seems rather philological: A large collection of literary examples mingled with observations on the witty use of language and concepts. However words and concepts develop a dynamic, which exceeds the theoretical systematization of the book.

Deleuze attributes and actualizes these transgressing, non-conceptual, figurative aspects of baroque language in his own writing.

2:30 PM - Auratic Theory: Benjamin Zanetti, Sandro (University of Zurich, Zurich, Switzerland)

The writing of Walter Benjamin is determined by a style that tends to be challenging for the readers. Adorno famously criticized Benjamin for his lack of ‚mediation‘ (Vermittlung). However, it is precisely the lack of effort to support the reader that is significant for Benjamin’s texts. This lack was one of the decisive factors that Benjamin first became an insider’s tip and then a preferred source for very different theories in literary and media studies as well as cultural analysis. In the lecture, it will be investigated to what extent a specific aura of Benjamin’s theory can be assumed. The investigation of this presumed aura will move along a model of communication whose corner points Benjamin himself formulated and whose implications he apparently took seriously in his own writing practice.

4:00 PM - Working at the net. Bruno Latour's foundations of discursivity Eggers, Michael (Universität zu Köln, Köln, Germany)

Seizing a suggestion from the abstract of the group section, this paper addresses the rhetorical strategies and devices of the writings of Bruno Latour. It is conspicuous that Latour repetitively choses to construct a terminological prerequisite for his explanations: sociological theory, he claims, has to be radically renewed and for this purpose needs to rigorously redefine the key terms already in use. In Reassembling the Social (2005) it is Latour's aim to give his discipline a 250

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 new profile by giving a different meaning to its two most fundamental notions 'social' and 'science'. Even more far-reaching is the rhetorical procedure in P olitiques de la nature , published a few years earlier (1999): Here, Latour "refurbishes" a whole vocabulary of terms, redefining these to support his politics. An expansive glossary at the end of the book serves as the linguistic tool for the new écologie politique in question.

I want to take a closer look at Latour's verbal policy in two respects. First, the idea of a terminological recycling has to be seen in the light of history. Notwithstanding the fact that Latour draws a line between his efforts and the philosophy of Descartes at the beginning of Reassembling the Social , Descartes' proposal in Discours de la méthode (1637) to dispense with all epistemological conventions of his time bears some resemblance with Latour's project. More examples from the history of theory will have to be considered to contextualize the procedure. Finally, these considerations raise the question how Latour's endeavours with language and terminology might fit into ANT (actor-network-theory) itself? ANT, of which Latour must undoubtedly be seen as the most influential proponent, aims to assimilate the agency of subjects, things and events, revealing a non-hierarchical and decentralized network. There seems to be a sharp contradiction between this fundamental theoretical claim and Latour's auctorial, discursive initiations.

4:30 PM - Variants of Agency: Observations on Myth, Fiction and Narrative in Latour's (Social) Theory Kramer, Kirsten (Universität Bielefeld, Bielefeld, Germany)

Bruno Latour’s descriptions of central principles underlying social theory, science studies and/or actor-network-theory are marked by the obstinate recurrence of images and metaphors that refer to mythological figurations (labyrinth, metamorphoses et al.) as well as to mythical actors (Aramis, Pandora, Daedalus, Gaia, trickster figures et al.) that define specific modes of social action within the modern world. At the same time, his theoretical writings and essays contain numerous references to compositional principles and cultural functions of narrative fiction, story-telling and plot structures. Their persistent metaphorical interferences or crossings form the basis of Latour’s articulations of a ‘symmetrical anthropology’ that attempts to trace both the connectivity of competing economic, political and scientific networks as well as the diverging ‘modes of existence’ that regulate our common world.

Starting out from a brief outline of the heterogeneous figurations that characterize Latour’s theoretical thought, the paper investigates the superposition of competing ‘languages’ which, in his writings, constantly come to mediate between realism, factuality (faîtiches) and constructivism, between evidence, poiesis and metis, between cosmopolitics and ethnography as well as between techno-scientific and magical types of operation or explanation. It will focus in particular on the methodological implications underlying the references to myth, fiction, arts and narrative. Ultimately, the paper will raise the question whether it is this conceptual recourse to descriptive patterns derived from ancient mythology and/or traditional aesthetics that provides the basic frame of reference for a ‘scientific’ articulation of the contemporary world which gains its particular shape and dynamics from the multiple crossings and inconsistencies inherent in Modernity itself.

6:00 PM - Philological Paperwork. The Question of Theory Within a Praxeological Perspective on Literary Scholarship Pethes, Nicolas (Universität zu Köln, Köln, Germany)

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The 'practical turn' as it was proclaimed within natural and social science studies has not quite reached the humanities yet. However, the key role of "paperwork", "immutable mobiles" and "circulating references" within recent science studies suggests that the material, medial, and practical foundation of laboratory science may also be relevant for our understanding of philological scholarship. The question the presentation is going to tackle is whether this praxeological approach also affects the role of theory within philology: considered a 'Geisteswissenschaft' in the 20th century, philology has developed a genuine theoretical profile besides its traditional editorial function, resulting in concepts such as understanding, selfreferentiality, temporality etc. The paper asks whether this theoretical profile has to be changed from a praxeological perspective or whether theory, too, can be considered one of the material practices of philological scholarship.

Date: Saturday, July 23rd Room: Hs 7

9:00 AM - 'Voice' or 'Speech'? Discourses of Migration and Jacques Rancière's Reflections on Human Rights, Politics and Language Schödel, Kathrin (University of Malta, Msida, Malta)

The proposed paper discusses an application of Jacques Rancière’s political theory to current discourses of migration. The aim of the paper and its link to the question of connections between theory and philology is twofold: to use Rancière’s theories for a close analysis of the discourse surrounding and shaping a highly topical issue and thereby to explore the relevance of linguistic reflections in political theory.

Rancière distinguishes between two modes of speaking in the public realm: ‘voice’ and ‘speech’. ‘Voice’ is the mere expression of suffering whilst ‘speech’ is an utterance which attains political significance, which is perceived on a political ‘stage’. This distinction is linked to Rancière’s emphatic definition of politics as a continuous process of making visible situations which were invisible within politics before, of including those who were not included in the political realm as new political subjects and thereby changing the boundaries of the political. ‘Speech’, then, is an utterance of a political subject in this sense and can be seen as performing a political act.

In relation to human rights, Rancière also describes a distinction between a political reference to the concept of equality – a radical insistence on revealing structures of inequality and a political subject which constitutes itself by referring to equal rights in an act of democratic ‘speech’, which challenges existing socio-political orders – and the currently dominant ‘humanitarian’ focus on the ‘voice’ of suffering, which depoliticises the issues at stake. This can be applied to the treatment of migration: The humanitarian perspective emphasises questions of aid and asylum, but a political approach, which would, for instance, have to contest border and immigration politics as well as economic inequalities, is rare – let alone the possibility for ‘the migrant’ him/herself to become a political subject and utter politically relevant ‘speech’.

The final part of the paper will offer close readings of exemplary campaigns for a more positive perception of migration and ask whether they can be seen as political ‘speech’ in Rancière’s sense. This is meant to demonstrate how Rancière’s engagement with language and politics can usefully be applied to specific contexts, offering a perspective which combines a critical view on political realities and hegemonic discourses with an emphasis on ‘speech’ as a linguistic enactment of dissensus and thus a means of political change.

9:30 AM - Middle Voice and the Rhetoric of Crisis in present-day Europe Boletsi, Maria (University of Leiden, Leiden, Netherlands)

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“Crisis” is an overdetermined concept that has been inflated, used and abused in recent public rhetoric in Europe, perhaps most prominently in the context of the ‘Eurozone crisis.’ In my paper, I plan to revisit the concept’s etymology and aspects of its genealogy based on Koselleck’s work, in order to probe its instrumentalization in European public discourse on the Eurozone crisis and the future of Europe and the European Union. If the word originally signified ‘decision’ and ‘judgment,’ it currently often provides legitimation, one the one hand, for ‘states of exception’ and for a suspension of judgment (understood here as critique and dissent) and, on the other hand, for dualistically formulated (pseudo)decisions between a good and a catastrophic alternative, resulting in one-way street politics. In the context of the Eurozone crisis, the term also helps reinforce clear- cut distinctions between e.g., perpetrators and victims or ‘contagious' patients and doctors (echoing the term’s medical use). Political theorists such as Giorgio Agamben, Wendy Brown, Jacques Ranciere and Chantal Mouffe have theorized the ways current neoliberal politics hollows out democratic institutions and strives to eliminate dissent and conflictual choices from political life. The rhetoric of ‘crisis’ may facilitate these workings. But the semantic content of crisis, as Koselleck also argues, admits multiple alternatives that cut across the logic of dualistic options and allows critical accounts of a given situation. Against the backdrop of recent (hardly optimistic) diagnoses of the present and future of Europe, this paper will explore alternative conceptualizations of ‘crisis’ by bringing this concept to bear on the grammar of the middle voice. As a grammatical category in which the subject remains inside the action, the middle voice has been theorized by poststructuralist thinkers as a mode that unsettles dualisms – such as those between active/passive or perpetrator/victim (Barthes, Derrida, LaCapra). This paper will lay out the potential of the middle voice in fostering alternative conceptions of subjectivity and European citizenship, and alternative narrativizations of ‘crisis’ in present-day Europe. By enabling a notion of agency grounded in a vulnerable, precarious subject, the middle voice, I argue, de-centers the notion of the liberal ‘willing’ subject but also of the subject as fully determined by ideology. In the middle voice the subject is not predetermined but in becoming, constituted in and through an utterance (Barthes). As such, the middle voice enables a conceptualization of crisis not only as a decision between multiple existing alternatives, but also alternatives that are not fully determined in and by the present and that escape the logic of hegemonic narratives. As I hope to show, a notion of crisis informed by the grammar of the middle voice, does not suspend decision and judgment altogether, but may turn ‘crisis’ into a critique of monologic hegemonic discourses and their ‘states of exception’ and a moment of choice that triggers the imagination of different futures and subjectivities.

11:00 AM - Cultural History and Linguistic Representation of the Bed. Encountering the Philological Foundations of Culture Theory in Quotidian Culture Brandes, Peter (Northwestern University, Department of German, Evanston, USA)

In my paper, I will explore the interrelationship between philology and culture theory focusing on the literary representation of the bed in quotidian culture. The culture of everyday life is an important research area in cultural studies, as one can see in the accumulation of studies on topics such as eating, drinking or smoking. Rarely, however, the philological dimension of everyday culture comes into consideration – although it is obvious that the study of quotidian culture relies on the hermeneutic understanding of certain linguistic expressions referring to objects of everyday life – such as table, chair, bed. Friedrich Kittler has rightly noted that for studying cultural history a certain philological competence is indispensable. In my contribution, I would like to connect Kittler’s concept of culture theory with a philological analysis of quotidian culture focusing on the cultural history of the bed. In contradiction to Kittler, I will argue that even in the discourse of quotidian culture theoretical concepts of culture can be examined. I will press the point that the analysis of the linguistic representation of everyday culture already implies a theory of culture. Since the cultural

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 coding of everyday life always depends on the historical semantics and the rhetorical structure of the words, a philological approach to the history of quotidian culture is needed. There is no such thing as an objective semantic pattern of the term bed. The rhetorical dimension of the word is always implied in its literal meaning (de Man). The semantic ambiguity of the term is intertwined with its cultural function. Examining an object of everyday culture (such as the bed) and its function in the literary discourse will help to understand how philology and culture theory are interrelated. The aim of the paper is to draw up an outline of a philological theory of quotidian culture.

11:30 AM - Languages in Theories on the Origin of Culture, 18th century Moser, Christian (Universität Bonn, Bonn, Germany)

“Doing ethnography is like trying to read (in the sense of ‘construct a reading of’) a manuscript – foreign, faded, full of ellipses, incoherencies, suspicious emendations, and tendentious commentaries,” writes Clifford Geertz in The Interpretation of Cultures. Thus, as a reader of culture, the ethnographer is compared to a philologist – a professional interpreter of literary texts who pays special heed to their formal, rhetorical and semiotic intricacies. As a producer of texts, on the other hand, the ethnographer is not likened to the philologist, but to the literary writer: Geertz advises the anthropologist not to compose abstract treatises, but to make use of the literary forms of the anecdote and the personal essay; the ethnographer’s ‘thick description’ which provides a reading of the symbolic order of culture is compared to the dense texture of a novel. Thus, in Geertz’s view, the ethnographer is both, a producer and decoder of literary sign systems. The anthropologist interprets the fiction of culture by generating fictions of culture. Is this a vicious or a productive circle? In my presentation, I would like to discuss this question by focusing on Geertz’s implementation of literary forms (especially the anecdote) in his anthropological writings.

2:00 PM - Stephen Greenblatt and the Making of a New Philology of Culture Simonis, Annette (Universität Gießen, Gießen, Germany)

The movement of New Historicism or Cultural Poetics, as it is also termed, has often been misunderstood as a countercurrent to philological scholarship. Its rise in the nineteen eighties seemed to have introduced a new school of cultural theory and inaugurated the end of the so-called New Criticism in English studies at American universities and beyond. New key words as the “circulation” of “social energy” and the material dimensions of culture became crucial in the approach and the works of New Historicists. At a closer look, however, the leading figure and most renowned representative of New Historicism, Stephen Greenblatt, proves to be very language- oriented in his studies, - if not book-centered. Thus he closely explores the poetical language of Shakespeare's plays and the stimulating role of Montaigne's essays in the process of Renaissance self-fashioning. As he argues in one of his recent publications, The Swerve. How the world became modern, it was a poem of Lucretius - “De rerum natura”/ “On the nature of things” - which has initiated the decisive momentum leading to early modern culture, a process which is moreover closely linked to the word “epicurean” and its complex implications. The contribution investigates on which levels and in what different respects Greenblatt focuses on language as a key element and foundation stone of modern cultures. Moreover it explores in how far Greenblatt in the wake of Foucault considers the concept of discourse as a crucial component in the analysis of cultural development.

2:30 PM - The Work of Fernando Ortiz and his Impact on Europe Reichart, Dagmar (University of Groningen, Groningen, Netherlands)

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Fernando Ortiz Fernandez (Havana,/Cuba, 1881-1969) was not only a prolific polymath, who was educated in Havana, Barcelona, Madrid and Italy, but also a respected sociologist and, as I argue, a visionary critic and first theoretician of what we nowadays call Transcultural Studies.

As a lawyer, jurist, sociologist, writer, originator of Cuban anthropology and musical ethnology, in his lifetime Ortiz was active as a diplomat, politician, and judge in Cuba, and excelled also as author on law, Afro-Cuban matters, criminology, sociology, history, and politics. He edited various collections of Cuban literay classics, too. Ortiz represents a theoretical bridge between the American and the European continent, and first reflected on how we perceive and cope with converging cultures at the beginning of the 20th century, thus setting the course for the up-to-date debate on conviviality and raising questions, at an early theoretical stage, which would become crucial in the Third Millennium.

In this lecture I will first try to illustrate the origin of the term of “transculturation” as Fernando Ortiz coined it in his complex and versatile essay Contrapunteo cubano del tabaco y el azúcar (1940), the English version dating back to 1947 (Cuban Counterpoint: Tobacco and Sugar). This publication introduced the notion of hybridity in a new, positive cultural meaning that had a significant impact on cultural theories to come, also in Europe. In the second part, in order to encourage the application of Ortiz’ parameters in philological analysis, I intend to illustrate how the concept of hybridity has been transcribed on a literary level in the same decade overseas in Europe/Italy, when Abbruzzese writer Ennio Flaiano published ‘the’ novel of Italian colonialism under the title Tempo di uccidere in 1947 (English: The short cut, 1994). The main thesis would then be that reading Flaiano’s autobiographical text in terms of Ortiz’ approach to culture can help to grasp the duplicity and ambiguity of nature, history, politically motivated power discourses and the human quest for identity with the help of concrete, ‘real’ and society-related reflection that oscillates, as per Ortiz, between the poles of Marxist criticism and Magic Realism.

4:00 PM - Novel Poetics of the Self: Richardson's Pamela Lüdeke, Roger (Universität Düsseldorf, Düsseldorf, Germany)

Cultural theories of literature make literary works matter by situating them in social, political or economic contexts. In order to locate literary texts in such frameworks, these individual contexts need to be provided with a minimum of coherence and stability. Cultural theories provide ways to establish this contextual cohesion by drawing on concepts such as misogynist/homophobic discourses, capitalism, imperialism, racism, systems of knowledge, power formations of surveillance and punishment or long-term structures of bio-politicization. Literary theories in turn use these models in order to describe how literary works either confirm or, more often than not, ‘demystify,’ ‘subvert,’ ‘deconstruct’ or ‘observe these ideological paradigms; in this paper, I will employ a case study of Richardson’s Pamela in order to address some of the ensuing methodical problems which arise from these attempts at contextualizing literature. Rather than being tuned to the normative codes, memberships and organizations of era-specific ideologies, Pamela’s narrative realizes a unique and novel poetics of the self. Retracing the material practices through which Richardson’s fictional subjects transform themselves by working on themselves and others will help us understand how this novel forms a literary field of social ethos and a strong structure of existence in its own right.

Concentrating on how this poetics of the self is produced in narrative fiction does, therefore, not mean to de-politicize the novel. Rather, it allows us to see how this comparatively new genre engenders fictional technologies of the self that resonate quite differently within the on-going controversy about the 18th century novel's ‘modernity.’

4:30 PM - Borges: Poetry as Philology Harst, Joachim (Uni Bonn, 53113, Germany)

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Hardly any writer staged his work so much as "secondary literature" as Borges: Instead of submitting original creations, Borges writes fictitious reviews, commentaries, and even "scholia" to canonical texts of Western literature, such as the Odyssey or the Divine Comedy (cf. Infierno V , 129; Paradiso 31,108). But his working with texts of course can not and will not be philological in the academic sense; rather, Borges uses "Philology" as an instrument to subsume the literary tradition to his programmatic concept of literature. This can be shown with reference to his texts on the Divine Comedy – a work that already integrates in itself a multi-lingual tradition: While Infierno V, 129 universalizes the reciprocal relationship between literature, love and life (Francesca and Paolo are displayed as an archetype of the lovers), Paradiso 31, 108 interprets Dante’s vision of God in the sense of a Borgesian "pantheism," retrospectively shaping Dante’s vision as a prefiguration of earlier texts by Borges (such as El Acercamiento a Almotásim, which was written without closer knowledge of the Comedy). My paper will suggest that Borges takes up Dante’s courtly poetry and erotic philosophy, turning them into a – as he himself says – “hedonistic” Philo-Logy, a "desire of logos." Thus, Dante's God is replaced by the idea of “universal literature,” whose author ultimately is Borges himself.

Room: Audimax

6:00 PM - Theory, World Literature and the Politics of Translation Damrosch, David (Harvard University, Cambridge MA, USA); Emily Apter

Panel Discussion with Prof. Emily Apter and Prof. David Damrosch

17282 - Pratiques littéraires du plurilinguisme - mondes arabes Date: Friday, July 22nd // Saturday, July 23rd Room: Übungsraum Germanistik 1 Chair: Picherot, Emilie; Boidin, Carole

2:00 PM - La poésie comme support d'une réflexion sur le lien avec la langue arabe de Dampierre-Noiray, Eve (Université Bordeaux-Montaigne, Pessac, France)

As a contribution to the Workshop « Pratiques littéraires du plurilinguisme » (17282) I shall attempt to highlight the way both research works and universitary teaching practices based on literary Arabic syllabus (poetry and prose, 19th & 20th centuries) can work together and contribute to a same reflection on writers' and poets' relations to Arabic language, be it in a plurilinguistic context (for instance colonial bilinguism) or not.

Several approaches will be explored :

- In a teaching context (from "Licence" to "Master" level), how to convey the presence of Arabic language in Arabic texts translated into French ? What graphical, syntaxical, cultural traces does Arabic language imprint on a text written in or translated into a European language (examples of M. Darwich, A. Cossery, G. Ungaretti, L. Duff-Gordon, T. Hussein) ? Which specific devices can be given to students to let them feel or locate the presence of another language ?

- How can a poetical text testify to a questioning on the writer's mother tongue in the same manner as essays, memoirs, and other kinds of texts do (Said, Memmi and others) ?

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- How can contemporary Arabic poetry underline the political dimension of language, knowing that "one does not inhabit a country, but a language" (Guillevic) (examples of M.Darwich, I.Mersal, F.Laroui, A.Kilito)?

2:30 PM - Repérer les intertextes bibliques chez Oz et Darwich: Enjeux de la lecture en traduction. Placial, Claire (Université de Lorraine, Metz, France)

L'étude des oeuvres littéraires en traduction, dans la perspective d'un enseignement de Littérature comparée, ou d'une étude de réception, pose entre autres problèmes la question du repérage des intertextes, dont la fiabilité est mise à mal par le nouveau codage qu'est la traduction. Cette question se pose avec une acuité particulière chez Amos Oz et Mahmoud Darwich, deux écrivains qui font une grande utilisation des intertextes bibliques. Tous deux ont en mémoire et à l'oreille la Bible hébraïque, transcrite et remémorée dans leurs oeuvres en hébreu moderne et en arabe littéraire. La lecture en français de Seule la mer dans la traduction de Sylvie Cohen et de Le lit de l'étrangère dans la traduction d'Elias Sanbar permettent au lecteur francophone de reconnaître de nombreuses allusions entre autres au Cantique des cantiques. Il s'agira d'une part de rendre sensible les effets de brouillages induit par plusieurs strates de réécriture (par l'auteur en hébreu et arabe, puis par la traduction), tout en réaffirmant le fait que la lecture en traduction ne rend pas impossible la caractérisation des intertextes bibliques et de leur rôle dans la poétique de ces deux auteurs.

3:00 PM - Les Mille et Une Nuits d'une langue à l'autre François, Cyrille (AGORA Université de Cergy-Pontoise, Annemasse, France)

Cette contribution souhaiterait envisager Les Mille et Une Nuits comme un modèle d'une "œuvre ouverte", constituée en canon international et dont l'un des intérêts majeurs réside dans les jeux d'attirance et de rivalité entre langues et représentations. Il s'agirait de resituer les réécritures modernes dans leur dépendance esthétique et idéologique aux traductions et de là réfléchir à des distinctions possibles entre les reprises en langue arabe et celles en langues étrangères.

4:00 PM - De la littérature de terrain à la littérature générale : méthodes et perspectives de recherche en littératures arabes Benedicte, Letellier (Université de la Reunion, Saint Denis, Reunion)

Titre : "De la littérature de terrain à la littérature générale : méthodes et perspectives de recherche en littératures arabes".

La diversité linguistique des littératures arabes peut certes entraver fortement toute recherche théorique sur ces littératures. Mais, si l'on s'inspire des méthodes de recherche de Wilhem von Humboldt dans le domaine de la linguistique, il s'avère opportun d'étudier ces littératures du point de vue d'une "littérature de terrain" (comme Humboldt proposait la notion de "linguistique de terrain").

La difficulté des recherches sur les littératures arabes relève avant tout d'une connaissance large de tous les idiomes arabes puis de la constitution d'un corpus en langue arabe. Tâche longue et fastidieuse pour le chercheur francophone qui peut parfois être désespérante. Toutefois, la notion de "littérature de terrain" (que je calque donc à partir de la notion humboldtienne) permet d'aborder les textes à partir d'un traitement empirique (validé et augmenté par une réflexion théorique) des pratiques littéraires. Il ne s'agit pas tant de se conforter dans l'idée d'une richesse culturelle que d'interroger l'existence d'une lingua franca en terres arabo-musulmanes qui dépasse les usages et les

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 pratiques littéraires locales et participe d'une "structure organique" (Humboldt) de la littérature et de la pensée arabo-musulmanes.

Je prendrai l'exemple de mes recherches sur le poème arabe contemporain que je propose de lire à partir d'un traitement empirique (qui prend en compte mon parcours et ma spécialité de recherche) et de réflexions qui reprennent et comparent les approches de Humboldt et Meschonnic d'une part et la pensée des premiers mystiques d'autre part.

4:30 PM - Sabirs du Tunis colonial en Littérature Dellagi, Chayma (Université de Montpellier, Paris, France)

Comme dans chaque contexte de mise en contact des cultures, et la colonisation en est un, il est une littérature qui se consacre à la langue, ou au fait langagier, celui-ci étant un marqueur sensible et frappant des phénomènes régissant les échanges qui alors s'établissent entre les entités étrangères l'une à l'autre. Dans le Tunis colonial des années 30, une littérature spécifique, revendiquant son nouveau statut générique et politique, a su utiliser la langue comme un objet d'affirmation coloniale, mais a pu aussi l'inspecter, scientifiquement presque, comme une curiosité locale, comme élément d'une biodiversité nouvelle. Le phénomène du sabir, langue faite du mélange des langues mises en présence, lointaine héritière de la "lingua franca" du bassin méditerranéen, faisait alors figure d'objet hautement pittoresque, à l'image de la population bariolée qui occupait Tunis, et offrait à la littérature un point d'attache précieux à son sujet de prédilection qu'est la langue. Juifs, maltais, siciliens, corses, arabes reconstituaient un paysage babélique et grouillant apte à enflammer l'imaginaire littéraire de l'époque qui voyait dans cet "espace de tous", un lieu de régénération du champ. A une époque où le métissage culturel est plus que jamais d'actualité, le sabir nous intéresse encore: au cœur de ces problématiques, il fonctionne comme un parfait révélateur des représentations culturelles ainsi que des enjeux qui les sous-tendent.

5:00 PM - Du plurilinguisme linguistique au plurilinguismes littéraire-Le roman algérien moderne comme un exemple Boukail, Amina (University of Jijel- General and compare literature -Annaba University, Constantine, Algeria)

Nous proposons dans cette communication d’examiner comment le plurilinguisme comme un phénomène linguistique au sein de la société algérienne issue des facteurs historiques et sociaux est devenu une pratique littéraire à travers une perspective narratologique en analysant les enjeux linguistiques et textuels selon la présence de langues étrangères dans le roman algérien arabophone en analysant les romans de Waciny Laredj et Ahlam Mosteghanemi, car on a remarqué que le roman algérien arabophone s’est dirigé dernièrement à utiliser ce phénomène comme à la fois une technique et un signe sociale .

Cela nous ramène à analyser l’énonciation en langue étranger : un mot-une locution- un passage donc l’utilisation de cet élément linguistique permit à dégager le rapport entre l’identité et altérité au niveau du texte narrative algérien arabe , cela offre un champs riche et varié aux comparatistes .

Date: Saturday, July 23rd

9:00 AM - At the Crossroads of Global Cultural History: from a 'Far Eastern' Perspective Yamanaka, Yuriko (National Museum of Ethnology, Suita, Japan)

West Asia (or the Middle East) lies at the crossroads of many cultures and religions, a goldmine of fascinating topics for comparatists. However, comparative studies involving the Middle East or Arab culture has hitherto been focused on cultural exchanges with Europe, leaving the region's contacts with South Asian or East Asian civilizations largely neglected. The speaker has done work on the Arabian Nights , as well as on the transmission of the Alexander Romance from such an integrative 258

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 perspective, using European, Arabic, and Persian sources, but also taking into consideration Chinese and Japanese sources. Currently she is leading a joint research project comparing conceptual frameworks and historical contexts of medieval marvels in Europe and the Middle East, in which the comparative approach proved particularly fruitful. The presentation, based on these experiences, will argue that comparative research on the medieval Islamic world would contribute to a more global understanding of the history of civilizations, and that for this the study of Arabic and Persian sources is essential.

9:30 AM - Le multilinguisme dans la littérature hispano-maghrébine et la littérature franco- maghrébine: une paratopie créatrice à la croisée des cultures Peñalver Vicea, Maribel (Universidad Alicante, Alicante, Spain)

Il s’agira, dans cette communication, d’établir une comparaison du plurilinguisme entre la littérature maghrébine d’expression française et la littérature maghrébine d’expression espagnole, à partir d’un corpus établi.

Si l’écrivain franco-maghrébin choisit la langue française comme langue d’expression, on assiste, au Maghreb, depuis les années 1990, à l’émergence d’une littérature (mineure) hispano-maghrébine, qui ne cesse de croître. Tant pour pour l’écrivain franco-maghrébin que pour l’écrivain hispano- maghrébin, l’emploi de la langue d’expression obéit à des raisons socio-linguistiques et politiques, la colonisation espagnole au Maroc, par exemple, n’étant jamais aussi poussée ou complexe que la colonisation française en Algérie. Dans ces deux types de littératures (mineure et majeure), l’écrivain accorde évidemment un rôle privilégié aux « paratopies » (D. Maingueneau) liées à la langue qu’il investit. L´énonciation littéraire se nourrit d’une irréductible instabilité, la paratopie (ce dont il faut se libérer par la création et ce que la création approfondit) n’étant qu’intégrée au processus créateur.

Nous tenterons de montrer comment l’écrivain construit sa propre paratopie linguistique ayant comme corollaire une « plurilangue hospitalière ». Quel type de rapport existe entre le plurilinguisme (des deux littératures) et la tension que l’inconscient de l’écrivain manifeste?

10:00 AM - Roots/Routes: Rafik Schami, Amin Maalouf et la question de l'identité culturelle Ali Alhadji, Mahamat (DFG Graduiertenkolleg 1733, LMU München, München, Germany)

La présente étude vise à comparer deux conceptions de l’identité culturelle telle qu’exposées par deux écrivains migrants originaires du Moyen-Orient : Rafik Schami, écrivain syrien de langue allemande, et Amin Maalouf, écrivain libanais francophone. Les œuvres littéraires et les essais de ces auteurs livrent deux points de vue opposés sur la question de savoir si «l’on doit emporter son pays natal aux talons de ses souliers» (Johannes Bobrowski). Ce qui caractérise l’œuvre de Schami, c’est qu’elle est essentiellement centrée sur son pays d’origine et laisse entrevoir une profonde nostalgie. A l’opposé, la production littéraire de Maalouf célèbre l’hybridité, la rencontre des cultures, les appartenances multiples. Ces conceptions de l’identité ont une influence décisive aussi bien sur l’écriture que sur le choix des genres littéraires dont les deux écrivains se servent pour se positionner dans les champs littéraires de leurs pays de résidence.

17283 - Poetics through time : the comparatist perspective Date: Monday, July 25th // Tuesday, July 26th Room: Hs 26 Chair: HAQUETTE, Jean-Louis

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9:00 AM - New historicism and Poetics/New Historicism et poétique Duprat, Anne (Université de Picardie-Jules Verne, AMIENS, France)

Le new historicism a ouvert dans les années 1980 une nouvelle phase des relations entre études poétiques formelles et étude historique des textes littéraires. Ma contribution s’attachera à montrer que l’une des conséquences du succès du mouvement, parti notamment des travaux de Greenblatt sur les textes de la Renaissance et du début du classicisme, a été paradoxalement une remise en question de l’opposition entre formalisme poétique et contextualisation historique dans l’approche des œuvres littéraires de la période « Early modern ».

Je m’appuierai pour cela sur l’exemple que fournit à cet égard le développement d’une narratologie historicisée, élaborée à partir des caractéristiques spécifiques au récit baroque européen, mais dont l’apport théorique se révèle également important pour l’analyse d’autres types de récits contemporains.

9:30 AM - Fable, Fabula, monde possible : quelle terminologie pour la fiction, entre nominalisme et anachronisme ? Lavocat, Francoise (Université Sorbonne nouvelle Paris 3, Paris, France)

La question de la fiction pose de façon exemplaire la question de l’emploi d’un vocabulaire critique, largement renouvelé dans les deux dernières décennies, pour un objet dont l’historicité est sujette à controverse. Dans cette communication, il s’agira de s’interroger sur les problèmes que pose l’emploi de termes ancrés dans une période historique donnée (l’antiquité, la première modernité) pour désigner un type d’artéfact ou une catégorie ontologique dont les définitions ont été à l'époque contemporaine largement renouvelées. Il s’agira d’abord de faire le point sur ce débat : l’insistance sur la définition originelle d’un mot, ou sur son absence dans un état de langue ancien, ou dans un contexte culturel différent, conduisent souvent à contester l’universalité de la notion que ce mot recouvre. Mais si l'on oublie le sens originel des mots, le risque est grand de balayer les différences historiques et culturelles. Si nous refusons à la fois le nominalisme et l’anachronisme, quel geste critique effectuons-nous lorsque nous employons des termes anciens, voire désuets (« feintise » par exemple), des définitions tirées de leur contexte (« suspension volontaire d’incrédulité ») pour définir un phénomène en termes contemporains ? D'autre part, la créativité terminologique, dans le domaine critique correspond-elle obligatoirement à l’apparition d’objets nouveaux ? Si ce n’est pas le cas, de quoi cette créativité est-elle le symptôme ?

10:00 AM - Fantastic before the fantastic: some problems in theory raised by pre-modern mimèsis phantastikè CORREARD, Nicolas (Université de Nantes, Nantes, France)

The poetics of “fantastic” has been largely defined in relation with XIXth century fantastic stories and novels. Yet the notion of “fantastic representation” was frequently opposed to “icastic” or verisimilar representation in XVIth and XVIIth poetical treatises. Be they thematic (Castex) or structural (Todorov), current definitions of the notion prove inadequate to describe the pre-XIXth taste for incredible fictions: inspired by sheer imagination (phantasia), nourished by the aesthetics of grotesques, fantastic fictions remained linked emotionally with humour (instead of fear) and generically with satire and/or philosophy, as the case examples of Lucian, Apuleius, Folengo, Rabelais or Doni show. Epistemologically, they were rooted in a stronger delimitation between reality and fantasy, rational and irrational, than modern criticism usually grants to pre-modern texts. What kind of lessons could be drawn from this confrontation? We will particularly dwell on those authors through which a connexion may be established, such as Vélez de Guevara ( El diablo cojuelo , 1641), and Lesage, Nodier, E.T.A. Hoffmann, Dostoyevsky, who were inspired by pre-modern fantastic. As

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 much as contemporary fantasy, they plead for redrawing theoretical and historical boundaries, and for enlarging our definitions of the literary fantastic.

11:00 AM - Invariants et temporalité : réflexions sur les approches génériques des formes littéraires pastorales. HAQUETTE, Jean-Louis (Société française de littérature générale et comparée, REIMS, France)

Le vaste champ des formes littéraires pastorales, qui va des églogues aux romans pastoraux, en passant par les pastorales dramatiques, pose un certain nombre de questions théoriques liées à l’articulation entre invariants (structurels ou thématiques) et temporalité. La perspective comparatiste, qui confronte plusieurs communautés interprétatives, rend particulièrement sensible à ces enjeux. Il s’agira, à partir notamment de l’ouvrage de Paul Alpers What is pastoral ?, de proposer des éléments de problématisation des définitions englobantes et de plaider pour une poétique historique qui substitue à une approche définitionnelle un récit interprétatif fondé sur les notions de transmission générique et de communauté littéraire. Du point de vue théorique, l'enjeu est d’articuler la poétique aux dimensions temporelles et sociales du champ littéraire.

11:30 AM - Lyric Language and Early Modern Encyclopedism Johnson, Christopher (Warburg Institute / School of Advanced Studies / University of London, London, United Kingdom)

My paper examines how different lyric forms, such as the epigram, the sonnet, and the silva, become vehicles for encyclopedic content in the late Renaissance. Lyric, I will argue, with its characteristic techniques of condensation, offers a significant, if often paradoxical response to "early modern information overload." Whether as a single poem (Kuhlmann, Sor Juana) or as a sequence (Marino), encyclopedic lyric tends to cultivate a more subjective temporality than either encyclopedic epic poetry or prose encyclopedism. But as commentaries by Perotti and Herrera confirm, lyric also was the occasion for broad cultural claims about the changing nature of encyclopedic knowledge.

12:00 PM - First-person usage in early modern philosophy, identification, and "genre" Helgeson, James (University of Nottingham, Nottingham, United Kingdom)

Early-modern readers almost certainly would have been confused by the generic distinctions that the twenty-first century academy imposes on varieties of thought, and particularly the distinction between ‘philosophy’ and literature’, not lexicalised as such in seventeenth-century European languages. For example, Descartes famously calls the story he tells in the Discours de la méthode (1637), ‘une histoire, ou, si vous l’aimez mieux […] une fable’, suggesting, in a bid for the reader’s benevolence, that the writing can be classed in various categories according to the reader’s pleasure. His Meditationes de prima philosophia (1641) invoke different categories, ‘meditation’, solitary (religious) contemplation, though they are in fact full of invitations to inhabit a world in which the reader is situated, and identify with the people in it and their metal experiences. This paper will provide a comparative look at these strategies of mental identification through close reading of passages in several early modern texts now generally classed as ‘philosophical’ (in Latin, French and English). It will examine in particular how first-person rhetorical strategies interact with the question of ‘genre’.

Date: Tuesday, July 26th

9:00 AM - Historicité, formalisme et généricité, quelques questions soulevées par les réécritures dramatiques Schweitzer, Zoé (Université de Saint-Etienne, France, Paris, France)

Choisir le terme formel de réécriture revient implicitement à mettre en oeuvre une conception de la littérature et de l'histoire de la littérature. Apparemment descriptif et neutre, et pour cette raison 261

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 commode, le terme de réécriture se révèle lourd de présupposés. L'oeuvre ainsi désignée est perçue soit comme l'avatar d'une oeuvre antérieure, oeuvre princeps, et implicitement inégalée (ou bien elle n'est plus désignée comme telle, ainsi la Phèdre de Racine), le terme masquant donc un jugement esthétique; soit comme l'écho de l'époque contemporaine, qui aurait inspiré à l'auteur cette réinterprétation signifiante du passé à la lumière du présent. Entre altération et présentisme, la réécriture se trouve prisonnière d'une double historicité, au risque d'y être réduite, aux dépens d'une analyse de ses enjeux génériques. L'ambition générique, c'est-à-dire théorique, des auteurs se trouve ainsi occultée par cette historicisation implicite qui rabat le geste dramatique du côté d'une forme dégradée ou d'une actualisation triomphante. C'est à une autre forme d'historicité qu'invite à réfléchir ce corpus, qui permette à la fois de comprendre la singularité de chacune des pièces et de les envisager comme un ensemble génériquement cohérent qui dessine les contours d'une conception moderne de la tragédie, loin d'un autre présupposé inavoué qui tend à faire primer, chronologiquement et axiologiquement, la théorie sur les oeuvres.

9:30 AM - Historiciser l'exemple Zanin, Enrica (Université de Strasbourg, Strasbourg, France)

Dans les années 70-95, le rapport entre le récit et sa morale a fait l’objet de théories structurelles, visant à définir des modèles du fonctionnement de l’exemplarité à partir des analyses de Jolles. L’analyse de l’exemplarité ainsi définie dans les nouvelles de Boccace à Cervantes a donné lieu au constat critique de la « crise de l’exemplarité » (Neuschäfer, Stierle, Küpper). Toutefois, la durée de cette crise, qui s’étendrait de la fin du Moyen Âge à la fin de la Renaissance, soulève nombre de questions et l’analyse des nouvelles montre moins la crise, que la complexité de l’exemplarité. La théorie de la « crise de l’exemplarité » semble donc peu apte à définir le fonctionnement et l’histoire de l’exemplarité, et ceci en raison de la méthode adoptée par les théoriciens : les présupposés formalistes de l’analyse portent à chercher une définition a-historique de l’exemplarité qui ne permet pas d’en considérer l’évolution ; le parti pris formaliste implique une hiérarchie de valeurs qui porte à privilégier le texte sur son contexte, le plaisir sur le didactisme, la fiction sur la prédication, et donc à écarter comme imparfait tout ce qui limite l’autonomie du texte. Or l’exemplarité est justement ce qui nie l’autonomie du texte en le reliant au contexte, en lui donnant une finalité extérieure, en l’adressant à un public historiquement situé. Seule une vision historicisée de l’exemplarité permet d’avoir une vision plus précise du lien entre récit et vérité dans la nouvelle. L’analyse des réécritures de l’histoire de Gésippe (Décaméron X,8) nous permettra de proposer une vision plus large de l’exemplarité, considérée moins comme une stratégie textuelle que comme un mode de réception et d’interprétation : un texte n’est pas exemplaire parce qu’il affiche une moralité univoque mais parce qu’il se destine à un public qui cherche à en tirer un enseignement. L’étude des diverses formes de « refiguration textuelle » (Ricoeur) que supposent les nouvelles nous permettra de saisir les conditions de possibilité de l’exemplarité et l’évolution des attentes « éthiques » de ses lecteurs implicites.

10:00 AM - Temps et récit : le point de vue de l'anachronie Garric, Henri (SFLGC, Paris, France)

Cette communication se propose de montrer comment poétique du récit et écriture de l'histoire subissent un déplacement parallèle à partir du moment où l'on essaie de rompre avec une herméneutique du récit historiciste. La démonstration portera sur une confrontation de Paul Ricoeur et des oeuvres de Walter Benjamin et de Rafael Sanchez Ferlosio.

11:00 AM - De 'concinnitas' à 'justesse' et 'Stimmigkeit'. Quelques réflexions à propos de notions esthétiques Schneider, Ulrike (Freie Universität Berlin, Berlin, Germany) 262

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

La contribution portera sur des catégories esthétiques et la question de transfert du savoir en combinant une perspective historique et une réflexion systématique. (à compléter)

11:30 AM - Vraisemblance, Probability, Wahrscheinlichkeit: Some Remarks on the Current Relevance of a Neoclassical Concept Kukkonen, Karin (University of Oslo, Oslo, Norway)

As the focal point of the neoclassical edifice of criticism in the seventeenth and eighteenth centuries, vraisemblance enjoyed unparalleled critical appeal in France, Britain and Germany (see Bray 1931; Patey 1984; Campe 2012 for discussions of these three national traditions). The constructed nature of the fictional worlds of neoclassicism, after the ridicule of generations of critics, rose again to some importance in the surroundings of poststructuralism and its narratological formulations (see Genette 1968; Culler 1975). Today, the central role of probabilistic, Bayesian models of cognition might offer a new way for bringing vraisemblance back into the critical vocabulary (see Kukkonen 2014).

The present paper will discuss the critical fortunes of vraisemblance and underline the malleability of the concept across the three spot-light periods of neoclassicism, postmodernism and the present day. Through a reading of Hilary Mantel’s novel about the French Revolution, A Place of Greater Safety (1992), I shall propose that vraisemblance, as informed by the neoclassical critical model and the insights in human probabilistic thinking afforded by the cognitive sciences, offers a tool for formal poetics to address issues of mimesis, fictional worlds and cultural memory.

17284 - INTERFERENZEN: Dimensionen und Phänomene der Überlagerung in Literatur und Theorie Date: Friday, July 22nd // Saturday, July 23rd Room: Hs 34 Chair: Donat, Sebastian; Raic, Monika; Fritz, Martin; Sexl, Martin

9:00 AM - Interferenzen - Überlegungen zur literaturwissenschaftlichen Anschlussfähigkeit eines physikalischen Begriffs Donat, Sebastian (Universität Innsbruck, Vergleichende Literaturwissenschaft, Innsbruck, Austria)

In der Physik versteht man unter Interferenz Phänomene, die bei der Überlagerung von zwei Wellenzügen entstehen. Abhängig von Faktoren, wie Stärke und Position der Impulsgeber, entwickeln sich im betrachteten Feld Verstärkungen (konstruktiveInterferenz) oder Auslöschungen (destruktive I.). Das Ergebnis sind Musterbildungen, die von strenger Symmetrie (z.B. stehende Wellen) bis zum (scheinbar) chaotischen Rauschen reichen.Im Beitrag geht es darum, konzeptionell sowie mit Blick auf konkrete Einzelbeispiele auszuloten, inwieweit der Begriff der Interferenz unter literaturwissenschaftlichem Blickwinkel fruchtbar gemacht werden kann. Dabei soll auch der Frage nachgegangen werden, in welchem Verhältnis das Konzept der Interferenz zu etablierten Begriffen der Allgemeinen und Vergleichenden Literaturwissenschaft, wie Intertextualität, Intermedialität, Inter‑ und Transkulturalität oder Hybridität, steht.

9:30 AM - Störfälle oder Verstärkereffekte? Über Interferenzen von Text und Paratext Wegmann, Thomas (Universität Innsbruck, Innsbruck, Austria)

Noch immer ist strittig, ob das angebliche Vorwort des Herausgebers Bestandteil von Goethes Roman 'Die Leiden des jungen Werthers' ist - oder nicht. In diesem Fall handelte es sich um einen Paratext, der selbst nicht zur literarischen Fiktion, sondern Gérard Genette zufolge zu jenem Beiwerk zählt, "durch das ein Text zum Buch wird und als solches vor die Öffentlichkeit tritt". Das Vorwort würde 263

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 demnach dem folgenden, in der Erstausgabe nicht als 'Roman' bezeichnetem Text einen dokumentarischen Charakter zuweisen. Oder tarnt sich dieses Vorwort ungekehrt als faktualer Bericht eines Herausgebers, während es in Wahrheit lediglich die Wahrheit von Dichtung beanspruchen kann? In jedem Fall ist das Verhältnis von Text und Paratext alles andere als distinkt. So musste auch der um begriffliche Trennschärfe bemühte Genette konzedieren, dass es sich beim Paratext "weniger um eine Schranke oder undurchlässige Grenze als um eine Schwelle" handle. Angesichts von Romanen, die in Gänze als Interview arrangiert sind, wie 'Das Wetter vor 15 Jahren' von Wolf Haas, oder literarischer Prosa, die aus 'Rezensionen' zu nicht-existierenden Büchern besteht, wie Stanislaw Lems 'Vollkommene Leere', gilt es solche Befunde zu präzisieren und die vielfältigen Überlagerungen von Text und Beiwerk genauer zu untersuchen. Ob das physikalische Modell der Interferenz, bei dem sich Wellen sowohl auslöschen als auch verstärken können, für eine genauere Bestimmung des Text-Paratext-Verhältnisses hilfreich sein kann, versucht mein Vortrag abschließend zu klären.

10:00 AM - Fluss-Skripte. Zur Interferenz von Literatur und Topographie Italiano, Federico (Austrian Academy of Sciences (ÖAW / IKT), Vienna, Austria)

Flüsse haben seit jeher (spätestens seit Gilgamesch) literarische Fiktionen inspiriert: Sie verbinden, grenzen ab, übersetzen, ernähren, generieren und töten. Sie werden gefunden, erfunden, aufgeschrieben und beschrieben. Sie dienen als Topos sowohl der intimsten Liebeslyrik als auch dem gröbsten Nationalmythos. Nicht zuletzt dienen sie als Metapher (spätestens seit Heraklit) der philosophischen und kulturtheoretischen Reflexion: „alles fließt“, Texte „fließen“ und das Bewusstsein „strömt“. In meinem Vortrag werde ich einen besonderen Aspekt der fluvialen Imagination aufzuspüren versuchen: die mediale Interferenz zwischen den literarischen und den topographischen Darstellungsverfahren des Fließens.

11:00 AM - Überlagerung und Überhöhung. Der Orient bei Flaubert und Arlt Raic, Monika (Universität Innsbruck, Innsbruck, Austria)

Der argentinische Schriftsteller und Journalist Roberto Arlt hielt sich 1935/36 als Korrespondent der Zeitung El Mundo in Spanien auf. Die Nähe zu Marokko nutze er, um sich einige Wochen in Tanger und Tétouan aufzuhalten. Als unmittelbare Eindrücke dieser Reise und Belege für seiner literarischen Neuorientierung können die Aguafuertes españolas, Arlts journalistische Reiseberichterstattung betrachtet werden. Hierin beschreibt er seine vorgeblich erlebte Realität in Spanien, die sowohl in Kontrast, als auch engem Zusammenhang mit den Texten aus Marokko steht. Literaturhistorisch steht Arlt mit dem Gegenstand der Orientreise in einer Linie mit Schriftstellern wie Gérard de Nerval oder Gustave Flaubert. Auf letzteren nimmt Arlt an vielen Stellen seines Werkes Bezug.

In meinem Vortrag möchte ich anhand der Metapher der Interferenz die Musterbildung eines Orientbildes untersuchen, das wir bei Flaubert in Voyage en Égypte, aber auch in Tentation de saint Antoine oder Salambô finden. Die flaubert’schen Wellenzüge können, so meine These, in konstruktivem Verhältnis zu Arlts Orientbild gesehen werden. Inwiefern eine ästhetische und semantische Symmetrie beider Werke in Bezug auf den Orient als Topos vorliegt, soll eine der Leitfragen sein.

11:30 AM - Hypertext der Frühen Neuzeit - Lohensteins Anmerkungen zu seinen Römischen und Afrikanischen Trauerspielen Worms, Katharina (Universität Trier, Trier, Germany)

Der vorliegende Beitrag ist im Schnittfeld von deutscher und lateinischer Literatur angesiedelt und wird die enzyklopädischen Anmerkungsapparate in den Trauerspielen des Dichters Daniel Caspar von Lohenstein als Interferenzphänomen betrachten. In Lohensteins Anmerkungen zu seinen 264

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 sogenannten Afrikanischen und Römischen Trauerspielen überlagern sich Texte verschiedenster literarischer Gattungen, unterschiedlicher Sprachen und mehrerer Epochen. Vornehmlich treten antike Texte der römischen Geschichtsschreiber mit Lohensteins Dramentext in Interaktion. Zum einen soll es um die eigentümliche Textstruktur der Anmerkungen gehen, die als Frühform eines Hypertextes betrachtet werden kann, zum anderen um die Frage, welche Funktion den Anmerkungen für die Interpretation der Trauerspiele zukommt. Es kann gezeigt werden, dass Lohensteins eigene Erklärung, es handle sich um reine ,Hilfsanmerkungen‘, zu kurz gegriffen ist. Vielmehr kommt es in den Anmerkungsapparaten zu einer Kreuzung von verschiedenen Texten, die in ihrer intra- und intertextuellen Wechselwirkung zum Dramentext von der bisherigen germanistischen Forschung weitgehend unberücksichtigt blieben und oft als überflüssiges Beiwerk und Ausdrucksform dichterischer Gelehrsamkeit betrachtet wurden. Dieser Einschätzung gegenüber kann gezeigt werden, dass die Anmerkungen auf die Multiperspektivität und Vielstimmigkeit von Geschichtsdarstellungen rekurrieren. Ein fruchtbarer methodischer Ansatz, den der geplante Beitrag verfolgt, wird die Kombination von hermeneutisch-philologischen und statistischen Verfahren sein. Die typisch barocke Textform der Anmerkung wird vor dem Hintergrund der Intertextualitätstheorie (Gérard Genette) sowie dem heuristischen Modell eines Hypertextes betrachtet, gestützt durch eine quantitativ-statistische Untersuchung der zitierten Autoren und Texte.

12:00 PM - Die deutsche Interferenz im Werk Afanasij Fets Achilli, Alessandro (Università degli Studi di Milano, Milano, Italy)

Afanasij Fet ist einer der berühmtesten und meistgelesenen russischen Dichter des 19. Jahrhunderts. Sein Werk gilt als das beste Beispiel „absoluter Dichtung“ in einem von Prosa dominierten Zeitalter und als eine ideale Verbindung zwischen der Dichtung der Puškinzeit und dem Symbolismus. Fets Persönlichkeit und Kunst waren durch seine deutsche Herkunft bemerkenswert beeinflusst, die er trotz ihrer unumgänglichen Rolle in seiner menschlichen und literarischen Entwicklung abzusprechen versuchte. Er war zweisprachig, besuchte eine deutsche Schule, interessierte sich für die deutsche Literatur und übersetzte zahlreiche deutsche Schriftsteller, wie Heine, Schopenhauer und Goethe. Ungeachtet seines Ruhmes und seiner Bedeutung in der Geschichte der russischen Dichtung ist Fets Werk in seiner Komplexität noch nicht vollständig beschrieben und analysiert worden. Einer seiner dringendsten Forschungsdesiderata ist der deutsche Einfluss auf seine Entstehung und Evolution. Wichtige Monographien wie Gustafson 1966 und Blagoj 1975 setzen sich mit Fets dichterischen Bilinguismus nicht auseinander. Diesem Thema hat sich Emily Klenin in ihrer 2002 Studie gewidmet, die als der beste Beitrag zu Fets intellektueller Biographie und den formalen Aspekten seiner poetischen Sprache betrachtet werden kann. Darüber hinaus hat sich Klenin insbesondere mit dem komplexen und faszinierenden Problem der „Entgermanisierung“ in Fets spätem Werk beschäftigt. Mein Vortrag konzentriert sich auf die Rolle der deutschen Literatur in der Gestaltung der Dichtung Fets und nimmt als theoretische Herangehensweise die Idee der kulturellen Interferenz, die sowohl die psychologische Dimension der komplizierten Beziehung Fets zu seiner deutschen Wurzeln als auch deren literarische Produkte mit einbezieht. Besondere Aufmerksamkeit wird auf Fets Beziehung zu Goethe und Heine in seiner originalen Dichtung und in seinen Übersetzungen gelegt.

2:00 PM - Interferenz als Stringenz. Das dramaturgische Superpositionsprinzip Elfriede Jelineks Felber, Silke (Forschungsplattform Elfriede Jelinek: Texte - Kontexte - Rezeption, Wien, Austria)

Der Begriff des „Postdramatischen“, der für die Beschreibung von Elfriede Jelineks Theatertexten vorrangig herangezogen wird, stößt in der Forschung mittlerweile auf Kritik, impliziert er doch ein teleologisches Verständnis von Geschichte, dem sich Jelineks intertextuelle Schreibverfahren zu entziehen scheinen. Alternativ dazu wird neuerdings vorgeschlagen, die von Deleuze und Guattari formulierte Denkfigur einer „Zeit der Koexistenz“ für Jelineks Text- und Geschichtsschichtungen

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 nutzbar zu machen (Haß, Meister). Auch diese Begrifflichkeit jedoch erweist sich als unzureichend: Sie wird weder der Dynamik gerecht, die die Texte im Übereinanderlagern diverser Quellen evozieren, noch der Wirkung, die dadurch bei den lesenden bzw. hörenden RezipientInnen erzielt wird. Der Terminus der Interferenz wiederum scheint diesem Desiderat zu entsprechen, indem er erlaubt, auf die Effekte der Durchdringung mehrerer sich superponierender Impulsquellen zu fokussieren, die sich gegenseitig verstärken (konstruktive Interferenz) oder abschwächen bzw. auslöschen (destruktive Interferenz). Verifiziert werden soll diese These exemplarisch anhand des Theatertexts Kein Licht. (2011), den Jelinek anlässlich der Nuklearkatastrophe von Fukushima verfasst hat. Der Text lässt nicht nur eine Überlagerung von antiker Tragödie und virulenten Narrativen augenfällig werden – er dekuvriert zudem vor der Folie des AKW-Störfalls akustische und visuelle (Grenz-)Phänomene der Wahrnehmung, die für die Rezeptionsprozesse von Interferenzen ebenso relevant sind, wie für jene von theatralen Ereignissen.

2:30 PM - (Post-)Dramatische Überlagerungen. Elfriede Jelineks Konzept des Sekundärdramas Kovacs, Teresa (Forschungsplattform Elfriede Jelinek: Texte - Kontexte - Rezeption, Wien, Austria)

Elfriede Jelinek veröffentlichte 2009 in der Zeitschrift Theater heute den kurzen Text Reichhaltiger Angebotskatalog, in dem sie ironisch ihre neue „Geschäftsidee“ für den Theaterbetrieb vorstellt: sogenannte „Sekundärdramen“, die zu bestehenden Dramen verfasst werden. Die Idee des „Sekundärdramas“ entstand durch die Uraufführung ihres Theatertextes Abraumhalde (2009) durch den Regisseur Nicolas Stemann, der diesen gemeinsam mit Gotthold Ephraim Lessings Nathan der Weise inszenierte. 2011 veröffentlichte Jelinek das zweite „Sekundärdrama“ FaustIn and out zu Johann Wolfgang von Goethes Urfaust. In dem Essay Anmerkung zum Sekundärdrama erläutert sie die Spezifik der „Gattung“ ausführlicher und bestimmt, dass die Sekundärdramen nur gemeinsam mit den Primärdramen, auf die sie sich beziehen, inszeniert werden dürfen: „Das Sekundärdrama darf niemals als das Hauptstück und alleine, sozusagen solo, gespielt werden. Eins bedingt das andre, das Sekundärdrama geht aus dem Hauptdrama hervor und begleitet es, auf unterschiedliche Weise, aber es ist stets: Begleitung.“[1]

Jelinek entwickelt mit dem Sekundärdrama ein Konzept, das die Interferenzen, die in der Kombination von kanonisierten Dramentexten und „postdramatischen“ Theatertexten entstehen, auslotet und das Zeit- und Epochengrenzen, aber auch das Verhältnis von Text und Bühne radikal verschiebt. Ist Jelineks Verfahren grundsätzlich bestimmt durch Vielstimmigkeit, Intertextualität und Intermedialität, geht das Sekundärdrama mit seiner „Parallel-(Inter-)Textualität“ (Karen Jürs-Munby) weit darüber hinaus und lohnt einer intensiven Befragung im Rahmen der Sektion INTERFERENZEN.

[1] Jelinek, Elfriede: Anmerkung zum Sekundärdrama. http://204.200.212.100/ej/fsekundaer.htm, datiert mit 18.11.2010 (= Elfriede Jelineks Website, Rubriken: Archiv 2010, zum Theater).

3:00 PM - Konstruktionen des Faktualen und des Fiktionalen: Intertextualität und Emotionalität in der 'Ermittlung' und 'Capesius, der Auschwitzapotheker' Vanassche, Tom (Albert-Ludwigs-Universität Freiburg, Aalter, Belgium)

Dieser Beitrag vergleicht und kontrastiert die diskursiven Emotionalitätskonstruktionen in Peter Weiss‘ Die Ermittlung (1965) und Dieter Schlesaks Capesius, der Auschwitzapotheker (2006.) Meine These lautet, dass beide Texte – trotz völlig unterschiedlicher politischer und kultureller Kontexten – ähnliche Textstrategien anwenden um ähnliche Emotionen hervorzurufen. In beiden Texten wird ein zentraler faktualer Diskurs durch viele intertextuelle Verweise auf kanonisierte (größtenteils literarische) Texte ergänzt.

Der Erstehungskontext der Ermittlung ist mittlerweile vollständig erforscht worden: Weiss besuchte verschiedene Tagungen des Frankfurter Auschwitzprozesses (1963-1965) und integrierte Teile der 266

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Berichterstattung aus der FAZ in seinen Text. Capesius umfasst mehrere Dokumente: Notizen, Zeugenberichte und Zitaten aus fiktionalen und nicht-fiktionalen Texten.

Die unterschiedlichen Quellen und derer Verarbeitung führen zu unterschiedlichen Interferenzen zwischen Fakt und Fiktion. Ich behaupte dabei, dass Capesius sogar die Konzepte „Fakt“ und „Fiktion“ problematisiert. Das geschieht in der Ermittlung durchaus nicht: In diesem Text lassen sich beide leichter unterscheiden. Der Fokus auf den Diskrepanzen und auf dem (unausgesprochen!) intertextuellen Link zwischen Capesius und der Ermittlung sollte eine Einsicht in den Verschiebungen innerhalb des Dokumentarischen erlauben und den neuen Status der Fiktion im Genre einschätzen. Schlussendlich könnte man im Licht dieser rezenten Tendenzen zur Fiktionalisierung die Gattung „Dokumentarliteratur“ hinterfragen und sie stattdessen als hyperreale Kunstform bezeichnen.

4:00 PM - Autofiktion als Interferenz am Beispiel von Günter Grass' Grimms Wörter Baier, Christian (Seoul National University, Seoul, South Korea)

In seinem letzten Werk Grimms Wörter kombiniert Günter Grass die Lebensgeschichte Jacob und Wilhelm Grimms mit Anekdoten aus dem eigenen Leben. Er berichtet von den Brüdern Grimm aber weder aus der Sicht des Biographen noch in der Form eines historischen Romans, sondern schreibt sich selbst als Figur in seine Geschichte ein und interagiert persönlich mit seinen Protagonisten: „Als sei er in die falsche Gesellschaft geraten, flüchtet Jacob Grimm aus den Räumen der Akademie. Ich trage ihm, was auf dem Rednerpult liegen blieb, sein Manuskript nach, damit es später gedruckt werden möge.“ (Grimms Wörter, S. 227)

Grimms Wörter ist eine Autofiktion, also ein Text, „in dem eine Figur, die eindeutig als der Autor erkennbar ist, in einer offensichtlich als fiktional gekennzeichneten Erzählung auftritt“ (F. Zipfel). In der Forschung wird eine solche Konstellation bisher gewöhnlich so verstanden, dass der Leser bestimmte Passagen als fiktional, andere aber als autobiographisch-referentiell verstehen muss, ohne diesen Gegensatz auflösen zu können. In Grimms Wörter jedoch liegen die Dinge komplizierter: Zwar sind die Episoden, die von den Grimms handeln und im 19. Jahrhundert spielen, eindeutig fiktional, doch da Grass sie als (wenn auch fiktionaler) Augenzeuge berichtet und damit eine typisch autobiographische Erzählhaltung einnimmt, erheben sie zugleich Anspruch auf Referentialität und Wahrheit! Der Leser hat damit nicht mehr die Möglichkeit, zwischen autobiographischer und fiktionaler Rezeptionshaltung zu oszillieren, da der Text, in einer eigentümlichen Überlagerung, beide Lesarten zugleich anbietet und fordert!

In meinem Vortrag werde ich diese charakteristische narrative Konstellation von Grimms Wörter analysieren und die Möglichkeit entwickeln, Autofiktion nicht länger als Oszillation, sondern als rezeptionsästhetische Interferenz aufzufassen.

4:30 PM - Parodie und Posse am Wiener Vorstadttheater - Gattungstypologische Interferenzen und Übergänge in politischen und ökonomischen Krisenzeiten Mansky, Matthias (Universität Wien, TFM-Instuitut, Wien, Austria)

Die Parodien des Wiener Vorstadttheaters im frühen 19. Jahrhundert sind innerhalb der Forschung zumeist als (triviale) Unterhaltungsstücke wahrgenommen worden, denen ein literaturgeschichtlicher Wert lediglich in ihrer Popularisierung einer prominenten Vorlage konzediert wurde. Der Vortrag bemüht sich, die Parodie als theaterpraktische Gattung einer kulturellen und literarischen Transgression zu erläutern, wobei sich gerade im parodistischen und trivialisierenden Transformationsprozess eine dramatische Eigenständigkeit der Texte konstatieren lässt, in der die 267

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„fließenden Grenzen zwischen possenhafter Bearbeitung und bewußter literarischer Parodie“ (J. Hein) evident werden. Konzediert man der Gattung der Posse eine erhöhte dramaturgische Freiheit und Unberechenbarkeit in Zeiten der Zensur, lässt sich auch eine Konjunktur der Parodie in politisch repressiven Phasen konstatieren. Diesen gattungstypologischen Interferenzen und Überschneidungen soll anhand der omnipräsenten Geldmotivik nachgegangen werden, die auffällig mit den wirtschaftlichen Turbulenzen der Habsburgermonarchie während der Napoleonischen Kriege und dem Österreichischen Staatsbankrott von 1811 konvergiert. An ausgewählten Beispielen wird auszuloten sein, inwieweit es der Gattung gelingt, auf der diskursiven Ebene der Komik, zeitgenössische Turbulenzen und Lebensängste zu reflektieren und sich somit von der parodierten Vorlage zu emanzipieren.

6:00 PM - Wie entsteht eine Theorie? Sexl, Martin (Uni Innsbruck / Vergl. Literaturwissenschaft, Innsbruck, Austria)

(Literatur-)Theorien sind Zeichensysteme, die durch Interaktion (mit anderen Theorien, mit Kunst ...) auf d. Basis best. Bedingungen unter Verwendung v. best. Formen (Alltags-/Wissenschaftssprache, spezifische Begriffe ...) Aussagen (Hypo-/Thesen, Theoreme ...) über Wirklichkeiten entwickeln. Theoretische Aussagen interferieren mit ihren Kontexten, mit anderen Theorien u. mit d. verwendeten (Sprach-)Formen.

Dabei sind teils widersprüchl. Kräfte am Werk: So werden Unterschiede zw. Theorien (durch d. Bezugnahme untereinander u. auf vergleichbare Bedingungen u. Praktiken sowie durch Konkurrenz, die mainstreamtaugl. Forschung tendenziell bevorzugt) im Laufe der Zeit eingeebnet, diese jedoch auch deutlicher herausgearbeitet, weil d. Profilierung in einem zunehmend marktdeterminierten Wissenschaftsbetrieb d. Differenz bedarf.

Im Vortrag soll eine spezifische Interferenz im Vordergrund stehen, nämlich jene zw. Theorie u. ihren Begriffen, die sie zur Formulierung von Aussagen verwendet. Anhang des Begriffes »Kultur« (der aus unterschiedl. Gründen f. viele Theorien der letzten Jahrzehnte wie f. d. Geisteswissenschaften insgesamt sehr attraktiv ist) soll gezeigt werden, dass literaturwissenschaftl. Aussagen durch ihre eigenen Begrifflichkeiten konterkariert werden können.

6:30 PM - Interferenz: Echokammer interdisziplinärer Stimmen Prager, Julia (Universität Erfurt, Erfurt, Germany)

Als Topos, als Gemeinplatz ist der interdisziplinäre Knotenpunkt Interferenz immer schon eine Echokammer, ein polyphoner Ort der Aushandlung seiner Bedeutung. Mit den divergierenden disziplinären Bezugnahmen scheint der Interferenz eine Unentscheidbarkeit von Phänomen und Metapher zu Grunde zu liegen. Eben diese Aporie bestimmt gegenwärtige Theorien post-kolonialer und genderspezifischer Prägung, die in der Rhetorik eine heterogene und produktive Analysekategorie erkennen, um Sprache, Text und Körper in ihren Überlagerungen, Überschneidungen und Verstärkungen zu fassen. Dabei sind es vor allem literaturwissenschaftliche Bezugnahmen, die die Interferenz von Fiktion und Realität exponieren und mit rhetorischen Lektürestrategien dieser Relationierung gerecht werden. Interferenz verweist aufgrund ihrer eigenen paradoxen Verfasstheit auf die Rhetorizität des literarischen wie auch des wissenschaftlichen Textes. Vieldeutigkeit und die außertextuelle Wirkmächtigkeit sind dem Begriff eingeschrieben, insofern er sich nicht nur direkt auf Phänomene bezieht, sondern diese erst als solche wahrnehmbar macht, sogar evoziert. Das Anliegen dieses Beitrags besteht darin, danach zu fragen, inwiefern dieser entscheidenden Dimension Raum gegeben werden kann, um nicht erneut eine Rhetorik der Überzeugung zu zementieren, die in der Übertragung eines vornehmlich der Physik zugeschriebenen Fachbegriffs die "Nachweisbarkeit" der Produktivität vorzieht. Anders gefasst ist zu fragen, ob

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 derartige Begriffseinsätze der Feststellung (im doppelten Wortsinn) verpflichtet sind oder ob nicht gerade die literaturwissenschaftliche Betrachtung auch umgekehrt als Korrektiv verstanden werden kann, um die Rhetorizität naturwissenschaftlicher Beweisführung zu exponieren. Insofern eine solche "beweisführende" Rhetorik auch den gegenwärtigen gesellschaftspolitischen Diskurs bestimmt, erscheint das rhetorische Lesen als politisches Instrument, das entgegen anti-intellektualistischer Tendenzen ein demokratisches ist bzw. sein kann. Gefragt wird nach der Wahrnehmbarkeit der literaturwissenschaftlichen Stimme im Echoraum der Interferenz und deren Selbstverständnis als politische Rede.

Date: Saturday, July 23rd

9:00 AM - Interferenzen zwischen Systemtheorie und Gender Studies Fritz, Martin (Universität Innsbruck, Innsbruck, Austria)

Die Systemtheorie Niklas Luhmann'scher Prägung genießt bekanntlich nicht den Ruf, besonders anschlussfähig zu sein an Erkenntnisse und Diskurse der Gender Studies, die auf (US-amerikanischen) dekonstruktivistischen Grundlagen basieren. Im Gegenteil gilt Systemtheorie nicht zuletzt aufgrund Luhmanns Person vielfach eher als apolitisch, unkritisch, konservativ oder affirmativ bzw. jedenfalls wenig weiterführend für sich selbst als progressiv sowie explizit und unvermeidbar politisch verstehende Theorie-Modelle.

Nichtsdestotrotz lassen sich Verbindungen herstellen, wie eine Reihe von Veröffentlichungen aufzeigt – im deutschsprachigen Raum allen voran jene von Christina Weinbach (z.B. als Herausgeberin des Sammelbands „Geschlechtliche Ungleichheit in systemtheoretischer Perspektive.“ Wiesbaden: VS Verlag für Sozialwissenschaften 2007). Mögliche Verbindungslinien hat auch Niklas Luhmann selbst angelegt: einmal durch seine Veröffentlichungen zur romantischen Paarbeziehung („Liebe. Eine Übung.“ Frankfurt am Main: Suhrkamp 2008 und „Liebe als Passion. Zur Codierung von Intimität.“ Frankfurt am Main: Suhrkamp 2007), die sich auf Überlegungen über das Verhältnis von Geschlechtsidentität und Begehren beziehen lassen und die mit entsprechenden Überlegungen aus poststrukturalistischen Traditionen kontrastriert werden können, sowie andererseits durch seinen polemischen Aufsatz „Frauen, Männer und George Spencer Brown“ (erschienen in: Ursula Pasero und Christine Weinbach, Christine (Hg.): „Frauen, Männer, Gender Trouble. Systemtheoretische Essays.“ Frankfurt am Main: Suhrkamp 2003).

Dieses zwiespältige Verhältnis zwischen den beiden Theorieschulen als eines der (konstruktiven wie destruktiven) Interferenz zu beschreiben erscheint hilfreich, um sowohl die vordergründige Verschiedenheit in Herangehensweise, Begrifflichkeit und Schlussfolgerungen als auch die davon verdeckten Übereinstimmungen zu beleuchten, wie etwa die grundlegende Perspektive, alles empirisch Wahrnehmbare als kontingent (also nicht naturgegeben, sondern veränderbar) wahrzunehmen.

9:30 AM - Der New Historicism als kultureller Text der "68er" - Interferenzen zwischen Literaturtheorie und zeitgenössischem Schreiben Clare, Jennifer (Universität Hildesheim, Hildesheim, Germany)

Mit kaum einer literaturtheoretischen Position lässt sich der Begriff der Interferenz so gut verbinden wie mit dem New Historicism: Insofern der New Historicism Kultur als intertextuelles Geflecht von kulturellen Texten in den Blick nimmt, hat er zahlreiche und unterschiedliche Wechselbeziehungen, Überlagerungen und Vermischungen zu beschreiben. Da er auch Theorien als aus kulturellen Texten gebildet begreift, die in gleicher Weise den interaktiven Dynamiken kultureller Texte unterworfen sind (Montrose 1989), scheint es darüber hinaus nur konsequent anzunehmen, dass auch seine

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 eigenen theoretischen Texte zu anderen, durchaus heterogenen, Texten ihrer Entstehungsumgebung, Interferenzbeziehungen eingehen.

Vor allem Begründer Stephen Greenblatt hat in seinen Texten mehrfach seine eigene literarische und wissenschaftliche Sozialisation in den 1960er und 1970er Jahren angesprochen (etwa Greenblatt 1990). Er versteht die Entwicklung seiner Herangehensweise an Literatur als Ergebnis gleichermaßen eines Weiterschreibens von und Reibung an an einer spezifischen (literatur-)historischen Umgebung und Diskurskonstellation. Diese Spur möchte ich in meinem Beitrag aufnehmen und nach Interferenzen zwischen Greenblatts literaturtheoretischen Begriffen und Positionen und ihrem Entstehungsumfeld fragen. Dabei soll es weniger um die (bereits mehrfach thematisierten) explizit theoretischen Einflüsse und Vorläufer gehen als vielmehr um Schnittmengen und Interferenzen mit zeitgenössischen literarischen Texten. Ganz im Sinne des New Historicism sind dies gerade keine direkten und geplanten Bezugnahmen, sondern parallele Schwingungen, Überlagerungen und Durchkreuzungen, die im Falle Greenblatts etwa Vorstellungen von Literatur, dem literarischen Schreiben und möglichen gesellschaftlichen Funktionen von Literatur oder den Entwurf des Verhältnisses zwischen literarischem Text und Entstehungsumgebung betreffen. Für sie soll erprobt werden, inwiefern das Begriffsfeld der Interferenz für ihre Beschreibung brauchbar ist.

10:00 AM - Interferenzen der Massenkultur Kim, Kyunghee (Hongik University, Seoul, South Korea)

Mit der Entstehung der Industrie und der neuen Medien etabliert sich der Begriff "Massenkultur". Eigentlich hat der Begriff "Masse" lange Geschichte der Begriffsbildung. Zuerst wird es zu beobachten, wie sich das Phänomen der Masse im Rahmen der Politik, Gesellschaft und Kultur entwickkelt hat. Und die Eigenschaften der heutigen Massenkultur wird untersucht. Massenkultur bezieht sich auf die urbane Kultur und Modernität, Technologie und inszenierte Wirklichkeiten, Digitalkultur und Konsumgesellschaft. Deshalb ist Massenkultur eine hybride Kultur. Durch die Reflexionen der verschiedenen Theorien der Massen lassen sich Interferenzen zwischen Theorie und Phänomen der Massenkultur zeigen.

11:00 AM - Organismus / Mischsprache. Überlagerungen idealistischer und empiristischer Sprachtheorie im neunzehnten Jahrhundert Nebrig, Alexander (Humboldt-Universität zu Berlin, Berlin, Germany)

Dass die Sprache ein Organismus sei, war in der Gründungsphase der Sprachwissenschaft Konsens. Die idealistische, auf Johann Gottfried Herder und die Romantiker zurückgehende Idee bestärkte die Ansicht vergleichender Sprachforscher, dass es keine Sprachmischung gebe. Im letzten Drittel des neunzehnten Jahrhunderts geriet diese Auffassung in die Kritik. Hintergrund ist eine empirisch- pragmatische Neuorientierung in der Sprach- und Literaturtheorie. Durch sie erhoffte man sich, die sprachliche als soziale Realität besser zu erfassen. Auffällig ist, dass die wissenschaftlichen Reformer vornehmlich im Habsburger Raum wirkten und eher aus der Romanistik und Slavistik kamen als aus der Germanistik. Der in Graz lehrende Hugo Schuchardt begriff 1884 Sprache als soziales Phänomen und befand, dass Sprachmischung die Regel sei. In der Kunst wiederum erkundeten Realisten und Naturalisten die Polyphonie ihrer Lebenswelt. Einheit und Geschlossenheit wurden als epistemologische und ästhetische Leitkategorien in Wissenschaft und Kunst zwar relativiert, aber nicht durch Pluralität und Offenheit ersetzt. Statt eines radikalen Paradigmenwechsels kam es zur Überlagerung des romantisch-idealistischen und des eher pragmatisch-soziologischen Diskurses. Theorien sprachlicher Reinheit interferierten mit polyglotten Konzeptionen sowohl in der Literatur- 270

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 und Sprachtheorie als auch in der literarischen Praxis der Moderne. Besonders das Werk von Ezra Pound oder Rudolf Borchardt ist von dieser Interferenz markiert.

11:30 AM - Neues von Bild und Schrift: Lektüren in Bilderzählungen Packard, Stephan (Universität zu Köln, Köln, Germany)

Neben der stets zitierten Bilderflut haben neuste Medien auch eine Zunahme der schriftlichen Kommunikation mit sich gebracht. So ergibt sich unter andere eine neue wiederkehrende Konstellation, in der in Bilderzählungen -- etwa in Film, Fernsehen, Video, Clip, Comic und Computerspiel -- davon erzählt wird, dass gelesen wird. Den etablierten Figuren, Motiven und Szenen des Lesens stehen hier neue Momente der Textaufnahme gegenüber: An Bildschirmen, deren Gebrauch erst noch in traditionsfähige Motive gefasst wird; und in Konkurrenz zur szenischen Darstellung, die sich durch die intensive Dialogizität vieler neuer Schriftmedien verschärft. Hinzu kommt die Konkurrenz verschiedener Bilder vom Lesen, und unter ihnen der Bilder vom neuen Lesen an neuste Interfaces. Dazu, wie wir von Bildschirmlektüren erzählen, bestehen erst einige junge und instabile Konventionen: Umso mehr lohnt es sich, ihnen nachzugehen. Dass wir Gespräche über Kurznachrichten führen, sprengt indes vorübergehende Konventionen der Szene im bildlichen Erzählen: So werden zunehmend Textnachrichten ausgetauscht, wo sie in der Dynamik der Szene an die Stelle gesprochenen Dialogs treten. Dies stellt die Inszenierung und die Abbildung gleichermaßen vor neue Herausforderungen und Möglichkeiten. Und schließlich gilt es, Annahmen über die Relation zwischen der Schrift auf dem Bildschirm, der geäußerten Sprache des Dialogs und des Bilds als Erzählweise in Szene zu setzen. So geraten Bildschirme in die Kamera; eingeblendete Schriftzüge laufen durchs Bild; Figure lesen Nachrichten diegetisch oder aus einem neu funktionalisierten Off vor. Der vorgeschlagene Vortrag wird drei Interferenzen aufzeichnen, mit denen sich die Konkurrenz und beginnenden Konventionalisierungen von elektronischer Lektüre in aktuellen Bilderzählungen tranchieren lassen: Die Interferenz zwischen erzählendem Bild und berichteter Schrift als Verkehrung der Laokoon-Debatte zum bildlichen Erzählen; die Interferenz zwischen Phäno- und Hypotext als inszenierte Realisierung der medialen Grunddifferenz elektronischen Lesens, bei dem die Programmierung des Texts von der Realisierung im Lesegerät unterscheidbar bleibt; und schließlich die Interferenz zwischen der Erfüllung und der Umdeutung von Theorien partizipierenden und textüberschreitenden Lesens, mit denen die Phantasie der Hypertextgeneration der 1990er Motive geprägt haben, mit denen die ganz anderen Lektürepraktiken der Gegenwart in der Inszenierung überformt werden.

2:00 PM - Poetik der Überlagerung und Interferenz: Intertextualität und Interpikturalität als Gestaltungsprinzipien im Künstlerbuch Schmitz-Emans, Monika (Ruhr-Universität Bochum, Bochum, Germany); Donat, Sebastian; Fritz, Martin; Raic, Monika (Universität Innsbruck, Innsbruck, Austria); Sexl, Martin (Ruhr-Universität Bochum, Bochum, Germany) Das Künstlerbuch ist ein proteisches Genre. Zu den wichtigsten Praktiken der Produktion von Künstlerbüchern gehören Verfahren der Bearbeitung bereits bestehender Bücher, also etwa Fragmentierungs- und partielle Zerstörungsprozesse, aber auch Techniken der Übermalung und Überdruckung. An Beispielen soll erörtert werden, inwiefern das am Begriff der “Interferenz” fruchtbar gemacht werden kann, um die Relation zwischen dem umgestalteten Ausgangsmaterial und den dieses überlagernden Schichten zu beschreiben.

Eine spezifische Poetik materialisiert sich in den Buchwerken von Tom Phillips. Dieser wählt als Bearbeitungssubstrat gedruckte Bücher und unterzieht damit auch die dort abgedruckten Texte selbst einer Überlagerung durch eigene Bild- und Textelemente; beim Übermalungsprozeß bleiben Teile der Grundlage lesbar. Der in seinem Buchwerk "A Humument" bearbeitete viktorianische Roman von W. Mallock ("A Human Document", 1971-1980) liegt als Trägersubstrat auch Phillips' 271

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Dante-Buch ("Dante’s Inferno", zuerst 1985) zugrunde, dessen Graphiken sich inhaltlich jedoch alle auf den ersten Teil der "Divina Commedia" beziehen. Zu jedem der 34 Canti des Danteschen "Inferno" entstanden vier Blätter, die zusammen mit einer englischen Übersetzung des Dantetextes (von Phillips selbst) und einem Selbstkommentar des Künstlers publiziert werden. Bildmotive und künstlerische Techniken werden auf teils verschlüsselte Weise den Danteschen Episoden zugeordnet. Neben der physischen Überlagerung (Mallocks Buch / Phillips' Bilderserie) kommt es also zu einer anderen inhaltlich-semantischen Überlagerung (Dantes Text / Phillips’ Bilderserie; Dantes Text / Phillips’ Übersetzung; Phillips' Text / Selbstkommentare). In welcher Weise interferieren die jeweils korrelierten Ebenen miteinander? Was wird unter den Umständen dieser Experimentalanordnung aus Dantes Inferno-Bericht; wie verwandelt er sich im Kontext des Künstlerbuchs? Und was wird aus der von Phillips genutzten und oft konkret zitierten Bildsprache seiner eigenen Gegenwartskultur und -kunst? Kommt es zu Effektverstärkungen oder zu wechselseitigen Depotenzierungen? Wie werden Schichtungen und Interferenzen visuell inszeniert und reflektiert?...

2:30 PM - Intermediale Interferenzen - Literatur und Fernsehen Neelsen, Sarah (Université Sorbonne Nouvelle, Paris, France)

Während sich die Intermedialitätsforschung zur Gegenwartsliteratur vorwiegend mit dem Schnittpunkt zwischen Literatur und Netz befasst, lohnt es sich im Zusammenhang mit dem Thema "Interferenzen", auf das "alte" Medium Fernsehen einschliesslich seiner Anfänge zurückzublicken. So begann beispielsweise die literarische Laufbahn Elfriede Jelineks 1968, im selben Jahr als auch der erste Fernsehapparat, damals mit zwei Programmen und Sendeschluss, Einzug ins Elternhaus hielt. Seitdem scheint das Medium ununterbrochen ihr Schaffen beeinflusst zu haben, wie das Video von Valie Export News from home 18.8.1988 zeigte. Der Einfluss war jedoch nicht nur inhaltlich (z.B. Anspielungen auf Lassie und Flipper im Hörspiel Untergang eines Tauchers, 1973), sondern vor allem formal, indem die Autorin neue Entwicklungen (Werbung, Talk-Show, embedded journalism, Eilmeldungen) in ihr Schreiben einarbeitete. Die Interferenzen spielten dabei eine wesentliche Rolle, zum einen als Vervielfältigung der Stimmen, zum anderen als Störung der Kommunikation. Über Jelineks Texte hinaus sollen auch Werke ihr nahestehender Künstler (Nicolas Stehmann, der ihr Stück Kontrakte des Kaufmanns 2009 inszenierte, und Christoph Schlingensief, an dessen Big-Brother- Installation Ausländer raus! sie 2000 teilnahm), untersucht werden. Sie bieten nämlich Beispiele wie Interferenzen in anderen Medien (Bühne, Performance) funktionieren können, wobei alle drei Abwandlungen der televisuellen Interferenzen auf ein gemeinsames Rezeptionsmodell hinterfragt werden sollen.

3:00 PM - Die Überlagerung von Fiktion und Wirklichkeit - Zu Reality-TV in der Literatur Fischer, Kai (Ruhr-Universität Bochum, Essen, Germany)

Reality-TV, etwa Sendungen wie Big Brother oder American Idol, ist seit seiner Entstehung vielfach zum Gegenstand einer pessimistischen Kulturkritik geworden: Reality-TV biete nicht mehr als grelles Spektakel, sei einem banalen und/oder vulgären Voyeurismus geschuldet oder beute die unwissenden Teilnehmer zur Schadenfreude der Zuschauer aus. Nüchtern betrachtet, zeichnet sich Reality-TV zunächst einmal ein bemerkenswertes mediales Dispositiv aus, das in der Lage ist, Realität als Ergebnis einer Inszenierung zu produzieren. Das Gelingen einer solchen Inszenierung hängt nicht zuletzt von den Narrativen ab, die einen Grundbestandteil des Dispositivs ausmachen. In diesem Sinne stellt Reality-TV bereits für sich genommen ein Phänomen der Interferenz dar.

In dem geplanten Vortrag soll es um die Rezeption von Reality-TV in der Literatur, etwa bei David Foster Wallace, Mark Greif oder John Jeremiah Sullivan, gehen. Im Fokus werden dabei folgende Fragen stehen: Über welches Wissen verfügt die Literatur? Welche Aspekte von Reality-TV werden thematisiert? Wie wird über Reality-TV geschrieben? Vor diesem Hintergrund erscheint die Literatur 272

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über Reality-TV, so die These, als Interferenzphänomen zweiter Ordnung. Der narrativen Mischung aus faktualen und fiktionalen Elementen wird eine weitere Ebene aus faktualen und fiktionalen Elementen hinzugefügt, wodurch sich die Interferenz in ihrer narrativen Komplexität erhöht.

4:00 PM - Intermediale (Neu-)Übersetzung: Lisa Oppenheims Filminstallation "Cathay" Telge, Claus (Universität Osaka, Osaka, Austria)

Ezra Pounds "Cathay", ein Band mit Übersetzungen des chinesischen Dichters Li Bai, gilt als Klassiker der literarischen Übersetzung. Pound übersetzt ohne jedwede Kenntnis der Zielsprache als vielmehr auf der Grundlage einer bildhaften Übersetzungstheorie, durch die er die chinesischen Schriftzeichen als Ideogramme oder Sinnbilder entziffert. Lisa Oppenheims gleichnamige Installation zeigt zwei Filme synchron nebeneinander: Auf der linken Seite erscheinen Zeilenabfolgen aus einem von Pound übersetzten Gedichtfragment, auf der rechten Seite sind symbolhafte Bildaufnahmen von Szenen und Objekten aus dem New Yorker Chinatown zu sehen, die auf eine wortgenaue Übersetzung des Ausgangstexts Bezug nehmen. Mein Vortrag erkundet, wie sich im Laufe dieses iterativen Verfahrens das Verhältnis umdreht und nach und nach der Text durch die Bilder und die Bilder durch den Text ersetzt werden, so dass Pounds Übersetzung neu zusammengesetzt wird. Oppenheim zeigt nie das chinesische Original, sondern generiert mittels der Interferenz von Text und Bild eine Pluralität von Interpretationsvarianten.

4:30 PM - Möglichkeiten und Grenzen von Transgression durch Interferenzen im Werk von Kurt Schwitters Nantke, Julia (Bergische Universität Wuppertal, Köln, Germany)

Das Werk des Avantgarde-Künstlers Kurt Schwitters ist auf verschiedenen Ebenen durch Interferenzen geprägt, welche die Funktionsweise und Wirkung seiner Werke maßgeblich bestimmen. Seine Texte montieren Fragmente unterschiedlicher Gattungen und nichtkünstlerischer Textsorten. Hierbei kommt es zu Überlagerungen verschiedener Text-Codes (im Sinne U. Ecos), welche im Hinblick auf die Gesamtwirkung der Texte zu einer Auslöschung der tradierten literaturwissenschaftlichen Grenzen führen und den Leser zunächst mit einem scheinbar chaotischen Rauschen verschiedener Stimmen und Textstrategien konfrontieren. In einem parallelen Verfahren kombiniert der Künstler in seinen Collagen und Assemblagen Materialien aus künstlerischen und nichtkünstlerischen Kontexten. Jene transportieren − so die Ausgangsthese des geplanten Beitrags − in ihrer materiellen Erscheinung ebenfalls unterschiedliche Codes, die das jeweilige Bild in Bezug oder auch in Spannung zueinander setzt, wodurch eine eindeutige Bildaussage nivelliert wird und wiederum eine Form von 'Vielstimmigkeit' entsteht. Das scheinbare Chaos wird im Gesamtwerk durch Verknüpfungen der Texte und Bilder aufgefangen. So entsteht ein Netzwerk als dynamisches Muster, welches das Gesamtwerk als Einheit erscheinen lässt. Dies stellt wiederum die Grenze zwischen Literatur und Bildender Kunst in Frage. Allerdings kann hier nicht einfach eine Auslöschung postuliert werden, da die jeweils eigenen künstlerischen Wirkweisen bildhafter bzw. textueller Elemente berücksichtigt werden müssen. Der Beitrag möchte untersuchen, inwieweit aufgrund der medialen Interferenzen eine literarische Wirkung der Bilder und umgekehrt eine visuell-ästhetische Wirkung der Texte erreicht wird und wo die Grenzen einer solchen Betrachtungsweise liegen. Weiterhin soll diskutiert werden, ob im Hinblick auf das Gesamtwerk eher von einer Verstärkung in beide Richtungen auszugehen ist oder ob eine Betrachtungsweise (visuell-ästhetisch oder literarisch) die andere in der Rezeption tendenziell auslöscht. Relevant erscheinen dabei die Auswirkungen der transgressiven Impulse des Werks auf den Prozess der Rezeption. Es soll die These vertreten werden, dass durch die beschriebenen Interferenzen ein hybrides 'Intermedium' entstehen kann, das mit unterschiedlichen Schwerpunkten zwischen literarischer und visuell-ästhetischer Wirkung changiert. 273

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5:00 PM - Ein Fallbeispiel für die INTERFERENZ Chon, Young-Ae (Seoul National University, Seoul, South Korea)

Ein persönlicher Fall stellt konkret dar, was heutzutage geschieht, wenn sich der alte Widerstreit zwischen Kunst und Leben in der globalisierten Welt zuspitzt.

Die Sensibilität eines Künstleres sucht und findet Ausweg und Zuflucht oft in einer der vielfältigen Branchen der Wissenschaft über sein eigenes Metiers; deren übermäßig trockene Systematisierung schreckt aber eine solche Seele ab und zwingt sie zur Kunst, zur eigenenen Domäne, zurück, die ihrerseits heutzutage in starkem Maß – wiederum zur Abschreckung – dem Markt ausgesetzt ist.

Das Hin-und-Hergeschleudertwerden zwischen zwei Welten wie zwischen zwei Sprachen, weil es hier um eine Auslandsgermanistin im Fernosten geht, ist in ihren sechzig Büchern dargestellt. Diese können als eine Dokumentation vom bewältigten Prozeß der INTERFERENZ in dem Sinne der gleichnamigen Sektion gelten.

17285 - Towards a New World Literature Date: Friday, July 22nd // Saturday, July 23rd // Monday, July 25th // Tuesday, July 26th Room: Hs 48 Chair: Gisela Brinker-Gabler; Barbara Agnese

2:00 PM - Weltliteratur im Exil: zur Aktualität transnationaler Entwürfe von Literatur in der Emigration nach 1933 Bischoff, Doerte (Universität Hamburg, Hamburg, Germany)

Bereits bei Goethe finden sich Reflexionen über Weltliteratur verknüpft mit einer zeitgenössischen Erfahrung kriegerischer Begegnung von Nationen und Kulturen, in welcher als Kehrseite nationalistischer Rhetorik und Selbstbehauptung die schmerzhafte Erfahrung von deren Grenzen zum Katalysator einer transnationalen Literatur- und Kulturauffassung wird. Entsprechend wird die Idee der Weltliteratur später im Gefolge des Ersten Weltkriegs (z.B. durch Fritz Strich) wiederbelebt. Vor allem aber wird sie unter (zumeist jüdischen) Exilanten aus NS-Deutschland erneut emphatisch aufgegriffen und transformatiert. Der Beitrag widmet sich der Frage, inwiefern Exilanten wie Walter Berendsohn, Erich Auerbach und Leo Spitzer auf den Begriff der Weltliteratur zurückgreifen und inwiefern sie diesen grundsätzlich (u.a. etwa im Bezug auf Heinrich Heine) mit Erfahrungen und Figuren des Exils verknüpfen. Universalistische Konzepte von Literatur und Kultur stehen dabei, so die These, in einem charakteristischen Spannungsverhältnis zu Entwürfen einer Literatur, die stets der Übersetzung ausgesetzt ist und nur in der Trennung von Herkommen und Verwurzelung zu sich selbst (als exilierter) finden kann. In einem Exkurs zur Geschichte des Exil-PEN-Clubs, der trotz aller Versuche, ihn als nicht mehr notwendig oder zeitgemäß zu schließen, bis heute als "PEN-Zentrum deutschsprachiger Autoren im Ausland" fortbesteht und dem u.a. der deutschschreibende und in Deutschland lebende Exilautor Abbas Khider angehört, soll zuletzt ein Bogen in die Gegenwart gespannt und die Diskussionsfrage gestellt werden, inwiefern Neukonzeptualisierungen von Weltliteratur infolge des Exils nach 1933 nachhaltige Impulse auch für die aktuelle Wiederaufnahme des Begriffs in den Philologien wie Kulturwissenschaften gegeben haben.

2:30 PM - Post-Cold War literature of migration: East-Central European consciousness between exile and diaspora Sandru, Cristina (The Literary Encyclopedia, Bristol, United Kingdom)

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My paper will be discussing the transition from ‘exile’ literature within the context of the Cold War to different forms of post-1989 diasporic (self-)representation in literature and cinema. I will briefly identify three categories which express the fluidity of this transition: (1) pre-1989 exilic literature (produced by self-exiled writers who have fled communist countries in Central and Eastern Europe, either to North America or Western Europe, e.g. Norman Manea, Herta Müller, Milan Kundera, etc.); (2) post-1989 ‘transitional’ literature, struggling to seek a new position of articulation within a rapidly changing world order, marked by a disappearance of the initial reason for relocation but also an acknowledgement of the impossibility of return; and (3) the ‘new’ literature of migrant and diasporic consciousness, which finds many parallels in first-generation postcolonial accounts. If the ‘transitional’ literature uneasily sandwiched between exile and diaspora bears many similarities with the works of ‘hyphenated’ postcolonial writers, the post-millennial migrant consciousness finds itself struggling to express the complex processes of cross-cultural exchange that this new wave of mobility has brought with it. In this context, I will consider contemporary transnational movements from East-Central Europe to Britain in particular, and their reflections in recent literary and cinematic culture. I will look at a few instances (among which Ken Loach’s film It’s a Free World (2007), Marina Lewycka’s novel Two Caravans (2007), and British-Romanian writer Ioana Morpurgo’s as yet untraslated novel Imigranții [The Immigrants]) of a new and as yet underdeveloped cultural category, which I call ‘postcolonial postcommunist’, comprising texts emerging out of the experiences of displacement, economic deprivation and identity crisis which migrants from postcolonial and post- communist spaces into the western metropolis share.

3:00 PM - Global Storytelling: Frame Tale Narratives and the Ethics of Cosmopolitanism Busl, Gretchen (Texas Woman's University, Denton, USA)

This paper examines the use of the frame tale cycle structure in contemporary novels written by Rabih Alameddine, Chitra Banarjee Divakaruni, Rana Dasgupta, and Rafik Schami in order to consider how authors self-consciously create global texts – texts conceived as artifacts of world literature, rather than those that become world literature through translation and transmission. These novels anticipate their global readership, and via a process of self-conscious multiplicity, engage readers in an investigation of how we can imagine communities beyond national borders. Using a framework drawn from narratology, semiotics, and comparative literary studies, I demonstrate that these texts utilize the trope of storytelling in order to emphasize the collaborative nature of language and the literature made from it. I argue these authors demonstrate that writing is always a collaborative rather than solitary act, by stressing the cooperation that exists between an author, his audience, and their precursors. Together, these novels recuperate the communal nature of storytelling by emphasizing the collective nature of signification. Read together, these frame tale narratives emphasize what Sandra Nadaff calls an “ethics of empathy,” or the universal instinct to use storytelling as a method of creating connections across both distance and time. The stories embedded within these framed novels are distinct but united within the external frame: this structure mirrors Kwame Anthony Appiah’s idea of a cosmopolitan community where, despite their differences, unique individuals enter relationships of mutual respect. This narrative structure not only allows the chaos of globalization to be ordered, but demonstrates the capacity of storytelling to enact an ethics of cosmopolitanism. I argue that the framed narrative cycle which includes its own audience helps to overcome what Appiah suggests about the difficulty of developing a moral interest in others: that we are often trying to imagine making sense of a stranger in the abstract. As each of these texts incorporates themes and structures from multiple national and cultural literary traditions, I also argue they work to create a new “global” literary tradition.

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4:00 PM - Stefan Zweig and (World) Literature in Exile Hoefle, Arnhilt (Universität Hamburg, Hamburg, Germany)

The reception of Stefan Zweig (1881-1942) presents one of the greatest literary conundrums of our time. While in the 1920s, at the height of his career, the Austrian novelist was among the most widely read and most-acclaimed German-language writers, his works fell into radical critical disfavor in the second half of the century. The allegedly poor literary quality and his apolitical nostalgic approach as an exiled Jewish writer during the Holocaust, have become the main targets of his critics in Europe and North America. However, Zweig’s works have enjoyed not only continued but also truly exceptional popularity and even canonical status in other parts of the world, such as in China. By taking the Chinese reception as a case study, this talk sheds light on a different way of reading Zweig that reveals important political and literary dimensions that have long been overlooked. According to Damrosch, literary works enter into world literature when they circulate beyond the culture of origin. While circulating and thriving beyond their linguistic and cultural point of origin, Stefan Zweig’s works have been almost completely removed from their native ground. This talk therefore argues that Zweig’s works must be considered not only as exile literature but as “literature in exile”. It thus showcases the intricate and problematic interrelations of exile literature and world literature and explores new perspectives for an urgently needed re-conceptualization of these contested concepts.

Chair: Barbara Agnese

4:30 PM - The Clash of Tongue and Nation. Borges, Gombrowisz, Özdamar Gwozdz, Patricia (University of Potsdam, Berlin, Germany)

Starting with Jorge Luis Borges I want to outline the clash of European writing traditions and inventing a new kind of argentine literature tradition, which in Borges view has never existed before, but has to be fictionalized by strategies of writing about Literature. For the same reason Borges was not a Nationalist, but a Mythologist who has invented „Buenos Aires“ as a metonymy for Argentina as a whole Nation after returning from Europe. Although one cannot say that his first Poems „Fervor de Buenos Aires“ are some kind of Exile-Literature – in the common sense of the term – I would prefer to hint at this very point that Borges tries in some way to overcome the terms of Exile and Migration Literature by emphasizing the global circulation of words, phrases, legends, songs, poems, narratives taken from ordinary life and being fictionalized in different languages by different „scriveners“. The Clash of Tongue and Nation means that it is the Tongue that crosses borders and closes the gabs between Nations and People. By reference to this outlined framework I am going to develop further considerations about the „transatlantic“ Prose of the polish Author Witold Gombrowisz who has lived for many years in Buenos Aires, but always has written in Polish and has been published in France and the german-turkish Author Emeni Sevgi Özdamar who has written „Mothertongue“ (Mutterzunge) in order to reinvent the sensation and the ability for using different languages and to provoke the Clash of Tongue and Nation by destroying the delusion that there is no Tongue without a Nation. Instead she emphasizes that Tongues as archives of lived lifeonly can exist and recreate beyond national borders. The Mothertongue will be revived by the clash with other tongues in order to give birth to new identities.

17:00 PM - National Literary Canon and the Definition of Minority Literatures Dettori, Giovanni Maria (Binghamton University, Camillus, Austria) 276

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

In a globalized world, the concept of national literature is being challenged. We assist frequently to the affirmation of writers that come from a multilingual and multicultural background. These writers often decide to write in their second language instead of opting for their mother tongue. They adopt the dominant language of the nation that welcomed them as immigrants and enter the canon of a national literature that is not that of their ethnic and cultural background. We can take as an example the works of Herta Müller an ethnic German from Romania, or Elias Canetti, a Bulgarian, naturalized British who wrote his works in German. Both authors reached a great success and were awarded the Nobel Prize for Literature.

In my presentation I would like to address the relationship between a national literature and the literary production of its linguistic and cultural minorities. In analyzing the works of multilingual and multicultural authors like Müller, Canetti, and Deledda, among others, I will try to assess the definition of a minor literature as presented by Deleuze and Guettari and evaluate the affirmation that the identity of a minority group can only be affirmed through its language, and that all that is written in a national language belongs to its national literature. Is the linguistic choice the only element that establishes to what literary corpus a work should be assigned? How works that entered the national literary canon of a country and were created by multicultural and multilingual authors differ from works created by national authors with a more homogenous background? Are there features that can be isolated and that are shared by authors of minorities? The foreign gaze permeating many works of authors belonging to a minority group, that feeling of estrangement of detachment of not belonging to a historical, linguistic and cultural reality, can be considered as the distinctive mark of works created by authors living between languages and cultures?

Addressing these aspects will help us better understand the relation between a major literature and works that are the product of a multilingual and multicultural mind that cannot be pinpoint to a specific territory and that emerges in a deterritorialized and transcultural context. This analysis will also help to contrast traditional hierarchies based on positions of power and consolidated definitions of what national and regional literatures are.

Date: Saturday, July 23rd

2:00 PM - Contemporary African Literature: Local, Global, Post-National, Postcolonial, World Literature? Pucherova, Dobrota (Institute of World Literature, Slovak Academy of Sciences and Institute of African Studies, University of Vienna, Bratislava, Slovakia)

The way in which African literature is included in the category of World Literature remains problematic, arising from material aspects of publishing that still drive authors to publish in the West. African literature thus remains split between texts published locally for local readers and texts published in the West for global audiences mainly by writers living outside of Africa or on transcontinental trajectories. It is the latter which is regarded internationally as the representative African literature. In these works, there is a tendency to conform to Western readerly expectations by employing certain aesthetics and worldviews. The position outside Africa provides a distance from which own culture is criticized, and the value of nation and national belonging is questioned as a result of disillusionment. This is very different from literature written and published on the African continent, which still believes in the possibility of social transformation through resistance. In diasporic African writing, on the contrary, characters have no historical agency. The only kind of resistance that remains is on the level of narrative strategies, which reveal the categories of the nation, self and other as performative. However, rather than embracing free-floating „transcultural

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 hybridity“ celebrated by postcolonial discourse as liberatory, migrancy is revealed to be a means of reproducing neocolonial social order. Thus, African diasporic literature both conforms to and resists postcolonial politics and aesthetics and problematizes its own inclusion in World Literature (which, due to the accumulation of symbolic capital in the West, remains defined by Western postmodern aesthetic tastes) even as it strives to reach this status. Any discussion of African literature must therefore take into consideration the ways this literature is shaped by its intended and actual audiences, the image of Africa that circulates globally as well as the material aspects of publishing.

2:30 PM - World Literature: Global, Democratic and Plurivocal Fomeshi, Behnam (Shiraz University, Shiraz, Iran)

With the beginning of the new millennium a new era began for the discipline. Comparative literature realized the necessity of the globalization, hence the discipline moved toward world literature, or one may argue that it returned to its original idea. Today comparative literature has forgotten its old West-centrism and is moving toward a global view to include non-Western cultures. The bell has tolled for the West-centric discipline as Spivak announced in her Death of a Discipline (2003). Nationalism and cultural superiority of the French school is replaced with multiculturalism and cultural relativism. World literature is the new comparative literature. Comparative literature in its origin provided scholars with a global view of literature. The French school led it into nationalistic and Eurocentric paths. In the twenty-first century the discipline has returned to its original democratic path. Goethe’s Weltliteratur, affected by the French school, turned into a narrow-minded comparative literature. Now, aided by post-colonial thought, multiculturalism and globalization, it is the global, democratic and plurivocal world literature that sacrifices no culture for the sake of the others.

3:00 PM - Constellations of the Translocal: Towards a New World Literature Brinker-Gabler, Gisela (Binghamton University, Binghamton, USA); Brinker, Gisela (Binghamton University, Binghamton, USA)

In recent years we have seen a growing impatience with nation-bound or single culture- bound approaches to studies of literature and culture and, consequently, the turn to the “transnational” and “transcultural.” In my paper, I shall explore today’s complex crossing of boundaries and suggest a new conceptualization of the emerging space, i.e., the “translocal.” I am not simply assuming that there is such a space. My purpose is more critical. I will explore the very possibility of such a space and ways in which such a space has been formed and is been forming through the very practices in thought and literature First, I will ask: If the “transnational” or “transcultural” is looked at positively as a fluid space, always in the making, does it become a shallow or superficial space, even promoting violent fluidity? In my paper, I will consider various forms of dynamic interactions between a territorial ‘localization’ (centering) within specific contexts and processes of negotiation of cultural differences (decentering) under specific condition, such as practices of mobility, multilingualism, and global communication. I will argue for an understanding of “translocality” that elucidates underlying notions of mobility and place and sketches out multifaceted constellations of translocal emplacement, imageries, and embodiment inflected in various practices of writing. The concept of “translocality,” I suggest, situates practices of writing within and across ‘locales’ in view of manifold possibilities of inhabiting place(s) multiperspectively (an emergent new Weltliteratur ?), which expands notions of transnational and transcultural literature.

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Date: Monday, July 25th

2:00 PM - Imaginings of Transnational and Gendered Subjects in Turkish German Cinema. Majer-O'Sickey, Ingeborg (State University of New York, Binghamton, Binghamton, USA)

My presentation engages narratives that create images of transnational identities in recent Turkish German Cinema. Key issues subtend my presentation are: ways this cinema postures itself vis-à-vis inter- and trans-European migration; how narratives forge intersections between national and transnational cinemas; and which cinematic strategies dominate in imagining hybrid, migrating, and gendered identities.

Part I discusses the politics of space, the “foreign,” and the migrant in Turkish German film praxis. As Appudurai reminds us, underlying “the image, the imagined, the imaginary” are new “global cultural processes” that understand “imagination as social practice.” I will argue that the majority of Turkish German films create such social practice (and its critique) with tropes of space. To this end, I discuss particular cinematic strategies by directors such as Seyhan Derin (I am my mother’s daughter), Tefik Baser (40sqm Germany), and Fatih Akin (Head On).

Part II analyzes mediatized Turkish German Cinema’s “fit” within the institutionalized cultural space of Europe. I highlight industrial practices (funding, co-productions; and exhibition structures) to illustrate how academic discourse and main stream media (mis)uses the nomenclature of “European” in the context of Turkish German film culture. This analysis reveals industrial practices as asymmetrical: the erection of male cult figures in Turkish German Cinema across various media all but erases female Turkish German directors on an institutionalized level in European cultural politics.

I conclude by arguing that discriminatory practices present in film culture often stand in stark contrast to the film narratives, all the while intersections between the “real” and “reel” frequently mirror inter-European migration in terms of issues of multiculturalism.

Chair: Gisela Brinker-Gabler

2:30 PM - The Western Self and the Eastern Other: Adolf Muschg’s Literature on Japan and Japanese Women Zhou, Min (Roger Williams University, Bristol, USA)

In the West, “Japan has often figured as an alluring yet elusive feminine ‘other’.” While these representations reflect a particular aspect of Japanese culture, they are also a powerful archetype of Western Orientalism.

A question thus arises, namely, how to write about the Other, Japan in this case, without falling into trap of erotizing Japanese culture? This paper aims to explore the question through the literature by Adolf Muschg, a Swiss writer, who longed for Japan as a distant home in his childhood and recorded many of his visits to the “island that Columbus failed to discover” as an adult.

Women characters play an important role in Muschg’s literature, which does not lack erotic details: such as an extravaganza in a nightclub at Kyoto’s outskirts where women performers show the private parts of their bodies and lure male audience to go on stage and copulate with them. However, his women characters are not a homogeneous group, but set apart in professions, personalities and social backgrounds. More importantly, Muschg focuses on the aspects where 279

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European culture meets wit Asian culture. A central topic of his writing is the universality of male desire and hunt for sexual adventures in both the I and the Other.

Despite the effort to discover commonality between East and West, Muschg addresses the differences and compares Eastern and Western values and resulting practices. As a result, His series of writings about Japan shows a tendency to de-mystify and de-eroticize Japan by making the different Japanese culture a variation among variations, and discovering the interconnection of different cultures.

3:00 PM - Geopoetics and Global Warfare in the 21st Century Bönisch, Dana (Universität Bonn, Bonn, Germany)

Based on (and critically examining) the thesis that the highly technologized 'war on terror' is a war of the screen and a 'view from above', the paper I would like to propose will focus on several Iraq and Afghanistan war novels (e.g. Thomas Lehr’s September. Mirage , Kevin Powers' The Yellow Birds , Norbert Scheuer's Die Sprache der Vögel and David Mitchell’s The Bone Clocks ) with regard to their production of different modes of vision and different forms of globality. My reading of these texts will be framed by a notion of 'geopoetics' that is related to topology rather than topography: Drawing on the works of Michel Serres, the philosopher of relationality, I will argue that the response to simplifying media narratives and their cross relations with visual regimes can be framed by a concept of space that collapses metrical distance.

This paper will be relevant both for sessions II ('Between and across borders') and III ('Encountering the Other(s)'), from a more abstract and politico-philosophical understanding of these titles down to the very level of plot and imagery within the fictional texts. While some focus on the effects of long distance warfare, in at least two of them, the borders of the military camp become complex zones of encounter – not only encounters with local civilians, but also with unruly 'natural' spaces, producing, I will argue, a global topology that potentially destabilizes binary distinctions between 'us' and 'them'.

Date: Tuesday, July 26th

2:00 PM - Okzident and Orient: Poetik der Bewegung im Werk Zafer Senocaks Segelcke, Elke (Illinois State University, Normal, USA)

Angesichts der unveränderten Fremd- und Eigenwahrnehmung in den anhaltenden deutschen Identitätsdebatten, in denen in Reaktion auf Migrationsbewegungen und Globalisierung die Tendenz dominiert, möglichst alles Fremde dem Vertrauten anzupassen, sieht der deutsch-türkische Autor Zafer ?enocak in seinen Reflexionen über Okzident und Orient, seine literarisch-essayistische Aufgabe u.a. darin, das Eigene mit dem Blick des Fremden anzusehen und die verdrängten Anteile des Anderen im Eigenen wieder erfahrbar zu machen. Die so gewonnene Distanz vom scheinbar Vertrauten zu einem Fremd-werden-Lassen des eigenen Selbstverständnisses führt zur Voraussetzung für eine umfassende Selbstreflexion und Transkulturalität im Sinne einer ”Poetik der Bewegung,” in der Raum und Zeit im “ständigen Springen zwischen den Kulturen” aufeinander bezogen sind, “ohne daß sich eine stabile und fixierbare Beziehung zu einer einzigen Kultur oder kulturellen Gruppe ausmachen ließe” (vgl. Ottmar Ette, Literaturen ohne festen Wohnsitz 2005). Der abendländischen geokulturellen Abgrenzung hält ?enocak anhand seines zwischen Istanbul und Berlin reisenden Protagonisten in seinem Geschichtsroman (Deutsche Schule 2012) die Migration als 280

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Ausdruck fluider, bruchstückhafter Mehrfachidentitäten im Zusammenhang mit einer multinationalen Verknüpfung (außer)europäischer Geschichte und Literatur entgegen. Dabei führen die Motive von Bewegung und vielfacher Grenzüberschreitung zu einer Art nomadischer Schreibstrategie (ähnlich der von Deleuze/Guattari im Zusammenhang mit ihrem Rhizommodell entwickelten ‘Nomadologie’), der im Zusammenhang mit geografischen und historischen Topografien als Orte des Umdenkens und kultureller Neuorientierung eine epistemologische Bedeutung zukommt, die in diesem Vortrag im Sinne einer Grenzüberschreitung des nationalen Raumes näher analysiert werden soll.

Chair: Barbara Agnese

3:00 PM - World Literary Gestures in Kafka Kaikoku Rotaru, Arina (NYU-Shanghai, Shanghai, China)

ICLA section 17285: Towards a New World Literature

Yoko Tawada’s play Kafka Kaikoku engages with a rewriting of two almost contemporary texts, Kafka’s Metamorphosis (1915) and Izumi Kyōka’s Demon Pond (1913), to tell the story of a character’s radical transformation and rebirth under the shock of modernity. Through a case study analysis of Kafka Kaikoku, this paper analyzes theoretical possibilities for understanding three interrelated world literary gestures and their significance in our contemporary global literary landscape: 1) the reimagining of the “world” in a contemporary text as a performative intra-dialogue and critique of nation-states; 2) a dislocation of East-West habitual binaries and borders through multilingualism and the transculturation of literary motifs and patterns; and 3) a generic dislocation, which includes staging the theater inherent in Kafka’s own prose gestures and virtualizing Japanese story-telling techniques on the cusp of modernity.

17286 - The Atlas Project Date: Saturday, July 23rd Room: Hs 29 Chair: Han, Jihee ; Hambuch, Doris; Elis, Toshiko; Bellarsi, Franca; Jenkins, Grant; Hao, Liu; Huh, Sukyung; Jain, Jasbir

9:00 AM - Breaking the Silence: Revolutionary Poets from the Sub-Continent Jain, Jasbir (IRIS, Jaipur, India)

The present paper proposes to work with three poets who cover between them the whole of the twentieth century. Each wrote in his own language - Kazi Nazrul Islam in Bengali, Faiz Ahmed Faiz in Urdu and Pash in Punjabi. They also belong to different nations: Bangladesh, Pakistan and India. (True the first two belonged at one time to undivided India – but these are the complexities of history.)

Islam participated in the First World War, but subsequently turned a revolutionary poet. A younger contemporary of Tagore, he was arrested for his poem ‘Bidrohi’ (The Rebel), and served a prison term for a year in 1924, which further stoked his spirit of rebellion against the foreign regime. Fiery and independent, disappointed with the Partition and its accompanying violence, was imprisoned for voicing his dissent against dictatorial powers of the government. Later he went into exile. Pash, much younger than the other two, grew up in rural Punjab, came from a farming background and 281

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 was influenced by the Communist ideology, which had turned Naxalite on account of Maoist ideology, also served a prison term. Pash also died young.

It is hoped that their work will reflect upon the nature of of revolutionary inspiration and the individual consciousness that it confronts and shapes. Power and revolution are two oppositional discourses, running parallel in history, even as they clash with each other. While power seeks to silence, enclose and imprison, revolutions seek to break these shackles in order to construct a more human world. At heart, it is a struggle between the human and the inhuman - the subjective and the objective.

Jasbir Jain, Institute for Research in Interdisciplinary Studies, Jaipur, INDIA. [email protected]

9:30 AM - Ecopoetic Elements in the Work of Derek Walcott, Sarah Kirsch, and Ahmed R. Thani Hambuch, Doris (United Arab Emirates University, Al Ain, United Arab)

Environmental poetry distinguishes itself from nature poetry in its emphasis on threats to the natural environment and on the origin of such threats in human activity. The most prominent ecocritical studies of Derek Walcott’s work appear in the anthology Caribbean Literature and the Environment: Between Nature and Culture (2005) and in George B. Handley’s New World Poetics: Nature and the Adamic Imagination of Whitman, Neruda and Walcott (2010). Sarah Kirsch’s writing is not yet the subject of explicitly ecocritical analysis, but in her entry to the Princeton Encyclopedia of Poetry and Poetics (2012) Ursula K. Heise mentions this poet as one among others who “had to reintroduce nature as a prominent lyrical theme” in post-war Germany. No critical studies in English exist on the poetry of Emirati Ahmed Rashid Thani altogether, but my aim for the present comparative study is motivated by a common concern in texts by the three poets alike for representations of nature in general, and of the sea in particular. When Walcott writes at the end of his opus magnum, the epic poem Omeros, “… the sea was still going on,” a certain hope for sustainability is one of the many connotations that accompany such a conclusion. Related to the idea of the sea’s continuity is the association with the cleansing flood. This association surfaces in the following line by Kirsch: “Schwer/Lastet das Meer auf mir und dem Land” (The Sea rests heavily on the land and me). Thani’s “In this City” presents a speaker who perceives of the ocean as a gate to wisdom. The final question in this poem about the water’s capability to bring the speaker to his/her senses, suggests a superiority of nature over culture. Other examples from poems by the three writers highlight the relevance of maritime imagery for ecocritical study. My presentation further situates cross-cultural environmental poetry as vital contribution to The Atlas Project.

10:00 AM - Experimental Ecopoetics and Experiential Translation: Bringing the Self back from Experiential Exile? Bellarsi, Franca (Université Libre de Bruxelles (ULB), Brussels, Belgium)

Keeping alive in the anthropocene and the environmental crisis brought about by climate change cannot be severed from issues of environmental justice and the need to rethink not only the nature of the individual organisms called "humans," but also the very concept of "community" and the energy exchanges between human and non-human collectivities. In other words, keeping alive in the anthropocene jointly requires a redefinition of and reconnection with "experience." Yet, even remotely so, can contemporary experimental ecopoetics experientially map the environmental harm done to both humans and non-humans, including to the relation that binds them? In its exploration of environing space and language, can radical ecopoetic practice play its part in the creation of the new narratives and the change in perception needed to ask questions in a new way? Beyond the actual filter of language, can experimental ecopoetics translate experience and reconnect us with a less mediated--and atomizing--kind of experience than the one dominating in the "Age of the

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Internet of Things"? Or does experimental ecopoetics have failure inexorably built into its attempts to open up human organisms to their non-human environment, to open up human organisms to themselves and to a different sense of community? My paper brings in examples from contemporary ecopoetics in the US, Canada, Britain and Australia. In its comparative mapping of experimental ecopoetics within the Anglophone world, my paper shows how, ironically, avant-garde ecopoetics enlists some of the discursive practices of the digital sphere to better subvert its heavily mediated kind of experience. My presentation also explores how, paradoxically enough, in its ready embrace of the impossibility for poetic language to truly translate the experiential, experimental ecopoetics nevertheless constitutes a positive attempt in the IOT Age to "recover the human" through and in its interaction with the non-human.

11:00 AM - Traditions and Novelty in Hu Shih's Early Poems Liu, Hao (Tsinghua University, Beijing, China)

Hu Shih’s theory and practice of the poetry have left a mark on the course of Chinese modernization. There are different views as to what influences Hu Shih had received from the western and Chinese poetic traditions. Based on a close reading of Hu Shih’s early poems and diaries, the first part of this paper is going to analyze which proportion of western / Chinese poetry had influenced and shaped Hu Shih's poetic style. The analysis is composed of three aspects: (1) observing Hu Shih’s change from a pessimistic poet to an optimistic one, (2) expounding the heritage of Chinese poetic tradition in Hu Shih’s poetry writing, and (3) tracing the progress Hu Shih had made as a student and translator of western poems. The second part of the paper treats Hu Shih’s poetic style against the cultural background. Hu Shih wrote poems in a time of cultural transition. But his "new" poetry is not so radical as people may think, nor are the old and the new so contradicting in his intellectual world. This paper attempts to propose that the external cause of Hu Shih’s new poetic style was his reading of the Elizabethan and Victorian literature, and the internal cause might be his taste in Chinese classical poetry and the impact of the Song-Dynasty philosophy which was the root of his learning. The third part of the paper answers "what poetry can do" in a difficult time by discussing how Hu Shih’s poetic opinions extended to social engagements. Firstly, with strong awareness of the need of cultural reformations in modern China, Hu Shih endeavored to start new trends in literature in order to “pave the way for renovations in politics”. In that context, the vulgar, the vernacular and the formerly marginalized were recovered and valued in the new culture. As a result of Hu Shih and his colleagues’ efforts, vernacular Chinese became a new mode of education, and made it possible for more ordinary people to share knowledge of the moving world. Secondly, Hu Shih had lectured on the “renaissance” of Chinese culture. He favored the notion of the renaissance for it echoed the traditional Chinese idea that the new grows from the inside of the old. Hu Shih claimed that a new culture in China should be built by “the balance of the new and the old, and the mix of the Chinese and the western” . As he mixed the western form and the Song-Dynasty spirit in poetry writing, the hope to mix the old and the new was his way of heralding and contributing to the “renaissance of China”.

11:30 AM - Poetry of "the Humanly Possible" Han, Jihee (Gyeongsang National University, Jinjushi, South Korea)

Witnessing how capitalism vulgarized and reduced complex relations to a banal iconography, A. Rich once expressed a sense of disappointment at the massive inarticulation among the educated, including writers and teachers who have the relative freedom to name and describe what they witness without sacrificing rational nuance. Rich’s concerned remark, surely, stings us, scholars of poetry, to the quick because it mirrors the image of us silent intellectuals who would click the mouse to read the current worldwide news of terrorism, regional wars, religious strife, genocides, and so on

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 and then move on to live our daily scholarly lives with the dead silence, feeling caged in the narrowing corridors of universities run by the capitalist logics. However, witnessing the Sewol-Ferry ( 世越號) Disaster which took away the innocent lives of 250 South Korean high school students on April 16th 2014, I’d like to probe what poetry can do to recover ‘the human’ in the age of IOT. I’d like to ask such question as what it means to be human in this age? How much indifference will we go on tolerating in the face of worldwide economic inequalities, violence & wars, hate speeches, terrors, genocides and so on? How much dehumanization will we be conniving, driven by capital’s project of reducing human intelligence and creative resistance to the obsolescent in the digital ecology of artificial intelligence and advanced automation systems? Certainly, poets in any history and place have explored the human questions, interrogated the power of language, and chosen to break the silence. Korean poets, too, have chosen break the silence in the time of danger, disaster, and tragedy. They have tried to witness how our humanity had been stolen and mused on how to use the power of poetry to relieve the body and reconstitute the mind of Korean folks. Even they have been carrying out a poetry project of remember each and every boy and girl, trapped under-seas in the wreck of transnational Sewol-Ferry (세월호, 世越號, Transcendent Ferry) of Capital. In the end, breaking the silence does not belong to the category of the humanly impossible. It is our job to tell the world that it is the necessity of life.

12:00 PM - The Sewol-Ferry Disaster and Poetry Huh, Sukyung (Free, Altenberge, Germany)

The Sewol - Ferry Disaster and Poetry

Sukyung Huh (Poet)

I’d like to talk about an experience I had last year. I received a mail from my Korean colleague, who is also a poet. She let me know about a poetry project held at “Yiwut (friends), Ansan Healing Space” and asked me if I could write a poem about a girl who died tragically in the Sewol-ferry disaster. She added one condition, though, explaining the occasion for the poem to be recited: “on each and every birthday of deceased boys and girls, we’d like to read a poem to console their family members, friends, and other concermed citizens. As I heard from the coordinator of the project, what they wish the most was to hear the voices of their sons and daughters and friends just once more. Thus, I wish you could write a poem, in which you speak in the voice of the deceased to those who have been left behind with a sense of never-ending sorrow. ”

In the Ansan High School, there are over 300 empty seats which have been left since the tragic disaster. At the Paengmok port, those who could not believe their beloved had gone to the land of no return have been tying yellow ribbons and still waiting for the recovery of bodies. Having known all these, I was asked to write a poem, speaking to those families and friends in the voice of the deceased nineteen year old girl on her birthday! It was not an ordinary job. Even if given some information and photoes of the girl, I felt it unnatural for a complete stranger, living overseas, to speak in the voice of a young girl she has never met before. Several days passed without success.

However, I finally could write a poem for her. I am not sure whether it has been received as the deceased girl’s speaking. Still, I think I did my best to be in her shoes: I tried to invoke her spirit, and a couple of times I felt her spirit visiting and talking to me. Hard to believe it, but at least I felt so. I felt, she spoke to me when I spoke to her. It was a mysterious experience. Only then, I could write a poem, in which she speaks to us from beyond the sea.

Indeed, it is difficult to relate to a stranger’s pain and sorrow. It would be more so in these days and age if the stranger is ‘Not-Me’ in terms of gender, race, and class. Yet, I do not think it belongs to the

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 category of the impossible. As I have done, you could use some imagination to be in the shoes of ‘Not-Me.’ That is the necessity of life. That is the lesson the Sewol-ferry disaster victims taught me, speaking “it is your job. ”

17287 - Comparing Comparative Literatures: Models and Methods Date: Saturday, July 23rd Room: Hs 16 Chair: MacKenzie, Robin; Chattopadhyay, Suchorita

2:00 PM - Cross-Cultural Collaborations in Comparative Literature: A Survey Dalvai, Marion (University of St Andrews, St Andrews, United Kingdom)

The aim of this paper is to investigate to what degree cross-cultural collaborations and critical exchanges constitute valid alternative critical practices that could challenge the Eurocentric practices which are still very much at work in the field of comparative literature and the humanities in general. By cross-cultural collaborations and critical exchanges I mean open-minded interactions between critics from Western and Non-Western cultures willing to investigate analogies, similarities and differences in an on-going dialogue that takes into account the temporal, geographical and intellectual site of all critical readings. I intend to raise four questions which seem fundamental to me in our endeavour to shift the focus away from Western critical discourse. The questions are: 1) How far do existing cross-cultural collaborations and exchanges shift the centre of literary criticism beyond the West? 2) What alternative definitions of literature and literary consecration can they provide? 3) Is there not a danger of a persistent linguistic imperialism, with English and French acting as lingua franca? And, 4) and most importantly, could such collaborations and exchanges form the basis for a new framework of literary criticism?

2:20 PM - INDIAN COMPARATIVE LITERATURE AND THE SOCIAL SCIENCES: COLLUSION AND COLLISION DASGUPTA, SAYANTAN (JADAVPUR UNIVERSITY, KOLKATA, India)

INDIAN COMPARATIVE LITERATURE AND THE SOCIAL SCIENCES: COLLUSION AND COLLISION

This paper seeks to understand the relationship between Comparative Literature as it has been practiced in India over the decades and the social sciences, and in the process, attempt a narrative of the evolution of Comparative Literature in India in terms of its relationship with the humanities on one hand and the social sciences on the other. I shall try and venture how the basic premises of Comparative Literature, a discipline predicated almost anachronistically upon a ‘quest for relevance,’ had the potential of setting it apart from the study of the literature of a single language and drew it into a complicated relationship with the social sciences, their objects of study and to a lesser extent also their methods. The very need to differentiate the discipline from single-language literature in the Indian context which was defined by the overarching hegemony of English literary studies, may have drawn Comparative Literature into a more intimate relationship with the social sciences, into an embrace it has at different times attempted to shake off, disguise and reiterate. In trying to highlight the historical collusions and collisions between developments in the social sciences and in Indian Comparative Literature, this paper will bring into its purview different syllabi in Comparative Literature, the history of crossing-overs between Comparative Literature and History, Philosophy, Anthropology and International Relations, and interviews and testimonies focusing on how the different syllabi were performed in terms of classroom pedagogy, research publications and interdisciplinary collaborations. I shall focus largely on practices of Comparative Literature at 285

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Jadavpur University, which was for a long time the only institution offering it as a full-fledged subject, but hope to also focus on spaces that see the development of the discipline in later years.

2:40 PM - Multilingual locals and significant geographies: comparative literature in multilingual societies Orsini, Francesca (SOAS, University of London, London, United Kingdom)

The definition of comparative literature as “the study of literature beyond the confines of a particular country” betrays its European genealogy. The phrase is picked up in definitions of transnational literature and world literature as the most appropriate for the work of a globalised comparative literature, taking for granted a “national literature” that comparative, transnational, and world literature incorporate or transcend. But in many countries and regions of the world that have been multilingual, a major task of comparative literature is not the study of literature “beyond the confines of a particular country” but within, taking multilingualism seriously, revising the single- language literary histories that were produced in the wake of nationalism. This means attending to the outlines and silences of single-language archives and discourses, looking for traces of the presence of other languages inside and outside texts, and locating literary texts and practices within a broader horizon of orature and of layered and multiple tastes and social locations of production and circulation. In spatial terms, rather than “nation” or “world”, other scales are more appropriate for this task. This paper outlines a possible approach to the multilingual literary history of early modern north India and its dynamics of interchange and exclusion, of reproduction of taste and of innovation, through the heuristic notions of “multilingual local” and “significant geohraphies”, o map and follow both locally and along “significant geographies”, i.e. the broader imaginative and conceptual geographies within texts and genres as well as the real networks along which texts and genres circulate.

3:00 PM - Comparative Orientations in Iranian and Ottoman Literary Criticism Kahraman, Nefise (University of Toronto, Toronto, Canada)

From the mid-19th century onwards, Iranian and Ottoman literary criticism is saturated with acts of comparison. Although seldom acknowledged by contemporary literary scholars, the comparative nature of this literary criticism deserves attention for myriad reasons. By emphasizing the comparative gestures embedded in its approach to literary texts, I will begin by interrogating the motives behind this particular orientation in literary criticism. In so doing, I intend to shift the focus from the French-Turkish or French-Persian type of comparative pairing and draw attention to the multifaceted (both linguistically and culturally) nature of this mode of literary critical discourse. The internal cosmopolitanism of Iran and the Ottoman Empire will also be taken into consideration. Finally I will suggest that we can view mid-19th century Iranian and Ottoman literary critics as early comparatists, thereby challenging and/or offering another perspective on the often Eurocentric genealogy of Comparative Literature.

4:00 PM - Maps and Territories: Survey of UK Comparative Literature since 2010 MacKenzie, Robin (St Andrews University, St Andrews, United Kingdom)

As a prelude to our comparative discussions of models and methods, I would like to present an overview of research in comparative literature produced and published in the UK over the past five or six years. It would obviously be impossible to be exhaustive in a paper of this length but I will give an indication of the range and characteristics of current comparative literature research by focusing on the corpus of articles published in the leading UK-based journal, Comparative Critical Studies, since January 2010. My approach will be broadly empirical: rather than starting from a fixed and non- negotiable system of categories, I would hope that a description of the corpus would suggest various

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 axes of classification and comparison, such as (for example) the proportion of text-based to more general thematic or theoretical studies, the range of linguistic and/ or cultural areas examined in specific pieces, or the presence of interdisciplinary and intermedial elements. This corpus of articles could provide a useful source of material to enable us to start answering questions about the prevalent methods, objects of study and theoretical approaches in our respective geographical and cultural spaces without (as it were) talking in the void.

4:20 PM - The role of Translation Studies within the discipline of Comparative Literature in India Chattopadhyay, Suchorita (JADAVPUR UNIVERSITY, Kolkata, India)

Translation Studies has steadily been creating a niche for itself as an integral part of Literary Studies in general. However, the role it plays within the discipline of Comparative Literature is somewhat different as it directly facilitates the unique methodology of “reading” literature that this discipline promotes. In the field of Translation Studies, more often than not, the theories emerge out of practice and the relevance varies greatly according to the geographical location and cultural milieu that it is being practised in. The discipline of Comparative Literature undeniably relies on translation in a big way to create a wider platform where literatures from across the world can be read using Comparative Literature methodology. In India, reading literatures in translation is an inevitable practice given the essentially multilingual fabric of India. Also a point to be noted is that in India, Translation studies has not really posed any threat to any other discipline or has not emerged as an alternative discipline in India in the way it has in the west. This can also be seen within the study of Indian literatures where the wide variety of languages and diverse socio-cultural realities at play, establish Translations Studies as a necessary and dependable tool to facilitate proper research in the field. A number of academic bodies and organizations in India have woken up to this fact and are instrumental in promoting translation of literary works which in its turn is strengthening and facilitating the understanding between communities speaking different languages and hailing from diverse cultural groups. This paper would attempt to show how this exercise is currently being pursued in India keeping in mind the huge volume of translation theories that have emerged in India and abroad over the last many years.

4:40 PM - The World in a State of Similarity': Towards a Benjaminian Comparativism Papaioannou, Chrysi (University of Leeds, Leeds, United Kingdom)

Walter Benjamin’s 1923 essay ‘The Task of the Translator’ occupies a prime position in what has come to be known as the ‘translation turn’ in comparative literature (Apter; Bassnett; Spivak). However, less attention has been paid to the comparatist dimensions of Benjamin’s own textual practice and to the potential of formulating a mode of comparativism that draws on his insights on mimesis. Through a series of close readings of texts including One-Way Street (1928), ‘On the Image of Proust’ (1929), ‘On the Mimetic Faculty’ (1933), and Berlin Childhood ca. 1900 (1932-1938), this paper examines the notion of ‘non-sensuous similarity’ as it is formulated in Benjamin’s essays and, indeed, as it is practised by ‘Benjamin the comparatist’ himself. I thus set out to demonstrate that Benjamin’s later thought can be mobilised to offer a new perspective to the question of ‘(un)translatability’: whereas the earlier meditations on language are still guided by a confrontation between universality and particularity, the later essays on mimesis, I argue, shift towards a singularity that undercuts the earlier problematic articulation of reine Sprache (‘pure language’). As I show, such a singular mode of linguistic universality is most aptly manifested in Benjamin’s little- discussed neologism Wandelschrift (rendered as ‘exchange-script’). This conception of language as a system of exchange, and not as a fragmented vessel awaiting to be made whole, is the underlying principle of what I term a Benjaminian comparativism. As a method of comparing Comparative Literatures, therefore, it advocates a convertibility singular to each Comparative Literature, each

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Comparative Literature’s convertibility itself partaking in and challenging the parameters of a broader system of exchange.

5:00 PM - Comparative Literature: Framing an ideology of "understanding" Bhattacharyya, Dheeman (Centre for Comparative Literature, Bhasa Bhavana, Visva-Bharati, Birbhum, West Bengal, India)

This proposal has been developed after presenting work in progress (on a very similar theme) at a Conference on Comparing Comparative Literature at Jadavpur University.

As our context already presumes action (specifically, men and women in action), the obvious corollary is the intervention of a human agency who ‘compares’. The ‘understanding’ of my title has been derived from the Greek word ‘eudaimonia’, which invokes the pleasure of understanding (which is also a form of doing, by the way!). The pleasure of identifying similarity in the complex web of human cognition is the formidable trope informing, and pretext for doing, Comparative Literary Studies. For those of us who have been fighting within and without academia to establish the fact that there is a specific rationale behind ‘comparison’ and not just an arbitrary selection of ‘text’ and ‘context’, it is often a dialogue of antithesis. As I firmly believe that it is my location which determines the methodology I adopt (which we claim to have developed, at least in our multilingual reality), I aim to illustrate with reference to relevant syllabi that doing or practising comparative literary studies is also a way of channelling ideology where the student, instructor/ facilitator, or (to be more specific) the recipient of a particular literary system, is not a ‘timeless subject of knowledge’. I would hence reiterate the fact that there are many comparative literatures in practice within a literary system (where the literary and extra-literary/ries interact), especially in a multilingual situation like ours. Our next objective would be to address the following question: if my location is directly embedded in a cultural ethos (language being a primary tool), what is the object of study for the future comparatist?

17288 - SOUTH ASIAN PATHWAYS : LANGUAGES, GENDER AND POLITICS Date: Friday, July 22nd // Saturday, July 23rd // Monday, July 25th // Tuesday, July 26th Room: Hs 33 Chair: I.N. Choudhuri; Jasbir Jain; Rachel Bari; Manorama Trikha; E.V. Ramakrishnan; Tutun Mukherjee; Ameena Ansari; K.G. Sharma; Supriya Agarwal

2:00 PM - Dialectics of History: Sub-continental Narratives of Participation in the Empire's Wars Jain, Jasbir (IRIS, Jaipur, India)

The present paper seeks to problematise the representation, narration and location of history. Does it belong to nation, territory or the individual conscious. Working with four novels from the subcontinent, Anand’s Across Black Waters, Shamsie’s A God in Every Stone, Ghosh’s The Glass Palace and Rani Manicka’s My Japanese Lover, it places them against the background of Renan’s “What is a Nation”, Carr’s What is History and Paul Ricoeur’s Time and Narrative, and disclaims the association of history with territorial boundaries of the nation’s coming into being. The first two novels are about the First World War, while the next two are about the second. Shamsie hails from Pakistan, Anand and Ghosh are Indians, Rani Manicka is of Sri Lankan origins , and now located in the west via Malaysia.

The last two novels in addition to the participation/victimisation also present the other side of the war, the conflicts of the colonial subject, the formation of the I N A, and the Japanese march into South Asian and South Eastern countries. They all deal with human emotions, love, hate, fear and suffering, The mobility of the human being and the shifts in a nation’s power centres, disrupt the 288

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 chronology , linearity and unity of history as well as of territorial defines of a nation. How far do we carry our nation and history with us, and where do ideas and ideologies intervene? Can a past that does not belong to the official definition of a nation be limited to territory? What role do victory, defeat and power centres play? The argument questions the artificial confines of history, which in itself is fluid. It also works with the reinstatement of the human agency.

Jasbir Jain, Institute for Research in Interdisciplinary Studies (IRIS) , Jaipur India . [email protected]

Chair: I.N. Choudhuri

2:30 PM - Daimon, Genius, Duende, Jibandebata - One History or Histories of One's Own? Bogumil-Notz, Sieghild (Ruhr-Universität Bochum, Allgemeine und Vergleichende Literaturwissenschaft, Bochum, Germany)

Creativity has since ever been a puzzling subject. Where does this capacity in man/woman come from? Is it a gift or a divine possession independent from tradition, culture, history or rather an acquired skill depending on them? Is it a mental attitude or, as Freud argues, the result of emotional conflicts rooted in the childhood of the creative person? The problem of seizing and scrutinizing the source of inspiration is due to its instantaneity. It appears in a flash of images, voices, words (as in the case of Mallarmé) – but coming from where and why? Hence, poets and philosophers – let us restrict to them – of different times and cultures have shaped the lucid interval of epiphany. The title of my paper refers to four examples of such allegories highlighting the Greek, Roman, Spanish, and Indian tradition. The question is whether we can consider them terms of one history or whether they point to histories of their own. In the first case we could assume that the experience of inspiration is the same in all cultures whereas, if the latter case held true, creativity would in each case signify an experience of its own. In order to answer to these questions my paper will replace the terms into their very cultural context. It will help to gain insight into their inner semantic movement that will confirm or refute the notions as mere linguistic variations of an unhistorical experience or as the result of a dialogue shaping this experience in a certain historical sense. In the latter case history would throw into sharp relief the appealing, responding and corresponding character of the inspiration, its diversity and difference and yet convergence and similarity, its hybrid configuration in between the dichotomist, in a certain sense colonial positioning across times and cultures.

3:00 PM - Religion, ritual, identity: Gender and Power in South Asian Fiction Velancherry, Ramakrishnan (Comparative Literature Association of India, Gandhinagar, India)

Religion, ritual, identity: Treatment of gender conflict in South Asian Fiction

E.V.Ramakrishnan, Professor Emeritus, Central University of Gujarat

In the paper, three fictional texts from different parts of South Asia are discussed to bring out issues related to the oppressive power of religion as ritual in the context of gender. In the Pakistani story titled “Lest My Breath Disturb Thy Peace” Neelam Ahmed Basheer portrays the life of a girl who has been married to the Holy Book, a strange ritual that confines her to a life of piety and bondage within her own home. The sinister implications of such a ritual turn the story into an insightful human document. Sarah Joseph’s Malayalam novel Othappu (meaning ‘offence’ or ‘scandal’) is about Margaritha, a nun who leaves Catholic church in an act of rebellion against its ‘unholy’ practices to fulfil her spiritual yearnings. She does not deny Christ but feels that the church as an institution no more follows the Christian path. Perumal Murugan’s Tamil novel, One Part Woman 289

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(‘Madhorubaagan’ in Tamil) is about a childless couple, Kali and Ponna, who feel stigmatised in society. Finally Ponna’s family tricks her into following an ancient custom for fulfilling her desire for a child, with disastrous consequences for her marriage.

The three fictional works deal with three religious faiths from the perspective of women. The women’s attempt to take charge of their body occasions a rebellion against the patriarchal order that reasserts through religious customs that regulate female sexuality.

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4:00 PM - Rewriting the Nation:India, Pakistan and Bangladesh Trikha, Manorama (CCS University, Meerut, Meerut, India)

ABSTRACT Rewriting the Nation: India, Pakistan and Bangladesh In the last seventy years the map of the subcontinent has altered twice, first the partition of India and then of Pakistan. As a result these nations have fractured communities with a shared past which has left behind a series of partly answered and partly unanswered questions about the history as it got divided or claimed. How are the past and the present woven together in life and literature? More than any other genre, drama – the most public form of literature – deals with these issues that shape the national identity. These and a few other questions are proposed to be addressed in the present paper. Karnad’s Tughlaq, Nadeem’s Dara – plays about Mughal history, ideologies and religions and Sayeed Ahmad’s play The Last Emperor with Seraj-u-Daula as its hero. In all the history plays it is the socio- historical perspective and its embedding in the present is being focused upon. They share similarities as well as differences and get moulded as per the needs of their nation. For illustration, consider from India’s Girish Karnad’s and play Tughlaq which is placed against the background of Nehruvian era; the Mughal King failed despite his radical democratic design to change the life of his people. Nadeem’s play Dara is placed in Mughal history, shared now by India and Pakistan. Shah Jahan’s elder son Dara Shikoh, is the voice of an open religion. He had translated the Upanishads and disapproved of a narrow, bigoted religious perspective. Placed against Pakistan’s religious postures it makes a bold statement both from the ideological and the dramatic perspective. The third playwright being considered here is Sayeed Ahmad whose history play The Last Emperor of Bengal makes an important contribution to the old but familiar theme of fighting a battle even if a losing one. Ahmad goes to this theme perhaps to highlight the seriousness of the old narrative that all we can do is to fight a losing battle. He also seeks to claim a cultural past and assert the Bengali identity. Together these plays move beyond historical realities and enter into a three-cornered dialogue between past, present and future in an attempt to rewrite nations.

Chair: Jasbir Jain

4:30 PM - Languages of Resistance in Rahman's The Unfinished Memoirs and Bhutto's Daughter of the East Talwar, Urmil (BGD Govt. Girls College, Univ. of Rajasthan, Shahpura-Jaipur, India)

This paper explores various cultural similarities and differences in political struggles for democracy and freedom in Pakistan and Bangladesh through Sheikh Mujibur Rehman’s The Unfinished Memoirs (2012) written in prison in the late sixties (1967 – 1969) and Benazir Bhutto’s Daughter of the East (2007) describing their crusades against hegemonic structures of autocratic and centralized power. Unlike the colonial struggle these endeavors are against their own ruling regimes and supposedly guided by the constitution of independent Pakistan. The two texts are replete with descriptions of 290

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 culture of violence, oppression and resistance, of protest and nonconformity but in each case the struggle is different.

Under the repressive attitude of Pakistan and the legacy of a constitution discriminatory to East Pakistan Rahman’s struggle was initially for restoration of cultural rights and recognition of the economic contribution of East Pakistan which resulted in the birth of a new nation. His dairies came to light only in 2004 and his daughter Sheikh Hasina had them transcribed and translated from Bengali into English. On the other hand, Benazir Bhutto had experienced a brief spell of democracy under Zulfikar Ali Bhutto’s Premiership. After her father’s arrest there was compelling need for gathering international support to reinstate democracy. Additionally, there was sibling rivalry for power. Both Bhutto and Rahman, have experienced constraint, torture, interrogation, house arrest, charades of extra judicial trials and imprisonment.

These life-story texts are counter discourses of history and a battle ground for interface of contesting ideologies and opposing power structures as the author enters into a conflictual relationship with the state and aims to resurrect an identity which is conducive to social interactions with the community. This paper intends to discuss the strategies and languages of resistance and the relationship of individual leaders and their ideologies with political formations, located in different cultural and political contexts.

Dr. Urmil Talwar, Associate Professor, Government Girls College, Shahpura, University of Rajasthan, Jaipur, Rajasthan, INDIA. [email protected], +919829011029

5:00 PM - Myths of redemption across Faith and Culture: Sri lanka and Pakistan Sundaram, Asha (Government College Tonk,Rajasthan,India, Jaipur, India)

Myths of Redemption across Faith and Culture: Sri Lanka and Pakistan

The human agency is always conscious of its shortcomings and constantly eager to keep its relationship with God. This paper seeks to study these myths of redemption across three religions- Buddhism, Hinduism and. Islam in The Hungry Ghosts by the Sri Lankan author Shyam Salvadurai and The Blind Man’s Garden by Nadeem Aslam from Pakistan. Both these texts are sprinkled with symbolic stories, religious and folk anecdotes creating a complex matrix between the deeds of past that bear direct influence on our present. While the former explores the myth of the Perathaya- the hungry ghosts who are driven to restlessness due to their ambitions and have to be freed from suffering to release ourselves from the bonds of existence, the latter explores the tale of the bird- catcher who catches birds and sets them free only when others pay for them to get pardoned for their own sins. This tale runs through the novel weighing between sin, redemption, justice in a world amidst violence The Sanskrit word ‘Karma’ means actions or deeds. Karma is a concept common to religions like Hinduism, Buddhism and Jainism prevalent in India and Sri Lanka. It believes that inequality in this world is due to Karma- One’s past actions and one’s present doings. In Islam this theory of Karma exists somewhat differently. There is no belief in rebirth or need to pay for one’s actions in the next birth. It is believed that one is answerable to God for his/her deeds on the Day of Judgment. Religious and political intolerance has plagued the countries of South Asia over the years. Ethnic strife in Sri Lanka and the perpetual state of violence ‘Jehad’ in Pakistan and its repercussions on other countries is a subject of serious concern. The question is which agencies can affect faith, belief, trust and above all forgiveness. As the sins of human beings become unbearable, they look for forgiveness, so that they can be absolved off them. In a record of human struggles for survival against war, pain and suffering, both personal and social there is a call for tolerance and forgiveness in the two texts which serve the message of reconstruction and rebuild.

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S.Asha Asso Prof Government P.G.College,Tonk (Rajasthan) India. [email protected] mob:+91-9928798068.

Date: Saturday, July 23rd

9:00 AM - Exploring Multiple Realities of South-Asian Life through Cinema Mukherjee, Tutun (Centre for Comparative Literature, Hyderabad, India)

To understand people is to understand their culture. Today,the study of representational modes and practices that express dimensions of life, society and culture of the people have gained in appeal. Cinema is among the popular cultural practices reflecting a profusion of social, political, economic and cultural phenomena in modern societies and enjoys a symbiotic relationship with society and culture. Critics have argued that cinema’s powerful visual representation documents social history whether right or wrong, monologic or dialogic, along with silences and disruptions. It also preserves collective memory. As an expressive visual mode, cinema has the capacity to capture multiple realities of life. The cinema of a country can be taken as an important social text representing its socio-cultural history. Films make a significant contribution to debates on individual and national identity. Subtexts of films can raise issues of ethnicity and racism, colonialism, poverty, injustice, genocide, horrors of war and environmental destruction.

This paper will take the language of cinema as a pathway to understand the connections among the cultures of the region and some of the regional preoccupations. Films like 'Few Cubic Meters of Love' (Afghanistan), 'Jalaler Golpo' (Bangladesh), ‘Kushuthara’ (Bhutan), ‘Dukhtar’ (Pakistan), ‘Ingli’ (Maldives), ‘Jhola' (Nepal), ‘Ho gaana pokuna (Sri Lanka) and from India will be discussed to see how far an example of a prevalent socio-cultural practice emerging from a specific place and context reflects the region and may act as a common reference for people across the region.

Chair: Rachel Bari

9:30 AM - Political Rhetoric of Nation(s) before the 'Midnight Hour', August 1947 ANSARI, AMEENA KAZI (Jamia Millia Islamia, New Delhi, New Delhi, India)

Ninety years before independence in 1947, the rhetoric of resistance and freedom rang across undivided India. The aftermath of the first war of independence in 1857 evoked varied opinions and responses from across the political spectrum of the land. On one hand the British Crown took over through Queen Victoria’s Proclamation; on the other, Allan Octavian Hume spoke of uniting all Indians under the banner of the Indian National Congress. While the words of Gandhi and Nehru resonated with the demand for freedom from colonial rule, the rhetoric of others like Jinnah and the Muslim League exhorted Muslims to carve out a separate religious homeland. In these multiple strains of opinion lie the definitions and demarcations of a nation, the hallmarks of national identity and nationhood, the dynamics of inclusion and exclusion in nation building, the balance/imbalance between affairs of religion and state, and the expressed dreams of building a nation in the socio- political space vacated by the colonial master. The midnight hour of August 14 and 15, 1947, saw independence dawn in Pakistan and India respectively. Their peoples then heard their leaders conceive and describe their nation’s envisioned future.

This paper shall attempt to analyse and compare the famous speeches and addresses of leaders who contributed to the freedom and formation of the two South Asian nations. The focus shall be in idiom and ideology, image and metaphor, and discourse and diversity that mark the rhetoric of the political leadership that played a pivotal role in redrawing the map of a subcontinent. 292

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10:00 AM - The Culture of Rice in South Asia Bhowmik, Ranjamrittika (Jadavpur University, Kolkata, India)

Rice is an integral part of the life and culture of Asia. The history of rice cultivation and domestication dates back to 15000 BC and 10000 BC in China and India. Rice travelled through trade from India to the Middle East and later went to Europe. It can be said that more than ninety percent of the world’s rice is produced in Asia, where it is not only consumed but is also a political and cultural commodity and several rice cultures and practices of cultivation have emerged over the centuries. These rice-based cultures need a collective, community-based approach based on mutual trust, environmental friendliness as opposed to purely commercial objective of agro-business industry.

There are various folk festivals associated with rice cultivation in India, Pous Parban, Nabanna, Baisakhi, Janbar(celebrated by the Saontals) being a few among them. Religious festival, ceremonies are associated with rice, for example, the Annaprasan or first rice ceremony of the Hindu child, the Mahaprasada offerings, which are believed by the Buddhists to be offerings of a rice variety called Kalanamak given by Sujata to fasting Buddha as Payesam. In India Kala Bhat, Manipuri Black, Burma Black and Pora Binni in Bangladesh are examples of black rice, which are even known to cure cancer. Rice is immensely nutritious in terms of food value and has numerous medicinal properties known to cure several ailments. The traditional system of agriculture in India has been entirely organic over the ages and has been based on highly advanced forms of food production like mixed cropping, crop rotation etc. However, with the advent of Green Revolution and American High Yielding Varieties and industrial agriculture in Indian agriculture, many region specific folk varieties of rice have been replaced with a high use of insecticides, pesticides and a mechanized mode of farming. This has not only affected the unique indigenous stable system of food production but also the customs, beliefs and mores associated with it.

This paper will try to trace this shared history, culture and politics of rice cultivation in South Asia with. It will also explore the role of women who participate and play a crucial role in the cultivation of rice. It will aim to study these rapidly disappearing folk varieties of rice and the corresponding folk festivals, folk songs, literatures and rituals integrally associated with it.

11:00 AM - The Confines of Creativity in the Subcontinent: Religion, Culture and Respectability Chakrabarty, Bandana (Rajasthan School of Art, Jaipur, India)

The Confines of Creativity in the Subcontinent: Religion, Culture and Respectability

Creativity is a concept which includes potentiality in relation to actuality. It is directly linked with the growth of a‘being ’, of the exploration and expression of individual subjectivity. Culture is not conducive to individual expression, especially when extreme factors like politics and religion come into play. In India, additionally caste and culture intervene at every juncture. In Pakistan, especially during General Zia’s regime, Hadood law placed several restrictions not only on women but also on performative art.

The present paper proposes to consider the expression of the gendered self in India and Pakistan and examine the confines of creativity. Focusing on three texts with (auto) biographical reflections, the paper works through three mediums, a play Aik Thi Nani, a film Sardari Begum (1996) and a memoir Song Sung True by Malka Pukhraj. The paper juxtaposes the struggle and sacrifice of women 293

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 artistes/performers with their earning an identity for themselves. The three texts deal with the nature of creativity and the struggle of the creative woman artist---singer and actress. They also critique the notion of respectability and the exploitative tendencies present in the two societies. Though India and Pakistan both boast of a great artistic and musical tradition, yet there is relative anonymity of women performers who have carved a niche for themselves. Women are deprived of artistic expression and are restricted within their religious, social and domestic roles and any form of performative art is at the cost of expulsion from the ‘social body’. Since women performers/artists are not considered respectable, it is time that the barricades of social and cultural conditioning need to be breached by them.

Dr.Bandana Chakrabarty, Principal, Rajasthan School of Art, Jaipur,Rajasthan India. [email protected],mob-+91-8107986755.

Chair: Manorama Trikha

11:30 AM - Caught in the crossfire : armed conflicts and women of South - Asia Rao, Mythili (Jain University, Bangalore, India)

Conflicts have become a part of our everyday lives. Conflict is not seen only as a war-time experience but also something which is encountered in a day-to-day basis on the grounds of caste, class and religion. The Journal of Peace Research 1993–2014, published by Uppsala University states that, “An armed conflict is a contested incompatibility which concerns government and/or territory where the use of armed force between two parties, of which at least one is the government of a state, results in at least 25 battle-related deaths.” The Uppsala Conflict Data Program (UCDP) has recorded ongoing violent conflicts since the 1970s. The data provided is one of the most accurate and well-used data- sources on global armed conflicts.

One of the direct outcomes of armed conflicts, happening for any reason, is uprootedness or displacement. Mostly this affects women and children. In such situations women are also subject of abuse which could be both random and strategic. Further, gender roles get polarised during these periods of conflicts. Men always seem to be at the centre of these conflicts because of their physical presence at the scene of these conflicts. In times of conflict, on the one hand while her responsibilities increase in the absence of the male member who is traditionally considered as a breadwinner in these countries, on the other hand she is also seen at the receiving end of this exhibition of power and domination. This also seems to legitimize the domination of the masculine state over women. But when events get reported the dominant narrative of war and conflict overrides the micro-narrative of women.

It is literature which resonates with the cry and the silence of the traumatized and the sufferer. Literature on armed conflict and women has also tried to examine their role in identity politics and nationalism.

By inter-weaving history with fiction, the authors have beautifully presented the canvas of the hues of conflict both at the level of the individual and the social. These narratives give us the picture of the traumatic experiences whether physical, psychological or social.

12:00 PM - Aestheticized Politics and Gender in the Memoirs of Sara Suleri and Nayantara Sahagal Agarwal, Supriya (Central University of Rajasthan, Jaipur, India)

Aesthetics is defined in terms of the study of beauty and taste. Its effect lies in the perception of appealing and enrapturing subjects. However, the center of such subjects of art and literature do not remain the same. The center of aesthetic effects of literature from Middle to Sixteenth century was 294

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 established due to theological strains, and from Eighteenth to Modern period was due to Secularism. The aesthetic effects of contemporary literature, especially South Asian literature or say postcolonial literature, persists in significance due to the effect of conflict between two worlds: the established world of the family, society, state and nation, and to be established world based on individuals’ dream and vision and the outlook of revaluation of the established structures of the society.

The conflicts and threads of conflicts or struggles that bring change or help bring change in the society are the subject matters of politics and gender discourse. In fact, Creative exposition of these subject matters or the narration of such subject matters through some specific symbol of place, time, and race defines the elements of “aesthetics of existence” as Foucault has termed it in History of Sexuality Vol. 2. He has also defined the “aesthetics of existence” as the study of “the technique of the self.” The discourse of Politics and Gender is not possible without considering how the characters of literature use the technique of the self to care for the self and society. So, the discourse is between our ethics, our personal ethics, our everyday life, and the great political and social and economic structures, in our life. Such examination of the “self’ tempts the author to expose historiographical, societal, political, identical, familial and individual truths.

In order to examine the investigation of such truths, the paper experiments with aesthetics of Politics and Gender as an approach to reading the memoirs of Nayantara Sahgal, a writer from India and Sara Suleri, from Pakistan. There are many examples in these narratives of the self that illustrate how the existence of anyone relates itself with the existence of others, and how these illustrations expound the theory of Politics and Gender and offer rich material to understand the variety of discourse and culture. Thus, the paper aims at defining the differences between the subjects of the axiological ethics and the subjects of contemporary aesthetics of South Asian literature.

Date: Monday, July 25th

2:00 PM - Monster in the Pastoral: Reading Eco-Subaltern Narrative in South Asian Literature Ashraf Uddin, KAZI (Jahangirnagar University, Dhaka, Bangladesh)

The socio-political hierarchy in the dynamics of Hindu caste-based population creates the paradigm of Othering in the South Asian geography. Such exclusionary practice engenders the crisis of representation thus resulting in the “unlearning process” alluding to Spivak. The fisherman community in Bangladesh has their own narrative woven with their story of deprivation, oppression and perpetual displacement due to ecological apocalypse caused by landslide, unwanted invasion and sea-side terrorism. On one hand, such people are the victims of the anthropocentrism of the polemic developmental endeavors of the corporates; on the other, they are subject to intra-hegemonic parameter within the Hindu community. Harishankar Jaladash, a Bangladeshi subaltern novelist from fisherman background delineates the lives of sea-coastal under- caste population in his literary narratives with an intricate image of the lives of fisherman community recounting their rituals, perils, and grievances. Incorporating the lives of prostitutes, sweepers, cobblers, and fisherwomen, he endorses Cixous’ notion of “écriture féminine”. Jaladash’s women inform us of a body-politics within the community which caters the academic discussion of eco-sex slavery. Mahasweta Devi, in her short-story “Breast-Giver” (1997), epitomizes ecofeminism’s central tenet about the relation of women to nature and voices Indian subaltern women. Jashoda, led into enforced motherhood, finds her breast to be the bio-political/ politico-economical site of identification in a caste-divided Bengali Hindu society. Using the metaphor of nature through motherhood, Devi hints of an ecocide where Jashoda’s breast/body encounters a gradual apocalypse consequently leading to her death in breast-cancer. The present paper offers a comparative reading

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 of Harishankar Jaladash’s 2008 novel Jalaputra and Mahasweta Devi’s short story “Breast-Giver” focusing mainly on three aspects of their narratives – eco-sex slavery, forced motherhood and eco- racism with a genealogical interest into their social proletarianism.

Chair: E.V. Ramakrishnan

2:30 PM - Positions of "Dissent" in the Tribal Narratives of North Eastern India and the North Western Pakistan MOHAN, CHANDRA (COMPARATIVE LITERATURE ASSOCIATION OF INDIA, NEW DELHI, India)

It is aptly remarked that 'The North West Frontier Province and the North Eastern Frontier Province demarcated geographical spaces, constructed identities and eventually witnessed the break-up of British colonialism and the rise of new modern status such as India, Pakistan and Burma.' (Beyond Counter Insurgency, OUP, 2009 p. 82).

Unfortunately, even after the British regime, these areas have endured continuous conflicts that have kept these regions strife-stricken most of the time. A common feature that seems to emerge from the study of regions of North Eastern India and North Western Pakistan is the notion of how the literary narratives in the two border regions are often found to communicate and respond to the contemporary social and political realities of these areas. The dissenting voices expressed by the tribal communities in their discourses and narratives in the Indian subcontinent appear to be rooted to their heritage. They seem to have born with the genes of dissent and protest against the oppression. Its vast range includes various communities and their oral and written literatures from the very beginning. In order to focus on the major sensitive issues, the paper will present a critique of two contemporary communities hailing from the North East Frontier area of India and from the North West Frontier area of Pakistan.

The narratives which appear in the fiction and poetry of ethnic groups become an important part of Assamese and Pashto Literatures. When studied in a comparative context, they reveal the features which possess identical glimpses in the text and contexts of the prevailing atmosphere of insurgency, violence, war and crisis. Ironically, at the same time, in the given environment, the suffering folk also reveal their longing for peace. It has been metaphorically described as a situation of 'imaging disillusion'. As such, a close study of the narratives ensures to depict a sordid reality which embodies elements of innocence, frailty and the situation of helplessness working as a means to establishing an opposition between good and evil, innocence and guilt that largely provides sustenance to their existence.

3:00 PM - The One, the one, the ones: A Critical Comparative Study of South Asian Poetics Hossain, Mashrur (Department of English, Jahangirnagar University, Dhaka, Bangladesh)

This paper is a comparative study of South Asian poetics. It locates the connections between major theories in South Asian literary criticism to underscore the points of influence, departure, and innovation. The paper is divided into three parts. The first section offers an inventory of South Asian poetics, including Sanskrit (e.g. theories of natya , rasa , dhvani , and kavya ), Tamil (e.g. ulakavalakku and ceyyulvalakku ), Urdu (e.g. Dihlavi and Lakhnavi schools), and Bangla poetics (e.g. Tagore’s satya-sundara-siva and Selim Al Deen’s dwaitadwaitobaadi aesthetics). The second section ventures a comparative study of select South Asian poetics, concentrating on four aspects of literary creation: conception (questions of fictionality and mimesis), composition (process of poetic 296

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 creation), consumption (impact upon the audience and hermeneutics), and formation (elements of literariness). The third section conceptualizes ‘critical comparative poetics’ as an informed way to offset west-centric cognitive colonization and break space for re-recognition and celebration of pluralism and multiculturalism in South Asian poetics. For example, Bharat Muni’s conception of natya and Deen’s dwaitadwaitobaad , a syncretism of Sufistic fanafillah and the two-body-one-soul image of Radha Krishna, reflect the holistic pattern of Indian thinking which is in contrast with the dialectical view of reality that generated Aristotelian conception of mimesis. The paper contends that an informed and comparative study of South Asian poetics in and through academia, especially in the departments of English, has every potential to locate and promote a panoramic mutuality to re/connect the politically-culturally connected South Asian countries without endorsing chauvinism and insularity. What, therefore, critical comparative poetics envisions is a mutual exchange which will contribute to the development of wisdom and sensibility, effectuating interanimation and Bakhtinian mutual illumination .

4:00 PM - Re-Contextualizing Self and Language: Women Poets of South Asia. Bari, Rachel (Central University of Gujarat,, Gandhinagar, India)

Women writers still belong to an(other) area in South Asia. Their subject matter is still a war being waged, in terms of re working the context, the self and the narrative.

There has always been a connection between language and sexuality for women. Both are denied to women, for through language she attains her subject hood and voicing her sexuality gives her identity. This is a threat to patriarchy. As long as Patriarchy is vested with the sole right of speaking about women’s sexuality, she, as such is acceptable but within boundaries. However, when the object becomes the subject of her own sexuality, she is termed obscene and uncontrollable. Why does a woman venture to speak out about her body, her sexuality and risk her modesty to the public? Does it tell us that there is a need to change perceptions about the lived in experience of the body? Is the body image and identity linked? Is she re working the “contextual” experience?

This paper is an attempt to read women poets from South Asia who, through language try to situate sexuality/self/ the body in the constructed context. It studies m u l t i p l efeminist strategies of‗thresholdcrossings.

Taking cue but not necessarily dwelling on the12th century Bhakthi poets and Sangam poetry, the focus is on contemporary poets from Tamil Nadu : Malathi Maithri, Salma, Kutti Revathi and Sukirtharani. Their first collection of poetry was published between 2000 and 2002.

Since in its transnational identity, South Asia has always been porous, the paper jumps boundaries and does a comparative reading of the poems of the Pakistani poet, Naheed Kishwar. It studies the attempt of these women poets who re work the “contextual “experience.

Chair: Tutun Mukherjee

4:30 PM - Resistance and Resilience in the Novels of South Asian Women Writers NARULA, DEVIKA (Delhi College of Arts & Commerce, University of Delhi, New Delhi, India)

The oppression of women, socially, culturally and psychologically, is an acknowledged fact of patriarchal societies, that is at its tyrannical extreme during wars and riots. However, feminists have retrieved women’s contribution to nationalist struggles at the micro level through their projection as mothers, protectors and participants. Further, according to Mrinalini Sinha, anticolonial struggles 297

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 have also empowered women, correlating the concepts of nation and gender. This is aptly seen in the three novels under consideration, Tahmima Anam’s A Golden Age, from Bangladesh, Anita Rau Badami’s Can You Hear The Nightbird Call? From India and Nadia Hashimi’s The Pearl That Broke The Shell from Afghanistan. The three novels expound the different ways in which women are impacted through difficult times of nationalist struggles.

Nationalist struggle is always conceived as masculine, with men as metonyms and women as metaphors, but feminist discourse has foregrounded the participation by women and their contribution to the struggle. Women have inconspicuously and silently resisted masculine oppression and have shown resilience in the face of calamity as they negotiate the contested spaces of nationalist struggles to retrieve and build again. In such an effort, they step beyond the symbolic positioning of ‘mothers of the nation’. An important aspect of women’s struggle is the act of sisterhood, of female bonding through sharing and giving voice to the culturally/politically ‘conformist’ posture of patriarchal societies.

5:00 PM - Comparing Gendered Alterities: Locating the Feminine Post-Colonial Subject in South Asia and Africa. Kumar, S Satish (University of Georgia, Athens, USA)

This paper seeks to explore feminine subjectivity within the larger context of post-colonial literature and theory. Through close-readings of works by Qurratulain Hyder, Bama, Chimmamanda Ngozi Adichie and Mariama Bâ, I seek to explore the post-colonial realities these authors present in their works. Hyder’s Sita Haran and Bâ’s Une si longue lettre are located at a complex nexus of the interrelated problematics of gender, post-colonial identity and the politics of representation. Adichie’s short story “A Private Experience” and Bama’s Sangati explore the complex dynamics of gender, politics and religion- while the latter also adds the locational category of caste. Structured primarily from a feminine-subject-position, these works also comment on the larger post-colonial context of their specific locations. However, this thematic is subtle and enters the narrative in the form of accounts of actual lived experiences. Une si longue lettre, for example, could be read as a larger commentary on the politics of French colonial assimilation and its ramifications in the lives of its protagonists. This paper seeks to present these diverse and complex dynamics within a comparative perspective, while arguing their irreducibility to the general rubrics of post-colonial criticism. This study, while bringing together diverse genres- the novel, sketches and the short story- and literary contexts- Africa and South Asia- seeks also to reinforce the importance of a “South-South dialogue” within the practice of Comparative Literature in the Indian context in particular and Non- Western contexts in general.

Date: Tuesday, July 26th

9:00 AM - Bulleh Shah and Kabir : Sufi and Bhakti Movements in Socio-historical Contexts Sharma, Krishna Gopal (University of Rajasthan, Jaipur, India)

The above paper proposes to work with poems of two of the great saints - Sufi poet Bulleh Shah and Bhakti poet Kabir - whose ideas pervade the landscape and society of South Asia, from Peshawar to Dhaka and are spread over the whole of India. The efflorescence of Sufism and Bhaktism in the fifteenth century AD was the result of the commingling of two great and diverse civilizations and culture. The Sufi-Bhakti movement, so as to say, was a major factor that led to the growth and evolution of an Indo-Islamic syncretic culture. The spread of fanaticism and intolerance in the recent years has led to obfuscation of the essence of religion and spirituality. In this context, it becomes highly important to understand the social scenario as reflected in the contemporary literature of the medieval period. This paper attempts to study the phenomenon of syncretism-synthesis as

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 manifested in language, ethnicity, beliefs, rituals and behavioral patterns reflected in the literature composed by these two saints. Not only was the inherent humanism in Bulleh Shah’s and Kabir’s works a pivotal factor in binding people of the sub-continent together, but also the multi-layered and multi-dimensional discourse, found in their lines, questioning reactionary and orthodox elements in Hinduism and Islam, fomented deeper ties between the general populace. Hopefully, the various themes found in the compositions undertaken for study will enable us to comprehend South Asian culture and society without the burden of later colonial distortions and misrepresentations.

Chair: Ameena Ansari

9:30 AM - SOUTH ASIAN POLITICS AND TIBETAN BUDDHISM: CHANGING PERCEPTIONS AND GLOBAL RAMIFICATIONS chaturvedi, neekee (university of Rajasthan, jaipur, India)

The paper seeks to highlight the different ways in which Tibetan Buddhism is engaged with in light of global impact of political developments in South Asia. The paper shall analyse three accounts to understand changing fascination – and fascinating changes – that Tibet, with its intricate linkages to Buddhism, underwent. These three accounts are The Way of the White Clouds (1966) by Lama Anagarika Govinda, The Monk’s Tale that forms a chapter in William Dalrymple’s travelogue Nine Lives (2009), and the well known film Little Buddha (1994) by Bertolucci. They have been selected to represent changing political scenarios and different perspectives, before and after the Chinese occupation of Tibet. Individually they represent the standpoint of a foreign settler, an exiled native and a non-participant western observer, respectively. Govinda, a german, Buddhist monk, journeyed through Tibet before Chinese invasion of 1950. He vividly describes the topography, culture and transformation of consciousness. But can the landscape and associated spirituality remain constant? The Monk’s Tale narrates the experiences of Tashi Passang, a Tibetan Buddhist monk, now living in India, of suffering and exile. The monk took up arms to resist Chinese invaders in 1959. Are the festering wounds keeping the nationhood alive? Little Buddha draws upon the Tibetan Buddhist concept of tulku or ‘lama incarnates’. It depicts an American child as tulku. Has Tibet surpassed territorial confinements in global imagination? Thus, the paper seeks to address the various representations of Tibet across political upheavals in South Asia. The attempt is to analyse how the perception changes form idyllic bliss of spiritual seeking to wounded national culture and how the world adopts it as a global treasure

10:00 AM - The Outsider's Eye : The Travelogues of Pietro Della Valle and Mountstuart Elphinstone Arha, Abhimanyu Singh (University of Rajasthan, Jaipur, India)

This paper proposes to explore the shared past of sub-continental history with respect to territories and the different perspectives of travellers from Europe. One of the characteristics that define history is territory. The argument put forth is that South Asia’s past cannot be traced primarily through exclusive territorial lines. It is from this point of view that two travelogues relating to different areas of undivided India have been chosen for exploration. In addition, as the two travelers come from different cultures and belong to different periods, the differences in cross-cultural relationships and experiences become evident.

The Italian traveler Della Valle covered the western sea coast of India and sheds light on the oceanic commerce and culture whereas Elphinstone traversed through the north-western frontier of the subcontinent highlighting the arid and semi-arid topography of an area covering modern day Afghanistan, Pakistan and north-western India. These two regions varied also in terms of the advent of Islam and its impact and influence on the indigenous population. It is hoped that the paper will, in

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 some measure, be able to unravel the several meanings, correlations and connotations embedded in the disparate layers of the language of the texts in order to arrive at a fuller understanding about South Asia untampered by the constraints and impediments of modern national boundaries.

11:00 AM - RECONSTRUCTING PARTITION: A STUDY OF GRAPHIC NARRATIVES FROM SOUTH ASIA DASGUPTA, SAYANTAN (JADAVPUR UNIVERSITY, KOLKATA, India)

According to several scholars, we are in the throes of a boom in the Indian graphic novel industry. Indian graphic narratives based on a wide gamut of themes such as contemporary politics to mythology to re-inscription of more ‘literary’ texts are probably more visible today than they ever were. We have seen a proliferation of such titles over the last decade or so. There is also a burgeoning consciousness about the genre and its possibilities in India today.

Reconstructing Partition: A Study of Graphic Narratives from South Asia seeks to explore how the politics of nationalism has been textualised in the context of Partition in graphic narratives from Bangladesh, Pakistan and India. How does contemporary South Asia read, write and draw 1947, and indeed, 1971? What are the politics thereof, and what kind of perspectives can one encounter in texts that belong to the composite medium of the graphic novel/ narrative—one that is perhaps yet to attract significant academic attention in the Indian context? How do contemporary graphic narrators from across the borders engage with sometimes collusive, often sometimes collusive discourses of nationalism and border machismo in the context of Partition and its aftermath? How do contemporary South Asian history and politics impact these narratives, if at all? These are some questions this paper will try to explore as it looks at a selection of graphic narratives on Partition from the Indian sub-continent.

Sayantan Dasgupta Assistant Professor Department of Comparative Literature Jadavpur University [email protected]

Chair: K.G. Sharma

11:20 AM - Competing Narratives of Partition: Voices from India and Pakistan Sharma, Sangeeta (University of Rajasthan, Jaipur, India)

The Partition of India in 1947 and the creation of Pakistan resulted in one of the largest and most rapid migrations in human history. There were approximately total migratory inflows of 14.5 million and outflow of 17.5 million from India. The long and acrimonious debates, marred by communal tensions and occasional riots, left divided countries and a trail of divided legacies. Indians and Pakistanis have viewed differently the creation of their two countries and the events that led to them. While in Pakistan partition was celebrated as the culmination of a long struggle for a separate nationhood and hence upheld as an achievement. In India the partition, till present times, evokes a sense of loss.

The paper seeks to gain insights into the experiences of the migrants in order to explore the human tragedy through autobiographical narratives compiled in India and Pakistan and which focus on the voices of ordinary people who bore the brunt of the catastrophe and sudden migrations that were caused by it as also those who have grown on partition stories in their families. I have selected some autobiographical pieces from Partition Archives 1947, Other Side of Silence and The Footprints of Partition Narratives of Four Generations of Pakistanis and Indians to understand the impact of the 300

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 division on the individual and collective psyche of the two nations. In discussing the texts in a comparative perspective I attempt to shift the discourse of partition from the familiar realm of elite maneuvers to personal and family traumas. Through these personal narratives the paper proposes to underscore the different trajectories of their memories and experiences as migrants on either side of the border. It is also an attempt to explore the humane dimensions of partition- stories of communal harmony in the midst of communal carnage. These narratives not only provide visibility to forgotten voices but throw light on spaces less visited or completely ignored by the official history.

11:40 AM - Critiques of Nation and Gender in South Asia: Akhtaruzzaman Elias' Khwabnama and Savitrti Roy's Trisrota and Swaralipi Marik, Soma (RKSM Vivekananda Vidyabhavan, Kolkata, India)

Savitri Roy (Indian, b. 1918) and Akhtaruzzaman Elias (Bangladeshi, b. 1943), despite the difference in time of writing as well as location, both presented critiques of dominant perspectives of nation in novels situated around the 1940s. The texts are: Elias’ Khwabnama (1996) and Roy’s Trisrota (1950) and Swaralipi (1952).

The paper will argue that beyond the critiques of nationalism, their positions are quite distinct. Roy has a sensitivity about gender and the intermeshing of gender and class. This would eventually lead to a clash with the CPI in connection with Swaralipi. Consistently, there is a significant mapping of how gender leads to divergences in political activism and social standing.

However, as with many belonging to the Progressive/leftist cultural camp, of caste Hindu origin, the communal conflict comes out all too often only through Muslim communalism in Roy. In Khwabnama, the Muslim majority of Bengal are brought to life, and fissures, class and gender relations, are examined within them.

Elias confronted the question of how progressive the project of national liberation was, suggesting like Franz Fanon that a national-liberation struggle is nothing if it does not become a struggle for social emancipation. For him, anti-colonialism was an articulation of protest against exploitation before it was a demand for a nation state, in however progressive a form. And in historicising myth, Elias questions the paradigmatic view of modernity. His portrayal of class and gender relations go beyond Roy’s because Roy’s project ultimately foregrounds a hegemony of the caste Hindu educated middle class. In the case of Elias, one finds the coming together of a critique of form with critique of elite (including left-elite) centred writing. This shows the possibilities of alternative politics and gender relations.

Chair: Supriya Agarwal

12:00 PM - A STUDY OF THE POSITION OF THE WOMEN OF THE ANTAHPUR OF SOUTH ASIAN ROYALTY RANGING FROM THE EARLIER TIMES TILL THIS DAY. Ganguly, Aratrika (Jadavpur University, kolkata, India)

In our society from time immemorial monarchy have always acquired a special seat be it in terms of power,politics or gender-sex-class notions.In the history of royal power the position of women have always been of subjugation and domination by the male members of the outer quarters.As much as this is true there are other sides to the story too.There are many instances in history where the women of the‘antahpur’literally translated as the private spheres of the palace or fort rose against the male domination or against the tyranny of enemy attacks.Their position has changed from age to age,but their importance hasn’t.Similarly in South Asia too we see that the gender politics has influenced the lives of these women of the‘antahpur’and they have always represented the great 301

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 manipulator of courtly politics.Poets and musicians have hailed them as the ideal woman and got drunk in the nectar of their beauty and celebrated them in art too.Many significant events in the history of the subcontinent have been influenced directly or indirectly by these women.They could have been the royal born or some servant or the women who were free to move into the outer quarters too.By analyzing their lifestyle too we can get a peek into the inside of the most secret space of the royal space.The composite culture of South Asia though politically is demarcated,but in its essence can never be differentiated.Likewise the historiographical study of the position of the women of the monarchy when done broadly keeping the subcontinent in mind can actually help in constructing the history of the royal past of the SAARC countries.Also it will help us understand better the flow of culture and ideas of these countries which has been linked since ages through matrimonial alliances between the royals or by the forceful exploitation of women by other powerful monarchies.Through these points one can even realize how the conditions of the'antahpur'never really differed only the places and names changed.This paper aims to trace down the position of royal women in South Asian history as interpreted from various texts ranging from the ancient texts to the texts and other sources of knowledge available in the modern times.It is a comparative study both synchronically and diachronically to establish the historiography of those women who have been looked upon as objects of pain and pleasure only,but rarely as a complex individual possessing an intellectual mind.

17289 - Sprache und Liebe Date: Monday, July 25th Room: Seminarraum Geschichte 2 Chair: Just, Rainer

2:00 PM - Liebe, Begehren und (Privat-)Besitz. Zur Kodifizierung moderner Subjektkultur in der spanischen Barockdichtung Exner, Isabel (Universität des Saarlandes, Saarbrücken, Germany)

„Arbeit, Intimität, Technologien des Selbst“ werden von Andreas Reckwitz als die drei „primäre(n) Subjektivationsorte“ bezeichnet, an denen eine bestimmte historische Subjektkultur ihre Konturen gewinnt. Das paper untersucht die Überlagerung dieser drei Orte in der spanischen Barockdichtung (bes. Góngora, Gracián) als einem Textfundus, in dem jenes neue „Genre des Menschseins“ (Sylvia Wynter) artikuliert und modelliert wird, das sich mit dem Übergang zur kapitalistischen Produktionsweise in der frühen Neuzeit in den Kontaktzonen zwischen Europa und seinen Kolonien formiert. Insbesondere in der barocken Liebesdichtung wird – so die These – eine imaginäre Ökonomisierung von Begehrensweisen gestaltet, in welcher die Beziehung zwischen erotischem Verlangen und sexuellem (Privat-)‚Besitz‘ jenes Doppel von Verheißung und Entzug iteriert, welches auch den Antrieb im neuen ökonomischen Regime bildet: Aufschub erzeugt Mehrwert und hält die Produktion in Gang. Im extrem formalisierten symbolischen Code des spanischen Petrarksimus scheint dabei der hermetische Ausschluss jedes Dritten aus der säkularisierten Liebesdyade dafür zu sorgen, dass aus dieser ein Baustein für die Stabilisierung jener neuen symbolischen Ordnung werden kann, die sich an einer (Wachstums-)Logik der beständigen Überbietung schult (Verfahren der imitatio und aemulatio ). Der Erhalt des begehrenden Subjekts wird dabei gegenüber seinen Objekten bzw. einer Communitas mit diesen privilegiert. Liest man Subjektivierung auch wörtlich als ‚Unterwerfung‘, und berücksichtigt man, dass der Liebesdiskurs gleichzeitig der Ort ist, an dem Subjektivitäten als geschlechtliche codiert werden, stellt sich im Hinblick auf die anvisierte Konstellation schließlich mit Silvia Federici auch die Frage nach den Zusammenhängen der „zwei im

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Übergang zum Kapitalismus vollzogenen Unterwerfungen: derjenigen der Bevölkerungen der neuen Welt und derjenigen der Menschen in Europa, insbesondere der Frauen“.

2:30 PM - Love, life and death in Jose Leonilson and Louise Bourgeois. Beck, Ana Lucia (UFRGS/Brazil; KING'S COLLEGE LONDON, London, British Virgin Island)

In one of his most emblematic and famous art pieces, José Leonilson (Brazil 1957- 1993) stated “to hugely love is artist’s gold”. The apparently simple sentence is though hidden on the works back, written with simple pen in a quasi-object made of felt, seams and crystal pendants. For Leonilson, it was not simple to speak about love in Brazil’s 80’s and early 90’s. For how simple could it be to speak about love and desire, lust and longing for love in a traditional heterosexual, catholic country? What poetic statement was achieved by letting such emotions guide his creations in the context of Contemporary Art? As much as understanding Leonilson’s poetic elaboration of love is not a simple task, neither is the understanding of the collision of words and image he presents in his works, nor is the way he deals with fabrics, seams and embroideries. Thus creating works that resemble pure poetry; images much nearer the “literary” than the “visual” at times. These are some of the issues which arise as we try to deepen the understanding of Leonilson’s oeuvre and his creative statements, which is easily considered “romantic”. Tough if such label is profound enough, it is in the same proportion as the label “feminist” is to Louise Bourgeois’s (France/EUA 1911-2010) oeuvre. In our comparative approach of both artist’s poetics and creative processes, we come to understand that such labels keep us from undertaking the adventurous path of realising that love is never a simplistic action nor word, and thus can be better thought through the balanced visual- verbal relation offered by contemporary poetry. Deepening so a comparative approach that helps us understand that all the words we read in or apply to these artist’s visual discourse must be poetically understood as, as advised by Bachelard, words that explain but must be explained as well, hence so many concepts in the Humanities must be faced for the metaphors of live and death they are.

3:00 PM - "Aber die Leute werden denken, daá du es bist". Der Alltag der Liebe in autobiographischen Romanen des 21. Jahrhunderts Kutzenberger, Stefan (Institut für Europäische und Vergleichende Sprach- und Literaturwissenschaft, Austria)

Ich muss wohl erst tot sein, damit du etwas Nettes •ber mich sagst?, meint Navid Kermanis Frau in seinem Roman Dein Name (2011) und wischt den Einwurf ihres Mannes, dass es sich doch nur um einen Roman handle, mit einer wegwerfenden Geste vom Tisch. In dieser Szene wird das Dilemma der radikalen (pseudo)autobiographischen Fiktion so deutlich wie selten: Einerseits ist das Familienleben, der Alltag einer Paarbeziehung, das Kapital jedes Autors, der notd•rftig als Romane getarnte ?Selberlebensbeschreibungen? (um auf einen Terminus von Jean Paul zur•ckzugreifen) verfasst, andererseits gilt es, alle darin Beteiligte zu sch•tzen und nicht ”ffentlich bloázustellen. Im Gegensatz zu Nervani nennt Karl Ove Knausg†rd in seinem 3500 Seiten langen autobiographischen Romanprojekt ?Mit Kamp? (2009-2011) alle vorkommenden Personen beim Namen und beschreibt ausf•hrlich Ehestreitigkeiten und Vers”hnungen, wobei nat•rlich f•r Auáenstehende kaum zwischen Geschehenem und Fiktion zu unterscheiden ist.

Autobiographische Romane haben im neuen Jahrtausend auff„llig an Bedeutung gewonnen. So unterschiedliche Autoren wie Emanuel CarrŠre, Javier Cercas, Navid Kermani, Karl Ove Knausgaard, Thomas Glavinic, J. M. Coetzee, C‚sar Aira oder Etgar Keret haben sich in den letzten Jahren in einigen Werken auf das gewagte Spiel der Fiktionalisierung des Lebens eingelassen. ?Biography and autobiography are the lifeblood of art right now?, h„lt David Shields in seinem Manifest "Reality 303

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

Hunger" (2010) fest. Anhand einer Analyse der Darstellung der Liebe in Werken genannter Autoren, sollen Erz„hlstrategien und Ph„nomene wie Selbstzensur, Fiktionalisierung oder Bekenntnischarakter herausgearbeitet und verglichen werden.

4:00 PM - Subversionen der Sprache/Perversionen der Liebe Just, Rainer (Institut für Europäische und Vergleichende Sprach- und Literaturwissenschaft, Austria)

Sprache ist immer Kopula: Verklammerung eines Heterogenen, Zusammenschluss des Unterschiedenen zum Text. Sprache entgrenzt, indem sie, ein Urteil fällend, sich dem anderen mitteilt, so dass die Sprechenden ein Teil dessen werden, was sie nicht sind. ‚Ich ist ein anderer‘, verspricht die Sprache - ein Versprechen, das auch jedes Liebesversprechen, das von Ganzheit durch Ver-Anderung träumt, in sich trägt. Die Subversion der Sprache artikuliert sich als Perversion der Liebe: meta-euphorische Vision einer universal-unbegrenzbaren, alles-überschreitenden und alles- verbindenden Kollektivität, die nichts, auch nicht das verabscheuteste Abjekt, ausschließt. Selbst wenn sie wollte, könnte sie es nicht. Sie kann es nicht nicht tun. Jeder innere Monolog, egal wie monadisch er sich gibt, eröffnet den Fremdgang der Metonymien und Metaphern: poly-semantisches Ejakulat, hyper-sensuales Enthusiasma, pan-promiskuitive Dissemination. Und niemals lässt sich diese unterschwellig-überschwängliche Erotomanie eines Textes, seine semiologische Läufigkeit, vollkommen stillstellen. Die Experimente der Moderne - von Sade über Freud zu Joyce und Derrida - haben das unstillbare interkursive Begehren der Textkörper zum exzessiven Wuchern gebracht, sowohl im Literarischen als auch im Theoretischen. Intertextualität: das heißt Interpenetration heterogamer Sinne. Jede Etymologie: eine Erotologie. Der Vortrag wird anhand von ausgewählten Beispielen - das Spektrum reicht hier von Elfriede Jelineks kryptografischer Verwesungspornologie bis zu Roland Barthes‘ Konzept einer ‚Agape der Syntax‘ - zeigen, wie sich Diskurse als erotische Interkurse generieren und verstehen lassen.

4:30 PM - Liebe auf Distanz Veverka, Tanja Maria (Universität Wien, Wien, Austria)

„Was, ist denn das Verlangen nicht immer das gleiche, ob das Objekt nun anwesend oder abwesend ist? Ist das Objekt nicht immer abwesend?“ (Roland Barthes: Fragmente einer Sprache der Liebe) Dieser Vortrag will das postalische Prinzip als grundlegende Struktur jedweder Interaktion, damit einhergehende (Un)Möglichkeiten sich einander sprachlich anzunähern sowie verschiedene theoretische Auseinandersetzungen mit diesen „Ungerechtigkeiten der Kommunikation“ (Barthes) erörtern. Jeder Schreib- und jeder Sprechakt unterliegt einem Prinzip der Verzögerung, des unendlichen Aufschubs und kann so immer nur ein unzureichender Versuch sein, sich dem Anderen mitzuteilen bzw. ihn zu verstehen. Ist denn nicht letztlich alles Sprechen Ersatz, Übertragung? Wie nahe kann man dem Anderen im Angesicht dieser Figuren der Abwesenheit überhaupt kommen? Darauf Bezug nehmend, können Sprechen und Schreiben in einem Diskurs der Liebe auch als Substitut, als „da, wo du nicht bist“ (Barthes) verstanden werden. Die Sprache der Liebe, die ein Unfassbares zu begreifen sucht, bleibt dabei auch selbst – inklusive den ‚Subjekten‘ des Sprechens – unfassbar. Es verbleiben in jeglicher Kommunikationsform bloß Fährten, Fragmente, ein „Simulacrum eines Anwesens, das sich auflöst, verschiebt, verweist“ (Derrida), an welchem die Liebenden dennoch festzuhalten versuchen. Jedoch vergeblich: ihnen bleibt nur „ein Gefühl halluzinierter Nähe“ (Derrida). Sender/in, Empfänger/in sowie die ‚Botschaft‘ selbst entziehen sich jedem Bemühen sie zu fassen bzw. zu deuten. „Als Liebender sprechen heißt ohne Ziel […] verausgaben; heißt eine Beziehung ohne Orgasmus praktizieren.“ (Barthes) Dieser unbefriedigt hinterlassende Mangel, das niemals Ankommen der Sendung, welche der Sprache inhärent sind und welche die Sprache dennoch – vor allem die der Liebe – zu überwinden sucht, sollen anhand unterschiedlicher (Theorie)Text- Ausschnitte näher beleuchtet werden.

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5:00 PM - Liebe, Erotik und Propaganda in Du Bois' "Dark Princess" Zocco, Gianna (University of Vienna, Vienna, Austria)

Als der berühmte afroamerikanische Bürgerrechtler und Soziologe W. E. B. Du Bois (1868–1963) 1928 seinen zweiten Roman „Dark Princess“ veröffentlichte, beschrieb er ihn als „romance with a message“, als der Tradition der Romantik verpflichtete, fantastische Erzählung, in der die Kraft von Sprache und Erotik zu propagandistischen Zwecken genutzt werden sollte. Seine Zeitgenossen ebenso wie die Literaturwissenschaft hatten allerdings Schwierigkeiten, die „message“ hinter der „romance“ zu entdecken. Tatsächlich erscheint der Roman als ungewöhnliche Mischung verschiedener Genres, dessen Held – der junge Afroamerikaner Matthew Towns – seine Karrierechancen in der realistisch-korrupten, ‚kalten‘ Chicagoer Stadtpolitik aufgibt, um seiner Liebe zu einer wunderschönen indischen Prinzessin nachzugehen. Genügt die Tatsache, dass die Prinzessin gleichzeitig einem idealistischen, internationalen Komitee vorsteht, das sich der Zusammenarbeit der „Darker Peoples of the World“ verschreibt, um die detailgenaue Schilderung von Matthews Liebe und Sehnsucht, von erotischem Begehren und idyllischer Zweisamkeit, in eine politische Botschaft zu transformieren, die zermürbendes lokalpolitisches Engagement um eine idealistische, globale Perspektive bereichern will? Oder entsteht durch die Bezüge auf den literarischen Diskurs der Liebe, auf Werke wie Shakespeares „Midsummer Night’s Dream“ und Goethes „Faust“, auf Gattungen wie die ‚Romance‘, den Abenteuer- und Bildungsroman nicht ein ‚Mehr‘ an erotischem Begehren, das sich dem Versuch, es einem rationalen Ziel unterzuordnen, nicht nur entzieht, sondern dazu führt, dass „racial propaganda“ selbst zu einer Art „metaphysical foreplay“ (Claudia Tate) wird? Anhand von Du Bois‘ Roman und gegebenenfalls weiteren literarischen Beispielen möchte der Vortrag dem komplexen Verhältnis zwischen dem literarischen Diskurs von Liebe und Erotik und der sozialpolitischen Agenda ‚engagierter‘ Literatur nachgehen.

17290 - Quand le recours aux langues d'origine fait la différence Date: Monday, July 25th // Tuesday, July 26th Room: Hs 27 Chair: Heidmann, Ute

9:00 AM - Archéologie culturelle et intertextualité littéraire du roman et de l'autofiction sénégalais - défis et réflexions méthodologiques Lüsebrink, Hans-Jürgen (Universität des Saarlandes, Saarbrücken, Saarbrücken, Germany)

Im Zentrum des Vortrags steht, der Orientierung des Panels entsprechend, die Frage nach der grundlegenden Übersetzungsstruktur afrikanischer französischsprachiger Literaturen und der Notwendigkeit der Kenntnis nicht nur der linguistischen und kulturellen 'Subtexte' (oder 'Hypotexte'), sondern auch einer entsprechenden Methodik im Hinblick auf ein adäquates Verständnis der Literaturen des subsaharischen Afrikas. Methodische und theoretische Grundlagen für den Vortrag bilden die wegweisenden Arbeiten von Papa Samba Diop (vor allem sein Werk Archäologie du roman sénégalais, 1996, Neufl. 2010). Erstmals wurde hier in einer auf einem sehr umfangreichen Textcorpus – der gesamten senegalesischen Romanliteratur in französischer Sprache seit ihren Ursprüngen in den 1920er Jahren bis 1992 - beruhenden Untersuchung die grundlegende Zwei- und Mehrsprachigkeit außereuropäischer postkolonialer Schriftsteller und ihrer Werke systematisch und in methodisch modellbildender Weise untersucht. In dem knapp 500 Textseiten umfassenden Werk, das durch ein 752 Seiten umfassendes Glossar aller aus afrikanischen Sprachen sowie aus dem Arabischen stammenden Wörter, Ausdrücke, Personennamen und Toponyme, die im Untersuchungskorpus genannt werden, ergänzt wird, arbeitet Diop die Konsequenzen dieser

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 grundlegenden Zwei- und Mehrsprachigkeit der frankophonen senegalesischen Literaturen für ihre Neu-Interpretation heraus. Diese sprachliche und kulturelle Tiefenstruktur, die in vielfältiger Weise in die französischsprachigen Romantexte eingeflossen bzw. in sehr komplexer Weise in sie übersetzt und ‚eingewebt’ ist, nennt Diop ‚Hypoculture’ – im Gegensatz zur französischsprachigen ‚Hyperculture’. Der Vortrag zielt somit darauf ab, die Konsequenzen dieser methodischen und theoretischen Überlegungen für eine postkoloniale Philologie der afrikanischen Literaturen, die systematisch von den 'Langes d'origine' ausgeht und zugleich die grundlegende 'Übersetzungsstruktur afrikanischer Literaturen im Blick hat, unter Einbeziehung von Textbeispielen herauszuarbeiten.

9:30 AM - La dynamique transculturelle dans le roman francophone : le statut du lecteur. Kourouma, Chamoiseau, Monénembo Semujanga, Josias (Faculté des arts et des sciences / Université de Montréal, Montréal, Canada)

Il est courant que récits narratifs construisent un dialogue entre le narrateur et le lecteur. Nous connaissons le phénomène depuis Diderot et ses épigones. Les romans francophones renouvellent ce procédé narratif en mettant en place la figure du lecteur étranger à la culture de l’auteur. De façon générale, le discours romanesque et les autres récits sociaux fonctionnent à partir de la maîtrise commune des connotations de sorte que ces sédiments culturels qui sous-tendent les discours n’ont pas besoin d’être explicités lorsque l’auteur et le lecteur les partagent. Or, dans certains récits francophones les textes sont tellement imprégnés de spécificités culturelles que le lecteur a parfois besoin de l’aide de l’auteur ou de l’éditeur pour venir à bout de certaines zones d’illisibilité du texte. Car le texte francophone construit une double altérité culturelle - celle du texte et celle du lecteur- le narrateur crée alors un répertoire des inférences explicites pour le lecteur afin d’assurer la lisibilité du texte. Ce faisant le dialogue entre les deux altérités débouche sur la transculture en tant qu’espace commun de médiation pour penser la littérature et le monde. Des exemples seront tirés des romans de Kourouma, Chamoiseau et Monénembo.

10:00 AM - Variations interlinguistiques des proverbes créoles dans 'Pluie et vent sur Télumée Miracle' (Simone Schwarz-Bart) Lay Brander, Miriam (Universität Konstanz, Konstanz, Germany)

Dans son roman Pluie et vent sur Télumée Miracle (1972) l'écrivaine guadeloupéenne Simone Schwarz-Bart réalise, comme a montré Jean Bernabé, une déconstruction des proverbes créoles en les privant de leurs caractéristiques proverbiales et les enchâssant dans le contexte du roman écrit en français. L'autrice non seulement traduit les proverbes créoles au français, mais elle change aussi leur structure ou leur lexique. Or, le recours aux versions originales des proverbes employés met en évidence que les modifications réalisées par Schwarz-Bart sont d'une portée idéologique qui reste inaperçue au lecteur exclusivement francophone. Ma contribution vise à montrer les conséquences de ces variations pour, d'un côté, la compréhension du roman et, de l’autre côté, pour la conception schwarz-bartienne de la relation entre la langue française et les langues créoles tant discutée dans les contextes postcoloniaux.

11:00 AM - Recours aux langues et aux textes d'origine : le moment philologique de l'analyse Adam, Jean-Michel (CLE, Université de Lausanne, Lausanne (Dorigny), Switzerland)

À partir d’études de textes de Perrault, Baudelaire, Andersen, Kafka et Borges (corpus indicatif), cette communication a pour objet de démontrer l’indissociable nécessité de revenir de très près à la langue et aux textes pris comme objets d’une démarche de comparaison, d’interprétation et/ou de traduction. Dans ce plaidoyer pour le plurilinguisme et le moment philologique de l’analyse, la

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 graphie, la ponctuation, les paragraphes seront autant pris en compte que le lexique, la syntaxe, la textualité globale et la généricité.

11:30 AM - Le fantasme de la langue russe dans l'autobiographie de Vladimir Nabokov Borutti, Silvana (Università degli Studi di Pavia, Pavia, Italy)

Speak, Memory. An Autobiography revisited, publiée en 1966, est la re-traduction anglaise de la version russe de l’autobiographie écrite en anglais par le multilingue Nabokov et publiée en 1951; comme l’écrit l’auteur, «c’est la re-anglicisation d’un re-version russe de ce qui à l’origine avait été la re-narration anglaise de souvenirs russes ». C’est une « autobiographie re-visitée » parce que la traduction dans la langue maternelle, réalisée avec sa femme, a fait sortir de l’oubli des souvenirs, des faits, des personnes, qui appartenaient à un monde vécu en russe. Il s’agit donc d’une véritable autobiographie linguistique: dans le travail de traduction, transformation, comparaison anglais-russe- anglais, les langues, en se rencontrant et en s’intégrant mutuellement, amènent à la surface des mondes de sens liés à la langue d’origine, des significations qui, autrement, auraient été silencieuses. L’autobiographie de Nabokov arrive à dire et à comprendre dans une langue seconde, « dans une marque d’anglais de second ordre », il écrit, la perte de la langue maternelle, qu’il n’arrivait autrement pas à dire. Nabokov est un émigré qui a tout perdu, ayant perdu sa langue d’origine. Il la trouve à nouveau en demeurant entre les deux langues.

12:00 PM - Trois langues, trois textes, trois cultures: original et traductions face à face Jaquinta, Carlotta (Université de Lausanne, Köniz, Switzerland)

Dans la contribution que je me propose de présenter, tant la langue que le co(n)texte de parution des textes sont fondamentaux. Mon objet d'étude étant la comparaison entre les traductions italiennes et françaises et la version originale d'un texte russe, les langues et les contextes dont elles relèvent sont à la fois l'objet et l'instrument de mon analyse. Vu que forme et contenu constituent une unité indissociable faisant la spécificité du texte littéraire, un changement de forme amène forcement à un changement de l'œuvre. Une traduction impliquant, par définition, une modification formelle radicale – la langue – il convient, comme le suggèrent Heidmann et Borutti dans La Babele in cui viviamo (2012), de considérer la traduction comme un autre texte ayant son fonctionnement propre. S'il y a changement de langue, dans le processus de traduction, il y a naturellement aussi changement de cotexte et de contexte: l'œuvre paraît dans un autre dispositif, dans un autre espace géographique et temporel ayant ses pratiques culturelles spécifiques. Puisque ce texte-là – avec cette forme et dans ce co(n)texte – est une création unique, il est à son tour à considérer comme un original qui crée des effets de sens différant de toute autre version. En me basant sur La vie des insectes de V. Pelevine dans ses versions russe (1993), française (1995) et italienne (2000), je mettrai à l'épreuve cette conception de la traduction pour voir jusqu'à quel point les différences ressortant d'une lecture en miroir sont révélatrices des particularités de chaque texte, ainsi que de la culture correspondante. Puisque la comparaison des langues et de leurs utilisations dans les œuvres engage également la comparaison des livres et des contextes dont ils sont issus, les détails linguistiques font de tremplin pour mettre en lumière des différences au niveau plus global du texte et des pratiques culturelles.

2:00 PM - L'importance du recours aux langues d'origine pour l'étude des contes HEIDMANN, Ute (Centre de recherche en Langues et littératures européennes comparées (CLE), Université de Lausanne, Lausanne, Switzerland)

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

Cette contribution présente les résultats d’analyses comparatives d’œuvres (dues à Apulée, Basile, Perrault, Grimm, e.a.) dont nous tenons la majorité des contes devenus canoniques comme La Belle au bois dormant, Le Petit Chaperon rouge, La Barbe bleue ou Cendrillon). Ces analyses menées à partir de leurs langues et éditions d’origine révèlent des effets de sens très complexes et très différents des significations généralement attribuées à ces contes par des approches qui ne prêtent aucune ou peu d’attention aux langues d’origine. Quelques exemples frappants montreront l’efficacité d’une démarche comparative proche des langues d’origine qui s’avère apte à renverser des idées reçues qui ne sont plus interrogées.

2:30 PM - (Noms de) genres à la croisée des langues Núñez, Loreto (CLE ¿ Université de Lausanne, Bern, Switzerland)

Depuis l'Antiquité, on constate une tendance à ériger les genres en catégories universelles. Or Bakhtine et Todorov nous invitent à les considérer comme des constructions culturelles liées aux différentes langues. En partant du constat de l'impossibilité de la traduction synonymique (Heidmann et Borutti suivant e.a. Humboldt), la présente communication propose une étude comparative des noms de genres dans plusieurs langues. L'exemple du soi-disant "roman antique" servira d'illustration. La critique regroupe sous cette appellation des textes en grec ancien et latin d'une certaine étendue présentant un récit en prose non-factuel. Ce faisant, elle attribue (et cela malheureusement souvent au détriment des textes étudiés) un régime et un nom génériques anachroniques à des ouvrages anciens. D'où l'intérêt de relever et d'analyser de façon précise les désignations dans les textes antiques, comme logos , mythos , diêgêma , historia , plasma , syntagma , drama , kômôdia en grec ou fabula , narratio , argumentum fictis casibus , mimus en latin. Pour montrer et analyser les différences significatives des noms génériques donnés à des oeuvres respectivement par leurs auteurs, lecteurs, éditeurs, critiques et traducteurs successifs, la comparaison différentielle (élaborée par Heidmann) s'avère un outil heuristiquement efficace. Nous compererons dans cette optique les Métamorphoses d'Apulée et les Ethiopiques d'Héliodore en prenant en compte leurs premières traductions dans les langues romanes.

3:00 PM - Guimarães Rosa and Perrault: language and reconfiguration Barbosa, Marcio Venicio (Universidade Federal do Rio Grande do Norte, Natal, Brazil)

This communication will present Rosa's short story "Fita verde no cabelo" as a reconfiguration of Perrault's "Le Petit Chaperon rouge" based not only in cultural elements from 17th century french culture, that Rosa uses in his short story but also in the language he has chosen to retelling the story of the little girl who was about to have a very hard lesson for her life. Rosa's story shows many language structures very similar to Perrault's ones and he does this reconfiguration in harmony with his time, his local culture and in dialogue of other writers, as the philosopher Villém Flusser, in Brazilian's 1960's.

4:00 PM - How the first English translation changed the perception of Perrault's Contes in England. Angelo, Tiziano , Switzerland

The aim of the present paper is to examine how the text of the contes of Perrault, once it was translated into English has been transformed. How the English cultural tradition has received and assimilated it.

Translation and reception are then the two fundamentals of this paper.

Translation implies intertextuality: by comparing the English translation with the French original of the contes, I want to show the following: whether the French text has been changed or not; 308

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 if the "genre" has been kept in English; how much the translation reflects the taste/tastes of the recipient culture.

Reception, on the other hand, can also be connected with interculturality by assessing the way the continuing "dialogue" between the contes and the evaluations/interpretations of the English culture has been developed and carried out.

4:30 PM - De "Schneeweisschen" à "Sneewittchen". Germanisation et mythologisation dans les "Kinder- und Hausmärchen, gesammelt durch die Brüder Grimm" Légeret, Joëlle (Centre de recherche en Langues et Littératures européennes comparées (Université de Lausanne), Crissier, Switzerland)

Les Kinder- und Hausmärchen, gesammelt durch die Brüder Grimm sont considérés à bien des égards comme les textes fondateurs d’une littérature nationale et de l’esprit allemand. Cette conception, renforcée depuis l’annexion des recueils au patrimoine mondial de l’Unesco en 2005, émane notamment des propos des Grimm eux-mêmes qui affirment le caractère ancestral, et « purement allemand » des contes publiés par leur soin. Corroborée et validée par la mise en place d’une forme générique et d’un style de narration très particuliers et par un système de notes amplifié au fil des éditions, cette conception relève en réalité d’une construction discursive que seul le recours à la langue d’origine est susceptible de mettre en lumière. La présente contribution s’attachera à illustrer les différents procédés textuels et langagiers par lesquels Jacob et Wilhelm Grimm « germanisent », puis « mythologisent » les Kinder- und Hausmärchen au gré des éditions successives des Kinder- und Hausmärchen, gesammelt durch die Brüder Grimm . A partir de l’exemple de Sneewittchen , elle montre dans un premier temps comment ce texte est érigé en reliquat d’une légende mythologique nordique, celle du roi Harald à la Belle Chevelure et son épouse Snäfridr, et germanisé dans la lettre même du texte. Dans un second temps, à l’aide d’une analyse comparative différentielle telle que théorisée par Ute Heidmann, nous révélerons le statut fictionnel des liens mythologiques établis et démontrerons qu’il s’agit avant tout d’une stratégie déployée par les Grimm pour se démarquer d’autres auteurs de contes, notamment allemands, tel qu’Albert Ludwig Grimm, lequel publia, en 1809, une pièce intitulée Schneewittchen , aujourd’hui oubliée.

Date: Tuesday, July 26th

9:00 AM - Une langue dans la langue:oeuvres francophones de Vassilis Alexakis, Agota Kristof, Akira Mizubayashi Olah, Myriam (CLE, Lausanne, Switzerland)

La relation à la langue est abordée de façon inédite par les écrivains bilingues. Au-delà de toute classification, ils cherchent à faire « cohabiter » plusieurs structures linguistiques dans un même texte. Lorsqu’il s’agit d’une langue qualifiée comme « mineure », la réminiscence de celle-ci induit une stratégie particulière. Dans un rapport « non-hiérarchique » entre « langues majeures » et « langues mineures », cette recherche interroge les formes d’une telle « cohabitation », en se basant sur les outils méthodologiques du linguiste Jean-Michel Adam et de la comparatiste Ute Heidmann. En travaillant de près sur des langues syntaxiquement éloignées comme le grec moderne, le hongrois et le japonais, il est possible de déceler une structure linguistique propre à ces idiomes qui persiste dans l’œuvre française. C’est la présence de ces « langues mineures » qui apporte une particularité nouvelle au texte écrit en « langue majeure ». La comparaison d’œuvres francophones d’auteurs de langue grecque, hongroise et japonaise permettra de mettre en évidence l’impact du plurilinguisme pour l’écriture. Les mots étrangers de Vassilis Alexakis, L’analphabète d’ Agota Kristof et Une langue venue d’ailleurs d’Akira Mizubayashi, illustrent ce « dialogue » qui se déroule au cœur du texte. Au- delà d’une thématique autour du langage propre à ce corpus, il s’agit d’observer l’incroyable 309

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 diversité d’une telle « cohabitation » née de l’auto-traduction ou du transfert syntaxique et lexical d’une langue à l’autre…

9:30 AM - La signification du discours identitaire dans l'analyse de la scène symboliste européenne Mantcheva, Dina (Université de Sofia Saint Cl. d'Ohrid, Sofia, Austria)

La communication se propose de montrer l’importance des langages identitaires dans l’étude comparative de la dramaturgie symboliste européenne conçue sur les deux terrains fondamentaux du continent – le cadre latino-germanique et le climat slave. Le corpus de travail s’appuie sur le modèle francophone, illustré par le premier théâtre de Maeterlinck et sur les productions dranamaturgiques des maîtres à l’Est, représentés par les trois branches ethniques slaves : les Slaves de l’Est (les créations russes de Blok), les Slaves de l’Ouest (les œuvres polonaises de Wyspianski) et les Slaves du Sud (les pièces bulgares de Popdimitrov).

L’objet d’analyse porte sur l’un des principes majeurs de la scène idéaliste – le recours à la synthèse des arts – , pratiqué aussi bien à l’Ouest qu’à l’Est du continent.

Y sont étudiés les différents types d’emprunts discursifs au patrimoine slave (philosophiques, littéraires, folkloriques, artistiques), leurs intentions et leur fonctionnement visuel et sonore sur les aires de jeu en question. L’analyse de ces langages visuels et sonores nationaux fait voir que les connotations patriotiques, sociales, éthiques et morales y contenues confèrent aux dramaturgies slaves une dimension utilitaire et un aspect plus concret. Ces nuances subversives transgressent le caractère universel et apolitique de la poétique orthodoxale et génèrent des systèmes poétiques nouveaux à l’Est. Ceux-ci adoptent une orientation idéaliste plus extensive et tracent les contours d’un symbolisme plus largement entendu qui poursuit sa propre existence. Ainsi donc, la sous- estimation de la diversalité des discours identitaires dans l’approche croisée de la scène idéaliste occidentale et slave porterait atteinte au caractère complexe et dynamique du théâtre symboliste qui s’impose sur le contient et dont la richesse et l’évolution résultent de la variété de ses versions constitutives nationales.

11:00 AM - Crucial elements lost in translation: the difficulties for the English-speaking reader of Rivera's La Vorágine. Román, Felipe (UNIL Lausanne University, La tour-de-Peilz, Switzerland)

I n Latin America, novelists have frequently played the role of historians. Literary works often are the most vivid memory of episodes and events that official historians were forced to keep to themselves due to government repression. In the case of Colombia, Violence, in its various forms, was a phenomenon that lacked a proper name for a long time, even though it had settled and spread widely through the population. Only since the 1960's there has been a serious and organized will to write on Violence as a crucial topic of Colombian History, that links all historical periods, from the Spanish conquest and the Colony, to the independence and civil wars, up to today's complex panorama of guerrilla and paramilitary armies.

Nowadays the “Literature on Violence” in Colombia refers mainly to “The Period of Violence” (1946- 1966), before this time there are less documents, less data, and often the only memory left of violent episodes are novels.

José Eustasio Rivera's La Vorágine (1924) is considered as the first authentic Colombian novel on Violence, describing the economical system that led to the slavery of extraction workers during the first rubber boom. For the English-speaking reader that may want to approach Rivera's work, significant difficulties are encountered early along, as the word “Violence” (written in capital letters in the original version) is omitted from the novel's first sentence . A crucial element whose 310

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 importance, Earle K. James, the translator, could not have fully realized in 1928 since it is a label introduced much later in Colombian and Latin American history: “Long before I ever fell passionately in love with any woman, I had gambled away my heart and Impetuousness had won it” (“Antes que me hubiera apasionado por mujer alguna, jugué mi corazón al azar y me lo ganó la Violencia”) . It may be argued that the word “Impetuousness” could fit the main characters' passionate ways, but for the overall meaning of the novel, and for what it has come to represent historically, the word “Violence” is crucial: “That Violence that Rivera for the first time wrote in capital letters, as if it was something with a life of its own . This is one of the many elements that suggest the need to study La Vorágine in its original version, in order to grasp the many subtle references to Colombian history during the rubber-boom and its subsequent repercussions, a hardly achievable task for a reader of the English translation.

11:30 AM - For a cultural approach of the theatrical discuss: the relation between the concept of "difference" by Jacques Derrida and the Differential Comparation Theory CAVALCANTE, Alex Beigui (ICLA, Natal-RN, Brazil)

This work dicusses the notions of “difference” proposed by Jacques Derrida and the Differential Comparation Theory created by Ute Heidmann mainly in respect to the contribution given by both to contemporary theatrical studies. An analysis of the levels of approximation and detachment between both approches will be presented as well as their contributions for some rewriting processes that are based on the passagem of literary myth to the stage. From the point of view of the authorship, this work investigates the notions of “filiation”, “alterity” and “cultural dialogue” that encompass the author’s discuss and insurbodination acts to the notions of originality, authenticity, invention and creation. In this sense, the problem of writing as the response to cultural models paves the way for the immediate overccoming associations like signification/significant; translation/original; popular culture/high culture; real/representation. From the comparative study of the two approaches, it will be possible to understand the spaces of deviations and conflicts between speach, writing and gesture.

17292 - A challenge for Comparative Literature: … Date: Monday, July 25th // Tuesday, July 26th Room: Seminarraum Skandinavistik 1 Chair: Eder-Jordan, Beate; Kovacshazy, Cécile; Blandfort, Julia

9:00 AM - Introduction: A challenge for Comparative Literature: The dynamics of Romani literatures and their many languages Blandfort, Julia ; Beate Eder-Jordan, Cécile Kovacshazy …

9:30 AM - Creating with Brush, Pen, and Voice: Ceija Stojka's Multidimensional Oeuvre as a Model for Romani Arts, Literatures, and Languages French, Lorely (Pacific University, Forest Grove, USA)

At the age of 56, Ceija Stojka--born in 1933 to a traveling Romani Lovara Austrian family--began to paint. Until her death in 2013, she created possibly thousands of artworks. Each individual artwork can stand by itself, either for its vivid colors and distinctive brush strokes, or for the situation the images depict. Fields of flowers, often surrounding wagons with horses and Roma, portray meadows where the Stojka family camped in summer. In contrast, huge army boots, swastikas, chimneys, brick barracks, and barbed wire stand for landscapes of the concentration camps where Ceija and family 311

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 members were interned. Paintings and drawings become testimonies to the resilience and resourcefulness of Roma confronted by decades, even centuries, of persecution. Indeed, for every one of Ceija Stojka's artworks, an individual or collective story exists, which often appears in words or entire narratives written on the front or back of the artwork. Her three published autobiographies also tell stories for the paintings, and she prolifically wrote and drew images in journals-- unpublished, in stacks of notebooks--about her memories and emotions. Denied a formal education as a young girl, she largely taught herself to read and write, and her writing style reflects the significant roles that orality and performance played in her life and works. Her artwork and writings contain profuse references to oral stories, songs, and sayings in German and Romanes, which, in turn, convey meaning to her visual images. My paper argues for a multidisciplinary interpretation of Ceija Stojka's artworks in connection with her writings as an entire oeuvre of Gesamtkunstwerke , whereby the visual intersects with the written and the oral word. Her multidimensional artistic and literary oeuvre offers a model for comprehending other artistic works by Roma who rely on oral or written stories for their visual and performative creations as they devise new kinds of "languages" and "narratologies" that challenge more established forms of literary and artistic productions.

10:00 AM - The Magnet-Effect of Romani Language Kovacshazy, Cécile (Cécile Kovacshazy, Limoges, France)

‘Romani Literature’ is this set (debatable set if considered as aesthetically homogenous), in any case a set made either of texts written in Romani, or of texts written in other languages by authors considering themselves explicitly as Roma. Among this second category, writing in the major language of their country, almost all of these writers resort to romanes, scattering their works with romani words.

I would like to bring closer three texts written in prose approximately at the same time but produced in different linguistic eras, in order to check if the use of romanes by these authors is similar or different. Thus I will bring closer a novel by Matéo Maximoff (French, 1917-1999), a novel by Magda Szécsi (Hungarian, born in 1958) and a story by Stefan Horvath (Austrian, born in 1949).

11:00 AM - Romani/Traveller life Story in the UK Shaw, Martin (Mittuniversitet, Sundsvall, Sweden)

Abstract

Until relatively recently, Romani/Traveller life stories in the United Kingdom were predominantly male and accompanied by, for example, a genre-related market strategy that was strongly masculine in orientation. The more recently published life stories by Romani/Traveller women have also been marketed in association with a particular literary genre, and are thus gender-coded. Even though one of the stereotypes of Romanies/Travellers in the United Kingdom is that they travel and live in various forms of moveable dwelling (especially vardos), the vast majority of the published life stories’ narrators are sedentary at the time of writing. However, as life stories consist of stories / memories of childhood and other stages of personhood, the Romani/Traveller life stories include stories / memories of the change from forms of moveable dwellings to housing, which also includes a relational change from relatively little direct interrelation with non-Romani/Travellers to an increased level of interaction with non-Romani/Travellers. There are three discernable characteristics of these life stories that may be said to feature in many of them. There is a tendency to be nostalgic about the past, which can have the effect of blurring the lines between nostalgic memory and the close-to-nature romantic stereotype that persists about the group(s). This blurring can also detract from a further characteristic of the life stories - a didactic form of narration that can be characterized as “talking back” against examples of both romantic and derogatory stereotypes of the group(s)

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(setting the record straight). Another characteristic is that the move from travelling to a more sedentary lifestyle does not entail a straightforward or immediate change in behavior, but an integration of lifestyles, and thought processes is often narrated. The three characteristics that I have listed here include particularities that can be identified as commonalities in this form of writing, but they would also have associations with other groups who have gone through similar changes in lifestyles and ways of interacting in the world.

11:30 AM - The Romani "Necessary Fictions" in Central Europe Kledzik, Emilia (Adam Mickiewicz University, Poznan, Poland, Poznan, Poland)

„Necessary fiction” – a term by Homi K. Bhabha refers to literature of postcolonial nations rewriting their history in such a way, it would compensate their loss of self-dependence in the colonial times. Necessary fiction underlines several moments of national history that can influence seeing the nation as dependent and present it in a way it would like to be seen by others.

The Roma nation, although it’s condition in Central Europe is undoubtedly subaltern, due to several reasons did not create such “necessary fictions” in a common, postcolonial sense. This doesn’t mean the narrative strategies of compensation are not present in their oral tradition (e.g. legends, fairy tales and other stories). But – paraphrasing S. Fish – there is no such thing as [one] Romani literature and it’s a good thing, too. A lack of such literary self-presentation in national languages of Central Europe has often been seen as a challenge for non-Romani or/and assimilated Romani writers. This was especially the case after the WWII, when a massive action of enforced settlement took place, and there was a strong need to promote Romani culture as a – although not equivalent – part of local national landscapes. In other words, a need to “translate” Romani culture in the literary language was an important part of a planned assimilation. This trend was continued after the political breakthrough, however in a different ideological context (multicultural society), but in the same “socially engaged” manner.

The main aim of the paper is to compare and to present, on a basis of few examples, the main narrative strategies of depicting Roma in such “necessary fictions”, by Central European authors after the WW II (J. Holdosi, M. Lakatos, Ma. Šmaus, V. Staviarsky, A. Stasiuk) , e.g.: the concept of a nation, the way of presenting “Otherness” and it’s (un)solvable social consequences, dealing with common stereotypes and "oral tradition", prospects for the future.

12:00 PM - Recognition as an autonomous literary current: Could Romani literatures become "guest of honour" at the Frankfurt or Leipzig book fair? Eder-Jordan, Beate (Vergleichende Literaturwissenschaft, Institut für Sprachen und Literaturen, Universität Innsbruck, Innsbruck, Austria)

In many European countries Roma have been fighting obstacles in order to be able to produce poems, novels, plays, tales or autobiographical accounts. It is, though, still a difficult task to find publishers for Romani literatures. In relationship to the Romani civil rights movement there was / is an increase of Romani literatures in different national languages as well as in Romani. I will give examples regarding difficulties in publishing literature as well as how they could be overcome, in several cases in cooperation with non-Roma. Successful examples of publications are books by Jovan Nikolić, Ceija Stojka and József Holdosi, whose novel “Kányák” (1978) / “Die Straße der Zigeuner” (1984) was reedited in German in 2014 by innsbruck university press, now bearing the title “Die gekrönten Schlangen”. For the further development of Romani literatures it would be necessary to translate texts by Romani authors on a broad scale. This would give recipients the chance to come into contact with Romani literatures and their antihegemonic discourses. Roma have managed to make themselves present on the international podium in the field of the arts. Visual art by Roma was

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 exhibited in Roma Pavilions at the Biennale in Venice in 2007 (Paradise Lost) and 2011 (Call the Witness). Would something similar be possible in the literary field? How could Romani narratives be inscribed into the literature and cultural memory landscapes on a national and international level? Would it be possible for Romani literatures (together with literatures of “Jenische” and Travellers) to become “guest country” / “guest of honour” at book fairs, e.g. in Leipzig or Frankfurt? How could Romani literature scholarship, this new field of study, support such an idea?

4:00 PM - Romani identities, texts and languages in the first international journal of comparative literary studies T. Szabó, Levente (Babes-Bolyai University, Cluj, Romania)

In the ever-growing interest in literary nationalism studies of the past few decades the interplay and complex identity politics of the composite states has largely been neglected (especially in the case of Central and Eastern Europe). Thus the focus was always on the national and less on the local, regional and supranational elements of nation-building. Therefore the value of the latter was less visible even though nineteenth-century (and earlier) "composite monarchies" (G. Königsberger-J. H. Eliott) offered generous sources for complex forms of nation-building and enthralling uses of the local, the regional and the supra-national. Therefore those communities that were traditionally pushed aside of the canonical nation-building, including the Romani communities and their literary culture, have been left out from both the national literary canons and the histories of the transnational literary processes.

My proposed paper will focus on the heuristic value of the so-called patriotic (or imperial / supranational) discourses that were revived in the Habsburg Monarchy and later in the Austro-Hungarian Empire (including the multi-linguistic and multicultural Transylvania) of the nineteenth century. These discourses foregrounded not only the local traditions, but also the culture and literary remains of the Romani community. This is the framework the Acta Comparationis Litterarum Universarum, the first international journal of comparative literature edited in Cluj, Transylvania from 1877 to 1888, took over, reshaped and reconfigured into a more democratic, cosmopolitan and international literary identity. The Romani texts and cultural phenomena were used throughout the journal as the master examples of hidden values of modern world literature supressed by literary nationalisms. I propose to map this large literary corpus and enthralling early discourse of the institutionalization of emerging comparative literary studies in order to highlight and explain the use of various Romani figures, texts, languages and cultural phenomena in the first international journal of comparative literary studies.

4:30 PM - Conceptualising Romany Identity in the Writing of the Roma Ryvolova, Karolina (Charles University, Faculty of Arts, Romani Studies department, Praha 7, Czech Republic)

I shall discuss identity (de)construction as represented in the writing of Victor Vishnevsky from Brazil, Mikey Walsh from England, Andrej Gi?a from Eastern Slovakia and Irena Eliášová from Western Slovakia. I will be looking at authentic Romany life stories i.e. self-written as opposed to collaborative life stories, recorded and co-produced by Non-Romany editors. All four authors believe their ethnicity to be inherited and fixed, contrary to the consensus in contemporary social sciences. They all perceive the Romani language, traditional patriarchal gender roles and dark complexion as the strongest markers of Romany identity. An East-West divide seems to be running between the authors whose loyalty lies with their country of residence (Gi?a, Eliášová), who find it easy to reconcile their citizenship with their ethnic identity, and those who constitute their Romany identity independently of it, as that of a member of an indigenous non-territorial nation (Walsh, Vishnevsky). The Roma from ex-communist countries seek mutual understanding with their countrymen, while the Western Roma stress their endogamy, independence and the need to maintain the symbolic boundaries between 314

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 themselves and the gadje. The divide also reflects on the form the respective life stories take. Gi?a and Eliášová communicate with regionalist tradition whereas Walsh and Vishnevsky tap into American romanticism with its ideals of self-reliance. While writing in defence of the Roma as a people, the authors variously conceive of themselves as different Roma, setting themselves apart from the crowd, inadvertently betraying a state of colonised mind. In order to analyse Romany literary identity, I will be selectively drawing on concepts from post-colonial theory, Pierre Bourdie’s theory of the literary field, Walter Ong’s notion of orality vs literacy and Henry Louis Gates Jr’s African-American literary theory.

5:00 PM - An entanglement of literature and identity politics: common narratives in books for Romani children: Zahova, Sofiya (Bulgarian Academy of Sciences, Sofia, Bulgaria)

According to the periodization of Romani literature history, proposed in my recent research, I argue that since the end of 1990s and after 2000 we may speak about internationalization of the Romani literature scene. In this period are observed developments that go far beyond the borders of national country or a region, as well as common features that are characteristic for the Romani publications including these for Romani children. Among them is the emergence of similar Romani identity narratives that are met in recent books for Romani children and correspond to the 'grant narratives' of the Romani movement. The report will discuss Romani children books created in the period of internationalization, arguing that there are common identity narratives interrelated to the ideas of the Roma people as a nation in the discourse of the Romani international movement and Romani political activism. I will focus on discussing three narratives: the Roma ancestors’ narrative (or narrative about the exodus and journey from India), the one about the Romani Holocaust and the nomadic ethos narrative (or the one about the nomadic way of life as the core, the essence and pillar of the Romani ethnoculture). I will analyze and compare Romani children’s books from three geographic regions of Europe – Southeastern (Balkan countries), Central (Poland) and Northwestern (Sweden).

Date: Tuesday, July 26th

9:00 AM - Bildsprache(n) in Lyrik von Roma und Sinti Bauer, Sidonia (Universität zu Köln, Köln, Germany)

Lyrik ist seit ihren Anfängen eine der Mündlichkeit verhaftete Ausdrucksform tiefen inneren Gefühls. Poetische Sprache kann genreübergreifend wirksam werden, so in der Prosa (als Prosagedicht oder lyrische Prosa), als Drama (dramatisches Gedicht) und natürlich als Lied oder Gesang. Der Beitrag stellt sich zur Aufgabe, zeitgenössische Lyrik von Roma, Sinti und Jenischen auf ihre Nähe zur Mündlichkeit hin zu befragen und gemeinsame Bilder, Motive und Haltungen im Sinne einer art de vivre ins Licht zu heben. Im Mittelpunkt sollen die poetischen Werke von Philomena Franz , Nedjo Osman, Ruždija Russo Sejdovic , Jovan Nicolic , Mariella Mehr, Alexandre Romanès und Pedro Amaya stehen.

09:30 AM - Die Vielfältigkeit der poetischen Sprache(n) des spanischen Roma-Dichters Helios Gómez Hertrampf, Marina Ortrud (Universität Regensburg, Regensburg, Germany)

Der 1905 in Sevilla geborene Helios Gómez gilt heute als einer der ersten spanisch schreibenden Roma-Autoren Spaniens. Während des Spanischen Bürgerkrieges auf der republikanischen Seite engagiert, flieht er nach Frankreich, wo er wie sein Landsmann M. Aub in ein Arbeitslager deportiert wird. 1942 gelingt ihm die Rückkehr nach Spanien, wo er jedoch aufgrund seines politischen Kampfes gegen das faschidoide Franco-Regime wiederholt in Gefangenschaft gerät und schließlich 1956, durch die zahlreichen Inhaftierungen gesundheitlich stark angeschlagen, verstirbt. Mit seiner 315

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Rückkehr nach Spanien beginnt auch Gómez‘ literarische Produktion. Sein gesamtes dichterisches Werk, das erst posthum unter dem Titel ,Helios Gómez, poemas de luch y sueña‘ (2006) erschien, entsteht in der Zeit von 1942 bis 1956. Die Dichtung von Gómez ist gerade in komparatistischer Hinsicht ein aufschlussreicher Analysegegenstand: Auf der einen Seite schreibt sich seine Poesie in formaler Hinsicht deutlich in die avantgardistische Strömung der sogenannten Generation 27 (zu der Autoren wie R. Alberti oder G. Lorca zählen) ein; der intertextuelle Austausch ist dabei spannenderweise reziproker Natur, denn die Thematisierung der ,gitanos‘ in der Dichtung Lorcas oder Albertis weist eine deutliche Parteinahme für die Belange der marginalisierten Roma auf. Auf der anderen Seite entwickelt Gómez eine ganz eigene Roma-Poetik, die u.a. mit Motiven arbeitet, die sich auch in Gedichten anderer, nicht hispanophoner Roma-Dichter wiederfinden. Ziel des Beitrages wird es sein, der Vielfältigkeit der poetischen Sprache(n) von Gómez nachzuspüren, um schließlich zu zeigen, dass Roma-Dichtung per se hybrid ist und sowohl Teil nationaler Mehrheitsliteraturen ist als auch transnationale Gruppenspezifika aufweist, die sie als eigenständige Literatur ausweisen.

11:00 AM - Metamorphosen oder zur Konstruktion von nomadischen Identitäten am Beispiel von Miguel Halers Conte Fantastique Les mémoires d'un chat de gouttière (2011) von Hagen, Kirsten (Universität Gießen, Institut für Romanistik, Gießen, Germany)

Haler wählt für seine phantastische Erzählung eine Identitätskonstruktion, die eine doppelte Marginalisierung impliziert: Erzählt wird aus der Sicht eines Tieres und einer Dachkatze, d. h. einer nicht domestizierten Katze, die sich wie die Matrix-Erzählung der Aristocats gezeigt hat, am Rande auch der tierischen Gemeinschaft der Katzen befindet. In meinem Vortrag möchte ich der Frage nachgehen, wie der Text in intertextueller Perspektive als ein Rewriting, eine Reécriture aus der Peripherie heraus verstanden werden kann, die im Rekurs auf bekannte Modelle von alternativen Identitätsentwürfen bzw. Autofiktionen wie Kafkas Erzählung Die Verwandlung (1912) oder Virginia Woolfs Flush: A biography (1930), einer Autobiographie aus der Sicht eines Hundes, die Frage nach der nomadischen Identität der Roma neu perspektiviert. Sinnfällig ist in dem Kontext, dass bereits der paratextuelle Titel an die ältere Tradition Autobiographischer Schriften französischer Autoren anknüpft, die Memoirenliteratur [1], diese aber in einem ironischen Spiel subvertiert und somit einen Raum schafft für alternative Identitätsentwürfe, die gegen Festschreibungen für das Fluide plädieren.

[1] Dies umso mehr, als er in den früheren Werken keine paratextuellen Angaben zum Genre macht, vgl. Julia Blandfort, Die Literatur der Roma Frankreichs, Amsterdam 2013, Fußnote 270.

11:30 AM - "Les nomades de la pensée": Jean-Marie Kerwich and the Poetics of Diaspora Blandfort, Julia (Jade Hochschule, Wilhelmshaven, Germany)

In 2008, Jean-Marie Kerwich, a gitan piémontais born in Paris 1954, published his third literary work. Having focused on aphorisms in his previous publications, he turns to a new genre in his book entitled “L’évangile du gitan” (The gitan’s gospel): prose poetry. He chooses therefore a form that is inscribed in French literary tradition and stands for hybridity and fusion as well as delimitations. The presentation will elaborate the hypothesis that Jean-Marie Kerwich uses the genre of prose poetry in order to transmit limits and opportunities for an autonomous literary field of Romani literature. The theoretical approach of diaspora studies and Bourdieu’s theory of the literary field will be used in order to illustrate the dynamics of this highly political idea. They will also serve to explore the role of the poet – his individual perspective and suffering – at the crossing of his community and the majority with their respective literary traditions.

12:00 PM - Conclusions: Further challenges to Romani Literature and its Reception Blandfort, Julia ; Beate Eder-Jordan, Cécile Kovacshazy … 316

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17294 - Lektüre und/als Theorie. Zwischen Metasprache und Artefakt Date: Monday, July 25th // Tuesday, July 26th Room: Hs 7 Chair: Bohn, Carolin

11:00 AM - Novelle und Theorie. Goethe/Benjamin und Balzac/Barthes Bohn, Carolin (Universität Innsbruck / Institut für Sprachen und Literaturen, Innsbruck, Austria)

Mein Beitrag versucht ein kleines Experiment zu unternehmen. Dazu bringt es zwei Kommentare in einen Dialog: Barthes Lektüre von Balzacs "Sarrasine" und Benjamins Kommentar zur internen Novelle "Die wunderlichen Nachbarskinder" aus den "Wahlverwandtschaften". Zunächst wird geklärt, welche Theorien des Lesens diesen beiden Kommentaren und deren Primärtexten abzugewinnen sind. Anschließend werden Kommentare und Primärtexte chiastisch gekreuzt: Benjamins Gedanken zur Gattung der Novelle werden auf Strukturen von Balzacs Sarrasine projiziert, und Barthes semiotische Lektüre auf Goethe angewendet. Im Anschluss wird sich fragen lassen, ob die Lektüre ihren Primärtext braucht; inwiefern Lektüre selbst eine eigene Gattung ist; und inwiefern die Lektüre ein Primärtext ist oder es niemals sein wird.

11:30 AM - Pu'kins Kunsttheorie, der eherne Reiter und das Erdbeben von Lissabon Koroliov, Sonja (Universität Innsbruck, Innsbruck, Austria)

Puškins Mednyj vsadnik (Der eherne Reiter), das Poem über die Gründung St. Petersburgs und den kleinen Beamten Evgenij, der während der Überschwemmung im Jahre 1824 seine Verlobte und darüber auch den Verstand verliert und sich anschließend mit der Reiterstatue Peters des Großen anlegt, galt der Mehrheit bisheriger Interpreten als Parabel für die Konfrontation zweier Prinzipien – Macht gegen Menschlichkeit, Staat gegen Individuum, Unterdrücker gegen Unterdrückte. Weniger beachtet wurden die kunsttheoretischen Aspekte dieses visuellsten aller Petersburger Texte. Nimmt man wichtige Intertexte mit in den Blick, wie Puškins andere Gedichte, die sich mit Skulpturen befassen, aber auch Prätexte wie Voltaires Poème sur le désastre de Lisbonne, die Statue des Königs Dom José I auf der Lissaboner Praça do Comércio und deren Bedeutung im Kontext der Baumaßnahmen des Marquês de Pombal, so zeigt sich, dass hier nicht nur Architektur und Skulptur als spezifische Formen künstlerischen Ausdrucks diskutiert werden, sondern Puškin diskutiert und inszeniert hier auch, gewissermaßen im Hintergrund der politischen Handlung, seine Überlegungen zu Themen wie dem Zusammenspiel von Klassizismus und Romantik und der Rolle von Nachahmung und Originalität, zum ästhetischen Erlebnis, zur Subjektivität des Künstlers aber auch des Betrachters von Kunst, zur Materialität von Kunstwerken, aber auch zu deren historischer und ziviler Bedeutung sowie ihrer Rolle in einer projektierten Poetik der Aufklärung.

12:00 PM - Theorien des Nichtlesens Kronshage, Eike (Technische Universität Chemnitz, Chemnitz, Germany)

"I never read a book I must review; it prejudices you so." – Oscar Wilde

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Theorien des Lesens haben Konjunktur. Vielen der zahlreichen Lektüremodelle der vergangenen Jahre ist dabei eines gemeinsam: Sie zielen letztlich nicht auf ein Lesen, sondern auf ein Nichtlesen. Dem angesichts der ins Unüberschaubare anwachsenden Flut jährlicher Veröffentlichungen vermeintlich überforderten Leser geben die theoretischen Überlegungen zur Lektüre ein Entlastungsversprechen: Nicht mehr , sondern weniger ist zu lesen. Dieses Versprechen eint so verschiedene Ansätze wie das auf Techniken der digitalen Geisteswissenschaften vertrauende "distant reading" Franco Morettis (2000), das gegen tiefeninterpretatorische Ansätze vorgehende "surface reading" von Stephen Best und Sharon Marcus (2009), das von Robert Pfaller beschriebene "interpassive Lesen", das den delegierten Lesegenuss reflektiert (2002) oder das von Pierre Bayard mit polemischer Schärfe propagierte Nicht-Lesen als Bedingung der Möglichkeit des Redens über Literatur (2007). Das im CfP als Untersuchungsgegenstand genannte Verhältnis der "Formen des Lesens" zum "primären Gegenstand", dem literarischen Artefakt, scheint angesichts dieser Nichtlese- Methoden ein zunehmend korrodierendes zu sein: Es soll nicht mehr (Pfaller, Bayard), nicht mehr selbst (Moretti) bzw. nicht mehr in die Tiefe gehend (Best/Marcus) gelesen werden. Versteht man diese unverbundenen Ansätze als Indikatoren eines größeren Trends, erleben die Literaturwissenschaften aktuell einen Paradigmenwechsel, im Zuge dessen die individuelle, statarische und verstehende Lektüre eines literarischen Textes an Bedeutung verliert. In meinem Beitrag möchte ich an Hand der hier skizzierten Überlegungen dem sich im Wandel befindenden Verhältnis von professionellem Leser (i.e. Literaturwissenschaftler) und gelesenem Artefakt nachspüren und dabei insbesondere die Frage in den Fokus stellen, welche Funktion das Korpus an Theoriemodellen des Textzugriffs einnimmt.

2:00 PM - Sprachtheorien der Lyrik: Das Symbol bei Goethe Mergenthaler, May (The Ohio State University, Columbus, USA)

Verfasser von Gedichten bzw. lyrischen Texten erheben mindestens seit dem späten 18. Jahrhundert häufig implizit oder explizit den Anspruch, in diesen Texten einen neuen Sprachgebrauch oder sogar eine neue und bessere Sprache zu entwickeln. Dieser Anspruch ist oft ethisch, ästhetisch und philosophisch zugleich: es geht darum, vermittels Sprache wahre, gute und schöne oder kunstvolle Verhältnisse von Menschen untereinander, zwischen Mensch und Natur oder zwischen Mensch und Gott bzw. Göttlichem zu etablieren. Wer aber die Sprache erneuern will, muss auch eine neue Theorie von Sprache entwickeln, und tatsächlich versuchen viele Dichter in lyrischen wie nichtlyrischen Texten eine solche Theorie zu entwerfen. In diesem Vortrag wird am Beispiel von Goethes einflussreicher und umstrittener Theorie des Symbols als „ lebendig-augenblickliche[r] Offenbarung des Unerforschlichen “ und „Allgemeinen“ und anhand der Sonnensymbolik in seinen Gedichten untersucht werden, in welchem Maße die Sprache und deren Theorie durch Lyrik transformiert werden kann, und ob einer solchen Transformation durch die Struktur der Sprache Grenzen gesetzt sind - Fragen, die vermittels repräsentativer, linguistischer und philosophischer Symboltheorien (vgl. Todorov 1995 und Rolf 2006) erörtert werden sollen.

2:30 PM - The Highest Continuity: Philology and the Concept of Time Ng, Julia (Goldsmiths, University of London, London, United Kingdom)

De Man once criticized Heidegger for overlooking three letters—yet arguably the most important three letters for the “history of Western metaphysics”—in his reading of Hölderlin’s fragmentary hymn, “Wie wenn am Feiertage ….” In place of the “sei” appearing in the line “das Heilige sei mein Wort,” so de Man, Heidegger reads “ist,” substituting the copula for the subjunctive,

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 and thereby “establishing” the parousia in the utterance of the word in the absolute temporal present. For de Man, the presencing of “Wesen” that for Heidegger is revealed in the word is in fact ineffable, to the extent that it is language itself that introduces the distinction underscoring the struggle between “Wesen” and “Unwesen.” Taking the dispute over the line “das Heilige sei mein Wort” as its point of departure, this paper interrogates a concept of philology that has defined a branch of German literary studies emerging from the interpretation of poetry after Kant in general, and Hölderlin’s poetry in particular. This concept is of a philology to which de Man calls for a “return,” qua “turn to theory [inasmuch as it] occurred as a return to philology, to an examination of the structure of language prior to the meaning it produces.” Mindful of claims regarding the ontology of the text that accompany the call to return to philology today, the paper takes cue from Heidegger’s suppression of textual inconsistency in favor of establishing a version definitive beyond all possibility, and wonders, beyond de Man, whether there is such a single synthetic judgment as to unite desire, morality and cognition. Whether the “strenge Mittelbarkeit” taken by Hölderlin as a law higher than both mortals and immortals, and the highest ground of cognition in any relations of beings in time, is “nature” or “art,” is a question suspended by poets from Hölderlin to Celan who have modulated their verb tenses and modes to grasp, or refrain from grasping, the sacred—and implying a highly enigmatic concept of time.

3:00 PM - Artifact, text, theory: Hölderlin's political philology Adler, Anthony (Yonsei University, Seoul, South Korea)

Starting out from a discussion of the famed philological battles emerging around Hölderlin's posthumous writings, the following paper will argue that the various editions of his writings can be understood as theoretical artifacts, in the sense that they present the artifact, as artifact, in a way that is already laden with theory. Rather than claiming that it would be possible to recover either the pure artifact or the pure text, I will argue instead that we must try to develop an approach to Hölderlin that embraces this dimension of his writings rather than treating it as a contingency that must be overcome. This leads us, in turn, to discover an explicitly philological aspect of Hölderlin's poetics--- and indeed a political philology.

4:00 PM - Der Witz und seine Beziehungen zur Narratologie Boog, Julia (Universität Hamburg, Hamburg, Germany)

Sigmund Freuds Der Witz und seine Beziehung zum Unbewußten steht zusammen mit der Traumdeutung und der Sexualtheorie am Anfang seiner psychoanalytischen Überlegungen. Diese Arbeit gilt als eine seiner umstrittensten Studien und ist vielen Forschern „am schwersten richtig zu verstehen“ (Ernest Jones 1969). In ihr versucht Freud die „disiecta membra“ der vielgestaltigen Komiktheorien in den (ästhetischen) Techniken und (sozialen) Tendenzen des Witzes zu bündeln. Zentral ist hier, dass der Witz immer an einen Dritten gerichtet ist und, anders als der Traum, auf seine Verständlichkeit achten muss. Nach Freud ist der Witz in erster Linie ein „Enthemmer“ unterdrückter Empfindungen und gesellschaftlicher Tabus. Während er die Definitionen seiner Vorgänger aufgreift und sie mit seinen Arbeiten zum Traum, Unbewußten und Lustprinzip zu verbinden sucht, verästelt er sich allerdings immer mehr in diesen mannigfachen Aspekten und kommt zu keiner richtigen Pointe. Seine Studie mutet daher fast wie ein „Unsinnswitz“ an und lässt die die Frage virulent werden, inwiefern Theorie selbst zu ihrem Gegenstand, zu ihrem Artefakt werden kann (oder sogar muss). 319

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Daran anschließend kann über eine Re-Lektüre von Freud mittels Gérard Genettes Erzähltheorie das Potential seiner technischen Analysen von Witzen für die Literaturwissenschaft fruchtbar gemacht werden: Über eine Verbindung mit dem Stimmenmodell von Genette lässt sich das komplizierte Auslöseverhältnis zwischen (Witz-)Text und Rezipient besser verstehen und an ganz aktuelle Diskussion um die Metanarrativität von Texten (Nünning) anschließen. Somit wird über eine Verschränkung kanonischer Texte aus Psychoanalyse und Narratologie ein neues Modell für das Wirkungsverhältnis von Literatur und Leser entwickelt und das Verhältnis von Theorie und Artefakt in einem Umkehrschluss produktiv gemacht: Auch Freuds Witz-Theorie kann mit diesem Modell als ein metanarrativ an seinen Leser gerichteter Text wahrgenommen werden.

4:30 PM - Text-Therapie als Theorie: "Angewandte Psychoanalyse" bei Philip Roth, Gladys Schmitt und Peter Shaffer Scheurer, Maren (Goethe-Universität Frankfurt am Main, Frankfurt am Main, Germany)

Literarische Lektüren psychoanalytischer Provenienz sind seit langem umstritten: Nicht nur, dass die psychoanalytische Methode selbst im sich zunehmend diversifizierenden und verwissenschaftlichenden Feld der Psychiatrie um ihre Bedeutung bangen muss; der auf Kunst "angewandten Psychoanalyse" wird zudem Reduktionismus sowie das Verfehlen der ästhetischen Spezifika ihrer Gegenstände vorgeworfen. Zeitgenössische Psychoanalytiker wie Adam Phillips oder Thomas Ogden halten nichtsdestoweniger an psychoanalytischen Lektüren fest und beharren auf einer Affinität zwischen Literatur und Psychoanalyse, die schon Freud proklamierte. Darüber hinaus ist die Psychoanalyse in der post-freudianischen Literatur weiterhin ein Thema, das nicht nur abschlägig behandelt wird. Vielmehr treten einige Texte in einen produktiven Dialog mit der psychoanalytischen Theorie, indem sie Psychoanalysen inszenieren und zum Ort eigenständiger, textinterner Theoriebildung machen.

In diesem Vortrag möchte ich anhand der Darstellung psychoanalytischer Therapieverläufe in Philip Roths Roman Portnoy’s Complaint (1969), Gladys Schmitts Gedichtzyklus Sonnets for an Analyst (1973) und Peter Shaffers Theaterstück Equus (1973) aufzeigen, wie psychoanalytische Annahmen von Figuren weitergeführt und kritisiert werden und wie Literaturtheorie im Text nicht nur diskursiv betrieben, sondern in einem Analogieverhältnis zur dargestellten therapeutischen Beziehung inszeniert und der Rezipient zu einer Beteiligung an der Theoriebildung angeregt wird. Die Auswahl der Texte erlaubt neben der Betrachtung einer Vielfalt an aufgeworfenen Themen der psychoanalytischen Theorie - Künstlerpsychologie, Deutungstechnik und -ethik, der Einsatz der (Gegen-)Übertragung sowie die Bedeutung von Erzählprozessen - auch eine Auseinandersetzung mit den verschiedenen Positionen, die Leser, Zuschauer und zuletzt Interpret gegenüber Roman, Sonett und Drama einnehmen müssen, um an ihrer Theoriebildung teilzuhaben.

Date: Tuesday, July 26th

9:00 AM - Franz Kafka's Freitreppe: A Study in the Topology of Writing Gölz, Sabine (University of Iowa, Iowa City, IA, USA)

Kafka’s whole work can be read as a sustained meditation on the intrinsic limitations of written language.

Elsewhere (Gölz 2011), in a detailed analysis of his 1922 Ehepaar-Heft, I have argued for the use of the term manifold to describe the particular condition of writing around which Kafka’s thinking revolves: its incompleteness (in Kurt Gödel’s sense). As readable surfaces, texts are manifolds in the exact sense of mathematical topology: their complete description always requires one additional dimension – reading. Unless they are read, texts remain incomplete. Their significance resides and occurs in reading – again and again, and never in the same way twice. Yet reading is strictly 320

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 performative and eludes being written down. Reading is therefore what is always missing (fehlt) from the text. That is what in Kafka’s Trial is called the Fehler.

Kafka’s thinking about these issues evolves with uncanny tenaciousness and precision, and the emergence of key insights can be tracked throughout his work.

In my presentation, I will focus on an earlier group of texts that makes a particularly important contribution to this trajectory: his Oktavhefte (1916-‘18). It is well known that these small notebooks mark a new departure in Kafka’s poetics. My analysis will focus on the figure of the stairs (Treppe or Freitreppe) that is strangely frequent in these little notebooks. I will argue that this figure plays a central role in Kafka’s efforts to map the manifold of writing. It is a central topological figure in Kafka’s work, and its theoretical significance has so far not been understood.

Once we comprehend its significance, Kafka’s analysis enables further theoretical insights into the economy of writing, reading, and biopolitics in modern European culture, and allows to lay bare the ruses by which a conquistawriting was able to succeed.

9:30 AM - Proteus festhalten: Vom Begreifen der Verwandlung Fluhrer, Sandra (Friedrich-Alexander Universität Erlangen-Nürnberg, Erlangen, Germany)

Als Moment des Nicht- oder Nie-Identischen stellt sich die Verwandlung auf die Seite des Nicht-Theoretisierbaren und fordert zugleich Festsetzungsversuche heraus. Wenigstens in einer westlichen ‚Kultur der Identität‘ (Aleida Assmann) können Verwandlungen nicht einfach ‚hingenommen‘ werden, sondern bedürfen Mythifizierungs- oder Rationalisierungsstrategien. Kafkas Verwandlung beispielsweise hat vor diesem Hintergrund wohl auch deshalb ihre Leser so nachhaltig verunsichert, weil die Erzählung den Einbruch der Metamorphose ins Bürgerleben letztlich nie problematisiert. Indem der Grund der Verwandlung eine Leerstelle bleibt, wird die Verwandlung zum ‚Ausfall‘ (Gerhard Neumann) aus allen Zusammenhängen des Erzähl- und Erklärbaren.

Nicht nur für moderne Mythenbearbeitungen gilt dies aber; auch im antiken Epos ist die Verwandlung ein Problem, das sich durch die Zuschreibung zur Götterwelt nicht restlos auflösen lässt. Über eine Detaillektüre der Proteus-Episode im 4. Gesang der Odyssee rekonstruiert der Vortrag die Verortung der Verwandlung im Epos zwischen Festsetzung und Ausbruch. Der allwissende und unendlich wandlungsfähige Meergott Proteus verwandelt sich, um nicht weissagen zu müssen, in schneller Folge in Löwe, Schlange, Panther, Wildschwein, Wasser und Baum. Paradoxerweise geschehen diese Verwandlungen unter dem festen Zugriff des wissbegierigen Menelaos und seiner Männer. Das Darstellungsproblem in der Behauptung, noch die Verwandlung ins Flüssige sei im buchstäblichen Sinne begreifbar, bleibt im Epos ungelöst. Gerade dadurch insistiert die Episode aber auf der Frage nach den Voraussetzungen und Implikationen literarischer Verwandlungen.

Der listenreiche und wandlungsfähige Odysseus zeigt sich in diesem Zusammenhang als Spiegelfigur zu Proteus. Seine Täuschungsmanöver – beim Kyklopen, bei den Sirenen, als Fremder im eigenen Haus – geschehen gerade nicht im Zeichen des Flüssigen oder Latenten, sondern betonen stets Odysseus’ Festigkeit: den festen Griff ins Fell im Versteck unter dem Widderbauch, mit dem Odysseus dem Kyklopen entgeht; die im Krisenmoment noch einmal nachgezogene Fesselung vor den Sirenen; der schnelle Griff an die Kehle der Amme, als diese Odysseus’ Identität am Ende des Epos verfrüht preiszugeben droht.

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In der Figur des Proteus, die narratologisch wie geographisch am Rand der Odyssee steht, lässt das Epos eine gegenstrebige Struktur zu dieser auf Festigung gerichteten Erzählung aufscheinen. Dennoch versucht das Epos, Proteus’ Verwandlungskunst durch eine ganze Reihe von Distanzierungsstrategien buchstäblich im Griff zu behalten. Zu ihrer Entfaltung kommt die Verwandlung erst einige Jahrhunderte später auf dem dionysisch geprägten Theater. Auch Proteus hatte hier wohl einen Einsatz: Das leider nicht erhaltene Satyrspiel zu Aischylos’ Orestie trug den Titel Proteus und muss die homerische Episode zum Stoff gehabt haben. Dass um die Figur des Proteus auch bei Homer, der narrativen Einhegungsversuche zum Trotz, theatrale Elemente im Epos aufblitzen, versucht der Vortrag herauszuarbeiten und stellt dabei auch gattungstheoretische Überlegungen zur Verwandlung an.

10:00 AM - Die Normativität des Literarischen und des literarischen Wissens. Ein ästhetischer Gehversuch nach Georges Canguilhem Ebke, Thomas (Universität Potsdam, Potsdam, Germany)

Über Georges Canguilhem, einem seiner prägendsten akademischen «Lehrer», merkte Michel Foucault einmal an, dieser habe die Tradition der französischen Epistemologie à la Bachelard gleichsam neu erfunden, indem er seine Forschung der Geschichte der Wissenschaften vom Leben widmete. In der Tat führt die Konzentration auf diesen Objektbereich eine ebenso entscheidende wie schwer zu überblickende Transformation in die Frage danach ein, was überhaupt die Gegenstände wissenschaftlichen Wissens bzw. der Wissenschaftsgeschichte auszeichnet: So sehr sich nämlich Canguilhem der Einsicht Bachelards anschließt, wonach der Gegenstand der Wissenschaft stets ein «reifiziertes Theorem», d.h. ein (mit dem methodischen Diskurs der fraglichen Wissenschaft korrelierendes) Artefakt repräsentiert, so sehr stellt er innerhalb seiner Epistemologie der Biowissenschaften die unableitbare Normativität und absolute Spontaneität lebendiger Phänomene heraus. Auf diese Weise sind es gerade die Friktionen zwischen verschiedenen Formen und Quellen von Normativität, die – zueinander versetzt und doch miteinander konfrontiert – Canguilhem ins Zentrum seiner historischen Epistemologie stellt.

Mein Beitrag wird sich an einer experimentellen Einschreibung dieser Differenzierung der Gegenstandsregister der Wissenschaft und der Wissenschaftsgeschichte in den Zusammenhang zwischen der Literatur und ihren «Lektüren» versuchen: Einer Hypothese folgend, die das Literarische in seiner prononcierten Expressivität des Vitalen (G. Deleuze, auch C. Menke) auffasst, soll die Frage nach der Möglichkeit einer Hermeneutik des Literarischen aufgeworfen werden, die sich – durch Canguilhems methodische Dopplung inspiriert – ihrem Gegenstand über dessen diskursive Formierung und dessen immanente Sinnhaftigkeit zugleich annähert. Was auf diese Weise Konturen annähme, wäre eine Reflexion auf Literatur, die Elemente der Lektüre und der Theorie entfaltet und gerade deren Friktionen noch einmal eigens exponiert. Paradigmatisch soll dieser Vorschlag in Auseinandersetzung mit der Lyrik Stephane Mallarmés durchgeführt werden.

11:00 AM - In Parentheses: Valéry, Russell, Musil Hardtmann, Markus (Independent Scholar, London, United Kingdom)

Literature is always (literature). It brackets everything, including itself. Even if it were to concern literature, a statement found in a literary text is always a mere proposition: it does not posit the existence of that which it presents. The propositions of literature 322

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 desist from taking a stand on the question of what is (or is not), and yet they are not simply about nothing. How, then, can literature take leave from the order of being without lacking sense altogether? Some of the most prominent strands of early twentieth-century thought answer this question by extending the order of things so as to include abstract, incomplete, indeterminate, and even non-existent objects. The surprisingly rich ontologies found in early phenomenology and analytic philosophy do not, however, arise in response to literary concerns but originate, rather, in the analysis of mathematical statements. Paul Valéry and Robert Musil were both careful readers and astute critics of Bertrand Russell's Principles of Mathematics . Valéry's reflections on the ambiguous object of art (in Eupalinos ou l'Architecte and Monsieur Teste ) and Musil's investigation into being-without-qualities (in Der Mann ohne Eigenschaften ) are two attempts to find a way out of the ontological 'zoo' created in the course of Russell's research into the foundations of mathematics. As such, the exit routes identified by Valéry and Musil also lead towards a critical evaluation of the most recent revival of ontology, literary, mathematical, or otherwise, in the works of Alain Badiou and Giorgio Agamben.

11:30 AM - Die unselbstverständliche Lektüre. Hans Blumenbergs Glossen zu Fontane und die Theorie der Lebenswelt Waszynski, Alexander (Universität Erfurt, Erfurt, Germany)

Hans Blumenbergs Fontane-Lektüre ergänzt seine vom Lebenswelt-Begriff ausgehenden Überlegungen zur Theoriebildung um einen zentralen Aspekt: Sie trägt den Prozess des Lesens als Konstituens der Theoretisierung nach. Insofern Lebenswelt mit Husserl als ‚Universum der Selbstverständlichkeit‘ gefasst ist, widersetzt sie sich ihrer theoretischen Erfassung; umgekehrt ist ‚Theorie‘ nicht das Andere der Lebenswelt, sondern bedarf dieses Grenzbegriffes. Dieses Verhältnis verschärft Blumenberg mit seiner These zur „Selbstdestruktion der Lebenswelt“ (Blumenberg 2010). Mein Vortrag fragt nach dem Zusammenhang zwischen einer solchen „Entselbstverständlichung“ (Blumenberg 1986) und der Praxis der Lektüre. Anhand der frühen Nachlass•publikation Gerade noch Klassiker. Glossen zu Fontane (1998) lässt sich dieses Problem in zweifacher Weise aufwerfen: 1. In knappen Analysen ‚liest‘ Blumenberg prominente Passagen aus Fontanes Lyrik und Prosa, aber auch anekdotische, teils marginal erscheinende Texte als ‚Theorie‘ der Lebenswelt: Exemplarisch hierfür ist das Stück In-der-Lebenswelt-sein heißt: Nichtschwimmer sein . Fontanes literarische Figurationen werden so als Denkbilder lesbar, die Blumenbergs These nicht illustrieren, sondern wesentlich mittragen. 2. Reflektiert wird dieser Zugang, indem ‚andere‘ Lesarten erprobt oder gegeneinander ausgespielt werden, wie in ‚Leben‘. Ein Fünfzeiler : Darin rekonstruiert Blumenberg den Streit zwischen Thomas Mann und dem Literaturwissenschaftler Otto Pniower über die sinnverschiebende Alternative zwischen ‚das‘ und ‚daß‘ in einem „Nachlaßspruch“ Fontanes. Es zeichnet sich dabei eine dritte Lesart ab, die an Fontanes Spruch eine jenseits dieser Alternative gelegene Dimension abhebt: die genuin theoretische Leistung des ‚Verzichts‘. Die Lektüre zeigt, was sie tut: Sie ist ‚theoretisch‘ in dem Maße, wie sie auf eine Entscheidung verzichtet. Indem sie textuelle Ansprüche nicht tilgt, sondern erhält, ist sie die Figur der „Entselbstverständlichung“.

2:00 PM - Theoriedichtung und "Ekel am immer Geübten": Robert Musils Die Vereinigungen Erwig, Andrea (LMU München, Institut für deutsche Philologie, München, Germany)

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Die „Novellen entfalten nicht, sie falten ein“, sie sind eine „Dichtung, keine Erzählung“, so hat Robert Musil seine Novellen Die Vereinigungen (1911) beschrieben, deren Vermögen für ihn in der ‚Verdichtung‘ liegt. Musil entfaltet in seinen frühen Novellen ein „mikroskopisches Gedankenmosaik“, das im Kleinen sein gesamtes frühes poetologisches Programm enthält und zugleich literarisch umsetzt. Seine Novellen geben hierbei eine literarische Theorie der Literatur zu lesen; sie stellen Dichtung den Darstellungsverfahren der Wissenschaft gegenüber, verabschieden Kausalität und Linearität und unterwandern begriffliche Erkenntnismuster. Das Vermögen einer Literatur, die sich der Darstellung des Singulären und Individuellen verpflichtet, lässt sich im Sinne Musils am besten literarisch darstellen. Die Abwendung von Kausalität und von wissenschaftlichen Erkenntnismustern, etwa der zeitgenössischen Psychologie und Psychoanalyse, soll sich dabei auch auf der affektiven Ebene des Lesers vollziehen. Musil nimmt in seinen Novellen bekannte Erzählmuster, klischeehafte Bilder und konventionalisierte Freudsche Metaphern auf, um beim Leser Ekel und schließlich „Gefühlserkenntnisse“ zu erzeugen, die einen neuen Blick auf die Wirklichkeit gewähren. Diesen Überlegungen möchte mein Vortrag unter Einbeziehung von Musils essayistischem Schreiben nachgehen.

2:30 PM - Zur Theorie des Literarischen: Pessoas Buch der Unruhe Sohns, Hanna (Universität Erfurt, München, Germany)

Mein Vortrag will Fernando Pessoas Buch der Unruhe (Livro do desassossego) als ein Werk vorstellen, in dem sich das Verhältnis von Theorie und literarischer Praxis auf engste Weise verschränkt zeigt. Die fiktiven Tagebucheinträge, an denen Pessoa fast während der gesamten Zeit seines literarischen Schaffens schreibt, lassen sich als Teil eines ebenso literarischen wie theoretischen Projektes lesen. Ihre Niederschrift erscheint zunächst als Ergebnis einer Rückwendung: Das schreibende Subjekt nimmt in ihnen die klassische Position des theoretischen Rückzugs ein, die der Betrachtung der Empfindungen gelten soll. Diese im Schreiben gesuchte Analyse meint jedoch keineswegs eine durch die Ausbildung der Sensibilität gewonnene Erkenntnis über eine äußere oder innere Realität, sondern sucht vielmehr nach der praktischen Hervorbringung einer spezifischen, sogenannten künstlichen Empfindungsweise als Vorbereitung des literarischen Schreibens. Die Prosafragmente sind in dieser praktischen Vorbereitung jedoch zugleich theoretische Reflexion des Schreibens. In ihnen geht es darum, die Bedingung und Erfahrung poetischer Produktion zu studieren und zum Gegenstand von Literatur zu machen, in diesem Schreiben aber zugleich einen spezifischen Zustand praktisch auszubilden, der wiederum das literarische Schreiben bedingt. Die Fragmente erscheinen damit ebenso als Bedingung und praktische Vorbereitung des literarischen Schreibens wie zugleich als seine nachträgliche Reflexion, die als solche wiederum das Schreiben bedingt. Damit sind die Fragmente gerade in ihrer theoretischen Reflexion Produktion des literarischen Schreibens, zugleich aber seine praktische Vorbereitung und folglich darin auch stets auf ein Außerhalb ihrer selbst gerichtet. Literarisches Schreiben und theoretische Analyse erscheinen so in Pessoas poeto-philosophischem Hauptwerk in Prosa auf eigentümliche und komplexe Weise aufeinander bezogen.

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3:00 PM - Die translinguale Neuschreibung des Subjekts. Zur Sprachkritik in Yoko Tawadas "Überseezungen" Held, Christoph (University of Oxford, Oxford, United Kingdom)

Der Titel des 2002 erschienenen Bandes Überseezungen der japanischen, in Deutschland lebenden und in beiden Sprachen schreibenden Autorin Yoko Tawada verweist auf eine Literatur, die den spielerisch-kritischen Umgang mit Sprache und den vielfältigen Prozessen ihrer Übersetzung (von einer Sprache in eine andere, von Gedanken in Laute oder Schrift, von Laut in Schrift und umgekehrt usw.) zum Programm erhebt. Aus der Perspektive der ‚fremden Zunge’ und unter Rückgriff auf sprachtheoretische Ansätze der Spät- und Postmoderne wird das Sprachmaterial in seine Bestandteile zerlegt, die Sprache aus ihrem Alltag herausgelöst und verfremdet, um ihr neue Ausdrucksmöglichkeiten abzugewinnen und ihr poetisches Potenzial zu steigern. Eine solche dekonstruktiv-produktive Transformation und Nutzbarmachung sprachlicher Phänomene ist Tawada nur in der Begegnung mit der fremden Sprache möglich. In diesem Beitrag soll ihr pluralistischer, bewusst antitotalitärer Sprachbegriff anhand kürzerer Texte aus Überseezungen analysiert werden. Im Mittelpunkt stehen dabei die Fragen nach der Freiheit des sprechenden bzw. schreibenden Subjekts gegenüber seinem Medium, dem befreienden Potenzial einer Strategie des translingualen Schreibens/Übersetzens, ihren literarischen Mechanismen und sprachtheoretischen Grundlagen.

17295 - Original / Translation. The implied languages of imagined translations Date: Monday, July 25th // Tuesday, July 26th // Wednesday, July 27th Room: Skandinavistik Leseraum Chair: Rath, Brigitte; Vanacker, Beatrijs

11:00 AM - Pérez de Hita's Civil Wars of Granada: Translating Granada's History on the Verge of its Effacement Méndez-Oliver, Ana (Columbia University, New York, USA)

Twenty-years after the Spanish-Moorish conflict known as the Alpujarra’s War, 1568-70, Ginés Pérez de Hita wrote the fist part of his Guerras Civiles de Granada (Civil Wars of Granada), entitled Historia de los bandos de los Zegríes y Abencerrajes. The text, a fusion of historical novel and chivalry narrative, is Pérez de Hita’s “translation” in Spanish from the Arabic manuscript of the illustrious historian Aben Hamin. Historia de los bandos de los Zegríes y Abecerrajes narrates the history of the foundation of Granada under Arabic rule, the story of the prestigious dynasty of the Abencerrajes, and their final demise under king Boabdil’s rule. While Pérez de Hita participated in the Alpujarra’s War on the Spanish side, he presents in his pseudo-translation a utopic vision of Granada and the noble and chivalrous Moor at a time where morisco’s history and legacy were undergoing coercive measures of censorship and the future expulsion of the morisco community from the Iberian Peninsula was imminent. The paper will examine the significant role that Arabic plays in Pérez de Hita’s pseudo-translation in relation to other similar pseudo-translations that flourished at the end of the sixteenth century, such as Miguel de Luna’s True History of King Rodrigo (1592), considering the fact that the use of Arabic had been forbidden after the Alpujarra’s War. Furthermore, the paper will look into the correlation between the emergence of early modern Spanish historiography and the phenomenon of the proliferation of these pseudo-translations at a moment when the Spanish empire was on the verge of its downfall.

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

11:20 AM - The Originals of the Original of Don Quixote Syrovy, Daniel (Institut für Europäische und Vergleichende Sprach- und Literaturwissenschaft, Wien, Austria)

When Cervantes famously refers to the convoluted history of an Arab ‘original’ of Don Quixote, few would hesitate to see in it a send-up of a familiar trope – the many books and manuscripts from which chivalric romances are supposed to be translated. We find hardly any text in the various strands of the tradition (from Medieval romances to Italian romanzi cavallereschi to the Spanish 16th century romances) that does not claim some such relationship with earlier texts. But a more careful look reveals a number of different actual settings: a mere nod to the conventions (limited to the first lines or the title), or an actual translation (for instance Hartmann’s poems from the French). Sometimes, like in Cervantes’s case, there is even a complex interplay between fictitious ‘original’ and ‘translation’. My paper argues that it is too reductive in most cases to talk about simply creating a precedent, an authority, for what is being presented (as some scholars would have it), and that what Cervantes comes up with is not so much a ‘parody’ as a strategy of dissimulation, inherited in part from the Italian tradition of Boiardo and Ariosto. A few passages of the ‘original’ Quixote quoted in ‘literal translation’ (I, 9; II, 17; II, 24) show that the novel as we have it is a complete revision of Cid Hamete’s supposed text, in other words: a way out for the chivalric novel of what Cervantes saw as its stylistic quandary.

This renewal of the form corresponds to what Boiardo and Ariosto set out to do, by partly different means, and certainly with different results. To understand the Quixote , it is necessary to carefully collate the various texts Cervantes drew from: The motif of ‘original’ and ‘translation’ is among the most important and fruitful places to start.

11:40 AM - James Macpherson and the Hospitality ofthe Text Lemke, Cordula (Freie Universität Berlin, Berlin, Germany)

In my paper I would like to look at the enthusiasm with which James Macpherson’s Ossianic poetry was greeted in Europe, and particularly in nineteenth-century Germany, and I would like to ask why these texts continued to be widely read even after the committee of the Scottish Highland Society declared Macpherson’s Ossian a fraud. The influence of Macpherson’s Ossianic poetry on European Romanticism is often explained by Macpherson’s closeness to nature, by his sentimental heroes, his unusual style and by the political impact of the poems regarding the construction of a specific Scottish identity after the Union of the Parliaments in 1707. Whereas British critics were eager to resolve questions of authenticity which were supposed to settle national claims at the time, readers on the continent and particularly in Germany were often oblivious of this struggle for national identity. Their interest lay mainly in the stylistic idiosyncrasies of Ossian, as Goethe’s translation from the Gaelic shows, in the engagement with nature, which Schiller celebrated in contrast to Wordsworth, or in an individual patriotism as in Klopstock, who turned Ossian into a ‘Germanic’ bard. In my paper I will take Fingal as an example and show why Macpherson’s Ossianic poetry, although it was supposed to strengthen the Scottish cause, offers itself for cultural appropriations because of its stylistic experiments and has thus gained a place in the canon of world literature in the nineteenth century.

12:00 PM - On the Isle of the Blessed. Fake Translation Anthologies in Bulgarian Literature and the Formation of the Literary Canon Schmidt, Henrike (Szondi Institut für AVL, Freie Universität Berlin, Berlin, Germany)

In 1910 the Bulgarian modernist Pencho Slaveykov published “On the Isle of the Blessed”, an anthology of supposedly translated poems. The anthology presented the works and biographies of 19 authors, two of them women, and covered a wide range of poetic forms from sonnet to ballade. The

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 anthology is provided with a preface that positions Slaveykov as editor and translator. The implied language of the original though remained unclear. In fact all poems were written by Slaveykov himself, who invented as well the biographies of all fictitious authors. “On the Isle of the Blessed” was perceived by contemporaries and following generations as an artistic attempt of literary canon creation closely linked to questions of nation building and national revival (Bulgaria was liberated from the Ottoman rule in 1878). As such it is embedded into the broader context of historical mystification and pseudo-translation, as James Macphersons “Fragments of ancient poetry” (1760), the 19th century manuscript controversy in Czech literature or the case of the “Veda Slovena” (1874- 1881), a forged collection of ancient Bulgarian folk songs. At the same time “On the Isle of the Blessed” is a decidedly modernist project, inventing not so much a national tradition, but inscribing seemingly backward Bulgaria into the cosmopolitan landscapes of European modernism. Instead of faking a literary tradition, it challenges the principles of canon creation as such and problematizes the relationship between authorship / plagiarism, original / fake. In its multiplicity of references Slaveykov’s fake anthology has served as an important model for Bulgarian postmodernism. The paper aims to analyse the Bulgarian pseudo translation “On the Isle of the Blessed” by P. Slaveykov with regard to its specific genre as a faked translation anthology, which the genre of the anthology being understood as a central agent of internal (national literature) and external canon creation (world literature).

Date: Tuesday, July 26th

11:00 AM - Der Ort des Übersetzens. Hans-Ulrich Möhrings Vom Schweigen meines Übersetzers. Ceuppens, Jan (KU Leuven Campus Brussel, Brussel, Belgium)

Das Titelblatt des 2008 erschienenen Textes Vom Schweigen meines Übersetzers enthält statt des Autorennamens nur den lakonischen Zusatz "deutsch von Hans-Ulrich Möhring". Dem ersten Anschein nach eine postmoderne Spielerei , in der ein amerikanischer Autor seinem deutschen Übersetzer näherzukommen versucht um sich so auch mit dessen Sprache und Heimat vertraut zu machen, entfaltet der Text schon bald einen Dialog zwischen 'Original' und 'Übersetzung', bei dem die Seiten kaum noch klar sind und viele der gängigen Theorien und Klischees zu Übersetzung und Übersetzern (von Rückerts Aneignung orientalischer Literatur über die Sapir-Whorff-Hypothese und Benjamins Aufgabe bis zu Venutis Bild vom unsichtbaren Übersetzer, der hier zum schweigenden wird) durchgespielt und in ihren metaphorischen Dimensionen ausgeleuchtet werden - die Übersetzung also zur Über-Setzung wird, in der das Eigene sich dem Fremden anzuverwandeln versucht, das Nomadische sich dem Sesshaften annähert. Oder eben nicht, da der Text in Wirklichkeit keine Übersetzung ist, es also auch kein Original gibt und der amerikanische Schriftsteller eine fiktive Figur. Um so beredter ist dann aber der 'Übersetzer', der der reale Autor ist: Hans-Ulrich Möhring ist Übersetzer - u.a. von William Blake, aber auch von J.R.R. Tolkien - und durchbricht also das Schweigen, das Übersetzern nachgesagt wird. Das Verhältnis zwischen beiden Instanzen wird mithin mehrfach gespiegelt, was beide auch in ihrer Identität stört und verstört und an den Nicht-Ort des Übersetzens versetzt.

Ziel des hier vorgeschlagenen Vortrags ist es, die verschiedenen Positionen des Fremden und Eigenen, die im Dialog zwischen Autor/Original und Übersetzer/Zieltext eingenommen worden, auf ihre theoretischen Implikationen hin zu befragen und die Position des Textes innerhalb einer zeitgenössischen Literatur auszuloten, die sich der Mehrsprachigkeit verschreibt - womit dieser Roman bei allen Unterschieden durchaus Ähnlichkeiten zu Texten W.G. Sebalds oder Norbert Gstreins aufweist, die implizit ebenfalls zu weiten Teilen Pseudo-Übersetzungen sind.

11:20 AM - Pseudo-translation and fictitious translation: the fictional nature of translation Watier, Louis (Paris-Sorbonne, Paris, France) 327

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

David Martens and Beatrijs Vanacker have recently focused attention on the ambiguity of pseudo-translations. Indeed, the specific features of pseudo-translations vary depending on the aim the authors of such hoaxes are pursuing: either they are seeking to deceive the reader by making him believe he is reading a real translation, or they only use the translation topic as a fiction. In this presentation I would first like to draw up a typology that could delineate the very issues of each phenomenon. I suggest to limit the use of pseudo-translation to the texts that willingly mislead the reader, and to keep fictitious translation to refer to works where the allegation of an original text is not taken seriously. If, in the first case, the subterfuge can be described as a literary fraud, providing the author a way to occupy a certain position in the literary field, the second instance is proving more difficult to explain: why would an author introduce his work as a translation if he doesn’t expect his reader to believe it? Most certainly translation works here as a fictional device. But why is this specific device chosen by an author? Fictitious translations then invite us to think upon the relation between fiction and translation. Such exploration might finally bring us to

11:40 AM - Film Language as Translation Quendler, Christian (University of Innsbruck, Innsbruck, Austria)

Early, classical and modern theories of film are transfixed with the idea of film as language. Popular notions of cinema as a visual Esperanto, modern hieroglyphs or a hidden language of the soul are projective ideas. The language of film has yet to be discovered. It is best described as a conceptual metaphor or what the German Historian Reinhart Koselleck calls Erfahrungsstiftungsbegriffe in the sense of concepts that point beyond themselves by creating new experiences rather than capturing actual ones. In the first half of the twentieth century, the film- theoretical neologism of film language could refer to opposites: a conventional, symbolic, language- like use of images and an oxymoronic non-language that speaks directly to the nervous system. As modern theories of film concentrated on debating the scientific basis of this metaphor – defending or dismissing ‘film language’ as an adequate concept –, its experiential ramifications for viewing film and theorizing about film have been largely ignored. What does it mean to view film as an unknown, yet supposedly universal, if not primordial, language? This paper revisits the film-language debate from the perspective of an ‘original translator.’ The notion of film language puts filmmaker, viewer and critic into the role of translators, who find themselves confronted with a language, where meaning is discovered rather than created. After (re-)introducing early and classical film criticism as original translation, I will discuss the work of contemporary filmmakers such as Leos Carax and Julian Schnabel, who have revisited the notion of translation as a productive metaphor for grasping processes of visual comprehension.

12:00 PM - Reading a Text as Original Translation Rath, Brigitte (Freie Universität Berlin, Berlin, Germany)

The translation studies scholar Gideon Toury famously defines pseudotranslations as "texts which have been presented as translations with no corresponding source texts in other languages ever having existed" (1995: 40). Toury implies that texts either belong or do not belong to the category "pseudotranslation," even though individual readers may be deceived and place a text in the wrong category, or it may sometimes -- as with Holz/Schlaf's _Papa Hamlet_, which Toury refers to -- take a long time to reveal that a text is, in fact, not a translation but a pseudotranslation. Complementing pseudotranslation as a property of texts I suggest an alternative approach: original translation as a 328

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 mode of reading that focusses on what happens when one decides to read an original text as if it were a translation while being aware that the imagined original only exists in one's imagination. Such a reader-centered approach faces the question of establishing limits: what if someone decides to read, say, Jane Austen's _Pride and Prejudice_ as if it were a translation? This paper will test the boundaries of original translation as a mode of reading by exploring the implications and effects of some unconventional readings of seemingly unmarked texts as original translation.

Date: Wednesday, July 27th

11:00 AM - Multilingualism and/in Pseudotranslation Vanacker, Beatrijs (KU Leuven, Leuven, Belgium)

In the past, pseudotranslation has been often studied as a paratextual phenomenon, since the textual deception was mostly the result of a paratextual construction, by means of which writers explicitly imitated recognizable markers of translation. In this paper, I will rather focus on the ways in which this type of text engages with (both oral and written forms of) multilingualism within the story and the textual means by which this aspect is embedded in the narrative structure, while functioning as a metafictional reminder of the translational claim brought to the fore in the paratext. Text and paratext will thus be closely linked in this case-study on (mostly French, English and German) 18th- century examples of pseudotranslation.

11:20 AM - Forging Bhakti: The Ezour Vedam as "Pious Fraud" Menon, Tara (Yale University, New Haven, USA)

Perhaps facetiously, the Orientalist William Jones concludes “On the Gods of Greece, Italy and India”by proposing as a means of converting Hindus: “to translate into Sanscrit… such chapters of the Prophets […] as are indisputably evangelical[…] then quietly to disperse the work among the well-educated natives. This paper looks at Indian mystical devotion, bhakti, in fraudulent and yet productive “translation”—forgery here is a limit case in which the formal structure of translation is exposed in the absence of original content. I examine an eighteenth-century forgery, the Ezourvedam. This text, composed in French by Jesuit missionaries, was intended for translation into Sanskrit, Tamil, and Bengali, so that it might be planted as an echt “fifth Veda;” “Ezourvedam” sounds at once like a distorted echo of Yajurveda (the fourth and final Veda) and like the sandhi of ‘Yesuveda’—a Veda of Jesus. The aim was to transpose Christian theology into Vedic form: to evacuate Vedic ritual structure and bring Christianity into India through the back door of bhakti. However, the immediate relation—in bhakti--of devoted subject and divine, which clears the ground for conversion, also enables the critique of another ritual structure—the Roman Catholic one that the Ezourvedam meant to introduce and uphold. Its ‘French translation’ made its way to Voltaire, in whose hands this apparently authentic Indian document became a polemical weapon against Catholicism: showing both that older religions than Christianity conveyed the same wisdom and that revelation is possible outside the ecclesiastical hierarchy, beyond its particular dogma.

11:40 AM - Women's emancipation and pseudotranslation - the case of A mulher em Portugal: cartas de um estrangeiro by Victor de Moigénie Cortez, Maria Teresa (University of Aveiro, Aveiro, Portugal)

By the end of the 19th century, the women’s emancipation movement gained ground in Portugal. In a cross-national context of heated discussion on the status of women, the number of Portuguese 329

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 publications on the subject significantly rises. Not only at the turn of the century but also in subsequent decades, questions related to women are explored by the Portuguese press and publishing houses in articles, conference texts, essays and a great variety of guides for women by Portuguese and foreign authors. The present paper will focus on the book “A mulher em Portugal. Cartas de um estrangeiro” (Women in Portugal: Letters by a Foreigner, 1907), written by the educator and writer José Agostinho under a pen name, Victor Moigénie, which he uses for the first time. “A mulher em Portugal” is conceived as a collection of letters sent by Moigénie, a French entrepreneur who came to Portugal to open a factory, to his wife, whom he left in Paris. In the thirty one letters addressed to her, Victor reports about his travels around Portugal and tells about Portuguese women. “A mulher em Portugal” is a hybrid text, which blends traces of epistolary novel, travel report and essay. In order to give women a voice, the letters are full of dialogues between the homodiegetic narrator and the upper class Portuguese women he meets, whose opinions help him to inductively reach his own conclusions. The pseudotranslation strategy allows the author to construct a more “neutral” view of Portuguese women from the perspective of the foreign other, not by chance, from a Parisian gentleman’s perspective, at a time when French culture and Paris were still the great reference. The author’s motivations for this "act of subordination, namely, to a culture and a language which are considered prestigious" (Toury), the way this “act” is managed in ideological terms to convey a rather conservative diagnosis of women’s condition and also the question of readers’ manipulation will be highlighted in this paper.

12:00 PM - The African writer as glocalizing translator: A case study on Mongo Beti and Ferdinand Oyono Deva, El-Shaddai (Ludwig-Maximilian University Munich, Munich, Germany)

A great deal of research studies investigating African literature has focused on the issue of translation of African texts. Basing on the fact that this literature is essentially written in European languages predominantly inherited from colonization, scholars have worked out some concepts to describe the translation of African europhone literary texts as “Übersetzung einer Übersetzung”, a translation of a translation, as “Verrat zweiten Grades”, a second degree betrayal (Khadi Fall 1993), since the first translation process occurs at the very moment of writing, where the author translates, transposes and transfers an African (oral) (con)text into an European written text (Gyasi 2006). Some scholars go further by presupposing an implicit unwritten afrophon text, (a “first original” [“erstes Original”] (Khadi Fall 1992, Ndefo Tene 2004) or a “third text” [„dritter Text“] (Mayanja 1999)), which is supposed to be the original form of the (then translated) europhone written version.

How interesting these findings may be, they reduce the African literature on a mere function of translating African traditional narrative forms in European languages without any creative potentiality. In fact, one must note that, far from being an unconscious act of an author caught in the patterns of his African culture and mother tongue, this translation is rather a conscious process which produces a glocalized text, i.e. a text characterized by an interplay of local and global (cultural, linguistic and artistic) elements. This paper is a case study on two francophone novels from the Cameroonian authors Mongo Beti ( Le Pauvre Christ de Bomba ) and Ferdinand Oyono ( Une vie de boy ), both written in 1956. It aims to compare the translation techniques and strategies used by the both authors in the act of writing, assuming that their use of different techniques produces different levels of translation, hence differently glocalized texts.

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17297 - The Serialization of Literature and the Arts: Comparative Approaches. Date: Friday, July 22nd // Saturday, July 23rd Room: Hs 42 Chair: Schleich, Markus; Nesselhauf, Jonas

9:00 AM - »Broken on Purpose« - Intermedial and Supratemporal Perspectives on Serial Narration Schleich, Markus (Universität des Saarlandes, Saarbrücken, Germany)

Even though serial narration – fueled by the recent emergence of highly successful franchises such as The Sopranos, the Wire or Breaking Bad – is by now regarded as the primary mode of story-telling within popular culture, questions concerning the specific nature of serial narratives are quite scarce and infrequent.

What are concrete criteria for seriality? This introductions seeks to explore three significant indicators to determine the requirements for serial narration more precisely: the framework, the unit and the gap.

1. the framework: even though serial narration is widely regarded as something ›broken on purpose‹, there must be a frame that hold the fractured structure together. The frame can take various forms but it should be emphasized that there must be traceable lineage in conception, a sense of belonging toward an artistic wholeness and simultaneously one must differentiate between serial narratives and fictional frameworks (a universe for example) containing disparate storylines.

2. the unit: the frameworks are filled with certain narrative units. It might be a painting, episode, issue, installment etc. These units can take on different forms and shapes. How autonomous are these units in regard to their frames – can they offer any kind of closure? To what extent do they rely on their framework? This offers an interesting areas of conflict that need to be scrutinized.

3. the gap: potentially the most interesting aspect of serial narration is the gap. How does it link the units, creates expectation, sidetracks and provide room for speculations.

The framework, the unit and the gap can be considered as transmedial and supratemporal parameters for serial narration but it remains to be seen how they have been interpreted and staged in different media from antiquity to the digital age.

9:30 AM - "A Series of Interesting Choices." Serialization and Computer Games Backe, Hans-Joachim (IT University of Copenhagen, Copenhagen, Denmark)

Computer games rely on repetition and iteration in different ways than other media. The repetition and succession of challenges is an integral part of game design on its lowest level in every type of game. Traditions of linear computer game design rely on the ability to retry challenges in order to perfect the player's abilities, with the challenges organized in sequences of levels, missions, or quests. Some games have looked towards paradigms of TV serialization for their internal structure, while games are regularly published as series more reminiscent of movies, i.e. separated by several years and with significant independence. Additionally, games often are integrated within bigger storytelling franchises and act as episodes within a serialized narrative. This presentation will offer a systemization of these interconnected serialization strategies through a discussion of a number of paradigmatic examples.

10:00 AM - Serial Offenders: Sequential Meta-mediality in John Byrne's "She-Hulk" and Brian K. Vaughan's "Saga" Bachmann, Christian (Ch. A. Bachmann Verlag, Berlin, Germany)

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

From production techniques to publications mechanisms to the mode of reception: comics have been a serial medium from their conception in the late 19th century. Long before television newspaper comics served as an important form of 'low-level' narrative entertainment that could be consumed in small, daily doses. Content syndication, later seen in most every medium as form of serial distribution, was originally introduced to market newspaper comic strips in the most efficient way, which is to say, in a serial fashion. Arguably, the comics medium is affected by serial practices on every imaginable level. This inherent seriality caused a leeriness towards the medium that has recently spurred the notion that 'Graphic Novels' are 'better' comics, because they are not serialized, allthough this doesn't hold up for many cherished 'Graphic Novels' such as A. Moore’s "Watchmen" or even A. Spiegelman’s "Maus".

Some creators of comics have probed its specific mediality by means of experimenting with genre conventions, traditional tropes, and established narrative devices in order to find out, what the medium can accomplish beyond the universally accepted, in what has been termed metacomics. While some study has been put into metacomics (e.g. by D. Palumbo, O.U. Kidder, M.T. Jones, M.T. Inge, and Th. Groensteen), the aspect of seriality, so deeply rooted in the core of the comics medium, has so far been mostly neglected. This paper aims to shed some light on the serial practices of meta- mediality as employed by John Byrne in the superhero comic book series "The Sensational She-Hulk" (60 iss., 1989–1994) and by Brian K. Vaughan in his ongoing "Saga" (2012–), both of which utilize distinct and specific means of meta-commentary on the semiotic, narrative, and material levels, that lend themselves well to a survey of meta-commentary with regards to practices of narration and serialization.

11:00 AM - "To be continued" - Potentiale und Probleme serieller Lücken Nesselhauf, Jonas (Universität Vechta, Vechta, Germany)

Das serielle Erzählen ist von sich aus stets fragmentiert (Sean O’Sullivan nennt es „broken on purpose“) — der vorwärtsgerichtete Drang nach serieller Fortsetzung ergibt einen automatischen gap zwischen den Episoden wie auch zwischen den Staffeln. Auf den ersten Blick scheint diese zeitliche Lücke mit der Verfügbarkeit ganzer Staffeln in DVD-Boxen bzw. durch Video-on-Demand- Anbietern wie Netflix oder Amazon Instant, die ein exzessives bingewatching befördern, aufgehoben. Doch entsteht dadurch ein neuer Bruch in der seriellen Anlage, wenn die einzelnen Folgen — teilweise ohne Abspann, Intro oder „Previously on…“-Segment — im autoplay direkt aufeinander folgen und die Serie damit quasi zu einem langen Film mutiert.

Es mag daher nicht verwundern, dass sich Streaming-Dienste wie Netflix bei ihren Eigenproduktionen inzwischen wieder vom binge watching-Konzept, das sie einst vom ‚regulären’ Fernsehen abgehoben hat, verabschieden und zur konventionell-‚konservativen’ wöchentlichen Ausstrahlung zurückkehren.

Diese aktuell zu beobachtende ‚Rückkehr zur Serie’ soll als Ausgangspunkt für Reflektionen zu Lücken im seriellen Erzählen allgemein dienen: An exemplarischen Beispielen aus unterschiedlichen Medien soll aufgezeigt werden, welche Potentiale (aber auch Probleme) die Wartezeit bis zur Fortsetzung und damit zur Wiederaufnahme des Erzählens bereithält, und wie dieser gap inzwischen durch transmediale Elemente gefüllt wird.

11:30 AM - "We'll just end up back here, anyway": Apocalyptic Circularity, (Digital) Seriality, and the Mass Effect Franchise Fuchs, Michael (Uni Graz, Graz, Austria)

Scholars have agreed on the apocalyptic mode's circularity; apocalyptic tales move toward an end, which ultimately brings about a new beginning. The video game trilogy Mass Effect (2007–2012), following its generic predecessors, likewise, inexorably moves toward its conclusion, which comes to 332

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 represent a new beginning. Without a doubt, this movement toward the trilogy's conclusion is serialized: the narrative not only unfolds over three games (plus bonus missions available for download and various transmedia extensions), but, moreover, seriality is, as Shane Denson and Andreas Jahn-Sudmann have demonstrated (2013), key to the structure of digital games (players and their avatars explore one world after another, finish one level after another, etc.).

However, Mass Effect's apocalyptic ending, which promises a new beginning, in combination with its choice-based narrative adds, as I will argue, another dimension to the serial logic of video games closely related to the apocalyptic mode: Beginning anew. In other words, in Mass Effect's case, this new beginning not only has narrative and symbolic implications (i.e., the apocalypse is not the end), but also entails ludic implications, as the game series' choice-based structure effectively requires players to start the entire journey to save the galaxy again in order to alter the unfolding events and see the effects of their choices (that these choices had little effect on the ending, which led to fan outrage, will be largely ignored in this proposed paper). At the end of the day, I will suggest, Mass Effect's structure thus complicates the notion of video games' "essential seriality" (as Denson and Jahn-Sudmann have it) by effectively turning seriality into circularity.

12:00 PM - Spatial Seriality - Narrative Potential of Urban Architecture in Weimar Hahn, Sönke (Bauhaus-Universität Weimar, Weimar, Germany)

Seriality in architecture is a versatile phenomenon: The invention of bricks may have been an early step and the production of prefabricated houses another. The different stylistic periods and their conventions can be regarded as variations of seriality, too. Even without a background in architecture, plenty of buildings are almost instantly recognizable as testaments to the era they were built in. For example buildings made of precast concrete slabs have become a symbol of East Germany and of post-war building efforts in West Germany as well. Such architecture reflects and coproduces society. Furthermore, there are serial phenomena that are best described as an act of copying – one could think of the many reproductions of the Eiffel Tower. Some serial architecture is based not so much on aesthetic ideas rather on industrial and security purposes or is developed for the sake of convenience. Therefore, many super markets and restaurant franchises tell the same “story” – wherever a consumer enters them. Even cities are – at least within certain cultural spheres – structured in identical ways. All the mentioned forms are serial in a traditional understanding – as an often relatively uniform and even Fordish phenomena. However, there is another form of serialty, which has to be described as progressive but it is not always intended as such. Even buildings that are meant to last forever – for example to represent their builders’ power – often are not and eventually fall into ruin. The rulers are gone or disempowered. Hence, buildings are demolished or converted: In the latter case they are serial progressive representations of the old and the new. The consideration of seriality in architecture points out how our spatial surroundings are formed in a serial way. The talk intents to take the audience on a journey through these serial forms – illustrated by a walk through the residence of the lecturer: Weimar, Germany.

Date: Saturday, July 23rd

9:00 AM - From Coin to Chronophotography - On the Visual Culture of Multiples and Series in the Arts Lampe, Franziska (Kunsthistorisches Institut in Florenz - MPI, Florenz, Italy)

Ausgehend von der Frage, welche visuellen und narrative n Strategien mit Serialität in Kunstwerken verfolgt werden können, soll herausgestellt werden, was deren Bedingtheit ist. Die vielfältigen Beziehungen und Verweise zum Begriff der Serialität in den verschiedenen geisteswissenschaftlichen Disziplinen, sind dabei nicht nur durch ein aneignendes, 333

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 sondern ebenso ein abgrenzendes Verhältnis charakterisiert. Das Paper konzentriert sich hauptsächlich auf die Analyse einer Münzserie des päpstlichen Roms der Renaissancezeit und der chronofotografischen Versuche Eadweard Muybridges aus den 70er und 80er Jahren des 19. Jahrhunderts. Hiermit soll deutlich gemacht werden, welche künstlerischen, sozialen und narrativen Funktionsweisen der Serialität in der Kunst eingeschrieben sind und einen Beitrag zur Diskussion geleistet werden, wie sie als universeller ästhetischer Code eingesetzt werden kann.

9:30 AM - Salvador Dalís Kunstwerk als erweiterte Serie europäischer Kunstgeschichte Lambrecht, Gabriella-Maria (Universität Würzburg, Würzburg, Germany)

Das serielle Erzählen von Geschichten als ein Grundbedürfnis des Menschen ist ein Phänomen so alt wie die Menschheit selbst. Man denke an die ersten Höhlenmalereien, die Aneinanderreihung erster Grapheme zum Wort, das der Empfänger aufgreifen, entschlüsseln und dem er folgen sollte oder auch das buchstäbliche Legen von Wegmarken als zur Orientierung Dritter dienendes Narrativ. Hierbei stellen sich jedoch zwei prägnante Fragen. Erstens: nach einer geeigneten Definition einer Serie Åber den Aspekt der bloßen Aneinanderreihung bestimmter Signifikate hinaus, sowohl auf der räumlichen als auch zeitlichen Achse Kontinuitätsachse. Auch das Merkmal des einen hoheitlichen Autors ist zu recht unzutreffend, um eine Aneinanderreihung von Signifikaten sogleich als Serie zu definieren. Hier tritt allerdings der Gedanke der Intertextualität in medialem wie auch transmedialem Sinne ins Licht der Überlegungen und damit die zweite Frage: Was unterscheidet die Serie demnach von Intertextualität besonders im Hinblick auf Transmedialität, wenn in beiden Fällen das Signifikat übernommen wird, Räumlichkeit (zu der ich auch Zeitlichkeit zähle) und Autorschaft aber keine Rolle spielen? Muss zwischen den Signifikanten ein gewisses Kontiguitätsverhältnis bestehen, um die Addition der Signifikate als Serie verstehen zu können? Den Schwerpunkt meiner Betrachtungen möchte ich auf das Gesamtwerk des Malers, Bildhauers und Schriftstellers Salvador Dal° legen. Ist etwa sein Angelusläuten (1933) demnach die Fortsetzung des Abendläutens (1857) von Jean-François Millet und in welchem Verhältnis steht das Gemälde zu den übrigen, in welchen Dalí das Angelus- Motiv immer wieder in veränderter Form aufgreift? Inwiefern ist sein Übernehmen der Darstellung des Narziss von Caravaggio (1598) im Gemälde bereits Serie; in welchem Verhältnis steht dies zu Dalís Gedicht? "Die Metamorphose des Narziss"? Ich plädiere für eine serielle Lesart dessen über das Konzept der Intertextualität hinaus, zu vergleichen mit einer über Jahrhunderte gelegten Spur einer Erzählung, dessen Verknüpfung der Handlungsbögen Aufgabe des der Spur folgenden Rezipienten ist. Denn ist an letzterem das Rätsel der Serie zu entschlüsseln und über die reine Kontinuität eine Kontiguität des Signifikats zu erkennen, - gerade im Kontext der Avantgarde, dessen Ziel es gerade ist, das Verhältnis der Signifikate möglichst zu destabilisieren bzw. aufzulösen.

10:00 AM - (Re)Tracing a Topography of Memory: Painting and Photography in Georges Rodenbach's Bruges-la-Morte Haller, Jennifer (The Graduate Center, CUNY, New York, USA)

Georges Rodenbach’s (1855-1898) Bruges-la-Morte was responsible for associating the city with a certain quality of melancholy. In the novel, Hugues Viane, long widowed, moves to Bruges out of a desire to find a city that will mirror his grief following the death of his young wife. Yet, after a chance encounter with an actress/dancer with an (initial) eerie resemblance to his late wife, Hugues begins a macabre quest to (initially) stage instances from his happy marriage, which rapidly changes register toward a macabre and frenetically obsessive attempt to completely replicate his dead spouse. Throughout the novel, the question over resemblance is repeated in image comparisons, most notably in the tension found in the comparisons between the Flemish Primitives and the photographic-quality descriptions of the city (the novel's implicit subject).

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In focusing on this particular work of literature, this paper examines various layers of repetition and how they interact to perpetuate a certain myth of Bruges. Regarded as an early (and likely, the first) novel to include photographs, this paper draws upon an intertextual framework (and its series of repetitions and variations) to examine how the images of an empty cityscape contribute, or rather, reinforce the melancholic image of the city. Painting, lived experience, resemblance, and photography interact (or clash) in their contributions to this portrayal of Bruges. To this end, this paper examines how the inclusion of photographs affect this central line of visual reinforcement: how do the varying series of allusions to Early Netherlandish painting and the presence of photographs affect memory and impressions of the city?

17299 - Modernism and Translation Date: Monday, July 25th Room: Hs 24 Chair: Taylor-Batty, Juliette; Roig Sanz, Diana; Meylaerts, Reine

9:00 AM - Translation, symbolism and British romantic modernism Beasley, Rebecca (University of Oxford, Oxford, United Kingdom)

Translation, symbolism and British romantic modernism

This paper will explore the role of translation in defining a particular strain of British modernism. This strain defined itself against the Francophilic, classicist, linguistically pessimistic hegemonic modernism of Henry James, Ford Madox Ford and T.S. Eliot, developing a Russophilic, romantic, linguistically optimistic aesthetic during the First World War. Translation was, for this strain of modernism, intellectually and aesthetically defensible in a way it was not for hegemonic modernism, because it was underpinned by idealist philosophies inherited from British romantic literature and criticism, and encountered anew in the philosophy of the Russian symbolist movement. The discussion will focus on the translation and fiction of D.H. Lawrence, Katherine Mansfield and John Middleton Murry.

9:30 AM - Challenging Originality: Jean Rhys and Translational Composition Taylor-Batty, Juliette (Leeds Trinity University, Leeds, United Kingdom)

Translation is central to the work of Jean Rhys. Her first attempt at publication was for translations from the French of stories by her husband Édouard de Nève, she translated two novels in the late 1920s, and she reports using translational processes as a way of ‘testing’ her style. Her fiction, particularly of the early modernist period (1927-1940) reflects such work in its manifest bilingualism and in its development of a translational aesthetic, including texts which make effective use of intertextual sources from French writers such as Maupassant and Colette, and others which derive directly from Rhys’s work as translator of de Nève.

In this paper, I will present the findings of recent archival research into the relationship between Rhys’s work as a translator and her fictional writing. Of particular interest is one early translation of a de Nève story, ‘The Chevalier of the Place Blanche’ which Rhys adapted for publication in Sleep it Off, Lady (1976). The published ‘Chevalier’ holds ambiguous status as a ‘much-adapted translation’, but contains many hallmarks of the translational and creolising style of Rhys’s ‘original’ fiction. A close comparison of the early and later versions reveals the extent of Rhys’s use of translation as a way of generating new stylistic forms, as well as highlighting the extent to which she mutates and appropriates translational sources in her fiction.

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

My central aim is not to demonstrate any lack of ‘originality’ in Rhys’s work, however. Instead, I will demonstrate the ways in which she uses translational modes of composition to produce a complex bilingual style that subverts and manipulates discourses of ‘originality’. Rhys’s fiction thus forms an important part of a broader trend within modernism to re-conceptualise translation, not only as the transfer of texts between languages, but as a transformative act that, I will argue, is at the heart of modernist constructions of literary ‘newness’.

10:00 AM - From Sanitarium to Shtetl: Isaac Bashevis Singer Translates Thomas Mann Price, Joshua (Columbia University, New York, USA)

I propose to study Singer’s first novel, Satan in Goray (1935), through the intertext of Thomas Mann’s The Magic Mountain (1924), translated into Yiddish by Singer in 1930. If Mann’s novel finds in the sanitarium a laboratory in which to anatomize the ideological struggles of Europe on the eve of its greatest conflagration, Singer undertakes a similar project but retreats two and half centuries back in time, to a shtetl in the throes of pogrom-induced messianic fury. Singer’s and Mann’s microcosmic worlds both reflect a panorama of seductive ideologies run amok, and invite allegorical readings for their interwar readership through the creation of characters as embodiments of particular worldviews. Even as we might trace the thematic and formal reworking of Mann’s novel, through its Yiddish translation, onto Singer’s original work, attention to Singer’s decisive move of backward temporal projection, however, will also reveal his critical departure from Mann, nowhere more so than in his self-consciously archaic prose style and in his novel’s fraught attempt to spin an old-world, chapbook-like parable out of its own plot in the last two chapters. The result was a kind of anti-modern modernist response to what Singer came to disdain as Mann’s highbrow intellectualism, all while Singer remained indebted to Mann for his analysis of Europe’s spiritual crises and for the training afforded by the very act of translation. Beyond enriching our understanding of Satan in Goray and recovering yet another "afterlife" of Mann’s foundational work, I hope this paper can refocus our attention from translations of Singer from Yiddish to his translations into Yiddish, and serve as a case study for the role of translations in the development and “normalization” of Yiddish literature, precariously but necessarily and productively torn between reliance on Gentile literary models on the one hand and an intrinsic Jewish skepticism of these models’ modern(istic) manifestations on the other.

4:00 PM - Du recyclage à l'auto-traduction : un bref aperçu de l'évolution des stratégies de transfert en Belgique (1895-1930) Gonne, Maud (KU Leuven, Leuven, Belgium)

Dans les espaces littéraires émergents et multilingues de la fin du XIXe siècle, l’interférence entre écriture, traduction et autres pratiques de transfert (écriture multilingue, auto-traduction, plagiat, adaptation, parodie, etc.) fait largement partie du quotidien des écrivains. Dans le cadre de cette communication, je tâcherai de questionner l’évolution de la relation entre écriture, traduction et autres « transferts » (D’hulst 2012) en Belgique, entre la fin du XIXe siècle et les années 1930, en suivant les trajectoires interculturelles de trois écrivains belges entre Paris, Bruxelles, Anvers et Liège : Georges Eekhoud (1854-1927), Maurice Des Ombiaux (1868-1943) et Roger Avermaete (1893- 1988). Particulièrement actifs dans les revues avant-gardistes, ces trois « médiateurs culturels » (Meylaerts & Gonne 2014) ont expérimenté et combiné (ré-) écriture, (auto-) traduction, adaptation, plagiat, etc. dans leurs pratiques génériques littéraires (romans, poésie, contes) et moins littéraires (critiques, essais, feuilletons) dans un climat sociolinguistique de plus en plus conflictuel. Du

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 recyclage transgressif (Eekhoud), à l’auto-traduction (Avermaete) en passant par l’écriture multilingue (Des Ombiaux), ces trois médiateurs présentent une instrumentalisation tantôt pragmatique, tantôt idéologique, tantôt expérimentale de l’écriture-traduction, qui s’insère, à la fois, dans un processus de construction d’identités « régionales » (flamande, wallonne), de propagande nationale (belge) et d’internationalisation. Cette étude comparative des pratiques de transfert de trois acteurs interculturels belges nous permettra d’ouvrir quelques pistes de réflexion concernant l’évolution des stratégies de transfert dans les cultures multilingues durant la période moderniste et leur impact sur le paysage littéraire et culturel national.

4:20 PM - Self-translation, modernity and the asynchronicity of languages: the example of Vicente Huidobro Eymar, Marcos (University of Orléans, Orléans, France)

Literary modernism established present as an aesthetic value: henceforth present was not only a chronological reality shared simultaneously by all men, but rather a cultural creation which manifested itself in certain places – the great western metropolis, specially Paris – and in certain prestigious languages – particularly French. For modernist writers issued from traditionally peripheral regions such as Latin-America the challenge was therefore to "gain access to the present" (Casanova 1999). The work of the Chilean Huidobro shows how the practice of self-translation became a mean to achieve that goal. The comparison between El espejo del agua (1916) an its French self-translation Horizon carré (1917) reveals a key move from Symbolism to Avant-gardism which also puts into light the aesthetic gap between the Latin-American and the French literary fields of that time. Subsequent self-translations from French to Spanish accomplish an important transfer of avant-gardist forms and themes which helped to overcome the chronological gap between both languages and made of Huidobro one of the founders of modern Latin-American poetry (Yurkiévich 1984). Huidobro's work, as those of Filippo Marinetti, Ghérasim Luca and other significant writers of Avant-garde, demonstrate that self-translation can become both an expression of the quest for modernity and one of its main agents of diffusion across languages and cultures.

4:40 PM - The 'Language' of Self-Translation: James Joyce, Samuel Beckett, and Jorge Luis Borges Grubica, Irena (University of Rijeka, Faculty of Humanities and Social Sciences, English Department, Rijeka, Croatia)

In line with the congress theme “the many languages of comparative lit.“my paper seeks to explore 'the language' of self-translation as a peculiar medium of literary rendition. The paper relies on a comparative paradigm in the discussion of 3 exemplary (post)modernist authors, well-known for their self-translations, bilingualism and multilingualism: Joyce self-translated (with assist. of N. Frank) a passage from FW „Anna Livia Plurablella“ into Italian; Beckett's self-translations have been widely discussed, Borges self-translated some of his works into English. Moreover, their work and biographies are interrelated and in many respects related to Joyce. Beckett assisted Joyce with „Work in Progress“, and Borges, who in 1961 shared with Beckett Prix International, translated passages from Ulysses. My paper attempts to prove that we can discuss not only the creative process of translation, but also 'the language of self-translation' as a peculiar literary medium. Derrida reminds us that one can write only „in memory“of Joyce,i.e. by „inhabiting“his memory. Memory also features prominently in Beckett and Borges. How does 'the language' of self-translation in highly allusive ‘encyclopaedic’ texts with dense intertextuality relate to the memory of the text, does it alter the textual memory? How does self-transl.relate to "domestication" and „foreignization“(Venuti, Berman)? To what extent does self-transl. allow us to talk about an „authored“or „translated“text? In order to reply to these questions my paper will draw on Lefevere’s concept of translation as ‘rewriting’ and also address Benjamin’s idea of ‘pure language’. Is „translatability“ as a key concept in trans. studies relevant for a „self-translated“ text at all, or does „self-transl.“ imply unlimited

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 creativity by transcending a demand for lang./translation equivalence? In these densely allusive texts which exhibit polymorphous linguistic diversity,'the language of self-translation' transcends merely linguistic concerns and comes very close to cultural transl. by operating as a new medium of a peculiar literary rendition that involves storing and reproducing cultural memory.

5:00 PM - Mediating Mu Dan’s Poetry and English Modernism: A Study on Mu Dan’s Self-Translation Zhu, Wenjun (Fudan University, Guangzhou (Canton), China)

As an established modern Chinese poet and translator, Mu Dan (Cha Liang-Cheng) translated his 12 poems that were mostly composed in early 1940s. Among them, “Hungry China” and “There Is No Nearer Nearness” were selected into “A Little Treasury of World Poetry” published in 1952. During 1951-1952, Mu Dan worked on self-translation and his works were circulated in England and United States. Through a close reading of Mu Dan’s self-translations, this essay studies the relationship between Mu Dan’s poetry and English Modernism, taking his other poems and translations into consideration.

Above all, since various Western literary trends flooded in China in a short period, Mu Dan’s poetry is always a mixture of Romanticism and Modernism. This essay analyzes how Mu Dan chose to translate the poems in relatively modernist style to cater for modern American and English readers, as they tended to identify Mu’s poems with Eliot’s and Auden’s.

Secondly, both his poetry writing and his translation adopt the strategy of foreignization, which produces an effect of defamiliarization for Chinese readers. This strategy can be traced by the comparison between his original poems and his self-translations.

Thirdly, from my perspective, his English translations are endowed with much less enchanting modernist features than the Chinese version. In his self-translations, although the modernist images are preserved, the explicit English expression erases the ambiguities embedded in Chinese literary language. Therefore, Mu Dan is never too absorbed into Western poetry as generally-criticized but combines English Modernism and Chinese language perfectly.

17300 - Translation as a common language / La traduction comme langue commune Date: Friday, July 22nd // Saturday, July 23rd Room: Hs 41 Chair: Reynolds, Matthew

9:00 AM - Reading the Translational in Translation: the Case of Francophone and Anglophone Literatures of the Vietnamese Diaspora Trevitt, Jessica (Monash University, Melbourne, Australia)

Amidst recent ventures into the overlap between translation studies and world literature, one point of concern has been the challenges inherent in producing close readings of translated texts. The methods of reading usually discussed tend to focus on a comparison with alternative translations of the same text, or on the hermeneutic qualities of the translation as an interpretation and representation of the source text. While these certainly produce insightful readings, they don’t yet allow for the possibility that translations might be critically read outside of a

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 comparative framework, or as what Lawrence Venuti has referred to as ‘texts in their own right’ that constitute a unique form of textuality.

This paper proposes a model for understanding and critically reading the textuality of a translation, demonstrating its application to a case study of Vietnamese-Francophone literature in English translation. The model draws on the discourse of the ‘translational’ in literature, outlining a method of reading the translational in translation and deducing from this reading unique insight into the work’s textuality. It is applied to Sheila Fischman’s English translation of Kim Thúy’s novella Ru, an internationally-acclaimed debut that is based indirectly on Thúy’s experience as a Vietnamese refugee. This case study is taken from a larger study that explores Francophone and Anglophone literature of the Vietnamese diaspora, one outcome of which is the development of a ‘transdiasporic’ understanding that provides insight into the relations between different diasporic ‘host’ cultures. The broader outcome of the model is a new method of reading translations within world literature studies, offering scholars the capacity to produce critical readings based on textuality, without recourse to comparative frameworks.

9:30 AM - Parallel text as language of comparison Harris, Jennifer (University of Cambridge, Cambridge, United Kingdom)

Parallel text translation generates a rarely-considered paradigm for literary comparison. The best way to compare text and translation is to look at them side by side, and the parallel format has the power to transform any reader into a full-blown comparatist. Translation becomes the common language between the reader and the translator, between reader and text, as readers with the skill to do so are drawn in to argue with the translator, to dispute her choices and posit their own. Whilst we know that translating a text is a method of reading, interpreting and analysing the text, reading texts in translation, and in particular the comparative activity of reading them in parallel translation, adds another layer of analysis and contributes to new kinds of interpretation.

Through this paper I intend to consider this common language, taking as my texts American parallel text editions of twentieth-century French poetry, such as Anne Hyde Greet’s Apollinaire translations. This is partly because of the prominence of French poetry as an object of study in America, which means parallel editions are fairly common, as they are often produced nominally as study aids, and partly because of the perceived parallels between avant garde traditions in these two cultures.

In my research I am keen to get away from the translator-centred language of source and target text, which remain suspended in the act of translation (a target text once finished is no longer the target), and will instead refer to them as the original text and translated text, in order to posit a ‘death of the translator’ and elevate the point of view of reader/critic/comparatist. Parallel text generates a plurality of reading practices, even more than other formats, because readers read differently depending on their level of competency in each language. This paper posits parallel translation as a site of great potential for new readings and new perspectives, both on poetry and on translation.

11:00 AM - Laughter as a common language ? A historical approach to the translation of humour Tran-Gervat, Yen-Mai (CERC, Université Sorbonne Nouvelle-Paris 3, Paris, France)

The paper may be given in English or in French, depending on the group's preferences. This abstract is written in French (mother tongue), but an English version can be provided if necessary. Cette intervention propose d’aborder les questions posées par l’atelier suivant une approche diachronique : le « commun » sera envisagé non seulement par rapport à une disparité ou une globalité 339

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 géographique, linguistique ou culturelle, mais également par rapport aux écarts temporels, ici entre l’époque moderne (XVIIe-XVIIIe siècles) et l’époque contemporaine (présent de la réflexion critique ou théorique). La communication s’appuiera sur l’histoire des traductions en français de grandes œuvres humoristiques anglaises des XVIIe-XVIIIe siècles (des comédies de Shakespeare à Tristram Shandy de Sterne) pour poser la question du « commun » au sein même de l’écart souligné à la faveur de la traduction : comment comprendre, penser et dépasser aujourd’hui le diagnostic d’« intraduisibilité » de ces œuvres, posé par exemple par Voltaire au XVIIIe siècle ? Quoi de « commun » entre les pratiques traductives anciennes et les conceptions actuelles ? N'avons-nous pas intérêt à comparer les différentes traductions d'une oeuvre donnée, avant de juger que telle ou telle version serait "mauvaise" parce qu'elle n'aurait rien de commun avec les approches plus courantes de nos jours ?

2:00 PM - Translation as the common language through an analysis of Lewis Carroll's 1871 "Jabberwocky" poem Sabiron, Céline (Lorraine University/ Oxford University, Nancy, France)

Grammar translation method was used to teach Latin and then modern languages in the 18th century. Vocabulary was learnt by heart and grammar rules were taught systematically. Translating consisted in producing an equivalent effect that transcended linguistic and cultural differences. It is only during the second half of the 19th century that increase opportunities for travel and communication led more people to acquire oral proficiency. After highlighting this sea change, I wish to show how translation became a shared language, common to all readers, through an analysis of the 1871 "Jabberwocky" poem by Lewis Carroll. This constructed language meant that all readers, whatever their native language, had to infer meaning and resort to some kind of translation to read the poem. Through this famous piece studied among other texts, I will demonstrate how translation has become the point of reference for all readers, and therefore the common language.

2:30 PM - Aliens & Translators. La traduction comme langue commune dans les fictions de l'imaginaire François, Anne Isabelle (Université Sorbonne Nouvelle - Paris 3, Paris, France)

Même si les fictions de l'imaginaire (science-fiction et fantasy ) peuvent paraître a priori le lieu de découvertes de langues (quenya, martien, dothraki, zamonien, klingon, laadan, Babel-17, &c.) autant que de mondes nouveaux, un examen plus approfondi permet de réviser cette impression: ces fictions sont de manière fondamentale des espaces de la traduction , permettant notamment l'échange et la communication entre les planètes, créatures, univers. Elles problématisent ainsi per se la notion de "langue commune" et posent la traduction comme lingua franca à l'échelle cosmique, interplanétaire, interraciale, dans ce qu'elle a de plus hasardeux, de moins fluide, de plus aléatoire, de plus fantaisiste aussi, que ce soit par les figures centrales de traducteurs ou le dispositif topique de la pseudo-traduction. Il s'agit dès lors de réfléchir à l'idée de traduction comme langue commune (et partagée) au sein d'un corpus qui nous semble fonctionner (ce sera notre hypothèse, basée sur un large ensemble d'exemples) comme emblème à la fois de l'acte traductif et de la pratique comparatiste. La variété des mondes permet d'y mettre en jeu et de problématiser l'activité de traduction dans ses impératifs, processus et contraintes, résolument à rebours de l'illusion de transparence (Benjamin) et de l'invisibilité présumée (Venuti) du traducteur. Par ailleurs ce qui se joue à la lecture de ces fictions nous semble constituer l'image même de notre pratique comparatiste (de chercheurs et d'enseignants) permettant l'exploration de mondes inconnus à partir de la traduction, l'immersion fictionnelle dans un univers parfois radicalement autre, "épreuve de l'étranger" (Berman) par excellence, conduisant à l'exercice de défamiliarisation et de renouvellement du regard, nous forçant à sortir de notre peau et de notre perception du monde avec

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 ses limitations, à nous détacher d'une appréhension unilinguale, "a mindset or ethos that operates only in terms of one language" (Chaudhurai).

Date: Saturday, July 23rd

9:00 AM - Transreading across Genres and Media: Käthe Kollwitz and Lu Xun Zhang, Huiwen Helen (The University of Tulsa, Tulsa, USA)

This paper is part of my ongoing book project, tentatively titled “Prompted Transreading: A Common Language for Cultural Critique.” Upon the theoretical foundation that defines the concept of “transreading” and the technique of “prompts,” five cases are identified to explore a phenomenon of modernity that can be termed “a common language of cultural critique.” This, in turn, can be developed into a transferable approach for contemporary intellectuals.

Regarding Kollwitz and Lu Xun, my case study aims to illustrate “prompted transreading” as a translingual, transgenre, and transmedia orchestra of 20th-century European and Asian figures in literature and the visual arts. They all investigate the potential and possibility of “wordless language.” Rather than contextualizing my objective within a known historical-cultural background, my study departs from Lu Xun’s 1925 poem “The Quivering of Shattering Lines” and proceeds to a global constellation of texts, images, and minds to which the poem prompts the reader. These include Lu Xun’s first reception of Kollwitz in 1930 (through the Chinese Germanist and art historian Xu Fancheng and the American journalist and writer Smedley), his subsequent collection, interpretation, and promotion of Kollwitz in China and Japan, and his transreading of other visual artists such as Grosz, Masereel, Thalmann, and Tao Yuanqing. Thus, my study reveals a historical-cultural background that can only be reconstructed and reimagined through prompted transreading.

For our Vienna workshop, I plan to focus on the climax of “The Quivering of Shattering Lines” and transread it against Lu Xun’s 1936 genre-breaking commentary on Kollwitz’s works-“Death and Woman” above all. In this commentary, Lu Xun also transreads Hauptmann, Nagata Isshu, and Rolland. Since my objective is itself a transreading across genres, media, and cultures, my own transreading demands meta-theoretical reflection.

9:30 AM - Translations supplanting the originals? Zupancic, Metka (University of Alabama at Tuscaloosa, Tuscaloosa, USA)

In her Le Rire de la Méduse et autres ironies (2010), Hélène Cixous points out that her iconic 1975 essay secured a wider international distribution after its 1976 English translation, on which many renditions in other languages were then based. If this assertion can be verified, the translation thus becomes the “new original”—with English as the “common”—core language in which a text somehow gains a greater “authenticity,” ironically even more so than in its original.

Such praxis must stem from a rather essentialist perception of how languages convey meaning— namely, that during the interlingual transfer, one may access the “essence” of someone’s thought process and that this “essence” might be “easily” captured and transposed with no consequences to the end result. Should we agree with the position expressed in Clarice Lispector’s 1973 Água viva, about a pre-verbal sphere in which concepts arise prior to their verbalization in various idioms, what would such understanding mean for our work as translators and as educators?

In the United States, where academia places a very high value on authoritative positions about (literary) texts and where textbooks on theory and criticism abound, it is rather appalling that eminent anthologies offer materials originally written in other languages without any references to their translators. Excerpts in English thus definitely take precedence over the original. A vicious circle continues to be perpetuated: due to insufficient foreign language competence, students opt for 341

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 information in English. At an advanced level of studies, these students will often consider translations as more “concise,” “clearer” and “easier” to follow, while never questioning the translation process and the compromises that must be reached. In comparison with other languages and cultures, what consequences may we envision for the imposed new lingua franca of theoretical discourse, possibly beyond the U.S.A.?

11:00 AM - Translation, Localization and Original Literary Style ZHANG, Hua (Beijing Language and Culture University, Beijing, China)

In the past time, there has been a kind of attitude about translation, and is rooted in the sense and thought of translators and translation theory doers for a long time. That is "good translated text cannot be found it is translated from another language and culture", which means that original language and culture in original literary text must be localized by aim language and culture through translation. Based on this kind of attitude, university teachers in China teach foreign students to translate and writing in a way that Chinese people cannot recognize it is a translation text, in a way that it is written by native Chinese. Despite from other countries, at least, this is quite a case in China. In this paper, the author challenges the rather traditional and even backward view of translation based on his university teaching experience and the readers' feedback of a journal, which is called "Meiwen" (Beautiful Articles) and he is the chief editor of its special translation issues. The author argues that "nowadays, good translation is the one which can keep original literary (language and culture) style, and easy to be recognized by readers that it is translated from which language or which countries, even who is the author. And the less localized the better." He also gives many examples in this paper.

17301 - Bilingualism in world poetry: languages and cultural transfer Date: Tuesday, July 26th // Wednesday, July 27th Room: Hs 45 Chair: Azarova, Natalia

9:00 AM - Contemporary approaches to poetic bilingualism study Azarova, Natalia (Institute of Linguistics of Russian Academy of Sciences)

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9:30 AM - Mapping poetic bilingualism: theoretical and practical issues Feshchenko, Vladimir (Institute of Linguistics of the Russian Academy of Sciences, Moscow, Russian Federation)

The paper will present preliminary results of the project dealing with multilingualism in world poetry. Multilingual interactions are particularly persistent in the contexts where writers (poets) either exist in multilingual sociocultural environments, or shift from one country/language to another throughout their literary career. Bilingual poets serve as exemplary agents of cultural transfer, existing in two or more cultural and/or linguistic spaces at the same time and thus making transfers easier, more efficient and more conscious across the boundaries of different languages.

Poetic bilingualism can be understood in a number of ways. First, when the author creates texts in two languages, or the so-called macaronic texts written in several languages. In such cases we can observe a two-way or even multiple-way transfer withing the poetics of a particular author in a translingual space. This phenomenon was called “poetic bilingualism” by G. Levinton and this is the

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 case of such writers as Joyce, Nabokov, Mandelshtam etc. Another type of bilingualism is literary bilingualism, a term coined by R. Jakobson with regard to translations from poetry to prose and vice versa. I will consider in this paper yet different cases of poetic bilingualism where poets who can speak and write freely in two or more languages intentionally create either variants of the same text in two languages, or different poems in two separate languages. In doing so, I will outline a draft geographical map locating areas where bilingual poetic production is nowadays, or has been in recent history, most active. The scope of such mapping will so far be limited to European countries and areas with bilingual or multilingual population (Scotland, Finland, Russia, Ukraine, Belarus, Moldova, Slovenia, Switzerland, Belgium, Spain, Italy). The paper will discuss theoretical and practical challenges in mapping poetic bilingualism in Europe.

10:00 AM - Kognitive Folgen der fremdsprachigen Interventionen Glanc, Tomas (Institute of Linguistics of the Russian Academy of Sciences, Zürich, Switzerland)

Fremdsprachige Interventionen verfügen über ein kognitives Potenzial, das jeweils unterschiedlich realisiert werden kann. Die experimentelle Poesie des kanonisierten Klassiker der spätmodernen tschehcischen Lyrik Miloslav Topinka aktualisiert besonders diejenige Möglichkeiten, die das Schreiben selbst und die Sprache als Medium befragen, bzw. problematisieren, mit ihrer Kehrseite konfrontieren.

Im Beitrag werden besonders seine Verwendungen von hebräischen Interventionen angesprochen. Welchen Status hat eine Ur-Sprache, welche kulturelle, aber vor allem eben semantische und kognitive Folgen hat eine Einführung der Sprache, die in mehreren Hinsichten als fremd und gleichzeitig eigen gilt?

2:00 PM - Yehuda al-Harizi at the crossroads of Hebrew, Arabic and Aramaic poetry Parizhsky, Simon (Institute of Linguistics of the Russian Academy of Sciences, Moscow, Russian Federation)

Each line of the discussed poem by medieval Hebrew author Yehuda al-Harizi (1165, Toledo – 1225, Aleppo) from his collection of maqamāt “Tahkemoni” blends three languages: Hebrew, Arabic and Aramaic. This example of poetic multilingualism is explored in the context of literary conventions of the maqamāt genre, evolution of Jewish literature, medieval theories of the genesis and kinship of languages, and messianic aspect of multilingualism in medieval Judaism. Interpretation of the poem is unlocked by two major concepts: while literary motif of disguise, which also serves as a metaphor of distinction between the idea and its “verbal vestments”, gives access to medieval notions of multilingualism as change of clothes, medieval Jewish “linguistic messianism” considers multilingualism an essential part of the Divine revelation and merging of languages – part of messianic redemption.

2:30 PM - Bilinguality in Poetry Translation: A Study Based on Tang Poetry in Russian Version Li, Chunrong (Institute of Linguistics of the Russian Academy of Sciences, Chengdu, China)

Abstract:Bilingualism is a common literary phenomenon. The focus of all the major studies has been on bilingualism in literature over the last decades and little, if any, attention has been paid to theoretically grounded studies of poetic bilingualism. This article explores bilinguality in the translation of Tang poetry in Russian, with a view to reconsider it in terms of linguistics and cultural transfer. Currently, we can observe a rise in translingual interactions in the translation of Tang poetry in Russian (в 2012 году Н. М . Азарова подготовила и выпустила ( к 1300- летию поэта ) книгу новых переводов « Ду Фу », в 2011 году С. А. Торопцев выпустил (к 1310-летию поэта) « Китайский поэт Золотого века . Ли Бо: 500 стихотворalений »). This paper particularly focuses on 343

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 the poet’s metalinguistic reflectons on bilingualism from the aspect of grammar. Meanwhile, an analysis of cultural transfer in poetry translation will be developed. Examples have been selected from the Russian version of Tang poetry translated by the following famous Russian sinologists or poets, such as Alekseev (В. М. Алексеев), Schutsky (Ю. K. Щуцкий), Eidlin(Л. Эйдлин), Lisevich (И. Лисевич), Sukhorukov (В. Сухоруков), Akhmatova (А. А. Ахматова), Gumilev (Н. С. Гумилёв), Gitovich (А. И. Гитович), Toroptsev (С. А. Торопцев), Azarova (Н. М. Азарова) and so on. The article demonstrates that grammar has played a significant role as a translational device throughout the long tradition of Tang poetry translation in Russia. Different poet uses different grammar devices to accomplish the transformation from Chinese to Russian (for example, the different grammar devices used to solve the lack of “I” in Tang poetry), which reflects the influences of bilingualism. An argument is put forward that the influences of bilingualism could be regarded as a criterion of criticize the different Russian version of Tang poetry. As a starting point the Soviet Academy Grammar, edited by Shvedova (Ю. Шведова ) is used as a theoretical framework for this study. An analysis of the data reveals the need to develop a more comprehensive and appropriate data specific theory for the study of bilinguality in poetry translation.

Key words: bilinguality in poetry translation; Tang poetry; Russian version; cultural transfer; grammar devices

3:00 PM - Dormant Language as a Target-language in Literary Translation: Haskalah Poetic Translations into Hebrew Polyan, Alexandra (Institute of Linguistics of the Russian Academy of Sciences, Moscow, Russian Federation)

Literary translations are not only a widely recognized channel of cultural transfer, they also are an extremely important vehicle of developing a target-language, its system of styles and terminology. In this aspect, a dormant language comprises a peculiar case. Throughout many centuries, Hebrew was a dormant language: it was widely used in written communication, ancient Hebrew texts were studied and uttered, but it was hardly used for everyday speech. Hebrew Enlightenment (Haskalah), which arose in middle XVIII century in Prussia, tried to give this language a new boost and to adjust it to new topics and purposes: newspapers and scientific texts were published in Hebrew, issues of Western ethics were discussed. Some followers of the Haskalah also planned to revive Hebrew as a spoken language.

One of the key ideas of the Haskalah was to expose the Jews to the treasures of European culture. An important part of the Haskalah project was to make the Jews master European languages, which would allow the Jews reach for European education and secular professions. But at the same time, Haskalah poets developed a concept of the national language of the Jews and chose Hebrew (not Yiddish – the Jewish spoken vernacular) for this title. Contemporary European literature (first of all, the German literature) was translated into Hebrew.

In my paper, I will focus on Haskalah poetic translations published in literary almanacs of the early Berlin Haskalah – “Ha-measef” and “Bikkure ha-‘ittim” (18th – early 19th century), as well as some later translations – by Meir Ha-Levi Letteris and Abraham Ber Gotlober. Linguistic and prosodic parameters of these translations will be studied. Several aspects will be analyzed, such as choice of language variety (Biblical Hebrew vs. Post-Biblibcal Hebrew), usage of quotations, choice of prosodic system, the syntax of the poetic text, adjustment of biblical quotations to its rhythmical structure.

Date: Wednesday, July 27th

9:00 AM - The Quest for Bilingual Chinese Poetry: Poetic Tradition and Modernity Dreyzis, Yulia (IAAS MSU, Moscow, Russian Federation)

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Chinese poetic tradition represents such an enclosed self-centered system that it seems almost impossible to imagine a bilingual poet working simultaneously with two languages – one standing for an alternative cultural milieu, the other being Chinese. Thus it looks highly significant to explore what changes in the situation (if any) we may observe in the realm of contemporary Chinese poetry with its obvious openness to foreign influences and the important shifts in the poet’s persona. The first part of this exploration is carried out through an analysis of the poets’ critical and theoretical writing elaborating themes of poetic language and cultural identity. This is further examined in a series of interviews with contemporary Chinese poets representing different faces of the multiethnic Chinese society, each coming from a different locality and possessing a distinct individual background. The result shows discrepancies between the projected ideal identity of a globalized ‘Chinese poet’ and the vision of a bilingual Chinese poet as one rooted in the culture of the ethnical minorities. The second part of the exploration is dedicated to a case-study of the works by an Australian-Chinese poet Ouyang Yu 欧阳煜 who represents a unique case of ‘large-scale’ bilingualism where both languages in use are carriers of truly independent poetic traditions. Ouyang Yu uses several strategies for constructing his multicultural identity through the poetic text. He mixes languages within the space of a single poem, indulges in wordplay, puns and creation of new words, maintaining an illusion that it’s the reader and not the author who is in fact an alien in need of the poet to guide him through the unfamiliar linguistic landscape. Simultaneously he enjoys using allusions, citations and twists on the tradition that root him in the collective memory of the nation – thus creating an impression of being at home in both cultural pools.

9:30 AM - Bilingualism and multilingual elements in Spanish poetry of Pere Gimferrer Bochaver, Svetlana (Institute of Linguistics of Russian Academy of Sciences, Moscow, Russian Federation)

This paper is dedicated to the analysis of Spanish poems by P. Gimferrer, a Spanish-Catalan bilingual poet. This study analyzes the shifts between Spanish and Catalan on different stages of his poetic career. The first period is related to total preference of Spanish and complete absence of Catalan, the second period is marked by clear dominance of Catalan in poetry and use of Spanish in prose and essays, the third period is characterized by mixed use of both languages in poetry.

The preferred language on each stage change can be related to the change in strategies of addressation, e.g. poetry Catalan is addressed to a limited amount of readers which has a political connotation, and use of poetic formats, e.g. Spanish corresponds to classical forms of Spanish poetry like sonnet. We observe the tendency towards a more specific addressation and amplification of linguistic space by including into interaction more languages in each period.

11:00 AM - Writing poetry in one's other language(s): Underlying culture and language concepts in contemporary works Hansen-Pauly, Marie-Anne (Institute of Linguistics of the Russian Academy of Sciences, Mersch, Luxemburg)

Writers’ decision to choose a later acquired language rather than their mother tongue for the creation of literary texts is not a new practice, as various critical studies in different languages show. ( e.g. Forster 1972; Schmeling/ Schmitz-Emans 2002; Grutman 2003; Kremnitz 2004/2015; Gasquet/Suárez 2007). More rarely is the main focus on bi- or multilingual contemporary poetry (Perloff 2010). It is difficult to dissociate changing understandings of a national concept of literary language from social migration movements (Yildiz 2012). The literature produced by migrant writers often reflects multiple language practices and complex cultural identities as studied in the context of applied linguistics and socio-cultural theories, with a particular interest in language acquisition processes, identity construction and intercultural awareness (Kramsch 2009; Hu 2013). This paper is part of an enquiry into the specific insights that bi-or multilingual nomadic poets (rather than prose writers) can provide into transcultural language issues. Considerations will be mostly based on the 345

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 works of poets originally from Luxembourg, who through choice or relocation have been led to write in what is for them at first a second or foreign language (French, German, English). The examples should be relevant for poets from other cultural and linguistic backgrounds.

The key strands of the discussion will be the transformation of language codes by multilingual poets; language games, polysemy and citation practices cultural mediation; new perspectives on the strange and foreign attempts at self (re-)construction through reflexive comments and (implicit) narrative elements of poetry

The main aim is to show that in times of great mobility, poetry may prove to be a valuable indicator of linguistic, cultural and personal/ social transformations.

11:30 AM - Bilingualism and self-translation in Olga Martynova Dammiano, Enza (University of Naples "L'Orientale", Grazzanise, Italy)

Born in 1962 in Siberia, Olga Martynova grew up in Leningrad, where she studied Russian language and literature. Together with her husband Oleg Yuriev, Dmitry Sachs and Valery Schubinsky she founded in 1984 a group called Kamera Chranenija, that played an important role in the development of the contemporary ‘underground’ literature thanks to the publication of a samizdat journal. By the end of the Soviet Union she chose to move with her husband and son to Germany. It’s there that her poetic world and word split between a poetic writing in her mother tongue, Russian, and an essayistic and prose writing in the foreign language, German. A code-switching in which the categories of ‘own’ and ‘foreign’ overlap in a fluid perception of poetic subjectivity, where the language awareness refracts in the praxis of self- translation. Olga Martynova’s poetic work becomes a syncretic bilingual ‘map’ - “Ich schaue auf die Karte” is a refrain of one of her poems (Brief an die Zypressen, Gedichte, 2001, Rimbaud Verlag) -, in which Russian and German language, literature and culture interfere.

17303 - Langages, voyages et migrances au féminin Date: Friday, July 22nd Room: Hs 7 Chair: ALFARO, MARGARITA; Moura, Jean-Marc

2:00 PM - Migation et cosmopolitisme en Méditerrané: les écrivaines de la Diaspora libanaise Lalagianni, Vassiliki (Université du Péloponnese, Tripolis, Greece)

Fortement ancrée dans une relecture du passé, en particulier celui lié aux guerres du Liban et du Moyen Orient, l’œuvre des écrivaines de la Diaspora libanaise (Vénus Khoury-Ghata, Evelyne Accad, Abla Farhoud, Nadine Ltaif, Etel Adnan et bien d’autres) fait partie de cette littérature mémorielle qui communique une connaissance de son auteur et de son parcours. Leur œuvre porte en elle le poids de l’histoire collective, mise en relation avec un désir de sortir de la surdétermination du passé et de ses représentations. Avoir passé les frontières d’autres cultures, être rentré dans la toile d’une autre langue, transforme la vision que l’on garde du passé et aboutit à un cosmopolitisme heureux qui traverse leurs écrits.

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2:30 PM - Le voyage de la Révolution en Amérique latine: du rêve à la réalité. Alfaro, Margarita (Universidad Autónoma de Madrid, Madrid, Spain)

Laura Alcoba (La Plata, 1968), d’origine argentine, publié des romans en rapport avec ses souvenirs d’enfance en Argentine et en France lors de son exil en 1978. Les passagers de l’Anna C. (2011) illustre une manifestation singulière du voyage politique d’initiation en rapport avec le contexte de la révolution cubaine en Amérique latine tout au long des années 60 et 70. Les voyageurs de l’Anna C. découvrent les conséquences du rêve d’un discours révolutionnaire enflammé qui se termine par la déception. Alcoba met en valeur une nouvelle esthétique éloignée de la mission politique des jeunes militants qui voulaient changer le monde.

3:00 PM - Des voyages au féminin dans l'Atlantique au XXe siècle Moura, Jean-Marc (Paris-Ouest, Paris, France)

L’histoire littéraire transatlantique se présente comme un cadre théorique nouveau ouvrant sur l’analyse des circulations, échanges et migrations littéraires entre Europe, Amérique et Afrique, non plus en termes régionaux ou linguistiques, mais dans les relations complexes traversant cultures, régions et langues à travers l’Atlantique.

Nous présenterons quelques trajectoires féminines contemporaines qui se sont accomplies entre les continents bordant cet océan, en vue de poser quelques jalons d’une approche systématique des espaces littéraires océaniques et des migrances féminines qui ont pu les traverser.

4:00 PM - Les vies transitoires et les rencontres fortuites: écriture et nomadisme chez Elena Poniatowska Tirloni, Larissa (Federal University for Latin-American Integration (UNILA), Foz do Iguacu - Parana - Brasil, Brazil)

Le Mexique d'Elena Poniatowska est l'espace sur lequel la transitorité des appartenances multiculturelles se dévoile dans le parcours hasardeux de Mariana, personnage central de La Fleur de Lys (1988). Dans ce cahier de mémoires inventées, et au bon gré des rencontres personnelles fortuites, les individus se rendent à la force irresistible de la fréquentation alléatoire d'espaces, personnes, paroles e souvenirs. Ici, les migrances et le omadisme se revèlent la condition existencielle d'une vie qui se veut poétiquement représenter dans le cadre de l'hyperterritorialisation de l'imaginaire. Notre lecture du journal de Mariana part des outils théoriques proposés par Michel Maffesoli, Jean Luc Nancy, Josefina Ludmer et Otmar Ette, à la recherche du regard perdu et flâneur qui définit les rapports entre auteur, personnages et lecteur. En dernière instance, il s'agit de procéder à l'enquête des rapports entre espace et littérature, tels qu'ils se manifestent dans le voyage intérieur des personnages de Poniatowska.

4:30 PM - Le voyage réel et mythique d' Hélène Zébrowska Romanova, Olha (Shevchenko Institute of Literature of the National Academy of Sciences of Ukraine, Cherkassy, Ukraine)

Hélène Zébrowska est née au XIX siècle en Ukraine. Date et lieu de naissance ne sont pas connues officiellement. Sa biographie est écrit en français seulement après sa mort, mais les dates et les faits de sa vie ne coïncident pas avec des événements réels. Elle a écrit en français sous le pseudonyme masculin « Semène Zemlak». Selon la biographie, Hélène Zébrowska a voyagé en Europe presque toute sa vie. Elle a donné des conférences en Suisse et en France et elle a lutté pour les droits des femmes.

Hélène Zébrowska a crée une biographie mythique de sa vie, qui est étroitement liée à la géographie mythique de ses œuvres. Les particularités d’image du voyage combinent quelques traditions littéraires et culturelles. Hélène Zébrowska a taché de reunir dans ses oeuvres des éléments du romantisme «pur» et du réalisme avec des éléments de la propagande contre l’Empire Russe. En 347

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 même temps, elle a cherché la possibilité décrire en français dans ses oeuvres les réalités du monde slave (Ukraine, Pologne, Russie). Pour Hélène Zébrowska la frontière de la civilisation se termine en Pologne. Puis commence la terre, qui est en dehors du temps réel et de l'espace. En général, elle ignore les études sur l'Ukraine et du monde slave du XIX-XX siècles, en créant sa propre géographie et l'histoire. Une chose caractéristique de la langue et des sujets de ses oeuvres c’est la façon de cacher non seulement son origine (pas noble), mais aussi le sexe. Assez longtemps, dans les revues suisses et françaises ont indiqué que les romans sont écrit en assez mauvaise langue. Tout est expliqué par le fait que l'auteur est un étranger. Seulement l’un des écrivains ukrainiens de l'époque - Ivan Franko a écrit que le texte écrit par une femme pour plusieurs raisons. L’Un des principaux arguments - l'ignorance absolue des réalités géographiques et historiques de l'époque.

Les romans d’Hélène Zébrowska : Sawka Doudar (1902), Les Obscurs (1903) Tymko le Batelier (1905), sont des exemples de la littérature qui se trouve au carrefour de deux traditions littéraires: slave et d’Europe occidentale.

17304 - Old and New Concepts of Comparative Literature in the Globalized World Date: Friday, July 22nd // Saturday, July 23rd Room: Seminarraum Geschichte 2 Chair: Gafrik, Robert; Zelenka, Milos; Batorova, Maria

9:00 AM - From Goethe's Weltliteratur to a Globalized World Literature Fomeshi, Behnam (Shiraz University, Shiraz, Iran)

Beginning of comparative literature can be traced back to the idea of Weltliteratur as expressed by Goethe. His idea of Weltliteratur was global and covered non-Western literatures including Persian and Chinese. But comparative literature went to a wrong path from the early stages. A factor contributing to this deviation was French school of comparative literature and its narrow-minded nationalism. However, the discipline managed to survive despite the deficiency. With the beginning of the second half of the twentieth century scholar challenged the practice of comparative literature which was affected by French school. In the last decade of the twentieth century the situation of the world changed dramatically. A greater openness of the West to the wider world led to the emergence of multiculturalism in the global arena. The multiculturalism of the period has been manifested in the comparative literary studies in the 1990s. The evolution of cultural diversity influenced comparative literature. In the following years the discipline moved from multiculturalism of the last decade of the twentieth century to the globalization of the twenty-first century.

9:30 AM - Malowist, Braudel, Wallerstein: Between World History and World Literature Kola, Adam (Nicolaus Copernicus University, Torun, Poland, Torun, Poland)

What is missing in the world history perspective is the semi-peripheral contribution to this approach. The key figure of real world history is Marian Małowist (1909-1988), cited by Immanuel Wallerstein as his main inspiration and in fact a founding father (aside from Fernand Braudel) of world-system theory. Małowist proposed an inversion of the established order of knowledge in historiographical narratives and inquiries, the classical version of which treated the history of Western Europe as a model for all historical investigation, with other parts of the world supposed to fit this ideal type, in the Weberian sense. This Euro-centric approach was for decades dominant in Western humanities and social sciences, and was treated as a valid model of knowledge and perception of the world. Already in the 1960s, in fact before postcolonialism and world-system approaches became popular, Małowist developed the concept of core/centre-(semi)peripheries in his works, describing 348

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 domination and hegemony as forms of colonial oppression over colonized people and slaves. What is more, he proved convincingly that Eastern Europe was also part of this global system of dependence, of course as a territory dependent upon the West. The influence of Małowist’s work is striking and impressive: his books concern European-African relations in the early colonization period, the Portuguese conquistadors, Tamerlane (Timur), the East-West partitioning of Europe, and the problem of slavery. This paper has at least three aims: (1) to reconstruct Małowist’s ideas, (2) to compare them to Braudel’s and Wallerstein’s, (3) and finally, to apply the Polish historian’s concepts to the field of world literature, if possible.

10:00 AM - Synchronism, Protochronism, and the Romanian Challenge to World Literature Terian, Andrei (Lucian Blaga University of Sibiu, Sibiu, Romania)

This paper analyzes two of the most important concepts and theories proposed by the Romanian criticism of the 20th century in the field of comparative literature: Eugen Lovinescu’s synchronism (in his view, the only chance peripheral literatures stood to join world literature was to synchronize themselves, by imitation, with the “great” West European literatures, especially with the French one) and Edgar Papu’s protochronism (Papu, on the contrary, thought that a number of peripheral literatures – especially the Romanian one – had already offered at world level numerous significant personalities and original discoveries, even if not yet recognized as such). My approach will include three stages: it will begin with an analysis of the consistency of the two concepts, followed by a comparison of their underlying theoretical programmes; it will continue with the projection of the two Romanian proposals in the East European cultural context; and it will end by confronting them with the current prevalent theories in the field of world literature. The conclusion of this paper is that at least some sequences of the two Romanian comparative projects could be recontextualized nowadays as prefiguration or even as alternatives to the concepts and theories submitted by various contemporary theorists of world and comparative literature, from Pascale Casanova to Franco Moretti.

11:00 AM - Eastern-European Literary Theory: Its Impact on Comparative Literature Tihanov, Galin (Queen Mary University of London, Woodford Green, United Kingdom)

Over the past ten years or so since its publication, my article on the birth and death of modern literary theory has received multiple responses, both in the West and in Eastern Europe. I have drawn inspiration from some of the arguments in these debates, which has enabled me to revisit the seminality of my initial insistence on epistemological regimes being historical formations with a clear and compelling end point. In this paper I wish to rethink this proposition by conceiving of the death of literary theory as a precondition for a debate on its living legacy. This strikes me as a way of contemplating theory neither through the prism of nostalgia, nor through the dust of the museum.

At the heart of my paper are Eastern-European literary theory (which extends to include Russian theory) and its multiple legacies and impact in the field of comparative literature. I am particularly interested in establishing the originary crises of theory inscribed in the work of the Formalists, later recurring in different settings and with a different significance. In other words, I propose a conversation about the impact and dispersed legacies of Eastern-European theory and, more widely, of classical literary theory, not least with a view to establishing the significance of this legacy for the growth of different strands of comparative literature.

11:30 AM - The Personalistic Approach as a Bridge Pospisil, Ivo (Faculty of Arts Masaryk University, Brno, Czech Republic)

The author of the present contribution - after a short introductory part concerning the development of different methods of comparative studies - deals with the restituted innovative personalistic 349

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 approach in comparative literary studies as a potential bridge between the older streams of comparative methodologies and a new innovative stage connected with the inclination towards cultural studies.

2:00 PM - Slovak school of Comparative literature studies, its past and future Vajdova, Libusa (Institute of World Literature SAS, Bratislava, Slovakia)

The comparative literature studies in Slovakia are based on the real and longlasting bi and polylingualism, widespread throughout the area of Central and South-Eastern Europe and paralleled by cultural, religious and ethnic multiplicity. They started relatively early, achieving in formulation of several concepts and notions caracteristic by their un-traditional vision in comparison with European mainstream. They were conceived by Dion ýz Ďurišin and his team forming the large systematics of relationships among literatures, their changes and interconnections, designed by Ďurišin as the interliterary process.

His conception was developed in dialog between the Czech, Slovak, Polish and Russian scholarly traditions and in the discussion, almost divergent, with Comparative Literature Studies in Europe. From the beginning Ďurišin´s aim was to conceptualize literary and cultural experience of multifunctional contexts rejecting the traditional model of relationships based on binary oppositions or on genetic model of contacts. He formulated several concepts, open to re-conceptualisation such as theory of interliterarity, otherness, the primacy of receiving context, selective and creative activities of receiving literatures, interliterary communities, world literature, etc. His attempt to disturb the unidirectionality of literary processes, his stress on the heterogeneity of literary fenomenon and, on the primacy of receiving part of every process, can be used in the study of cultural pragmatics, in reconsideration of the role of literaribess in neglected periods of literature, in deconstruction of cultural images rewrited by traditional historiography, in involving literary activity in the material culture, or, in the reconstruction of cathegories of time and space.

This aim of this contribution is to reflect how Ďurišin´s concepts are returning into contemporary discussions.

2:30 PM - Konzepte der tschechischen Komparatistik Kucera, PhD., Petr (Westböhmische Universität Pilsen (Tschechien), Plzen/Pilsen, Austria)

Die tschechische Komparatistik entwickelte sich in einem interdisziplinären Dialog mit Folkloristik, Ethnographie, Slawistik, Theaterwissenschaft und Kulturgeschichte. Um die Jahrhundertwende formiert sich eine starke Forschergeneration (J. Polívka, J. Máchal, V. Tille, M. Murko u. a.), die ein komplexes Studium der Volksdichtung betont und eine neue Auffassung der Beziehung zwischen der mündlichen Wortkunst und Literatur formuliert. In der Zwischenkriegszeit meldet sich die zweite Generation der modernen tschechischen Komparatistik zu Wort (O. Fischer, M. Szyjkowski, J. Horák, F. Wollman u. a.), die in grundlegenden Studien der Volkslieder, Sagen, Märchen und Dramen die folkloristisch-ethnographische Orientierung fortgesetzt hat; darüber hinaus entwickeln Vertreter dieser Generation ein vergleichendes Konzept der Geschichte der slawischen Literaturen als Bestandteil der Weltliteratur. F. Wollman konzipiert seine „Eidologie“ als morphologisches Studium der Gattung, das sowohl genetische als auch typologische Beziehungen mit der historiographischen Untersuchung des Gattungssystems vereinigt. Tschechische wissenschaftliche Tradition spiegelt sich im Denken von René Wellek u. a. in der Auffassung der europäischen Literatur als Polyphonie innerhalb einer kulturellen Einheit. Bei der Periodisierung versuchten beide Generationen sozialwissenschaftliche Methoden anzuwenden, wobei sie soziale Veränderungen in Verbindung mit neuen Ideen im breiten internationalen Kontext analysierten. Auch die dritte Generation (J. Heidenreich-Dolanský, K. Krejčí, V. Jirát, J. Vilikovský, V. Černý u. a.) pflegt einen interdisziplinären

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Dialog der Philologie mit Sozialwissenschaften. Karel Krejčí vertieft Máchals Untersuchung von historisch-soziologischen Aspekten durch eine komplexe Analyse von Motiven, Stoffen, Gattungen, Richtungen und Epochenstilen. In den Nachkriegsgenerationen kultivierten K. Horálek, J. Hrabák, A. Škarka, O. Králík, O. Sirovátka Methoden der vergleichenden Poetik bei der Analyse der mittelalterlichen Nationalliteraturen. O. Sirovátka akzentuiert Kontaktzonen in den Grenzregionen, die als offene Korridore mit frei strömenden folkloristischen Erscheinungen zum Vorschein kommen. Eine vertiefte Systematik von Gattungen in den slawischen Literaturen konzipiert S. Wollman. Neue Impulse zur internationalen Debatte bringt die Brünner Schule (I. Pospíšil) mit dem Konzept einer integrierten vergleichenden Typologie von Gattungen.

3:00 PM - Interliteratischer Zentrismus als Form und Funktionsweise der Weltliteratur Milo¿, Zelenka (University of South Bohemia, Faculty of Education, Ceské Budejovice, Czech Republic)

Die Begriffe „interliterarische Gemeinschaft“ und „interliterarischer Zentrismus“ gehören zum semantischen Kern der tschechoslowakischen komparatistischen Terminologie, die der slowakische Literaturwissenschaftler Dionýz Ďurišin (1929-1997) in den 1980er und 1990er Jahren in einer spezifisch autonomen Position sowie Unabhängigkeit von der internationalen Forschung geschaffen hat. Die Begriffe „interliterarisch“ und „Interliterarität“, die heutzutage zu einer terminologischen Ausstattung der komparatistischen Debatte weltweit gehören, benutzte Ďurišin bahnbrechend schon am Anfang der 1970er Jahre. Im Konzept von D. Ďurišin stellt der interliterarische Zentrismus einen Typ der literarischen Kommunikation dar, der auf Grund einer langfristigen Nachbarschaft als einer spezifischen Form des Zusammenlebens (Prinzip der Metonymie) entstanden sei, während die interliterarische Gemeinschaft eher auf der Basis von Einheit, Ähnlichkeit und Analogien in der Form (Prinzip der Metapher) funktioniere. Ďurišins Gliederung der groβen interliterarischen Prozesse in Gemeinschaften einerseits und Zentrismen andererseits differenziert gleichzeitig zwischen dem metaphorisch Intrakulturellen und dem metonymisch Interkulturellen. Diese Differenz bildet zwei gegensätzliche, doch komplementäre Modelle der Weltliteratur. Im ersten Modell wird die auf den interliterarischen Gemeinschaften basierte Weltliteratur zu einer monokulturellen Einheit reduziert. Im zweiten Modell der interliterarischen Zentrismen wird die Weltliteratur als „Netzt“ oder polyzentrische Menge postuliert, die versucht das Individuelle der einzelnen Bestandteile zu bewahren.

4:00 PM - Die Videos der YouTube-Stars als Aktualisierung traditioneller Textformen. Eine komparatistische Annäherung Lackner, Elke (Universität Graz, Graz, Austria)

Seit der im 18. Jahrhundert prognostizierten Lesesucht (vgl. Kreuzer 1977) hat die Befriedigung des menschlichen Informationsbedürfnisses einen beständigen medialen Wandel durchgemacht. Radio und Fernsehen lösten die Zeitschrift als Informationsquelle ab, und werden ihrerseits durch das Internet abgelöst: Gerade Jugendliche bevorzugen webbasierte Angebote (vgl. Medienpädagogischer Forschungsverbund Südwest 2014) und haben in YouTube-Stars wichtige Quellen gefunden (vgl. Ault 2014) Der Beitrag unternimmt eine Verortung des Phänomens YouTube-Stars sowohl in der Schnittmenge zwischen Literatur- und Kulturwissenschaft als auch unterschiedlicher Textformen (vgl. Jost 2003; Knaller & Müller 2006). Er beantwortet folgende Fragen: Wo lassen sich die Videos der sog. YouTube-Stars in einem traditionellen (journalistisch-literarischen) Mediensystem verorten? Welche Textsorten erfahren in den Videos ausgesuchter deutschsprachiger YouTube-Stars eine Aktualisierung?

Referenzen

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Ault, S. (2014), “Survey: YouTube Stars More Popular Than Mainstream Celebs Among U.S. Teens”, in: Variety, August 5, 2014.

Jost, J. (2003), „Inszenierte Texte. Überlegungen zum Verhältnis von Medialität und Verstehen“, in: TRANS. Internet-Zeitschrift für Kulturwissenschaften 15/03.

Knaller, S. & Müller, H. (2006), „Einleitung“, in: dies. (Hgg.), Authentizität. Diskussion eines ästhetischen Begriffs, München, 7-16.

Kreuzer, H. (1977), „Gefährliche Lesesucht? Bemerkungen zu politischer Lektürekritik im ausgehenden 18. Jahrhundert“, in: Leser und Lesen im 18. Jahrhundert. Colloquium der Arbeitsstelle 18. Jh. Gesamthochschule Wuppertal, Schloß Lüntenbeck, 24.-26. Oktober 1975, Heidelberg, 62-75.

Medienpädagogischer Forschungsverbund Südwest (Hg.) (2014). JIM 2014. Jugend, Information, (Multi-) Media. Basisstudie zum Medienumgang 12- bis 19-Jähriger in Deutschland. http://www.mpfs.de/fileadmin/JIM-pdf14/JIM-Studie_2014.pdf [30.8.15].

4:30 PM - Galicia as an ideological concept of selected literatures and comparative literature in East- Central Europe Wierzejska, Jagoda (University of Warsaw, Warsaw, Austria)

The paper will be dedicated to the analysis of the idea of Galicia, a concept of literature, as well as comparative literature, that has been vital especially in Polish and Ukrainian discourse but also in other, e.g. Austrian, Jewish, Hungarian, Czech, discourses.

The idea of Galicia is a concept in which a province of the Habsburg monarchy existing between 1772 and 1918 has been identified with certain ideological meanings. In the 19th century, this idea functioned as a transcendent political concept, opening the possibility of transnational convergence within the Habsburg heterogeneity. In the second half of the 20th century, when East-Central Europe was under the Soviet domination, it became attractive again and started to represent first, an old-time ideal of multinational coexistence, second, an aim of sustaining an undermined connection between the region and the West.

The idea under study first made itself felt in the Polish literature in the 60s (the s.c. Galician trend). In the end of the 20th century it gathered strength in the Ukrainian literature (the s.c. Stanislav phenomenon), and became visible, among others, in Austrian (Pollack), Hungarian (Kiss), and Czech (Topol) literature.

At the same time the idea of Galicia worked its way in comparative literature. Such researchers as Woldan and literary scholars gathered around Doktoratskolleg Galizien in Austria, Wiegandt and Sosnowska in Poland, Riabchuk in Ukraine et al., have adopted this idea not only as a thematic but principally as an ideological concept which enables to reflect on multilateral convergence and divergence of the current discourses of the former Austrian province. What is more, due to the prevailing association of Galicia with the West, the idea in question became a plausible starting point of the reflection on the whole East-Central Europe, and as such it was noticed and undertaken by Anglophone comparative literature.

5:00 PM - Imagining the Orient in Central Europe Gafrik, Robert (Institute of World Literature, Slovak Academy of Sciences, Bratislava, Slovakia)

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Edward Said’s Orientalism (1978) set the ground for postcolonial discourse analysis by revealing the essentialization of the ‘Orient’ in Western imagination as a dialectical opposite of the West and by highlithing its role in hegemonic claims of Western imperial powers in the East. Postcolonial studies proved to be a very useful tool which helped to examine the postcolonial condition in which the world found itself following the collapse of imperial powers after World War Two. Edward Said focused on Great Britain, France, and Germany and in his later writings on the United States. Other critics have discussed Orientalism in relation to smaller Western European imperial powers such as Belgium, the Netherlands, Italy, Spain, Portugal, Denmark and Norway. However, with the exception of the Habsburg Empire, the cultural area comprising Central Europe has hardly ever been considered in the discussions of Orientalism. If at all, it has been seen as the object of West European Orientalist discourses. Central and East European countries have never had any power interests elsewhere in the world; on the contrary, they were often dominated by others. One can therefore legitimately ask the question of whether, and if so, how they partake in the Orientalist project, and if not, how they imagine countries associated with the Orient in their literatures. The paper will try to revaluate Said’s observations with respect to the region of Central Europe (the Czech lands, Slovakia, Poland, Hungary).

Date: Saturday, July 23rd

4:00 PM - Post-Communist Theory as a New Direction for Comparative Cultural Studies Pucherova, Dobrota (Institute of World Literature, Slovak Academy of Sciences and Institute of African Studies, University of Vienna, Bratislava, Slovakia)

Post-communist or post-dependence studies is a theoretical discourse that has evolved mainly in humanities departments at universities across Central and Eastern Europe since the mid-1990s and represents a major East-Central European contribution towards comparative cultural studies that radically shifts the understanding of Europe as a cultural community. Taking its inspiration from postcolonial theory that was developed by mainly Western-educated Third-World intellectuals, it shows that the experiences of the countries formerly under the domination of the USSR, and those previously colonized by Western Europe, share a number of characteristics. These are, for example, the relationship centre-periphery and the theorizations of exclusion/inclusion and liminality; splitting at the level of both culture and subjectivity; structures of othering and representations of difference; the experience of collective trauma; issues of collective memory/amnesia and the rewriting of history, etc. This does not mean that postcolonialism can be applied indiscriminately to the post- communist experience; instead, post-communism recognizes the specificity and complexity of the latter as it revises and sharpens, not merely confirms, received postcolonial theory. This contribution will analyze several Slovak and Czech recent literary works that deal with the memory of communism from the perspective of post-communist theory, analyzing what new perspectives these theoretical tools can offer towards the understanding of collective trauma and the formation of post-communist identities both on the level of the nation and the individual. The works to be analyzed will include the novels by the Czech author Tomáš Zmeškal and the plays Komunizmus (Communism) and Dr. Gustáv Husák by Slovak playwright and novelist Viliam Klimáček and Povstanie (The Uprising), a collective play by a team of Slovak authors..

4:30 PM - Comprative posts going political - on the contentious relations of postdependence studies and claims to postcoloniality in Central and Eastern Europe Kolodziejczyk, Dorota (Institute of English Studies, Wroclaw University, Wroclaw, Poland)

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The paper will present an overview of the uses of postcolonial studies in theorizations of postcommunist transitions and cultures in Central and Eastern Europe. In the context of this rich archive of research, the author will focus on postdependence studies, a field developed within the Postdependence Studies research network comprising major Polish and comparative studies scholars (WEBSITE). Postdependence studies was launched with an idea to work out a dialogic space with postcolonial studies that would inform, yet not determine or overwrite, the study of multiple historical dependencies in Central and Eastern Europe and their complex legacies, of which postcommunism is just one. Translationality of theoretical terms to fit local cultural, historical and political contexts has been the leading commitment of postdependence studies, reluctant to use the terminological apparatus of postcolonial studies as a matrix of ready-made tools. Stemming from the same commitment to cultural sensitivity, postedependence studies has developed a critical stance toward fixed national myths and pedagogies. However, it turned out that one of the uses of postcolonial studies in the Polish (and, by extension, claiming to represent the region) context has been that which promotes the “postcolonial” adjective as a national political project. From ontological debates on the regions postcoloniality to the current political discourse of “decolonization of Poland from the new hegemon” [the West], such harnessing of postcolonial terminologies to national politics has been met with multiple criticisms, from postdependence studies notwithstanding. The delineation of the debate between these contentious “posts” will serve further reflection on the translational, local use of postcolonialism-derived concepts and methods to develop a regional (Central and Eastern European) school of research prompting, and proving, the comparative potential of postcolonial studies in the global trajectories of literatures and cultures.

5:00 PM - "Intertextualität" in der Moderne, Malerei und Literatur Batorova, Maria (Dionýz-Durisin-Kabinett, Forschungsstätte des Instituts für philologische Studien an der Pädagogischen Fakultät der Comenius-Universität, Bratislava, Bratislava, Slovakia)

Im vorgelegten Beitrag wird die „Sprache“ im weiteren Sinn betrachtet, nämlich als Sprache von Themen und Diskursen im Rahmen der Moderne. Diese verweist auf Poetik des Expressionismus in der Malerei sowie in der Literatur. In dem vorgenommenen Thema handelt es sich um typologische Verbindung. In der Vergangenheit gab es im Rahmen der vergleichenden literaturwissenschaftlichen Forschung nur einige Versuche dieser Art (D. Ďurišin und Ludwik Korkoš: Svetová literatúra perom a dlátom. /Die Weltliteratur mit der Feder und mit dem Meißel/, Bratislava 1993). Doch die neue Methode dieser Forschung beruht auf den Kontexten und auf dem interdisziplinären Diskurs, sowie auf den Symptomen der Poetik zwei verschiedenen Kunstarten – Malerei und Literatur (Bild und Roman), wobei in den historischen Kontext auch die Tagebücher usw. inkludiert werden, die beweisen können, dass die Inspiration der Künstler verschiedener Künste fasst die selbe war. Die „Dachbegriffe“ Moderne, sowie die (Weltliteratur) Weltkunst ist hier zu betonen, weil unter bzw. im Rahmen deren sich der typologische „Netz“ der Themen und Diskursen in der bestimmten Epoche zeigen und auf dem konkreten Material beweisen lässt.

17305 - How can Comparative Literature and the UNESCO Memory of the World Programme cooperate? Date: Tuesday, July 26th Room: Audimax Chair: Lothar Jordan

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1:30 PM - Address of Welcome Schüller, Dietrich (Austrian National Commission for UNESCO)

1:35 PM - Hans Bertens and Lothar Jordan: Introduction - Fields of Possible Cooperation Bertens, Hans (ICLA President), Jordan, Lothar

2:00 PM - Diasporic Literary Archives Sutton, David (Reding, UK)

2:10 PM - Constance - Garnett as Tolstoy’s Translator in England Alexeeva, Galina (Leo Tolstoy Museum Estate Yasnaya Polyana, Russian Federation)

2:20 PM - Lost Memory: Reconstructing Writers’ Libraries Hölter, Achim Hermann (University of Vienna, Vienna, Austria)

2:30 PM - The International Register of the UNESCO MoW Programme Bos, Jan (National Library, The Hague, Netherlands)

2:45 PM - Panel Discussion: How to cooperate? Hans Bertens, Achim Hermann Hölter, Abdulla El Reyes (Abu Dhabi, UAE; President Memory of the World Programme, International Advisory Committee), Jan Bos, Lothar Jordan

4:00 PM - Perspectives of Cooperation El Reyes, Abdulla (President UNESCO Memory of the World Programme, Abu Dhabi, UAE)

17306 - The Many Languages of Communist Cultural Resistance in India Date: Friday, July 22nd // Saturday, July 23rd // Monday, July 25th // Tuesday, July 26th Room: Seminarraum Skandinavistik 1 Chair: Chattopadhyay, Kunal; Marik, Soma

Room: Seminarraum Skandinavistik 1 Chair: Marik, Soma

4:00 PM - Modernism and realism: How do we choose between the two? Majumder, Auritro (University of Houston, Houston, USA)

This paper discusses the Leninist notion of combined and uneven development (UCD), and its role in the cultural debates of the Indian Communist movement. While current postcolonial and Subaltern theory, in a strange rehash of Cold War area studies, have all but dismissed Marxism as Eurocentric and imported, I argue that UCD provides a way of thinking through capitalism's contradictory tendency of equalization and differentiation. The UCD question, starting with the Lenin-M.N.Roy debate at the Comintern, is explored in the IPTA's exhaustive discussions about modernism and realism. The tension of aesthetic and cognitive registers in the IPTA, as much as in the Soviet Writers Congress or central Europe, articulate the political conflict between reformist and emancipatory forms of materialist thinking. The global, interwar Marxist cultural debates have important implications about how we theorize postcolonial literature today.

Auritro Majumder is Assistant Professor at U of Houston.

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4:20 PM - Narrative Fiction in the Progressive Movement and its heirs: Situating the Bangla Debates over Socialist Realism in an all-India context Chattopadhyay, Kunal (Jadavpur University, Kolkata, India)

Adoption and application of Marxist literary theories involved considerable debates in India. The Progressive Movement was a mass literary phenomenon of considerable solidity and long term impact. A study of the Bengali component, shows that while the term realism was used in divergent and often uncertain ways, ‘progressive’ and ‘realist’ tended to be quickly seen as synonymous. And Marxism was used as a major referent—leading to debates over the interpretation of Marxism, as well as debates over whether to accept Marxism or not.

In this paper, we will seek to look more at the intra-Marxist debates. And we will do so, by looking at narrative fiction across languages – Bangla, Urdu, Malayalam and Tamil. A look at Urdu, from Angaarey via Ismat Chughtai and Manto, presents us with forms of national identity, its relationship to class, community and gender, which are quite different from much that emerged in Bangla. Narayan Gangopadhyay, who led the party line charge in the 1947-8 debate over culture, produced novels where one can indeed see the attempts to develop a socialist realist hero, but is ultimately vitiated because it is not the proletariat but the repentant bhadralok who holds centrestage (Shilalipi, Lalmati, Samrat O Shreshthi).

A contrast between Chemmeen (Thakazhi Sivasankara Pillai--1956), or Thol (Daniel Selvaraj—2010) with Bangla novels from Narayan Gangopadhyay to Debesh Roy show that foregrounding the actual Indian proletariat and its caste-community dynamics, taken as normal in Malayalam and Tamil, will emerge within Bangla only after a long period of bhadralok aesthetic and political hegemony. Significantly, too, the Naxalite movement’s intervention did not change this, with the two authors (Mahasweta Devi and Samaresh Basu) who did try to bring this shift being treated, by political as well as literary analyists, as outsiders to the process.

4:40 PM - Ideology, Culture and Poetic Language: The "Art" of Poetry in the Wake of Progressivism Sarkar, Judhajit (Jadavpur University, Kolkata, India)

Marxist cultural movement started to have an impact on Indian literary cultures towards the end of the late 1930s, when the literatures of the different Indian languages were at different stages of their evolution. For example, there was already a strong urge in Bangla to move away from the style and aesthetic of Rabindranath Tagore by ’30s, with emerging new poets experimenting with poetic style on the model of European modernism. In Hindi, on the other hand, Chayavad had not totally exhausted itself yet, some major poets like Mahadevi Verma being still at a relatively middle stage of their growth. Urdu, in which “progressivism” as an idea and an ideal started spreading its roots first, evinced a completely different situation. Far less influenced by Western aesthetic and literary models, ghazal was unarguably the most dominant poetic genre, with fixed metrical patterns and a grand repertoire of conventional symbols and images, when progressivism made its way into the heart of poetic enterprise in Urdu. So far, critical studies have concentrated on the similarity of responses that progressivism triggered in each of these language- literary situations where, in fact, heated debates ensued regarding the nature and purpose of poetry and its relationship with “reality”, albeit one understood through the prism of a particular ideology. This paper wants to deal with the same issue, namely the relationship between ideology and poetic 356

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 technique in “progressive verse” in Urdu, Hindi and Bangla, but on the basis of the tension between similarity and difference. Simultaneously it wishes to further inflect this relationship with the question of culture. The intention here is to see how far the plurality of poetic responses to the reception of Marxism in the Indian literary context is understandable on the basis of culture and to what extent it helps us understand the fundamental changes that Marxist ideas themselves went through in this process of reception.

5:00 PM - Ramvilas Sharma and `The Evaluation of Tradition`: Literary Historiography in "Progressive" Times. Kumar, S Satish (University of Georgia, Athens, USA)

“Those who wish to bring about a complete change in literature, those who don’t adhere to the beaten track- those who want to break conventions and create a revolutionary literature- for them the knowledge of literary tradition is most needed.” (Sharma 5) Excerpted above is the first sentence from the essay ‘The Evaluation of Tradition’- dated 1975- it first appeared in a volume of essays under the same title published in 1981. The volume engages with the trend of “progressivism” in the larger context of Indian literatures, while focusing primarily on contemporary Hindi literature. “Progressivism” as a movement within Hindi literature finds its beginnings in late 1930s, taking its inspiration from Marxist and Socialist thought (Tiwari 100). The movement was grounded in the belief that literature could effect social change (ibid). While expressing complete faith in the power of socialist literature, Sharma is however, critical of the “progressive” tendency to completely disregard the old in the pursuit of the new. This critique becomes even more relevant in the context of the 1975 Emergency in India- a period that saw the resuscitation of the “progressive” rhetoric. Sharma’s critique of “progressivism” calls for a reassessment of literary traditions and cannons and thereby of approaches to literary historiography in the Indian context. This paper proposes to explore the implications and possible applications of Sharma’s critique within Indian Comparative Literature and literary historiography.

Sharma, Ravilas. Parampara Ka Mulyankan. New Delhi: Rajkamal Prakashan, 1981 Tiwari, Ramchandra, Adhunik Hindi Alochana: Sandarbh Ewam Drishiti. Gorakhpur: Pratyush Prakashan, 1997

Room: Seminarraum Skandinavistik 1 Chair: Chattopadhyay, Kunal

4:00 PM - "Gender" and "Nation" in the Writings of Ismat Chughtai and Sadat Hasan Manto Mukherjee, Soma (Visva-Bharati University, Kolkata, India)

With the establishment of Progressive Writers’ Association (1936), Indian subcontinent witnessed a radical cultural movement that spread its wings across several literary cultures of India. Although numerous authors and texts emerged during this movement, the common thematic elements in most of these writings are the following: questions of nation formation and how the issues of class, caste, religion, gender and language are related to that question. After close analysis of these writings, it becomes obvious that here ‘nationalism’ is not a unitary, pre-given idea; but a problematic entity to be grasped, understood and dismantled through literature. Gender plays an important role in coming to terms with the questions of masculinity, femininity and morality both in society and in literature. Writers such as Rashid Jahan, Ismat Chughtai and Sadat Hasan Manto who had dealt with these themes in radical new ways and it becomes clear from their writings that the question of gender cannot be studied in isolation from other forces governing a particular society at 357

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 a particular juncture of history. Interestingly all these writers were on the one hand North Indian Muslims from middle and upper class backgrounds and on the other hand English educated colonial subjects who shared the anti – imperialist sentiment kindled by the freedom struggle. All these elements and the changing socio – cultural and political scenario went into shaping their ideological and literary persuasions. In this paper my objective would be to look at the writings of Ismat Chughtai and Sadat Hasan Manto and to delineate how the issues of female sexuality, masculinity, morality and class mobility have been dealt with in their writings. My aim will also be to analyse how their writings have problematised that conception of pre- given idea of nation and nationalism.

Date: Saturday, July 23rd

4:30 PM - Mapping the Politics of Gender in two Communist Women of Bengal Marik, Soma (RKSM Vivekananda Vidyabhavan, Kolkata, India)

This paper will look at the politics of gender in Savitri Roy’s Swaralipi and Sulekha Sanyal’s Nabankur. It has often been argued, for both authors, that their portrayal of middle class women is based on their personal life. Beyond that, however, they express the problems of growing up to become a woman, and at the same time of becoming a communist or the wife of a communist, in Bengal. Sanyal’s Chhobi grows into adulthood, and also into a political assertion, which makes her feel that her personal freedom is intertwined with the freedom of her people. Class, patriarchy and nationalism are held in tension in the novel. Nationalism is critically examined and presented. In Savitri Roy’s Swaralipi and Paka Dhaner Gaan, a more critical look is cast upon the communist party, and the limits of its politics of gender. The aim of this paper will be to highlight how gender, a category that is present only in extremely limited ways in many male progressive writings, becomes a central concern in the writings of Roy and Sanyal. The life of Chhobi presents a question – whether she is assimilated into a modernised patriarchy, because Enlightenment modernism is to be seen as a part of a hegemonic imperialist-capitalist-patriarchal project? Or is the story one, where, as Sanyal and Roy both can be read, the inadequacies of the enlightenment discourse of universality can be questioned by using its own terms and seeking to extend them? It will also be argued, that the memoirs (written and interview) and autobiographies of communist women of Bengal, who came into the CPI in the late 1930s and the 1940s, have an uncanny similarity with significant portions of these novels by communist women. Though Roy’s Swaralipi would be declared under a party ban and Sanyal’s would remain a forgotten novel, in retrospect these present a stronger socialist-realist profile than many of the novels written by orthodox party loyalists, one or two of which will be briefly touched upon.

5:00 PM - Resisting the language of Tradition and bondage: Many Women Characters of Ismat Chughtai Begum, Safia (University of Hyderabad, Centre for Folk Culture Studies (CFCS), Hyderabad, India)

Ismat Chughtai’s oeuvre predominantly deals with women’s issues. She has gone in to the psyche of Indian women who are always seen in the light of tradition, marriage boundaries or familial life. However, she has also created women characters that stand against these age old boundaries and resists the traditional norms and take hold of their

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The present paper using Chughtai’s some of selective works tries to show how her distinct women characters’ resist bondage and crosses traditional boundaries. It is important to see how these women have faced these realities and resisted it. Were they alone in this battle or

men have also supported them? How and for what all they fought with the

assistance of men and without their support? What all their different causes of struggle? Further, why Ismat uses/chooses death for some of her women characters like in the movie Garam Hawa and stories like “ Chauthi ka Jora ”

translated as “Fourth Day Outfit” or “Wedding Shroud”. Does death of her women characters in her stories mean a type of resistance and rejection of these societal norms?

For this, the paper tries to engage with the works like “The Heart Breaks Free”, “All for a Husband”, “ Aap Biti” - Ismat’s autobiography “ Aap Biti” , “ Apna Khoon”, “Badan ki Khushboo” translated as“Lingering Fragrance”, “ Ghunghat” translated as “Veil”, “ Chauthi ka Jora ” as “The Wedding Shroud”, “ Muqaddas Farz” as “Sacred Duty”, and various other works that may or may not be available in English translations and novels like Masooma .

17307 - Literature, Philosophy and Intellectual History: The Language of Interdisciplinary Research Date: Friday, July 22nd // Saturday, July 23rd Room: Prominentenzimmer Chair: ZHANG, HUI; Zhang, Chunjie

2:00 PM - Swift and the quarrel between the ancient and the modern Cheng, Guiming (Institute of Comparative Literiture and Com. Culture, PKU, Beijing, China)

In the celebrated literary dispute about the superiority between the Ancient and the Modern raged by the scholars of 17th and 18th century in France and England, it is generally believed that Jonathan Swift’s allegory The Battle of the Books was written at the climax of this debate and regarded as his response to it by an ostensive propensity toward the ancient learning to defend his patron Sir William Temple. Thereof Swift was habitually labeled as the ancient- worshipper during the intellectual history and this literary practice intentionally represented that historical event. Thus the paper attempts to discuss how Swift applies the literary means of personification, digression, transformation, allegory and mock-heroic style to depict this contemporary argument in the form of fictional prose. Through a close textual reading of this incomplete work, the paper tries to indicate

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Swift’s contradictory ideas shown in this book which blur his attitude towards the ancient and the modern knowledge and make his stance more complicated.

2:20 PM - Emerson: Philosophic Thinking and Poetic Writing Yu, Jingyuan (Peking University, Beijing, China)

Emerson is many things to readers. He is a lecturer, an essayist, a philosopher, a thinker, a poet, and once a preacher. To define in which category exactly Emerson belongs to is neither possible nor necessary, for his characterized writing traverses among many categories and therefore defies one single monolithic label. He is philosophic in that the issues he addresses are epistemological and existential, he is poetic in that his language is symbolic, imaginative and his essay form is fluid, flowing. In this essay I will focus on Emerson’s these two sides, namely, his philosophic thinking and poetic writing, and tentatively proposes that these two characteristics do not counteract each other, on the contrary, they reinforce each other, philosophic thinking acts as the rational dimension that is profound and though-provoking; poetic writing acts as the emotional dimension that is affective and appealing, in this sense, Emerson is apt to be termed as a philosophic poet, or a poetic philosopher.

2:40 PM - Finnegans Wake: The Opportunity of Multilingualism Dai, Congrong (Fudan University, Shanghai, China)

Finnegans Wake is a book written in more than 60 languages. It is not only a book consisting of different languages, it disassemble and combine different languages to make new words and sentences. The languages it employed including languages from different nations, languages natural and man-made, languages formal and colloquial,and languages modern and archaic. Joyce created this kind of portmanteau language for his last book which describes the whole history of humankind to demonstrate the future multilingual communication in the global time. He foresaw the meaning of multilingualism and understood the necessity to break the confinement of language as early as 1930s. Finnegans Wake is his demonstration of the possibility and opportunity of multilingualism.

3:00 PM - Beautiful Thinking: Poetic Episteme in European Modernism Kammer, Stephan (Institut für Deutsche Philologie, LMU, Munich, Germany)

Every true work of art teaches us that the differentiation of form and content only helps rational analysis, while the work itself remains beyond this opposition«, notes German sociologist Georg Simmel in his ›kunstphilosophische Studie‹ on Stefan George (1901). This place beyond the opposition of content and form originates from a promise of surplus characteristic for poetic texts and poetological programs around 1900. In particular, the George Circle claims the legitimate succession for a mode of thinking that exceeds the limits of rationality—beautiful thinking shall imply better thinking. Epistemic shifts from abstraction to expression or from analysis to ›Erlebnis‹ aim at a genuine mode of knowledge beyond the intrinsic capacities of literature and art. As a consequence of Geisteswissenschaften, as this mode was christened by Wilhelm Dilthey, a provincialism of knowledge emerges, lastingly shaping its institutions and disciplinal actions. My paper sketches these tensions of claim and consequences with respect to positions of ›classical modernism‹ (George, Hofmannsthal, Rilke).

Date: Saturday, July 23rd

9:00 AM - Marxism, Moism, and the philosophical language in Bertolt Brecht's novel Me-ti or the Book of Transformation Zhang, Chunjie (University of California, Davis, Davis, CA, USA)

Not published until 1965, German dramatist Bertolt Brecht's fragmentary novel Me-ti: Book of Transformation has gained significant attention from critics in the past few decades. Infusing ancient 360

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Chinese philosophy Moism with Marxism, Brecht reflects upon European political and ideological struggles with a strong emphasis on German and Russian circumstances. Chinese philosophical dictums and anecdotes are inserted between reflections on leftist political pursuits in the early twentieth century. Reminding us of Plato's dialogical style, Brecht's novel politicizes the philosophical language and transcends the aesthetic boundaries between genre, time, and cultural geography. This crossing of boundaries also corresponds to the title of the book: Book of Transformation. Transformations take place not only through philosophical dialectics but are also reflected in the formal structure of language and genre.

9:20 AM - Lu Xun's "Tomorrow" (1919): a philosophical fiction Zhang, Lihua (Peking University, Beijing, China)

Although according to European literary tradition, the short story is a marginal literary form that represents “the lonely voice”(Frank O’Connor), Lu Xun (1881-1936), the most famous Chinese modern novelist, has transmitted it into a dominant genre and a proper carrier of social criticism and cultural debates. This paper aims to illuminate how a genre changes its form and function while crossing cultural boundaries by reanalyzing Lu Xun’s short stories, or, in particular, by re-interpreting his “Tomorrow” (“Mingtian”, 1919) in a context of the author’s reception of the world literature as well as his response to the intellectual discourses of the May Fourth Era. The form and technique of “Tomorrow” are highly sophisticated. However, so far most interpretations only dealt with its story level, namely the small tragedy of the widow Mrs. Shan who lost her only son. In light of two of Lu Xun’s literary ancestors, Natsume Sōseki (1867-1916) and Leonid N. Andreev (1871-1919), the whole story of “Tomorrow” can be understood as an allegory of “death”: the house of Mrs. Shan and Xianheng Restaurant next door are respectively the stages of “tragedy of death” and “comedy of life”, and the recurring image of time—the title “tomorrow” symbolizes a biological attitude towards death. Putting it into the intellectual background of May Fourth era, the form of short story “Tomorrow” reveals the inner debates of Lu Xun’s evolutionary thought, i.e. the dialectical tension between the “Way of Human” and the “Way of Nature” when approaching the ethic of life. For Lu Xun, the short story is not simply a fiction form in which “a whole lifetime must be crowded into a few minutes,” it is rather a kind of literary and intellectual response to the world literature and his contemporary thought, in which the author himself was deeply engaged in.

9:40 AM - Philosophical Questions in the Contemporary Historical Novel STAN, Corina (Duke University, / S-Gravenhage, Netherlands)

In "What is the Contemporary?", Agamben highlights the paradoxical co-presence of the past and the present as a pathway to historical insight when he defines the contemporary, via Nietzsche, as a relationship of untimeliness: understanding one’s age requires being present in it and reflectively removed from it. Historical fiction and drama explicitly draw the past into this relationship of contemporaneity, approaching it as a “too soon” that is also a “too late” – in other words, the past is both insufficiently accessible, and too keenly captured. In my intervention, I will consider some of the epistemological questions about time, experience and the adequacy of human understanding to reality that derive from this relationship, taking as examples novels and plays from the past century set in the early modern period.

10:00 AM - Post-Humanity &/vs. “Human” Technologies: Post-postmodern Outlines in the Contemporary English/British Literature Drozdovskyi, Dmytro (Shevchenko Institute of Literature of the National Academy of Sciences of Ukraine, Kyiv, Ukraine)

Contemporary arts (e.g. literature) visualize new philosophical, cognitive, and aesthetical basements represented in its various texts. The most influential thinkers, cultural philosophers and literature

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 experts still avoid a notion to define the cultural situation after the postmodern era. Post- postmodernism exists as a multifaceted dimension of different domains of culture in which we have a special interference between modernism, postmodernism and post-postmodern aesthetical implications. Besides, the author of the research proves that in the post-postmodern texts we have a new conception of humanity linking it to scientific/technological modes (e.g. Google technologies influence the specific narrative techniques exploited in the post-postmodernism.) In this presentation, I am going to define some aspects of the post-postmodernism taking into account contemporary English/ British novels.

First, Mark Haddon’s novel « The Curious Incident of the Dog in the Night-Time » has been discussed as an example of the contemporary British post-postmodernism. Taking into account the personal history of the fifteen-year teenager who suffers from autism the epistemological problems related to understanding of the world and the possibility of establishing the truth have been spotlighted. Various epistemological concepts (critical rationalism, coherent theory of truth, etc) have been analyzed grounding on the cognitive activity of the protagonist.

Second, the strategies of the representation of the models of colonial/anticolonial/postcolonial discourses have been portrayed in D. Mitchell’s novel «Cloud Atlas». Specific philosophical problems, exploited in the novel of the post-postmodern period, have been analyzed. The specific narrative techniques have been defined. The correlations between the author’s literary orientations and contemporary scientific theories (from physics and astronomy) that influenced them have been outlined.

2:00 PM - Encomium or Sarcasm: the Language of Xenophon Chen, Rongnu (Beijing Language and Culture University, Beijing, China)

Abstract: From the contemporary perspective, ancient Greek writer Xenophon and his writings have been seen as interdisciplinary paradigm. He was a historian, a philosopher and a soldier as well; and his writings kept astride philosophy, history, literature and military theories. Same as Plato, Xenophon was familiar with esoteric way of writing : achieve his purpose by delicately differing language from meaning. Therefore, the language of Xenophonic writing was a perfect combination of both rhetoric and moral teaching. With the detailed comparisons and analyses of Xenophon’s Spartan Constitution and Cyropaedia, this paper is trying to disclose how Xenophon build two exotic images of polis ( Sparta and Persia ) by using such a language . Discriminating Persian and Spartan ν ό μο ς (law or custom) from their πολιτεία (constitution or way of life ), comparing their education, the paper concludes that both works of Xenophon concern mainly with significant issues of how to understand and practice political life. Cyropaedia is a witting imitation of Spartan Constitution, and both works are stylized with language of pretended encomium aiming at sarcasm .

Keywords: Xenophon Sparta Persia Cyrus

2:20 PM - How Does Language Make Sense ZHANG, Hua (Beijing Language and Culture University, Beijing, China)

In literary translation,languaes can make very important sense in keeping literary style.In the past time, there has been a kind of attitude about translation, and is rooted in the sense and thought of translators and translation theory doers for a long time. That is "good translated text cannot be found it is translated from another language and culture", which means that original language and culture in original literary text must be localized by aim language and culture through translation. Based on this kind of attitude, university teachers in China teach foreign students to translate and writing in a way that Chinese people cannot recognize it is a translation text, in a way that it is written by native Chinese. Despite from other countries, at least, this is quite a case in China. How 362

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 does language make good sense? In this paper, the author challenges the rather traditional and even backward view of translation based on his university teaching experience and the readers' feedback of a journal, which is called "Meiwen" (Beautiful Articles) and he is the chief editor of its special translation issues. The author argues that "nowadays, good translation is the one which can keep original literary (language and culture) style, and easy to be recognized by readers that it is translated from which language or which countries, even who is the author. And the less localized the better." He also gives many examples in this paper.

2:40 PM - Interdiscipline and the Variation Theory of Comparative Literature Cao, Shunqing (The Chinese Comparative Literature Association, Chengdu, China)

The Variation Study is common in the process of communication between different literatures and cultures. Before the formal announcement, scholars all over the world have confronted with conflicts and shocks between eastern and western civilizations, which belong to the study of Comparative Literature, also belong to cross-cultural research or cross-civilization study as a matter of fact. Therefore, the Chinese scholar Cao Shunqing proposed the Variation Theory of Comparative Literature in 2005. It is a valuable integration of all contemporary theories of the discipline. The Variation Study of Comparative Literature refers to the research on the variation status of the exchanges of the literary phenomena and the mutual interpretation between different countries and civilizations. And it is through the variation of the exchanges of literary phenomena and the mutual interpretation to explore the law of the Variation Study of Comparative Literature. The key of the study lies in the sameness (universality) and otherness (heterogeneity) of civilization. It seeks the otherness from universality as well as the sameness from heterogeneity. Moreover, the core of the Variation Theory is heterogeneity and comparability. The Variation Study of Comparative Literature not only pays attention to homology and universality, but more to variability and heterogeneity. Thus, it ranges from transnational variation studies, cross-linguistic variation studies, cross-cultural variation studies, cross-civilization variation studies, to the images of “otherness” studies, etc.

3:00 PM - The Reification of Unreason: Transnational Dialogues Majumder, Auritro (University of Houston, Houston, USA)

This paper explores the intersection of intellectual history, philosophy and literature in the Hungarian theorist Georg Lukács and the Indian poet Rabindranath Tagore. Lukács famously attacked Tagore, Asia’s first Nobel Laureate, for his 'antinationalism;' Lukács argued that “the “scanty leftovers from Indian philosophy” obscured Tagore’s counterrevolutionary politics. Some ninety years later, the terms of this debate – reason, revolution, the limits of theory – are more important than ever. I argue that Lukács’ critique of Tagore’s ‘mysticism,’ and Tagore’s own denunciation of inward-looking nationalism, produce a shared lineage of progressive thinking that has been undermined by the advent of postmodern thought. I read two texts, Lukács’ magisterial polemic against the irrational, The Destruction of Reason (1952), and Tagore’s anti-nativist novel, The Home and the World (1916), to locate a transnational affirmation of rationality, humanism, and dialectical thinking, concepts antithetical to the postmodern fetishizing of difference. The issues raised by Lukács and Tagore deserve attention as they alert us to the profound deficiencies of recent theory, and second, reveal that new posthumanist trends are but repetitions of older ideas of the previous centuries.

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17308 - Workshop: Die vielen "Sprachen" der Klassiker. Eine medienorientierte Perspektive Date: Friday, July 22nd // Saturday, July 23rd Room: Übungsraum Germanistik 2 Chair: Wojcik, Paula; Picard, Sophie

9:00 AM - Der Faust-Stoff und seine populären Medialisierungen um 2000. Film, Comic, Popkultur Rohde, Carsten (Klassik Stiftung Weimar, Weimar, Austria)

Die Geschichte des Faust-Stoffes ist gleichbedeutend mit einer Mediengeschichte der Moderne. Seit den Anfängen im 16. Jahrhundert hat sich dieser Stoff in einer Reihe von Medien realisiert und dabei vielfältige intermediale Konstellationen eröffnet. Dies gilt im besonderen Maße für das Zeitalter der neuen bzw. elektronischen Medien im 20. und 21. Jahrhundert. Auch wenn Faust und das sog. Faustische als nationalkulturelle Identitätsfolien seit 1945 weitgehend abgedankt haben, erweisen sich Stoff und Figur Faust bis in die Gegenwart hinein als höchst lebendig, wie die neuere Stofftradition eindrücklich zeigt. Am Beispiel von ausgewählten neueren Bearbeitungen des Faust- Stoffes sollen die spezifischen medialen Über-Setzungen der Stofftradition erörtert werden. Auf welche Weise und mit welchen filmischen Mitteln transponieren Alexander Sokurow und Werner Fritsch in ihren Faust-Filmen (beide 2011) den Mythos in die Gegenwart? Wie perspektivieren Comics die Faust-Fabel (etwa Flix‘ Berliner Großstadt-Comic Faust. Der Tragödie erster Teil von 2010 oder Doktor Duckenfaust in Walt Disneys Lustiges Taschenbuch spezial von 2005)? Und welche weiteren Medialisierungen des Faust-Stoffes hat die Popkultur der Gegenwart hervorgebracht (vgl. etwa: Rudolf Volz: Faust. Die Rockoper, 2007)?

9:30 AM - "... on veut la grande littérature" oder Ein Klassiker im Kino: Zu zwei zeitgenössischen filmischen Reinterpretationen der "Princesse de Clèves" Stemberger, Martina (Institut für Romanistik, Wien, Austria)

Seit der Erstpublikation 1678 hat LaPrincesse de Clèves zahlreiche literarische réécritures und seit der zweiten Hälfte des 20. Jahrhunderts auch filmische Adaptionen inspiriert ; in diesem Beitrag sollen – nach einem Rückblick auf die kinematographische Vorgeschichte (Delannoy, Oliveira, Żuławski) und vor dem Hintergrund der hoch politisierten Renaissance des Werkes Anfang des 21. Jahrhunderts – intermediale Adaptionsstrategien und Rezeptionsdynamik der beiden jüngsten Princesse-Filme analysiert werden.

Wurde Christophe Honorés Spielfilm La Belle Personne (2008) – als ‚Antwort‘ auf Sarkozy intendierte, auf diegetischer Ebene jedoch betont apolitische freie Reinterpretation des klassischen Romans als postmodernes Teenager-Drama – bei insgesamt überaus positiver Rezeption gelegentlich ob seines bourgeoisen ‚Snobismus‘ sowie aus ‚postkolonialer‘ Perspektive kritisiert (A. Cammas: „La blanche personne“), so versteht sich Régis Sauders Dokumentarfilm Nous, princesses de Clèves (2011), am anderen Ende der zeitgenössischen französischen Gesellschaft angesiedelt, als „une réponse au débat sur l’identité nationale, à la ghettoïsation de l’enseignement“. Sauder, der Lafayettes höfisches Dispositiv in ein ZEP-Lycée der Marseiller Banlieue übersetzt, problematisiert die Transmission eines gemeinsamen kulturellen Erbes ebenso wie die Ambivalenzen von ‚Hochkultur‘ zwischen symbolischer Gewalt und emanzipatorisch-subversivem Potential: „On ne veut pas de sous- littérature écrite spécialement pour nous, on veut la grande littérature“, erklärt eine der Protagonistinnen des Films.

Beide Werke laden – als kreative, zugleich auf der Meta-Ebene reflektierte Relektüren und als Beispiele im intermedialen Transferprozess erfolgreicher Vermittlung eben jener „grande littérature“ (auch und gerade bei einem jugendlichen Publikum, das der Princesse als institutionalisiertem Schul- 364

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Klassiker traditionell ambivalent gegenüber steht) – besonders dazu ein, die Frage nach der Aktualität bzw. Aktualisierbarkeit eines klassischen Textes in ihrer gesellschaftspolitischen wie literatur- /medientheoretischen Dimension zu betrachten; aus interkultureller Perspektive wird auch die unterschiedliche Rezeption eines ‚nationalen‘ Klassikers wie der Princesse – und der darauf basierenden Filme – in Frankreich und in Kulturräumen, wo Lafayettes Werk nicht Teil des offiziellen Kanons ist, zu thematisieren sein.

10:00 AM - "He's not coming ...is he?" - Warten auf Godot in Cartoon und Comic Koehn, Johanna (Université de Strasbourg, Strasbourg, France)

Bei En attendant Godot / Waiting for Godot von Samuel Beckett handelt es sich um einen Klassiker der Modere, der von Anfang an als Übersetzung auftritt: Er wurde von Samuel Beckett auf Französisch verfasst und ins Englische übertragen, womit es gewissermaßen zwei Originale mit teilweise nicht unerheblichen Unterschieden gibt. Übersetzungen in zahlreiche Sprachen folgten – 2013 gab es die erste Inszenierung auf Jiddisch. Das Stück hat seine Klassiker-Qualität unter Beweis gestellt: Es wird auch heute auf vielen Bühnen der Welt inszeniert und hat gezeigt, dass es in unterschiedlichen Kontexten funktioniert - von Aufführungen in verschiedenen Gefängnissen über den Broadway bis zur Einbindung von Elementen der Peking-Oper in der Inszenierung des taiwanesischen Regisseurs Wu Hsing-kuo (Taipeh 2005).

Seit Beginn der 2000er Jahre zeichnet sich eine neue Rezeptionsform ab: In Cartoons, Comics und Karikatur wird Godot aufgegriffen und so meistens (aber nicht immer) die komische Seite, die im Stück durchaus angelegt ist, betont. Insbesondere im Internet werden diese meist kurzen Strips in beeindruckend großer Zahl verbreitet – Adaptionen, Referenzen, Parodien finden sich hier in verschiedensten Sprachen, von bekannten und unbekannten Zeichner_innen: etwa vom Hauscartoonisten des Guardian Tom Gauld, vom Amerikaner Richard Thompson, der für die Washington Post zeichnet, vom Spanier Javier de Juan oder dem Portugiesen Pedro Couto e Santos, aus dessen Arbeit das Titelzitat stammt. Dabei spielen sie in unterschiedlich komplexer Weise mit dem Wissen, das beim Betrachter über den Klassiker vorausgesetzt wird. Der geplante Beitrag soll den Fragen nachspüren, welche Dimensionen des Stücks in den Comics und Cartoons aktualisiert werden und welche durch die Neukontextualisierung hinzugefügt werden. Was passiert durch die Übertragung ins visuelle Medium des Comics und welche Rolle spielt die jeweils andere Bildsprache, die die Zeichner_innen finden.

11:00 AM - Vom Dichter des Dichters zu den Hölderlin-Comics. Intermediale Adaptionen eines besonderen Klassikers Castellari, Marco (Università degli Studi di Milano, Milano, Italy)

Friedrich Hölderlins ›Leben, Dichtung und Wahnsinn‹, um Wilhelm Waiblingers berühmt-berüchtigte Formel aus dem Jahr 1831 zu benutzen, haben eine vielfältige Rezeption entfacht, die im 20. Jahrhundert in Literatur und Philosophie regelrecht explodiert und sich seit 1945 in intermedialen Formen verstärkt entfaltet hat, von Theater und Musik über Film, bildende Kunst und gar Kunsthandwerk bis zu Comics, Fotografie und performance – innerhalb wie außerhalb der deutschsprachigen Grenzen.

Neben seinen Dichtungen und Übersetzungen, die eher im Rahmen einer elitären Kultur ›wiederentdeckt‹ und rezipiert wurden und erst allmählich, teilweise gerade durch intermediale Adaptionen, einem breiteren, auch internationalen Publikum zugänglich wurden, hat seine zwischen Dichtertum und Politik, zwischen Genie und Wahnsinn polarisierte Biographie seit dem 19. Jahrhundert anhaltende Aufmerksamkeit erregt; dabei hat oft die schematische Dialektik ›Vergessenheit vs. Wiederentdeckung‹ die Rezeption eines ›besonderen‹ und gerade deswegen

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›moderneren‹ Klassikers geprägt – sowohl als ein spezifisch ›deutscher‹ Fall als auch als Symbol universaler Konstellationen: als Sprachgenie und philosophischer bzw. politischer Querdenker, als ›Revolutionär in der Sackgasse‹, als ›Dichter in dürftiger Zeit‹, als in den Wahnsinn Getriebener bzw. Geflüchteter.

Fiktion und Wirklichkeit manchmal kühn vermischende Hörspiele, Dichterdramen und - Inszenierungen, bio-pics und experimentelle Filme, künstlerische Porträts und performances haben Hölderlin-Bilder entworfen, die ihn als ›anderen‹ Klassiker bzw. als Klassiker einer alternativen (unterliegenden) Linie dargestellt und folglich zum Zeitgenossen intellektueller und künstlerischer Diskurse der jeweiligen Zeit bzw. des jeweiligen kulturellen Kontexts gemacht haben.

Der Vortrag soll zuerst einen diachronischen und typologischen Überblick über die verschiedenen ›Sprachen‹, in denen Hölderlin als Klassiker besonderer Art inszeniert worden ist, bieten; anschließend werden anhand ausgewählter deutscher und internationaler Beispiele intermedialer Adaption der letzten Jahrzehnte die Modi aufgezeigt, nach denen solche intra- und interkulturelle Transferformen vorgehen, sowie die Brüchen und Kontinuitäten, die sie im Vergleich mit dem Verlauf der offiziellen akademisch-wissenschaftlichen Rezeption aufweisen.

11:30 AM - Goethes Faust als Comic Heyden, Linda (HU Berlin, Berlin, Germany)

Linda-Rabea Heyden: Abstract für die ICLA Sektion 17308 „Die vielen ‚Sprachen‘“ der Klassiker

Goethes Faust als Comic

Faust-Comics zeichnen sich durch ein komplexes Spannungsverhältnis zu ihrem Prätext aus.

Denn hier trifft Goethes weltliterarischer Klassiker auf das noch immer als minderwertig(er) betrachtete Medium Comic. Neben diesem soziokulturellen Gefälle liegt auch eine zeitgeschichtliche Lücke zwischen der Veröffentlichung des Dramas und dem Phänomen des Faust-Comics, das gehäuft erst mit Ende des 20. Jh. auftritt. Dadurch wird auf inhaltlicher Ebene die Frage relevant, ob und wie sich der historische Kontext des Prätextes in seiner Differenz in der Adaption auf Text- und Bildebene niederschlägt. Auch ein bedeutender Anteil an der Popularität von Goethes Faust kann den Faust- Comics, im Gegensatz zu den schon zeitnah nach Veröffentlichung einsetzenden Illustrationen, nicht nachgesagt werden. Faust-Comics sind vergleichsweise unpopulär. Dennoch schreiben sich die Comics als Adaptionen zwangsläufig in die Rezeptionsgeschichte ein und nehmen vielfältig auf diese in Text und Bild Bezug. Da es sich bei einigen Faust-Comics um interkulturelle Adaptionen handelt, erlauben sie auch die Untersuchung und Gegenüberstellung von Universalität und Nationalität.

Um die unterschiedlichen Faust-Comics in ihren Spezifika beschreib- und vergleichbar zu machen, soll im Workshop ein Analysemodell vorgestellt werden, das in seiner Anwendung über den Einzelfall des Faust-Comics für Klassiker-Adaption fruchtbar gemacht werden kann. Dem für diese Untersuchung entwickelten Modell nach, nehmen Faust-Comics anhand der drei Adaptionskanäle Inhalt, Medialität und Rezeption auf Goethes Drama Bezug und bilden unterschiedliche Dominanzen in ihren Adaptionsverfahren heraus. Der Faust-Comic ist aufgrund seiner Medialität nicht per se ein subversives Medium, das einem hochkulturellen Bildungsdiskurs entgegen läuft oder umgekehrt zwangsläufig ein Ort der Trivialisierung; und der Faust-Comic stößt als popkulturelles Medium nicht per se in breiten Bevölkerungsschichten auf Beliebtheit. Die Faust-Comics oszillieren zwischen den Verfahren von Neukonfiguration, Subversion, Affirmation, Kanonisierung und Trivialisierung und positionieren sich in diesem Spannungsverhältnis. Mein Beitrag thematisiert den Comic als eine „Sprache“ von Goethes Faust und zeigt an Fallbeispielen verschiedene „dialektale Ausprägungen“ auf. 366

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12:00 PM - Ein flämischer Klassiker als Comic: Comicadaptionen von Hendrik Consciences "Der Löwe von Flandern" (1838) als Aktualisierungen dieses historischen Romans Hermann, Christine (Universität Wien, EVSL, Wien, Austria)

Die adaptation studies betrachten Adaptionen heute nicht mehr als mehr oder weniger ‚treue‘ Kopien eines ‚Originals‘, sondern als eigenständige Werke, die zu einander und zum Prätext in verschiedener Weise in Beziehung stehen. Adaptionen bekräftigen den Status eines Werkes im Kanon, aber sie schreiben es auch um; jede Adaption stellt eine (zeitgebundene) Interpretation des Prätextes dar und hat Auswirkungen auf dessen Rezeption. Ein Beispiel für ein häufig und verschiedenartig bearbeitetes Werk ist das flämische Nationalepos ‚Der Löwe von Flandern‘ von Hendrik Conscience (1838), das nicht nur mehrfach übersetzt und für die Jugend bearbeitet, sondern auch in andere Medien übertragen wurde: so existieren im Niederländischen eine Verfilmung, eine Fernsehserie, diverse Bühnenbearbeitungen und Marionettenspiele. Zudem wurde der Roman zwischen 1949 und 1994 auch mehrmals und auf höchst unterschiedliche Weise als Comic bearbeitet. In diesen Adaptionsprozessen wurde Consciences ‚Tendenzroman‘ für unterschiedliche (politisch-ideologische, künstlerische, didaktische, kommerzielle) Zwecke funktionalisiert. Während etwa Bob de Moor (1949) v.a. die Vermittlung dieses Klassikers am Herzen liegt, schreiben andere die Geschichte um, passen sie an andere Genres (wie die Fantasy-Comicserie ‚De Rode Ridder‘) an, verweisen durch Anspielungen auf die Politik, Kultur und Gesellschaft der Gegenwart oder instrumentalisieren die Geschichte für aktuelle politische (nationalistische) Zielsetzungen. Mein Forschungsinteresse konzentriert sich im Besonderen auf die verschiedenen – tlw. nur durch das Bild ermöglichten - Techniken der Aktualisierung im Comic, mittels derer der historische Roman dem Leserpublikum einer anderen Epoche nähergebracht wird. So können Adaptionen ein Werk lebendig erhalten, ‘giving it an afterlife it would never have had otherwise’ (Hutcheon 2006, p. 176).

2:00 PM - Was würde Goethe dazu sagen? Klassikerfeiern im deutschen und französischen Rundfunk Picard, Sophie (Friedrich-Schiller-Universität Jena, 07743, Germany)

Die rasante Entwicklung der Sendetechnik und die Verbreitung der Rundfunkapparate ab der Mitte der zwanziger Jahre war für zahlreiche Schriftsteller und Intellektuelle nicht nur ein Mittel, um ein größeres Publikum erreichen zu können, sondern bat ihnen auch ein Experimentierfeld, in dem neue Ausdrucks- und Kommunikationsformen erfunden und erprobt werden konnten. Für das Radio musste eine neue, zukunftsgewandte Sprache entwickelt werden. Über das neue Medium fanden aber ebenfalls die Klassiker der Vergangenheit einen direkten Eingang in die Modernität: Von den Anfängen des öffentlichen Rundfunks an erfreuten sich Sendereihen zu Nationaldichtern wie etwa Goethe oder Hugo einer großen Popularität, sodass ihre Stimmen auf bisher unerhörte Weise hörbar werden konnten. Besonders anlässlich der Geburts- und Todestage dieser Klassikerfiguren konnte das Radio eingesetzt werden, um eine breite Öffentlichkeit an der gemeinsamen Verehrung teilhaben zu lassen: So konnten z.B. Festreden weit über den üblichen Zuhörerkreis hinweg in unzähligen Heimen erklingen und sogar an ein internationales Publikum adressiert werden. Zugleich wurden die historischen Dichter durch die Erfindung neuer Vermittlungsformen in einen Dialog mit der neuen Zeit gebracht: Mal wurden sie selbst oder ihre Romanfiguren in Hörspielen inszeniert, mal war es die junge Generation von Schriftstellern, die in Rundfunkgesprächen mit ihren klassischen Vorbildern konfrontiert wurde. Durch die Auswertung der verfügbaren Quellen aus den dt. und franz. Rundfunkarchiven möchte sich der Vortrag der Frage der Aktualisierung der Figuren Goethes und Hugos durch das Medium Radio widmen. Wie vermögen die neue Rundfunksprache und das Bewusstsein um ihre Reichweite die öffentliche Wahrnehmung der Klassiker und die Formen der Verehrung zu verändern? Inwiefern prägen umgekehrt das Vorbild der klassischen Dichter und die Achtung vor der literarischen Tradition den Umgang mit dem neuen Massenmedium? 367

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

2:30 PM - Sprachen der "Weimarer Klassiker" im interkulturellen Kontext Wojcik, Paula (Friedrich-Schiller-Universität Jena, Jena, Germany)

Der Vortrag will sich drei medialen Formen der interkulturellen Übersetzung in den polnischen Sprachraum von Goethes und Schillers Balladen widmen. An einer Übersetzung von Schillers Handschuh aus der Feder Adam Mickiewiczs, sogenannten scherzhaften Übersetzungen der Balladen Schillers und Goethes aus dem 19 Jahrhundert sowie einer Gegenwartsadaption des Erlkönig im polnischsprachigen HipHop sollen die Fragen der Popularisierung und Funktionalisierung verfolgt werden. Mickiewiczs Übersetzung ist für ein literarisch gebildetes Publikum gedacht, bei dem er die Ballade als wichtigstes Ausdrucksmittel der neuen romantischen Literatur etablieren möchte. Die scherzhaften Übersetzungen, die von Geistlichen aus dem Schlesischen Raum angefertigt werden, haben einen parodistischen Charakter und eine unterhaltende Funktion. Das Zielpublikum ist zwar gebildet, aber geographisch begrenzt, denn ohne die Kenntnis des Deutschen, ist der Witz nicht fassbar. Die polnischsprachige HipHop-Ballade letztendlich bedient sich des Erlkönig-Motivs um eine Abtreibungsgeschichte zu erzählen. Gut 200 Jahre nach der Entstehung des Originals kann auf eine Popularisierungsgeschichte zurückgegriffen werden, sodass eine milieuspezifisch verortete Erzählung mit dem Klassikermotiv bewusst operieren kann.

3:00 PM - Bertolt Brecht 'goes to town'. "Die Moritat von Mackie Messer" als Jazz-Standard Höfer, Hannes (Friedrich-Schiller-Universität Jena, Jena, Germany)

„Die Dreigroschenoper“ von 1928 ist Bertolt Brechts erfolgreichstes Bühnenstück und damit ein Klassiker des deutschen Dramas im 20. Jahrhundert. Dieser Erfolg liegt zu einem nicht zu unterschätzenden Teil an der Musik von Kurt Weill, die bereits unmittelbar nach den ersten Aufführungen durch Radio und Schallplatte Verbreitung fand. Vor allem die „Moritat von Mackie Messer“ entwickelte sich unabhängig vom Drama zu einem Hit, allerdings nun als US-amerikanischer Jazz-Standard. 1955 spielte Louis Armstrong wahrscheinlich zum ersten Mal in den USA eine Version des Titels ein. Die Website coverinfo.de verzeichnet heute unter den Einträgen „Mack the Knife“ und „Moritat“ insgesamt 372 Coverversionen des Songs, sowohl von weiteren Jazzgrößen wie Ella Fitzgerald oder Sonny Rollins als auch von Popmusikern wie Nick Cave, Robby Williams oder Michael Bublé. Der Vortrag möchte anhand ausgewählter Tonbeispiele untersuchen, wie dieser Musiktitel von einer deutschen Theaterkomposition zu einem US-amerikanischen Jazz-Standard und davon ausgehend zu einem weltbekannten Hit in Jazz, Pop und Schlager wurde und wie dieser Titel vor allem im Jazz bis heute Musiker immer wieder zu Aktualisierungen und Neuinterpretationen anregte.

4:00 PM - Die Musik nimmt in ihren Meisterwerken mehr und mehr die Meisterwerke der Literatur auf. Musikalische Klassiker-Aneignung in Franz Liszts Faust- und Dante-Symphonie Wegner, Sascha (Universität Ber, Bern, Switzerland)

Franz Liszt, Hofkapellmeister am Weimarer Fürstenhof zwischen 1848–1859, darf nicht nur als Begründer einer neuen, programmusikalischen Gattung, der Symphonischen Dichtung, gelten, in welcher er sich literarischer oder Bild-Vorlagen als jeweils zugrundeliegender Idee bedient. Mit seinen musikalischen Kompositionen und den sie begleitenden musikästhetischen Beiträgen ist er auch als Vermittler der europäisch-klassischen Literatur- und Kunsttradition mit musikalisch- symphonischen Mitteln zu verstehen, als welcher er sich über die Grenzen Weimars hinaus öffentlichkeitswirksam in Szene setzt. Neben den zwölf einsätzigen Symphonischen Dichtungen über sehr unterschiedliche Sujets – Gedichte von Goethe und Byron, Schiller, Herder, Hugo oder Lamartine (Tasso, Mazzeppa, Die Ideale, Prometheus, Ce qu’on entend sur la montagne, Les préludes), bildende Kunst (Hunnenschlacht nach einem Wandgemälde Wilhelm von Kaulbachs, Orpheus nach einer etruskischen Vase) oder Dramen (Hamlet nach Shakespeare) – stechen seine beiden einzigen mehrsätzigen symphonischen Werke zu Goethes Faust und Dantes Commedia hervor. Die 368

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 unterschiedliche ästhetische Gewichtung der beiden so unterschiedlichen ‚Klassiker‘ als Beispiele einer wie Liszt sie nannte „philosophischen Epopöe“ wird durch den Rückgriff auf den Gattungsbegriff der ‚Symphonie‘ unterstrichen: das weltliterarische Sujet bedarf einer weltläufigen musikalischen Form. Die Faust-Symphonie in drei Charakterbildern (nach Goethe), ursprünglich 1854 fertiggestellt, erlebte ihre Uraufführung in Weimar 1857 aus symbolträchtigem Anlaß: die Grundsteinlegung des Carl-August-Denkmals (zu dessen 100. Geburtstag) sowie die Enthüllungen des Goethe-Schiller- und des Wieland-Monuments. Im selben Jahr fand auch die Uraufführung der Symphonie nach Dantes Divina Commedia in Dresden statt. Beide Stoffe ermöglichten es Liszt, in der Verbindung von musikalischer und literarischer Hochkultur einen über das Weimarer Bürgertum hinausgehenden, europäischen Akzent zu setzen und sich selbst, als ‚symphonischer Dichter‘, zugleich als Bewahrer und Erneuerer der kulturellen Blüte Weimars zu positionieren. Es ist nach den Gründen, der genauen ästhetischen Konzeption sowie den Folgen der symphonischen Aneignung literarischer Klassiker zu fragen.

4:00 PM - Weiblichkeit Korpus des Klassischen Goethes Frauen in bildender Kunst und Musik von Roth, Dominik (Weißenfels, Weißenfels/Weimar, Austria)

Goethes Roman Wilhelm Meisters Lehrjahre sowie Faust I gelten heute als literarische Klassiker. Neben der literarischen Auseinandersetzung boten im 19. Jahrhundert insbesondere die beiden weiblichen Figuren Mignon und Margarete einen außerordentlichen Anreiz für bildkünstlerisches und kompositorisches (Nach-)Schaffen. Prachtausgaben wie die sogenannte Goethe-Galerie (1865) versammeln beispielsweise ein Best-of von Goethes Werken in Form einer bloßen Aneinanderreihung der jeweiligen weiblichen Figuren, gezeichnet von Wilhelm von Kaulbach. Neben stetigen Neuauflagen bestätigen mehrere Rezensionen den reißenden Absatz, bemängeln jedoch u.a. das „verpfuschte Porträt“ Gretchens, um gleichzeitig die vermeintlich wahre Intention Goethes zu verkünden. Markiert solch eine Ausgabe die Reduktion eines Werks auf nur eine weibliche Figur, so bedeutet sie gleichermaßen eine absolute Verselbständigung der Buchillustration und wird im Grunde zum bildlichen Ersatz der Werkausgabe.

Liedeinlagen zeichnen sich hingegen seit Beginn ihrer Entstehung durch ihr Doppelleben aus. Insbesondere die in die Erstausgabe von Wilhelm Meisters Lehrjahre (1795/96) eingelegten Vertonungen der Lieder Mignons führten von Anbeginn ein überaus dynamisches Eigenleben. Spätestens seit der Oper Mignon von Ambroise Thomas (1866) war die Romanfigur Mignon – ein Mädchen von ca. zwölf Jahren – zu einer attraktiven Frau, ja zu einem geradezu mondänen Opernstar geworden. Das bereits durch Beethovens Vertonung berühmt gewordene Lied der Mignon „Kennst du das Land“ war nun eine Bravourarie, die Begriffe Sehnsucht und Mignon nahezu austauschbar. Die florierende Vermarktung unzähliger Varianten von kolorierten Mignon- Bildpostkarten um 1900 nutzte die Mischung aus Mitleid, Sehnsucht, weiblichem Körper und deutscher Nation. Detailliertes Wissen um die eigentlichen literarischen Werke spielte beim Konsum der ‚kleinen‘ Medien kaum eine relevante Rolle. Die Popularität all jener Lieder und Bilder festigte jedoch zweifellos die Unumstößlichkeit bei der Etablierung von Goethes Werken als Klassiker, wofür in erster Linie der weibliche Körper als willkommenes Trägermedium diente. Die Goethe-Rezeption in Bild und Musik bis hin zur Popularisierung und Verkitschung soll an ausgewählten Beispielen aufgezeigt und im Hinblick auf deren Einfluss auf Kanonisierungsprozesse von Klassikern diskutiert werden.

Date: Saturday, July 23rd

9:00 AM - « Vers une définition de la parodie interculturelle » Filion, Louise-Hélène (Université du Québec à Montréal/Universität des Saarlandes, Montréal (Québec), Canada)

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Dans le cadre de ma thèse, je m’intéresse au roman Noces villageoises de l’écrivaine québécoise Nicole Filion, lequel entre dans un dialogue nourri avec Korrektur, un roman bien connu de l’écrivain autrichien Thomas Bernhard; ce dialogue relève non seulement de la parodie, mais contribue aussi à fonder une sorte de « mémoire interculturelle », qui concerne notamment la satire des systèmes judiciaires autrichien et québécois. Dans le cadre du workshop, j’aimerais réfléchir au cas des parodies dont le caractère interculturel est imposant, à partir de la question suivante notamment : quelle(s) définition(s) de la parodie permet(tent) d’analyser le plus adéquatement de tels textes? Il s’agira aussi de réfléchir autour de la question de la parodie d’auteurs qui appartiennent à un certain canon, par des écrivains issus de traditions littéraires fort éloignées des textes classiques parodiés, voire « mineures » – le cas Autriche-Québec pourra me servir de parangon.

Le type de rapport parodique entretenu avec Korrektur est exemplaire dans le cadre d’un questionnement interculturel, dans la mesure où l’auteure québécoise met en scène de manière loufoque (par le biais de questionnaires humoristiques adressés au lecteur, notamment) les conditions d’existence, de production et de réception des textes littéraires au sein d’une culture ou d’une tradition littéraire données. Parmi les définitions de la parodie qui me solliciteront, on compte notamment celle de Margaret A. Rose; bien que datées, les propositions de la chercheure demeurent fort pertinentes pour traiter de la parodie interculturelle, en raison des liens très nets qu’elles établissent entre parodie et métafiction.

Nicole Filion, Noces villageoises, Trois-Pistoles, Éditions Trois-Pistoles, 2002.

Thomas Bernhard, Korrektur : Roman, Frankfurt am Main, Suhrkamp Verlag, 1975.

Margaret A. Rose, Parody//Meta-fiction. An analysis of parody as a critical mirror to the writing and reception of fiction, London, Croom Helm Ltd, 1979.

9:30 AM - Bizets Carmen in den Townships von Südafrika Grossmann, Stephanie (Universität Passau, Passau, Germany)

Mit seinem Film U-Carmen gewann Mark Dornfors-May überraschend 2005 bei der Berlinale den Goldenen Bären. Sein Film transferiert Bizets Opernklassiker Carmen - selbst bereits basierend auf dem gleichnamigen literarischen Klassiker von Mérimée - in das südafrikanische Khayelitsha der Gegenwart. In meinem Beitrag möchte ich untersuchen, welche Implikationen sich aus dieser mehrfachen Verschiebung eines Klassikers - räumlich von Spanien nach Südafrika, zeitlich vom Anfang des 19. Jahrhunderts und medial von der Opernbühne zum Film - für die Funktion der Klassikervermittlung ableiten lassen.

10:00 AM - Lost in Translation? Stanislaw Wyspianski's Wesele and the Difficulty of a German-Polish Cultural Transfer May-Chu, Karolina (University of Wisconsin-Madison, Madison, USA)

In 1795 Poland was partitioned for the third time by Prussia, Russia, Austria, and it ceased to exist as a sovereign state. Before Poland was to be reestablished as an independent entity in 1918, Poles fought two important yet unsuccessful uprisings in 1830 and 1863. The modernist playwright, poet, and painter Stanis ł aw Wyspia ń ski reflects on this struggle for national selfdetermination in his symbolist drama Wesele ( The Wedding ), which was published in 1901. Wesele deals with the complex political situation in the 19 th century, and the difficulty of unifying diverse interests in one Polish national cause. The drama quickly established its author as a “national bard” and the text became a classic in the Polish literary canon. Despite its alleged specifically Polish character, however, Wyspia ń ski’s drama also raises many universal questions and concerns that make it relevant outside the Polish context. It was this shared belief in Wesele’s more universal message and 370

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 its significance in the European context that led to a cooperation between Polish film director Andrzej Wajda and German theater director Peter Stein. Under their joint directorship, the first German language production of Wesele was performed at the “Salzburger Festspiele” in 1992. Intended as a contribution to a much-needed cross-cultural dialogue, the performance received mixed reviews. While Polish reviews were predominantly positive, German reviewers gave negative and often scathing assessments of the production. Some of those critics simply deemed the drama “unintelligible” outside the Polish context; others drew on old stereotypes of a primitive and dysfunctional East. My contribution asks first how Wesele’s universal message was expressed both in the German translation by Karl Dedecius and in the production of the drama. It then seeks to understand why the cultural transfer of Poland’s national classic into a wider European context failed in 1992. I propose that the reason for this failure was the unequal relationship between Germany and Poland, which was based on the old East-West binary. Finally, my contribution explores how these conditions have changed today and whether the universal message of Wesele would be more widely appreciated in 2016.

11:00 AM - Konkurrenz und Kooperation: Die Neuübersetzung im ambivalenten Prozess der Klassikerbildung Franz, Marc (Uni Wien, Münster, Germany)

Weltliteratur ist Übersetzungsliteratur. Die „Klassiker der Weltliteratur“ sind das Ergebnis von Neuübersetzungen. Gerade zurzeit werden immer mehr „klassische“, noch nicht oder nicht mehr „klassische“ fremdsprachige Texte von immer mehr Verlagen in Neuübersetzungen herausgegeben. Allmählich wird das Phänomen auch literatur- und kulturwissenschaftlich ernstgenommen. Ich möchte in meinem Vortrag das Augenmerk auf einen spezifischen Aspekt von Neuübersetzungen lenken: die Beobachtung, dass sie mit den vorausgehenden und den künftigen Fassungen eines Quelltextes sowohl konkurrieren als auch kooperieren. Genauer betrachtet werden soll, auf welchen Feldern Übersetzungen miteinander „ringen“ und auf welchen sie kollaborieren? Worum genau kämpfen Neuübersetzungen? Woran arbeiten die Übersetzer gemeinsam? Was gibt es in diesen Wettkämpfen und Kooperationen überhaupt zu gewinnen? Welche Mittel werden eingesetzt? Und von wem werden sie eingesetzt? Wer ist außer den Übersetzern noch an dieser speziellen „Bücherschlacht“ (und damit an der Klassikerbildung) beteiligt? Die Untersuchung will einen Beitrag leisten zu der Frage, was Klassiker sind und welche Rolle die sprachliche Arbeit des Übersetzers bei der Stabilisierung und Veränderung von Klassikerbildern spielt.

11:30 AM - Thomas Manns Zauberberg und die "Sprache" des Balletts Weiher, Frank (Thomas-Mann-Gesellschaft, Düsseldorf, Germany)

Bühnenadaptionen der Werke Thomas Mann erfreuen sich auf deutschsprachigen Bühnen aktuell großer Beliebtheit. So existieren derzeit von allen größeren Romanen Manns Bühnenfassungen, die regelmäßig auf den Spielplänen zu finden sind. Diese Dramatisierungen für die Sprechtheaterbühne sind nicht weiter erstaunlich, da sie sich vor allem auf die Dialoge der Romane fokussieren und ihre dramatischen Elemente, zumal ihre Handlung auf die Bühne bringen. Beim Wechsel vom Roman zur Sprechbühne, bleibt das Sprachkunstwerk seinem Medium verhaftet, weil es sich, bei allen fundamentalen Unterschieden zwischen Epik und Dramatik, weiterhin in Sprache artikuliert. Anders verhält es sich, wenn ein Roman wie Der Zauberberg den Schritt auf die Ballettbühne wagt. Die vertanzte Fassung eines bedeutenden Romans der Klassischen Moderne stellt einen fundamentalen Medienwechsel dar, weil das Medium, aus welchem der Roman seinem Wesen nach besteht, die Sprache, hier verstummt und eine andere Form des Ausdrucks, eine völlig andere ‚Sprache‘ gewählt und gefunden werden muss. Der Choreograph Xin Peng Wang hat für seine Ballettfassung des Zauberbergs, die am 08. November 2014 im Opernhaus Dortmund uraufgeführt wurde und die erste

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

Ballettadaption von Manns Roman weltweit darstellt, eine ‚Sprache‘ gefunden, die nicht nur den Blick auf die Handlung richtet, sondern den verschiedenen Motivstrengen, den allegorischen Strukturen sowie den Sinnhorizonten des Zauberbergs gerecht wird. Darüber hinaus gelingt es sogar, durch den dezenten und gezielten Einsatz verschiedener Medien (Röntgenaufnahmen durchleuchteter Torsi, Filmsequenzen aus dem Ersten Weltkrieg, das Einspielen einer Schellackplatte) die Aspekte des historisch-technokratischen Medienwechsels, die Manns Roman auf hermeneutischer Ebene erzählt, bühnentauglich umzusetzen. Nicht zuletzt hierdurch ist Wangs Ballett mehr als eine dramatisierte Fassung des Romans, und einer Adaption für die Sprechbühne, trotz oder sogar wegen seines Medienwechsels in die ‚Sprachlosigkeit‘, in mancherlei Hinsicht überlegen. In meinem Vortrag möchte ich den vielfältigen Sprachwechseln, die die Ballettfassung des Zauberbergs vornimmt, nachgehen.

12:00 PM - Literarische Klassiker im Ballett Kreuter, Andrea Sibylle (Institut für Europäische und Vergleichende Sprach- und Literaturwissenschaft, Austria)

Ein großer Teil des Ballettrepertoires basiert auf literarischen Klassikern unter anderem Don Quixote, Faust, Le Corsaire, oder auch Dornröschen. Diese Tradition hat sich ungebrochen fortgesetzt und wurde durch Romeo und Julia, Onegin, Proust ou les intermittences du coeur, und in unmittelbarer Vergangenheit Anna Karenina, Tristan und Isolde oder Woolf's Works ergänzt. Die Fallstudie soll einerseits Entwicklungen innerhalb der Umsetzung von Klassikern in Ballettproduktionen ermitteln, wobei klarerweise zwischen der reinen Nacherzählung und der weiterführenden Interpretation eines Werkes unterschieden werden muss, welche die Lektüre bereits voraussetzt. Andererseits gilt es sich mit der Frage auseinanderzusetzen, ob die Umsetzung eines Klassikers in eine Ballettproduktion innerhalb der Literaturvermittlung ein breiteres Publikum anspricht oder wiederum lediglich ausgewählten Rezipienten mit Vorbildung die Aneignung erlaubt. An dieser Stelle gilt es vornehmlich die tänzerischen Entwicklungen des letzten Jahrhunderts und den Einbezug weiterer Medien im Sinne der Möglichkeit einer breiteren Rezeption zu evaluieren und die generelle Begrenztheit einer Inszenierung bezogen auf Raum und Zeit zu berücksichtigen.

17310 - Die Arena der Stimmen: Intermedialität, Intertextualität und Sprachenvielfalt in Literatur und Film Lateinamerikas Date: Friday, July 22nd Room: Sensengasse HS 1 Chair: Sartingen, Kathrin; Reitböck, Petra; Bauer, Verena-Cathrin

11:00 AM - Dekonstruktion der Peripherie: Stereotypen und Rassismus in den Filmen von Lucrecia Martel Nina, Fernando (Universität Heidelberg, Heidelberg, Germany)

Die argentinische Regisseurin Lucrecia Martel (*1966-) gilt als bedeutende Instanz des zeitgenösischen Neuen Argentinischen Films (Nuevo Cine Argentino). In ihrem Filmen “La ciénaga” (2001), “La niña santa” (2004) und “La mujer rubia” (2008), analysiert sie Individuen und soziale Beziehungen der provinziellen bürgerlichen Schicht Argentiniens dessen Werte sich in „Krise” befinden. Eine nicht minder unwichtige Facette ihrer Filme ist die Thematisierung eines strukturellen Rasssismus innerhalb der argentinischen Gesellschaft, der feinsinnig durch Szenen die scheinbar sekundär wirken repräsentiert ist, in Wirklichkeit aber substantiell zeigen wie Stereotype, Ängste und das Imaginäre innerhalb der Beziehungen zwischen dem Ich dem Anderen konstruiert sind. Anhand 372

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 einer Analyse über die Kategorien des Stereotyps und der Mimesis die durch Homi K. Bhabha ausgearbeitet wurden und des Spiegelstadiums von Jacques Lacan werden einige Szenen der Filme veranschaulicht um zu zeigen, dass Martel einen dekonstruktiven Blick auf Stereotype ermöglicht indem sie eine filmische Ästhetik generiert, die sich einer sensoriellen Synästhesie des olfaktorisch- visuell-tastbaren bedient.

11:30 AM - Die Vielfalt der Stimmen. Intertextualität und Intermedialität in den Erzählungen von Rubem Fonseca und im Film 'O Cobrador: In God we trust' von Paul Leduc Rainsborough, Marita (Universität Hamburg, Hamburg, Germany)

Die Vielfalt der Stimmen der fünf Erzählungen von Rubem Fonseca - O Cobrador, Passeio I und II, Placebo und Cidade de Deus - werden im Film O Cobrador: In God we trust(2006) von Leduc im filmischen Medium in einen erzählerischen Kontext gebracht, dem eine gesamtgesellschaftliche Analyse Brasiliens im weltweiten Kontext und eine Interpretation einer gesellschaftspolitischen Sicht Fonsecas auf sein Land zugrunde liegt. Das mosaikhafte Erzählen von Fonseca, das in der Konstellation der Erzählungen in der Rezeption einen literarischen Kosmos schafft, u.a. durch intertextuelle Bezüge auf eigene Texte, wird im Prozess der medialen Umsetzung zwar erzählerisch verbunden, doch filmische Mittel wie Schnitt, fotografisch/filmische Duplizierungen der bildlichen Ebenen, Anklänge an den Fotoroman und zeitlich/räumliche Deslokalisierungen als Verfremdungen im Filmischen lassen neue Brüche entstehen. Die Intermedialität des Films von Leduc ist mehr als die grundsätzliche Form der Intermedialität des Mediums Film als solcher, mehr als intermedialer Bezug z.B. zwischen der Bildlichkeit von Fotografie und Film und mehr als ein Medienwechsel von der Literatur zum Film, der Film schafft eine neue künstlerische Form des Umgangs mit der Vielfalt der Stimmen, die auch in einer Vielfalt des Intermedialen selbst besteht - in einer distopia atual.

12:00 PM - Narrative Netze, mediale Metafiktionen. Zu zwei filmischen Adaptationen von Clarice Lispectors "A hora da estrela" Bauer, Verena-Cathrin (Universität Wien, Wien, Austria)

Clarice Lispectors „A hora da estrela“ (Die Sternstunde; 1977) – der letzte zu Lebzeiten der Autorin erschienene Roman – zeichnet sich durch eine komplexe Struktur aus, die bereits im Mittelpunkt zahlreicher literaturwissenschaftlicher Analysen steht. Lispector spinnt ein Netz aus narrativen Instanzen, an deren Spitze die Autorin selbst steht. Den nächsten Punkt in der Hierarchie der Stimmen nimmt die Figur Rodrigo S. M. ein, Erzähler und Beobachter der Lebensgeschichte der datilógrafa Macabéa, mit der ihn ein unausweichliches Schicksal verbindet – auch, wenn die Existenzen der beiden auf unterschiedlichen diegetischen Metaebenen angesiedelt sind.

Im Fokus dieses Vortrages stehen zwei filmische Adaptionen des Werks, Suzana Amarals „A hora da estrela“ (1985) und eine von Guel Arras, Regina Casé und Jorge Furtado für den Fernsehkanal Rede Globo adaptierte Version aus dem Jahr 2003. Ausgehend von Linda Hutcheons Definition eines intertextuell und intermedial schöpferischen Prozesses der Adaption – […] an adaptation is a derivation that is not derivative – a work that is second without being secondary (Hutcheon 2006: 9) – sollen die Verschiebungen nachgezeichnet werden, die die palimpsestische Um- und Übersetzung in ein audiovisuelles Medium nach sich zieht. Dies zielt zum einen auf die filmische Interpretation der verzweigten narrativen Instanzen ab; zum anderen auf die Darstellung der Innenwelt einer Protagonistin, die durch Schweigen und das Ringen um Sprache charakterisiert wird.

„A hora da estrela“ verbindet die intimistischen, sprachkritischen Grundzüge der Literatur Lispectors mit einem sozialkritischen Ansatz, was durch die filmische Vision Amarals besonders hervorgehoben wird. Die TV-Adaptation fragmentiert indessen den Text und nähert sich dessen Selbstreferenzialität

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 an, indem der Plot rund um Macabéa konstant durch ein „Making of“ der Sendung unterbrochen und deren Fiktionalität so unterstrichen wird.

Hutcheon, Linda (2006): A Theory of Adaptation. New York: Routledge.

2:00 PM - Indigenous Testimony in Early 20th Century Argentina and Chile Foote, Susan (Universidad de Concepción, Concepción, Chile)

It has been said that "The subaltern can speak but we don't listen". Nevertheless, "subalternity" is not one large abstract category but a "third space" taking many shapes and forms, always in a state of change, of emergency which is the exception not the rule, and in which something new emerges (Bhabha, Benjamin). We analyze several early 20th century Indigenous testimonies in Argentina and Chile in the Lehmann-Nitsche Archive (1899-1926) only recently translated from Mapudungun into Spanish and published in its entirety in 2013 and in the book length bilingual testimony of Pascual Coña (1930), which, before my doctoral thesis and book, Pascual Coña, Historias de Sobrevivientes (2012), had never been extensively analyzed. The fact that theses testimonies existed but were largely ignored, speaks to the idea that subalterns can and did speak but their voices were --and continue to be-- ignored. Those who spoke for Lehmann-Nitsche in the Museo de la Plata in Argentina and for Fr. Ernesto Wilhelm de Moesbach in the Mission School in Budi, Chile presented narrations that were always already intervened by colonial power relationships which somehow made them seem "inauthentic", falsified, suspect. Nevertheless, we hypothesize that the interference, mediation, and editing by redactors, editors and publishers was not enough to obscure their message or their "authenticity" which was that of living in a fractured society in a specific historical moment. The thread running through Katrülaf's testimony is his loyalty to Mapuche cosmography and a belief in the possibility of continuance in the face of what he believed to be a temporary defeat. His testimony provides a blueprint to this end. Coña's testimony reveals a more ambivalent narrator who oscillates between a desire for assimilation and loyalty to his culture. A third narrator, Nahuelpi, prides himself on his ability to write down his own experience.

2:30 PM - Indigene Stimmen Lateinamerikas - Dialog der Kulturen in polyphonen Texten von Augusto Roa Bastos und Lucía Puenzo Reitböck, Petra (Universität Wien, Institut für Romanistik, Wien, Austria)

Ausgangspunkt für diesen Vortrag bildet Spivaks Frage “Can the subaltern speak?”, die wir auf die postkolonialen, mehrsprachigen Gesellschaften Lateinamerikas transponieren, um zu untersuchen, welche sozialen und ethnischen Bevölkerungsgruppen (Gender-Class-Race) in diesem Kontext eine Stimme haben, wie diese Stimmen in der Literatur sprachlich und stilistisch ausgestaltet sind und inwiefern damit agency (i.S.v. Handlungsmacht) verbunden ist. Exemplarisch sollen die Präsenz und die Rolle der indigenen Sprache Guaraní in polyphonen Texten des bekanntesten Autors Paraguays Augusto Roa Bastos („Yo, el supremo“ 1974, „El trueno entre las hojas“ 1953) und der jüngeren Argentinierin Lucía Puenzo (Roman „El niño pez“ 2004 und seine Verfilmung von 2009) untersucht werden.

Inwiefern konstruieren die Beispieltexte Räume, in denen die eigene Identität in Konfrontation mit „dem Anderen“ neu verhandelt wird und schaffen sie neue Äußerungsräume für die Marginalisierten? Welchen Beitrag können Literatur und Kino leisten, damit ihre Stimmen gehört werden?

Die ehemals unterdrückte Sprache der Kolonisierten, Guaraní, wird in Paraguay von über 80% der Bevölkerung gesprochen, und ist seit 1992 sogar zweite Amtssprache – eine einzigartige Situation in Lateinamerika. Das kulturelle Erbe der Guaraní zeigt sich nicht nur in ihrer poetischen, metaphorischen Sprache, sondern auch in archaischen Intertexten, wie deren Mythologie. Welche 374

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Funktionen erfüllt der Codewechsel auf eine mythische Erzählweise oder die Liedform für die Konstruktion eines polyphonen Textes? In welchen Äußerungskontexten kommt Code-switching zwischen Spanisch und Guaraní zum Einsatz?

Die polyphone Erzählstrategie kann als Abbild einer heterogenen Gesellschaft gesehen werden und ist darüber hinaus geeignet, subversiv deren Machtkonstellationen infrage zu stellen. In unseren Texten begegnen wir einem Diktator (Yo, el supremo“) inmitten eines Stimmenwirrwarrs und einem Hund („El niño pez“) als Erzähler, der aus der Perspektive von „unten“ das scheinheilige Bild der gutbürgerlichen Familie demontiert und das ambivalente Verhältnis der Argentinier zu den Hausangestellten kommentiert, die häufig aus der indigenen Landbevölkerung Paraguays stammen. Setzen sich hier postkoloniale Machtverhältnisse fort oder ist ein Aufbruch der alten Strukturen in Richtung respektvolles Miteinander möglich? Anhand der Gegenüberstellung der älteren und neueren Werke sollen mögliche Unterschiede und Veränderungen diskutiert werden.

3:00 PM - Von Acopiya über Oberhausen: die vielsprachige Stimme von Gregorio Condori Mamani Fernández, Hans (Karl-Franzens-Universität Graz, graz, Austria)

Gregorio Condori Mamani —einsprachig in Quechua, Migrant, andiner Erzähler und Lastenträger— bewegte sich von seiner Ursprungsgemeinde Acopiya nach Cusco, wo er als Lastenträger arbeitete. In dieser Stadt lernte er den Regisseur Luis Figueroa Yábar kennen und wurde Protagonist seines 1974 in Oberhausen preisgekrönten Quechua/Spanisch- Dokumentarfilms El Cargador [ Der Lastenträger ]. Der Film diente seinerseits als Grundlage für die Ausarbeitung des bekanntesten Testimonios der Quechua-Kultur Gregorio Condori Mamani. Autobiografía (1977). Diese Autobiografie wurde basierend auf in Quechua-Sprache durchgeführten Gesprächen zwischen Gregorio und seiner Frau Asunta mit den Anthropologen Ricardo Valderrama Fernández und Carmen Escalante Gutiérrez erstellt, welche sich um die Herausgabe und Übersetzung ins Spanische kümmerten. Das daraus entstandene zweisprachige Testimonio wurde in verschieden Sprachen (u.a. Englisch, Deutsch, Norwegisch und Japanisch) übersetzt, was ermöglichte, dass die Stimme von Gregorio andere Kulturkreise erreichte. Eine Aufzeichnung seiner Stimme in Quechua befindet sich heute im Pariser Centre Pompidou. Die Stimme Gregorio Condori Mamanis —welche sich zwischen Medien (von der Mündlichkeit zur Schriftlichkeit und vom Film zum Buch) und verschiedenen Sprachen bewegte— hat nicht nur die Spezifika der Quechua-Literatur —durch Mythen und deren eigenen intertextuellen Verfahren— einem Publikum verschiedenster Kulturkreise bekannt gemacht, sondern ebenso — mittels seiner biografischen Erzählung— die Subalternität der autochthonen Bewohner des Andenraums in postkolonialer Lage aufgezeigt. Der letzte Aspekt trug zudem zur Verbesserung der Arbeitsbedingungen anderer Lastenträger Cuscos mit dem Aufbau der Casa del cargador bei. Der vorliegende Beitrag beabsichtigt die Reflexion folgender Aspekte: erstens, die Produktivität der Bewegung im Leben Gregorios und zweitens, die Aktualisierungsstrategien beziehungsweise - möglichkeiten seiner Stimme: dank verschiedener medialer Instanzen —der Film, die Herausgabe und die Übertragungen seines Testimonios— lebt die Stimme Gregorios weiter, aktualisiert sich und trägt bis heute zur Anerkennung und Internationalisierung der andinen Kultur bei.

4:00 PM - »Alles Vergangene verdient es, verschlungen zu werden« Zur Anthropophagie der Übersetzung Strasser, Melanie (Universität Wien, Wien, Austria)

Der im brasilianischen Modernismus der 1920er Jahre proklamierte kulturelle Kannibalismus wird – 100 Jahre nach der Unabhängigkeit – als Akt der Einverleibung europäischer Kulturgüter und der damit einhergehenden Transformation derselben in ein genuin brasilianisches Produkt als Möglichkeit des Widerstands gegen die nach wie vor wirksame postkoloniale Vorherrschaft Europas in Kunst, Kultur und Literatur sowie der Herausbildung einer eigenen sprachlich-kulturellen Identität 375

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 zelebriert. Dieser kulturelle Kannibalismus manifestiert sich dabei besonders auf der Ebene der Übersetzungen des europäischen Kanons. In ihnen spiegelt sich das Ringen um einen eigenen sprachlichen Ausdruck in der Sprache des Kolonisators, aber auch die triumphale Aneignung des Anderen: »Tupi or not tupi, that is the question« lautet etwa die Formel, mittels derer Oswald de Andrade den europäischen Weltschmerz par excellence spöttisch in den brasilianischen Dschungel überträgt. Die Verschlingung des Anderen statt seiner bloßen Imitation wird zur epistemologischen Metapher für die Übersetzung von Kulturen, für die Erfahrung von Alterität und zugleich Bedingung der Möglichkeit der Konstruktion der sogenannten »brasilidade«. Als radikal transgressiver Akt zielt das anthropophage Übersetzen darauf ab, sich von jeglicher serviler Unterwürfigkeit unter das Original zu emanzipieren. Doch stellt dieser triumphale, vatermörderische Gestus nicht eine bloße Inversion der hierarchischen Machtkonstellation dar, also einen Akt der Destruktion und gewaltsamen Aneignung des Anderen statt eines Aktes der Dekonstruktion, in deren Tradition sich vor allem Haroldo de Campos sieht? Welche Implikationen ergeben sich aus der anthropophagen Metapher in Bezug auf das Verhältnis von Original und Übersetzung, Identität und Differenz? Steht sie aufgrund der ihr inhärenten Gewalt nicht auch stets im Zeichen des Verlusts – des Eigenen wie auch des Fremden –, des Scheiterns an der Aufgabe des Übersetzers, letztlich der Sprachlosigkeit?

4:30 PM - Theorie als Übersetzung: das theoretisch-kritische Werk von Haroldo de Campos als Entwicklung vom transkreativen Denken KAMPFF LAGES, SUSANA (UNIVERSIDADE FEDERAL FLUMINENSE, Niterói, Brazil)

Ziel des Beitrags ist es, ausgehend von der Transkreationstheorie des brasilianischen Dichters, Kritikers Haroldo de Campos bestimmte Aspekte seiner theoretischen Vorstellungen von Literatur zu diskutieren d.h. zu untersuchen, inwiefern bestimmte interne Bewegungen seiner Theorie der literarischen Übersetzung – sprich Übersetzung als Transkreation - Auskunft geben könnten über Aspekte seines theoretischen Werkes. Dazu wird als paradigmatisches Fallbeispiel Campos´ Beziehung zum Werk Walter Benjamins gewählt und gefragt, inwieweit Benjamins Gedankengänge von Campos übernommen bzw. inwiefern wichtige Aspekte seiner Vorstellungen abgelehnt oder einfach übersehen werden. Mit diesen Fragen wird versucht, den theoretischen Weg von Haroldo de Campos zu beleuchten, wobei die Hypothese aufgestellt wird, dass dieser Weg einer Entwicklung vom modernen zum postmodernen Denken über Literatur und andere ästhetische Gegenstände folgt. Dabei werden linguistisch-ästhetische Fragen zu ethisch-politischen Strategien radikalisiert, wobei das ästhetische Moment ein unumgängliches Gravitationszentrum darstellt.

17311 - Brazil-language: toward a multipolar globalization in the field of culture Date: Monday, July 25th // Tuesday, July 26th // Wednesday, July 27th // Wednesday, July 27th Room: Hs 42 Chair: Lima, Rachel; Martins, Anderson

4:00 PM - MÁRIO DE ANDRADE: LŽART DE DÉPLACER/ÍNSÉRER DE SOUZA, ENEIDA MARIA (UNIVERSITY OF MINAS GERAIS, BELO HORIZONTE, Brazil)

RESUMÉ

MÁRIO DE ANDRADE: L´ART DE DÉPLACER/INSÉRER

ENEIDA MARIA DE SOUZA (UFMG)

Déplacer et insérer sont des procédés propres à la critique comparée au Brésil, compte tenu de la position sur la lecture des emprunts étrangers et à la construction d´une culture moderne et locale. 376

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Dans la constitution du concept de moderne au cours des anées 1920 au Brésil, Mário de Andrade (1893-1945) souténait déjà la nécessité de penser à la rupture avec les modèles européens, en introduisant une autre modalité quant à la perception des manifestations artistiques propres à la culture populaire et à ses multiples dédoublements. Les théoriques voués à la critique comparée et culturale signalent aujoud´hui la production de distincts notions de modernité, comme des modernités tardives ou alternatives, des modernités vernaculaires, celles-ci atribuées au sociologue jamaïcain Stuart Hall, liées aux cultures locales et populaires. Bien que ces concepts soient-ils contemporaines, on peut affirmer que l´écrivant Mário de Andrade a tenu une lecture de la notion de modernité en tant qu´expression du dialogue entre le national et l´étranger, en respectant les différences locales et singulières. Le regard péripherique – comme stratégie de résistance et d ´intervention – marque la différence et permet la récupération des secteurs oubliés de la culture.

4:20 PM - LITERATURE BEYOND BORDERS Cardoso, Marília (Pontifícia Universidade Católica do Rio de Janeiro, Rio de Janeiro, Brazil)

Nowadays, even with extremely developed technology providing global communication, one cannot say it is possible to get to know literature from peripheral regions effectively and enjoy it. This statement points to the fact that Occidental values are considered universal. Books as well as habits tend to be judged by hegemonic concepts and taste. Different cultures are based on distinct epistemological notions but analysts and translators of peripheral texts very seldom pay attention to this evidence. The Latin-Americanist Walter Mignolo discusses the need to counterpoint Occidental epistemology to African, Asian and Amerindian ways of establishing their own gnosiology. With a similar intention, Brazilian writers, participating in the vanguard movements in early XXth century, experimented on new ways of turning our literature and art into exportable products. Oswald de Andrade proposed the theory of anthropophagy, according to which artists should adopt ritual cannibalism: they could improve their artistic work by selecting and assimilating the best aesthetical solutions from another culture. In the sixties and seventies, the popular songwriters of Tropicalia successfully incorporated Oswald`s theory and, at present, the clever anthropologist Viveiros de Castro discovered the perspectivist gnosiology of Amazonian tribes, considering it much more widely democratic than Occidental epistemology. Trying to spread in cosmopolitan circuits the knowledge from these Amerindian myths and songs, Castro intends to enlarge the horizon of peripheral thinking and literature.

4:40 PM - CONVERSATION ACROSS BORDERS Avila, Myriam (Universidade Federal de Minas Gerais, Belo Horizonte, Brazil)

This paper draws on a research focused on Brazilian literary life in the first half of the 20th century. Taking up the idea that Brazilian culture and Brazilian literature must be approached as a language in itself, it aims to contribute to throw light upon the crucial decades in which Europe’s influence as trendsetter begins to fade. A survey of letters sent from abroad by Brazilian writers to their colleagues in that period will show how displacement influenced their views on literature and life and the depth of their dependence on keeping up dialogue with home-staying literary friends. Most of Brazilian authors living in foreign countries in the 40s and 50s of last century displayed in their letters the need to remain in touch with their national literature, whereas searching to establish contact with writers from the countries they were residing in was seldom a priority.

5:00 PM - Reconfiguring the past: transits of language and space Bittencourt, Rita Lenira (Universidade Federal do Rio Grande do Sul - UFRGS, Porto Alegre, Austria)

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The short literary narrativeMeu tioRoseno, a cavalo (My uncle Roseno, on horseback), by Wilson Bueno (São Paulo: 34,2000), is also a travel report, in multiple senses: it goes from the past to the future – especially fromGrande Sertão: Veredas- to contemporary writings; from central Brazil to its borders with Paraguai; it tells of the lonely character, a narrator in search of a destiny which, in this case, will be tragic, of lost hopes and small feelings activated in the space of “écriture”, also named “fable” or “legend”. Between the epic and the mythic, the Portuguese, the Guarani and the Spanish, Bueno reconfigures a Brazil-language unknown even to Brazilians, which, nevertheless, has always been here, since it is made by residual memories: stories by Brazilian Indians, histories of the Great War – against Paraguai (1864-1870) – and impregnated with the diction from Guimarães Rosa, master of modernist novel.

Date: Tuesday, July 26th

9:00 AM - Retrospectives on the edge: a comparative reading of M. Gorki's The mother and Bernardo Carvalho's O filho da mãe (The mother's son) Lima, Rachel (Universidade Federal da Bahia, Salvador (BA), Brazil)

The paper aims to analyse the representation of the mother figure in the best-known work by the Russian author Maksim Górki (The mother) as well as in the novel that the Brazilian author Bernardo Carvalho published in 2009 for the series “Amores Expressos” (“Express Passions”) set in Saint Petersburg (The mother’s son). In this analysis, one must take into consideration the context of production of both texts, seeking to understand the literary, political and cultural implications which answer for the difference in representation of the family plot within the Russian society first in the run-up to the 1917 Revolution (Górki) and then during the Chechen War, the backdrop for Carvalho’s novel. In parallel, through the latter novel, which is predicated on the theme of motherhood, we attempt to think over the paradoxical feeling of orphanhood that permeates the narrative built by the Brazilian author as a metaphor for understanding not only the condition of the post-utopian world we inhabit, but also that of the writer who wishes, in the present, to make something “original” in the face of the established literary tradition while also assuming foreignness not so much as a deficit but rather as a potentiality that seeks knowledge of the “other”.

9:20 AM - The world is a stage: contemporary Brazilian literature, literary prizes and mass culture Martins, Anderson (Universidade Federal de São João del-Rei, Santos Dumont, Brazil)

This paper originates in a research project rendered possible through the donation, to the Graduate Program in Literary Theory and Cultural Criticism of Universidade Federal de São João del-Rei, Brazil, of the complete collection of books included in the 8th Passo Fundo Zaffari & Bourbon Literay Prize. The awarding of the prize was part of the Passo Fundo Literary Circuit in 2013. Our focus is a field still barely explored within Brazilian literary studies, namely, the mapping of national literary events and prizes as well as their impact on the production and reception of literary objects in the country. The research project is being implemented at the Graduate Program named above and the approach being employed comes close to the notion of “distant reading” put forward by Franco Moretti in his recent production on Comparative and World Literatures that seeks to identify trends in literature by means of the analysis of macroelements, such as theme, genre, data displayed on the book cover, prefaces, introductions, authors demographics, etc. Moreover, this paper intends to place and/or locate the object of our research within the scope of present-day literary studies informed by the cultural and sociological investigation of globalization, which is expected to contribute to a reflection,

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 equally incipient in Brazil, on the situation of Brazilian literature against the backdrop of the contemporary transnational process of globalization.

9:40 AM - TRAVELLERS IN TRANSIT: OTHERNESS AND IDENTITY IN THE NOVELS O SOL SE PÕE EM SÃO PAULO E RAKUSHISHA Gomes, Gínia (Gínia Maria de Oliveira Gomes, Porto Alegre, Brazil)

This presentation aims to analyze the urban experience lived by the narrator of O sol se põe em São Paulo, by Bernardo Carvalho, and by the character Haruki, from Rakushisha, by Adriana Lisboa, in their respective travels to Japan. As Japanese descendants, they return to the origins from where their ancestors departed. It is intended to show the urban paths performed by these characters, which are demarcated by the conflict with the otherness. Besides pointing out each one's shrewd look, always watchful towards differences, it is proposed to emphasize some of the moments where the recognition of some urban or cultural traits, inside the ones in which they were based , are highlighted.

10:00 AM - The cartography of Belle Epoque urban Rio de Janeiro in João do RioŽs crônicas Hanna, Vera (Universidade Presbiteriana Mackenzie, São Paulo, Brazil)

The present study looks into crônicas published by the reporter João do Rio (João Paulo Alberto Coelho Barreto’s nickname; 1881 – 1921) in Brazilian newspapers to capture the genesis of the national identity in the analysis of his panoramic literature (Walter Benjamin). The journalist, as a modern ethnographer, explores the capital of Brazil at the time and exhibits the urban cartography attempting to define the meaning of ‘being Brazilian’ at the historical moment of Rio de Janeiro City re-Europeanization. João do Rio depicted Brazil in social-cultural references divulging the elite involved in the fantasy of Civilization in the very moment of its Londonization. Matters of imitation and authenticity, (inter)dependence and the mutual construction of subjectivities, mimicry and ambivalence (Homi Bhabha), commodity fetishism (Jeffrey Needell), cosmopolitanism, the binary of center-periphery (Arjun Appadurai; Homi Bhabha) as well as cultural identity and (un)patriotism seem to be favorite themes in his reporting of Carioca everyday life. The research argues that João do Rio´s literature is characterized by a dialectic of similarity and difference, of individuality and universality. He is the flâneur, the dandy, type of a photographer or cinematographist who divides the capital into countless others – the city of the ‘grand monde’ and the ‘bas-fond’, of the ‘charmers’ and ‘scoundrels’, of the sacred and the profane. In amazing multiplicity of subjects and richness of information his texts provide a vast perspective of the urban crowd and of the architecture of the metropolitan area - a reportorial style, a written as well as a pictorial record, literary and imaginative.

11:00 AM - From "formation" to "insertion": reframing Brazilian literature across the globe Melo, Alfredo (Unicamp, São Paulo, Brazil)

Shaped by the anthropophagic paradigm (also known as the "formation paradigm"), Brazilian intellectuals have frequently conceived Brazilian Culture as a transforming force of the European cultural models. According to this paradigm, Brazil is a very creative importer of foreign forms. Those intellectuals have hardly theorized about the insertion of Brazilian culture in other countries, especially those from the South. In this paper I attempt to draw the consequences from the fact that the presence of Brazilian culture played a crucial role in structuring the literatures and social though of Portuguese-Speaking African countries. My main goal is to understand Brazilian literature within a inter-identitarian framework (Brazil as a country that both transforms foreign 379

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 models and provides models for other countries), which certainly complicates the cultural geography Brazilian literary scholars are used to. Inspired by the concepts coined by Silviano Santiago, the paper tries to trace the paradigmatic transition from "formation" to "insertion".

11:20 AM - What language do/will Brazilian Comparative Literatura speak? Ravetti, Graciela (Universidade Federal de Minas Gerais, Belo Horizonte, Brazil)

The use of Brazilian Portuguese, or Spanish, or English, or French ou indigenous languages references evinces a deep divergence in the thinking and writing of the researcher: our aim is to discuss what's involving in this choice. Using this considerations we examine aspects concerning some philosophical approaches to Literature Comparative in Brazil e Latin America in some fictional narratives.

17312 - Languages of Dwelling, Solidarity and Community: A Comparative Semiotics of Urban and Archit Date: Saturday, July 23rd Room: Übungsraum Germanistik 5 Chair: Reisenleitner, Markus

11:00 AM - Translating "Minimal Living:" Housing in Soviet Industrial City Barykina, Natallia (University of Toronto, Toronto, Austria)

Groups of German and other foreign architects found themselves briefly employed by the Soviet state in the early 1930s. Architects, planners and various skilled labourers were inconsistently and ambivalently drawn upon by the Soviet state. Focusing on theories of mobility, this presentation outlines the transfer of "Western" planning ideas and designs into actual built spaces, focusing on the gap between plans and expectations and the makeshift and provisional types of housing in the Soviet industrial city of the early 1930s.

11:20 AM - Walter Benjamin's geography of Berlin Mergler, Agata (York University, Canada, Toronto, Canada)

Walter Benjamin is the precursor of looking at the urban spaces using a geocritical lense (ed. R. Tally Jr, Geographical Explorations, 17, Spatiality, 9). I am interested to inquire how his description of his own dwelling in Berlin exposed the spatiotemporality, social structure and feeling of community he had in Berlin between 1892 and 1933. As a point of departure I will use the cooperative digital humanities project on Walter Benjamin’s oeuvre called “Life and Afterlife: Walter Benjamin and His Work” (Holzhueter T. & A. Mergler; bookspectre.wordpress.com) which scrutinizes geographical, historical (biographical), and linguistic layers of his life, his work and the afterlife of his works in various translations. The effects of the mapping tools (sections: “timemap”, “Benjamin’s cities”), and the effects of other DH tools applied to Benjamin’s dramatic life story (sections: “biography” and “works”) give a unique opportunity to read his works and understand his biography within the spatiotemporal and social context of urban spaces by applying the geocritical paradigm. Such reading uncovers the role Berlin of Benjamin's early years, modern, cosmopolitan, seemingly inclusive, not yet anticipating the surge of fascism, had on Benjamin’s geographical imagination. I want to juxtapose this imaginary of Berlin with Berlin of Benjamin as the Jew, the Other, “homeless” and finally a refugee that transpires in his texts. His life started in the most “genteel” part of Berlin in the old West and wealthy part, in Charlottenburg, and then after European travels which he understood in the earlier years as “an international cultural action” (Gesammelte Schriften, VI, 232), his life

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 finishes as a life of a refugee “in a little village where nobody knows him” - Portbou (Gesammelte Schriften, V, 1202).

11:40 AM - Marketing Utopia: Elbert Hubbard and the Roycroft Community Redding, Arthur (York University, Toronto, Canada)

Of William Morris, E.P. Thompson writes that his "greatness . . .is to be found in his discovery that there existed within the corrupt society of the present the forces that could revolutionize the future." If so, what of his American disciples? This talk critically interrogates the Roycroft fraternal community of artisans, founded 1895, in the fertile utopian soil of western New York. Hubbard's contradictory combination of homespun folk wisdom, anarcho-pacifism, self-help individualism, "great men" view of social organization, and corporatist apologetics constituted a distinctly modern and American way of "marketing" social Utopia.

12:00 PM - Marketing Miu Miu: A Geocritical Assessment of Fashion Advertising Siemens, Elena (University of Alberta, Canada)

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17313 - Leftism and Love: The Languages of Anna Lacis's Latvian Legacy Date: Saturday, July 23rd Room: Übungsraum Germanistik 5 Chair: Ingram, Susan

2:00 PM - "Lacis in Lettland, Lacis auf deutsch" Ingram, Susan (York University, Toronto, Canada)

…

Dwelling on Planet Ottakring: The Geocritical Reimagining of Vienna's Vorstadt Ingram, Ingram (York University, Toronto, Canada)

Vienna is currently experiencing a period of rapid growth, which is predicted to bring up to a to a quarter of a million new inhabitants to the city in the next twenty years. Finding housing for the new arrivals, as well as the refugees who continue to make for hair-raising headlines, is one of the city’s, not to mention the country’s, greatest challenges. Taking a geocritical approach that digs into the urban history of Vienna’s working-class districts, in this paper I explore director Michael Riebl’s imaginings of solidarity and community in the gentrifying district of Ottakring.

2:20 PM - Asja Lacis - das lyrische Subjekt und Objekt des lettischen Schriftstellers Linards Laicens Kalnina, Ieva (University of Latvia, Department of Latvian and Baltic Studies, Riga, Latvia)

Linards Laicens (1883-1937) ist einer der bedeutendsten lettischen Lyriker. Asja (Anna) Lacis hat ihn inspiriert, die Sammlung der Liebeslyrik „Ho –Taī” zu schaffen. Zusammen mit Asja verfasste Laicens „die konstruktiven Spiele“, die anschließend einstudiert wurden. Er schrieb sie für die Laienkünstler, er gestaltete bewusst Spiele ohne Dekorationen für die Veranstaltungen der Gewerkschaften, in denen die Schauspieler keine Erlebnisse zeigen sollten, sondern spielen mussten. Die Helden waren ideologische Schemen, die stilisiert sprachen. In seinen Schauspielen merkt man den Einfluss von B. Brecht. Sein ganzes Leben lang - von der ersten Publikation 1904 an bis zu seinem Tod durch Erschießen 1937 in der Sowjetunion - war er auf der Suche und erlebte viele Umbrüche, was mit der Entwicklung seiner politischen Auffassungen verbunden war. Die markanteste Periode in seinem

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Schaffen sind die 20er Jahre, als Asja seine Lyrik inspiriert. In seiner Lyrik verbindet er die Merkmale des linken Expressionismus mit der Ästhetik der russischen Gruppe „LEF” (Linke Künstlerfront), die sich auf die Prinzipien der futuristischen Ästhetik stützte: Agitation in freiem Vers (vers libre), Kampflosungen, Befehle, unterschiedliche Länge der Verse u. a. Die Lyrik ist expressiv, dynamisch, sie greift an, will das Massenbewusstsein beeinflussen und unterwerfen. In Anlehnung an die russische Gruppe und ihre Veröffentlichung leitet er in Lettland die Kulturzeitschrift „Kreisā fronte” („Linke Front“). Als Asja und Laicens Anfang der 20er Jahre in Haft waren, haben sie heimlich einander Briefe geschrieben, die sie hinter die Gefängnisrohre versteckten. Sie nannten einander Honolulu und Taiti. Daher auch der Titel des Gedichtbandes „Ho-Taī”. Die Liebeslyrik ist durch den freien Vers, Assoziativität, orientalisches Kolorit und durch die Verflechtung von Liebe und gesellschaftlicher Aktivität gekennzeichnet.

2:40 PM - Der Proletkult als ästhetische Position von Asja Lacis in den Anfängen der bürgerlichen Republik Lettland Paskevica, Beata (Vidzeme University of Applied Sciences, Valmiera, Latvia)

Die Etablierung der unabhängigen Republik Lettland in den frühen zwanziger Jahren des 20. Jahrhunderts war richtungsweisend für die Zusammensetzung einer liberal bürgerlich gesinnten Elite als vorherrschender intellektueller Schicht in allen Bereichen des gesellschaftlichen Lebens. Nach der Rückkehr aus Russland und Deutschland machte Asja Lacis den Versuch, eine alternative, vor allem im revolutionären Russland derzeit bevorzugte ästhetische Position ins Leben zu rufen und die radikalen avantgardistischen Kunstbestrebungen in der lettischen Hauptstadt zu erproben. Asja Lacis beteiligte sich an dem Versuch der Schaffung der proletarischen Elite im bürgerlichen Lettland nach dem Muster der Proletkultbewegung in Russland. Neben der radikalen ästhetischen Position, die Lacis in ihren Diskussionsbeiträgen im Klub der Linken Gewerkschaften erläutert, ist ihre Tätigkeit als Regisseurin und Ideologin des selbsttätigen Theaters auch eine Handlung im Sinne des Elitenkampfs gegen die sich zu der Zeit in ihrer führenden Rolle sich verfestigende liberal gesinnte Intellektuellen- und Bürgerschicht, die sich der Avantgarde verschliesst und die Entstehung einer städtisch proletarischen politisch gewichtigen Elite verhindert. Somit versteht sich die Republik Lettland in der Zeitperiode vor dem Zweiten Weltkrieg als Bauernstaat mit nur sporadisch ausgeprägter Stadtkultur.

Date: 5

3:00 PM - Anna (Asja) Lacis versus Julijs Lacis: a conversation in the language of irreconcilable otherness Kalnina, Ieva (Institute of Literature, Folklore and Arts University of Latvia, Riga, Latvia)

The researchers have focused mostly on the relationship of the stage director Anna (Asja) Lacis with B. Brecht, B. Reich, W. Benjamin and the Latvian poet L. Laicens. Julijs Lacis is therefore much less discussed along with his role in the life of Anna Lacis. But it was him who, when they both in their youth admired I. Turgenev’s „Asya”, gave Anna this name, and – later, after their marriage – also the surname. In order to characterise the complicated relationship of Anna and Julijs Lacis the term “otherness” seems to be the most appropriate, providing some understanding of the irreconcilable difference of the married couple. They differed in their political, moral, and artistic views. They never succeeded in overcoming the limits of their personal identity and become a joint „we”. This relationship sheds light on a different Anna Lacis, removing her from the pedestal, so to say, when viewed from the aspect of humanity. Julijs Lacis (1892–1941) met Anna Liepina at the age of 19 around the year 1911, while still being a student at a gymnasium. They got married in 1914. In 1919 their daughter Dagmara was born. In 1920 they divorced, as Juūlijs could not put up with Anna’s attitude towards her daughter – she showed no motherly feelings. That this was not just a presumption of Julijs, was proven by Dagmara (Dagmara Kimele) herself, who at the late years of her 382

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 life wrote a memoire book about her mother, entitled „Asja: The Eventful Life of the Stage Director Anna Lacis” (1997), creating a real revolution in the Latvian literature of childhood memories. Upon the divorce Julijs Lacis became a journalist (studied in Paris) and a writer. When the Soviet Union occupied Latvia on 17th June 1940, he became a minister of the soviet government. Lacis was among those representatives of the government who in August of 1940 arrived in Moscow with the formal request to include Latvia into the USSR. The former spouses never met again, as Anna Lacis was in a camp in Kazakhstan since 1938. On 8th January 1941 Julijs Lacis was arrested, he died on 15th December 1941 in a prison in Astrakhan.

4:00 PM - Asja Lacis and Walter Benjamin: Translating Different Cities Taurens, Janis (Art Academy of Latvia, Riga, Latvia)

‘Translating city’ is not a usual phrase, it presupposes the specific concept of language – ‘the language of city’ – which is an important theme in the theory of architecture. But it can be accepted as a working hypothesis to create a new tool of interpretation for the texts which tells us about different cities. The life of Asja Lacis and Walter Benjamin, their personal relations and experience of different cities and places expressed in different texts are excellent objects to verify such interpretation. It is even more important if we take into account Benjamin’s novel approach to architecture and city as it was developed in The Arcades Project, origins of which could be seen in Asja’s and Benjamin’s article on Naples published in Frankfurter Zeitung.

The experience of different cities is connected with different languages, which find their expression even if the particular texts about cities are written in one language. Maybe we need a Russian translation of Benjamin’s Moscow Diary to understand some of his remarks on Moscow? The city speaks its language and we can only allude to it through the verbal text but the language of this text is never a neutral one. There are complex relations between the language (several languages) spoken in particular city, the language describing that city, and the “proper”, non verbal language of that city. The cities and places, which we can find on Asja’s Lacis and Benjamin’s “map of life” – Capri, Naples, Berlin, Moscow, Riga, Paris – will be given voice using different languages and English as a seemingly neutral tool for “secondary” translation.

4:30 PM - Seeing differently: Laila`s Pakalnina`s film language Perkone, Inga (Latvian Academy of Culture, Riga, Latvia)

Laila Pakalniņa (born 1962) nowdays probably is the most famous Latvian film director abroad, her films was shown in prestigious film festivals including Cannes and Berlin. Despite that her films in Latvia are perceived ambiguously, not to say, hostile. It is possible that the ambivalent perception of the films by Laila Pakalniņa is due to they are deeply rooted in Modernism which is still not quite understood cinema tradition in Latvia (and all post-Soviet area). Moreover, characteristic modes of modernist film language she uses to give opportunity to express themselves in cinema still marginalized groups: women and children. Pakalnina gives their particular view of the world and their different (un-dominant) body language.

The aim of my paper will be to analyze Pakalniņa`s paradigmatic film language, focusing on her idiosyncratic point of view (POV) shots, which are given to women, children and even things.

5:00 PM - Riga Dating Agency: Art, Intimacy and Narratives of Female Agency Untiks, Inga (York University, Toronto, Canada)

The internationally exhibited 2001 contemporary art project “Riga Dating Agency” by Latvian artists Monika Pormale and Gints Gabrans has drawn both optimistic and cynical readings of the relationship between love, art and prevailing constructions of female agency. Exploring the narrative 383

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 legacies of women from the “East” as consuming, or being consumed by, foreign men, readings of this project (re)affirm socio-cultural as well as economic assumptions of power and peripherality, and are frequently dependent upon the positioning of the audience. This paper will explore the complex and often ambiguous ways the ideological contexts of transnational love inhabit the narrative legacies of artistic production.

17314 - Eastern European writers into "major" cultures between 1945 and 1989: Date: Friday, July 22nd Room: Hs 29 Chair: Vranceanu, Alexandra

9:00 AM - The Prestige of Dissidence and Exile: Cold War Paranoia and Eastern European Literature Lameborshi, Eralda (Texas A&M University, Nacogdoches, USA)

The Cold War is a scepter that haunts not only the political and social history of Eastern European nations, but also their literary production. The reasons for this haunting vary, but if we take the Cold War as a signal moment in literary production and circulation of Eastern European literature, we can observe thematic trends that highlight the lasting cultural and social legacy of the iron curtain. This paper argues that dissident and exiled writers found an ideal place for their works within western literary markets, because the production and circulation of their works was aided by paranoia-as- world-system during the Cold War. The essay will analyze works by Ismail Kadare, Herta Muller, Milan Kundera, and Milorad Pavic. Entry into a world literary market is consecrated by a dialogic character of the literary exchange: writers select themes that are easily digestible with foreign audiences, and western audiences’ already existing narratives about the dark side of the iron curtain, determine a work’s accessibility and translatability. More importantly, this dialogue between writers and audience is mediated by Cold War paranoia that flattens Eastern European realities, and erases untranslatable spaces.

9:30 AM - How to do with "double" literary history in communist Europe: "national" and "transnational" writers Vranceanu, Alexandra (University of Bucharest, Bressanone, Italy)

After the Second World War, when Romania was occupied by the Soviets, Romanian writers migrated to the Occident in such an impressive number that we can consider dealing with two «Romanian» literary histories: one national and the other transnational. I will consider here the problems raised by transnational migrant literature written by Romanian writers in different languages, from the point of view of literary history. I will particularly refer to some theoretical aspects concerning the ways in which concepts such as “migrant literature”, “transnational literature”, “multilingual writer” can help redefine, from a comparative point of view, national identity in Eastern Europe. Starting from the example of some Romanian born writers who adopted French, English or German, I will evaluate the relevance of some themes that define transnational migrant literature written during 1945-2000 in the context of contemporary European culture.

10:00 AM - A Narrative of Exile: Milos Crnjanski's 'Roman o Londonu' (A Novel about London) Krstic, Visnja (University of Warwick / University of Belgrade, Belgrade, Republic Serbien)

Milos Crnjanski, one of the most prominent Serbian authors in the 20th century, whose literary skill was admired even by Nobel Prize winner Ivo Andric, was forced to leave Yugoslavia after the Second World War, owing to his connections with the pre-Communist regime. In Roman o Londonu , Crnjanski reflects on the two decades he spent exiled in post-war London. To avoid adopting a 384

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 subjective perspective, he centres Russian rather than Serbian immigrants: the protagonists, Nikolaj and Nadja Rjepnin, an exiled Russian couple, live on the breadline, similarly to Crnjanski himself. Although the novel covers only their time in London, it is through the hero’s countless disorderly reminiscences that the reader becomes acquainted with their past. Roman o Londonu has been translated into eight languages, but its translation into English poses a challenge that no one has undertaken so far, owing to the sheer abundance of polyglossic phrases – predominantly but not solely in English and Russian – occurring throughout the otherwise Serbian text. The paper systematically reassesses the relations among these intricately connected languages in the target as well as in the source text. While Russian familiarity stands in stark contrast to the ‘otherness’ of the host society, Serbian serves as a metalanguage. The difficulty of preserving the foreign gaze onto the English culture arises when the metalanguage of the novel vanishes in translation, leaving English xenisms to blend in, what is now, an all-English text. In conclusion the paper challenges a commonly encountered assessment that the novel’s translation into English is destined to failure because the source text heavily relies on the interplay between Serbian and English. Rather than regarding Roman o Londonu as a mere linguistic experiment, the paper shows that it is, above all, a story about two souls caught, as Crnjanski puts it, in ‘this excessively rich city, which has a heart of stone, cruel to those miserable and poor’.

17316 - Fremde Literaturen im Web 3.0? Date: Monday, July 25th Room: Hs 21 Chair: Silvia Ulrich

9:00 AM - Digital Literatures circulating in Spanish: the emergence of a field Sanz, Amelia (Computense University, Spanish Literature, Madrid, Spain, Madrid, Spain); LLamas, Miriam; María, Goicoechea; Sánchez, Laura (Complutense University (Madrid, Spain), Madrid, Spain) The launching of Google Books and of Google Earth in 2004 could be considered a symbolical landmark in the configuration of memories and localization in space. Should we be getting ready for a change in literary reading and writing? It is time we ask whether interrelations on a global scale in digital environments have altered the patterns of production and distribution of writing, of circulation and consumption of reading, and in that case, in what way. It is time to ask if these modalities of circulation are creating new narratives and a new effect of globalization. We consider that Digital Literatures are a very useful workbench to explore the consequences of global digital circulation as a factual process but also as an imaginary storytelling. Literatures born digital can show how rituals of readings, formulas of production and narratives are being modified in the 21st century. We will work on a very large and diverse domain: Digital Literatures circulating in Spanish all over the world, not just created in Hispanophone countries. Our starting point is our own repertoire: Ciberia, but also other digital collections such as LiteLab, IlovePoetry, Hermeneia, ELMCIP, ELO. Working on Digital Literatures in Spanish, we cannot use just a national framework, but also local and global ones, American and European. Consequently, we will try to answer to the following questions: - Can we use a post-Bourdieu methodology, conceived for the 19th French literature, to study circulating Digital Literatures in Spanish as a changing field? - What can they tell us about the struggles against on-paper literatures? - Are these materials on the Web giving birth to new communities of readers- writers, with other modes of reading? Is it announcing the way readers from the new generation are going to read? We will provide an achieved analysis of the emergence of a dynamic field.

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9:20 AM - Entre linéarité et causalité : les caractéristiques de l'hypertexte de fiction Marzi, Eleonora (University of Bologna,Comparative Literature, Bologna, Italy, L'Aquila, Italy)

Dans l’époque des « digital natives » (Prensky, 2001) les écrans passent de media à medium (Bootz, 2006) et l’hypertextualité se charge d’un nouveau défi : c’est là le point de départ pour notre questionnement sur les traits caractérisants de l’hypertexte de fiction.

Grace à la diffusion d’internet la littérature hypertextuelle prends un nouveau élan : le changement du support se reflet profondément sur le contenu. Il s’agit de littérature numérique – dont la littérature hypertextuelle représente un sous-genre, seulement si la composition peut exister dans un contexte numérique qui devient condition nécessaire – mais pas suffisante pour pouvoir parler de hypertextualité de fiction. La deuxième condition afin de rendre complet le discours se réfère au contenu : une manière autre de raconter se produit, le lien hypertextuel fait exploser l’espace et anéantit le temps et à son intérieur se nouent la linéarité-causalité du texte et le libre arbitre du lecteur.

Littérature hypertextuelle, principe de causalité, arbitre du lecteur se posent donc comme les trois concept nous amènent à poser la problématique à laquelle cet article se propose se répondre : quels sont les traits de la littérature hypertexuelle ? Et par conséquence quels sont les traits qui caractérisent la littérature 3.0 par rapport à la littérature dite classique ? Jusqu’à quel point un texte littéraire peut se considérer ouvert tout en gardant son unité ?

Pour répondre à ces question nous mènerons une analyse des premiers hypertextes numériques [ Afternoon, a story (Joyce), CityFish (Carpenter), Victory garden (Moulthrop) et Fragments d’une histoire (Lafaille)], comparés ensuite à une sélection des hypertextes papier [Il gioco dell’Oca (Sanguineti), Rayuela (Cortazar), Il castello dei destini incrociati (Calvino), La vie: mode d’emploi (Perec)], tout en essayant de fournir une perspective pour des nouvelles frontières de la littérature numérique.

9:40 AM - L'impact des médias numériques dans la littérature catalane Arnau Segarra, Pilar (Universitat de les Iles Balears - Filologia Catalana, Palma de Mallorca, Spain, Palma de Mallorca, Spain)

La littérature catalane contemporaine, étant une littérature qui s’est développée énormément dans les derniers 30 ans, a expérimenté une grande croissance qui a eu besoin de différents canaux d’expression, de recherche, mais aussi de diffusion.

L’urgence de favoriser un rapprochement des lecteurs à cette littérature a été favorisé par le monde du numérique qui a su donner une réponse rigoureuse à ce nouveau scénario.

D'une part, on trouve la création littéraire en numérique, parfois dans un cadre hybride (par exemple les blogs des écrivains), mais il ne faut pas oublier la création littéraire en numérique par plusieurs écrivains, ou la croissante participation des lecteurs dans la « rédaction » des œuvres littéraires dans le web.

D'autre part, la prolifération des revues littéraires digitales, des archives digitales (encyclopédies littéraires, dictionnaires d'écrivains, etc.), mais aussi les booktubers ou la création des apps sur des routes littéraires ont collaboré à la diffusion de cette littérature émergente.

L'objectif de cette communication est d'analyser les conséquences du développement extraordinaire de cette littérature grâce a l'utilisation des réseaux sociaux : l’impact du numérique dans la diffusion de la littérature catalane.

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10:00 AM - Social networks: new tools for didactics and academic research? Ulrich, Silvia (University of Turin, German Literature, Turin, Italy, Turin, Italy)

Social networks owe their success to the involvement between writers and readers (wreaders). This aspect, essential for entertainment, can also make them particularly suitable both for didactics, even at University, and for academic research, in spite of all network’s pros and cons (to be verified in this paper).

Connected to the appeal of internet technology – i.e. interactivity, multimediality – and compared to the traditional book-culture with its straightforward logic and severe hierarchy, social networks offer the illusion of a parallel world without any rule where absolute freedom dominates. Actually, the network controls us (e.g. semantic web), so it acts as a real “net”, which means captivity. Moreover, the network has also drawbacks. It is uncanny because of the lack of boundaries and of the excess of information; the isolation, which makes it impossible to “perceive” others; the lack of space-time coordinates; but above all the impossibility to see the mechanism beyond the screen, at the risk of submitting unconsciously to a new “god” who guides our choices.

In an educational context is it possible to make good use of all pros of social networks to generate aware learning without being hindered by all network’s cons? How can academic research progress – working without hidden purposes – using a technology that seems to be created just for entertainment or for mere commercial purposes? This paper aims at answering to these questions according to the current academic discussion on Digital Humanities. References:

E.I. Feola, Mobile-learning ed ecologia convergente. Sperimentazione didattica, ambienti di apprendimento e mobile devices (2013).

A. Piper, Il libro era lì. La lettura nell´era digitale (2012).

F. Hartling (ed.), Der digitale Autor (2009).

P. Gendolla, J. Schäfer, The Aesthetics of Net Literature. Writing, Reading and Playing in Programmable Media (2007).

G.P. Landow, Hypertext 3.0. Critical Theory and New Media in an Era of Globalization (2006)

Chair: Silvia Ulrich

4:00 PM - Franz Marc From the Future to the Present Carey, Jean Marie (University of Otago, Comparative Literature, Dunedin, New Zealand, Dunedin, New Zealand)

Combining my background in archival practices and doctoral research on Franz Marc, this proposal responds to the panel’s query in the categories of hybridity and the creation of digital literature via Marc’s Der Blaue Reiter Almanach. I am interested in the revolutionary shift from printed to digital books and the role of the Internet for the transmission of information. Given the Blaue Reiter’s prescient internationalism there are already parallels between the fluidity and flexibility of digital media and the 1912 Almanach. While the concept of the art book categorizes physical objects as being fragile and impermanent, Web 3.0 points to the possibilities of preserving the lives of books through restoration and digitization. Shockingly, the Almanach does not have a digital life. Even the current printed editions do not retain Marc’s careful pairing of artwork and essay. I seek to digitize the Almanach, restoring the pagination and making the content publicly available. A secondary component of my project is to create an online database of Marc’s writings and images similar to the pioneering work done by Amsterdam’s Van Gogh Museum (http://vangoghletters.org/vg/). There is

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 growing interest in the meeting of art history, animal studies, and digital humanities. It is crucial for scholars to be actively engaged in these debates both to learn and present the insights that we have developed within our disciplines. I have sketched out models for how both the database and the digitization of the Almanach might proceed, using speculative but functional digital renderings of how the online database would look and function (using the ContentDM interface based upon Dublin Core and MODS metadata). This contribution would be both informative and aesthetically pleasing while open-ended enough to encourage questions, comments, and, hopefully, suggestions for cooperative collaborations.

4:30 PM - Literature, land art and the web. Concilio, Carmen (University of Turin, English and Postcolonial Literature, Turin, Italy, Torino, Italy)

In this paper I would like to explore the work of Marlene Creates, a Canadian land artist, photographer and poet. Her web-project A Virtual Walk in the Boreal Poetry Garden seems to satisfy both environmental engagement and literary achievements, thus conjugating environmental and digital humanities. Her project encompasses theoretical issues of multimediality, combining verses, images, soundscapes and landscapes, but also film and photography, plus web screening with locative art and literature. Her poetic audio/visual performances, giving prominence to place and to space (site-specificity), involve real audiences of walkers/listeners as well as virtual viewers. This complexity contribute to challenge traditional ideas of museum and museum-like installations, of literature as printed and read material, while imposing reflections on recipients as “homo ludens”, “homo traveller” and “homo spectator”. Inter- and intra-mediality result as a continuum with certain avanguard experiences, i.e. 70s feminist land art, concrete poetry, imagism, as with very ancient forms of orality. Finally, all this places on the foreground the challenge for the critic to forge a new critical language to describe and pass on this new procedures of production and fruition of literature, even in academic didactic practices.

17317 - When narratology does not travel well Date: Tuesday, July 26th // Wednesday, July 27th Room: Hs 26 Chair: Hajdu, Peter; Qiao, Guo-Qiang

2:00 PM - On the Particularities of Chinese Classical Narrative Poetics Qiao, Guoqiang (Shanghai International Studies University, Shanghai, China); Yu Qin, Jiang (Shanghai International Studies University, Shanghai, China) Abstract: The Chinese classical narrative concept differs in many ways from that of the West, ranging from the basic ideas of narrative to the specific concerns of narration. Yet, this is not to say that Chinese classical narrative concept is less than systematic and consistent. The distinguishing differences are chiefly in terms of the basic ideas on narrative, author, structure, time, space and terminology, which jointly reveal the particularities of Chinese classical narrative poetics. The author of the present essay believes that collating and reviewing these particularities will contribute to the construction of a Chinese version of narrative poetics. Thus, he will clarify and discuss in this essay the Chinese classical basic ideas on narrative, author, structure, time and space that differ from that of the West. The clarification and discussion will be conducted on the basis of close reading of several Chinese classical essays and works.

Key Words: Chinese classical narrative; author; structure, time; space

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2:30 PM - Free Indirect Discourse in Latin? Hajdu, Peter (Hungarian Academy of Sciences, Research Centre for Humanities, Budapest, Hungary)

It is a rather complicated problem how much can we use narratological concepts to analyse ancient texts. On the one hand, there are several narrative texts produced by Greek and Latin authors, so the basics must work. On the other hand, some features of the highly standardised literary Latin undermine the application of some concepts. My example is the free indirect discourse. In classical Latin the rules of the indirect quotation are so stable, almost everything is so strictly organised in an indirect quotation that there is no space left for a mixed form of FID. In the late Roman period, however, a new form of indirect quotation developed, while the old form of the accusativus cum infinitivo became obsolete. The new form offered much more possibilities to mingle the quoted and the quoting voices. I will demonstrate this in the example of Corippus, an epic writer of the 6th century CE.

3:00 PM - Problems and Solutions: a Literature Review of Feminist Narratology Yu, Jie (Tianjin Normal University, Tianjin, China)

Feminist narratology is an interdisciplinary branch of feminist literary theory combined with classical structuralist narratology. So far its study focuses on theoretical construction, theoretical extension and multi-perspective exploration.

Lanser explores the feminist strategies from the perspectives of narrative point of view, narrative modes and narrative voice; Warhol digs out the gendered narrative modes based on the distance between narrator and narrate; mezei investigates the indirect narrative strategies by analyzing the ambiguous narrative discourse. Page’s pushes Feminist Narratology to a new level. She views this discipline with a dynamic sight and thinks that the two comprising branches have reached the postmodern developing period. She uses more scientific methods and includes non-literary texts and takes other elements into consideration such as race, educating environment and age.

Besides these great achievements made by this newly emerging branch of post-classical narratology, we must recognize some problems. Firstly, the systemic framework of feminist narratological theory has not been established so far. Compared with the theoretical framework of classical narratology, feminist narratology has not formed a complete framework. For example, the mature theoretical parts of classical narratology like characterization, narrative time and space have not been touched upon by feminist narratology. Secondly, the theoretical constructing method is limited and the selecting scope of literary works is comparatively narrow. The chief founders of feminist narratology mainly adopt close reading method and abstract the female narrative strategies based on individual subjective experience. The chosen literary works mainly include the British and French women writers’ works from the mid 18th century to the 20th century as well as some representing works of American black women writers’. However, they have not discussed women writers of the Third World or other ethnic groups, not even non-literary narratives.

By summarizing the above problems, I think that feminist narratological exploration should broaden its perspectives and enrich its theoretical framework. Meanwhile the choice of literary works should be extended to other countries and ethnic groups. By means of broadening studying perspectives and literary text choice, the exploration of feminist narratology can be raised to a higher level.

Date: Wednesday, July 27th

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9:00 AM - A Narrative Approach to Understanding the Chinese Poetic Concept of "Yi Jing" in Traditional Chinese Drama Zhao, Yongjian (Zhejiang Gongshang University; University of Virginia, Charlottesville, USA)

“Yi Jing” (意境, commonly translated as “poetic world”) is an essential poetic concept in China’s literary theory, which is also inherent and pervasive in traditional Chinese dramatic literature. It is even hailed by Wang Guowei, a famous scholar in Chinese modern history, as the aesthetic core of traditional Chinese drama, but very few scholars have articulated how traditional Chinese drama narratologically reflect and embody the national poetic spirit of “Yi Jing”. Drawing on China’s relevant classical literary theories and extensively using classic traditional dramatic works as examples, the article closely examines the narrative strategies commonly used in emplotment, characterization, time and space, etc., to illustrate the distinctive narrative features of traditional Chinese drama and how they differ from western drama.

9:30 AM - Chinese Narrative Tradition and Cultural Strategy from the Perspective of Comparative Narrative Qiu, Bei (Shanghai International Studies University, Shanghai, China)

In recent decades, Chinese scholars have put in a lot of efforts to spread western narratology. However，since the development of narratology is in accordance with the inherent logic of the literary mode, narrative theory useful for western materials does not necessarily work well with Chinese literature. Some theoretical notions are even inapplicable to certain ancient Chinese literary contexts. Therefore, there is an imperative need for Chinese scholars to work out a narratology that is based on Chinese language, culture and history.

Comparative narrative is helpful in advancing the present narrative theories and furthering the development of the new theoretical construction. The author of the present essay makes a comparative study of narrative works of western and Chinese cultures, lists some cases in which western narratology doesn’t travel well, and attempts to seek out the reasons for the failure. With several famous classical works such as Shi Ji (Historical Records), Strange Stories from a Chinese Studio, A Dream in Red Mansions, Romance of Three Kingdoms, All men are Brothers, The Scholars and History of the Later Han Dynasty as examples, The author of the present essay studies some of the distinctive characteristics of ancient Chinese literature ----the unique structures, rhetorical features and allegorical significance, which cannot be interpreted by western narratology. Then it traces back to the origins of western and Chinese literature, and explores how and why the western and ancient Chinese literary works differ from each other.Research on that enables us to have a better understanding of Chinese narratives, and is instructive in constructing a new system of Chinese-oriented narratology. Afterwards, this paper moves on to the discussion on how to build up a Chinese narrative theory that covers aspects of historical narratives, fictional narratives, and writings in ancient Chinese. To achieve this goal, it is necessary to hold a standpoint of localization and break the confinement of western narrative theories. Basing the theory on the present literary practice, The author of the present essay contends that Chinese scholars should gear the research to the essence of the oriental atmosphere, and make use of the abundant resources of Chinese literature. By combining Chinese narrative tradition with the achievements made in the world, we will succeed in developing a narrative system that is both Chinese-characterized and modernized.

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10:00 AM - Will Fantasy Alter History Xue, Chunxia (Zhejiang Gongshang University, Hangzhou, China)

Will Fantasy Alter History? It is said that there are narrative conventions shared by history and fiction. Historical narrative devotes to facts, events that could not be altered; fictional narrative is freer to fantasize in order to fill in the dearth of evidence in history. The conventions of narrative determine whether or not an event under a description will be a “fact”. Yet, to some big historical events, such as the Holocaust and Chinese Cultural Revolution, which involve ethical and ideological implications, fictional narratives, such as comic or romantic ones may paint an unreal color over historical truth, particularly when readers are third-generations who know little of the historical truth. In an age of consumer culture, this romanticizing or entertaining way of narration seem to cater more for the popular culture than to reveal in depth the diverse possibilities of history in the past. The two comparable cases are Jonathan Foer’s Everything is Illuminated and The Little Chinese Seamstress written by Nadine Perront (Dai Sijie).

11:00 AM - The Investigation Problems of the Chronicle Narrative Pospisil, Ivo (Faculty of Arts Masaryk University, Brno, Czech Republic)

The author of the present contribution deals with he boundaries of traditional classical and more modernized concepts of narratology applied to a chronicle narrative techniques typical of some of European literatures including Slavonic and Germanic. He tries to demonstrate the integration of the skaz technique into the stream of chronological narration, the complicated structure of the chronicle genre, trying to complete the narratological concept with that of the study of the plot ("sujetology").

11:20 AM - How different is the similar? Hungarian Modernist narrative strategies in comparison, and narratology's sense of the past Mekis, János D. (University of Pécs, Faculty of Humanities, Pécs, Hungary)

When we Hungarians teach and study modern Hungarian literature in conjunction with world literature, we must encounter the problem of being-in-the-Western-canon and being-in-the-national- canon at the same time. It’s not only a challenge for literary history or criticism, but also a theoretical problem. A problem of interpreting and misinterpreting, of centre and periphery, cultural transfer and inequalities, all interwoven with a strange and prolific schizophrenia of analysing our culture in context and determined by it.

Is it possible to gain an independent (really, cross-independent) view? Could be narratives in different literatures investigated from a common and/or outer cultural space or place? Literary theories’ generalizing promise was inevitably generous by offering universal ways, but saturated by the nolens volens lack of “the sense of the past” (L. Trilling). Narratology as a form of general scholarship has also promised a proper perspective for a cold and objective general view. However it has also ways into comparative poetics in a literary-historical sense. My aim is to explore a bunch of typical Modernist and Late Modernist narrative features in Hungarian prose fiction (e.g. Kosztolányi, Krúdy, Szerb, Nádas) in Euro-American comparative context, and also to measure of some widely- used narratologies’s ability to grasp the culturally influenced cross-differences and similarities. I anticipate that narratology has a methodological sense of the temporality and spatiality of Modernism. 391

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

11:40 AM - Narrating post-imperial Europe: two irreconcilable politics Biti, Vladimir (Institut für Slawistik, Wien, Austria)

The breakdown of European empires in the aftermath of the First World War induced two different state politics of trauma, each of them represented by particular public narratives of dispossession. In the case of imperial successor states, the experience of the dispossession of their carrier groups arose from the concessions that they were forced to make, their loss of former glory and war guilt. Because being economically and culturally impoverished, the newly established nation-states’ intellectuals were, by contrast, frustrated by the long-term exploitation and humiliation inflicted upon them by former empires. Although both groups of post-imperial states shared the same experience of dispossession, their politically, economically and culturally divergent positions engendered different narrative shapes. This resulted in two kinds of political narratives of dispossession, each of them leaving an equally powerful imprint upon the identity politics of their respective states. In the following decades, the successor’s type of state narrative of dispossession, using the inherited power asymmetry in the European political space, gained clear supremacy. Through its gradual transnational establishment and expansion, it paved the way for a number of social agendas, cultural institutions and scientific disciplines, among the others of narratology. This particular genesis explains why narratological categories, when uncritically applied to the analysis of East-Central European nation states’ narratives, usually do them injustice. An equally distinctive approach is necessary in the analysis of individual literary narratives of dispossession by means of which, in both Western and Eastern Europe after the breakdown of empires, selected individuals clandestinely resisted the political state narratives. To substantiate this claim, I will conclusively compare self-exemption as the technology of prominent selves in the literary narratives of Karl Kraus and Ivo Andric respectively.

12:00 PM - Cultural Translation by way of Paratext: On the Function of Italics and Pictures in Storyteller Zou, Huiling (Jiangsu Normal University, Xuzhou, China)

This article examines how paratextual elements functions as a narrative strategy in Storyteller, a story collection by Leslie Marmon Silko, a Native American writer. According to Gerard Genette, paratext is the complementary to the text, including titles, forewords , epigraphs, illustrations, etc. This article focuses on the italics and pictures that complement the text of Storyteller. In Storyteller, the syllabary (Native American words written phonetically in English alphabets) and some descriptions of Native American cultural phenomena are italicized. As for pictures, there are two kinds in Storyteller, pictographs and photographs. At the place of the title for each story in the book, there is a pen-drawing pictograph designed after traditional Native American images. And throughout the book, Silko inserts 26 photographs, including portraits of her tribal members and photos of the geographical landscapes of her hometown, all taken by Native American artists, mostly by her father, Lee Marmon. Altogether, these italics and pictures act as a bridge between the traditional Native American culture and non-Native American readership, maximizing readers’ interest in Silko’s storytelling about Native American history and contemporary existence. Furthurmore, thses paratextual elements play the role of a cultural translator as they contribute tothe book’s narrative feature with Native American flavor and distinguish the book from story- collections in general by highlighting its Native American characteristics, hence ensuring Silko’s endeavor to assert her Native American identity, to evoke contemporary Native Americans’ cultural memory and to transmit traditional Native American culture to the non-Native American world. In

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 this sense, italics and pictures in Storyteller performs the part of a guide that leads readers to the rich and colorful Native American world.

17318 - Comparative Literary Histories of Slavery: Group Session, Section E Date: Friday, July 22nd Room: Erika-Weinzierl-Saal Chair: Simonsen, Karen-Margrethe

9:00 AM - Sklaverei und Literatur: Gustave Oelsner Monmerque Roman "Schwarze und Weiße. Skizzen aus Bourbon" (1848) Timofte, Alina (Universität Konstanz / Exzellenzcluster 16, Konstanz, Germany)

Mein Interesse gilt dem heute nahezu unbekannten, 2015 neu edierten Roman "Schwarze und Weiße. Skizzen aus Bourbon" (Erstdruck 1848) von Gustave Oelsner-Monmerqué (1814-1854), einem vielseitig engagierten, deutsch-französischen Schriftsteller. Die vermutlich "einzige deutschsprachige Vormärz-Publikation über die frühere französische Kolonie im Indischen Ozean" prangert die Missstände der kolonialen Herrschaft und der Sklaverei aus dem Standpunkt des Augenzeugen: Oelsner-Monmerqués hielt sich 1842 bis 1845 auf der Insel Bourbon, (heute: La Réunion) auf. Dr. Oelsner-Monmerqué präsentiert seinen gewagten Stoff allerdings nicht in einer gelehrten Form, sondern er zieht stattdessen "die romantische Einkleidung" vor, denn sein bereits im Vorwort deklariertes Ziel sei, Aufklärungsarbeit zu betreiben: "Zur schleunigeren, vollständigen Beseitigung eines die Menschheit entehrenden Gebrauchs, dürfte die öffentliche Meinung gerade derjenigen Länder, die keine Sclaven haben, von großem Gewichte sein. Nur die Verbreitung vollständiger Kenntnisse in allen Klassen der Gesellschaft daselbst, – über die Verhältnisse der Schwarzen als Sclaven zu den Weißen als ihren Besitzern, – vermag endlich einmal einen allgemeinen Ausbruch des Fluches auf diese Unsitte zu ziehen und deren Verfechter mit unauslöschlicher Schande zu brandmarken! – In der Erwägung, daß, wo es die Vertheidigung einer gerechten Sache gilt, selbst die schwächste Stimme zuweilen Gehör findet, hat der Verfasser die romantische Einkleidung vorgezogen, um den Stoff jedem Stande und Geschlechte zugänglich zu machen." (S. 23f.) Schon daraus wird ersichtlich wie stark rezeptionsorientiert dieser gattungstheoretisch nur eingeschränkt als Ideenroman zu betrachtender Text ist. Ebenso zu beobachten ist, dass der Aufklärungsgestus nicht bloß in "romantische" und exotische Unterhaltung eingebettet, sondern auch mi wissenschaftlichen Ausführungen gepickt ist, die aus Oelsner-Monmerqués Vortrag Der Kreole stammen. An diesem Punkt setze ich mit meinem Vortrag an und versuche eine kritische Zusammenschau der beiden Texte, indem das Ineinanderflechten des literarischen, wissenschaftlichen und politischen Diskurses im Fokus stehen soll.

9:30 AM - The Cult of Sentimentality and Comparative Literary Histories of Slavery Loh, Lucienne (University of Liverpool, Liverpool, United Kingdom)

This paper aims to compare the impact of the European, and arguably, global, 18th century cult of sentimentality represented in slave narratives published in the late 18th century and the myriad ways in which contemporary British novelists re-address this cult. By focusing specifically on a range of fictional accounts of the transatlantic slave trade by writers such as Caryl Phillips, Andrea Levy, David Dabydeen and Fred D'Aguiar, I argue that the cult of sentimentality, the privileging of domesticity, family and children not only justified slavery within the ideologies of colonial prejudice and racism, but made slavery into what Orlanda Patterson has termed "social death". Late 18th century slave writers such as Olaudah Equine and Ottabah Cugoano struggled to position themselves within the cult of sentimentality as it was so intrinsic to the strategies deployed to appeal to a white 393

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 sphere of literary patrons. Contemporary writers, on the other hand, in their often experimental rewritings of slave histories, foreground the cult's ability to fuel racism and slavery and its profoundly oppressive structures of taste and feeling which made slave identities, families and communities impossible to construct.

10:00 AM - Danish literary slave representations in a global context Jensen Smed, Sine (Arts, literature and cultural studies / Graduate School, Arts / Aarhus University, Aarhus, Denmark)

From the end of the 17th century Denmark partook in the colonial triangular trade between Europa, Africa and the European colonies in the West with trade stations on the African west coast and three small islands in the Caribbean, at that time the Danish West-Indian Islands, today the Virgin Islands.

The Ph.D. project "Danish literary representations of slaves and slavery 1803-1917" researches the literary discourses about slavery in the Danish public sphere from the abolition of the slave trade in 1803 until the sale of the colonies in 1917. The representations cover a wide range of texts such as travel writings, anecdotes, novellas and also one play, The Mulatto (1840), written by H.C. Andersen but based on a French novella by Madame Charles Reybaud, Les Épaves (1838). Such use of foreign texts was very common in Danish "slave writings". Texts were often written after an English or French original, sometimes as a translation, sometimes as a retelling. The events taken place in other European colonies, especially Haiti, also figure in the Danish texts and influence the 1830s and 1840s debates about slavery.

The texts were at once part of a transnational network of writings crossing boundaries and languages, but at the same time the translated texts were told into a national framework, where the colonial history was negotiated in a sphere of different agendas. My talk will analyze how these "borrowings" and "imports" of foreign slave texts and colonial events were presented and performed in a Danish context.

11:00 AM - Re-writing slavery with a Purpose: a Chunk of Literary History of Slavery Geerts, Walter (Antwerp University, Schoten, Belgium)

We will tackle the question how texts establish their own path in the history of the literature on slavery. Re-writing earlier foundational texts exposes how 'history' evolves, how perception of the past constantly shifts focus on slavery. Literature thus writes its own 'literary' history. The fact is relevant considered methodologically. To establish a specific literary history of slavery entails the exclusion of historical developments illustrating other issues involved as reflected in literature (in the non-restrictive meaning: cfr. abstract section and 'hybrid' text, as proposed in D.Budor, W.Geerts, Le Texte hybride, Paris, Sorbonne Nouvelle U.P., 2004). The triad of texts proposed here: Defoe's 'Robinson Crusoe', Tournier's 'Vendredi ou les limbes du Pacifique' and Coetzee's 'Foe'. Tournier and Coetzee follow in Defoe's footsteps. The distance of two centuries and a halve, as well as the divide between Enlightenment and Modernism or Postmodernism, illustrates the relevance of the case. Rather than to 'compare' these texts, our paper will tend to highlight what sort of implicit 'literary history' is produced by each of the re-writings and how each of them repositions slavery with respect to the past and to its own intellectual 'environment'.

11:30 AM - The Ancient Pedestal and the Modern Veil: an analysis of ancient influences on late antebellum proslavery literature Jodoin, Jared (The University of Edinburgh, Edinburgh, United Kingdom)

The emergence of proslavery thought in the 18th-century, developed into a defining characteristic of the antebellum American South. Sparked by the growing abolitionist movement, which by the mid- 19th-century, had engulfed most states north of the Mason Dixon Line; pushed the proslavery 394

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 ideologists of the South to the limits of defending their trade. These avid apologists, some having received a formal education that included a strong classical curricula, naturally turned to ancient literature in search of arguments to support their positions.

The aim of this paper will illustrate the influences that Greco-Roman literature had on American proslavery thought. Further this case study will examine two examples from the late antebellum period. First, George Fitzhugh and his utilization of Aristotle’s theory on natural slavery from Politics Book I. In this, the paper will analyse his racialization of that theory, and how Fitzhugh incorporated Aristotle’s works into his overall intellectual framework. The second will explore the literature of Thomas Cobb, and his usage of classical authors to posit that the Romans preferred black slaves, over all others that were brought into the Empire. Whether the accuracies of the ancient literature were mirrored correctly by these modern authors will be focal point of the discussion. Overall this study will provide a small scope into the comparative elements that exist between the slave systems of the ancient world, and the American South.

Jared Jodoin

The University of Edinburgh

School of History, Classics, and Archaeology

Doctoral Candidate in History

[email protected]

2:00 PM - Slavery in international context Hart, Jonathan (Western University & Shanghai Jiao Tong University, Canada)

Having studied, taught and written on slavery in a comparative context, I would like to explore further the premise that we get to know something more in one region or nation by trying to understand the international context. The paradox is one has to know the transnational to understand the national contexts and without national experience, there could be no comparison. My main focus is on Native and African slaves in the Americas. Without understanding the comparative practices of enslaving Natives and Africans in the New World, then we do not really understand the similarities and differences. The first slave ship in Virginia, for instance, may have been a Portuguese vessel captured by the Dutch. It is also important to understand local conditions as slavery in a plantation economy was different than one in cities and economies not based on cotton, sugar and the like. These comparisons are reflected in exploration, travel and slave narratives..

2:30 PM - The Literary Histories of Slavery: A Cuban and Spanish Perspective Simonsen, Karen-Margrethe Lindskov (Aarhus Universitet, Rønde, Austria)

Proposal for ICLA, Vienna, 2016: The Many Languages of Comparative Literature Section E: Comparatists at Work Group Section: Comparative Literary Histories of Slavery

Karen-Margrethe Simonsen Associate Professor, Comparative Literature, Aarhus University.

The Literary Histories of Slavery: A Cuban and Spanish Perspective In this paper I will focus on problems of writing a general (world) literary history of slavery. I will discuss these problems from the perspective of respectively Spain and Cuba. The main idea is that discourses about slavery are determined by the immediate political and legal contexts. I will compare different contexts of slavery respectively in early modernity in Spain and in the 19th Century Cuba, that is, in the ‘early’ and late days of modern slavery. The debates in Spain were influenced by the founding of the nation state 395

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 and Spain’s new status as a world-wide empire. In Cuba in the 19th Century, discussions of slavery were influenced by discourses about independence and national identity. What do these two different political contexts mean for the discourses of slavery? Inherent in the discussion is also a comparison between Indian and black slavery, between premodern African slavery and modern colonial slavery etc. I will take my point of departure in José Antonio Saco’s Historia de la esclavitud 1879), and build on different kind of materials, like José Martí’s “Nuestra América”,(1891), Bartolomé de las Casas’ In Defense of the Indian (1550), or his atrocity tale A Short Account of the Destruction of America (1542), literary works by Lope de Vega, Gertrudis Gómez de Avellaneda, slave narratives by Manzano, etc. My discussions will have a primary focus on essential differences. From the basis of a comparison between these, I will raise some questions about the literary history of slavery.

17319 (Wissenschafts-)Sprachen an der Grenze: Phänomene der Überforderung im Wissen vom Menschen um 1800 Date: Friday, July 22nd Room: Skandinavistik Leseraum Chair: Hamel, Hanna; Assinger, Thomas; Langer, Stephanie

9:00 AM - Naturformation/Kulturformation: Albrecht von Hallers Alpen Assinger, Thomas (Institut für Germanistik, Wien, Austria)

Im 18. Jahrhundert werden die Alpen mit der Entwicklung des Alpinismus als touristischer Raum erschlossen. Zugleich etablieren die zeitgenössische Natur- und Kulturgeschichte, aber auch die philosophische Ästhetik den alpinen Raum als Gegenstand wissenschaftlicher Erforschung und Reflexion. Der Beitrag befasst sich vor diesem Hintergrund mit den vielseitigen Arbeiten des Schweizer Gelehrten, Schriftstellers und Wissenschaftlers Albrecht von Haller (1708–1777), die in den letzten Jahren verstärkt Beachtung seitens der Kulturwissenschaften gefunden haben. Im Fokus der Überlegungen steht Hallers frühes Lehrgedicht Die Alpen (1729), das dieser nach seiner großen Fußreise durch die Schweiz verfasst und in seiner Sammlung Versuch Schweizerischer Gedichte veröffentlicht hat. Haller hat in den insgesamt elf autorisierten Auflagen der Sammlung das Lehrgedicht mehrfach umgearbeitet und durch eine ausgefeilte Verweis- und Annotationstechnik in Bezug zu seinen botanischen Schriften, zu Reisebeschreibungen und zu rezenten Ergebnissen naturkundlicher Forschungen in Beziehung gesetzt. In exemplarischer Auseinandersetzung mit Haller wird der Beitrag das Gebirge als wissenschaftlichen und literarischen Gegenstand im 18. Jahrhundert historisch rekonstruieren, und seine Mehrdeutigkeit als natürliche und kulturelle Formation herausstellen, der Haller multiperspektivisch in literarischen und wissenschaftlichen Arbeits- und Schreibweisen gerecht zu werden versucht. Es wird abschließend vorgeschlagen, aufklärerische Lehrdichtung nicht – wie oft geschehen – als bloße Wissensvermittlung mit dem Zweck (lebens- )praktischer Nützlichkeit zu fassen. Vielmehr ist nach gattungsspezifischen Aspekten der Wissensgenerierung zu fragen, wobei das Verhältnis zwischen Wissenschaften und Künsten in Lehrgedichten reflexiv verhandelt wird.

9:30 AM - Ungereimtheit. Prosa und Poesie um 1750. Hottner, Wolfgang (Humboldt Universität zu Berlin, Institut für dt. Literatur, Berlin, Germany)

In meinem Beitrag möchte ich eine begriffliche Differenz in den Blick nehmen, die für die Ästhetik, Logik und Naturphilosophie des 18. Jahrhunderts von weitreichender Bedeutung zu sein scheint: Wohl- und Ungereimtheit. Ausgehend von Kants Allgemeiner Naturgeschichte, ihrem exzentrischen Verhältnis zum physikotheologischen Lehrgedicht, den Lehrgedichten Abraham Gotthelf Kästners

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 sowie Lessings und Mendelssohns Preisschrift Pope ein Metaphysiker!, soll an dieser Differenz das rhetorische, poetologische und naturphilosophische Wissen über Kosmos und die darin vorkommenden Kontingenzen beschrieben werden. Ungereimtheit hingegen meint im Rahmen der vorkritischen Schriften für Kant eine störende Unterbrechung des „logischen Takts“, sie ist in diesem Sinne ein Grenzphänomen, eine Schwellkategorie zwischen diversen Diskursen. Sie geht einher mit einer Überhöhung des Zufalls im Sinne des Lukrez’schen clinamens, womit für Kant „die Vernunft wirklich aus der Unvernunft“ hergeleitet wäre. Die Wohlgereimtheit des Kosmos schließt Ungereimtheit auf epistemologischer sowie formaler Ebene aus: Sie bildet in diesem Sinne lediglich die Kontrastfolie für die wohlgereimte Rede über die harmonische Verfasstheit dieser Welt. Die Widerlegung der Ungereimtheiten des Lukrez führen ihrerseits zu versifizierten Naturgeschichten, die die Wohlgereimtheit des Kosmos mit allen rhetorischen Mitteln zu beweisen versuchen. Dieses Übermaß an Wohlgereimtheit führt zugleich zu einer Abwertung des Lehrgedichts als literarischer Form, es ist, wie Goethe schreibt, eine „Ab- und Nebenart“. Ich will die Oszillation zwischen Ungereimtheit und Wohlgereimtheit und ihre Auflösung hin zu einer romanhaften wie transzendentalphilosophischen Prosa beschreiben. Über die Frage nach der wohl- oder ungereimten Verfasstheit des Kosmos treten Philosophie und Poesie in ein Verhältnis, das mit Kants Transzendentalphilosophie und dem Roman vorerst getilgt wird, ist doch für den späten Kant „im Grunde wohl alle Philosophie prosaisch“.

10:00 AM - Symbolbegriff und reflektierende Urteilskraft bei Kant: Denkfiguren der Überforderung und produktiven Aneignung der epistemologischen Konstellation um 1800 Lederle, Sebastian (University of Vienna, Vienna, Austria)

In dem Beitrag sollen Kants Symbolbegriff und der Typus der reflektierenden Urteilskraft, wie sie in der Kritik der Urteilkraft eingeführt werden, als zwei Denkfiguren eines den Ausgang des 18. Jahrhunderts kennzeichenden Umbruchs in der epistemologischen Grundkonstellation, wie er von so unterschiedlichen Denkern wie Luhmann oder Foucault beschrieben worden ist, vorgestellt werden.

Kants Verständnis des Symbols als ungegenständliche und unanschauliche Reflexionsbestimmung erlaubt einen Bezug auf eine begrifflich nicht eindeutig zu bestimmende Totalität. Ebenso kontrastiert die reflektierende im Gegensatz zur bestimmenden Urteilskraft dadurch, dass in ihr nicht ein Fall unter eine Regel subsumiert wird, sondern durch das Ausüben von Urteilskraft, also ihr Reflexivwerden, ein Allgemeines zu einem Konkreten gefunden werden muss. Weder gibt es einen eindeutig fixierbaren Gegenstandsbezug noch erweisen sich Urteilskraft und Symbol als nichtig. Ihre Funktion besteht gerade darin, neue Formen einer nicht objektivierbaren Interferenz verschiedener Wissensbereiche beobachtbar zu machen, die im Rahmen strikt ausdifferenzierter Beschreibungs- und Bewertungskategorien nicht erfassbar sind.

Beiden inhärent ist nämlich eine antirepräsentionalistiche Pointe, die im Nichtfestgelegtsein ihres Gebrauch besteht und die daher sowohl als Beschreibungsinstrument der epistemologischen Umbruchssituation um 1800 als auch als Versuch, damit produktiv umzugehen, zu deuten sind. Das ist nicht selbstverständlich, da Kant normalerweise als Proponent eines auch für die Philosophie als exemplarisch erachteten, an Mathematik und neuzeitlicher Physik orientieren Erkenntnismodells verstanden wird und er seine Kritik der reinen Vernunft als notwendige Vorbereitung zu einem System der Transzendentalphilosophie ankündigt.

Das Paradox einer immer exakteren und intensiveren Erkenntnis bestimmter Gegenstandsbereiche auf der einen, einer fortschreitenden Ausdifferenzierung der jeweiligen Wissensgebiete auf der anderen Seite, überfordert zwar die kantische Idee eines geschlossenen und folgerichtigen Systems des Wissbaren, setzt aber gleichzeitig Denkfiguren frei, die darüber hinaus weisen. Wenn Kants Symbolbegriff und der Typ der reflektierenden Urteilskraft als zwei aus den Vorgaben der 397

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 theoretischen Philosophie herausdrehbaren Reflexionsfiguren verstanden werden können, erweisen sie sich bis in die Gegenwart als anschlussfähig. Als Beispiel hierfür wird abschließend auf Hans Blumenbergs Projekt einer Metaphorologie verwiesen.

11:00 AM - Ästhetiken des Erhabenen als Theorien sinnlich-kognitiver Überforderung (Kant, Burke, Herder) Möller, Reinhard M. (Julius-Maximilians-Universität Würzburg, Frankfurt am Main, Germany)

Das sich im späten 18. Jahrhundert konsolidierende Feld der Ästhetik dient – trotz einschränkender Definitionen im Sinne einer Lehre von den unteren Erkenntnisvermögen (Baumgarten) oder einer Theorie des Gechmacksurteils (Kant) – vielfach zu prekären Entwürfen einer allgemeinen Theorie ‚lebensweltlicher‘ Erfahrung mit engem Bezug zur „anthropologischen Wende“ der Spätaufklärung. Gerade in ästhetischen Theorien wird somit am Ende des ‚prädisziplinären‘ 18. Jahrhunderts noch ein zumindest impliziter ‚universaltheoretischer‘ Anspruch erkennbar. Unter den zentralen ästhetischen Kategorien der Zeit, die aufschlussreiche anthropologische, hermeneutisch-epistemologische und kulturtheoretische Implikationen beinhalten, ragt das Konzept des Erhabenen insofern heraus, als es den theoretischen Fokus speziell auf Erfahrungssituationen der Überforderung lenkt. Verschiedene Erhabenheitsmodelle der Zeit um 1800 repräsentieren insofern unterschiedliche Versuche, schwer greifbare Schwellen- und Überforderungsmomente von Wahrnehmung, Reflexion und Verstehen zu denken, und bringen hierbei selbst immer wieder aufschlussreiche Momente theoretischer und sprachlicher Überforderung zum Ausdruck. In meinem Beitrag möchte ich als Fallbeispiele Burkes, Kants und Herders Entwürfe einer Ästhetik des Erhabenen diskutieren, wobei ein besonderes Augenmerk den eigenen poetologischen Verfahren der theoretischen Texte gilt: Kants Theorie begreift sinnlich-kognitive Überforderung als indirekte Darstellung undarstellbarer Vernunftideen, während Burkes Konzeption simulierte Überforderung als exotisiertes Vergnügen vorstellt; Herders Kulturtheorie des Erhabenen macht schließlich Überforderungssituationen gleichermaßen als Faszinationsauslöser, Impulsgeber und Störfaktoren innerhalb historisch-kultureller Entwicklungsdynamiken begreifbar.

11:30 AM - "Mancherlei Kräfte". Zu einem organisch-mechanisch-klimatologischen Erklärungsprinzip bei Herder Hamel, Hanna (Institut für Germanistik, Wien, Austria)

Der Begriff der Kraft wird im 18. Jahrhundert viel und auf vieldeutige Weise gebraucht. Er lässt sich zum einen auf die Philosophie Leibniz’ zurückführen, andererseits aber auch auf die Physik Newtons. Johann Gottfried Herder schließlich versucht in den Ideen zur Philosophie der Geschichte der Menschheit (1784-1791) aus der Polysemie und Polykontextualität des Begriffs ein durchdringendes Prinzip zu abstrahieren, das sowohl als treibende Kraft für Organismen als auch als klimatische Natur oder als dunkle Kraft der Seele wirkt. Anstatt lediglich die Inkohärenz dieser Verwendung des Kraftbegriffs zu demonstrieren, soll der Vortrag nachvollziehen, wie Herder sich über Analogiebildungen darum bemüht, die sich ausdifferenzierenden Wissenskulturen im Begriff der Kraft zu verschränken und zu durchdringen. Der Vortrag will dieses Vorgehen als epistemologischen Gegenentwurf zu einer modernen, distanzierten Rationalität deuten, die sich Natur zum Objekt macht, dieses Objekt einteilt und den Zuständigkeitsbereichen unterschiedlicher Wissenschaften zuordnet. Unter dem Gesichtspunkt einer gegenwärtig verstärkten Diskussion kulturwissenschaftlicher Zuständigkeit auch für die Gegenstände der Naturwissenschaften soll sowohl das Potential disziplinärer Grenzüberschreitungen als auch das Risiko gravierender epistemologischer Schwächen am Beispiel von Herders Ideen und deren Konzeption von Kräften diskutiert werden. 398

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

12:00 PM - "Ansichten" - Raumdarstellungen zwischen Fachwissen und Holismus um 1800 Vangi, Michele (Deutsch-Italienisches Zentrum Villa Vigoni, Menaggio, Italy)

De r geplante Beitrag befasst sich mit dem Themenkomplex der (Re)Produktion und Reflexion von Raum in den ästhetischen und wissenschaftlichen Diskursen an der Wende vom 18. zu 19. Jahrhundert.

Dabei wird der zu der damaligen Zeit gängige Begriff der Ansicht zum begrifflichen Leitfaden gewählt: Ansichten werden hier in erster Linie als möglichst umfassende und äußerst durchkomponierte textuelle Schilderungen von Ausschnitten ländlichen oder urbanen Raums verstanden. Bei der Erfassung holistisch empfundener „Erdindividuen“ (C. Ritter, 1822) spielen Visualisierungsprozesse, die aus den zeitgenössischen Geowissenschaften sowie aus der Geographie und zugleich aus den bildenden Künsten stammen, eine erhebliche Rolle.

Typisch für die Goethezeit sind „mehrfunktionale“ Raumdarstellungen, denn das Ästhetische und das Wissenschaftliche schließen sich nicht gegenseitig aus, sondern koexistieren oft in ein und derselben Ansicht. Dies zeugt von einem gemeinsamen diskursiven Rahmen, bei dem sich eine rege Zirkulation von Modellen und Praktiken aus Literatur, Ästhetik und Naturforschung ergibt.

Georg Forsters Ansichten von Niederrhein , die aus einer Reise hervorgingen, die er in den 1790er Jahren mit Alexander von Humboldt unternahm, stehen im Mittelpunkt meines Referats. In diesem Werk versucht Forster der „Ausbildung seinem Zeitalters“ gerecht zu werden: „je größer die Anzahl unserer Begriffe, je erlesener ihre Auswahl ist, desto umfassender wird unser Denk- und Wirkungskreis, desto vielfältiger und anziehender werden die Verhältnisse zwischen uns und allem was uns umgibt.“ Es wird dabei klar, dass sowohl Forster als auch – wenig später – Humboldt mit seinen Ansichten der Natur noch nach einem klassischen Episteme streben; ihre Ansichten laufen allerdings immer wieder Gefahr, durch die enorme Fülle an geographischem, geologischem, und botanischem Wissen, die die Autoren selbst durch ihre Forschungsreisen angesammelt hatten, zu kollabieren. Ziel dieses Beitrags, ist einerseits die Methodik zu skizzieren, die die erwähnten Autoren anwendeten, um dieses Problem zu bewältigen und ihre Schilderungen ländlicher und urbaner Ansichten so umfassend und systematisch wie möglich zu machen. Es wird jedoch andererseits auch der „politische“ Charakter ihrer wissenschaftlichen Unternehmungen betont, denn – nach ihren Auffassungen – die Entwicklung eines für die Landschaft aufmerksamen Blicks auch zur Bildung freieren „Ansichten“ über die Gesellschaft beitragen sollte.

2:00 PM - Die Grenze von Leben und Tod. Hufeland, Bichat und Goethe. Langer, Stephanie (Institut für Germanistik, Wien, Austria)

Im ausgehenden 18. Jahrhundert differenziert sich ein neues Wissen vom Sterben aus, mit dem die Grenze zwischen Leben und Tod aufgelöst wird zugunsten eines graduellen Übergangs, der sich klaren Zuordnungen verweigert. Der Tod ist nicht länger der eine spezifische Moment, in dem die Seele den Leib verlässt, stattdessen ist er nunmehr das Resultat eines vielfältigen, sich in die Zeit erstreckenden Prozesses. Dies ist der präzise historische Zeitpunkt, zu dem sich das Konzept des Scheintods als eines Zustands zwischen Leben und Tod entwickelt, als potentiell reversibler Zustand also, der äußerlich ganz dem Tod gleicht, bei dem jedoch im Körper noch Leben vorhanden ist. Der epistemische Status des toten Körpers ist damit immanent prekär und schlägt sich nicht in distinkten, sondern vielmehr in diffusen und darum problematischen Zeichen nieder.

In gleichem Maße, in dem die Grenze zwischen Leben und Tod zunehmend unbestimmbar und diffus wird, ist diese vermehrt Gegenstand wissenschaftlicher Auseinandersetzungen, die ihrer definitorisch 399

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 habhaft zu werden suchen. So entfaltet etwa Christoph Wilhelm Hufeland 1791 mit Ueber die Ungewißheit des Todes und das einzige untrügliche Mittel sich von seiner Richtigkeit zu überzeugen und das Lebendigbegrabenwerden unmöglich zu machen ein umfassendes theoretisches Programm des Todes, des Scheintodes, aber auch des Lebens, genauso wie Xavier Bichat 1800 mit seinen Recherches physiologiques sur la vie et la mort. Wie sehr die Wissenschaft der Zeit darum ringt, die Zeichen am toten Körper in ein eindeutiges Begriffsinstrumentarium zu fassen, inszenieren Goethes Wahlverwandtschaften, wenn durch den gesamten Roman hindurch ein auf das Wissen vom Scheintod verweisendes Bezugsgeflecht etabliert wird, das in der Inszenierung von Ottilies nicht verwesendem toten Körper mündet. Anhand von Goethes Roman will der geplante Beitrag darum nach dem Verhältnis von Scheintod, Expertenblick und Literatur fragen.

2:30 PM - Von mythologischen und sprachlichen Verwandtschaftsverhältnissen. "Wollust und Mordlust" in Gotthilf Heinrich von Schuberts Die Symbolik des Traumes und in Ludolf Wienbargs Wanderungen durch den Thierkreis Buehler, Jill (Karlsruher Institut f. Technologie (KIT), Karlsruhe, Germany)

Um 1800 tauchen in unterschiedlichen wissenschaftlichen Kontexten Figuren einer Verschränkung von Blutdurst und Wollust auf. Die (sprachliche) Darlegung gestaltet sich indes als schwierig, so fehlen beispielsweise der noch jungen Kriminalpsychologie sowohl Fachbegriffe als auch eine entsprechende Theorie. Vielleicht ist es gerade dieser Umstand, der das Phänomen in den Kontext sprachtheoretischer Betrachtungen rückt. Angesichts eines grausamen Tötungsdelikts vermutet der Rechtsgelehrte P.J.A. v. Feuerbach im Jahr 1811 das Zusammenfallen von Blutdurst und Wollust als Tatursache und beschreibt somit einen Lustmord avant la lettre. Um seine These plausibel zu machen, greift er auf den indischen Mythos um die Gottheiten Siwah und Durga zurück, der das eigentlich so gegensätzliche Begriffspaar in ein Verwandtschaftsverhältnis setzt. Eine allgemeine Verwandtschaft von „Wollust und Mordlust“ konstatiert auch G. H. v. Schubert in der Symbolik des Traumes (1814). Ähnlich wie Feuerbach beruft er sich bei der Darlegung dieses Ähnlichkeitsverhältnisses in erster Linie auf mythologische Konstellationen (i). Schubert belässt es aber nicht bei diesen Darstellungen, sondern er überführt das Verwandtschaftsverhältnis in den Kontext der zeitgenössischen Etymologie (ii). Gut zwanzig Jahre später widmet L. Wienbarg ein ganzes Kapitel seiner Wanderungen durch den Thierkreis (1835) der zwillingshaften Gestalt von „Wollust und Grausamkeit“ und thematisiert nachdrücklich die Schwierigkeiten des sprachlichen Ausdrucks entsprechender Phänomene (iii).

17320 - Comparative Studies in Central European Context Date: Tuesday, July 26th Room: Erika-Weinzierl-Saal Chair: György C. Kálmán; György Fogarasi; Ana-Maria Codau

Chair: György C. Kálmán

9:00 AM - Networking early comparative literature and the first international journal of comparative literary studies T. Szabó, Levente (Babes-Bolyai University, Cluj, Romania)

The first international journal of comparative literary studies, the multilingual Acta Comparationis Litterarum Universarum / Összehasonlító Irodalomtörténelmi Lapok (1877-1888), 400

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 founded in Kolozsvár (today Cluj, Romania), has been discussed mainly in Romantic terms as the product of its "founding fathers", Sámuel Brassai and Hugo von Meltzl. This angle shadowed the extraordinary role and status of an unusually large network of around 120 permanent collaborators with very diverse backgrounds.

My paper will consider the rise of one of the modern founding institutions of global comparative literature as an Eastern European metanetwork of various types of scholarly, administrative and personal networks that attracted more than a hundred collaborators from the USA to Iceland, from Egypt to China, and from Tunis to Tokyo. Cluj / Kolozsvár / Klausenburg and the Acta Comparationis Litterarum Universarum will be thus viewed as hubs of networks, that converted into capital the multiple weak ties (Mark Granovetter) it succeeded to forge in a reasonably short period around certain ideas, like that of role and nature comparison in the transnational literary and cultural field. The paper will give a literary sociological analysis of the exceptional ability of the founders, Sámuel Brassai and Hugo von Meltzl, to forge multiple networks around them and their ideas, making the Acta Comparationis Litterarum Universarum (and Cluj / Kolozsvár / Klausenburg) a nineteenth-century hub of very diverse local, regional, national and transnational literary networks.

9:20 AM - Hungarian-English dialogues. The Acta Comparationis Litterarum Universarum (1877- 1888) from the perspective of its relations with the English literature Codau, Ana-Maria (Babes-Bolyai University, Faculty of Letters, Cluj-Napoca, Romania)

The first international review of comparative literature was quite incomprehensible for the contemporary Hungarian literary discourse that favoured the highlighting of national values. Thus, the ACLU’s attempts to generate a stratified intercultural dialogue and its constant struggles of self-reflection, self-positioning can be much better understood from the viewpoints of the different collaborators - such as the English ones. The comparison of Hungarian and English perspectives present in and around the review reveals how differently the two sides interpreted the goals of the ACLU, the kind of balancing between comparative literature and Hungarian studies/Hungarologie that Meltzl and Brassai’s project proposes, and how the negotiation of meaning plays a crucial role in the early life of institutional comparative literature. The reactions of the Hungarian and English press show the paradoxical self-positioning of the ACLU for both parties; for the Hungarians the ACLU was not „Hungarian” enough, while for the English this „Hungarianness” was possibly what attracted them.

My paper tries to discover the reasons behind this situation by looking at the way the Hungarians, the English and the ACLU regarded the questions of Hungarian studies, comparative literature and folklore studies. We may suppose that the ACLU’s more anthropological approach to literature and folklore was something that the 19th century Englishmen would find proper and interesting. Further reasons may be found by looking at the work of cultural mediators like Edward Dundas Butler, whose interest in antiquarianism and orientalism as well as Unitarian relations could have fuelled his involvement in the ACLU’s projects of translation, while he was becoming one of the most important channels for propagating Hungarian literature in England.

9:40 AM - Imagining comparative literature: Hungarian women writers in the 19th century Varga, Zsuzsanna (Glasgow University, Edinburgh, United Kingdom)

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Whilst modern histories of comparative literature normally put its beginning to the late 19th century and associate the discipline’s launch with the work of Posnett on the one hand and with Brassai and Meltzl on the other, this paper will suggest that Hungarian writers, already in the 1860s and 1870s, already experimented with the methodologies later to be associated with the more rigorous disciplinary procedures of comparative literary studies. My paper will focus on the work of Emília Kánya and the Wohl sisters, whose work as periodical editors and journalists in Pest-Buda in the 1860s and 1870s, stood out as important examples. Their periodicals, Családi kör [Family circle, 1860- ] and Magyar Bazár [Hungarian Bazaar, 1872-] introduced Hungarian readership to European literature in translation, and they also carried reviews and critical essays that used Hungarian and foreign work in a comparative way. My paper will examine literary careers and editorial activities in tandem, will consider pieces of literary journalism, and will argue that whilst it is tempting to see the emergence of comparative literature as a sudden phenomenon, contemporary practical criticism in worked in a close collaboration with the rising scholarly discipline.

10:00 AM - On Idioms and Idiotisms (Theodore Thass-Thienemann: The Interpretation of Language I-II) Fogarasi, György (Department of Comparative Literature, University of Szeged, Hungary, Szeged, Hungary)

A leading Hungarian linguist and literary historian of strong comparative commitment in the first half of the 20th century, Tivadar Thienemann (born 1890) left behind a robust work (including monographs, dictionaries, academic positions, periodicals and book series) when in 1947 he decided to leave the country, first for Belgium, and then for the United States, where he worked as a psychiatrist and freelance intellectual until his death in 1985. The presentation will focus on the last phase of his career, on some writings during the 1960s and 70s he authored as “Theodore Thass- Thienemann”. At the centre of the investigation stands his two-volume book The Interpretation of Language , a work situated at the intersection of psychoanalysis and language philosophy, and appearing at times bluntly metaphysical (in its tiresome universalistic and humanistic claims), at times boldly provocative (in its half-conscious suggestions concerning the etymological entanglements of specific word clusters traversing linguistic, historical and cultural borders). Thus, his work might serve as a good way to link the question of multilinguism both with 20th-century comparative research in Central and Eastern Europe, and with the emblematic figure of the emigrated comparatist.

11:00 AM - Exile, highbrow, middlebrow Sándor Márai's elitism and popularity Mekis, János D. (University of Pécs, Faculty of Humanities, Pécs, Hungary)

Sándor Márai is a well-known and really popular author in Hungary, in Europe and in America as well. He’s furthermore a leading canonized figure in the Pantheon of modern Hungarian literature. But is his art really modern? What about his popularity? What about his style and poetics? Nobel-Prize laureate J. M. Coetzee called him in the near past a quite old-fashioned, minor writer. However, another Nobel-Prize laureate author, Imre Kertész called him „one of the best and most interesting modern Hungarian writers” in a speech which was given to a German audience.

We must consider, that “Modernism” and “modernity” are signed by the same Hungarian word: “modernség”. The first is the name of a literary and art movement, the second is the name of a period in cultural history (well, a really broad one with blurring edges). I’ll talk about both notions, as Márai’s oeuvre is involved in both of them.

Influential critic Marcel Reich-Ranicki, often called “the literary Pope” (Literaturpapst) announced that Embers by Márai is a crucial book for a cultured way of life. Well, this book proved interesting for the Western audience. It was a great success in Italy and France, in the UK and in the USA, in

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France and in Spain, in the Netherlands and in Finland from the years near the Millenium. Why is it so interesting, along with some other novels?

How does modernity looks to Márai; and how does he do the modernism? My paper will investigate the question of values and popularity of Sándor Márai’s oeuvre in the context of issues as the challenge of popular culture for the elite literature, discourse communities and social classes, gender and roles, exile from and remaining in a Sowietized Hungary, canon and censorship.

11:20 AM - The Pushkin myth and cult in Central European literature Kalavszky, Zsófia (Institute for Literary Studies, Humanities Center, Hungarian Academy of Sciences, Budapest, Hungary)

The myth and cult(s) surrounding Pushkin can be regarded today as one of the recurring topics of 20th century Russian literature. In other words, a trend has developed in 20th century Russian literature in which Pushkin’s cultic transformation provides a possible frame of interpretation for literary works. As a result, Russian-language literary Pushkin studies (e.g. the relevant work of Andrei Sinyavsky, Sergei Dovlatov, Tatyana Tolstaya, and Andrei Bitov) can be seen as a special and unique version of cult research. In my presentation I explore what happens to Pushkin, his figure and the collective of primary works written by him as well as secondary texts written about him (i.e. the Pushkin myth), if it is placed in a 20th century East-Central European space, with its cultural, historical, political and linguistic environment. How is it rewritten and extended, and what emphases does the Pushkin myth gain in three different phases of literary history in 20th century East-Central European literature, in three different languages: in the drama "Maskarad" (1939) by Polish writer Jarosław Iwaszkiewicz, the drama "Csapda" (1966) by Hungarian writer László Németh, and Serbian Milorad Pavić’s Pushkin related texts, first and foremost the short story "Princ Ferdinand čita Puškina" (1982)? To what extent is the Russian poet’s fate and the plot of the Pushkin myth an indigenous precursor and the starting point of every East-Central European historical and linguistic event, and to what extent is it foreign to it?

11:40 AM - Comparative Literature in a Totalitarian Age: the Strange Case of East-Central Europe Kálmán, György C. (Institute for Literary Studies, Humanities Center, Hungarian Academy of Sciences, Budapest, Hungary)

In the 60`s and 70`s, in Central and East Europe the totalitarian state control of culture was very strong: publication as well as the flow of information was under strict surveillance, not to speak of the possibilities of individual possibilities of travel or access to information (libraries, journals etc.). However, it was the age when quite a number of professionals had the possibility to appear on the international comparative literary scene – a paradox which deserves some reflection. Why were comparative literary studies so important in those years for the students of literature, in this region? How and why did those in power lift (temporarily and selectively) the restrictions imposed on the whole sphere of culture? Was there any price the participants had to pay for this liberty? Was it a personal privilege of some carefully selected scholars, for propaganda reasons, or an institutional triumph of the scholarly community? How far was the political impact on the production of comparatists sensible?

The paper will give examples of the international participation of the East and Central European scholars in the period, and try to formulate tentative answers to the questions above.

12:00 PM - Comparative Literature at War Scheibner, Tamás (Eötvös Loránd University of Budapest (ELTE), Budapest, Hungary)

Despite occasionally reemerging claims to the contrary, Literary Studies, including literary theory and comparative literature, has never been an “autonomous” field detached of politics. However, there 403

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 have been historical moments when the two terrains overlapped in an alerting extent. One such episode of history was the Second World War in Europe, when the continent largely fell under totalitarian rule. It was certainly not an atmosphere and a juridical context that favored comparative research. Contact between colleagues from different countries were restricted, and many flew to Turkey or the New World. Still, several comparatists remained active during these years, published articles and books, tried to correspond over the borders, gave lectures and instructed students. The aim of my research is to map the field of comparative literature in Europe in such unfavorable circumstances. In this paper, my purpose is to shed light on the war-time activities of Hungarian professor of literature, János (Jean) Hankiss (1893-1957), a protégé of Fernand Baldensperger, who played a crucial role in organizing comparative literature as an academic field in Europe in the 1930s, and who is remembered as one of the spiritual founding fathers of ICLA. The heritage of Hankiss, however, is not unproblematic. While he was obviously an adherent of intercultural dialogue, he compromised himself in politics by accepting the position of state secretary of religion and education in April 1943, and after the Nazi takeover, he served as a rector at the University of Debrecen. Based on new archival materials I will revisit Hankiss’s involvement in politics in the wider context of his cultural philosophy as a literary scholar.

Chair: Ana-Maria Codau

2:00 PM - A gaze from West to the East: Eastern European émigrés' autobiographies Z. Varga, Zoltán (Institute for Literary Studies, Hungarian Academy of Sciences, Budapest, Hungary)

In my presentation I analyse autobiographies of some 20th century's writers and/or scholars obliged to move from Hungary in a Western country because of persecution, war, political repression. I examine how the cultural gap, the inequality of the cultural capital in the “Republic of World Literature”, the loss of the original reader public, the linguistic enclave influence their creation and generally their conception of the literature. For that purpose, I chose autobiographies which reflect explicitly these questions. My examples come mainly from Hungarian context (Sándor Márai, Endre Karátson, Susan Rubin Suleiman), but I will refer also to the famous diary of Witold Gombrowicz.

2:30 PM - The Art of Imitation: George Mikes' Parable of Migration Hites, Sandor (Hungarian Academy of Sciences, Budapest, Hungary)

At the outbreak of World War II George Mikes (1912-1987), a Hungarian journalist working as the correspondent of Hungarian dailies in Great Britain since 1938, found himself in the state of “statelessness”: while losing connection to his home country

(and eventually losing his Hungarian citizenship), the British authorities interned him, as the citizen of a hostile country, to the Isle of Wright. The book How to be an Alien that Mikes published, as a new-born British subject, in 1946, deals with these challenges of integration and survival in a satirical manner.

By a mock-ethnographic approach as if doing field work in a distant and exotic tribe, he seeks the aspects of imitating otherness, the ways by which integration, that is, cultural invisibility, might be achieved.

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Eventually, by both subverting and reinforcing the elusiveness of his anthropological perspective, the object of imitation is gradually revealed, in peculiarly hilarious ways, to be an obscure world of sheer nonsense.

The paper attempts to show how Mikes, an East-Central European migrant Hungarian Jew, has created not only memorable images of being a Brit and/or a migrant in Britain, but also the ultimate parable of the condition of being simultaneously local and alien, anywhere and anytime.

3:00 PM - Des écoles de littérature comparée au bilinguisme et a la transculturalité poétiques Szávai, Dorottya (Pannon University, Pannon Egyetem MFTK IKI, Veszprém, Hungary)

Mon intéret se porte sur les échanges existant entre les écoles de littérature comparée d’Europe Centrale, en particuler hongroises et celles des écoles occidentales, surtout francaises ou francophones. Hormis cette perspective historiquement comparative, mon invervention vise a mettre en relief la question des échanges littéraires franco-hongrois, en particulier celle de la traduction ou traductibilité, du bilinguisme, du changement de langue, ainsi que des rapports existant entre les canons littéraires et théoriques dans un contexte transculturel.

Les exemples littéraires sur lesquels mes recherches s’appuient sont des auteurs de l’émigration hongroise dont la carriere littéraire s’est effectuée en France (Ladislas Gara, Lorand Gaspar ou Agota Kristof) et dont l’oeuvre s’offre a etre interprétée dans l’axe de notre travail de groupe. Ces oeuvres s’averent, par ailleurs, particulierement aptes a décrire les méchanismes d’échanges, d’influences et d’autres types de transferts culturels se déployant entre la littérature et les théories littéraires de l’Occident (France) et celle d’Europe Centrale (Hongrie), ainsi que le spécificités de l’identité et de la mémoire culturelles relevantes dans ce contexte-la.

L’exemple par excellence de ma communication - avec toutes les questions d’ordre théorique et historique qui peuvent contribuer a notre travail de section de groupe - est la poésie de Lorand Gaspar, poete d’origine et de langue maternelle hongroise, née en Transsylvanie dont la langue littéraire adaptée, celle de la création poétique est le francais, vivant en Tunisie et s’inspirant largement de la culture arabe. Si mon choix s’est portée sur cet oeuvre poétique, c’est également pour cette dimension multiculturelle qui le caractérise. L’intéret particulier de l’activité littéraire de Gaspar est qu’il soit l’unique traducteur bilingue de la littérature hongroise. Son exemple souleve la question théorique du traducteur ’éminent’, du traducteur par excellence.

17322 - The Languages of Immersion Date: Saturday, July 23rd Room: Skandinavistik Leseraum Chair: Kukkonen, Karin; Hautcoeur, Guiomar

9:00 AM - Resisting immersion in Rabelais and his translators Helgeson, James (University of Nottingham, Nottingham, United Kingdom)

‘Pantagruel, tenant ung Heliodore grec en main, sus ung transpontin on bout des escoutilles sommeilloyt.’ (‘Pantagruel, holding a Greek Heliodorus in his hand, was dosing away in a hammock hard by the booby-hatch’, Quart Livre, 63). Commentators have remarked on Pantagruel’s

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 readings at sea and in particular his imperfect ‘immersion’ in his reading experience, one that leads, in his case, to slumber. ‘Immersion’ at sea is not a desired experience: this paper looks at whether immersion is a proper metaphor at all for reading in Rabelais’s chronicles, or whether chronicles are in fact set up to jolt the reader out of the comfortable feeling of immersive reading (thus not allowing him or her to avoid the cognitive and indeed ethical challenges in the writing)? How do translation and the inclusion of critical gloss, transform the question of ‘immersion’, for sixteenth- century and for twenty-first century readers? (Pantagruel’s Heliodorus is, after all, the Greek, although most sixteenth-century readers read him in translation.)

9:30 AM - Fictionalized Immersion in Les Mystères de Paris d'Eugène Sue and its imitators Lavocat, Francoise (Université Sorbonne nouvelle Paris 3, Paris, France)

In Les mystères de Paris , an immersive novel par excellence, several situations of immersion are described. They play a key role in the narrative, mirroring the effects that the author intends to produce. Thus the fictional langage of immersion has to be studied in relationship with what is morally and ideologically at stake in this novel. Moreover, a comparison with other "Mystères", all imitated from Sue's novel (mysteries of London, of Vienna, of Berlin) will be done. Is the same language of immersion used, and the same ideology conveyed?

10:00 AM - The Great Gatsby de F. Scott Fitzgerald, sa traduction française et ses adaptations cinématographiques : trois langages, trois expériences d'immersion. Wolkenstein, Julie (Université de Caen Basse Normandie, Caen, France)

L'immersion dans le chef d'oeuvre de Fitzgerald peut se décliner sous différentes formes : par la lecture du texte original, mais aussi par sa traduction (il en existe plusieurs en français, dont l'une assurée par l'auteur de cette contribution : Gatsby , POL, 2011), enfin par ses adaptations au cinéma, dont la plus récente (Baz Luhrmann, 2013) propose des images en 3D. Comment les procédés narratifs et les partis pris esthétiques du roman sont-ils transposables dans une autre langue ou un autre médium artistique? Quelles conséquences ces diverses transpositions ont-elles sur l'immersion du récepteur? Cette étude vise, en les comparant, à mieux cerner les invariants propres à l'écriture de Fitzgerald, mais aussi les ressorts et les enjeux spécifiques de la traduction et de l'adaptation cinématographique.

11:00 AM - De l'immersion à la performance : remarques sur les enjeux pragmatiques du storytelling transmédial et de ses détournements artistiques Perrot-Corpet, Danielle (Université de Paris-Sorbonne, Paris, France)

La « communication narrative » (« strategic storytelling »), dont la mode s’est répandue mondialement depuis les années 1990, est une technique de communication et de management qui utilise la puissance immersive et persuasive du récit dans un but stratégique.

Comme cette étude se propose de le montrer, le storytelling évolue désormais dans un nouvel espace performatif, à la fois transmédiatique et fondé sur le brouillage des cadres pragmatiques qui régissent traditionnellement l’émission et la réception des formes narratives. Parallèlement, les formes artistiques de résistance à l’utilisation marchande ou politique de l’art du récit se sont elles- mêmes diversifiées et désenclavées, prenant acte des mutations technologiques de notre présent. Se développent ainsi des pratiques minoritaires volontiers transmédiales, qui jouent de la théâtralité inhérente à la performance artistique pour déconstruire les assignations performées par les médias dominants, et qui s’attachent en même temps à problématiser la frontière du vrai et du faux, du réel et du fictionnel, que le storytelling s’ingénie à escamoter. Dans la « médiasphère » devenue le milieu 406

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 ambiant de notre expérience du monde, les enjeux pragmatiques — et partant, éthiques et politiques — de l’immersion narrative se modifient au gré de la conscience inédite d’une performativité généralisée.

11:30 AM - Roberto Bolaño: immersive complicity Grzesiak, Zofia (University of Warsaw, Warsaw, Poland)

Among the components of the question of literary reception, the problem of immersion constitutes a relatively neglected field. Fortunately, the time for inventing the “ideal” or “model” readers seems to have come to an end (or hiatus), allowing us to explore multiple avenues of a redefined readerly experience.

The literary universe of Roberto Bolaño, the author of Savage Detectives and 2666, whom a journalist nicknamed “a Scheherazade on heroin”, offers a superb space for the investigation of the phenomenon of immersion in literature. While the drug addiction of the writer was a rumour, the status of a master storyteller is indisputable. Moreover, reading, widely understood experience of literature, is one of the principal subjects and themes of his works.

My project consists of three intersecting ways of investigating the experience and strategies of immersion: an analysis of the characters and their reading processes in the stories written by Bolaño, the rhetoric that permits the author create suspense and a sense of complicity with his readers, and a comparison of the many modes (and languages) in which the critics try to describe the phenomenon of immersion in the works of the Chilean author. The goal of such investigation is to obtain a local, though transferable, paradigm of experiencing and analyzing the immersive powers of a text and other media, as well as to reveal an apology of said phenomenon, extractible from the oeuvre of Bolaño. Not only does the author provoke the negation of the opposition of immersion and interaction, but also provides the basis for a new take on the problem of influence (one without anxiety).

In the case of Bolaño, a story possesses certain qualities of a black hole. With a gravitational singularity at its centre, it is a time-space pathology from which nothing can escape, as are the stories told by Bolaño, an author hiding behind the mask of a reader, exploring the horrors of the world while immersed in world literature.

2:00 PM - Languages of Immersion in Narratives of Fascination Baumbach, Sibylle (University of Mainz, Mainz, Germany)

In my paper, I will explore the connection between languages of immersion and languages of fascination, focussing on the various forms and functions of languages of immersion in 'narratives of fascination'. As concepts of literary responsiveness, which can illuminate our understanding of how perception (and its manipulation) functions and how it developed over the centuries, immersion and fascination share some common ground: they are both closely connected to the desire for, and the production of, presence, and provide the aesthetic glue that binds readers to literary texts. Furthermore, they might be regarded as contributing to a re-enchantment of the world, drawing readers into fictional worlds and integrating them into various ways of world-making.

Investigating the interfaces between languages of immersion and languages of fascination, I will take a closer look at examples especially from English and German literature and identify key linguistic strategies that help draw readers into literary texts. As I will argue, in addition to being the backbone of many literary texts, languages of immersion also invite readers to engage in a critical reflection upon linguistic and narrative mechanisms of attraction and seduction, sensitizing 407

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 them to the manifold devices of (literary) immersion. It is this twofold function that links immersion with fascination and raises further questions with regard to the tension between immediacy and (critical) distance evoked through languages of immersion as well as their function in the production of aesthetic attention, which I wish to address.

2:30 PM - Embedded Narratives and Immersion in the Eighteenth Century Novel Kukkonen, Karin (University of Oslo, Oslo, Norway)

The written narratives of the early novel present themselves often as a set of embedded narratives, where the story of one narrator yields the story of a character who becomes a narrator, with another character assuming the narration in turn, and so on. As readers follow the narrative thread through the pages, these embedded narratives lead readers to unperceivably slide from one narratological level to the next, without remembering the depth of embedding, in a highly immersive effect.

The present paper discusses Eliza Haywood's The Fruitless Enquiry (1727) as an examplary case, along with Haywood's translation of Madeleine Angelique Poisson de Villedieu's Les journées amusantes, dediées au roi (1722/1724). I shall elaborate on the immersive process as readers are led to sink through the narratological levels, and speculate on the connection between these stylistic techniques of linguistic immersion in embedded narratives and the linguistic "signposts of fictionality" that would emerge later in the history of the novel (see Hamburger 1993; Cohn 1999), once its "language of immersion" had been developed in full.

3:00 PM - Réflexions sur le « lecteur immergé » Hautcoeur, Guiomar (Université Paris Diderot Paris 7, Paris, France)

Nous proposons de réfléchir, dans le sillage des études de réception et de l’intérêt qu’elles ont porté au contexte de réception des textes littéraires, aux conditions de réception qui rendent possible et efficace l’immersion du lecteur dans une fiction. Les notions d’horizon d’attente (Jauss : 1978) de lecteur implicite (Iser : 1976) et, plus récemment, de lecteur empirique (Jouve, 1992, Gervais, 1993) contribuent sans aucun doute à la compréhension de ce que peut être une lecture immergée sans toutefois l’épuiser. Il nous semble en effet que l’appréhension de l’expérience vécue par le « lecteur immergé » doit s’efforcer de croiser l’analyse des facteurs culturels et historiques à celle des mécanismes cognitifs mis en lumière par la psychologie cognitive (Gerrig : 1993). Nous essaierons de comprendre cette articulation en nous penchant sur un motif romanesque éminemment « immersif » qui fonctionne à la fois comme un invariant du langage fictionnel – le secret portant sur les origines familiales du héros – et comme un motif éminemment ancré dans un contexte historique précis.

17324 - Cartographie européenne de l'écocritique Date: Friday, July 22nd // Saturday, July 23rd Room: Sensengasse SR1 Chair: Hermetet, Anne-Rachel; Guest, Bertrand; Thiltges, Sébastian

2:00 PM - Justice poétique et justice environnementale dans le roman ibérique : mises en scène polémiques de l'habitabilité Bonvalot, Anne-Laure (Université d'Angers, Paris, France)

En Espagne et au Portugal, ladite « littérature de la crise » constitue une précieuse chambre d’enregistrement des alternatives socioécologiques imaginées afin d’infléchir l’imaginaire dominant

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 de la démocratie néolibérale, des alternatives dont elle contribue à visibiliser et à affirmer les principes – décroissance, économie écologique, agriculture urbaine, formes de l’habitat collectif et solidaire. Ces pratiques, qui se sont généralisées en Espagne à l’issue du mouvement des Indignés (15-M) et peuvent être lues comme les signes d’une écologisation de la mobilisation populaire, font l’objet d’une prise en charge croissante par la littérature. À Madrid, l’occupation de la Puerta del Sol pendant plusieurs mois a correspondu à la généralisation de modes de vie et d’occupation de l’espace alternatifs, à l’émergence de modalités nouvelles d’expression et de circulation du savoir dont il importe de recueillir les traces et effets dans les fictions. Le phénomène ne saurait se réduire à la capitale, et les manières d’habiter l’espace, articulées à des formes de fiction spécifiques, tantôt brisées ou collectives, se retrouvent par exemple dans la littérature catalane, mais également portugaise. Il s’agirait alors de comprendre comment ces littératures construisent une écopoétique de la précarité. Il importe en effet de poser la question cruciale de l’existence d’une écocritique – et d’une écopoétique – spécifiquement méditerranéennes, largement inspirées du tiers-mondisme et du marxisme, tantôt complémentaire ou critique vis-à-vis de certains aspects de l’écocritique anglo- saxonne. Je proposerais ainsi d’envisager des productions fictionnelles articulées autour du paradigme de l’écologisme populaire – Joan Martínez Alier –, mettant l’accent sur les inégalités ou les asymétries de richesse et de pouvoir. On assiste ainsi à la généralisation de la mise en fiction de pratiques qui contestent le paradigme dominant, techno-optimiste, de la « modernisation » écologique.

2:30 PM - Du régionalisme littéraire à l'écopoétique : écritures de la nature dans le roman luxembourgeois Thiltges, Sébastian (Université du Maine (EcoLitt) / Universität des Saarlandes, Esch-sur-Alzette, Luxemburg)

Afin de ne pas concevoir une nature unifiée et extérieure à l’homme, il convient de reconnaître l’importance de la diversité culturelle et locale (Larrère, Penser et agir avec la nature, 2014) dans le contexte même de crise écologique globale (Heise, Sense of Place and Sense of Planet, 2008). Inversement, le concept de nature doit permettre de repenser certaines spécificités culturelles, en l’occurrence le régionalisme littéraire, l’écriture de la migration, ou encore la question du multilinguisme, élargie au non-humain.

Eu égard aux prises de conscience sociopolitiques concernant l’environnement, au développement de l’écocritique, ainsi qu’aux travaux récents sur l’espace culturel et social au Luxembourg, l’absence de l’écologie et de l’environnement dans ces études et dans la recherche littéraire peut surprendre. En prenant en considération les évolutions socio-économiques au cours du seul XXe siècle et les spécificités régionales du petit pays multilingue situé au centre de l’Europe, nous proposons d’analyser – à partir de textes sélectionnés – l’évolution de la description romanesque de la nature et de ses interrelations avec l’être humain.

Dans le roman régionaliste du début du siècle, la description de paysages locaux et d’une nature- patrimoine qu’il faut protéger est indissociable d’une identité nationale et culturelle en train de se forger. Puis, l’émergence et le déclin de l’industrie sidérurgique inspire des auteurs qui se réclament les défenseurs d’une nature sacrifiée alors que d’autres, déjouant l’usuelle opposition entre paysage naturel et espace moderne, décrivent une nature hybride façonnée par l’être humain et une industrie menacée au même titre que le monde naturel. À la fin du siècle, le développement du secteur financier et de la mondialisation engendre finalement un imaginaire angoissant de dématérialisation et de déterritorialisation face auquel les romanciers contemporains, conscients du contexte écologique global, cherchent à « redécouvrir le paysage » (N. Helminger) sans pour autant revendiquer un retour à une tradition littéraire régionaliste – nouveau modèle d’écriture de la nature que nous qualifierons dès lors d’« écopoétique ».

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3:00 PM - Die Ästhetik des hohen Nordens. Eine vergleichende Stilistik des Erhabenen Wagner, Walter , Austria

Das Erhabene, das als ästhetische Kategorie erstmals in der Abhandlung Peri Hypsous des griechischen Autor Pseudo-Longinos auftauchte und später von Burke und Kant weiterentwickelt wurde, beschreibt Naturerscheinungen und Landschaftselemente, die beim Betrachter aufgrund ihrer Dramatik und Größe sowohl Furcht als auch Faszination auslösen. Blitz, Donner, Vulkanausbrüche, Wasserfälle, das aufgewühlte Meer, das Hochgebirge, mächtige Gletscher, die endlose Weite der Wüste usw. fallen in diese Kategorie.

Ausgehend von einem Zitat, in dem Marguerite Yourcenar die Schönheit der arktischen Landschaft als „proprement indescriptible“(Lettres à ses amis et quelques autres, S. 552) bezeichnet, soll der Frage nachgegangen werden, mit welchen stilistischen (phonetische, semantische, syntaktische und Inhaltsfiguren) und lexikalischen Mitteln (semantische Felder) das Erhabene der Natur in die Sprache nichtfiktionaler Literatur übertragen werden kann. Das Korpus dieser Untersuchung umfasst jeweils vier amerikanische und französische Reiseberichte des 20. und 21. Jahrhunderts über die asiatische, europäische und nordamerikanische Arktis: John Muir, Travels in Alaska; Barry Lopez, Arctic Dreams; Gretel Ehrlich, This Cold Heaven; Kim Heacox, The Only Kayak. – Jean Malaurie, Les Derniers Rois de Thulé;Nicolas Vanier, L’Enfant des neiges; Olaf Candau, Un an de cabane; Sylvain Tesson, Dans les forêts de Sibérie.

Die Erfahrung des Erhabenen wird dabei im Zusammenhang mit folgenden Naturgegenständen untersucht: a) Bergen, b) Gletschern und c) Eisbergen. Das Ergebnis dieser Studie wird einerseits eine vergleichende Stilistik des Erhabenen bieten und anderseits die Ästhetik der erhabenen Natur am Schnittpunkt diverser Wildnis-Diskurse, die z. B. ökologisch, religiös oder mystisch grundiert sein können, freilegen.

4:00 PM - Paul Celan and the subversion of racial geology Giannuzzi, Mariaenrica (Iaph - Italia, Roma, Italy)

Revising archive materials about Celan’s books of geology, zoology, botanic and cristallography I would discuss the lack of determinable concepts in Celan’s use of natural history. Such appropriation of geological references has been already interpreted as ritual practice corresponding to the mass- destruction of Jewish genocide[1], or as the production of imaginary landscapes. But if the distance of Celan’s avant-gard style from romantic Naturlyrik is considered, it is necessary to discuss the sense of naturalistic reference in a poetry devote to challenge nationalist identity. Which semantic shifts does it bring in the symbolic complex of Blut und Boden? Which aspects of natural history have served this project? And how Paul Celan influenced contemporary ecopoetics? Analysing Sprachgitter (1959) logical interruptions are lead by bringing every single semantic unit to absurdity. But it is still not true that every concept is lead to absurdity: the selection of semantic units coming from the field of animals migration, meaning of "trace" and planetary frontiers is quite visible. The choice of underlining political effects of Celan's texts for the perception of German landscape takes even more importance if it is noticed that the complex of Blut und Boden did not structured just the “secret speech” of spiritualism involved in Nazi politics, but it structured also the geological modern discourse.

4:30 PM - Résister aux monocultures dans Trois femmes puissantes et Ladivine Jamie, Herd (Université Paris 8, Vaison-la-Romaine, France)

Menaces environnementales, les monocultures de l’agro-industrie détruisent la biodiversité, dégradent la fertilité des sols, et n’arrivent pas à fournir une solution à la faim dans le monde. En réponse, un mouvement sociopolitique autour de la sécurité alimentaire et la protection de la 410

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 biodiversité mobilise de plus en plus des militants dans le monde. Pour l’écoféministe Vandana Shiva, les monocultures vont de pair avec la destruction des systèmes de savoirs locaux. Selon elle, « Les monocultures ne se propagent pas parce qu’elles produisent plus, mais parce qu’elles contrôlent plus. » A l’inverse, la permaculture est une agriculture de petite échelle, inspirée des écosystèmes « naturels ». Parce qu’elle rétablit un rapport entre l’être-humain et la terre, elle recrée un lien entre l’identité (paysanne) et l’agri/culture. Cet article établit un pont entre la sécurité alimentaire et la littérature en développant une « lecture permaculturelle » de Ladivine et Trois femmes puissantes de Marie NDiaye. Pour ce faire, il analyse la place de trois éléments dans les romans : l’arbre, le jardin et l’animal. Il compare la recherche d’une sécurité alimentaire avec la quête d’une « sécurité identitaire » (la réunion de conditions qui rend à l’être humain la possibilité psychique, émotionnelle et culturelle de jouir pleinement de sa capacité d’agir). Ecosophique, cette lecture considérera comment l’auteure dramatise les trois écologies de Félix Guattari : l’environnement, les rapports sociaux et la subjectivité. Les romans de NDiaye sont compris comme des critiques d’une monoculture sociale et subjective qui ouvrent implicitement des espaces pour des identités minoritaires en France. Cependant, cette quête de la sécurité identitaire est universelle dans la mesure où elle est aussi une résistance à une monoculture internationale. Cette analyse cherche à fomenter une synergie entre mouvements écologiste et littéraire en examinant comment ces textes cultivent la diversité.

5:00 PM - Espaces gioniens : du régionalisme à l'universalisme Ladevèze, Charlotte (University of Augsburg, Augsburg, Germany)

Jean Giono a souvent été réduit par la critique littéraire à un auteur régionaliste, comparé à Ramuz ou Pagnol, et cela perdure encore parfois aujourd’hui. Cependant, c’est beaucoup réduire l’œuvre de l’écrivain que d’y voir une description régionaliste et c’est en perdre le véritable message qui est, selon nous, écologiste avant l’heure. Pour mettre cela en évidence, nous proposons de nous intéresser aux questions d’échelles chez Giono et d’interroger le rapport entre « local » et « global » dans ses romans. Nous préférerons à une approche géocritique de l’œuvre, une approche écopoétique de l’espace gionien qui permettra de mettre en évidence l’aspect écologique de l’œuvre.

Même si la Provence constitue le cadre de nombre de romans de Giono, et que l’espace gionien a certes des caractéristiques provençales (toponymie, faune et flore méditerranéennes), son œuvre n’a pourtant aucune prétention réaliste. À partir de la Provence, c’est bien plus la nature, l’environnement, voire le cosmos que visent Giono. Il faut donc envisager son œuvre à une échelle plus large. Le recours à de nombreux écomotifs, comme celui de l’arbre, ou les visions apocalyptiques d’une nature vengeresse qui parcourent l’œuvre gionienne amènent à repenser le rapport de l’homme à l’environnement. Giono dénonce l’homme moderne qui, en ville, perd son attache originelle à l’élément naturel auquel il est intrinsèquement lié et dont il doit tenir compte pour trouver son équilibre et échapper à sa vengeance. Nombreuses sont d’ailleurs les images où l’homme se fond, voire se dissout dans son environnement naturel.

L’espace gionien ne peut donc être réduit à un espace régional. La nature provençale n’est que le point de départ à une description cosmique de la nature. Nous y voyons d’ailleurs une des raisons pour laquelle l’œuvre de Giono a rencontré un si grand succès à l’étranger : les motifs choisis sont universels et parlent à l’imaginaire collectif.

Date: Saturday, July 23rd

9:00 AM - La steppe, le canal et les cimes (une balade européenne) Barthelemy, Lambert (Universität Poitiers, Montpellier, France)

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Afin de contribuer à une réflexion générale sur le potentiel environnemental des littératures européennes contemporaines, je propose de prêter attention à la poétique du paysage qui se dessine, entre autres, dans les récits de Jean Rolin, Vassili Golovanov, Blaise Hofmann, Mariusz Wilk ou Peter Handke. Au cœur de cette attention se trouve la notion de « Tiers espace », que j’emprunte à Gilles Clément, doublée d’une conscience aigue des effets environnementaux de la modernité. Si l’évocation de la perturbation des éco-systèmes traditionnels et des formes variées de souffrance du lieu qui en ont résulté constitue un élément déterminant de ces textes, elle ne débouche pas pour autant sur une lecture mythifiante du passé pré-moderne et de sa supposée scène d’harmonie rustique. Au contraire, c’est un double travail de distinction qui se met en place et esquisse une relation au territoire qui privilégie l’ « habitabilité » effective de l’espace au quotidien. Peut-être comme une sorte d’énonciation intimiste et dialectique du savoir (environnemental) de la tradition. C’est rappeler des pratiques de l’espace, rappeler l’espace comme pratique et non comme seule surface d’inscription. Ce qui se passe, c’est que l’on en revient moins, au final, à penser une entité – le territoire – comme préexistant et naturel, que comme un objet complexe, en cours de réélaboration, comme un processus : au territoire perdu tendrait alors à se substituer des formes compensatoires de territorialisation, lesquelles prennent appui sur des qualités préexistantes, mais ne s’y résument pas.

9:30 AM - L'écologie littéraire au croisement des discours Hermetet, Anne-Rachel (université d'Angers, Malakoff, France)

L'intervention constituera un bilan du projet de recherche EcoLitt: il s'agira de montrer comment les œuvres littéraires et, plus précisément, les romans contribuent aujourd'hui à la constitution des savoirs et des imaginaires sur/de l'écologie. On examinera ainsi, à partir d'un corpus européen, quelle place tiennent les discours scientifiques et politiques dans l'élaboration des fictions mais aussi, en retour, comment ces fictions discutent les thèses et sont créatrices de représentations.

10:00 AM - Literature as Cultural Ecology: Sustainable Texts Zapf, Hubert (University of Augsburg, Friedberg, Germany)

The paper presents the thesis and argument of a book that will be published by Bloomsbury Academic in May 2016. The book proposes a transdisciplinary approach to literary texts based on the paradigm of cultural ecology. Literature is described as a transformative force of language and discourse, which combines civilizational critique with cultural self-renewal in ways that turn literary texts into forms of sustainable textuality. Incorporating insights from new ecocritical directions such as material ecocriticism, evolutionary ecocriticism, and biosemiotics, as well as from German literary theory and philosophy, the book develops a functional-historical view of literature as a medium of cultural ecology, which uses the resources of language, imagination, and discourse for the creation of long-term, self-reflexive models of ecosemiotic complexity. On this basis, the book provides the outlines of a new methodology of ecocriticism that brings together scientific ecology and literary theory.

11:00 AM - Lecture écocritique du mythe de Robinson Crusoé Bataillé, Mathilde (University of Angers, Angers, France)

Selon le critique J.-P. Engélibert, on assiste, depuis la seconde moitié du XX e siècle, dans les littératures francophone et anglophone, à un « regain d'intérêt pour la robinsonnade ». Dans le domaine français, la publication en 1967 de Vendredi ou les Limbes du Pacifique de Michel Tournier relance le genre de la robinsonnade. Encensé par les hippies dans les années 70 en raison de sa « sensibilité cosmique », il fait l'objet, depuis quelques années, de lectures écologiques (S. Posthumus, A. Bouloumié). Plusieurs romans réinvestissent, à sa suite, le mythe de Rob inson au nom de

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 préoccupations environnementales. Journaliste et écrivain, auteur d'essais engagés ( Le Paradis sur Terre, défi écologique , 2010), Alain Hervé fait de son Robinson (1985) un hymne à la nature, non sans reconnaître sa dette à l'égard de Tournier. Dans Empreinte à Crusoé (2012), Patrick Chamoiseau, qui dit vouloir « aller entre Defoe et Tournier », propose une lecture du mythe imprégnée d'une sensibilité écologique, qu'il exprime par ailleurs dans d'autres romans ou essais (préface de L'écologie ou la passion du vivant , 2008).

Ainsi semble-t-on assister à une relecture écocritique du mythe de Robinson dans la littérature de langue française, y compris dans la littérature de jeunesse ( Le Huitième continent , Florian Ferrier, 2012), au point qu'émergent des robinsonnades critiques qui, à la manière de Robinson 86 de Gaston Compère, s'en prennent à cette « espèce de retour à l'éden » défendu dans Vendredi . Dès lors, ce sont les raisons du développement d'une lecture écocritique du mythe qu'il conviendra d'interroger, ainsi que la nature et les manifestations des préoccupations environnementales dont se font écho ces différentes versions. Surtout, nous nous demanderons dans quelle mesure il est possible d'affirmer l'existence d'un « mythe » écocritique de la robinsonnade et quelles seraient alors les frontières de ce mythe. Si l’œuvre de J. G. Ballard offre des exemples saisissants de robinsonnades écocritiques ( L'île de béton , 1974 ; La Course au Paradis , 1994) dans le domaine anglophone, c'est l'échelle géographique de ce phénomène qui sera à questionner.

11:30 AM - Importations européennes et wilderness avoisinant : Représentations oppositionnelles de la Nature dans The Orenda de Joseph Boyden Noël, Martine (Université d'Ottawa, département de Français, Ottawa, Canada)

Le roman historique The Orenda,de Joseph Boyden, raconte la violence de l’époque coloniale canadienne. Deux points de vue s’opposent à même le roman; celui d’un missionnaire jésuite Français et celui des voix autochtones. Le lecteur a ainsi droit à deux ensembles de valeurs et, par extension, deux représentations de la nature.

Une lecture géocritique souligne les conceptions antagoniques de la nature sauvage vue par l’arrivant européen, et de la nature d’usage vue par les membres des Premières Nations. Pour le Jésuite, qui entre dans le Nouveau Monde comme en territoire ennemi, la nature est l’anarchie, le territoire de la barbarie et est en grand manque de « civilisation ». Cependant, pour les Hurons qui habitent le territoire, la Nature avoisinante est bienveillante, utile, et agit même comme composante spirituelle importante. Elle est, surtout, nullement opposé à leur humanité.

Dans Entre l’Éden et l'Utopie, Luc Bureau note que le rapport de l’homme à l’espace naturel opère surtout en mode projection et est donc formulé en raison d'un « modèle » conçu ailleurs. Une fois arrivé sur le nouveau continent, l’Européen s’est heurté à la différence environnementale et a voulu faire une nature à l’image de son pays d’origine. Même qu’il aurait travaillé à l'éradication de la nature réelle au profit d'une nature rêvée.

Mon analyse propose que la modification de la cartographie réelle, soit l’appropriation territoriale par la colonisation du continent canadien, est ainsi venue modifier la cartographie imaginaire. En me servant de The Orenda à titre d’exemple, je tenterai de démontrer comment le colonialisme est venu modifier l’articulation entre nature et culture, en particulier chez les peuples autochtones.

12:00 PM - Voix planétaires cherchent cosmocritique. Quelques exemples de l'aspiration à une écocritique transaréale Guest, Bertrand (Université d'Angers, Caen, France)

Comme le montre encore Ce qui a lieu (Schoentjes, 2015), il est aussi tentant de cartographier l’écriture environnementale que d’y enquêter en Europe, dont la différence supposée avec 413

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 l’Amérique du nord devrait renouveler le champ. Une telle tentative doit cependant mesurer tant les limites du modèle cartographique que la nécessité d’étendre toute écocritique, s’agissant d’enjeux planétaires, au-delà d’un seul continent, aussi variées qu’en soient les langues. À partir d’un corpus mixte de textes contemporains qui abordent l’environnement en croisant d’autres cosmologies à celle de l’Europe, nous montrerons l’aspiration multiscalaire et souvent multilingue à penser notre rapport à la nature mondialement et localement à la fois. Des nouveaux liens cosmopolites tissés par les essais post-Fukushima (Yoko Tawada, Akira Mizubayashi ) à la réactivation de l’universalisme par l’écologie papale (encyclique Laudato si), des écrivains comme Le Clézio ou Rolin, qui regardent vers les marges où leur continent rencontre les autres, à ces documentaires oniriques tels que l’Éloge des voyages insensés de Golovanov, dont le style géographique de récit d’exploration sibérien n’investit un lieu réel et particulier que pour mieux penser le monde entier, des cas variés, entre tant d’autres possibles, plaident pour métisser l’écocritique, invitant à forger des méthodes qui se gardent de toute tentation territoriale, européenne ou autre. C’est un enjeu majeur pour dépasser le cadre où semble s’être jusqu’alors cantonnée l’écocritique : l’ontologie naturaliste occidentale pour qui homme et nature partagent une physicalité mais pas d’intériorité (Descola, Par-delà nature et culture). L’ouverture au chamanisme sibérien ou aux analogies extrême-orientales ne permettrait- elle pas à la critique littéraire de passer le cap d’études disciplinaires et eurocentrées pour se hisser au cœur des enjeux planétaires de civilisations et de langues plurielles confrontées au réchauffement global ?

17325 - Variety of texts and languages in Baltic region of early modernity Date: Friday, July 22nd Room: Skandinavistik Leseraum Chair: Lams, Ojars; Laizans, Martins; Grudule, Mara

4:00 PM - Basilius Plinius and the verse narrative of scientific treatise Laizans, Martins (University of Latvia, Riga, Latvia)

Basilius Plinius was one of Riga Humanists (a group of uomini letterati in Livonian Riga at the turn of the 17th century) who mostly wrote works of poetry. As adherents to European humanism, they wrote their texts mostly in Latin in order to find solace among the mercantile hyperborean "barbars" on the one hand and to attempt disseminating the ideals of Renaissance in Livonic region where Humanism was a late phaenomenon in comparison to Western Europe. Basilius Plinius was particularly interested in describing subjects of natural sciences, for example, his poetry works De Ventis (On Winds), De venenis (On Poisons), De Magnete (On Magnet) and others give sufficient proof that he continues the ancient tradition of Lucretianism in Early Modern times. This paper will be an endeavor to uncover the possible parallels, similarities and changes in these texts of Basilius Plinius regarding both the ideas of Aristotle and Lucretius and the poetic techniques of Lucretius found in the narrative of De Rerum Natura.

4:30 PM - Trilingual textual utopia: a treatise on poetics for a poetry yet to come (J. Wischmann's "Unteutsche Opitz") Lams, Ojars (University of Latvia, Riga, Latvia)

This paper will deal with a cultural phaenomenon of its own kind – a German pastor Johan Wischmann setting down the rules of Latvian poetry before poetry in Latvian is being written. Drawing on the ideas of Martin Opitz, Wischmann's work “Unteutsche Opitz” (1697) is a treatise on poetics and the first work in Latvian literary theory. He writes his treatise in a mixed manner: using German for the main descriptive text, using a lot of Latin and Greek termini technici (or poetici for 414

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 the matter of fact) and provides examples from Latvian folk-songs and short poems of his own making. This endeavor to spark off Latvian poetry by providing rules for it before particular examples of Latvian poetry have emerged to be analysed is an excellent example of the literary works that cultural pendularity of the Baltic region engenders. Thus this paper will inquire into the influences and consequences of Wischmann's work regarding the regional pendularities and peculiarities.

5:00 PM - Jesuit contribution to 17th century Latvian poetry Grudule, Mara (University of Latvia, Jurmala, Latvia)

The paper will discuss the first Lavian catholic hymnal "Geistliche Catholische Gesaenge", compiled by Georg Elger and published in Braunsberg in 1621. It will give a glimpse in the sources of the translated hymns with a special attention to the Polish originals. It will analyze the texts as a reflection of the compilers personality and the level of Jesuit education on the brink of 16th and 17th cnt.

17326 - Poetics of Code Date: Wednesday, July 27th Room: Übungsraum Germanistik 4 Chair: Niebisch, Arndt

9:00 AM - Introduction: Code. Writing and Generating Text Niebisch, Arndt (Universität Wien)

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9:20 AM - Decoding Dada: Avant-Garde Poetry in its Cryptographic Context Beals, Kurt (Washington University in St. Louis, Saint Louis, USA)

The “nonsense” poetry of the Dada movement is often seen as a form of protest, a rejection of the conventional, ostensibly rational modes of discourse that had led to the irrational excesses of the First World War. However, in this paper I will argue that far from representing a decisive rejection of contemporary modes of discourse, these “nonsense” poems in fact drew heavily on one of the dominant communications technologies of the age: the telegraph, and particularly the wireless. It was in the context of wireless waves that the Dadaists composed their nonsense poems, and the forms that these poems took strongly reflected the influence of this new technology. Even Hugo Ball’s “Karawane,” though described by its author as a pseudo-cultic performance, can be productively read as an act of wireless reception. But the influence of the telegraph is even more pronounced in the works of Raoul Hausmann, who came under suspicion from police when they mistook his typographic assemblages for coded messages, and who in fact did include at least one coded message in the cover of his magazine Der Dada No. 1. Hausmann’s Plakatgedichte , too, bear a striking resemblance to the meaningless sequences of letters that filled telegraph code books, which offered their users efficient, private abbreviations for pre-formulated sentences. Thus the “nonsense” poems of the Dada movement can be read not so much as a protest against a still- dominant regime of sense and logic, but rather as a poetic reckoning with a shift from sense to nonsense that had already taken place. Friedrich Kittler famously wrote that new communications technologies inaugurated a “kingdom of nonsense” around 1900 ( Discourse Networks , 209), while N. Katherine Hayles has recently argued that telegraph code books in particular “were part of a historical shift from inscription practices in which words flowed from hand onto paper, seeming to embody the writer’s voice, to a technocratic regime in which encoding, transmission, and decoding procedures intervened between a writer’s thoughts and the receiver’s understanding” Think, 130). 415

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Viewed in this context, the incorporation of codes and code-like forms into Dada poetry appears not as an explosive act of protest against the oppressive regime of reason, but rather as an exploration of what possibilities remain for language once it has come unmoored from meaning.

9:40 AM - SIGNS O' THE TIMES: The Software of Philology and a Philology of Software Hiller, Moritz (Humboldt-Universität zu Berlin, Berlin, Germany)

Since the emergence of digital computer technology it is particularly one phenomenon that prescribes and controls the majority of today's cultures: software. Software's status as an object couldn't be more precarious, since it merges – as a source code – a textual dimension and – as a program – a processual dimension. Whereas the mediality of a conventional literary text is completely materialized in the very moment of its implementation as a manuscript, a book or a digital edition, a source code's functionality is not fulfilled until it is executed as a program by the hardware of a machine. It is only within the logic of this operativity – which in turn requires physical implementation – that software becomes fully conceivable.

For the past ten years, the multiple modes of software's existence as text and/or process have been in the center of attention of software studies and critical code studies, allowing insights into software's materiality, its semiotic and poetic dimensions, as well as its dependency of, entanglement with and power over social, economical and political contexts. Yet what is still missing within these disciplines are techniques of preserving and transmitting software/code in the sense of basic research that critically provides the material for future software and code studies – like scholarly editing has been doing it for (not only) literary studies. Consequently, the paper argues for a philology of software, enriching the knowledge of traditional textual studies and scholarly editing with the knowledge of software studies and critical code studies.

Since such a philology would have to consider the phenomenon's dual mode of existence as static text and/or time-critical process to enable research within both dimensions, old questions rise anew: What exactly would be the text of software, if the notion of textuality has to account for its material operativity, requiring the implementation and execution in a machine that – unlike a book – is reading and writing itself? With materiality and the parameter of time coming into play in a different way than with traditional text, what would be its adequate representation: simulation or emulation? And how do these mimetic operations compare to traditional philologic representations, especially in regard to the materiality of their respective objects? The aim of the paper is to outline the basic idea of a philology of software by approaching these questions.

10:00 AM - Code as Poetic Practice of Information Pao, Lea (Pennsylvania State University, University Park, USA)

Along with the development of its technologies, information has shaped theories of the literary from formalism (Jakobson), semiotics (Saussure, Bense), structuralism (Barthes, Lotman), Empirische Literaturwissenschaft (Schmidt), to digital and digital humanities approaches (Clarke, Jockers, Moretti). It has also become literary itself; much of twentieth century’s avant-garde writings, conceptual art, and digital poetry engage with information as creative (or anti-creative) practice of writing. Calvino, Perec, Pastior, Goldsmith, Bök, Gibson, for example, all explore the possibilities of code and algorithm in work.

This paper argues that information is a long-standing practice of poetry that has shaped what we today understand as “information” and informational practice. Code is one such practice. One example is Christian Bök’s “Xenotext Experiment” and his experiment to encipher a poem into a DNA string and implant it into the genome of a bacterium. By inscribing it into a living organism, the poem, while preserving the encoded verse, is also manipulating and producing new verse through a 416

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 response in the bacterium. The DNA strand as encoded medium of poetic information is fundamental in the production of the text, but it also asks us: how does “encoding” preserve, transform, and make meaning? And how does it turn “poetic information” into how we read and what we read as a poem? In other words, what does it teach us about poetry being informational all along?

17327 - Theory in Love Date: Friday, July 22nd // Monday, July 25th Room: Seminarraum Nederlandistik Chair: Wocke, Brendon; Lampropoulos, Apostolos; Manzari, Francesca

9:00 AM - Pour une théorie amoureuse Manzari, Francesca (Université d'Aix-Marseille, Aix-en-Provence, France)

Il s’agira de travailler sur le séminaire XX de Jacques Lacan dans la tentative d’extrapoler un modèle à même de figurer le rapport de la théorie à son objet. La question préalablement posée est de savoir si, comme le dit Lacan, les troubadours ont tout compris de l’amour. Une première partie de notre exposée nous permettra d’établir une comparaison entre l’amour voué par le troubadour à sa dame et le rapport qu’un texte théorique entraîne avec son objet. Si cela est possible, c’est juste dans la mesure où l’amour provençal n’a d’autres formes que celles de la création langagière et que la théorie littéraire est ici pensée en terme d’élan créatif. Une création langagière, celle de la théorie, qui ne surgit pas d’elle-même, mais qui se construit dans un rapport à un texte, qui est un objet. Et ce que nous postulons est que pour qu’il y ait création, cet objet doit revêtir le caractère d’un Autre dont le discours théorique serait amoureux. Il s’agira alors de revenir sur le débat ancien de la nécessité d’aimer pour créer et poser « encore » la question de savoir si la création théorique est envisageable en des termes autres que ceux d’un rapport érotique à son objet. Faut-il aimer pour être théoricien ?

9:30 AM - Il n'y a pas de rapport sexuel, sinon qu'il y a de l'amour : Badiou, lecteur de Lacan Martins, Luiz Paulo Leitão (Federal University of Rio de Janeiro, Rio de Janeiro, Brazil)

Cette présentation propose d’analyser le sujet de la théorie dans l’amour à partir de la conception de l’amour développée par le philosophe Alain Badiou et de sa lecture de l’aphorisme « il n’y a pas de rapport sexuel », conçue par Jacques Lacan entre 1970 et 1975.

Initialement, nous allons reprendre les principaux arguments utilisés par Lacan pour soutenir la thèse selon laquelle dans la sexualité du point de vue de la jouissance n’existe pas l'idée de rapport entre les sexes. Ce qui existe n’est pas le sexe ou des rapports sexuels, mais une disparité entre deux modalités différentes de formation d’une identité sexuelle et une impossibilité de produire pour soi une représentation du réel du sexe. Si, selon les formules de la sexuation, la structure de la jouissance de l’homme est définie en fonction de l’inscription du phallus, c’est dans la structure de la femme qu’il sera possible d’identifier l’émergence d’une jouissance autre. Loin de réduire le réel de la jouissance à un signifiant universel, ce qui impliquerait d’identifier l’expérience sexuelle à la logique du fantasme, la structure féminine de la sexuation pourrait conduire à l'affirmation de ce qu’Alain Badiou a appelé de sens d’ab-sexe comme fonction du réel.

Le problème est que Badiou identifie chez Lacan, au-delà du « il n’y a pas de rapport sexuel », la proposition d’une exception à ce principe. Si le sexe présente une expérience que touche le réel de la différence, la construction de l’amour serait non pas ce qui vient à remplir ou à tamponner le vide du sexe, mais ce qui vient à la place de ce non-rapport : « qu’est-ce que c’est que le monde quand on l’expérimente à partir du deux et non pas de l’un ? », demande Badiou. C’est à partir de cette scène 417

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 du deux que l’auteur propose une réflexion philosophique à propos de la procédure de vérité de l’amour et de son articulation aux domaines de la science, de la politique et de l’art.

10:00 AM - La théorie comme acte d'amour: quête de l'Autre et poésie Michel, Amélie (Université Laval, Québec, Canada)

Amour et théorie entretiennent des liens étroits, à la fois dans l’idéal qu’ils poursuivent et dans la forme qu’ils investissent : le discours théorique, comme l’amour, est tentative de partage, d’échange, de rencontre avec l’Autre (bien que cette rencontre ne soit pas assurée, qu’elle relève du «peut- être»), et émerge dans et par la parole. Cette parole, inadéquate à ce qu’elle tente de traduire, devient dans le langage amoureux «envol de métaphores», pour reprendre les termes de Julia Kristeva. Dans cette perspective, nous pouvons nous demander comment le discours théorique, lui aussi confronté à cette inadéquation, parvient – du moins cherche – à la dépasser, en particulier lorsqu’il tente de cerner un indicible amour. Nous chercherons à montrer que le discours amoureux et le discours théorique qui porte sur l’amour doivent faire éclater la finitude du signifiant pour tendre vers l’infini du sens, et ainsi espérer rejoindre l’Autre. Dans un premier temps, nous ferons appel au Séminaire XX, de Jacques Lacan, et à Histoires d’amour de Julia Kristeva pour mettre en évidence la poésie de l’amour et cerner les particularités de son langage propre, le discours amoureux. Dans un deuxième temps, nous mettrons en relation le Séminaire XX de Lacan et le chapitre «Les relations concrètes avec autrui» (L’être et le néant) de Jean-Paul Sartre, pour montrer que le discours théorique sur l’amour doit lui-même devenir acte d’amour s’il ne veut pas «élaguer de l’expérience amoureuse son trouble» (Histoires d’amour). Alors que Sartre appréhende l’amour de façon distante et rationnelle, Lacan (re)produit le trouble amoureux en faisant de son discours une lettre d’amour, dans laquelle le jeu avec les mots les fait dériver vers l’infini du sens, mais où demeurent le bégaiement, l’hésitation et la circularité propres au discours amoureux. De là nous comptons ouvrir notre questionnement à la relation privilégiée qu’entretient le discours analytique avec la théorisation amoureuse.

11:00 AM - Love in Ruins: A Philosophical Critique of Narcissism Borato, Meryl (York University, Toronto, Canada)

I propose to consider the positing of love as a social imperative for secular society and its long and complex history in philosophical, religious, and romance traditions as we understand them today. I begin with the premise of love as a powerful rebuff to the attacks of September 11, 2001 in Karen Finley’s controversial performance piece, Make Love, which takes the multiple personas of Liza Minelli as an emblem of the traumatic and recently traumatized American psyche. Then, I move to explore two related traditions of love, one Christian and one Platonic, in Cormac McCarthy’s No Country for Old Men and J.M. Coetzee’s Slow Man. I argue that both works critique the rigid parameters of idealized love, and in turn, idealized society, through the frame of human mortality and fallibility.

In Cormac McCarthy’s No Country for Old Men the twin protagonists offer two divergent expressions of godly ambition, the one a murderous force defying human reason, the other in its obsessive pursuit as an opportunity to expiate his sin and the sins of mankind. J.M. Coetzee’s Slow Man challenges the consequences of narrative simplicity by presenting two competing and unreliable narrators who offer motivations, summaries, and perspectives on the protagonist’s end- of-life involvement with his caretaker and her family. Both texts put forward a principle of hope that acknowledges failing as a necessary part of living without giving in to despair. I use Martha Nussbaum’s concept of interdependence and critique of shame to suggest that these writers imagine

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 acts of love that include weakness, and that such imagining can form the basis for an alternative society. In this I imply that the traditional philosophical and psychological refutation of erotic love as too prejudiced and exclusionary for the benefits of social organization should be reconsidered. I imply, too, that love can be theorized more fully in imaginative representations and enactments.

11:30 AM - Crude Derridean Love Lampropoulos, Apostolos (University Bordeaux Montaigne, Bordeaux, France)

More often than not, Jacques Derrida often thinks his topics through some kind of autobiographical lens, for example his mother tongue or his circumcision. On more than a few occasions he also seems to be keen on eroticizing, not to say sexing up, his writings and on adopting a textual strategy that is hardly recognizable either as typically philosophical or as properly literary. In this context, references to (or even tales of) ejaculation are among the most stunning and some of them have already been pointed out by several critics such as Murat Aydemir in his Images of Bliss: Ejaculation, Masculinity, Meaning. This aspect of the Derridean oeuvre relates, one way or another, to a discourse of Love. For instance, in Dissemination it alludes to Socrates’ reaction when he sees Phaedrus’ flesh in order to talk about the diaspora of sense; in “Envois”, the first section of The Post Card, it is part of the one- way correspondence between the narrator and his beloved female interlocutor; and in Circumfession it contributes to the stream of a discourse recounting the relationship between the philosopher and his mother.

This paper will focus on selected fragments from these three texts by Derrida, taking into account a number of other texts belonging to the corpus of deconstruction. It will ask the following questions: what kind of corporeality emerges from these texts? How does it materialize, disseminate, consolidate or dissolve what one might call love? To what kinds of love (textual, sexual, maternal, or other) does it apply? Can it be seen as an original and hybrid discourse of love? Last but not least, does it open the path towards a new conceptualization of love, namely a pornographic theoretical love?

12:00 PM - La théorie d'art comme témoignage d'amour : l'exemple d'André Pieyre de Mandiargues (1909-1991). Sapino, Roberta (Università degli Studi di Torino, Torino, Italy)

«J'ai assez pratiqué, moi aussi, la critique, pour savoir que l'on ne comprend vraiment que ce que l'on aime et que l'intelligence, c'est-à-dire l'entendement, de l'œuvre d'un poète, d'un romancier, d'un peintre ou d'un sculpteur, n'a d'autre source qu'un intérêt passionné qui est de la catégorie de l'amour» déclare André Pieyre de Mandiargues. Dans ses plus de deux-cent articles et essais, qu'il conçoit comme des «témoignages d'amour», la critique d'art se mêle à la digression personnelle, au souvenir curieux, à l'association par intuition. Au fil des pages l'amour se fait théorie: en parlant de ce qu'il aime, Mandiargues réfléchit sur sa propre conception de l'art d'un point de vue esthétique et éthique; en revendiquant son statut d'amateur et d'amant, il théorise une critique fondée sur la réception immédiate plus que sur l'érudition.

Dans mon intervention, je voudrais considérer l'œuvre critique de Mandiargues suivant trois axes de réflexion. Dans un premier moment je décèlerai les éléments qui suscitent la naissance de l'«intérêt passionné»: quelle théorie littéraire et artistique en ressort-il? Dans la deuxième partie je m'interrogerai sur le sentiment amoureux déclaré par Mandiargues: en particulier, je m'appuierai sur les réflexions avancées par Barthes (Le plaisir du texte) et par Bataille (La littérature et le mal, Le petit, Madame Edwarda) pour situer la posture mandiarguienne entre la recherche du plaisir et l'aspiration à la jouissance. Dans la troisième partie j'analyserai les passages méta-textuels présents 419

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 dans les essais ainsi que le lexique utilisé par l'auteur, afin de mettre en évidence les principes théoriques qui fondent la critique d'art mandiarguienne et d'en évaluer la cohérence avec la mise en pratique.

En conclusion, mon intervention montrera que chez l'auteur l'amour engendre la théorisation à deux niveaux: il sollicite une théorie de l'art; il fonde, motive et nourrit une théorie de la critique qui transgresse les conventions.

2:00 PM - Gender and the Built Environment Christie, Stuart (HK Baptist Univ, Hong Kong, China)

My contribution to ICLA 2016 seeks to offer a critique of conventional trajectories limiting discussions of gendered experience to disciplinary technologies of representation (Foucault; de Lauretis). It does so by theorizing the encounter of motile desires (conation) with their material surround in the modernist context. I argue that the gendered built environment is responsive to, integrative of, and yet in important respects independent from the desires of an individual ‘actant’ (Latour). Individual actants seek a hospitably constructed environment wherein they may realize engenderment; where they cannot find it, they will enlist the help of a conative community, the latter defined by a shared situation imposing collective stresses and pleasures, in order to build one. Illustrating such an argument, my essay juxtaposes an analysis of previously unpublished diaries and notes compiled by E. M. Forster written while he was posted during World War One in Alexandria, Egypt, with his subsequently published travelogue, Alexandria: A History and a Guide (1922), and an early collection of essays, Pharos and Pharillion (1923). Forster’s official role in Alexandria as a volunteer with the International Red Cross (1915-1918) was patently bureaucratic and decidedly minor; his task was to interview hospitalized soldiers as they became eligible for demobilization and the return passage home. Notably, Forster’s private journals (like his ‘locked diaries detailing a contemporary love affair with Mohammed el Adl) constitute intimate paratexts to subsequently publishable acts of literary creation. Documenting evolving demands and responses to the wartime built environment, Forster’s Alexandrian trilogy—two published texts in addition to his private journals—helps to establish conative community as sensate (rather than disembodied) experience, including Forster’s pleasurable “reading” of the lived textures of the built environment as a seemingly improbable outcome of human interaction in zones of conflict. Theorizing the gendered built environment as a zone of conation, even (or especially) in times of war, reverses the conventional associations of engenderment with peace, stability, and narrative normativity—“a life”. The built environment thrives—builds—even (or especially) at times of greatest threat.

2:30 PM - La « resacralisation » du couple et de l'amour. Plaidoyer pour une réévaluation des valeurs féminines et pour érotique « unitive » dans l'uvre essaystique de Suzanne Lilar. Cristea, Carmen (Université de Montréal/Dawson College, Montréal, Canada)

Dans son essai Le Couple publié en 1960, l’écrivaine belge Suzanne Lilar fait la part belle à la question du couple et de l’amour au fil des siècles, et elle y défend une vision de l’amour considéré comme une expérience sacrée et « sacralisante ». Les deux essais parus ultérieurement – À propos de Sartre et de l’amour et Le malentendu du deuxième sexe –constituent le prolongement de la réflexion entamée dans le Couple.

Après avoir circonscrit sa position idéologique (en l’occurrence un féminisme d’opposition à la politique et à la morale traditionnelles du mariage, mais en marge du féminisme traditionnel par sa croyance en l’existence d’un éternel féminin qui dépasserait l’identité sexuée), Lilar explique dans l’introduction du Couple le mobile qui anime son entreprise (la crise moderne du couple et du sacré), ses hypothèses ainsi que sa méthode. L’«enquête » annoncée au départ devient un plaidoyer en

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 faveur d’une érotique unitive et d’un amour conjugal, à la fois sacré et sacralisant. Tout en assumant son positionnement idéologique « à contre-courant », Lilar se pose ainsi en défenseure d’une « nouvelle » érotique, réhabilitant le couple et réconciliant la passion et le mariage. Dans son dernier essai, Le malentendu du deuxième sexe, elle étaye son point de vue à propos, notamment, de la bisexualité innée et de la « dialectique » féminin/masculin qui constituerait le fondement du « nouveau couple ». L’essayiste y affiche plus ferment son positionnement idéologique et s’y prononce ouvertement en faveur d’une révolution idéologique, dont elle souhaite être l’annonciatrice et le précurseur.

« Peut-être, comme le pensait André Breton, le Féminin représente-t-il de dernier espoir de notre civilisation. Sans vouloir faire de la perspective de bisexualité le remède à tous les mots, on conviendra qu’une réévaluation des valeurs féminines aurait une influence salutaire et contribuerait au redressement d’une société qui va vers sa faillite » affirme Lilar dans Le Malentendu du deuxième sexe.

Notre communication se propose de mettre en évidence l’originalité ainsi que l’actualité des thèses avancées par Lilar.

3:00 PM - « Chose à chose et tout avec nous ». Amour et théorie selon Ortega y Gasset ORTEGA MÁÑEZ, María J. (Université Paris-Sorbonne (Paris IV), Petrer (Alicante), France)

L’amour est constitutif de la philosophie depuis son avènement même en tant que mot. Philo- , dérive du verb grec philein , qu’on peut traduire par « aimer », dans le sens d’une tendance ou d’inclination vers quelque chose. Néanmoins, certains philosophes plus que d’autres ont mis en évidence cette origine de l’activité philosophique dans leur propre exercice de la pensée. C’est le cas du philosophe espagnol José Ortega y Gasset (1883-1950), qui dès son premier livre Meditaciones del Quijote (1914), acte de fondation d’une nouvelle philosophie espagnole, définit cette discipline en tant que « science générale de l’amour ». Pour Ortega, la philosophie est la science qui tâche de comprendre ce qui relie les choses, c’est donc un amour qui a vocation à se répandre dans son effort de comprendre les liens entre celles-ci.

Ce n’est peut-être pas ici, ou pas seulement, une conception de l’amour en tant que philia. Afin de bien saisir la portée de cette idée, nous analyserons, d’un côté, la théorie ortéguienne sur l’ amour , telle qu’elle est exposée dans ses Essais sur l’amour , puis, d’un autre côté, sa conception de la théorie , laquelle, à partir de ses formulations dans Le Spectateur et d’autres textes, rejoint le théâtre à travers l’idée du regard porté sur quelque chose, commune aux deux. Un certain platonisme se dessinant comme toile de fond, nous tenterons d’articuler ces pensées de l’amour et de la théorie. L’exploration de ce dialogue entre notions, inhérent à la philosophie ou créé –c’est ce que nous essayerons de dévoiler–, nous permettra d’approfondir la nature de ce lien essentiel à la philosophie.

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Date: Monday, July 25th

9:00 AM - Ménage à trois: évolution du "désir mimétique" entre cocu arthurien et triangle sternbergien Turcat, Eric (Oklahoma State University, Stillwater, USA)

Quel rapport existe-t-il entre le roi Marc et les "triangles d'amour" de Robert Sternberg (1988)? Peu de choses, apparemment, puisque le premier incarne la figure mythique du cocu dans la littérature médiévale, alors que les seconds structurent une théorie de l'amour réciproque dans la psycho-sociologie contemporaine. Marc demeure l'archétype du mal-aimé pour ne pas dire du non-aimé, c'est-à-dire de celui que l'on exclut de la relation amoureuse, alors que, pour Sternberg, l'amour ne saurait se concevoir autrement que dans l'inclusion mutuelle des partenaires.

Or, comme n'a cessé de le réitérer René Girard, le rapport amoureux est avant tout le produit d'un "désir mimétique", autrement dit le résultat d'une interaction non pas bipartite mais tripartite. Pour que le privilège de la relation à deux puisse éventuellement se matérialiser, il faut continuellement que les amants subissent la pression d'une force extérieure qui vienne contester leur amour. Force d'abord voyeuriste dont le désir d'imiter ne fait sans doute que répondre au désir exhibitionniste d'être imité que projette le couple. Mais aussi, peut-être, force spectrale dont la troisième voie finit également par hanter nos esprits de dialecticiens déjà possédés par l'obsession des systèmes binaires.

Se pourrait-il donc que notre conception occidentale de l'amour comme ménage à trois fût moins une cause de notre culpabilité judéo-chrétienne qu'une conséquence de notre mauvaise conscience structuraliste? Pour répondre à cette question, nous contrasterons certes la pratique de la triangulation amoureuse dans l'amour courtois avec la théorie des triangles dans l'amour sternbergien, mais nous rapprocherons surtout ces discours par le biais d'une forme intermédiaire, elle-même à la limite de la fiction lyrique et de la non-fiction psychologique: la maxime des moralistes classiques. Car comme le disait La Rochefoucauld: "Il est du véritable amour comme de l'apparition des esprits; tout le monde en parle, mais peu de gens en ont vu".

Eric Turcat enseigne le français à Oklahoma State University. Il est l'auteur de La Rochefoucauld par quatre chemins: les Maximes et leurs ambivalences (Narr, 2013) et travaille actuellement sur le concept de la temporalité dans le Dom Juan de Molière.

9:30 AM - True Love and Self-Love in Kierkegaard's work Gontier, Elodie Marie (Université Sorbonne, PARIS, France)

In this talk, I offer a brief account of some Kierkegaard’s key concerns about love: its’s preferential love and its being a form of self-love. In Kierkegaard’s book, Works of Love , Danish philosopher claims that the only valid form of true love is neighborly love. I will discuss the means of preferential love which presents romantic love and friendship. This is, according to Kierkegaard, a real form of selfishness. A religious and philosophical treatise called Works of love was written by Kierkegaard in 1847 under Kierkegaard’s name. It’s a Christian book and not pseudonomycal writing like his early writings. R. Gregor Smith notes that Kierkegaard’s study of love reaches to the heart of Christian

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 thought. Indeed, it discusses the matter of Love in his differents senses: self-love, love for the neighbor and love for God. So, it focuses on the relation between the self and the others.

A religious and philosophical treatise called Works of love was written by Kierkegaard in 1847 under Kierkegaard’s name. It’s a Christian book and not pseudonomycal writing like his early writings. R. Gregor Smith notes that Kierkegaard’s study of love reaches to the heart of Christian thought. Indeed, it discusses the matter of Love in his differents senses: self-love, love for the neighbor and love for God. So, it focuses on the relation between the self and the others.

In Works of Love , he sets up a contrast between the natural loves like erotic love ( Elskov ) and friendship ( Venskab ) on one hand, and the love for God and neighbor on the other hand. There is an evident tension between the different attitudes that Kierkegaard expresses in that writing with regard to preferential love. That why, perhaps, a great critics Løgstrup judges Works of Love to be “a brilliantly thought out system of safeguards against being forced into a close relationship with other people 1 ”.

I wish to adress this tension and show how much we are dependent upon the self-love.

1 Knud Ejler Løgstrup, The Ethical Demand , ed. Hans Fink and Alaisdair MacIntyre, trans. Theodor I Jensen and Gary Puckering, University of Notre Dame Press, 1997, p. 232.

11:00 AM - Les figures theoriques de l'amour : metaphore, metonymie, dialectique Zenkin, Sergey (Russian State University for the Humanities, Moscow, Russian Federation)

Les trois textes qu’il s’agit de réexaminer – "L’Amour et l’Occident" (1939) de Denis de Rougemont, "Mensonge romantique et vérité romanesque" (1961) de René Girard, "Fragments d’un discours amoureux" (1977) de Roland Barthes – sont des textes théoriques, non seulement par leur discours conceptuel mais aussi par le fait qu’ils tendent tous à mettre leur sujet particulier (l’amour-passion) dans des cadres plus généraux, en faisant appel aux différentes disciplines : la typologie culturelle et religieuse, la psychologie, l’anthropologie, la sémiologie.

Fidèles à l’héritage freudien, les trois auteurs définissent l’amour-passion par une substitution métaphorique ou métonymique qui produit l’objet aimé : substitution de Dieu chez Rougemont, substitution (mimésis) du désir d’autrui chez Girard, substitution de l’image maternelle chez Barthes. Les mêmes figures servent à expliquer des phénomènes assez éloignés de l’amour, comme la guerre, les cultes religieux, etc. En revanche, un prix à payer, elles mettent entre parenthèses la réalité de l’objet aimé et de la communication amoureuse : Rougemont ne fait que signaler cette perspective interpersonnelle en opposant l’agapè à l’éros, Girard s’intéresse davantage aux tensions entre le sujet désirant et son rival/modèle, et Barthes traite l’amour-passion comme un rapport unilatéral, sans réponse de la part de l’objet aimé.

Il y a encore une figure théorique de l’amour qui se produit moins au niveau du « discours amoureux » qu’à celui de son interprétation théorique : celle-ci finit par dépasser ou sublimer l’amour-passion dans des objets intellectuels variés comme l’idée européenne chez Rougemont, « la vérité romanesque » chez Girard, l’écriture littéraire (ou pseudo-théorique) chez Barthes. Ce faisant, les trois auteurs dialectisent l’amour-passion, en font moins un état qu’un mouvement qui a ses propres règles et qui a lieu dans des contextes non plus personnels mais socio-historiques, constituant une phase d’évolution culturelle ou religieuse de l’Occident.

Substitution psycho-rhétorique ou dépassement dialectique : telle est sans doute une alternative implicite de la pensée théorique, tendue entre la « philosophie » et la « littérature ». La réflexion sur l’amour-passion pourrait servir d’un cas exemplaire où ces deux éléments contraires s’affrontent et cherchent une éventuelle réconciliation : un problème amoureux par excellence. 423

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11:30 AM - De la rhétorique à la drague Noghrehchi, Hessam (Université Sorbonne-Nouvelle Paris 3, Paris, France)

Au début des années soixante-dix Roland Barthes commence à élaborer le concept de la drague à partir de ses lectures de Fourrier et de Sade. Quelques années auparavant, il avait entamé une recherche sur l’ancienne rhétorique, d’abord sous forme d’un cours à l’école des hautes études et puis en 70 avec un article sur le même sujet publié dans la revue Communications. Ces deux concepts, quoiqu’à l’origine complétement distincts vont bientôt être directement liés dans la pensée de Barthes. La drague est au début une question d’ordre éthique, elle devient bientôt une question d’écriture et de lecture, qui permet à Barthes d’insérer le corps et le désir dans la pratique littéraire, mais aussi de trouver une solution pour le problème qu’il s’était posé avant en abordant la question de l’ancienne rhétorique ; la question étant la suivante : l’ancienne rhétorique était le seul moyen que nous avions à notre disposions pour penser comment séduire le lecteur en écrivant. Or ce moyen a perdu aujourd’hui sa crédibilité ou son efficacité sans être remplacé, comment pouvons- nous penser le même problème d’une manière adéquate à notre écriture contemporaine ? Comment poser cette question par rapport au texte moderne ? Ainsi Barthes crée autour du concept de la « drague » un réseau puissant qui se nourrit de ses réflexions autour de l’amour, du plaisir, du désir, etc. d’un côté, et des questions théoriques sur l’écriture et la lecture de l’autre. De surcroit, en gardant parallèlement une dimension éthique et politique (la drague comme anti-répétition, ou anti- naturel) ce concept démontre une liaison intérieure entre différents travaux de Barthes pendant les dernières années de sa vie, mais aussi témoigne-t-il d’une tentative originale de penser la rhétorique aujourd’hui. Dans cette présentation nous essayerons donc montrer le chemin parcouru par Barthes entre la rhétorique et la drague et les questions qui se posent à cet égard.

12:00 PM - To be Possessed by Love : Derrida's Amorous Analytics Brendon, Wocke (University of Perpignan, Perpignan, France)

In the closing paragraph of ‘Phonographies,’ the second essay in Echographies de la télévision, Derrida refers to the absolute necessity of exappropriation. For Derrida, this is a key element of love, eating, drinking, desire and even the construction of meaning itself: “il faut que j’essaie de faire que cela soi à moi, mais que cela reste assez autre pour qu’il y ait un intérêt quelconque à ce que ce soit à moi, ou que je le désire.” In this paper I would like to consider the appropriative structure that Derrida details in the closing paragraphs of ‘Phonographies,’ reading this into the broader citationality, iterability and textuality that he elsewhere proposes. How does the annexation of a text or idea structure his thought? And how is this reflected in his more amorous discourse, such as in ‘La Carte Postale’ and ‘Politiques de l’amitié?’ To be more precise - the mechanism of appropriation at work in La Carte Postale is moved essentially by Derrida?s integration of his emotional and theoretical life, and by the dream-like and hallucinatory images that pervade the text. There is a degree to which he appropriates his own expression of love and his own biography, turning it into an intellectually savant game, thus maintaining an interest which fuels his desire. This can be compared at once with the theorization of friendship and love that ‘Derrida undertakes in Politiques de l’amitié and to the process undertaken by Barthes in Fragments d’un discours amoureaux.’ For instance, Barthes’ ever present I confronted by the ever absent you as the foundation for the amorous solitude that is the lovers discourse today echoes Derrida’s appropriation in so far as the other is brought to measure against oneself in order to distinguish its interest. Tying into the themes of theory and love, I wish to consider the notion of textual possession and appropriation and the manner in which this is articulated primarily in Derrida, but also within Barthes.

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17328 - Cultural Anxiety as Creative Potency of Cosmopolitan Perspective in Comparative Literature Date: Monday, July 25th // Tuesday, July 26th Room: Skandinavistik Leseraum Chair: Kim, Choon-Hee

2:00 PM - Cultural Anxiety as Creative/Critical Potency of Cosmopolitan Perspective in Comparative Literature Kim, Choon-Hee (Institute of Humanities, Seoul National University, Seoul, South Korea)

In his essay entitled “Occasional Paris”, Henry James begins by stating that “It is hard to say exactly what is the profit of comparing one race with another, and weighing in opposed groups the manners and customs of neighbouring countries; but it is certain that as we move about the world we constantly indulge in this exercise. This is especially the case if we happen to be infected with the baleful spirit of the cosmopolite—that uncomfortable consequence of seeing many lands and feeling at home in none.” The “habit of comparing” as cosmopolite exercise generates anxiety, a kind of cultural condition, due to the “uncomfortable consequence of seeing many lands and feeling at home in none.”

This paper will address some specific aspects of cultural anxiety created in the process of forming “the habit of comparing” to put them in their proper perspective, and to define the ways of how cosmopolitan sensibilities are critically activated in comparative perspective.

By opening up the discussion of cultural anxiety, we seek to re-configurate a new cosmopolitan perspective in comparative literature. This will be done by analyzing specifically cosmopolitan literary issues and concerns raised continuously and/or rarely in comparative literary studies.

2:20 PM - Genre, affect, and cosmopolitanism in the peripheral Mediterranean Head, Gretchen (Yale-NUS College, Singapore, Singapore)

This paper will consider the literary production of two iconic cosmopolitan Mediterranean cities, Marseille and Tangier. Jean-Claude Izzo’s innovative roman noir trilogy - Total Khéops, Chourmo, Soléo - famously charts the darker side of Marseille’s Mediterranean cityscape. The organized crime, political corruption, poverty, and violence that characterize the texts are a product of the historical role of the city’s port, its position as a site of both diaspora and departure. On the other side of the Mediterranean, Tangier has occupied the Arabic literary imagination in its capacity as cosmopolitan port city in a way that may initially seem analogous. Authors Mohamed Choukri, Muhammad Zafzaf, and Youssef Fadel have narrated the lives of the smugglers, prostitutes, drug traffickers, and profiteers of clandestine immigration whose lives are inextricably connected to Tangier’s port. Yet, the vision of Marseille in Izzo’s work is interlaced with a nostalgia and hidden optimism; homecoming and the possibility of assimilation are figured into the texts through their very structure. The stark desperation latent in Arabic depictions of Tangier, however, leave no space in their fragmented narratives for such an interpretation. The port here - so often a symbol of a city’s cosmopolitanism, its literal and metaphorical opening to the world outside - invariably represents a demarcated and claustrophobic space of restriction and impasse. In actual fact Tangier's port became a site of increased economic activity; the novels that take it as their structural axis, however, reveal its associated cosmopolitanism - generally considered to be marked by a positive hybridity and transnationalism - as the hidden face of a Northern geopolitical dominance unmistakably hegemonic over the global South. This paper will address the particular affective registers Tangier’s Arab writers 425

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 employ to destabilize the idea of a cosmopolitanism divorced from larger patterns of global economic inequality.

2:40 PM - Spatial significations of cultural anxiety in Su Manshu¿s poetic discourse Tang, Ke (Shanghai International Studies University, Shanghai, China)

Su Manshu, a mixed-blood writer who lived in the late Qing dynasty, provides us a kaleidoscope for intricate cultural anxieties in the grand social transformation as well as the chiasma of Chinese literature with his compositions and translation works. The life trajectories of Su Manshu bear a complicated relationship with his enunciation of spaces in his literary texts. In this essay, the author shall argue that there are three fundamental types of cultural conceptual spaces displayed in all of Su’s novels and pseudo-translation works, which draw a topology of Su’s imaginary worlds in “the real world in the troubled times”, “utopia” and “heterotopia” projected through diverse locations of China and Japan. The author will further explore how Su contextualizes his own pensées upon Buddhism and Hinduism through the dialectic between poetic codes and religious codes. Moreover, in his creative translation of Les Misérables, Su Manshu contemplates upon the traditional Chinese ethnics and Christianity, the traditional Chinese chivalry and the newly introduced anarchism, while exploiting the updated narrative techniques through the metaphor of the novel media appeared in his times. In short, all these works display the “habit of comparing” from a cosmopolitan perspective, the continuous anxiety and ambivalence through Su Manshu’s textual semiosis between his idiolect and the sociolect.

3:00 PM - When a Moor Must Swear like a Catholic: Don Quixote as an Arabian Text. Hermes, Nizar (University of Virginia, USA)

In part II of Don Quixote, the narrator reveals that he discovered the original Arabic manuscript of the history of Don Quixote in a parcel of old written papers he bought from a young boy in Alcala at Toledo. The original writer, we are told, is the Arabian Historian, also described as “filósofo Mahomético,” Cide Hamete Benengeli. The Arabic manuscript was translated by an unnamed morisco at the demand of the narrator. The fact, or let us assume the fictional fact, that Don Quixote is nothing but the work of an Arabian historian can easily provide the reader with the mock truthfulness of the quixotic adventures: “I must only acquaint the reader that if any objection can be raised regarding the truth of this one [Don Quixote], it can only be that its author was Arabic, since the people of that nation are very prone to telling falsehoods” (68). In the “The Puppet Show,” in order to convince the readers that Master Pedro (Peter) is no one else but Gines de Passamonte: Cide Hamete, begins the chapter with the words I swear as a Catholic Christian , to which his translator says that Cide Hamete swearing as a Catholic Christian when he was a Moor, meant only that just the Catholic Christian, when he swears, swears or should swear the truth. As the book unfolds, Cide Hamete Benengeli becomes the wise arbitrator between the reader and Don Quixote. In many instances Cervantes the author proves direct in his endorsement of his narrator Cide Hamete Benengeli’s judgment of the veracity of a particular quixotic adventure. Likewise, Cervantes’ choice of leaving the last word to the Arabian Cide Hamete Benengeli and his Arabian pen does not only suggest the sealing of Don Quixote and the refutation of the spurious part published by Avellaneda.

By exploring the abundant instances of cultural anxieties and comparative references in the text, I will argue that it would be unfair to ascribe to mere coincidence the author’s veiled fascination with Cide Hamete and his Arabic manuscript, a fascination which could imply Cervantes’ recognition of the 426

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 richness of the cultural heritage of his Arabian “ancestors” and (why not?) his familiarity of and admiration for The Arabian Nights or the Arabian maqāma.

Date: Tuesday, July 26th

2:00 PM - Anxious Tongues: Cosmopolitan Desperation in Rawi Hage's Cockroach Norman, Rachel (University of Seville, Seville, Spain)

With wisps of Ralph Ellison’s Invisible Man and Nikolai Gogol’s Notes from the Underground circling a benjaminian flâneur, Rawi Hage’s 2008 Cockroach is a cosmopolitan novel that truly belongs to “world literature.” Set in Montreal, the novel follows an unnamed narrator of Middle Eastern descent who is living in desperation. Having recently attempted suicide, the narrator is broke, jobless, and forced to see a state sponsored therapist, where he ruminates on his childhood in an unnamed war torn country. With neither a personal nor country name, the narrator is faceless and stateless, and his anxiety-ridden cosmopolitanism is crossed with an immigrant milieu as equally desperate characters speaking French, Arabic, Persian, Korean, Russian, and Urdu cross his path. Written in English but set and published in Quebec, it perhaps comes as no surprise that the primary secondary language woven into the text is French. This linguistic heritage is doubled here, though, as both Quebecois and Middle Eastern subjects share a French colonial past, a history that is most easily recognized in a mutual language that complicates a contemporary dichotomy of the native and the foreign.

2:30 PM - BL Novels and Female Space Liu, Qianyue (Fudan University, Shanghai, China)

The BL(Boys' Love) novel describes two boys’ love—they love each other, however, they are not homosexual relationship—only existed in some girls’ imagination. As a unique genre of cyber literature, the BL novel enjoys great popularity in contemporary China, claiming a large body of fans interested in “ACG”, the Chinese subculture based around Japanese videogames, comics and animation. The community of BL culture participants is composed mainly of young females, sometimes referred to by the Japanese derived terms Doujinonna or Fujoshi. In China, BL culture has flourished since the early 1990s. With wide technical support for Doujinonna, BL novels dominate many large websites and have become a cultural phenomenon that cannot be ignored. Most BL novels make adaptations of mainstream comics and turn them into stories of homosexuality. This essay analyzes the literary features of Chinese BL novels as experimental cultural text, and explores the female reading space revealed through these stories. This paper incorporates new perspectives contributed by feminist studies in the field of new media, as well as theories by Michel Foucault and Henri Lefebvre. Through the application of these theories and perspectives, this paper draws the conclusion that the BL novel has created new space for female readers, despite being largely suppressed and ignored by heterosexual male’s political, social and economic society. Fujoshi are still anomalies in a man’s world, battling to demonstrate their strength to potential adversaries and to the male allies who may seek to manipulate them. At the same time, the predominance of the female perspective differentiates the BL novel from other literary genres focused around male homosexual relationships and casts new light on how to re-define gender, identity, and romantic relationships in the mass media.

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17329 - Die vielen Stimmen des Georg Lukács: Date: Monday, July 25th Room: Hs 31 Chair: Seidler, Andrea

9:00 AM - Die Kommunistische Internationale und Lukács' Beitrag in den 1920er Jahren Kókai, Károly (EVSL Finno-Ugristik, Vienna, Austria)

Während seiner Wiener Emigration zwischen 1919 und 1929 war Georg Lukács Mitarbeiter der Kommunistischen Internationale. So publizierte er mehrere Texte in Kommunismus. Zeitschrift der Kommunistischen Internationale für die Länder Südosteuropas, einer Anfang der 1920er Jahre in Wien erschienenen Zeitschrift. Im Vortrag wird zunächst die Situation der kommunistischen Emigration bzw. von linken Intellektuellen in Wien anhand von Dokumenten der Zeit - Memoiren, Briefe, zeitgenössische Berichte - skizziert, so insbesondere bezogen auf die Kontakte von Georg Lukács zu Antonio Gramsci, Theodor Wiesengrund Adorno und Victor Serge sowie zu den Vertretern des Austromarxismus. Im zweiten Teil des Vortrages wird anhand der Texte von Georg Lukács, so etwa die in der Zeitschrift Kommunismus zuerst und dann gesammelt im Band Geschichte und Klassenbewußtsein wieder veröffentlichten, die politische Diskussionsliteratur mit narratologischem Instrumentarium analysiert. Ziel der Präsentation ist, die die Anliegen der von den Kommunisten in den 1920er Jahren erwarteten Weltrevolution artikulierenden und dementsprechend stark ideologischen Texte im Panel Die vielen Stimmen des Georg Lukács literaturwissenschaftlich als "eine Stimme" fassbar zu machen.

9:30 AM - Die Sprache des Genossen Lukács Erlinghagen, Erika (Institut für Europäische Ethnologie, Austria)

Georg Lukács gehörte trotz seines wechselvollen Verhältnisses zur Partei zur intellektuellen Elite der sozialistischen Ära in Ungarn. In dieser Position stand er auch mit ausgewählten Mitgliedern der politischen Spitze in Briefkontakt, wobei der Inhalt dieser Briefe höchst unterschiedlich ist: von rein administrativen Angelegenheiten über Publikations- und Urheberrechtsstreitigkeiten bis hin zu politischen Stellungnahmen, ausführlichen Analysen verschiedener gesellschaftlicher oder wissenschaftlicher Fragen und Protest-Bekundungen. Herausstechend ist Lukács' Korrespondenz mit György Aczél, den führenden Kulturpolitiker der Kádár-Ära, die sich von 1956 bis zur Wende erstreckte. In dieser fällt besonders die Sprache des Genossen Lukács auf, die seine Position zwischen Anerkennung und Ablehnung des großen sozialistischen Philosophen durch das Regime widerspiegelt. Eine Sprache, die sich zwar an die Spielregeln der "offiziellen Sprache" hält und sie doch soweit zu dehnen sucht, um die eigene Agenda so klar wie möglich zu kommunizieren. Was diese "offizielle Sprache" ausmacht und welcher sprachlicher Strategien sich Lukács - insebsondere in der Korrespondenz mit Aczél - bedient, soll im Paper anhand konkreter Textbeispiele aus den bislang unveröffentlichten Originalbriefen dargestellt werden.

10:00 AM - Das Tagebuch des Georg Lukács (1910-11) Seidler, Andrea (Institut für Europäische und Vergleichende Sprach- und Literaturwissenschaft, Wien, Austria)

Georg Lukács (1885-1971) war ein ung. Philosoph und Politiker, dessen öffentliche Karriere mit literaturkritischen Arbeiten einsetzte. Er war ein von jungen Jahren an weit vernetzter Intellektueller, dessen Lebensmittelpunkt (Budapest, Heidelberg, Wien, Berlin und Moskau) sowie seine wichtigsten Bezugspersonen besonders in seinen früheren Jahren mehrfach wechselten. Sowohl in seinem Werk, dessen bisherige Rezeptions- und Wirkungsgeschichte wechselvoll war, als auch in seinem bislang größtenteils unbearbeiteten Briefnachlass schlägt sich dies auf mehreren Ebenen nieder. Eine Neuverortung basierend auf der Aufarbeitung des Nachlassmaterials eröffnet eine Reihe neuer 428

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

Forschungsmöglichkeiten rund um die historische Figur Georg Lukács. Der Vortrag soll sich mit dem Tagebuch des Georg Lukács beschäftigen, dass er in der Zeit von 1910-11 in Heidelberg verfasste. Das Tagebuch ist zweisprachig, ungarisch und deutsch verfasst und beschäftigt sich in erster Linie mit der physischen und psychischen Verfaßtheit des Philosophen rund um den Selbstmord seiner Langzeitfreundin Irma Seidler. Das komplizierte Verhältnis der beiden zueinander und die mehrsprachliche Darstellung dieses Verhältnisses soll anhand des Textes und unter Einbeziehung von Briefmaterial besprochen werden.

11:00 AM - Identität und Alterität bei Georg Lukács Ponzi, Mauro (Sapienza Unviersità di Roma Letteratura tedesca, Roma, Italy)

Der Vortrag beschäftigt sich mit Identität und Alterität in Bezug auf die Bildung des Klassenbewusstseins und auf die Verdinglichung im Werk von Georg Lukács.

11:30 AM - Georg Lukács und Béla Balázs Schmidt, Matthias (Germanistik, Univ. Wien, Vienna, Austria); Kókai, Károly (EVSL Finno-Ugristik, Vienna, Austria)

Die prominente, intellektuell wie persönlich stets ambivalente Beziehung zwischen Georg Lukács und dem Autor und Theoretiker Béla Balázs stellt einen wesentlichen Zugang zum Werk beider Autoren dar. Ausgehend vom bisher unedierten Briefwechsel zeichnet der Vortrag das fragile, oftmals widersprüchliche Verhältnis beider Denker in drei Stationen nach: Von der frühen „Waffenbrüderschaft“ (ab 1908), über die zunehmende Entzweiung (bis 1920) bis hin zur erbitterten Feindschaft im Moskauer Exil (ab 1933). Die Briefe dokumentieren dabei nicht nur die gemeinsamen Sprach- und Landeswechsel, geben Zeugnis von theoretischen, poetologischen und persönlichen Auseinandersetzungen, sondern belegen vor allem auch die anhaltenden Interferenzen zwischen den entsprechenden Codes der Freundschaft, wechselseitiger intellektueller Versicherung und philosophischer Reflexion. Die Korrespondenz wird somit nicht nur zum Spiegel eines facettenreichen Austauschs, sondern auch zum sprachlichen Prisma vielschichtiger Missverhältnisse, zwischen den Sprachen.

12:00 PM - Georg Lukács' Briefwechsel mit Günther Anders und Ernst Fischer Putz, Kerstin (Literaturarchiv der Österreichischen Nationalbibliothek, Wien, Austria)

In Lukács’ Briefwechseln mit dem Philosophen und Schriftsteller Günther Anders und dem Politiker, Schriftsteller und Kulturtheoretiker Ernst Fischer wird ab den 1960er Jahren zunehmend die Ästhetik zum Ort der philosophisch-politischen Auseinandersetzung. Zur Diskussion stehen dabei ausdrücklich Fragen der philosophischen Terminologie. Er wehre sich mehr und mehr gegen den Begriff der „Widerspiegelung“, lässt Ernst Fischer Lukács 1962 wissen. Im Briefwechsel mit Günther Anders wiederum wird die Frage diskutiert, mit welchem Begriffsinstrumentarium, aber auch mit welchen literarischen Mitteln das Phänomen des Alltagslebens, dem sich Lukács in seinem Spätwerk widmete, reflexiv eingeholt werden könne. Nachzuzeichnen ist in diesem Zusammenhang, wie sich Lukács’ eigene intellektuelle Begriffsarbeit in seiner Korrespondenz darstellt.

17331 - IRANIAN COMPARATISM: Recent Challenges and Future Opportunities Date: Saturday, July 23rd Room: Übungsraum Germanistik 4 Chair: Bahrevar, Majid

11:00 AM - Comparative Literature in Iran: Future of a Discipline Fomeshi, Behnam (Shiraz University, Shiraz, Iran) 429

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

One witnesses a rapid growth of comparative literature studies in Iran in recent years. Academic institutions in Iran have published comparative literature journals, founded the National Association, undertaken research projects, translated and written textbooks, held conferences, launched programs in Universities, and founded the Department of Comparative Literature in the Academy of Persian Language and Literature. The recent growth of comparative literature in Iran is a challenge, which can be either an opportunity or a threat. Comparative literature has no firm grounding in Iranian academia because academic research is sporadic and unsystematic. To develop comparative literature in Iran, it is necessary to devise a long-term strategic plan. Iranian scholars of comparative literature working all around the world can contribute significantly to the implementation of the plan. The present study provides some suggestions to realize this national goal.

11:30 AM - A comparative study of Haft Peykar and Decameron based on Todorov's narrative theory Kamali, Mahmoud (Payame Noor University, Tehran, Iran)

Narrative study of works, especially stories, reveals hidden aspects of them and cause more knowledge about stories. Some literary works are very valuable in narratology because of their characteristics, for example; Iranian Haft Peykar and Italian Decameron. Haft Peykar is a poem story of Nizami Ganjavi and Decameron is a collection of novellas by Giovanni Boccaccio. Both works are metafiction and both have some storyteller or narrator. This research studies and analyses stories of seven domes in Haft Peykar with stories of first day of Decameron based on Tzvetan Todorov’s narrative theory. Studying these two work based on equilibrium theory of Todorov reveals narrative similarities and differences between them. This study also investigate and compare the narration tenses and the way of equilibrium and disequilibrium, and actions of plot in both works.

12:00 PM - The Picture of Iran in Translations of Modern Persian Literature into the Czech Language Krihova, Zuzana (Faculty of Arts, Charles University, Prague, Czech Republic)

The Czech Iranian studies have been carried out for more than a hundred years. As a result of this long tradition there exists an extensive collection of Czech translations of many outstanding writers writing in Persian. Although the great bulk of these translations forms works from the classical Persian poetry, there are several works of modern Persian prose and poetry translated to the Czech language too. The prose of Ebrahim Golestan, Sadeq Chubak, Mohammad Ali Jamalzadeh and Sadeq Hedayat, to name a few, were translated by Iranologists Věra Kubíčková and Jiří Osvald with a great care to observe not only the various aspects of original language, but also the specificity of Iranian culture. In my contribution I would like to introduce the translations made by translators with a good knowledge of Persian, focus on several translatology aspects of their works too, and compare them with several translations of Iranian authors living in abroad and writing their works in English, those prose were translated to the Czech language, but by translators with no knowledge of Persian or Iranian culture altogether. I would like to describe a picture of Iran being made by Czech readers approaching these various pieces of prose (and few pieces of poetry too). I also aim to give a closer insight into the present Czech Iranologist background.

2:00 PM - Current trends of comparative literature in Iran according to internationals Congress Boukail, Amina (University of Jijel- General and compare literature -Annaba University, Constantine, Algeria)

Iran has an enormous fortune literary f or this Persian literature occupies an important place among the world literature .

Facing comparative literature now in Iran internal and external challenges :Few specialists in comparative literature, And the absence of department of this specialty in Iranian universities.

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But we notice a remarkable participation of many Iranians researchers in International conferences and congress about comparative literature: so How shares Iranian researchers in comparative studies? What are the most important topics?

For answer these questions we suggest study communications of Iranians researchers was presented in International conferences and congress , we suggest tow axes:

1-The Sixth and Seventh and Eighth comparative Literature Conference (2013-2014-2015) in Morocco and Tunisia, Algeria organized by Arabic Comparative Literature Association

2- 19-20-21st World congress of the International Comparative Literature Association organized by International Comparative Literature Association (Seoul 2010-Paris 2013)

Finally we shall conclude this study by all comments and results about the presentation of Iranians researchers in International conferences and congress

2:30 PM - The Universal: Edgar Allan Poe and Sadeq Hedayat Zarei, Rouhollah (Yasouj University, Shiraz, Iran)

The present paper makes an attempt to investigate the roots of universality in two Iranian and American influential authors, Sadeq Hedayat and Edgar Allan Poe. The author of the present paper contends that the amazing similarities in the two authors are beyond fortuity. The possibility of the direct influence the former by the latter is negligible because both authors were visionary and had access to human psychic resources. Thus, through a number of examples the way universals function in humans and especially poets and writers will be studied. By getting access to universal themes a universal language can also be studied at a time humans are in bad need of dialogue.

3:00 PM - Mapping Fictional Czech from Persian Readers Bahrevar, Majid (Charles University in Prague, Czech Republic, Prague, Czech Republic); Krihova, Zuzana (Charles University in Prague, Czech Republic, Prague, Czech Republic) Looking into the contemporary reception of Iranian and Czech literatures comparatively deserves to be accomplished by bilingual specialists or a cooperative team work from both sides in order to analysis and actualize the field in textual and contextual levels. There are many kinds of Persian manipulations as translation, adaptation, over-interpretation, rewriting that requires studying those translated text approaching by intercultural poetics and politics of translation. It seems that translators' contextual selection (culturally and politically) of Czech fictional prose of F. Kafka, K. Capek, M. Kundera, B. Hrabal, I. Klima, V. Havel … shaped different atmosphere and experiences (from originals) for Persian receivers which demands the Persian readers' minds and dominant culture due to their tradition and time. Translators chose some ideological or expressive way, also deleted or substituted some thematic elements.

Key words: Translation Studies, Literature, Reception, Czech, Iran

17332 - The Metaphor and languages of the diseases, the healing and the medicine since 20th century. Date: Friday, July 22nd Room: Hs 21 Chair: Choi-Hantke, Aryong

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2:00 PM - The enduring awe of hands": Al Berto and the writing of fear Sasaki, Leonardo , Brazil

Starting from the title of his complete works, "The Fear", and its constant thematization, we aim to discuss the centrality of fear in the work of the Portuguese poet Al Berto (1948-1997). Such feeling is directly linked to the establishment of a neo-decadent poetic subject (ie, fragile, sick, melancholic and hypersensitive), whose voice establishes itself as an intimate statement that manifests contemporary dilemmas. From this perspective, we observe and debate the relationship between fear and literature in the figuration of the Albertian persona: either by the metalinguistic perspective of the creative act (and the parallels between the phobic and artistic operations of symbolization), or by its thematization which articulates the literary and historical contexts of contemporary society (fear of eternal becoming and fragmentation of identity, loneliness, disease and death).

2:20 PM - Torture and Consumption: Insatiable Appetite in Kim Jee-woon's I Saw the Devil (2010) Jang, Juyeon (Sogang University, Seoul, South Korea)

By twisting “the contagious relation” between the serial killer and the avenger, Kim Jee-woon’s I Saw the Devil blurs the clear borderline between the perpetrator and the victim. The special agent seeking the murder of his fiancée seems to be a hero. However, his fierce vengeance resembles the psycho serial killer’s insatiable appetite for raping and slaughtering female victims. The special agent as an avenger stalks the killer after inserting a tracking device into the killer’s body. The special agent gradually and relentlessly torments the murderer’s body by increasing the intensity of brutality whenever he catches the killer at the criminal site. The special agent gruesomely tortures the murderer to make him experience the extreme fear and agony his fiancée has to go through while the killer is mercilessly dismembering and butchering her alive body. The gory details of tortures in the film not only shock the spectator, but also satiate the spectator’s unconscious desire for killing. As Slavoj Žižek claims that we are all murderers in the unconscious, the two male characters’ extreme violence and torture reflect the repressed masculinity and the inveterate maladies of the Korean society constructed by patriarchism and capitalism. More precisely, the film reveals an economically isolated individual who fails to adjust in the capitalist and technological urban culture through the hierarchical relationship between the special agent as a slaver and the perpetrator as a slave. Through the character of the savage psycho-killer slaughtering female victims and suffering from gruesome tortures, the film indeed divulges how the bodies of the marginalized— the rural working class and the female victims—are consumed as commodities by the economically and technologically privileged elite class in neo-liberal and high-tech Korean society.

2:40 PM - Patients and Healers in "Zaabalawi" by Naguib Mahfouz and A Strangeness In My Mind by Orhan Pamuk Tekin, Kugu (ATILIM UNIVERSITY, ANKARA, Turkey)

The paper will dwell on the theme of the journey towards spiritual healing by comparing the works of two Nobel winning authors, namely Naguib Mahfouz and Orhan Pamuk. Both authors have made the distinct voice of their countries-Egypt and Turkey- heard in the international arena with their literary output. The first work to be explored is Mahfouz’s short story entitled “Zaabalawi.” It is an allegorical story which is based on the unnamed protagonist’s search for a remedy for his incurable disease. Since modern medicine fails to cure the non-diagnosed disease, the protagonist starts seeking a mysterious healer whose corporeal existance is no more than a faint childhood memory at the beginning of the story. The unknown disease, in fact, is a metaphor representing the erosion of 432

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 spiritual values, loss of belief in sincere human contact, rising materialism, and corruption in the Egyptian social strata in the 20th. century.

Likewise, in Pamuk’s latest novel, A Strangeness In My Mind, the main character, who is a street vendor in the 21st. century Istanbul, becomes an accidental member of a circle whose highly respected spiritual leader reminds him of an adolescence memory. During his first years in Istanbul, the protagonist’s father takes his son not to a doctor but to a Sheikh to cure his fear of dogs. The Sheikh’s prayer helps him to forget his fear not to be revived until adulthood. It is seen that in both works the main characters’ spiritual ailment stems from what might be called a metaphorical “communal disease,” and both characters try to heal their individual wounds through non-scientific ways. Thus the paper will handle the parallels and differences between the two cultures’ approach to the issue of spiritual healing.

3:00 PM - Die "blutflüssige" Frau im Neuen Testament aus der Perspektive von koreanischer feministischer Theologie Lee, Ji Hye (17332, Bochum, Germany)

Im Neuen Testament kommen Heilungsgeschichten oft vor. Die Heilungen von Jesus sind eine seiner wichtigsten Tätigkeiten in den Evangelien. Unter allen Wundererzählungen interessiere ich mich für die „blutflüssige“ Frau, ihre Krankheit und ihre Heilung. Erstens wird die Frau mit der gynäkologischen Störung aus jüdischer Perspektive betrachtet. Dazu werden in meinem Vortrag noch Menstruationsstörungen und jüdische Menstruationsgesetze behandelt. Neben der traditionellen Bibelauslegung dieser Wundererzählung werde ich mich damit beschäftigen, wie diese Wundergeschichte nicht von den hierarchischen und patriarchalen Strukturen, sondern aus feministisch theologischer Perspektive interpretiert werden kann. Ich stelle diese „Blutflüssige“ nicht als passiv leidendes Objekt, sondern als aktiv handelndes Subjekt ins Zentrum. Darüber hinaus werde ich die Frage stellen, wie diese „Blutflüssige“ mit koreanischen Frauenerfahrungen verglichen werden kann, und versuchen, Menstruation, die gynäkologischen Krankheiten und die Marginalisierung weiblicher Lebenserfahrungen in der spezifischen koreanischen Lebenssituation zu reflektieren.

4:00 PM - The Elusive 'Mot Juste': The Language of Doctors and Patients Meirosu, Madalina (University of Massachusetts Amherst, South Hadley, USA)

Inspired by theories of narrative medicine, this paper analyzes the various ways in which the narration of illness affects the very fabric of the narrative in Thomas Bernhard’s Wittgenstein’s Nephew. Within this framework, I examine some of the narrative devices employed by Bernhard to narrate illness, paying special attention to his use of paraphrase, narrative gaps and repetition. The paper seeks answers to the following questions: what is the reader left with in a story in which both the effectiveness of communicative language and the notion of plot itself break down? Can one still speak of a narrative when the plot has been distorted into unrecognizable patterns, even to the point of disappearing entirely? What are the common features of the respective languages used by patients and doctors? In what ways do their styles of discourse differ? The novel’s circuitous, paraphrastic narrative style tends to fatigue the reader, and yet the theme of evasive paraphrase employed by the narrator is actually the key to understanding the inner logic of his prose. It is a diseased logic, it is ‘narrative as illness,’ illness manifesting itself in and as narrative, in Lars-Christer Hyden’s terms. In this diseased narrative, the words and thoughts of the narrator-patient have a temporizing function as they serve to delay a confrontation with pain. For their part, the doctors’ incomprehensible Latin phrases and glib remarks build a linguistic wall behind which they attempt to shield themselves from the fact of their incompetence - which is to say, their finitude. Using narrative theory, psychoanalytic theory, as well as Ludwig Wittgenstein’s theories of language, I demonstrate that the text is motivated by a fear it never names directly, though it does hint at it through the very 433

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 paraphrastic fabric of the narrative and the language used by both patients and doctors: the fear of human frailty and finitude.

4:30 PM - A 'Dangerous' Body: The Sexworker and The AIDS debate in India GUPTA, SEEMANTINI (ANANDA BAZAR PATRIKA, KOLKATA, India)

In this paper I explore the construction of the sexworker's body within the HIV-AIDS debate in India. The aim of this paper is to arrive at a better understanding of the nuances of interpellation through which the body of the sexworker is created as the potential space for origin and spread of the HIV virus. Like other sexually marginalised population, sexworkers in India are perceived as potential threats to a healthy society, both medically as well as metaphorically. Historically, sexworkers have been more than often blamed for transmitting STDs, including HIV. The notion of the sexworkers body in modern medicine is a construct—a reification of space where diseases occur. Specifically in the HIV-AIDS debate, the space (occupied by the sexworker's diseased body) becomes more important than the time (the nature of the progress of infection). If that is the case, changing the state of the patient and not an increased knowledge about (and subsequent change of) the state of the disease becomes the primary aim of the HIV-AIDS intervention programmes. In contemporary India, whatever health-measures are directed towards the sexworkers come from the mainstream society's perception of the sexworkers as a high-risk group, whose 'well-being' is a necessity to keep the society safe and smooth-functioning. But what is the reality at the grassroot level? For the purpose of this paper, I would be analysing oral narratives of sexworkers from Calcutta who are involved in HIV-AIDS intervention programmes.Talking to the sexworkers involved in various such programmes, it becomes clear that this essential connection between 'deviency' and 'disease' needs to be questioned. I argue that these oral narratives asserts a 'dangerous's' woman's agency-claim— over her body, sexuality and her profession and re-shape the narrative of AIDS threat in India.

5:00 PM - Thirsty languages with the Catholics, the Disease, the Medicine in Park Chan-wook's Thirst Choi-Hantke, Aryong (Institute of Body and Mind, Seoul, South Korea)

Park Chan-wook’s Thrist (Bakgwi, literally Bat), Korean first vampire movies is partially based on the French novel, Therese Raquin (1867) of Emile Zola. The success of Park’s Oldboy adapted from Japanese Manga Oldboy in Korean context as well as in international one, was inspiring in the perspective of (1)how to adapt foreign texts into Korean films and in turn, (2)how to appeal international spectators with the Korean adaptation. At least two different levels of contextual considerations are requirement. Therefore I can call these process as multi-coding. Thrist, vampire movies in the terms of genre borrowed the motifs of Zola’s Therese Raquin : that love triangle, murdering a husband and friend in the water, suffering from the guilt and crime revelation. The film Thirst invented characters with Catholic priests, African medical staffs, vampire as a serial killer, patients related to the disease and the hospital and a migrant Philippine wife. But the priest, Hyun,Sang-hyun has risen from the dead from the infectious disease called Eve in Africa, to a vampire in charge of hospital pastoral. He steals the blood from the patients. He falls in love with Taeju, wife of his sick friend and murders him in a reservoir. Later Taeju becomes a vampire. Hyun, Sang-hyun chooses to suicide with Taeju in the Sunrise. This paper is dealing with how the director, Park put the implications multilayered with the Catholics, the diseases, the medicine in the hospital or out of the hospital.

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17333 - Media, mediation, fiction. Medium as a language? Date: Monday, July 25th // Tuesday, July 26th Room: Übungsraum Germanistik 1 Chair: TANE, Benoît; Krzywkowski, Isabelle

2:00 PM - Fiction et médiation TANE, Benoît (LLA CREATIS, Université de Toulouse Jean-Jaurès, Toulouse, France)

La fiction joue explicitement avec des supports qu’elle convoque et met en scène. A quoi tend l’exhibition d’un medium dans la fiction ? Peut-elle faire oublier le support de la fiction ?

C’est peut-être à l’’analyse de manifester, et c’est là l’essentiel, la médiation par laquelle passe la fiction, voire la médialité elle-même. On pourrait en ce sens interroger la formulation même de la section proposée par le congrès, « Différents médias, différentes expressions » : il y a non seulement une forme d’indifférence à l’égard du medium, parce que nous oublions de le voir ; mais il y a en outre une sorte de « différance » du medium, à commencer bien entendu par celle, développée par Derrida, de l’écriture par rapport à la parole mais peut-être aussi, celle que fait advenir tout medium et tout intermédiaire, qui met en contact et tout à la fois diffère, qui semble homogénéiser un message au détriment de ses media mais qui le rend dans le même temps fondamentalement différent.

On tentera ici d’explorer ces rapports entre fiction et médiation, notamment à travers des exemples littéraires.

2:30 PM - Jacques (Lacan) le fataliste. Ou de l'usage de la lettre pour ceux qui voient Waelti, Slaven (Universität Basel, Basel, Switzerland)

Le rapport de la fiction aux médias a fait l'objet d'une analyse aussi spectaculaire que succincte par Marshall McLuhan: "En fait, écrit-il, c'est l'une des principales caractéristiques des médias que leur contenu nous en cache la nature" (McLuhan, 1967). La fiction comme contenu d'un média n'aurait en ce sens pas d'autre propos que d'endormir le public et de le placer dans un étant de "somnambulisme", comme le dit encore McLuhan. C'est ce somnambulisme que nous voulons tenter d'interpréter comme aveuglement principiel quant à "l'a priori technico-médiatique" (Kittler, 1986) qui nous détermine en tant qu'êtres pensants et que lecteurs. Nous voulons pour ce faire nous référer tout d'abord à Diderot qui fut entre autres un théoricien prégnant du réalisme dans le roman, mais également l'un de ceux qui a le plus résolument dénoncé la fiction comme écran masquant le média. À ce titre Jacques le fataliste , le plus célèbre roman du roman, dénude la fiction jusqu'à la présenter dans son plus simple appareil d'ensemble de lettres alignées. Un autre Jacques, le psychanalyse Jacques Lacan, a remplacé pour sa part "le grand rouleau" du valet fataliste par la structure de l'inconscient qu'il conçoit précisément comme régit par "l'instance de la lettre" (Lacan, 1966) – lettre qu'en notre somnambulisme nous ne voyons pas. C'est cette nature paradoxale du média visible/invisible et de la lettre que nous voulons interroger, sachant que "le roman" ou "l'imaginaire", c'est-à-dire la fiction a précisément pour but de recouvrir la lettre de "sens", de "significations" et de "récits" qu'elle ne détermine pas moins fatalement.

3:00 PM - Littérature picaresque et témoignage scripturaire : le média insituable comme support de la fiction Aubague, Mathilde (CPTC Université de Bourgogne, Chalon sur Saone France, Austria)

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Les récits picaresques mettent en avant une figure d’auteur. La narration autodiégétique désigne dès l’origine du genre son geste d’écriture (Lazarillo de Tormes, Guzman de Alfarache, Picara Justina…). Les continuateurs européens du genre évoquent le geste d’écrire (Der Abentheuerliche Simplicissimus Teutsch (1669), Lebensbeschreibung der Erzbetrügerin und Landstörzerin Courasche (1670) de Grimmelshausen, Le Paysan parvenu (1734), La Vie de Marianne (1742) de Marivaux).

Dans ces récits, l’écriture est thématisée. Elle est le lieu d’une manipulation du narrateur qui vise à rendre légitime sa position sociale et à conférer du réalisme à son récit, contribuant ainsi à pousser le lecteur dans le piège de l’immersion fictionnelle. La thématisation du médium engage une rhétorique de la lecture, impose un type de consommation de la part du lecteur, qui devient le confident presque forcé du picaro. Le récit engage alors un jeu entre immersion fictionnelle (où l’écriture devient transparente, où le lecteur l’oublie dans le récit des événements vécus) et mise en exergue du médium, où l’écriture se rappelle au lecteur. Lorsque le moment de l’écriture est insituable, le sens affirmé du texte est infléchi. Le texte que le lecteur tient entre ses mains, celui que le narrateur affirme avoir écrit, celui dont l’écriture est impossible à situer composent trois données que seul le jeu de la fiction peut concilier. Nous souhaitons comparer ces récits avec un texte contemporain : Rue des voleurs de Matthias Enard, paru en 2014. Ce texte emprunte la structure du récit picaresque mais le moment de l’écriture, quoique thématisé, s’affaiblit au profit d’une mise en exergue de la lecture. Comment et pourquoi le récit picaresque évolue-t-il de la thématisation de l’écriture à celle de la lecture, du XVIIe au XXIe siècle ? Comment ces procédés contribuent-ils à la constitution de la fiction ?

4:00 PM - L'oeuvre en morceaux : "Don Juan" au mirroir de l'intermedialite Wojda, Aleksandra (Jagiellonian University, Cracow, Austria)

Selon les théories récentes de l’évolution des rapports entre médias - de J. Mueller à Ph. Ortel - le tournant du XVIIIe siècle au XIXe voit émerger un paradigme intermédial nouveau. On assiste, après Lessing, à une prise de conscience de la spécificité matérielle des médias, qui apparaît comme d’autant plus efficiente à façonner les oeuvres qu’elle est concomitante à la révolution de la reproduction et de la diffusion des productions artistiques en Europe.

De l’élaboration de ce paradigme les écrivains se font logiquement participants, observateurs et théoriciens. Et plus vigoureusement, ceux que concernent la tension entre le rêve d’un « absolu littéraire » et la redéfinition du champ culturel élargi à la formation d’une sensibilité esthétique universelle fondée sur le sensualisme empiriste.

Voilà pourquoi il peut être important de relire les Fantasiestuecke in Callots’ Manier d’E.T. A. Hoffmann, dont l’écriture interartistique est représentative de cette évolution. Dans la nouvelle Don Juan, un va-et-vient se fait jour entre deux polarités, que le titre des Fantasiestuecke met en relief: la recherche de l’immersion radicale dans un univers fictionnel, qui se nourrit des possibilités spéculaires que l’opéra paraît offrir, et l’ironie réflexive qui, s’appuyant sur l’intermédialité intrinsèque de l’opéra encore, brise le mouvement de l’imagination, dévoile les artifices d’un envol qui voudrait faire l’économie des spécificités et limites de chaque médium. Au seuil de l’époque moderne, le Don Juan-artiste, symbole d’une création luciférienne, finit ainsi par détruire l’objet de son désir. La narration en sort décomposée en morceaux qui rappellent autant la pratique journalistique de son auteur que l’enchaînement de numéros rythmant l’opéra mozartien. Et la fiction ne peut plus être qu’impertinente : fabriquant son objet en montrant qu’elle le fabrique, elle

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 se fait caricature, comme le suggère le modèle de Callot –préfiguration de la mauvaise conscience moderne.

4:30 PM - Fiction Assaulting the Reader Intermedial References to Music and Violence in Jelinek's The Piano Player and Burgess's A Clockwork Orange Schirrmacher, Beate (Linnaeus University/Stockholm University, Växjö, Sweden)

In everyday life, we rely on the immediacy of media. We become aware of media only when they are new, dysfunctional – or in intermedial interaction. While narration is to be considered as transmedial (Nuenning/Nuenning 2002) it is influenced and shaped by the medium in which it is conveyed. In literary fiction, intermedial references to other media are an important tool to foreground the materiality of literature and language and thus always imply self-reflection. Intermedial interaction also implies disturbance of medial immediacy, as it highlights a performativity in which the materiality of language cannot be separated from its meaning (Wirth 2002, Kraemer 2004). This paper will discuss ways in which the interaction of several performative levels is stressed when literary fiction refers to music, a medium more dependent on performativity. In Elfriede Jelinek’s The Piano Player and Anthony Burgess’s A Clockwork Orange, for example, references to music often are connected with violence, resulting in texts that can create violent reader reactions. I will show how the intermedial reference to music in literature not only brings to mind the long common history of violence and music but also brings forth the presemiotic materiality of language, which in reception may be perceived and felt as a bodily assault on the reader. While the immediacy and immersion of literary fiction is thwarted, intermedial references to music combined with violence thus create an awareness of the materiality not only of language but of fiction mediated in written language.

5:00 PM - Luddites et technophiles: les médias électriques dans le roman d'anticipation français (1860-1930) Murvai, Peter (York University, Toronto, Canada); Scheffel-Dunand, Dominique (York University, Toronto, Canada)

Luddites et technophiles: les médias électriques dans le roman d'anticipation français (1860-1930)

Peter Murvai (York University)

Dominique Scheffel-Dunand (York University)

S'il fallait en croire Marshall McLuhan, l'avènement de l'ère électrique au début du XXe siècle aurait marqué un tournant fondamental et aurait révolutionné nos manières de produire et de consommer l'information. L'électricité, média à l'état pur s'il en est, aurait entièrement transformé le champ culturel de l'ère post - Gutenberg.

Il ne s'agit aucunement, bien entendu, de tester les hypothèses de McLuhan à cette échelle; plus modestement, notre étude se propose de relever, avec les instruments de l'analyse textuelle quantitative, les renvois aux divers média électriques dans la fiction française d'anticipation entre 1860 et 1930. Appliquée à ce corpus, l'analyse textuelle automatique nous permettra de comprendre dans quelles conditions la radio, le télégraphe, le téléphone et les appareils de projection et d'enregistrement deviennent, à la fin du XIXe siècle, des présences récurrentes dans ces œuvres. Mais l'enjeu de notre étude n'est pas uniquement de dresser une liste d'occurrences et de contextes. On se propose surtout de cartographier les prises de positions romanesques que suscitent ces innovations (valorisation, rejet), ainsi que de déceler l'influence éventuelle des médias électriques sur les langages de la fiction.

En effet, bien avant McLuhan, dans le contexte général de l'Exposition universelle de 1900, l'avènement de la Fée Electricité donne lieu à diverses hypothèses sur l'impact de ces nouvelles technologies. On assiste ainsi à la naissance d'un imaginaire littéraire ambivalent, combinant les 437

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 attentes des utopistes et les inquiétudes des technophobes. Cette dualité est illustrée de façon exemplaire, dès la fin du XIXe siècle, dans le corpus des textes d'anticipation scientifique (on pourrait citer, à titre d'exemple, Le Vingtième siècle. La vie électrique d'Albert Robida, 1890, ou bien L'Eve future de Villiers de L'Isle-Adam, 1886).

Cette cartographie pourrait également servir de base à une étude qui mette en relief les correspondances entre les attentes associées au tournant électrique et à celui numérique.

Date: Tuesday, July 26th

11:00 AM - Expanding Contemporary Art Through Language and Litera Chiesa, Laura (University at Buffalo, Buffalo, USA)

The exchanges between visual art and language take new, singular turns in the work of two contemporary French artists: Sophie Calle (SC) and Dominique Gonzalez-Foerster (DGF). Certainly, a clear distance separates the two artistic practices; hence this paper will study how the two artists, in their very different ways, expand the field of art through writing and literature. The objective of this paper is therefore to define how language, writing, and literature spring as key elements, or key media, so as to present to viewers a new way of practicing art, expanding its field. On the one side, SC—from L’Hotel up to the coffret of booklets Doubles-Jeux—plays out different strategies to offer traces of narrative about a multiplicity of “real” people; CS tells only fragments of stories about people she observes, also, in estranging ways, grafting literature from different writers to autobiographical and first-person everyday life narrative. How does the artist expand narrativity toward estranging effects? How does she expand her practice toward the outside, and how then do galleries and expositive spaces contain these stories and books that become not only livres d’artiste but also installations? On the other side, DGF has produced extremely fascinating installations, from Tapis de lecture up to TH.2058 and Chronotopes & Dioramas, in which many literary texts are present as crucial elements: how do literary texts participate in DGF’s installations and her depiction of contemporary and future scenarios?

The paper details and questions how these two different artistic practices, which certainly work at the crossroads of many media (photography, video, installations, and performance), play at expanding their field with language and literature but in turn expand language and literature as well.

11:30 AM - Fictions de louvre d'art chez Ilya et Emilia Kabakov et Edouard Levé Chassaing, Sylvia (Université Paris-8, Paris, France)

Œuvres (2002) d’Edouard Levé est un livre contenant une liste des projets artistiques que son auteur n’a pas réalisés. L’installation An Alternative History of Art (2005) d’Ilya et Emilia Kabakov présente, sous la forme trompeuse d’une exposition de musée classique accompagnée d’un catalogue, les tableaux d’artistes fictifs, allant de Charles Rosenthal, suprématiste raté, à Igor Spivak, en passant par Ilya Kabakov lui-même.

Les démarches d’Edouard Levé et des époux Kabakov sont donc similaires. En créant de toutes pièces ces fictions artistiques, les artistes demandent : où est l’art, dans les œuvres fictives ou dans l’œuvre cadre qui les crée ? et de quel art s’agit-il dans ces fictions, d’installations ou de littérature ?

Toutefois, en terme de médium, les stratégies auxquelles ils recourent pour mettre en place ces fictions diffèrent. Chez Levé, le texte seul suffit à faire l’œuvre d’art imaginaire : ce texte, que sa qualité stylistique assimile à de la littérature, se joue cependant des grandes œuvres de la culture occidentale, de la Bible à Proust. Kabakov recourt non seulement au texte, mais aussi à des média visuels, l’espace de l’exposition et les tableaux eux-mêmes. « L’installation totale » comme l’appelle Kabakov est alors un complexe de média qui, de son propre aveu, fait écho avec facétie et subversion 438

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 au contrôle total qu’a exercé le régime soviétique sur ses citoyens et qui s’est appuyé lui aussi sur des biais visuels aussi bien que textuels.

L’on montrera donc que le recours à la fiction est un moyen de remettre en cause la ligne de partage entre les arts – les œuvres de Levé, les personnages de Kabakov sont-ils de l’art visuel ou de la littérature ? Quant aux différentes stratégies employées, elles révèlent autant l’influence du contexte historique et national sur le rapport des artistes aux différents média que la hiérarchie implicite des moyens d’expression qui fait loi dans les imaginaires collectifs.

2:00 PM - Le démontage de la fiction par l'exposition du médium au XXe siècle : vers une fictionnalisation du réel TROIN-GUIS, ANYSIA (AIX MARSEILLE UNIVERSITE, AIX EN PROVENCE, France)

Au XXe siècle, une rupture avec la représentation s’opère dans les arts plastiques et un mouvement comparable apparaît dans la poésie et la littérature : la fiction, en tant que forme mimétique inventée, se trouve profondément modifiée. D’une part, l’objet banal s’offre au récepteur telle une porte pour entrer dans la fiction et s’assimile au « joujou » de Baudelaire. La mythification du banal renvoie alors à une poétisation, voire à une fictionnalisation de l’objet, déclencheur du merveilleux. D’autre part, cette fictionnalisation peut revêtir un aspect éthique. En cela, l’utilisation du rebut propose une autre fiction du monde que Schwitters et Benjamin semblent investir : les deux hommes ont pour principe l’étude d’un contexte à partir de ses riens les plus infimes et tentent de représenter le chaos par le même geste : le montage. La dialectisation de temporalités hétérogènes engendre une fiction de l’histoire proprement benjaminienne. De même, par le cut-up , la fiction de Burroughs se construit sur une rupture de l’espace-temps et un parasitage de la fiction même. Cette pratique se trouve réutilisée dans la poésie contemporaine, notamment par Jacques-Henri Michot dans Un ABC de la barbarie.

Exhiber les ressorts du médium de l’œuvre a un double enjeu, esthétique et éthique, que nous analyserons sous le prisme de deux pratiques qui font éclater l’œuvre comme continuum : le collage et le montage. Ceux-ci engendrent une mise à nu du dispositif de fiction créant un nouveau paradigme : montrer et non plus représenter. La fiction s’établit alors sur des fragments de réalité tangible : des prélèvements de matériaux non artistiques ou d’énoncés non littéraires. Quels sont les mécanismes de cette « fiction du medium », comment s’opère la médiation que nécessitent les transferts d’éléments importés ? Pour répondre à cela, nous proposerons un parcours théorique illustré par des œuvres poétiques et plastiques.

2:20 PM - The Use of an Emerging Language in Media as a Tool of Resistance to Hegemonic Political Discourse in Kenya; the Case of Hapa Kule News Wanjala, Alex (University of Nairobi, Nairobi, Kenya)

Popular media forms have played a significant role in transforming popular culture in Africa (Barber; 2009), (Aseka; 2009). In underscoring the importance of popular media in the transformation of popular culture, scholars, especially those working on Kenyan culture tend to overlook an important issue; that of the role of the language used in popular media. Whereas traditional forms of popular culture would either use local languages, English or Kiswahili, there is a change in contemporary times in that the language of communication in popular media is increasingly becoming that spoken by the masses in urban areas such as Nairobi; the emergent mode of communication, which has been named as Sheng by sociolinguists.This paper, through its focus on on a popular show in Kenya that 439

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 parodies a News broadcast, will study how Sheng; a mixed code that was initially used as an underground jargon (Mazrui; 1986), has evolved and is now being used in various ways, not only as a marker of self and identity among urban youth, but also as a means to subvert the master code of imperial and state power in the manner that is suggested in a different context by Achille Mbembe (1992). This will be achieved through a literary analysis of Hapa Kule News which airs on prime time television and is also posted on Youtube. The paper will focus on how the show reflects and influences popular culture, using mass media as a means of transmission and an emergent language as a means of communication

2:40 PM - Lire Barbare AROUIMI, Michel (université du littoral, PARIS, France)

L’inquiétude ou l’enthousiasme de certains philosophes contemporains à l’égard de l’univers virtuel promis à notre avenir (Baudrillard, Mattéi), vaut pour les nouveaux supports de l’écriture et de la lecture, dont se soucient aussi bien certains éditeurs auteurs (comme Daniel Cohen, dans son récent Lire). Les questions sans fin posées par ce problème, transparaissent, innocemment, dans les pages de certains poètes « voyants », à commencer par Rimbaud, notamment dans l’Illumination Barbare. Certes, une certaine interprétation de ce texte, avec la confiance éveillée que réclame le génie de Rimbaud, permet d’y reconnaître un tableau analytique du faux-semblant, envisagé dans son rapport avec l’écriture : il est question des charmes indicibles d’un verbe qui « n’existe pas », et qui échappe aux contraintes habituelles de l’écriture. Si le rapport entre ces visions et les techniques nouvelles du virtuel est bien flou, la simple construction du poème s’impose comme le chiffre anticipé des systèmes binaires, impliqués par ces techniques.

Ces intuitions se retrouvent chez Kafka, sur un plan plus général ; l’anticipation violente de ces techniques (dans certains fragments d’inspiration chinoise) est prétextée par des situations sacrificielles, caractérisées par une forte déshumanisation. Des situations où se renouvelle l’énigme scripturale de La colonie pénitentiaire. Si énigme il y a c’est encore le sens du mot de Rimbaud « Barbare », qui qualifie aussi bien une époque révolue de la culture humaine que l’avenir proche, si présent dans les yeux du « voyant »

3:00 PM - Usages poétiques du modèle informationnel Krzywkowski, Isabelle (Litt&Arts-ISA, Université Grenoble-Alpes, Grenoble, France)

Je m ’ int é resserai dans cette communication à l ’ usage que la po é sie contemporaine fait de formes et de supports normalement r é serv é s à l ’ information: affiches, rapports, pages html, blogs, sites web, etc. Si l ’ on peut consid é rer comme une caract é ristique des é critures exp é rimentales le fait qu ’ elles s ’ attachent à ouvrir le champ des media, cette recherche poursuit aussi, depuis les avant-gardes historiques, une r é flexion sur les conditions de r é ception qui vise à changer les pratiques du public et à d é noncer l ’ organisation institutionnelle de l ’ information. Ce travail critique et didactique, qui s ’ appuie sur le d é tournement, contribue ainsi à questionner la pr é tendue « transparence » du medium. Nous examinerons les enjeux et les cons é quences d ’ une telle d é marche (primat de la communication, transformation des codes s é miotiques, insistance sur le « dispositif » , critique de l ’ immersion), son é volution r é cente, notamment num é rique, ainsi que les « fictions » alternatives (gu é rilla, piratage) qu ’ elle é labore pour donner à voir le medium et les manipulations dont il fait l ’ objet.

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17334 - Das Werk Heimito von Doderers in Übersetzung - Probleme und Chancen Date: Tuesday, July 26th Room: Hs 27 Chair: Sommer, Gerald

2:00 PM - Das Werk Heimito von Doderers, übersetzt in 30 Sprachen - eine Bilanz Sommer, Gerald (Heimito von Doderer-Gesellschaft, Berlin, Germany); Kling, Vincent (La Salle University, Philadelphia, USA); Lenhart, Johanna (Universität Wien, Wien, Austria); Osmanovic, Erkan (Masaryk-Universität, Brno, Czech Republic) Die erste Übersetzung eines Textes von Heimito von Doderer ist die französische Ausgabe seines Romans Ein Umweg, der 1943 unter dem Titel Sursis bei Plon in Paris erschien. Die (aktuell) letzte ist die Übertragung seines Romans Die erleuchteten Fenster ins Serbische, die 2015 als Osvetljeni prozori bei Futura publikacije in Novi Sad veröffentlicht wurde. In den 72 Jahren dazwischen wurde eine Vielzahl von Werken Doderers in insgesamt 30 Sprachen übersetzt – einige sehr oft, andere selten, wenige überhaupt nicht, manche aber auch mehrfach.

Dieses Einführungsreferat wird versuchen, einen bilanzierenden Überblick über die vorliegenden Übersetzungen zu geben, zugleich aber auch Tendenzen der Publikationspraxis aufzuzeigen und auf Besonderheiten und Lücken innerhalb des in Übersetzung vorliegenden Œuvres von Heimito von Doderer hinzuweisen.

2:20 PM - One Story, Two Translations Kling, Vincent (La Salle University, Philadelphia, USA)

The fiction of Heimito von Doderer is amply represented in English translation, though it has never been a topic of wider discussion. At least one of his short stories, "Ein anderer Kratki-Baschik" has been translated twice, once (1963) as "The Magician’s Art" and again (2008) as "A Second Kratki- Baschik." The translator of the second version is the presenter of the paper at this conference and will explain his process of choice; while he can only surmise how the other translator arrived at the finished text, he can offer some insights into the nature of literary translation by comparing and contrasting the two versions.

2:40 PM - Konkurrierende Übersetzungen im Vergleich - "Léon Pujot" und "Begegnung im Morgengrauen" Lenhart, Johanna (Universität Wien, Wien, Austria)

Heimito von Doderers Kurzgeschichten "Léon Pujot" und "Begegnung im Morgengrauen" wurden je mehrfach ins Französische übertragen. Ein Vergleich soll den unterschiedlichen Übersetzungs- Verfahren und -Strategien nachspüren, sowohl in Bezug auf Wortwahl und Stil als auch mit Augenmerk auf die Wiedergabe der Settings der beiden Texte, die, besonders für die Übertragung ins Französische, interessant sind: Während "Léon Pujot" zur Gänze in Frankreich spielt, schildert "Begegnung im Morgengrauen" die Zugfahrt eines Soldaten an die Westfront des Ersten Weltkriegs. Für beide Bereiche ist die Übersetzung des in den zwei Kurzgeschichten – wie so oft bei Doderer – dominierenden Motivs der Zugfahrt aufschlussreich. Schwankend zwischen dramatischen Abfolgen, besonders in "Léon Pujot", und - paradoxerweise - beinahe tableauartigen Momentaufnahmen im Sinne von Doderers vielzitierter 'Anatomie des Augenblicks' werden verschiedene Strategien in der Übersetzung von Stillstand und Geschwindigkeit und der von der Zugfahrt beeinflussten Wahrnehmung sichtbar und sollen in einem close reading zugänglich gemacht werden.

3:00 PM - Übersetzung des Unübersetzbaren. Bemerkungen zur Übersetzung von Heimito von Doderers Roman "Die erleuchteten Fenster" ins Serbische: "Osvetljeni prozori" (2015) Osmanovic, Erkan (Masaryk-Universität, Brno, Austria) 441

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Heimito von Doderers Roman Die erleuchteten Fenster stellt bereits den deutschen Durchschnittsleser (aber auch den geübten Doderer-Leser) vor Verständnisprobleme. Dabei wird nicht die Handlung, sondern die Sprache des Buches zum Prüfstein der eigenen Lesefähigkeiten. Schon die anfänglichen Ausführungen des Erzählers geben einen Vorgeschmack auf die schwierige Lektüre; die Montage Zitate aus der „Dienstpragmatik“ – und deren spezielle Sprache – tragen ihr übriges zur Diffizilität des Textes bei. Der Übersetzer Relja Dražić hat sich dem Text genähert und ihn ins Serbische übersetzt. Im Vortrag soll am Beispiel eines kurzen Gesprächs auf die Schwierigkeiten der Übersetzungsarbeit eingegangen werden. So soll beispielsweise der Umstand diskutiert werden, dass der Roman auf sprachlicher Ebene häufig Metaphern aufweist, die sich selbst wiederum aus anderen Metaphern und Symbolen speisen. In weiterer Folge wird die Übersetzung bestimmter Phraseme und Metaphern thematisiert, aber auch die Transportierbarkeit von Abtönungspartikeln, die sich im Text gehäuft vorfinden lassen, und deren sprachspezifischer Semantik.

17335 - Unsettled Narratives: Graphic Novel and Comics Studies in the 21st Century Date: Friday, July 22nd // Saturday, July 23rd // Monday, July 25th // Tuesday, July 26th // Wednesday, July 27th Room: Hs 21 Chair: Pao, Lea; Mikkonen, Kai; Coughlan, David; Buchenberger, Stefan

9:00 AM - Picture Story, Strip Design and the Order of Sequence - Narrative organization in late early nineteenth-century British "comic strips" Mikkonen, Kai (University of Helsinki, Helsinki, Finland)

In this paper, I will examine the main options that were available for organizing a picture story in the historical context of the so-called British Golden Age of caricature (1780-1820) and, in particular, in the caricature magazines published during the following decade (1825-35) . In this historical investigation of a narrative form, I will privilege certain formal and compositional features of narrative drawing and picture sequence, and specifically examine the conception of panel arrangement and relations in the early comic strips published in satirical caricature magazines such as The Glasgow Looking Glass, Northern Looking-Glass and Every Body’s Album . In this regard, my intention is to argue that (and illustrate how) the caricature magazine played an important role in the development of the narrative comic strip as well as show that narratological inquiry can be significant for thinking about the historical relation between the publication format and the means of storytelling.

9:30 AM - Wordless. How visual sequence becomes storytelling Piepoli, Angelo (University of Macerata, London, United Kingdom)

Comics are traditionally regarded as a form of literature characterized by the use of two distinct systems of sign vehicles, words and images, combined with each other into an almost always indissoluble interconnection. That means that if one of the two components is subtracted from a comic book story, the sense of the story is compromised or at least changes. The most recent research on comics language have insisted that the juxtaposition of words and images is not the main feature of comics, instead giving this role to sequentiality. Comics made only of drawings, for example, owe the sequence the possibility of conferring a narrative sense to the juxtaposition of those drawings.

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This presentation aims to focus on the interpretation of comic books, or parts of them, that do not include the verbal component. It will attempt to identify how narrative sense is conferred to a sequence of pictorials, also taking into account other key concepts such as time. It also will offer examples of stories without words, not included in the landscape of contemporary comics, in an attempt to understand if they can be considered as a form of comics.

10:00 AM - From Goya's Caprichos to Mahler's Gedichte: What Comics Teach Us about How to Read a Poem Pao, Lea (Pennsylvania State University, University Park, USA)

In the late eighteenth century, Francisco Goya published a series of eighty etchings of dark and satirical imagination. His “Los Caprichos” are caricatures of a world between the Enlightenment’s reason and religious and societal superstition that is both comical and horrifying. Much of this world’s depictions depend on these images of monsters, animals, witches, grimaces, and shadows, but they also recognize the simultaneous metaphorical and figurative forces of the images’ minimal words, titles, and short descriptions that create the sharp vagueness of satire. Nicolas Mahler’s “Gedichte,” published in 2013, on the other hand, is a small collection of forty poems “without a single line of poetry” (Raimund Fellinger), in which one-line titles are each paired with a drawing creating ironic metaphors of each other. With these two examples, this paper explores how comics (and what we understand as their tradition) engage in a practices of creating interpretatory spaces that are, for example, aware of metaphor’s uses of “word” and “image” in both their distinction from as well as their dependency on each other. They teach us, in other words, a relation between comics and poetry beyond a combination of genres, traditions, or media, but as a practice of reading and essential to all acts of interpretation and meaning.

Date: Saturday, July 23rd

9:00 AM - Girls on the Battlefield: from Cross-Dressed to Girly Fighters in Japanese Manga Hiraishi, Noriko (University of Tsukuba, Tokyo, Japan)

This paper aims to clarify the characteristics of fighting girls in Japanese comics (manga) from a gender perspective.

Fighting girls in Japanese male comics appeared in the 1960s, particularly in the works dealing with science fiction and ninja. During this period, many sexually appealing female ninja appeared in adult comics, while boys’ manga began to focus on “heroic teams” that fight against evil in sci-fi settings. In these works, the team usually has one female member: she participates in the battles, but always in a supporting capacity, such as a nurse or liaison. Her true role in the story is to be the sweetheart of the protagonist, the strongest hero of the team. In this context, the female member has always been an unassuming and beautiful character.

On the other hand, girls’ comics gave birth to an impressive fighting girl in the 1950s: Princess Knight (1953), created by Osamu Tezuka. Set in a medieval European fairy-tale-like place, the story’s main focus is the circumstances of the heroine, Princess Sapphire, who must pretend to be a male prince to be eligible to inherit the throne. Traditionally in Japanese manga, factors of age and gender seem to be key elements in determining the role and status in society for a given character. Although Princess Knight did not actually threaten any gender/sexual criteria, the gender-crossing representation of Sapphire had an enormous impact on the audience of the day. The cross-dressed fighting girls became important figures in girls’ manga in the 1970s and 80s.

The examinations of these fighting girls in clothes and attitude of men lead us to the structure of ambivalence, which criticizes the male-oriented society but is also bound by it. In my analysis of the 443

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 trend of “girly” fighters which followed in the 1990s, I will shed light on the significance of these figures, as it is an acute reflection of the state of gender differentiation in society.

09:30 AM - Gender gaps in the clouds. Conservation and revolution in the Italian comics Piepoli, Angelo (University of Macerata, London, United Kingdom)

History of comics in Italy is strongly characterized by a long and unfinished process of social acceptance of comic as a narrative medium with the same “dignity” as other media, like literature or cinema. One of the most interesting aspects of that history, and also one of its interpretative keys, is the difficulty to fill a gender gap in the stories published. Not only the preponderance of male protagonists, but also the difficulties encountered by comic itself when the authors have attempted to renegotiate gender roles were among the fundamental constituents of a situation that has started to show the first signs of a substantial change only since the 60s.

This presentation aims to focus on the change of that gender gap in the history of Italian comics, seen as a sign of the social change in Italy.

The paper will make a brief reference to the case of the US, which is an important precedent for the impositions from above that the comics productions had to suffer in Italy, then will focus on the first clear signs of gender role changes that have occurred in the comics scene nationwide starting from the first half of the Sixties, and will end on the observation of the most recent situation in comics landscape.

Date: Monday, July 25th

2:00 PM - The Quantum Gaze in Twenty-First Century Graphic Novels DeTora, Lisa (Hofstra University, Hempstead, USA)

The quantum gaze refers to looking relations that change the object of the gaze, drawing on what physicists refer to as “the observer effect” in quantum mechanics—the verified fact that systems under continuous observation behave differently than those not under continuous observation. In an earlier paper that considered the workings of a quantum gaze in feminist film theory, I suggested that animals and cavemen could reconfigure their bodies by evading the gaze of the (extradiegetic) viewer as well as the (diegetic) bearer of the look. Unlike film, where ‘the gaze’ (as defined by Mulvey and others) regulates looking relations in relatively fixed, linear, and sequential visual systems, the graphic novel invites (if not requires) a discontinuous gaze and the management of pages, frames, and interstitial spaces as well as the diegetic space of the narrative. The current work considers the possibility that a quantum gaze could operate in graphic novels. How can the ability to ‘frame’ corporeal identities be changed in recent graphic novels, depending on the ability to maintain visual contact? Of particular interest is the ability of bodies to unmake and remake themselves only so long as they remain outside both reader and diegetic observation simultaneously. For example, in Fables (2002), the mystery of Rose Red’s murder hinges not so much on finding a killer as identifying whether a blood constitutes adequate evidence for murder. Later volumes examine the identity politics of disembodied heads, wind, wolves that can turn into humans, and the faceless, unknown Adversary. This paper will also consider recent graphic novels such as Rachel Rising (2012) in which a woman digs herself out of a shallow grave to discover her own murdered body and Unknown Soldier (2008).

2:30 PM - Grant Morrison's Human Animal Man Coughlan, David (University of Limerick, Limerick, Ireland)

The comic book writer Grant Morrison has addressed the question of the animal repeatedly throughout his career, most notably in The Filth , WE3 , and the earlier series which is the focus of 444

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 this paper, Animal Man . Given that comic’s clear engagement with the theme of animal rights, it is odd, as Marc Singer notes, that critics have largely analysed it only as metafiction. This paper seeks to readdress this, with particular reference to Jacques Derrida’s The Animal That Therefore I Am and David Herman’s work on the representation of animal experience in graphic narratives. It might be expected that Animal Man would provide an example of “how the representation of what it is like for (nonhuman) characters to experience events is shaped by medium-specific properties of graphic narratives” (Herman), but Morrison and artist Chas Truog seem unwilling or unable to exploit the multimodality of comic narratives to deliver an exploration of animals’ worlds. Instead, it emerges, it is exactly Morrison’s use of metafiction which provides his most profound insights into animal experience and animal suffering, because the path which leads to Animal Man’s discovery that he is a comic book character also renders him powerless, and deprives him, like the animal, of speech, an experience of death, mourning, technics, laughter, and crying. This paper concludes, therefore, that Morrison’s series exemplifies what Derrida describes as the radical “possibility of sharing the possibility of this nonpower,” and dramatises what living is for nonhuman and human animals.

3:00 PM - Maxime Miranda in Minimis Reimagining Swarm Consciousness and Planetary Responsibility through Nausicaä of the Valley of the Wind Ask Nunes, Denise (Stockholm University, Stockholm, Sweden); Mahmutovic, Adnan

Hayao Miyazaki’s manga Nausicaä of the Valley of the Wind can be said to reimagine the notion of “swarm consciousness” in order to challenge the ways insects have been portrayed in literature and film. Originally a concept from biology, swarm consciousness explains the self-organizing systems of social insects such as bees or ants. The view that insect societies consist of mindless drones governed by a central authority (the queen) permeate those genres in which insects often feature. Basing our view of swarm consciousness on the more recent understanding of insect self-organization, we challenge this rigidly divided traditional perspective and propose that Miyazaki's novel has the potential to help us envisions new and more creative interactions between humans and insects. These interactions are not limited to an in-group/out-group mentality. Rather, swarm consciousness can be used to imagine interactions between groups, irrespective of their species identity. Due to this shift towards a more decentralized perspective in which the queen is not longer the sole governing entity, it is possible to create a new way of imagining what Jakob von Uexküll termed the umwelt, the unique environment of vastly different creatures. We pursue the notion of swarm consciousness because it challenges both how we can think, but also who we can think with and, as a consequence, opens up new ways of perceiving unique and individual worlds, as well as the entire planet. This creates opportunities for an increased sense of planetary responsibility.

Date: Tuesday, July 26th

2:00 PM - Future Imperfect: Dystopia, Time Travel, Absolute Power and the Incredible Hulk. Buchenberger, Stefan (Kanagawa University, Department of Cross-Cultural Studies, Yokohama, Japan)

In 1992, one of the most prolific writers of the INCREDIBLE HULK, Peter David, together with artist George Perez, created one of the more memorable stories of the green giant with the two part prestige format Future Imperfect. In this comic the Hulk faced a monstrous future version of himself, the Maestro, the absolute ruler in a post-apocalyptic world, where all the other superheroes had long since perished. Only by luring the Maestro back in time to the exact moment when the first gamma explosion turned Bruce Banner into a raging monster, could the Hulk beat his future self.

One of Hulk’s greatest challenges, from a story point of view, was always to give him a real challenge since: “Hulk is the strongest one there is”, as he would often point out after beating his adversary to a pulp. Two of his more memorable adversaries, The Leader and The Abomination, are just different

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 versions of himself, created by gamma radiation. The only adversary he could not beat but had to outwit by uncreating him at the moment of his own creation was therefore his future self.

This paper would like to show that Future Imperfect is on the one hand a science fiction story, with its use of a dystopian future and time travel as central plot elements. However, on the other hand Future Imperfect gives a new twist to the eternal struggle between the Incredible Hulk and his alter- ego Bruce Banner, who like their Victorian predecessors Dr, Henry Jekyll and Mr. Edward Hyde constantly vie for the same physical space. As destructive as the Incredible Hulk can sometimes be, his monstrous future self reaches new heights when it comes to madness which in return makes him even more powerful since the Hulk gets stronger the madder he gets. The background of Future Imperfect with the Maestro as the lone survivor of the super being community, taking whatever he likes, because he simply is the most powerful being left, also contains a strong political message as in 1992, after the end of the Cold War, the hubris of the world’s lone remaining super power led to a winner takes all policy with terrible consequences, and the only thing that could beat it would be itself.

2:20 PM - The Myth of the Great War: Hugo Pratt's W.W.I Graphic Novelettes Rossi, Umberto (independent scholar, Roma, Italy)

Italian-born but absolutely cosmopolitan sequential artist Hugo Pratt (1925-1997) is one of the masters of historical adventure comics, and one whose sequential narratives are dense with literary and artistic references--especially the cycle of Corto Maltese. Two of the adventures of the stateless seaman and adventurer are set during the Great War: "Sotto la bandiera dell'oro" and "La laguna dei bei sogni", both published in 1971 in France ("La lagune des beaux songes” in Pif, Editions Vaillant, # 117; "Sous le drapeau de l’argent” in Pif, Editions Vaillant, # 143), then reprinted in Italy. The two stories--especially "La laguna..." are evidently inspired by the literary treatments of the war (possibly a short story by Pierre Drieu La Rochelle, "Le déserteur", plus some classical British war memoirs), but also based on Pratt's accurate research (especially visual details of uniforms, airplanes, tanks, trucks, weapons etc.). Both express a critical vision of the conflict which chimes in with the reconsideration of W.W.I which had started in the mid-1960s and would climax with the publication of Paul Fussell's The Great War and Modern Memory, but also with the relatively less famous (in the English-language world) monograph by Mario Isnenghi, Il mito della grande guerra, both aimed at deconstructing the myth of the war and its cultural and political implications. Pratt's graphic novelettes must then be set against their historical-cultural background (a time in which the Vietnam war was a hot issue) to understand their complex resonances and allusions.

2:40 PM - Will Eisner's Spirit's Participation to the Second World War Paladin, Nicola (Sapienza University of Rome, Treviso, Italy)

Will Eisner's Spirit can be historically identified as one of the early models for the American comics superheroes tradition. Among his most distinctive features, Spirit's patriotic aura tends to move to the background of his persona. However, be it openly or not, from the first publications of The Spirit, Eisner often alludes to the historical context, in particular to the possibility for the US to intervene into the Second World War. For example, in the first panel of October 27, 1940 The Spirit strip, titled “Conscription Bill Signed”, the Spirit explains his friend Ebony the draft as it follows: “Look at this way. Suppose some big bully is going around picking fights with everyone. He hasn't picked on you yet, but he will, as soon as he licks the fellow he's fighting now... What would you do?” As Jeremy Dauber clarifies, the Japanese attack to Pearl Harbor represents the turning point in Will Eisner's attitude to WWII and the Nazi menace. Although his references to the issue became explicit only after the attack, it is arguable that a strong anti-Nazi feeling as well as a pro American intervention propaganda constitute a recurrent subtext throughout the adventures of The Spirit. In my study I will 446

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 focus on the allusions, characters and settings related to WWII, in the adventures of the Spirit: for example, Octopus, Spirit's nemesis, is often supported by former Nazis; consequently, the blurred nature of Spirit's enemy is complemented by a Nazi connotation. This helps to characterize him as “the” bad guy, since he is related to the “bad guys” par excellence. The Spirit established a bond between the imaginary Central City and the battlegrounds of WWII: hence, my purpose is to demonstrate how the presence of WWII elements in The Spirit's strips helps to better shape the enemies of the vigilante. In other words, my aim is to show how the transposition into comics of the concrete enemy of America impacts the enemies of Spirit, who can be configured as an embryonic “sentinel of liberty”.

3:00 PM - Conflict and Social Control in Shingeki no Kyojin Ursini, Francesco (Stockholm University, Stockholm, Sweden)

Shingeki no Kyojin (‘Attack on Titan’, in its standard translation: Isayama, 2009-ongoing) is a shounen/seinen manga that features the fight of the last survivors of a battered humankind against the “titans”. The titans are human-looking entities that can vary in height and size, appear to be of limited of no intelligence, and yet they were able to bring human beings to the brink of extinction by eating and devouring humans. The narrative opens when two titans, who apparently have not breached the walls enclosing human territory in 100 years. The three main protagonists, step-siblings Eren Yaeger and Mikasa Ackermann, and friend Armin Arlert, lose their families in this attack. They thus seek revenge by enrolling in the survey corps, with the purpose of defeating the titans and freely exploring the world beyond the walls. However, as the narrative unfolds, the main trio and their comrades discover that much more sinister forces control the titans and the world within the walls. The goal of this paper is thus to explore how social control, and with it the never-ending conflict against the titans as the dangerous “other” are construed in SoK’ narrative. For this purpose, we apply the propaganda model found in Herman & Chomsky’s manufacturing consent (Herman & Chomsky), in particular the principles (or filters) of “flak” (those who reveal secret information are punished) and “the war on terror” (the creation of an ever-present mysterious, terrifying enemy). We show that the role of the elites in Shingeki is that of fostering an artificial state of conflict against the titans and manipulation of humankind’s history and collective memories. We then discuss how Eren and the survey corps fight against the titans as a “fabricated” terror, but also against the elites’ flak and the control on any flow of information within the walls.

Works cited

Herman, Edward S.; Chomsky, Noam. Manufacturing Consent (2nd edition). New York: Pantheon Books, 2001. Print. Isayama, Hajime. Shingeki no Kyojin. Kodansha: Tokyo, 2009-ongoing. Print.

Date: Wednesday, July 27th

2:00 PM - The public uses of comic books and the construction of collective memory Grüning, Barbara (University of Bologna, Bologna, Italy)

Aim of the paper is to investigate different public uses of comics in representing difficult pasts on the basis of four case studies: the National Socialist and the German democratic Republic pasts in the German memory field and the Fascist past and the terrorist/mafia massacres in the Italian memory field. The comparative analysis will focus on three assumed factors of influence:

1. the narratives and aesthetic forms culturally legitimated in the two national public memory spaces. Two questions are here pertinent: to which extent comics participate in public memory debates and in which cases they are successful in constructing autonomous memory discourses;

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2. the cultural frames which define a specific past. In the comparative analysis the author will attempt to highlight whether some cultural frames are more difficult to negotiate than others and why. That means also to understand in which cases comics are successful in creating new ways of representing a difficult past and in actualizing it according to the current questions of a collectivity; 3. the cultural paradigms hegemonic in the transnational memory comics field. The crucial matter is how they circulate and are received in the two analyzed national comics fields and how they influence the way of narrating 'local pasts'.

Then in the analysis I will contemplate not only the graphic representations of the past, but also who are the social actors (artists, publishers, political institutions, public intellectuals) involved in this process of collective working memory, their symbolic and cultural resources and their power relationships.

2:20 PM - Muslim Superheroes in France: reception of Kamala Khan as a case study of an unsettled narrative LORENZ, Désirée (Université de Poitiers, Poitiers, France); Reyns-Chikuma, Chris (MLCS/Arts210A/UofA/, Edmonton, Canada) Only four months after its English publication in 2014, the first volume of Ms Marvel: No Normal was translated and published in France. It could be quite surprising considering the French Republicanism conflictual relation to Muslim religion (e.g., Bowen, 2007). Sporadic creations of Muslim superheroes can be found in DC and Marvel comics since the mid-20th, and the positive recognition from Barack Obama of The 99 demonstrates the successful integration of Muslim superheroes into the US. But if Muslim superheroes are well known by US readers, this is actually not true for French readers. Pictures of an anti-Muslim France could be over simplistic. While the French republican model of assimilation is questioned, the definition of a French multiculturalism is supporting by many researchers (e.g., Stora, 2007). The creation of Nightrunner, a French Muslim superheroes of Algerian origin, sparked violent reactions from the US readers who do not recognize the French identity of this character. In contrast, French translation of the Nightrunner episodes did not initiate any controversy or hostility. While Muslims superheroes are not well known in France, we do not assert that they are or might not be legitimate. So, what is the Meaning of Kamala Khan's translation ? To answer this question, we propose a multidisciplinary approach of the reception phenomenon. First, our goal is to bring out the Kamala Khan's translation in a history of Muslim superheroes in France and in the current sociocultural context. Second, we will study the comic books and its translation. Third, we will analyze how it is received by the critiques, audiences and fans in France. Then, in order to advance in our understanding of the French people relationship to Muslim superheroes, we propose to investigate the content and structure of the social representations related to Muslims superheroes using well validated social psychological methods.

2:40 PM - Unsettling Narratives of Fear Visually: Illustrating and Adapting Neil Gaiman's The Graveyard Book Halsall, Alison (York University, Toronto, Toronto, Canada)

Acclaimed British novelist Neil Gaiman is the focus of my proposed talk. In particular, The Graveyard Book, published in 2008, and adapted in graphic novel form by P. Craig Russell in 2014. I will argue that Gaiman’s appropriation of the Gothic topos deliberately unsettles the conventions of the Gothic to allow his principal protagonist to take refuge in the strangeness of the Gothic world. Protagonist and child reader enjoy a temporary sense of belonging in the Gothic narrative, one that proves that the Gothic as a genre can help rather than “shatter and discompose the [child’s] Spirits,” as Enlightenment scholar John Locke once claimed. In turn, Gaiman’s unsettling of the Gothic provides much creative possibility for the visual artists who interact with his hybrid text. No stranger to the 448

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 interaction of word and image on the page, Neil Gaiman’s fascination with the visual can be seen on the first page of The Graveyard Book. Illustrated by Dave McKean, The Graveyard Book features black, white and sepia sketches that complement the words on the page. In opening Gaiman’s novel a child reader falls into a world that appears to be dark and dangerous, but that is in actuality safe and comforting. In effect, Gaiman’s unique Gothic world allows his child readers to escape from the horrors of everyday life into the mysteriously appealing graveyard on the hill, for a temporary time at least. Interestingly, expanding on the interrelationship between word and image that already exists in the novel version of The Graveyard Book, American comic book artist and illustrator P. Craig Russell adapted Gaiman’s novel into a graphic novel published in two volumes in 2014. This graphic novel adaptation of The Graveyard Book develops the hybridity of Gaiman’s source text even more. Each chapter is adapted by a different artist, forming a total of 8 distinct visual approaches to Gaiman’s source text. The contributors boast an impressive artistic pedigree, in terms of comics and graphic novel work. Not only are these volumes a testament to the visual potential of Gaiman’s Graveyard Book, but they mirror in a visual fashion Gaiman’s own approach to the Gothic, which is to unsettle and transform the once frightening world of ghosts and goblins into a world in which the child protagonist and reader would feel at home.

3:00 PM - The Unsettled Medium and Its Unsettling Media Bachmann, Christian (Ch. A. Bachmann Verlag, Berlin, Germany)

While comics have been published in newspapers since the late 19th century and in comic books since the 1920s, comics have only been released in the book format—i.e. the codex—for the past c. 30 years. That is to say that only for a comparatively brief period of time have comics artists had access to this carrier medium with its specific mediality. As S. Ditschke argued, the book format made comics fundamentally more accessible at least to the German feuilleton, thereby helping the comics to improve their public standing in Germany. Ditschke's findings support a notion propagated by, amongst others, R. Chartier, according to which the carrier medium, especially the book, is of major social importance and can have a large impact on whatever content is published in this form. However, the book format does not only change the rules of how comics are seen in the public, but also opens up heretofore unavailable aesthetic practices for comics artists. A significant number of comics by artists such as C. Ware, B. Katchor, and P. Hornschemeier is indicative of an ongoing development that can be traced back at least to the advancement of the so-called alternative comics in the 1980s. Going far beyond applying the label "Graphic Novel" to something previously known as a comic merely because it is now published in a perfect bound book, this development has arguably unsettled the comics medium itself. Between the book only just having become an actual option and web comics challenging print materiality altogether, an increased and ever-growing awareness of the materiality of carrier media can be observed in comics artists. This new awareness, in turn, brought forth a number of meta-comics such as Hornschemeier’s “Mother, Come Home” or Katchor’s “The Cardboard Valise” that explore—and thereby underline—the specific mediality of comics embodied in the book format. Building on insights by scholars such as G. Kannenberg and E. Tinker, this paper seeks to highlight specific works dealing with the mediality and materiality of the book and its aesthetic consequences for the comics as a medium within the broader context of comics aesthetics in the 21st century.

17336 - Engaging Publics In and Through Translation Date: Friday, July 22nd // Saturday, July 23rd Room: Übungsraum Germanistik 3 Chair: Bermann, Sandra 449

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2:00 PM - The Challanges of Legal Translation in Multicultural Societies Camps, Assumpta (University of Barcelona, Barcelona, Spain)

In this paper we will study the translation practice in the legal services in nowadays-multicultural societies, as well as the role of the translator/interpreter in translation when dealing with people who do not speak the official language. We will reflect on the preservation of criteria such as interpretative effectiveness and neutrality in translation specially when concerning vulnerable publics (like refugees, for instance).

Our analysis will not only approach the topic with regard of legal texts, but also of the communicative act as a whole that takes place in court, or in the legal field in general, including considerations about the nonverbal communication (that is, the body attitude, the intonation of voice, etc.) of the interpreter in his/her mediation. We will focus our attention on the different ways translators/interpreters communicate depending on the audience they seek to engage, and the strategies they follow specially in rendering ideological conflict.

From the reflection on these situations, increasingly frequent in our multicultural societies, we will show some several specific cases from the legal field that illustrate the relevance of certain factors in the practice of translation, such as the political and/or religious affiliation of the translator/interpreter, that influence neutrality as well as effectiveness, and the engagement of translation with the public sphere in nowadays societies.

2:20 PM - Climate Activism and Translation Esplin, Marlene (Brigham Young University, Provo, USA)

In this paper, I broadly explore cultural and political obstacles to global climate initiatives and highlight the efforts of specific organizations or individuals working to target and combat the problems of cultural and linguistic translation that both shape and frustrate their efforts. I approach the implicit translation philosophies of organizations such as the Diplo Translate Climate Initiative, the Care Climate Change Information Centre, the outreach arm of the Climate Change program at the University of the South Pacific, and I emphasize the publishing and the translation savvy of the Vatican's recent far-reaching climate encyclical, which was released simultaneously in Italian, German, English, Spanish, French, Polish, Portuguese, and Arabic. I argue that these climate initiatives demonstrate a sophisticated awareness of the extent to which understanding and countering climate change is a complex, informational problem, and I point to collective and individual efforts to translate scientific knowledge into actionable objectives, account for the cultural incommensurability of key concepts in climate discussions, and engage different publics through both very low-tech platforms and a wide variety of social media. For these groups and individuals, translation is more than just an extension of volunteerism. Rather, the multi-faceted activism of their initiatives exhibits and prompts mindfulness toward how problems of translation are at the apex of inaction related to global climate outcomes.

2:40 PM - The Visible Translator - Engaging the Public at International Book Fairs Kölling, Angela (University of Gothenburg, Västra Frölunda, Sweden)

Since its publication in 1985, Lawrence Venuti´s The Translator´s Invisibility (1985) has been the source of much debate among translation experts. Theoretical criticism aside, Venuti´s book has not 450

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 only entered the canon of translation studies but is also often referred to as the origin of the idea that visibility is a means of reasserting the translator´s social standing: translation practitioners plan and stage diverse events, such as prize givings, public readings, translation slams, etc., that engage the public as well as highlight the historic and the present power of translation. This paper wants to discuss the relationship between Venuti´s work and the translation events comparing their respective ideas of "public engagement". It draws in particular on semi-structured interviews conducted with literary translators engaged at the international book fairs in Frankfurt, Leipzig, London, and Gothenburg.

3:00 PM - Classical Arabic Literature for a 21st-century English Readership: The Experience of the Library of Arabic Literature Rossetti, Chip (Library of Arabic Literature, New York, NY, USA)

The Library of Arabic Literature book series launched in 2010 with the aim of publishing new editions and English translations of significant pre-modern Arabic texts in facing-page bilingual volumes. The nature of the series poses two related challenges regarding reading publics. To begin with, among the English-language reading sphere in the North America and Europe, Arabic literature remains a cultural “other,” one that is often regarded as less translatable than other languages, particularly for non-Muslim readers. Secondly, the series has opted to focus on pre-modern texts, rather than on contemporary fiction and poetry. As a result, the texts it translates are less appealing to western publishing houses, critics and reviewers, which show a greater interest in contemporary Arabic literary texts, even if that interest derives from an Orientalist-tinged interest in those texts’ perceived sociological and political value as a tool for “understanding the Middle East,” rather than in their merit as literature. The aim of the LAL series is scholarly in nature, but the varying reception of individual translations published in the series has demonstrated to its editors the complexity and variety of Anglophone reading publics. The Library’s editors have been surprised to see some of their translations eagerly received by non-academic western readers, while other texts, of a more religious nature, have been embraced by Anglophone Muslim readers—an embrace often complicated by religious sensitivities. In their public presentations concerning the aims and aspirations of the series in the US, the UK, and the Arab world, the editors have encountered very different expectations and assumptions from reading publics about the translation of Arabic’s pre-modern literary heritage. Those expectations and assumptions are in turn shaping the editors’ approach to this long-term scholarly undertaking.

4:00 PM - Growing up cosmopolitan. Imagining the world through translation in childhood. Lopes, Alexandra (Universidade Católica Portuguesa - CECC, Lisboa, Portugal)

Growing up in the Portugal in the 1950s on to the 1970s meant to be raised on a diet of translations. Even though there was a considerable tradition of children’s literature in Portuguese – many major writers have at one time or another produced poems and/or narratives for the young –, certain genres were conspicuously absent. Adventure stories were virtually inexistent.

Therefore, publishers relied heavily on translations of foreign works by authors such as Enid Blyton, Erich Kästner, Lieutenant X, Jules Verne and Emilio Salgari. My paper will focus on the controversial British author. Blyton soon became a favourite, having her major series translated into Portuguese: the Secret Seven, the Famous Five, the Mystery series, as well as the boarding-school narratives, such as The Twins and The Mallory Tower books.

Along with other collections – the Library for Girls and the Library for Boys amongst others –, these series have shaped the imagination of generations of children at a time when the world was still not

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 global(ized) to the extent it is today. These books opened up a window to the world, acquainting children with different peoples, institutions, habits, gastronomy.

By raising awareness to diverseness and fostering a taste for the foreign, this experience of a world not of ‘one’s own’ – English breakfasts and boarding schools figuring predominantly as adventures in themselves – produced a community around translation (Venuti, 2000), an almost cosmopolitan conviviality amongst young readers.

The contribution will discuss the role these translations have played in the imagination of their readers, and how the translations have dealt with differentness at a time of uniformity in Portuguese culture. No matter how ‘askew’ and/or ‘familial’ the translations, these narratives have fostered a kind cosmopolitan imagination that may have impacted on the worldview of generations of young readers.

4:30 PM - Creating New Reading Publics through Translation Scoville, Spencer (Brigham Young University, Provo, USA)

In this presentation I explore the relationship between emerging reading public and literary translation. In vastly different circumstances, a rise in literary translation correlates strongly with rapid changes in the literary marketplace. While this is most often read as an instance of market forces shaping the production of would-be literati, in this presentation I wish to turn the tables.

I will consider the ways in which translation not only creates texts, but also creates new reading publics and literary idioms. I will focus on two such instances, 18th-century Russia and 19th-century Egypt. In each case, the translation of foreign literatures played a key role in widening and popularizing literature. Translating foreign literature created reading publics that did not exist previously, paving the way for other literary, political, and scientific works that would follow.

In the 19th-century cultural renaissance known as the Arab nahda, Arab authors who were translating European literature created a straightforward Arabic idiom distinct from classical Arabic. This new register became the language of the press and of realist fiction of the 20th century. I will examine the ways in which the linguistic decisions made by Arab translators like Mustafa Lutfi al- Manfaluti, Khalil Baydas, and Rifa’a Rafi’ al-Tahtawi shape the expectations and reading practices of their rapidly expanding audience.

Similarly, throughout the 18th-century reforms of Russian that were led by Mikhail Lomonsov, Russian literati translated a great deal of French literature, shaping both the Russian language and reading public. I posit that these translations introduced specific conventions into Russian literature that opened the doors for the golden age of Russian literature.

In both the Russian and the Arab contexts, the novelty and progressive attitude of literary translation created reading publics imbued with distinctly new sensibilities and expectations.

5:00 PM - Sor Juana Inés de la Cruz and her Reluctant 21st Century Publics: Monolingual, Anti- Intellectual, and Performative Readings Gómez, Isabel (University of California, Los Angeles, Los Angeles, USA)

After two centuries of relative disrepute, twentieth-century readers of the Mexican baroque poet Sor Juana Inés de la Cruz have more than restored her status as “The Tenth Muse,” even expanding her inclusion in Mexican, Hispanic, Pan-American, and feminist literary canons. Her 20th and 21st century translators and creative adapters tend to conform to the posture of an “adoring” public, desiring and respecting her work. My paper explores adaptations aimed at more reluctant or indifferent publics.

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I argue that the way some contemporary poets and performance artists translate, mash-up and recreate Sor Juana’s texts for a readership that is monolingual, anti-intellectual, and visually oriented can show us a different side of Sor Juana and her 21st century publics. John M. Bennett, USA language poet, composes a homophonic translation of “Primero Sueño” titled “Prime Sway” by “forgetting Spanish” and translating by sound. Luis Felipe Fabre responds to the fetishistic qualities of the intellectual tradition of “sorjuanistas” on both sides of the Mexican border with irreverent mashups of her verses with the favorite monsters of the internet generation. Performance artist and activist Jesusa Rodríguez creates a gestural translation of the silva in “Sor Juana’s Strip Tease,” which visually interprets while she recites the poem. I read these creative adaptors who imagine a Sor Juana for reluctant publics of the twenty-first century as rehearsals of a more collective and open side of Sor Juana’s works—qualities seen in her theatrical works or the lesser-known enigmas, which these adaptors read into her best-known high lyrical works.

Date: Saturday, July 23rd

9:00 AM - Martí Evermore: José Martí as Reader and Translator of Edgar Allan Poe Esplin, Emron (Brigham Young University, Provo, USA)

Scholarship on Edgar Allan Poe has long acknowledged his influence on and affinities with the Latin American modernistas, and critics have documented Poe’s literary relationship with artists on the cusp of modernismo (Columbian José Asunción Silva), the movement’s most notable leaders (Nicaraguan Rubén Darío and Argentine Leopoldo Lugones), and authors who began their careers as modernistas and grew into something else as the movement waned (Uruguayan Horacio Quiroga). However, scholars have said little about the literary relationship between Poe and one of modernismo’s most resilient figures—Cuban José Martí. Martí is best remembered today as an agitator for Cuban independence, an early voice for a pan-Latin American identity (see his famous essay “Nuestra América”), and a prolific writer. He was also a translator who translated both for money and for pleasure. Among the many translation he performed, Martí translated Poe’s poem “Annabel Lee” and a few stanzas from Poe’s “The Raven.” Poe was not Marti’s preferred U.S. poet, but Martí’s correspondence and essays from the 1880s and 1890s reveal that he knew Poe’s texts in both the English source language and in Spanish translation. In this essay, I examine Martí’s thoughts on Poe as they appear in Martí’s letters and newspaper articles, and I offer a descriptive analysis of his Poe translations alongside Poe’s poems and the most well-known Spanish American translations of the time period to reveal Martí’s influence on how a specific reading public—his modernista colleagues and followers—adopted Poe as their dark poet prophet and melancholy muse.

9:20 AM - Translating Silence(s) in Mahashweta Devi's Imaginary Maps translated by Gayatri Spivak Menon, Nirmala (Indian Institute of Technology (IIT), Indore, India)

If translation is the single most important issue of postcolonialism, then we have to consider its uses, misuses, and possible abuses. This paper looks at a translation of Mahashweta’s Imaginary Maps by Spivak and compares it with her own theory of translation thus underlying the specific challenges of a postcolonial translation. I argue that the translation is problematic in that it co-opts the theoretical vocabulary of postcolonial studies for a translation in a way that Imaginary Maps should be categorized as a rewriting than a translation. So, I argue, that in the postcolonial context, the politics of who is translated, by whom and the range of translation techniques make for interesting analysis within and across texts. For this presentation, I analyze the challenges of a literary translation in the postcolonial context using Mahashweta Devi’s work as an example.

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The postcolonial realities of language compel us to understand the political and literary significance of translations. Unless we assume that the literary aesthetics of a postcolonial work are not an important factor for understanding the literatures, the emphasis on a theoretical vocabulary merits attention. I call this translation as an “academic” translation, one that is written by and for the consumption of an exclusive scholarly audience. What are the consequences of such a methodology of translation? Mediation is inevitable in any translation, yet at what point does mediation morph into a meta-translation? I engage with some of these questions in the lecture.

The above is an excerpt from my upcoming book Re-Mapping the Postcolonial Canon to be out later this year.

9:40 AM - Roberto Bolano and the Precarious Space of Literature Streip, Katharine (Concordia University, Montreal, Canada)

Roberto Bolano’s writing presents the immigrant, the exile, the tourist and the wanderer as dominant figures of contemporary culture. In works such as 2066, The Savage Detectives, Amulet and Nazi Literature in the Americas, Bolano embodies themes such as energy, travel, viatorization (giving movement and dynamics to form), borders, archives, exiles, heterochronia (existing within many times) and docu-fiction. This paper will address how Bolano’s representation of individual and collective memories within the precarious space of literature illuminates discussions of Bolano's work as "circling literary commodities uprooted from their historical and literary contexts" (Pollack, 2013), and proposes how can we reconcile the political, socioeconomic and cultural processes that inform translation and publication with Bolano's statement "How to recognize a work of art? [...] Easy. Let it be translated. Let its translator be far from brilliant."

10:00 AM - Translation: A Social fact and Practice Singh, Jayshree (Bhupal Nobles University, Rajasthan, India)

Social Culture, dimensions and interrelations are instrumental in developing social view of a society. Translation is the linguistic/semiotic device to do discourse/communication exchange in order to transmit to readers and listeners the social fact and practice. It forms the communication content of a social perspective. The nature of translation is fundamentally social. Translation appears peripheral when the text miss social content and social telescope, on the contrary it attains relevance when the environment of the source text is attached in the version of rendering. This paper will relate to the formal and informal relations and interactions that occur in gathering sociological eye while taking up the translation of the source text. For the research study the English version of the book titled “Hindi Short Stories” by Ravi Nandan Sinha (the translator and editor) is selected. Secondly the authorial intention and angle of vision, to select specifically short stories available in Hindi Language as case studies to configure normative forces at play in the social setting, will be critically evaluated. Thirdly the research analyses of the translated work will also explore the idea that “translations are textual artifacts whose functions are inscribed in the particular social culture that hosts them” (Simeoni, Daniel. “Translation and Society: The Emergence of a Conceptual Relationship”. In Translation – Reflections, Refractions and Transformations. Eds. Paul St. - Pierre and Prafulla C. Kar. New Delhi: Pencraft International, 2009)

17337 - Emotion Metaphors and Literary Texts Date: Friday, July 22nd / Monday, July 25th Room: Hs 31 Chair: Bethke, Kathrin 454

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

4:00 PM - Networking at the interface between conceptual and linguistic metaphor in comparative literary texts TRIM, Richard (Université de Toulon, 83957 La Garde Cedex, France)

Recent advances in the cognitive linguistic approach to metaphor studies based on Conceptual Metaphor Theory – CMT (Lakoff & Johnson, 1980) have contributed considerably to our knowledge of how figurative language is created in the mind. There appears to be a gap, however, in how conceptual models are represented in language itself since the creation of a linguistic metaphor depends on a large number of features in addition to conceptual mapping: lexical semantics, stylistics, textual and discourse analysis, to name just a few.

The field of comparative literature lends itself well to exploring the different influences on the creation of figurative language. The present study will give a very brief overview of how different actors are involved at the interface between conceptual and linguistic metaphor with the hypothesis that the meaning of a given literary metaphor is networked to any number of the influences outlined above.

On a synchronic level, comparative examples of figures of speech in love will be taken from D. H. Lawrence, Simone De Beauvoir and Hermann Hesse. On a diachronic level, meanings of love will be compared with Shakespearian language. Love, for example, is often equated with death: “But then, his arm was so strong, she quailed under its powerful close grasp. She died a little death…” (Lawrence, 1998: 342); “But I will be a bridegroom in my death, and run into’t as to a lover’s bed” (Shakespeare, 1608, Antony & Cleopatra, Act 4.14: 99-101); or “Tes sentiments, ils sont inlatérables, ils peuvent traverser des siècles parce que ce sont des momies” – Your feelings don’t change, they can go on for centuries as they are mummies (De Beauvoir, 1943: 200). A deeper textual analysis of the notions of death in the literary examples cited here reveals that they cannot be explained simply by everyday expressions of love such as: ‘she's in a daze over him, you take my breath away, they are always together’, etc. (Kövecses, 2000: 124). The literary mapping, LOVE IS DEATH, goes far deeper.

Other approaches such as a lexical semantic framework are required to explain the metaphoric compound noun in German Liebessturm (love storm). It can only be fully understood by the context of a previous compound Hagelsturm (hail storm) which has been used, (Hesse, 1986: 67).

Just as there appears to be a networking process involved in the creation of conceptual metaphor through time (Trim, 2007a: 109ff), more and more language data suggest that other types of networking processes are at work with regard to linguistic metaphor. This can lead to both similar and varied types of metaphor constructs at the synchronic level across languages, as in translation (Trim, 2007b: 45-56), or at the diachronic level within one language, as in salience trends (Trim, 2011: 90ff). The types of linguistic networks proposed in the data of this study thus appear to suggest that metaphor, at least in literary texts, is founded on more than just an X is Y conceptual mapping.

References De Beauvoir, Simone (1943). L'invitée. Paris: Editions Gallimard.

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Hesse, Hermann (1986), Wer lieben kann, ist glücklich, Frankfurt am Main: Suhrkamp Verlag,

Kövecses, Zoltan (2000), Metaphor and Emotion. Language, Culture and Body in Human

Feeling, Cambridge: Cambridge University Press

Lakoff, George & Mark Johnson (1980), Metaphors We Live By, Chicago: University of

Chicago Press.

Lawrence, D.H. (1998), Women in Love. Oxford: Oxford University Press.

Trim, Richard (2007a), Metaphor Networks. The Comparative Evolution of Figurat

4:20 PM - Emotion Metaphors and Literary Texts. The Case of Shakespeare's Sonnets Bethke, Kathrin (Freie Universität Berlin, Berlin, Germany)

According to Mark Turner and Gilles Fauconnier, the trope of metaphor can be conceived of as a “conceptual blend” in which an abstract target domain is “mapped” according to a usually more concrete “source domain”. From the point of view of cognitive linguistics “human thought processes are largely metaphorical” (Lakoff/Johnson, Metaphors We Live By 1980) and figurality is an integral part of verbally mediated cognition. Such conceptual blends are used with a particular frequency in the description of emotions. This paper takes Shakespeare's Sonnets as a case in point and looks at the specific source domains used to conceptualize affective states as well as the way Shakespeare's conceptual blends interact with the formal features of the poems, a phenomenon Mark Turner has tried to capture with the ambiguous term "iconicity".

4:40 PM - Metaphern gegen den Tod. Friederike Mayröckers ekstatische Trauergedichte De Felip, Eleonore (Universität Innsbruck, Forschungsinstitut Brenner-Archiv, Innsbruck, Austria)

Am 4. 6. 2000, fünf Tage vor Ernst Jandls Tod, ihres Lebens- und Schreibgefährten, schrieb Friederike Mayröcker ein Gedicht, dessen außerordentlich intensive Metaphorik in krassem Kontrast zu jenen Emotionen zu stehen scheint, die angesichts des Sterbens des liebsten Menschen „üblich“ sind. Der Beginn des Gedichts „DIES DIES DIES DIESES ENTZÜCKEN ICH KLEBE AN DIESER ERDE / an dieser hinschmelzenden Erde …“ (aus: Gesammelte Gedichte, 692f.) und Verse wie „mein unsichtbarer / Liebster in dieser Baumkrone ach jubiliert!“ oder „etwas Hawaii oder möchte in BURGUNDISCHEN GÄRTEN über Maszliebchen Erde … was! Flitzerei / plötzlicher Engel“ sind nur verständlich als „Poetry of Altered State of Consciousness“ (Reuven Tsur 2008), als „Ecstatic Poetry“ (Tsur). Sie sind der Ausdruck eines scheinbar paradoxen emotionellen Zustands, den man als ekstatische Verzweiflung umschreiben könnte. Im Zustand der extremen Angst scheint der Augenblick still zu stehen, das Bewusstsein öffnet sich für die Totalität der Existenz, für die Koexistenz von Leben und Tod. „Ekstatische“ bzw. „absolute Metaphern“ dienen Mayröckers verzweifeltem Anschreiben gegen den Tod. Acht Jahre danach, am 29. 02. 2008, schrieb Mayröcker ein Gedicht, dessen Metaphern wiederum die komplexen Emotionen des lyrischen Ichs erfassen (die anhaltende tiefe Trauer und das Glück der Erinnerungen): „ich öffne weinend die Tür und es fällt mir vor die Füsze : … das nackte Gewässer Höld. Hungerblümchen mein Herz gebückt : pochend mit den lauen Regengüssen wie einst in D. …“ (aus: Scardanelli, 20f.). Das Ziel des Vortrags ist die Analyse der Metaphern beider Gedichte als Ausdruck über die Norm hinausgehender intensiver Emotionen. Der Vortrag verbindet die Analyse der Metaphern − ihrer Lexik, ihres Rhythmus und ihrer Musikalität („The Sound Stratum of Poetry“, Tsur 2008) − im Lichte der kognitiven Literaturwissenschaft mit Erkenntnissen aus der Wahrnehmungspsychologie, insbesondere mit den Forschungen von Elaine und Arthur Aron zur sog. Hochsensibilität („sensory processing sensitivity“, Aron 2004, 2006, Aron/Aron/Jagiellowicz 2012). 456

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Die Analyse der Textverstehensstrategien soll aufzeigen, wie surreale Bild-Verbindungen die Konzeptualisierung der Metaphern „erschweren".

5:00 PM - Kafkas Sprache der Scham Tolksdorf, Nina (Johns Hopkins University, Baltimore, USA)

Schamgefühl ist als Ausdruck von Moral verstanden worden (Kant, Freud), als Verdrängung von Sexualität (Freud), als verweigerte Identifizierung, die dennoch Identität erzeugt (Sedgwick). Fast immer wurde dem Schamgefühl eine subjektkonstitutive oder identifizierende Qualität zugeschrieben, weil sie die Empfindenden auf sich selbst verweist. Während das Tier zwar Scham hervorrufen kann (Derrida), wird ihnen selten selbst ein Schamempfinden zugeschrieben. Vielmehr scheint es eine spezifisch menschliche und den Menschen konstituierende Emotion zu sein.

Der letzte Satz des Kapitels „Ende“ in Kafkas Proceß hingegen schreibt dem

Schamgefühl weder eine menschliche, noch eine identifizierende Funktion zu: „’Wie ein Hund!’ sagte er, es war, als sollte die Scham ihn überleben.“ Während er stirb, wird Joseph K. mit diesem Satz zum Hund und seine Scham zum herrschenden Affekt, der des Individuums nicht bedarf, um zu leben.

Mit diesem Wandel verändern sich auch die Metaphern und Anzeichen der Scham. Während gemeinhin Erröten, der Drang sich zu verstecken und Abwenden als körperlicher Ausdruck assoziiert werden, sind es bei Kafka eher diejenige Figuren, die aufrecht und erhoben sind, die mit Scham kurzgeschlossen werden und die sich schämen. Gemeinsam ist ihnen, dass sie – wie die Erzählung vom Schamhaften Langen eindrücklich zeigt – absolut deplatziert sind. In korrupten Welten, wie Kafka sie beschreibt, wird Aufrichtigkeit mit Scham besetzt. Erst eine genaue Lektüre der Scham und ihrer Metaphern zeigt diese Verschiebung und ermöglicht einen ganz anderen Blick auf die Wirklichkeiten in Kafkas Texten.

Date: Monday, July 25th

4:00 PM - Emotionsmetaphern aus transkultureller Sicht am Beispiel von Yoko Tawada und Gino Chiellino Tahoun, Riham (Universität Helwan, Kairo, Egypt)

Das Forschungsvorhaben, das hier in seinen Grundzügen dargestellt werden soll, befasst sich mit den Emotionsmetaphern in ausgewählten Werken und theoretischen Schriften von Yoko Tawada und Gino Chiellino.

Die Literatur ist im Allgemeinen „anders-sprachig“, im Sinne dass sie von den Ausdrucksweisen des üblichen Sprachgebrauchs zugunsten eines freien, Neues schöpfenden Ausdrucks abkehrt. Die „Literarizität“ bzw. „Poetizität“ des literarischen Sprachgebrauchs werden umso reicher in der Migrationsliteratur. Es handelt sich hier nämlich um eine „ex-phone“, d.h. mehrstimmige Literatur, da die Autoren sich zwischen zwei Sprachwelten bzw. Kulturen bewegen und diese in einer einmaligen, schöpferischen Synthese verbinden.

Ziel dieses Forschungsvorhabens ist zunächst, die Emotionsmetaphern zu analysieren, die die Autoren Tawada und Chiellino zur Beschreibung ihres Verhältnisses zur Muttersprache bzw. zum Heimatland einerseits und zur Fremdsprache bzw. Zweitsprache Deutsch und zu Deutschland andererseits benutzen. Besonders aufschlussreich für die Untersuchung ist der jeweilige ideologische, (trans)kulturelle und sprachliche Hintergrund der Autoren. Es gilt weiterhin zu ermitteln, in welchen Kontexten diese Metaphern benutzt werden, d.h. ob sie in hoch emotionalen

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Zuständen (z.B. Erinnern, Nachruf usw.) oder in mental-kognitiven Prozessen (Reflektieren, Vergleichen, Bezugsherstellung) auftauchen. Interessant ist ferner zu untersuchen, ob sich bei diesen Autoren eine Typologie der Emotionsmetaphern beobachten lässt, die sich oft in ihren Werken wiederholt und inwiefern die Autoren in ihren Emotionsmetaphern von ihrer Translingualität und Transkulturalität beeinflusst sind.

4:20 PM - Menschenfleisch-Laokoon. Hans Christoph Buchs poetologische Augenzeugenschaft Suter, Fermin (Institut für Germanistik, Universität Bern, Bern, Switzerland)

Die Texte Hans Christoph Buchs, der als Kriegsberichterstatter und Literat aus zahllosen Krisen- und Kriegsgebieten berichtet hat, bewegen sich zwischen aufschreckendem Bericht und ästhetischer Normalisierung, historischer Plausibilisierung und ethischem Dilemma, satirischer Autofiktion und moralisierendem Appell. Wenn der literaturwissenschaftlich geschulte Buch in Reportagen sowie im mehrteiligen Essay

Laokoon oder Die Grenzen von Journalismus und Literatur

(2000) die Opfer eines Brandanschlags als Laokoon-Gruppe vergegenwärtigt, dann ist diese Anleihe mehr als nur die Einreihung in eine Tradition der poetologischen Auseinandersetzung mit dem Emotionalisierungspotenzial symbolisch vermittelter Gewalt. Der metaphorischen Verschiebung emotionalen Erlebens in den Bereich der Poetologie entspricht auch eine Verlagerung des Berichts hin zu einer moralischen Appellfunktion des Textes. So reagiert Buchs Poetologie nicht nur auf ein Repräsentationsdilemma, sondern auch auf Gattungsmaximen der Reiseliteratur, die wie wenige andere Textsorten einem Erfahrungsparadigma verpflichtet ist. An seinen Texten läßt sich veranschaulichen, wie tiefgreifend die Metaphorisierung von Gewaltereignissen verschränkt ist mit poetologischen und ethischen Überlegungen. Solch bildhaftes Erzählen von Grauen und Schrecken, das einerseits prägend für Buchs Ästhetik ist und andererseits wiederholt in den Fokus expliziter Kritik gerückt wird, kann als Reaktion auf multiple Hürden der Zuordnung, des Ausdrucks, der Vermittlung und Deutung von Emotionalität, und damit als Mittel zu deren narrativen Regulierung verstanden werden.

4:40 PM - When Bodies Talk: Emotions in Musil's Die Verwirrung des Zöglings Törleß Hillard, Derek (Kansas State University, Manhattan, Kansas, USA)

When Bodies Talk: Emotions in Musil's "Die Verwirrung des Zöglings Törleß"

What emotions might be in play if all things seem be caught in a conflict so basic that it threatens to undo life? Where things are perceived as having one side that can be linguistically communicated and one that cannot; a side that can resemble and one that cannot; a side that can be imagined and one that defies images, and so on. Robert Musil's "Die Verwirrung des Zöglings Törleß" (1906) invites readers to envision a character whose core emotion is living on a knife's edge. To be sure, the depiction of violent forbidden longings among boys at a military school scandalized readers in its day. Yet it turns out that the desires, fears, and aggression of the boys are masks for emotions that are at once more dangerous and fundamental.

This becomes clear when Törleß discovers that our emotional worlds are extended into external things and bodies with the result that the distinction between external world and inner experience

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 becomes hazy. Indeed, emotions do not happen without embodiment in the novel, revealed in such feelings as being pulled to the ground, a real or imagined touch, and a crawling or tickling of the skin. That gestures, bodies, and contact with things can be emotions just as much as disgust or love means that they cannot be fully assimilated. It also means that narration and embodiment are essential to their presentation. Perhaps this is why the narrator states that Törleß "was totally lacking in character" and why Törleß finds there is always an emotional dimension that resists comprehension. "Törleß" might be read as a thought experiment: what if the messiness of emotional lives is so exhaustive and particular that we must invent a regular order of everyday emotions so as to survive?

5:00 PM - Music as Emotion Metaphor in Romantic and Contemporary German literature Baumann, Karoline (Freie Universität Berlin, Berlin, Germany)

This paper approaches the conceptualisation of emotions in literary texts via the use of music and musical metaphors in two historical epochs that conceive of them quite differently and yet with somewhat similar results. In Romanticism, music served a particular function of, paradoxically, expressing the inexpressible: Regarded as the superior art form to which poetry should aspire and, if possible, return (as to its origin), music ‘takes over’ in literary texts in places where language is deemed insufficient to the complexity or intensity of the emotions described. Emotions are from a certain point on thus delegated away from language to a realm which literature can, if at all, access only by way of its poetic and musical qualities. Mystified rather than made intelligible, emotions are thus stylized in accordance to the ‘unsayability’ trope, a trope that is “as often repeated as hardly ever believed,” according to Blumenberg. Since the linguistic turn, however, language, no longer considered inadequate to the expression of the complete depth of what can be perceived, thought, or felt, is, to the contrary, considered to be always one step ahead: thoughts and emotions can only follow what language does but are never up to registering its entire dimension. In a novel that was written in an attempt to approximate literary writing to the production of electronic music (Meinecke’s

Tomboy

, 1998), the protagonists themselves appear entirely as results of external ascriptions, embodying the idea of subjects as individual, incoherent and temporary discourse nexuses. Emotions, too, are effects of discourse and can be performed but do not exist outside of language, so that even in the most intimate moments, the protagonists can only feel what language has a pattern for – as equivocal and problematic as that pattern might be – and cannot but worry whose emotions they are actually having as it is impossible to tell whose words they would be using when trying to express them.

17338 - Affective language between action and passion Date: Monday, July 25th Room: Prominentenzimmer Chair: Tomáš Jirsa; Josef Šebek; Elizabeth Rush; Andrea Barros

Room: Prominentenzimmer/Marietta-Blau

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9:00 AM - Introduction Jirsa, Tomáš (Institute of Czech and Comparative Literature)

…

9:30 AM - "The gestural", densité, erratic sense Müller, Richard (Ústav pro ceskou literaturu, AV CR, v.v.i., Praha 1, Czech Republic)

The paper addresses the concept of “the gestural” (gestičnost) from a postsemiotic perspective. Drawing on the theoretical impulses of Christian von Ehrenfels, Jan Mukařovský, Roland Barthes, Milan Jankovič, Miroslav Petříček and motifs found in the work and diaries of Franz Kafka, “the gestural” is analyzed and discussed as pertaining to the border between communication and non- communication, semiotic and non-semiotic, signifying and materiality, affect and impassiveness.

10:00 AM - Animal Play and the Affect of Language Carsten, Christoph (Bauhaus-Universität Weimar, Weimar, Germany)

In his essay The Autonomy of Affect Brian Massumi differentiates language as dealing with “narrativizable action-reaction-circuits, (…) function and meaning” (Massumi 2002, 28) and affect as a virtual interval full of intensity belonging to a different order. However, Massumi admits that affect and language can never be fully separated; they are “two dimensions of every expression, one superlinear, the other linear” (ibid, 26). Despite the relativization at the end, this distinction between language on the one hand and affect on the other might have been one reason why theories of affect have treated film, performances, installations or dance as especially affective for their not predominantly linguistic nature. However, it is Massumi himself, who in his recent book on What Animals Teach Us about Politics (Massumi 2014) again opens up the path to rethink the relation of language and affect. By, quite remarkably, stating that “(a)nimal play creates the conditions for language” (ibid, 8) he offers a starting point for thinking about language beyond the dominance of meaning, narration and form. Against this background, it cannot be surprising that Deleuze and Guattari, too, regard writing and literature as the privileged places for humans’ becoming-animal. In becoming-animal the writer takes language away from its standard use in everyday life in order to create (non-human) affects. Dealing with language via the concepts of animal play and becoming-animal makes it possible to rethink the affect of language in general and the affect of literature in particular. Where are the similarities of animal play and language? What strategies do authors use to engage in such a becoming-animal? And why does literature/language become especially affective this way? Furthermore, I would like to discuss how the distinction between humans/animals might have to be rethought, which historically is primarily constructed by distinguishing those who can from those who cannot speak.

Room: Marietta-Blau Chair: Josef Šebek

11:00 AM - Affective Language in Literary Realism Rossi, Riikka (University of Helsinki, Department of Finnish, Finno-Ugrian and Scandinavian Studies,, Helsinki, Finland)

Literary realism is generally understood as an epistemological project in pursuit of knowledge and truth and as a genre that avoids emotion and sentimentality. The emphasis on rational elements derives from nineteenth-century aesthetic ideals. Authors like Émile Zola compared writers to scientists who document reality or conduct experimental research. Structuralist and poststructuralist critics later defined realism as a discursive practice that depends on a stereotypical body of knowledge, doxa and the authority to create the peculiar effects of reality (e.g. Barthes 1968, 460

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

1970). In this view, realism has a pedagogical desire to transmit information (Hamon 1982). Fredric Jameson (2010) encapsulates this idea when he writes that realism “is essentially an epistemological category framed and staged in aesthetic terms.” Yet recent studies on emotions provide new insights that challenge this kind of approach to realism. Linguists have shown that affect is a fundamental and all-encompassing element of human language (e.g. Besnier 1990). Affect cannot be separated from other linguistic functions, and the affective function overlaps even the referential function characteristic of realist literature. Moreover, nineteenth-century realism emerged at the same time as the modern concepts of mind and emotions, which move beyond the humoral understanding of passions to embrace the idea of emotions as neuropsychological conditions. The new affective terrain of modernity posed new representational tasks for novelists who were trying to seize emotions’ fleeting essence through language.

This paper examines affective language in literary realism and focuses on the language of negative emotions, such as disgust and fear in particular. The paper will analyse examples from nineteenth- century classic realism (e.g. Honoré de Balzac’s Le Père Goriot (1835) and Émile Zola’s Nana (1880)) up to contemporary realism (e.g. Sofi Oksanen’s Purge (2008)).

11:30 AM - Affect and Realism in Dostoevsky's Crime and Punishment Barros, Andrea (Catholic University of Sao Paulo - PUC, Jacareí, Brazil)

The peculiar caractheristics of dostoevskyan realism have configurated a controversial object of discussion among critics and scholars, particularly since Dostoevsky’s so much quoted statement about his own view of his creative method: “They call me a psychologist. Untrue: I am simply a realist in the highest sense - that is, I depict all the depths of the human soul.” This author’s view of his own realism seems not to have been completely understood by the critics nor the readers, despite it’s importance on the fully appreciation of dostoevsky’s work, as argues Stepanyan: On the definition of this method essence (...), it seems to me to be one of the main problems to the comprehension of Dostoevsky’s work – genious russian writer, whose message to the readers – not just us, but our descendants – was not yet been read in its completeness. (Stepanyan, 2009, p. 3)

Assuming the mission of depicting “all the depths of the human soul”, Dostoevsky has opened a broader and deeper sense of the real in fiction, as his depictions were not of exterior aspects of reality in society, but of the interior states of mind, stripping emotions, thoughts and feelings in perpetual crisis with the external everyday life. In this scenario, affect, considered as a source of the emergence of realism by Jameson (2013, p. 27), creates a new temporality on the realistic narrative, bringing the reader to what Jameson calls “the eternal present” (2013, p. 26), with which destiny is in permanent tension.

(...) when the realistic novel begins to discover (or if you prefer, to construct) altogether new kinds of subjective experiences (from Dostoyevsky to Henry James), the negative social function begins to weaken, and demystification finds itself transformed into defamiliarization and the renewal of perception, a more modernist impulse, while the emotional tone of such texts tends towards resignation, renunciation or compromise, as both Lukács and Moretti have noted. (2013, pp. 4-5)

In this frame, this communication aims to propose a discussion about the affect in Dostoyevsky’s narratives, with a particular focus on Crime and Punishment (1866), as an attempt to comprehend the role of this emotional/aesthetical cathegory in dostoevskyan realism “in a higher sense”.

Chair: no chair yet

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2:00 PM - The Affective Language of Color in Literature and Film Doran, Sabine (Pennsylvania State University, University Park, USA)

Since ancient times, the languages of affect have been color-coded. Red is universally related to intense passions such as love, wrath, and anger. As the color of the longest wavelengths and the highest intensity, it is not surprising that red is seen as the most emotionally charged color in artistic works.

In this paper, I explore the affective language of red in classic literary and cinematic works. More specifically, this paper investigates how the affective language of color activates a dynamic field in which color functions not as a symbol or object-form, but as a relation to materiality or a sensual- formal abstraction. Spelling out the various affective uses of the color red in literature and film will help us to clarify the different performative structures of affectivity.

After a theoretical introduction, the first part of my paper will deal with literature. I will explore the affective dimension of color oppositions in Poe and Stendhal: in “The Mask of the Red Death,” the horror of red unfolds in contrast to the destructive color field of black; similarly, in The Red and the Black, colors represent contrasting concepts--the army and the clergy--thereby establishing a destructive social dialectic that the hero cannot escape. The red scarlet letter in Hawthorne’s eponymous novel is framed by a dynamic that unfolds between passion and terror. In the wake of Gothic fiction, I show how these novels locate terror not in the supernatural but in the social fabric itself.

As for film, it is a matter of decoding the visual language of color--its system--as the key to understanding its affective power. In Cries and Whispers, for example, Bergman’s architecture of red creates a tension, moving both inwards into the film and outward towards the spectator. In Antonioni’s Red Desert, red stages and frames an emotional void between action and passion. This is achieved by de-dramatizing the most dramatic color, by framing it within the greyness of the industrial wasteland that forms the subject of the film. Bergman’s dramatization of red will thus be contrasted with Antonioni’s de-dramatization of a color-coded language of affectivity. In Kieslowski’s Red, a third cinematic approach to the emotional value of “seeing red” emerges: the nexus between affectivity and ethics.

2:30 PM - The Blurred Space In-Between: Repetition in Fiction and Affectivity Sebek, Josef (Faculty of Arts, Charles University in Prague, Prague 6, Czech Republic)

Repetition is an important phenomenon of modern, avant-garde, and postmodern fiction. In the last couple of decades, literary theory and the neighbouring disciplines have tried to analyze it and the linguistic (Johnstone), rhetoric (Frédéric), structuralist (Genette, Todorov), poststructuralist (Deleuze, J. Hillis Miller) and psychoanalytic (Freud, Kawin) approaches have proved to be the most promising. Drawing on this research, I will focus on some of the most relevant aspects of literary repetition, especially the impossibility of literal repetition, the restructuring of time and the ambiguity of the before/after distinction in repetitive texts, the “non-propositional” meaning and the potential subversivity of repetition. Then I will try to locate repetition in fiction in what is – as I believe – its proper place: the somewhat blurred space between the text and the reader. I will therefore propose an approach that is close to the notion of affectivity (Kazalarska), however, one that – and that is one of the many paradoxes of repetition – necessarily has to do justice to the structural and narrative dimension of repetitive texts.

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3:00 PM - Affective language between action and passion Jirsa, Tomáš ((Charles University in Prague))

…

Chair: Andrea Barros

4:00 PM - Dispositives of Silence. Affective Injuries, Wounding Attachments, Gender and Czech Literature 1948-1989 Matonoha, Jan (Ústav pro ceskou literaturu AV CR, vvi, Praha 5, Czech Republic)

The presentation aims to sketch a subliminal backlash against feminism paradoxically within the very cultural context that founded its legitimacy in the discourse of human rights, equality and justice, namely the context of cultural activities or more specifically literary outcomes of the then anti- establishment, dissident activism in former pre-1989 Czechoslovakia. It discusses briefly the ways gender was dispossessed and silenced by processes of interpellating readers through positive, flattering, intra-active entanglements of discursive and affective mechanisms that were however at the same time essentially wounding and dis-empowering. The microphysics of affective and epistemic violence and the work of self-oppression and silencing was not only de-centred, invisible and performed by those very subjects suffering its consequences but also carried out by them in paradoxically affectively engaged manner. To capture this dynamics, the concepts of wounding attachments and injuring (injurious) identities coined by Wendy Brown and Judith Butler, respectively, is used.

4:30 PM - Affective Discourse: Orality, Witnessing, and Nostalgia in Te di la vida entera and Caramelo: or Puro Cuento Gibby, Kristina (Louisiana State University, Baton Rouge, USA)

Zoé Valdés’s Te di la vida entera (1996) and Sandra Cisneros’s Caramelo: or Puro Cuento (2002) are products of different physical and socio-political contexts (Valdés—a Cuban born author—wrote Te di la vida entera while in exile in Paris, and Cisneros—a Mexican-American published Caramelo in the United States), yet both center on the intimate suffering of lovelorn women as a means to comment on the larger social and political issues of their respective Cuban and Mexican-American cultures. Moreover, both texts similarly subvert traditional literary conventions in an unusual way by invoking ancestral spirits who assert their own voices and verbally contend with the narrator-authors, contesting the narrative space. These spectral figures are, at once, challengers to and collaborators with the narrator-authors, gesturing back to an oral tradition of storytelling. As liminal beings the spirits facilitate movement from an intimate to a communal experience in an attempt to recuperate wholeness, connecting the singular to the plural. This is apparent through the novels’ orality, the spirits’ function as witnesses, and the use of affect to heighten the sense of nostalgia—emphasizing a connection between the women’s lost love and the loss of an idealized national past.

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17339 - Do you speak digital? The Past, Present, and Future of Electronic Literatures Date: Friday, July 22nd Room: Übungsraum Germanistik 5 Chair: Backe, Hans-Joachim

2:00 PM - Intro and Moderation Backe, Hans-Joachim (IT University of Copenhagen, Copenhagen, Denmark)

The group session "Do you speak digital? The Past, Present, and Future of Electronic Literatures " is organized as a round-table discussion. It will start of with this Introduction which gives an overview of the central topics and issues at stake.

2:30 PM - Hypercolonial Digital Literatures Sanz, Amelia (Complutense University (Madrid, Spain), Madrid, Spain); Goicoechea, María (Complutense University (Madrid, Spain), Madrid, Spain) We will present the field of Digital Literatures in different languages (others than English) in order to point out dominant positions that we call "hypercolonial".

3:00 PM - The Position of Digital Literature in Cultural Space: the Case of Estonia Viires, Piret (Tallinn University, Tallinn, Estonia); Laak, Marin (Estonian Literary Museum, Tartu, Austria)

During the last decades the global cultural changes caused by the development of information technology have resulted in several implications for culture. In our presentation we would like to discuss the cultural changes related to digital literature and use Estonia as a study case. We consider Estonia as a good example, because digital culture is associated with the move of Estonia from a transition society to a network society where digital communication is ubiquitous in all aspects of life. These processes have also been actively supported and promoted by Estonian state (e-Estonia). The questions we would like to address are the following: the question of visualisation of culture; the opposition between printed literature and digital literature; the role of digital media for emerging young authors; the possible transmedial connections of digital literature. The main question we would like to ask is - what is the position of literature as a verbal text in the current digital cultural sphare? As a conclusion we are suggesting that the changes caused by digital technology can strongly affect also people’s perception of the world. This all may result in major changes in human culture, changes which are yet to be examined. Thinking about the role and position of digital literature in the current cultural space will hopefully give an opportunity to open this discussion.

17340 - Disturbing Crossings: Untranslatability and the Languages of Crossing Borders Date: Saturday, July 23rd Room: Hs 29 Chair: Chatta, Rasha; Harrison, Rachel; El-Desouky, Ayman

4:00 PM - The civilized cannibal": Postcolonial Ambivalence and Anxiety in Cannibales by Mahi Binebine Berrada, Taieb (Lehigh University, Bethlehem PA, USA)

Le terme « cannibale » provient d’un déplacement de sens du mot cariba ou caniba utilisé par les Arawak, un peuple que Christophe Colomb a rencontré lors de son premier séjour dans les Antilles. 464

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Ils désignaient ainsi leurs voisins ennemis, sensés consommer de la chair humaine. Le terme a persisté pour désigner « le sauvage mangeur d’homme et avant tout, selon Peter Hulme, « l’image d’une consommation féroce de chair humaine ». Issue d’une scène de rencontre entre Européens et « peuples indigènes », la désignation de « cannibale » a servi de distinction pour le colonisateur entre ce qui est « civilisé » et ce qui est « sauvage » et ainsi de justification pour l’expansion coloniale et l’extermination de nombreux peuples dits « sauvages ». Selon Maggie Kilgour, ce discours sur le cannibalisme ne peut être dissocié d’un contexte colonialiste et impérialiste. Mahi Binebine revisite la scène usuelle entre « civilisé » et « sauvage » en la reformulant dans le contexte postcolonial de l’immigration clandestine vers l’Europe. Si le titre Cannibales du roman suggère sans le mentionner que les « cannibales » sont les clandestins qui tentent « férocement » d’atteindre les côtes européennes, c’est dans le cauchemar du personnage de Momo, trois fois expulsé de France, que le « civilisé » européen, un gérant de restaurant, à la « bouille plutôt sympathique » devient l’exocannibale qui consomme le clandestin, non pas « sauvagement » mais de manière « civilisée », à travers des négociations : le corps cannibalisé devient une commodité qui s’échange contre du bien- être matériel (un appartement) et social (une augmentation de salaire). Les rêves d’Europe du clandestin se transforment en cauchemar et traduisent dans le texte une ambivalence et une anxiété liées à une exploitation postcoloniale où le clandestin est devenu un être consommable et, selon l’expression de Bertrand Ogilvie, un « homme jetable ».

4:30 PM - Disambiguating the 'Tricolore': Language, Literature, Nation and the French Global Chatta, Rasha (SOAS, University of London, London, United Kingdom)

French Global is defined by C. McDonald and S. Rubin Suleiman as a way of reading which “challenges the notion of a seamless unity between French as language, French as literature, and French as nation (let alone French as “universal spirit”), [while however maintaining] the idea of literatures in French." By placing the emphasis on reading practices defined by the practices of French Global, as a hermeneutic of differential otherness, this presentation will seek to offer a fresh perspective on extra-nationalistic spheres beyond the older Eurocentric approach to Francophonie, by considering the example of Arab migrant writing in French, in Quebec. The example of Quebec literature is doubly significant as it offers layers of the linguistic and cultural peripheral beyond boundaries of the national, thereby demanding the centrality of the act of reading and of reading practices beyond the national, at the very core of identity-forming acts in the name of the national Quebecois.

5:00 PM - Theologies of Translatio: On the Hermeneutics of Cultural Untranslatability and Historical Moments of Urgency El-Desouky, Ayman (SOAS, Univeristy of London, London, United Kingdom)

This presentation will address some recent attempts, in particular Alain Badiou’s, to understand the radical possibilities unleashed by the recent mass movements in 2011 and after in terms of a ‘movement communism’.

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Badiou’s terms, integral to his philosophy of ethics and his conception of the political, reflect his attempt to understand mass movements as finally offering a no less historically significant ‘truth event’. Badiou’s term ‘movement communism’, grounded in his philosophy as it is, I shall argue, is an attempt to name the mass movements’ exercising of ‘connective agency’ (my term). The impact of these movements as ‘truth event’ will be analyzed, radically within the Egyptian context, as the quest for amāra (sign or narrative of a shared common fate or identity) that is constitutive of the new subjectivities emerging. This mode of analysis rests on a re-conception of possibilities of

‘organization’ other than those posited in traditional Marxist and leftist discourses. This specifically Egyptian cultural practice, the anatomy and need for which were already debated by Marxist and leftist writers and intellectuals since the 1960s (notably by Mahmoud Amin al-‘Alim on the narrative art of Yusuf Idris) potentially offers a radical aesthetic of solidarity, perhaps already on the other side of discourse. I will also argue that the practice of amāra is the

Egyptian form of connective agency as debated in studies on cultural memory (Jan

Assmann and Paul Connerton).

17341 - Literature and the Language Date: Friday, July 22nd // Saturday, July 23rd Room: Hs 26 Chair: Rao, Mythili

2:00 PM - Voices from the Margins as Destabilizing Forces of Power Centres of Hierarchy: Karnad and Hariharan Lall, RamaRani (Department of English, Jaipur, jaipur, India)

The present paper proposes to work with the interpretation of classical myths through marginalized voices of people who are situated in the margins because of gender, class or education. The two texts chosen are Girish Karnad’s playYayati and Githa Hariharan’s novel. The Thousand Faces of Night. Written more than three decades apart, the two wrters give an important place to the women characters, especially women from the lower sections of society and thus contrast their interpretations with those emanating from patriarchal voices or from women caught in the notions of patriarchy. These also happen to be folk voices as some women are of very little education; their main strength is intuition and experience. Both the writers use myths from the Mahabharata.

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In Karnad’s play Yayati the voices are Sharmistha’s , a friend demoted to being maid servant, Chitralekha’s, Pooru’s wife, whose husband is being asked to sacrifice his youth, and from the maid sernants of Devayani, Sharmistha and Chitralekha. While in Hariharan’s novel , they are the grandmother’s of the young foreign-educated Devi, and her maid, Mayamma’s, who are voices from the margins.

Through these voices, the two writers bring out the constant conflict between power and the need for personal freedom, conflicts located on the issues of gender, class and classical learning on one hand and the individual’s need for freedom and for fulfillment of desire. They also critique social institutions, such as family and marriage.

While patriarchal power seeks to control, folk cultures are more open and liberating. The myths open out in many ways and bring in oral narratives, lending strength to Foucault ‘s belief that power centres can shift, power is not static as well as to the continued relevance of myths Rama Rani Lall

2:20 PM - Marginalized Communities - Tribal Narratives of India and Pakistan Mathur, Vrinda (BBD Post Graduate College, Jaipur, India)

Gender identity-a predominant socio-cultural construct-emanates from a patriarchal system. Male dominant perspectives dictate the status of women-specially in the marginalised tribal communities- resulting in the treatment of these women as third class or even no class invisible citizens.

The tribal narratives of India and Pakistan [ both heavily religion and culture dominated countries] highlight the savage nature of rural tribal cultures. Foregrounding the rootlessness, exploitation, and misuse of women in these communities these narratives highlight how tribal women are " used as commodities, bought or sold to settle disputes and pay off debts."

Two poignant tribal narratives-Pakistani writer Mukhtar Mai's 'IN THE NAME OF HONOUR' and Indian writer Mahashweta Devi's ' HUNT move through personal statements to raise significant questions of violence, oppression , suppression, the stark realism of physical existence- ugly and repelling, and human dignity. Both narratives highlight the'' fighting with their backs against the walls ,trapped'' struggle of their protagonists wherein one reverses gender roles while the other is brutally assaulted ,violated and humiliated. Both the protagonists are tribal women. Both show exemplary courage.

My paper seeks to examine these two narratives to not only understand their concerns with stirring consciences to advance arguments for social change but also to understand their faith in stark realism, in the portrayal of raw ugliness and their deconstruction of fairy tale constructs.

2:40 PM - On Margin, Culture and Identity : The Case of Minority Writings in Canada and India Firdaus, Zakia (central university of gujrat, gandhinagar, India)

In recent years, theories on marginality have focussed on issues of displacement, liminality, diaspora, domination and subjugation. In this upsurge of marginality, the discourse of post colonialism foregrounds the need for recognising identities and voices that were denied during the colonial days. Said, Bhabha, Fanon, Spivak Jan Mohammad and a host of others have questioned the margin as an ideological construct and contributed to the growing discourse on post colonialism. It is the margin that creates the voice of resistance and space for articulating their lived realities. In doing so, most minority writers in Canada, be it Afro-Carribean, Immigrants or Natives have felt the necessity to rewrite themselves for the rightful place / space in Canadian Society. A similar proposition is visible in the writings by Dalits and Denotified Tribes in India. It has mapped the process of its existence from the trajectory of subjugation to survival. Writing becomes a means for assertion as well as negation. 467

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In this paper it is proposed to examine marginality as a theoretical construct to negotiate the selected novels of both Native Canadian writers and Dalit writers of India.

3:00 PM - The Black Feminism And The Dalit Feminism: A Comparative Study of Toni Morison's 'Sula And Bama's 'Sangathi'. Anjum, Mahjabeen (Department of English.Magadh University,BodhGaya, Gaya. Bihar, India)

Feminism, which had its beginnings with Feminist social movements emerged as a universal and idealogical phenomenon ,committed towards identification of the syndromes of gender discrimination based on race, creed , class , caste and sex. The two political movements in USA known as the Women’s Rights Movement and Women’s Liberation Movement, occurring almost at the same time in the nineteen sixties radicalized the feminist movements by focusing on women’s oppression and its pervasiveness throughout the history. The African-American writers in USA derived their inspiration from Women’s Liberation Movement, acknowledging the relevance of feminism as a vehicle of social change in expressing the triple jeopardy of race, class and gender The African-American women realized that “To be black and Female was in double jeopardy”. This realization and its expression in the form of writings was termed as Black Feminism. The Black Feminist writers like Alice Walker, Toni Morrison and many others tried to trace and locate the black woman’s image from invisibility to self-awareness. Coming to Dalit literary tradition in India, We find that Dalit feminist consciousness had its origin in Social movements of the nineteen seventies known as Dalit Panther Movement. Dalit feminist writers re-enforced the double oppression of Dalit women on the basis of caste,,creed and gender in their writings. Dalit feminism re-defines woman from socio-political perspective of a Dalit,taking into account the caste and gender oppression. In the Indian state of Tamil Nadu,Dalit literary space was carved out by many writers including Bama , whose novel ‘Sangathi’ launched a new era of Dalit feminist consciousness. This paper foregrounds the Black and the Dalit feminist discourses ,contextualizing Toni Morrison’s ‘ Sula’ and Bama’s Sangathi. Both the writers speak from the perspective of their own traditions, i.e. Black and Dalit traditions. Both of them in their respective feminist tradition identified race ,class ,caste and gender as the major forms of oppression. This comparative critical discourse analyses points of similarity and difference between the two texts vis-à-vis the sociological perspective and aims at exploring how these two writers transformed their individual consciousness into collective feminist consciousness.

4:00 PM - The Language of Silence in Fiction and Cinema Chaturvedi, Vinita Gupta (Delhi College of Arts & Commerce,University of Delhi, New Delhi, India)

It is a truism to say that silence, when used as an aesthetic device, in artistic works, speaks more volubly than words. My paper would examine how silence is variously used in the novel The Hungry Tide by the Indian writer Amitav Ghosh and in some of the critically acclaimed Hollywood cinema such as Gravity, Stanley Kubrick's 2001 , and the more recent French film, The Artist, all of which sacrifice the dialogic form in favour of pregnant silences. The paper will take cues from the German phenomenologist, Heidegger,who considered silence as a 'genuine discourse' and for whom the sounds of language were not heard in the ears but in the soul. The Hungry Tide is a deep exploration of the role and the limitation of words to convey meaning and shows an almost Beckettian failure of language as an effective means of communication. The protagonist of the novel is a polyglot translator/interpreter Kanai ,who believes in the primacy of word but whose assumptions are challenged by the perfect understanding that grows and develops between the Indian born American scientist Pia and the illiterate native fisherman , Fokir. Pia is a rational, clear thinking cetologist studying the riverine dolphins of the impregnable Indian archipelago, the Sundarbans and Fokir is her guide to the innards of primeval nature. Thrown in silent companionship for days together, they transcend all barriers of communication and learn to speak in a universal language of humanity. The

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 novel and the films under study would explore this power of silence as an aesthetic tool and also challenge and deflate the presumptions of the hegemony of language and words in favour of a more universal medium of communication that transcends all cultural, linguistic and man made social barriers.

4:20 PM - Assertion of Identities in the Indigenous Literature of Canada and India: A Comparative Critique Sethi, Roshi (Amity University, Noida, India)

The paper focuses on the literature of two marginalised communities, hailing from two multi-cultural communities such as Dalits in India have faced a down graded status in the society. They suffer from lack of proper treatment, dignity and are not recognized as a major significant part of the main stream. The Dalit literature plays a very important role in retaining their cultural heritage especially by Baburao Bagul in Jevha Mi Jaat Chhorli Hoti (When I had concealed my Cast) which took Marathi literary world by storm. It’s first lines are:

I had neither home nor kin, just as much land I could walk on.

Shops offered shelter, and municipal footpaths were open, free to use.

And the last two lines:

Now that I have come into this world to wander in its harsh reality.

I have no choice but to live, to belong giving or taking a few blows.

Similarly the native Indians in Canadian society have also been marginalised. Their cultural and literary status is still counted in the category of the ‘other’.

The paper therefore will present a comparative study in the literary narratives of the tribal communities of India and native Indians of Canada. The writings of Dalit literature by Baburao Bagul and Canadian native Indian writer such as Maria Campbell’s autobiography Half Breed presents a daring account of a young Metis women who defeated poverty, racism, alcohol and drug addiction. In short, both the writings of Baburao and Campbell will be dealt in detail in comparative analysis presented in the paper.

Date : 8/28/2015

4:40 PM - (Re) positioning the "Other": A Comparative study of Dalit women writing of Maharashtra and African American women writing-A feminist standpoint Lanjewar, Aparna (The English and Foreign Languages University, Hyderabad, India)

The paper would dwell on an interesting area of literature. By drawing parallels from both literatures the attempt would be towards a holistic, humanistic and gendered understanding of oppression, of subjugation, of “otherness” and how this necessitates a whole process of non-fashionable honest creation. By tracing the prescriptive and normative potencies in these women writing who in a dialogic mode speak of identities in a language that dismantles the andromorphic modes but also reveals limitations of gynocentric discourses for a much broader inclusivity within feminism. Race, gender, caste, class are all integrated concerns awaiting social transformation therefore intersectionality of all these would synthesize their multiple oppressions and experiences which on one hand dismisses a monolithic construction or at best appropriation and sweeping generalizations of being a homogenized category of woman community and on the other hand challenging the privileged exclusivity of Black / Dalit male experience of marginalization.

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The Dalit literary movement of Maharashtra in India and the Black emancipatory movement have been complementary to each other. Therefore the thematic concerns, preoccupations of women writers like Babytai Kamble, Sarvagod, Shantabai Kamble, Dani, Pawar and others will be compared to that of black women writers like Ida Wells, Alice Walker, Cooper, Maya Angelou and others to analyze whether these groups challenge the stereotypical perception of marginal or reinforce prototypical view of male oppressor. Whether or not they (Re) position the concept of “otherness” and enable one to understand the universal nature of struggle on the part of marginalized of other nations and states..

Keywords: Dalit, Maharashtra, India, African American, Women Writing

5:00 PM - Speak, Strike, Redress: The shifting position of Language and Literature in India Riti, Sharma (Viswa Bharati University, West Bengal, India)

It may be considered that literatures in any space resist particularization based on sociological categories. One may come across literatures based on various tropes, but these are not isolated but situated in particular experiences.

When one comes across situations where after the departure of a power structure, a new order is established, and a new ‘Other’ identified, questions of cultural experiences resurface. In a space like India, which having been reorganized on lines of languages, these cultural experiences are fashioned according to ‘structures of feeling’, which the reader may grasp. Taking into consideration the role played in literary analysis by reception theory, this paper will be looking into the exchanges formed within the language-literature paradigm that evolved in Bengali and Oriya Literature, specifically in the short story. For this paper, Rebati (1898) by Fakirmohan Senapati, and The Postmaster (1891, Hitabadi) by Rabindranath Tagore. Bound by a number of thematic categories such as education rights, poverty, love and longing, these two texts exhibit a range of emotions which are framed against the backdrop of a number of socio-political issues, especially in the case of Bengali and Oriya Literature, language. Both may also be telling the tale of a child's need and desire for education, and how others respond to her wish. The reading will be an exploration into how the texts are able to correspond with each other composed in a particular chronotope. Does this enable a work of art to reshape itself according to the generic specimen it follows, in this case the short story, while immersed in its own indigenous structures of telling? Or do the languages themselves in which these texts are composed demand an attitude of polyglottism, a character trait, possibly shared by most languages of the subcontinent?

5:20 PM - A Comparative Study of Marginalization of Women in the Folk Songs of Dogri and Ladakhi in Jammu and Kashmir Garima, Gupta (University of Jammu, Jammu, India)

The advent of the written word proved to be the death knell of the prestige of the oral word. What once was seen as the quintessence of a culture, repository of its values and ideology began to be viewed as backward primitive and marginal. However, this very relegation of orality to the margins proved to be a blessing to the women who were prohibited from studying or participating in the elite literary (written) traditions whose production, circulations and consumption was regulated by men. If at all a women managed to enter this male arena, even if she attempted to subvert it, she was circumscribed by the male – ridden norms of literary traditions. Oral tradition, in the form of folksongs in particular, by default, was left largely to the woman who utilized it fully to express herself amply and vigorously. In folk songs the share of women in its composition, propagation and

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 performance is much greater than that of men. The folk songs connected with rites de passage, marriage in particular, are sung almost exclusively by women. They are continuously reworked in the process of singing by women and are largely their own compositions as reflected in the selection of themes and their treatment.

Dogri is the language of the lesser known region of Jammu and Ladakhi that of Ladakh. The former is a patriarchy while the latter a matriarch society. However, a comparative study of the folksongs, those sung during the weddings in particular, presents a fascinating study of the marginality of women and its nuances in the wider context of man-woman relationship. The paper attempts to study the variegation in ‘marginality’ of women through two social structures that stand opposite to each other as enunciated through folksongs sung by women.

Date: Saturday, July 23rd

4:00 PM - Dialectics of Oppression, Starvation and Humiliation: An Introspection of Om Prakash Valmiki's Joothan, Baby Kamble's The Prisons we Broke and Mannu Bhandari's Mahabhoj Kumar, Neeraj (Magadh University Bodh-Gaya Bihar, Gaya, India)

The Dalit movements in India have occupied significant place in the history of social movements. The broad canvas of the Dalit movements encompasses multiple tiers of long and painful struggles for universal values of equality, democratization, freedom, human dignity, solidarity and radical transformation of society that could ensure a dignified human existence. The Dalit writers have used various genres of literature to express their feelings and emotions, however, autobiographies and novels have received in recent times, the greatest attention as modes of authentic articulations of the Dalit experiences. Dalit writers, through their writings have sought to express not only their experiences of oppression, starvation and humiliation within a dominant Hindu caste system but also to assert their individual self as belonging to a particular community. Valmiki’s Joothan is an example of the Dalit protest literature and is written with anguish and a controlled anger against society. It exhorts Dalits to improve their situation through education and criticizes society for ill treatment and marginalization of Dalits. Baby Kamble in her autobiography The Prisons We Broke shows how the body, especially that of the woman becomes a site where the dynamics of caste, culture and patriarchy operate. It records in vivid detail life in a Mahar Village in the 1920s and after, and the socio-cultural upsurge wrought by the Ambedkarite movement that awakened not only a Dalit consciousness but also a Dalit Feminist consciousness. Mannu Bhandari, a renowned writer of Hindi literature in her masterpiece Mahabhoj has focused upon socio-eco-political structures of the society and has depicted precarious life conditions of the Dalits. The present paper intends to make a comparative study of the two autobiographies on the one hand and Mannu Bhandari’s novel Mahabhoj on the other in the contexts of political, cultural and socio-economic scenario and also struggle for identity and dignity.

4:20 PM - The Status of Dalits in Multilingual India: A Question of Retrieval - A Comparative study Singh, Jayshree (Bhupal Nobles University, Rajasthan, India)

Dalit Writings in India problematize displaced socio-historical space of marginalized, essentialized category of people belonging to caste-ridden Hindu society of India. Their multiple subjectivities reclaim semiotic literary interpretations as regards their contestations, violated and fragmented self. At the same time emerging Dalit writings have posed categorically their daily realities in context of dismemberment, disablement, deprivation, discrimination and disembodiment in the socio-cultural 471

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 privileged hegemonic caste system. The writings of dalits such as Joothen by Om Prakash Valmiki, Untouchables by Mulk Raj Anand, An Anthology of Dalit Literature edited by Mulk Raj Anand and Elleanor Zelliot, Poisoned Bread:Translations from Modern Marathi Literature by Arjun Dangle, The Exercise of Freedom: An Introduction to Dalit Writing by K. Satyanarayana and Susie Tharu, Dalit Hindu Narratives by Manohar D. Murali, The Oxford Anthology of Tamil Dalit Writing by Ravikumar and R. Azhagarasan, Black Lilies: Telugu Dalit Poetry by K. Puroshattam, Surviving in My World: Growing up Dalit in Bengal by Jaideep Sarangi etc. have raised consciousness against dalits’ alienation, excommunication and ideological distancing, inflicted upon them due to cultural hegemony and relativistic idea of polemic theology practised in Brahmanical Hinduism. In addition to violence done to dalits at language, socio-cultural, literary, aesthetic and political level, the marginalised discourse have addressed issues related to countering gender-caste nexus, colonialism and nationalism and last but the most important relating to identity and self-expression. Similarly dalit women’s writings such as Ants Among Elephants by Sujtha Gidla, Rudaali by Mahasweta Devi, Grip of Change and Taming of Women by Sivakami, Sangati and Vanmam by Bama,Bay Kamble’s The Prison We Broke, Urmila Pawar’s The Weave of My Life, Susheela Takbaure’s Revenge articulate new found political awareness and self-respect as regards their exploitative embodiment within their marginalized community and in Hindu society. In my research paper the study aims to sensitise the autobiographical memory of a hateful past and their desire of resurging from the lost socio-historical- cultural space. The study will attempt to explore the emotional register, cathartic release of inequalities and flight from weak boundaries of marginality.

4:40 PM - Writing from the Margins: Re-visioning the (En)gendered self in the intercultural Context through the Poetry of Adrienne Rich and Kamala Das Shahnaaz, Tasneem (University Of Delhi, New Delhi, India)

Writing from the Margins: Re-visioning the (En)gendered Self in the intercultural context through the Poetry of Adrienne Rich and Kamala Das

The paper proposes to examine how the poetry of two feminist poets of the twentieth century who belonged to different milieus and cultures – one American and the other Indian - seeks to re- establish a re-visioned sense of self and identity for the ‘New Woman’. The feeling of decenteredness and alienation had plagued the modern poets. The New Woman shared this feeling because of her decidedly inferior position in societal arrangements. She found it increasingly difficult to voice her feelings, be they of discontent, protest or just joy. Using the tools of language and location, Adrienne Rich and Kamala Das, have offered resistance through re-visioned, re-created and novel forms of writing and expression. Their poetry has extended the frontiers of language, destabilized, decentered and shifted the axis of physical and mental locations, while re-writing history and creating new discourses. This happens when the critical paradigm of “re-vision” is applied to inquiries into patriarchal mores. Adrienne Rich explains in her seminal essay “When We Dead Awaken” that

Re-vision – the act of looking back, of seeing with fresh eyes, of entering an old text from a new critical direction – is for women more than a chapter in cultural history; it is an act of survival. (Gelpi, Adrienne Rich’s Poetry and Prose 167)

The gender of the poet is central to the development of Rich and Das’s poetry. This provides the poet, with not only the thematic substance for poetry, but also lends her a poetic voice to express her rage and angst. Her womanhood (not in the patriarchal sense) and her identification with it enable her work and invest her with the poetic power to focus and thematize her writings. In doing so, she challenges the conventional assumptions about the pre-scripted role of women in social formations. She successfully transcends notions of how women are supposed to think, feel and act. In the poem “Conflagration”, Kamala Das writes 472

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Woman, is this happiness, this lying buried

Beneath a man? It’s time again to come alive

The world extends a lot beyond his six-foot.

(The Descendants, Calcutta: Writer’s Workshop, 20)

Her essentially feminist concept of herself makes her poetry experimental (without posturing) and a delightful reading experience. Her views of her self in particular and women in general are non- conformist, unconventional, frank and self-assessing. Her negotiations with her woman-ness and society help to redefine herself as a woman and an artist too. She speaks not only for herself but also for other women. Both Kamala Das and Adrienne Rich are p oets who see feminism as proceeding from anything but a connection between inner and outer. The psyche and the world out there are being acted on and interacting intensely all the time. (Gelpi, Adrienne Rich’s Poetry 114)

5:00 PM - "MARGINALISED LITERATURE OF KASHMIRI HINDUS IN EXILE: A COMPARATIVE STUDY IN GLOBAL CONTEXT" Shukla, Anita (The Maharaja Sayajirao University of Baroda, Vadodara, India)

This is an attempt to unpack the concept of literature written in alienation, in exile by the estranged Kashmiri Hindus originally written in Hindi. This work is based on Indian Epistemology and it tries to narrow down the distinctions of separatist/ divisive Epistemology of Europe as against Indian, which is integrating. For India, that is Bharat, the Vedic and Upanishadic knowledge tradition becomes edifice to all. The epistemology of co-existence, integral yoga (Aurobindo), Integral Humanism (D D Upadhyay) and integral education becomes the key aspects of existence of, not only humans, but also the entire cosmos. The writings of Kashmiri Hindus are looked at in this perspective, comparing those to the Jewish writings, South African, Syrian and Palestinian writings. This research will provide valuable information regarding defeat, despair, frustration, faintheartedness and pain of Kashmiri Hindus expressed in their literature of exile. It also deals with concept of exile, concept of minority, concept of reverse minority, genocide, conflict of civilization and politics of marginalization in Indian literary perspective. The immediate reality of Indian Culture is that it is multi-lingual and multi- religious, which necessitates a dialogue. What are the factors that enhance or inhibit dialogues in such complex environment? This case study involves historical perspective of comparative study.

17343 - Metaphor and the Conceptualization of Fictionality Date: Saturday, July 23rd Room: Übungsraum Germanistik 4 Chair: Trauvitch, Rhona

9:00 AM - Metaphor and Fiction in Artificial Languages Libert, Alan (University of Newcastle, Callaghan, Australia)

More than 1,000 artificial languages have been created for various purposes, including to improve international communcation (e.g. Esperanto) or as part of a work of fiction (e.g. Klingon). Like natural languages, most artificial languages use of metaphor. The examination of metaphor in literature in these languages may tell us how the author/translator sees reality and states of affairs which do not (yet) correspond to reality, but also how the language itself, and its designer, view non-actual situations. The crucial difference with natural languages is that artificial languages are consciously constructed and therefore can attempt to constrain views of reality in ways not available to natural 473

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 languages. The extreme case is for an artificial language to forbid non-literal language. Though few artificial languages actually do this, every artificial language constructs a world view somewhat different from reality; natural languages do this as well, but (other than in superficial ways) they are not under the conscious control of speakers.

Metaphor in artificial languages is interesting because they do not necessarily assume the same frame of reference as natural languages; this is particularly true of the a priori artificial languages, attempts to build a language from scratch. In this paper I will look at how artificial languages use metaphor in their construction of a view of the world in works of fiction. The literature examined includes translations of well-known works into artificial languages and original works in artificial languages. The main component of the first type will be several stories by E. A. Poe, who, even in English, creates a world rather different from ours. Poe was chosen because his stories have been translated into several artificial languages, and so cross-linguistic comparisons will be possible. For the second type I will chose works from major artificial languages such as Esperanto and from a priori languages such as aUI.

9:20 AM - Metaphor and Fictionality Trauvitch, Rhona (Florida International University, Miami, USA)

In this paper I investigate the relationship between metaphor and fictionality, and argue that this relationship rests on "as if" thinking. The absence of metaphorical expression or understanding precludes "as ifs," which in turn makes it difficult or perhaps impossible to understand the notion of fictionality.

My case studies are three fictional beings: Embassytown’s Ariekei, Galaxy Quest’s Thermians, and Star Trek’s Tamarians. The first two cannot conceive of fictionality, while the third can only communicate via metaphors. An exploration of these beings’ communication suggests that while metaphor and fiction are separate, they likely reside on the same conceptual spectrum.

9:40 AM - Fiction for the Sake of Referentiality Li, Chi-she (National Taiwan University, Taipei)

I propose to recognize the significance of fictionality in narrative of referentiality in the context of emergent materialisms. Recently a visible turn to materialisms dampens the interest in textuality and intertextuality. To more fully examine the theoretical, and ethical implications of this new direction, very recently more and more scholars have been contemplating a complete reorganization of humanities knowledge from things-centered perspectives. One common practice among these scholars, such as Quintin Meillassoux, Graham Harmon, Ray Brassier, Iain Hamilton Grant, Jane Bennett, Elizabeth Grosz, Adrian Johnston and Catherine Malabou, is to attempt studies of humans drastically depleted of its privileged anthropocentrism and consider the agency of nonhuman materials ( See Peter Gratton’s Speculative Realism . ) . These recent accounts call for a redefinition of narrative, which can be either effects of things or illusions of human-centerness. This project, even though overlapping much with current studies of things speaking, diverts from them in one important dimension: a study of narrative should recognize and theorize anthropo-centrism as a vector along with the phenomenology of ontology. It is crucial to also assert, as a matter of fact, things speak with human language. Such a claim then opens the door to the uniqueness of human language, which philosophers of speculative realism are not ready to incorporate, unless human language is delegated to the status of a tool secondary or an interface subject to ontology. I argue for the need of a qualified return to correlationism (in Quintin Meillassoux’s sense) for the viability of referring to things, in spite of the risk of anthropocentricsm. This project considers how one can use 474

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 narrative to allow things to speak with/in human language. I raise the hypothesis of theorizing a narrative of referentiality into a model of double circuit of unrested correlationism and nonhuman agency . Perhaps such a double circuit can be defined as fictionality. Furthermore, self-reflexity of narrative could contribute to the heightened awareness of fictionality and thus the breakdown of the illusion built by correlationism in order to keep a narrative “open” to listen to the speaking of things.

10:00 AM - Feeling Thought: Vladimir Nabokov and A.S. Byatt's Material Imagination Rose, Kira (Princeton University, Princeton, USA)

Frank Kermode ties our need to impose patterns on thought to biological time. His observation recalls Hofstadter and Sander’s claim about the necessity of analogy to thinking and communication. This paper is a comparative study of two authors, A.S. Byatt and Vladimir Nabokov, who use images of matter as metaphors and analogies for the difficult process of translating thought and perception into language.

Nabokov and Byatt use medial material imagery – of the elements and shape-shifting – to direct readerly perception to how thought materializes in language, language as an imperfect medium, and language’s reliance on figurative devices. Nabokov uses “shadow” to try to bridge the gap between images in the mind and images in language, and between writerly (synesthetic) and readerly (non- synesthetic) perception. His central metaphor for thought and its translation is a material substance wavering between absence and presence and caught up in perpetual metamorphoses. Byatt, who describes thought as a material thing in an essay on Donne, neuroscience, and the embodied mind, similarly uses medial matter, the four elements specifically, to direct attention to how perception translates into figurative description.

Both authors address mental mapping explicitly and search for ways to relay thought more accurately, ways intimately tied to pattern making and pleasure. Their images of unstable matter stage the meeting of minds – of reader and author, and of characters – and stand in for the erotic meeting of bodies, while also pointing to barriers at the heart of communication. Focusing on Nabokov’s The Gift and Byatt’s Possession, I show that these authors’ substance-based metaphors and analogies evoke dynamic thought processes preceding language, stage these authors’ theories about how images first form in the imagining mind, and ask us to attend to the relation between our ability to conceive of fiction and the mythologies on which linguistic denotation is based.

17346 - Comparative Literature in India and the Many Languages of Indian Literature Date: Friday, July 22nd // Saturday, July 23rd // Monday, July 25th // Tuesday, July 26th // Wednesday, July 27th Room: Übungsraum Germanistik 5 Chair: Sarkar, Judhajit

4:00 PM - Roots and Evolution of Multilingualism in India Kruthiventi, Sreeenivasarao (Sahitya Akademi, New Delhi, India)

Group Section:

Comparative Indian Literature: The Multilingual Muse

Abstract 475

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

Title: Roots and Evolution of Multilingualism in India

K. Sreenivasarao

India is the most linguistically rich country. Millennia old languages, linguistic traditions and vast amount of literature emanating from those ancient traditions handsomely contribute to this linguistic richness. These literary and linguistic traditions set the basic and a priori condition of diversity and comparison. But in popular opinion and scholarly wisdom, for centuries, Indian Literature is spoken of as a single entity with ‘unity in diversity’ is a clinching cliché even though the existence of numerous literary traditions point to the opposite. On the other hand, conceptualizing and framingIndian Literature in heterogeneous terms can be problematic given extraordinary common thread and elements in diverse literary traditions of India. This paper aims to identify the common denominators, if any, and also tries to place the diversity within the homogenous exterior of Indian Literature. This paper also aims to analyze the cultural components that bind varied linguistic and literary traditions of India and that make the perception of Indian Literature as a singular entity a possibility. This paper also tries to determine if Indian Literature is a living, continuous process / tradition that keeps evolving and changing over centuries. There are manifold inter-relatedness and also dividers that make Indian Literature a very exciting field of study, especially for the outsiders. For, there are not many similar literature which contain within itself numerous linguistic traditions, both written and unwritten.

4:30 PM - Travelling tales Orsini, Francesca (SOAS, University of London, London, United Kingdom)

It is fair to say that most tales (kathas, qissas, dastans) in north India in the early modern period were re-tellings of existing stories. Given their ubiquity, high degree intertextuality, and oral and written transmission they offer an excellent case study to observe the circulation and inter-lingual and inter-textual dynamics within the broader literary culture and orature. By paying attention both to the contextual and material aspects of katha texts in Hindavi and Persian in north India from the 14c to the 18c, their production and circulation, and their narrative strategies, this paper seeks to offer both a multilingual history of the katha genre and some methods for doing multilingual literary analysis.

5:00 PM - Migrant Words: Multilinguality, Translatedness and Comparative Literature in India Chakravarty, Radha (Ambedkar University, New Delhi, India)

This paper explores the dynamic relationship between translation and comparative literature within the multilingual contexts of Indian literary studies. Linguistically layered texts such as the writings of Mahasweta Devi and Amitav Ghosh are examined here, to analyze the dynamic relationship between multiple languages within single works of literature. Such linguistic/literary experiments derive their complexity from the polyglot realities of the ethos in which they are embedded. In these texts, can the simultaneous presence of these diverse languages and linguistic registers be taken to constitute what Sisir Kumar Das considers ‘a single universe of expression’? Or do they gesture at disjunctures, ruptures and heterogeneities that belie easy formulations of unity and harmony?

The texts selected for discussion compel us to re-frame the pressing question that haunts us: what do the ‘death’ and ‘rebirth’ of Comparative Literature imply today, from a non-Eurocentric perspective? They indicate the inadequacy of conventional Western models of Comparative Literature when applied to the literatures of our part of the world, but they also preclude a naïve 476

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 imagining of a unified ‘national’ literature. We are inspired instead to imagine a model of Comparative Literature that highlights the operation of language at borders and interstices where different cultural worlds meet, intersect and sometime collide. Premised upon the ideas of ‘translatedness’ and multilinguality, such a model demands an understanding of cultural and historical complexities beyond the written text, and also beyond the binarism of East/West or centre/periphery. In other words, these writings force us to re-imagine the field of Comparative Literature itself.

Date: Saturday, July 23rd

9:00 AM - Arabimalayalam and the Texture of Mappila literature: Paradigm for Plurilinguality PADINHAREPPALLA ABDULLA, ABDUL HAMEED (JAWAHARLAL NEHRU UNIVERSITY, DELHI, India)

Arabimalayalam forms a significant part of linguistic blends in India such as Arabitamil, Arabikannada, Arabipanjabi, Perso-Arabic inflected Bangla, Urdu, etc. Evolved through centuries, Arabimalayalam has its own documented literary tradition since 17th century and has produced a corpus of literary works which constitute a major part of the body of Mappila literature which extends its linguistic scope into Arabic, Arabimalayalam, Malayalam, and at present into English through primary texts and translations, thus forming a multi-linguistic existence. The texture of Mappila literature is inherently plurilingual as Mappila writers crossed borders of many languages. This paper focuses only on Arabimalayalam as the major corpus of Mappila creativity lies in Arabimalayalam, and argues it as a representative genre of plurilingual literary activity. Being a linguistic and literary form originated and developed in the Kerala coast of Malabar—a melting pot of many cultures— Arabimalayalam blends various linguistic and literary traditions such as that of Malayalam, Arabic, Tamil, Kannada, Persian, and Sanskrit. The complex mechanism of linguistic and literary compositions in Arabimalayalam gives us a paradigm for understanding the very essence of plurilingualism in Indian literature. This paper will include discussions on the development of Mappila literature emphasising its multilingual character, and analysis of examples and metaphors from various authors and texts so as to demonstrate the plurilinguality or what I call ‘the Arabisation of Sanskrit and Malayalamisation of Arabic’ in Mappila literary texts. This will also look at how Arabimalayalam made plurilinguality as inherent to Mappila literature, by reading instances of Mappila texts in Malayalam and English, with their inescapable texture of plurilinguality.

9:30 AM - Territories of Expression and Spaces of Transcendence: On the "Texture" of Modern Bangla Poetry Sarkar, Judhajit (Jadavpur University, Kolkata, India)

This paper seeks to elucidate the concept of "texture" as pertaining to the understanding of multilinguality in Indian literary texts and cultures. It looks at the craft of modern Bangla poetry written across the linguistic geography of Bangla where a thriving literary culture has formed around this language, namely present day Bangladesh, and the state of West Bengal and parts of Jharkhand in India. Bengal was first divided on religious grounds in 1947, with Eastern Bengal later emerging as a separate nation-state in 1971. In 1956, when state borders within the Indian 477

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 state were drawn on linguistic lines, certain parts of the erstwhile Bengal presidency were integrated into the state of Bihar, thus becoming a “marginal” presence in the mainstream of literary production in Bangla. The Bengali language, however, started going through the process of standardization in the late nineteenth century, a process which became more and more communally coloured as the subcontinent moved steadily towards independence and partition. As a result of this and the subsequent history of linguistic nationalism, Bangla often appears to be a homogeneous entity with its internal differences smoothly leveled out. By delineating the linguistic fabric of modern Bangla poetry written across the three above-mentioned geo-political areas, this paper seeks to interrogate the notion of a standard and homogeneous literary Bangla. The purpose of choosing poetry, the most delicate of all verbal expressions, to discern the multilingual "texture" of modern literary Bangla is to show that the literary use of elements from multiple language sources is not merely a matter of maintaining linguistic verisimilitude within a literary text but a carefully considered "strategy". Poets whose works will be discussed in this paper are Al Mahmud, Syed Shamsul Haque, Rudra Muhammad Shahidullah, Shakti Chattopadhyay, Swadesh Sen etc.

10:00 AM - A case for plurilinguality: Locating nascent Bangla prose Dutta, Arnab (Georg-August-Universität Göttingen, Göttingen, Germany)

This paper seeks to address the historical development of what can be termed as plurilinguality in modern India – not through anything homogenous in all language-literary cultures, but through some specific examples from early nineteenth century literary Bangla. It also tries to search for a shared pattern of linguistic development which might have acted as a proper matrix to the origin and development of a nascent literary type called Bangla prose. After being sustained by the sole lingua franca of Portuguese for a span of more than a century, English started gradually creeping into both the vocabulary and syntax of this new Bangla. The writers – mostly the Pandits and the Munshis working in the Fort William College, Calcutta – were more or less acquainted with at least five language literary cultures before they ventured upon writing a completely new literary type for the consumption of their students at that college. Those were Bangla in verse form, English, Sanskrit, Persian, and two forms of Hindustani, one with the abundance of Sanskritic registers and another with Persian. Moreover, the printing press at Fort William and Serampore Baptist Mission of those days started printing texts in eleven Indian languages, and also in Mandarin Chinese. Not only they had to invest in a ‘plurilingual’ narration with the vocabulary coming from most of these languages, but they had to formulate a rather standardized syntax, capable of distinguishing prosaic Bangla from the hitherto ubiquitous verse forms. The fact that they had to ‘invent’ an altogether new syntactic regulation for this new literary type allows us to look for a paradigm of essentially multilingual authorship and an equally suitable multilingual reception aesthetic, capable of acknowledging the genesis of something as unprecedented as early Bangla prose. Works of William Carey, Ramram Basu, Mrityunjay Vidyalankar will be discussed in order to vouch for this ‘case for plurilinguality’.

Date: Monday, July 25th

11:00 AM - Multilingual Reality of Bangla Short Story: An Analysis Mukherjee, Soma (Visva-Bharati University, Kolkata, India)

In modern Bangla Literature short story is a literary form which emerged in the later half of the nineteenth century primarily from its interactions with the western knowledge system. During its initial phase, it shared certain commonalities with anecdotes, tales, sketches, reportage and novellas but it also established its own distinct nature by developing specific narrative patterns 478

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 and situations. In Bangla Literature the journey of the short story had started with the publication of Purnachandra Chattopadhyay’s Madhumati in 1873 and reached its zenith with Rabindranath Thakur’s short stories. Structurally a short story offers various themes, situations which depict fragments of human lives and this can be best explained through a phase by Rabindranath himself – ‘sesh hoyeo hoilo na sesh’ (even after ending there is a sense of incompleteness).

Theme wise Rabindranath deliberately ventured into the domain of ordinariness/ natural, as well as into the realm of the extra – ordinary /supernatural in his short story. Few examples like Kankal, Ksudita Pasan,Nisithe,Manihara and Kshudita Pasan introduce a world where reality and illusion co merged with each other. In all these literary instances Rabindranth’s usage of language became a narrative tool through which he created the supernatural world but he himself ‘deconstructed’ that aura in the same time and space.

In this paper my endeavour would be to analyze these narrative techniques through which the multilayered, multilingual narrative patterns of short story of Bangla literature can be deciphered. In my analysis I will use a few short stories of Rabindranath Thakur, Manik Bandopadhyay, Premendra Mitra and others and will try to show that how Bangla language and its several forms, speech patterns, varieties and its different narrative techniques bring forth and reemphasize its multilinguality.

11:30 AM - Oral Tradition in the making of Multilingual Culture in India: Contribution of Awadhi shukla, surya prakash (COMPARATIVE LITERATURE ASSOCIATION OF INDIA, New Delhi, India)

The Oral tradition is great because it unites people wherever they are. The continuum between orality and literacy has been evident in almost all the language literatures which have existed in Indian multilingualism since its inception. Oral literature has the ability to leap over cultural and temporal limits.

The paper examines the statement that oral tradition is embedded in the very structure of Comparative Literature in India. The corpus of folk songs, stories, legends, theatre groups are caught in the web of orality. The oral culture conveys the symphony of cultural matrix of the society. The paper focuses on the study of Ram Katha as depicted in Awadhi oral folk songs which have everlastingly won the heart of people. The appeal of oral songs particularly in the Ramayana, one of the supreme epics of India, is universal because it is an expression of man’s eternal quest for abiding human values. It is truism that folk songs become the repository of an ancient heritage which has travelled across the cultural and linguistic boundaries from India to the adjoining several countries of South Asia and the world.

The paper further explores the nature, contents and forms of oral literature which contributes significantly to the poetic tradition prevailing in north India and provides a rich critical inventory of Ramayana studies in the world. A glance at Awadhi literature confirms the truth of the statement. Many time-honored myths have been modified and new meanings and emphasis are given through the mouths of the Awadhi storytellers and singers. The Ram Katha is a major source and inalienable part of Awadhi folk literature manifested in different forms which the paper will illustrate.

12:00 PM - Assamese novel in the context of comparative Indian language-culture Buzarboruah, Pallavi D , India

Ethno-linguistic composition of the population of India is highly diverse. There is 27 recognised language and hundreds of unlisted and tribal languages in India. The state of Assam itself consisting more than hundred tribal and non-tribal languages which is not only the sign of language variegation 479

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 but it reflects the cultural mosaic of the region. The majority of population fall within two large linguistic group’s, i.e. Indo Aryan and Tibeto-Burman. The ethnicity of the region is chiefly comprising of Mongoloid and Nordic origin. Also a few numbers of Austroasiatic origin people has been migrating to this region from the last century.

The literature of this region has nicely reflecting the cultural variegation as well as the language variety and the integration of this state. It is interesting to observe that a fiction of Assamese language usually cannot be written in a single language rather it demands the composition of more than one languages in depicting a story of the general life of the people of this area. It is nothing but the plurality of the region. Therefore the fictions of Assamese language are the unique example of the cultural integration and co-existence of varied languages. In this paper attempts has been made to focus on the cultural variety depicted through Assamese novel in the context of comparative Indian culture.

Date: Tuesday, July 26th

2:00 PM - Kashmiri- A Descendant of Sanskrit: The Genesis of the Indian Multilingual Muse Sethi Chadha, Monika (University of Jammu, Jammu, India)

Kashmiri- A Descendant of Sanskrit: The Genesis of the Indian Multilingual Muse The present paper discusses an essential component of the structural matrix which has shaped the Kashmiri language which like other modern Indo-Aryan languages seems to have emerged from a Prakrit- Apabhramsha sub-stratum around the 10th century. The paper will examine how it adds to the Multilingual Muse of India while it takes up an analysis of the earliest form of literalization of Kashmiri. Although the early Kashmiri texts, namely Chhumma Sampradâya ,the Mahânaya Prakâsha, Bânâsura Kathâ and Sukha-Dukha Charit, document the stage when Kashmiri had crossed the Prakrit- Apabhramsha threshold to step into a new world of vernacular expressiveness as a distinct linguistic entity, the language of these texts clearly brings out the fact that Kashmiri language is a direct descendant of Sanskrit through the regional Prakrit-Apabhramsha. Linguists like Jules Bloch, Morgenstierne, Emeneau, Siddheshwar Verma and other scholars have pointed to the Vedic origin of Kashmiri, arriving at their conclusions after intensive research on the actual traits of the language. Disregarding the evidence that establishes the basic Indo-Aryan character of Kashmiri, Grierson seeks to banish the language from the Sanskritic family, preferring instead to classify it under the Pishacha or Dardic group, which occupies a position intermediate between the Sanskritic language of India proper and the Iranian languages farther to the West. Grierson's arguments, however, are based on extremely flimsy evidence which has little to do with the facts of the language.

2:30 PM - Writing like a musician: Krishna Sobti's conversion of 'dialects' into literary registers Karnick, Anirudh (Dyal Singh College, Delhi University, New Delhi, India)

The division of states on linguistic lines after Independence has meant that Indian literature has been divvied up into separate linguistic traditions, each of which both represent a putative geographical region and are read by people from that region. The geographical regions – huge in the case of Hindi/Urdu and substantial for many other Indian languages – are unified (to be read as a transitive verb) by the appellations 'Bengali literature', 'Tamil literature' etc.

The aanchalik upanyaas (literally, regional novel) emerges as a particularizing counter to the standardizing tendency dominant in the Hindi literary mainstream from the late nineteenth century on. It does this by giving the impression that it is faithfully reproducing the speech of the people who live there, which is not in standard Hindi. In doing so, the writer roots himself but also appropriates the particular region as a kind of literary fiefdom to which he is willy-nilly attached (and which is

480

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 attached to him); the linguistic register's connection with the geographical region and its people is emphasized over its possibilities as an independent literary device.

Krishna Sobti is a writer – perhaps the only writer – who uses the Hindi readership's multilingualism for literary purposes both consciously and consistently. She uses different 'dialects' in different novels. In her work, a 'dialect' or a linguistic register is not primarily representational (of something in the real world); it is used, instead, to craft registers appropriate to her purposes. Few writers, if any, have written in so many different 'dialects' and registers in Hindi literature. Since her novels are not realistic-descriptive, she is not the writerly equivalent of a 'nomad', charting the Hindi landscape region by region, 'dialect' by 'dialect'. In my presentation, I intend to describe-cum-analyse how Sobti uses these 'dialects'/registers and how her work (partially – but significantly) reconfigures the valence of multilingualism.

3:00 PM - Rishi Tradition in Sufi Kashmir: A Philosophical Inquiry into Poems of Nund Rishi Shahida, Shahida (National Institute of Technology, Kurukshetra, India)

This paper explores the origin of Rishi tradition in Kashmir, its uniqueness and the reasons for its popularity. These Rishi Sufis were natives of Kashmir who followed Islam yet they were not engaged in missionary activities. They were similar to Hindu ascetics (e.g. they did not forbid idol worship) and had limited knowledge of Islam. The Muslim Rishis shared traits with the rishis of the Pre Islamic period like wandering in the forest, vegetarianism, deep meditation, controlling of breath, etc., like the Hindu and Buddhist ascetics. Nund Rishi is believed to be the first Muslim Rishi. In this paper I explore the poems of Nund Rishi in the light of his ideology and principles still in vogue among the natives of Kashmir irrespective of their religious denominations. The paper concludes with the need to initiate serious study of the Rishi poets. Keywords: mysticism, Sufism, poetics, Islam, tasawouf, wahdut-ul-wujud

Date: Wednesday, July 27th

9:00 AM - Reading Silence: Reading Violence Das, Sriparna (University of Hyderabad, India, Hyderabad, India)

Violence has an overreaching impact on world literature in our times. As far as Indian socio-politico- cultural history is concerned, it has witnessed violence multiple times since Independence within the span of a century. The focus of this paper is to read the silences that are not articulated while engaging with re/accounts of partition and its affects/effects. Be it literature or movies, reactions towards partition has resulted in various manners in narratives; ranging from nostalgic longing for what’s lost to attaching blame for the terrible loss of those. On one hand we have cinematic representation of partition in Ritwik Ghatak’s films and on the other hand we also have literary representation of partition in Atin Bandopadhyay, Sunil Gangopadhyay, Jyotirmoyee Debi, Pratibha Basu and many others. If this is the range that could be mentioned with regards to only Bengali (East) experiences, then there is also a range also takes into account the varied representations ranging from Sadat Hasan Manto to the Bollywood movie Pinjar in between. If Ghatak deals with the politics and melodrama of partition through his trilogy Meghe Dhaka Taara, Komal Gandhar and Subarnorekha and portrays Calcutta in terms of exile, estrangement, separation, rootlessness and contend with the ramifications of physical displacement and social mobility then Jotiymoyee Debi’s account of Sutara’s experiences in The River Churning not only reflects the agonies of a woman but also the impossibility to write about women’s experiences with the violence of partition without lapsing into the language of shame and honour. Taking cue from the understanding of intertextual multilingualism that connects works of various authors linked to each other in a specific way, this paper endeavours to read the ways in which violence of partition is encountered, engaged with and

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 articulated through language in various literary narratives. This paper would argue that often various experiences have remained silent in the articulations of the engagement with the violent trauma. And acts of such silences result in further violence. This paper would attempt to read the language of violence not only through its manifestation through language but also through its silences.

9:30 AM - Representation of the colonized through mimesis: Postcolonial Indian English Literature Chatterjee, Abhinaba (DPO-1 (G), Air HQ (VB), Delhi, India)

Bhabha has contended that the representation of the colonized subject at a mimetic level could only be achieved by forcibly harmonizing the historical determinant of the Western narrative of identity within the alienated condition of the colonized. Within the logic of this harmonization, the bringing together of signs and signifiers as it were, the discourses and institutions of English literature could only provide ‘a dim and refracted light, that casts a shadow on an alien culture’. This is significant, as it seeks to question the key terms in the lexicon of literary criticism and to institute ‘the subject of difference’ as the fulcrum of textuality. Indeed, this invocation of difference as the informing condition of the colonial text is intended to displace the logic of mimesis within the existing critical discourse.

India, with its colonial history and contemporary postcolonial culture, offers a rich site for the study of both influence and intertextuality. English literature in India, owing its evolution to the colonial intervention in the country, is best seen as hybrid literature – depicting not only the complexity of post-colonial state of mind, but also the linguistic interventions that Agha Shahid Ali has so famously regarded as ‘chutnifying’ and ‘biryanization’ of English.

This hybridity represents a postcolonial mimesis that marks a temporality stranded between the time of a dying colonialism and a stillborn nationalism. This paper seeks to analyse this temporality in Indian English literature through an examination of fictive possibilities resulting thereon in Amitav Ghosh’s Ibis Trilogy – a series that, through interfigural characters, people of all races and languages perambulate the stories, spicing the narrative with an abundance of words and terms from East- Asian, Pacific and pidgin languages that turn the trilogy into a unique cocktail of multicultural and multilingual ecriture.

10:00 AM - The Role of Indian Writing in English in the Making of the Multilingual Muse sharma, vasant (University of Delhi, Delhi, India)

The extraordinary strength of the Comparative Indian Literature in India , in fact, was realized vigorously after the the Constitution of free India accorded recognition to major Indian languages of the country. Every year, the literary work adjudged best in each language -- including English--is ceremoniously conferred an award by the central body of letters, the Sahitya Akademi. In this context, Dr Radhakrishnan has very aptly stated: "Indian Literature is one though written in many languages." Sri Aurobindo too described the scenario as a " rich variety in the unity of Indian culture and literature" which spells out the unique Multilingual Muse for us

In the realm of the Multilingual Muse in India, the paper will examine the interaction between English and Indian languages which may be comparable to the situation that obtained with Sanskrit in ancient as well as medieval India, when people wrote in Sanskrit which was no body's mother tongue, though they spoke different Prakrit languages, or at a later period different vernaculars. It seems that English to some extent plays the same role that Sanskrit had played in ancient and medieval India. In this process English is subjected to certain pressures from Indian languages. It is rightly observed : "As a result of interaction of English with other Indian languages, English has 482

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 affected the phonology and syntax of the Indian languages and in return has been influenced by them." This is evident in the English translations of various literary works from Indian languages. The paper will reflect on the works in Indian languages translated into English by the authors themselves. The often quoted example in this case if that of Tagore, but there are many other writers, for instance, Raj Gill, K.S. Duggal in Panjabi who not only wrote in their mother tongue but also translate the scripts into English.

17347 - Kulturtransfer in fiktionalen Fernsehserien Date: Tuesday, July 26th Room: Hs 24 Chair: Ackermann-Pojtinger, Kathrin; Poole, Ralph; Laferl, Christopher F

9:00 AM - Vom satirischen Kammerspiel zum Drama der Macht: "House of Cards" (GB 1990) und "House of Cards" (USA 2013ff.) Kohns, Oliver (Université du Luxembourg, Esch-Belval, Luxemburg)

Der Vergleich zwischen den beiden TV-Versionen von "House of Cards" eröffnet vielfältige Perspektiven auf die Frage des Kulturtransfers in fiktionalen Fernsehserien. Die US-Version zeigt gegenüber dem britischen Vorbild nicht nur eine neue Dramaturgie und Ästhetik, sondern gibt auch Aufschluss über verschiedene Modelle politischer Imagination auf beiden Seiten des Ozeans. Die britische Serie "House of Cards" kann als kammerspielartige Politsatire interpretiert werden. Francis Urquhart spricht hier immer wieder direkt den Zuschauer an – ein Effekt, der bereits in der antiken Komödie bekannt ist, Friedrich Schlegel bezeichnet ihn als parekbase . Daraus ergibt sich ein satirischer Effekt der Fiktionsbrechung, zugleich wird so auch die Überlegenheit des Hauptakteurs über die anderen Figuren vorgeführt. In der amerikanischen Version spielt die parekbase eine geringere Rolle: Die Erzählweise ist nicht mehr von Ironie dominiert, sondern stärker der Kreation von Spannung und Realismus verpflichtet. Zwei neue Elemente treten in der amerikanischen Serie auf. Erstens eine ständige Reflexion auf die mediale Repräsentation von Politik: im Anschluss etwa an die Politik-Serie "The West Wing" spielt "House of Cards" ständig mit einem Blick hinter die Kulissen des medial Sichtbaren und suggeriert so die Einsicht in die "Hinterbühne", die unsichtbaren Aktionen der "wirklichen" Machtpolitik. Zweitens ist das Personaltableau der US-amerikanischen Serie im Vergleich zur englischen Vorlage erheblich komplexer gestaltet, insofern etwa die weiblichen Figuren eine eigenständigere Rolle einnehmen, aber z.B. auch Lobbyisten im Hintergrund Einfluss nehmen. Im Kulturtransfer zwischen der BBC-Serie und der Netflix-Adaption entwickelt sich so eine neue Imagination des Politischen: Während die britische Serie Politik als eine Art Marionettenspiel inszeniert, erscheint sie in der amerikanischen Serie als komplexes Machtspiel mit einer stets wechselnden Anzahl von Mitspielern.

9:30 AM - Von spießiger Verzweiflung zur ordinären Travestie: "Desperate Housewives" und "Vorstadtweiber" Poole, Ralph (Universität Salzburg, Salzburg, Austria)

Der Vergleich der österreichischen Fernsehserie Vorstadtweiber mit der US-amerikanischen Serie Desparate Housewives liegt auf der Hand und wurde von der deutschsprachigen Presse auch bereits – allerdings meist abschätzig – kommentiert. Mir scheint es sich hier aber nicht um eine bloße oder gar schlechte ‚Austro-Version‘ zu handeln, sondern um eine gezielte Travestie des amerikanischen Originals. Besonders die genrebedingte Geschlechter- und Klassenpolitik der amerikanischen Serie wird in der österreichischen Variante umgeschrieben und auf die Spitze getrieben. So werden vor 483

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 allem die neoliberalen und postfeministischen ‚Hausfrauen‘ der suburbanen Wisteria Lane zu parodistisch monströsen ‚Vorstadt-Weibern‘ überformt, aber auch die homophob-kriminalisierte Nebenhandlung in Desperate Housewives wird in der österreichischen Adaption zu einem handlungstragenden und in seiner offenkundig klischierten Übertreibung anti-homophoben Hauptbestandteil der Narration. Wurde in den USA die Serie vor allem vor dem Hintergrund von Quality TV und als Fortführung von Serien wie Ally McBeal und Sex and the City diskutiert, so lässt sich umgekehrt an Vorstadtweiber zeigen, dass andere televisuelle Vorbilder herangezogen wurden, die eine distinkte Tradition jenseits des amerikanischen Fernsehens aufweisen, so vor allem Kaisermühlen Blues. Das stark klassen- und schichtenbewusste Erbe solcher österreichischen Fernsehserien wird in Vorstadtweiber aufgegriffen und steht in deutlichem Kontrast zu einem moralisierend-normativen Idealbild einer klassenfreien suburbanen Community. Der Beitrag möchte zeigen, mit welchen Strategien sich einerseits in der Adaption der Grad an derber Satire deutlich verstärkt und wie anderseits in der Umschreibung ein innovatives Moment in die Diskussion um Qualitätsfernsehen kommt.

10:00 AM - Zur Rezeption von "The Walking Dead" in Europa Laferl, Christopher F. (Universität Salzburg, Salzburg, Austria)

Die erste Staffel der auf einem Comic-Erfolg beruhende US-amerikanische Fernsehserie The Walking Dead wurde im Herbst 2010, rechtzeitig zu Halloween, sowohl in den Vereinigten Staaten als auch in Europa fast zeitgleich ausgestrahlt und war auf beiden Seiten des Atlantiks ein unmittelbarer und anhaltender Erfolg. Derzeit läuft die 6. Staffel der Serie und für den Herbst 2016 wurde eine siebte bereits angekündigt.

Im Vergleich zu anderen US-amerikanischen TV-Produktionen kann The Walking Dead nicht ohne Vorbehalte als Qualitätsfernsehen angesehen werden, und dennoch beschäftigen sich große als anspruchsvoll geltende Zeitungen und Wochenzeitschriften Europas, wie Die Zeit, Le Monde oder El País, mit der Serie.

Der Vortrag wird die Frage behandeln, wie in drei nicht anglophonen Sprachräumen Europas, nämlich in Frankreich, Spanien und dem deutschen Sprachraum, in der sogenannten Qualitätspresse The Walking Dead von der Erstausstrahlung der ersten Staffel bis zu jener der sechsten Staffel behandelt und beurteilt wird. Zentral wird dabei auch sein, ob diese Serie als typisch US- amerikanisch bzw. als typisch US-amerikanisches Fernsehen von anspruchsvollen europäischen Journalisten gesehen wird.

11:00 AM - Opernhafte Inszenierung vs. Familienidyll: Borgia und The Borgias Ackermann-Pojtinger, Kathrin (Universität Salzburg, Salzburg, Austria)

Im Jahr 2011 wurden fast zeitgleich zwei Fernsehserien ausgestrahlt, welche die Familie der Borgias zum Gegenstand haben: die von mehreren europäischen Fernsehanstalten (Canal +, ZDF und ORF) in Auftrag gegebene Serie Borgia und die für den renommierten amerikanischen Pay-TV-Sender Showtime produzierte Serie The Borgias. Der Showrunner der „europäischen“ Serie ist der Amerikaner Tom Fontana, fdessen Gefängnis-Serie Oz (HBO, 1997-2003) mittlerweile als eine der ersten Beispiele für „Quality-TV“ gilt. Für die „amerikanische“ Serie übernahm diese Rolle der irische Schriftsteller, Drehbuchautor und Regisseur Neil Jordan. Beide Serien umfassen denselben Zeitraum – von der Papstwahl Alexanders VI. bis ins Jahr 1500 (Borgia bis 1507) –, stellen dieselben Figuren dar und konzentrieren sich auf dieselben historischen Ereignisse (u.a. die Belagerung Roms durch Karl VIII.von Frankreich, den Prozess gegen Savonarola, die Feindschaft mit Caterina Sforza) sowie Gerüchte über die Borgias, wie z.B. den angeblichen Inzest zwischen Cesare und Lucrezia oder die Beteiligung Cesares an der Ermordung seines Bruders Juan und seines Schwagers Alfonso d’Aragona.

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Auch hinsichtlich ihres Formats unterscheiden sich die beiden Serien nur geringfügig. Ein Vergleich zwischen ihnen soll klären, welche unterschiedlichen Geschichtskonzeptionen den beiden Serien zugrundeliegen und wie diese durch die formatbedingten Vorgaben geprägt werden. Als Tendenz lässt sich feststellen, dass die „amerikanische“ Serie die historischen Zusammenhänge stark vereinfacht und geschichtliche Ereignisse aus dramaturgischen Gründen umarrangiert. Sie passt außerdem ihre Figuren an psychologische Erklärungschemata und Verhaltensnormen der Gegenwart an und stilisiert die Show zu einem Familienidyll. Die „europäische“ Serie hingegen zeigt ein schockierendes, brutales Bild der italienischen Renaissance und legt ein deutlich größeres Gewicht auf historische Authentizität, weicht aber dennoch an einigen Stellen umso eklatanter von der historischen Überlieferung ab, um die Mitglieder der Familie Borgia durch eine opernhafte Inszenierung zu dämonisieren und zu mythisieren.

11:30 AM - Escobar, der Herr der Narcos: interamerikanische Passagen zwischen Telenovela und Autorenserie Michael, Joachim (Universität Bielefeld, Bielefeld, Germany)

2012 wurde in Kolumbien Escobar, el patrón del mal von Caracol Televisión ausgestrahlt. Mit 112 Kapiteln gibt sich die Fernsehserie auf Anhieb als Telenovela zu erkennen. Sie war nicht die erste Narco-Telenovela, schon 2008/2010 hatte Caracol El cartel in zwei Staffeln herausgebracht. Viele andere folgten, wie La reina del sur, die vom US-Sender Telemundo 2011 produziert und gesendet wurde. Zahlreiche weitere Telenovelas folgten, die Drogenbosse zu Protagonisten und Protagonistinnen machten. 2015 nahm sich das Streaming-Unternehmen Netflix der Figur des Pablo Escobar an und machte ihn zur Hauptfigur seiner Serie Narcos, die im August desselben Jahres an den Start ging. Diese erste Staffel besteht aus zehn Folgen. „Geschaffen“ wurde sie vom Film- und Serienautor Chris Brancato, die Regie führt der brasilianische Starregisseur José Padilha, die Hauptrolle spielt der Kinoschauspieler Wagner Moura. Nicht zu übersehen ist, dass es sich um eine sog. Autorenserie handelt, deren künstlerisches Format und Streaming-Übertragung sie nicht nur von Telenovelas sondern von Fernsehserien generell abhebt. Die Kontinuität des Gegenstandes täuscht daher über den Umbruch hinweg, der sich mit der Online-Serie verbindet: diese Serie ist tatsächlich kein TV mehr und ist etwas Anderes, das noch zu bestimmen ist. Zu untersuchen sind die Umwälzungen, die mit der Passage von der Telenovela zur anspruchsvollen Streaming-Serie einhergehen. Dazu gehören auch die interkulturellen Übergänge und Verschiebungen zwischen kolumbianischer/lateinamerikanischer Telenovela-Erzählung und US-amerikanischer Autorenserie einschließlich der Darstellungen des Drogenhandels im Süden und im Norden.

17353 - New Man, New Languages Date: Monday, July 25th Room: Sensengasse Hs 1 Chair: Budrewicz, Aleksandra

9:00 AM - the linguistic dilemma of R.S. Thomas Michalski, Przemyslaw (Pedagogical University of Cracow, Cracow, Poland)

My presentation will concern the linguistic predicament of Ronald Stuart Thomas, a Welsh poet who was forced to write in English, which he regarded as the language of the enemy, an insidiously pervasive tool of cultural colonisation. Thomas did not learn Welsh until he was thirty, which was much too late for him to use for purposes of artisitic expression. This paradoxical situation - condemning the English in English for their near obliteration of the Welsh vernacular - was a source of acute pain for the poet, but also added to his work an element of tragic irony. 485

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9:30 AM - Christian von Ehrenfels und seine Vision der neuen Sozial- und Sexualethik (Christian von Ehrenfels and His Vision of New Social and Sexual Ethics) Porebski, Czeslaw (Institute of European Studies, Jagiellonian University, Cracow, Poland)

Christian von Ehrenfels – disciple of Franz Brenatano, mentor of Franz Kafka and Max Brod, founder of Gestalt theory, author of important philosophical works on value theory and aesthetics, one of the central figures of German community of the Prague University for more than three decades, was also author of visionary reform plans. These plans were far-reaching indeed. If realized, they would transform the structure of European societies, produce new type of creative individuals and result also in reconciliation of modern science and religion (that would also undergo a thorough reform).

Ehrenfels’ zeal and ambitions raise, of course, the question: how that combination of high level academic work on the one hand and reformatory visions that were articulated in essays, articles published in periodicals focusing on eugenics, race, and racial hygiene, but also in theatrical plays and operatic libretti, on the other, was possible at all.

In my contribution I will try to find an answer to this question. My text will be in German.

10:00 AM - Refashioning Letters, Words, and Stories in Margaret Atwood's The MaddAddam Trilogy Habibzadeh, Hamed (University of Kashan, Kashan, Iran)

This paper attempts to portray the literary coordinates of the speculative world of Margaret Atwood’s 21st century novels, Oryx and Crake (2003), The Year of the Flood (2009), and MaddAddam (2013) to investigate the appropriation of language. Atwood forecasts an imminent future for Earth and human species in which a laboratory-made pandemic destroys almost all human beings while the endangered Earth survives with a handful of human survivors and a small group of gene-spliced brand-new human beings. The defining characteristic of survival seems to be a capability to recognize letters, to use words, and to narrate stories in contrast to the priority given to “number” proficiency in the present world. The novels are a speculation of what might happen if human beings continued exploiting technologies and nanotechnologies to interfere in nature. Atwood writes futuristically, but the trilogy is a rewrite of the history of human genesis and their nomenclatural identity. The result is not only a present-based forecast, but also an arguable hindcast. While the starting point is the novelistic world, it is the myth of language that will be cultivated in the paper.

Key Words: Fashioning, Narrative, Survival, Identity, Language, Scheherazade

11:00 AM - L'homme nouveau dans la pensée et la littérature hispanoaméricaine de la premiere moitié du XXième siècle Pluta, Nina (Pedagogical University of Cracow, Cracow, Poland)

Le stéréotype de la nouveauté a adhéré fort a la réalité américaine dè s la Conqu ê te. Pendant l´époque coloniale cette novueauté s´était teinte de nuances idylliques et utopiques (le mythe du bon sauvage). Au détour du XIX è me et XX i è me si è cle, les intellectuels sont plus soucieux du contexte sociopolitique et culturel des éventuelles réformes qu´íls envisagent dans le but de voir surgir l´idéal de “l´homme nouveau” américain. On observe, a cette époque, une prolifération de conceptions autant dans les belles-lettres comme dans des textes philosophiques et politiques. Ce qui est intéressant c´est la divergeance, parfois extr ê me, des convictions sous-jacentes aux textes.

Lútopisme ne disparait pas sans trace (”la raza cósmica” de José Vasconcelos, “la utopía americana” de Pedro Henríquez Ureña), bien quíl sáppuie sur une connaissance profonde de la réalité culturelle de la région. Dún autre coté, le réformisme social ( indigenismo , socialisme, communisme, aprismo ) 486

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 associe la vision de l´homme nouveau au besoin dúne révolution des relations économiques ( Indoamérica , de Víctor Haya de la Torre). Dans les romans, a son tour, les analyses naturalistes des circonstances de vie des personnages sáccompagnent souvent, sans contradiction apparente, dúne foie fort idéaliste dans les vertus de l´homme du peuple et dans un futur de justice sociale (certains indigenistas comme Ciro Alegría). Ayant son apogée dans la premiere moitié du XX i è me si è cle, l´”homme nouveau” entre dans une phase de déclin vers la fin du m ê me et devient aujourd´hui un sujet moins politique (sauf pour les mouvments d´émanipations des peuples autochtones) et plus propre pour une réflexion anthropologique, ou bien dúne révision critique et parodique dans les romans ( nueva novela histórica , les romans hispano-américans actuels).

11:30 AM - Russian Literature and Art of the First Half of the Twentieth Century in Light of Vladimir Solovyov's Notion of God-manhood Kotkiewicz, Aurelia (Pedagogical University, Cracow, Poland)

The paper deals with the issues of the influence of Russian philosopher, mystic, and poet Vladimir Solovyov’s concept of God-manhood on the country’s literature and art in the first half of the 20th century. Both the avant-garde artists of the 1920s and those associated with Socialist Realism, transformed Solovyov’s ideas to serve their ideological restructuring of society and the creation of the new collective man.

12:00 PM - Gilbert Durand's "Nouvel Esprit Anthropologique": A Common Ground for the Humanities? Jasionowicz, Stanislaw (Pedagogical University of Krakow, Krakow, Poland)

In Science de l'homme et tradition. Pour un Nouvel Esprit Anthropologique (1979) and other writings Gilbert Durand tackles the idea of the "new humanism" using the tools of the empirical and social sciences, while simultaneously reaching for traditions of thought that, although they had shaped Western identity, were cast aside by the post-Enlightenment "crusade against metaphysics". The "new humanism" as developed by Durand, posits the study of systems of images, a thorough reflection on on the "logic of the imaginary" of individual and collective concepts and trends, and an attempt to grasp their underlying dynamics. Durand's ideas present an interesting proposition for comparative studies (and comparative literature) as a lingua franca for the study of cultural content.

2:00 PM - The "New Man" in the Austro-Marxist aesthetic and pedagogic theory Perica, Ivana (Universität Graz, Graz, Austria)

By taking into account the meandering of Austro-Marxist theoreticians between Marxism on the one side and Kantianism on the other (i.e. between the authority of the Party and the individual freedoms of political subjects), the paper will discuss their aesthetic and pedagogic conceptualizations of the “new man”. Departing from both Marx and Kant (and Schiller, respectively) , Austromarxist pedagogic and aesthetic theory displaces the emancipatory mission from revolutionary party politics towards arts and education, thus advocating “evolution” in place of “revolution”. A rts and pedagogy thus function as the ‘other scene’ of politics (Balibar), where the “new man” is being prepared for the emergence and active creation of an utopian, socialist society. The proposed paper draws on Austromarist conceptualizations of the “new man”, as developed in Karl Renner’s paper “ Kulturkampf oder Klassenkampf? ” (1908/09) and in later treatises written by Max Adler (“Neue Menschen”, 1924; “Kant und der Marxismus”, 1925), Otto Felix Kanitz (“Kämpfer der Zukunft”, 1929) and Otto Neurath (“Lebensgestaltung und Klassenkampf”, 1928).

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2:30 PM - Carta del Carnaro - the project of a new constitution for a new man Spinelli, Daniela (UNIFESP, São Paulo, Brazil)

The experience on the Great War seems to reorient the formal surveys made by the Italian vanguards from the moment in which the politics become the central theme. It was expected that after the war would risen a great Italy, that would assume the role of a world political power. Frustrated these goals and being decreed a mutilated victory, the poet Gabriele D'Annunzio proposed an action brought pursuant to find reason in historical terms. As leader of the new Italy and with the support of an army of rebels, Gabriele D'Annunzio occupied the territory of the Kvaner Gulf and ruled the city of Fiume for sixteen months.

In 1920, the poet Gabriele D'Annunzio writes and promulgates the "Carta del Carnaro - Constitution of the Free State of Fiume ". The constitution condensed the commitments of the modernists and Italian nationalist vanguards seeking to solve social problems and radically change the reality. Taken by the urge to create a new man, the poet sought to overcome existing human forms of organization and suppress all evil. Inspired by D'Annunzio's idealism and brought about the theoretical basis of revolutionary syndicalism, the Free State of Fiume proposes to give the world an example of constitution that embraces all the most audacious ideas of modern thought, the various forms of freedom and restore the glorious traditions the Latin culture. The poet assigned to the new constitution the carrier manifest function of a new historical and cultural awareness, announcing the formation of a "new" man. For this reason, Article XVI stands the decree: "Life is beautiful and worthy to be severely and magnificently alive. The man should be redone completely free". In other words, the state should provide the necessary support so that the nature of its citizens could be completely redone. Becoming a whole man capable of every day invent their own virtue, he constantly would model his action in favor of collective life.

3:00 PM - "Forget six counties overhung with smoke..." "New Man" according to William Morris Budrewicz, Aleksandra (Pedagogical University of Krakow, Poland, Krakow, Poland)

My paper is devoted to a range of visions and projections of the ‘New Man’ whom William Morris(1834-1896) hoped to create in his literary and artistic works. Morris was a British artist, poet, writer, translator, designer, reformer, and "a socialist thinker with a prophetic vision". His poetry is an example of an insightful exploration of past, present and future, whereas his ideas were aptly described by Paul Thompson as a vision or a fusion of the romantic tradition and historical analysis. In his most famous prose work "News from Nowhere" Morris offers a utopian vision of a society. He was also known for rejecting contemporary civilisation and for a passionate escapism into the world of art and literature. I would like to look into some of Morris's poems in which he offers a range of new words based on Icelandic and old English languages; through this unique self-exploration and revolutionary ideas Morris hoped to create new ways of linguistic (and emotional) expression.

17354 - Der Süden als Metapher. Komparatistische Annäherungen an eine transkulturelle Literaturwisse Date: Monday, July 25th // Tuesday, July 26th // Wednesday, July 27th Room: Hs 50 Chair: Reichert, Dagmar; Maeder, Costantino C. M.

2:00 PM - Rousseau's Climatic Fate and the Unrest of Culture Strohmaier, Paul (Universität Trier, Trier, Germany)

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In Rousseau’s famous linguistics of desire, the languages of the South evolved from the implicit imperative “aimez-moi!”, while those of the North originate in the stern “aidez-moi!”. Both entail profoundly different cultural dynamics, that are due to the overwhelming impact of climate, as Rousseau in continuation of Montesquieu’s ideas posits. This reconfiguration of the South as a place of ease and plenty in Rousseau’s Essai sur l’origine des langues thus creates a model of cultural alterity that challenges European conceptions of the essentials of civilization (work, progress, renunciation and deferral of desire). In a second step, these speculative semantics of the South shall be compared to a cultural discovery of the time that, at first, seems to verify Rousseau’s musings: the discovery of Tahiti around 1770 and its impact on Enlightenment discourse through Bougain- ville’s Voyage autour du monde. Bougainville’s idyllic depiction of the Pacific island and the pleasant and effortless way of life of its inhabitants provide the background for Diderot’s harsh rejection of any idea of European superiority based on the notion of civilizational progress in his Supplément au Voyage de Bougainville. In Diderot’s appropriation of Bougainville’s text, Tahitian life presents all the benefits Europeans are wanting, due to moral bigotry and economic elision of self-sufficient presence. Still, it ultimately presents a paradigm of ‘Southerness’ that cannot be imitated by Europeans and instead presents an example of happy contingency. In the discourse revolving around Tahiti, the “South” thus presents a mode of the good and happy life, yearned for, yet inaccessible to Europeans. In a third step, this ambivalence of the South – between desire and demarcation – will be pursued in the writings of Georg Forster, who accompanied James Cook on his second voyage, through to Hermann Melville’s Omoo: A Narrative of Adventures in the South Seas (1847) that ultimately presents an imperialistic change of tone. Tahiti still arouses the desires of exoticism while at the same time being diminished to a cultural archaism, that will inevitably succumb to Europe’s mission civilisatrice. Despite its historical particularity, this discussion of European discourses on Tahiti will help to specify numerous functions of the South that are fundamental to most of its articulations.

2:30 PM - Le Sud méditerranéen en tant que métaphore fluide de la transculturalité et de l¿existence: exemples croisés dans les littératures italienne et francophones Geat, Marina (Università Roma Tre, Roma, Italy)

Ma communication portera sur la lecture croisée de quatre romans, deux italiens et deux francophones : L’isola di Arturo d’Elsa Morante (1957); Mare al mattino de Margaret Mazzantini (2011); Ulysse from Bagdad d’Éric-Emmanuel Schmitt (2008) ; La Désirante de Malika Mokkedem (2011).

Dans les quatre romans, bien que dans des contextes fort différents, la mer du Sud de la Méditerranée, entre l’Italie, la Grèce et les côtes du Maghreb, apparaît en même temps comme une réalité fort concrète, souvent très dure, et comme une grande métaphore fluide d’un monde en devenir, comme un berceau chaud et troublant (significativement empreint de féminité) où les désirs et les souffrances, les migrations et les rencontres, le passé et le présent, les mythes et les événements actuels circulent et se mélangent, en donnant vie au projet, ou tout au moins à l’espérance, d’un monde où des frontières et des clichés – culturels, sociaux, économiques, sexuels, linguistiques – soient enfin dépassés, dans la reconnaissance de l’humanité commune et de la fécondité de toutes identités plurielles. Cette métaphoricité de la mer chez les quatre auteurs implique aussi, et transforme, les rapports avec la terre, avec leur terre d’origine ou avec la terre que les protagonistes des romans se proposent de rejoindre ; c’est ainsi que les déserts, les îles, les rivages, les archipels deviennent, eux aussi, autant de formes de leur vision du monde .

3:00 PM - Une dénonciation ambiguë de l’exploitation.

De la métaphore du Sud, de son paradoxe et de son pouvoir critique Dehoux, Amaury (Université de Louvain); Maude Havenne 489

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

Alors même qu’ils proviennent de régions très diverses du globe, rattachées tantôt au Sud, tantôt au Nord, de nombreux romans et films contemporains (1980-2015) jouent d’une figuration identique du Sud. En effet, dans toutes ces œuvres, le Sud fonctionne comme l’allégorie d’un territoire pauvre et exploité par une autre région plus riche, explicitement ou implicitement désignée comme le Nord – cette exploitation est souvent définie comme la cause et la conséquence de la pauvreté du Sud, dont, en un cercle vicieux, il semble ne pas pouvoir sortir. Une première lecture de cette allégorie consiste à voir dans la figuration du Sud une dénonciation du Nord et de son impérialisme – telle lecture est particulièrement admise dans le cas des auteurs dits périphériques ; elle paraît déjà plus problématique au regard de ceux provenant des centres. Si elle est certainement pertinente, cette lecture semble néanmoins incomplète, dans la mesure où elle ne prend pas suffisamment en compte une donnée essentielle : en vue d’assurer leur diffusion, les romans et les films sur le Sud visent à être publiés respectivement par des maisons d’édition et des majors rattachées au Nord que ces œuvres dénoncent. Autrement dit, pour être reçue à l’échelle globale, l’image critique du Sud doit nécessairement et paradoxalement recevoir une forme de caution du Nord.

Pensée dans une optique de Littérature Comparée, cette communication se propose d’envisager cette métaphore du Sud et son ambivalence à travers un corpus de romans et de films internationaux, comprenant, entre autres, Babel d’Iñarritu, También la lluvia de Bollaín, Plateforme de Houellebecq ou Vers le sud de Laferrière. Nous entendons ainsi démontrer que la figuration thématique de l’exploitation du Sud par le Nord est le signe d’une lucidité critique de l’œuvre fictionnelle qui pointe, par là, les conditions mêmes de sa production et de sa réception à l’échelle globale.

4:00 PM - Tales of Italy by Maxim Gorky: collection of folk tales or exotic clichés? Litavrina, Marina (Academy for Theatre Arts, Moscwa, Russian Federation)

The paper focuses on following items:

1. A tale or not a tale? “Tales of Italy” (1912) by Maxim Gorky: critical analysis (based on Vladimir Propp approach). Meaning and title.

2. The image of Italy in the “Tales” as “sunny” and “rebellious” South.

3. The tale-teller: outlook of a stranger.

4. “Tales” in Russian and Italian historical context: the story of the text, author’s aims and goals. The utopian aspect of the “Tales”.

5. “Tales” misunderstood. Soviet tradition of the interpretation of the “Tales” and Gorky’s contemporaries’ debates on the book

6. In the kingdom of exotics. “Tales” and early cinema. “Tales” and melodrama.

7. The impact of Gorky’s “Tales” upon Russian literature and film.

4:30 PM - Michal Jan Borch und Carl Gotthard Grass: erlebt und beschrieben. Reisende aus dem Baltikum über Sizilien des 18. und 19. Jahrhunderts Orehovs, Ivars (Universität Riga, Riga, Latvia)

Reiseliterarische Schilderungen bilden einen wichtigen Bestandteil der genrischen Vielfalt in der europäischen Literaturgeschichte des 18. und des frühen 19. Jahrhunderts. Wie die literarischen Reflexionen der reisenden Leuten aus Baltikum typologisch, thematisch und stilistisch den paradigmatischen Tendenzen entsprechen und welche Besonderheiten sie chronologisch aufweisen, ist das Anliegen der vorliegenden Untersuchung. Vergleichend werden es zwei Werke dargelegt - 490

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Briefe über Sicilien und Maltha...(1783, nach dem französischen Original - 1782) von M. J. Borch und Sicilische Reise oder Auszüge aus dem Tagebuche eines Landschaftsmalers (1815) von C. G. Grass.

5:00 PM - Nordic Italies: Representations of Italy in Nordic Literatures between the 1830s and the 1910s Carbone, Elettra (University College London, London, United Kingdom)

In this paper I will present some of the results of my research on representations of Italy in a selection of Danish, Finnish, Norwegian and Swedish literary texts written between the 1830s and the 1910s (to be published by Nuova Cultura in 2015).

Because of its history, art, and natural and cultural landscapes, Italy has been a popular destination for North-European travellers since the age of the Grand Tour. Yet, literary images of Italy are not all linked to the tradition of the journey to this country and cannot be labelled as a manifestation of Northerners' yearning for the Southern sun. The corpus of critical literature which deals with Italy in Nordic literatures is very wide but also fragmentary. While many scholars have written about this topic and chiefly on the relations between individual Scandinavian literatures or well-known authors – such as Ibsen, Lagerlöf, Andersen – and Italy, fewer have emphasised their variety, plurality and complexity.

With its comparative and multi-genre approach, my study attempts to cast a new light on a selection of nineteenth- and twentieth-century representations of Italy and shows some of the Nordic Italies. Taking into account texts of different genres – poetry, drama and novel – and focusing on theories of representation, genre and space, this research examines complex and heterogeneous literary representations which cannot be reduced to a single stereotype: in these texts Italy emerges both as a set of physical spaces and as a series of metaphorical concepts. How are these Italian spaces and identities constructed and what do they stand for? Which form does the broad concept of Italianness take in these literary works? How are the Italian settings and characters, as well as the aspects of Italian politics, history, society, culture and folklore that populate so many well-known and less well- known literary texts, shaped and combined? Finally, is there a relationship between specific literary genres and the way in which Italy is represented?

Date: Tuesday, July 26th

11:00 AM - The South: Geography, Intertext, Dream. Examples from Four Texts by Michel del Castillo Lindberg, Svante (Abo Akademi University, Finland)

I will analyze the South as projection space in four texts by the French language, Spanish-born writer Michel del Castillo (1933-). If national identity is often seen as dissolving (due to globalization) at the same time as it is reinforcing itself (return of minorities and regional identities, etc.) in today’s cultural discourse, this is of course also visible in literature. The national paradigm in the literary field is often being replaced by categories such as global communication, migration, cultural porosity, linguistic contact, etc. (Capdevielle-Hounieu, 393). In the North-South dialogue in Europe today, the three last themes seem particularly relevant. Mentality differences and economic factors also still seem to play a role in the same dialogue.

Del Castillo’s work often displays a certain essentialism of geographical place. According to Carmen Molina Romero (2003), del Castillo continues a certain type of Spanish idealism and is interested in the act of rethinking Spain, which becomes, not a described place, but a dreamed one. There are different dimensions of the South in his work: e.g. Spain as a southern country as opposed to France,

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 the one half of a Spanish North-South dichotomy within Spain itself (e.g. Andalusia as opposed to the Basque country) or, in some cases, North Africa. The southern border is flexible in del Castillo’s work.

I will analyze how del Castillo presents a vision of place that is complex and full of transcultural tensions at the same time as it favors a certain essentialist, lived experience of place by means of emphasizing the subjective lived/dreamed encounter with the South.

Topics would include: the South conveyed by intertextual literary references, for example southern Spain as pictured by Romantic French authors and the recycling of this image by del Castillo. The South as a dreamed authentic (Spanish) place. Reading del Castillo is to leave the area of preconceived ideas in order to penetrate into lived experience and having to situate and define oneself (Dorenlot 1992 :1). The South, then, is a space that allows the coming into being of subjective (not unproblematic) authenticity. It can also be conditioning space of a person’s mentality. Thus, the vast plains of Castilla become a metaphor of the mental and intellectual expansion of the individuals living there.

I will examine three essays; L’Algérie, l’extase et le sang (2002), Dictionnaire amoureux de l’Espagne (2005), Le temps de Franco (2008) and one novel; La vie mentie (2007) by Michel del Castillo.

References

Capdevielle-Hounieu, Valérie. 2013. « De la cohérence dans l’hétérogène : trajectoire transculturelle du Sujet dans les textes de Jorge Semprún ». Francis, Cécilia W. & Viau, Robert (éds.). Trajectoires et dérives de la littérature-monde. Pratiques de la relation et du divers dans les espaces francophones. Amsterdam & New York: Rodopi. del Castillo, Michel. 2002. L’Algérie, l’extase et le sang. Paris: Stock. del Castillo, Michel. 2005. Dictionnaire amoureux de l’Espagne. Paris: Plon del Castillo, Michel. 2007. La vie mentie. Paris: Fayard. del Castillo, Michel. 2008. Le temps de Franco. Paris: Fayard.

Dorenlot, Françoise. 1992. Michel del Castillo. Amsterdam & Atlanta: Rodopi.

Molina Romero, María del Carmen. 2003. « Michel del Castillo : un bilinguisme conceptuel ». Ignacio Iñarrea Las Heras, María Jesús Salinero Cascante. El texto como encrucijada : estudios franceses y francófonos. Universidad de la Rioja, p. 559-570.

11:30 AM - Homecoming to the Transit Zone: Anna Seghers’s Transit Zsadányi, Edit In my paper, I wish to analyze the concepts of the South in Anna Seghers’s Transit. I discuss how the novel deconstructs the concepts of home and homeland and how it describes the southern part of France during the Second World War as the Garden of Eden. The traditional agricultural life and the peach farms mean shelter to the refugees who run away from the German occupation. The story is about an unnamed German man who could escape from a German concentration camp and settled in the unoccupied southern France. French people welcomed him as family members. Though he has lived his whole life in cities, he happily changes his lifestyle and accepts France as his homeland. Examining excerpts of the novel, I will argue that basic concepts of transition and stability, otherness and identity, anxiety and safety are not necessarily oppositional categories: instead, they can easily transform into one another.

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I will also study the transit places in the novel: cafes, pubs and embassies where the characters share their stories about how to get a transit visa and how to travel further to safe countries. I point at a paradox situation: though most of the characters consider southern France as transit space, the main character conceptualizes his own situation as homecoming.

Finally, I will put the novel into the present situation in which migration have become an urgent global issue. This situation has created new reading perspectives to the novel. On the other hand, the novel can offer us new perspectives to read and understand our complex present situation. We can raise the questions: what we can learn from Anna Segher’s Transit? What it is to live in transit place and what it is to be at home?

12:00 PM - Der Süden als künstlerische Heimat und der Gegenpol des bürgerlichen Daseins - Transkulturelle Aspekte in Thomas Manns Novelle "Tonio Kröger" Lin, Chien-Chun (National Taiwan University, DFLL, Taipei)

Seit längerer Zeit galt Tonio Kröger (1903), Thomas Manns „literarisches Lieblingskind“, als eine der Novellen, die bei Lesern und Literaturkritikern am meisten Aufmerksamkeit erregte und bei manchen als eine „Jahrhundertnovelle“ gefeiert wurde.

Die Novelle schildert die Entwicklung des Protagonisten Tonio Kröger, von einem verwirrten Jugendlichen zu einem reifen Schriftsteller. Tonio, als Sohn eines norddeutschen Kaufmanns und einer italienischen Musikerin, erbt Eigenschaften von beiden seiner Eltern. Seine„in-between“ Identität bringt ihm nicht nur Vorteile, sondern auch Schattenseiten. Obwohl er in Norddeutschland geboren ist, ist er wegen seines südl ändischen Aussehens und Temperaments oft aus aller Welt ausgestoßen und somit ein „Fremder“ im „eigenen“ Land. Nachdem er in den Süden nach München gezogen ist, lässt eroffenherzig seine künstlerische Natur entfalten. Er tradiert das ästhetischeErbteil seiner Mutter und bringt es zur Blüte. Zugleich macht er sich mit seiner disziplinierten Arbeit ein Erbteil seines Vaters zu Eigen. Obwohl sein literarischer Erfolg große Resonanz beim Publikum findet, fügt ihn seine widersprüchliche Existenz, der Konflikt zwischen Süden und Norden, der als ein Konflikt zwischen Künstlertum und Bürgertum stilisiert wird, oft Unruhe und Leiden zu. Ein schmerzhafter Kampf kommt in Tonio hoch. - Ein Kampf um die innere Zugehörigkeit und die bürgerliche Normalität, mit der er mal vertraut war und nun als Schriftsteller vermisst. Aufgrund seiner bikulturellen Herkunft ist es für ihn unausbleiblich, um es mit Wolfgang Welsch zu sagen, „die innere Komplexität der modernen Kulturen zu bewältigen“, und dies geschieht „jenseits der Gegenüberstellung von Eigenheit und Fremdheit“. Sein „Erkenntnisekel“ führt schließlich zu „Heimweh“. Demzufolge beschließt er, eine Fahrt nordwärts zu machen. Da sucht er erneut seinen „Ausgangspunkt“ und seine wahre Identität.

Die vorliegende Studie befasst sich in erster Linie mit Tonios transkultureller Identität und den Wirkungen der hybrid kulturellen Dynamik sowohl auf seine Konflikte zwischen den Polen von Süden und Norden als auch auf seine künstlerische Produktivität. Diese Studie möchte damit für die bisherige Thomas Mann-Forschung neue Perspektiven eröffnen und einen aktuellen Bezug herstellen. Hierbei wird Welschs Konzept der Transkulturalität herangezogen. Anhand der von Thomas Mann geforderten „ganzen Humanität“ wird die persönliche Entwicklung des Protagonisten ermittelt.

2:00 PM - Christians and Saracens in the Orlando furioso: Ariosto¿s Renaissance medievalism and its social logic Bacchini, Lorenzo Filippo (John Hopkins University, USA)

This research, working with theoretical issues derived from Edward Said’s Orientalism1 and postcolonial theory, analyzes the depiction of Saracens2 in the Orlando Furioso, Ariosto’s Renaissance 493

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 epic masterpiece, trying to demonstrate how it is strictly related to the peculiar political situation of Italy – invaded and contended by European powers – and to the religious situation of all of Europe – with Christianity threatened from the inside by the rise of heresy – between XV and XVI century.

I will show how this peculiar situation, its inherent anxieties and desires, substantiate the entire work reverberating in a plot-structure that is not, as in the high Middle Ages, a war of conquest or a crusade, but a defensive war. A defensive war that however is still permeated with colonial desires and attitudes: a colonization that is not territorial but cultural, conquering the ‘other,’ in this case the invader, by assimilation: erasing all exterior and aesthetic differences to make the East part of the West, and, in a translatio imperii, posing it at the very beginning of the Western genealogy.

I will highlight the total whiteness of the Saracens and their general aesthetic similarity to the Christians as a precondition for the presence, in the text, of what I will call ‘cross-border characters’: characters that stand across the border – good Saracens and bad Christians – and characters that actually cross the border – good Saracens who will convert. Characters that, as I will try to demonstrate, follow a precise political and religious agenda: to highlight the moral difference as the discriminant for the ‘other,’ to identify the ‘other’ as a possible inside enemy, a hidden enemy, and finally to enact a sort of colonization of the invader: an assimilation that masks and relieves fears and anxieties through the magic power of literature.

1 Said, Edward W. Orientalism, New York: Vintage Books, 2003.

2 I will use the term ‘Saracen’ to identify everyone who comes from outside of Christianity, but the text uses ‘Saracen’ or ‘Pagans’ alternatively.

2:30 PM - Sicily as the space of the Other in Giovanni Verga¿s short stories Puskas, Istvan (University of Debrecen, Hungary)

The paper focuses on the first texts of Italian literary modernism, on two volumes of short stories by Giovanni Verga (Vita dei campi, Novelle rusticane). When, with these short stories Verga creates the style of verismo, in some of the texts (Fantasticheria, Rosso Malpelo, Di là del mare) he provides the reader with keys for interpreting them. The distance (in different senses) is a crucial element of the new poetics; Verga articulates the distance between the writer/narrator and the object studied and presented via the literary text, and, moreover, the distance between the reader’s world and the world created and presented in the texts. His strategy of narration is based on the discourse of modern science and as auto-definition he uses the metaphor of the scientist in order to make the text a pseudo scientific one. In this context the space of the stories, Sicily, enjoys a special position; in this literary context (strongly determined by the discourse of the Italian tradition) the image of the southern island is not just a literary image of a concrete, geographical (political, cultural) space, but also assumes the functions of metaphor, and thus becomes a linguistic-rhetorical form of the position ‘in-between’ the I and the Other.

3:00 PM - The representation of Africa and Africans in 13 Italian novels and short story cycles, from 1920 to 1930 Delcroix, Stéphanie Anne (Université catholique de Louvain, Louvain, France)

On s’interrogera sur les représentations de l’Afrique et de l’Africain dans plusieurs romans et recueils de nouvelles des années 1920 et 1930. Dans leurs textes, les auteurs ont établi une frontière imaginaire entre les colonies et l’Italie, présentée comme une mère-patrie. Cette frontière semble donnée pour acquise et correspond a priori à celle proposée dans les discours colonialistes et de propagande du régime fasciste. Cependant, par une analyse plus approfondie, je montrerai que, d’un récit à l’autre, cette frontière est mouvante et que, dans plusieurs textes, elle est même poreuse. La 494

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 conséquence est qu’une tension s’installe entre, d’une part, les valeurs et les croyances annoncées par les protagonistes ou par le narrateur — et partagées par les lecteurs de cette littérature à thèse — et, d’autre part, les gestes et les comportements des personnages. Les résultats des analyses seront mis en perspective avec les théories de Gramsci et de Said sur les relations Nord-Sud et sur l’Orientalisme.

L’étude portera sur les treize textes suivants :

Gianna Anguissola, “I due paggi”, dans Il carretto del mercante: avventure di viaggio, 1941.

Lucilla Antonelli, “Il piccione viaggiatore”, dans Chiacchiere con le bestie, 1935.

Autore anonimo, Pinocchio istruttore del Negus, 1939.

Cipolla Arnaldo, Balilla regale: romanzo africano per giovinetti, 1935.

Salvator Gotta, Piccolo legionario in Africa Orientale, 1940 [1938].

Gotta Salvator e Visentini Olga, Soldatini d’ogni giorno, 1938.

Tenente Anonimo, Volontario in Africa: Racconti di guerra per ragazzi, 1935.

Ettore Boschi (detto Nonno Ebe), Genietti e sirenelle in... A.O., 1936.

—, Animali feroci, 1942 [1926-1932].

Visentini Olga, 1934. Il falco: romanzo, 1934.

—, Africanelle: Fiabe, 1938.

Vivanti Annie, Sua Altezza! (Favola candida), 1923.

—, Il viaggio incantato, 1933.

Date: Wednesday, July 27th

9:00 AM - Fremde(r) Andere(r). Der extreme Süden Europas im Spiegel südlicher Weiblichkeit Rösser, Angelika (Universität München, München, Germany)

Die Verschränkung zwischen Orient und Sexualität, im Speziellen zwischen den fernen Gebieten und dem orientalischen Weiblichen ist einer der vielen Parameter, die Said in seiner Studie als charakteristisch für den „Orient“ und dessen Betrachtung herausgearbeitet hat. Dass ein ähnlicher Sachverhalt auch auf den Süden und damit auf diejenige Himmelsrichtung zutrifft, die sich nach und nach neben dem Osten als neuer Sehnsuchtsraum etabliert, soll dieser Beitrag zeigen. Er konzentriert sich dabei auf den Süden innerhalb Europas, der, wenn er auch weniger Exotik aufzuweisen scheint als manch anderer, weiter entfernte Fleck der Erde, dennoch als das Andere des Kontinents und des jeweiligen Landes, als Kontaktraum mit dem Fremden wahrgenommen und dargestellt wird, wo sich die höchst ambivalente Haltung des Betrachters gegenüber dem beschriebenen Raum in seinem Erleben mit der weiblichen Protagonistin widerspiegelt. Zwei Werke sollen dies exemplifizieren: Prosper Mérimées Novelle Carmen und Carlo Levis Cristo si è fermato a Eboli. Trennt diese ein verhältnismäßig großer Abstand hinsichtlich der Entstehungszeit und unterscheiden sie sich auch in der konkreten geographischen Verortung des Schauplatzes, so weisen sie hingegen deutliche Parallelen in ihrer Darstellungsweise der im Süden des jeweiligen Landes gelegenen Regionen Andalusien beziehungsweise Lukanien als von Rückständigkeit, Irrationalität und Archaik geprägte Landstriche auf. Im einen wie im anderen Fall wird die Beschreibung von einem aus dem Norden

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 stammenden, einer fortschrittlich-rationalen Tätigkeit nachgehenden Mann geliefert: ein aus Turin kommender konfinierter Arzt bei Levi, im Falle Mérimées ein französischer Forscher im Grenzbereich zwischen Geologie, Archäologie und Ethnologie, dessen Schilderung durch den Bericht des Navarresen Don José, welcher in Andalusien dem Militär dient, eine zusätzliche innere Rahmung erhält. Ihr Blick richtet sich auf Carmen beziehungsweise Giulia, die mit ihrem animalischen Wesen und Aussehen und ihren Zauberkünsten einerseits, ihrer Anmut und antiken Gestalt andererseits alle Widersprüchlichkeiten in der Beschreibung der fremden Landschaft in sich vereinen. Von höchster erotischer Anziehungskraft bei gleichzeitiger entschiedener Zurückweisung der geltenden Normen und Gesetze, sind sie Faszinosum und gefährliche Bedrohung der nördlichen, männlichen Ordnung. Sie fordern zur Unterwerfung heraus. Was bedeutet dies für den Süden?

Eine Miteinbeziehung der Oper Georges Bizets, in der die Rahmenerzählung wegfällt, der Protagonistin Carmen mit Micaela eine weibliche Parallelfigur aus dem Norden gegenübergestellt wird und das „Südliche“ musikalische Charakteristik erhält, bietet sich, falls zeitlich möglich, an.

Auswahlbibliographie: Carlo Levi: Cristo si è fermato a Eboli, Turin 1945 – Prosper Mérimée: Carmen, Paris 2008 – Georges Bizet/ Henri Meilhac/ Ludovic Halévy: Carmen. Opéra en quatre actes, Frankfurt/ London/ New York o. J. [1875]; Silvia Bovenschen: Die imaginierte Weiblichkeit. Exemplarische Untersuchungen zu kulturgeschichtlichen und literarischen Präsentationsformen des Weiblichen, Frankfurt/M. 1979 – Edward W. Said: Orientalism, New York 1979.

9:30 AM - La littérature engagée italophone online: le cas du journal El-Ghibli comme laboratoire de la littérature transculturelle Kulessa, Rotraud von (Universität Augsburg, Augsburg, Germany)

Le journal italophone El-Ghibli-Rvista online di letteratura della migrazione, fondé en 2003 par des auteurs comme Pap Khouma et Cristina Ubax Ali Farah, sort depuis quatre fois par an. Motivé par le flux des migrants arrivant en Italie surtout de l’Afrique, le comité de rédaction, désormais sous la direction de l’écrivain italophone d’origine sénégalaise, Pap Khouma, devenu célèbre avec un des premiers romans italophones écrits à quatre mains : Io, venditore di elefanti (1990), accueille des contributions (littéraires, critiques et autres) autour des sujets concernant le phénomène de la migration, aujourd’hui plus présent que jamais. Ainsi le numéro actuel (No 49, anno 13, septembre 2015) est consacré au sujet du « mur », un sujet inspiré par les événements actuels en Europe. Réunissant des membres de rédaction et des contributeurs italophones de contextes culturels divers, comme par exemple Candelaria Romera (Argentine), Barbara Pumhösel (Autriche), Kossi-Komla Ebri (Togo), Mihai Mircea Butcovan (Roumanie) et beaucoup d’autres, El-Ghibli constitue un laboratoire exemplaire de la littérature transculturelle. Notre contribution se propose donc d’interroger la dimension de l’engagement politique du journal et ainsi du rôle politique de la littérature (en ligne) dans la société italienne et/ou européenne.

11:00 AM - Cutting and Pasting The Revolutionary South: Pier Paolo Pasolini¿s Vision of Transcultural Dialogues in The Black Transatlantic Marzioli, Sara (Pennsylvania State University, University Park, USA)

In his documentary Notes for an African Oresteia (1969) Pasolini gathers footage for a version of Aeschylus’s Oresteia set in Africa and Rome, accompanied by a soundtrack performed by an Italian jazz band featuring African American singers. As Pasolini explains, he wanted Black American artists to sing the chorus of the Oresteia because, “it is clear to everybody that twenty millions Black American proletarians are the leaders of any revolutionary movement in the Third World” (“Notes” 1969). The Greek chorus voices the collective cry for equality and selfdetermination, but it does so in the idiom characteristic of the minority and of the dispossessed: jazz and street conversation.

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Africa in Pasolini’s approach to world liberation struggles is then a catalyst for revolutionary practices, a close reality to be dealt with rather than a distant, romantic fantasy.

As Cesare Casarino has argued, “Pasolini catapulted Gramsci’s engagement with the southern question in the planetary.”1 In Notes of An African Oresteia, as well as his poem “Alì dagli occhi azzurri,” Pasolini anticipates future analysis of globalization, by asking what is the meaning of Africa in the political and cultural development of the dispossessed, and problematically claims that we should “identify Africa with the entire world of Bandung [...], a world that begins in the periphery of Rome, includes Southern Italy, parts of Spain, Greece, the Middle East (“Black Resistance,” 1961, XII).

Thus my paper will explore Pasolini’s vision of the South as a transnational locale, a literary cartography ambivalently connected to the material conditions and geographies of its identity, yet one that points to the South as at once the archaic past and the source of the future renewal of humanity. Black American culture, post-decolonization Africa, Ethiopian and Somalian students in Rome in the Sixties, constitute a contemporary version of the Greek chorus, which voices the possibility of a transcultural dialogue among “Souths” in the collage technique of the filmic Notes and the intertextual references of the poem “Alì dagli occhi azzurri.”

1 Cesare Casarino, “The Southern Answer: Pasolini, Universalism, Decolonization.” Critical Inquiry 36:4 (2010), 673-96.

11:30 AM - Das Identitätskonstrukt eines transkulturellen mediterranen Südens in der süditalienischen (v.a. neapolitanischen) Pop- und Rap-Musik Fuchs, Gerhild (Leopold-Franzens-Universität Innsbruck, Innsbruck, Austria)

Transkulturalität im Welsch’schen Sinn einer internen Pluralität bzw. einer Absenz von (nationaler) Einheitlichkeit und Geschlossenheit war für die Volksliedtradition Süditaliens immer schon prägend, nährt diese sich doch, wie Roberto Leydi darlegt, an den Musiktraditionen des gesamten Mittelmeerraums, „dal Golfo Persico a Gibilterra, toccando l’Africa settentrionale e buona parte dell’Europa mediterranea”.1 Wie im Vortrag gezeigt werden soll, intensiviert sich diese Tendenz auf markante Weise in bestimmten Musikformen der süditalienischen Populärkultur seit den 1980er Jahren, sei es in einer dicht am Volksliedhaften selbst orientierten und dieses hin zur World-Music öffnenden Produktion, aus der insbesondere der Name des großen neapolitanischen Liedermachers Pino Daniele (1955- 2015) hervorsticht, sei es in der v.a. in Neapel und im apulischen Salento boomenden Rap-, Dub- und Raggamuffin-Szene. Bereits Pino Daniele geht in vielen seiner Alben über die für World-Music charakteristische Dislozierung von Zentrum und Peripherie2 weit hinaus und gelangt – besonders etwa in Non calpestare i fiori nel deserto (1995), wo er sich auf musikalische Spurensuche nach Afrika begibt, oder in Via Medina (2001) mit seiner programmatischen Hinwendung zum arabischen und griechisch-byzantinischen Kulturraum – zum Entwurf einer immer schon „dezentrierten“ und fragmentierten neapolitanischen Identität, in der sich die den mediterranen Raum konstituierenden Kulturen wechselseitig beeinflussen und überlagern. Noch einen Schritt weiter geht diese Tendenz bei der neapolitanischen Rap- und Raggamuffin-Gruppe Almamegretta, die mit ihrem Bekenntnis zu einem „discorso della contaminazione“3 die eigene Musikproduktion von vornherein als von Hybridität und Synkretismus gekennzeichnet ausweist. Um anzudeuten, wie die „contaminazione“ konkret umgesetzt wird, sei hier beispielhaft auf zwei Liedtitel verwiesen: 1. den programmatischen Titel „Suddd“ vom Erstlingsalbum Anima Migrante (1993), der auf Textebene die Kritik an diversen Missständen des italienischen Meridione mit einem sinnlich- affektiven Bekenntnis zum Süden als Emblem für eine andere, mythische Welt konterkariert und die transkulturelle Grenzüberschreitung musikalisch durch den im Stil eines arabischen Muezzins gesungenen Refrain signalisiert; 2. die Rap-Nummer „Black Athena“ vom Album Lingo (1998), in deren englischsprachigem Gesangsteil – in unverkennbarer Anspielung auf Martin Bernals 497

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 gleichnamige Publikation Black Athena (1987ff.) – für die Entstehung der „westlichen“ Zivilisation afro-asiatische Wurzeln reklamiert werden, während der schnell und hart gerapte italienische Gesangsteil den neapolitanischen Dialekt fast wie eine afrikanische Stammessprache klingen lässt.

1 Roberto Leydi, I canti popolari italiani, Milano: Mondadori 1973, S. 15.

2 Cf. Iain Chambers, “Reisende Klänge: Wessen Zentrum, wessen Peripherie?”, in: PopScriptum 3: World-Music (1995), S. 45-51.

3 Zit. in Goffredo Plastino, Mappa delle voci. Rap, Raggamuffin e tradizione in Italia, Roma: Meltemi 1996, S. 85.

2:00 PM - Metaphors of a life: The global "Sud" of Giuseppe Bonaviri Tamble, Donato (Centro Studi Internazionale Giuseppe Bonaviri, Italy)

Giuseppe Bonaviri has lived his South – a metacronic Sicily topographically spread - as a comprehensive macro-metaphor through which reflect the significance of life and of human and individual experience. Among explorations of the cosmos and descriptions of the nature, recallings of his childhood and youth, scientific realism and timeless mythologies, family love and affections for friends, Bonaviri expresses, in fiction and in poetry, a universal South, which is intended to be an interpretation of life.

2:30 PM - Naples, Interpreting and Representing a Southern City Marrone-Publia, Gaetana (Princeton University, USA)

From the Ancient Greek Neápolis, Naples means literally the “new city.” Through the centuries Naples has remained influential, serving as a model for representing national identities. I will explore how literary, theatrical, and cinematic works depict the city during the postwar era. In particular, how Francesco Rosi represents an economic and political system that operates in collusion with land speculators in Le mani sulla città (Hands over the City, 1963. For Rosi,Naples represents degrado realized, but he goes beyond an indictment of local civic corruption and political opportunism. The film maps, through a labyrinth of violently opposed spaces, the architectural character and social hierarchies of the city Rosi knew best. This is not, however, the story of a corrupt Naples but of an entire nation, where building speculation was a widespread practice during the 1950s.

3:00 PM - Sicily and the Mafia Narrative in Coppola's The Godfather Trilogy. Lauri-Lucente, Gloria (University of Malta, Malta)

The paper will take its cue from Leonardo Sciascia’s 1963 essay ‘La Sicilia nel cinema’ in which Sciascia writes that Sicily has been portrayed as both an ‘offended world’ (‘un mondo offeso’) and ‘a land of beauty and truth’ (‘un luogo di bellezza e di verità’). Mindful of these two distinctive categories, and also of the old saying which describes Sicily as ‘a land blessed by God and cursed by man’, I will argue that in Coppola’s The Godfather trilogy, Sicily functions as an imaginary construct capable of awakening feelings of ‘false nostalgia’ for a timeless space where past and present, artifice and truth, myth and reality coalesce and blend seamlessly. Drawing on Fredric Jameson’s reading of Coppola’s ‘Mafia narrative’, the paper will then proceed to demonstrate that such a depiction of a distant and idealized geographical landscape arouses in its viewers deep fantasies of a Utopian or transcendent nature and manipulates them into desiring the imaginary bonds and feelings of solidarity and belonging which the Sicilian-American family and, by extension, Sicily itself can produce. As is typical of immigrant narratives, even as the arc of representation moves from Sicily to America and then again to Sicily, the series of conflictual but also intertwined hierarchies between inside-outside, isolation- belonging, male-female, and Sicily-America trigger Freudian impulses of

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 both desperate rejection and nostalgic yearning of the land where all stories of violence originate, culminate, and finally are destined to end.

17358 - HISTOIRE LITTERAIRE ET CULTURELLE DES AVANT-GARDES. LES CIRCULATIONS TRANSATLANTIQUES DANS Date: Friday, July 22nd // Saturday, July 23rd Room: Prominentenzimmer Chair: Moura, Jean-Marc; Tomiche, Anne

4:00 PM - Introduction à l'atelier "HISTOIRE LITTERAIRE ET CULTURELLE DES AVANT-GARDES. LES CIRCULATIONS TRANSATLANTIQUES DANS LA PREMIERE MOITIE DU XXe SIECLE " Moura, Jean-Marc (Paris-Ouest, Paris, France); Tomiche, Anne (Université Paris-Sorbonne, Paris, France)

L’histoire littéraire transatlantique se propose comme un cadre théorique nouveau ouvrant sur l’analyse des circulations, échanges et migrations littéraires entre Europe, Amérique et Afrique, non plus en termes régionaux ou linguistiques, mais dans les relations complexes traversant cultures, régions et langues, établies à travers l’Atlantique.

Avec cette introduction, nous voudrions présenter à la fois les grands éléments de cette histoire et réfléchir aux circulations des mouvements d’avant-gardes à travers l’Atlantique, à leurs appropriations par diverses cultures et littératures ainsi qu’aux novations littéraires et culturelles qui s’ensuivent, dans la première moitié du XXe siècle.

4:20 PM - Retour sur la question du cubisme poétique Krzywkowski, Isabelle (Litt&Arts-ISA, Université Grenoble-Alpes, Grenoble, France)

Tant de choses ont été écrites, et par les meilleurs spécialistes, sur les liens entre le cubisme pictural et les poètes qui lui sont contemporains, qu’il pourrait sembler peu utile d’y revenir. Deux raisons expliquent ma proposition. D’une part, la visée synthétique et théorique de l’appel à contribution. D’autre part, cette question ayant principalement été traitée à l’échelle nationale, voire biographique, le congrès de l’AILC est l’occasion de confronter les approches. Il existe bien sûr des exceptions, notamment les travaux du comparatiste Paul Hadermann dans les années 1980 ; mais il n’aborde justement pas la dimension transatlantique. Il paraît donc intéressant de prolonger l’existant selon plusieurs plans. Il s’agirait d’abord de suivre l’usage du terme appliqué à la littérature de part et d’autre de l’Atlantique dans les années 1910-1920. Cette confrontation permettra d’envisager son éventuelle évolution et la variété d’approches d’un cubisme poétique à mesure de son élargissement géographique (peut-être aussi en lien avec l’intérêt pour l’art « nègre »). Il conduira enfin à s’interroger sur le positionnement des théoriciens plus récents, entre réticence (notamment des critiques français) et identification d’une tendance poétique (en particulier aux Etats-Unis), parfois néanmoins circonscrite à la France (selon certains théoriciens espagnols et sud- américains).

4:40 PM - Brazilian Modernism & Vanguard (17358) Oseki, Inês , Aix-en-Provence, France

Although at no time, Brazilian authors did particularly claimed the vanguard term to characterize their artistic movements or productions, the Aurélio dictionary defines "vanguarda" as "group of individuals who, through their knowledge or by a natural tendency, acts as the forerunner or pioneer in a cultural movement, artistic, scientific, etc. : The Brazilian intellectual vanguard took part in the Modern Art Week in 1922 ". 499

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The definition is crude and simplistic by designating individuals and extending it to any group more or less in order in any field, but there is some relevance to evoke the Modern Art Week in 1922 as having been represented by a vanguard, understood here (which is understandable given the situation of the country at the beginning of the century) as a group of intellectuals, which is certainly both too general and very simplistic.

We would like to mention here the political and aesthetic presuppositions of artists (writers, painters) of the Modern Art Week, particularly those of Oswald de Andrade and his concept of "cannibalism" and whose international reputation is indisputable. Beside him, we will discuss the activity of no less remarkable poets such as Mário de Andrade, author of Macunaïma or Carlos Drummond de Andrade, great precursor of Brazilian poetry, or even Pagu, the partner of Oswald, and activist without forgetting the great feminist artists of the time. This movement divided into several streams, found his motives in the affirmation of an art (including painting) mainly Brazilian against foreign influences, accompanied by the claim of a language, an expression typically Brazilian against the former Portuguese metropolis.

Of Oswald de Andrade's the motto "We are concretists" who fed, thirty years later, the avant-garde movement propelled by the group "Noigandres" (Haroldo de Campos, Augusto de Campos, Décio Pignatari, Pedro Xisto) who has been called, in the 50s, "concretists".

5:00 PM - Le surréalisme curacien : une construction néerlandaise ? Andringa, Kim (Université de Liège, Paris, France)

Depuis les années 1930, une riche littérature « locale » s’est développée sur l’île de Curaçao, qui fait alors partie des Antilles néerlandaises. Presque d’emblée, plusieurs de ses auteurs, poètes comme romanciers, se voient attribuer l’étiquette « surréaliste » par la critique littéraire néerlandaise, et ce malgré l’absence de liens ou de contacts avec des groupes surréalistes d’autres pays. Encore en 2012, quatre poètes caribéens, dont trois curaciens, figurent dans la Nieuwe anthologie van de Nederlandse surrealistische poëzie.

Nous tâcherons d’analyser les motifs et les critères sous-jacents à cette catégorisation, depuis quelque temps souvent récusée, afin d’établir s’il y a une réelle sensibilité surréaliste dans cette littérature antillaise néerlandophone, ou s’il s’agit d’une tentative d’apprivoisement de la métropole face à l’émergence de cette nouvelle littérature néerlandaise transatlantique, issue d’une culture différente et qui contribue à une décolonisation des esprits.

Date: Saturday, July 23rd

11:00 AM - L'océan Atlantique de Vladimir Maïakovski Berezovska Picciocchi, olena (Université de Corse, Porto-Vecchio, France)

En 1927, la personnalité compliquée de Vladimir Maïakovski dont la guerre et la révolution sont les raisons d’être, projette en image poétique de l’avant-gardisme russe voir soviétique, l’océan Atlantique. « L’Océan Atlantique » fait partie du recueil au titre qui porte bien son nom Les poèmes sur l’Amérique étant le résultat de son périple à la découverte du monde. C’est en 1925 qu’il réalise son sixième et plus long voyage à l’étranger. De Paris à New-York, il mène une sorte de journal de bord en pamphlets. « Espagne » est le nom du bateau qui l’embarque de Saint –Nazaire le 21 juin vers les nouveaux horizons géographiques et poétiques que l’océan lui donne à explorer. En tant que futuriste était-il à la recherche d’émotions fortes, d’un choc culturel à transmettre et à faire ressentir à son lectorat, à ses compatriotes, dans son nouveau pays de prolétariat ? Et inversement sur le terrain de l’autre de quelle manière se présente-il dans son rôle de poète missionnaire de la cause communiste dont il était le chantre officiel ? Telles sont les questions qui animeront le thème de 500

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 notre étude où l’espace géographique de l’océan atlantique se veut le point de fuite d’un échange culturel poétique et en image.

11:30 AM - UNE POESIE TRANSATLANTIQUE MODERNISTE: FEUILLES DE ROUTE DE BLAISE CENDRARS Brion, Charles (Université de La Rochelle, la rochelle, France)

C’est invité par Paulo Prado, figure centrale du mouvement moderniste brésilien, que Blaise Cendrars se rend pour la première fois au Brésil en 1924. Traité comme un grand écrivain, il côtoie au cours de son parcours brésilien d’autres membres du groupe moderniste comme Oswald de Andrade, le théoricien du « cannibalisme culturel », Mario de Andrade, Sergio Buarque de Holanda et Tarsila do Amaral. Blaise Cendrars resta très marqué par ses relations avec Paulo Prado et par ce qu’il vit et vécut de neuf au Brésil, de São Paulo à Bahia, de Pernambouc à Ouro Preto, s’en inspirant dans un recueil de poèmes moderniste : Feuilles de route. Ce recueil poétique d’origine transatlantique sera le dernier, car c’est surtout à travers lui et la traversée marquante de l’Etat du Minas Gerais que s’amorce le passage déterminant de Cendrars au roman. La première concrétisation en sera la parution de L’Or en 1925, où le trajet transatlantique se déroule désormais en Amérique du Nord. Notre communication portera sur Feuilles de route comme regard transatlantique sur « Utopialand » et comme concrétisation d’aspirations modernistes.

12:00 PM - Anaïs Nin, entre avant-garde et féminisme Chaudet, Chloé (Université PARIS IV-Sorbonne/ Université de Sarrebruck)

Qu’Anaïs Nin (1903-1977) soit généralement considérée comme une écrivaine française aux États- Unis et comme une écrivaine américaine en Francereflète d’emblée son parcours transatlantique. Née d’une mère cubaine d’origine danoise et d’un père espagnol, Nin vit dès son enfance entre l’Europe et les États-Unis. Elle séjourne de 1924 à 1939 en région parisienne – de la date de parution du premier Manifeste du surréalisme au début de la vague d’émigration des écrivains et artistes fuyant le climat belliqueux de l’Europe pour gagner les Amériques (Anaïs Nin s’installera à New York). C’est sur cette période parisienne que nous aimerions revenir dans un premier temps, afin de montrer qu’Anaïs Nin est une figure indissociable de la vie littéraire et culturelle des avant-gardes de l’époque : au-delà de sa relation avec cet autre « Américain à Paris » qu’est Henry Miller, ses intérêts rejoignent par exemple ceux des surréalistes, dans une véritable « dynamique de groupe».

Dans un second temps, il s’agirait de réfléchir au contraste entre le peu de poids d’Anaïs Nin aux yeux de la critique (en particulier française) s’intéressant aux avant-gardes, et l’importance de l’écrivaine chez les féministes des années 1970 à 1990 (en particulier américaines). Si la publication tardive des journaux intimes d’Anaïs Nin (à partir de 1966) entraîna un regain d’intérêt pour l’écrivaine, qui devint une icône du féminisme, celle-ci s’était intéressée dès les années 1930 à Djuna Barnes (à qui Monique Wittig – entre autres – portera également un grand intérêt) – à une époque où les intérêts des femmes n’étaient pas la priorité des avant-gardes. De ce fait, la période parisienne d’Anaïs Nin pourrait être associée à un « laboratoire du féminisme». Pour le montrer, nous proposerions une étude de House of Incest (1936), qui mêle des thèmes, des problématiques et une esthétique surréalistes à des préoccupations qui deviendront essentielles chez certaines féministes des années 1970 à 1990 – l’œuvre actualisant déjà certains concepts nodaux du « French Feminism ». En somme, Anaïs Nin serait donc une féministe « avant-gardiste » dans tous les sens du terme.

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17370 - Afriphone literature: the contribution of African language literature to a comparative liter Date: Friday, July 22nd Room: Hs 33 Chair: Bodomo, Adams

9:00 AM - Introduction - Towards an African language literature agenda in the 21st Century Bodomo, Adams …

9:30 AM - Literary and textual practices of the Beti-Fang based on selected works of the Cameroonian writer Mongo Beti Bitouh, Daniel Romuald (Institut für Afrikawissenschaften, Austria)

This contribution focuses on literary and textual practices (myths, rites, rituals, tales, songs, customs, sayings, literary genres and counter cultural practices) of/in Beti-Fang-languages (Ewondo, Bulu and Fang). The Beti-Fang languages represent a linguistic and cultural community, which is today geographically located in southern Cameroon, in the northern Gabon, in the northern part of Equatorial Guinea (including Bioko Islands), in São Tomé et Principe, in the southwestern part of the Republic of Congo and in the southwestern part of the Central African Republic. Issues concerning the translation of Beti-Fang literary practices in francophone and anglophone African Literature and vice versa, issues of differences and interdependences as well as a focus on the con- or intertextual significance of the literary and textual practices of the Beti-Fang are going to be discussed. Selected texts of the Cameroonian writer Mongo Beti and texts from the various African literary history and theory are used for illustration.

10:00 AM - Crime and Recompense: A comparative assessment of Literatures Onyeji, Chibo (Institut für Kultur- und Sozialanthropologie, Austria)

Cultures organize their engagement with restoration and maintenance of peace and order the best they can. The terms and means of engagement may differ across cultures, but the very principle of engagement is constant. A culture’s mode of engagement is as revealing as the nature of the subject of the engagement process is interesting. We explore these delicate mores — and more — in a comparative reading of three distinct works of fiction in which crime and its recompense are major themes: Omenuko (Igbo), L’Etranger (French), and Things Fall Apart (English). What informs Omenuko’s self-discipline, Meursault’s obsession with truth, and Okonkwo’s inability to forgive himself, and how the idiosyncrasies of these protagonists adjust to the imperative for order in society provide further insights into the worlds these fictional characters respectively inhabit.

17400 - Sprache der Migration. Migration der Sprache. Transkulturelle Literatur im Zeitalter... Date: Friday, July 22nd // Saturday, July 23rd // Monday, July 25th // Tuesday, July 26th Room: Hs 32 Chair: Moraldo, Sandro M. ; Rösch, Gertrud Maria; Kniesche, Thomas; Haase, Michae; Franke, William

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9:00 AM - Sprache der Migration. Migration der Sprache. Transkulturelle Literatur im Zeitalter der Globalisierungsprozesse. Eine Einführung in die Sektion Moraldo, Sandro M. (Alma Mater Studiorum Università di Bologna, Bologna, Italy)

Der Umgang mit migrationsbedingter Heterogenität ist angesichts zunehmender Globalisierung längst zu einem relevanten Diskurs der Weltliteratur geworden. AutorInnen, die ihre ‚literarische‘ und d.h. auch ‚sprachliche‘ Heimat verlassen haben und in die Fremde migrierten, sind für die allgemeine und vergleichende Literatur relevant geworden. In einer Zeit, in der kein Mensch mehr „mit einer strengen linearen Biographie aufwarten kann“, ist ihre Lebensgeschichte der Inbegriff eines „irregulären Lebenslauf[es]“ (Feridun Zaimoglu). AutorInnen verschiedenster nationaler Herkunft schreiben ihre Texte in einer ‚Dienstsprache‘ (Artur Becker). Für die einen hat sie etwas herausfordernd Faszinierendes (etwa für Marica Bodrožić, für die die Fremdsprache „eine ganz neue und andere Welt in sich bereit hält, wie jede Sprache es tut, da sie mit Erfahrungsräumen, Traditionen, Denkweisen verbunden ist und jeder, der in sie stößt, muss sie erobern, muss sie spüren, fühlen, berühren - anders wird man nicht Teil davon“), für die anderen dagegen werden dadurch Machtverhältnisse etabliert, gerechtfertigt und bekräftigt (cfr. Olga Grjasnowa: „Sprachen bedeuteten Macht. Wer kein Deutsch sprach, hatte keine Stimme, und wer bruchstückhaft sprach, wurde überhört“). Fakt ist, dass im Zuge dieser „Vieldimensionalität des Wandels“ (Wolfgang Welsch) der literarische Text nicht mehr „als Repräsentant eines in sich geschlossenen, sprach- oder nationalkulturellen Bedingungsgefüges konzipiert [wird], sondern als Ausdruck komplexer kultureller Grenzüberschreitungen und transkultureller Verflechtungen“. (Birgit Neumann) Im Spannungsfeld zwischen den Literatur-Sprachen entsteht so ein sprachästhetischer, -politischer und -theoretischer Raum, der von den Betroffenen auf unterschiedliche Weise besetzt, thematisiert, verwendet, ausgelotet und schließlich neu verortet wird. Viele schreiben abwechselnd in ihrer Herkunfts- oder ‚Dienstsprache‘, andere wiederum loten den kreativen und höchst systematischen Umgang mit Sprache in Form von Mischäußerungen aus. Im Zuge der ethnischen Differenz zur Mehrheitsgesellschaft werden aber auch biographische Zerrissenheit heimatlos sich fühlender AutorInnen, experimentelle Wortkunst, poetische Widerständigkeit, die Auflösung homogener Sprachordnungen und tradierter Erzählformen thematisch abgehandelt.

9:30 AM - Migration und Kulturtransfer in bildlicher Rede. Formen und Funktionen interkultureller Metaphorik Schmeling, Manfred (Universität des Saarlandes, Germanistik 4.1, Saarbrücken, Germany)

Die Rede über fremde Kulturen ist wie durchtränkt von metaphorischer Sprache. Metaphorische Konstruktionen werden bemüht, um etwas auszusagen, was offenbar in ‚eigentlicher’ Form weniger überzeugen würde. Achim Hölter spricht auf mit Blick auf die literaturtheoretische Topik im Allgemeinen von „Denkfiguren der Komparatistik“(Handbuch Komparatistik. Theorien, Arbeitsfelder, Wissenspraxis. Hrsg. Rüdiger Zymner und Achim Hölter. Metzler, Stuttgart/Weimar 1913. Vgl. S. 87- 90). Nicht nur einzelne Formulierungen, sondern ganze Werke stehen im Zeichen von Bilderwelten, die bestimmte Vorstellungen über das Aufeinandertreffen von Kulturen aufrufen. Die Spanne reicht hier von einfachen Konstruktionen (Brücke, Tandem, Ausländerflut etc.) bis hin zu ganzen Settings (vgl. Thomas Manns Zauberberg als Ort interkultureller Begegnung zwischen neun Nationen). Klassische Beispiele finden wir schon in Euripides’ Medea oder im West-Östlichen Divan von Goethe, doch vor allem die Schriftsteller des vorigen und des aktuellen Jahrhunderts konfrontieren ihre Leser - eher aus kritischer Perspektive - mit metaphorischen Wendungen, die kulturelle Beziehungen beschreiben. Autoren wie A. Gide und R. Rolland antizipieren mitunter die Sprache von postkolonialen Migranten (Salman Rushdie, Patrick Chamoiseau oder Assia Djebar) wenn sie z. B. über „Hybridation“, „déracinement“ oder „transplantation“ nachdenken (Gide). Nicht nur Literaten, sondern auch die literaturwissenschaftliche Theorie verwendet entsprechende Metaphern. 503

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Bestimmte kulturwissenschaftliche Termini, etwa ‚Rhizom’ oder ‚Hybridisierung’, sind aus der postkolonialen Theorie nicht mehr wegzudenken.

Im Beitrag wird es darum gehen, die konzeptuelle Bedeutung solcher Bilder - die häufig ideologisch aufgeladen sind - herauszuarbeiten und ihre ästhetische Funktion zu bestimmen.

10:00 AM - Poetiken migranten Schreibens Zipfel, Frank (Institut für Allgemeine u. Vergleichende Literaturwissenschaft, Mainz, Germany)

Bei der Betrachtung der Literatur von Schriftstellern und Schriftstellerinnen, die freiwillig oder gezwungenermaßen ihre Ursprungskultur verlassen und/oder ihre Texte in einer anderen Kultur bzw. Sprache publizieren, spielt trotz der allgemein anerkannten These von der grundsätzlichen Unabhängigkeit des literarischen Kunstwerks von seiner/m Verfasser/in die Herkunft und der biographische Hintergrund der Autoren/innen eine wichtige Rolle. Mit dafür verantwortlich ist nicht zuletzt die Tatsache, dass in poetologischen Äußerungen dieser Autor/innen nicht selten grundlegende Probleme von künstlerischer Inter- und Transkulturalität (wie z.B. persönliche Identität und kulturelle Differenz, Ausdruckmöglichkeiten in verschiedenen Sprachen, nationale und transnationale Literaturtraditionen) thematisiert werden. Für das allgemeine Verständnis von Migrationsliteratur erscheint deshalb eine vergleichende Untersuchung solcher poetologischen Äußerungen sinnvoll. Interessant ist im Besonderen die Frage nach Gemeinsamkeiten und Unterschieden in den Selbstbeschreibungen und künstlerischen Reflexionen von Autor/innen und Autoren mit ganz unterschiedlichen „Migrationshintergründen“ und „Migrationsgeschichten“ (z. B. Assia Djebar, Feridun Zaimoglu, Salman Rushdie, Patrick Chamoiseau, Ha Jin).

11:00 AM - Plädoyer für den Terminus Migrationsliteratur als hate speech? Blioumi, Aglaia (University Athens, Athens, Greece)

Die Schwierigkeit der Germanistik ein national nicht festzulegendes Phänomen, nämlich der Literatur der Autoren mit Migrationshintergrund, begrifflich einzugrenzen, schlägt sich in der langen Kette der Bezeichnungsvorschläge nieder: Zunächst als ‘Gastarbeiter’-, ‘Betroffenheits’- und ‘Ausländerliteratur’, ‘Minderheitenliteratur’, ‘Literatur der Fremde’, ‘Migranten- und Migrationsliteratur’, ‚Literatur mit dem Motiv der Migration’ bezeichnet, kursieren nun als neuere Begriffe, ‚interkulturelle Literatur‘, ‚transkulturelle Literatur‘, ‚Literatur ohne festen Wohnsitz‘, ‚interkulturelle neue Weltliteratur‘ etc. Dabei signalisiert der Wechsel der Begriffe, den ständigen Reflex auf die in Deutschland sich veränderten soziokulturellen Gegebenheiten, da diese Literatur wie kaum eine andere, Realitäten literarisch konfiguriert. Nach einer knappen diachronischen Darstellung tragender Termini soll im Vortrag darauf aufmerksam gemacht werden, dass sich neuere Begriffe tendenziell im Kontrast zur ‘Migrationsliteratur’ konstruieren, wobei letzterer Begriff in Anlehnung an ‘Gastarbeiterliteratur’ pejorative Konnotationen hervorzurufen scheint. Im Vortrag soll daher auf der Basis der Sichtung zunächst eines breiten dekonstruktiven Migrationsbegriffs der Tabuisierung der ‘Migrationsliteratur’ per Wissenschaft nachgegangen werden. In der Sektion: Sprache der Migration. Migration der Sprache. Transkulturelle Literatur im Zeitalter der Globalisierungsprozesse

11:30 AM - WORLD LITERATURE AND THE ENCOUNTER WITH THE OTHER: A MEANS OR A MENACE? Franke, William (Vanderbilt University, Department of French and Italian, Vanderbilt, USA)

Chinese literary tradition, like any other, in order to have an effective role and presence in the world today, needs to be presented in the context of World Literature. This idea of Weltliteratur, which 504

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 stems from Goethe in the 18th Century, has recently been the subject of much debate in the wake of works like David Damrosch’s What is World Literature? (Princeton: Princeton University Press, 2003) and Zhang Longxi’s Mighty Opposites: From Dichotomies to Differences in the Comparative Study of China (Stanford: Stanford University Press, 1998). I will present this debate in a few of its salient features as they bear on the problem of how it is possible to encounter and preserve radical cultural difference without erasing it in the amalgam of globalization. However, I will present it in the context of expounding an approach of my own that aims to highlight the most important insights of both of these very different proponents of world literature and endeavors to turn their tensions into synergisms.

My own approach is based on starting always from what is unsayable and inexpressible in any tradition whatsoever: in other words, from the incommensurable or the untranslatable. This is also where culture borders on the transcendent dimension of the religious, which modern, secularized and globalized, society excludes only at its own peril. Incommensurabilities enable us, paradoxically, to find our common measure. The incommensurable is the possession of none in particular but rather the condition of possibility of all. It consists minimally in our all being mutually conditioned by one another.

In seeking some kind of common language and culture, world literature needs to accentuate recognition of what remains ineffable. Chinese classical traditions of Confucianism and Daoism (from the very first lines of the Dao-de-jing) are peculiarly attuned to what remains beyond the reach of language. This sensitivity to the unsayable, or to what I call the “apophatic,” is most necessary today in order to make World Literature a genuine source of mutual self-discovery rather than a steamroller that turns everything into globalized English by the flattening effect of translation.

Our recognizing our own otherness even to ourselves, in the face of the culturally transcendent, or the incommensurable, enables us to open up to the common humanity that bonds us together. Otherness begins at home and in our own core. If each person and analogously each culture is uniquely individual, this uniqueness is nothing that can as such be said, for individuum ineffabilis est. But precisely this condition of nothingness at our core is universally shared. It is even the precondition of human freedom. The self-critical exposure of this nothingness within is the key to unlocking the richest resources of our humanity that can be possessed by none, except in being shared through being received from and given to others.

12:00 PM - Migrationsliteratur im Wandel der Zeit Hagen, Rebecca (Universität Heidelberg, Heidelberg, Germany)

Die Einwanderungswellen der fünfziger und sechziger Jahre haben die Literaturszene stark beeinflusst: Die Zugezogenen haben ihre Erfahrungen in Deutschland schriftlich festgehalten und somit ihre Gefühle, Probleme und Ängste einer Leserschaft geschildert, der diese Probleme zu meist unbekannt sind. Hier scheint die Literatur eine Brücke zu bauen, da sie als Vermittlerin zwischen den Neuankömmlingen und den Ansässigen dient. Diese Rolle wird der Migrationsliteratur auch in späteren Jahrzehnten zugewiesen, auch wenn sich der Fokus in den jüngeren Werken dieses Genres vom Ankommen und Leben des Gastarbeiters auf das Leben der zweiten oder gar dritten Generation verschoben hat. Die Veränderungen dieses Genres spiegeln auch Veränderungen in der Gesellschaft wider. Hier stellt sich jedoch die Frage, wie dieser Wandel sprachlich ausgedrückt wird. Findet man eine deutliche Differenz zwischen den ersten Werken der Migrationsliteratur und den späteren Werken? Und wenn ja, wiederholt sich dieses Phänomen in Ländern wie Frankreich und England oder ist dieser Umbruch im Genre auf Deutschland beschränkt? Auch stellen sich Fragen zum Umgang mit der Sprache selbst: Wie gehen die Autoren mit der Sprachbarriere um? Integrieren die Autoren

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Bilder, Worte, Ideen aus ihrer Muttersprache? Und schließlich die Frage: Gehen die Autoren der ersten Welle der Migrationsliteratur anders mit der Thematik Sprache um als ihre Nachfolger?

Date: Saturday, July 23rd Room: Hs 32

9:00 AM - Transkulturelle Literatur in Italien auf dem Weg zu hybrider Sprache und Identität Kleinert, Susanne (Universität des Saarlandes, Saarbrücken, Germany)

Die seit etwa 20 Jahren in Italien beobachtbare Migrationsliteratur hat u.a. durch Autoren und Autorinnen der sogenannten zweiten Generation neue Themen und Ausdrucksformen gewonnen, für die der Begriff der transkulturellen Literatur geeigneter erscheint als der der Migrationsliteratur. Anhand von Beispielen aus literarischen Texten von Cristina Ubax Ali Farah, Amara Lakhous, Julio Monteiro Martins und Igiaba Scego werden Aspekte der Sprachmischung und komplexen Übersetzungsprozesse zwischen den Kulturen, der identitären Mehrfachverortung bzw. der Wahrnehmung fehlender Zugehörigkeit, der narrativen Mehrfachfokalisierung und des Umgangs mit literarischen Gattungen behandelt und mit Texten der poetologischen Selbstreflexion in Beziehung gesetzt. Dabei ist außerdem der appellative Charakter einiger Texte zu beachten, die mit der Einschreibung in die italienische Kultur auch das Anliegen gesellschaftspolitischer Anerkennung der zweiten Migrantengeneration verbinden.

9:30 AM - La poetica dell'«addizione» linguistico-culturale fra Edouard Glissant, Gabriella Kuruvilla, Carmine Abate e Gerhard Kofler Pagliardini, Angelo (Leopold-Franzens Universität Innsbruck, Innsbruck, Austria)

Il superamento delle frontiere linguistiche e la rappresentazione di tale superamento, focalizzato per quanto riguarda la letteratura italiana in particolare nell'epoca della globalizzazione e dei grandi flussi migratori, ha mostrato tutto il suo potenziale dirompente e fondante al tempo stesso. Da un lato si è potuta rileggere in chiave post-coloniale e multiculturale la critica filologica sul plurilinguismo letterario italiano, nelle sue varie declinazioni, da Dante a Verga, dall'altro si è meglio incardinato il fenomeno in paradigmi e strutture della letteratura europea, e non solo. La rappresentazione dell'identità creola della Martinica nell'opera e nella riflessione teorica di Edouard Glissant trova riscontri e paralleli nell'opera di autori italiani con background transculturale. Un'autrice come Gabriella Kuruvilla affida a temi, immagini e interazioni fra arte e letteratura la frattura-ponte fra le due culture che le appartengono, quella indiana e quella italiana, mentre Carmine Abate, utilizza anche gli strumenti del plurilinguismo per rappresentare la propria traiettoria, che dalla minoranza storica degli arberesh italiani passa per l'emigrazione italiana in Germania, per approdare alla migrazione interna Sud-Nord, frattura e faglia identitaria dell'Italia unitaria e contemporanea. Come Glissant, Carmine Abate perviene alla conclusione che la migrazione non sia sottrazione ma «addizione» di identità culturale, il che si esprime sia nella costruzione narrativa di romanzi e racconti, sia nella sua riflessione teorica e memorialistica. Un ulteriore spunto di riflessione lo può offrire la poesia di Gerhard Kofler, poeta sudtirolese che sceglie di scrivere nella lingua dell'altro, l'italiano, per auto-tradursi in tedesco, accostando nella pagina entrambe le versioni linguistiche, proprio per depotenziare quelle frontiere (linguistiche) che secondo Glissant impediscono l'accesso al «Tout-monde».

10:00 AM - Une poétique du débris: étrangetés et identifications dans une écriture migrante aux multiples appartenances Vianna, Arnaldo (Une poétique du débris: étrangetés et identifications dans une écriture migrante aux multiples appartenances, Niterói - RJ, Brazil)

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Il s’agit d’une étude des rapports entre la littérature migrante et la problématique identitaire au Québec. En nous appuyant sur Nous autres, les autres de Régine Robin et Écritures migrantes et identités culturelles de Clément Moisan, nous vous présenterons une analyse du roman La Québécoite de Robin. Dans ce cadre, nous essayerons de montrer comment la littérature peut aider à défaire les certitudes identitaires à la lumière des thèmes suivants: l’altérité, l’écriture féminine, la diversité culturelle, l’homogène et l’hétérogène, le métissage, l’hybridité culturelle et textuelle, les transferts de cultures, le nationalisme et la littérature nationale.

Mots-clés : altérité; écriture migrante; identité; transculture; multiculturalisme

11:00 AM - The importance of embedded language in the work of Emine Sevgi Özdamar Abramo, Federica Claudia (University of Trento, Trento, Italy)

This paper proposes to analyse, through the recent neurocognitive and embodiment theories, some excerpts of the short stories collection Mutterzunge (1990) by Turkish-German writer Emine Sevgi Özdamar.

The author was born in Turkey, in the city of Malataya, Eastern Anatolia, in 1946. She moved to Germany, without having any German knowledge, to work as a factory worker in Berlin in 1965. By facing a new cultural and linguistic reality, she will be then able to fully express her creativity.

Two elements will be observed and analysed through the reading of Mutterzunge: 1) on one hand, the presence of features related to the principle of «linguistic relativity» (popularly known as the Sapir-Whorf hypothesis) according to which each language, German and Turkish in this case, represents distinctive elements of the author’s linguistic baggage and affects the way in which she understand and conceptualise the world; 2) on the other hand we will underline elements related to the embodiment theories, in particular with the concept of «embedded language», embodied in a specific body. Emine Sevgi Özdamar have indeed said that she has always had a physical experience with the German language and that words have always had specific bodies for her. This physical relation with a language is also present in the short story Großvaterzunge and is related to Arabic.

11:20 AM - "Es gibt keine Rückkehr mehr!": Sprache der Migration und Sprache des Theaters in E. S. Özdamars Perikizi. Ein Traumspiel. Palermo, Silvia (Università di Salerno, Fisciano (SA), Italy)

Perikızı. Ein Traumspiel ist ein von der deutschen Autorin, Regisseurin und Schauspielerin türkischer Herkunft, Emine Sevgi Özdamar (*1946, Malatya [Türkei]), konzipiertes und geschriebenes Theaterstück, das innerhalb des internationalen Projektes ‚Odyssee Europa’ in Deutschland im Ruhrgebiet im November 2010 zum ersten Mal aufgeführt wurde. Die Migration ist der rote Faden, der alle Werke Özdamars verbindet. Da Özdamar in ihren Texten nicht nur die Verflechtung mehrerer Kulturen thematisiert, sondern auch eine hybride Sprache als Ausdrucksmittel verwendet, bieten ihre narrativen sowie theatralischen Texte, die Möglichkeit einer Reflexion sowohl über ihre Sprache als auch über ihre Transkulturalität. Der Theatertext Perikızı, als solcher durch eine performative Sprache gekennzeichnet, eignet sich außerdem für eine kontrastive Analyse mit den narrativen Texten Özdamars. Die Sprache Özdamars in Perikızı. Ein Traumspiel soll also auf den Wortschatz der Migration im Vergleich mit dem Lexikon ihrer narrativen Texte analysiert werden: Dabei werden sowohl die Ergebnisse einer bereits abgeschlossenen Korpusanalyse als auch die einer Übersetzungsarbeit – an sich ein transkultureller Prozess – des Perikızı-Textes ins Italienische berücksichtigt, die die innovativen linguistischen Elemente und die kreative Wortkunst der Autorin zu identifizieren helfen.

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11:40 AM - Das "undankbare" Schreiben von Irena Brezná als Prozess von cultural translation Cvikova, Jana (Institut of World Literature, Slovak Academy of Science, Bratislava, Slovakia)

Die in der deutschen Sprache schreibende Publizistin und Schriftstellerin slowakischer Abstammung Irena Brežná (geb. 1950) lebt seit 1968 in der Schweiz, wohin sie infolge der Tschechoslowakei- Okkupation zusammen mit ihrer Familie flüchtete. Der Prozess vom Verlust der „verspielten“ Muttersprache, die für sie synekdochisch die verlorene Heimat verkörperte, bis zur Aneignung des Deutschen als Literatursprache war sehr schmerzhaft – wohl auch deswegen stellen der Verlust und die Wiedereroberung der Sprache bis heute die wichtigsten Topoi sowohl ihrer essayistischen als auch literarischen Texte dar. Meine Analyse (die Bestandteil einer vorbereiteten Monographie über die Autorin bildet) konzentriert sich auf die Art und Weise, wie die Sprache und ihre Bedeutung für die (Re)Konstituierung der Identität der Ich-Erzählerin im Roman „Die undankbare Fremde“ (Galiani 2011) durch die narrative Produktion von zeitlichen und räumlichen Fragmenten aus der Lebenswelt „alter“ und „neuer“ MigrantInnen (de)konstruiert werden. Dieser Roman, für den die Autorin den Eidgenössischen Preis für Literatur 2012 bekam, änderte laut Literaturkritik die Migrationsdebatte in der Schweiz; im Jahre 2014 erschien seine slowakische Übersetzung, die in eine brisante politische Situation und einen stark polarisierten, mit Vorurteilen aufgeladenen öffentlichen Diskurs über Migration kam. Beides macht die Betrachtung des Romans unter dem Gesichtspunkt der inter- bzw. transkulturellen Vermittlung in und durch die Literatur sinnvoll. Bei einer vergleichend angelegten gesellschaftspolitischen und literarischen Verortung des Romans von der slowakischen Emigrantin und Schweizer Schriftstellerin im deutschsprachigen Kulturkreis und im slowakischen Kulturkontext sollten Begriffe wie politics of translation (G. Spivak) und cultural translation (J. Butler) relevant werden.

12:00 PM - Willensliteratur und Deutschwerden bei Zafer Senocak Faure, Marie Noëlle (CPGE Lycée Henri IV Paris, Paris, France)

I. Unsterschied zwischen Selbst- und Fremdwahrnehmung A. Diskontinuität nicht als Verlust, weil er von Kind auf eine emotionale Beziehung zur deutschen Sprache hat. Deutsch schreiben war eine Selbsverständlichkeit. In seiner Jugend galt als deutscher Autor B. Die Fremdwahrnehmung durch zwei weltgeschichtliche Ereignisse verändert: erstens „die Wende“ Mit der Suche nach einer neuen deutschen Identität zeichnet sich ein Migrantisierungsprozess ab: Auf einmal wird er als deutschsprachiger Autor nicht deutscher Muttersprache wahrgenommen. Bewusstwerdung des Stigmas: der fremdländisch klingende Name, der „türkische Migrationshintergrund“ In der Festlegung auf die ethnische Herkunft liegt für ihn der Kulturschock, nicht in der früheren Umstellung von Istanbul nach München. Sie verwehrt ihm den Weg ins Literarische: Für Şenocak besteht die Biografie eines Schriftstellers zwar aus dem Selbsterlebten, aber auch aus dem Erdachten zweitens der 11. September 2001 Es entsteht eine Polarisierung zwischen der westlichen und der moslemischen Welt. Der Schriftsteller erlebt nun eine religiöse Stigmatisierung und wird essenzialisiert. Nicht nur Migrantisierung, sondern auch Konfessionalisierung der Literatur II. Ein „Zweifrontenkampf“ ethnisch und religiös stigmatisiert, engagiert er sich für Anerkennung (und nicht Toleranz), wobei er sich auf den deutschen Humanismus, die deutsche Aufklärung und die deutsche Klassik bezieht. ein aufklärerisches Verhalten fordert er einerseits von den Moslems, andererseits von den Deutschen, denn Deutschland nun kein homogenes Land mehr ist: Die herrschende Heterogenität führt zur Hybridität und dadurch zur einer Neubestimmung des Deutschseins, zum „Deutschwerden“ Dadurch entsteht eine „Willensliteratur“ in Anlehnung an die Willensnation der Aufklärer Deutsch schreiben als Ausdruck eines Willens. Die deutsche Sprache nicht mehr orts- und nationsgebunden , sondern als Zement der Hybridät.

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Date: Monday, July 25th Room: Hs 32

9:00 AM - When poetry is a temple: liminarity and poetic creation in Age de Carvalho's work Guimarães, Mayara (Federal University of Pará, Belém, Brazil)

The aim of this paper is to introduce the poetic work of Age de Carvalho, a contemporay Brazilian poet from the Amazon área, who has lived for thirty years between Germany and Austria, the last twenty years spent in Vienna, to the foreign public. In 2006, a selection of his work (Sangue-Gesang) was translated by Curt Meyer-Clason to the German speaking public. Carvalho is also a translator and from 1983 to 1985 directed a poetry section in a Brazillian newspaper dedicated to publishing translated poetry. Ever since, translation has been a literary exercise that exhorts his own literary creation. His work, written in Portuguese, convenes elements and particularities of the German syntax which add to the enlargment of the Portuguese syntax and to the consolidation of his own poetic language. Although writing in his mother tongue, the experience of displacement, exile and liminarity is present throughout his work. The condition of foreigner, bound to two worlds, cultures, and traditions, asserts a new way of thinking, feeling and touching the languages. His poetry develops a dialogue with the lyricall tradition of Western literature, both classic and modern, from Sappho and Catulo, to Trakl, Pound, Celan, W. C. Williams, and C. Drummond de Andrade and the concret poets, amongst the Brazilians.

Thus, I would like to discuss the experience of limit as an exercise of abandoning the safe path of method and binary thought and dissolving homogenic linguistic order, towards the embracement of a deviation force found in poetry. Poetic experience in Carvalho’s work sets language as the stage where cultural, ethical and aesthetic issues mingle. In the entanglement of different worlds, languages, origins, times and spaces, the imagery of journey in his poetry operates an interface with love, death, memory and poetic creation, considering the idea of displacement – of language and space – as an image that points to the condition of the foreigner, the poet and the translator.

9:20 AM - Transcultural identities in (post-) migrant literature and cinema Soares, Luisa (Centro de Estudos Comparatistas/Universidade de Lisboa, Lisboa, Portugal)

Luísa Afonso Soares Centro de Estudos Comparatistas Universidade de Lisboa [email protected] [email protected]

Transcultural identities in (post-) migrant literature and cinema

Increasing migratory flows, together with pressure of post-colonialism and globalization, are eliciting the crossing of national and cultural boundaries. This increased mobility is responsible for rootlessness and cultural clashes, as well as for the experience of foreignness. When faced with new places, spaces and realities, migrants are obliged to continuous translation or redefinition of the self and have to cope with the loss of home and language. That sense of dislocation and strangeness may last over time as has been performed in literary and filmic narratives of migration. In fact, the artistic account of migration offers mostly dramatic images of the reconstruction of identity fractured by displacement. However, in recent years, literature and cinema are addressing other modes of perceiving migration by focusing on the positive overcoming of displacement and on welcome cross- pollinations and transcultural interactions.

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This paper seeks to follow the paths of the second generation of Turkish migrants in Germany as represented in literature and cinema by exploring the way they perceive and experience the spaces they inhabit, the way they perceive themselves and the new world they live in. I will focus on the work of Turkish-German authors Yadé Kara and Selim Özdogan, and on their (gender-specific?) narrative strategies to represent aesthetically the migrants’ experience, how they reflect on the ambiguities and doubts about the sense of belonging.

At last, I will discuss whether Kara’s and Özdogan’s imagined identities embody Wolfgang Welsch’s concept of transculturality “as entanglement, intermixing and commonness”, and how in doing so they may be able to construct post-migrant and transethnic identities, and thereby paving the way to new transcultural solidarities and empathies.

9:40 AM - Keine Sprache der Migration: Wie erklärt sich der Mangel an Mehrsprachigkeit in der Literatur der Einwanderer nach Österreich? Sievers, Wiebke (Österreichische Akademie der Wissenschaften, Wien, Austria)

Mehrsprachigkeit zählt in der literaturwissenschaftlichen Forschung zu einem der zentralen Kennzeichen migrationsbedingter Heterogenität. Deswegen nahm diese auch im Projekt „Literature on the Move“, das sich mit nach Österreich immigrierten mehrsprachigen AutorInnen beschäftigt, einen wichtigen Platz ein. Doch zu unserer Überraschung fanden sich in den von uns behandelten Werken kaum die Merkmale, die in Bezug auf Mehrsprachigkeit für Literatur im Kontext von Migration bisher als charakteristisch galten: Sie schreiben nicht in mehreren Sprachen, sondern fast durchgehend auf Deutsch, und es finden sich in ihren Texten auch nur selten Fragmente aus anderen Sprachen oder sprachliche Mischformen. Julya Rabinowich geht so weit, von einer „strikten Apartheitspolitik“ zu sprechen, in der Russisch zwar als Familien- und Dolmetschsprache eine Rolle spielt, aber Deutsch die ausschließliche Literatursprache ist. Andere Autoren wie Vladimir Vertlib oder Illir Ferra sind da weniger dogmatisch. Sie behaupten, in ausgewählten Texten oder auch in bestimmten Szenen schwinge das Russische bzw. das Albanische in ihrer deutschen Sprache mit. Allerdings schränken beide sofort ein, dies sei nicht zentral für die Auseinandersetzung mit ihren Werken. Beide verwenden auch andere Sprachen in ihren Texten, aber nicht mit dem Ziel einer sprachkritischen Auseinandersetzung, sondern, um ihre Literatur „authentischer“ zu gestalten. Dieser Beitrag widmet sich der Frage, warum Mehrsprachigkeit bei Einwanderern in die österreichische Literatur nicht die zentrale Bedeutung hat, wie sie für andere literarische Werke, die im Kontext von Migration entstanden sind, beobachtet wurde. Dabei sollen persönliche Gründe, wie der Kampf um ein korrektes Deutsch in der Schule, genauso zur Sprache kommen wie das allgemeine Aufbegehren jüngerer österreichischer Autoren und Autorinnen gegen ihre sprachkritische Vorgängergeneration und zwar genau zu einer Zeit, als Einwanderer in der österreichischen Literatur wieder an Bedeutung gewannen.

10:00 AM - Bootsreisen in Richtung Festung Europa: Grenzerkundungen in interkulturellen Gegenwartsschriften von José F.A. Oliver und Caroline Bergvall McMurtry, Aine (King's College London, London, United Kingdom)

In der ersten Hälfte 2014 starben mehr als 3000 Menschen bei Ihrem Versuch, nach Europa zu kommen; das Mittelmeer gilt nun als ‘das tödlichste Meer der Welt für Migranten’ (Int. Org. Migration, 2014). Trotz Dokumentationen zu 13417 Todesfällen an den Meeresgrenzen der EU zwischen 1988 und 2012, Zahlen die mit den neueren Konflikten in Libyen und Syrien nur steigen, gibt es einen erschreckenden Mangel an Informationen über die genauen Todesursachen—und Orte—auf hoher See, vor allem, wenn man diese Zahlen mit den ausführlichen Statistiken über die

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Verhaftung und Abschiebung von Migranten vergleicht. Dieser Vortrag setzt sich mit multilingualen Schriften von José F.A. Oliver und Caroline Bergvall auseinander, die Formen literarischer Zeugnisse über die Todesopfer suchen und Auffassungen von Grenzen durch ihr experimentelles Schreiben über Sprach- und Medienformen untersuchen. In ihrer interkulturellen Herangehensweise – die thematische, stilistische, sowie mediale Aspekte der Texte einschließt – entwickeln die Schriftsteller eine Poetik, die die Ausgrenzungsmechanismen des Nationalstaats bezweifelt. Olivers fünfteiliger Lyrikzyklus ‘totentanz’ und sein Gedicht ‘ostersonntag, travestien’ (2010) thematisieren Todesfälle im Mittelmeer und testen semantische und syntaktische Grenzen aus. Bergvalls Drift (2014) verbindet altenglische und altnordische Sagen mit Schlagerliedern und Auszügen aus Menschenrechtsberichten. Durch das Auflösen von Sprachgrenzen und das Zusammenkommen von gesprochenem Wort und Live-Trommelspiel, das vor einem 3D-Text-Hintergrund aufgeführt wird, entwickelt ihr Text eine Sprach- und Performancepolitik, die verlorene Buchstaben und vergessene Töne neu einschreibt, um alte und neue Geschichten, die sonst ungehört und ungesehen verloren gingen, zu visieren, positionieren und Ihnen einen Laut zu geben.

11:00 AM - dahinter schon / das Staunen neuer Wörter: mehrsprachliche Kreativität und metapoietische Reflexion im lyrischen Werk von Barbara Pumhösel Moll, Nora (Università Telematica Internazionale Uninettuno, Roma, Italy)

Das literarische Schaffen der österreichisch-italienischen Lyrikerin Barbara Pumhösel, die besonders in Italien auch als Kinderbuchautorin bekannt ist, kann als ein polyzentrischer Raum verstanden warden, in dem sich das Deutsche und das Italienische immer wieder abwechseln und potenzieren, ohne sich aber je zu vermischen. Eher als an der Hybridisierung der Sprache(n) oder an intratextueller Zweisprachigkeit ist die 1959 in Neustift bei Scheibbs geborene Autorin daran interessiert, symbolische Ausdrucksformen für die Sprachüberschreitung und die transkulturellen Erfahrungen zu erarbeiten, die Schritt für Schritt mit einer vielschichtigen metapoietischen Reflexion einhergehen. Das “Waten” durch Sprachflüsse (prugni, Cosmo Iannone: 2006, S. 88), dessen Implikationen hinsichtlich des identitären Selbstverständnisses von der Lyrikerin besonders in den italienischsprachigen Texten analysiert wird, ist demnach in ein kreatives Projekt eingebettet, in dem das lyrische Schaffen an sich immer wieder hinterfragt wird. Hinter dem “Widerspruch in Weiß” der Seiten erscheint somit auch “das Staunen neuer Wörter” (Parklücken, Verlag Berger: 2013, S. 8), d.h. Alltagsepiphanien die fast spielerisch Grenzlinien verschieben, und zwar nicht nur zwischen der dialektverdrängenden Bildungs- und Sozialisierungssprache Deutsch und ihrem späteren italienischen Pendant, sondern in Richtung von Fachsprachen (besonders der Botanik und der Zoologie), deren lyrisch entfremdete Termini plötzlich und nachhaltig aufleuchten. Die kulturübergreifende Arbeit an der Sprache erlaubt Barbara Pumhösel darüber hinaus, die Stereotypisierung der von ihr bewohnten Umgangs- und literarischen Konventionssprachen kritisch zu durchleuchten und bildhaft zu übersteigen, was aus ihr eines der interessantesten Stimmen im Panorama der zeitgenössischen italienisch- und deutschsprachigen Lyrik macht.

Ausgehend von einschlägigen Beiträgen zum Verhältnis zwischen Mehrsprachigkeit und literarischer Kreativität (u.a. Schmitz-Emans: 2004; Bürger-Koftis / Schweiger / Vlasta: 2010), setzt sich dieser Beitrag zum Ziel, das lyrische Werk einer europäischen Autorin mit Migrationshintergrund nicht nur sprachtheoretisch und textkritisch, sondern auch komparativ zu beleuchten, um Unterschiede zwischen und Gemeinsamkeiten mit Lyrikerinnen wie Amelia Rosselli, Marica Bodrožic und Eva Taylor besonders hinsichtlich der Tendenz zur metapoietischen Reflexion zu beleuchten.

11:30 AM - Forschungsprojekt und Online-Portal "Polyphonie. Mehrsprachigkeit_Kreativität_Schreiben" (http://www.polyphonie.at/) 511

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

Baumann, Beate (Universität Catania, Catania, Italy); Vlasta, Sandra (Johannes Gutenberg-Universität Mainz, Halle (Saale), Germany)

Bürger-Koftis, Michaela (Università degli Studi di Genova);

Das internationale Forschungsprojekt „Polyphonie. Mehrsprachigkeit_Kreativität_Schreiben“, 2007 in Wien (Österreich) gegründet, untersucht die vielfältigen Zusammenhänge zwischen Mehrsprachigkeit und literarischer Kreativität systematisch und aus interdisziplinärer Perspektive (Biographieforschung, Mehrsprachigkeit, Neurolinguistik, Angewandte Linguistik, Translationswissenschaften, Literaturwissenschaft, Komparatistische Forschung, Medien- und Kommunikationswissenschaften). Das Projekt setzt sich zum Ziel, den mehr oder weniger stringenten Zusammenhang von individueller oder gesellschaftlicher Mehrsprachigkeit und Kreativität im Allgemeinen bzw. literarischer Kreativität im Besonderen zu erforschen.

Das im Rahmen des Projekts 2012 entstandene Webportal Polyphonie. Mehrsprachigkeit_Kreativität_Schreiben ist eine Plattform, die die Möglichkeit zur Information, Publikation und Vernetzung bietet. Es ist ein mehrsprachiges Portal (Deutsch, Englisch, Italienisch, Slowakisch), das, mit Updates einmal jährlich, selbst Online-Zeitschrift ist sowie mit Unterstützung der ‚kollektiven Intelligenz’ Primär- (Interviewdatenbank) und Sekundärmaterial (Fachbibliographie) zum Thema versammelt.

Die als Online-Zeitschrift fungierende Publikationsplattform bietet hier die Möglichkeit, Beiträge aus unterschiedlichen Forschungsperspektiven zu veröffentlichen und somit der internationalen Wissenschaftsgemeinschaft zur Diskussion zur Verfügung zu stellen.

In der Aufbauphase befindet sich derzeit eine Interview-Datenbank, die eine Sammlung von sprachbiographischen Interviews mit Schriftstellerinnen und Schriftstellern mit plurilingualem Hintergrund umfasst. Sie kann als Corpus für weitere linguistische Studien, aber auch zu Fragestellungen im Bereich der Varietätenforschung und der angewandten Sprachwissenschaft dienen sowie von Wissenschaftlerinnen und Wissenschaftlern weltweit für literatur- und kulturwissenschaftliche Forschungen genutzt werden.

Da unser Portal unterschiedlichste Möglichkeiten zur Information und Publikation bietet, würden wir es gern in der Sektion 17400 der ICLA der einschlägigen wissenschaftlichen Community präsentieren.

12:00 PM - Übersetzung und Versetzung der Subjektivität in der freudschen Psychoanalyse und im Werk Vilém Flussers Tavares, Pedro Heliodoro (Universidade de São Paulo, São Paulo, Brazil)

Flusser und Freud weisen gewisse Gemeinsamkeiten auf: beide sind mehrsprachig und stammen aus jüdischen Familien aus Städten des heutigen Tschechiens. Sie waren gezwungen, ihre Heimat zu verlassen, um demselben tragischen Schicksal zahlreicher Verwandter zu entkommen. Beide waren gezwungen, ihr Land und die deutsche Sprache, die für sie das wichtigste Instrument für Reflexion und Ausdruck war, zu verlassen. Sie erfuhren das Unbehagen und die Missverständnisse eines Individuums in einer bestimmten Sprache und Kultur am eigenen Leib und jeder suchte auf seine intellektuelle Weise durch das Formulieren neuer und anspruchsvoller Ideen Wege aus dieser Sackgasse. Dieser Arbeit beleuchtet also Sigmund Freud und Vilém Flusser nicht nur als zwei Intellektuelle mit ähnlichen biografischen Hintergründen, sondern vielmehr als zwei wichtige Denker mit ähnlichen Ideen. Beide widmeten sich der kritischen Analyse des menschlichen Unbehagens im Zusammenhang mit der Symbolik individueller und kultureller Unterschiede und jeder versuchte auf seine Weise, Ansätze für den Umgang mit diesen Problemen zu finden. Eine wichtige Rolle in der

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Überwindung von Grenzen der Ignoranz und der Missverständnisse spielt hierbei auch das schöpferische Potenzial des Ausdrucks und der Übersetzung. Die Beiträge der beiden Autoren sollen im Folgenden gegenübergestellt, näher beleuchtet und diskutiert werden.

Date: Tuesday, July 26th Room: Hs 32

09:00 AM - Wider die Stereotypisierung ethnischer Minoritäten und sozial Marginalisierter Das sozialkritische Potenzial historischer deutschsprachiger ,Migrationsliteratur' von Autorinnen in Österreich-Ungarn (1867-1918) Millner, Alexandra (Institut für Germanistik, Wien, Austria); Teller, Katalin (Institut für Germanistik, Austria)

Unter den deutschsprachigen Schriftstellerinnen der späten Habsburger Monarchie (1867–1918) befinden sich auffallend viele Frauen mit Migrationserfahrung. Die meisten unter ihnen stammen aus den Peripherien Österreich-Ungarns und (binnen-)migrieren in die Zentren (Marie Eugenie delle Grazie, Maria Janitschek), andere wechseln zwischen urbanen Zentren (Irma von Troll-Borostyáni, Elsa Asenijeff, Berta Katscher), einige verlassen die Zentren, wenn auch nur temporär (Bertha von Suttner, Ada Christen). Manchen ihrer literarischen, theoretischen wie journalistischen Texten ist ihr Erfahrungswissen über periphere multiethnische Gebiete Österreich-Ungarns bzw. über fremde Gesellschaften, über soziale und kulturelle Bruchlinien und Möglichkeiten bzw. Notwendigkeiten ihrer Überbrückung eingeschrieben. Es zeigt sich nicht nur relativ deutlich auf sprachlicher und oberflächlich-inhaltlicher Ebene, sondern auch in latenten Strategien und Konstruktionen, mit deren Hilfe literarische Stereotype über ethnische oder soziale Minoritäten und Marginalisierte mittels transdifferenter Momente unterminiert und kritisiert werden. In den literarisch hergestellten Momenten der Transdifferenz lässt sich das binäre Differenzdenken auflösen und eine spontan sich verlagernde Dominanz der interdependenten sozialen Kategorien (z.B. Gender, Ethnizität, Klasse/Schicht, Sexualität, Alter, Nation, Konfession, Profession, Kapitalverhältnis) sowie daraus resultierende transgressive Akte darstellen. In diesen Strategien historischer Migrationsliteratur ist ein Subversionspotenzial zu entdecken, das sich aufgrund der zeitlichen Distanz des Forschungsgegenstands vielleicht auch schonungsloser und radikaler formulieren lässt als bezüglich der gegenwärtigen Migrationsliteratur.

9:30 AM - "Mein fremdes Deutsch": Katja Petrowskajas "Vielleicht Esther. Geschichten" Vestli, Elin Nesje (Hochschule Oestfold, Halden, Norway)

In ihrem preisgekrönten Debüt Vielleicht Esther (2014) erkundet Katja Petrowskaja die Geschichte ihrer eigenen Familie. Ihre Recherchen, die Archivbesuche, Familiengespräche und Reisen zu Moskau, Kiew, Warschau und Mauthausen umfassen, werden von einer metapoetologischen Reflexionsebene begleitet. Hier reflektiert die gebürtige Kiewerin jüdischer Herkunft über die eigene Sprachbiografie und die im Rahmen der sprachlichen Begegnungen entstandenen Spannungsfelder, etwa zwischen ihrer Erstsprache Russisch und ihrem erst im erwachsenen Alter angeeigneten "fremden Deutsch", der Sprache der ehemaligen Täter, sowie zwischen den ihr geläufigen Sprachen und den für sie versiegelten Familiensprachen (Jiddisch, Polnisch und der Gebärdensprache). Durch ihre literarische Mehrsprachigkeit, ihre metanarrativen Überlegungen zur Sprache, zu nationalen und postnationalen Identitätskonstruktionen schafft sie neue sprachliche und kulturelle Räume, in denen Widersprüche in Möglichkeiten umgewandelt werden : "Ich dachte auf Russisch, suchte meine jüdischen Verwandten und schrieb auf Deutsch. Ich hatte das Glück, mich in der Kluft der Sprachen, im Tausch, in der Verwechslung von Rollen und Blickwinkeln zu bewegen". Durch die umfangreiche Metanarration, die die tastenden Bewegungen der familialen Spurensuche begleitet, entwirft Petrowskaja mögliche Mehrfachidentitäten, die Gleichzeitigkeiten und Widersprüche zulassen, thematisiert Schwierigkeiten und Vorteile eines transkulturellen Schreibens und entwickelt ein 513

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 poetologisches Selbstverständnis, das Merkmale einer mehrsprachigen und transnationalen Poetik aufweist. Dadurch entstehen nicht nur sprachliche Grenzüberschreitungen, sondern es werden Verbindungen über kulturelle, nationale und religiöse Grenzen hinweg hergestellt, die ihr Debüt als ein Werk der Weltliteratur im Sinne von einem postnationalen Schreiben auszeichnen.

10:00 AM - La scrittura come ponte: ibridità nell'opera di Marica Bodroic Vinci, Elisabetta (University of Catania, Melilli, Italy)

Marica Bodrožić rappresenta una delle tante voci della letteratura cosiddetta migrante o transculturale. Il mio contributo si propone di indagare le tematiche di ibridità ed estraneità nell'opera dell'autrice. In particolare analizzerò il romanzo Sterne erben, Sterne färben. Meine Ankunft in Wörtern, ponendo l'accento sull'utilizzo della lingua tedesca che l'autrice rimaneggia in modo del tutto originale. La migrazione da Svib, suo paese natio nell'attuale Croazia, a Francoforte è stata un evento significativo nella vita della Bodrožić: il tema del movimento, dello spostamento, si ritrova pertanto nella sua scrittura, che diventa ponte tra passato e presente, infanzia e maturità, Dalmazia e Germania, e, naturalmente, serbocroato e tedesco. La lingua della Bodrožić è di conseguenza lo specchio di un'identità divisa tra due culture, quella dalmata d'origine e quella tedesca “d'approdo”. Il tedesco diventa per Marica Bodrožić una seconda lingua madre, ma le invenzioni linguistiche alle quali lei dà forma sono espressione della creatività che solo un'autrice plurilingue può mostrare. Sebbene gli episodi narrati dalla Bodrožić riguardino soprattutto la sua vita in Dalmazia, i ricordi d'infanzia, il passato, è soltanto attraverso la lingua tedesca che tali esperienze le si presentano alla mente; solo il tedesco è l'idioma della scrittura. La lingua di Marica Bodrožić, così dinamica e creativa, ci mostra quanto l'innesto tra culture possa essere produttivo, non soltanto dal punto di vista tematico, ma anche dal punto di vista formale e stilistico.

11:00 AM - Deutsch als Literaturheimat? Transkulturelle deutschsprachige Literatur interkultureller Autoren. Hartmann, Tina (Universität Bayreuth, Bayreuth, Germany)

Angesichts sich hybridisierender Kulturen bei gleichzeitiger Fremdheit in der eigenen Kultur als Signatur der Moderne sollen die Begriffe inter- und transkulturell mit Blick auf die aktuelle deutschsprachige Literatur des Chamisso-Preis-Feldes statt als binär einander ausschließende, als komplementär einander ergänzende Begrifflichkeiten verwendet werden. Um diskriminierenden Tendenzen von Kategorien wie „Migrantenliteratur“ zu entgehen, wird anstelle eines biographischen Zugriffs das in den Texten zum Ausdruck kommende Verhältnis von Sprache und Kulturen und seine literarischen Transformationsprozesse fokussiert.

Für viele Texte interkultureller Autoren entwickelt der Begriff der ‚Heimat‘ in Verbindung mit der Sprachlichkeit poetologische Funktion: Terezia Mora zeigt in ‚Alle Tage‘ die existenzielle Fremdheit des multilingual-Sprachlosen; Saša Stanišic entwickelt in ‚Vor dem Fest‘ aus der kulturellen Distanz die paradoxe Kompetenz zur dichten Beschreibung einer mehrfach fremden Heimat. In Ilja Trojanows ‚Die Welt ist groß und Rettung lauert überall‘ findet der heimat- und haltlose Übersetzer seine Heimat in einer sprachlich-literarisch vermittelten Interkultur; die Texte Rafik Schamis und Galsan Tschinags machen die verlassene bzw. vom Untergang bedrohte Heimat mittels der fremden bzw. erworbenen deutschen Sprache und der Vermittlung an eine entsprechende Leserschaft in der doppelten Ferne erst erfassbar.

Die Anverwandlung von Heimat an und durch die deutsche Sprache sowie deren Transformation durch die beschriebenen kulturellen Gegenständlichkeiten erweisen sich als dialektischer Prozess, aus dem die transkulturelle deutschsprachige Literatur maßgeblich ihre literarische Qualität gewinnt. 514

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Indem sie mit ihrer besonderen Welthaltigkeit die aktuelle deutschsprachige Literatur entscheidend prägt, trägt sie maßgeblich zu deren aktuellem internationalen Erfolg bei.

11:30 AM - In jeder Sprache sitzen andere Augen. Formen der Mehrsprachigkeit in der transkulturellen deutschsprachigen Literatur Sgambati, Gabriella (Università degli studi di Napoli L'Orientale, Napoli, Italy)

Wie viele Sprachen spricht die deutsche Literatur? Wörter, Sätze und ganze Textpassagen in anderen Sprachen kommen in der neueren deutschen Literatur vor. Die heutige Literaturwissenschaft wird maßgeblich von Autorinnen und Autoren aus bi- und mehrkulturellen Räumen bzw. von Autorinnen und Autoren geprägt, die nicht nur in einem kulturellen Raum verankert sind.

Laut Ottmar Ette ist Deutschsprachige Literatur nämlich im Sinne einer „Literatur ohne festen Wohnsitz“ zu verstehen (Ette 2005: 184), in genau jenem „translingualen Zwischen-verschiedenen Zungen-Schreiben“ nach Ottmar Ette die Zukunft der Literatur bildet (ebd.: 203). Auf diese Weise wird ein transkultureller Raum geöffnet, dessen wichtiges Merkmal das Ineinanderfließen verschiedener Sprachen ist. Ein Idiom bedient sich aus mehreren Sprachen.

Das große Interesse an diesen ‚transkulturellen und translingualen’ Autoren hat nicht nur im literaturwissenschaftlichen Bereich zu neuen Begriffsbildungen geführt, sondern auch in sprachwissenschaftlicher Hinsicht neue Perspektiven eröffnet. In dieser Richtung wird das Schreiben von SchriftstellerInnen wie z.B. Ilma Rakusa, Herta Müller und Zsuzsanna Gahse untersucht, wo Mehrsprachigkeit – auch wenn auf unterschiedliche Art und Weise – eine zentrale Rolle spielt.

Im Mittelpunkt des Beitrags stehen nämlich verschiedene mit diesem Kontext verbundene Fragen, beispielsweise: welche Spuren die Erstsprache(n) in den Texten dieser Autorinnen hinterlassen, welche Einflüsse der anderen Sprachen festgestellt werden können. Das Hauptaugenmerk ist auf ihre sprachliche Ausdrucksweise gerichtet und auf den Umgang mit der Mehrsprachigkeit in ihrem Schreiben: ihre deutsche Literatursprache ist nicht nur als ein Kommunikationsmittel zu verstehen, sondern als Ort der Kreativität und Erfindung.

17403 - The Teaching Function of Literature and its Aesthetic: ethical literary criticism Date: Saturday, July 23rd Room: Hs 45 Chair: Songlin, Wang (William)

Chair: 09.00-10.30

Ethical Literary Criticism: Ethical Selection and Teaching Function of Literature nie, zhenzhao (Central China Normal University, Wuhan, China)

Ethical Literary Criticism is a kind of method with ethical perspective to read and criticize literary works. The aim of ethical literary criticism is to interpret and comment literary works by analyzing literary characters, actions, events, narratives and descriptions on the basis of literature¡¯s ethical teaching, moral instruction and revelation as well as ethical warning, all of which are premised on the ethical selection, the basic theory of ethical literary criticism. So ethical literary criticism seeks to foreground the ethical features of literary works, to describe the characters and their lives from the vantage point of ethics, and to make ethical judgments about them, especially to see how people in

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 literary works to make their ethical choice. Literature¡¯s teaching function is materialized by setting models and moralizing people. From ancient times to now, teaching can be classified into two categories: moralizing and exemplifying. The former mainly employs intelligent analysis and discussions to convey truth and give advices to people. Poetry and various kinds of essays belong to the category of moralizing texts. The latter category uses concrete examples to tell people the truth from good and evil, and make people learn from mistakes. Novel, story and drama belong to the category of texts of exemplification.

The Narrative of LUNYU and Its Ethical Pluralism Seokmin, Yoon (The Center for Asia & Diaspora, Konkuk University, Seoul, South Korea)

South Korea would in fact become the first country except for Turkey in terms of social conflict. The country was plagued by conflicts and confrontations among its people and has just entered into a multicultural society. Therefore, it is revealing numerous social problems recently. The government of South Korea is trying to resolve those social conflicts by providing the values of unity and identity at the same time. As a result, the policy of the government put people from East Asian countries in South Korea in a status of minority while they are forced to lose their original identity. Even though the government is trying to preserve their different cultural or religious values and ideas, the people in South Korea are losing their particular values while the country itself seems to obtain its identity. There is a philosophical issue, that is, the conflict between universality and particularity behind the situation. Therefore, this paper will focus on the issue of how to make a balance between different ideas and values from a perspective of ethical pluralism, which may seem to be hard to achieve both in theory and practice. As a matter of fact, I shall start by studying the Lunyu from a perspective of narrative.

Savoir & Jouissance in Teaching Literature: Ethics or Aesthetics Kim, Youngmin (Dongguk University, Seoul, South Korea)

This presentation attempts to bring some of the issues in the teaching process to the foreground of our unconscious anxiety for course management and to explore one possible method for teaching poetries in English in more creative and insightful ways: a new ethics of open psychoanalytic method based upon the concepts of "savoir" and "jouissance." The French word "savoir" means "knowing" or "to know." So the desire to know in psychoanalysis, particularly in Lacanian psychoanalysis, includes both analyst's "wanting for the knowing/le desir du savoir" (knowing detached from the subject) and analysand's "longing for the knowing/le desir de savoir" (wishing to having access to the knowledge). As a human being, "you will have to know." In speech, we can find the structure of savoir and transference. As the aim of the analytic experience is to construct the knowing, teaching situation is an analogy since the latter aims to construct the knowing for the students. The French word "jouissance" signifies "enjoyment" with a sexual connotation. Lacan uses jouissance in a series of different contexts. Among them, jouissance in relation to language tells us that the signifier itself is the cause of jouissance. This jouis-sens is the place wherein we can catch the conscience and consciousness of the teaching process in which Lacanian four discourses (master"s, university, hysteric's, analyst's). In the actual classroom, one needs a combination of all four discourses in attempts to incorporate students' needs and desire for savoir and jouissance, thereby opening up the potentiality of the students' intellectual capability.

Ethical Naturalization of the Unnatural: Approaching Contemporary Chinese Time Travel Fiction Shang, Biwu (Shanghai Jiao Tong Uninversity, Shanghai, China) 516

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The first decade of the twenty-first century witnessed an upsurge and flourish of Chinese time travel fiction, which is not only physically and logically impossible but also humanly impossible. The boom of this new genre of fiction has been fueled in no small part by the so-called “postmodernist turn” coupled with “ethical turn”. Traveling back to ancient China of different historical periods, the characters of time travel fiction are endowed with new identities, serving as both witnesses and participants of history. Though knowledge of history enables them to predict what is going to happen in the storyworld created, they are aware of the fact that they could not prevent those historical events or even historical tragedies and disasters from happening. Consequently, they are situated in an ethical dilemma: they could not bear to witness the nice characters meeting their tragic fates, which is against their moral principles if they just stand away by doing nothing; on the other hand, they have the ethical responsibility to maintain history as it is, which cannot bear even slightest alterations or changes.

The Ethics of Radical Re-Writing in J.M. Coetzee's Foe and Ann Carson's Autobiography of Red Dilts, Rebekkah (UC Santa Cruz, Los Gatos, USA)

This paper explores the ethical implications of methods of re-reading and re-writing offered by J.M. Coetezee’s Foe and Ann Carson’s Autobiography of Red. Foe is a re-writing of two canonical texts by Daniel Defoe, while Autobiography of Red is a re-writing of fragmented lyric poems attributed to Stesichorus. What are the ethical implications not only of these re-writings but the ethical implications for the “original” authors of these works?

This exploration will enter conversation with the theoretical propositions of Luce Irigaray and Page duBois, both of whom affirm radical practices of re-reading – specifically re-readings of canonical Greek texts – as a method of destabilizing authorial ownership and the literary canon. What questions do Coetzee’s and Carson’s novels pose about the ownership and origin of literary works?

I also consider how genre affects the ethics of their particular re-writing projects. Foe is a re-writing of two novels that identifies as a novel, and its plot is metafictive in its address of the process of both novel-writing and of memoir. Autobiography of Red is a re-writing of lyric verse that identifies itself both as a novel and as an autobiography. How does the status of Carson’s and Coetzee’s texts as novels affect the ethics of their re-writing projects? How does the formal and rhetorical metafictive self-consciousness of both novels also affect the ethical implications of their re-writings? How does self-conscious re-writing complicate the distrust of authorship theorists like Andrew Gibson believe indicative of deconstructionist or Levinasian ethical approaches?

Finally, what kind of readers do Carson’s and Coetzee’s texts imagine and potentially set out to create? How do their novels require alternative methods of reading that may circumvent some of the self-congratulatory pitfalls of literary ethics?

An Ethical Literary Interpretation of Lawrence Block's Small Town Liu, Yuan (Central China Normal University, Wuhan, China)

Generally speaking, Lawrence Block’s new book Small Town tells a suspense story of sex, violence, and death. From the perspective of literary ethics, the novel is also an ethical narrative of crime and punishment. The writer selects the life in New York after 9/11 as the ethical situation of the story. He regards the pain and suffering caused by the terror attacks as a “sacrifice” in a religious sense, and desires to find new ways to salvation and rebirth. The title of the novel reveals the author’s ethical choice ---- to break the narrow and enclosed culture and bring about love and reconciliation. In addition, the novel possesses a tension between its narrative form and ethical theme, strengthening the effect of irony, which further stimulates the ethical contemplation among contemporary readers.

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Thomas Carlyle and Confucian Ethics Wang, Songlin (Ningbo University, China, Ningbo, China)

This paper discusses Carlyle’s knowledge of the Confucian ethics as he finds in Chinese literature and culture and the influence of Chinese traditional ethics upon his view of heroes and hero-worship. Carlyle’s writings show a familiarity with Chinese politics, history, literature and culture, which are well exemplified by his understanding of Confucianism, his enthusiasm for Schi-King and Chinese romantic novels and his approving comments on the Chinese Imperial Civil Examination System. Above all it is shown by his great sympathy with the religious and ethical dimension of the Chinese worship of their Dead Fathers and their worship of labour. By citing Chinese political, historical and cultural matters, Carlyle intends to confirm the significance and importance of genuine sincerity and true faith in the formation of great characters in any way heroic. The paper concludes by suggesting that Carlyle recognizes a religiosity in traditional Chinese ethics, which is in conformity with his view of heroes and hero-worship. Therefore, “Chinese matters” highlight his abrasive critique of Jesuitism and Benthamism in the Victorian Age.

Chair: 11.00 - 12.00

Aesthetics, Ethics, and Narrative Medical Ethics Hudson Jones, Anne (University of Texas Medical Branch, Galveston, Texas, USA)

When literature and medicine began to emerge as a subspecialty in American medical humanities programs in the late 1970s, some practitioners focused on the aesthetic qualities of complex literary texts that could help teach medical students and practitioners how to “read in the fullest sense,” to attend to multilayered narratives (not only the literal words but what was conveyed in images, metaphors, and symbols, even “silences”) and how to interpret conflicting perspectives and best respond to ambiguity when medical decisions were required. Other practitioners focused on literary “examples” as more fully developed representations of medical ethics cases, made complicated and messy by evoking the emotional dynamics of human beings in real-world relationships rather than simplified to highlight abstract bioethics principles in conflict. In choosing either approach--the aesthetic or the ethical--over the other, proponents missed the importance of combining both to achieve a true narrative ethics in which the ethical issues cannot be divorced from the aesthetic language and structure in which they are represented. That is, readers’ understanding of complex ethical issues and how best to resolve them are shaped by the aesthetic structure of the text in which they appear. Martha Nussbaum used this kind of ethical criticism in Love’s Knowledge: Essays in Philosophy and Literature . In this presentation, I hope to demonstrate that not only the complex novels preferred by Nussbaum but also shorter and relatively simpler texts of the sort more often used in teaching medical ethics require an awareness of their aesthetic qualities to fully appreciate and understand their ethical dimensions.

Sphinx Factor and Ethical Choice: The Ethical Implication of Who's Afraid of Virginia Woolf? Zou, Huiling (Jiangsu Normal University, Xuzhou, China)

Adopting the strategy of ethical literary criticism, this article interprets Who’s Afraid of Virginia Woolf? in the particular ethical context of the 1950s and 1960s and probes into the ethical concern expressed by Edward Albee in this play. To begin with, this article discusses how society and culture at that time breed ethical disorder which results in the hero and heroine’s imbalanced Sphinx factor. Then, it analyzes the two ethical choices made by the hero and heroine in the process of recovering the balance of their Sphinx factor ---- “childbirth” and “filicide”---- the former is in conformity with 518

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 ethics but worsens their ethical imbalance, while the latter is an ethical taboo but recovers their ethical consciousness. Based on the above interpretation, this article attempts to reveal the ethical concern expressed by Albee in this play as well as the ethical implication embodied in his design of the two ethical choices for the hero and heroine. Judging from ethical literary criticism, the reason why Albee gives full expression to the hero and heroine’s violent and sexual impulse is that he intends the audience to face up to the ethical cirsis resulting from the extrication of the natural will from the containment of the rational will and to subsequently realize the perniciousness of losing ethical consciousness. Finally, this article concludes that Albee is not only deeply concerned with the ethical disorder in American society, but also takes it as his responsibility to enlighten his contemporaries on appropriate ethical choice.

Reading ethics in contemporary Japanese literature: a comparison of Kenzaburo Oe and Haruki Murakami Shin, Inseop (The Center for Asia & Diaspora, Konkuk University, Seoul, South Korea)

Starting his career from the negative motivation of war with the self-definition as a ‘writer of the postwar democracy’, Kenzaburo Oe has been leading contemporary Japanese literature as a successor of ‘postwar literature’. On the other hand, Haruki Murakami is often known as a writer who has changed the direction of modern literature by depicting the existence and nihil of the subject against the backdrop of the industrial development in the generation born after the defeat in the war. In this paper, I see the Japanese literature after the war as a flow from ‘postwar literature’, post ‘postwar literature’ to postmodern literature.

I pay attention to the gap between Kenzaburo Oe and Haruki Murakami existing at the borders of this flow. Particularly, this paper makes a comparative analysis of the works of Oe and those of Murakami. The former is located at the boundary of ‘the ‘Sengoha (戦後派 the Postwar Generation)’ literature and post ‘postwar’ at the stage moving from the literature of the ‘postwar’ generation to the contemporary one; the latter is at the juncture in which all the ominous ‘postwar’ shadows have been removed.

Ethics of leisure: literature as leisure as represented in modern Japanese literature Kim, Jooyoung (The Center for Asia & Diaspora, Konkuk University, Seoul, South Korea)

Writers of modern Japanese literature pursued their own salvation through art (spirit) based upon a dualistic conception of art and labor and mind and body. For them, reading and writing as a form of leisure were activities to revive the ecology of a human being. At the time when modern fiction was introduced into Japan, literature was understood as a genre that showed the inner world of modern man. As well couched in the autochthonous naturalist literature of Japan, the agony of a writer who was struggling hard to portray the inner world of man was also an important area of literary activity.

This paper examines how modern Japanese literature represents leisure. Particular attention shall be paid to the fact that literature as leisure can work as a device of ethical salvation not only for the writer but also for the readers who have the feeling of solidarity with the writer. This would enable a critical assessment of how the ethics of leisure in modern Japanese literature unfolded over the shaping period of imperialist modernity.

Existentialist Pedagogy: Sartre and the Ethics of Literature Doran, Robert (University of Rochester, Rochester, USA)

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Prior to the nineteenth century, art had always been understood as having an ethical vocation. It was only after Kant’s third Critique (1790), which separated aesthetic judgment from cognition and morality, and the advent of the art museum that art was thought to possess “autonomy”--a specifically aesthetic significance with no end save to “please.” Its slogan was l’art pour l’art, and it flourished in authors such as Théophile Gautier, Baudelaire, Flaubert, and Oscar Wilde. At the same time, a counter-tradition of socially committed literature emerged in the novels of Hugo, Dickens, and Zola. The debate between committed and autonomous art was continued in the twentieth century by Sartre, in the essays collected in What is Literature?, and Adorno, who responds to Sartre in his essay “Commitment.”

In this paper I explore Sartre’s idea of engagement or littérature engagée, both in his theoretical works (“Why write,” “For Whom Does One Write”) and in his plays (_No Exit_, _The Flies_, _The Condemned of Altoona_) and fiction (_Nausea_, _The Roads to Freedom_). In particular, I will examine Sartre’s idea of how literature can be a form of existentialist pedagogy (ethical choice, authenticity, voluntarism). I will also compare Sartre’s theses with those of Adorno, with a view toward finding some common ground regarding the status of art in modernity, despite their contrasting views.

Bio: Robert Doran is Associate Professor of French and Comparative Literature at the University of Rochester. He is the author of _The Theory of the Sublime from Longinus to Kant_ (Cambridge University Press, 2015) and the editor of five volumes.

Acceptance of the social ethics of the Yanagi Muneyoshi's Works in Korea GIJAE, SEO (The Center for Asia & Diaspora, Konkuk University, Seoul, South Korea)

The works of Yanagi Muneyoshi have a significant influence not just only on the literature and the arts but also on the social practice in the societies of the Eastern Asia. Yanagi Muneyoshi’s ideas which were brought into Korea between 1920 and 1930 via Japan were used as the mechanism to criticize the traditions and the ethics of the Korean society at that time. This study will explore how the social ethics shown in his literature had become accepted and been applied in Korea.

Labour, Festival, And The Ethics of Post-utopian Imagination Lee, Jinhyoung (The Center for Asia & Diaspora, Konkuk University, Seoul, South Korea)

The aim of this paper is to elucidate the post-utopian imagination of korean literature in Colonial Era. In this era, sports was represented as the activity which basically made the life of labourer abundant. But sports was the one which played only within the circle of capital on the one hand, the one which played only outside the circle of capital on the other hand. Therefore, sports was the way to glimpse the abundance of life beyond the capital-labour system. And that abundance could function as the power of activity that the labour behaves toward the outside of life based on the capital-labour system. The ethics of utopia is not based on fancy but reality, namely the ethics of post-utopian imagination.

Chair: 14.00-15.30

Diverging Perspectives of Chinese-American-Ethical Identity and Ethical Selection in Steer Toward Rock and Mona in the Promised Land Su, Hui (School of Chinese Language and Literature, Central China Normal University, Wuhan, China)

Two novels --Steer Toward Rock and Mona in the Promised Land written by modern female Chinese- American writers Fae Myenne Ng and Gish Jen respectively-- describe the process of Jack ’ s and Mona ’ s pursuit and selection of self ethical identity. After the process of displacement, missing, 520

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 pursuit and confirmation for his ethical identity, Jack, who lives during The Chinese Confession Program period, finally becomes a Chinese-American legally; while Mona, already a second generation of Chinese-American, selects actively the Jewish ethical identity as to explore the possibility of freely choosing ethical identity for the discontent with her inherent ethical identity given by the family and society. Due to their different ethical environments, two characters make different ethical identity selections, which reflect the transforms of ethical identity consciousness in two Chinese-American generations and the changes from dualism to diversity in their ethical identity concepts. Two novels open up new areas for the creation of Chinese-American Literature, as Steer Toward Rock aims at the history directly and Mona in the Promised Land holds novel ideas.

A Critical Study of Contemporary American Women Playwrights from the Perspective of Literary Ethnics zhang, shengzhen (Jiangsu Normal University, Xuzhou, China)

American social upheavals and chaos have greatly affected American playwrights including contemporary women playwrights who have showed serious concerns toward the societal and familial life especially the ethnical relationship and dilemmas herewith. By the disclosure of those who are desperate to pursue self-identity and eager to return to a functional relationship with their family and the environment, these women writers disclose a landscape of those who are permanently facing the dilemmas of ethical choice and the crisis of ethnical identity.

The Revival of Western Ethical Criticism and Its Developments in the Twenty-first Century YANG, GEXIN (Huazhong Agricultural University, wuhan, China)

In his article "The Revival of Western Ethical Criticism and Its Developments in the Twenty-first Century" Gexin Yang discusses the revival and recent developments of ethical criticism in the west, especially in America. According to Yang’s survey, ethical criticism, since 1980s, has witnessed the renaissance and developed into two schools, namely neo-humanism ethical criticism and deconstructionism ethical criticism with Booth and Nussbaum; Miller and Newton as respective representatives. Scholars, in the first decade of the 21st century, expresses their concerns that the turn to ethics is a turn away from politics and toward moralism and self-righteousness, thus reinvigorating the intellectual field. The second decade of the new century ushers in some generalizations and reflections with contributions by such scholars as Marshall M. Gregory and Peter J. Rabinowitz, criticizing the postmodern thesis that ethical criticism is impossible and focusing on redefining and reframing ethical criticism, thus pursuing a new methodology.

Ethical Identity and Ethical Selection: Rereading Little Eyolf huang, hui (Central China Normal University, wuhan, China)

Play in three acts by Henrik Ibsen, published in Norwegian as Lille Eyolf in 1894 and produced the following year. In Little Eyolf the misunderstanding of ethical identity directly caused Allmer to violate the basic ethical principles. The Allmer's violating ethical principles and abandoning the responsibility result in the misfortune of little Eyolf whose death illustrates that the lack of responsibility and ethics will lead to serious consequences. This complex psychological drama is acclaimed for its subtle intricacies and profound ironies. By analyzing the protagonist Alfred Allmer’s and his wife Rita’s traumatic experiences, some outlets for them to heal the trauma, Allmer’s ethical choice and his redemption, this essay aims to make a better understanding of the tragic feature of the play.

Ethic Power in Poetic Form: Langston Hughes's 1950s Poetry Luo, Lianggong (Central China Normal University, Wuhan, China)

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The 1950s witnesses Langston Hughes, the spokesman of African American people, withdrawing from the black vernacular expression in his early poetry while rejecting neo-modernism. This can be understood as a well-designed trick in the politically suppressing and morally changing Cold War period. In fact, Hughes integrated the strategies of black experience, instead of black expression, into his poetic expression while adopting Walt Whitmanian form in constructing the form of his poetry and his poetry collection. In this way, Hughes borrows from Whitman, the America’s democratic poet, to get rid of the political harassments he suffered in the Cold War period by ethicalizing his poetic theme, an ethical attachment to the black masses instead of the black elite and an ethical embracement of all races.

On Ibsen's Humanology from the Perspective of Ecologic Ethics li, dingqing (Hu bei univercity of arts and science, xiangyang, China)

As“father of modern drama”, Ibsen showed a deep thought and insight in human problems. The essence of his humanology is egoism which built both spiritually and practically on historical introspection and realistic pursuit, meanwhile, with a strong sense of ecology. Taking ecological ethics as an entry point and analyzing concretely on contradictory relations between human and society, human and self , we can clearly illuminate ecologic ethic meaning in Ibsen’s ego humanology. Ibsen’s humanoloy, no matter it being expressed as an absolute individualism , a spiritual utopia , or an absolute negative attitude, is unified into his“egoism”. Ego, according to Ibsen, is a kind of spirit, which its realization depended on resultant forces consisting of sincerity, independent character, self-selection, and spiritual aristocrat , and its ultimate aim is freedom. Hence, focusing on the freedom in his ego humanology can help us grasp the essence of his thoughts and their development, and in the meanwhile, can provide us a multi-dimensional studies and explanations on his dramas.

17408 - Die Sprachen der Biographie Date: Friday, July 22nd Room: Sensengasse SR 3 Chair: Österle, David; Mitterer, Cornelius

9:00 AM - Das Sprechen von sich selbst und die Anrufung des Subjekts. Überlegungen zur relationalen Dimension narrativer Identität im Anschluss an Charles Taylor, Paul Ric¿ur und Judith Butler. Dikovich, Albert (Ludwig Boltzmann Institut für Geschichte und Theorie der Biographie, Wien, Austria)

Charles Taylor entwarf in seinem einflussreichen Buch „Die Quellen des Selbst“ ein Modell personaler Identität, in dem die zentrale Bedeutung von Wertorientierungen (von Taylor „moralische Landkarten“ genannt) für das Selbst- und Weltverhältnis verdeutlicht wird. Personale Identität konstituiert und bewährt sich nach Taylor kraft der Fähigkeit des Einzelnen, Handlungsoptionen nach Wertgesichtspunkten zu beurteilen.

In meinem Vortrag möchte ich den identitätstheoretischen Ansatz Taylors durch eine bei Taylor selbst nicht ausreichend ausgearbeitete intersubjektivistische Perspektive erweitern. Dabei möchte ich mich auf die Selbsterzählung konzentrieren, in der das Individuum für sich selbst und andere Klarheit schafft über die sein Handeln bestimmende Wertorientierung, also über das, was „für es zählt“. Im Anschluss an Taylor, Paul Ricœur und Judith Butler soll das „Erzählen können“, das ich auch als Befähigung zum Rechenschaft-Ablegen verstehe, als zentrales Moment personaler Autonomie herausgearbeitet werden. Ich gehe dabei davon aus, dass moralische Orientierung sich im Zuge einer Auseinandersetzung mit Erwartungshaltungen der sozialen Umwelt und einer Verinnerlichung von 522

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Wertperspektiven herstellt. Von diesen Erwartungshaltungen kann sich der einzelne jedoch entfremden. Das Erzählen über sich selbst möchte ich nun als einen möglichen Ort der Auseinandersetzung mit diesen Erwartungshaltungen beschreiben, als einen Ort des Kampfes um Anerkennung des eigenen Handelns und Lebensmodells. Erzählen steht dabei in einem Spannungsverhältnis von Heteronomie und Autonomie: Zum einen wird die Befähigung zum Rechenschaft-Geben als eine Befähigung zum Ausweisen der eigenen Handlungen als auf sozial anerkannten Motiven gegründete in einer Übernahme und Verinnerlichung heteronom an das Individuum gestellter Erwartungen erworben. Bliebe aber die Rechenschaftsfähigkeit des Individuums dabei stehen, bedeutete dies ein Verharren in einem Stadium moralischer Infantilität. Die Befähigung zum Rechenschaft-Ablegen kann und soll darüber hinaus auch die Fähigkeit bedeuten, in einer konfliktuellen Spannung zu den Erwartungshaltungen der Umwelt das eigene Leben als ein neuartiges Modell der Verwirklichung gemeinsamer Werte zu artikulieren und damit einen soziale Anerkennung fordernden Apell auszusprechen.

Eine solche spannungsreiche Konstellation des Erzählens von sich selbst soll abschließend anhand einiger literarischer autobiographischer Texte exemplifiziert werden.

Albert Dikovich; Mag. phil., Wissenschaftlicher Mitarbeiter am Ludwig Boltzmann Institut für Geschichte und Theorie der Biographie.

9:30 AM - Biographie, Autobiographie und Geschichte Umbach, Rosani (Universidade Federal de Santa Maria, Santa Maria, RS, Brazil)

Am Beispiel von W. G. Sebalds Werk Die Ausgewanderten wird der Zusammenhang zwischen Biographie, Autobiographie und Geschichte untersucht. Dabei werden sowohl die emotionalen als auch die medialen Dimensionen des kulturellen Gedächtnisses einbezogen. Ausgehend von Identitätstheorien die den Bezug zwischen "praktischer Identität" (Bourdieu) und Identitätskonstruktion (Sigfried Kracauer) herstellen, versucht dieser Beitrag, der Frage nach der eigenen Sprache der Biographie nachzugehen.

10:00 AM - (Auto-)Zoographien - Die Sprachen und das Sprechen der Tiere in ihren Biographien Middelhoff, Frederike (Julius-Maximilians-Universität Würzburg, Würzburg, Germany)

In seinem 1977 vorab veröffentlichten La vie des hommes infâmes erklärt Michel Foucault, dass sein Interesse an bzw. seine Erschütterung über „ces vies infimes“ ihn u.a. zur Eruierung der Frage führte, „pourquoi il avait été soudain si important dans une société comme la nôtre que soient «étouffés» (comme on étouffe un cri, un feu ou un animal)“ [1]. Dass Foucault dieses metaphorische ‚Ersticken‘ in Zusammenhang mit dem menschlichen („on“) Verhalten gegenüber Tieren in Verbindung bringt, mag nicht sonderlich verwundern. Schließlich sind Tiere, gemäß einer seit der Antike dominanten philosophischen Vorstellung, dem Menschen nicht zuletzt aufgrund ihrer Sprachunfähigkeit prinzipiell – aber insbesondere intellektuell – unterlegen. Wie erklären wir uns aber die Tatsache, dass im Verlauf des 18. und 19. Jahrhunderts ein literarisches Genre entsteht, das tierliche Individuen zur Sprache oder die Tiere selbst zum Erzählen ihres eigenen Lebens bringt? Welchen Status haben diese Texte, die mittels verschiedener Sprachformen, Kommunikationsmodi und Erzählerfiguren spielerisch das (Er-)Leben von Tieren beschreiben? In meinem Beitrag werde ich anhand von drei exemplarischen Texten aus drei verschiedenen Jahrhunderten und Sprachtraditionen (E. T. A. Hoffmanns Lebens-Ansichten des Katers Murr [1819/20], Joaquin Verdaguers Lebensgeschichte eines kleinen Vogels [1966] und Vicki Myrons Dewey the Library Cat [2010] diese (Auto-)Zoographien 1. 523

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 formal-ästhetisch exemplifizieren, 2. soziohistorisch kontextualisieren sowie sie 3. bezüglich ihres einerseits fiktionalen, andererseits (auto-)biographischen Stellenwerts befragen.

[1] Michel Foucault: La vie des hommes infâmes [1977]. In: Ders.: Dits et écrits. Paris 2001, S. 237- 253, hier S. 238.

11:00 AM - Ein Leben wie im Roman - Virginia Woolf als literarische Figur biographischer Romane Schmitt, Claudia (Universität des Saarlandes, Saarbrücken, Austria)

Virginia Woolf ist bekanntermaßen eine Autorin, deren Schaffen für die Biographieforschung von besonderem Interesse ist: Sie hat sich in Essays wie "The New Biography", "The Art of Biography" zu Fragen der Gattung geäußert und hat durch Texte wie Orlando, Flush und Roger Fry auch selbst die Grenzen biographischen Schreibens ausgetestet. So erscheint es fast schon folgerichtig, dass das Leben von Virginia Woolf inzwischen in Form biographischer Romane selbst zum Gegenstand der Literatur geworden ist. Gerade in den letzten Jahren hat die Popularität Virginia Woolfs als Gegenstand der Erzählliteratur zugenommen, zu nennen wären hier so unterschiedliche Texte wie Christine Orban: Une année amoureuse de Virginia Woolf (1990), Sigrid Nunez: Mitz. The marmoset of Bloomsbury (1998), Michael Cunningham: The Hours (1998), Susan Sellers: Vanessa and Virginia (2008), Priya Parmar: Vanessa and Her Sister (2015), Norah Vincent: Adeline. A Novel of Virginia Woolf (2015). Der Vortrag geht am Beispiel der literarischen Figur Virginia Woolf der Frage nach, wie im biographischen Roman erzählt wird an der Grenze zwischen faktualem und fiktionalen Erzählen und wie durch die Schwerpunktsetzung in der literarischen Darstellung Woolfs (trotz großer formaler Unterschiede im Hinblick auf die jeweilige Erzählsituation) letztlich alle untersuchten Texte an der Fortschreibung eines Virginia-Woolf-Stoffes mit einem festen Reservoir an Themen und Motiven mitwirken.

11:30 AM - Der biographische Nutzwert von Netzwerktheorien. Dargelegt am Beispiel des Dichternetzwerks von Richard Schaukal Mitterer, Cornelius (Ludwig Boltzmann Institut, Geschichte und Theorie der Biographie, Wien, Austria)

Im Vortrag geht es um die Frage nach dem biographischen Erkenntnisgewinn aus der Netzwerktheorie, und um das Verhältnis von Individuum und Gesellschaft in biographietheoretischer Hinsicht.

Dabei steht exemplarisch der Beamtendichter Richard Schaukal (1874-1942) im Zentrum der Ausführungen. Er verfügte über ein weitreichendes Netzwerk, konnte dieses aber für seine dichterische Karriere nur bedingt produktivmachen und positionierte sich darüber hinaus als literarischer Outsider. Neben feldtheoretischen und kollektivbiographischen Fragestellungen werden auch Kanonisierungsprozesse reflektiert. Sie sollen darlegen, welche narrativen Ausdrucksmöglichkeiten und Grenzen der Lebensdarstellung bestehen.

12:00 PM - Wer ist hier infam? Das webbasierte Langzeitprojekt "zehn wichtigste Ereignisse meines Lebens" zwischen mentaliätsgeschichtlicher Chronik und modularer Biographik Schuelke, Anne (Heinrich-Heine-Universität Duesseldorf, Duesseldorf, Germany)

In meinem Beitrag möchte ich das Projekt www.zehn-wichtigste-ereignisse-meines-lebens.net als Beispiel lebensgeschichtlichen Erzählens vorstellen und befragen: Es wurde 2013 von Mats Staub initiiert und von verschiedenen deutschsprachigen Theatern sowie Schweizer Förderinstitutionen unterstützt und finanziert. Auf einer Website können Menschen ein Portrait ihrer Person erstellen. Sie notieren Datum, Vornamen, Geburtsjahr, in chronologischer Reihenfolge alle Orte, an denen sie gelebt haben, alle Berufe, mit denen sie Geld verdient haben. Sie wählen zehn Ereignisse aus,

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 beschreiben sie im Präsens und in der Ich-Form. In einem Redaktionsprozess wird der Eintrag redigiert und nach der Zustimmung des Teilnehmenden veröffentlicht.

Das Projekt evoziert die Frage, welche Konzepte von Ereignis, Lebensgeschichte, Subjekt und Generation in diesen Erzählungen sprachlich hergestellt werden. Ist diese Sammlung von Erzählungen die Chronik einer realgeographisch verortbaren Gruppe, mehrerer Generationen, deren Mitglieder qua Geburt einer bestimmten Altersgruppe angehören, die an spezifischen historischen Ereignissen teilhaben und denen eine spezifische Mentalität gemeinsam ist? Basiert sie auf der Vorstellung eines autonomen, stabilen, handlunsgfähigen und linear darstellbaren Subjekts? Oder folgt sie den Regeln einer modularen Biographik, die auf Zusammenhang und Überblick zugunsten eines Lücken und Brüche betonenden prozessierenden Erzählens verzichtet? Daran schließt sich die Frage an, welche Funktion Computer und Internet in diesem Prozess einnehmen. Wird das webbbasierte Projekt am Ende selbst zum Subjekt der biographischen Erzählung? Oder der Initiator? Eine wichtige Rolle spielt in diesem Zusammenhang der Redaktionsvorgang: Wessen Erzählung wird in welcher sprachlichen Form publiziert?

2:00 PM - Lebensmomente. Das Biographem in der Biographie Österle, David (Ludwig Boltzmann Institut für Geschichte und Theorie der Biographie, Vienna, Austria)

In Zeiten der „nostalgischen Sehnsucht nach prägnanten Lebensbildern und Lebensmustern“ (Gumbrecht) scheint auch das Interesse an traditionellen biographischen Formen so groß wie nie zuvor. Durch die „Unverfügbarkeit des Verfügbaren in unübersehbaren digitalen Speichern“ ist gerade auch eine Sehnsucht nach bedeutenden, sinnstiftenden Narrativen erwacht, und mit ihr die konkrete Bindung zentraler Lebensmomente an einen ‚gelungenen‘ Lebenslauf. Der Vortrag reflektiert die Bedeutung des Biographems für die Biographie und versucht dabei vor allem die sprachspezifischen Pattern und Narrative in biographischen Arbeiten in den Blick zu nehmen, die pro- und retrospektive Sinnpostulate entwickeln, und damit „konsistente“ Identitätsentwürfe diskursiv wieder zur normativen Kraft erheben.

2:30 PM - Am Ende der Bildung. Biographie und 'Institutionenroman' Meyzaud, Maud (FernUniversität in Hagen, Frankfurt am Main, Germany)

Etwa zeitgleich erfolgen in der zweiten Hälfte des 18. Jahrhunderts die literarische Nobilitierung des (Bildungs-)Romans und der Autobiographie. Verbunden scheinen beide Formen biographischen Schreibens zunächst durch die sozialhistorische Ebene: In der Exemplarität der Lebensgeschichte eines beliebigen Individuums plebejischer Herkunft versichert sich ein politisch aufsteigendes Bürgertum seiner selbst. Dass sich im modernen Roman das Verhältnis zwischen literarischem Schreiben und Leben jedoch auf anderen Ebenen abspielt als in der Narrativierung eines Stoffes, zeigt sich vom vorläufigen Ende der Tradition des Bildungsromans her: Der von Rüdiger Campe gemünzte Begriff ‚Institutionenroman‘ bezeichnet eine Reihe an Romanen (u.a. die frühen Romane von Robert Musil, Robert Walser und James Joyce), in denen ein um das Moment der ‚Mannbarkeit‘ organisiertes, wesentlich diachronisches Erzählen ‚eingefroren‘ wird und ein Erzählen aus der Perspektive der (Erziehungs-)Institution in Gang kommt, das auf anderer Weise nicht minder biographisch organisiert ist. Angesichts dieser Texte schlägt Campe vor, ‚Leben‘ als jenen Formbegriff in den Blick zu nehmen, der gerade aus der grundsätzlichen Formlosigkeit des modernen Romans gewonnen wird. Unter dieser prinzipiellen Annahme möchte ich den nexus zwischen Roman und (Auto-)biographie wieder aufnehmen. In der Institution als Erzählzusammenhang ist die sinnliche Erfahrung nämlich nicht länger der Charakterbildung untergeordnet: Die Form biographischen (Auf- )Schreibens ermöglicht vor allem in dem Moment eine narrative Kohärenz, in dem die Institution ‚Literatur’ als Organ der Bildung um 1910 versagt; vor allem in Walsers "Jakob von Gunten. Ein

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Tagebuch" (1909) entfaltet sich die Potentialität der Jugend in einem biographischen Schreiben, das als „Aktiengesellschaft zur Verbreitung von schönen, aber unzuverlässigen Einbildungen“ agiert.

3:00 PM - Versagende Biographien Weinelt, Nora (Friedrich Schlegel Graduiertenschule, FU/HU Berlin, Berlin, Germany)

Anfang des 20. Jahrhunderts bildet sich in europäischen Gesellschaften ein neuer Sozialtypus heraus, der des Versagers. Versagen stellt sich als etwas vom älteren Konzept des Scheiterns grundlegend Verschiedenes dar, bezieht es sich doch nicht mehr nur auf eine punktuelle Herausforderung, an der ein Mensch, aufgrund von göttlicher Vorsehung, Schicksal oder schlichtweg Pech, scheitern kann, sondern um eine globalere Beschreibungskategorie auf biographischer Ebene. Ein Versager ist jemand, der den gesellschaftlichen Normen nicht zu entsprechen im Stande ist; dennoch gibt es keine objektive Instanz, die beurteilen könnte, ob ein Mensch als Versager zu sehen ist oder nicht. Die Beurteilung erfolgt höchst subjektiv, oft vom Betroffenen selbst und wird meistens erst retrospektiv überhaupt virulent – am Ende eines Lebens. In Romanen des späten 19. und frühen 20. Jahrhunderts (u.a. Flaubert, Svevo) schlägt sich dieser neue Sozialtypus nieder, insbesondere in Werken, die sich mit dem Angestelltentum und einem damit verbundenen Laufbahn- bzw. Lebenslaufmodell befassen. In meinem vorgeschlagenen Vortrag interessiert mich weniger der Versager als Unterform des Anti-Helden, sondern vielmehr die Frage, inwiefern sich dieses Versagen auf der Ebene des discours niederschlägt und was dies für die literarische Darstellung von Biographien bedeutet. Die übergreifende These lautet, dass hier eine Form der Suspensionslogik sichtbar wird, die den Romanen eine spezifische Dynamik verleiht.

17416 - The language of satire Date: Friday, July 22nd // Saturday, July 23rd // Monday, July 25th // Tuesday, July 26th Room: Übungsraum Germanistik 3 Chair: Nabugodi, Mathelinda

11:00 AM - Magistrates, doctors and monks: satire in the Chinese jestbook Xiaolin Guangji Leggieri, Antonio (Beijing Language and Culture University, Beijing, China)

In most modern Chinese-English dictionaries, the term fengci- a word composed of two characters which originally mean "to chant" and "to stab", is often given as a direct translation of "satire"; in the light of an etymological origin so notably different from its Latin counterpart satura, one might get tempted to think that satire, in its commonly understood sense, does not belong in Chinese literature, especially in the premodern one. However, many sinologists have shown that not only has satire existed in Chinese for almost as long as literature itself, but also that during the classical period it was arguably the only form of humour recognised and encouraged by the confucian ethic. This paper takes social satire as its starting point, by introducing and dealing with three recurring categories of characters from the Chinese premodern jestbook «Xiaolin Guangji», namely magistrates, doctors and monks. The debased image in which such characters wallow and the overturning of their value systems are the two main features which best serve the purpose of satire, and in this paper such features become the object of a comparative theoretical analysis, in an attempt to establish a dialogue between the main themes of the aforementioned jokes and the western concept of satire. The main purposes of this paper are to point out the satirical (and not

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11:30 AM - Satire and the Rational Public Sphere Robertson, Randy (Susquehanna University, Selinsgrove, USA)

In eighteenth-century Britain, many regarded satire as opposed to rationality: ridicule stood over against reason as an argumentative mode. Roger Lund supports this distinction in his stimulating monograph Ridicule, Religion, and the Politics of Wit in Augustan England , urging that wit and satire fit uncomfortably in the rational public sphere. I would argue, however, that opposing reason and ridicule in this fashion sets up too simple a dichotomy. In my paper, I contend that satire constitutes "reason at a slant": it presents an argument indirectly, leaving readers and audience members to articulate the author's thesis. Such a strategy has several advantages; to name just two, it can help the author to avoid censorship, and it makes the reader or opponent responsible for constructing the argument proper--responsible, that is, for "translating" oblique, witty remarks into a more straightforward set of claims, thus making him or her the argument's co-author, in a sense. In fine, while satire may not entail syllogistic logic, it may, following Aristotle, include enthymemes, hence giving it a legitimate place in the rational public sphere.

12:00 PM - Humour as Satire in an Indian Language Majumdar, Sharmila (University of Kalyani, Kalyani, India)

Humour as Satire in an Indian language

In this paper I would like to concentrate on three short lesser known plays by Rabindranath Tagore – ‘Nutan Avatar’ , ‘Arasiker Swargaprapti’, and ‘Swargio Prahasan’, described as byangakoutuk - to discuss the tradition of humourous writing in Bangla, a regional language in India and the national language of Bangladesh. Satire is a literary device to contain and channelize various responses, from criticism, resentment, anger to hatred, in a civilized society. These responses are largely determined by the prevailing culture of the society concerned and the linguistic tools available to it. In Bangla homour is the most commonly used mode of criticism and consequently of satire. The specific idiom of Bangla renders these works difficult to translate in a European language like English; though it will be far easier to translate them in almost all the Indian languages that derive from Sanskrit. In Bangla there are several rhetorical tools to communicate the criticism or the disapproval that lie at the core of satire. These tools, derived mostly from Sanskrit, make nuanced differentiation between byanga (banter), byanga koutuk (light banter), and prahasan (literally mockery; also a sub genre of dramatic literature). There is hardly any tradition of the savage satire of the Jonsonian variety in Bangla though there is lampoon in Bengali popular culture.

In these plays Tagore uses depreciatory humour to portray Hindu gods and goddesses who easily lend themselves to satire as they partake of every human frailty in spite of their divinity. This irreverent treatment of the celestial population is a well accepted practice in Hinduism and there are quite a number of texts in Bangla that indulge in it. These are not satires in the line of Dryden’s Absalom and Achitophel or Mac Flecknoe. These are largely bereft of political content, full of direct and indirect references and allusions which are culture and period specific, and use a kind of humour that is dependent on the particular idiom and rhetoric of the language.

Date: Saturday, July 23rd

11:00 AM - Bakhtin's Carnival as a Theoretical Language in Comparative Satire Kriza, Elisa (University of Bamberg, Bamberg, Germany)

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The current drought in the theory of satire is well known, as Robert Phiddian recently lamented (2013), yet, as he points out, a comparative approach to satire should be part of the process of shaping new theories. Satire critics such as Steven Weisenburger (1995) or Charles Knight (2004) make use of Bakhtinian concepts, an approach I suggest should be expanded. In my paper I propose adopting the language of Bakhtin’s theory on carnival and the grotesque in order to analyse postmodern subversive satire (as defined by Derek Maus, 2011). A comparative use of this language is a contribution to the development of a new theory of satire.

Satire as political intervention overlaps in many ways with the carnivalesque. To illustrate my point, I compare two texts from different cultural contexts which nevertheless share important features. One is a Russian work criticising Stalin and Stalinist excesses in the Soviet Union in the 1930s, and the other is a Mexican novel dealing with the massacre of Tlatelolco, Mexico City, in 1968, in which hundreds of student protesters were shot by the military. “The Great Solitaire of the Palace” (1971) is Mexican author Rene Aviles Fabila’s confrontation of the student massacre, presenting a strongly grotesque image of the president, Gustavo Diaz Ordaz, as a monkey with the supernatural ability to transform his image every six years, and the members of the military, who are likened to animals. In “Rabbits and Boa Constrictors” (1982) the Soviet writer Fazil Iskander uses the title’s creatures as allegories for Stalin and his cronies as well as the society that supported his rule. These authors ridicule and deform the social realities of their countries, using satire to confront fear and pain with an anti-hierarchical and blasphemous mood. The carnivalesque as an attitude and as a series of motifs in both works provides material diverse enough to put a more comprehensive use of Bakhtinian language in the study of satire to the test.

11:30 AM - Crossing Cultures in Comedy: Satire and the Grotesque Gerigk, Anja (Ludwig-Maximilians-Universität München, LMU, München, Germany)

The language of satire has always been dependent on other specific techniques of comedy, such as parody. This paper focuses on satirical and grotesque humour, proposing that their particular interplay is both conflicted and effective in intercultural communication. As a contemporary case study suited for theoretical insights The Interview (2014) will be reexamined: Arguably, a strong anarchical element of silly phallic jokes and related physical slapstick undermines the film`s serious satirical intentions directed at political repression or exploitive media practices. On a conceptual level, the mode of grotesque is suited for decomposing any given cultural complex by means of permutation and recombination. Therefore, its activity is less destructive than potentially creative. Despite their inane or absurd appearance the most grotesque scenes in The Interview, involving weapons, orifices and obscenities, largely contribute to an underlying message the film is trying to communicate as a political satire. Rigid patterns of friend vs. foe ideology, exemplified by the encounters between North Korean dictatorship and U.S. journalism, are not merely subverted, but forcefully dispelled. Satirical principles of turning the world upside down and creating a distorted mirror image of real issues serve as key to recognizing an American self-portrait in what seems to be a very distant, foreign scenario. Yet, our reading could not be established without understanding the concept of grotesque operations as well as their individual meanings. In the context of satire, this tends to be a way of negotiating cultural difference in a rather subtle manner, despite the glaring surface.

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12:00 PM - The satirical tradition of Collodi and the nose of Pinocchio Panteli, Georgia (University College London, London, United Kingdom)

Carlo Collodi’s The Adventures of Pinocchio (1883) is known as a children’s story, yet it is a text written for both children and adults, entertaining for both, due to its satirical and subversive nature. Both in terms of stylistics and visual references, Collodi was influenced by Laurence Sterne’s satirical texts and in particular by The Life and Opinions of Tristram Shandy, Gentleman, published more than a century earlier than Collodi’s time. Sterne’s influence is clearly manifested by the example of Pinocchio’s growing nose. Sterne was in turn influenced by Rabelais’s famous satirical and grotesque style. The theme of Pinocchio’s growing nose has been used satirically in postmodern retellings of Collodi’s text, such as Jerome Charyn’s Pinocchio’s Nose (1983) and Robert Coover’s Pinocchio in Venice (1991). Coover’s text is even more satirical than Collodi’s and it is not the only Pinocchio retelling that has used satire extensively.

This paper will illustrate the satirical tradition of Collodi’s work, which spans geographically across France, Italy, England and the U.S. and chronologically from the 16th century until today. After the first part, where I will show examples of how satire has been used in the texts to allude to specific historical and cultural environments, I will then present examples of Pinocchio used satirically in illustrations and other visual media, such as graphic novels. Even though Pinocchio’s growing nose is frequently associated with lying and for this reason extensively used in political satire, my examples will include Freudian interpretations and sexual allusions of Pinocchio’s nose and I will explain how satire works in that context.

Date: Monday, July 25th

9:00 AM - Attacking the System Sideways: Daniil Kharms' Fragments Inside and Outside the Law Domina, Natalya (University of Western Ontario, London Ontario, Canada)

It would be tempting to look at the texts of the soviet avant-garde writer Daniil Kharms in the context of the violence of the Stalinist regime and perhaps even argue that he is the grotesque sovereign who parodies the real sovereign of his time, repeatedly claiming the state of exception in his own texts. Both structures (the totalitarian regime and a literary text) are intense and inflexible and therefore cannot be directly attacked. As a double of Stalin, the imagined sovereign relentlessly and randomly “kills” his characters, making a series of failing attempts at writing a perfect story.

Even though Kharms’ fragments are in line with the programmatic goal of the avant-garde to put itself outside the frame of history, they don’t aim at utopia and never deal with the present, much less so with the future, and are anti-prophetic in nature. The question of the narrative authority here is a central one. How can one attack the totalitarian machine without being prosecuted? The system cannot be undermined in an overt fashion, but rather in indirect ways.

This paper argues that the satirist manifests himself precisely by being absent and therefore cannot be subject to the law. Kharms’ anti-stories are grounded at the level zero and through repetition they generate their own progression. Paradoxically, they are what they are not. Their lawlessness eventually becomes an absurd and grotesque law in itself. The repetitiveness of such mechanism creates an unsettlingly comic effect.

Key words: soviet avant-garde, Daniil Kharms, totalitarianism, fragment, satire, parody

9:30 AM - The Sailor's Tracks. "Gulliver's Travels" and Fascism Fortunato, Elisa (Dip.to LeLiA - Università di Bari, Bari, Italy)

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This paper studies censorship and self-censorship during the fascist regime and the fine boundary between the two. It focuses, in particular, on the accuracy and adequacy of Gulliver's Travels’ translations in fascist Italy and analyses how responses to the fascist 'revision' system changed depending on laws, patronage, and material conditions in which the translators worked (Lefevere, Bassnett).

Jonathan Swifts’ novel was perceived in the beginning just as a critique of the ‘perfidious Albion’, rather than of the whole human being. This superficial reading explains why Gulliver's Travels’ was able to evade censorship and being published its first unabridged edition precisely during Fascism (1933 Formichi, 1934 Taroni). It also explains why critics generally showed less interest in Swift during Fascism (Gregori, Pagetti).

We analyse the complex relations between Swift satire's and its community (Knight), and the rhetorical problems created both in the source context (XVIIIth century England) and in the target culture (XXth century Italy). We also examine how his Satire exploits the genres it borrows, both in the source language (English) and in the target language (Italian).

Examining the translations issued during the regime we identify different translation strategies that can be interpreted respectively as acts of submission or of resistance to the dominant thinking (Venuti, Tymoczko, Gentzler). This in turn allows us to discuss more in general the role of ideology as an explicit (censorship) or implicit (self-censorship) component of the translation process (Gramsci).

10:00 AM - "Yop la boumski !!" - Terrorism and Satire in contemporary French language literature Fuchs-Eisner, Laura (Universität Innsbruck, Innsbruck, Austria)

Exhaustive studies on contemporary satire in fiction are more than rare in the French speaking world. However, this reluctance in research does not mean that the satiric element has got lost in French language literature. Novels like Y.B.‘s Allah Superstar (2003), Luc Lang‘s 11 septembre mon amour (2003), Virginie Despente’s Apocalypse Bébé (2010) or Frédérique Beigbeder’s Au Secours Pardon (2007) are very well tinted with satire – and they are all representations of terrorist attacks. Although highly different in their depiction (and choice) of perpetrators and victims, narrative structure, tone etc., they have two things in common: they are all marked by 9/11 or the “war on terror”-discourse and they all distinguish themselves from the majority of (serious) literary representations of terrorism. The diversity of these works shows the necessity to question the ever disputed term “satire” once more and to find a definitional basis for works that, casually, are all called satires on contemporary society – often without precise knowledge on what it is that makes them stand out as such. The context of an explosive (inter/trans-) cultural topos opens up theoretical questions that combine the aesthetic dimension with a more culturally oriented one: If the satirical genre is declared dead, which characteristics do works of contemporary fiction have to share to be recognized as invested with satire? How can the traditional assumption of the instructive character of satire based on moral norms and shared values be understood in the context of transcultural post(post)-modern fiction? And finally, who attacks whom, which topical vehicle is used for the critique and who is supposed to laugh about it?

Date: Tuesday, July 26th

9:00 AM - From Old Comedy to Modern Satire: Karl Kraus's Wolkenkuckucksheim (1923) Linden, Ari (University of Kansas, Lawrence, USA)

Aristophanes’ play the Birds (414 B.C.E.)—which tells the story of two disgruntled Athenianswho abandon Athens to found a city in the sky—is often celebrated as the Greek poet’s masterpiece, a 530

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 work that combines the fantastical with the utopian under the sign of (Old) comedy. Yet unlike most of Aristophanes’ extant plays, the Birds’ central critique has been historically difficult to identify. When Pisthetaerus is betrothed to Sovereignty and proclaimed leader of Cloudcuckooland at the concluding banquet, are we as readers or spectators supposed to celebrate with him? Or is there an underlying absurdity, cynicism, even satire at work in the play’s final word?

Aristophanes attracted significant attention in the nineteenth-century German literary tradition, with figures either producing adaptations of the Birds (Goethe) or claiming to be a literary descendent of the Greek poet (Heine). The focus of this paper, however, will be Karl Kraus’s 1923 adaptation of the drama, Wolkenkuckucksheim , ostensibly set in Ancient Greece but clearly written against the backdrop of World War I, the dissolution of the Habsburg Monarchy, and the founding of the First Republic of Austria.

The first two acts of Kraus’s drama closely follow the trajectory of the original, comically substituting the political problems of postwar Vienna for the ills of Athens. But with its darker, more premonitory, and ultimately more satirical vision, the final act departs radically from Aristophanes’ version; it begins, rather, to look more like Kraus’s Die letzten Tage der Menschheit (1915-1922). My paper will explore the implications of this departure. When, and under what circumstances does the comical morph into the satirical? What theoretical connections are being drawn between Athens and Vienna? And how does Kraus’s reading of Aristophanes help us to better understand the transition from utopian comedy with dystopian undertones to dystopian satire with utopian undertones?

9:30 AM - Bienveillante cutting edge: Parody, satire and irony in the realm of Auschwitz Lourenço, Patrícia (Centro de Estudos Comparatistas, Lisboa, Austria)

Although parody and satire have historically been considered minor literary forms, over the last century they have become major modes of formal and thematic construction of texts, with cultural and ideological implications. W hile often confused since they both use irony as their main rhetorical device, Vladimir Nabokov once puts it this way : "satire is a lesson, parody is a game".

Jonathan Littell’s Les Bienveillantes (2006) is a fine example of how a fictional narrative built according to the parameters of parody and satire may be the most powerful fuel to inflame the debate on the ethical and aestheti cal limits of the representation of the Holocaust. Its intertextual and metareferential structure, built upon Aeschylus’ Oresteia, apparently calls for reading the Shoah as a tragedy and it ’s Nazi perpetrator as a tragic hero. Upon a first reading, the narrator's account o f the Holocaust portrays it as the unintended outcome of innumerable external forces, thus rejecting the subject's responsibility and individuality. On the other hand, an oppositional textual mode steeped in parody, satire and irony undermines the narrator's self-exculpatory project.

This paper aims at showing how parody and satire play a pivotal role in the representation of the Holocaust in Les Bienveillantes. By subverting the Oresteia and other major literary works of the Western Canon, Les Bienveillantes simultaneously uses and abuses literary codes, installs and subverts conventions, and points at the same time to its own inherent paradoxes and to a critical and ironic re-reading of the major traumatic event of the 20th century. By rewriting the Holocaust using irony as the main rhetorical device, Les Bienveillantes places itself at the critical edge of the politics of memory, questioning the place of and for the Holocaust in culture.

10:00 AM - Pallenberg alias Schwejk. Inkonografie der Satire, 1918-1933 van der Steeg, Christian (Deutsches Seminar Universität Zürich, Zürich, Switzerland)

Im Unterschied zu den meisten Epochen der deutschsprachigen Literatur kennzeichnet die 20er Jahre eine grundlegende Prägung durch die Satire. Diese zeigt sich in den in Zeitschriften und Kabarett 531

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 publizierten bzw. vorgetragenen satirischen Kleinformen, aber auch in den zentralen, die literarischen Großformen betreffenden Probleme – Zerfall des Individuums, Episches Theater, Neue Sachlichkeit sowie Konstruktion des modernen Romans. Ursache hierfür war die Krise der bürgerlichen Ästhetik, wie sie der Erste Weltkrieg forciert hat. Versuche, das als gescheitert empfundene bürgerliche Kunstkonzept zu revolutionieren, griffen zwischen 1918 und 1933 daher auffällig häufig auf die Satire zurück. Aufgrund deren massiven Einflusses auf Gattungsmechanismen, Fiktionsbildungstechniken, Kunstphilosophie, Unterhaltungsindustrie sowie mediale Bilderwelt ist die literarische Ästhetik der 20er Jahre als Ästhetik der Satire zu beschreiben.

Der Tagungsbeitrag wird diesen Aufschwung der Satire – von einer peripheren ›Gattung‹ des bürgerlichen Kunstsystems zur Bedingung der Ästhetik der 20er Jahre – anhand einer in den damaligen Printmedien kursierenden Fotografie Max Pallenbergs untersuchen. Die Fotografie zeigt den Star-Komödianten in seiner Hauptrolle des von Piscator, Brecht und Gasbarra für die ›Proletarische Bühne‹ adaptierten Romans Die Abenteuer des braven Soldaten Schwejk Hašeks. Diese Inszenierung war eine wichtige Station in der Geschichte des Epischen Theaters. Zugleich war sie ein Kassenschlager. Entsprechend fand Pallenbergs Fotografie in unterschiedlichsten Kontexten Verbreitung (u.a. Arbeiter-Zeitung, Vossischen Zeitung, Westermanns Monatshefte). Die Abbildung gehört mithin fest zum ikonografischen System der Weimarer Republik. Sie versinnbildlicht als Synthese von Karikatur und Showeffekt, von E- und U-Kultur, von Kunst und Kommerz exemplarisch die spezifische satirische Grundierung der Epoche.

(http://www.ds.uzh.ch/Institut/Mitarbeitende/index.php?detail=272&get=rs)

17417 - Transnational dynamics of global/local literature. A new idea of world literature? Date: Tuesday, July 26th // Wednesday, July 27th Room: Übungsraum Germanistik 5 Chair: De Michele, Fausto; Van Den Bossche, Bart; Rössner, Michael

Chair: Michael Rössner

9:00 AM - Einführung und Begrüßung De Michele, Fausto ; Michael Rössner …

9:30 AM - Les pratiques de collections et les dynamiques littéraires mondiales / locales Van den Bossche, Bart (KU Leuven, Faculté de Lettres / Faculty of Arts, Leuven, Belgium)

Les phénomènes littéraires de toute sorte sont constamment soumis à des pratiques de collection, construisant des répertoires tantôt stables – comme dans des collections canonisées - tantôt plutôt aléatoires ou éphémères, destinés à se dissoudre rapidement. De telles pratiques de collection regardent de façon très évidente les textes (publiés, rangés, regroupés en séries, genres, volumes, canons et ainsi de suite), mais aussi les auteurs ou les lecteurs.

Le but de mon article est de proposer une première esquisse d’un modèle général pour comprendre les maintes façons dont les pratiques de collection affrontent les perspectives mondiales et locales. L’esquisse de modèle sera basée sur l’analyse d’un nombre d’exemples provenant principalement de la littérature italienne de ces dernières décennies.

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Certaines des formes de collections les plus influentes (telles que les histoires littéraires et les anthologies) continuent à s’inspirer dans la majorité des cas à des perspectives nationales et monolinguistiques, tout en prenant en compte, bien que de façon souvent peu visible, certaines perspectives locales et mondiales (dans les anthologies, par exemple, le choix d'un genre spécifique s’associe souvent à la nécessité de prendre en compte des dynamiques différentes). Si on élargit la perspective et on examine aussi d’autres pratiques de collection telles les pratiques de sérialisation dans des collections éditoriales, les anthologies thématiques, les magazines littéraires, des initiatives éditoriales liées à prix ou festivals littéraires internationaux, mais aussi la sérialisation dans la critique littéraire, les musées et archives littéraires, force est de constater que chaque pratique de collection adopte des critères spécifiques (parfois explicites, parfois plutôt implicites) pour gérer la dimension locale/mondiale et les dynamiques littéraires qui s’y associent, combinant par exemple choix éditoriaux et typographiques, critères de sélection, stratégies de commentaire, formes de contextualisation, et ainsi de suite.

Chair: Fausto De Michele

11:00 AM - Amara Lakhous, Clash of Civilization Over an Elevator in Piazza Vittorio. A case study. Sorrentino, Alessandra (University of Munich, Munich, Germany)

Rethink the concept “world literature” today means to confront with a new dimension of writing. Amara Lakhous is a good case study to analyse the complexity of contemporary literature, as a matter of fact, the label literature of migration it is not really appropriate to this algerian born and grow up writer. He begins his career in Italy as a novelist and writes in arabic, in Italian and one time simultaneously in both languages. His second book Clash of Civilization Over an Elevator in Piazza Vittorio is his first successful novel published in Italian, which Lakhous translated by himself from his first Arabic version of the novel into Italian language. Irony will be the tool to describe an irrational reality, as the author declares several times, and through irony a singular communication between cultures in a multicultural context will be described.The analysis of this novel will permit to observe the presence of several cultures from a particular point of view: Piazza Vittorio. The space of the story is a physical and metaphorical place of dwell, representing a border between cultures. The characters, moving in this space, are representatives of the different faces of modern living together, distinctive features of our contemporary society. The novel shows how the italian society struggles with internal and external others and the recurring and false stereotypes that affect the relationships with them. By reading we achieve a deeper understanding of the complexity of this modern condition of living on borders between cultures. This must be taken into account if still we want to speak about “world literature” today.

11:30 AM - J.M.Coetzee and the Poetics of Planetary Paranoia mittal, janhavi (king's college london, london, United Kingdom)

In the face of the totalizing assault of neoliberal globalisation, the utopic dimension of planetarity thought is undermined and reconfigured even in the work of one its most vigorous proponents, Gayatri Spivak. Instead, Spivak proposes the idea of ‘productive undoing’ by carefully looking ‘at the fault lines of doing, with a view to use’. In this chapter, I contrast how Coetzee’s fiction performs such a ‘productive undoing’ by bringing together two contradictory ways of thinking of the planet: a ‘comparative transnationalism’ and a non-utopic ‘one-worldedness’.

Using texts from significantly different moments in Coetzee’s ouvre—Diary of A Bad Year (2007) and his debut novel, Dusklands (1974)—I compare the different performance of paranoia in both texts. I particularly draw on Emily Apter’s use of ‘one-worldedness’ as a world system, held together and

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 validated by a paranoid subjectivity. This model of ‘one-worldedness’ differs from what Apter dubs the ‘non-comparative model of comparative literature studies’ in its emphasis on the paranoid premise that everything is connected. In my analysis of Dusklands, I argue that Coetzee performs a monologic paranoid one-worldedness of imperialism but undercuts its totalizing rhetoric through an aesthetics of comparative complicity. I then draw on the new ethos of paranoia ushered in by neoliberalism, staged in the Diary of A Bad Year within the aesthetic framework of internalised comparison to reflect on Coetzee’s literary mapping of totalizing one world systems.

Finally, in this chapter I argue that the textual performance of the novels undercut the paranoid colonial, or neocolonial one- worldedness they represent through an alternative version of literary worlding.

Date: Wednesday, July 27th Chair: Bart Van Den Bossche

11:00 AM - Dariush Mehrjui's Screen Adaptations as a Reception of World Literature in Iran Khojastehpour, Adineh (Shiraz University, Shiraz, Iran)

The circulation of literary works around the world in different languages and through different media can lead to the development of a new idea of world literature. Adaptation is a way to do this. Adaptation theory has gone through significant changes today, mainly due to the rise of poststructuralist theories and concepts such as intertextuality. Today, adaptation is less seen as a secondary work than an independent work in a specific context. Also, today, the adapted work is hardly viewed as an "original", as it is now considered an intertext influenced by and interacting with a large network of texts, just as adaptation itself is an intertext, influenced not only by the so-called source text, but also by a large number of other factors, historical, socio-political, etc. The Iranian Dariush Mehrjui (1939 -), has mostly adapted works from around the world, from Ibsen's Doll House to Salinger's Franny and Zooey, and Boll's The Clown. These films do more than carrying the "essence" of the original works; they form complex intertexts from world literature and all the surrounding "text"s in contemporary Iran. The present paper focuses on Mehrjui's film adaptations as receptions of world literature in Iran.

11:30 AM - Die Rolle des Kinos in der Konstruktion des Polysystems "Weltliteratur" De Michele, Fausto (Institut für Europäische und Vergleichende Sprach- und Literaturwissenschaft, Austria)

Nach der Polysystem theory der Tel Aviv-Schule von Itamar Even-Zohar und Gideon Toury spielen die Übersetzungen innerhalb der Dynamiken des literarischen Polysystems einer Nation eine große Rolle. Sie können die Rolle eines primären bzw. sekundären Systems einnehmen, je nachdem, ob sie zur Innovation oder zur Erhaltung des bestehenden Systems beitragen.

Die Übersetzungen, die neue Texte anderer Literaturen in ein literarisches Polysystem einführen, spielen immer eine große Rolle und das vor allem dann, wenn sie in eine Nationalliteratur gelangen, die noch sehr „jung“ ist und eine gewisse Stabilität sucht, oder wenn es sich um eine Literatur handelt, die man als "peripher" definieren kann. Ebenso einflussreich können Übersetzungen für die neue Literatur sein, wenn diese sich in einer Krise befindet. Die Operation der Übersetzung ist immer eine Adaption eines Textes an den soziopolitischen bzw. kulturellen Kontext des Landes, in das sie eingeführt wird. Man könnte im Sinne von Bassnett und Lefevre sagen, dass jede Übersetzung einem Verfahren des Wieder-Schreibens unterliegt, einem Verfahren des rewriting. Oder man könnte die Übersetzungstätigkeit mit dem lateinischen Ausdruck vertere linguam bezeichnen. Maurizio Bettini unterstreicht in seinem Buch Vertere. Un’antropologia della traduzione nella cultura antica Torino 2012), dass im antiken Rom mit Übersetzen im Sinne von vertere eine „Änderung“ der Identität des Texts gemeint war, eine Art Metamorphose. 534

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„Kon-vertierte“ Texte von bereits existierenden erfolgreichen und bekannten Originalkunstwerken sind auch die filmische Adaptionen von Literatur. In meinem Beitrag werde ich mich daher vorwiegend mit den Prinzipien und theoretischen Überlegungen der Polysystemtheorie zu den Dynamiken der Rezeption der Literatur durch das Kino beschäftigen, um zu beweisen, wie die siebte Kunst zu einer Konstruktion einer Weltliteratur beiträgt.

Chair: Alessandra Sorrentino

2:00 PM - Chick Lit - A New World Women's Fiction? Folie, Sandra (University of Vienna, Vienna, Austria)

Lately, there has been a lot of controversial discussion about comparative literature in the global era, especially about „world literature“ as term and as method. If „world literature“ is understood as the amount of all literary texts rather than as canon, Franco Morettis quantitative method (distant reading) is of interest. Transnational research on a bigger scale allows „to focus on units that are much smaller or much larger than the text: devices, themes, tropes – or genres and systems.“1 In this paper Chick lit as genre or rather label of contemporary women’s fiction serves as such a large unit of analysis. Originally defined as Anglo-American phenomenon, starting with the bestseller novels Bridget Jones and Sex and the City in the mid-1990ies, Chick lit has spread rapidly across various linguistic and cultural markets. There is a broad consensus about this being a transfer from the centre to the periphery, from the original genre to numerous adapted subgenres. For the latter the problematic term Ethnic Chick lit has been established, which in the broadest sense includes all Chick lit by authors or with protagonists, who have others than so-called „western“ sociocultural backgrounds. The main criterion, however, seems to be the skin colour („white“ vs. „coloured“). With the help of selected examples from different linguistic and cultural areas the marginalisation and homogenisation of contemporary women’s fiction through the Ethnic Chick lit label shall be analysed. The aim is to question the predominantly Anglocentric perspective in theory-driven research and to illustrate local peculiarities behind the global labelling.

[1] Vgl. Franco Moretti: Conjectures on World Literature. In: New Left Review 1 (Jan/Feb 2000), pp. 54-68, p. 57.

2:30 PM - National vs. Transnational Literatures: Lateinamerika als Laboratorium neuer Literaturkonzeptionen Rössner, Michael (Institut für Kulturwissenschaften und Theatergeschichte der ÖAW, Vienna, Austria)

In der unterschiedlichen Antikerezeption der Renaissance bilden sich zwei verschiedene Konzepte von Literatur heraus: ein auf die translatio studii im nationalen Kontext gestützter Begriff, der spätestens in der Romantik zum Nationalliteraturbegriff verfestigt wird, und ein in der „Humanistischen Internationale“ wurzelnder Begriff einer durch Übersetzung und Dialog gekennzeichneten Literatur, die auch mehrfache und einander überlagernde Zentren/Peripherien zulässt. Lateinamerikanische Literaturen, geprägt von europäischen Mustern, sind ein eindrucksvolles Beispiel dafür, wie sich seit der Unabhängigkeit zu Beginn des 19. Jahrhunderts zunehmend eine Tendenz zur globalen Literatur ausbildet. Spätestens zu Ende des 20. Jahrhunderts, mit der Überwindung der Verpflichtung zur regionalen Verortung, die zu Zeiten des Booms lateinamerikanische Autor(inn)en auf lateinamerikanische Themen festlegte, die dem europäisch/nordamerikanischen Bedürfnis nach Exotismus entsprachen, sind sie zu einem Laboratorium globaler Literaturkonzeptionen geworden, die den Begriff der Nationalliteratur überwinden, wie sich etwa in den Werken von Julio Cortázar und Roberto Bolaño zeigen lässt.

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3:00 PM - Decentering World Literature: The Ghost Story in Mexican, Turkish and Bengali fiction. Almond, Ian (Georgetown University - Qatar, Doha, Qatar)

One possible approach to trying to unsettle the current, overwhelmingly Euro- American settings in our understanding of world literature and cultural history is to adopt, pragmatically, a South-South-South approach. Instead of anchoring our comparativism in a Western text and then proceeding from there to make hermeneutical forays into other cultures, I shall examine a series of parallel modernities in three very different regions – Mexico, Turkey and Bengal – and examine a recurring, very specific formula of ghost story: one in which a male protagonist enters a haunted/ruined structure or place, and ends up losing his identity to an (almost always) female spirit. Tackling six stories by authors as diverse as Fuentes, Tagore, Rulfo, and Tanpinar, I’d like to show how an analysis of non-Western, tricontinental texts can be fruitfully made without going through Paris, New York or London. The approach throws light on the way the alienation and self- estrangement of the modern subject has taken place in the literatures of other regions – and tries to steer between a naïve, reductive universalism on the one hand, and a minutae-absorbed, centerless slide into endless cultural complexities on the other.

17429 - MUTENESS Date: Monday, July 25th Room: Hs 7 Chair: Segal, Naomi

Muteness Segal, Naomi (BIrkbeck, London, United Kingdom)

This group session turns the topic of Section B against itself, questioning what happens when literature comes up against a failure or absence of language – the muteness of things, creatures or readers. The three papers take a variety of angles on the question, bringing texts into encounters with fine art, animal studies and translation/reception studies. Like any liminal point, this relation between speaking/hearing/reading and its obverse is ambiguous: is the point where language fails a loss or a challenge? What is produced in language when it tries to understand the animate or inanimate other – and how does this wish to understand partake of fear, aggression, desire or rivalry? How does the body intervene, and whose body is it? In ‘Words, bodies & stone’, Naomi Segal compares texts by nineteenth- and twentieth-century French and German poets about the fantasy of touching sculpture: how are the ideas of space and desire reconfigured by an idea of the impenetrability of material art-objects? In ‘Silent Encounters: Animal Studies and Comparative Literature’, Florian Mussgnug examines the fundamental fluidity in definitions of human/animal, paying particular attention to silence as a contested marker of dehumanization: language, insofar as it refers to both speech and silence, may be best understood as a liminal zone of encounter between species. In 'Mutes, Muting, and Mutations: the Reception of English, Irish and Scottish Writers in Europe', Elinor Shaffer begins to assess, after a ten-year programme of studying the European reception of a range of English-language authors in a variety of fields (poets, novelists, dramatists, scientists, philosophers, and politicians), whose voice is heard, in what language and in what measure , and how time, place and tone alter the very substance of the word. These papers will be followed by discussion of texts and images.

9:00 AM - Silent Encounters: Animal Studies and Comparative Literature Mussgnug, Florian (UCL, London, United Kingdom)

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My contribution examines the fundamental fluidity in definitions of human/animal, paying particular attention to silence as a contested marker of dehumanization. I focus on how literature imagines affective bonds between humans and nonhuman animals, and suggest that cross-species companionship is best understood as an intimately proximate encounter between strangers that resists appropriation ( Aneignung ). I explore how the inevitable disjointedness of such intimate but uneven relationships may become a source of embarrassment or angry disavowal, but also how they trigger empathetic shame, i.e. vicarious feelings for the other’s mortification. My talk focuses on narratives of hybridity and miscegenation (e.g. Anna Maria Ortese The Iguana , 1965) where categories of “humanity” and “animality” are juxtaposed with other binaries (of race, gender, age, wealth etc). I investigate how such conceptual triangulations blur species barriers without sublimating otherness, and how they enrich our understanding of intimacy. Drawing from recent interdisciplinary research in critical animal studies (M. Roberts, The Mark of the Beast , 2008; R. Broglio, Surface Encounters, 2011; K. Weil, Thinking Animals , 2012) I suggest that language, insofar as it refers to both speech and silence, may be best understood as a liminal zone of encounter between species (C. Willett, Interspecies Ethics , 2014) and as a potentially subversive force (K. Seshadri, HumAnimal 2012). I turn to debates within Comparative Literature to explore how notions of translation, transduction and the untranslatable may inform and enrich our understanding of animality, animalization and interspecies encounter.

9:20 AM - Words, bodies & stone Segal, Naomi (BIrkbeck, London, United Kingdom)

This paper looks at an intense but necessarily mute relationship: it compares poetry and prose by nineteenth- and twentieth-century French and German writers that conjure up the fantasy of touching sculpture. How are the ideas of space and desire reconfigured by a sense of the impenetrability of material art-objects? More specifically, I ask these questions: how do we look at sculptures, especially those representing human form? How does looking approximate to touching, and touching approximate to embracing? When we desire to approach, touch or embrace a sculpture, is it a penetrative or a caressive desire – and how is that desire fulfilled or frustrated? Who does the looking and who or what is gazed upon? And finally: how is this written about – what happens when we do not carry out these actions but read or write them? How is stone and the body’s relation to it transformed into language? The paper takes a rapid tour of texts by Gautier, Mallarmé, Büchner, Meyer and Rilke and is illustrated with images by Corradini, Caravaggio, Bernini, Rodin and Anish Kapoor. Ultimately it is a question of how we conceive of the ‘skin’ of the sculpture and where we position ourselves in relation to it. Didier Anzieu is the key theorist of the psychical skin; but in relation to sculpture, it is Rilke who offers the greatest surprise.

9:40 AM - Mutes, Muting, and Mutations: the Reception of English, Irish and Scottish Writers in Europe Shaffer, Elinor ((UCL, London, United Kingdom))

This discussion arises out of a twenty-year research project on The

Reception of British and Irish Authors in Europe under my editorship. It

arose as a comparatists' protest against the English use of the term

'Afterlife' to refer only to the reception of an author in the

English-speaking world. Such limitation was in itself a form of

'muting', of the author as well as the audience; but in assessing our

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 results we see that 'reception' is itself a history of muting of the author and the manifold forms and possibilities of reception.

17462 - Global Modernisms and Transvisual Studies Date: Friday, July 22nd // Saturday, July 23rd Room: IOeG Chair: Capeloa Gil, Isabel ; de Medeiros, Paulo

9:00 AM - Dissenting Modernism de Medeiros, Paulo (Dept. of English & Comparative Literary Studies, University of Warwick)

The field of Modernism studies has been greatly revitalized by a shift to consider “alternative” or peripheral modernisms. Tempting as that may be, to follow Fredric Jameson’s claim of a “singular modernity” calls for a revision of what is commonly referred to as modernism. This paper will focus on how to articulate conflicting modernisms that would form a singular modernity conceived as infinite. A revision of modernism along the lines of a critical view of World Literature as formulated by the Warwick Research Collective, drawing on World-Systems Theory, will address both actual images as well as their use in literature. In order to test the formal hypothesis the use of images will be analyzed, drawing from both photographs of the period usually associated with modernism in the USA, Europe and Africa. Collections such as Julius Shulman’sModernism Rediscovered and Brasiliens Moderne will be examined alongside archival images. Attention will also be given to the construction of images, filmic and otherwise, as a pre-condition for experience in a specular and scopic society as depicted in Rachel Kushner’s novel The Flame Throwers that draws on the historical period of modernism and the 70’s culture of insurrection to reflect on the challenges of the present.

9:30 AM - The Orphic Theme in its Modernist Re-Mediations Bär, Gerald (CECC - Universidade Católica Portuguesa, Lisboa, Portugal)

The analysis of a particular motive recurrent in literature and other arts will certainly address new questions pertaining to our conceptualisation of Modernism and inspire the research related to intersections between visual studies and modernism studies. The myth of Orpheus and Eurydice was revitalized during the first decades of the 20th century in literature and art (cf. Rilke, Goll, Kokoschka). In Portugal it marked a paradigmatic review (Orpheu, 1915) and a whole generation of Modernists (‘Geração d’Orpheu’). Influenced by literature, painting and music cinema has appropriated, retold and re-enacted this myth in many variations, from Fritz Lang’s Der müde Tod, 1921) to Jean Cocteau’s Orphic trilogy (1930-60). By revisiting the Orphic theme in its various re- mediations and by analysing its pictorial and cinematographic expression we will gain insight not only in its forms adaptations and transformations, but also in the technology used in these processes and in the exchange of ideas that existed between some authors.

10:00 AM - The Visual Language of Hans Bellmer and Djuna Barnes Heney, Alison (UC Berkeley Ext., Long Beach, USA)

The degree to which we can contend that the political and social conditions of Hans Bellmer can be interpreted in his photography work, will always be something of a controversy. As ripe as it seem for discussions of the political subversion of gender roles and the spectacle of female sex, Bellmer’s 1930’s “Doll” series maintains a hauntingly intimate quality – a kind of hermeticism that suggests, in many ways, the images were wrested from a deeply personal space. And yet, in examining his monstrous female figures alongside the written word of prose authors such as Djuna Barnes, we can 538

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 see just how Bellmer’s visual language extends beyond the realm of the personal and proves to be a provocative illustration of the modernist author’s rejection of political and linguistic boundaries. In many ways, Bellmer’s grotesque presentation of the body and identity in Die Puppe is echoed in Barnes' later literary presentation of the cross-dressing sage “Matthew O’Connor” from her infamous surrealist novel “Nightwood.” As I will argue, both can be thought of as a kind of anagrammatic puzzle – one where the disorienting re-assemblage of identity insists on other, hidden meanings. Ultimately, it is perhaps this very irreconcilable nature of Bellmer's aesthetic technique that accounts for its visionary and political power - the dual nature of his work gesturing toward something beyond language and narrative.

11:00 AM - Ivan's childhood: the invisibility of war and the visual presence of memory and emotion Lupi Bello, Maria do Rosário (Centro de Estudos de Comunicação e Cultura, Lisbon, Austria)

For Andrei Tarkovsky, the logic of poetry is intimately connected with cinema itself, which he considered “the truest and most poetic of all art forms”, insofar as it approaches the logic of thought itself. Cinema can thus be regarded as a privileged medium for the discovery and the knowledge of reality, since it projects on the screen the nexus and implications hidden in the mind and in the emotions, giving them visible form.

Ivan’s Childhood (1962) was Tarkovsky’s first feature film, based on the 1957 short story Ivan by Vladimir Bogomolov, which depicts the violence and absurdity of war through the memories and experiences of a 12-year-old boy. By subverting the aesthetics of classical war films and creating a specific form of visual modernity, Tarkovsky captures the non-martial aspects of a military conflict, paradoxically increasing the dramatic impact of the misfortunes of war on the life of a child soldier. With no battles and no heroes, no gunfire and no victories, Ivan’s Childhood is a modern film about the tragic dimension of History, inviting the spectator to construct a new, more profound gaze of the world in general and of Russian identity in particular, at the same time establishing significant, complex forms of interaction with the literary text at its origin.

11:30 AM - Global Modernisms, Street Art and Vhils' Esthetics of Vandalism Martins, Adriana (Universidade Católica Portuguesa, Lisboa, Portugal)

If Modernism is understood as a set of aesthetic responses to the challenges the project of modernity posed between the turn of the 19th to the 20th century and the 1950s, and that were related to the paradigmatic change brought by what Benjamin called ‘the age of mechanical reproduction’, WWI, and the exhaustion of European empires’ dominance, the debate on the accuracy of considering Postmodernism as the demise of Modernism or as one of its discontinuities has not ended. This controversy has gained a renewed attention when one considers the effects of the digital revolution, since the latter has set off what can be considered another paradigmatic change within the project of modernity, whose implications are still unknown. The ongoing configuration of what can possibly be a new face of modernity (to borrow Calinescu’s concept) or a new modernism encompasses the search for new esthetic codes through which works of art can unveil, interrogate and revise the ambiguities and paradoxes of a global age. With a view to examining how visual artistic works respond to the challenges of hegemonic globalization, this essay discusses street art, understood primarily as a palimpsest that reflects multiple spatial, temporal and cultural intersections, and whose marginal and iconoclast character has been pivotal to interrogate the status of the work of art and its (non-)canonical value. Street art works are, thus, considered as texts ‘written’ in diverse formats that unveil a provocative inter and intra textual medial crossing with literary or visual texts, whose impact deserves further reflection. Through the comparative

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 analysis of the multimodal carving work of Vhils, a Portuguese artist who claims to have developed ’an esthetics of visual vandalism’, this essay will demonstrate how Vhils’ street art works, by assuming a predominant self-reflexive character, epitomize the current changing face of modernity in the open and vast museum that any urban space constitutes.

12:00 PM - Re-mediating Luso-Brazilian Modernism: Fernando Pessoa, Mário de Andrade and the Avant-garde Visual Art Silva-McNeill, Patricia (Centre for Social Studies, University of Coimbra & Queen Mary University of London, London, United Kingdom)

European artistic production from the early twentieth century was characterised by a crisis of representation, epitomised by the techniques of fragmentation, defamiliarisation and plural perspectivism of the aesthetic object particularly salient in Cubism and Futurism. These facets of the two mainstream European avant-garde artistic movements underscore underlying contradictions of aesthetic modernism, which arise from the increased complexity of the experience of reality produced by rapid modernisation and the breakdown of the homogenising positivist-illuminist logic when confronted with multiple temporalities and non-Western epistemologies as part of the process of globalisation. My intention in this paper is to examine comparatively the dialogue between the first generation of Portuguese and Brazilian modernists with avant-garde artistic movements such as Futurism, Cubism and Expressionism. I argue that the transcultural re-casting of motifs and procedures from those artistic movements and the resulting formal heterogeneity in Lusophone literary modernism evince the quintessential liminality of the (semi-)peripheral condition in the world literary system. Particular focus will be placed on two major literary figures of the first Portuguese and Brazilian modernist generations and their seminal aesthetic developments, notably Fernando Pessoa's Sensacionismo and Mário de Andrade's Desvairismo. Representative works of these writers' self-fashioned aesthetics will be analysed as instances of dialogue with hegemonic artistic isms. I argue that the two poets employ similar strategies to "transfigure and estrange incommensurable material, cultural, social and existential conditions" attendant on peripheral modernisms (Benita Parry, 'Aspects of Peripheral Modernisms', ARIEL, 2009, 27-56: 33) in order to convey the particularity of the Portuguese and Brazilian experience of the modern and to claim a place for its expression among planetary twentieth-century modernisms.

Date: Saturday, July 23rd

2:00 PM - Visual Perceptions and Written Impressions of the First World War at the Time of Portuguese Modernism: Anglo-Portuguese Military Intervention Terenas, Gabriela (Universidade Nova de Lisboa, Lisboa, Portugal)

The first conflict on a world-wide scale broke out just as the Modernist Movement in Portugal was taking its first steps. Britain’s resistance towards Portuguese participation in the War, and the exacerbated positions of those in favour and those against it, were reflected in both illustrations and articles published in the periodical press of the day, as well as in later accounts written by the members of the Portuguese Expeditionary Force. In certain cases, these written and visual narratives deconstructed stereotypes, whilst in others new cultural imagotypes of British allies were created. The present paper, which is intended as part of the Global Modernisms and Transvisual Studies panel, attempts to compare and contrast such deconstructions appearing in memoirs, with visual perceptions and written impressions of the conflict, published in the periodicals of the time. For the purpose of this paper, two, amongst them, have been selected: A Águia, in which Fernando Pessoa made his literary debut and to which several of the collaborators of Orpheu, the emblematic journal

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 of Portuguese Modernism, also contributed; and Ilustração Portuguesa, an important record of Portuguese life in the first quarter of the twentieth century, in which Stuart Carvalhais and Almada Negreiros were amongst the distinguished contributors.

2:30 PM - Spatial Politics, Marginal Narration and the Imagination of a Modernised China Zou, Zan (College of Humanities, Xinjiang University, Urumqi, China)

In recent years, with the rapid development of urbanization/modernization of mainland cities in China, the group of migrant workers inhabited in the dual space of city/countryside and of modernization/tradition has been on the foreground of both the bottom-class narration in literary creation and image depiction from the fringe perspective. The films concerning migrant workers combined with elements of road movies, comedies and of suspension movies have become an extraordinary written form in film production.

First, “Great Love” is set as a power of redemption covering the structural contradictions in terms of social politics and economy;The mainstream ideology constructs an ideal image of Great Love coordinating the various structural contradictions in the turning point of social transformation with its tolerance, perseverance, unselfishness and motherlike sentiments. Social problems lying in the hardships of migrant workers’ recovering the back pays, the sexual oppression and the bad living conditions of migrant workers are tried to be solved by the Images of Great Love

Secondly, the shadowy “mirror city” constructed by both consumerism myths and the imaginary new-rich in cities is knitting a dream of organizing a new nation where gaps between classes/stratums are bridged. In modernized narration, consumption takes up an important position and outweighs production gradually. The type of consumption meaning the possession of symbolic capital in Jean Baudrillard’s theory reproduces the established social relations through symbolic consumption. Consumerist myths produce the reorganization of social classes. In the imaginary logic of constructing a modernized China, consumption becomes a discourse strategy used by mainstream ideology, rearranging the subtle relations between social classes. In the predication of “the whole nation bidding for Olympics”, “advancing with the world” and “the imagining of a modernized China”, the real existent state of migrant workers is intentionally covered or shifted with the Great Love and symbolic consumerism.

17477 - A VIEW FROM THE SOUTH Date: Friday, July 22nd // Saturday, July 23rd Room: Hs 16 Chair: Buescu, Helena

9:00 AM - “A View from the South|” (Introduction) Buescu, Helena 9:30 AM - 'Who will make me real?' Framing/Unframing, Resisting. Ways of 'seeing differently' Macedo, Ana-Gabriela (Universidade do Minho, Braga, Portugal)

‘Who will make me real?’ Framing/Unframing, Resisting. Ways of 'seeing differently’.

“… the only thing I knew was that there was a visual image at the source of all my stories” (Calvino)

“The stories go with the picture ... I mean the stories make the picture” ( Rego)

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

“You're standing before a woman, and you're looking for a mere picture!” (Balzac)

Is the analysis of Visual Culture comprehended by a comparatist methodology? Is the grammar of representation, visual and literary, truly comparable? Anchored in these interrogations my paper aims to challenge a static notion of comparativism, and endorse a broader framework which allows us to compare different types of narratives, namely visual and literary, through identical theoretical strategies. I will start with a reflection on the concepts of “framing” and “unframing” as a critique to the hegemonic representation of women, in particular challenging stereotyped notions of cultural identity and geographical borders. In my analysis I aim to set in a dialogue amongst each other different types of “narratives”, both visual and literary: Italo Calvino’s essay on “Visibility” (from Six Memos for the Next Millenium, 1984); Balzac’s tale “ Le Chef d’Oeuvre Inconnu” (1831); Isak Dinesen’s, “The Blank Page” (1955), a narrative about erasure of identity and silence and Paula Rego’s series of art compositions “Balzac and Other Stories” (2012), which enact a powerful gendered commentary on the framings/unframings of History, Art History and Herstory.

10:00 AM - History as a living present: Greek literature and its complex relationship with European identity Pateridou, Georgia (Hellenic Open University, Thessaloniki, Greece)

This presentation will attempt to explore the relationship between Modern Greece and Europe taking its insights from key works of Greek literature and theoretical discussions about culture and society in relation to the European example. The analysis will aim to include major periods in Greece’s cultural and intellectual history having as a starting point the pre-war period during which the ‘Generation of the writers of the 1930s’ brought into prominence the question of Greece’s cultural stance within Europe. A large part of the presentation will involve discussing questions, ideas and beliefs that were put firmly in the ideological scope of Greek cultural life at that period (1930- 1960). For prominent literacy figures of the period: Seferis, Elytis, Theotokas, Embirikos –to name a few– the connection between Greece and Europe was a crucial factor in the way they viewed art’s prospects. The promotion of a fecund two-way relationship had in its core inception the respect for the traditional values of Greek life; these were considered the link between Greece’s past and present situation and also the basis for a value system that would not be without merit in the European context. At the same time, different views regarding the notion of the national identity allowed nuances of cosmopolitanism to merge with ideas about what constituted the components of European identity. The question with which this presentation will continue involves the exploration of the duration and impact of this legacy to writers of future generations in order to discuss also the present situation; i.e. how contemporary Greek writers who face another challenging reality understand the evolution of Greek culture in the terms of a complex European field. The main scope behind this presentation is to approach the notion of ‘Europeanness’ through its connection with ‘Greekness’, following a historical perspective.

Georgia Pateridou

Assistant Professor of Modern Greek Literature

Hellenic Open University

11:00 AM - Migration, translation, comparative literature Bermann, Sandra (Princeton University, Princeton, NJ, USA)

My paper will discuss issues of migration and translation as these affect the concept of comparative literature today. How has the mobility of populations, languages, and cultures changed the questions

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 within our field? How might a View from the South be particularly useful in rethinking our theoretical frameworks?

This talk will revisit theoretical issues in the history of comparative literature as it also reflects on the field’s challenging new concerns—and its current potential.”

11:30 AM - Recasting Contentious Past, Reorienting Critical Present Lubkemann Allen, Sharon (State University of New York, Brockport, NY, USA)

This essay critically reconsiders contemporary Portuguese fiction’s recasting and remapping of cultural memory and reorientation of cultural discourse in terms of the creatively productive “ruptures” described by Lotman in his dialectic analyses of cultural formation, contingent on the “interruption” and “intersection” of sign systems, languages, and ideas. It draws on Lotman’s work on “dialogue mechanisms” in full gear along boundaries within and between cultures. In Lotman’s model of dialogue, travesty and translation are essential and transformative for cultural consciousness, and cultural (re)construction is contingent on the “alien” word, “double-voicing,” and “rejoinder” described by Bakhtin in his analysis of dialogic discourse in the novel and “speech genres.” Even as it respects autonomy, this dialogue also reflects asymmetry and enacts a deconstructive violence, a Derridean decentering, a Deleuzian “deterritorialization” in order to redirect or re-conceive the cultural sphere. Lotman’s complex model of the semiosphere, operative at every level of culture and consciousness, elucidates the post-modern, post-colonial polyphony at play in contemporary works by writers such as Lídia Jorge and António Lobo Antunes. Mining cultural memory within the displaced consciousness at the core of their narrative fictions, writers ranging from Jorge and Antunes to Dulce Maria Cardoso recuperate marginalized and muffled histories as pretexts and subtexts for current cultural dialogue. Crossing geo-cultural borders, forcing cultural collisions, and exploring cultural rifts, these works recover deeply rooted cultural divides. Through displaced, disoriented, dissenting and disquieted characters, these works draw from unanticipated veins of memory, re-route memory, extend its geo-cultural reach. This re-membering in the novel reorients the reader not only towards contentious past, but also a critical present.

12:00 PM - Xenoglossophilia during the 18th century in Portugal: some questions about our time Malato, Maria-Luisa (Universidade do Porto, Porto, Portugal)

While the use of French as the language of culture was common in eighteenth century Europe, its usage in the inner circle of Joseph Anastase da Cunha (1746-1787) represents a very special case of this practice. Even in everyday situations, the group shared an unusual mixture of Portuguese, French, English and Latin, which leaves its traces especially in the epistolary genre. Talking in one or more foreign languages is often, yesterday as today, a sign of distinction, of course, and rarely a need, justified by the lack of words in the language. But can we go further and try it to see a "xeno- politeness" in relation to the authority of the legislature? Or a rhetoric of concealment, or the simulation of an identity? Or the defence of a cosmopolitanism indirectly threatening the homeland (of words and men)? Between particularity and universality, xenoglossophilia, as indeed xenoglossophobia, feigns one and the other.

2:30 PM - Voix/Voies du Sud: Littérature et Ex/Inclusion Coutinho, Ana Paula (Faculdade de Letras - Instituto de Literatura Comparadado Porto, Porto, Portugal)

Which function and which place remain today for a writer’s voice, especially for one who writes in Europe? Even though Europe is a continent with a long tradition of «engagement literature» ( Benoît Denis, 2000), the «Littérature engagée» (engaged literature) seems, definitively, an «outdated notion» ; instead, we may still hear about an «oblique commitment» ( Bricco, 2015), but does it really mean a new way of social intervention for writers, beyond the indifference of the «era of void» 543

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

( «l’ère du vide», Lipovetsky), beyond the decadent ideology of the end, even beyond the melancholic irony of «post narratives»? What can literary fiction or a writer’s speech add, problematize or change in/to the vertigo of words and images that invade people's everyday life and their world vision? To what extent can literary representation stress, relativize or subvert those boundaries (economic, social, political and symbolic) that are erected in a continent, where sixty years ago, some visionaries dreamt of a different and linked Europe? I propose to analyse these issues in the fictional world of two great authors of southern Europe who write of the current reality in their own countries: Lídia Jorge (Portugal) and Rafael Chrirbes (Spain). While concentrating on their novels (specially Combateremos a sombra , 2007 and Orilla, 2013), I will have as my main purpose showing what they include as essential provocation to the thinking of Europe identity and how they force us to reflect on the challenges of contemporary literature, between aesthetics and ethics

3:00 PM - When did Romania move to the South? Representations of geocultural identity with 20th c. Romanianliterary scholars Fotache Dubalaru, Oana (University of Bucharest, Bucharest, Romania)

When viewed from afar, Romanian literature’s place within the symbolical geography of Europe varies considerably. Some literary historians adopt a regional perspective and discuss this area focusing on its interconnections with other Central and Eastern European literary cultures (Cornis- Pope & Neubauer 2002, 2004-2010; Neubauer & Török 2009). Others maintain Cold War era’s strong distinction between Western and Eastern Europe (Segel 2008, Delaperrière 2005, Pynsent & Kanikova 1993). The massive Lettres Européennes. Histoire de la littérature européenne, coordinated by A. Benoit-Dusausoy & G. Fontaine (1992, 1024 p.), strangely places Romania either in Central Europe (which is distinct from ‘l’Europe balkanique’ where Serbian and Croatian literatures are to be found), or in the Eastern or even Southern parts of Europe (the latter label applies to the contemporary period).

The interior perspective is no more stable. The local intellectual consensus situated Romanian culture in the South-Eastern part of the continent before WWII. Then it gradually slided to the East alone, due to the well-known political reasons. An interesting fact is that several scientific discourses such as history, archeology, cultural anthropology, political science continued to preserve the interwar perspective upon their object as a South-Eastern European one, whereas literary studies experimented with plural locations that were never bias-free (for instance, ‘the South’ meant ‘closer to the Balkan cultural area under the Turkish and Greek influences, therefore, oddly enough, closer to an Orient that was both exalted as picturesque and despised as too traditional).

This paper proposes a study of several perspectives upon Romanian literature as a Southern one by taking as case studies the readings of Romanian literary scholars such as Nicolae Iorga, D. Caracostea, and Mircea Muthu. On the other hand, it discusses the applicability of geographical denominations to the literary corpus as such.

4:00 PM - North and South: On the Genealogy of the Divide and Its Wider Cultural Significance Angusheva, Adelina (The University of Manchester, Woodford Green, United Kingdom)

In this paper I propose to trace the genealogy of assigning differential value to the cultural and spatial formations that were to emerge as “North” and “South” in the course of the18th century. I am particularly interested in the fundamental change that occurs in the 19th century when this divide is drawn into the orbit of incipient discussions on literary cosmopolitanism. Speaking in Madame de Staël’s terms, Romantic cosmopolitanism, building on the Enlightenment concern with cosmopolitan values and a cosmopolitan cultural order, was a process of discursive boundary-

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 crossing, a ‘coming together of the North and the South’ by means of constructing a network of cultural bilateralisms allowing the mutual appreciation of difference. Against the background of this changing semantic compass of the binary “North-South”, I re-examine the significance of European Romanticism for the rise of modern comparative literature.

4:20 PM - AS WHEN A TROOP OF JOLLY SAILORS ROW: THE WISHED SHORE IN ABDELMALEK SMARI'S FIAMME IN PARADISO AND VITTORIO DE SETA'S LETTERE DAL SAHARA Lovato, Martino (The University of Texas at Austin, Austin, USA)

In this paper I compare two similar and yet not equal contemporary Italian narratives of “migration,” Abdelmalek Smari’s Fiamme in Paradiso (2000) and Vittorio de Seta’s Lettere dal Sahara (2006), to open routes of meaning across the Mediterranean, between the Global North and the South, within Italy and Europe itself. The critical debate over the national genre of “migrant” narratives reflect the challenge brought by the current wave of migration to conceptions of the nation grounded on the “Herderian paradigm,” as Casanova calls the association between nation, language, and ethnicity that has been dominant in European nation-states since the nineteenth century. By comparing the experience of migration as presented in these two narratives, I discuss the contrast staged by Smari and De Seta between different forms of semantically charged geographical categories such as “norths” and “souths,” employing Westphal’s geocritical approach, attentive to space and “destined to inform a discourse on the author, ultimate object of all the attention.” I thus investigate the degree to which different souths the Mediterranean region are comparable, to show that comparative readings of migrant narratives can disentangle our understandings of nation and literature from the usual dichotomies employed to read Europe as a sematic space characterized by a split between a modern north and a backward south. Instead, I argue, these works invite us to look beyond this divide, towards a common shore of ethical engagement in order to solve the shared problems of the globalized world.

4:40 PM - Trading Rationality for Tomatoes: The Consolidation of Anglo-American National Identities in Popular Literary Representations of Italian Culture Pierini, Francesca (National Chiao Tung University / KU Leuven)

9In his influential study The Rhetoric of Empire (1993), David Spurr analyzes journalistic discourse on the Third World and isolates a nucleus of important rhetorical figures around which representations of the colonial and post-colonial other are articulated. In this paper, I would like to study some of these rhetorical figures (classification, naturalization, idealization, and appropriation) in the context of contemporary Anglo-American representations of Italian culture in popular literature. My basic contention is that a substantial number of contemporary works on Italy retains the basic assumption of a world ordered in terms of a dichotomy between modern cultures and pre-modern ones, and makes of this taxonomy the basic spatiotemporal context for its narratives. The contemporary works I will analyse appropriate and uncritically maintain a particularly crude definition of modernity, thoroughly saturated with colonial discourse, which perpetuates the cultural dichotomies between an allegedly rational and technologically advanced Northern Europe and a less rational (therefore more sensual and “earthy”) Southern one. Since “modernity” is, in many of these works, commonly equated with “rationality,” the latter too becomes the exclusive privilege of a part of the world perceived to be at the vanguard of human history and development. This translates itself, at the level of Anglo-American representations of Italian culture, into popular novels which romanticize Italy as the locale of a backwardness and/or timelessness which contain both positive and negative connotations. This highly romanticized factor is often the reason why Italy is sought after as an ideal place of contemplation, regeneration, tranquility, and authenticity. However, through the depiction

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 of Italy as a pre-modern other, Anglo-American authors manage to consolidate their national identities as thoroughly modern, rational, dynamic, and forward-looking.

Date: Saturday, July 23rd

9:00 AM - North and South: On the Genealogy of the Divide and Its Wider Cultural Significance Tihanov, Galin (Queen Mary University)

In this paper I propose to trace the genealogy of assigning differential value to the “North” and “South” in the 18th-19th c. I am particularly interested in the fundamental change that occurs in the 19th c. when this divide is drawn into the orbit of incipient discussions on literary cosmopolitanism. Speaking in Madame de Staël’s terms, Romantic cosmopolitanism, building on the Enlightenment concern with cosmopolitan values and a cosmopolitan cultural order, was a process of discursive boundary-crossing, a ‘coming together of the North and the South’ by means of constructing a network of cultural bilateralisms allowing the mutual appreciation of difference. Against the background of this changing semantic compass of the binary “North-South”, I re-examine the significance of European Romanticism for the rise of modern comparative literature

9:30 AM - Is the South the New West ? Identity and Belonging in 21th century Romanian Migrant Literature Raduta, Magdalena (University of Bucharest, Bucharest, Romania)

The paper aims to explore and to reflect upon the identity themes and identity coordinates developed in the Romanian migrant literature of the 21 th century. We will focus on two destinations of choice for Romanian post-communist migration – Italy and Spain – and on how this new ‘home’ in the South (often pictured as the new West, altogether with its cultural love/hate aura) is thematized in fiction.

17495 - English language for "Universal Brotherhood"? Trans-national Networks, Appropriations and C Date: Friday, July 22nd Room: Sensengasse SR 2 Chair: Hashimoto, Yorimitsu

2:00 PM - A Cultural Dilemma between Silence and Eloquence in Modern East Asian Hashimoto, Yorimitsu (Osaka University, Toyonaka, Japan)

In 1913, Rabindranath Tagore received the Nobel Prize for literature, as the first non-European writer. It is epoch-making not only as the beginning of world literature beyond a geographical boundary, but also as the formation of peripheral connections and networks between Ireland and India. The English translations of Tagore's _Gitanjali_ (1912) had been effectively revised by well- known Irish poet W. B. Yeats. Yeats sensed a rivalry between Tagore and Rudyard Kipling, the first Nobel Prize-awarded writer (1907) of the English-speaking world, and not surprisingly, seemed to sympathize with Tagore in this rivalry against Kipling, widely considered the agent for British imperialism. As this emulation suggests, English became a vehicle not only to ‘curse’ or forswear British nationalism or literature, but also to interconnect local literature, even to conceive and reinvent ‘Asia’, including Celticness, as an umbrella word meaning anything non-Western. Tagore-craze across Asia, therefore, might be one of the initial examples where Asian, male-dominated

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 intellectuals realised the beginning of world literature as the ‘universal brotherhood’, rather than the previous metaphor of marriage between East and West. In the broader context, Tagore was merely a part of other complex networks in the beginning of the 20th century. Some of these authors appropriated the ideas into the local language and literature while others used two languages skilfully, and both led to several misunderstandings or conflicts that were not unusual. In this workshop, we would like to indicate how English was used as a working language in modern Asia to strengthen, consolidate, and dissolve world literature.

2:30 PM - Fujiwara Seika as an Enlightenment Thinker KAMIGAITO, Kenichi (Otusma Women¿s University, Japan)

Fujiwara Seika (1561-1619) is known as the first advocate of Neo-Confucianism in Japan. Though his attempt to cross the East China sea to Ming China failed, he communicated with Korean and Chinese, who visited Japan in the late 16th century, by means of writing (Hitsudan, 筆談) .

His first academic career was to study Buddhism and Confucianism in a Zen Buddhist Temple in Kyoto, and he acquired there perfect skill of reading and writing Classical Chinese (Kanbun, 漢文). With this skill of Kanbun, Seika grasped the whole intellectual history of China, including the new trends of late Ming Dynasty period, which is summarized to be all directions of criticism of too authorized Neo-Confucian doctrine.

Among the late Ming Dynasty thinkers, Lin Chaoen, who proposed the unity theory of three religions, namely Buddhism, Taoism and Confucianism was most influential to the formation of Seika’s original enlightenment ideas. Based on this unity and equality among religions, Seika proposed the equal international relationships among East Asian countries, in contrast to the traditional Confucian, feudal concept of China centered international relationship, in which China is the superior, and the other countries are the inferior.

In the diplomatic letter to Vietnam, Seika mentions the equal and friendly relationship between Japan and Vietnam, and emphasizes to the Japanese traders, the compliance to the native (Vietnamese) law and customs, while staying in the foreign land. This Seika’s idea is to be regarded as one of the earliest example of modern ideas on the equality among the nations.

3:00 PM - English, blessing or curse for Weltliteratur? SHIN, Jeonghwan (Hankuk University of Foreign Studies, Global Campus, Gyeonggi-do, South Korea)

Goethe introduces the universal World Literature on behalf of international communication and solidarity. And translation has been considered the best way to realize that goal. But if all human beings could communicate through a single language, as the people of Babel once dreamt, the world communication may not even need translation at all. Recently, English, striving to become the language of Babel, attempts to unite the whole world and make the universal brotherhood possible. However, could this ‘brotherhood’ be a blessing for Asian people with the different historical, cultural, and linguistic backgrounds from those of the western world? Goethe’s Weltliteratur does not exclude individual national literatures but advocates their universal co-existence in harmony. Adorno also asks if we could write a poem after the Auschwitz. Then, will it be possible to write Korean literature after the new Babel of English? This study will discuss what ‘doing Korean literature’ may mean in this world of ‘English brotherhood’ and what it can do for the future of world literature.

4:00 PM - The Theory of Typicality as Cultural Practice in Modern China Zhou, Xiaoyi (Peking University, Peking, China)

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This paper explores the notion of typicality and its reception in China between the 1940s and 1990s. This critical concept was very influential during that period of time and its function in politics is obvious. Now from a global point of view, we are able to consider it a symbolic act in the making of new subjectivity in modern Chinese history. We would argue that the use of typicality in China was not only concerned with an approach in literary criticism, but it also paved the way to cultural practice which is a far cry from the middle-class ideology.

4:30 PM - A literary journey from Khwam Suk Khong Kati ... SHIN, Keunhye (Hankuk University of Foreign Studies, Hankuk, South Korea)

A literary journey from Khwam Suk Khong Kati(ความสุขของกะทิ) to Katiui Haengbok(카티의 행복) via The happiness of Kati

This study attempts to investigate issues of self-translation and indirect literary translation and its meanings occurring in the process of translating the Jane Vejjajiva’s Khwam Suk Khong Kati, the S.E.A. Write Award prizewinning novel in 2006, into Korean language version Katiui Haengbok, using The happiness of Kati which was translated from Thai into English by the author herself as medium.

5:00 PM - The Scholar’s Invisibility: Anglophone Monolingualism and East-Asian Comparative Literature CHO, Sung-Won (Seoul Women's University, Seoul, South Korea)

In recent years there has been a growing tendency of the disciplinary tolerance toward ‘monolingualism’ among the American and European comparatists. They have become more generous than ever before toward the hard learning of a foreign language, based upon an assumption that multilingualism is a part of the life of the elite classes across the globe today. This is alarming, however; for it is “English,” the “de facto” language of the world, that they are most concerned with. The literatures and cultures across the world will come to them through English translations, and the world comparatists will communicate with them in English. Thus, a little sacrifice of foreign language education and translingual approaches won’t hurt much of their comparative research projects. But questions arise: Who will, then, do the translations they need in order to give them access to the world literature? And who will teach the translated literatures in world comparative literature programs? Coming to this point, it seems clear that the task is now tossed into the hands of the comparatists on the other sides of the world such as Asians, Africans, and South Americans, those who will work harder and harder to master English, for as far as ‘monolingualism’ concerns their comparative projects, it usually comes down to either a complete isolation from the outside world or a change into a “must” of multilingualism. In effect, as far as the world comparative literature is concerned, monolingualism and multilingualism are the two faces of the same token. Focusing on this tendency of Anglophone monolingualism, this study discusses the double-edged challenges that the East-Asian comparatists are now facing in their mission to make their comparative works visible in the academic platforms of the world comparative literature.

16497 - Comparative Literature: Global Practice Date: Friday, July 22nd // Saturday, July 23rd // Monday, July 25th Room: Hs 32 Chair: Eoyang, Eugene; Zhou, Gang

4:00 PM - Teaching Comparative Literature in Soviet and Post-soviet Georgian Universities Ratiani, Irma (Iv. Javakhishvili Tbilisi State University, Tbilisi, Georgia)

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Comparative Literature as University discipline was forbidden for decades in the curriculum of Soviet universities, including the Georgian one. The basic reason for this was ideology: as much as comparative literature was tended to expand boarders of literary research towards the literatures of Non-soviet and Non-socialist countries, it was a frightening prospect for Soviet science. Contrary to this notion was established the new term - “Literary relations” - which was widely used towards the study of literary communications within Soviet and Socialist countries. The main difference between the “Comparative literature” and “Literary relations” was the absent of methodologies, which might bond Soviet literary studies with international one. In Post-soviet period enthusiastic efforts to correct this defect showed up: in post-soviet period the process of expanding the boundaries was followed by the process of deepening literary studies and almost all Georgian universities were ready to implement Comparative literature in their curriculum, but . . . the problem of different kind was raised: the shortage of specialists. Therefore, universities faced complex problems, like – translating textbooks, creating syllabuses, training specialists. But despite this the result was successful: today Comparative literature is one of the most significant disciplines in the curriculum of major Georgian universities.

4:30 PM - Does Trans-Persian/Arabic-Gulf Comparative Literature Exist? An Exploration of the Practices of Comparatists in the GCC and Iran Mahmoud, Alaaeldin (The American College of the Middle East, Kuwait City, Kuwait)

This paper wishes to explore the practices of comparatists on both shores of the Arabic/Persian Gulf [i.e. in Iran and the Gulf Council Countries], which leads to a question regarding the possibility of something that might be called a 'Trans-Gulf' Comparative Literature. Whether such a term may follow the more conventional and well-established schools of Comparative Literature or may have its own peculiarity is to be investigated. First, a historical survey shall showcased to contrast the beginnings of comparative literature beginnings in the region. Then, the current work of comparatists, with special emphasis on the work of the Gulf region nationals rather than the work of expatriate academics who are affiliated to the departments of comparative literature in the Gulf and Iran universities. The unique output of literary journals and magazines, although not always undertaken by university professors, is of special interest as well. Also, emphasis will be laid on the translation of literary works, whether it is done in the intra-Gulf region, which means the dual translations of Persian literature by GCC translators and vice versa, or the translations done by Persian and GCC translators of non-Persian and non-Arab literature, which is a task usually and typically done by foreign languages academics as part of their research interests, such as the translation of English and French literature by Persian professors of English and/or French literature.

5:00 PM - What Do Comparatists Do? An Answer from Iran Fomeshi, Behnam (Shiraz University, Shiraz, Iran)

The origin of comparative literature in Iranian academia goes back to Fatimah Sayyah (1902-1947), whose early death at the age of forty-five brought an end to an era. The seeds of the discipline remained dormant until the beginning of the new millennium, when a narrow nationalistic idea of comparative literature supported Iranian policy makers’ hope that the discipline would justify the cultural superiority of their home country over the world, especially the West. In the new period one witnesses a rapid growth of comparative literature studies in Iran. In recent years Iranian comparatists, especially the younger scholars, have found new definitions of the discipline.

Date: Saturday, July 23rd

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2:00 PM - Kia ora begorrah! Amen: Promiscuous Postcolonial Mixing in the Literature of Aotearoa- New Zealand Williams, Mark (Victoria University of Wellington, Wellington, New Zealand)

Comparative literature has a very limited presence in New Zealand universities, a country in its 175 years of existence persistently British in its loyalties and character. For much of that period the country was monolingual, the native Maori language retreating throughout the 19th and 20th centuries. A recovery of Maori language and culture since the early 1970s has been successful by comparison with other similarly marginalised languages, but has not produced a broad cohort of readers in the Maori language.

Yet New Zealand does indicate the possibility of a unique and vigorous version of comparative literary studies in spite of its narrow linguistic provenance, one that arises as the limitations of a settler identity confront the opportunities of a postcolonial national identity. Comparative literary study in Aotearoa-New Zealand, while not formulated as an identifiable field, exists in the attention by critics, writers and linguists to the points of entanglement between the main linguistic groups produced by a history of colonisation, biculturalism and migration.

This paper will involve the comparison of the several distinct but related literatures operating within NZ: European, Maori, Pasifika, and migrant. These discrete literatures are not as developed as in other settler countries such as Canada and Australia. But they do exist and offer particular advantages for the concept of a postcolonial national literature.

The papers considers changing dynamics among the parts of that no longer unitary concept of a national literature. In the main these differences are not linguistic, in the sense that Maori fiction is written in Maori or Samoan poetry in Samoan. They do, however, involve language differences profoundly. I characterise those differences as continuous with those of code-switching or perhaps style-shifting. That is they work by situating different language registers drawn from Pacific, Pakeha, Asian and occasionally other migrant backgrounds in a common context.

Secondly, I would consider a comparativist approach to involve the observation of commonalities and differences between Aotearoa-New Zealand’s postcolonising literary pattern and that of Australia and Canada especially, but also other countries such as the US, the Caribbean and South Africa.v

2:20 PM - Jonathan Hart (Western University & Shanghai Jiao Tong University) Hart, Jonathan , Canada

As a long-time editor of the Canadian Review of Comparative Literature and one of its editors for 27 years and as director of Comparative Literature in a Canadian university that had had Comparative Literature since the 1960s. I was able to see the institutional and intellectual crises in Canada while publishing work from Asia, Africa and elsewhere that showed that the field was thriving elsewhere. I wrote about Comparative Literature and in this paper, I am interested in discussing why in places like China Comparative Literature is thriving. I am scheduled to help develop Comparative Literature at a Chinese university and would be be pleased to report on our progress there.

2:40 PM - Comparative Literature in Japan Cho, Kyo (Meiji University, Japan)

First section reviews the history of comparative literature theory and practice in Japan from Meiji era to the recent years, especially the progresses that have taken place since the end of the World War II. The second section discusses the feature of comparative literature in Japan and its major causes. Presenting several concrete case studies, the section will also explain the differences between 550

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 comparative literature practice in Japan and that in other countries. The last section will highlight the achievements in the research of comparative literature in Japan within these twenty years, and will also explore the new problems and possibilities that the field will be facing in the near future.

3:00 PM - Cultural Translation, Modern Poetry, and World Literature Kim, Youngmin (Dongguk University, Seoul, South Korea)

Whereas the specialist attempts to enter as fully as possible into the source culture, the student of world literature stands outside, very much as Benjamin describes translation itself standing outside a work’s original language, facing a wooded ridge that each of us will forest with our own favorite trees: "Unlike a world of literature, translation does not find itself in the center of the language forest but on the outside facing the wooded ridge; it calls into it without entering, aiming at that single spot where the echo is able to give, in its own language, the reverberation of the work in the alien one." Immersion in a single culture represents a mode of relatively direct engagement with it, aptly symbolized by efforts to acquire “near-native fluency” in the culture’s language. Reading and studying comparative literature, by contrast, is inherently a more detached mode of engagement. Reading world literature becomes even more distant engagement of reading process. It enters into a different kind of dialogue with the work, in the context of the discipline of distance and of difference. We encounter the work not at the heart of its source culture but in the field of force generated among works that may come from very different cultures and eras. In this context, I will investigate how the concept of the cultural translation in world literature has belatedly arrived in the 1990’s but is still controversial. Ironically, unless the translator is empowered by the authentic cultural translation which will be possible only by the linguistic insider's understanding, the cultural translation will leave another space of untranslatability to be crossed. The ethics of cultural translation will emerge, then, when one brings closeness and remoteness together by balancing the distance toward each other in order to liberate the language for cross-cultural and transnational exchange of human emotion and understanding. This presentation will take some examples from modern poetry, such as Yeats, Pound, Eliot, and contemporary poets.

Date: Monday, July 25th

2:00 PM - From Francophone to World: Redefining Moroccan World Literature at the Intersection of Language, Migration and a Comparative Consciousness. Nakkouch, Touria (Ibn-Zohr University, Agadir, Marocco)

In my presentation, I introduce the book that I am working on a propos Moroccan World Literature and a change of paradigm. I situate the rich and multilingual body of Moroccan literature at the intersection of three decisive concepts: language, migration /diaspora, and a comparative consciousness. By the latter I mean a transnational consciousness capable of practicing “terrestrial humanism” ( E. Said) and of negotiating “planetarity” beyond the paradigms of Eastern fundamentalist thought and Western globalist paradigms; one also founded on a gender revolution proper to the Arab-Islamic cultural tradition. Studying Moroccan literature in terms of a Comparative Literature paradigm grew out of my concern with the world literature value that comes to Moroccan literary texts through translation, and places this corpus in a contending zone between neocolonial French and global English. The Anglo-American concept of "world literature“, I argue, reflects questionable paradigms of universal value. Comparative Literature should analyze the terms of globalization’s engagements with emergent literatures. Moroccan literature in Arabic makes a significant contribution to contemporary Maghrebi and Arab thought. But unlike its francophone variant, it fails to figure in World Literature anthologies. Francophone Moroccan literature reads as a dubious act of cultural translation which entails the creation of a dangerous space of liminality the writer creates to resist the dominant French language. Moroccan World literature also hems in 551

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 remarkable corpuses in English and Dutch languages. Moroccan author Laila Lalami ‘s most recent novel The Moor’s Account ( 2014) is a brilliant example of the “contrapuntal reading” required in Edward Said’s transnational humanism. In the Netherlands, Hafid Bouazza , Abdelkader Benali and Sais El Hajji become distinguished debut diasporic writers whose hybrid identity enables them to exploit the aesthetic and political possibilities of magical realism and of postmodern allegory. These facets of Moroccan literature make it clear that World Moroccan literature is too complex an issue to be the mere business of English translation. There remain unresolved fundamental questions in the chapter on Cultural Studies in Morocco and the Maghreb, and the Comparative Literature turn that the field has taken recently. It is the aim of my presentation to address some of them.

2:30 PM - A Comparative Study between French Comparative Literature Theory and Chinese Comparative Literature Junwei, Zhang (Sichuan Universtity, Chengdu, China)

Reviewing the history of comparative literature, we know the French comparatists attached great importance to the construction of disciplinary theories. From the establishment of influence studies theory by the French school, the scholars in France were keen on the social development in the west and the evolutionary tendence of world literature, then continuousy proposed new theories and viewpoints which exerted evident influences on this discipline. And the comparative literature discipline in China however, emerged from a collision between east and west, the two heterogeneous civilizations. She enriched her disciplinary theories by first imitating and later integrating the western ones. Facing to the globalization context, Chinese scholars today advance the Variation Theory of comparative literature which made up the neglect of heterogeneity reserch in the disciplinary methodology, so as to meet the requirements of cross-civilization studies. In future scholars in Chine as well as in France will make their major efforts in the studies of cross-civilization dialogues and complementations.

3:00 PM - Comparative Literature in France in 2016 Tomiche, Anne (Université Paris-Sorbonne, Paris, France)

This paper will present the state of the discipline of Comparative Literature in France in 2016, from three points of view, tracing the recent evolutions and changes and analyzing them:: the institutional point of view; the point of view of teaching and the point of view of research fields

17503 - La « forme pure », « l’art absolu », la « littérarité » : utopie artistique ou essence de la Date: Friday, July 22nd Room: Hs 27 Chair: Werth , Eva ; Tchougounnikov, Serg

9:00 AM - Die Form des Literarischen: Ornament und Arabeske Coch, Charlotte (University of Cologne, Cologne, Austria)

Der Begriff der ‚Form‘ steht für eine Ästhetik, die seit der Frühromantik die Grenzen des Literarischen zu sprengen versucht. W. Benjamin hat in Der Begriff der Kunstkritik in der deutschen Romantik auf die Bedeutung des Formbegriffs für die Frühromantik hingewiesen: „Die romantische Theorie des Kunstwerks ist die Theorie seiner Form,“ und zwar nicht im Sinne eines ‚Gefäßes’ für einen ‚Inhalt’, sondern als „Möglichkeit der Reflexion in dem Werke“. Ein solcherart reflexiv-dynamisches Formkonzept birgt, so die These, gerade nicht die Gefahr, die Grenzen des Literarischen zu

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 verwischen, sondern eröffnet neue Chancen, das genuin Literarische zu bestimmen. Innerhalb der Systemtheorie Niklas Luhmanns ist die Unterscheidung von Form und Medium zentral. Sie lässt sich als Weiterentwicklung der frühromantischen Ästhetik verstehen. Das frühromantische und systemtheoretische Formkonzept erhellen sich wechselseitig und erweisen so die Fruchtbarkeit einer auf Dynamik und Differenz setzenden Formkonzeption, die es erlaubt, die formale Organisation konkreter literarischer Texte beobachtbar zu machen. Im frühromantischen Kontext ist damit die Arabeske gemeint, insofern sie als ‚inneres’ Ornament konzipiert wird, also die dem Kunstwerk inhärente Verteilung von Redundanz und Varietät adressiert. Die Arabeske ist, so Schlegel, das „Wesentliche im Roman“, denn sie ist die „chaotische Form“. Reformuliert man diese Funktion systemtheoretisch als Prozessierung der Differenz von Varietät und Redundanz, so eröffnet sich die Möglichkeit, zu zeigen, auf welche Weise es literarischen Texten gelingt, kontinuierlich Ordnungen im Bereich des Möglichen zu generieren und wieder aufzulösen. So lässt sich zeigen, dass die Spezifik literarischer Ordnungen nur als Dynamik der Form beschreibbar, und der Widerspruch zwischen der ‚reinen Form‘ und der ‚literarischen Sprache‘ nur ein scheinbarer ist.

9:20 AM - Un "absolu poétique"? Poésie, poétique et autonomie du langage des premiers romantiques aux dadaïstes vieillissants Mareuge, Agathe (Université Paris-Sorbonne, Berlin, Germany)

Cet exposé propose d’étudier la filiation entre premiers romantiques et dadaïstes tardifs du point de vue de l’intégration de la réflexion poétologique à la poésie elle-même. La notion d’« absolu littéraire » (Lacoue-Labarthe / Nancy, 1978), ou, en d’autres termes, d’absolu poétique (si l’on entend la poésie dans son sens large de Dichtung ) recouvre ici deux aspects principaux : d’une part, une poésie absolue car contenant sa propre réflexion, sa propre poétique, et d’autre part, une poésie absolue car autonome par rapport à la réalité extra-linguistique – un principe fondateur de la modernité littéraire –, n’ayant pas besoin de référent extérieur pour fonctionner. Nous partirons d’un certain nombre de textes du romantisme d’Iéna (essentiellement des fragments de l’ Athenäum de Friedrich Schlegel et des fragments de Novalis) pour analyser comment la poétique qui y est formulée – et la conception non classique de l’œuvre qui en découle – se retrouve, quelque deux siècles plus tard, au fondement de l’expérimentation dada, plus particulièrement dans sa phase tardive, c’est-à-dire après 1945, lorsque la référence à une certaine tradition – en l’occurrence le double héritage romantique allemand et symboliste français – est devenue moins taboue qu’en 1916-1918, où la rupture avec le passé devait être totale. En nous appuyant sur des textes de Jean Hans Arp, Raoul Hausmann, Richard Huelsenbeck et Tristan Tzara, nous examinerons comment la réappropriation des principes de la modernité à l’œuvre dans les productions tardives de l’avant- garde dada va de pair avec le caractère réflexif de leur poésie, dont nous étudierons quelques manifestations (auto-commentaire, écriture théorique ou théorisante, pratique éditoriale et anthologique, ironisation et mise en scène de l’œuvre).

9:40 AM - De la "visibilité" à la "littérarité": la métamorphose d'un concept-clé de l'esthétique formaliste Tchougounnikov, Serge (Univeristé de Bourgogne, Dijon, Les Mureaux, France)

Il s’agit d’examiner la relation génétique entre le concept de « poéticité » ou de « littérarité » dans le formalisme russe et le concept de « visibilité pure » (reine Sichtbarkeit) dans le formalisme de langue allemande (K. Fiedler, A. von Hildebrand). Nous analyserons la place de la dimension visuelle dans la démarche formaliste, et en particulier le fait que l’objet de ce courant, issu de l’histoire de l’art, fut originellement conçu comme un « art de voir » et comme « visibilité ». Cette approche cherche à concevoir les aspects visibles de l'art pictural et, plus généralement, des arts plastiques, comme une sorte de langage, son ambition dans l’histoire de l’art consiste à élaborer une grammaire de la langue

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 plastique. Enfin, c’est la conception de l’objet visuel dans le formalisme russe (formulée en particulier dans les essais formalistes sur la « poétique du cinéma », 1925) qui réaffirme l’affinité de ces deux programmes de travail. L’intérêt particulier des contributions formalistes réside en ce que celles-ci appliquent à l’objet visuel (le film) leur concepts élaborés originairement pour le texte littéraire. C’est cette dimension « poétique » et « transrationnelle » de l’image qui reçoit dans le formalisme occidental le terme de « visibilité ». Cette dernière est comprise comme la dimension résistante et opaque, elle illustre l’idée selon laquelle ces marges opaques de l’image ont permis de poser la surface de l’image comme un objet esthétique. La même intuition conduit les formalistes russes à postuler l’autonomie de la dimension sonore du texte, la poser comme un « objet autonome ». La notion de « langue transmentale » ou encore de « poésie transmentale », l’un des apports connus du formalisme russe, fait partie de cette démarche qui consiste à transformer la notion de « visibilité » en celle de « littérarité ».

10:00 AM - MENSCHLICHE GESTALT IN DER MODERNE: "REINE FORM" UND EIN VERLANGEN NACH DEM UNIVERSELLEN AUSDRUCKSMITTEL Halak, Miroslav (Kunsthistoriker und Kunsttheoretiker – Turčianska galéria v Martine, (Galerie der Moderne in Martin, Slowakei); Freiberufliche Forschung im Bereich der psychologischen Ästhetik und Bildsemiotik – Wien, Österreich, Martin, Slowakische Republik)

Wie läst sich aber eine reine Form produzieren, und was soll man unter der „Reinheit“ verstehen? Pluralitätstendenz die später die Postmoderne prägt wird in den diversen ideologischen und philosophischen Richtungen, die sich an dem Profilieren der Moderne beteiligen, sichtbar und lässt keinen Anlass zum Exklusivitätsanspruch der oder jenen Theorie. Die „Reinheit“ und dementsprechend die „reine Form“ bezieht sich im heterogenen

Organismus der Moderne aber trotz dieser Vielfalt offensichtlich auf die freie Schönheit „pulchritudo vaga“1 des Kantischen Systems. Der Ausdruck „frei“ betont das die anhängenden Verhältnisse zwischen einem begrifflichen – künstlich entwickelten Objekt und dessen konventionsbezogenen ästhetischen Kategorien absentieren. Erst bei Unterlassung einer durch Übertragung der Bedeutung bedingten Norm in der Kunst gelangen wir zu diesem auf klaren Relationen aufgebauten Ausgleich zwischen dem Äußeren und dem Inneren im Werk. Dies wurde in der Moderne auf verschiedenste art und Weise mit dem Ziel modifiziert die gewollte Balance zwischen der Darstellung und der Bedeutung zu erzielen. Ein ganz spezifisches Problembereich an dem man die Formulierung des „universellen“ exemplarisch demonstrieren kann, stellt die figürliche Kunst dar.

Durch Vergleich der theoretischen Hintergrunde und der bildnerischen Praxis der Hauptströmungen der Moderne bekommen wir eine Summe an Umgangsformeln die als Experimente bei der Suche nach einer universellen Sprache in der visuellen Kommunikation zu verstanden sind. Zu welchen Ergebnissen das Bemühen zur Erschaffung des idealen Formentypus in der Kunst der ersten hälfte des 20. Jh. führte, wird hier an den figuralen

Tendenzen demonstriert und theoretisiert.

11:00 AM - La forme pure, l'impasse théorique Djukic, Marjana (University of Montenegro, Institut of foreign languages, Podgorica, Montenegro)

André Gide a rêvé „le roman pur“ dans Les faux-monnayeurs , Valéry „la poésie pure“, les avant- gardes ont produit l'art abstrait. La création est toujours suivie de la conscience théorique. Les Formalistes russe imaginent la notion „littéralité“ pour désigner la qualité spécifiquement (pour ne pas dire: purement) littéraire d'une œuvre. Ils sont contemporains du futurisme russe. Dans les 554

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 travaux ultérieurs de ce groupe, surtout dans ceux de Tynanov sur l’évolution littéraire, on peut voir l'impossibilité théorique de rester dans la „pureté“ formelle.

D'autre part, Antoine Compagnon dans son livre Les cinq paradoxes de la modernité démontre l'art abstrait de Kandinsky, Malevitch et Mondrian du point de vue théorique. Tous les trois artistes lient son art aux concepts théoriques très archaïques. Par contre, les programmes modernes avaient pour résultat les créations plutôt traditionnelles.

Ce serait deux piliers théoriques pour réfléchir sur le lien entre l'art et la théorie, le formalisme russe et l'héritage théorique français.

11:20 AM - Du « régime de littérarité » à « l'artistisation », l'art verbal comme érotique sémiotique de l''uvre littéraire. (Hommage à Georges Molinié) Lynda-Nawel, TEBBANI (Passage XX-XXI, Lyon 2- Lumières, CRASC/UCCLLA, Oran, Algérie, Lyon, France)

Du « régime de littérarité » à « l’artistisation », l’art verbal comme érotique sémiotique de l’œuvre littéraire. (Hommage à Georges Molinié)

Nous proposons une re-lecture de la théorie de Georges Molinié de la sémiostylistique quand à « l’art verbal » et son « régime de littérarité » dans la littérature en général, et dans ce que nous nommes le nouveau roman algérien, en particulier. En effet, la pensée théorique de « littérarité » pensée et réfléchie par Georges Molinié permet de concevoir « l’art verbal » au-delà de toutes contingences linguistique, politique ou postcoloniale. Le roman, l’œuvre littéraire, n’est qu’art. Et, « l’art est des sens, et non d’abord du sens » (Molinié, 1998, p.26). De plus, « toute œuvre d’art verbal (c’est-à-dire reçue comme telle) n’existe comme art que dans la mesure où son caractère spécifique apparaît bien comme celui-là », (p.39).

Dès lors, pour Georges Molinié, « art verbal a remplacé texte littérarisé , et le régime de littérarité s’est subrepticement changé en régime d’art » (p.169).

Ce régime d’art est, avant tout, érotique d’art, de sa réception et de son appréhension entre vertige, caresse et jouissance : « Ainsi, on est conduit à rappeler que l’art est vivant, non pas que l’art est la vie, mais que l’art ne s’appréhende, comme art, que dans la sensation de ce vertige » (p.189) ; « La jouissance de l’art est le simulacre de la jouissance sexuelle ; l’acte sensible de l’art en effet est le simulacre de la caresse sexuellement partagée ; la pénétration de l’expérience de l’art est le simulacre de la pénétration sexuelle » (p.197).

La pérennité de la réflexion de Georges Molinié sur l’artistisation et le « régime de littérarité » nous la voyons dans le nouveau roman algérien , précisément dans les romans de Mourad Djebel et El Mahdi Acherchour. Au-delà de l’écho ou de l’application textuelle d’une réflexion théorique, il s’agira pour nous de démontrer la praxis érotique d’une sémiotique pure permettant l’appréhension la plus juste, la plus pertinente (la plus vraie ?) de l’art romanesque de ces auteurs. Bref, la pérennité de l’œuvre de Georges Molinié est de ne pas tomber dans l’oubli et rappeler que dans sa réflexion se loge et se meut l’enjeu de toute herméneutique : la passion (physique, entière et totale) d’un critique philologue pour l’art. Et c’est pourquoi, lors de ce colloque qui se déroulera deux ans après sa disparition, nous tenons à lui rendre modeste hommage.

11:40 AM - L'oeuvre pure au théâtre, de la théorie à la scène Abdelmajid, Azouine (université Mohammed V, Marrakech, Marocco)

Le mythe de l’œuvre pure a constamment fécondé l’imaginaire des créateurs dans différents champs disciplinaires. La poétique aristotélicienne a servi aux théoriciens des genres comme balise

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 permettant d’inventorier les caractéristiques et de tracer les contours génériques aussi bien dans la littérature que dans les arts, et ce en se basant principalement sur la dichotomie fond/forme.

Dans le champ théâtral cette question a été subtilement posée par les théoriciens de la scène et par des critiques dramatiques Roland Barthes, Michel Corvin, Patrice pavis, à titre d’exemple. Ces derniers ont essayé de trouver ce qui fonde la particularité générique du théâtre par rapport aux autres genres en répondant à une pléthore de questions : qu’est-ce que la théâtralité ? où réside-t- elle ? Faut-il la chercher dans le jeu d’acteur, dans le cheminement de l’action, dans l’organisation de l’espace, à l’intérieur du texte lui-même ? Ou c’est dans l’architecture d’ensemble de l’événement scénique ?

Pour se pencher sur cette problématique nous comptons focaliser notre réflexion sur des tendances théâtrales qui ont marqué l’historiographie du théâtre durant le 20 ème Siècle, notamment avec l’avènement de l’art de la mise en scène 1890. Donc par souci d’exhaustivité, il sera question de la tendance épique avec Berthold Brecht, la doctrine du théâtre de la cruauté chez antonin Artaud, la conception du théâtre pauvre avec Jerzy Grotowski. Finalement nous interrogerons la conception du théâtre total de Tadeusz Kantor pour voir à quel point cette conception prône le contre sens de la purification et de l’œuvre absolue en adoptant l’idéal de synesthésie, de perméabilité et d’intersémiosité entre les genres.

Notre approche se fera à partir des écrits considérés comme textes fondateurs dans la littérature théâtrale, à savoir :

Le Théâtre et son double, d’Antonin Artaud ( 1938),

Petit orgagnon pour le théâtre , de Bertolt Brecht(1978).

Vers un Théâtre pauvre, de Jerzy Grotowski (1971).

12:00 PM - Lectures contemporaines de Baudelaire : art et théorie chez Christophe Hanna et Nuno Ramos Lemos, Masé (Universidade Federal do Rio de Janeiro, Rio de Janeiro, Brazil)

Comment la poésie – ou la post-poésie – et l'art contemporain produisent-ils l’expérience dans les immenses villes? A partir de “Petits poëmes en prose” (1998) du poète et théoricien français Christophe Hanna et de “Mauvais vitrier” (2010) de Nuno Ramos, poète et artiste brésilien, nous essayerons de repenser certaines questions théoriques – titre de la maison d’édition française à laquelle appartient Hanna – une fois que les nouveaux objets artistiques ne peuvent plus entrer dans le cadre de la théorie existante. Il est alors important non seulement de faire une relecture de Baudelaire à partir de ces auteurs, mais aussi de mettre en question le processus contemporain de déchirement des limites entre poésie et art contemporain.

Mots-clés : Poésie, Post-poésie, Art contemporain.

2:00 PM - L'organisme monocellulaire comme « Urbild » : la poésie pure du vivant Werth, Eva (Université Paris-Est Marne-la-Vallée, Marne-la-Vallée, France)

Il s’agit d’examiner l’apport des sciences de la nature, et en particulier, de la pensée évolutionniste, à l’élaboration de la notion de « forme pure » dans les débats esthétiques des années 1880/1900.

Concrètement, nous nous pencherons sur le cas de Wilhelm Bölsche (1861-1939), biologiste, poète et théoricien de l’esthétique, passeur entre le domaine de « Naturwissenschaft » et celui de « Kulturwissenschaft ». En particulier, nous analyserons les modalités selon lesquelles certains modèles d’origine biologique (à savoir, celui de l’organisme monocellulaire ou de « monère » dans la 556

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 terminologie de Haeckel) se sont imposés dans le paysage de la poétique et de l’esthétique au tournant du 19e et du 20e siècles.

Appréhendé principalement dans la perspective d’une expressivité définissable comme virtuelle ou potentielle, ce proto-phénomène du vivant apparaît comme un équivalent organique de la « forme pure » des théoriciens de la littérature et de l’esthétique. Au-delà des querelles d’écoles (telles que naturalisme, expressionnisme, etc.), cette définition minimaliste du vivant est concevable comme un « procédé » de toute œuvre à venir. Ce modèle s’avère l’une des matrices de la conceptualisation de la « forme pure » à l’âge des modernités esthétiques.

2:20 PM - Ascesis and authorship: Flaubert and Kafka Buch, Robert (Univ. of New South Wales, Sydney, Sydney NSW, Australia)

Taking its cue from Peter Sloterdijk's work on askēsis as self-perfection, the paper examines the nexus between ascesis and authorship in modern literature. Gustave Flaubert and Franz Kafka serve as paradigmatic authors. Both are not only associated with asceticism in their writerly habitus but there is also an ascetic impulse at work in the writing itself. One of its manifestations is an investment, in both of them, in achieving purity and perfection in their work. Against the backdrop of this ascetic impulse my paper discusses what the notions of purity and (self-)perfection mean in these two authors. I am particularly interested in what these terms are set against. What constitutes the impurity and imperfection they seek to overcome? The two possibilities I wish to discuss are worldliness and subjectivity.

2:40 PM - René Char et Stéphane Mallarmé :la quête de l'absolu et l'atelier du poète THOMA, FOTEINI (Universite Paul-Valery Montpellier III, ATHENES, Greece)

« L'absolu de la littérature, ce n'est pas tant la poésie [...] que la poïesie [...], c'est-à-dire la production » , expliquent Philippe Lacoue-Labarthe et Jean-Luc Nancy dans leur étude intitulée L'absolu littéraire . Cette image de l'autopo ï esie à laquelle font allusion Philippe Lacoue-Labarthe et Jean-Luc Nancy, nous invite à songer à l'hermétisme du dire poétique de René Char, écrivain récalcitrant, avant-gardiste, exigeant, compagnon de route du mouvement surréaliste pendant plusieurs années, mais également à l'écriture de Stéphane Mallarmé, poète de la seconde génération romantique, qui considère que l'écrivain doit s'effacer du texte, en transformant sa propre sensation de la déperdition vitale, en une expérience de plénitude. Poètes de l'absolu, souffrant l'un et l'autre du vertige qui resurgit dans la disjonction entre une réalité décevante et un idéal poétique difficile à atteindre, ils suivent tous les deux un parcours poétique qui s'appuie sur le nouage d'un rapport dialectal qui se développe entre la poursuite de l'absolu, qui, sous la plume de René Char acquiert le nom de l'inespéré, et pour Stéphane Mallarmé celui de la forme pure, et l'avènement du geste poétique. Il serait alors tentant pour nous d'essayer, en étudiant les parcours poétiques chariens et mallarméens, de réfléchir sur la façon dont on voit s'effectuer le dialogue entre la revendication de l'absolu et l'acte créatif, qui, loin de s'opposer ne font que se réaffirmer dans leur complémentarité.

3:00 PM - Francis Ponge ou la rage de lÕexpression : " la recherche de la Ceformule perléé Chestier, Aurore (Université de Genève, Puidoux, Switzerland)

Francis Ponge a consacrŽ son Ïuvre enti•re ˆ la recherche dÕune parole efficiente qui sÕimpose par la seule force de son Žvidence et de son styleÊ; son idŽal Žtant dÕaboutir ˆ une Žquation parfaite entre les ressources infinies de lÕŽpaisseur des choses et celles des mots. Or, son entreprise poŽtique na”t avant tout dÕun drame de lÕexpression, celui de lÕinadŽquation entre les mots et les choses. Le cratylisme nÕest quÕune illusion et le langage appara”t d•s lors comme un instrument dŽfaillant, un syst•me de signes arbitraire et mensonger, dont il faut se mŽfier et user avec la plus grande vigilance pour ne pas dire ce que les mots nous font direÊ: ÇÊEcrire contre les mots, contre le 557

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 langage, en se mŽfiant toujours de leur fa•on dÕabuser de moiÊÈ. La force subversive et paradoxale de lÕŽcriture pongienne tient de la gageure dÕavoir ŽdifiŽ une Ïuvre littŽraire en se dŽtournant avec suspicion des mots comme autant dÕŽcrans rŽducteurs dissimulant les choses. La recherche de la formulation parfaite - de la perle verbale - passe nŽcessairement par un compte tenu des mots et par la crŽation dÕune rhŽtorique par objet. Cet idŽal utopique procure ˆ la crŽation poŽtique son dynamisme acharnŽ. Francis Ponge travaille sans rel‰che sur la plasticitŽ des mots, les racines Žtymologiques et les jeux des sonoritŽs, cherchant ˆ justifier lÕorigine des mots par un processus mŽtalinguistique de motivations indirectes. LÕŽpaisseur sŽmantique du texte doit •tre multidimensionnelle ˆ lÕinstar de lÕobjet quÕil reprŽsente afin dÕaboutir ˆ un texte-objetÊou objeu. La particularitŽ de lÕÏuvre de Francis Ponge tient ˆ ce quÕelle met en sc•ne et commente ses propres conditions de production et de rŽception ˆ travers un procŽdŽ mŽtapoŽtique de dialogisme et de spŽcularitŽ. Au refus de lÕabsolu littŽraire - toute entreprise poŽtique Žtant vouŽe ˆ lÕŽchec - Ponge oppose des succ•s relatifs dÕexpression.

4:00 PM - la recherche de la lumière entre peinture et littérature: Pierre Michon et Pablo Montoya Bejarano, Alberto (caro y cuervo, bogotá, Colombia)

Dans notre intervention on se penchera vers la question littérature/peinture autour dus sujet collective qui pense le destin de la notion de "forme pure" dans des oeuvres de l'écrivain français Pierre Michon et l'écrivain colombien Pablo Montoya. Il s'agit de réfléchir sur les liens productives entre peinture et écriture qui intéresse ces deux écrivains contemporaines comme un dispositif de création diverse et complexe. L'analyse des nouvelles et romans nous permettra d'explorer les sentiers de dialogue possible entre une idée de "forme" en peinture et en littérature.

Bibliographie

Michon, Pierre. Abades, Alfabia, 2010.

Michon, Pierre. El origen del mundo, traducción de María Teresa Gallego Urrutia, Anagrama, 2012

Michon, Pierre. Los Once, traducción de María Teresa Gallego Urrutia, Anagrama, 2010.

Michon, Pierre. Mitologías de invierno. El emperador de Occidente, traducción de Nicolás Valencia, Alfabia, 2009.

Michon, Pierre. Rimbaud el hijo, Anagrama, 2001.

Michon, Pierre. Vidas minúsculas, traducción de Flora Botton-Burlá, Anagrama, 2002.

Montoya Pablo. (2010). El beso de la noche. Bogotá: Panamericana.

Montoya, Pablo (1997). La sinfónica. Medellín: editorial el propio bolsillo.

Montoya, Pablo (2015). Triptico de la infamia, Bogotá: Random House

Montoya, Pablo, (2003). Cuaderno de París, Medellín: Eafit.

Montoya, Pablo. (2008). Réquiem por un fantasma. Medellín: Hombre nuevo.

Montoya, Pablo. (2009). Solo una luz de agua. Medellín: Tragaluz.

4:30 PM - Images lettrées, livres sans paroles. Le livre d'artiste européen comme synthèse artistique ? Martinelli, Hélène (Ecole Normale Supérieure de Lyon (France), LYON, France)

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S. I. Witkiewicz ne concevait pas l'application de sa théorie de la "forme pure" ("czysta forma") ailleurs que dans la saisie simultanée rendue possible en peinture ou au théâtre – la littérature, le roman en particulier, ne présentant pas selon lui la composante visuelle nécessaire à son actualisation. Pourtant, nombre de ses contemporains (et compatriotes, de Stanisław Wyspiański à Tytus Czyżewski), maniant aussi plusieurs arts, annexèrent à leurs œuvres littéraires la dimension visuelle propre à faire du livre le compromis entre les arts du temps et de l'espace, du texte et de l'image. Est-ce à dire que, du décorativisme au formisme, grâce aux jeux typographiques confinant à l'illisible, et en dépit de la littérature et du logocentrisme, le livre devient le véritable théâtre de la "forme pure"? Cette interprétation matérielle du livre mallarméen, par l'application de la théorie du Gesamtkunstwerk non plus à l'essence de la poésie ou à la "forme symbolique" du livre, mais à l'artefact lui-même, répond bien aux exigences d'un libre jeu des sons, des lignes et des couleurs. De fait, l'essor du livre d’artiste a imposé un réajustement conceptuel aux discours sur chacun des arts qui le composent. Sans se limiter au cas polonais, il s'agira donc d'évaluer le rôle du livre d'artiste, notamment typographique, en Europe, dans la perspective de cette synthèse entre les arts – fût-elle purement formelle.

5:00 PM - « La pensée de la parole et l'épure de la diction chez José Ángel Valente (1929-2000) » TERRASSON, Claudie (Paris Est University, MARNE LA VALLEE CEDEX 2, France)

Le poète espagnol José Ángel Valente a noué, au fil de sa riche production, la réflexion théorique et la création poétique partant des idées mallarméennes et heideggerienne sur l’œuvre pure. Dans ce va-et-vient spéculatif et créatif, le poète a construit un ensemble de propositions théoriques et créé une œuvre poétique intense, assise sur une esthétique du dénudement. Sa recherche spéculative sur le verbe comme absolu a nourri une constante démarche d’épure de la diction, de même que la création poétique a conduit le poète à creuser ses interrogations sur l’autonomie des mots. Cette double tâche autour des mots, avec les mots, voire contre les mots, n’était pas sans risque : un possible déséquilibre entre les deux pôles, un assèchement du penseur, ou encore, l’aphasie du créateur médusé par cette absolutisation du verbe dont il a contribué à façonner l’édifice théorique.

L’article analysera les articulations ainsi que les possibles tensions entre les essais et la création poétique de José Ángel Valente.

6:00 PM - Präsentation des Egon Schiele Jahrbuches (ESJB IV/V)

17619 - Panel der Kommission der OEAW The North Atlantic Triangle Date: Friday, July 22nd // Saturday, July 23rd Room: Hs 7 Chair: Zacharasiewicz, Waldemar

11:00 AM - Deux Visions en contrepoint des conflits interculturels : François Paré (Québec/Ontario) et Robert Lafont (Occitanie) Kirsch, Fritz Peter (Institut für Romanistik, Austria)

Deux universitaires de renom, séparés par l’Atlantique et dissemblables à bien des égards, partagent cependant un intérêt passionné pour les minorités ethniques et leurs littératures. Paré, d’origine québécoise, consacre une grande partie de ses travaux à la littérature franco-ontarienne, dont l’existence même soulevait des doutes jusqu’à une date relativement récente. Lafont, décédé en 2009, était un éminent occitaniste, sa vie durant engagé dans une lutte acharnée pour le sauvetage de la langue d’oc et la promotion de sa culture représentée par une littérature aux prestiges anciens et à l’existence difficile dans le monde d’aujourd’hui. Chacun des deux chercheurs a élargi son 559

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 domaine de travail en tâchant de positionner son domaine d’études dans des contextes plus vastes. En approfondissant et généralisant certains aspects des francophonies nord-américaines, Paré a forgé l’étiquette de « littératures de l’exigüité » sous laquelle il a fini par rassembler bien des productions littéraires de notre monde telles que les « littératures des petites nations », les littératures nées de la colonisation et les littératures migrantes. Robert Lafont, en combinant les études littéraires avec des recherches relevant de la sociolinguistique, des sciences politiques et de l’Histoire, s’interroge, avant tout dans ses dernières publications, sur le sort de l’Europe et de sa diversité culturelle dans le cadre des clivages socio-politiques du monde actuel. Une constante thématique chez les deux auteurs concerne l’incertitude identitaire allant de pair avec des symptômes de fragilité existentielle chez les écrivains et écrivaines des « petites » littératures. Cet aspect, omniprésent chez Paré, se manifeste moins dans les écrits théoriques de Lafont (très engagés dans la défense et illustration de l’occitan) que dans sa création poétique, romanesque et théâtrale. Des recherches futures inspirées par les deux grands pionniers pourraient tâcher de mettre en lumière un domaine qui n’a guère retenu leur attention, à savoir la façon dont les « petites » littératures posent le problème de l’autosuffisance des « grandes » qui tendent à monopoliser la normalité de la vie culturelle.

11:30 AM - Becoming in / through Language: Migrancy and American Women's Lives Birkle, Carmen (Philipps-Universität Marburg, Marburg, Germany)

The intimate relationship between language and identity is most clearly visible in women’s immigrant autobiographies. Dependent on their respective cultural contexts (Polish, Chinese, and Puerto Rican), Eva Hoffman, M. Elaine Mar, and Esmeralda Santiago discuss in their respective autobiographies the significance of language for the preservation of the memory of themselves in their respective places of origin, on the one hand, and the confrontation with a new environment, an unfamiliar language, and their inability to express themselves verbally, on the other hand. Their life narratives, as I will suggest, serve as a means but also proof of their growing adjustment and as a site of reflection on life in-between cultures, a culturally and linguistically increasing hybridization and transculturation, and, ultimately, the creation of new identities as never-ending processes; as Shani Mootoo states: “always becoming never will be.”

12:00 PM - Finding Words for War: Comparative Aspects of the ‘Crisis of Language’ in First World War Literature Löschnigg, Martin (University of Graz, Graz, Austria)

This paper investigates, from a comparative perspective, the topos of the incommunicability of the front line experience which pervades First World War literature. The frequent emphasis, in the literature of the war, on the difficulty or even the impossibility of finding words for battle (and, on the side of non-combatants, of understanding the experience), represents a culmination of a crisis of linguistic representation which had already been expressed in literature and the thinking about language before the war, yet which was greatly intensified by the events of 1914-1918. Considering the proliferation of (semi-)autobio¬graphical and fictional narratives and of poetry purporting to ‘tell the truth’ about the war to deluded civilians, the topos that the horrors of war defy language clearly represents a paradox. However, this topos developed into one of the most potent myths about the war, separating those who had first-hand experience of the fighting from those (especially women) who had not.

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The paper will focus on narrative and poetic accounts of the Western Front, which has come to epitomize the horrors of trench warfare, and will compare British, Canadian and US-American sources on the one hand and German texts on the other. I shall try to show how in these texts the crisis of language is articulated before the backgrounds of different cultural paradigms and in different genres. Thus, for example, I shall discuss effects of the ‘crisis of language’ under the impact of the war in selected English- and German language poems and the perpetuation of the ‘incommunicability’ myth in Canadian historical novels on the war.

The Confluence of Ethnic Voices in Urban America Zacharasiewicz, Waldemar (University of Vienna, Vienna, Austria)

The paper will consider the literary rendition of the ethnic experience in urban America, primarily in two significant modernist texts from the 1920s and 1930s. In giving voice to Irish, Jewish, French, Italian and German immigrants whose communication is colored by their ethnic idioms, John Dos Passos in Manhattan Transfer (1925) uses the innovative technique of the collage to capture the fragmentation of society in the metropolis in a multiplicity of distinct perspectives, thus offering a kaleidoscopic picture of New York. In Call It Sleep (1934) Henry Roth focuses on the restricted point- of-view of a very sensitive boy, David Shearl, whose psychological development is shaped by his linguistic heritage –Yiddish and Hebrew, beside the English of Brooklyn and the lower East Side of Manhattan. His experience also includes encounters with partly incomprehensible speakers of different backgrounds and their potential hostility. The dramatic chorus of observers of David desperate quest for purification aptly illustrates the confluence of ethnic voices in urban America in a remarkable example of linguistic virtuosity in modernist US American fiction.

17691 - Cultural Memory: Humanistic and Neuroscientific Perspectives Date: Monday, July 25th // Tuesday, July 26th Room: Übungsraum Germanistik 1 Chair: Nalbantian, Suzanne

9:00 AM - Introductory Remarks by Suzanne Nalbantian, Chair of ICLA Research Committee on Literature and Neuroscience Nalbantian, Suzanne

9:10 AM - The Social Hippocampus and the Formation of Cultural Memory Anastasio, Thomas J. (Univ. Illinois - Urbana-Champaign, Urbana, IL, USA)

Sir Edward Burnett Tylor, founder of cultural anthropology, wrote that culture is “that complex whole which includes knowledge, belief, art, morals, law, custom and any other capabilities and habits acquired by man as a member of society.” This wondrous “whole” must endure to be acquirable, so society’s ability to form culture depends on its ability to form collective (cultural) memory. Much is known from neuroscience about memory formation in brains, and close scrutiny reveals commonalities between that and memory formation in societies. A brain structure called the hippocampus is central to long-term memory formation in individuals, and evidence indicates that its role is to select items from short-term memory and to establish relationships between them and items already in long-term storage. The hippocampus then directs the modification and maintenance of long-term memory such that new items are included and existing relationships are updated. By analogy, we can postulate a “social hippocampus” as a group that selects and organizes items and modifies/maintains cultural memories such as knowledge structures, belief systems, moral codes,

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 etcetera, and we can detect it by the lack of specific cultural memories in societies where it has been destroyed. Memory formation by an individual is not neutral but will be influenced by desires and emotions (motivations). Likewise, differing motivations will lead different groups to organize differing sets of relationships, even from the same items, and they will form different memories. Interaction between groups could influence memory modification/maintenance within a group. This leads to the interaction between groups with competing “views” (relational organizations of items) that characterizes cultural development.

9:40 AM - From implicit memory to a revised colonial past: Marguerite Duras rewriting cultural memory Knuuttila, Sirkka (University of Helsinki, Helsinki, Finland)

My presentation illuminates the creative route from autobiographic memory into artistic works which have enough potency to rewrite the traditional cultural memory of the time. An artist with such impact is Marguerite Duras, who consciously dedicated herself to depicting human tragedy. Mediated by her literary trauma narratives, Duras’s critical working through individual catastrophes in colonialism shows how micro-historical, experiential material can be incorporated into the collective social memory. Using shock and suffering as a powerful embodied figure of suffocated people, Duras gives a new function to lived trauma, which is acknowledged by the audience as a reorganisation of its ethical consciousness. In particular Duras explicitly uses forgetting as an inversion of Proustian remembering, thus tackling European bourgeois values by criticising not only the hegemonic narrative propagating success for the French colonial empire but also the subordination of women as a whole.

Duras’s main mnemonic device for creating suffering figures was the voluntary retrieval of episodic long-term memories from the Annam and Cambodia of the 1920s and inter- and post-war France. My main theoretical problem is how an implicit, embodied and shocking memory image can be translated into an explicit narrative. Duras’s micro-historical modulations feeding into social memory are enabled by two methods. First, she transcribes her “literal”, crystal-clear flashbacks and their metonymic details into polysemiotic phantasms for new metaphorical purposes; cognitively taken, she couples her haunting memories with associative and imaginative memory systems. Second, she distances herself from mimetic descriptions of trauma by various self-reflexive techniques. As a result, the metanarratives of the fictional protagonists non-verbally enacting their traumas can point directly to topical socio-political problems.

10:10 AM - Neural Pluralism and Cultural Memory in The Wasteland and Requiem Wehrs, Donald (Auburn University, Auburn, USA)

Cognitive research suggests strong bias within consciousness toward identifying ourselves with revisionary, self-interpretive “stories” whose protagonists exhibit robust conceptual and narrative coherence (Gazzaniga), but high literature’s evocation of internal dissonance (undergone by characters or polities, simulated by audiences or readers) opens upon a deeper or higher anteriority associated in cognitive research with evolutionary legacies of excitatory, inhibitory interchange among distinct neuro-physiological systems. Two modernist poems explicitly engaged in reshaping cultural memory in the light of historical moral traumas, T. S. Eliot’s The Wasteland (1922) and Anna Akhmatova’s Requiem (1935-61), illuminate how forms of identification and dis-identification rooted in evolutionary legacies inform the demystification and reordering of cultural memory.

11:00 AM - The Epigenetics of Memory Storage: Culture-Gene Coevolution Landry, Christopher D. (Columbia University Medical School, New York, USA) 562

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Memory is fundamentally a kind of history: a record or representation of events in the past of a person or community that is preserved through time and able to shape the way we experience the world in the present and future. Most human memories are short-lived—but no matter its longevity, there must be a mechanism and a medium of recording. Although we have a good grasp of the raw materials for communal and cultural memory external to ourselves (books, paintings, monuments, even oral traditions), the means by which long-term memory in our minds is recorded and maintained over a lifetime is only partly understood. Each and every biological component—every protein, every saccharide, every nucleic acid—in every cell breaks down and is repaired or replaced on a timescale of minutes to month. No individual mechanism is singularly responsible for memory maintenance in neurons (or other cells); rather, a dynamic interplay of signal transduction cascades, protein switches, structural modifications, and regulators of gene expression preserves signals and states that would fade without the reinforcement of the others. Recent work suggests that epigenetic mechanisms—molecular markers on the genetic material of cells that regulate gene expression with high specificity and longevity—may play an especially important role in the long- term maintenance of memory. Placement or erasure of specific epigenetic marks has been linked to a variety of behaviors and life experiences in both animal models and humans. Moreover, some of these epigenetic features appear to be transmissible to later generations through processes of gametogenesis, gestation in utero, and postnatal upbringing. The transgenerational behavioral effects of epigenetic markers are tantalizing as a possible site for a biological element in culture: a feature of our physical selves conditioned by circumstances of our forebears’ lives before our birth that shapes not only our surroundings but the means by which we interact with them.

11:30 AM - The "Inheritance" of Memories: Transgenerational Dynamics in Recent German Literature (Eugen Ruge, In Zeiten des abnehmenden Lichts, 2011, and Verena Boos, Blutorangen, 2015) Erll, Astrid (Goethe Universität Frankfurt am Main, Frankfurt, Germany)

In my talk I will look at two recent German novels, which show the patterns of a relatively new and currently very influential literary genre, that of the “Novel of Generational Memory”. Eugen Ruge’s In Zeiten des abnehmenden Lichts (2011) and Verena Boos’s Blutorangen (2015) are both family novels, which feature characters belonging to three generations – grandparents, parents, and children. Each generation is characterized by its own ways of addressing the family’s (difficult) past: The history of German socialism and the GDR in Ruge’s novel, and the history of the Spanish Civil War and its aftermath in Boos’s novel. With their complex forms of multiperspectivity, and extensive inside views, they convey to their readers insights about the role of different generational identities (generationalities) when it comes to facing the past; they also address the question of genealogy and memory, the ‘inheritance’ of memories across the generational line: from the joyful practice of intergenerational storytelling to the transgenerational transmission of lies, silences, and the unwitting passing-on of traumatic memories.

Such complex social dynamics of transgenerational remembering are clearly felt by many memory scholars to be “out there”; but they are notoriously difficult to study in an experimental situation. I will attempt to bring together several strands of the production of the knowledge about these processes: the psychology of memory, media memory studies (with its notions of premediation and remediation) as well as a literary studies perspective on the specific means that novels have at their disposal to produce insights into the dynamics of transgenerational memory.

12:00 PM - Plasticity and resilience in brain and culture. A cross-disciplinary approach to memory studies Hanenberg, Peter (Universidade Católica Portuguesa, Lisboa, Portugal)

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One of the most fascinating topics in neuroscience is the astonishing plasticity of the brain: its ability to adapt to ever changing environments, conditions, and contexts. One of the most fascinating topics in culture studies is a certain tendency to preservation, tradition and containment which seems to characterize culture. Plasticity and adaption on the one hand and resilience to change on the other: is there any relation between the brains ability and cultural practice? And could insights concerning the brain help to understand cultural attitudes? And what could we learn from culture concerning the brain’s aptitudes? Both, culture and the brain, build upon memory - and memory is therefore the common topic in which neuroscience and culture studies meet. The paper will first substantiate the issues of resilience and plasticity in brain and culture and will then introduce the topic of memory as conceptual representations in mind and brain: “grounded in perception and action and realized in the brain as action-perception circuits […] which include conceptual features coded in distinct sensory and motor areas of the human brain” (Kiefer/Pulvermüller 2012: 817). Memory must be seen as “flexible, experience-dependent modality- specific representations distributed across sensory and motor systems” (ibid.). In which sense then, this memory can be cultural? Is culture the manifestation of such memory or is memory the manifestation of culture? How does culture shape brain and mind? Examples from German literature (W. Hildesheimer, T. Bernhard and P. Handke) will help to understand how memory spreads out from the individual brain to cultural practice (and vice versa) in a continuous chain of preservation and change: an embodied form of representation materializing itself in its second nature as linguistic performance.

Date: Tuesday, July 26th Room: Übungsraum Germanistik 1 Chair: Nalbantian, Suzanne

9:00 AM - Introductory Remarks by Suzanne Nalbantian, Chair of ICLA Research Committee on Literature and Neuroscience Nalbantian, Suzanne …

9:10 AM - The Blood Libel in Medieval Europe: The Sites and Fashioning of Cultural Memory Rose, E.M. (Harvard University)

…

9:40 AM - The U. S. Civil War and Cultural Remembering Reynolds, David S. (CUNY Graduate Center, New York, NY, USA)

Shifting attitudes toward the U. S. Civil War over the past 130 years exemplify a phenomenon that the sociocultural anthropologist James Wertsch calls collective remembering. In contrast to Maurice Halbwachs’s notion of collective memory, collective remembering indicates the process of remembering; it reminds us that old memories are recalled and re-encoded in the context and mood of the present. The Civil War has gone through two major phases of collective remembering, each of which was shaped by shared cultural attitudes of a particular period. During the period of Jim Crow, when American witnessed segregation and other forms of institutionalized racism, the Civil War was widely viewed as a “needless” or “unnecessary” war caused by fanatical abolitionists and followed by a turbulent Reconstruction. This pro-Southern view was promoted through media such as the landmark films The Birth of a Nation and Gone with the Wind. A wholly different view of the Civil War 564

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 arose during the 1950s and 60s, when the rise of civil rights produced the conviction that the war was crucial in putting the nation on the path to justice and rights for all. But even as this proNorthern view was widely promoted in the media, pockets of the old-style collective remembering remained, as evidenced by Southerners who still take pride in the Confederate flag and other symbols of the Southern cause. Cultural memory, then, is labile, for it can change over time, and group-specific, since different cultural memories are held by various groups. However, as responses to not only the Civil War but also to the Holocaust and 9/11 reveal, there can emerge a dominant culturalmemory of important events, a memory that is, justifiably, accepted widely because it has been winnowed over time and verified by a succession of historians.

10:10 AM - How Journalists Employ, Extend, and Reshape Cultural Memory Schudson, Michael (Columbia Journalism School / Columbia University, New York, USA)

Memory is ordinarily conceived as an individual mental faculty. But from a more sociological perspective, memory is essentially social rather than individual. Even units in which memory gets encoded – notably in language, are drawn from a collectively elaborated set of terms and rules of their combination, and even visual memories that we do not usually think of as linguistic may be coded linguistically, with different societies coding it in different ways. So much of the study of cultural memory concerns various commemorative genres (from statues to statutes, from documents to documentaries) and institutions (museums, anniversaries, holidays) of commemoration and this is important, but it should not come at the neglect of the many ways societies remember without taking commemoration explicitly or even implicitly as an objective.

One vital location for what I have called “non-commemorative cultural memory” (2014) is the newspaper and other news media. Newspapers make use of the past (a) to call attention to a story by showing its connection to the past or its departure from past trends and (b) to offer a context for interpreting a news event. News may also invoke the past and the passage of time in reporting on individuals who experience time and its passing in ways that invoke change, loss, memory, and anticipation. My 2014 paper illustrated this with stories from the New York Times. This paper will ask whether the presentist focus of journalism, in using the past, preserves it or distorts it (or both). The fact that memories are socially constructed means that they are fragile and vulnerable to manipulation and distortion, but it does not mean that one representation of the past is just as true or as false as the next. In journalism especially, representations of the past, intentional and unintentional, deserve close scrutiny.

10:40 AM - Concluding Comments by Speakers and Audience

19247 - The State of Adaptation Studies Today Date: Saturday, July 23rd Room: Übungsraum Germanistik 2 Chair: Le Juez, Brigitte ; Domínguez, César

2:00 PM - Adaptation as Subversion: the Disruption of Analogic Patterns in William S. Burroughs's Artistic Works López-Varela, Asun (Universidad Complutense de Madrid, Madrid, Spain)

The use of analogy lies at the root of comparisons and adaptations across the arts. However, avant- garde experiments show the disruption of analogic patterns as a means of subversion and counter- discourse. As an example, the paper focuses on work by William S. Burroughs. Burroughs employs several techniques that aim at disrupting pre-established analogic patterns and institutionalized 565

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 forms of communication in an attempt to expose methods of media domination used in advertising and commercial culture.

2:20 PM - Semiotics of traditional and new media Vaupotic, Ales (University of Nova Gorica, Nova Gorica, Slovenia)

Artworks realized using technical equipment to produce images are in one respect closer to the represented reality than those that start from deliberately and consciously perceived objects and their contexts, which only subsequently materialize as references in statements by identifiable authors entering the multidirectional flow of human communication. For example, the material changes caused by light in photograph make the object, which is recognizable in it, its emanation. However, in a hypothetical world of no people, a photograph of a car would still show its appearance, but would not in any way signify a car; the photograph would merely rematerialize the arrangement of matter. The prevalence of technical images provides innumerable examples of semiotic shifts from mirror-like representation to other communicative acts, such as facilitation of dialogue, political commitment, or even aestheticisation of technology. The paper will reflect on the issue of sign-making in two domains, in the arts—in particular, realist literature—and in the communication in new media. Both fields are faced with a sign-malfunction, for which an answer shall be proposed in line with Peirce’s semiotics.

3:00 PM - Trois adaptations cinématographiques de Dracula : Murnau, Browning et Coppola Franco, Bernard (Paris 4-Sorbonne, Paris, France)

Cette communication propose d’examiner un cas caractéristique de transmédialité, d’adaptation cinématographique d’une oeuvre romanesque. Les adaptations au cinéma du roman de Bram Stoker (1897) sont innombrables et semblent représenter un exemple canonique, et trop connu, au point que les films sur ce sujet, de plus en plus stéréotypés, font oublier le roman, qui est un prototype de roman décadent, inspiré, ainsi que l’a précisé son auteur, du Picture of Dorian Gray d’Oscar Wilde.

L’étude s’appuiera sur trois exemples canoniques, révélant des aspects plus complexes de l’intermédialité que ce que retiennent les clichés : le Nosferatu de Murnau (1921), le Dracula de Tod Browning (1931) et le Dracula de Francis Ford Coppola (1992).

Le premier film et le troisième se trouvent dans deux situations opposées: tandis que Murnau tentait d’échapper au procès intenté par l’épouse du défunt Stoker, et présentait son film comme autonome par rapport au roman, Francis Ford Coppola prétendait retourner à la véritable « histoire » de Dracula, rappelant par là que le roman de Stoker était la première oeuvre littéraire à présenter comme héros vampirique un personnage historique. Enfin, Tod Browning rend la situation intermédiale plus complexe en faisant intervenir le théatre, rappelant par là que le roman de Stoker est né à la scène, et que son enjeu esthétique porte sur la question de la représentation et de l’apparence comme sens de l’oeuvre d’art.

Ces exemples montrent dans quelle mesure l’adaptation se joue à l’articulation de la création – de la recréation – et de la critique, c’est-à-dire de l’interprétation. Elle est à la fois déplacement par rapport à l’oeuvre initiale et retour sur ses sources et son sens premier.

4:00 PM - The Nineteenth Century Novel Revisited with a Transcultural and Transhistorical Lens Pereira, Margarida (Universidade do Minho, Braga, Portugal)

We aim to address the issue of the nineteenth century realist novels that have been adapted to completely different geographical and historical settings. There are many examples of these, such as the recent Trishna (2012), which adapts Thomas Hardy's Tess of the D'Urbervilles (dir. Michael Winterbottom), or Bride and Prejudice (2004), an adaptation of Jane Austen's novel by director 566

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Gurinder Chadha, among many others. We can call these transcultural and transhistorical adaptations, since they transpose, in this case, well-known classic realist texts to the contemporary screen. We aim is to discuss the cultural effects of these transpositions and to question the reasons that lead contemporary film directors to address the realist text from this perspective.

4:30 PM - From Cairo to D.F.: Naquib Mahfouz's Midaq Alley (1947) and Jorge Fons El Callejón de los Milagros (1995) ASLAN, ADILE (UNIVERSITY OF MASSACHUSETTS AMHERST, AMHERST, USA)

The Egyptian Nobel Laureate Naquib Mahfouz is one of the most important voices of the Middle East. His wide range of literary writings has traveled beyond their native habitat and become literary representative of the Middle East. However, his novel Midaq Alley (1947) has traveled beyond the Old continent and became part of the national cultural heritage in Mexico in the form of a movie. Jorge Fons’ El Callej ó n de los Milagros (1995) adapts the plot of Midaq Alley and sets it in D.F. in contemporary times. Not only does the movie manage to capture the vitality of the novel in a different cultural, socio-political and temporal context, but it also lends new layers to the themes and issues represented in the Middle Eastern context in the original novel, showing that Mexico (and/or Latin America in general) and Egypt (and/or Middle East in general) may have more commonalities that one might imagine. The translation between continents and the transformation between two media (novel and cinema) accompanied by some localization endeavors result in a very productive example of cultural exchange, without subjugating one culture to the other. In this presentation, I aim to show the transformative powers of the adaptation in the case of Midaq Alley and El Callej ó n de los Milagros .

Room: Übungsraum Germanistik 3

5:00 PM - Modern Film Adaptations of Fairy Tales: an Examination of Four 2012 Versions of Snow White Le Juez, Brigitte (Dublin City University, Dublin, Ireland)

In order to broaden the understanding of adaptation, one must examine the ways that texts are read, rewritten, and retold. The fluidity of the term will allow us here to discuss adaptations of fairy tales that transform the source text into something new that functions independently, even when, as is the case here, several adaptations of the same source text appear within a very short space of time.

Modern retellings of fairy tales are related to specific contexts which are closely linked to the choice of a particular story (or a particular version of a story), the necessity to retell it at a given time, and the appeal in retelling this story in the way(s) it is retold (including mixing versions of the same tale or of similar tales). “Snow White” lends itself to an analysis of this process, as four adaptations appeared, all in 2012 and all as feature-length films: Tarsem Singh’s Mirror Mirror, Rupert Sanders’s Snow White and the Huntsman, Pablo Berger’s Blancanieves, and Siegrid Alnoy’s Miroir Mon Amour.

Each of these films brings its own experimental quality, whether it be in subverting the central theme of the (step)mother-daughter sexual rivalry (related to the masculine figures of the father and the hunter), the exploration of the fantastic through the use of special effects, a feminist take of the heroine’s plight, or other aspects.

This paper aims to analysethe various creative techniques used by the different directors, reflecting their cultural contexts as well as modern, global values. But more to the point, and in relation to this panel, it aims to illustrate the idea that comparative literature indeed embraces heterodoxy, and that 567

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 a study of recent retellings of an ancient tale demonstrates the enduring fascination for and necessity of artistic adaptation, bringing endlessly renewed features to the fore.

19351 - Migrations/Notions/Translations: Concepts of Literature in European Context Date: Wednesday, July 27th Room: Übungsraum Germanistik 3 Chair: Vlasta, Sandra

9:00 AM - "Welt" / "World" / "Monde" - the (un)translatability of a notion in the context of migration and literature Geiser, Myriam (ILCEA4, Université Grenoble Alpes, France, Grenoble, France)

Migration literature can be considered as part of a “New World Literature”, stressing by this terminology the cosmopolite and trans- or postnational dimensions of the works. It points to the notion of internationalization and a reception beyond national and language borders. However, according to different national literary traditions, the terms and concepts “Weltliteratur” / “literature-monde” / “world literature”, etc. seem to have different functions and are productive in different ways. Goethe’s initial idea of international circulation and reception of works is only one aspect of the “world” paradigm. Cultural and linguistic hybridizations in 20th-century-literature added new dimensions to the concept, while postcolonial perspectives notably in French and Anglo- Saxon theory turned it into a keyword of systemic contestation, sometimes neglecting esthetical considerations. By comparing the emergence and use of the “world”-terminology within the framework of migration literature, this contribution suggests to reflect on the translatability as well as the transferability of these concepts, mainly in the German, French and Anglo-Saxon contexts. Specific traditions of nation definitions, historiography, canonization and marginalization, postcolonial influences, linguistic criteria, etc. have to be looked at to evaluate the relevance of globalizing approaches in the realm of contemporary migrant writing.

9:20 AM - The many names of migration literature Glesener, Jeanne E. (Université du Luxembourg, Esch-Belval, Luxemburg)

Seldom has a literature known as many different names as migration literature. In a way, the veritable avalanche of terms and concepts used to categorize it in the past and present reads like a history of the reception of migration literature in the European context. The giant leap from ‘Gastarbeiterliteratur’ to ‘new world literature’ is, beyond the taxonomical complexity, revealing of the changing imperatives that underlie the different tendencies in the naming of migration literature. In it we can observe a clear move away from the focus on the sociological and ethnic origin of the producers of migration literature (“Gastarbeiterliteratur”, “Ausländerliteratur”, Black British Literature,) which branded the genre as a “minority literature”; via the stress on the location of migrant writing in-between cultures (“littérature sans domicile fixe”, “interkulturelle Literatur”) the belonging of migrant writing to any one national literature is put into question; and finally the confirmation of its anchorage in world literature (“littérature-monde”, “littérature du Tout-monde”, “New Internationalism”), makes the issue of belonging to national literatures redundant. In my contribution I intend to briefly comment on the issues related to the complex history of the naming of migration literature and launch a debate on the ideological aspects involved therein.

9:40 AM - Inter-/Multi-/Trans, or: Beyond Nation and Culture Mitterbauer, Helga (Université libre de Bruxelles, Bruxelles, Belgium) 568

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Although some researchers have already proclaimed the era of post-nation, the concept of migration is still based on the idea of nation as much as on individual conditions. Notions such as nation and culture as well as prefixes like inter-, multi-, and trans are dominating the debate on this state full of tensions deriving from geographical, cultural, and linguistic transgression.

My contribution focuses on the different notions and their diverse use in international scholarship. It traces the German inclination for the term culture back to early 20th century’s debates on “Kultur” and “Zivilisation”, and contrasts it with the Anglo-American preference for the idea of trans-nation. French scholarship seems to be closer to the German orientation following Wolfgang Welsch, while American scholars of transculturalism see themselves rather in the tradition of Cuban anthropologist Fernando Ortiz Fernández.

The debate on prefixes, such as inter-, multi-, and trans- is even more complex; it has been the starting point of numerous discussions at international conferences. As it seems, a lingering compromise hasn’t been found so far, and the use of these terms still needs to be defined every time anew.

10:00 AM - The elliptical identity of migrant writers Vranceanu, Alexandra (University of Bucharest, Bressanone, Italy)

One characteristic of migrant European literature is the fact that, during the Cold War, Western Europe was the place where Eastern European writers could publish without having their works censored. This cultural drain led to a paradoxical situation regarding the literary history between 1945 and 1989: ex-communist countries have to deal now with having two literary histories, one written in the national language, and a second one, in circulation languages, such as French, German or English. How are we to consider these transnational migrant writers who moved West and never came back home, even after the fall of the Berlin wall? In what way their elliptical identity and their double belonging to two literary systems are relevant to European literary history today? What «label» may describe them and in what course should they be studied in: national literary history or comparative literature? Is a category such as perhaps «contemporary migrant European literature» relevant enough?

Discussion

19438 - Historizing the Dream Date: Monday, July 25th // Tuesday, July 26th Room: Hs 16 Chair: Dieterle, Bernard

9:00 AM - The Dream in Sanskrit Poetry FIGUEIRA, DOROTHY (University of Georgia, Georgia, USA)

In a further development of my inquiry into dream in Hindu and Buddhist philosophy and hagiography (presented in Mulhouse), I now turn my attention to kavya (lyrical poetry) and mahakavya in the form of drama. I will focus on how dreams interact with memory in Sanskrit poetry, particularly in Kalidasa’s Sakuntala and Bhasa’s Dream of Vasavadatta. I hope to examine the dreams described in these two plays in the context of other references to dreams in erotic poetry. Dream, as it relates to memory, is tied to the erotic mood (srngara rasa), since the Sanskrit term for memory (smara) also denotes love (smara).

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9:30 AM - With or without Interpretation? Dream Narratives in Ancient Historiography from Herodotus to Ammianus Marcellinus Weber, Gregor (Universität Augsburg, Augsburg, Germany)

The paper deals with the rich dream material transmitted through ancient historiography. On the basis of three examples from different time periods – Herodotus’ Histories (5th century BCE), Tacitus’ Histories (1st/2nd century BCE) and Ammianus Marcellinus’ Res Gestae (4th century BCE) – it will be explored what function the dream narratives fulfil in each respective work, in which historic context they are located, and if significant changes can be observed over the centuries. Moreover, it will be asked why several of these dreams were not subject to explicit interpretation and were seen as self- explanatory even though there were many obvious ambiguities. These blanks were presumably filled in by the readers, which was part of the narrative concept.

10:00 AM - Dreams and Knowledge in Medieval Literature Karpinski, Agnes (Universität des Saarlandes, Germany)

The paper will present three dream examples from three medieval literary texts: the Nibelungenlied, Geoffrey Chaucer’s A Nun’s Priest Tale from the Canterbury Tales and Der Nonne von Engeltal Büchlein von der Gnaden Überlast (a story about the monastery foundation of the cloister Engeltal, written around 1350). From each of the three texts, one dream example will serve to discuss various aspects of the prophetic dream and its usage within different literary genres and cultural contexts.

A closer look will be taken on the following two aspects. Firstly (and shortly), I will analyze the specific function of the dream description within each text: What kind of knowledge do the dreams transmit to the protagonists? Secondly, the three prophetic dreams will be discussed in the broader framework of contemporary dream concepts: What kind of medieval dream theories can be traced in the dream descriptions? Which ideas on dreams and dreaming are formulated and reflected in the three texts?

11:00 AM - De l¿intercesseur au centre d¿intérêt. Sur l¿évolution de la place des rêves dans la poésie de la Renaissance italienne Scholler, Dietrich (Universität Mainz, Mainz, Germany)

Au début du XVIe s. le cardinal et pote Pietro Bembo éleva dans son écrit Prose della volgar lingua le Canzoniere de Pétrarque au rang de modèle de la poésie et de la langue italienne. Il rédigea parallèlement les Rime, un recueil de poésies dans lequel il reprend des éléments du Canzoniere et les renouvelle d’une part en variant les registres, d’autre part en développant des procédés présents chez Pétrarque de manière sous-jacente. Cela est particulièrement visible dans le triptyque onirique de Bembo, lequel constitue – dans le sillage de Pétrarque – une mise en abîme de l’ensemble du recueil libro di poesia. La fonction du rêve y est toutefois modifiée. Celui n’est plus un intercesseur entre l’au-delà et l’ici-bas, mais est érigé en centre d’intérêt sui generis et accueilli comme un ami au sein du poème. On assiste à une relativisation de la portée allégorique du rêve au profit de sa dimension esthétique.

11:30 AM - Dreams of Siege: Vienna 1683 Bähr, Andreas (FU Berlin, Berlin, Germany)

In 1686, Balthasar Kleinschroth, prefect of the singing school in the Cistercian Abbey of the Holy Cross in the Vienna Woods, wrote a diary giving account of his and the choristers’ flight from the “Turks.” One of the refugees was young Anton Liedtmayr, who in the aftermath of the flight fell ill and, in the end, unexpectedly died. In his diary, Kleinschroth tells us about a series of dreams revealing to him that Anton, despite his “sudden death,” had achieved eternal salvation. It was not 570

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 until Kleinschroth received this divine dream message that for him the 1683 siege of Vienna came to its happy end. My paper analyses Kleinschroth’s dream narratives and their autobiographical functions, relating them to several mid-1680s literary texts which include prophecies of the Ottomans’ defeat and the decline of their Empire in the medium of a dream.

12:00 PM - Dreams in 19th-Century Realist Literature Engel, Manfred (Universität des Saarlandes, Germany)

At first glance, Realism may seem to be a period which does not favour literary dreams. The prevailing dream-theory of the second half of the 19th century explains dreams as meaningless reactions to external and bodily stimuli. And the aesthetics of Realism seems to abhor the poetics of deviation on which literary dreams are usually based. But many authors of Realism do indeed use dreams in their narratives and novels. Drawing on examples by Flaubert, Dickens and Dostoyevsky, I will try to show how they functionalize dreams in a new way and by doing so expand current dream- theories.

2:00 PM - Oneiric Joyce: Dreaming the Mystery in Finnegans Wake Gillespie, Gerald (University of Stanford, Stanford, United Kingdom)

Joyce left us with an enormous puzzle when he stipulated that Ulysses was a work about day, although it contains powerful dream-like moments, whereas Finnegans Wake was about the night realm, although it leads straight from dawn and through “all” of evolution and history, and only by virtue of a mystical marriage-death back into dawn, rebirth. While nature is supposedly dreaming God, she also emerges in the larger dream repertory of the novel as something He brings forth both as and in the world process, for example, through the human family. Yet there are internal discussants who appear as minor protagonists and comment on elements of the grand dream in progress; and jocoserious allusions occur both to long past and to unmistakably more recent or current persons and topics. Thus the collection of kinds of dreaming is subsumed in what becomes a synecdochic encyclopedia of allusions, a shadowy reflection of the ”real” world, especially of Ireland. This mélange is somewhat analogous to the interpenetrating collection of languages which combine into a dream-like representative babble. Joyce’s neo-Druidic occulted language, being itself prismatic, resists translation into any single natural language. Yet the Wake begs for interpretation in “normal” expression as if it is a communication from the unconscious. The question arises whether we readers can legitimately separate discoveries made through the revelatory process of dreaming from the shaman-artist’s admitted surrender to the “dark night of the soul.”

2:30 PM - Dream Elements in Surrealist Movies Frank, Caroline (Universität des Saarlandes, Germany)

Surrealist films strive for new cinematic representations of oneiric elements. These elements are surreal, because they not only emphasize the magical but also the grotesque and taboo-breaking aspects of dreams. Directors like Georges Méliès, Luis Buñuel, Salvador Dalí, Maja Deren and others did not focus their interests on what metonymically and metaphorically encrypted dreams may mean according to psychoanalysis. Instead, their objective was a cinematic representation of dream images. The paper will compare Buñuel’s and Dalí’s Un Chien Andalou (1929) and Maja Deren’s At Land (1944) – two movies, which are regarded as surrealist by common standards of cinematic history – and analyze spatial and chronological specifications such as distortion and ubiquity as well as cinematographic techniques evoking an impression of phantasmagorical arbitrariness and fragility. Can these specifications help to distinguish truly surrealist movies from those with mere surrealist elements?

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

3:00 PM - Cauchemars d¿après-guerre. Écrire l¿expérience historique à travers le rêve: Approches d’une poétique onirique (1953¿1963) Solte-Gresser, Christiane (Universität des Saarlandes, Germany)

Cette proposition se donne pour objectif d’étudier les motifs, les stratégies narratives et la rhétorique du rêve dans des textes littéraires publiés pendant les deux décennies qui suivent la Seconde Guerre mondiale (particulièrement entre 1953 et 1963). En tant que tentative d’écrire l’expérience historique, le rêve – notamment les cauchemars de la guerre et de la Shoah – prend une place importante dans la production littéraire européenne de cette époque. Dans une approche comparée, on analysera les rêves les plus significatifs dans trois œuvres (allemande, française et italienne) et leur fonction par rapport à la ‘réalité’ historique afin de saisir quelques éléments d’une poétique du rêve des années d’après-guerre.

Date: Tuesday, July 26th

9:00 AM - The Dream in Contemporary US TV Series Lucks, Julian (Universität des Saarlandes, Germany)

Using dream sequences from the television serials Twin Peaks (USA 1990/91, David Lynch), The Sopranos (USA 1999–2007, David Chase) and Damages (USA 2007–2012, Todd Kessler), the presentation will focus on three closely intertwined aspects: firstly, how the dreams’ structural organization reflects the narrative complexity of their respective frame stories, secondly, what function they are assigned to regarding the dreaming protagonists’ personal progress and thirdly, that both construction principles rely heavily on the adaptation, metaphorization, ironization and even metaization of the rule-set of dream-work elaborated by Sigmund Freud. Current representations of dreams in television tend to utilize widely known concepts of dream psychology for the sake of plot development and artistic self-reflection, though they will also have to modify them to suit their purposes. I will also ask why in all of my examples the dream is used as a source of revelation within a detective story (or as Agent Cooper puts it in Twin Peaks: „My dream is a code waiting to be broken. Break the code and you solve the crime“), linking back to one of the earliest applications of Freudian dream theory in US cinema: Alfred Hitchcocks Spellbound (1945).

9:30 AM - Le rêve dans la littérature africaine francophone contemporaine Shango Lokoho, Tumba Alfred (Sorbonne Nouvelle, Paris 3, France)

Le but ici est d’étudier dans la longue durée la présence du rêve, le lien entre les circonstances culturelles, historiques, politiques et leurs répercussions dans l’inscription du rêve dans la littérature africaine francophone contemporaine. Je prendrais pour modèle ou réflecteur le rêve dans l’œuvre d’Ahmadou Kourouma et Koulsy Lamko pour illustrer mon propos. En effet, le rêve littéraire ici surgit souvent dans des conditions de conflit intérieur du personnage avec le monde extérieur, avec l’histoire et avec la culture ambiante. La traversée c’est-à-dire l’exploration critique du rêve littéraire vise pour ainsi dire à mettre en lumière son rôle et sa place dans la constitution anthropologique de la littérature africaine contemporaine, entre autres.

10:00 AM - "The place from where I dance is an over place": Dreamworld Epistemologies in Contemporary Maori Drama Maufort, Marc (Université Libre de Bruxelles, Bruxelles, Belgium)

The short quotation included in this paper’s title is borrowed from the conclusion of Briar Grace- Smith’s seminal play, Purapurawhetu. Spoken by the spirit of a dead child, this line foregrounds the contiguity between the supernatural and everyday life typical of Maori culture. In Maori epistemologies, such “dream-like” states are the closest equivalents to the literal dreams found in 572

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

Euro-American surrealist literature. They suggest the continuing presence of Maori mythologies in contemporary life. This paper explores how these liminal states, often characterized by the use of magic realism, are articulated by Maori dramatists at the turn of the twenty-first century. Significant works from the past two decades will be therefore be examined, written by such playwrights as Hone Kouka, Briar Grace-Smith, Albert Belz and Miria George.

11:00 AM - Dreaming History in East Asia: Notes on the Evolution of Dreams as Counter-Narratives Roetz, Heiner (Ruhr-Universität Bochum, Bochum, Germany); Eggert, Marion (Ruhr-Universität Bochum, Bochum, Germany) Among the classical dream narratives that shaped Chinese dream discourse of the centuries to come, one of the most influential is a brief passage in the Confucian Analects (Lunyu) which is in fact an indirect dream story: Confucius complains that it has been a long time since he dreamt of the Duke of Zhou, an earlier historical personage of the rank of a cultural hero. Our joint presentation will start by analyzing the implications of this passage both for the tension-filled uses of history in the founding phase of Confucianism and for early Chinese dream psychology. In the second part, we will make use of two full-fledged dream stories from the later Sino-Korean tradition – one of them also concerning a dream about the Duke – to trace the development of this nucleus (non-)story, arguing that it translates into representations of the dream as a pivot between historical memory, critical self- distancing from the present, and visions of (utopian) future.

11:30 AM - Accéder au divin. La représentation du songe de Jacob entre Baroque et Romantisme Schneider, Marlen (Universität des Saarlandes, Germany)

Depuis son apparition au quatrième siècle, le thème du songe de Jacob n’a cessé d’inspirer les artistes occidentaux et constitue ainsi une source importante du discours esthétique autour du rêve prémonitoire et son évolution historique. La représentation du patriarche, qui voit apparaître dans son rêve une échelle montant au ciel lui permettant d’apercevoir Dieu, connût des variations formelles et fonctionnelles importantes lors de la diversification du monde de l’art, permettant de retracer les ruptures, les adaptations et les continuités de ce thème ainsi que des idées qu’il véhicule. La vision d’une échelle établissant un lien entre l’être humain et le monde céleste évoque à la fois le statut du rêve comme expérience de transcendance et d’altérité ainsi que sa force créatrice.

Néanmoins, les interprétations de cette iconographie entre le XVIIème et le XIXème siècle ne suivirent pas une évolution étroite, voir téléologique, mais témoignent d’une cohabitation de différentes approches du thème. Selon le contexte historique et culturel, mais aussi selon les circonstances de la commande et de la réception des œuvres, ces images pouvaient servir à la contemplation religieuse ou à la légitimation d’un pouvoir terrestre, exprimer les convictions artistiques et spirituelles de leur auteur ou bien remplir une fonction liturgique. Les artistes de l’entourage de Rembrandt, par exemple, révolutionnèrent la représentation du patriarche rêveur, en mettant en avant son contact immédiat avec le divin. Par contre, le songe de Jacob, tel qu’il a été peint en fresque par Tiepolo un siècle après à Udine, s’inscrit toujours dans une tradition plus ancienne, tout en s’adaptant au programme pictural éminemment politique pour lequel l’image fut conçue. Ce sont les artistes romantiques qui renouvelèrent à leur tour l’iconographie du songe en attribuant encore plus d’importance à son potentiel esthétique, sans jamais se détacher du contenu mystique et existentiel qu’elle véhicule.

12:00 PM - Ideal, Conflict, Destruction. Lovers¿ Dreams in the 18th, 19th and 20th century. Schmidt, Ricarda (University of Exeter, Exeter, United Kingdom)

With reference to Wieland's Don Sylvio von Rosalva, Hoffmann's Die Elixiere des Teufels and Bachmann's Malina, I want to examine how the lovers' dreams map their respective historically 573

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 different relationships to the world, themselves and their beloved, as well as their historically diverse notions of love.

While Don Sylvio’s delightful dreams centre on ideals of a beloved inspired by fairy tales, his idealism is ironised by the comic depiction of his transference of the logic of dreams to reality. Nevertheless, the novel conceives the naïve protagonist as capable of rational insight and rewards him finally with the woman of his dreams. I want to show that Wieland depicts the relationship between desire and reason, dream and reality, with more complexity than the Enlightenment’s projected trajectory towards perfection is often credited with: a balance between intellectual clarity and emotional maturity, striving for the ideal and accepting human limitations, of distance and human warmth is the precondition for successfully marrying dream and reality in Don Sylvio.

Hoffmann’s Elixiere, by contrast, explores the division within the individual between transcendental ideal and earthly desires and ambition (including the inability to decide which of two goals is the right one, H 2/2, p. 266) as a conflict which results in a zigzag course between crime on the one hand and guilt, remorse and atonement on the other. The confusion between dreams and reality takes on a nightmarish aspect, with dreams functioning as the repressed part of the self, acting out forbidden impulses or guilty memories in the Gothic genre, and sometimes reminiscent of paintings by Hieronymus Bosch. But the dream also has a prophetic function: it prefigures the road to redemption the protagonist still has to find via the death of the beloved. These two functions of the dreams in Elixiere point to the novel's roots in the transcendental idealism of Romanticism, and to its exploration from this base of the power of the unconscious, which was to become so dominant in modernism.

In Malina, the dreams in the middle chapter of the novel embody Bachmann’s concept of ‘history within the subject’: intertextual allusions to poetry, novels, music, philosophy, history and psychoanalysis evoke a nightmarish kaleidoscope of the world, seen through the dreams of a fictional female character and focussed apparently on familial love, in particular on the destructive love between father and daughter. Yet the novel’s dreams are situated beyond the personal and autobiographical. They afford insight into both the external ubiquity and the internalisation of destructiveness and result in an ambiguous outcome: the survival of the dreaming subject’s alter ego Malina, but the murder of the female subject challenges the reader to make sense of dreams which map historical forms of violence onto a psychical reality.

2:00 PM - Dreaming the Revolution Lauterbach, Dorothea (University of Oxford, Oxford, United Kingdom)

In this paper I will analyze and compare the poetics of three revolution-dreams of the 19th and 20th century. The results will be seen in relation to some aspects of dream theories and/or authentic notions of revolution-dreams at the time. I will also investigate in which way the narrative structure of these dreams and some of their details are connected to some of those facts and realities (like the highly symbolic guillotine) of the historic revolution(s) which have shaped our cultural knowledge and understanding of – not only – the French revolution.

2:30 PM - Philosophy in Dreams: Plato and Nietzsche Ates, Murat (Universität des Saarlandes, Germany)

Can dreams have a philosophical meaning? Do philosophical dreams exist? According to the history of mainstream Western philosophy we may have to answer both questions with a “no”. Because dreams are irrational, incoherent, and abstruse, and because philosophy is concerned with the order of a rational reality, the world of philosophy and dreams are diametrically opposed to each other. In this paper, I will try to demonstrate alternatives to such dichotomous and antagonistic assumptions. 574

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

Using different examples – particularly by Plato and Nietzsche –, I will show how dream-narratives can and do operate in decisive moments of philosophical thought.

3:00 PM - Le rêve et les paradis artificiels depuis le Romantisme Dieterle, Bernard (Université de Haute-Alsace, France)

Depuis Coleridge et De Quincey, l’exploration des mondes imaginaires, dont le rêve constituait un des paradigmes, a été approfondies par un regain d’intérêt pour des états conçus comme similaires à ceux du rêve et pouvant être induits par la prise de drogues. Le texte canonique en la matière, Les Paradis artificiels de Baudelaire, est une étape importante dans cet examen non seulement des images et des scénarios, mais aussi des processus de l’imagination dans des états para-oniriques. Au 20e siècle, avec Huxley et surtout Henri Michaux, l’intérêt pour des états seconds induits par des adjuvants et qui ont l’avantage d’être dans une certaine mesure observables, a pris une nouvelle tournure, qu’il s’agira de mettre en relief.

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ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

Author Index: Bhattacharyya, Dheeman A ... 171, B 288 Abai, Andia ...... 127 Bhela, Dr. Anita ...... 84, 172 Babel, Reinhard Abdelmajid, Azouine ...... 555 ...... 91 Bhowmik, Ranjamrittika 30, 143, Bacchini, Lorenzo Filippo Abramo, Federica Claudia .... 507 ...... 494 170, 197, 293 Bachleitner, Norbert Absalyamova, Elina ...... 205 ...... 157 Biber, Hanno ...... 5 Bachmann, Christian Achilli, Alessandro ...... 265 12, 331, 449 Birkle, Carmen ...... 560 Ackermann-Pojtinger, Kathrin Backe, Hans-Joachim ... 242, 331, Bischoff, Doerte ...... 274 ...... 483, 484 464 Biti, Vladimir ...... 107, 392 Adam, Jean-Michel ...... 306 Bahrevar, Majid ...... 26, 429, 431 Bitouh, Daniel Romuald ...... 502 Adler, Anthony ...... 319 Baier, Christian...... 267 Bittencourt, Rita Lenira ...... 377 Agamennoni, Francesca ...... 246 Bakirova, Elena ...... 56 Blandfort, Julia ...... 311, 316 Agarwal, Supriya ...... 294 Baptista do Lago, Izabela ..... 145 Blankinship, Kevin ...... 19 Aistleitner, Judith ...... 138 Bär, Gerald ...... 538 Blaszkiewicz, Bartlomiej ...... 41 Albrecht, Monika ...... 31 Barbaresi, Adrien ...... 6 Blioumi, Aglaia ...... 504 Albrecht, Tim ...... 17 Barbosa, Marcio Venicio ...... 308 Bochaver, Svetlana ...... 345 Alexeeva, Galina ...... 355 Barbouchi, Limame...... 186 Bodomo, Adams ...... 502 Alfaro, Margarita ...... 347 Bari, Rachel ...... 297 Bogumil-Notz, Sieghild .... 51, 65, Ali Alhadji, Mahamat ...... 259 BARON, Christine ...... 56 289 Allen, Julie ...... 78 Barros, Andrea ...... 461 Bohn, Carolin ...... 317 Almond, Ian ...... 536 Barroso Filho, Wilton ...... 45 Bohnengel, Julia ...... 71 Alvarez, Aurora ...... 198 Barthelemy, Lambert ...... 411 Boidin, Carole ...... 256 Amaral, Gloria ...... 213, 215 Bärtschi, Sarah ...... 29 Boletsi, Maria ...... 252 Anastasio, Thomas J...... 561 Barykina, Natallia ...... 380 Bonaldo, Luciane Ferreira .... 128 Andringa, Kim ...... 500 Baseio, Maria Auxiliadora .... 124, Bönisch, Dana...... 280 Anetta, Kristof ...... 97 126 Bonvalot, Anne-Laure ...... 408 Bataillé, Mathilde Angela Fabris ...... 236 ...... 412 Boog, Julia ...... 319 Batalha, Maria Cristina Angelo, Tiziano ...... 308 ...... 44 Borato, Meryl ...... 131, 418 Batorova, Maria Angusheva, Adelina ...... 544 ...... 94, 348, 354 boruszko, graciela ...... 28 Anjum, Mahjabeen ...... 468 Bauer, Sidonia ...... 315 Borutti, Silvana ...... 307 Bauer, Verena-Cathrin Anokhina, Alexandra ...... 230 .. 372, 373 Bos, Jan ...... 355 ANOKHINA, Olga ...... 75 Baumann, Beate ...... 512 Bosse, Anke ...... 235 Baumann, Karoline ANSARI, AMEENA KAZI ...... 292 ...... 459 Bouchentouf-Siagh, Zohra ..... 10 Baumbach, Sibylle Antunes, Maria Alice ...... 44 ...... 407 bouderbala, tayeb ...... 147 Bazin, Laurent Araújo, Filipa ...... 120 ...... 72 Boukail, Amina...... 9, 258, 430 Beals, Kurt Arbex-Enrico, Márcia ...... 145 ...... 415 BOURGUIGNON, Annie ...... 192 Archambault, Brandon ...... 133 Beasley, Rebecca ...... 335 Bowden, Sarah ...... 234 Beate Eder-Jordan, Cécile Argiro, Thomas ...... 184 Brandes, Peter ...... 253 Kovacshazy ...... 311, 316 Arha, Abhimanyu Singh ...... 299 Brandini, Laura ...... 46 Beck, Ana Lucia ...... 303 Arnau Segarra, Pilar ...... 386 Breiteneder, Evelyn ...... 5 Begum, Safia ...... 358 Arnds, Peter ...... 162 Brendon, Wocke ...... 424 Bejarano, Alberto ...... 558 AROUIMI, Michel ...... 440 Brinker, Gisela ...... 278 Bellarsi, Franca ...... 281, 282 Arvas, Abdulhamit ...... 153 Brinker-Gabler, Gisela ...... 278 Bellin, Greicy Pinto ...... 215 Asholt, Wolfgang ...... 7, 8 Brinkley, Tony...... 187 Benert, Britta ...... 69, 72 Ashraf Uddin, KAZI ...... 295 Brion, Charles ...... 501 Benjamin, van Well ...... 231 Ask Nunes, Denise ...... 445 Brock, Julie ...... 148 Berezovska Picciocchi, olena 500 ASLAN, ADILE ...... 567 Brod, Anna ...... 207 Bermann, Sandra ...... 450, 542 Assinger, Thomas ...... 396 Brown, Catherine ...... 235 Bernd, Zila ...... 58 Ates, Murat ...... 574 Brückner, Leslie ...... 80 Bernstein, Lisa ...... 82 Atik, Maria Luiza ...... 217 Bruhn, Jørgen ...... 117 Berrada, Taieb ...... 465 Aubague, Mathilde ...... 435 Bubar, Mallory ...... 23 Bertens, Hans ...... 355 Avila, Myriam ...... 377 Buch, Robert ...... 557 Berwanger da Silva, Maria Luiza Azarova, Natalia ...... 342 Buchenberger, Stefan ... 442, 445 ...... 124 Bud, Crina ...... 54 BESSIERE, Jean ...... 65 Budrewicz, Aleksandra . 485, 488 Bethke, Kathrin ...... 455, 456 Buehler, Jill ...... 400 576

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

Buescu, Helena ...... 541 Chovanec, Johanna ...... 98 Deva, El-Shaddai ...... 330 Bühler, Benjamin ...... 219 Christie, Stuart ...... 420 Di Leo, Jeffrey R...... 31 Bürger-Koftis, Michaela ...... 512 Chu, Xiaoquan ...... 179 DIAS, ANGELA ...... 60 Bush, Christopher...... 91 Chung, Moonyoung ...... 186 Dieterle, Bernard ...... 569, 575 Busl, Gretchen ...... 275 Chvedova, Lioudmila ..... 199, 201 Dikovich, Albert ...... 522 Buzarboruah, Pallavi ...... 480 Clare, Jennifer ...... 269 Dilts, Rebekkah ...... 156, 517 Buzarboruah, Pallavi D ...... 480 CLERMONT, Philippe ...... 69 Diniz, Thaïs ...... 198 Coch, Charlotte ...... 552 DiQuattro, Marianne ...... 185 C Codau, Ana-Maria ...... 401 DJOB-LI-KANA, Edouard Coffman, Chris ...... 149 Christian ...... 147 Calle-Gruber, Mireille ...... 8 Colucci, Dr. Luciana...... 214 Djukic, Marjana ...... 554 Calzati, Stefano ...... 29 Concilio, Carmen ...... 388 Dobrovolskij, Dmitrij ...... 6 Campos, Sheila ...... 47 Constantinescu, Catalin ...... 132 Domina, Natalya...... 529 Camps, Assumpta ...... 450 Conterno, Chiara...... 140 Domínguez, César ...... 565 Cao, Shunqing ...... 363 CORREARD, Nicolas ...... 40, 260 Domokos, Johanna ...... 229 Capeloa Gil, Isabel ...... 538 Cortez, Maria Teresa ...... 74, 329 Donat, Sebastian ...... 263, 271 Car, Milka ...... 100 COSTE, Didier ...... 91 Doran, Robert ...... 520 Caracciolo, Marco ...... 238 Coughlan, David ...... 442, 444 Doran, Sabine ...... 462 Carbone, Elettra ...... 491 Coutinho, Ana Paula ...... 543 Doutch, Daniela ...... 208 Cardoso, Marília ...... 377 Coutinho, Eduardo ...... 58 Dreyzis, Yulia ...... 344 Carelli, Fabiana ...... 125 Couto Pereira, Helena Bonito Drozdovskyi, Dmytro ...... 361 Carey, Jean Marie ...... 387 ...... 146 Dubrovina, Svetlana ...... 201 Caroline Bem ...... 237 Cristea, Carmen ...... 420 Duprat, Anne ...... 260 Carrington, Maria Cristina .... 125 Cunha, Maria Zilda ...... 124, 126 Dürbeck, Gabriele ...... 173 Carsten, Christoph ...... 460 Cvikova, Jana ...... 508 Dutta, Arnab ...... 478 Castellari, Marco ...... 365 Caughie, Pamela ...... 152 D E CAVALCANTE, Alex Beigui .... 311 Cecovic, Svetlana ...... 199 Daddario, Gina ...... 183 Ebke, Thomas ...... 322 Ceuppens, Jan ...... 327 Dahan-Gaida, Laurence ...... 24 Eder-Jordan, Beate ...... 311, 313 Chakrabarty, Bandana ...... 293 Dai, Congrong ...... 360 Eggers, Michael ...... 250 Chakravarty, Radha ...... 476 Dal Bo, Federico ...... 129 Eggert, Marion ...... 573 Chanda, Ipshita ...... 36, 66 Dalvai, Marion ...... 285 Eide, Øyvind ...... 27 Chaouli, Michel ...... 106 Dammiano, Enza...... 346 El Maghnougi, Naima ...... 186 Chassaing, Sylvia...... 438 Damrosch, David ...... 86, 256 El Reyes, Abdulla ...... 355 Chatta, Rasha ...... 464, 465 DANG, Shengyuan ...... 179 El-Desouky, Ayman ...... 464, 465 Chatterjee, Abhinaba .... 167, 482 DANGELO, BIAGIO ...... 71 Elis, Toshiko ...... 281 Chattopadhyay, Kunal . 177, 355, Das, Sriparna ...... 481 Emily Apter ...... 224, 256, 533 356, 357 DASGUPTA, SAYANTAN 285, 300 Erlinghagen, Erika ...... 428 Chattopadhyay, Suchorita ... 285, Dautel, Katrin ...... 158, 159 Erll, Astrid ...... 563 287 Davis, Christopher ...... 232 Erwig, Andrea ...... 323 chaturvedi, neekee ...... 299 Davis, Geoffrey ...... 166 Esplin, Emron ...... 453 Chaturvedi, Vinita Gupta ...... 468 De Angelis, Valerio Massimo .. 66 Esplin, Marlene ...... 450 Chaudet, Chloé ...... 501 de Boissieu, Michel ...... 191 Exner, Isabel...... 302 Chen, Joan ...... 122 de Dampierre-Noiray, Eve .... 256 Eymar, Marcos ...... 337 Chen, Rongnu ...... 362 De Felip, Eleonore ...... 456 Cheng, Guiming ...... 359 de Medeiros, Paulo ...... 538 F Chestier, Aurore ...... 557 De Michele, Fausto ...... 532, 534 Chiesa, Laura ...... 438 DE SOUZA, ENEIDA MARIA .. 376 Falcon, Adan ...... 20 Chiurato, Andrea ...... 239 De Toffoli, Ian ...... 114 Färber, Christina ...... 212 Chmurski, Mateusz ...... 73 Degner, Uta ...... 119 Faßhauer, Vera ...... 121 Cho, Kyo ...... 550 Dehoux, Amaury ...... 490 Fauner, Eva ...... 206 CHO, Sung-Won ...... 548 Delcroix, Stéphanie Anne ..... 495 Faure, Marie Noëlle ...... 508 Choe, Steve ...... 185 Dellagi, Chayma ...... 258 Felber, Silke ...... 265 Choi-Hantke, Aryong .... 431, 434 Dembeck, Till ...... 78, 81 Fernández, Hans ...... 375 Chon, Young-Ae ...... 274 DeTora, Lisa ...... 444 Feshchenko, Vladimir ...... 342 Choudhuri, indra Nath ...... 169 Dettori, Giovanni Maria ...... 276 Festic, Fatima ...... 103 Figueira, Dorothy ...... 65, 67, 169 577

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

Figueiredo, Camila ...... 145 Gibby, Kristina ...... 463 Hajdu, Péter ...... 110 Filion, Louise-Hélène ...... 369 GIJAE, SEO ...... 520 Halak, Miroslav ...... 554 Firdaus, Zakia ...... 467 Gil Curiel, German ...... 119 Haller, Jennifer ...... 125, 334 Fischer, Caroline ...... 238 Gilbert, Jane ...... 233 Halsall, Alison ...... 448 Fischer, Kai...... 272 Gilbertz, Fabienne ...... 114 Hamarneh, Walid ...... 105 Fisher, Dominique ...... 7 Gillespie, Gerald ...... 67, 571 Hambuch, Doris...... 281, 282 Fluhrer, Sandra ...... 321 Gillhuber, Eva ...... 211 Hamel, Hanna ...... 396, 398 Fogarasi, György ...... 402 Glanc, Tomas ...... 343 Hammami, Nodhar ...... 188 Folie, Sandra ...... 535 Glesener, Jeanne E...... 111, 568 Han, Jihee ...... 281, 283 Fomeshi, Behnam .. 63, 278, 348, Gobbi Alves Araujo, Giovanna Hanenberg, Peter ...... 563 429, 549 ...... 127 Hanna, Vera ...... 64, 379 Foote, Susan ...... 374 Godlewicz-Adamiec, Joanna ... 41 Hansen-Pauly, Marie-Anne . 115, Fortunato, Elisa ...... 529 Goicoechea, María ...... 464 345 Fotache Dubalaru, Oana ...... 544 Goldmann, Luzia ...... 15 Hao, Liu ...... 281 Franco, Bernard ...... 566 Gölz, Sabine ...... 320 HAQUETTE, Jean-Louis 259, 261 François, Anne Isabelle ...... 340 Gomes, Gínia ...... 379 Hardtmann, Markus ...... 322 François, Cyrille ...... 257 Gomes, Renato ...... 60 Harris, Ashley ...... 188 Frank, Caroline ...... 571 Gómez, Isabel ...... 452 Harris, Jennifer ...... 339 Franke, William ...... 503, 505 Gomide, Bruno ...... 204 Harrison, Rachel ...... 464 Franz, Marc ...... 371 Gonne, Maud ...... 336 Harst, Joachim...... 255 Fredsted, Elin ...... 228 Gontier, Elodie Marie ...... 422 Hart, Jonathan...... 395, 550 French, Lorely ...... 311 González, Francisco ...... 25 Hartmann, Britta ...... 164, 166 Fritz, Martin ...... 263, 269, 271 Goutaland, Carine ...... 50 Hartmann, Tina ...... 514 Froger, Marion ...... 237 Grall, Catherine ...... 55 Hashimoto, Yorimitsu ...... 546 Fry, Katie ...... 134 Grammatikopoulos, Damianos Hassan, Wail ...... 18 Fuchs, Gerhild ...... 497 ...... 210 Hautcoeur, Guiomar ..... 405, 408 Fuchs, Michael ...... 178, 332 Graziadei, Daniel ...... 164, 166 Hayot, Eric ...... 91, 92 Fuchs, Susanne ...... 221 Greenberg, Yudit ...... 84 Head, Gretchen ...... 425 Fuchs-Eisner, Laura ...... 530 Greenblatt, Jordana Marion . 149 HEIDMANN, Ute ...... 307 Führer, Heidrun ...... 118 Griffin, Miranda ...... 231 Heimgartner, Stephanie .. 11, 32, Fusillo, MASSIMO .. 154, 238, 245 Grillmayr, Julia ...... 209 130 Grishakova, Marina ...... 238, 243 Heine, Stefanie ...... 209 G Grossmann, Stephanie ...... 370 Heinrich, Tobias ...... 18 Grubica, Irena ...... 337 Helbig, Joerg...... 236 Gafrik, Robert ...... 348, 352 Grudule, Mara ...... 414, 415 Held, Christoph ...... 325 Galtsova, Elena ...... 203 Gruenewald, Jennifer ...... 57 Helgeson, James ...... 261, 405 Gamoneda, Amelia ...... 24 Grünhagen, Sara...... 52 Helgesson, Stefan ...... 32 Gander, Catherine ...... 118 Grüning, Barbara ...... 447 Heney, Alison ...... 538 Ganguly, Aratrika ...... 301 GRUTMAN, Rainier ...... 72 Hermann, Christine ...... 367 Garima, Gupta ...... 470 Grzesiak, Zofia ...... 407 Hermetet, Anne-Rachel 408, 412 Garric, Henri ...... 262 Güde, Elisabeth ...... 138 Hertrampf, Marina Ortrud .... 315 Gärtner, Julian ...... 102 Guedon, Cecile ...... 247 Heyden, Linda ...... 366 Gaunt, Simon ...... 232 Guest, Bertrand ...... 408, 413 Hiddleston, Jane...... 10 Gauvin, Lise ...... 7 Guimarães, Mayara ...... 509 Hillard, Derek ...... 458 Gay, Marie-Christine ...... 194 Guiyoba, François ...... 146, 149 Hillebrandt, Claudia ...... 196 Geat, Marina ...... 489 GUPTA, SEEMANTINI .... 153, 434 Hiller, Moritz ...... 416 Geerts, Walter ...... 394 Gwozdz, Patricia ...... 276 Hintereder-Emde, Franz ...... 189 Geisenhanslüke, Achim ...... 247 Hinzmann, Maria ...... 37 Geiser, Myriam ...... 568 H Hiraishi, Noriko ...... 443 Gerigk, Anja ...... 528 Hites, Sandor ...... 404 Gerlach, Hannah ...... 54 Haberl, Hildegard ...... 25 Hoefle, Arnhilt ...... 276 Gerling, Vera Elisabeth ...... 51 Habibzadeh, Hamed ...... 486 Höfer, Hannes ...... 368 Geybullayeva, Rahilya ...... 109 Habjan, Jernej ...... 108 Hoffmann, Sascha ...... 164 Ghaderi, Farah ...... 213 Hable, Nina ...... 232 Hölter, Achim Hermann ...... 355 Ghirardi, Jose ...... 215 Hagemann, Alfred ...... 11 Horn, Eva ...... 218, 219 Ghosh-Schellhorn, Martina ... 172 Hagen, Rebecca ...... 505 Horne, Fiona ...... 223 Giannuzzi, Mariaenrica ...... 410 Hahn, Sönke ...... 333 Hossain, Mashrur ...... 296 Hajdu, Peter ...... 388, 389 578

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

Hottner, Wolfgang ...... 396 Khojastehpour, Adineh . 142, 534 Kumar, S Satish ...... 169, 298, 357 Howell, Yvonne ...... 105 Kim, Choon-Hee ...... 425 Küpper, Achim ...... 222 huang, hui ...... 521 Kim, Jooyoung ...... 519 Kütt, Madli ...... 116 Hudson Jones, Anne ...... 518 Kim, Kyunghee ...... 270 Kutzenberger, Stefan...... 303 Huffmaster, Michael ...... 84 Kim, Youngmin...... 516, 551 Kuzmikova, Jana ...... 96 Huh, Sukyung ...... 281, 284 Kinane, Ian ...... 165, 166 Huss, Markus ...... 229 Kirsch, Fritz Peter ...... 7, 559 L Kledzik, Emilia ...... 313 I Kleinert, Susanne...... 506 Laak, Marin ...... 464 Klenner, Jens ...... 17 Laakso, Johanna ...... 225, 226 Ingole, Prashant ...... 126 Klimek, Sonja ...... 195, 197 Lackner, Elke ...... 351 Ingram, Susan ...... 381 Kling, Vincent ...... 441 Ladevèze, Charlotte ...... 411 Isherwood, Tim ...... 123 Klomfaß, Vanessa ...... 13 Laferl, Christopher F...... 484 Italiano, Federico ...... 264 Knaller, Susanne ...... 206 Laizans, Martins ...... 414 Ivanovic, Christine ...... 5, 18 Knauth, Alfons...... 70 Lall, RamaRani...... 466 Kniesche, Thomas ...... 503 Lally, Katie ...... 68, 131 J Knoop, Christine A...... 14 Lambrecht, Gabriella-Maria . 334 Knoop/Sarkhosh, ...... 14 Lameborshi, Eralda ...... 384 Jahan, Rahmat ...... 112 Knuuttila, Sirkka ...... 562 Lampe, Franziska ...... 333 Jain, Jasbir ...... 281, 288 Koch, Julian ...... 22 Lampropoulos, Apostolos .... 417, Jakli, Timon ...... 193 Koehn, Johanna ...... 365 419 James, Jancy ...... 168 Koerte, Mona ...... 17 Lams, Ojars ...... 414 Jamie, Herd ...... 410 Kohns, Oliver ...... 483 Landerouin, Yves ...... 244 Jang, Juyeon ...... 432 Kókai, Károly ...... 428, 429 Landry, Christopher D...... 562 Jaquinta, Carlotta ...... 307 Kola, Adam ...... 348 Landry, Iraïs ...... 203 Jasionowicz, Stanislaw ...... 487 Kölling, Angela ...... 451 Langer, Stephanie ...... 396, 399 Jenkins, Grant ...... 281 Kolodziejczyk, Dorota ...... 353 Lanjewar, Aparna ...... 469 Jensen Smed, Sine ...... 394 Kopf, Martina...... 61 Lauri-Lucente, Gloria ...... 498 Jicinska, Veronika ...... 23 Koroliov, Sonja ...... 317 Lavocat, Francoise ...... 260, 406 Jirsa, Tomáš ...... 460, 463 Kost, Kiley ...... 173 Lay Brander, Miriam ...... 306 Jobim, José Luís ...... 43, 44 Kostova, Raina ...... 181, 183 Le Baillif, Anne-Marie...... 113 Jodoin, Jared ...... 394 Kothe, Ana ...... 82, 83 Le Juez, Brigitte ...... 565, 567 Johnson, Christopher ...... 261 Kotkiewicz, Aurelia ...... 487 Leben, Andreas ...... 112 Johnson, Dane ...... 129 Kovacshazy, Cécile ...... 311, 312 Leclerc, Natalia ...... 200 Jordan, Lothar ...... 355 Kõvamees, Anneli ...... 115 Lederle, Sebastian ...... 397 Junwei, Zhang ...... 552 Kowalska, Magdalena ...... 76 Lee, Ji Hye ...... 433 Just, Anna ...... 41 Kragl, Florian ...... 230 Lee, Jinhyoung ...... 520 Just, Rainer ...... 302, 304 Kramer, Kirsten ...... 251 Légeret, Joëlle ...... 309 Kranz, Isabel ...... 219 Leggieri, Antonio ...... 526 K Krause, Gustavo Bernardo ..... 63 Leguerrier, Louis-Thomas .... 203 Krauss, Charlotte ...... 49 Lemke, Cordula ...... 326 Kaess, Elisabeth ...... 73 Krawczyk, Dariusz ...... 42 Lemos, Masé ...... 556 Kahraman, Nefise ...... 286 Kremer, Arndt ...... 80 Lenhart, Johanna ...... 441 Kalavszky, Zsófia ...... 403 Kreuter, Andrea Sibylle ...... 372 Leucht, Robert ...... 227 Kálmán, György C...... 403 Krihova, Zuzana ...... 430, 431 Li, Chi-she ...... 474 Kalnina, Ieva ...... 381, 382 Kriza, Elisa ...... 528 Li, Chunrong ...... 343 Kamali, Mahmoud ...... 430 Kronshage, Eike ...... 317 li, dingqing ...... 522 KAMIGAITO, Kenichi ...... 547 Krstic, Visnja...... 64, 384 Li, Xingbo ...... 38 Kaminski, Johannes ...... 53, 190 Kruthiventi, Sreeenivasarao . 476 Li, Yinbo ...... 63 Kammer, Stephan ...... 360 Krys, Svitlana (Lana) ...... 214 Libert, Alan ...... 473 KAMPFF LAGES, SUSANA ..... 376 Krzywkowski, Isabelle .. 435, 440, Lima, Rachel ...... 376, 378 Kanjo, Judita ...... 34 499 Lima, Rogério ...... 45 Karakassi, Katerina ...... 103 Kucera, PhD., Petr ...... 350 Lin, Chien-Chun ...... 493 Karnick, Anirudh ...... 480 Kukkonen, Karin .... 263, 405, 408 Lin, Wan-shuan ...... 143 Keller, Andreas ...... 91 Kulessa, Rotraud von ...... 496 Lindberg, Svante ...... 491 Kendall, Judy ...... 123 Kulishkina, Olga ...... 52 Linden, Ari ...... 530 Ketterl, Anja ...... 211 Kumar, Neeraj ...... 471 Lino, Mirko ...... 240 KHLOPINA, Oxana ...... 205 579

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

Lionnet, Françoise ...... 8 Marzioli, Sara ...... 497 Mukherjee, Tutun ...... 172, 292 Lisitsyna, Daria ...... 53 Matajc, Vanesa ...... 113 Müller, Richard ...... 460 Litavrina, Marina...... 490 Mathieson, Jolene ...... 117, 119 Müller-Funk, Wolfgang ...... 98 Liu, Hao ...... 283 Mathur, Vrinda ...... 467 Münch, Marc-Mathieu ... 146, 148 Liu, Qianyue ...... 427 Matonoha, Jan ...... 463 Murvai, Peter ...... 437 Liu, Yuan ...... 517 Mattern, Pierre ...... 161 Mussgnug, Florian ...... 536 LLamas, Miriam ...... 385 Mattos, Cristine ...... 142 Lobnik, Mirja ...... 182 Maude Havenne ...... 490 N Lock, Charles ...... 87 Maufort, Marc ...... 572 Loh, Lucienne ...... 393 May-Chu, Karolina ...... 370 Nadège, Langbour ...... 49 Lopes, Alexandra ...... 451 Mayer, Michael ...... 37 Nagelschmidt, Ilse ...... 33 López-Varela, Asun ...... 246, 565 McDonald, Edward ...... 87 Nagy, Fruzsina ...... 123 LORENZ, Désirée ...... 448 McGrady, Deborah...... 234 Nakkouch, Touria ...... 551 Löschnigg, Martin ...... 560 McMurtry, Aine ...... 510 Nalbantian, Suzanne ..... 561, 564 Lourenço, Patrícia ...... 531 Mechoulan, Eric ...... 236 Nantke, Julia ...... 273 Lovato, Martino ...... 545 Meidl, Martina ...... 209 NARULA, DEVIKA ...... 297 Lubkemann Allen, Sharon .... 543 Meirosu, Madalina ...... 433 Nath, Holger ...... 137 Lucks, Julian ...... 572 Mekis, János D...... 391, 402 Nath, Sanjeev ...... 21 Lüdeke, Roger ...... 255 Melo, Alfredo ...... 379 Nebrig, Alexander ...... 270 Lukas, Liina ...... 116 Mende, Jana-Katharina ...... 77 Neelsen, Sarah ...... 272 Lukaszyk, Ewa ...... 38 Méndez-Oliver, Ana ...... 325 Nenadovic, Ana ...... 155 Luo, Lianggong ...... 522 Menon, Nirmala ...... 26, 453 Nesselhauf, Jonas .. 173, 331, 332 Lupi Bello, Maria do Rosário 539 Menon, Tara ...... 329 Nethanel, Lilach...... 139 Lüsebrink, Hans-Jürgen...... 305 Mergenthaler, May ...... 318 Neubauer-Petzoldt, Ruth...... 36 Lushenkova, Anna ...... 146, 202 Mergler, Agata ...... 380 Ng, Julia ...... 318 Lynda-Nawel, TEBBANI ...... 555 Meyer, Sabine ...... 152 nie, zhenzhao ...... 515 Meylaerts, Reine ...... 335 Niebisch, Arndt ...... 415 M Meyzaud, Maud ...... 525 Niimoto, Fuminari ...... 192 Mibielli, Roberto ...... 48 Nina, Fernando ...... 372 Macedo, Ana-Gabriela ...... 541 Michael Rössner ...... 532 Nissler, Paul ...... 35, 77 MacKenzie, Robin ...... 285, 286 Michael, Joachim ...... 485 Nitzke, Solvejg Elisabeth ..... 218, MacKinnon, Chloé Brault ...... 46 Michalski, Przemyslaw...... 485 222 Maeder, Costantino C. M. .... 489 Michel, Amélie ...... 418 Noël, Martine ...... 413 Mahasupap, Saran ...... 150 Middelhoff, Frederike ...... 523 Noghrehchi, Hessam ...... 424 Mahmoud, Alaaeldin ...... 549 Mikhaylov, Kalin ...... 204 Norimatsu, Kyohei...... 107 Mahmutovic, Adnan ...... 445 Mikkonen, Kai ...... 442 Norman, Rachel ...... 427 Majer-O'Sickey, Ingeborg .... 279 Mikula, Thomas ...... 137 Núñez, Loreto ...... 308 Major, Julia...... 85 Mild, Matthew ...... 68, 155 Majumdar, Sharmila...... 527 Millet, Kitty ...... 69, 129, 132, 135 O Majumder, Auritro ...... 355, 363 Millner, Alexandra ...... 513 Malato, Maria-Luisa ...... 543 Milo¿, Zelenka ...... 351 Ohnesorg, Stefanie ...... 174 Malmio, Kristina ...... 225 Mitterbauer, Helga...... 157, 568 Oikonomou, Maria ...... 90, 91 Mansky, Matthias ...... 267 Mitterer, Cornelius ...... 522, 524 Olah, Myriam ...... 309 Mantcheva, Dina ...... 310 MOHAN, CHANDRA ...... 296 Oliveira, Leopoldo ...... 184 Manzari, Francesca ...... 417 Moji, Polo ...... 223 Oliveira, Solange ...... 144, 197 Mareuge, Agathe ...... 553 Moll, Nora ...... 511 Onyeji, Chibo ...... 502 María, Goicoechea ...... 385 Möller, Reinhard M...... 398 Opalinska, Monika ...... 41 Mariani, Bethania ...... 43 Monteiro, Flávia ...... 143 Orehovs, Ivars ...... 491 Marik, Soma ...... 301, 355, 358 Monteiro, Rosario ...... 218 Orsini, Francesca ...... 286, 476 Marinho, Marcelo ...... 61 Moore, Megan ...... 233 Orsini, Fransecsa ...... 106 Marisescu, Tonia ...... 13 Moraes, Paulo ...... 62 ORTEGA MÁÑEZ, María J. .... 421 Marrone-Publia, Gaetana ..... 498 Moraldo, Sandro M...... 503 Oseki, Inês ...... 500 Martina Stemberger ...... 199, 200 Morrell-Yntema, Sarah ...... 20 Osmanovic, Erkan ...... 441, 442 Martinelli, Hélène ...... 558 Moser, Christian ...... 247, 254 Österle, David ...... 522, 525 Martins, Adriana ...... 539 Moura, Jean-Marc .. 346, 347, 499 Martins, Anderson ...... 376, 378 Mueller, Juergen E...... 236 P Martins, Luiz Paulo Leitão .... 417 Mukherjee, Soma ...... 357, 479 Packard, Stephan ...... 271 580

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

PADINHAREPPALLA ABDULLA, Puskas, Istvan ...... 494 Rotaru, Arina ...... 281 ABDUL HAMEED ...... 477 Putz, Kerstin ...... 429 Ruhe, Doris ...... 9 Pagliardini, Angelo ...... 506 Ruthner, Clemens ...... 98 Pailer, Gaby ...... 196 Q Ryvolova, Karolina ...... 314 Pala, Mauro ...... 241 Paladin, Nicola ...... 446 Qiao, Guoqiang ...... 388 S Palermo, Silvia ...... 507 Qiao, Guo-Qiang ...... 388 Panteli, Georgia ...... 529 Qiu, Bei ...... 390 sabharwal, jyoti ...... 35 Pao, Lea...... 416, 442, 443 Quaglia, Elena ...... 200 Sabiron, Céline ...... 340 Papaioannou, Chrysi ...... 287 Quendler, Christian ...... 328 Sager, Alexander ...... 234 Paret Passos, Marie-Hélène ... 74 Salih, Hamza ...... 18 Parizhsky, Simon ...... 343 R Samson, Barney ...... 164, 166 Park, Saein ...... 133 Sánchez, Laura ...... 385 Park, Sowon ...... 86, 104, 105 Radisoglou, Alexis ...... 175 Sandru, Cristina ...... 28, 274 Park, Sungchang ...... 88 Radlwimmer, Romana ...... 59 SANSON, Hervé ...... 9 Parr, Rolf ...... 81 Raduta, Magdalena ...... 546 Santos, Emanuelle ...... 43 Paskevica, Beata ...... 382 Raic, Monika ...... 263, 264, 271 Sanz, Amelia ...... 385, 464 Paszmár, Lívia ...... 97 Rainsborough, Marita ...... 373 Sapino, Roberta...... 419 Pateridou, Georgia ...... 542 Ramazzina Ghirardi, Ana Luiza Sarkar, Judhajit ...... 356, 475, 477 Paul, Claude ...... 235 ...... 216 Sarkhosh, Keyvan ...... 14, 15 Pavlou, Kostis ...... 76 Rao, Mythili ...... 294, 466 Saro, Anneli ...... 247 Peñalver Vicea, Maribel ...... 259 Rath, Akshaya ...... 22 Sasaki, Leonardo ...... 432 Pereira, Deise ...... 45 Rath, Brigitte ...... 93, 325, 328 Sauer-Kretschmer, Simone ... 11, PEREIRA, HELENA ...... 147 Ratiani, Irma ...... 548 14 Pereira, Margarida...... 566 Ravetti, Graciela ...... 380 Saussy, Haun ...... 91, 93 Peres, Marcos ...... 46 Raynor, Cecily ...... 48 Sauter, Caroline...... 91 Perica, Ivana ...... 487 Redding, Arthur ...... 381 Saxena, Akshya ...... 94 Perkone, Inga ...... 383 Reichart, Dagmar ...... 254 Schällibaum, Oriana ...... 160 Perrot-Corpet, Danielle ...... 406 Reichel, A. Elisabeth ...... 122 Scheffel-Dunand, Dominique Pesti, Brigitta ...... 100 Reichert, Carmen ...... 139 ...... 437 Pethes, Nicolas ...... 251 Reitböck, Petra...... 372, 374 Scheibner, Tamás ...... 403 Petra Schweitzer ...... 181 Resende, Beatriz ...... 60 Scheurer, Maren ...... 206, 320 Petricola, Mattia ...... 243 Reynolds, David S...... 564 Schirrmacher, Beate ...... 437 Picard, Sophie ...... 364, 367 Reynolds, Matthew ...... 104, 338 Schleich, Markus ...... 331 Pichler, Doris ...... 206 Reyns-Chikuma, Chris ...... 448 Schmeling, Manfred ...... 503 Piepoli, Angelo ...... 442, 444 Rieger, Rita ...... 206 Schmidt, Henrike ...... 326 Pierini, Francesca ...... 545 Ringgenberg, Patrick ...... 127 Schmidt, Matthias ...... 429 Pillet, Stephane ...... 83 Rio Doce, Cláudia ...... 47 Schmidt, Ricarda ...... 573 Pinot, Anne ...... 205 Riquet, Johannes ...... 165, 166 Schmidt, Rita Terezinha ...... 154 Piszczatowski, Pawel ...... 41 Robertson, Randy ...... 527 Schmitt, Claudia ...... 524 Placial, Claire ...... 257 RODRIGUES-ALVES, Maria- Schmitz-Emans, Monika .. 13, 70, Cláudia Plate, Liedeke ...... 151 ...... 147, 216 85, 95, 108, 190, 271 Roetz, Heiner ...... 573 Pluta, Nina ...... 486 Schneider, Marlen ...... 573 Rohde, Carsten Pokrivcak, Anton ...... 132 ...... 364 Schneider, Ulrike ...... 262 Roig Sanz, Diana Polubojarinova, Larissa .... 49, 50 ...... 335 Schödel, Kathrin ...... 158, 252 Rollo, David ...... 231 Polyan, Alexandra ...... 344 Schoof, Kerstin ...... 16 Román, Felipe Ponzi, Mauro ...... 429 ...... 310 Schröder, Stephan Michael .. 228 Romanova, Olha ...... 347 Poole, Ralph ...... 483 Schudson, Michael ...... 565 Romm, Stuart Porebski, Czeslaw...... 486 ...... 181 Schuelke, Anne ...... 524 Rösch, Gertrud Maria ...... 503 Pospisil, Ivo ...... 94, 95, 349, 391 Schüller, Dietrich ...... 355 Rose, E.M. Prade, Juliane ...... 16 ...... 564 Schumm, Johanna ...... 249 Rose, Kira Prager, Julia ...... 268 ...... 475 Schuster, Jana ...... 175 Rösser, Angelika ...... 495 Prando, Fabiana ...... 127 Schwabel, Friederike ...... 195 Rossetti, Chip Preljevic, Vahidin ...... 101 ...... 451 Schwarz, Thomas ...... 163 Rossi, Riikka ...... 461 Price, Joshua ...... 336 Schwebel, Shoshana ...... 159 Rossi, Umberto Pucherova, Dobrota ...... 277, 353 ...... 446 Schweitzer, Petra ...... 181, 182 Rossini, Gianluigi ...... 241 Puppo, María ...... 128 Schweitzer, Zoé ...... 261 Rössner, Michael ...... 532, 535 Schwerter, Stephanie ...... 244 581

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

Sciarrino, Emile...... 75 Sondrup, Steven ...... 69 Tokumori, Makoto ...... 89 Scoville, Spencer ...... 452 Sorrentino, Alessandra ...... 533 Tolksdorf, Nina ...... 457 Sebek, Josef ...... 462 Spinelli, Daniela ...... 488 Tomiche, Anne ...... 499, 552 Seewald-Juhasz, Christina ... 211 Spitzmüller, Jürgen ...... 227 Tötösy de Zepetnek, Steven .. 31 Segal, Naomi...... 536, 537 Spurlin, William J...... 151 Tran-Gervat, Yen-Mai ...... 339 Segelcke, Elke ...... 280 Sreenan, Niall ...... 162 Trauvitch, Rhona ...... 473, 474 Seidler, Andrea ...... 428 STAN, Corina ...... 361 TREVISAN, ANA...... 217 Seligardi, Beatrice ...... 238 Steinsiek, Annette ...... 55 Trevitt, Jessica...... 338 Seligmann-Silva, Marcio ...... 242 Stemberger, Martina .... 199, 202, Trikha, Manorama ...... 168, 290 Semujanga, Josias ...... 306 364 TRIM, Richard ...... 455 SENGUPTA, PRAGYA ...... 21 Stepien, Aneta ...... 141 TROIN-GUIS, ANYSIA ...... 439 Seokmin, Yoon ...... 516 Stockhammer, Robert ...... 109 TRUSEN, Sylvia ...... 213 Serra, Valentina ...... 160 Stoffel, Patrick ...... 221 Tsu, Jing ...... 90 Sethi Chadha, Monika ...... 480 Strasser, Melanie ...... 375 Turcat, Eric ...... 422 Sethi, Roshi ...... 469 Strätling, Regine ...... 248 Tutschek, Elisabeth ...... 150 Sexl, Martin ...... 263, 268, 271 Streip, Katharine ...... 454 Sgambati, Gabriella ...... 515 Strohmaier, Paul ...... 489 U Shaffer, Elinor ...... 537 Su, Hui ...... 521 Shah, Mira ...... 177 Sundaram, Asha ...... 291 Ulrich, Silvia ...... 387 Shahbazimoghadam, Nahid . 213 Suter, Fermin ...... 458 Umbach, Rosani ...... 523 Shahida, Shahida ...... 481 Sutton, David ...... 355 Ungelenk, Johannes ...... 220 Shahnaaz, Tasneem ...... 472 Syrovy, Daniel ...... 196, 326 Untiks, Inga ...... 383 Shahsavar, Zahra ...... 19 Szávai, Dorottya ...... 405 Urban, Urs ...... 49 Shang, Biwu ...... 517 Ursini, Francesco ...... 447 Shango Lokoho, Tumba Alfred T ...... 572 V Sharandin, Artem ...... 6 T. Szabó, Levente ...... 314, 400 Sharma, Krishna Gopal ...... 298 Tabarasi-Hoffmann, Ana-Stanca Vajdova, Libusa ...... 350 Sharma, Priyanka ...... 187 ...... 79 Valenzuela, Sandra Trabucco Sharma, Sangeeta ...... 300 Tahoun, Riham ...... 457 ...... 124, 126, 128 sharma, vasant ...... 482 Takeda, Arata...... 189 Van den Bossche, Bart ...... 532 Shaw, Martin ...... 312 Talvet, Jüri ...... 62 van der Steeg, Christian ...... 531 Shin, Inseop ...... 519 Talviste, Katre ...... 117 van Vuuren, Helize ...... 58 SHIN, Jeonghwan ...... 547 Talwar, Urmil ...... 290 Vanacker, Beatrijs ...... 325, 329 SHIN, Keunhye ...... 548 Tamble, Donato ...... 498 Vanassche, Tom ...... 266 Shukla, Anita ...... 473 TANE, Benoît ...... 237, 239, 435 Vangi, Michele ...... 399 shukla, surya prakash ...... 479 Tang, Ke ...... 426 Varga, Zsuzsanna...... 401 Sicard-Cowan, Helene ...... 57 Tao, Chen ...... 181 Vassilatos, Alexia ...... 223, 224 Siemens, Elena ...... 381 Tashkenov, Sergey ...... 56 Vatter, Christoph ...... 236 Sievers, Wiebke ...... 510 Taurens, Janis ...... 383 Vaupotic, Ales ...... 566 Silva, Adriana ...... 217 Tavares, Pedro Heliodoro ..... 512 Velancherry, Ramakrishnan . 289 Silva-McNeill, Patricia ...... 540 Taylor-Batty, Juliette ...... 335 Veneroso, Maria do Carmo de Simões, Maria João ...... 59 Tchougounnikov, Serge ...... 553 Freitas ...... 198 Simonis, Annette ...... 254 Tekin, Kugu ...... 432 Ventura, Simone ...... 235 Simonis, Linda ...... 249 Telge, Claus ...... 273 Vestli, Elin Nesje ...... 513 Simonsen, Karen-Margrethe Teller, Katalin ...... 513 Veverka, Tanja Maria ...... 304 Lindskov...... 395 Terenas, Gabriela ...... 540 Vianna, Arnaldo ...... 507 Singh, Jayshree ..... 170, 454, 471 Terian, Andrei ...... 349 Vice, Sue ...... 135 Sinkwan, Cheng...... 88 Terpitz, Olaf ...... 135, 136 Vidulic, Svjetlan Lacko ...... 101 Sliwinski, Alexandra ...... 41 TERRASSON, Claudie ...... 559 Vieira, Miriam ...... 146 Soares, Luisa ...... 509 Thiltges, Sébastian ...... 408, 409 Viires, Piret ...... 464 Sohns, Hanna ...... 324 THOMA, FOTEINI ...... 557 Vinci, Elisabetta ...... 514 Sokolowicz, Malgorzata ...... 42 Thoss, Jeff ...... 117, 121 Viselli, Antonio ...... 144 Solovieva, Olga ...... 92 Tihanov, Galin ...... 349, 546 Vlasta, Sandra ...... 79, 512, 568 Solte-Gresser, Christiane ...... 572 Timofte, Alina ...... 393 Vojvoda, Gabriela ...... 33 Sommer, Gerald ...... 441 Tirloni, Larissa ...... 347 von Hagen, Kirsten ...... 245, 316 Sommerfeld, Beate ...... 120 Tischmann, Hannah ...... 225, 226 von Roth, Dominik ...... 369 Vranceanu, Alexandra .. 384, 569 582

ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016

Vuillemin, Nathalie ...... 40 Williams, Mark ...... 550 Zapf, Hubert ...... 412 Williams, Seán ...... 161 Zarei, Rouhollah ...... 431 W Windsperger, Marianne. 135, 140 Zechelova, Katarina ...... 96 Winkler, Markus ...... 248 Zelenka, Milos ...... 348 Waelti, Slaven ...... 435 Wischmann, Antje ...... 225, 228 Zemanek, Evi ...... 220 Wagner, Philipp ...... 225, 227 Wojcik, Paula...... 364, 368 Zenkin, Sergey ...... 423 Wagner, Walter ...... 410 Wojda, Aleksandra ...... 436 Zerovnik, Martina ...... 193 Wakabayashi, Megumi ...... 191 Wolf, Norbert Christian ...... 118 Zettelmann, Eva ...... 195 Wang, Hongzhang ...... 179 Wolkenstein, Julie ...... 406 Zhang, Chunjie ...... 359, 360 WANG, Jiaxing ...... 180 Worms, Katharina ...... 264 ZHANG, Hua ...... 342, 362 Wang, Miaomiao ...... 29 Zhang, Huiwen Helen ...... 341 Wang, Songlin ...... 518 X Zhang, Lihua ...... 361 Wanjala, Alex ...... 439 zhang, shengzhen ...... 521 Wasihun, Betiel...... 16 XIA, Zhongxian ...... 180 Zhao, Guangxu ...... 89 Waszynski, Alexander ...... 323 Xue, Chunxia ...... 391 Zhao, Yongjian ...... 390 Watier, Louis ...... 327 Zhou, Gang ...... 548 Weber, Anne-Gaëlle ...... 40 Y Zhou, Min ...... 279 Weber, Gregor ...... 570 ZHOU, Qichao ...... 179 Wegmann, Thomas ...... 263 Yamanaka, Yuriko...... 258 Zhou, Xiaoyi ...... 547 Wegner, Sascha ...... 368 YANG, GEXIN ...... 521 Zhu, Wenjun ...... 338 Wehrs, Donald ...... 562 Yoeurp, Mélanie ...... 92 Zieger, Karl ...... 158 Wei, Yuqing ...... 179 Young, Robert ...... 104 Zilberman, Regina ...... 63 Weiher, Frank ...... 371 Yu Qin, Jiang ...... 388 Zimmerman, Tegan ...... 152 Weinelt, Nora ...... 526 Yu, Jie ...... 389 Zipfel, Frank ...... 504 Weiss, Vered ...... 133 Yu, Jingyuan ...... 360 Zivkovic, Yvonne ...... 136 Weissmann, Dirk ...... 74, 79 Zocco, Gianna ...... 305 Weitzman, Erica ...... 17 Z Zou, Huiling ...... 392, 518 Wennerscheid, Sophie ...... 225 Zou, Zan ...... 541 Z. Varga, Zoltán ...... 404 Werner, Juliane ...... 157 Zsadányi, Edit ...... 492 Zacharasiewicz, Waldemar .. 559, Werth , Eva ...... 552 Zubarik, Sabine ...... 158 561 Wierzejska, Jagoda ...... 352 Zupancic, Metka ...... 341 Wilker, Jessica ...... 158 Zahova, Sofiya ...... 315 Willer, Stefan ...... 111 Zanin, Enrica ...... 262

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