German Drama

У статті показано місце компліменту у системі експресивних мовленнєвих актів, виокремлено
основні критерії відмежування компліменту від таких суміжних мовленнєвих актів як похвала, лестощі
та вітання, кожен аспект проілюстровано на основі прикладів з німецькомовних драм кінця XVIII ст.
Ключові слова: мовленнєвий акт, комплімент, похвала, лестощі, вітання, критерії розмежування,
німецькомовні драми.
This article devotes to the role of the compliment in the system of the expressive speech acts, the basic
criteria are shown that help to distinguish the compliment from the other similar speech acts such
as praise, flattery and congratulations, each aspect is illustrated by examples from German dramas of the end
of the XVIII century.
Key words: the speech act, compliment, praise, flattery, congratulations, separation criteria, the German
dramas

У реферованій роботі комплексно досліджено мовленнєвий акт (МА) комплімент у німецькомовних драматичних творах XVIII–XX ст. у межах антропоцентричної наукової парадигми із застосуванням лінгвопрагматичного та системно-діяльнісного підходів у поєднанні з лінгвокультурологічним та психолінгвістичним аспектами, що дозволило простежити еволюцію його лінгвопрагматичних властивостей як результату внутрішнього розвитку мови та комунікативних потреб суспільства певного лінгвокультурного етносу.
Мета дисертаційної роботи полягає в комплексному аналізі МА компліменту та його еволюції в текстах німецькомовних драматургів XVIII–XX ст. Поставлена мета передбачає розгляд таких завдань:
− сформулювати теоретичні засади вивчення компліменту та експлікувати його дефініцію;
− відмежувати комплімент від суміжних МА та виокремити умови його реалізації;
− дослідити комунікативні інтенції мовця та їхню еволюцію протягом XVIII–XX ст.;
− з’ясувати функції компліменту в драматичному діалозі та простежити динаміку їхніх змін;
− проаналізувати тематично-смислові особливості компліментів упродовж XVIII–XX ст.;
− описати типи реакції на комплімент та виявити можливі зміни в сприйнятті компліментів;
− простежити динаміку впливу позамовних чинників на висловлення компліментів;
− ідентифікувати мовні особливості реалізації прямих та непрямих компліментів.
Об’єкт дослідження – МА комплімент у фрагментах текстів німецькомовних драматичних творів XVIII–XX ст.
Предмет дослідження – лінгвопрагматичні особливості реалізації МА компліменту в синхронному та діахронному аспектах.
Матеріалом дослідження слугували 1555 текстових фрагментів, що містять МА комплімент, виокремлені методом суцільної вибірки з 8-томної антології німецькомовних драматичних творів під загальною назвою «Der Kanon. Die deutsche Literatur. Dramen» (2004 р.) за редакцією М. Райх-Раніцкі. Антологія налічує 43 драматичні твори 23-ох німецькомовних письменників (Ґ. Е. Лессінґа, Ф. Шиллера, Й. В. Ґете, Г. ф. Кляйста, Ф. Раймунда, Й. Нестроя, К. Ґраббе, Ґ. Бюхнера, Ф. Геббеля, А. Шніцлера, Г. ф. Гофмансталя, Ф. Ведекінда, К. Штернгайма, Ґ. Гауптманна, О. ф. Горвата, Б. Брехта, М. Фріша, Ф. Дюрренматта, П. Вайса, Т. Бернгарда, Б. Штрауса, Г. Мюллера, П. Гакса) від середини XVIII до кінця XX століття загальним обсягом 4434 сторінки.

ABSTRACT: "In den Jahren 1910 bis 1913 hat der deutsche Philosoph und Okkultist Rudolf Steiner eine Reihe von Mysteriendramen geschrieben, die bisher von der Forschung vollständig unbeachtet geblieben sind. Die vorliegende Untersuchung zeigt jedoch, dass Steiners Dramen hochinteressante Dokumente der Kultur der frühen Moderne und der Goethe-Rezeption vor dem ersten Weltkrieg darstellen und ferner – da sie auf eine fast hundertjährige lebendige Aufführungstradition zurück blicken – als bedeutsamer Aspekt der deutschen Theaterkultur insgesamt betrachtet werden müssen.
Hauptintention der rezeptionsgeschichtlich orientierten Untersuchung ist die Sichtung und Deutung der umfangreichen und wenig bekannten Texte Steiners. Anhand von Steiners Schriften zur Erkenntnistheorie, Ästhetik und Dramentheorie sowie seines ersten Dramas werden Theorie und Praxis des Theaters bei Steiner dargestellt. Kritische Fragen werden dabei zwar angesprochen, nicht aber in aller Breite diskutiert. Es wird jedoch auf solche Punkt in Steiners Werk hingewiesen, deren kritische Betrachtung durch weitergehende literaturwissenschaftliche Untersuchungen dringend angezeigt wäre.
Hauptergebnisse der Studie sind der Nachweis, dass Steiners Mysteriendramen das Ergebnis einer produktiven Auseinandersetzung mit Goethe und Schiller sind und dass sie, obwohl sie sich stark an Vorbilder aus dem achtzehnten Jahrhundert anlehnen, dennoch authentische Schöpfungen des zwanzigsten Jahrhunderts sind und insofern die eigenständige dramatische Gattung des Modernen Mysteriendramas etablieren.

Between 1910 and 1913, the German philosopher and esotericist Rudolf Steiner wrote a tetralogy of four spiritualistic theater plays – so called Mystery Dramas -, which have not yet attracted the attention of literary scholars. The study at hand shows that such disregard is undeserved since Steiner’s plays are highly interesting documents of early German modernism and provide a yet virtually unknown facet of Goethe’s and Schiller’s impact on the twentieth century. They also constitute a tradition of almost one hundred years of living theater and thus an important aspect of German theatrical culture.
Hence a reception study is presented focusing on the presentation and interpretation of Steiner’s numerous virtually unknown texts. Critical questions are addressed, but not discussed in depth. The author’s chief intention is to analyze the development of Steiner’s theoretical framework and its dramatic application in order to prepare the ground for a closer examination of Steiner’s Spiritual Realism in consecutive studies.
By examining Steiner’s main texts on epistemology, aesthetics and dramaturgy as well as his first Mystery Drama The Portal of Initiation, it is shown that his conception of drama as well as his aesthetical and epistemological views must be understood as the result of a productive interpretation and modern metamorphosis of Weimar Classicism. It is further suggested that Steiner’s plays, although they are based on ideas of the eighteenth century and even relate to ancient mystery religions, are nonetheless modern artworks that establish the original dramatic genre of Modern Mystery Drama.

"Clement provides a well-worked out account of how Steiner's writings on and for the theater showed how formative the influence of Goethe (and to some extend Schiller) was on the founder of anthroposophy. ... Clement has made a contribution to elucidating the intellectual development of one of the more intriguing (if often esoteric) thinkers of the Wilhelmine period, and his work is also case study in the long history of Goethe reception in Germany." (Andrew Bonnell on H-Net-Reviews, Januar 2009)""

I have discussed Frank Wedekind's drama "Spring Awakening: a children's tragedy" keeping an eye on the role of children and adolescents with regard to their sexuality and sex education. How sex education affects children and the importance of imparting the knowledge at an early age can prove to produce a positive attitude towards sexuality.

ABSTRACT: "When August, Duke of Weimar, encountered Goethe´s Märchen, which had just been published anonymously in 1792, he send a note to the author, emphatically stating his conviction that “this so-called Fairy Tale must have flown from the same hand that wrote the Apokalypse of John!” Goethe responded, that he completely agreed with the Duke´s seemingly bold thesis, pointing out that the story had “indeed all characteristics of a prophecy, even the most prevalent one, namely to pertain to the present as well as to the past and the future.” Notwithstanding the humorous nature of this exchange, both statements are perplexing. Nothing seems, after all, to be further removed from the spiritualistic otherworldliness and the gloom and doom of biblical apocalypticism than the optimistic and life-affirming Weltanschauung that characterizes Goethe’s work. A closer look, however, reveals unexpected yet substantial similarities between Goethean thought and the basic characteristics of Judeo-Christian apocalypticism. His natural philosophy of Stirb und Werde, which understands the world in terms of polarities, organic cycles, metamorphoses and eternal progression, as well as the symbolic character of his poetic language correspond, in fact, to a large degree with form and content of traditional apocalyptic texts. No other text exemplifies this congeniality better than the Märchen itself, which is probably Goethe´s most enigmatic text. The poet inserted not only many explicit and subtle references to the biblical book of Revelation into this story, but also hinted repeatedly at a mysterious connection between both texts. By examining some of the core elements of the Märchen in the light of biblical eschatology, the study at hand argues that the seemingly absurd conversation between the Duke and poet actually reveals profound literary insight, in that it points our attention to the yet unnoticed implicit apocalypticism in this particular story and in Goethean thought altogether.

Das goethesche Märchen hat von jeher eine unübersehbare Fülle von Interpretationen hervorgerufen. Neben philosophischen, ästhetischen, biographischen, psychologischen und politischen Auslegungsversuchen stehen theologische, alchymistische, anthroposophische und freimaurerische Deutungen. Die Interpretationsgeschichte ist so unüberschaubar, und die Auslegungsansätze so verschieden, dass es nicht verwundert, dass einige Interpreten den Text für prinzipiell undeutbar erklärt haben.  Die vorliegende Analyse versucht, die rätselhafte Natur des Märchens besser zu verstehen, indem sie es in den Zusammenhang mit der biblischen Apokalyptik, insbesondere der Johannesoffenbarung, stellt. Trotz einer Reihe von eindeutigen motivischen Anleihen und trotz mehrerer deutlicher Fingerzeige von Goethe selbst, ist das Verhältnis des Märchens zur apokalyptischen Tradition bisher noch nicht eingehend untersucht worden. Diesem Mangel hilft die vorliegende Analyse ab, indem sie nachweist, dass Bildersprache und Theologie der biblischen Eschatologie als wesentliche Quelle für den Gehalt des Märchens zu gelten haben. Indem das Märchen in die Tradition der Apokalyptik gestellt wird, soll jedoch nicht den bestehenden allegorischen und symbolischen Deutungen des Märchens eine weitere hinzugefügt werden. Es geht vielmehr darum, zu verstehen, in welchem Maße es die symbolisch-allegorische Natur der apokalyptischen Bild- und Gedankenwelt selbst ist, die einerseits mehrere in sich stimmige Deutungen ermöglicht und sich andererseits – sowohl im Märchen wie in der Johannesoffenbarung - einer letztgültigen Deutung prinzipiell entzieht. Indem apokalyptische Bilder, in Goethes Formulierung, sich „auf das Vergangene wie auf das Gegenwärtige und Zukünftige“ beziehen, ist ihr Gehalt ein unendlicher, organisch-wandelbarer und wird von jeder Epoche, ja von jedem Individuum, auf neue Weise gedeutet werden  müssen. Die Einfühlung in die apokalyptische Dimension des Märchens kann somit helfen, die eigentümliche Natur dieser Dichtung und ihrer Rezeptionsgeschichte besser zu verstehen.""

Dieser Aufsatz geht der Frage nach, ob im Rahmen der israelischen Nathan-Rezeption von einer Auseinandersetzung mit der deutschen humanistischen Tradition gesprochen werden kann. Vorab werden wesentliche Stationen der hebräisch-jüdischen Nathan-Rezeption in Europa skizziert (1779–1948).

Verfremdung – as the Epic Theatre’s primary socio-political function - has been vitally misinterpreted by the mainstream of scholarship which seeks predominantly in theorising its effects independent of their occult dimension. This dimension holds that the ‘v-effekt’ operates as but one half of a larger [hypnotic] whole, under which an initial period of estrangement is subsequently followed by a post-hypnotic state of revelation; occurring at an indeterminate period after the performance itself. For Brecht, this is a precise science, and he therefore utilises the principles of hypnosis bequeathed from the mysterious Soviet neurologist, Vladimir Bekhterev, within his conception of gestus. The appropriation of Bekhterev, not only in terms of his psychology, but as a martyr at the hands of Josef Stalin, should thus be interpreted both as a critique of Communism - which Brecht views as but one political ideology operating subordinately within a larger colonial circle and spiritual order - and as a talisman against permitting governments or institutions more generally, a moral and legal monopoly over the distinction between ‘science’ versus ‘pseudo-science’; knowledge versus power.

Frank Wedekind's late play Franziska (1912) has long been read primarily as a female version of the Faust myth. I argue that it is more fruitful to regard Franziska as a critical elaboration of predominant gender norms of the Wilhelmine era. Central issues that are at stake in the play include the discussion of the possibility of marriage, the natural differences between the sexes, the gender discourse of post-idealist philosophy, censorship of discussions related to the topic of sexuality and patriarchal imaginings of gender-related features. Setting Franziska in its socio-historical context will expose the play's subversive potential and enable a new evaluation of its significance within Wedekind's œuvre.


Frank Wedekinds spätes Stück Franziska (1912) wurde lange Zeit primär als eine weibliche Version des Faustmythos gelesen. Im vorliegenden Beitrag wird dargelegt, dass es produktiver ist, Franziska als eine kritische Auseinandersetzung mit dominierenden Geschlechternormen der Wilhelminischen Ära zu betrachten. Die thematischen Schwerpunkte des Stückes umfassen die Auseinandersetzung mit der Haltbarkeit des Ehekonzepts, die natürlichen Unterschiede zwischen den Geschlechtern, den Geschlechterdiskurs der postidealistischen Philosophie, die Zensur von Äußerungen zum Thema Sexualität sowie patriarchalische Imaginationen geschlechtsspezifischer Eigenschaften. Durch die soziohistorische Verortung von Franziska wird das subversive Potential des Werkes evident werden und sich die Möglichkeit einer neuen Bewertung des Stückes innerhalb von Wedekinds Œuvre ergeben.

ABSTRACT: "The Austrian philosopher and spiritualist Rudolf Steiner (1861-1925) is mostly known as a prominent figure in the reception of the works of Goethe in the late 19th and early 20th century. Steiner’s reception of Goethe was not limited to questions of philosophy, epistemology and science, however. Another outgrowth of his years defending and writing about Goethe is a series of four abstruse mystery plays known as the Mystery Dramas or  Mysteriendramen (1910-1913). Although these plays are still performed in present day Switzerland, in the Goetheanum, and thus constitute an example of living Goethe reception in contemporary German culture, they are virtually unknown to both the general audience and the academic community.  Only three dissertations have treated the subject of the Mystery Dramas in any depth. 
The dramaturgy of these plays is undoubtedly influenced by several contemporary currents and traditions like Richard Wagner, Max Reinhardt, traditional religious theater, theosophist drama and French symbolism.  The most profound intellectual influence, however, on both his theory and his practice of drama were have been the aesthetic ideas of Weimar Classicism. In Schiller’s Briefe über die ästhetische Erziehung des Menschen (‘Letters upon the Aesthetic Education of Man’, 1795) and Goethe’s Märchen (‘Fairy Tale’, 1795) Steiner saw the most essential expression of their belief in the power of art to perfect humanity by means of the aesthetic experience. His Mystery Dramas can be seen as the attempt to apply this 18th century ideal to a 20th century form of initiatory drama. "

Other contributers:
Introduction (David Gallagher) / Weimar classicism : Goethe's alliance with Schiller (T.J. Reed) / Navigating gender : Georg Forster in the Pacific and Emilie von Berlepsch in Scotland (P. Dawson) / Blank verse theatre texts and Weimar classicism (Friederike von Schwerin-High) / Personal classicism : Greek and Roman antiquity in Wieland's correspondence (Ellis Shookman) / Complex classicism and Roman romanticism : reflections on ancient Roman literature around 1800 (Angela Holzer) / Weimar classicism and modern spiritual drama : Rudolf Steiner's theatre of spiritual realism (Christian Clement) / Shakespeare's Hamlet and Goethe's Wilhelm Meisters Lehrjahre (David Gallagher) / On the periphery of Weimar classicism : passion, patriarchy and political machinations in Caroline von Wolzogen's Agnes von Lilien (1797) and Barbara Honigmann's Eine Liebe aus Nichts (1991) (Dennis Mahoney)

У статті проаналізовано різні підходи класифікації реакцій на комплімент, подана власна
типологія реакцій, створена на основі проаналізованого мовного матеріалу, та подано ілюстративний
матеріал з драми Ґ. Е. Лессінґа «Мінна фон Барнгельм, або Солдатське щастя».
Ключові слова: парна секвенція мовленнєвих актів, комплімент, реакція на комплімент, типологія
реакцій, мовець, адресат, драма.
In the article different approaches to classification of reactions on compliment are analyzed. The typology
of reactions, elaborated by the author, based on the analyzed linguistic material is presented with the
illustratve examples from the drama of G. E. Lessing «Minna von Barnhelm or the Soldiers' Happiness».
Key words: adjacency pairs of speech acts, compliment, reaction on the compliment, typology of reactions,
speaker, addressee, drama.

Reviewed by/Rezensiert von:
1. Beate Hochholdinger-Reiterer, in: Kleist-Jahrbuch 2017: 227-229,
2. Jane K. Brown, in: Goethe Yearbook 25 (2018): 299-300,
3. Anke Detken, in: Germanistik 59.3-4 (2018): 1096,
4. Anne Feler, in: Revue Études Germanique 2019.4 (No 296): 781-782.

Ist das Theater (k)ein Medium? Diese Frage - von Theater- und Medienwissenschaftlern anhaltend kontrovers diskutiert - lässt sich allein in historischer Perspektive und im Rückgang auf epistemologische Fragestellungen fundiert beantworten. Im Ausgang von Foucaults Untersuchung des Wechsels von der frühneuzeitlichen zur klassischen Episteme werden in der vorliegenden Studie die Umbrüche rekonstruiert, die sich im Theater des 18. Jahrhunderts vollziehen. Dabei werden die Strategie einer Literarisierung des Theaters, die Umstellung des theatralen Raumregimes und die mit ihr verknüpften theaterarchitektonischen Debatten ebenso zur Sprache gebracht wie die Genese der modernen Schauspieltheorie und der sich etablierende dramaturgische Diskurs. In der Zusammenführung dieser Aspekte wird die Umbildung der Kunstform Theater zu einem repräsentationslogisch strukturierten Kommunikationsmedium einsichtig gemacht. Schließlich wird mittels ausführlicher Beispielanalysen kanonischer Dramentexte von Johann Wolfgang Goethe, Friedrich Schiller, Ludwig Tieck und Heinrich von Kleist gezeigt, wie sich das mediale Apriori des Theaters der klassischen Episteme auf der Ebene der literarischen Dramentexte reflektiert.

Bu çalışma, "Yeni Dönem Alman Gerçekçiliği" ana başlığı çerçevesinde ele alınmaktadır. Bu kapsamda, çalışmada, Dark (2017), Dogs of Berlin (2018) ve Perfume (2018) dizileri niteliksel içerik analizi yöntemi ile incelenmekte ve bu dizilerin postmodernist ögelerle olan ilişkisi tartışılmaktadır. Bu dizilerde günümüze kadar iktidar, güç temsili, sağduyulu ve iyi görülen kanun insanı profili incelemelerine yer verilmektedir. Bu dizilerin incelenmesindeki en önemli faktör üçünün aynı platform üzerinden yayınlanmaları, birbirlerine yakın tarihli yapımlar olmaları, aynı türde olmaları (polisiye-suç) ve her birinde kanun insanı karakterinin yer almasıdır. Çalışmanın amacı; yeni dönem Alman dramalarında kanun insanlarının bu dizilerin olay örgüsünde önemli roller aldığı ve yakın zamana kadar kabul gören kanun insanı profilinin bu yapımlarda nasıl değişime uğradığının incelenmesidir. İncelenen dizilerde kanun insanları, kişi-karakter yansıması çerçevesinde incelenmekte ve geçmiş dönemdeki kanun insanı profilleri ile benzerlikleri/ farklılıkları tartışılmaktadır. Bu incelemeler sonucu söz konusu dizilerde postmodern kişi-karakter yansıması olarak bakıldığında "kanun insanı profili"nin ana akımda yer alan; kabul görmüş şeklinden farklı kodlandığı görülmektedir. Kanun insanları "güç temsili, sağduyulu, iyi insan" kavramlarından çok "aldığı kararlarda duygularının önemli rol taşıdığı, suç işleyen ve çıkarcı" gibi durumları da kapsayacak şekilde yeniden şekillendiği görülmektedir.

Анотація. У статті розглянуто різні способи поділу прямих та непрямих мовленнєвих актів, коротко охарактеризовано вузьку та широку гомогенну, а також модулярну концепцію мовленнєвих актів, а також теорію імплікатур Г. П. Ґрайса. Класифіковано комплексний мовленнєвий акт комплімент – за способом вираження інтенції на прямі та непрямі та за ступенем вираження семантичного компонента – на прямі перформативні, прямі експліцитні та непрямі експліцитні та непрямі імпліцитні. Ключові слова: мовленнєвий акт, комплімент, прямі мовленнєві акти, непрямі мовленнєві акти, експліцитність, імпліцитність.

Bu çalışma, "Yeni Dönem Alman Gerçekçiliği" ana başlığı çerçevesinde ele alınmaktadır. Bu kapsamda, çalışmada, Dark (2017), Dogs of Berlin (2018) ve Perfume (2018) dizileri niteliksel içerik analizi yöntemi ile incelenmekte ve bu dizilerin postmodernist ögelerle olan ilişkisi tartışılmaktadır. Bu dizilerde günümüze kadar iktidar, güç temsili, sağduyulu ve iyi görülen kanun insanı profili incelemelerine yer verilmektedir. Bu dizilerin incelenmesindeki en önemli faktör üçünün aynı platform üzerinden yayınlanmaları, birbirlerine yakın tarihli yapımlar olmaları, aynı türde olmaları (polisiye-suç) ve her birinde kanun insanı karakterinin yer almasıdır. Çalışmanın amacı; yeni dönem Alman dramalarında kanun insanlarının bu dizilerin olay örgüsünde önemli roller aldığı ve yakın zamana kadar kabul gören kanun insanı profilinin bu yapımlarda nasıl değişime uğradığının incelenmesidir. İncelenen dizilerde kanun insanları, kişi-karakter yansıması çerçevesinde incelenmekte ve geçmiş dön...

The paper tackles the representations of old age in Constanze Dennig's dystopia "Exstasy Rave". Modern theatrical tendencies and the role of drama as a mouthpiece of social ideas, in particular in matters of aging and old age, are related; ageist stereotypes in the text of Constanze Dennig are analyzed; problem-semantic aspects of corporeality are studied; the possibilities of author's remodeling of discriminatory stereotypes of old age are inferred. The challenges presented by the Austrian woman playwright in her drama allow us to attribute her work to the post-dramatic theater, which in Lehmann's sense is able to help restore the social continuum and support society's internal unity. Through the mouths of the protagonists and the nonverbal plane, Dennig's drama becomes a means of communication in society. The analyzed age stereotypes of the play reveal the author's reflection on the social challenges of modern Western society, including the attitude to the third age and the aging process. In the dystopia, old age is perceived as a physical and moral decline and a burden on society. In the future, discriminatory practices against the older generation are not only verbal, but also physical (forced euthanasia). There are manifestations of self-stereotyping by the aged dramatis personae themselves. Carefully read problem-semantic aspects of corporeality in a dramatic text are a segment of ageist discourse, sometimes with a political color. Yet, the woman playwright offers mechanisms for remodeling the ageist consciousness by means of the female characters (Eva, Michaela). Dennig constructs a sharply negative vision of the potential consequences of the ageist attitude towards the elderly because she observes their roots in the socio-economic and moral-ethical issues of today. Thus, old age is a litmus test for the social morality of Europeans, who set an example to the younger generation with their attitude to old age.
Keywords: aging; elderly characters; ageism; dystopia; Constanze Dennig; "Exstasy Rave"; corporeality.

This book defines and exemplifies a major genre of modern dramatic writing, termed historiographic metatheatre, in which self-reflexive engagements with the traditions and forms of dramatic art illuminate historical themes and aid in the representation of historical events. Historiographic metatheatre has been, and remains, a seminal mode of political engagement and ideological critique in the contemporary dramatic canon. Locating its key texts within the traditions of historical drama, self-reflexivity in European theatre, debates in the politics and aesthetics of postmodernism, and currents in contemporary historiography, this book provides a new critical idiom for discussing the major works of the genre and others that utilize its techniques. Feldman studies landmarks in the theatre history of postwar Britain by Weiss, Stoppard, Brenton, Wertenbaker and others, focusing on European revolutionary politics, the historiography of the World Wars and the effects of British colonialism. The playwrights under consideration all use the device of the play-within-the-play to explore constructions of nationhood and of Britishness, in particular. Those plays performed within the framing works are produced in places of exile where, Feldman argues, the marginalized negotiate the terms of national identity through performance.

On dramatizations of the Hasek's novel Good Soldier Svejk on the Croatian stages from 1920s onwards, including influences by Erwin Piscator, Max Brod and Hans Reimann. // Premda je s obzirom na djelomičnu bibliografsku pokrivenost razdoblja od 1945. do početka 1990-ih teško donositi konačne zaključke, čini se da u hrvatskoj znanosti o književnosti romanu Doživljaji dobrog vojaka Švejka za Svjetskoga rata češkoga pisca Jaroslava Hašeka nije pridavana znatnija pozornost. Povod je to radu u kojem se razmatra ranija hrvatska – i, dijelom, južnoslavenska – recepcija toga djela, napose u svjetlu činjenice da je zagrebačka praizvedba (1928.) dramatizacije Maxa Broda i Hansa Reimanna, u režiji Aleksandra Biničkog, s Augustom Cilićem u naslovnoj ulozi, prethodila upoznavanju dotične publike (uključujući i većinu kritičara) s proznim predloškom (1929.). Osim nizu objektivno zadanih, ali i subjektivno odabranih preobrazbi koje se događaju tekstu što prolazi slijedom prozni predložak – dramatizacija – izvedba, pri čem se kao jedna od ključnih odrednica pokazuje smještanje proizvoda u okvir visoke ili niske književnosti, posebna se pozornost posvećuje razapetosti dramaturško-izvedbenoga planiranja između pouzdane tržišne isplativosti i riskantnih, recepcijski neprovjerenih umjetničkih postupaka. Među ostalim izvorima, rad se temelji na raščlambi hrvatskoga prijevoda Hašekova romana u inačicama Boška Vračarevića i Ljudevita Jonkea, izvještaju Kalmana Mesarića o Piscatorovoj postavi u Berlinu, dramatizaciji Broda i Reimanna u prijevodu Milana Begovića, novijoj dramatizaciji Aleksandra Aranickog (oba se teksta čuvaju u arhivu Zavoda za povijest hrvatske književnosti, kazališta i glazbe HAZU) te na osvrtima Mesarića, Petra Preradovića, Emanuela Berkovića, Josipa Horvata i Stanka Tomašića.

Gibt es ein Formprinzip des modernen Dramas? Und wie lässt es sich beschreiben? Dieser Frage geht die vorliegende Studie nach. Der Verfasser geht dabei von Walter Benjamins Allegoriebegriff aus und macht ihn für die Theorie des modernen Dramas fruchtbar. Dem ausführlichen Theorieteil folgen Analysen einer Reihe von Stücken bedeutender Theaterautoren des 20. Jahrhunderts.

Some of the key elements of Claudio Magris’ work as an academic surface in his writings on Friedrich Hebbel: the Danubian space, Trieste, the intersection between literature and law, totality, the relationship between literary theory and practice, revisionism of classics, the recovery of historicism as a hermeneutical tool, the legacy of György Lukacs and Scipio Slataper. In Danubio (1989) and in “Davanti alla legge” (2009), Magris discusses Hebbel’s Agnes Bernauer (1852) in terms of the power relations between the individual and the State, as a drama where history and chance work silently against the characters. The text captures Magris’ attention by virtue of Hebbel’s attempt to synthesize history and law in a tragic context. In 2009, Magris writes for Lorenza Rega’s (re)translation of Hebbel’s Tagebücher a short preface, which mainly focuses on Hebbel’s reception in Italy. Slataper, a key figure in Magris’ scientific writing, first translated the text to make Hebbel known to the general public. Hebbel’s mentions constitute solid evidence of how Magris’ work as a Germanist sustains both his prose and his politically engaged writing.

Who dares to portray the demigod Hercules as an inadequate, impotent failure? Who dares to mock tragic heroines like Antigone? Who dares to mock the biblical Judith and her bravery? Who would portray an ideal emperor as one who betrays and sacrifices his empire? The Swiss author Friedrich Dürrenmatt, reconstitutes these famous ancient myths, motifs, symbols and archetypes in his works of art and literature in order to provoke reconsideration of modern-day values such as sacrifice, value of human life, patriotism and bravery. in doing so, he also touches upon issues such as globalization, nationalism and bureaucratization as everyday problems that the individual to rise to his/her heroic potential. The research focuses on Dürrenmatt’s recurring motifs with special emphasis on mythic, historical and biblical figures in the plays Romulus the Great and Hercules and the Augean Stables