Tannengrund und Wald

Anna Stemmann
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Abstract

Artikelbeginn:[English title and abstract below] In Ludwig Tiecks Die Elfen (1812) und E.T.A. Hoffmanns Das fremde Kind (1817) nehmen Naturräume eine zentrale Position ein. Insbesondere der Wald ist als ein Kindheitsraum besetzt, der ambivalent konnotiert ist. Im Wald können sich die kindlichen Figuren fernab der Eltern autonom bewegen, dennoch geht diese Raumaneignung auch mit bedrohlichen Erfahrungen einher, die die aufstörenden Ablösungsprozesse in der Kindheit verdeutlichen.   Into the WoodsConstructions of Fragile Childhood in Ludwig Tieck’s Die Elfen and E.T.A . Hoffmann’s Das fremde Kind In Die Elfen (1812) by Ludwig Tieck and Das fremde Kind (1817) by E.T.A. Hoffmann, natural spaces occupy a central position in terms of the spatial semantic field of the texts. As a narrative element, they fulfil complex functions that go beyond the mere spatial dimension. The forest, in particular, is rendered as a childhood space with ambivalent connotations and functions. Although the childlike figures can move autonomously within the forest – far away from their parents – this spatialisation is nevertheless accompanied by threatening experiences that reflect the disturbing process of detachment from childhood. This article examines the spatial construction of Hoffmann’s and Tieck’s texts by rereading both literary fairy tales from a topographical perspective in order, on the one hand, to trace the spatial semantic order (Yuri Lotman) and interstices (Michel Foucault) and, on the other, to discuss the associated notions of childhood. It also seeks to make recent German-language research on Romanticism, which has been informed by cultural studies, productive for children’s and young adult literature research. The idea of Romantic childhood as a utopia must, in the wake of the work of Detlef Kremer and Andreas Kilcher, be differentiated and brought into line with current research on Romanticism.
草原和森林
文章开头:(英语的黑暗和否认性)路德维希·拉特(1812)和e。这个词的意思是,现在森林是一个儿童休息室,使用了矛盾的字眼。在森林里,孩童的身体有时会在父母不注意的情况下进行自主行动,但这种适合环境的环境也伴随着危险的经历,显示出孩童时期令人不安的选择过程。路德维希道克的精灵和etHoffmann是外国孩子(1812)拉德维格·埃默克和外国孩子(1817)一个叙事元素:他们无忧无虑地交织在一起森林节目尤其是戏弄的是一个矛盾的概念和联系尽管《儿童色情》代表了许多人以为自己是可以改变的东西他们所使用的是从一握就进行修建的Hoffmann和熔炉(法语)的地理学家经验所以我要开始进行情感研究。《浪漫之思想变成一种乌托邦》,在德烈夫·克莱默和安德鲁·基尔彻的工作激励下,两者的差别和部分在于增加当今浪漫研究。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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