{"title":"Huckleberry Finn: Aktuelle Zensur eines Klassikers?","authors":"Angelika Zirker","doi":"10.3790/ljb.60.1.299","DOIUrl":"https://doi.org/10.3790/ljb.60.1.299","url":null,"abstract":"Mark Twain’s novel Adventures of Huckleberry Finn, first published in England in 1884 and a year later in the US, is paradoxical in that it is one of most frequently censored books of world literature – and, concurrently, one of the most frequently read and praised.\u0000 The following article will try to explain this paradox and, in a first step, address the history of the novel’s censorship and the (various) reasons given for it. Adventures of Huckleberry Finn has undergone censorship since its first publication, and even today it is included in the list of »Banned and Challenged Books« of ALA (American Library Association). What are, in fact, reasons for banning the book? And how are these reasons questioned by defenders of the book? Which strategies are used? Since the novel’s publication, those who have completely dismissed the book and those who have appreciated it as a »masterpiece« have opposed each other. An overview of these controversies will result in a close reading of one of the most debated chapters in the novel, with a focus on the autodiegetic narrator Huck, who has been characterized as a naïve child that simply does not know any better, as a »fallible narrator«, or as a liar. But it remains doubtful whether the narrator’s weakness is the answer to the question of Huck’s alleged racism. The paper will offer alternative roads into the novel that consider both the text and the context of its origin.","PeriodicalId":114283,"journal":{"name":"Volume 60 · 2019","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122727165","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Genre Maketh Dog?","authors":"M. Haas, Leonie Kirchhoff","doi":"10.3790/ljb.60.1.277","DOIUrl":"https://doi.org/10.3790/ljb.60.1.277","url":null,"abstract":"In The New Biography, Virginia Woolf notes that there is a paradox inherent to the genre of biography, i. e. that of »truth« and »personality«. »[P]ersonality«, she argues further, can only be truly conveyed through aesthetic selection and manipulation of the facts of a life, through fiction. Animal biography challenges both of these categories: what is a true dog character and how close can an author come to a life-like depiction of it? Virginia Woolf’s Flush: A Biography (1933) as well as the earliest English example of animal biography, Francis Coventry’s The History of Pompey the Little or The Life and Adventures of a Lap Dog (1751), are, in their own way, concerned with this issue. Influenced by their generic predecessors, the texts explore the narratological possibilities which an animal biography can offer, from satirical purposes to aesthetic objectives, from mere functionalisation to sentient animals. Woolf is essentially affected by contemporary discussions of biography and the challenges imposed by creating a dog »personality«. This is fundamental for the depiction of Flush as having an individual (anthropomorphised) character, rather than being depicted as a mere, and changeable type. Pompey the Little, in contrast, serves as a mostly silent and apparently objective observer of society, who, by watching and imitating his masters’ manners, offers eighteenth-century society a ruthlessly unembellished look into the mirror. Consequently, his animal character is, for satirical purposes, reduced to a mere type rather than a complex, not to mention »truth[ful]«, depiction of a nonhuman character. In this paper, we argue that genre expectations interact with two further aspects, i.e. literary history and historical as well as philosophical developments, and all three decisively influence how the two texts understand and relate human as well as non-human experience.","PeriodicalId":114283,"journal":{"name":"Volume 60 · 2019","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124202894","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Urteil und Komödie in der italienischen Renaissance und in Giordano Brunos Candelaio","authors":"S. Schneider","doi":"10.3790/ljb.60.1.181","DOIUrl":"https://doi.org/10.3790/ljb.60.1.181","url":null,"abstract":"The essay examines the practice of judgement in Giordano Bruno’s comedy Candelaio. The comic effect of the piece is largely due to the asymmetry between those with poor judgment and those who are intellectually superior to them. Bruno addresses the importance of an untroubled power of judgement both in the prologue and in various passages of the text. The characters’ practice of judgement thus constitutes the plot of Candelaio and is at the same time explicitly thematized throughout the text. The essay shows that the representation of judgment in Candelaio is intertextually connected with the history of comedy in the Cinquecento. Comedy writers such as Bibbiena and Machiavelli already discovered the practice of judgement as a source of laughter. Bruno follows their models but complicates the plot and deepens the reflection on judgment by drawing on ideas from his work De umbris idearum, in which he lays the foundations of his epistemology. In Candelaio, however, Bruno is not interested in spreading philosophical views. It is rather a question of mocking social conventions, the contingency of which is uncovered.","PeriodicalId":114283,"journal":{"name":"Volume 60 · 2019","volume":"87 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128757641","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Phantasmatisches Erinnern als Dimension lyrischer Memoria","authors":"Carsten Dutt","doi":"10.3790/ljb.60.1.389","DOIUrl":"https://doi.org/10.3790/ljb.60.1.389","url":null,"abstract":"What follows is a close reading of Günter Eich’s late poem Augsburg (1971). Emphasizing a specifically aesthetic interpretation, it focuses on the poem’s lyrical staging of phantasmatic memory and its self-unfolding as an extraordinarily dense, allusion-laden, and profoundly skeptical meditation on unredeemable, albeit long-past, suffering. By doing so, the article makes a case for understanding literary understanding as both essentially knowledge-dependent and experiential.","PeriodicalId":114283,"journal":{"name":"Volume 60 · 2019","volume":"176 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127023188","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Bajla Gelblung und Johannes Bobrowskis Gedicht BERICHT","authors":"Eduard R. Müller","doi":"10.3790/ljb.60.1.373","DOIUrl":"https://doi.org/10.3790/ljb.60.1.373","url":null,"abstract":"Johannes Bobrowski’s iconic poem BERICHT (REPORT) refers to an historical photograph showing the interrogation of a young Polish Jewish woman by officers of the German Wehrmacht in Brest-Litovsk. It has long been assumed that the woman referred to as Bajla Belblung was a resistance fighter who escaped from the Warsaw ghetto in 1943. But further research has shown that the interrogation took place in September 1939 after the end of the third week of the war. This work examines the historical background of the photos of Bajla Gelblung taken at that time as well how the photograph captions have changed over time. It also raises questions about the development of a legend, to which Bobrowski’s poem has made a decisive contribution.","PeriodicalId":114283,"journal":{"name":"Volume 60 · 2019","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129349642","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Herrscherlob als schöne Kunst betrachtet","authors":"F. Mehltretter","doi":"10.3790/ljb.60.1.159","DOIUrl":"https://doi.org/10.3790/ljb.60.1.159","url":null,"abstract":"The encomiastic efficiency of Ariosto’s tale of Ruggiero and Bradamante in the Orlando furioso could be questioned on the grounds of inconsistency with tradition, fictionality and irony. A glance at other instances of panegyrics, notably in music, as well as an analysis of the moon scene in Ariosto’s epic (canto 35) show, however, that these techniques engender a specific brand of ambiguity that neither cancels nor overemphasizes the intended praise of the dedicatee, but serves to adjust the volume of the encomiastic discourse in order to steer clear of mere flattery. At the same time, by inscribing a specific model reader, Ippolito d’Este (who has to understand this special type of praise), into a text that was to be printed – and thus intended for a general reader – the Orlando furioso transposes part of the pragmatic hors-texte into the aesthetic structure of the poem. Hence, panegyrics can be regarded as a fine art.","PeriodicalId":114283,"journal":{"name":"Volume 60 · 2019","volume":"67 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126307279","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Heroischer Fatalismus","authors":"N. Detering","doi":"10.3790/ljb.60.1.317","DOIUrl":"https://doi.org/10.3790/ljb.60.1.317","url":null,"abstract":"The article re-evaluates the notion of heroic agency by arguing that many instances of heroism in early 20th century German literature rely not on great deeds, but on images of fatalist persistence. After a discussion of the conceptual elements and traditions of heroic persistence, the essay surveys variants of its semanticization between Nietzsche’s amor fati and German exile narrations of the 1940s. The perusal shows that ›heroic attentism‹ in modernist literature is less dependent on the respective political affiliations of the authors, but rather on the concept’s ability to adapt to discursive trends and remain applicable to different historical experiences.","PeriodicalId":114283,"journal":{"name":"Volume 60 · 2019","volume":"204 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133307791","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"»Lope, Réactionnaire ou révolutionnaire?«","authors":"Carmen Rivero","doi":"10.3790/ljb.60.1.227","DOIUrl":"https://doi.org/10.3790/ljb.60.1.227","url":null,"abstract":"By reading Fuenteovejuna in the light of both Spanish and European (especially the French) political discourse, this study presents a contribution to the debate on the alleged reactionary or revolutionary character of the drama.","PeriodicalId":114283,"journal":{"name":"Volume 60 · 2019","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133638151","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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