Zeitschriftenartikel zum Thema „Alsatian literature“

How does patriotism shape societies? What might it look like if patriotism were aligned with care rather than violence? In this article, I analyze Dutch-Swiss author Isabelle de Charrière’s novel Trois femmes (1797) through the lens of care ethics, particularly Sarah Clark Miller’s notion of a “duty to care.” Charrière’s novel examines the limits of Enlightenment theories of moralism (especially Kantian morality and duty) by putting theory into practice with a group of three women: a former French aristocrat, a wealthy mixed-race Creole woman, and an Alsatian servant. The three women live together as immigrants in Germany after fleeing France in the aftermath of the French Revolution, and they are bound together by a shared love of country. I propose that Charrière blends patriotism and care in radical ways that break down hierarchies of gender, race, and class and that belie the fiction of equality promised by the French Revolution.

Abstract In the second and third parts of Dichtung und Wahrheit (From My Life: Poetry and Truth), Johann Wolfgang von Goethe portrays his liaison with Friederike Brion, a daughter of a pastor in the Alsatian town Sesenheim (as spelled in Goethe’s writing, actually: Sessenheim). Although the text was published 40 years after the events, and even though Goethe’s depiction is noticeably fictional, enthusiastic readers subsequently travelled to the real venues of the narrative in order to search for hidden traces of the love affair. In fact, the unclear status of truthfulness and accuracy of the narrative, as well as the distance in time, seem to have further stimulated the readers in their endeavor. This cultural tourism results in autobiographical (August Ferdinand Näke), fictional (Ludwig Tieck), and auto-fictional (Johann Christoph Freieisen) travel stories. In these texts, as this article will show, past events are not only uncovered and examined for conservatory purposes. Additionally, for one, the performative reenactment and literary adaption of Goethe’s idealistic and idyllic love story serves to preserve and uphold a certain image of the writer in these texts and to defend this image against alternative reception perspectives. For another, these appropriations of Goethe’s biographical episode articulate distinct and new concepts of individuality and identity. These texts of the so-called “Friederiken-Literatur” (‘Friederike Literature’) have significantly shaped the perception of Goethe’s text ever since.

Abstract The paper presents the current distribution of Orobanche alsatica in Poland, based on a critical revision of her­barium and literature data and on my field studies conducted in 2006-2011. The recorded localities are mainly in Polish Uplands: the Lublin Upland (Wyżyna Lubelska), Roztocze, and Polesie, less frequently in the Małopolska Upland (Wyżyna Małopolska) and Silesia-Kraków Upland (Wyżyna Śląsko-Krakowska). Distribution maps of O. alsatica and other species of the series Alsaticae (O. bartlingii and O. mayeri) in Poland are included. Their taxonomy, biology, ecology, and habitat pref­erences are also discussed.

Abstract Inmitten der nationalistischen ,,Kämpfe um den Rhein“ der 1920er Jahre bezeichnete Hermann Wendel 1927 den Fluss als eine Brücke zwischen den Ländern, durch die das Übernationale an seinen Ufern Wirklichkeit geworden sei. Die ,Formulierungschance‘ Wendels findet sich in einem spezifischen Kontext, der in die Zeit vor 1914 zurückführt: Wendel war Mitglied der 1901 in Straßburg gegründeten Gruppe ,,Das jüngste Elsaß“. Die Diskussionen der Nachkriegsjahre um das deutsch-französische Verhältnis wurden hier bereits zwei Jahrzehnte früher im Zusammenhang mit der sogenannten elsässischen Frage geführt. Um Frankreich und Deutschland einander anzunähern, propagierten die Gruppenmitglieder in ihren Texten ein übernationales Denken, für das sie das Rhein-Brücken-Motiv wiederholt einsetzten.In the midst of the nationalist ,,struggles around the Rhine“ of the 1920s, Hermann Wendel in 1927 described the river as a bridge between the countries through which the supranational had become a reality on its banks. Wendel’s ,formulation chance‘ is found in a specific context that leads back to the time before 1914: Wendel was a member of the group ,,Das jüngste Elsaß“ founded in Straßburg in 1901. Here, the discussions of the post-war years about the Franco-German relations had already been held two decades earlier in connection with the so-called Alsatian question. In order to bring France and Germany closer together, the group members propagated supranational thinking in their texts, for which they repeatedly used the motif of the Rhine as a bridge.

Jean-Paul Sartre (1905–1980), nephew of the Alsatian theologian, Albert Schweitzer, was born in Paris, passed his agrégation at the Ecole Normale Superieure in 1929, and was a lycée teacher between 1931 and 1945. He was called up to the French Army in 1939, captured by the Germans in 1940 and released after the armistice. In 1938 he published a novel, La Nausée, translated by Robert Baldick as Nausea (Harmondsworth: Penguin, 1965), and in 1940, L'Imaginaire: Psychologie phénoménologique de l'imagination, translated by Bernard Frechtman as The Psychology of Imagination (London: Methuen, 1972). His major philosophical work, L'Etre et le Neant, was published in 1943, and translated by Hazel E. Barnes as Being and Nothingness (London: Methuen, 1957). As a novelist he is best known for a trilogy, Chemins de la Liberté (Roads to Freedom), comprising L'Age de raison (1945) translated by E. Sutton as The Age of Reason (Harmondsworth: Penguin, 1961), Le Sursis (1945), translated by E. Sutton as The Reprieve (Harmondsworth: Penguin, 1963) and La Mort dans l'āme (1949), translated by G. Hopkins as Iron in the Soul (Harmondsworth: Penguin, 1965). His main work of literary criticism is Qu'est-ce que la littérature? (1947), translated by B. Frechtman as What is Literature? (London: Methuen, 1950). Plays includeLes Mouches (1943) and Huis Clos (1944), both translated by S. Gilbert and published in one volume, as The Flies and In Camera (London: Hamish Hamilton, 1965).

On October 17, 2017 the conference “An Alsatian Intellectual in Enlightenment Russia: L.G. Nikolay, Strasbourg President of the Russian Academy of Sciences” happened. Materials of the conference, with the addition of other essays and documents, formed the basis of the book under review (published under the editorship of Sorbonne Professor Rodolphe Baudin and Senior Researcher of IWL RAS Alexandra Veselova). The book’s authors are well-known scientists from France, Russia, Germany and Switzerland. Baron Ludwig Heinrich von Nikolay (1737–1820; in Russia he was called Andrey Lvovich) played a prominent role in Russian social and cultural life at the end of the 18th century. Nicolay came from the intellectual milieu of Strasbourg, which became a subject of research in the essays included the book by R. Baudin, D. Ryusk and V. Berelovich. From 1769 he was in Russia, where he was entrusted with the position of mentor to the heir to the throne, Pavel Petrovich. In 1798, Nikolay was appointed president of the Russian Academy of Sciences; N. Prokhorenko’s essay is devoted to his productive activity in this post. Thanks to his personal qualities, Nicholas managed to stay at court after the coup on March 12, 1801 and ingratiate himself with Alexander I; in 1803 he left the service. A number of materials of the reviewed work are devoted to the literary work of Nikolay, a prolific and versatile poet (articles by M. Arens and A. Ananyeva). For posterity, the name Nikolay is associated primarily with the famous estate of Mon Repos in Vyborg, which he acquired in 1788, to which he dedicated a poem in 1804, probably his best work (article by Yu. Moshnik and M. Efimov). The book also pays attention to Nikolay as a character in historiographical essays and fiction (articles by A. Veselova and M. Efimov). Attached are five unpublished letters from Nicolai; their addressees are the diplomat and lawyer F.A. Annenberg and the poet and scientist K. Pfeffel. The book is provided with a chronology of Nicolai’s life and work and brief annotations of articles (in French and Russian).

The dramatic increase in criminality in sixteenth-century England was behind the emergence of a new type of literary work known as “rogue literature,” which dealt with the life and activities of beggars and lawbreakers. These rogues’ language, cant, became a major concern for many authors, who attached glossaries to their works for the benefit of those who were not familiar with it, marking the beginning of canting lexicography. It is within this framework that Thomas Shadwell (1640–1692) wrote his famous The Squire of Alsatia (1688), which is the focus of this study. This paper explores the use of cant language in this celebrated play from a linguistic and lexicographic point of view, arguing that its profuse employment of canting terminology, much of which is first documented in the play, made a significant contribution to studies in canting lexicography and proved its reliability as a historical portrait of seventeenth-century English cant.

The author analyses the images of Wojciech Korfanty created from the beginning of his political career until its end. He focuses on the portraits created in works of literature and journalism, confronting them with those created during political campaigns. He distinguishes five images depicting the Silesian politician in a favourable light (defender of the Upper Silesian people in the German Empire; plebiscite commissioner and insurrectionary leader; political leader in the Second Polish Republic; prisoner of the Polish Republic; Christian leader and defender of the Polish Alsatians) and five negative images (detriment to the interests of the Church, workers and the nation; disturber of the social order and fratricide; gravedigger of the uprising; enemy of Jozef Piłsudski and his supporters; embezzler and pretend Christian politician). The author concludes that the changing images of Korfanty, including those created after his death, are a result of changing political narratives and cultural trends (apart from poems and novels, cartoon stories, theatre plays and feature films devoted to the Silesian politician were produced).

Abstract Sedges of Carex flava agg., typical of moist or wet habitats, are difficult to classify because of a lack of clear-cut morphological differences between them and the existence of numerous hybrids. This monograph presents results of research conducted in 2007-2012 in various parts of Poland. The plant material consisted of 1852 living specimens of Carex flava agg., collected from 80 localities, and dried specimens from 26 herbaria and from 7 private collections. The analysis involved 45 morphological characters (34 quantitative and 11 qualitative) and 9 soil parameters. Univariate, bivariate, and multivariate statistical methods were used to process the data. The results confirm the taxonomic classification dividing the C. flava group into 4 species: C. flava s.s., C. lepidocarpa, C. demissa, and C. viridula. This classification is based on (i) a high observed level of morphological separation of these taxa, resulting mostly from differences in generative characters, i.e. length of the utricle and its beak, and percentage ratio of beak length to total utricle length; (ii) integrity of the taxa at the sites where they coexist, although some intermediate forms resulting from hybridization are also present; (iii) habitat preferences of the taxa, especially the preference of C. lepidocarpa for calcareous sites and of C. demissa for slightly acidic soils. Thus in Poland the analysed taxa are morphologically well-defined and show clear ecological preferences. Continuous variation of morphological characters was observed among specimens of C. viridula, so it is not justifiable to distinguish its subspecies (sometimes classified even as separate species), described previously in literature. Consequently, the 2 subgroups of C. viridula were treated as local variants (i.e. varieties: var. viridula and var. pulchella), considering their different habitat requirements. Additionally, 5 hybrids were distinguished within C. flava agg.: C. ×alsatica [= C. demissa × C. flava], C. ×ruedtii [= C. flava × C. lepidocarpa], C. ×schatzii [= C. lepidocarpa × C. viridula], C. ×subviridula [= C. flava × C. viridula], and C. demissa × C. viridula; as well as 2 hybrids with C. hostiana as one of the parents: C. ×fulva [= C. demissa × C. hostiana] and C. ×leutzii [= C. hostiana × C. lepidocarpa].

RESUMENLa historiografía sobre la muerte, desarrollada entre finales de los años setenta y noventa de la pasada centuria, tuvo especial interés y proyección a partir de las investigaciones trazadas por la tercera generación de Annales. Los planteamientos de esta corriente, en sintonía con los modelos de dicha escuela y avalados por la renovación del objeto histórico tras el estructuralismo, giraron alrededor del estudio de las condiciones materiales, actitudes, imágenes y gestualidad del hombre medieval ante la muerte. El cuerpo de esta fructífera reflexión, como parcela de la “historia de las mentalidades”, albergó novedades metodológicas, facilitando una visión y proyección heurística, debido al impacto que tuvo dentro del diálogo de la historia con las ciencias sociales y otras disciplinas del quehacer humanístico. A finales del siglo xx y comienzo del presente, el giro producido en el quehacer histórico ha otorgado un mayor protagonismo a lo social y cultural, colocando en el lugar protagonista ocupado durante décadas por la “historia de la muerte” otros intereses. Compete, por tanto, plantearse qué horizontes cabría dibujar, dentro de las coordenadas historiográficas de la actualidad, para las investigaciones sobre la muerte, cuyas paradojas siguen vigentes como recurso para conocer los fenómenos y manifestaciones propias de la civilización medieval.Palabras clave: Muerte medieval, historiografía de la muerte ABSTRACTThe historiography of death developed between the late 1970s and the 1990s was of special interest and projection. It was based on research carried out by the third generation of the Annales. The approaches developed in line with the models of this school of thought and underpinned by the renewal of the historical object following structuralism, revolved around the study of material conditions, attitudes, images and gestures of the medieval man in the face of death. The core of this prolific reflection as part of the “history of mentalities” contained methodological novelties facilitating a heuristic vision and projection due to the impact it had on the dialogue between History and Social Sciences and other humanistic disciplines. At the end of the 20th century and the beginning of the current the shift in historical endeavour has given greater prominence to what is social and cultural, placing other interests in the key role for decades occupied by the “history of death”. 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The book about Louis Henri de Nicolay, a German-speaking poet from Strasbourg, is much more than a reconstruction of the biography of a “German in Russia”. The multi-author book edited by Rodolphe Baudin and Alexandra Veselova reveals the mechanisms underlying the functioning of intellectual ties between Alsace and Russia. Also, it demonstrates the “exemplary” and unique features of the personal history of a graduate of the University of Strasbourg, who became a tutor of the future Emperor Paul I and then president of the Academy of Sciences in St Petersburg. The authors show the life trajectory of Nicolay in the broad context of the tripartite cultural transfer between France, Germany, and Russia and of the “circulation of knowledge and people” in Europe as a whole. The multifaceted image of the Strasbourg intellectual is recreated through the analysis of his epistolary and poetic heritage, sources on the history of Mon Repos Park (Nicolay's estate near Vyborg), and the study of the mythologisation of his personality in Russian and Soviet culture. The publication of sources of personal origin makes the book more valuable. They are letters of Louis Henri de Nicolay, introduced into scholarly circulation and extensively commented on by the authors of the edition. This research appears to be a landmark in the historiography of intellectual connections in Europe during the Age of Enlightenment.

This article focuses on the art of brevity, particularly the short story – tale and novella – and its rise in the nineteenth century, which corresponds to the development of the press. Newspaper editors hire best-selling authors, especially storytellers, who write stories for the front pages of daily newspapers. These writers are constrained by the brevity imposed by the format of the newspaper. We then study two examples of storytellers: Erckmann-Chatrian who enjoyed success under the Second Empire; and Maupassant who wrote under the Third Republic. Erckmann-Chatrian are the authors of fantastic tales with didactic purposes and Émile Erckmann alone composed Alsatian and Vosges fables. Maupassant, for his part, began by writing poems, then tales and short stories, and engaged in frequent rewriting: the tale published in the press is often considered a draft, which will lead to a short story collected in volume.

Jean-Paul Sartre (1905–1980), nephew of the Alsatian theologian, Albert Schweitzer, was born in Paris, passed his agrégation at the Ecole Normale Superieure in 1929, and was a lycée teacher between 1931 and 1945. He was called up to the French Army in 1939, captured by the Germans in 1940 and released after the armistice. In 1938 he published a novel, La Nausée, translated by Robert Baldick as Nausea (Harmondsworth: Penguin, 1965), and in 1940, L'Imaginaire: Psychologie phénoménologique de l'imagination, translated by Bernard Frechtman as The Psychology of Imagination (London: Methuen, 1972). His major philosophical work, L'Etre et le Neant, was published in 1943, and translated by Hazel E. Barnes as Being and Nothingness (London: Methuen, 1957). As a novelist he is best known for a trilogy, Chemins de la Liberté (Roads to Freedom), comprising L'Age de raison (1945) translated by E. Sutton as The Age of Reason (Harmondsworth: Penguin, 1961), Le Sursis (1945), translated by E. Sutton as The Reprieve (Harmondsworth: Penguin, 1963) and La Mort dans l'āme (1949), translated by G. Hopkins as Iron in the Soul (Harmondsworth: Penguin, 1965). His main work of literary criticism is Qu'est-ce que la littérature? (1947), translated by B. Frechtman as What is Literature? (London: Methuen, 1950). Plays includeLes Mouches (1943) and Huis Clos (1944), both translated by S. Gilbert and published in one volume, as The Flies and In Camera (London: Hamish Hamilton, 1965).

Abstract Das Ende des Krieges bedeutet für das Elsass nicht nur endlich Waffenruhe, sondern auch einen politischen Wechsel, da das Reichsland Elsass-Lothringen wieder Frankreich angehört. Dieser Umschwung schlägt sich im Leben aller Menschen nieder, beruflich, sprachlich, kulturell und sozial. Die Frage stellt sich nun, ob er auch im literarischen Wirken ein Echo findet, ganz besonders als schriftstellerischer Stoff. Um der Frage nachzugehen, fokussiert sich das Interesse auf Autoren, deren Ruf nicht viel weiter als die eigene Region geht und/oder die eher in der Mundart schreiben, da das Werk berühmter deutschschreibender Schriftsteller bereits schon diesbezüglich untersucht wurde. Der Krieg wurde eigentlich literarisch wenig thematisiert, so wie die soziopolitischen Umwälzungen, die danach stattgefunden haben. Die Schreibenden haben sich eher in ein emotionsgeladenes Elsass geflüchtet, das als Matrix ihrer Identität fungiert. En Alsace, la fin de la guerre a amené un soulagement général de la population, comme partout ailleurs, mais a aussi entraîné un changement d’appartenance étatique dans la mesure où la « Terre d’Empire » est (re)devenue française. Ces événements touchent chaque individu dans sa vie et ses habitudes, professionnelles, linguistiques, culturelles, sociales, … La guerre et les grands bouleversements qui en sont issus se manifestent-ils aussi dans la production littéraire, notamment sur un plan thématique ? On ne retiendra ici ni les écrivains les plus célèbres, ni ceux qui ont quitté l’Alsace après 1918, mais ceux dont la renommée reste plutôt régionale ou locale, notamment ceux qui utilisent un parler dialectal comme moyen d’expression. De fait, peu d’auteurs ont thématisé la guerre et, encore moins, les bouleversements sociopolitiques qui ont suivi. La « trace » est bien plus émotionnelle, sous la forme d’une affirmation identitaire et d’un recours à une Alsace matricielle. In Alsace, the end of the First World War brought a great sense of relief to the population, as it did everywhere else; yet, it also brought about a major political change to the former ‘Empire land’ (Reichsland) which became part of France (again). This affected the daily lives of each individual, in their professional, linguistic, cultural or social dimensions. Did the war and its aftermaths manifest themselves in literature, especially at a thematic level? To answer this question, we shall focus neither on the most famous writers, nor on those who left Alsace after 1918, since their work has already been examined under that angle, but on writers whose reputation remained regional or local, in particular on those writers who turned to the Alsatian dialect as means of expression. Indeed, in this literature, the war was rarely addressed and its socio-political upheavals even more rarely so. The ‘trace’ left by that conflict is of an emotional nature; it takes the form of an identity statement. Such writers found refuge in an emotionally charged Alsace, which functions as a matrix of their identity.