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Journal articles on the topic 'Sebald'

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Published: 4 June 2021
Last updated: 20 February 2023

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1

Pieldner, Judit. "Sebald, az utazó – Sebald utazói." Certamen 4 (2017): 179–84. http://dx.doi.org/10.51384/cert-04.13.

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2

Cross, Anthony, and Uwe Schütte. "Sebald v. academia: Sebald as reviewer." Journal of European Studies 46, no. 2 (March 17, 2016): 160–65. http://dx.doi.org/10.1177/0047244116629890.

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3

Fresán, Rodrigo. "The Sebald Case." boundary 2 47, no. 3 (August 1, 2020): 169–75. http://dx.doi.org/10.1215/01903659-8524479.

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In this essay, the author offers a candid discussion of Sebald’s legacy and the flurry of criticism aimed at securing his place in the literary canon. It engages many of Sebald’s signature themes: memory, amnesia, silence, history, and trauma. The author acknowledges Sebald’s masterful blend of language, photography, and archival material, resulting in a uniquely hybrid narrative form falling somewhere between essay and fiction. The essay is critical of Sebald’s most dedicated admirers—not because of any perceived paucity in Sebald’s work, but rather the shortsightedness of the critical machine that is desperately trying to fossilize Sebald as the end point of modern literature.
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4

Gatti, Luciano. "Duas fotografias em Austerlitz, de W. G. Sebald | Two photographs in Austerlitz, by W. G. Sebald." Revista PHILIA | Filosofia, Literatura & Arte 3, no. 2 (December 8, 2021): 101–16. http://dx.doi.org/10.22456/2596-0911.118700.

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O presente trabalho discute as relações entre literatura e fotografia em Austerlitz, de W. G. Sebald. Para fazer isso, como ponto de partida, observa-se a suposta oposição entre documento e ficção no emprego de material fotográfico feito por Sebald. Segundo a hipótese deste artigo, a função das fotografias deve ser compreendida a partir do mecanismo literário desenvolvido por Sebald para apresentar a investigação de seu protagonista a respeito de elementos de sua vida passada desconhecida. A pesquisa caracteriza tal procedimento como um “encadeamento de narradores” e, feito isso, debate sobre a função exercida pelas fotografias nas relações entre memória, narração e experiência.Palavras-chave: W. G. Sebald. Fotografia. Memória. Experiência. AbstractThis article discusses the relationship between literature and photography in Austerlitz, by WG Sebald. In order to do that, as a starting point, we observe the supposed opposition between document and fiction in Sebald's use of photographic material. This study proposes that we may understand the role played by photographs in the book by means of the literary mechanism developed by Sebald to present the search of his protagonist for elements of his unknown past. The present article characterizes this procedure as a “chain of narrators” and, after that, discusses the role played by photographs in the relationships between memory, narration and experience.Keywords: W. G. Sebald. Photography. Memory. Experience. ORCIDhttp://orcid.org/0000-0003-3960-3610
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5

Calderon, Nissim. "Sebald or Gevalt?" boundary 2 47, no. 3 (August 1, 2020): 165–68. http://dx.doi.org/10.1215/01903659-8524467.

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W. G. Sebald is one of the most original and significant authors of the twentieth century, but these credentials only make The Rings of Saturn that much more disappointing. In his other novels, Sebald’s drift between landscapes and encyclopedic fragments emerged out of a deep necessity and constituted an ingenious literary innovation. But here this style exists in a void. When an author becomes enslaved to his own style, when form is empty of content, the result is not merely boring. In his previous books, Sebald was a great writer of the German trauma, but in The Rings of Saturn he makes that national trauma banal.
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6

Schütte, Uwe. "Periferias europeias: Sebald fala em Tübingen (e uma digressão sobre Pierre Bertaux) | European peripheries: Sebald speechs in Tübingen (and a digression about Pierre Bertaux)." Revista PHILIA | Filosofia, Literatura & Arte 3, no. 2 (December 8, 2021): 27–60. http://dx.doi.org/10.22456/2596-0911.117373.

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O tema deste artigo é um texto apócrifo de W. G. Sebald, o ensaio "Europäische Peripherien" [Periferias Europeias], baseado em uma palestra proferida em fevereiro de 1992, em Tübingen. Esse ensaio ocupa um lugar especial na obra de Sebald, pois nele o autor se expressa mais resolutamente do que em qualquer outra ocasião sobre questões políticas, no que diz respeito tanto ao processo de unificação europeia quanto aos problemas fundamentais das sociedades ocidentais na transição para o século XXI. A partir de uma leitura mais atenta, chego à conclusão de que esse ensaio, supostamente secundário, revela-se um importante pilar para reconstruir a interpretação profundamente melancólica que Sebald faz da história com base no conceito de uma “história natural da destruição”. Ao mesmo tempo, “Europäische Peripherien” permite reconhecer a importância de Mutation der Menschheit [Mutação da Humanidade], de Pierre Bertaux, como influência fundamental, até então não reconhecida, para o desenvolvimento da obra de Sebald.Palavras-chave: W.G. Sebald. Europa. “História natural da destruição”. Pierre Bertaux. AbstractThis article discusses the essay "Europäische Peripherien", a hitherto overlooked text by W.G. Sebald based on a lecture given in Tübingen in February 1992. The essay occupies a special position in Sebald's oeuvre, as the author positions himself more pronouncedly than anywhere else on political issues, both with regard to the process of European unification and to fundamental challenges of Western societies in the transition to the twenty-first century. In my close reading the supposedly insignificant essay proves to be an important text for a reconstruction of Sebald's deeply melancholic view of history as expressed in the concept of a "natural history of destruction". At the same time, "European Peripheries" allows us to acknowledge the importance of Pierre Bertaux’ Mutation der Menschheit as an undiscovered influence on the development of Sebald's oeuvre.Keywords: W.G. Sebald. Europa. “Natural history of destruction”. Pierre Bertaux. ORCIDhttps://orcid.org/0000-0002-4825-1912
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7

Malikova, Maria. "Witnessing the Past in the Work of W. G. Sebald." boundary 2 47, no. 3 (August 1, 2020): 177–84. http://dx.doi.org/10.1215/01903659-8524493.

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This essay reads “As Day and Night,” an essay W. G. Sebald wrote about artist and friend Jan Peter Tripp, as a complex and multilayered commentary on the role of both written and visual texts in the author’s oeuvre. It draws on Sebald’s Austerlitz as well as the work of French phenomenologist Maurice Merleau-Ponty to argue for the centrality of the human gaze in Sebald’s imagination. The human gaze forges a unique form of realism in Sebald, playing a central role in revealing the “metaphysical underside” of objects, which in turn provokes an ethical response in the reader-viewer.
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8

Sheppard, Richard, Marcel Atze, and Franz Loquai. "Sebald: Lektüren." Modern Language Review 101, no. 4 (October 1, 2006): 1185. http://dx.doi.org/10.2307/20467134.

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9

Viel, Tanguy. "Lettre à Sebald." Vacarme 60, no. 3 (2012): 65. http://dx.doi.org/10.3917/vaca.060.0065.

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10

Vigderman, Patricia. "Sebald in Starbucks." Iowa Review 34, no. 1 (April 2004): 93–96. http://dx.doi.org/10.17077/0021-065x.5833.

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11

Dean, Tacita. "W. G. Sebald." October 106 (October 2003): 122–36. http://dx.doi.org/10.1162/016228703322791052.

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12

Bernier, Frédérique. "Lire désespérément… W.G. Sebald." Articles 21, no. 2 (March 22, 2010): 51–55. http://dx.doi.org/10.7202/039458ar.

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Résumé Dans la foulée d’Évelyne Grossman et de sa réflexion sur « la paradoxale vitalité de la négativité dépressive » (L’angoisse de penser, 2008), cet article envisage l’exploration littéraire de la négativité et de la dépossession de soi, caractéristique d’une certaine modernité que l’on peut faire remonter à Mallarmé, en tant qu’elle peut fonctionner, pour le lecteur, à la manière d’un antidépresseur paradoxal. Questionnant d’abord de façon générale certaines conceptions « sublimantes », réparatrices ou rédemptrices de la littérature (Leo Bersani) et la prégnance des modèles platoniciens et aristotéliciens de la création comme pharmakon, l’auteure tente ensuite de cerner plus spécifiquement, à partir de l’oeuvre de l’écrivain allemand W.G. Sebald, le caractère tout à la fois anxiogène et libérateur de la symbolisation de la perte en littérature.
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13

NYIKOS, Julia. "Sebald, lecteur de gares." Livraisons d'histoire de l'architecture, no. 19 (June 10, 2010): 61–76. http://dx.doi.org/10.4000/lha.238.

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14

Wilczyński, Marek. "W.G. Sebald, podmiot romantyczny." Teksty Drugie 3 (2019): 270–82. http://dx.doi.org/10.18318/td.2019.3.16.

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15

Montefiore, Janet. "Remembering W. G. Sebald." Women: A Cultural Review 27, no. 4 (October 2016): 473–76. http://dx.doi.org/10.1080/09574042.2017.1301127.

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16

Ryan, Judith. "Fulgurations: Sebald and Surrealism." Germanic Review: Literature, Culture, Theory 82, no. 3 (July 2007): 227–49. http://dx.doi.org/10.3200/gerr.82.3.227-250.

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17

Sheppard, Richard. "Three new books on W. G. Sebald and some afterthoughts." Journal of European Studies 50, no. 1 (February 26, 2020): 106–18. http://dx.doi.org/10.1177/0047244119892856.

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Following a discussion of three substantial new books on the writer W. G. Sebald, I reflect upon and try to develop ideas which the authors argue are central to Sebald’s recent published work, notably suffering, natural and humanly created cataclysms, narratorial tact, occlusion, reliability and restitution, and the experience of liberation.
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18

Bohunovsky, Ruth. "W.G. Sebald como leitor de Ernst Herbeck, o mais pobre dos poetas." Cadernos Benjaminianos 12, no. 1 (February 28, 2017): 28. http://dx.doi.org/10.17851/2179-8478.12.1.28-51.

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Este artigo tem como tema a presença do escritor austríaco Ernst Herbeck na obra literária e em ensaios de teor crítico-teórico de W.G. Sebald e se divide em três partes: uma tentativa de compreender a prioridade que escritores austríacos ocupam nos ensaios sobre literatura escritos por Sebald; uma apresentação de Ernst Herbeck, autor ainda desconhecido no Brasil; uma discussão sobre Sebald enquanto leitor de Herbeck. O olhar que Sebald lança sobre Herbeck será definido como único e, ao mesmo tempo, paradigmático no âmbito da obra crítico-literária do escritor alemão.
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19

PIELDNER, Judit. "ÚTLEÍRÁS ÉS REFLEXIÓ W. G. SEBALD MŰVEIBEN." Hungarológiai Közlemények 18, no. 2 (January 23, 2018): 71. http://dx.doi.org/10.19090/hk.2017.2.71-90.

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W. G. Sebald művei kitüntetett módon kapcsolódnak az utazás toposzához, mind konkrét, térbeli, mind elvont értelemben, az írás, a reflexió tereiben való szüntelen bolyongásként. Sebald prózájára általában a konkrét térbeli utazásnak a reflexió terébe átszállító, „ambulatorikus” jellege jellemző. A tanulmány a beutazott történelmi, geokulturális és mediális terek bemutatására, Sebald enigmatikus útvonalainak feltérképezésére
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20

Poluboyarinova, Larisa N., and Olga N. Kulishkina. "Two “Marienbad Elegies”: J.W. Goethe and W.G. Sebald." Studia Litterarum 5, no. 3 (2020): 128–43. http://dx.doi.org/10.22455/2500-4247-2020-5-3-128-143.

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The article compares J.W. Goethe’s “Marienbad Elegy” (1823) and a poetic text with the same title written in 1999 by W.G. Sebald. “Marienbad Elegy” by Goethe is a precedent text of German culture, its historical and literary authority being additionally supported by the popular biographical myth of the love of the 73-year-old poet to the 19-year-old Ulrike von Levetzow. On the one hand, Sebald’s own “Marienbad Elegy” is an attempt to decanonize the classical text by updating its references (restoration of the biographical context associated with the aging Goethe in Marienbad, his acquaintance with the von Levetzow’ family, and actualization of the realities of the spa town and the “museum” objects related to the occurrence of the Goethean text) and by consistently reducing the elegiac pathos of the original. On the other hand, as this article demonstrates, Sebald puts in place of Goethe’s elegiac tune his own — melancholic — pathos inherited from a philosopher of the Frankfurt school Walter Benjamin whom he greatly appreciated.
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21

Burrows, Stuart. "The Roar of the Minotaur." boundary 2 47, no. 3 (August 1, 2020): 61–83. http://dx.doi.org/10.1215/01903659-8524408.

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This essay proposes that W. G. Sebald’s distinctive contribution to the global novel is his reordering of the space of representation. This reordering is both literal and metaphorical. It is literal, in the sense that Sebald sets his work within actual spaces: the pages upon which his novels are written as much as the landscape being traversed by his narrator. It is metaphorical, in the sense that Sebald explores a set of imaginary spaces nested within each other: those occupied by his characters, who inhabit several worlds simultaneously, and that allocated to the narrative voice, which speaks to us out of a clearly demarcated yet unlocatable place. The result is not a troubling of the boundary between the real and the fictional, as many of his critics have contended, but a reflection on how the past continues to shape the present, forming the real and imaginative coordinates of our world.
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22

D'Angelo, Biagio. "Os anéis de Saturno. O instinto enciclopédico de W.G.Sebald | The Rings of Saturn. The encyclopedic instinct in W. G. Sebald." Revista PHILIA | Filosofia, Literatura & Arte 3, no. 2 (December 8, 2021): 61–82. http://dx.doi.org/10.22456/2596-0911.119802.

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No romance de W.G. Sebald, Os anéis de Saturno (Die Ringe des Saturn: Eine englische Wallfahrt, 1995), o narrador, a partir da descrição de certos lugares de Suffolk, reconstrói acontecimentos históricos e biografias, relata entrevistas, apresenta e menciona obras e lugares, correlacionando tempos e espaços que várias vezes estão muito distantes uns dos outros. Essas aparentes digressões labirínticas ligam-se à história principal de uma forma ou de outra. A nossa hipótese é a de que Os anéis de Saturno possui uma estrutura altamente labiríntica e enciclopédica, característica, por outro lado, de toda a obra sebaldiana, através da qual o autor manifesta seu conhecimento trágico do mundo.Palavras-chave: Sebald. Romance enciclopédico. Enciclopédia. Labirinto. AbstractIn W.G Sebald's novel The Rings of Saturn (Die Ringe des Saturn: Eine englische Wallfahrt, 1995), the narrator, from the description of certain places in Suffolk, reconstructs historical events and biographies, reports interviews, describes and mentions works and places correlating times and spaces that are often very far apart. These apparent labyrinthian digressions tie into the main story in one way or another. Our hypothesis is that The Rings of Saturn have a highly labyrinthian and encyclopedic structure, characteristic, on the other hand, of the entire Sebaldian work, through which the author manifests his tragic knowledge of the world.Keywords: Sebald. Encyclopedic Novel. Encyclopedia. Labyrinth.ORCIDhttps://orcid.org/0000-0001-9333-4461
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23

Duttlinger, Carolin. "W. G. Sebald: Image, Archive, Modernity by J. J. LongReading W. G. Sebald: Adventure and Disobedience by Deane BlacklerSearching for Sebald: Photography after W. G. Sebald by Lise Patt, Christel Dillbohner." Modern Language Review 104, no. 4 (2009): 1189–93. http://dx.doi.org/10.1353/mlr.2009.0032.

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24

Klein, Kelvin Falcão. "W. G. Sebald: reino dos mortos e espetáculo midiático | W. G. Sebald: realm of the dead and mediatic spectacle." Revista PHILIA | Filosofia, Literatura & Arte 3, no. 2 (December 8, 2021): 83–100. http://dx.doi.org/10.22456/2596-0911.118614.

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O objetivo do artigo é investigar as possíveis relações entre a reflexão teórica de Friedrich Kittler (especialmente em seu livro Grammophon Film Typewriter) e a produção literária de W. G. Sebald (especialmente seu último romance, Austerlitz). Minha hipótese é que Sebald mescla dois registros diagnosticados por Kittler: acessa o “reino dos mortos” (codificado com base nos resíduos materiais das fotografias) a partir tanto do paradigma técnico-midiático inaugurado com o gramofone, o filme e a máquina de escrever quanto do paradigma anterior, literário e alucinatório, apreendido por Kittler nas obras de Poe e Balzac, entre outros.Palavras-chave: W. G. Sebald. Friedrich Kittler. Mídia. Fotografia. Romance. AbstractThe aim of the article is to investigate possible contacts between Friedrich Kittler's theoretical reflection (especially in his book Grammophon Film Typewriter) and the literary production of W. G. Sebald (especially his latest novel, Austerlitz). My hypothesis is that Sebald merges two fields diagnosed by Kittler: he accesses the “realm of the dead” (coded from the material residues of photographs) from both the technical-media paradigm inaugurated with the “gramophone, film and typewriter” and from the previous paradigm, literary and hallucinatory, apprehended by Kittler in the works of Poe and Balzac, among others.Keywords: W. G. Sebald. Friedrich Kittler. Media. Photography. Novel.ORCIDhttp://orcid.org/0000-0002-8997-1174
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25

Bopp, Dominika, and Sebastian Rosenberger. "Sebald Heydens Formulae Puerilium Colloquiorum." Jahrbuch für Germanistische Sprachgeschichte 12, no. 1 (June 1, 2021): 251–68. http://dx.doi.org/10.1515/jbgsg-2021-0014.

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Abstract Sebald Heydens Gesprächsbuch Formulae Puerilium Colloquiorum, 1526 in Nürnberg entstanden, war ursprünglich für den Lateinunterricht in den unteren Klassen der Nürnberger Sebaldusschule konzipiert. Das Lehrbuch besteht aus 27 lateinischen Dialogen, denen als Lernhilfe deutsche Übersetzungen beigegeben sind. Die Dialoge sind denkbar einfach konstruiert, mit zwei Gesprächspartnern und kurzen Sätzen, und legen Wert auf die Vermittlung des lateinischen Alltagswortschatzes, wie er in den Lateinschulen ab einem bestimmten Alter obligatorisch war. Doch weniger als ein Jahr nach seiner Entstehung verbreitete sich das Gesprächsbuch weit über den Nürnberger Raum hinaus, Drucke sind für das Jahr 1527 in Erfurt, Krakau und Straßburg nachweisbar. Bis zum Ende des 16. Jahrhunderts war das Werk über einen Großteil Mittel- und Osteuropas verbreitet, neben Latein und Hochdeutsch finden sich sehr schnell drei-, vier- bis fünfsprachige Ausgaben mit weiteren Sprachen wie Niederdeutsch, Polnisch, Tschechisch, Ungarisch, Französisch oder Russisch. Für den außerordentlichen Erfolg des Lehrwerkes spricht auch, dass Drucke bis ins späte 18. Jahrhundert belegt sind. Der Beitrag wird sich mit den zahlreichen, durch die weite räumliche Verbreitung des Werkes bedingten Varianten im Bereich der Lexik in einigen ausgewählten Drucken beschäftigen. Die verschiedenen Varianten werden exemplarisch dokumentiert und die jeweilige Motivation für Bezeichnungswechsel nachgezeichnet. Dabei wird sich zeigen, dass offensichtlich nicht immer nur sprachgeographische Gründe für solche Bezeichnungswechsel ausschlaggebend waren.
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26

MacArthur, MARIT. "POETRY IN REVIEW: W.G. SEBALD." Yale Review 101, no. 1 (2013): 173–86. http://dx.doi.org/10.1353/tyr.2013.0028.

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27

Covindassamy, Mandana. "L'actualité de Sebald en France." Études Germaniques 268, no. 4 (2012): 661. http://dx.doi.org/10.3917/eger.268.0661.

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28

Lamb, Jonathan. "Sterne, Sebald, and Siege Architecture." Eighteenth Century Fiction 19, no. 1 (2006): 21–41. http://dx.doi.org/10.1353/ecf.2006.0083.

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29

MacArthur, MARIT. "POETRY IN REVIEW: W.G. SEBALD." Yale Review 101, no. 1 (December 21, 2012): 173–86. http://dx.doi.org/10.1111/yrev.12019.

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30

Simine, Silke Arnold-de. "W. G. Sebald: History: Memory: Trauma by Scott Denham, Mark McCulloh, W. G. Sebald." Modern Language Review 103, no. 2 (2008): 600–601. http://dx.doi.org/10.1353/mlr.2008.0336.

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31

Fuchs, Anne. "Os Pintores de W. G. Sebald: a função das belas artes na sua obra em prosa." Cadernos Benjaminianos 12, no. 1 (February 28, 2017): 135. http://dx.doi.org/10.17851/2179-8478.12.1.135-158.

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Há uma literatura crescente acerca do uso da fotografia por Sebald, que aborda uma certa ambiguidade ontológica que abrange a maior parte das fotos contidas em sua obra. Em Sebald, fotografias tendem a exceder o código simbólico das narrativas; elas frequentemente desestabilizam as relações que se estabelecem entre texto e imagem, vida e morte, trauma e história, lembrança e esquecimento. Nesse contexto, o presente artigo enfoca o tratamento que Sebald deu às Belas Artes em seus escritos, argumentando que na prosa sebaldiana a distinção entre arte e fotografia é significativa tanto em termos estéticos como epistemológicos, e deve, consequentemente, receber uma análise mais detalhada. Enquanto a fotografia tende a explorar as relações entre história e trauma por meio do convite à averiguação do seu próprio estatuto representacional, as obras de arte erudita que figuram na prosa de Sebald se oferecem como um porto seguro para a contemplação terapêutica, um contraponto que manifesta momentos de transcendência. O argumento se desenvolve fazendo referência ao importante ensaio de Sebald sobre o pintor Jan Peter Tripp, e as releituras das obras primas que figuram em Schwindel.Gefühle., Die Ausgewanderten, Die Ringe des Saturn e Austerlitz.
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32

Hutchinson, Ben. "Marinheiro ou camponês? Algumas reflexões sobre as leituras de Sebald do ensaio “O narrador” de Walter Benjamin." Cadernos Benjaminianos 12, no. 1 (February 28, 2017): 85. http://dx.doi.org/10.17851/2179-8478.12.1.85-107.

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A biblioteca particular de W. G. Sebald, cuja parte é mantida no Deutsches Literaturarchiv, possui uma cópia da obra Illuminationen, de Walter Benjamin. Este ensaio tem por objetivo estabelecer um esquema teórico sobre a técnica narrativa de Sebald, investigando suas anotações no ensaio “O Narrador” que encerra a obra supracitada. Com a ajuda de suas marcações e anotações, a própria estrutura narrativa de Sebald pode ser interpretada como uma forma de representar a “história natural” como uma resposta estética a um conceito filosófico. Dois princípios podem ser derivados a partir dessa perspectiva: a estratégia de entrelaçamento de camadas (Einschachteln), e a estratégia da montagem. É a dialética entre esses dois princípios que impulsiona o estilo da prosa de Sebald. A tensão em seu trabalho entre fato e ficção deriva, em última análise, de uma complexa relação entre, de um lado, o seu estilo em prosa artisticamente construído, de outro, seu realismo quase documental.
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33

Oliveira, Paulo César Silva de. "Errantes, diferentes, desiguais: em torno de Os emigrantes, de W. G. Sebald." SOLETRAS, no. 38 (October 3, 2019): 362–87. http://dx.doi.org/10.12957/soletras.2019.43215.

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Este trabalho propõe uma leitura crítica de Os emigrantes, de W. G. Sebald (2002), problematizam as dicotomias estabelecidas na modernidade entre uma promessa de mobilidade contraposta à clausura de um mundo marcado, conforme a acepção de Walter Benjamin, pelo “mal do progresso” inscrito no pesadelo da história. A ficção de Sebald se constrói nas interseções entre memória, documento, história, etnografia e ficção. Seu texto será lido como movimento de passagem que convoca a crítica à análise de uma série discursiva composta por um campo reflexivo em torno das antinomias de uma Europa moderna arrebatada no século XX pelo trauma, pela catástrofe e pela ruína. Neste sentido, Sebald dialoga com formas textuais híbridas que, por meio de uma poética do fragmento, renova o realismo literário, influenciando decisivamente a prosa ficcional contemporânea. Em Sebald, a tematização do mundo arruinado se converte em uma alegoria da era das catástrofes e do destino de sujeitos migrantes. O artigo discute as implicações teóricas e o alcance deste conjunto de temas e reflexões.
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34

Meek, Allen. "In Transit: Sebald, Trauma, and Cinema." Humanities 6, no. 4 (December 18, 2017): 101. http://dx.doi.org/10.3390/h6040101.

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35

Edward J. Hughes. "LACUNARY KNOWLEDGE IN SEBALD AND PROUST." Modern Language Review 109, no. 1 (2014): 15. http://dx.doi.org/10.5699/modelangrevi.109.1.0015.

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36

Simine, Silke Arnold-de, Scott Denham, Mark McCulloh, and W. G. Sebald. "W. G. Sebald: History: Memory: Trauma." Modern Language Review 103, no. 2 (April 1, 2008): 600. http://dx.doi.org/10.2307/20467883.

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37

Laguna Martínez, Ana. "The Photographic Metaphor: Heartfield, Brecht, Sebald." Escritura e Imagen 17 (November 24, 2021): 69–87. http://dx.doi.org/10.5209/esim.78934.

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From a semiotic point of view, photography is still considered a different kind of sign. Then, how can imagetext works be studied, formed by photography and word? This article argues that fictional texts expose the semiotic nature of photographs, showing that photographs are signs, different from their referents. The fictional, intermedial texts studied here are John Heartfield’s, Bertolt Brecht’s, and W.G. Sebald’s: three authors linked by German history. In the light of Umberto Eco’s semiotics, photographs can also be considered metaphors, enable to provide a new kind of iconicity and to overcome their realistic weight.
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38

Schütte, Uwe. "Obituary: W. G. Sebald (1944–2001)." Austrian Studies 11, no. 1 (2003): 246–49. http://dx.doi.org/10.1353/aus.2003.0002.

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Pitts, Terry, and Zaha Redman. "Une catastrophe silencieuse : Sebald à Manchester." Ligeia N° 105-108, no. 1 (2011): 240. http://dx.doi.org/10.3917/lige.105.0240.

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40

Faber, Alyda. "On Creaturely Life: Rilke, Benjamin, Sebald." Ars Disputandi 7, no. 1 (January 2007): 171–74. http://dx.doi.org/10.1080/15665399.2007.10819967.

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41

Gray, R. T. "On Creaturely Life: Rilke, Benjamin, Sebald." Modern Language Quarterly 69, no. 3 (January 1, 2008): 426–31. http://dx.doi.org/10.1215/00267929-2008-009.

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Masłoń, Sławomir. "W.G. Sebald czuje. Melancholiczny zawrót głowy." Teksty Drugie 5 (2016): 240–56. http://dx.doi.org/10.18318/td.2016.5.16.

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Smith, Ali. "In memory of W. G. Sebald." Critical Quarterly 44, no. 2 (July 2002): 59–61. http://dx.doi.org/10.1111/1467-8705.00415.

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Carter, Josephine. "READING THE DEAD WITH W.G. SEBALD." Angelaki 24, no. 3 (May 4, 2019): 55–68. http://dx.doi.org/10.1080/0969725x.2019.1620452.

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45

Wylie, John. "The spectral geographies of W.G. Sebald." cultural geographies 14, no. 2 (April 2007): 171–88. http://dx.doi.org/10.1177/1474474007075353.

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46

Klein, Kelvin Falcão. "W. G. Sebald e o olho da História." Cadernos Benjaminianos 12, no. 1 (February 28, 2017): 108. http://dx.doi.org/10.17851/2179-8478.12.1.108-120.

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O objetivo deste artigo é o de apresentar resultados iniciais de uma pesquisa em andamento acerca dos modos e historicidades da visualidade em operação na obra do escritor alemão W. G. Sebald. A argumentação inicia-se a partir do aproveitamento de uma metáfora crítica desenvolvida por Georges Didi-Huberman, precisamente a ideia de um “olho da história”, que ganharia, segundo a hipótese central deste artigo, uma modulação particular no uso feito por Sebald. A investigação da validade da hipótese se dará a partir da leitura e comentário das conferências de Zurique de Sebald, conhecidas como Guerra aérea e literatura, em contraste com a já referida obra de Georges Didi-Huberman, especialmente sua atuação em dois campos: a obra de Bertolt Brecht e a conceituação da noção de “povo”.
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Sheppard, Richard. "W. G. Sebald and the Writing of History by Anne Fuchs, J. J. Long, W. G. Sebald." Modern Language Review 103, no. 4 (2008): 1171–73. http://dx.doi.org/10.1353/mlr.2008.0445.

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Murdock-Hinrichs, Isa. "Adaptation, Appropriation, Translation." boundary 2 47, no. 3 (August 1, 2020): 133–63. http://dx.doi.org/10.1215/01903659-8524455.

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The essay analyzes Grant Gee’s and Stan Neumann’s transformations of W. G. Sebald’s The Rings of Saturn and Austerlitz into the cinematic medium. In reproducing Sebald’s methods, both filmmakers undermine traditional filmmaking conventions. By translating and appropriating the stylistics of Sebald’s text, Gee’s work echoes polyvocality and renders the influences and psychological associations of Sebald’s text into externalized fragments that convey the interwoven processes of memory, perception, and spatialization. Neumann reproduces Austerlitz’s observations more faithfully but alters the sequencing of the textual events and incorporates different media into the film. Neumann’s invention of himself as a “character” further undermines the text’s claims to authenticity and, more broadly, the notion of a stable system of signifiers. This intervention of the persona of the translator-filmmaker emphasizes the agency of the translator. Both films are neither adaptations nor translations, but they appropriate elements of Sebald to trace the effects of his techniques.
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Jaanus, Maire. "The “Black Sounds” of Ene Mihkelson’s Katkuhaud (‘Plague Grave’) and W. G. Sebald’s Austerlitz. Part II. Memory and Emotion." Interlitteraria 22, no. 2 (January 16, 2018): 412. http://dx.doi.org/10.12697/il.2017.22.2.17.

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Part I of this article appeared in Interlitteraria 2016, 21/2. Part II elaborates on how Mihkelson and Sebald represent their experiences of emotional memory and their feelings of fear, grief, emptiness, and loneliness – in the post-World War II and our historical era. In its comparisons of Mihkelson and Sebald, and both with Lorca, the essay stresses the emotional affinities between human beings that may exist alongside linguistic, historical, political, and other cultural differences.
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Kovač, Leonida. "Od olovke prirode do prirodne povijesti destrukcije." Život umjetnosti, no. 109 (December 1, 2021): 164–77. http://dx.doi.org/10.31664/zu.2021.109.10.

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Članak istražuje odnos između kategorije fotografske slike i pojma „memorijski projekt” iscrtavajući pritom historijsku transverzalu koja povezuje prvu knjigu opremljenu fotografskim tablama The Pencil of Nature Williama Henryja Foxa Talbota, književni opus W. G. Sebalda i kapitalno djelo Abyja Warburga Bilderatlas Mnemosyne. Polazeći od Sebaldova iskaza prema kojemu sjećanje nije ništa drugo doli citiranje i tvrdnje Kaje Silverman da fotografska slika nije ni indeks ni reprezentacija nego analogija, detektiraju se analogije između diskursa Foxa Talbota i Sebalda, odnosno Warburga i Sebalda, i postavlja teza da su The Pencil of Nature i Bilderatlas Mnemosyne te nadasve život i djelo Waltera Benjamina upisani u Sebaldov književni opus kao citati bez navodnih znakova. Ta je teza argumentirana bilješkom iz Benjaminove kartoteke koja se odnosi na spoznajnu teoriju i koja glasi: „Ovaj rad mora maksimalno razviti umjetnost citiranja bez navodnih znakova” te zaključkom Giorgia Agambena da je najenigmatičniji pojam Benjaminove misli, pojam slike, Bild, pravi terminus technicus njegova poimanja povijesti. Susljedno tome, članak razmatra Sebaldovu aproprijaciju i operacionalizaciju Benjaminova pojma dijalektičke slike, kao i elaboraciju koncepta nekronološkog vremena kroz specifični digresivni i tangencijalni narativni postupak „pisanja slikama” koji se manifestira u umetanju reprodukcija fotografskih slika u tkivo književnog teksta i kroz virtuoznu izvedbu ekfrastičkih opisa u kojima se događaju rasprizorenja, odnosno artikulira nesvodiva razlika između povijesne istine i materijalne istine. Članak se usredotočuje na Sebaldovu internalizaciju Warburgova pojma migrirajućih motiva pri „pisanju slikama”. Nadalje, tekst argumentira tvrdnju da je Sebald maestralnom primjenom citiranja bez navodnih znakova ispisao vlastite teze o pojmu povijesti da bi ukazao na ishodišta genocidnih politika dvadesetog stoljeća u povijesti europskog kolonijalizma. Zaključno, u članku se tvrdi da su Sebaldove „prozne knjige neodređene vrste”, poput Warburgove „antropologije slika i ikonologije njihovih intervala”, inaugurirale ono što Georges Didi-Huberman naziva novim žanrom spoznaje.
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