Der erste Mord. Der Tod des Apsyrtos als Schlüsselmoment für moderne Interpretationen des Medea-Mythos: Jahnn, Pasolini, Wolf, Loher

Murderous Medea – following Euripides’ seminal tragedy countless authors and artists have depicted Medea as child-slaughtering outlaw and avenger. But the Medea myth is much more diverse and holds more depth than this. Medea’s path through her career as princess, magician, wife, mother and avengress opens with another abominable death: that of her brother Apsyrtos. This article focuses on how and why the death of Medea’s brother Apsyrtos has been examined and instrumentalised in modern adaptions of the myth by Hans Henny Jahnn, Pier Paolo Pasolini, Christa Wolf and Dea Loher. Whether guilty as charged but with sensible intentions to gain self-rule and show herself trustworthy or innocent of crime or murder but stricken with guilt and alienation, Medea’s involvement in her brother’s death seems to hold the key to modern interpretations of antiquity’s different strands of the Medea myth and its adaptability to modern concerns of subjectivity and emancipation.

Prometheus on Mars: Nineteenth-Century Science Fiction and the Language of Romanticism

The development of astrophysics in the nineteenth century drew mankind closer to the planets. For the first time, it was possible to give serious scientific consideration to the possibilities for life on other planets. The greatest leap, however, was in recognizing what was not known, and acknowledging the limits of human intuition. ‘Ideas,’ wrote Agnes M. Clerke, ‘have all at once become plastic’. As the scientific community tested the limits of scientific understanding, it became the role of science-fiction writers to imagine the universe beyond these limits. This paper will examine the ways in which nineteenth-century science fiction used the inheritance of the poetic language of Romanticism to reinstate the centrality of human being in the universe. I will explore the ways in which writers such as Edward Bulwer-Lytton (The Coming Race, 1871) and W. S. Lach-Szyrma (Aleriel, 1883) extended the Byronic hero to envisage extra-terrestrial utopias. The Hegelian systematic mythology described by Byron and Shelley had reimagined paradise and redemption on earth. Through science fiction, this mythology extended out towards the stars. A discourse on the possibilities of extra-terrestrial life became a Romantic discourse on the possibilities of being. The Byronic hero could now find a home not by escaping the shackles of religion, but as an angelic citizen of Venus or Mars. In this way, the paper will explore how science-fiction writers appropriated the language of Romantic poetry to build a bridge between the framework of scientific knowledge and the extent of human imagination.

Krise, Kritik, Kontingenz: Prolegomena zu einer neuen Poetik der Gemeinschaft

Contingency is the third term that inevitably accompanies crisis and critique. Traditionally, community has been conceived as one of the means to overcome contingency. Taking its cue from the recent work of Roberto Esposito on community and its strategies of immunization, and taking into account that globalization has led to new, contingent forms of community, the essay argues for a new poetics of community conceived as metonymic. The members of a community thus understood share nothing else but the sheer space of their coexistence. Such an approach, I argue, avoids the pitfalls of exclusion that any community conceived of as metaphoric – that is, as sharing a third element – necessarily implies.

Editorial genesis: From comparing texts (product) to interpreting rewritings (process)

In literary genetics, “editorial genetics” deals with the “public life” of texts, whereas the writing process is affected by edition and diffusion. Editorial genetics frequently has to deal with cases of “editorial rewriting”: in the literary domain for example, authors frequently modify previously published works, so that several versions may co-exist. We are especially interested in Balzac’s La Bourse (translated in English as The Purse) since we know three authorized versions of this specific work.By comparing different texts associated with a single work, the literary geneticist is facing different products that are themselves the result of a writing process. However, different specificities should be outlined: (1) the writing process does not leave any trace: we just have access to different products/texts and (2) since the texts we compare seem to be achieved, differences must be referred, not to programmatic or temporary linguistic structures, but to the reconfiguration of a pre-existing textuality.Do such products still reflect the processes that have given birth to them? Does the comparison between two texts considered as variations of a same text give access to this transformation’s processes? After describing the objects of this particular textual comparison and the terminology that permits to give an account of such phenomenon, this contribution suggests to express these questions differently, as a matter of poetics of transitions between texts, or, further digging, an hermeneutics of the transition between texts.