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Alte Erzählungen von neuen Kämpfen Beitrag

Die französischen Religionskriege im Spiegel der Renaissance-Epik

Bernhard Huss

Germanisch-Romanische Monatsschrift, Volume 68 (2019), Issue 3, Page 291 - 309

This article analyses a specific sub-genre of epic, namely epic texts treating actual events of the French Wars of Religion in the 16th century. As an example, a detailed interpretation of Alexandre de Pontaymeri’s Cité de Montélimar (1591) is given. Pontaymeri’s epic narrator reports on the historical events around the town of Montélimar which was repeatedly the object of military contention between protestant and catholic forces, especially in the 1580s. By blending textual procedures of historiographic chronicle with the formularium of the classical epic tradition, Pontaymeri creates a complex textual hybrid in order to express, despite his sympathy for protestant positions, a fundamental criticism of the unheroic brutality of the actual military conflict, thereby positioning himself in the Lucanic line of epic texts that voice sceptical opinions about civil war.


Reaktualisierung und Transformation epischer Strukturelemente bei Dante und Petrarca Beitrag

Bernhard Huss

Germanisch-Romanische Monatsschrift, Volume 67 (2018), Issue 3, Page 265 - 291

This article analyses the function of epic elements in texts by Dante (‚Commedia‘) and by Petrarch (‚Africa‘, ‚Trionfi‘ ). In doing so it mainly focuses on the invocation of the Muses; in addition to that it discusses how Petrarch’s Trionfi re-actualize the technique of the epic catalogue. In Dante’s invocations of the Muses the Virgilian tradition of this epic tool is modified in order to strengthen the poet’s self-authorization; the ‚Commedia’s‘ Muses are not responsible for the transmission of knowledge and have only a subsidiary function as far as the elaboration of poetic diction is concerned. Petrarch’s latin epic, on the contrary, returns to ancient tradition: Against Dante it re-establishes the Muses as purveyors of knowledge. At the same time, however, it vigorously highlights the importance of the author’s individuality for the constitution of the epic text. Petrarch’s ‚Trionfi‘ use yet another anti-dantesque strategy: They completely eliminate the Muses, because in this text the author evokes historical subject-matter autonomously while also shaping its linguistic expression in stylistic self-sufficiency.



Besprechungen Rezensionen

Frank-Rutger Hausmann, Susanne Winter, Bernhard Huss, Till Kinzel, Nikolas Immer, Cord-Friedrich Berghahn, Volker Kapp, Jan Andres, Alessandra Origgi, René Sternke

Germanisch-Romanische Monatsschrift, Volume 68 (2018), Issue 1, Page 107 - 129

Pia Claudia Doering und Caroline Emmelius (Hg.): Rechtsnovellen (Frank-Rutger Hausmann ) – Elisabetta Selmi und Enrico Zucchi (Hg.): Allegoria e teatro tra Cinque e Settecento: da principio composivito a strumento esegetico (Susanne Winter) – Thomas Leinkauf: Grundriss Philosophie des Humanismus und der Renaissance (Bernhard Huss) – Katharina Roettig: Wielands Sokratische Übersetzungen (Till Kinzel) – Daniele Vecchiato: Verhandlungen mit Schiller (Nikolaus Immer) – August Klingemann: Briefwechsel. Hg. von Alexander Košenina und Manuel Zink (Cord-Friedrich Berghahn) – Dominique Millet-Gérard: Le Tigre et le Chat gris. Vingt études sur Léon Bloy et Joris-Karl Huysmans / Joris-Karl Huysmans: La Cathédrale. Hg. von Dominique Millet-Gérard (Volker Kapp) – Jürgen Egyptien (Hg.): Stefan George – Werkkommentar (Jan Andres) – Niels Penke: Jünger und die Folgen (Cord-Friedrich Berghahn) – Michael Walter: Oper. Geschichte einer Institution (Alessandra Origgi) – Eric Hazan: Pour aboutir à un livre. Entretiens avec Ernest Moret (René Sternke)



Figura auctoris und Selbstreferenz des poetischen Diskurses bei Luigi Groto Beitrag

Bernhard Huss

Germanisch-Romanische Monatsschrift, Volume 64 (2015), Issue 4, Page 407 - 427

The strategy of experimentation pursued by Luigi Groto (1541–1585) in his ‘Rime’ stretches the preceding lyrical tradition and its form language to the very limit of their capacity. The author figure responsible for this formal hyperbole is staged in a conspicuous, plurimedial fashion in the proeminal passages of the 1610 complete edition, lending a clearly metapoetical dimension to the lyric texts. Within the collection as a whole, the radical treatment of Petrarchan and epigrammatic strategies of textualization serves to prominently foreground the maniera of the author, which is characterized by a ‘tormented’ diction of suffering. The autoreflective turn of the text thus corresponds to the self-staging and self-mirroring of the empirical author in his textual figura. Here, ‘auto-reflexivity’ coincides with ‘author-reflexivity’. This connection is established via a suggestive emphasis on the (real) blindness of the empirical author, which interacts with the topical blindness of Amor and the metaphorical blindness of the figura amantis. The composite figure of the blind autore-amante attains a high degree of singularity, threatening to emancipate itself from the confines of Petrarchan standardization and poetical schematization. Moreover, the programmatic analogy between the blind lyricist Groto and the blind epicist Homer invests lyric poetry with increased status as a literary genre.


Sublimität und Tragödie bei Vittorio Alfieri Beitrag

Bernhard Huss

Germanisch-Romanische Monatsschrift, Volume 62 (2013), Issue 4, Page 391 - 418

The concept of the sublime as a whole is of fundamental significance in Vittorio Alfieri’s literary theory and in his own poetry. The following article focuses in particular on Alfieri’s well-documented recourse to Longinus’ essay On the Sublime. Alfieri’s concept of the sublime is examined above all with regard to his references to the poetics of tragedy. By referring extensively to Longinus, Alfieri’s aim seems to be to lend shape to the individualistic, author-centred poetics of ‘grandezza’ which are intended to be conveyed by means of a linguistic style that is forcedly unusual and forcibly brusque. The result is not only that fundamental principles pertaining to the way tragedies are structured are given new form, but also, with regard to stylistic questions, an extreme and anti-conformist language emerges. Alfieri draws on Longinus’ text in a wide complexity of ways, thereby achieving a reception of the Longinus sublime that aims to be both integral and holistic. He includes Longinus’ discussion of stylistic aspects and thus a rhetorical standpoint as determining in his theoretical considerations of the sublime and their practical application.

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