Gesetzesbrecher: Joachim Meyerhoffs literarische Selbsterfindung des Schauspielers Beitrag Alexander Košenina Germanisch-Romanische Monatsschrift, Jahrgang 67 (2018), Ausgabe 3, Seite 339 - 346 Joachim Meyerhoff, one of the most popular actors at the Burgtheater Vienna, was trained at the Otto-Falckenberg-Schule in Munich. His experience in this prestigious acting school is presented in the third volume of his autobiographical „novel“ ‚Alle Toten fliegen hoch‘ (2011–2015). This paper suggests a reading of the protagonist’s artistic development as a process of breaching rules, of staging himself as an ingenious anti-hero. One of the striking initial impulses to transform one’s own self into the role of another person occurs by chance at an auction of old stage costumes. Here, the young actor is able to perform for the first time jauntily in a glamorous woman’s robe. This scene is compared with Malte’s self-discovery in front of a mirror in Rilke’s ‚Aufzeichnungen des Malte Laurids Brigge‘.
Kotzebues „Nullitat“ Beitrag In Goethes trotzigem Verdikt bebt der Streit um ‚Die deutschen Kleinstädter‘ nach Alexander Košenina Germanisch-Romanische Monatsschrift, Jahrgang 64 (2014), Ausgabe 3, Seite 329 - 343 Die deutschen Kleinstädter (1803), still available in Reclam’s Universal Library, is considered to be an icon of the German bourgeois mentality of the 19th century. August von Kotzebue originally adapted Louis Benoit Picard’s comedy La petite ville (1801), and then subsequently related the theme to the German situation – as Madame de Stael puts it in De l’Allemagne (1813). The following paper discusses this popular piece in the context of the aesthetic controversies between the Enlightenment in Berlin, Early Romanticism in Jena and Classicism in Weimar. There may even be some satirical jibes directed at Kotzebue’s home town of Weimar embedded in the drama, even though „Krahwinkel“, as the small town is called here, depicts the atmosphere of German provincialism in general. Goethe’s radical cuts in the piece made its premiere in Weimar impossible, and fuelled furthermore an enduring animosity, which culminated in Goethe’s disconcerting satisfaction in the face of the politically motivated murder of Kotzebue in 1819.
„Village Property“, kulturelle Hybridität und Grenzen literarischer Übersetzung: Toni Morrisons <em>Tar Baby</em> Marion Kraft
