Wilfred Owen: der ‚National War Poet‘ als Antikriegsdichter Beitrag Peter Krahé Germanisch-Romanische Monatsschrift, Jahrgang 68 (2018), Ausgabe 2, Seite 153 - 187 Today widely regarded as Britain’s national war poet, Wilfred Owen (1893–1918) died a soldier’s death a week before the Armistice in November 1918. An ambitious young poet, he had strived to find a voice of his own, before the Great War of 1914–18 provided him with the theme of his life. This study evaluates his oeuvre under the dual aspects of compositional coherence and artistic and ethical development. While Owen brought topics, metaphors, images, and symbols of his early attempts to his war poetry, his stance towards the war evolved: Initially in accordance with British propaganda, he took an increasingly critical view of war in general, culminating in an all-embracing humanism, which leaves narrow nationalism and patriotism behind and professes a general idea of pity and the “reciprocity of tears”. The study establishes the structural unity of Owen’s work in the consistency of his poetical craft and the development towards the renunciation of war, which reveals him as a convinced anti-war poet.
Versuchter Transfer Wien-London: von Arthur Schnitzlers ‚Liebelei‘ zu Tom Stoppards ‚Dalliance‘ Beitrag Peter Krahé Germanisch-Romanische Monatsschrift, Jahrgang 64 (2014), Ausgabe 1, Seite 49 - 70 The present paper compares Arthur Schnitzler’s ‘Liebelei’ (1895), one of his most lastingly successful plays, with Tom Stoppard’s English version ‘Dalliance’ (1986). While generally following Schnitzler’s storyline, Stoppard tries to transfer the gender conflict set in fin-desiècle Vienna to a Vienna that bears resemblance to Thatcherite London, adapting the play to the social and cultural experience of an English audience. It is shown that Stoppard’s version responds to the changed gender relations, introduces elements of comedy and slapstick and, most significantly, replaces Schnitzler’s bleak ending by a more optimistic finale. Seeing his version as an adaptation rather than a translation, Stoppard tries to assert his own artistic credo as a dramatist, making the play less subtle and more direct in its message.
„Village Property“, kulturelle Hybridität und Grenzen literarischer Übersetzung: Toni Morrisons ‚Tar Baby‘ Marion Kraft
