In 27th November 2015
Etnografija ljubezni v popevkah
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V popularni glasbi ni težko najti besedil, ki se nanašajo na ‘ljubezen’. Ljubezenski izrazi, oblike in družbeno-psihološka razmerja v besedilih popevk se zdijo domala ontološki – to sugerira njihova zgodovina. Kakorkoli že, potrebna je tudi analiza konteksta: ljubezen tukaj pomeni nekaj drugega kot ljubezen tam – v drugem kontekstu je druga ljubezen drugačna. Tako je navsezadnje ljubezen univerzalno srečanje utopije, idealizma, univerzalizma, razočaranja, dekonstrukcije, pogajanja, označevanja, oglašanja in trženja. Poleg tega gre za kvaziindividualno prisvajanje, ko recipient izbira iz celotnega skupka popularne glasbe, v našem primeru iz besedil. Teoretično se etnografija ljubezni opira na naslednja dela: Les larmes d’ Eros Georgesa Bataillea, Fragmenti ljubezenskega diskurza Rolanda Barthesa, Ljubezen kot strast Niklasa Luhmanna, Hate speech Judith Butler in Die Macht der Gefühle Alexandra Klugeja. Prispevek se bo osredotočil na ljubezen, kakor se izraža v bogati kulturi besedil popularne glasbe. Alexandru Matei Love as Morality: the Non-Will-to-Possess or the Utopia of Affectiveness in Roland Barthes’ A Lover’s Discourse One of the best known texts on love written in the late 20th century in Europe is Fragments d’un discours amoureux (A lover’s discourse. Fragments). Far from being a love panegyric, it is a reflection on the limits of affectiveness. Love, as we Europeans know it—binds us, it hampers us and finally shows us, through the bias of suffering, how dyssimetrical are desire and the possibility to possess its objects. Love as such ends in an impotence. It surpasses us. The Lover’s discourse consists not in a continuous discourse, but of fragments, as if the enunciator couldn’t gather and stand together, as an autonomous self-sufficient subject. Each of these fragments talks about a ‘figure’ of love, and the most provocative one is that of non vouloir saisir (non-will-to-possess), which merges with the notion of neutral. This is the shift Barthes operates between a European affect (love as will-to-possess, intimacy as the cry of the body itself, as he puts it) and the Neutral as what we could call a ‘utopian affect’: an affect impossible for us, Europeans, to feel (to live). This Barthian love is in fact the utopia of the love without possession: a feeling to be cultivated, as a spiritual exercise, a way towards an affective emancipation of the humans, much more difficult to de-scribe and to pre-scribe than the political emancipation of the consciousness of a unified subject. Alexandru Matei Ljubezen kot krepost: Non vouloir saisir ali Utopija naklonjenosti v delu Fragmenti ljubezenskega diskurza Rolanda Barthesa Eno najbolj znanih besedil o ljubezni, napisano v drugi polovici 20. stoletja v Evropi, je Barthesovo delo Fragmenti ljubezenskega diskurza (Fragments d’un discours amoureux). Še zdaleč ne gre za panegirik, temveč za refleksijo o mejah naklonjenosti. Ljubezen, kakor jo poznamo Evropejci, omejuje, zavezuje in nam navsezadnje pokaže, z nagnjenjem do trpljenja, kako nesimetrični sta želja in možnost, da bi objekt želje posedovali. Ljubezen kot takšna se konča z impotentnostjo. Preseže nas. Ljubezenski diskurz ni neprekinjen, temveč fragmentaren, kakor da se govorec ne bi mogel zbrati in se sestaviti kot avtonomen, samozadosten subjekt. Vsak posamezen fragment govori o ‘figuri’ ljubezni, in najbolj provokativna je non vouloir saisir (odsotnost želje po posedovanju), ki se staplja s pojmom nevtralnosti. Barthes oriše razkorak med evropskim afektom (ljubezen kot želja po posedovanju, intimnost kot krik telesa, ki se izrazi) in nevtralnostjo kot nečim, kar bi lahko poimenovali ‘utopični afekt’: afekt, ki je za nas, Evropejce, nemogoč. Ta barthesovska ljubezen je utopija ljubezni brez posedovanja: čustvo, ki ga je treba gojiti, gojiti kot duhovno vajo, kot pot k človekovi čustveni emancipaciji, ki jo je, v primerjavi s politično emancipacijo zavesti enotnega subjekta, mnogo težje opisati in predpisati. Jonas Nesselhauf L’amour faux — Love Against the Discourse in European Literature Around 1900 Similar to social norms, the traditional love discourse, as applied in European thinking and culture for centuries, consists of unwritten ‘laws’ (e.g. the concept of marriage, prenuptial virginity, marital faithfulness etc.). Such idealized notions influence the individual’s perception of and attitude towards love - especially since the growing alphabetization led to an increased ‘copying of phrases and compliments’ (Niklas Luhmann) from fictional literature. From the 18th century onward, idealized behavior and courses of conduct, as well as (sometimes rather brummagem) phrases and expressions find its way in the social love discourse, for instance when Goethe’s Sorrows of Young Werther (1774) and its (fictional) lover’s grief and suicide are believed to have influenced countless juveniles in Germany and Europe. Umberto Eco remarked the postmodern impossibility of the sentence ‘I love you’ which became a trivial phrase. The massive distribution of stereotypical and simplified love stories, especially in 19th century ‘dime novels’ and 20th century Hollywood movies, intensified this ‘copying’ from the literary into the social love discourse, resulting in striking expectations concerning the ‘true’ relationship, the ‘perfect’ proposal of marriage and the ‘ideal’ wedding ceremony. However, this literary and filmic influence, as well as attempts of an absolute imitation (‘copying’) lead, on a second level, to ‘faulty’ and ‘failing’ stylizations of love. Using literary texts from Theodor Fontane to Andrej Belyj, this double copying (from literature to the society, and then adopted by the individual) and its faulty re-enactment will be presented exemplarily in European literature around 1900. Jonas Nesselhauf L’amour faux — Ljubezen proti diskurzu v evropski literaturi okoli leta 1900 Tradicionalni ljubezenski diskurz, kakršen se v evropski kulturi in mišljenju uveljavlja že stoletja, sestoji – podobno kot družbene norme – iz nepisanih ‘pravil’ (t.j. koncept poroke, predzakonske deviškosti, zakonske zvestobe itd.). Takšno idealizirano pojmovanje vpliva na individualno dojemanje ljubezni in na odnos do nje, zlasti odkar je opismenjevanje pospešilo kopiranje fraz in komplimentov iz leposlovja (cf. Niklas Luhmann). Od 18. stoletja naprej pronicajo v družbeni ljubezenski diskurz idealizirano obnašanje in vedenjski vzorci ter (pogosto kičaste) fraze in izrazi. Takšen primer je Goethejevo Trpljenje mladega Wertherja (1774), ki je s potrtostjo (fiktivnega) ljubimca in njegovim samomorom vplivalo na ravnanje številnih mladostnikov v Nemčiji in drugod po Evropi. Umberto Eco je omenil, da je v postmoderni dobi nemogoče izreči stavek ‘ljubim te’, saj je postal trivialna fraza. Množična distribucija stereotipnih in poenostavljenih ljubezenskih zgodb zlasti s pogrošnimi romani v 19. stoletju in hollywoodskimi filmi v 20. stoletju je pospešila to kopiranje iz literarnih v družbene diskurze, kar je spodbudilo velika pričakovanja glede ‘prave’ ljubezni, ‘popolnega’ dvorjenja in ‘idealne’ poroke. Vpliv književnosti in filma ter poskusi popolnega imitiranja (‘kopiranja’) so vodili, na drugi ravni, k ‘napačnim’ in ‘pomanjkljivim’ stilizacijam ljubezni. To dvojno kopiranje (iz literature v družbo in nato individualno prisvajanje) in pomanjkljivo posnemanje bom prikazal na primerih iz evropskih literarnih besedil, nastalih okoli leta 1900, od Theodorja Fontaneja do Andreja Belega. Boris A. Novak The Medieval Love Poetry between ‘Conquering’ and ‘Courting’ Boris A. Novak, the translator of Provencal Troubadours into Slovenian (anthology Distant Love, 2003) analyses two mutually connected, but at the same time conflicting concepts: the ‘knight (chivalrous) love’ (l'amour chevaleresque) and ‘court love’ (l'amour courtois). Often, these two concepts were used as synonyms; following René Nelli, Novak argues against this traditional identification of l'amour courtois and l'amour chevaleresque. The principle of the ‘knight (chivalrous) love’ demands that the knight conquers the heart of the chosen Lady with his heroic deeds: he proves to be brave at the battle field or at the tournament, he saves the fragile princess from the dangerous dragon, he charms her heart sacrificing for the weak etc., but all these noble gestures are merely an ornament covering the real relation between the power of the men and the weakness of the women. In other words: the knight conquers the lady as a war prey. The main representative of this principle is Chrétien de Troyes with his verse novels (Yvain or The Knight of the Lion, Lancelot or The Knight of the Cart, unfinished Perceval or The Grail Story). The historical merrit of the 12th and 13th century Troubadours is the gesture of the self-foundation of love: they were the first in Europe to understand love as an autonomous value (to use Kant’s term) which stems from itself and does not need any other justification. Retroactively, this principle was named ‘court love’; this term is not appropriate as it emphasizes the formal court ceremonies instead of respectful relations between a man and a woman. Novak analyses the development of the Provencal love poetry from ‘the first troubadour’ Guilhem, 9th duke of Aquitaine, over Jaufrés Rudèls who established the prototype for the Trobadours’ love-model with his famous Song about the Distant Love, to the deeply moving poems by Bernart de Vantadorn and the leading Provencal poetess Comtessa de Dia. The fact that between 200 known names of Troubadours there are no less than 30 names of Lady-Troubadours (trobairitz) is exceptional: it proves that the position of women in the Provencal culture and social life was far better than in other regions of the medieval Europe. The basic principle of the ‘knight (chivalrous) love’ is the verb to conquer which still figures prominently in the contemporary erotic vocabulary, but, unfortunately, we don’t hear its military origin any more; this verb namely means that the woman is defeated, submitted. The Troubadour cult of love is based on the verb to court - a principle which led the civilization much further than the masculine military conquerors. The starting point for the Renaissance was not medieval epic poetry with its brave knights and bloody battles, but sensitive, vulnerable lyric poetry of Troubadours and Petrarca. Boris A. Novak Srednjeveška ljubezenska poezija med ‘osvajanjem’ in ‘dvorjenjem’ Boris A. Novak, prevajalec edinega slovenskega knjižnega izbora pesmi provansalskih trubadurjev 12. in 13. stoletja (antologija Ljubezen iz daljave, 2003), v svojem prispevku analizira dva povezana, a medsebojno nasprotujoča si koncepta: viteško in dvorsko ljubezen. Ta dva pojma so do pred nedavnim uporabljali kot sinonima; sledeč Renéju Nelliju, Novak spodbija to tradicionalno identifikacijo. Pri principu viteške ljubezni si vitez s svojimi dejanji pribori srce izvoljene Gospe: na bojnem polju ali na viteškem turnirju se izkaže s pogumom in močjo, reši nemočno princeso pred zmajem, žrtvuje se za šibkejše in s tem očara njeno občutljivo srce itd., toda vsa ta plemenita dejanja so le okras za stvarno razmerje moči in nemoči, kjer si vitez pribori žensko kot vojni plen. Glavni predstavnik tega principa je avtor viteških romanov v verzih Chrétien de Troyes (Yvain ali Vitez z levom, Lancelot ali Vitez na vozičku, nedokončani Parsifal ali Zgodba o Gralu). Zgodovinska zasluga provansalskih trubadurjev 12. in 13. stoletja je gesta samoutemeljitve ljubezni: bili so prvi, ki so ljubezen doživljali kot avtonomno vrednoto (kantovski izraz), ki črpa svojo vrednost iz same sebe in ne potrebuje nikakršne druge utemeljitve. Ta princip so pozneje poimenovali dvorska ljubezen; izraz ni najbolj posrečen, saj preveč poudarja dvorski ceremonial namesto spoštljivega odnosa med moškim in žensko. Novak razgrne razvoj trubadurske lirike od ‘prvega trubadurja’ Guilhema, IX. vojvode akvitanskega, prek Jaufrésa Rudèlsa, ki je s svojo znamenito Pesmijo o daljni ljubezni vzpostavil osnovni model trubadurskega kulta ljubezni, do pretresljivih izpovedi Bernarta de Ventadorna in osrednje trubadurke Comtesse de Dia. Sámo dejstvo, da med dvesto znanimi imeni trubadurjev srečamo kar trideset trubadurk (trobairitz), je za srednjeveški čas izjemno in priča, da je bil položaj žensk v kulturnem in družbenem življenju Provanse neprimerno boljši kot v drugih regijah tedanje patriarhalne in vojščaške Evrope. Osnovni model viteške ljubezni dobro ponazarja glagol osvojiti, ki še zmeraj prominentno nastopa v erotičnem slovarju, le da ne slišimo več njegovega vojaškega porekla: vitez je ‘osvojil’ srce Dame, kar pomeni, da jo je premagal, da si jo je podredil. Trubadursko razumevanje erotike pa je utemeljeno na neprimerno bolj spoštljivem glagolu dvoriti, ki je – v nasprotju z moškim, vojaškim osvajanjem – peljal civilizacijo naprej. Renesansa si ni poiskala izhodišča v srednjeveški epski poeziji pogumnih vitezov in krvavih zmag, ampak v krhki, ranljivi liriki trubadurjev in Petrarce. David Österle Spaces of Love in Hugo von Hofmannsthal’s Geschichte der beiden Liebespaare The talk discusses the topographical representation of love in Hugo von Hofmannsthal’s text Geschichte der beiden Liebespaare from 1896. The text which was not published during his lifetime focuses on the relationship of two Viennese couples: Felix, a pleasure-loving dandy, his ephemeral and unstable feelings to Anna, a petty bourgeois living in the suburbs, and Clemens and his sacrificing love to Therese who is a terminally ill. In the novel love is not designed as an ahistorical, contextless intimate bond of affections. The different relationships are highly influenced by a sociocultural topography, that is in transition due to processes of modernization and industrialization and as a consequence thereof specific social changes: centre versus periphery, vibrant spaces of mobility versus aristocratically isolated garden landscapes, utopic spaces of desire versus mortal spaces of escape convey a certain idea of love and affect the relationship of the couples in the story. With recourse to Yuri Lotman the talk takes into consideration the spatial semantics of love, semiotic spaces of love, and the complex system of relations of antagonistically structured spaces - last but not least the iconographical and intertextual dimensions of representations of love in the novel. David Österle Prostori ljubezni v delu Geschichte der beiden Liebespaare Huga von Hofmannsthala Prispevek obravnava topografsko predstavitev ljubezni v besedilu Geschichte der beiden Liebespaare (1896) Huga von Hofmannsthala. Besedilo, ki je bilo objavljeno posthumno, pripoveduje o razmerju dveh dunajskih parov. Opisuje bežna in nestanovitna čustva dandyja Felixa do Ane, malomeščanke iz predmestja, ter požrtvovalno ljubezen Clemensa do na smrt bolne Therese. V besedilu ljubezen ni zasnovana kot ahistorična intimna zveza, ki temelji na naklonjenosti in je neodvisna od konteksta. Na obe razmerji močno vpliva družbeno-kulturna topografija, ki je v tranziciji zaradi modernizacije in industrializacije ter posledičnih specifičnih družbenih sprememb: središče proti obrobju, živahni prostori mobilnosti proti aristokratsko osamljenim vrtnim krajinam, utopični prostori poželenja proti smrtnim prostorom bega posredujejo določeno idejo ljubezni in vplivajo na razmerji obeh parov. Prispevek, ki se opira na Jurija Lotmana, se ukvarja s prostorsko semantiko ljubezni, semiotičnimi prostori ljubezni, kompleksnimi sistemi razmerij antagonistično strukturiranih prostorov in z ikonografskimi in medbesedilnimi razsežnostmi predstavitev ljubezni v besedilu. Dominik Pensel Love-Art. Transformations of a Model of Artistic Production and its Implications in 19th Century At the latest in late 18th century, with the advent of ‘genius’, we can recognize at least four ‘innovations’ in the arts: Firstly, art becomes arts - the ‘birth’ of our division of arts. Secondly, there is a general shift from cultural to natural disposition of art - from imitatio to creatio. Thirdly, this produces the need for self-affirmation, self-reflexivity, and self-representation - arts and the artist become constant parts and protagonists. Fourthly, in between arts, artist, and their natural disposition, we find a well-known protagonist - the muse. However, this muse is now biologised as a real woman, the artist’s beloved, and the power of love becomes the central power of creating art. This paper’s research field is interdisciplinary between literature and music. I will reconstruct a concrete musico-literary model of producing art with the power of love by focusing on works of young Johann Wolfgang Goethe, Ludwig van Beethoven, and those of Ernst Theodor Amadeus Hoffmann. The connection between love, eros and art is direct, quite ‘real’, and serves as a ‘missing link’ between the arts as well as between several aesthetic, socio-cultural, and philosophical questions in the early 19th century. In a second step, I will follow this model through about 100 years of literary and musical history. By turning towards works of Léon de Wailly, Richard Wagner, Jacques Offenbach, Gottfried Keller, Franz Kafka, Arnold Schönberg, and others, I will show that this art-eros-model transforms itself and, by this, reflects central transformations in aestheticism, philosophy, and culture - and still does today. Dominik Pensel Ljubezen – Umetnost: Transformacije modela umetniške produkcije in njene implikacije v 19. stoletju Najkasneje v poznem 18. stoletju, ob začetku kulta genijev, se pojavijo najmanj štiri ‘inovacije’ v umetnostih: Prvič, umetnost se razcepi v umetnosti – takrat je porojeno razločevanje različnih umetniških zvrsti, kakor ga poznamo danes. Drugič, splošen premik od kulturne k naravni dispoziciji za umetnost – od imitatio h creatio. Tretjič, to proizvede potrebo po samopotrjevanju, samorefleksiji in samoreprezentaciji – umetnosti in umetniki postanejo stalne vloge in protagonisti. Četrtič, med umetnostmi, umetniki in njihovo naravno dispozicijo srečamo dobro znano protagonistko – muzo. Muza zdaj postane realna ženska, umetnikova ljubica, moč ljubezni pa osredja ustvarjalna moč. Raziskovalno polje tega prispevka je interdisciplinarno, in sicer prehaja med literaturo in glasbo. Rekonstruiral bom konkreten glasbeno-literaren model proizvajanja umetnosti z močjo ljubezni. Pri tem se bom osredotočil na dela mladega Johanna Wolfganga Goetheja, Ludwiga van Beethovena in Ernsta Theodorja Amadeusa Hoffmanna. Povezava med ljubeznijo, Erosom in umetnostjo je neposredna, precej ‘realna’ in nekakšen missing link med umetnostmi kakor tudi med številnimi estetskimi, družbeno-kulturnimi in filozofskimi vprašanji v zgodnjem 19. stoletju. V naslednjem koraku bom sledil temu modelu skozi 100 let literarne in glasbene zgodovine. Ob delih avtorjev kot so Léon de Wailly, Richard Wagner, Jacques Offenbach, Gottfried Keller, Franz Kafka, Arnold Schönberg idr. bom prikazal, da se ta model umetnosti in Erosa sam transformira in tako, vse do danes, odraža osrednje transformacije v estetiki, filozofiji in kulturi. Willie van Peer Lust, Love, and Literature Frankly, I do not know very well where to begin with this topic. So let me try to stimulate our ideas by giving some (extreme) examples of ‘love’, not from literature, but from biology - in fact from ornithology, which is a bit of a hobby of mine. That is no accident, because I believe that the life of birds has a lot to say about literature. But in this talk, I will concentrate on a few species that show the diversity of ways in which ‘love’ manifests itself in living beings. The diversity places us in an awkward position, because it may question deep-seated beliefs that we hold in most human cultures. If we hold literature against the mirror of this biological diversity, we may have to reconsider some of these deeply held beliefs. I hope thereby to contribute to a clearer understanding of what is involved in the theme of love as a possible universal in culture (and elsewhere). Willie van Peer Sla, ljubezen in književnost Odkrito rečeno ne vem, kje bi začel z obravnavo te tematike. Dovolite mi torej, da spodbodem razmišljanje s (skrajnimi) primeri iz biologije in ne iz književnosti, in sicer iz ornitologije, ki je moj konjiček. To ni naključje, saj verjamem, da življenje ptic pove marsikaj o književnosti. V prispevku se bom osredotočil na nekaj vrst, ki pričajo o tem, na kako raznolike načine se ljubezen kaže v svetu živih bitij. Raznolikost nas postavlja v neprijeten položaj, saj terja, da podvomimo o nekaterih prepričanjih, ki so globoko zakoreninjena v večini človeških kultur. Če književnost postavimo pred zrcalo te biološke raznolikosti, bomo morali ponovno razmisliti o teh zakoreninjenih prepričanjih. Upam, da bom s tem lahko prispeval k boljšemu razumevanju vprašanja, kaj je tematika ljubezni kot morebitna univerzalija v kulturi (in drugod). Ljubinka Petrovic-Ziemer Familial Love Discourses in German-speaking Contemporary Drama and Theater This paper explores how the topic of love in terms of social commitment and emotional investment within traditional and unconventional family arrangements is being addressed and ‘staged’ in German-speaking contemporary stage work. Since the 1990s, a growing interest in the phenomenon of violence and the states of excessivity has shaped German-speaking drama, which is partly due to the well-received theater aesthetics of the British Brutalists in the German theater scene. Strikingly, the tendency in contemporary drama to discuss family concepts is quite often coupled with the aim to radically question the institution of family as a safe space and dismantle the myth of infallible family love. The dramas mainly focus on revealing the misuse of interdependencies, tabooed domestic violence, isolation and solitude, love deficits emerging in life concepts of differently aged singles. The preference for the subject of incest is most apparently evidenced by the fact that the issue of the potential for violence within family frames is exhaustively discussed in recent plays. The most debated dramas tackling the topic of incest are Dea Loher’s dramatic text Tätowierung, Marius von Mayenburg’s drama Feuergesicht and Thomas Jonigk’s play Täter. This presentation is guided by the question whether in contemporary plays, that grotesquely overdraw familial interrelations, the subject of love is solemnly exposed as a phantasm and whether the gloomy family plays written and staged since the 1990s also offer alternative visions of viable and caring love. Another aim of this paper is to examine to which theatrical and dramatic tradition (domestic tragedy, the drama of Storm and Stress, naturalistic drama, expressionist drama, critical folk play) playwrights resort to in their work and how they modify it under postdramatic conditions. The analyses includes plays by Dea Loher, Marlene Streeruwitz, Roland Schimmelpfennig and Lukas Bärfuss. Ljubinka Petrovic-Ziemer Družinski ljubezenski diskurz v sodobni nemški dramatiki in gledališču Prispevek bo obravnaval vprašanje, kako sodobna nemška dramatika naslavlja in uprizarja tematiko ljubezni v smislu družbenih zvez in emocionalnih investicij v tradicionalnih in nekonvencionalnih družinskih strukturah. Od leta 1990 zaznamuje nemško dramatiko posebno zanimanje za nasilje in eksces, kar je delno pogojeno z recepcijo britanskih brutalistov na nemški gledališki sceni. Presenetljivo je, da je težnja sodobne dramatike k obravnavi družinskih konceptov pogosto povezana z radikalnim dvomom o instituciji družine kot prostoru varnosti in z demontiranjem mita o zanesljivi družinski ljubezni. Igre pogosto razkrivajo zlorabo soodvisnosti, tabuizirano nasilje v družini, osamljenost in samoto, pomanjkanje ljubezni, ki izvira iz življenjskih konceptov samskih figur različnih starosti. Intenzivno ukvarjanje sodobne dramatike z nasiljem v družini se najbolj očitno kaže v posebni priljubljenosti tematizacije incesta. Med igrami, ki se ukvarjajo z incestom, so najbolj znane Tätowierung Dee Loher, Ognjeni obraz Mariusa von Mayenburga in Täter Thomasa Jonigka. Prispevek bo poskušal odgovoriti na vprašanje, ali mračne sodobne igre, napisane in uprizorjene po letu 1990, ki z grotesknim pretiravanjem izrisujejo družinske odnose, zgolj razkrivajo ljubezen kot fantazmo ali pa ponujajo tudi alternativne vizije ljubezni, ki bi bila uresničljiva in prizanesljiva. Drugo vprašanje, na katerega bo prispevek poskušal odgovoriti, je, na katero gledališko in dramsko tradicijo se navezujejo ti dramatiki (meščansko žaloigro, viharniško dramatiko, naturalistično dramo, ekspresionizem, kritične ljudske igre) in kako jih preoblikujejo v postmodernističnem kontekstu. Prispevek bo temeljil na analizah gledaliških besedil Dee Loher, Marlene Streeruwitz, Rolanda Schimmelpfenniga and Lukasa Bärfussa. Marcello Potocco The Treatment of Parental and Paternal Love in Slovenian Poetry The paper examines love in a specific form – parental and especially paternal love. The theme of fatherhood that has to date gone largely undiscussed in relation to Slovenian poetry will be tackled - also due to its relative rarity - in comparison to a more conventional and more researched theme of motherhood. The primary object of my inquiry is the question of whether (and to what extent) the theme of parental love differs in these perspectives, and whether we can attribute any possible differences in the treatment of this subject to the literary movements or periods. For this reason my analysis will focus on the poems on fatherly love by Uroš Zupan, which will be compared to Maja Vidmar’s and Mila Ka i ’s poetry. The ascetic modernistic poetry of the former seems to be the opposite of Zupan’s narrativization of poetry, while the intimism of the latter can be contrasted to the neo-intimism of Zupan’s texts, calling for the analysis of both differences and possible similarities. Marcello Potocco Obravnava očetovske ljubezni v sodobnejši slovenski poeziji V prispevku želim raziskovati ljubezen v specifični obliki, in sicer zlasti kot očetovsko ljubezen. V zvezi s slovensko poezijo doslej neobdelani motiv očetovstva bom – tudi zato, ker se pojavlja razmeroma redko – primerjal z bolj klasičnim in tudi že raziskanim motivom materinstva. Zanimalo me bo, v kolikšni meri se motiv otroka razlikuje v obeh perspektivah. Pri tem me bo zanimalo predvsem, ali morebitne razlike v obdelavi niso zlasti posledica literarnosmernih oziroma obdobnih značilnosti. Zato si bom kot središče vzel pesmi z očetovsko tematiko Uroša Zupana, ki jih bom kontrastiral na eni strani s pesmimi Maje Vidmar, na drugi strani s pesmimi Mile Kačič. Prva je namreč s svojim asketskim modernističnim verzom pravo nasprotje Zupanovi narativizaciji verza; intimizem druge pa bi bilo smiselno kontrastirati z neointimizmom Zupanovih pesmi in tudi tu analizirati razlike in morebitne podobnosti. Friederike Schlaefer The concept of love in Robert Musil’s Œuvre After Gustave Flaubert’s work was banned in Berlin, Robert Musil published an article Das Unanständige in der Kunst (The indecent in art) in 1911, in which he took a stand for an art that should not only represent immoral and condemnable things, but also embrace them. According to Musil, it is possible to depict perversity because it is constructed out of normality and therefore made comprehensible to everybody. By means of combinations a wide range of sexual forms (and/or love relationships of any kind) can be expressed. In his article, Musil not only provides a radical picture of what art should do, he also gives many examples in his literary œuvre of moments when sexuality seems to transcend the lines of normativity. Overall, he lived and wrote in a time when increasing scientific knowledge of the human body and new philosophical insights into the human mind radically affected the concept of love, and continue to influence how we understand what love is today. In my paper, I would like to explore how Musil strives for an art that should depict perverse and questionable forms of sexuality, and at the same time develops a love story that is supposed to be the last of its kind. I am interested in why love is still the defining thematic characteristic in his work, though he integrates concepts of new disciplines, such as sociology or sexology into his texts. I will provide examples from Musil’s earlier novellas, especially from the collection Three Women as well as from the The Man without Qualities. Friederike Schlaefer Koncept ljubezni v delih Roberta Musila Ko so v Berlinu prepovedali dela Gustava Flauberta je Robert Musil objavil članek z naslovom Das Unanständige in der Kunst (1911), v katerem se je zavzel za umetnost, ki ne bi le prikazovala nemoralnih in obsojanja vrednih stvari, temveč jih tudi sprejemala. Musil trdi, da je perverznost mogoče opisovati zato, ker je konstruirana iz normalnosti in je zato razumljiva vsakomur. S kombiniranjem lahko izrazimo širok spekter spolnih oblik (in/ali ljubezenskih razmerij vseh vrst). Musil v omenjenem članku poda ne le podobo tega, kar naj bi umetnost počela, temveč našteje tudi vrsto primerov iz svojih literarnih del, v katerih se na trenutke zdi, da spolnost transcendira meje normativov. Musil je živel in pisal v času, ko so napredek znanstvenih spoznanj o človeškem telesu in novi filozofski vpogledi v človeško mišljenje radikalno vplivali na koncept ljubezni, in še vedno vplivajo na to, kako jo razumemo danes. V svojem prispevku bom raziskala, kako Musil teži k umetnosti, ki bi opisovala perverzne in vprašljive oblike spolnosti, in istočasno razvija ljubezensko zgodbo, ki naj bi bila zadnja te vrste. Zanima me, zakaj je ljubezen še vedno osrednja tematska značilnost njegovih del, čeprav v svoja besedila vnaša koncepte novih disciplin, kot sta sociologija in seksologija. Navajala bom primere iz Musilovih zgodnjih novel, zlasti pa iz besedil Tri ženske in Mož brez posebnosti. Markus Schleich Love Will Tear Us Apart: Reflections on the Limits of Standardized Love-Concepts in Contemporary Popular Music Ever since Adorno’s damning criticism of popular music (1941 & 1947), pop songs are presumed to be overly simple and shallow. According to Tim Wall, a general accusation is that there are only “three main categories: happy in love, frustrated in love and novelty songs based around the theme of sexual romance” (2013). These are, to use a category coined by Oliver Jahraus, ‘domesticated’ versions of love that fit into the norms and standardizations of society (cf. 2008). Thus, pop songs, seen from the perspective of the Frankfurter Schule, do not qualify as art, but are products designed for mass consumption: they satisfy needs, overemphasize the concept of romantic love and feed the recipient with capitalist ideology. The predominant perspective on love in capitalist societies is that once an individual finds love, he or she is granted happiness. Love hence becomes just a commodity, entering the exchange of goods. That is just one side of the matter. Ever since developments inspired by youth (counter-)cultures of the 1960s, popular music has developed a subversive potential and the ability to reflect on tropes of modern culture - one of these tropes being love. Especially in the 21st century, many songs deter from describing concrete romantic feelings of love but question the abstract nature of love. These artifacts engage their recipients to challenge prevalent concepts of love and present possible love-discourses outside the cultural industry. These songs depict concepts of love that defy the norms and explore more sinister aspects: a love that cannot be controlled, not be traded, or measured in rational terms. In these cases, love is an ambiguous force that might harbor just as much destructive energy as it contains potential happiness.
Odkar je Adorno odločno obsodil popularno glasbo (1941 in 1947), je obveljalo, da so popevke povsem preproste in plehke. Po mnenju Tima Walla se splošna obtožba glasi, da v njih obstajajo le “tri glavne kategorije: srečna zaljubljenost, frustracija v ljubezni in nove pesmi, ki krožijo okoli tematike spolnih razmerij” (2013). To so, če uporabimo kategorijo, ki jo je uvedel Oliver Jahraus ‘udomačene’ verzije ljubezni, ki se vklapljajo v družbene norme in standarde (cf. 2008). Popevke, gledano z vidika Frankfurtske šole, ne zaslužijo oznake umetnost, temveč so proizvodi za množično potrošnjo: zadovoljujejo potrebe, pretirano poudarjajo koncept romantične ljubezni in recipienta hranijo s kapitalistično ideologijo. V kapitalističnih družbah prevladuje mnenje, da je posameznik deležen sreče, ko najde ljubezen. Ljubezen tako postane zgolj tržno blago, ki vstopi v procese blagovne menjave. To je le ena plat problematike. Odkar je razvoj, ki so ga navdahnile mladostniške (proti-)kulture šestdesetih let 20. stoletja, je popularna glasba razvila subverziven potencial in zmožnost refleksije o tropih moderne kulture – eden od njih je ljubezen. Zlasti v 21. stoletju se mnoge pesmi odpovedujejo opisom konkretnih ljubezenskih čustev in dvomijo o abstraktni naravi ljubezni. Ti artefakti pritegnejo recipiente, da podvomijo o prevladujočem konceptu ljubezni in opozorijo na možne ljubezenske diskurze zunaj kulturne industrije. Te pesmi opisujejo koncepte ljubezni, ki kljubujejo normam in raziskujejo temačnejše vidike: ljubezen, ki je ni mogoče nadzorovati, tržiti ali meriti z racionalnimi pojmi. V teh primerih je ljubezen dvoumna sila, ki lahko nosi v sebi prav toliko destruktivne energije kot vsebuje potencialne sreče. Maja Šabec Between Mercy and Lechery: Love in the Spanish Literature of the 15th Century Throughout the entire Christian Middle Ages, the concept of love is torn between two extremes arising from the basic contradiction between body and soul and the condemnation of sexuality based on it: love is either one of the highest virtues or a deadly sin. In literature, the resolving of the conflict between spiritual longing and physical lust reached a pinnacle in the specific concept of the love relationship between man and woman in the troubadouresque lyric. In Spain of the 15th century, the genuine ‘trubadouresque ambience’ reached full swing and declined in conventions of the courtly codex which permeate the cancioniero poetry as well as the sentimental novel and are masterfully exposed and parodied in Celestina (1499), a novel in dialogue by Fernando de Rojas. The contribution is focused on the ambiguous role of mercy (pietas) being the element which determines the disentanglement of the love process. This emotional attitude - most often expressed in the Christian context since Christianity made an appeal to believers to be compassionate towards the suffering and dying Christ and therefore expect Him to be merciful towards them in return - is also adopted by a courtly lover in addressing his beloved one. In this perspective, the courtly etiquette followed the Christian teaching and demanded acts of mercy from the lady, however, on the condition that the man would not betray her trust. Furthermore, the selected examples of literary works show how the abundantly ambiguous metaphoric of mercy in the dialogue between two potential lovers more or less intentionally opens up a wide area of interpretations for the salacious urges of both participants. Maja Šabec Med usmiljenjem in pohoto: ljubezen v španski književnosti 15. stoletja Skozi ves krščanski srednji vek je pojmovanje ljubezni razpeto med dve skrajnosti, ki izvirata iz osnovnega nasprotja med telesom in duhom in na njem temelječi obsodbi spolnosti: ljubezen je bodisi ena največjih vrlin bodisi smrtni greh. V književnosti je reševanje konflikta med duševnim hrepenenjem in telesnim poželenjem doseglo vrhunec v specifičnem pojmovanju ljubezenskega odnosa med moškim in žensko v trubadurski liriki. V Španiji 15. stoletja se je pristno ‘trubadursko vzdušje’ razmahnilo in izrodilo v konvencijah dvorskega kodeksa, ki prežemajo cancionersko poezijo in sentimentalni roman in jih mojstrsko razkrinka in parodira dialogizirani roman Celestina (1499) Fernanda de Rojasa. Pričujoči prispevek se osredotoča na dvoumno vlogo usmiljenja (pietas) kot dejavnika, od katerega je odvisen razplet ljubezenskega procesa. Na to čustveno naravnanost – ki se je najpogosteje izražala v krščanskem kontekstu, saj krščanstvo poziva vernika, naj bo sočuten do trpečega in mrtvega Kristusa in tako pričakuje, da bo tudi ta usmiljen do njega – apelira tudi dvorski ljubimec v nagovorih svoji ljubljeni. Dvorska etiketa je v tem vidiku sledila krščanskemu nauku in dami zapovedovala usmiljena dejanja, vendar zgolj ob predpostavki, da moški ne bo zlorabil njenega zaupanja. Izbrani primeri literarnih del pa pokažejo, kako bogata dvoumna metaforika usmiljenja v dialgu med potencialnima ljubimcema bolj ali manj namerno odpira interpretacije, v katerih prevladujejo polteni vzgibi obeh udeležencev. Neva Šlibar Theories of Love, Intimacy, and Belonging (Dissanayake, Riemann, Sloterdijk, Yuval-Davis) – Applied on German Contemporary Literature The paper presents four theories of love, intimacy, and belonging that, at a first glance, seem randomly picked as they represent very different perspectives on the universality of love like emotions. While the anthropologist Ellen Dissanayake discovers the interconnection between love, intimacy and the production of art in the history of human development and culture, the German philosopher and cultural historian Peter Sloterdijk goes into the various facets of human fascination with closeness, with different forms of inner life and intimacy. Nira Yuval-Davis explores the intersectional relationships between different politics of belonging in a globalized world from a decidedly feminist point of view. Fritz Riemann´s (1902-1979) fundamental psychoanalytical book on basic forms of fear (Grundformen der Angst und die Antinomien des Lebens, 1961) and - in our context - on the ability to love (Die Fähigkeit zu lieben, 1982) have been rediscovered recently, taken up and used in conflict training (from couples to firms by the Swiss psychoanalyst Christoph Thomann). The paper presents these theories in order to apply them to a restricted corpus of contemporary literary texts and attempts to find out their interpretative range in the area of love and belonging as universal emotions in literature. Neva Šlibar Teorije ljubezni, intimnosti in pripadnosti (Dissanayake, Riemann, Sloterdijk, Yuval-Davis) – na primerih iz sodobne nemške književnosti V prispevku bodo predstavljene štiri teorije ljubezni, intimnosti in pripadnosti, ki se na prvi pogled zdijo naključno izbrane, saj predstavljajo zelo različne poglede na univerzalnost ljubezenskih čustev. Antropologinja Ellen Dissanayake odkriva povezave med ljubeznijo, intimnostjo in ustvarjalnostjo v zgodovini človeštva in kulture. Nemški filozof in kulturolog Peter Sloterdijk se osredini na različne vidike fascinacije človeka s človekom, bližine in različne oblike notranjega življenja ter intime. Nira Yuval-Davis raziskuje presečišča med različnimi politikami pripadnosti v globaliziranem svetu z jasnega, feminističnega vidika. Temeljni deli psihoanalitika Fritza Riemanna (1902-1979) sta knjigi o osnovnih oblikah strahu (Grundformen der Angst und die Antinomien des Lebens, 1961) in o sposobnosti ljubljenja (Die Fähigkeit zu lieben, 1982). V zadnjem času jih je ponovno odkril švicarski psihoanalitik Christoph Thomann, ki ju uporablja za reševanje konfliktov v različnih okoljih – od terapij za pare do coachinga v podjetjih. V prispevku skušam ugotoviti domet predstavljenih teorij za razumevanje konkretnega korpusa literarnih besedil iz sodobne književnosti v nemščini ter njihovo uporabnost za proučevanje ljubezni, inimnosti in pripadnosti kot univerzalnih emocij v literaturi. Željko Uvanović Men in Love with Galateas, Gynoids and Fatal Aliens Men’s tendencies to project own expectations and images of perfect female qualities on women surrounding them can be considered a universal patriarchal behavior pattern. Possibly as a result of disappointment through encounters with unchanging female individuals, male projections were replaced with a Pygmalion complex of inventing substitute female creatures. If we review this phenomenon from the beginnings in the Greek myth and Ovid’s tale up to so many examples in works of literature, theater, film, television, painting, ballet and opera, then we must come to the conclusion that this motif has proved to be a constant obsession in different art periods, style typologies, genres and media. The male Pygmalion complex is thus a variant of the general topic of man-to-woman love in general. This paper concentrates firstly on the case of the Olympia automaton in E. T. A. Hoffmann’s Der Sandmann and her transformation to a perfect, non-restorable, unique female machine (or an android or better to say a gynoid) in Eckard Schmidt’s films adaptation in 1993. Whereas E. T. A. Hoffmann created a character meant to be a caricature of the position of women during the biedermeier period, Eckard Schmidt’s Olympia lives in Brescia in the 1970s and is fully capable of sensual love - although she has non-organic components under her skin. This paper closes with the comparison of Michel Faber’s novel Under the Skin (2000) with Jonathan Glazer’s loose film adaptation (2013) dealing with an alien transformed to the shape of a fatal woman. In both film adaptations, the male directors’ camera view and male lovers’ reactions to the inwardly non-human female bodies can be compared. Željko Uvanović Moški, zaljubljeni v Galateje, ginoide in usodne nezemljanke Težnjo moških, da svoja pričakovanja in podobe popolnih ženskih lastnosti projicirajo v ženske, ki jih obkrožajo, lahko razumemo kot univerzalen patriarhalen vedenjski vzorec. Morda so razočaranja ob srečanjih z nespremenljivimi posameznicami spodbodla moške, da so projekcije nadomestili s Pigmalionovim kompleksom izumljanja nadomestnih ženskih bitij. Če si ta pojav ogledamo od začetkov v grški mitologiji in Ovidijevem besedilu do mnogih primerov iz književnosti, gledališča, filma, televizije, slikarstva, baleta in opere, potem ugotovimo, da je ta motiv očitno stalna obsesija v različnih obdobjih, slogih, tipologijah, žanrih in medijih. Moški Pigmalionov kompleks je torej varianta obče tematike ljubezni moškega do ženske. Prispevek se bo najprej osredotočil na primer avtomata Olympie iz E. T. A. Hoffmannove zgodbe Peščeni mož in njegovo transformacijo v popolni, enkratni, neobnovljiv ženski stroj (android ali bolje rečeno ginoid) v filmu Eckarda Schmidta iz leta 1993. E. T. A. Hoffmann je ustvaril lik kot karikaturo položaja žensk v bidermajerju, Olympia Eckarda Schmidta pa živi v Bresciji v sedemdesetih letih 20. stoletja in je povsem sposobna čutne ljubezni, čeprav ima pod kožo neorganske komponente. Prispevek bom sklenil s primerjavo romana Under the Skin (2000) Michela Faberja s svobodno filmsko adaptacijo, ki jo je posnel Jonathan Glazer leta 2013 in pri kateri gre za transformacijo nezemeljskega bitja v fatalno žensko. V obeh filmskih adaptacijah je mogoče primerjati moški pogled kamere, ki ga določa režiser, in odziv moških ljubimcev na ženska telesa, katerih notranjost ni človeška. Špela Virant The Definition of Love The paper will concentrate not only on the poem The Definition of Love, written by Andrew Marvell in the 17th century, but different literary and non-literary attempts to define love It will focus on the what and the how of these definitions, i. e. on the characteristics frequently ascribed to love and on the perspective of observing it and the structure applied. By this analysis the paper will try to point out the differences and the similarities between literary and non-literary definitions in order to raise the question why the literary discourse is still the preferential locus for discussions about love. Examples will be taken from literary (Shakespeare, Erich Fried, Paul Auster, Heinz Helle) and non-literary texts (Plato, Karl Marx, Sigmund Freud, Jean-François Lyotard, Eyal Winter). Špela Virant Definicija ljubezni Prispevek, ki se v naslovu navezuje na pesem The Definition of Love angleškega pesnika Andrewa Marvella, napisano v 17. stoletju, se bo osredotočil na različne poskuse definiranja ljubezni, ki jih najdemo tako v literarnih kakor tudi v neliterarnih besedilih. Poleg vprašanja, kaj te definicije povedo o ljubezni, torej katere so glavne značilnosti, ki ji jih pripisujejo, bom posebno pozornost posvetila tudi vprašanju, kako govorijo o njej, torej perspektivi, iz katere jo opazujejo, in strukturam, ki jih uporabljajo. Na temelju te analize bo mogoče izpostaviti podobnosti in razlike med literarnimi in neliterarnimi definicijami ljubezni ter zastaviti vprašanje, zakaj je literarni diskurz še vedno najbolj priljubljen prostor za razmišljanja o ljubezni. Primeri bodo vzeti iz literarnih besedil (Shakespeare, Erich Fried, Paul Auster, Heinz Helle) in iz neliterarnih razprav (Platon, Karl Marx, Sigmund Freud, Jean-François Lyotard, Eyal Winter). Bernhard Waldenfels Responding to the Other Responsive Phenomenology is a peculiar variant of phenomenology. In contrast with intentional, existential or structural phenomenology, it goes back to a pathic dimension of experience. On the one hand it focuses on that by which and by whom we are touched, on the other hand it deals with to which and to whom we respond when we are perceiving, doing, saying or feeling something. The key concepts are pathos, response and diastasis. (1) Pathos (or Widerfahrnis) means a personal or public event which happens to us here and now - falling in love is one of them. Surprising events manifest themselves by strong affects of amazement, frightening or passion. (2) Response differs from normal answers which fill up certain blanks, it rather points to the fact that we engage with what is alien to us by transforming the ‘by which’ (Wovon) of pathos into the ‘to which’ (Worauf) of our response. In this process our whole body participates. (3) Between pathos and response there is an irreducible cleft which constitutes a special sort of time-lag called diastasis (lit.: stepping apart). What happens to us comes always too early; our responses come always too late. Even loving each other never happens completely synchronously. Hence our own self is divided into patient and respondent: I respond to what is happening to me. (4) A pathological fissure opens either in terms of pathos without response (shock, trauma, delusion etc.) or in terms of response without pathos (apathy, autistic behaviour, stereotypes). In sum, we have to invent what and how we respond, but we do not invent to what we respond. Love is not exempt from this sort of responsivity. Bernhard Waldenfels Odziv na Drugega Responzivna fenomenologija je posebna inačica fenomenologije. V nasprotju z intencionalno, eksistencialno in strukturalno fenomenologijo se navezuje na patično razsežnost izkustva. Po eni strani se osredotoča na to, kdo ali kaj se nas dotakne, po drugi strani pa se ukvarja z vprašanjem, na koga ali kaj se odzivamo, kadar nekaj opažamo, delamo, govorimo ali čutimo. Osrednji pojmi so patos, odziv in diastasis. (1) Patos (ali Widerfahrnis) je osebni ali javni dogodek, ki se nam zgodi tukaj in zdaj – zaljubiti se je eden od njih. Presenetljivi dogodki se manifestirajo v močnih afektih začudenja, strahu ali strasti. (2) Odziv se razlikuje od običajnih odgovorov, ki zapolnijo določene vrzeli. Kaže predvsem na dejstvo, da se spustimo v odnos z nečim, kar nam je tuje, ko spremenimo vprašanje ‘od česa’ (Wovon), značilno za patos, v ‘na kaj’ (Worauf) se odzivamo. V tem procesu sodeluje vse naše telo. (3) Med patosom in odzivom je nepremostljiva razpoka, ki tvori posebne vrste zakasnitev imenovano diastasis (dobesedno: razkorak). Kar se nam zgodi, pride vedno prezgodaj; naši odzivi so vedno prepozni. Celo ljubezen med dvema se nikoli ne zgodi povsem sinhrono. Tako je naš lastni jaz razcepljen v tistega, ki utrpi, in tistega, ki se odzove: odzivam se na to, kar se mi dogaja. (4) Patološki zev se razpre ali v smislu patosa brez odziva (šok, travma, zaslepljenost itd.) ali v smislu odziva brez patosa (apatija, avtistično vedenje, stereotipi). Skratka, izumiti moramo, kako se bomo odzvali, ne moremo pa izumiti, na kaj se bomo odzvali. Ljubezen ni izvzeta iz te vrste odzivnosti. Peter V. Zima Love and Longing: From Romanticism to Modernism This talk seeks to show that an important aspect of romantic love, which reappears in many modernist works, is the absence of the loved object. This absence is due to the fact that romantic Eros frequently originates in the son’s incestuous desire of the Mother and in his rejection of identification with the Father, which Lacan presupposes in his accounts of a successful socialization process. Since the actual erotic object - the Mother - is forbidden, the erotic desire can never reach fulfilment, because the subject unconsciously renounces its object, which turns into a pretext. The desire thus turns into an end in itself: a ‘désir du désir’ (Safouan). This kind of desire without an object can be found in the works of writers such as Novalís, Eichendorff, Nerval, Baudelaire, Proust and Joyce. The protagonists of these writers tend to fall in love with the fleeting image of a fugitive girl or woman whom they will never possess. As a matter of fact, they never seriously contemplate a fulfilment of their desire whose real, unconscious object is the Mother. A brief attempt will be made to link the predicaments of the protagonists to those of the writers. Peter V. Zima Ljubezen in hrepenenje: od romantike do modernizma Prispevek bo poskušal prikazati, da je odsotnost ljubljenega objekta pomemben vidik romantične ljubezni, ki se znova pojavlja v mnogih modernističnih delih. Ta odsotnost je posledica dejstva, da romantični Eros pogosto izvira iz sinove incestuozne želje po Materi in iz njegovega zavračanja identifikacije z Očetom, kar Lacan predpostavlja kot del uspešnega procesa socializacije. Ker je dejanski erotični objekt – Mati – prepovedan, se erotična želja ne more nikoli izpolniti, saj se subjekt nezavedno odpoveduje objektu, kar se sprevrže v izgovor. Želja postane sama sebi namen: désir du désir (Safouan). Takšno željo brez objekta lahko najdemo v delih avtorjev kot so Novalis, Eichendorff, Nerval, Baudelaire, Proust in Joyce. Protagonisti teh avtorjev se zaljubljajo v bežne podobe izmuzljivih deklet ali žensk, ki jih ne bodo nikoli posedovali. Pravzaprav nikoli zares ne razmišljajo o izpolnitvi želje, katere realni, nezavedni objekt je Mati. Na kratko bomo poskusili povezati zadrege protagonistov in avtorjev.
Bea Y. HÖFGEN Freie Universität Berlin, Nemčija / Germany, bea.hoefgen@gmx.de Esther K. BAUER Univerza Virginia Tech, Združene države Amerike / USA, bauere@exchange.vt.edu Ana Lúcia BECK King’s College London, Velika Britanija / Great Britain, analuciabeck@gmail.com Michael BECK Univerza Ivana Franka, Lvov, Ukrajina / Ukraine, michael.beck.germ@gmx.de Milena Mileva BLAŽIĆ Pedagoška fakulteta Univerze v Ljubljani, Slovenija / Slovenia, milena.blazic@guest.arnes.si Yun Chu CHO Univerza Humboldt Berlin, Nemčija / Germany, yunchucho@gmail.com Dejan KOS Filozofska Fakulteta Univerze v Mariboru, Slovenija / Slovenia, dejan.kos@um.si Isabel KRANZ
Filozozofska fakulteta Univerze v Ljubljani, Slovenija / Slovenia, aleskovec@web.de Stefan LINDINGER Univerza v Atenah, Grčija / Greece, slindinger@gs.uoa.gr Marcus MAIDA Visoka šola za oblikovanje btk, Nemčija / Germany, hoteldiscipline@gmx.net> Alexandru MATEI Univerza v Bukarešti, Romunija / Romania, amatei25@yahoo.com Jonas NESSELHAUF Univerza Vechta / Univerza Saarland, Nemčija / Germany, jonas.nesselhauf@uni-vechta.de Boris A. NOVAK Filozofska fakulteta Univerze v Ljubljani, Slovenija / Slovenia, Boris-A.Novak@guest.arnes.si David ÖSTERLE Inštitut za zgodovino in teorijo biografije Ludwig Boltzmann Dunaj, Avstrija / Austria, David.Oesterle@gtb.lbg.ac.at Dominik PENSEL
Ljubinka PETROVIĆ-ZIEMER Univerza Sarajevo, Bosna in Hercegovina / Bosnia and Herzegovina, ljubinkapz@web.de Marcello POTOCCO Univerza na Primorskem, Slovenija / Slovenia, marcello.potocco@guest.arnes.si Maja ŠABEC Filozofska fakulteta Univerze v Ljubljani, Slovenija / Slovenia, maja.sabec@ff.uni-lj.si Friederike SCHLAEFER Univerza Indiana Bloomington, Združene države Amerike / USA, fschlaef@umail.iu.edu Markus SCHLEICH Univerza Saarland, Nemčija / Germany, markus.schleich@gmail.com Maria SGOURIDOU Univerza v Atenah, Grčija / Greece, msgourid@isll.uoa.gr Neva ŠLIBAR Filozofska fakulteta Univerze v Ljubljani. Slovenija / Slovenia, neva.slibar@gmail.com Željko UVANOVIĆ Univerza v Osijeku, Hrvatska / Croatia, uvanovic@gmail.com Willie VAN PEER Univerza Ludwig-Maximilian München, Nemčija / Germany, w.vanpeer@gmail.com Špela VIRANT Filozofska fakulteta Univerze v Ljubljani, Slovenija / Slovenia, spela.virant@guest.arnes.si Bernhard WALDENFELS Univerza Ruhr Bochum, Nemčija / Germany, bernhard.waldenfels@ruhr-uni-bochum.de Peter V. ZIMA Univerza v Celovcu, Avstrija / Austria, Peter.Zima@aau.at
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