In 27th November 2015

Univerzalnost literature in univerzalije v literaturi: ljubezen:

ZBORNIK POVZETKOV, LJUBLJANA, 26. in 27. NOVEMBER 2015
Universality of Literature and Universals in Literature: Love:

BOOK OF ABSTRACTS, Ljubljana, 26^th in 27^th November 2015

Mednarodna konferenca / International conference

ORGANIZATORJI / ORGANIZERS:

SLOVENSKO DRUŠTVO ZA PRIMERJALNO KNJIŽEVNOST, FILOZOFSKA FAKULTETA UNIVERZE V LJUBLJANI

SLOVENIAN COMPARATIVE LITERATURE ASSOCIATION, FACULTY OF ARTS, UNIVERSITY OF LJUBLJANA
© UNIVERZA V LJUBLJANI, FILOZOFSKA FAKULTETA, 2015. VSE PRAVICE PRIDRŽANE.

© UNIVERSITY OF LJUBLJANA, FACULTY OF ARTS, 2015. ALL RIGHTS RESERVED.
UREDNIKI / EDITORS:

ANDREA LESKOVEC, ŠPELA VIRANT

IZDAL / ISSUED BY:

FILOZOFSKA FAKULTETA UNIVERZE V LJUBLJANI

FACULTY OF ARTS, UNIVERSITY OF LJUBLJANA
ZALOŽILA / PUBLISHED BY:

ZNANSTVENA ZALOŽBA FILOZOFSKE FAKULTETE UNIVERZE V LJUBLJANI

LJUBLJANA UNIVERSITY PRESS
ZA ZALOŽBO / FOR THE PUBLISHER:

BRANKA KALENIĆ RAMŠAK, DEKANJA FILOZOFSKE FAKULTETE

BRANKA KALENIĆ RAMŠAK, DEAN OF THE FACULTY OF ARTS
CIP - KATALOŽNI ZAPIS O PUBLIKACIJI

NARODNA IN UNIVERZITETNA KNJIŽNICA, LJUBLJANA

UNIVERZALNOST LITERATURE IN UNIVERZALIJE V LITERATURI:

LJUBEZEN
ZBORNIK POVZETKOV
MEDNARODNA KONFERENCA LJUBLJANA, 26. IN 27. NOVEMBER 2015

UNIVERSALITY OF LITERATURE AND UNIVERSALS IN LITERATURE:

LOVE

BOOK OF ABSTRACTS
INTERNATIONAL CONFERENCE LJUBLJANA, 26^TH IN 27^TH NOVEMBER 2015


Kazalo / Table of Contents
1 O konferenci / Conference Details
1.1 Vabilo za oddajo prispekov / Conference Call

1.2 Vabljeni referenti / Invited Speakers
1.3 Organizatorji / Organizers
1.4. Programski odbor / Scientific Committee



2. Program konference / Conference Programme
3. Povzetki / Abstracts



4. Udeleženci / Participants

1 O konferenci / Conference Details
1.1 Vabilo za oddajo prispevkov
Ljubezen je kot temeljna človeška izkušnja vseskozi del literarnega diskurza. Zdi se celo, da se z literaturo vzpostavlja posebno mesto njene obravnave.

Ker se ljubezen manifestira kot niz kulturno podedovanih standardnih vzorcev občutenja, razmišljanja, vedenja in govorjenja, je njena opredelitev mogoča le v okviru dane kulturne tradicije in v določenem družbeno-zgodovinskem kontekstu. To hkrati pomeni, da se motiv ljubezni v raznih družbenih in kulturnih kontekstih izraža na različne načine. Govorimo lahko o najmanj treh ravneh:

1. družbenem pojmovanju ljubezni,

2. literarni tematizaciji ljubezni in

3. literarnozgodovinski presoji.

Za kodiranje ljubezni je značilna posebna razvojna dinamika, ki se ne prekriva v celoti z lastnimi kontekstualnimi dejavniki. Po eni strani naj bi to neskladje (po mnenju Rolanda Barthesa) izviralo iz vse večje individualizacije ljubezenskega diskurza, po drugi strani pa iz nenehne nejasnosti ljubezni kot čustva. Zdi se, da je prav slednja bistvena lastnost (literarne) tematizacije ljubezni. Spričo tega se odpira vprašanje, ali literarni ljubezenski diskurz vsebuje univerzalne strukture, ki presegajo njegovo zgodovinsko, družbeno in kulturno pogojenost .

1. Trditve, ki jih določena družba oblikuje spričo lastnega pojmovanja ljubezni, se pogosto ujemajo na ahistorični ravni – kljub specifičnim metafizičnim, antropološkim, psihološkim, kognitivnim in biološkim utemeljitvam.

2. Zdi se, da je literarnim tematizacijam ljubezni skupno vsaj eno: slabitev družbenih norm (prim. Luhmann).

3. Literarnozgodovinski pregledi ljubezenske tematike vsaj s hermenevtičnega vidika ustvarjajo iluzijo univerzalnosti.

Lahko rečemo, da je od obdobja moderne dalje mogoče zaznati upad tradicionalnih obravnav ljubezni, ki mu botrujejo številni kulturnozgodovinski in sociološki dejavniki. Odločilna se zdi pri tem skrajna individualizacija (prim. Beck in Giddens). Toda ta upad ne vodi do konca kolektivnih zamisli o ljubezni, pač do njihove korenite reprodukcije. Na ta način se neulovljivost koncepta ljubezni sicer še okrepi, vendar se hkrati odpira tudi nov prostor njegove refleksije. K sodobnemu kodiranju ljubezni zato najbrž prispeva tudi pomanjkanje jasnih in zavezujočih pomenov. Je potemtakem vsak poskus govora o ljubezni poljuben? Po drugi strani se pod vplivom (post)modernega pomenskega deficita pojmuje ljubezen kot nov mit, ki pomeni prestopanje mej med individualnim in kolektivnim hotenjem.

Tema konference pa ni ‘ljubezen’, ampak ljubezen kot del literarnega diskurza. Ne sprašujemo se torej, kaj je ljubezen, ampak kako je obravnavana v literaturi, in sicer v najširšem pomenu besede. Drugače rečeno: zdi se, da se v literarnem ljubezenskem diskurzu zgodovinski in nezgodovinski vidiki povezujejo. Po eni strani literatura obravnava ljubezen v njeni odvisnosti od vrednot, norm in navad različnih obdobij, po drugi strani (če sledimo razmišljanju Rolanda Barthesa) pa vzpostavlja univerzalni jezik ljubezni.

Zanimajo nas predvsem naslednja vprašanja:

• V katerem smislu je literarna tematizacija ljubezni odvisna ali neodvisna od zgodovinskega in kulturnega konteksta?

• Ali v literarnem diskurzu obstajajo univerzalne strukture in postopki? Kako se povezujejo z univerzalnostjo ljubezenskih tem ali ljubezenskih motivov?

• Kako vplivajo literarnozgodovinske ali epistemološke samorefleksije na univerzalnost in posebnost dane problematike?

• Kakšno funkcijo ima ljubezenska tema ali ljubezenski motiv v literarnem diskurzu?

• Se postmoderna književnost oddaljuje od tradicionalnih predstav o ljubezni (npr. romantične, platonske, zakonske ljubezni) ali so te predstave dandanes podvržene novim interpretacijam?

• Kako se literarni ljubezenski diskurz spreminja pod vplivom aktualnih etičnih, filozofskih, metafizičnih, antropoloških, bioloških, kognitivističnih, hermenevtičnih in drugih diskurzov?

• Ali obstaja evrocentrično pojmovanje ljubezni? Če obstaja, ali ga lahko ločimo od drugih pojmovanj?

1. 
   Conference Call
   

Love, as a fundamental human experience, has always been a part of the literary discourse. Since the beginnings of written culture, all periods, styles and genres have thematized love in its various incarnations. Literature seems to be a place predestined to negotiate love. The semantics of love could be determined as a set of culturally passed down standardizations for feeling, thinking, acting and speaking, structuring the love life.

To be embedded within a particular cultural tradition and within a specific socio-historical context appears to be crucial for an identification of an utterance, a sense, or an act as belonging to the coding of love. As a consequence, the motif of love shows a variety of implications and characteristics in different social and cultural contexts. There are at least three different levels:

1) The social conceptualization of love,

2) the literary thematizing of love and

3) their literary-historical evaluation.

However, the coding of love features specific developmental dynamics and thus it is never completely compatible with the contextual factors that seem to determine its nature. On the one hand, this is – according to Roland Barthes – founded in an increasing individualization of the love discourse. On the other hand, this inconsistency is due to the continual vagueness of love as a feeling. It is this inconsistency or uncertainty that seems to be a constitutive marker of the (literary) love discourse. Under these circumstances, the question arises whether the literary discourse of love features universal structures beyond its historical, social and cultural dependence:

1) Society’s concepts of love often make ahistorical claims – regardless of their metaphysical, anthropological, psychological, cognitive and biological justification.

2) The literary thematizations of love seem to have at least one thing in common, namely the weakening of social norms (cf. Luhmann).

3) Historical literature reviews of the love theme create, at least from a hermeneutic perspective, the illusion of universality.

In modern times, it can be stated that the traditional love semantics and its numerous underlying cultural, historical and sociological factors are in decline. However, it is the extreme individualization (modernization and individualization theory; cf. Beck & Giddens) that seems to be decisive. Nevertheless, this decline does not mean the end of collective ideas of love; rather, it stimulates a radical duplication and volatilization of the ideas of love and the possibilities to speak about it. The lack of clear and binding semantics might possibly contribute to the normalizing notions of love. Is any attempt to speak about love solipsistic? Then again, under the influence of a (post-)modern lack of meaning, love is stylized as a new myth, which stands for a crossing of borders between the individual and collective desire.

However, this conference’s theme is not ‘love’, but love as part of literary discourses. Thus, we do not ask what love is, but how it is negotiated in literary discourse in the broadest sense. Put another way: historical and ahistorical perspectives appear to collide in literary discourses of love. On the one hand, these discourses address love in its dependence on values, norms and conventions of different epochs; on the other – and if one follows Roland Barthes – they have established a universal language of love.

The following questions are of interest:

• What predestines the literary discourse for reflections on and representations of love?

• What is the function of the love theme or love motif in literary discourses?

• In what way is the literary thematization of love dependent on or independent from historical and cultural contexts?

• Do universal structures and methods exist in literary discourses of love? How do they connect with the universal structures of the love theme or love motif?

• How do literary-historical and epistemological self-reflections impact the universality and particularity of the problem presented?

• Has postmodern literature parted with traditional love concepts (e.g., romantic, platonic, conjugal love), or do these concepts undergo new interpretations?

• How has the literary love discourse changed under the influence of current ethical, philosophical, metaphysical, anthropological, biological, cognitivist, hermeneutic and other discourses?

• Is there a Eurocentric concept of love and if there is, can it be distinguished from other conceptualizations?

2. 
   Vabljeni referenti / Invited Speakers
   

Bernhard Waldenfels (Bochum)

Peter V. Zima (Klagenfurt/Freiburg)

Neva Šlibar (Ljubljana)

Willie van Peer (München)

Boris A. Novak (Ljubljana)

1.3 Organizatorji / Organizers
Andrea Leskovec, Oddelek za prevajalstvo, Filozofska fakulteta Univerze v Ljubljani / Department of Translation, Faculty of Arts, University of Ljubljana
Špela Virant, Oddelek za germanistiko z nederlandistiko in skandinavistiko, Filozofska fakulteta Univerze v Ljubljani / Department of German, Dutch and Swedish, Faculty of Arts, University of Ljubljana

4. 
   Programski odbor / Scientific Committee
   

Andrea Leskovec, Oddelek za prevajalstvo, Filozofska fakulteta Univerze v Ljubljani / Department of Translation, Faculty of Arts, University of Ljubljana
Špela Virant, Oddelek za germanistiko z nederlandistiko in skandinavistiko, Filozofska fakulteta Univerze v Ljubljani / Department of German, Dutch and Swedish, Faculty of Arts, University of Ljubljana
Markus Schleich, Oddelek za primerjalno književnost, Univerza Saarland / Department of General and Comparative Literature Studies, Saarland University

2. 
   Program konference / Conference Programme
   

Četrtek, 26. novembra / Thursday, November 26

Filozofska fakulteta, Univerza v Ljubljani, Modra soba

Faculty of Arts, University of Ljubljana
9.00 Pozdravni nagovor / Opening address

Prof. dr. Branka Kalenić Ramšak, dekanja Filozofske Fakultete Univerze v Ljubljani / Dean of the Faculty of Arts, University of Ljubljana

Dr. Dejan Kos, predsednik SDPK / President of the Slovenian Comparative Literature Association
9.30-10.30: Uvodno predavanje / Keynote speech

Bernhard WALDENFELS: Odziv na Drugega/ Responding to the Other

10.30-11.00 Odmor za kavo /Coffee break
11.00-12.30: Prvo zasedanje / First session

Peter V. ZIMA: Ljubezen in hrepenenje: od romantike do modernizma / Love and Longing: From Romaniticism to Modernism

Alexandru MATEI: Ljubezen kot krepost: Non vouloir saisir ali Utopija naklonjenosti v delu Fragmenti ljubezenskega diskurza Rolanda Barthesa / Love as Morality: The Non-will-to-possess or The Utopia of Affectiveness in Roland Barthes’ A Lover’s Discourse

Yun Chu CHO: Ljubezen v distopičnih narativih – od Richarda Mathesona do Isaaca Mariona / Love in Dystopian Narratives–from Richard Matheson to Isaac Marion

12.30-14.00 Kosilo/ Lunch break
14.00-15.30 Drugo zasedanje / Second session

Neva ŠLIBAR: Teorije ljubezni, intimnosti in pripadnosti (Dissanayake, Riemann, Sloterdijk, Yuval-Davis) – na primerih iz sodobne nemške književnosti / Theories of Love, Intimacy, and Belonging (Dissanayake, Riemann, Sloterdijk, Yuval-Davis) – Applied on German Contemporary Literature

Ljubinka PETROVIĆ-ZIEMER: Družinski ljubezenski diskurz v sodobni nemški dramatiki in gledališču / Familial Love Discourses in German-speaking Contemporary Drama and Theater

Esther K. BAUER: Preizkus romantične ljubezni: manj srečen konec v romanih Ein perfekter Kellner in Privatstunden Alaina Clauda Sulzerja / Testing Romantic Love: Not so Happily Ever After in Alain Claude Sulzer’s A Perfect Waiter and Private Lessons

15.00-15.45 Odmor za kavo/ Coffee break
15.45-17.15 Tretje zasedanje / Third session

Špela VIRANT: Definicija ljubezni / The Definition of Love

Isabel KRANZ: Jezik cvetlic: spolnost in ljubezen v kraljestvu rastlin / The Language of Flowers: Sex and Love in the Plant Kingdom

Željko UVANOVIĆ: Moški, zaljubljeni v Galateje, ginoide in usodne nezemljanke / Men in Love with Galateas, Gynoids and Fatal Aliens

17.15-17.30 Odmor za kavo / Coffee break
17.30-18.30: Četrto zasedanje / Fourth session

Dominik PENSEL: Ljubezen – Umetnost: Transformacije modela umetniške produkcije in njene implikacije v 19. stoletju / Love-Art. Transformations of a Model of Artistic Production and its Implications in 19th Century

Markus SCHLEICH: Love Will Tear Us Apart: Razmišljanja o mejah standardiziranih ljubezenskih konceptov v sodobni popularni glasbi / Love Will Tear us apart: Reflections on the Limits of Standardized Love-Concepts in Contemporary Popular Music
19.30: Večerija / Dinner
Petek, 27. novembra / Friday, November 27

Filozofska fakulteta, Univerza v Ljubljani, predavalnica 302

Faculty of Arts, University of Ljubljana, Room 302
9.00-10.30 Peto zasedanje / Fifth session

Willie VAN PEER: Sla, ljubezen in književnost / Lust, Love and Literature

Stefan LINDINGER, Maria SGOURIDOU: Iskanje ljubezni v romanih Werther, Iacopo Ortis in Leandros / Looking for Love in Werther, Iacopo Ortis, and Leandros

Milena Mileva BLAŽIČ: Pojmovanje ljubezni v slovenski (mladinski) književnosti / Concept of Love in Slovenian (Children's) Literature

10. 30–10.45 Odmor za kavo / Coffee break
10.45–12.15 Šesto zasedanje / Sixth session

Friederike SCHLAEFER: Koncept ljubezni v delih Roberta Musila / The Concept of Love in Robert Musil’s OEuvre

Jonas NESSELHAUF: L’amour faux — Ljubezen proti diskurzu v evropski literaturi okoli leta 1900/ L’amour faux—Love against the Discourse in European Literature around 1900

David ÖSTERLE: Prostori ljubezni v delu Geschichte der beiden Liebespaare Huga von Hofmannsthala / Spaces of Love in Hugo von Hofmannsthal’s Geschichte der beiden Liebespaare

12.15–14.00 Kosilo / Lunch
14.00–15.30 Sedmo zasedanje / Seventh session

Marcello POTOCCO: Obravnava očetovske ljubezni v sodobnejši slovenski poeziji / The Treatment of Parental and Paternal Love in Slovenian Poetry

Bea Y. HÖFGEN: Klasični koncepti ljubezni: dekonstrukcija in želja: ljubezenski diskurz v mladi nemški poeziji 21. stoletja / Deconstruction Meets Desire: The Love Discours in Young German Poetry of the 21st Century

Ana Lúcia BECK: Mojster ljubezni / To Be an Artisan in Love

15.30-16.00: Odmor za kavo / Coffee break
16.00-17.00: Osmo zasedanje / Eighth session

Maja ŠABEC: Med usmiljenjem in pohoto: ljubezen v španski književnosti 15. stoletja / Between Mercy and Lechery: Love in the Spanish Literature of the 15th Century

Michael BECK: Ljubezen kot bolezen / Love as an Illness

3. 
   Povzetki / Abstracts
   

Esther K. Bauer

Testing Romantic Love: Not so Happily Ever After in Alain Claude Sulzer’s A Perfect Waiter and Private Lessons

In his novels A Perfect Waiter (2004) and Privatstunden (Private Lessons; 2007), Swiss author Alain Claude Sulzer explores the ways in which identification with the heroes and heroines of romantic love stories may affect ‘ordinary’ people and their families. Drawing on Sartre’s work on authenticity and on Freud’s and Lacan’s studies on (homoerotic) desire, the proposed presentation will analyze the ways in which Sulzer employs the well-established code of romantic love to conjure the traditional romance as it developed in the 19^th century, yet only to frustrate readers’ expectations and to reveal this model of love and the associated male and female images as too inflexible for ‘reality’.

Unlike the typical romance novel, Sulzer’s works, which are set during the interwar years and in the 1950s, 60s, and 70s, continue after the lovers separated and do not end in marriage or death. The forbidden relationships - one homoerotic, one adulterous - end because of infidelity and changing life plans. The figures left behind cling to romantic images of themselves and their partners, thus forfeiting any chance of developing further emotionally and intellectually. Within the perspective of Privatstunden, the adulterous woman’s fear of seeing her identification with literary heroines questioned drives her into isolation. Simultaneously, her silence hampers her son’s sexual development, as he cannot overcome the image of his mother as sexualized love object. In Ein perfekter Kellner, the abandoned protagonist is fascinated with Adam’s opera Le Postillon de Lonjumeau, where infidelity emerges as faithfulness and leads to the reunion of the lovers. Only after his former lover’s death ends all hope for such a reunion, does the protagonist realize that authenticity needs psychological development and that it cannot rely on identification with prescriptive images.
Esther K. Bauer

Preizkus romantične ljubezni: manj srečen konec v romanih Ein perfekter Kellner in Privatstunden Alaina Clauda Sulzerja

Švicarski pisatelj Alain Claude Sulzer v svojih romanih Ein perfekter Kellner (2004) in Privatstunden (2007) raziskuje, kako na ‘navadne’ ljudi in njihove družine vpliva identifikacija z junaki in junakinjami romantične ljubezni. Opiraje se na Sartrovo delo o avtentičnosti ter na Freudove in Lacanove študije o (homoerotični) želji bo prispevek analiziral, kako Sulzer uporablja uveljavljeni kod romantične ljubezni: v spomin prikliče tradicionalno ljubezensko zgodbo, kakršna se je razvila v 19. stoletju, potem pa spodnese bralčeva pričakovanja in razkrije, da so ta model ljubezni in podobe ženskosti in moškosti, povezane z njim, za ‘realnost’ preveč togi.

Sulzerjeva dela so umeščena v čas med obema vojnama in v petdeseta, šestdeseta in sedemdeseta leta 20. stoletja in se v nasprotju s tipičnimi ljubezenskimi romani nadaljujejo še po ločitvi ljubimcev in se ne sklenejo s poroko ali smrtjo. Konec prepovedanega razmerja – eno je homoerotično, drugo prešuštniško – povzročijo nezvestoba oziroma spremenjeni življenjski načrti. Zapuščeni ljubimci se oprijemajo romantičnih predstav o sebi in svojih partnerjih, s čimer zapravijo možnost za svoj nadaljnji emocionalni in intelektualni razvoj. V romanu Privatstunden pahne prešuštniško ženo v osamo strah pred tem, da bi uvidela, kako se identificira z literarnimi junakinjami, ki jo zanimajo. Njen molk je obenem ovira za seksualni razvoj sina, saj ta ne more preseči podobe svoje matere kot seksualiziranega objekta ljubezni. V romanu Ein perfekter Kellner očara zapuščenega protagonista Adamova opera Le Postillon de Lonjumeau, v kateri se prevara izkaže za zvestobo in vodi k ponovni združitvi ljubimcev. Šele ko smrt bivše ljubimke pokoplje upanje na ponovno združitev, protagonist romana spozna, da je za avtentičnost potreben psihološki razvoj in da njen temelj ne more biti identifikacija s preskriptivnimi podobami.
Ana Lúcia Beck
To Be an Artisan in Love

In one of his most emblematic and famous works, José Leonilson (Brazil 1957-1993) stated “to hugely love is artist’s gold”. This apparently simple sentence is though hidden on the works back, written with simple pen in a quasi-object made of felt, seams and crystal pendants. For Leonilson, it was not simple to speak about love in Brazil’s 80’s and early 90’s. For how simple could it be to speak about love and desire, lust and longing for love in a traditional heterosexual, catholic country? What poetic statement was achieved by letting such emotions guide his creations in the context of Contemporary Art? As much as understanding Leonilson’s poetic elaboration of love is not a simple task, neither is the understanding of the collision of words and image he presents in his works, nor is the way he deals with fabrics, seams and embroideries. Thus creating works that resemble pure poetry; images much nearer to the ‘literary’ than the ‘visual’ at times. These are some of the issues which arise as we try to deepen the understanding of Leonilson’s works and his creative statements, that could easily be considered ‘romantic’. If such a label is adequate, it is to the same extent as the label ‘feminist’ is to Louise Bourgeois’s (France/USA 1911-2010) works. The comparative approach of both artists’ poetics will explored how such labels keep us from realizing that love is never a simplistic action and all the words we read in or apply to these artists’ visual discourses must be poetically understood as metaphors for life and death.

Ana Lúcia Beck