Englischtext < Übersetzung < Englisch < Sprachen < Vorhilfe
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(Frage) reagiert/warte auf Reaktion  | | Datum: | 15:46 Sa 27.12.2008 | | Autor: | Dinker |
Hallo
Mit weinenden Augen musste ich leider feststellen, dass mein Englisch nicht ausreicht, den kompletten Inhalt zu verstehen..........
Gibt es jemand so lieben der mir dabei hilft und mir das langersehnte Weihnachtsgeschenk macht?
Wäre sehr nett
gruss Dinker
Ich habe diese Frage in keinem Forum auf anderen Internetseiten gestellt.
Dateianhänge:
Anhang Nr. 1 (Typ: jpg) [nicht öffentlich]
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(Frage) reagiert/warte auf Reaktion | | Datum: | 15:49 Sa 27.12.2008 | | Autor: | Dinker |
Anita Schneider (McGill University, Montreal)
Comic Strategies in Literary Polemic Reconsidering Heines Attack on Platens Homosexuality
Heinrich Heines travel picture The Baths of Lucca is considered, not only at the time of its publication in 1830/29 but also today, as one of his most controversial pieces of prose. The reason for its special status is, as most Heine connaisseurs will know, the unter die Gürtellinie gehende (Hermand, 109) attack against count August von Platen zu Hallermünde. The audience, then and today, is more shocked than amused by Heines attack. Of course, at the time of the publication, Heine was already established as the enfant terrible of 19th century German writers during the era of Restoration. In his work he confronts his audience with an in/famous mélange of satire, parody and travesty, and he is renowned for using the literary word as a weapon. However, in The Baths of Lucca, Heine takes a step, unprecedented by him, that causes the controversy: he bases a polemic work on attacking and ridiculing Platens homosexuality. This not only causes one of the major literary scandals in the 19th century but also represents a novelty in Heines literary strategies.
The cause and development of the literary war between the two writers has been extensively analysed and illustrated over 200 years of Heine scholarship and therefore doesnt need to be examined any further. Nevertheless, it is important to note that countless analyses have examined the homosexuality-grounded attack against Platen, better known as the Platen-Polemik, mostly to either defend or condemn Heines action. The literary means, however, and above all the comic strategies Heine applies to achieve this have so far been barely touched upon. Therefore, rather than analysing Heines work once more on ethical grounds, we will take a look at how Heine employs comic strategies to build up to the polemic against Platen and in which framework Heines comedy is to be viewed. Hence, as a first step we will analyse the elements of the comic strategies he uses to prepare for Platens execution. Secondly, we will demonstrate that Heine uses his comic strategies to profoundly reflect his world view.
Lets turn to the textual elements of Heines comic strategies in Die Bäder von Lucca that fatten up Platens homosexuality wie [es] die Irokesen mit den Gefangenen tun, die sie bei späteren Festmahlen verspeisen wollen (Heine, 2:450). We will focus on the comic elements as represented by the characters Hirsch Hyazinth and Gumpelino, whereby we will see to what extent comedy is used to attack and ridicule unconventional sexual behaviour.
The topic of homosexuality is indirectly introduced right at the beginning of the text by Hirsch Hyazinth: Ich bin guter Hoffnung, sprach er, als er mir [Ich-Erzähler] näher kam, daß Sie mich noch kennen, obgleich ich nicht mehr Hirsch heiße. Ich heiße jetzt Hyazinth und bin der Kammerdiener des Herrn Gumpel (Heine, 401-402). By the change of name from Hirsch to Hyazinth, which implies a reference to the homosexual relationship between Apollo and Hyacinth, Heine hints at Platens homosexuality. Comedy, however, is evoked if one considers the physical description of Hyazinth, which precedes the statement above. We encounter a rather short little man, with a blässliches Gesichtchen and a schwitzendes Köpfchen, who is wrapped in a schlotternd weiten, mit Goldtresen überladenen Scharlachrock (Heine, 2: 401). In other words, Hirsch Hyazinth bears not the least resemblance to his namesake, who, according to the myth, is extraordinarily beautiful. The contrast between Hirsch Hyazinths and the mythological Hyacinths physical appearance invokes comedy. Homosexuality is not being degraded here but set within the frame of the ridiculous. This very frame is extended later on when the connection to the myth is enhanced: Auf einem Rasenvorsprung, unter einem Lorbeerbaume, saß Hyazinthos, der Diener des Markese, und neben ihm Apollo, dessen Hund (Heine, 2:422). On the one hand, by introducing Apollo, the reference to the Greek myth is made more explicit. On the other hand, the transformation of Apollo to a dog ridicules the myth and creates a degrading comedy. Hence, a homosexual liaison is robbed of being an interpersonal relationship and is lowered to the animal realm.
In the same excerpt, Hirsch Hyazinth uses a wording that evokes semantic comedy. In his statement Ich bin guter Hoffnung [
] the meaning of this idiomatic phrase (to be pregnant) contrasts with its context; the statement is embedded in an unconventional frame of reference, which evokes comedy. At the same time, Hirsch Hyazinths wording, a quite harmless and funny slip of the tongue, invokes, like his statement Ich habe in der Bildung Fortschritte gemacht wie eine Riesin! a subtle presence of transsexuality, which, like homosexuality, is set in the frame of the ridiculous. The degradation and ridiculing are aimed at unconventional sexual behaviour and are the basis for the later execution of Platen.
On the linguistic level, we encounter further comic structures that function in a similar way. Above all Hirsch Hayzinths neologisms like Venus Urinia, Antipodex and Homeriden belong in this group. The comedy emerges from the combination of different themes that represent incompatible meanings or contrasting semantics. The explicit comical contrast is based on connecting obvious references to feces and sexual organs with key words of the aesthetic and educational realm. The connection to Platen is made explicit by references to Greek poetry, which has deeply influenced Platens poetic work in form and content, but also by sexuality or anal sex. Its important to note that the harmless word creations allow Heine to hint at Platens unconventional sexuality without naming it explicitly. The brutality of the denunciation exerted by the neologisms, the semantic structures and the transformation of the myth is thus veiled by the comedy.
Until now, the comedy connected to the attack against Platens homosexuality is based on the contrast of opposing, inappropriate elements and themes. In contemporary comic research, this is called incongruence or contrast theory, and we are dealing with Kontraste (bzw. Inkongruenzen) mit absteigender Tendenz (Rommel 49-50). This means, according to Otto Rommel: Die Unzulänglichkeitskomik wird durch die Wahrnehmung ausgelöst, daß ein Mensch gegenüber einer allgemeingültigen, auch vom Beobachter anerkannten Anforderung auffällig und überraschend versagt: Theorie des Kontrastes mit absteigender Tendenz (Rommel 49). By combining one element, e.g. Homer, with a lower or physical element, e.g. haemorrhoids, the first one is being embedded in a ridiculous context or is being degraded. Hereby, we can see that Heines comic strategy is employing alienation; something familiar is set in a strange and/or unfamiliar frame of reference. On the one hand, this evokes comedy; on the other hand, the reader is confronted with something peculiar that occupies the mind. Consequently, the distance between the text and the reader, and also between fiction and reality is traversed. The reference to reality implies, in this case, a constant, subtle attack against the real person August von Platen and his homosexuality. Heines comedy consequently crosses the fictional frame to the text-external reality, which he criticizes with and under the veil of the comedy. Heines comic strategies belong, therefore, to the realm of satire as he attempts to tell the truth laughingly (Highet 234 ), in other words to make Platens homosexuality public and thereby ridicule him.
The attack against Platen is furthermore built up by the character Gumpelino. As Heine scholarship has convincingly demonstrated, Gumpelino is Platens foil in the narrative. This means that the depiction of Gumpelino is a direct reference to Platen and his homosexuality. Lets have a closer look at the comic strategies Heine employs within this frame.
Gumpelinos comic quality is largely composed of the grotesque. Therefore, the comic strategies represented by the character belong to realm of the obscene, or lower, comedy. Descriptions of Gumpelino such as glänzend breite Lippen (Heine 2: 397), edler, schwitzender Leib (Heine 2: 441), but also gottgefällige Bauch (Heine 2: 397) and das wohlhabende Lächeln (Heine 2: 397), sein watschelnder Gang (Heine 2: 397) and finally his gigantic nose being described as a Steuerruder (Heine 2: 412) connect Gumpelino to the animal and the object-like. His humanity is reduced to the physical and therefore degraded. Gumpelino's sensuality and indeceny are additionally emphasized by the phallic symbolism of his nose, by his eyes that show a gewisser klebrigter Lustre, wie er verliebten Katern eigen zu sein pflegt (Heine 2: 441), by his Gesäßkoketterie, by his warmen Männerfreundschaften, by a peculiar Schwüle that surrounds him and, above all, by the penetrating smell of feces that wafts from Platens poetry Gumpelino reads on the toilet.
Through subtle sexual and homoerotic references but, for the first time, also by an explicit connection, Platen is being referred to. His sexuality and his status as a poet are degraded by reducing him to the carnal. The height of Platens degradation is achieved in the polemic when Heine compares Platens poetness and homosexuality to an ostrich that seinen Kopf in den Sand steckt, so daß nur noch der Steiß sichtbar bleibt (2: 457).
The carnal as a comic element does not only represent the absteigenden Kontrast as we have seen with Hirsch Hyazinth but also that which
[ist] älter als der Mensch als Gattungswesen und was folglich über ihn hinausgeht, ihn mit den höheren Tieren verbindet (bei aller menschlich-kultureller Prägung des Essens, des Trinkens und der Sexualität), was also zu einer tieferen, allgemeineren Schicht am Seienden Mensch gehört als etwa seine Geistigkeit. (Horn, 51)
With this we find ourselves within the realm of physical comedy, which, according to Michail Bachtin, appears in carnival culture from Antiquity, in the Middle Ages and in the Renaissance. In Bachtins concept of grotesque realism, the carnal is positive; it is not a private, egoistic form, severed from the other spheres of life, but viewed as something universal, representing all the people (Rabelais, 19). Furthermore, he states: As such it is opposed to severance from the material and bodily roots of the world; it makes no pretense to renunciation of the earthy, or independence of the earth and the body (Rabelais, 19). For Bachtin, the carnal includes an element which equalizes and connects humanity.
In contrast to Gumpelinos physical comedy is his predominantly spiritual perception of reality. In the text, Gumpelino is represented as Catholic converted from Judaism who clings to the classical ideal that one should be educated and intellectual. This, however, is reduced to pure accumulation of factual knowledge. In Gumpelino's world view, the physical is secondary, as he perceives reality only through spiritual means. In other words, his catholic beliefs and his knowledge of aesthetics and art are the tools through which he perceives reality. Heine's construction of Grumpelino parallels the connection to the Catholic Church in Bavaria that Heine assumes Platen has as well as Platen's strict adherence to classical aesthetics in his literary work but above all to his ascetic homosexuality. Instead of living his homosexuality, Platen compensates his closeted desires through his poetry. Heine sums up this condition as follows:
[Der] Graf hingegen, trotz seinem Pochen auf Klassizität, behandelt seinen Gegenstand vielmehr romantisch, verschleiernd, sehnsüchtig, pfäffische ich muss hinzusetzen: heuchlerisch. Denn er vermummt sich manchmal in fromme Gefühle, er vermeidet die genaueren Geschlechtsbezeichnungen; nur die Eingeweihten sollen klar sehehn; gegen den großen Haufen glaubt er sich genugsam versteckt zu haben [
]. (Heine 2:457)
Heine represents Gumpelinos and thereby Platens spiritual mindset as the elevation of the spiritual to the dominant force and motivation in life, while the universal humanity, i.e. the physical, is regarded as inferior. The above descriptions of Gumpelino and references to Platen show, however, that the physical is constantly shining through their spirituality, which evokes, through the collision of these two spheres, comedy. Heine obviously shows, through a comedy that uses the physical to degrade a single-minded focus on the spiritual, that the rejection of the universal humanity is inappropriate.
In Die Bäder von Lucca the denial of the physical is demonstrated as an abnormality through the grotesque. Bachtins concept of the functioning of the physical or carnal - the essential principle of grotesque realism is degradation, that is, the lowering of all that is high, spiritual, ideal, abstract; it is a transfer to the material level, to the sphere of earth and body in their indissoluble unity (Rabelais, 19-20) - fits exactly to the physical comedy evoked by Gumpelino/Platen. However, this conditions requires further examination.
As demonstrated, the collision of the spiritual with the physical evokes comedy in which the latter element is being lowered in value. Bachtin states: it [degradation] has not only a destructive, negative aspect, but also a regenerating one (Rabelais, 21) and also to degrade an object does not imply merely hurling it into the void of nonexistence, into absolute destruction, but to hurl it down to the reproductive lower stratum, the zone in which conception and a new birth take place (Rabelais, 21). For Bachtin, the process of regeneration is steering towards renewal by turning political and social structures upside down or by changing the prevailing truth and established order (Bachtin, Rabelais 20) to cultivate the ground for innovation. Bachtins concept of the physical within the realm of grotesque realism bears, therefore, a positive aspect.
This is, however, where Heines physical comedy differs from Bachtins carnal comedy. Heines representation of Gumpelino demonstrates that the degradation of the spiritual does not lead towards positive regeneration of the condition of the world but keeps it in a state of degradation. To clarify this, lets look at Gumpelinos abstract, spiritual love for Lady Maxfield. To Hirsch Hyazinth and Dr. Heine, he declares his love for Lady Maxfield by reciting a passage of Shakespeares Romeo and Juliet. However, it is Gumpelino who is quoting Juliets part: Wie oft stehe ich im Mondschein auf dem Balkon, und bilde mir ein ich wäre selbst die Julia, und mein Romeo oder mein Gumpelino habe mir ein Rendezvous gegeben [
] (Heine, 432). Platens homosexuality is hinted at once again in this transsexually-coloured aberration from the original, and it is ridiculed by transforming a well known scene. This ridiculing is furthermore extended by the physical component of the relationship between Gumpelino and Lady Maxfield; their sexual desire is unfulfilled, and thus the physical component remains in the realm of the spiritual. Paradoxically, their only chance to have intercourse is blocked by Gumpelino's taking of a laxative, a physical condition. Gumpelino's, a la Shakespeare's, passion turns into a victim of his intestines and remains therefore unfulfilled. Instead, he spends the night with Platen's poetry on the Stuhl der Nacht. The disappointment of the unfulfilled heterosexual desire and the compensating reading of Platen's poetry forces the connection to Platen to be clear as well as again subtly hinting at homosexuality. As before, the references to feces in connection with Platen's poetry degrades his status as a poet. Hereby, Heine successfully kills two birds with one stone; not only is homosexuality being attacked but also ascetic sexual behaviour, which, like homosexuality, is presented as a ridiculous abnormality. Gumpelino, a fictitious figure, and Platen, a real person, are thus not only victims of ridicule but, above all, targets of Heine's criticism attacking the separation of the physical and the spiritual and the inferiority of the physical. As a means of attack, the comedy of the physical is here, as before, a servant to satire. It works with the physical; however, due to its degrading negativity, it cannot be viewed as a positive element as it is in Bachtin's concept of grotesque realism.
If we reconsider the comic strategies presented, they seem to fit smoothly into Heine's idea of using the literary word as a weapon, or as an element of satire. Both the comedy of contrast and the physical comedy are intended as an attack against Platen and his homosexuality. However, in the analysis of the physical comedy, it is demonstrated that Heine does not only attack unconventional sexual behaviour but the rejection of the physical in general. Hereby, we see one of Heine's fundamental literary motifs, his principle of sensuality, to which the physical belongs. This, together with his principle of spiritualism, constitutes Heine's perception of the world.
Let's have a closer look at this perception. In his text Zur Geschichte der Religion und Philosophie in Deutschland Heine represents the dichotomy of the physical and the spiritual as contrasting streams within the history of humanity. By spiritualism, he means a complete concentration on the spiritual that is glorified by seeking to destroy the material. Heine's understanding of sensualism, however, means to restore the natural rights of the material. He himself says
Den Namen Spiritualismus überlassen wir daher jener frevelhaften Anmaßung des Geistes, der nach alleiniger Verherrlichung strebend, die Materie zu zertreten, wenigstens zu fletrieren sucht: und den Namen Sensualismus überlassen wir jener Opposition, die, dagegen eifernd, ein Rehabilitieren der Materie bezweckt und den Sinnen ihre Rechte vindiziert, ohne die Rechte des Geistes, ja nicht einmal ohne die Supremacie des Geistes zu leugnen. (3: 556)
The dichotomy of spiritualism and sensualism represented here carry for Heine the core of the Krankheit der Menschheit, den grossen Weltriss (3: 405), that must be overcome so that die Menschheit ihre völlige Gesundheit wieder erlangt, and that the spiritual and the material [sich] wieder in ursprünglicher Harmonie durchdringen (3: 518). By merging these elements, a state of the world and humanity is achieved in which die Menschheit zur Glückseligkeit bestimmt [ist] (3: 519). This utopian idea of wholeness, however, is in opposition to the separation, perceived by Heine, of the spiritual and the material or physical which we encounter in his comic strategies.
As we have seen, the physical comedy and to some extent the comedy of contrasts represents the collision of the spiritual and the physical (the carnal and the material) that Heine believes mirrors the condition of the world. On the one hand, Heine employs comedy which definitely belongs in the realm of satire and with which he attacks Platen's homosexuality and ascetic sexual behaviour. On the other hand, his comic strategies include a general perception of the world which embeds the satiric comedy against Platen in a wider frame of reference. Heine opposes the rejection of sensualism, a condition that is represented by Gumpelino and that he attributes to Platen, as to him the separation of spiritualism and sensualism defines his idea of Zerrissenheit. The discord that is based on a one-sided tendency towards spiritualism is counteracted by comedy, and this comedy thus functions as a means of reaction. Heine reacts, through comedy, to a torn apart world, which for Platen is his exemplar. At the same time, as it is based on satire, this comedy functions as a means of attack against an unbalanced world; attacked is Platen, his homosexuality, as well as his ascetic sexuality, which, for Heine, represent a perversion and a denial of the physical. Heine's comic strategies connect the particular or singular with his understanding of the world. In this combination of time-bound reality and timeless universality lies the uniqueness of Heine's comedy, which, up to today, Heine scholars are animated to explore, and by which Heine readers are shocked but above all amused.
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(Mitteilung) Reaktion unnötig  | | Datum: | 15:57 Sa 27.12.2008 | | Autor: | Tyskie84 |
Hallo Dinker,
> Anita Schneider (McGill University, Montreal)
>
> Comic Strategies in Literary Polemic Reconsidering
> Heines Attack on Platens Homosexuality
>
> Heinrich Heines travel picture The Baths of Lucca is
> considered, not only at the time of its publication in
> 1830/29 but also today, as one of his most controversial
> pieces of prose. The reason for its special status is, as
> most Heine connaisseurs will know, the unter die
> Gürtellinie gehende (Hermand, 109) attack against count
> August von Platen zu Hallermünde. The audience, then and
> today, is more shocked than amused by Heines attack. Of
> course, at the time of the publication, Heine was already
> established as the enfant terrible of 19th century German
> writers during the era of Restoration. In his work he
> confronts his audience with an in/famous mélange of satire,
> parody and travesty, and he is renowned for using the
> literary word as a weapon. However, in The Baths of
> Lucca, Heine takes a step, unprecedented by him, that
> causes the controversy: he bases a polemic work on
> attacking and ridiculing Platens homosexuality. This not
> only causes one of the major literary scandals in the 19th
> century but also represents a novelty in Heines literary
> strategies.
> The cause and development of the literary war between the
> two writers has been extensively analysed and illustrated
> over 200 years of Heine scholarship and therefore doesnt
> need to be examined any further. Nevertheless, it is
> important to note that countless analyses have examined the
> homosexuality-grounded attack against Platen, better known
> as the Platen-Polemik, mostly to either defend or condemn
> Heines action. The literary means, however, and above all
> the comic strategies Heine applies to achieve this have so
> far been barely touched upon. Therefore, rather than
> analysing Heines work once more on ethical grounds, we
> will take a look at how Heine employs comic strategies to
> build up to the polemic against Platen and in which
> framework Heines comedy is to be viewed. Hence, as a
> first step we will analyse the elements of the comic
> strategies he uses to prepare for Platens execution.
> Secondly, we will demonstrate that Heine uses his comic
> strategies to profoundly reflect his world view.
> Lets turn to the textual elements of Heines comic
> strategies in Die Bäder von Lucca that fatten up Platens
> homosexuality wie [es] die Irokesen mit den Gefangenen
> tun, die sie bei späteren Festmahlen verspeisen wollen
> (Heine, 2:450). We will focus on the comic elements as
> represented by the characters Hirsch Hyazinth and
> Gumpelino, whereby we will see to what extent comedy is
> used to attack and ridicule unconventional sexual
> behaviour.
> The topic of homosexuality is indirectly introduced right
> at the beginning of the text by Hirsch Hyazinth: Ich bin
> guter Hoffnung, sprach er, als er mir [Ich-Erzähler] näher
> kam, daß Sie mich noch kennen, obgleich ich nicht mehr
> Hirsch heiße. Ich heiße jetzt Hyazinth und bin der
> Kammerdiener des Herrn Gumpel (Heine, 401-402). By the
> change of name from Hirsch to Hyazinth, which implies a
> reference to the homosexual relationship between Apollo and
> Hyacinth, Heine hints at Platens homosexuality. Comedy,
> however, is evoked if one considers the physical
> description of Hyazinth, which precedes the statement
> above. We encounter a rather short little man, with a
> blässliches Gesichtchen and a schwitzendes Köpfchen,
> who is wrapped in a schlotternd weiten, mit Goldtresen
> überladenen Scharlachrock (Heine, 2: 401). In other words,
> Hirsch Hyazinth bears not the least resemblance to his
> namesake, who, according to the myth, is extraordinarily
> beautiful. The contrast between Hirsch Hyazinths and the
> mythological Hyacinths physical appearance invokes comedy.
> Homosexuality is not being degraded here but set within the
> frame of the ridiculous. This very frame is extended later
> on when the connection to the myth is enhanced: Auf einem
> Rasenvorsprung, unter einem Lorbeerbaume, saß Hyazinthos,
> der Diener des Markese, und neben ihm Apollo, dessen Hund
> (Heine, 2:422). On the one hand, by introducing Apollo, the
> reference to the Greek myth is made more explicit. On the
> other hand, the transformation of Apollo to a dog ridicules
> the myth and creates a degrading comedy. Hence, a
> homosexual liaison is robbed of being an interpersonal
> relationship and is lowered to the animal realm.
> In the same excerpt, Hirsch Hyazinth uses a wording that
> evokes semantic comedy. In his statement Ich bin guter
> Hoffnung [
] the meaning of this idiomatic phrase (to be
> pregnant) contrasts with its context; the statement is
> embedded in an unconventional frame of reference, which
> evokes comedy. At the same time, Hirsch Hyazinths wording,
> a quite harmless and funny slip of the tongue, invokes,
> like his statement Ich habe in der Bildung Fortschritte
> gemacht wie eine Riesin! a subtle presence of
> transsexuality, which, like homosexuality, is set in the
> frame of the ridiculous. The degradation and ridiculing
> are aimed at unconventional sexual behaviour and are the
> basis for the later execution of Platen.
> On the linguistic level, we encounter further comic
> structures that function in a similar way. Above all Hirsch
> Hayzinths neologisms like Venus Urinia, Antipodex and
> Homeriden belong in this group. The comedy emerges from
> the combination of different themes that represent
> incompatible meanings or contrasting semantics. The
> explicit comical contrast is based on connecting obvious
> references to feces and sexual organs with key words of the
> aesthetic and educational realm. The connection to Platen
> is made explicit by references to Greek poetry, which has
> deeply influenced Platens poetic work in form and content,
> but also by sexuality or anal sex. Its important to note
> that the harmless word creations allow Heine to hint at
> Platens unconventional sexuality without naming it
> explicitly. The brutality of the denunciation exerted by
> the neologisms, the semantic structures and the
> transformation of the myth is thus veiled by the comedy.
> Until now, the comedy connected to the attack against
> Platens homosexuality is based on the contrast of
> opposing, inappropriate elements and themes. In
> contemporary comic research, this is called incongruence or
> contrast theory, and we are dealing with Kontraste (bzw.
> Inkongruenzen) mit absteigender Tendenz (Rommel 49-50).
> This means, according to Otto Rommel: Die
> Unzulänglichkeitskomik wird durch die Wahrnehmung
> ausgelöst, daß ein Mensch gegenüber einer
> allgemeingültigen, auch vom Beobachter anerkannten
> Anforderung auffällig und überraschend versagt: Theorie des
> Kontrastes mit absteigender Tendenz (Rommel 49). By
> combining one element, e.g. Homer, with a lower or physical
> element, e.g. haemorrhoids, the first one is being embedded
> in a ridiculous context or is being degraded. Hereby, we
> can see that Heines comic strategy is employing
> alienation; something familiar is set in a strange and/or
> unfamiliar frame of reference. On the one hand, this evokes
> comedy; on the other hand, the reader is confronted with
> something peculiar that occupies the mind. Consequently,
> the distance between the text and the reader, and also
> between fiction and reality is traversed. The reference to
> reality implies, in this case, a constant, subtle attack
> against the real person August von Platen and his
> homosexuality. Heines comedy consequently crosses the
> fictional frame to the text-external reality, which he
> criticizes with and under the veil of the comedy. Heines
> comic strategies belong, therefore, to the realm of satire
> as he attempts to tell the truth laughingly (Highet 234
> ), in other words to make Platens homosexuality public and
> thereby ridicule him.
> The attack against Platen is furthermore built up by the
> character Gumpelino. As Heine scholarship has convincingly
> demonstrated, Gumpelino is Platens foil in the narrative.
> This means that the depiction of Gumpelino is a direct
> reference to Platen and his homosexuality. Lets have a
> closer look at the comic strategies Heine employs within
> this frame.
> Gumpelinos comic quality is largely composed of the
> grotesque. Therefore, the comic strategies represented by
> the character belong to realm of the obscene, or lower,
> comedy. Descriptions of Gumpelino such as glänzend breite
> Lippen (Heine 2: 397), edler, schwitzender Leib (Heine
> 2: 441), but also gottgefällige Bauch (Heine 2: 397) and
> das wohlhabende Lächeln (Heine 2: 397), sein
> watschelnder Gang (Heine 2: 397) and finally his gigantic
> nose being described as a Steuerruder (Heine 2: 412)
> connect Gumpelino to the animal and the object-like. His
> humanity is reduced to the physical and therefore degraded.
> Gumpelino's sensuality and indeceny are additionally
> emphasized by the phallic symbolism of his nose, by his
> eyes that show a gewisser klebrigter Lustre, wie er
> verliebten Katern eigen zu sein pflegt (Heine 2: 441), by
> his Gesäßkoketterie, by his warmen
> Männerfreundschaften, by a peculiar Schwüle that
> surrounds him and, above all, by the penetrating smell of
> feces that wafts from Platens poetry Gumpelino reads on
> the toilet.
> Through subtle sexual and homoerotic references but, for
> the first time, also by an explicit connection, Platen is
> being referred to. His sexuality and his status as a poet
> are degraded by reducing him to the carnal. The height of
> Platens degradation is achieved in the polemic when Heine
> compares Platens poetness and homosexuality to an
> ostrich that seinen Kopf in den Sand steckt, so daß nur
> noch der Steiß sichtbar bleibt (2: 457).
> The carnal as a comic element does not only represent the
> absteigenden Kontrast as we have seen with Hirsch
> Hyazinth but also that which
> [ist] älter als der Mensch als Gattungswesen und was
> folglich über ihn hinausgeht, ihn mit den höheren Tieren
> verbindet (bei aller menschlich-kultureller Prägung des
> Essens, des Trinkens und der Sexualität), was also zu einer
> tieferen, allgemeineren Schicht am Seienden Mensch gehört
> als etwa seine Geistigkeit. (Horn, 51)
> With this we find ourselves within the realm of physical
> comedy, which, according to Michail Bachtin, appears in
> carnival culture from Antiquity, in the Middle Ages and in
> the Renaissance. In Bachtins concept of grotesque
> realism, the carnal is positive; it is not a private,
> egoistic form, severed from the other spheres of life, but
> viewed as something universal, representing all the
> people (Rabelais, 19). Furthermore, he states: As such it
> is opposed to severance from the material and bodily roots
> of the world; it makes no pretense to renunciation of the
> earthy, or independence of the earth and the body
> (Rabelais, 19). For Bachtin, the carnal includes an element
> which equalizes and connects humanity.
> In contrast to Gumpelinos physical comedy is his
> predominantly spiritual perception of reality. In the text,
> Gumpelino is represented as Catholic converted from Judaism
> who clings to the classical ideal that one should be
> educated and intellectual. This, however, is reduced to
> pure accumulation of factual knowledge. In Gumpelino's
> world view, the physical is secondary, as he perceives
> reality only through spiritual means. In other words, his
> catholic beliefs and his knowledge of aesthetics and art
> are the tools through which he perceives reality. Heine's
> construction of Grumpelino parallels the connection to the
> Catholic Church in Bavaria that Heine assumes Platen has
> as well as Platen's strict adherence to classical
> aesthetics in his literary work but above all to his
> ascetic homosexuality. Instead of living his
> homosexuality, Platen compensates his closeted desires
> through his poetry. Heine sums up this condition as
> follows:
> [Der] Graf hingegen, trotz seinem Pochen auf Klassizität,
> behandelt seinen Gegenstand vielmehr romantisch,
> verschleiernd, sehnsüchtig, pfäffische ich muss
> hinzusetzen: heuchlerisch. Denn er vermummt sich manchmal
> in fromme Gefühle, er vermeidet die genaueren
> Geschlechtsbezeichnungen; nur die Eingeweihten sollen klar
> sehehn; gegen den großen Haufen glaubt er sich genugsam
> versteckt zu haben [
]. (Heine 2:457)
> Heine represents Gumpelinos and thereby Platens
> spiritual mindset as the elevation of the spiritual to the
> dominant force and motivation in life, while the universal
> humanity, i.e. the physical, is regarded as inferior. The
> above descriptions of Gumpelino and references to Platen
> show, however, that the physical is constantly shining
> through their spirituality, which evokes, through the
> collision of these two spheres, comedy. Heine obviously
> shows, through a comedy that uses the physical to degrade a
> single-minded focus on the spiritual, that the rejection of
> the universal humanity is inappropriate.
> In Die Bäder von Lucca the denial of the physical is
> demonstrated as an abnormality through the grotesque.
> Bachtins concept of the functioning of the physical or
> carnal - the essential principle of grotesque realism is
> degradation, that is, the lowering of all that is high,
> spiritual, ideal, abstract; it is a transfer to the
> material level, to the sphere of earth and body in their
> indissoluble unity (Rabelais, 19-20) - fits exactly to the
> physical comedy evoked by Gumpelino/Platen. However, this
> conditions requires further examination.
> As demonstrated, the collision of the spiritual with the
> physical evokes comedy in which the latter element is being
> lowered in value. Bachtin states: it [degradation] has not
> only a destructive, negative aspect, but also a
> regenerating one (Rabelais, 21) and also to degrade an
> object does not imply merely hurling it into the void of
> nonexistence, into absolute destruction, but to hurl it
> down to the reproductive lower stratum, the zone in which
> conception and a new birth take place (Rabelais, 21). For
> Bachtin, the process of regeneration is steering towards
> renewal by turning political and social structures upside
> down or by changing the prevailing truth and established
> order (Bachtin, Rabelais 20) to cultivate the ground for
> innovation. Bachtins concept of the physical within the
> realm of grotesque realism bears, therefore, a positive
> aspect.
> This is, however, where Heines physical comedy differs
> from Bachtins carnal comedy. Heines representation of
> Gumpelino demonstrates that the degradation of the
> spiritual does not lead towards positive regeneration of
> the condition of the world but keeps it in a state of
> degradation. To clarify this, lets look at Gumpelinos
> abstract, spiritual love for Lady Maxfield. To Hirsch
> Hyazinth and Dr. Heine, he declares his love for Lady
> Maxfield by reciting a passage of Shakespeares Romeo and
> Juliet. However, it is Gumpelino who is quoting Juliets
> part: Wie oft stehe ich im Mondschein auf dem Balkon, und
> bilde mir ein ich wäre selbst die Julia, und mein Romeo
> oder mein Gumpelino habe mir ein Rendezvous gegeben [
]
> (Heine, 432). Platens homosexuality is hinted at once
> again in this transsexually-coloured aberration from the
> original, and it is ridiculed by transforming a well known
> scene. This ridiculing is furthermore extended by the
> physical component of the relationship between Gumpelino
> and Lady Maxfield; their sexual desire is unfulfilled, and
> thus the physical component remains in the realm of the
> spiritual. Paradoxically, their only chance to have
> intercourse is blocked by Gumpelino's taking of a laxative,
> a physical condition. Gumpelino's, a la Shakespeare's,
> passion turns into a victim of his intestines and remains
> therefore unfulfilled. Instead, he spends the night with
> Platen's poetry on the Stuhl der Nacht. The
> disappointment of the unfulfilled heterosexual desire and
> the compensating reading of Platen's poetry forces the
> connection to Platen to be clear as well as again subtly
> hinting at homosexuality. As before, the references to
> feces in connection with Platen's poetry degrades his
> status as a poet. Hereby, Heine successfully kills two
> birds with one stone; not only is homosexuality being
> attacked but also ascetic sexual behaviour, which, like
> homosexuality, is presented as a ridiculous abnormality.
> Gumpelino, a fictitious figure, and Platen, a real person,
> are thus not only victims of ridicule but, above all,
> targets of Heine's criticism attacking the separation of
> the physical and the spiritual and the inferiority of the
> physical. As a means of attack, the comedy of the physical
> is here, as before, a servant to satire. It works with the
> physical; however, due to its degrading negativity, it
> cannot be viewed as a positive element as it is in
> Bachtin's concept of grotesque realism.
> If we reconsider the comic strategies presented, they seem
> to fit smoothly into Heine's idea of using the literary
> word as a weapon, or as an element of satire. Both the
> comedy of contrast and the physical comedy are intended as
> an attack against Platen and his homosexuality. However, in
> the analysis of the physical comedy, it is demonstrated
> that Heine does not only attack unconventional sexual
> behaviour but the rejection of the physical in general.
> Hereby, we see one of Heine's fundamental literary motifs,
> his principle of sensuality, to which the physical belongs.
> This, together with his principle of spiritualism,
> constitutes Heine's perception of the world.
> Let's have a closer look at this perception. In his text
> Zur Geschichte der Religion und Philosophie in Deutschland
> Heine represents the dichotomy of the physical and the
> spiritual as contrasting streams within the history of
> humanity. By spiritualism, he means a complete
> concentration on the spiritual that is glorified by seeking
> to destroy the material. Heine's understanding of
> sensualism, however, means to restore the natural
> rights of the material. He himself says
> Den Namen Spiritualismus überlassen wir daher jener
> frevelhaften Anmaßung des Geistes, der nach alleiniger
> Verherrlichung strebend, die Materie zu zertreten,
> wenigstens zu fletrieren sucht: und den Namen Sensualismus
> überlassen wir jener Opposition, die, dagegen eifernd, ein
> Rehabilitieren der Materie bezweckt und den Sinnen ihre
> Rechte vindiziert, ohne die Rechte des Geistes, ja nicht
> einmal ohne die Supremacie des Geistes zu leugnen. (3: 556)
> The dichotomy of spiritualism and sensualism represented
> here carry for Heine the core of the Krankheit der
> Menschheit, den grossen Weltriss (3: 405), that must be
> overcome so that die Menschheit ihre völlige Gesundheit
> wieder erlangt, and that the spiritual and the material
> [sich] wieder in ursprünglicher Harmonie durchdringen (3:
> 518). By merging these elements, a state of the world and
> humanity is achieved in which die Menschheit zur
> Glückseligkeit bestimmt [ist] (3: 519). This utopian idea
> of wholeness, however, is in opposition to the separation,
> perceived by Heine, of the spiritual and the material or
> physical which we encounter in his comic strategies.
> As we have seen, the physical comedy and to some extent
> the comedy of contrasts represents the collision of the
> spiritual and the physical (the carnal and the material)
> that Heine believes mirrors the condition of the world. On
> the one hand, Heine employs comedy which definitely belongs
> in the realm of satire and with which he attacks Platen's
> homosexuality and ascetic sexual behaviour. On the other
> hand, his comic strategies include a general perception of
> the world which embeds the satiric comedy against Platen in
> a wider frame of reference. Heine opposes the rejection of
> sensualism, a condition that is represented by Gumpelino
> and that he attributes to Platen, as to him the separation
> of spiritualism and sensualism defines his idea of
> Zerrissenheit. The discord that is based on a one-sided
> tendency towards spiritualism is counteracted by comedy,
> and this comedy thus functions as a means of reaction.
> Heine reacts, through comedy, to a torn apart world, which
> for Platen is his exemplar. At the same time, as it is
> based on satire, this comedy functions as a means of
> attack against an unbalanced world; attacked is Platen, his
> homosexuality, as well as his ascetic sexuality, which, for
> Heine, represent a perversion and a denial of the physical.
> Heine's comic strategies connect the particular or singular
> with his understanding of the world. In this combination of
> time-bound reality and timeless universality lies the
> uniqueness of Heine's comedy, which, up to today, Heine
> scholars are animated to explore, and by which Heine
> readers are shocked but above all amused.
>
Was soll mit dem Text gemacht werden? Soll er korriegiert werden? Soll er uebersetzt werden?
![[hut]](/images/smileys/hut.gif "[hut]") Gruss
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| Status: |
(Frage) für Interessierte  | | Datum: | 15:59 Sa 27.12.2008 | | Autor: | Dinker |
Konnte nun den Text kürzen......Kann ihn mir jemand übersetzen, versteh ihn leider nur unzureichend....Wäre sooo lieb
The topic of homosexuality is indirectly introduced right at the beginning of the text by Hirsch Hyazinth: Ich bin guter Hoffnung, sprach er, als er mir [Ich-Erzähler] näher kam, daß Sie mich noch kennen, obgleich ich nicht mehr Hirsch heiße. Ich heiße jetzt Hyazinth und bin der Kammerdiener des Herrn Gumpel (Heine, 401-402). By the change of name from Hirsch to Hyazinth, which implies a reference to the homosexual relationship between Apollo and Hyacinth, Heine hints at Platens homosexuality. Comedy, however, is evoked if one considers the physical description of Hyazinth, which precedes the statement above. We encounter a rather short little man, with a blässliches Gesichtchen and a schwitzendes Köpfchen, who is wrapped in a schlotternd weiten, mit Goldtresen überladenen Scharlachrock (Heine, 2: 401). In other words, Hirsch Hyazinth bears not the least resemblance to his namesake, who, according to the myth, is extraordinarily beautiful. The contrast between Hirsch Hyazinths and the mythological Hyacinths physical appearance invokes comedy
The attack against Platen is furthermore built up by the character Gumpelino. As Heine scholarship has convincingly demonstrated, Gumpelino is Platens foil in the narrative. This means that the depiction of Gumpelino is a direct reference to Platen and his homosexuality. Lets have a closer look at the comic strategies Heine employs within this frame.
Gumpelinos comic quality is largely composed of the grotesque. Therefore, the comic strategies represented by the character belong to realm of the obscene, or lower, comedy. Descriptions of Gumpelino such as glänzend breite Lippen (Heine 2: 397), edler, schwitzender Leib (Heine 2: 441), but also gottgefällige Bauch (Heine 2: 397) and das wohlhabende Lächeln (Heine 2: 397), sein watschelnder Gang (Heine 2: 397) and finally his gigantic nose being described as a Steuerruder (Heine 2: 412) connect Gumpelino to the animal and the object-like. His humanity is reduced to the physical and therefore degraded. Gumpelino's sensuality and indeceny are additionally emphasized by the phallic symbolism of his nose, by his eyes that show a gewisser klebrigter Lustre, wie er verliebten Katern eigen zu sein pflegt (Heine 2: 441), by his Gesäßkoketterie, by his warmen Männerfreundschaften, by a peculiar Schwüle that surrounds him and, above all, by the penetrating smell of feces that wafts from Platens poetry Gumpelino reads on the toilet.
This is, however, where Heines physical comedy differs from Bachtins carnal comedy. Heines representation of Gumpelino demonstrates that the degradation of the spiritual does not lead towards positive regeneration of the condition of the world but keeps it in a state of degradation. To clarify this, lets look at Gumpelinos abstract, spiritual love for Lady Maxfield. To Hirsch Hyazinth and Dr. Heine, he declares his love for Lady Maxfield by reciting a passage of Shakespeares Romeo and Juliet. However, it is Gumpelino who is quoting Juliets part: Wie oft stehe ich im Mondschein auf dem Balkon, und bilde mir ein ich wäre selbst die Julia, und mein Romeo oder mein Gumpelino habe mir ein Rendezvous gegeben [
] (Heine, 432). Platens homosexuality is hinted at once again in this transsexually-coloured aberration from the original, and it is ridiculed by transforming a well known scene. This ridiculing is furthermore extended by the physical component of the relationship between Gumpelino and Lady Maxfield; their sexual desire is unfulfilled, and thus the physical component remains in the realm of the spiritual. Paradoxically, their only chance to have intercourse is blocked by Gumpelino's taking of a laxative, a physical condition. Gumpelino's, a la Shakespeare's, passion turns into a victim of his intestines and remains therefore unfulfilled. Instead, he spends the night with Platen's poetry on the Stuhl der Nacht. The disappointment of the unfulfilled heterosexual desire and the compensating reading of Platen's poetry forces the connection to Platen to be clear as well as again subtly hinting at homosexuality. As before, the references to feces in connection with Platen's poetry degrades his status as a poet. Hereby, Heine successfully kills two birds with one stone; not only is homosexuality being attacked but also ascetic sexual behaviour, which, like homosexuality, is presented as a ridiculous abnormality. Gumpelino, a fictitious figure, and Platen, a real person, are thus not only victims of ridicule but, above all, targets of Heine's criticism attacking the separation of the physical and the spiritual and the inferiority of the physical. As a means of attack, the comedy of the physical is here, as before, a servant to satire. It works with the physical; however, due to its degrading negativity, it cannot be viewed as a positive element as it is in Bachtin's concept of grotesque realism.
Gruss Dinker
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(Mitteilung) Reaktion unnötig | | Datum: | 16:12 Sa 27.12.2008 | | Autor: | Dinker |
Also kleine, wenn ich das nicht verstehe kann ich mich noch so bemühen.....
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(Mitteilung) Reaktion unnötig | | Datum: | 16:29 Sa 27.12.2008 | | Autor: | Dinker |
Tur mir leid für die sehr unhöfliche Anrede, hoffe du kannst mir verzeihen
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| Status: |
(Mitteilung) Reaktion unnötig | | Datum: | 16:22 Sa 27.12.2008 | | Autor: | Dinker |
Das Thema der Homosexualität wird indirekt rechts am Anfang des Textes durch Hirsch Hyazinth eingeführt: Ich Behälter gefühlsmäßigerer Hoffnung, sprach er, Al er mir [Ich-Erzähler] näher kam, daß Sie mich noch kennen, obgleich ich nicht mehr Hirsch heiße. Ich heiße jetzt Hyazinth und Behälter der Kammerdiener des Herrn Gumpel (Heine, 401-402). Durch die Änderung des Namens von Hirsch zu Hyazinth, der eine Verweisung zur homosexuellen Beziehung zwischen Apollo und Hyazinthe besagt, Heine Andeutungen an der Homosexualität von Schreibwalze. Komödie ist aber hervorgerufen, wenn Ein die physische Beschreibung von Hyazinth bedenkt, der der Aussage oben vorausgeht. Wir begegnen einem ziemlich kurzen kleinen Mann, mit ein blässliches Gesichtchen und ein schwitzendes Köpfchen, der in gewickelt ist, ein schlotternd weiten, mit Goldtresen überladenen Scharlachrock (Heine, 2: 401). Anders gesagt trägt Hirsch Hyazinth seinem Namensvetter nicht die wenigste Ähnlichkeit, ist der, gemäß der Mythos, außerordentlich schön. Der Gegensatz zwischen Hirsch Hyazinth und die physische Erscheinung von der mythologischen Hyazinthe ruft Komödie auf.
Der Angriff gegen Schreibwalze wird ferner vom Charakter Gumpelino aufgebaut. Als Heine Stipendium überzeugend vorgeführt hat, ist Gumpelino die Folie von Schreibwalze in der Erzählung. Dieses Mittel, das die Darstellung von Gumpelino eine direkte Verweisung zu Schreibwalze und seiner Homosexualität ist. Lassen wir ein näheres anschauen die komischen Strategien Heine einstellt innerhalb dieses Rahmens. Die komische Qualität von Gumpelino ist größtenteils vom grotesken zusammengesetzt. Daher die komischen Strategien, werden vertreten die vom Charakter Bereich vom obzönen gehören, oder lässt herunter, Komödie. Beschreibungen von Gumpelino wie zum Beispiel glänzend breite Lippen (Heine 2: 397), edler, schwitzender Leib (Heine 2: 441), sondern auch gottgefällige Bauch (Heine 2: 397) und da wohlhabende Lächeln (Heine 2: 397), sein watschelnder Bande (Heine 2: 397) und schließlich seine riesige Nase beschrieben als ein Steuerruder zu werden (Heine 2: 412) verbindet Gumpelino zu das Tier und das objektd artig. Seine Menschheit ist auf das physische und daher heruntergesetzt reduziert. Die Sinnlichkeit von Gumpelino und indeceny werden zusätzlich von der phallischen Symbolik von seiner Nase, durch seine Augen betont, die zeigen, ein gewisser klebrigter Glanz, wie er verliebten Katern eigen zu sein pflegt (Heine 2: 441), durch seinen Gesäßkoketterie, durch seinen warmen Männerfreundschaften, durch ein eigentümliches Schwüle das umgibt ihn, und vor allem durch den durchdringenden Geruch von feces, der von den Dichtungen Gumpelino Vorlesungen von Schreibwalze auf der Toilette weht. Dies ist aber, wo die physische Komödie von Heine von der sinnlichen Komödie von Bachtin abweicht. Die Darstellung von Heine von Gumpelino führt vor, dass der Abbau vom geistigen nach positiver Erneuerung von der Bedingung von der Welt nicht führt, aber behält es in einem Staat des Abbaus. Um dies zu erklären, anschauen wir den Abriss von Gumpelino, geistige Liebe für Dame Maxfield. Zu Hirsch Hyazinth und Dr. Heine erklärt er seine Liebe für Dame Maxfield durch Vortragen eines Durchgangs des Shakespeare der Romeo und Juliet. Jedoch, es ist Gumpelino, der den Teil von Juliet zitiert: Wie oft stehe ich im Mondschein auf dem Balkon, und bilde mir ein ich wäre selbst Würfel Julia, und mein Romeo oder mein Gumpelino habe mir ein Verabredung gegeben [
] (Heine, 432).
Die Homosexualität von Schreibwalze wird sofort wieder in dieser transsexuell farbigen Abweichung vom Original, und ihm wird verspottet von Umgestalten von eines Brunnens bekannter Szene angedeutet. Diese Verspottung wird ferner vom physischen Bauteil von der Beziehung zwischen Gumpelino und Dame Maxfield ausgedehnt; ihr sexueller Wunsch ist unerfüllt, und folglich die physischen Bauteileüberreste im Bereich vom geistigen. Paradox wird ihre einzige Chance, Verkehr zu haben, von den Nehmen von Gumpelino von einem abführenden, eine physische Bedingung gehemmt. Gumpelino, eines la Shakespeare, Leidenschaftendrehungen in einen Leidtragenden von seinen Därmen und bleibt daher unerfüllt. Anstatt, verbringt er die Nacht mit der Dichtung von Schreibwalze auf dem Stuhl der Nacht.
Die Enttäuschung vom unerfüllten heterosexuellen Wunsch und der Entschädigungsvorlesung zwingt der Schreibwalze die Dichtung die Verbindung zu Schreibwalze, klar zu sein, sowie wieder fein an Homosexualität andeutend. Als vor, setzt die Verweisungen zu feces in Zusammenhang mit der Dichtung von Schreibwalze seinen Status als ein Dichter herunter. Hiermit tötet Heine erfolgreich zwei Vögel mit einem Stein; ist nicht nur Homosexualität angegriffen zu werden sondern auch asketisches sexuelles Verhalten, das, wie Homosexualität, ist überreicht als eine lächerliche Anomalie. Gumpelino, eine fiktive Figur, und Schreibwalze, eine wirkliche Person, sind folglich nicht nur Leidtragende des Spotts aber vor allem, greifend Ziele des Heine die Kritik die Trennung vom physischen und dem geistigen und der Minderwertigkeit vom physischen an. Als ein Mittel des Angriffs, ist die Komödie vom physischen hier, als vor, ein Diener zu Satire. Es arbeitet mit dem physischen; aber, auf Grund seiner herabsetzenden Negativität, es kann nicht angesehen werden als ein positives Element, als es im Begriff von Bachtin von groteskem Realismus ist.
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| Status: |
(Mitteilung) Reaktion unnötig | | Datum: | 16:57 Sa 27.12.2008 | | Autor: | reverend |
Automatische Übersetzungen sind leider noch nicht fit. Mit Mühe, es könnte in der Lage, Sinn, Beziehungen zu identifizieren, auch wenn es manchmal den Anschein, als sollte sie mit der Absicht von Satzentstellungen verborgen werden. Dennoch ist es ein Wunsch zu verfolgen, wie Voice-overs erweitern, ohne menschlichen Eingriff. Das Ausmaß, neuronale Netze oder semantische Analysen und andere Inhalte des World Wide Web, ist noch nicht erwiesen. Derzeit sind fast keine brauchbaren Programm zu haben, entweder als Freeware oder, soweit dies durch hohe Lizenzgebühren so genannten "Professional"-Programmen. Dieser Text ist m.E. ohne Fehler und vollständig in einem neuen Rechtschreibung. Selbst das reicht nicht aus, um sicherzustellen, error-free-Wiedergabe-Maschine in einer anderen Sprache möglich.
(google, deutscher Text ins Englische und dann wieder zurück übersetzt)
Automatische Übersetzungen werden leider linguistisch nicht noch entsprochen. Mit Mühe kann folgen erkennen Richtungsanschlüsse, obgleich sie gelegentlich auf solch eine Art schaut, als ob, wenn diese mit Absicht durch Satzverzerrungen versteckt werden. Dennoch ist es weite Tendenz, die ausgeübt werden kann, um solche Sprachegetriebe ohne menschliche Bemühung zu entwickeln. In welchem Ausmaß zu ihm neurale Netze oder Inhaltsanalysen von Inhalt des World Wide Web unter anderem haben selbst zu ruhigem SH notwendig sind. Zurzeit soll kein ungefähr verwendbares Programm, weder als Freeware noch für die teils hohen verlangten Abgaben des so genannten Berufs- gehabt werden Programme. Dieser Text ist vollständig in neue Orthographie eingeführtem m.E außen jedweden Tippfehler und. Ist nicht sogar genügend, um eine fehlerlose Maschinenwiedergabe in einer anderen Sprache zu ermöglichen.
(SystranBox, dt [mm] \rightarrow [/mm] engl. [mm] \rightarrow [/mm] dt.)
Hier der ursprüngliche Text:
Automatische Übersetzungen sind leider sprachlich noch nicht tauglich. Mit Mühe mag es gelingen, Sinnzusammenhänge zu erkennen, obwohl es zuweilen so aussieht, als sollten diese mit Absicht durch Satzentstellungen verborgen werden. Dennoch ist es ein weiter zu verfolgendes Bestreben, solche Sprachübertragungen ohne menschliches Zutun auszubauen. Inwieweit dazu neuronale Netze oder semantische Analysen u.a. von Inhalten des World Wide Web nötig sind, wird sich noch zeigen müssen. Zur Zeit ist kein annähernd nutzbares Programm zu haben, weder als Freeware noch für die teils hohen geforderten Lizenzgebühren sog. professioneller Programme. Dieser Text ist m.E. ohne jedweden Tippfehler und komplett in neuer Rechtschreibung eingegeben. Selbst das genügt nicht, um eine fehlerfreie maschinelle Wiedergabe in einer anderen Sprache zu ermöglichen.
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| Status: |
(Mitteilung) Reaktion unnötig | | Datum: | 16:00 Sa 27.12.2008 | | Autor: | Tyskie84 |
Hallo Dinker,
ich muss schon zugeben, dass der Text einige Vokabeln enthaelt die ich auch nicht verstehe aber es gibt 2 dinge die man tun kann um dieses Problem zu loesen.
1. Man muss nicht unbedingt jedes Wort verstehen um den Satz \ Kontext zu verstehen.
2. www.leo.org
Gruss
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| Status: |
(Mitteilung) Reaktion unnötig | | Datum: | 16:30 Sa 27.12.2008 | | Autor: | Dinker |
Bitte helft mir, ich flehe euch in höchsten Tönen an
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| Status: |
(Mitteilung) Reaktion unnötig | | Datum: | 16:50 Sa 27.12.2008 | | Autor: | espritgirl |
Hallo Dinker ![[winken]](/images/smileys/winken.gif "[winken]") ,
> Bitte helft mir, ich flehe euch in höchsten Tönen an
Das brauchst du gar nicht. Du kannst dir selber helfen, indem du mit Verstand an deine Aufgaben ran gehst.
Denkst du, es bringt dir etwas, wenn du eine Internetübersetzung (die das Prädikat absolut unbrauchbar verdient) ins Internet stellst, die du als deine eigene ausgibst?
Denkst du, es bringt dir etwas, wenn du einen langen englischen Text online stellst, der dir dann einfach übersetzt wird?
Davon lernst du nichts.
Ab jetzt werde ich jede deiner Fragen kommentarlos auf den Status "Für Interessierte" stellen, wenn du keine eigenen ernstgemeinten Ansätze vorweisen kannst (und somit gegen die Forenregeln verstößt), oder die gegen die Forenregeln sind.
Ich hatte es dir schon einmal gesagt: du verdirbst es dir selbst.
Liebe Grüße,
Sarah 
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| Status: |
(Mitteilung) Reaktion unnötig | | Datum: | 16:55 Sa 27.12.2008 | | Autor: | Dinker |
Ab jetzt werde ich jede deiner Fragen kommentarlos auf den Status "Für Interessierte" stellen, wenn du keine eigenen ernstgemeinten Ansätze vorweisen kannst (und somit gegen die Forenregeln verstößt), oder die gegen die Forenregeln sind. blablabla...
In diesem Fall geht es nicht ums Englisch, sondern ich brauche den Text für die Deutsche Literaturgeschichte!!!!
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| Status: |
(Mitteilung) Reaktion unnötig | | Datum: | 16:59 Sa 27.12.2008 | | Autor: | Analytiker |
> blablabla...
schade das dein Intellekt nicht zu reichen scheint für die diversen und gut gemeinten Hinweise der Moderatoren. In der logischen Konsequenz muss man sich dann nicht mehr wundern, dass die anderen dir nur noch Hohn & Spott entgegenbringen, und dir immer weniger geholfen wird. Aber das ist sicher auch nur "blablabla" in deinen Ohren...
Hab noch einen schönen Tag!
Liebe Grüße
Analytiker
![[lehrer]](/images/smileys/lehrer.gif "[lehrer]")
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(Mitteilung) Reaktion unnötig | | Datum: | 17:02 Sa 27.12.2008 | | Autor: | Dinker |
Lieber Analytiker.
Tut mir leid dass ich dir nicht mehr Beachtung schenkte mit deinen Hinweisen.
Denn dir schenke ich grosses Ansehen und Dankbarkeit, da du zu den wenigen gehörst die mir schon x-mal konstruktiv weiterhalfen.
Aber ich mag es einfach nicht, wenn gewisse Leute Freude haben meine Artikel in den Mülleimer zu werfen, statt mir auch nur einmal konstruktiv zu helfen
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(Mitteilung) Reaktion unnötig | | Datum: | 16:59 Sa 27.12.2008 | | Autor: | Dinker |
Eben weil die Übersetzungsmaschine nur kacke liefern, hab ich dies in dieses Forum gestellt.
Alleine bringe ich es nun mal nicht fertig, das ist nun mal ein Fakt. Von mir aus könnt ihr gerne denken, dass ich Strohdumm bin
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| Status: |
(Frage) für Interessierte | | Datum: | 16:43 Sa 27.12.2008 | | Autor: | Dinker |
Find das zu wichtig, um es einfach nur für "Interessierte zu setze"
The topic of homosexuality is indirectly introduced right at the beginning of the text by Hirsch Hyazinth: Ich bin guter Hoffnung, sprach er, als er mir [Ich-Erzähler] näher kam, daß Sie mich noch kennen, obgleich ich nicht mehr Hirsch heiße. Ich heiße jetzt Hyazinth und bin der Kammerdiener des Herrn Gumpel (Heine, 401-402). By the change of name from Hirsch to Hyazinth, which implies a reference to the homosexual relationship between Apollo and Hyacinth, Heine hints at Platens homosexuality. Comedy, however, is evoked if one considers the physical description of Hyazinth, which precedes the statement above. We encounter a rather short little man, with a blässliches Gesichtchen and a schwitzendes Köpfchen, who is wrapped in a schlotternd weiten, mit Goldtresen überladenen Scharlachrock (Heine, 2: 401). In other words, Hirsch Hyazinth bears not the least resemblance to his namesake, who, according to the myth, is extraordinarily beautiful. The contrast between Hirsch Hyazinths and the mythological Hyacinths physical appearance invokes comedy
The attack against Platen is furthermore built up by the character Gumpelino. As Heine scholarship has convincingly demonstrated, Gumpelino is Platens foil in the narrative. This means that the depiction of Gumpelino is a direct reference to Platen and his homosexuality. Lets have a closer look at the comic strategies Heine employs within this frame.
Gumpelinos comic quality is largely composed of the grotesque. Therefore, the comic strategies represented by the character belong to realm of the obscene, or lower, comedy. Descriptions of Gumpelino such as glänzend breite Lippen (Heine 2: 397), edler, schwitzender Leib (Heine 2: 441), but also gottgefällige Bauch (Heine 2: 397) and das wohlhabende Lächeln (Heine 2: 397), sein watschelnder Gang (Heine 2: 397) and finally his gigantic nose being described as a Steuerruder (Heine 2: 412) connect Gumpelino to the animal and the object-like. His humanity is reduced to the physical and therefore degraded. Gumpelino's sensuality and indeceny are additionally emphasized by the phallic symbolism of his nose, by his eyes that show a gewisser klebrigter Lustre, wie er verliebten Katern eigen zu sein pflegt (Heine 2: 441), by his Gesäßkoketterie, by his warmen Männerfreundschaften, by a peculiar Schwüle that surrounds him and, above all, by the penetrating smell of feces that wafts from Platens poetry Gumpelino reads on the toilet.
This is, however, where Heines physical comedy differs from Bachtins carnal comedy. Heines representation of Gumpelino demonstrates that the degradation of the spiritual does not lead towards positive regeneration of the condition of the world but keeps it in a state of degradation. To clarify this, lets look at Gumpelinos abstract, spiritual love for Lady Maxfield. To Hirsch Hyazinth and Dr. Heine, he declares his love for Lady Maxfield by reciting a passage of Shakespeares Romeo and Juliet. However, it is Gumpelino who is quoting Juliets part: Wie oft stehe ich im Mondschein auf dem Balkon, und bilde mir ein ich wäre selbst die Julia, und mein Romeo oder mein Gumpelino habe mir ein Rendezvous gegeben [
] (Heine, 432). Platens homosexuality is hinted at once again in this transsexually-coloured aberration from the original, and it is ridiculed by transforming a well known scene. This ridiculing is furthermore extended by the physical component of the relationship between Gumpelino and Lady Maxfield; their sexual desire is unfulfilled, and thus the physical component remains in the realm of the spiritual. Paradoxically, their only chance to have intercourse is blocked by Gumpelino's taking of a laxative, a physical condition. Gumpelino's, a la Shakespeare's, passion turns into a victim of his intestines and remains therefore unfulfilled. Instead, he spends the night with Platen's poetry on the Stuhl der Nacht. The disappointment of the unfulfilled heterosexual desire and the compensating reading of Platen's poetry forces the connection to Platen to be clear as well as again subtly hinting at homosexuality. As before, the references to feces in connection with Platen's poetry degrades his status as a poet. Hereby, Heine successfully kills two birds with one stone; not only is homosexuality being attacked but also ascetic sexual behaviour, which, like homosexuality, is presented as a ridiculous abnormality. Gumpelino, a fictitious figure, and Platen, a real person, are thus not only victims of ridicule but, above all, targets of Heine's criticism attacking the separation of the physical and the spiritual and the inferiority of the physical. As a means of attack, the comedy of the physical is here, as before, a servant to satire. It works with the physical; however, due to its degrading negativity, it cannot be viewed as a positive element as it is in Bachtin's concept of grotesque realism.
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(Mitteilung) Reaktion unnötig | | Datum: | 16:46 Sa 27.12.2008 | | Autor: | Dinker |
Allerwertestes Espiritgirl
Du scheinst es darauf abzusehen, dass du mich wieder herausforderst bis mir wieder ein Wort ausrutscht , auf das ich gerne verzichtet würde
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(Mitteilung) Reaktion unnötig | | Datum: | 16:46 Sa 27.12.2008 | | Autor: | Analytiker |
> Find das zu wichtig, um es einfach nur für "Interessierte zu setze"
das ist schön das du das so empfindest, aber ein Moderator sieht das anders und hat die Befugnisse dieses umzusetzen. Ich würde dir dringend empfehlen, nicht im 5 Minutentakt in diesem Thread zu posten, das macht es wahrlich nicht besser... lass den Leuten dochmal Luft zu atmen. Das du das einfach nicht verstehen willst. Vielleicht erbarmt sich dann noch jemand, und hilft dir.
Liebe Grüße
Analytiker
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> Gibt es jemand so lieben der mir dabei hilft und mir das
> langersehnte Weihnachtsgeschenk macht?
Hallo,
mit den Weihnachtsgeschenken ist das so eine Sache...
Seit mir vor ein paar Jahren bzw. Jahrzehnten aufging, daß es den Weihnachtsmann gar nicht gibt, habe ich begriffen, daß ich mit meinen irdischen Wünschen die potentiellen Schenker nicht überstrapazieren sollte.
Der lange Text, den Du postest, ist ein Fall für ein Übersetzungsbüro, dort wird man Dir gerne weiterhelfen.
Er sprengt das, was unter "Hilfe bei den Hausaufgaben" läuft, um ein Vielfaches.
Ist Dir eigentlich klar, welchen Aufwand von Zeit und Mühe Du hiermit einforderst?
Du schießt weit übers Ziel hinaus.
Gruß v. Angela
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(Mitteilung) Reaktion unnötig | | Datum: | 18:21 Sa 27.12.2008 | | Autor: | Dinker |
Ich möchte nochmals betonen wie wichtig, dass für mich ist....
Wenn mir niemand hilft werde ich bestimmt schlaflose Nächte haben...
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> Ich möchte nochmals betonen wie wichtig, dass für mich
> ist....
Hallo,
ich vermute, daß daran niemand Zweifel hat.
Es ist doch auch niemandem verwehrt, Dir den Text zu übersetzen.
Ich habe nur meine Zweifel, daß jemand so viel Zeit und Mühe aus Lust/Laune/Langeweile aufwenden möchte (--> Übersetzungsbüro, wenn's sehr wichtig ist.)
Sinnvoller wäre es sicher, wenn Du Dich auf die Wörter und Passagen beschränkst, die Du nicht mithilfe eines Wörterbuches herausbekommst.
Fang doch erstmal an, und vermutlich wirst Du in 3-4 Tagen ein ganzes Stück weiter sein.
(Ich bin übrigens überzeugt davon, daß Du diesen Text fürs Deutschabi nicht benötigst. Möglicherweise (!) setzt Du hier an einer Stelle Energien ein, die anderswo nutzbringender investiert wären. )
Gruß v. Angela
> Wenn mir niemand hilft werde ich bestimmt schlaflose
> Nächte haben...
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| Status: |
(Frage) beantwortet  | | Datum: | 17:29 So 28.12.2008 | | Autor: | Dinker |
Tut mir leid, dass ich nochmals nachhacke...aber der Text lässt mich einfach nicht in Ruhe.
Ich habe mir Wörterbücher zur Hilfe genommen, doch das nützt leider nichts, da ein Wort 100 Bedeutungen hat und dass ich mir die richtige Zusammenreimen kann versteh ich leider zu wenig. Nun habe ich mal die Textstellen die ich wirklich brauche zusammengetragen:
The English lady Mathilde represents British common sense, sobriety and wit, with an Irish background that not only explain her knack for satirical irony, but also her keen sense of social, linguistic and cultural difference. In the odd servant-master due of Hirsch Hyazinth and Gumpelino, the one stands for the paradigm of the reluctant skeptic when it comes to assimilation, while the other passionately invested in the quest for social acceptance.
The tension between his elective affinity for the brainly Mathilde and this sensual attraction to the Italian Franscheska, who in turn fancies an Abbot instead, foregrounds the predicament of assimilation in a romantic register
Gruss Dinker
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Hi Dinker,
this is my tuppence:
"Die englische Lady Mathilde verkörpert britischen Mutterwitz, Nüchternheit und Verstand, mit einem irischen Hintergrund der nicht nur ihren Hang zu satirischer Ironie erklärt, sondern auch ihr feines Gespür für soziale, sprachliche und kulturelle Unterschiede. Bei dem eigenartigen Diener-und-Herr-Duo Hirsch-Hyazinth und Gumpelino steht der eine für das Musterbeispiel des zögerlichen Skeptikers gegenüber der Anpassung, während der andere leidenschaftlich in das Streben nach gesellschaftlicher Anerkennung investiert hat.
Die Spannung zwischen seiner Wahlverwandtschaft zur gescheiten Mathilde und seinem sinnlichen Hingezogensein zur Italienerin Franscheska, die wiederum mit einem Abt liebäugelt, bildet in einer romantischen Klangfarbe den Vordergrund für die Zwickmühle der Anpassung."
Cheers,
reverend
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| Status: |
(Mitteilung) Reaktion unnötig | | Datum: | 18:04 So 28.12.2008 | | Autor: | Dinker |
Das klingt ja Spitze
Ich danke dir vielmals.
Du hast gerade meine Stimmung positiv beeinflusst
Gruss Dinker
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| Status: |
(Frage) beantwortet | | Datum: | 17:46 So 28.12.2008 | | Autor: | Dinker |
Noch etwas kleines, aber wirklich meine letzte Bitte
In other words, Hirsch Hyazinth bears not the least resemblance to his namesake, who, according to the myth, is extraordinarily beautiful.
Gumpelino is represented as Catholic converted from Judaism who clings to the classical ideal that one should be educated and intellectual. This, however, is reduced to pure accumulation of factual knowledge. In Gumpelino's world view, the physical is secondary, as he perceives reality only through spiritual means. In other words, his catholic beliefs and his knowledge of aesthetics and art are the tools through which he perceives reality.
Gumpelino, a fictitious figure, and Platen, a real person, are thus not only victims of ridicule but, above all, targets of Heine's criticism attacking (bis hier verstehe ich es)
the separation of the physical and the spiritual and the inferiority of the physical.
Das wärs dann schon
Vielen Dank
Gruss Dinker
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Meine Bescheidene Meinung:
Mit anderen Worten: Hirsch Hyazinth hat nicht die geringste Ähnlichkeit mit seinem Namensvetter, der, dem Mythos nach, außerordentlich hübsch ist.
Gumpelino wird als ein Christ dargestellt, der vom Judentum zum Christentum konvertierte und der an der klassischen Vorstellung festhält, dass man Erziehung genossen haben und intellektuell sein sollte. Dies wird allerdings durch die reine Anhäufung von Faktenwissen reduziert. In Gumpelinos Weltsicht ist das physische zweitrangig, da er die Realität nur durch geistige Mittel wahrnimmt. Mit anderen Worten: sein katholischer Glaube und seine Kenntnisse über Ästhetik und Kunst sind die Werkzeuge, mit denen er die Realität wahrnimmt.
Gumpelino, eine fiktive Figur, und Platen, eine historische/reale Person, sind daher nicht nur Opfer des Spotts, sondern vor allem Opfer von Heines Kritik, die sich gegen die Teilung des Physischen vom Spirituellen/Intellektuellen wendet und die Unterlegenheit des Physischen.
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| Status: |
(Mitteilung) Reaktion unnötig | | Datum: | 20:02 So 28.12.2008 | | Autor: | Dinker |
Besten Dank
Hae schon fast die Hoffnung verloren, dass es so hilfsbereite Menschen wie du und Reverend gibt.
Tausendfachen Dank
Gruss Dinker
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