La propuesta se detiene en analizar el eco del pensamiento utópico de Ernst Bloch presente en los ensayos de Christa Wolf “Der Schatten eines Traumes. Karoline von Günderrode -ein Entwurf” (1978) y “Nun ja! Das nächste Leben geht aber heute an. Ein Brief über die Bettine” (1979). Asimismo, se profundizará la caracterización del romanticismo de Wolf como revolucionario utópico, que implica una crítica a la Modernidad y a la civilización capitalista y que está ligado al feminismo.

In lieu of an abstract, here is a brief excerpt of the content:Writing Anxiety: Christa Wolf’s KindheitsmusterMichael G. Levine (bio)For Diane C.Christa Wolf’s Kindheitsmuster, published in English as Patterns of Childhood, takes very little for granted—least of all the question of beginnings. The novel literally opens with the words of another: “Das Vergangene ist nicht tot; es ist nicht einmal vergangen,” a slightly altered translation of a line from Faulkner’s Requiem for a Nun: “The past is (...) never dead. It’s not even past.” 1 Lacking a proper opening and haunted by the specter of an unmastered and perhaps unmasterable past—of a “model childhood” spent in the East Prussian town of L. during the Third Reich, the text begins by questioning the very possibility of a clean break and a fresh start. This insistent question, raised in a variety of ways throughout the novel, is posed at the outset as a kind of textual stutter, as a perseverating question rehearsed from the beginning—and in lieu of simply beginning—as a series of false starts, as repeated attempts to start over, as a desperate struggle to restart a narrative paralyzed by the anticipation of difficulties still to come. “You lay aside stacks of tentatively filled pages, insert a fresh sheet in the typewriter, and start once again with Chapter 1. As in so many times during the last eighteen months, when you were forced to learn: the difficulties haven’t even begun [die Schwierigkeiten haben noch gar nicht angefangen].” 2 The temporal structure of this passage, found in the second paragraph of the novel, is worth commenting upon, for here the difficult question of how to begin seems to be folded back on itself, turned inside-out, as it were, and reposed as a question of difficulties that apparently have not yet even started. Indeed, only in a text that stammers from the start and begins by beginning over and over again could it be said both that the difficulties have already started and that they have not yet even begun.Already/not yet: such is the split temporal framework of a difficult encounter, of an encounter with difficulties that will never have been confronted as such. 3 The language of confrontation, of squaring off face-to-face, is particularly inappropriate in this context since, as we will see, the difficulties that force “you,” the writer, to begin again are not simply identifiable or avoidable obstacles in the way of writing but, rather, irreducible and irreducibly conflicted aspects of the writing itself. They are what keeps the writing from ever having a self, from ever being one with or self-consciously coming to itself. 4 [End Page 106]While it is tempting to describe Kindheitsmuster as a novel that is self-conscious in the extreme—difficult writing that writes about the difficulties of writing—one should bear in mind that it is a text that repeatedly calls into question the presumed authority and the capacity for self-knowledge of an instance derisively referred to in a passage inexplicably deleted from the English translation as “His Majesty the Ego [Seine Majestät das Ich]” [83]. In an apparent attempt to suspend the privileges usually accorded to—or, rather, autocratically arrogated to itself by—das Ich, the narrator makes a point of scrupulously avoiding the first-person pronoun when referring to herself in the text. (There is, of course, one important exception to this rule toward the end of the novel to which we will return much later.) As was already evident in the passage cited earlier, “You lay aside stacks of tentatively filled pages, insert a fresh sheet in the typewriter, and start once again with Chapter 1,” the narrator employs the second person rather than the first when speaking in the present—as though she could speak of herself at the moment only by speaking to herself. More significant still in this autobiographical novel that deals at length with the narrator’s memories of growing up in Landsberg on the Warthe (now the Polish town of Gorzmploys the second person rather than the first when speaking in the presenerson when referring to the child she used to be.What is one to make of... (shrink)

En novembre 1984, Christa Wolf ouvrait la première conférence de l'association des gynécologues psy-chosomaticiens de RDA réunis à Mag-Debourg. Dans son discours intitulé "Maladie et privation d'amour", elle s'interrogeait sur l'évolution de la médecine moderne dont les progrès en matière d'appareils médicaux éloignaient toujours davantage les praticiens de leurs patients. Par-delà son regard sur la relation entre l'âme et le corps, Christa Wolf informait aussi des attentes des femmes qui avaient pris au mot les promesses d'égalité (...) des sexes en régime "socialiste réel". Quelques années plus tôt Georges Canguilhem, résistant au scientisme triomphant, se proposait de continuer à penser la médecine comme un art qui devait s'adapter à chaque individu malade. Déplorant la disparition progressive de la clinique, il plaidait pour un dialogue continu entre le patient et le médecin Tandis que Sonia Combe s'appuie sur le discours de Christa Wolf pour appréhender l'expérience communiste à partir de l'étude de genre, revenant sur la double leçon de Christa Wolf et de Canguilhem, Antoine Spire se demande dans quelles conditions un retour de la médecine à la pratique clinique pourrait se faire et répondre à la demande des malades. (shrink)

The story of Medea has exerted a powerful influence on creative artists since the time of Euripides. It is a tale that has been told in many ways and in several genres. This article offers a discussion of Christa Wolf's 1996 novel, Medea.Stimmen (Medea. Voices), a modern retelling through the voices, and conflicting perspectives, of the major characters involved with Medea, including Jason, Agameda, Akamas, Leukon, Glauce and Medea herself.Medea's role within feminist literary reception and women's literature cannot (...) be overlooked because of the crucial archetype she represents. One task of Feminist criticism has been to expose, deconstruct and rectify prevalent male (mis) interpretations of female archetypes, such as Medea, Medusa and others, and the patriarchal distortions they introduced through 3 000 years of male literature. In the patriarchal realm, Medea represents the Witch, the black Sorceress, and the archetype of the Negative Mother. These negative interpretations or archetypes may be attributed to misogynist perceptions of Medea as the vilest of women, because she committed the most despicable of all crimes — killing her children, the patriarchy's heirs — to take revenge on Jason, the husband who abandons her in Corinth (her place of exile) to marry Glauce, King Creon of Corinth's daughter, for reasons of political expedience.As a writer with her roots in the former East-German regime, Wolf perceives the Medea story as an account of a woman with both extraordinary powers and human shortcomings, who is misunderstood by the Colchians and the Corinthians alike. Wolf explores the distorted patriarchal motives for their loathing of Medea and Medea's ultimate powerlessness to do anything more than accept her tragic destiny. In doing so, Wolf does not attempt to manipulate the Medea story to suit the one-sidedness of some more radical feminist ideologies. (shrink)

The analysis concerns the German authors Ingeborg Bachmann, Irmtraud Morgner and Christa Wolf as the main representatives of gynocentric prose of Germany of the second half of the 20th century. Ingeborg Bachmann’s, Irmtraud Morgner’s and Christa Wolf’s works are considered in domestic and foreign criticism, particularly social and cultural and gynocentric aspects of the ethical aesthetic author’s searching. In the article the phenomenon of gynocentric literature is developed and the difference between the gynocentric and a woman’s prose (...) is explained. In addition the analysis concerns the history of the gynocentric literature development by example of the three German-speaking authors. The realization of the key principles of gynocentrism such as deconstructivism, author’s myth-making and authenticity is observed by the examples of their works. (shrink)

Cognitive science can help literary scholars formulate specific questions to be answered by archival research. This essay takes, as its starting point, embedded mental states (that is, mental states about mental states) and their role in generating literary subjectivity. It then follows the transformation of embedded mental states throughout several manuscripts of Christa Wolf’s autobiographical novel, Patterns of Childhood (Kindheitsmuster, 1976), available at the Berlin Academy of Arts. The author shows that later versions of Patterns of Childhood have (...) more complex embedments in the chapter describing the adolescent protagonist’s relationship with her schoolteacher. This textual development is integral to the process whereby the presumably authentic memories of the past are constructed to fit the present needs of the person who is doing the remembering. Accompanying the three case studies of the manuscript revision is a discussion of theoretical and practical implications of this “cognitive-archival” approach to literature. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Phantom Mediators: Reflections on the Nature of the Violence in AlgeriaRéda Bensmaïa (bio)Translated by Hassan MelehyIn order to justify himself, each person depends on the crime of the other. There is a casuistry of blood where an intellectual, it seems to me, has no place, except to take up arms himself. When violence responds to violence in an exasperating delirium that makes the simple language of reason impossible, (...) the role of intellectuals cannot be, as we read every day, to excuse from afar one act of violence and condemn another, which has the effect both of angering the one condemned of violence to the point of rage and of encouraging the one who is not condemned to more violence. If they themselves don’t join the combatants, their role (a more obscure one, to be sure!) must be only to work in the direction of an appeasement so that reason may again have a chance.—Albert Camus, Actuelles IIIAt a secondhand bookstore in Santa Monica, I found a story by Friedrich Torberg: “Mein ist die Rache” (“Vengeance is Mine”). The author describes the sadistic practices of a concentration-camp commandant in 1943 who drives a group of Jewish prisoners to commit suicide one after the other. It is almost unbearable to read. One reader, apparently an emigré German Jew, added some bitter marginal notes after the war. On the last page this reader penciled in, “America is full of Jews who love Germany and long for it.”The night after I read this book, a question occurred to me that has stayed on my mind ever since and that I want to pass on to you: What would we all give, each one of us, each individual German, for this not to have happened? It’s a”pan-German” question. Perhaps we will know something more about ourselves if each one of us tries to answer it individually, as honestly and above all as concretely as possible. And doesn’t it lead to three other questions that are worrying us?: What was? What remains? What will be?—Christa Wolf, “Parting from Phantoms”A few weeks after reading Christa Wolf’s text, the same questions continue to haunt me. “Pan-Maghrebian” questions: what would we be willing to give, each one of us, each Algerian in any case, for what is happening now never to have occurred?What was? What remains? What will be? These are the questions that have guided me in the different steps of writing the text I offer here.In the very fine article he contributed under the heading of “The Intellectual and Society” to the Encyclopaedia Universalis, philosopher François Châtelet wrote, “If we confine ourselves to the three historical groups we have arbitrarily taken as examples—the Greek sophist, the ‘judge’ of the Russell Tribunal, and the eighteenth-century philosopher, it is clear that the would-be intellectual claims to be the teacher and the advocate of political [End Page 85] freedom, of the rights of the person, the architect of a transparent society in which the individual and the citizen coincide.“Doubtless,” added Châtelet, “one aspect or another prevails on him, according to the circumstances; but a certain structure subsists, which may allow us to define, superficially and differentially, intellectuals as a group and an agency” [my emphasis].Beginning with this definition, I would like to examine the following questions: What is the status of intellectuals in a country like Algeria? How can it be explained that they have been and still are the victims of the violence that strikes them today?Given the current situation of international politics, the example of Algeria is inevitable, because in the opinion of numerous analysts what is happening in that country is a test case, a limit case that may serve as an indicator of what the future holds for the formerly colonized countries. For many analysts, the evolution of the political situation in Algeria may also serve as an analytical operator in the large ideological movements that are shaking not only the countries of the Maghreb but also the Arab-Muslim world in its totality. And in... (shrink)

Starting from the observation that women artists who die by suicide are an object of fascination in Western culture, this article posits the existence of a ›cultural myth of the suicidal authoress‹, which it examines via an analysis of three fictional representations of historical women writers who died by suicide or were suspected of having done so: Christa Wolf’s novella Kein Ort. Nirgends, Werner Schroeter’s film Malina – which is interpreted as a portrait of Ingeborg Bachmann – and (...) Karin Struck’s Ingeborg B.: Duell mit dem Spiegelbild. Drawing on the concept of the diva as developed by Elisabeth Bronfen and Barbara Straumann, it argues that the key to the cultural appeal of the figure of the suicidal women artist lies in what is perceived to be her unusual authenticity: her life and work are perceived to be one, and her suicide is interpreted as a guarantee of her authenticity as both a person and an artist. The article also explores possible reasons for the gendered nature of this myth and asks whether literary or filmic representations of suicidal women artists do an injustice to their subjects by identifying them so persistently with their deaths. (shrink)

Der Schwerpunkt des diesjahrigen Bandes steht unter dem Titel "Medien und Medizin" und vereint die Ergebnisse einer 2009 in der Carl Friedrich von Siemens Stiftung Munchen ausgerichteten Tagung. Hinzu kommen Originalbeitrage zu Louis Pasteur und der Neuerfindung des Lebens sowie zu der Autorin Christa Wolf. Die Essays behandeln die Bibliothek des Bundesverbandes deutscher Schriftstellerarzte e.V. sowie den Literat und Psychiater Mario Tobino. Wie immer schliessen sich zahlreiche Rezensionen aktueller Publikationen an.

Jean Baudrillard has posited a theory of ‘the precession of simulacra’, arguing that it is no longer possible to tell the difference between an image and the meaning it purports to represent because technology allows the image to precede its meaning. Christa Wolf, while researching Cassandra: A Novel and Four Essays (1984), traveled to Greece and discovered the ways in which language in the rational, Western model of civilization has been distorted. Both Baudrillard and Wolf are disturbed (...) by the ways in which sign systems can be manipulated and generated, and both demonstrate the effect this has in the political and cultural arenas. This analysis intends to show how Baudrillard’s theories play out in Wolf’s narrative, and how Wolf resolves the problems thus posed through the shock of the aesthetic experience, which forces communication while it defies representation. (shrink)

Der Aufsatz beschäftigt sich am Beispiel des deutschen "Kopftuchstreits" mit der rechtlich-politischen Auseinandersetzung um subjektive Rechte innerhalb des liberalen Rechtsstaats. Wie Christoph Menke in seiner Deutung der für den politischen Liberalismus wesentlichen politischen Konflikte gezeigt hat, bezieht sich diese Auseinandersetzung vorrangig auf zwei Fragen: Wer sollte Anspruch darauf genießen, ein politisches Subjekt zu sein, das heißt, als Gleiche oder Gleicher berücksichtigt zu werden? Welche Ansprüche politischer Subjekte könneen als schützenswerte Verwirklichung subjektiver Rechte gelten? Der vorliegende Beitrag beschäftigt sich vorwiegend mit (...) der Frage, wie die politischen Konflikte des letztgenannten Typs auf die rechtliche Auseinandersetzung um Grundrechte abfärben. Damit wende ich mich gegen ein Verständnis der Grundrechte, das diese als Garant der ethischen Neutralität eines liberalen Gemeinwesens ansieht. Ich möchte zeigen, dass der Sinn subjektiver Rechte in der liberalen Demokratie zwar unter anderem genau darin besteht, dass sie partikulare ethische Wertvorstellungen neutralisieren und die Bürgerinnen und Bürger innerhalb eines vernünftigen Rahmens vor Unterdrückung schützen. Wie eine Analyse der Entscheidungen des Bundesverfassungsgerichts (BVerfG) zum "Kopftuchstreit" zeigt, wird diese Funktion aber stets zugleich durch die partikulare Interpretation gleicher Rechte unterminiert. Dies bezeichne ich als die Dekonstruktion der Neutralität, die sich im Recht vollzieht. (shrink)

This collection of essays was devised by the author to study how anthropology brought the study of complex societies and world systems in to its purview.

RésuméJohn Rawls et Asha Bhandary utilisent les conditions de justice définies par David Hume pour encadrer le choix de la position originale à partir de laquelle les principes de justice sont sélectionnés. Utiliser les conditions de Hume de cette manière exclut de la représentation ceux qui ne sont pas des coopérateurs à part entière, y compris les personnes qui ont besoin de soins de dépendance pendant toute la vie. Cela implique que la demande de soins de ces personnes n'est pas (...) une revendication fondamentale de justice, mais qu'elle doit avoir une priorité nettement inférieure. Cet article soutient qu'une théorie libérale appropriée de la prise en charge de la dépendance abandonnera ce cadrage humien et traitera la demande de prise en charge de la dépendance comme une exigence fondamentale de justice. (shrink)

Bergson’s influential discussion of durée—the concept at the heart of his dynamic view of time’s reality—emerges from an inquiry into the nature of temporal experience. In this chapter, I outline Bergson’s view of the non-inferential or immediate experience of time, and mark out the place of durée within his account. I underscore the relation between Bergson’s controversial argument concerning number and his view of temporal experience, and contrast Bergson’s notion of ‘immediate experience’ with immediacy as typically understood in contemporary thought. (...) Bergson’s view of the experience of time, I suggest, is a dual-aspect theory in which durée is accorded a fundamental role in relation to the temporal properties of succession, intervals, and simultaneity. (shrink)

Atish R. Ghosh is Chief of the Policy Review Division of the Policy Development and Review Department of the International Monetary Fund.

Für Aristoteles ist das Kontinuum ein potentiell Unendliches. Dieser Unendlichkeitsbegriff, den er neben dem prozessualen und aktualen einführte, wurde im Laufe der Philosophiegeschichte nicht mehr berücksichtigt. So verwenden ihn u.a. weder Kant noch Weyl in ihren Kontinuumsbetrachtungen, obwohl ihr Kontinuumsverständnis ihn geradezu nahelegt. - In dieser Arbeit werden zum einen die ontologischen Kontinuumslehren des Aristoteles und späterer Philosophen und Mathematiker behandelt, zum anderen erfährt die von Aristoteles im 6. Buch der «Physik» vorgelegte strukturelle Kontinuumsuntersuchung eine eingehende Würdigung.