Jostein Gaarders philosophischer Roman Sofies Welt war in den 1990er Jahren äußerst populär, nicht nur bei Kindern. Der Aufsatz versucht der Besonderheit des Textes nachzuspüren, indem er speziell den Aspekt der Reise und des Traums in den Blick nimmt. Dabei argumentiere ich, dass gerade die Kombination dieser beiden Elemente in Verbindung mit der Lehre von Philosophiegeschichte grundlegende Eigenschaften des Erzählens an sich, wie Illusion und Weltenkonstruktion, offenbart. Neben einer ‘Bildungsreise’ erleben die Leser so die Illustration philosophischer Fragestellungen wie des ontologischen Grundgedankens von der ‘Welt als Traum’. Schlagwörter: philosophischer Roman, Konstruktivismus, Ontologie, Traum, Reise, Erzählen
Today, world literature can be understood as including the literatures of the world, especially those that have been underrepresented before. It may also be associated with other arts such as painting and examine intertextual and intermedial relations to the construct of "the canon". Therefore, in this essay, I examine the role of ekphrasis in Louise Erdrich's artist novel Shadow Tag (2010) with the help of Laura Eidt's typology for the analysis of ekphrases in literature and film. In the novel, fictional paintings are depicted as well as real works discussed, amongst others those of George Catlin in contrast to Native American Art. Ekphrasis in Shadow Tag is closely related to the often-difficult intra-familial relations, namely between painter--protagonist Gil and his wife and muse Irene. Gil's artwork in general, and specifically his "America" series are connected to the topic of colonialism, as his paintings evoke images of the exploited indigenous (Native American) body as well as to the topic of gender relations. Gil's attitude towards his work and his muse shifts between attraction and repulsion, thereby fuelling his painting, whereas Irene experiences a growing discontent. The ekphrases are strongly influenced by the respective narrative focaliser, often to such an extent that depiction and depicted cannot be distinguished. This immanent topic of perception is multiplied in Irene's writing and the narrative construction of the text. RESUMO:A literatura-mundo pode ser hoje entendida como incluindo as literaturas do mundo, especialmente as literaturas que têm sido sub-representadas. Pode também estar associada a outras artes, como a pintura, e examinar relações intertextuais e intermediais para a construção do "cânone". Assim, examino neste ensaio o papel da écfrase no romance Shadow Tag (2010), da artista Louise Erdrich, com a ajuda da tipologia de Laura Eidt para a análise das écfrases na literatura e no cinema. Neste romance, são retratadas pinturas fictícias, bem como são discutidas obras reais, tais como, entre outras, as de George Catlin, em contraste com a Arte Nativa Americana. Em Shadow Tag, a écfrase está intimamente ligada às frequentemente difíceis relações intra-familiares, nomeadamente entre o pintor protagonista, Gil, e a sua esposa e musa, Irene. As obras de arte de Gil, em geral, e especificamente a sua série "América", estão ligadas ao tema do colonialismo, uma vez que as suas pinturas evocam imagens do corpo indígena (nativo-americano) explorado, bem como ao tema das relações de género. A atitude de Gil para com a sua obra e a sua musa oscila entre a atracção e a repulsa, alimentando assim a sua pintura, enquanto Irene experiencia um descontentamento crescente. As écfrases são fortemente influenciadas pelo respectivo focalizador narrativo, muitas vezes ao ponto de a representação e o retrato não se poderem distinguir. Este tema imanente da percepção é desenvolvido na escrita de Irene e na construção narrativa do texto.
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