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"Magie des Zerfalls" - Der geopoetische Kosmos des Andrzej Stasiuk
Magisterarbeit aus dem Jahr 2007 im Fachbereich Russistik / Slavistik, Note: 1,3, Humboldt-Universität zu Berlin (Institut für Slawistik), Sprache: Deutsch, Abstract: Im Zuge der vielfältigen Globalisierungsdiskurse der 90er Jahre ist die Kategorie des Raumes auch in den Literaturwissenschaften wieder in den Blickpunkt des Interesses gerückt. Die seit Lessing postulierte These von der Literatur als zeitlicher Kunstform musste angesichts der immer zahlreicher erscheinenden Erzählwerke, die einen starken räumlichen Bezug aufweisen, allmählich redigiert werden. V.a. unter ostmitteleuropäischen Schriftstellern und Intellektuellen wurde nach dem Fall des Eisernen Vorhangs die eng mit der ...
Polityka
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Quo Vadis
Quo Vadis: A Narrative of the Time of Nero was first published in Polish as Quo vadis. Powieść z czasów Nerona. Among Henryk Sienkiewicz’s inspirations was the painting Nero’s Torches (Pochodnie Nerona) by fellow Pole Henryk Siemiradzki; the painting, which depicts cruel persecution of Christians, serves as the cover art for this ebook edition. Sienkiewicz incorporates extensive historical detail into the plot, and notable historical figures serve as prominent characters, including the apostles Simon Peter and Paul of Tarsus, Gaius Petronius Arbiter, Ofonius Tigellinus, and the infamous Nero himself. Sienkiewicz used the historical basis of the novel as an opportunity to describe in d...
Marcos Montes
Un obrero perdido en una mina de oro intenta salir a la superficie a toda costa, a pesar de las incontables y cada vez más estrambóticas dificultades que van surgiendo en su camino. David Monteagudo, maestro indiscutible de las letras del género contemporáneo en España, se sirve de esta premisa para contarnos una parábola sobre el perdón, la redención y las insondables profundidades del alma humana. David Monteagudo es un autor nacido en Lugo en 1962. Siempre aficionado a la literatura aunque con otra profesión del todo distinta, en 2009 se animó a escribir su primera novela, Fin, que resultó un éxito absoluto de ventas y crítica. Desde entonces se ha convertido en uno de los autores indispensables de las letras españolas contemporáneas. Sus obras han sido traducidas al francés, alemán, holandés, italiano, catalán y ruso.
The Soil
A major, never before translated novel by the author of Mujông / The Heartless—often called the first modern Korean novel—The Soil tells the story of an idealist dedicating his life to helping the inhabitants of the rural community in which he was raised. Striving to influence the poor farmers of the time to improve their lots, become self-reliant, and thus indirectly change the reality of colonial life on the Korean peninsula, The Soil was vitally important to the social movements of the time, echoing the effects and reception of such English-language novels as Upton Sinclair's The Jungle.
Stingray
Hailed by critics, Stingray has been described by its author as "a critical biography of my loving mother." With his father having abandoned his family for another woman, Se-young and his mother are forced to subsist on their own in the harsh environment of a small Korean farming village in the 1950s. Determined to wait for her husband's return, Se-young's mother hangs a dried stingray on the kitchen doorjamb; to her, it's a reminder of the fact that she still has a husband, and that she must behave as a married woman would, despite all. Also, she claims, when the family is reunited, the fish will be their first, celebratory meal together. But when a beggar girl, Sam-rae, sneaks into their house during a blizzard, the first thing she does is eat the stingray, and what follows is a struggle, at once sentimental and ideological, for the soul of the household.
No One Writes Back
Communication—or the lack thereof—is the subject of this sly update of the picaresque. No One Writes Back is the story of a young man who leaves home with only his blind dog, an MP3 player, and a book, traveling aimlessly for three years, from motel to motel, meeting people on the road. Rather than learn the names of his fellow travelers—or invent nicknames for them—he assigns them numbers. There's 239, for example, who once dreamed of being a poet, but who now only reads her poems to a friend in a coma; there's 109, who rides trains endlessly because of a broken heart; and 32, who's already decided to commit suicide. The narrator writes letters to these men and women in the hope that he can console them in their various miseries, as well as keep a record of his own experiences: "A letter is like a journal entry for me, except that it gets sent to other people." No one writes back, of course, but that doesn't mean that there isn't some hope that one of them will, someday . . .
