Erläuterungen zu Baudelaires La Fausse Monnaie aus den Petits Poèms en Prose (German Edition)

An illuminated manuscript from the eighth century, the famous Lindisfarne Gospel , has come down to us and is today regarded as one of the finest examples of Anglo-Saxon art. Other monasteries like Monkwearmouth and Jarrow, where Bede spent his monastic life, were long renowned for their learning. In the first centuries after their arrival in England, the Anglo-Saxons founded a series of kingdoms which were in a state of almost permanent warfare.

Anglo-Saxon society was a warrior society and the loyalty between a lord and his retainers was crucial, and this did not change with Christianization. The famous poem Beowulf clearly gives an impression of what a royal court of the seventh or eighth century might have looked like. Their number and loyalty are crucial to royal power. Most of them were fought to death and retainers were expected to follow and support their lords. Many Anglo- Saxon noblemen and even kings, who had lost battles, were driven into exile because of feuds.

The early kingdoms were permanently aspiring to enlarge their spheres of control. For example, we hear of kings of Wight, of the West Midland kingdoms of the Hwicce and the Magonsaete , and of Lindsey. There were probably others of whom we know nothing. Even though Anglo-Saxon society often seems brutal and archaic, it was far from primi- tive. When the first Germanic tribes arrived in England, they found Roman cities, a Roman infrastructure and hangovers of Roman administration which was apparently upheld by the remaining Britons.

We do not know to which extent the conquerors took over governmental structures from the Britons, but there must have remained some sort of administration. Anglo-Saxon rule over Britain lasted more than five centuries, a period as long as from Reformation time until the present day. It is evident that significant changes in society and administration must have taken place during this period. In the course of the Viking Wars in the ninth and tenth century the country was united under the supremacy of the West Saxon kings and considerable progress was made as to the efficiency of administration and national defence.

Anglo-Saxon England had written laws but no such thing like a con- stitution. Loyalty was always linked to real persons, not to the abstract concept of a nation--a term which was coined much later in history. The great magnates were the vassals of their lord the king; they would, in turn, have a number of ordinary warriors sub- ordinate to them. One of the most outstanding personalities of the Anglo-Saxon period was a monk named Bede. Being sent to the twin monastery of Monkwearmouth and Jarrow as a young boy, he spent almost all his life in this monastery in North East England which at that time was the prospering kingdom of Northumbria.

Monkwearmouth-Jarrow was founded in by Benedict Biscop, a Northumbrian nobleman, who had renounced the world and travelled for many years throughout Europe before returning to Northumbria. He brought not only craftsmen from the Continent but also new ideas from the most distinguished monasteries in Gaul and Italy and, above all, a large number of Christian books, manuscripts and pictures. Bede received an excellent education which, at that time, meant a classical education based on Latin grammarians and other Latin authors including the fathers of church, Pliny the Elder, Virgil, Ovid and Horace.

It is thus not surprising that Bede wrote almost only in Latin. It must have been hard though for a young Anglo-Saxon coming from an illiterate background to cope with both learning a foreign language astonishing it is what he achieved in his lifetime: What he is most renowned for today is a monumental work in five books called Historia ecclesiastica gentis Anglorum , or An Ecclesiastical History of the English People.

This work con- tains most of the information we have today about English history before the Norman Con- quest and it also formed the basis of the Anglo-Saxon Chronicle , which was initiated by king Alfred years later. The new faith brought with it the book, both as a means of communication and as an object of devoted decoration. It also brought building and carving in stone. Though the analogy should not be pressed, an age which has seen the advent of the microchip and prestressed concrete can appreciate what such changes can mean.

Since the late eighth century Viking marauders from Scandinavia had terrorized the coas- tal regions of all western Europe, especially England and the north coast of France. At the be- ginning their aim was not to conquer new territories, but to plunder and devastate rich cities and especially monasteries. After a century of spontaneous raids, the Vikings sought to find land where they could settle.

As England was lacking a strong central power in the middle of the ninth century, the Anglo-Saxon kings were unable to defeat the Vikings. In the following decades they settled in large numbers in East Anglia, Mercia and Northumbria. Their settlement was so numerous and overwhelming that the Anglo-Saxons could not but accept it.

A line was drawn from Chester in the North downward to the mouth of the river Thames, and the realm north-east of it was given to the Danes. Burrow and Turville-Petre For a period of almost a hun- dred years parts of Mercia, Essex and Northumbria and all of Anglia fell under Danish rule and Danish law. It is argued that medieval chroniclers were always prone to exaggerate numbers and the extent of any disaster. Ocean-going Viking ships could not carry more than 30 men, and fewer if horses, camp followers and prisoners were also on board as we know they were in the s.

The numerous Scandinavian place-names of the Danelaw. In the ninth century the House of Wessex gained hegemony in England. When King Alfred ascended the throne in , he was faced with huge problems. The Vikings were about to bring the whole country under their control. King Alfred was not only a political and military genius, he was also a learned man. Unlike most medieval kings, Alfred was able to read and write both English and Latin. He was fully aware of the advantages of literacy, and he realized that the Viking Wars had not just brought about physical devastation but also mental and cultural deterioration.

Among the clergy the level of Latin had declined dramatically since the days of Bede, and Alfred feared for Christian learning in England. He started a programme to revive education promoting primarily the vernacular. During his reign and after his death the production of Old Eng- lish manuscripts increased considerably. The Anglo-Saxon Chronicle, a work which had been initiated by Alfred, was continued as far as the 12th century.

The movement started on the continent and quickly spread over Lotharingia, Burgundy and the lower Rhineland. The main objective of the reformers was to give the Church more independence and discipline, and to bring monasticism back to the strict rule of St Benedict. Wessex was the centre of the reform movement and the reformers had the support of the king. Geschichte Europa - and.

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English Language and Literature Studies - Linguistics. Theologie - Historische Theologie, Kirchengeschichte. Romanistik - Italienische u. Sardische Sprache, Literatur, Landeskunde. GRIN Publishing, located in Munich, Germany, has specialized since its foundation in in the publication of academic ebooks and books. It was a great time for me. I was feeling independent and like an actual researcher for the first time. I sent my advisor an email from New Jersey, just after returning from a trip to Israel and stopping off at a friends house for a Friday night: This was a natural connection for me to make with Pizarnik since I grew up in a Jewish, Spanish-speaking household.

This is what has been the focus of my work, translating and reimagining Pizarnik so as to make her intelligible to the world in which I bring her across and into. In this thesis the reader will find the fruit of a year of research, writing and translating. In the first chapter we see the existing critical and popular visions of Pizarnik outlined, as well as the ways in which I move to envision or reimagine her. In the second chapter I go through close reading of primarily prose poems that encounter the themes of Judaism, language, and childhood in a meaningful way.

Finally, in the third chapter are translations I wrote of five works by the author, four never before translated. I am both satisfied and unsatisfied with this thesis that grew from my research period. Alejandra Pizarnik was born in Buenos Aires on April 29, Fascism had been on the rise in Europe. Broadly, many European countries were still struggling, navigating the repercussions of the First World War. Now they had to overcome the challenge of forging a life in a Spanish-speaking land when the couple spoke only Russian and Yiddish.

This was additional to their attendance at School Number 7, the public school of Avellaneda. During those times her father liked to listen to music and play the violin; he passed on his interest in Edith Piaf and others to Alejandra. During her childhood, Alejandra suffered from asthma, acne, and a slight stutter. She also struggled to keep her weight down, a difference from her sister who was naturally thin. Trying to adjust her weight, Alejandra began consuming amphetamines, which later became an addiction and led to her familiarity with pills.

Her parents were lenient and as an adolescent she was free to dress how she liked and her father was very amiable towards her friends. In , she enrolled in the University of Buenos Aires. There she studied philosophy, journalism and literature and got involved with the crowd of Peronist-supporting progressives and artists. From to Alejandra lived and studied in Paris. At the Sorbonne she matriculated in history of religion and contemporary French literature.

It was a very active and exciting time for the artist. Her only stable job was one she got thanks to friend Octavio Paz, the Mexican Ambassador to France at the time; Pizarnik wrote for the magazine Cuadernos para la Libertad de la Cultura. However, Pizarnik did not enjoy writing for Cuadernos , calling it too bureaucratic for her tastes.

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Pizarnik returned to Buenos Aires in This event brought with it a new era for Pizarnik. She turned thirty the following April. Nevertheless, she began to undertake more work and felt renewed interest in her own Judaism and Jewish writers and texts. In she was awarded a Guggenheim fellowship, and in a Fulbright scholarship. She traveled to New York City briefly and returned to Paris. However, in Paris she returned to a place where she was once happy, only to find a city where she no longer felt at home.

It was no longer the literary haven she had once loved. Finally, on September 25, , at the age of thirty six, on a weekend break from the hospital in Buenos Aires where she was a warden, Pizarnik took fifty pills of Seconal and died, fulfilling her long-standing desire to cease to exist. Reeditado en por Ed. Editorial Lumen, - Diarios. Alejandra Pizarnik is well known in literary circles in South America, France and Spain, with an even broader following in Argentina, yet remains obscure here in the U.

S for the non-specialist. For readers new to Pizarnik, it is important to specify some of the ways she has been imagined, or represented by herself and others, up to this point. While, of course, I will not attempt a comprehensive summary of the innumerable dissertations, articles and websites devoted to Pizarnik, this chapter will offer a brief, concise summary of the images of Pizarnik I have come across during my research period.

The images I came across took primarily three forms: These potentially sensationalized [5] aspects of Pizarnik as an artist are often emphasized at the expense of more social-cultural and historical aspects of her work and personality, such as her upbringing and milieu Garcia-Moreno The outsider aspects—Pizarnik the poeta maldita , Pizarnik the suicide poet, Pizarnik the surrealist, Pizarnik the depressive narcissist—so emphasized, are the image of Pizarnik most readers have in mind: The dark, cigarette smoking, sexually ambiguous, adolescent poet with a love of French culture.

As the foundation for these claims I draw on the recently released, and so less discussed, posthumously published, Diarios and Prosa Completa While we may never know another completely, we can ask, as a point of departure, who is Alejandra Pizarnik? The answer, in short, is yes and no. Yes, her primary medium was language, evidenced by her many poems, essays, and translations.

Yet, she was an artist in the twentieth-century conception of the modern artist, which I see as having an extremely reflexive and creative role in society or one might argue outside of it [6]. Here, we will look into the images [7] of Pizarnik that have been canonized, in a sense, by her critics and readers. To begin, in the images below we can note, visually, her provocative self-fashioning [8]:. In the images we see that there was a performative aspect to her body of work.

She was a kind of performance artist who resists categorization as exclusively writer or poet. We tend to imagine writers behind a typewriter or these days, computer. Perhaps we are exposed to them only in their headshot on the back cover of their book or in a magazine. However, this is not the case for Pizarnik. In fact, the images above are only a few of the many photographic images published of Pizarnik. The publication of this book in testifies to her iconic status in Argentina, as well as to just how alluring images of Pizarnik continue to be for certain audiences.

Particularly, in the photos above it is interesting to note her subdued playfulness and avant-garde sensibilities. These photos must have been shocking when they came out in s Argentina with their bizarre and enigmatic qualities [9]. Notice that she sits without pants, as if she were a child and such things were normal. Notice the way she is positioned, almost sitting on the knee of the male figure besides her. Notice the leading lines: Notice the way his mouth and ears are covered. After looking at the image with this level of scrutiny it is transformed, becoming slightly disturbing instead of only silly or just playful.

In addition, a common trait shared by all of the photos above is that they appear to have been staged. These props embellish the images moving them into the realm of the absurd.

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Another important aspect is that each image includes a book or books, framing Pizarnik as a reader, writer and intellectual. Her ability to promote this image and network with fellow artists is clearly evident from her diaries, letters to friends, and biography.

Whereas this notion may go against the way we generally perceive of her as reclusive, one can be confident that her ties to other artists has contributed to her lasting fame and publication. Of course, that is not to diminish the quality of her work, without which her success would have been impossible.

Now, I am writing for me? Here, Pizarnik questions the intimacy of her diary, to which we can reply, now, implicitly as readers, that we are also here. Scholars and critics often align her poetic and creative works as opposed to her expository or journalistic work with a dark and transgressive strain of experimental avant-gardism, one that Latin American artists of her time re-casted from the French, anti-tradition of the poetas malditos.

Born in Uruguay to French parents, he later returned to France where he wrote his seminal work, Les Chants de Maldoror , often described as the first surrealist book. An ethic that critics say Pizarnik configured her life around. It is tempting to try and imagine what kind of work Pizarnik would have gone on to write had she not committed suicide. The casual reader of Pizarnik is likely more aware of the details of her death than of her poetics. When we abstract the narrative, we see it is not unlike the story and death of Marilyn Monroe: The female artist suffers from drug use, an excess of success, depressive tendencies and an obsession with her image.

She wishes to remain forever young. Then she dies from a drug overdose and audiences are left wondering if it was accidental or purposeful. Either way, the image of the artist is then set unalterably as the face and body of the young women at or before the time of death.

The question is why is the public so obsessed with this kind of narrative? Why are we so attracted to it? I would answer that this kind of narrative attracts and repels us with its drama and eroticism. Potently, the imagination is captured by the image of youthful beauty, soiled with blood. This is why if one searches for images of Alejandra Pizarnik on the Internet, one finds much fan art of this sort:.

Aesthetically, the image quality bears resemblance to computer graphics because it is digital. In a way, the image says we are haunted and intrigued by what we cannot understand: Returning to our earlier discussion, for Monroe and Pizarnik their talent led to death. In other words, they burned. Is this some kind of warning in popular culture, as in do not become an eccentric, do not be beautiful, sensitive and willing? We want to watch the spectacle but we, as in the public, are unwilling to go there ourselves. Ultimately, giving too much of yourself to the public will become forced stasis, forming an image which becomes like a cell and the person beneath, a bipolar inmate.

They are surrounded by the images of themselves and their identity ceases to belong to them, but instead belongs to the public, hence they are trapped in their image as it is reflected back to them in the public eye. Old age would have been a kind of death for these figures anyway—of the myth of their ideal and darkly alluring beauty.

Her presence in this anthology situates her within the canonized group of homosexual intellectuals of the twentieth century. According to the passage on Pizarnik, there have been a number of queer readings of her work, such as Entiendes? Queer Readings, Hispanic Writings.

Translating and Reimagining - Recovering Pizarnik in her late Prose Works

In The Look that Kills: If we do not see Pizarnik talking directly about her lesbianism in her diary entries, we can read, at least, her radical sexual morality and behaviors. Only with isolated nights, prior experiments. Por ciertos gestos, ciertas palabras, y pierdo conciencia, y estoy ebria cuando me desnudan, algo lejano y presente.

Se repite lo que no se vio nunca. Siempre hago el amor por primera vez. Y a veces lo abandono por miedo. Translation is my own. Why is it that the love of someone fills me with hate for this someone and why the indifference of anybody who fascinates me? Still if all goes more or less serenely I need, every two or three months, a night of collapse […] A sexual night is agony, is death and is the only happiness.

But certain gestures, certain words, and I lose consciousness, and I am drunk when they undress me, kind of distant and present.

They repeat that they saw nothing. Always, I make love for the first time. My surprise, my undoing, my asphyxia, my liberation. I am a coward. The sexual, for me, is the only path of initiation. And at times I abandon it for fear. The way asceticism is for others, the sexual is for me. In the above passage from , Pizarnik speaks about her sexuality and questions of sexual morality. Typical for Pizarnik, she is ambiguous and does not include concrete details.