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1
Newman, Jane O. "The Gospel according to Auerbach." PMLA/Publications of the Modern Language Association of America 135, no. 3 (May 2020): 455–73. http://dx.doi.org/10.1632/pmla.2020.135.3.455.
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Erich Auerbach's Mimesis (1946) can usefully be read in the context of the Christian existentialist thought to which Auerbach was exposed during his years as a professor at the University of Marburg between 1929 and 1935–36. Specifically, placing Auerbach's account of Peter's denial of Christ as related in the Gospel of Mark in conversation with the work of Auerbach's Marburg colleague Rudolf Bultmann (1884–1976) helps us to understand Auerbach's indebtedness to Bultmann and to see Mimesis in new ways, as a project with a longer collaborative history that concerns not only literary “realism” but also the dargestellte Wirklichkeit (“represented reality”) of the finitude of the human condition. Acknowledging the importance of early-twentieth-century Christian existentialism in Germany for Auerbach's work helps explain the affective hold that Mimesis has had on lay and professional readers alike.
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Newman, Jane O., and Ron Sadan. "The World’s Literatures." Comparative Literature 74, no. 4 (December 1, 2022): 381–403. http://dx.doi.org/10.1215/00104124-9989204.
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Abstract Erich Auerbach (1892–1957), best known as the author of Mimesis: Dargestellte Wirklichkeit in der abendländischen Literatur (1946; Mimesis: The Representation of Reality in Western Literature, 1953), wrote about the eighteenth-century philologist and philosopher of history Giambattista Vico (1668–1744) fifteen times over the course of his life. The translations offered here are among the earliest of these writings. These early essays on Vico refine the picture both of Auerbach himself and of the significance of his work for comparative literary studies today in important ways. First, they allow a reconsideration of the progressivist literary historical secularization thesis often claimed for Auerbach’s oeuvre writ large. Second, they display Auerbach’s early aspiration to reach “ein allgemeineres Publikum” (a more general public) through his work as a “Schriftsteller” (writer). Finally, they open a window onto the Vichian calculus upon which his assessment of the texts discussed in Mimesis may have been based. The modes of representation (Darstellung) Auerbach favored may thus be understood not as part of a restrictive canon but rather as examples of the human “Schauspiel” (drama) and fateful “Lage . . . der Menschen” (human condition) in a world whose literatures reach far beyond the European archive enshrined in Mimesis.
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Ette, Ottmar. "Mi primera lectura académica: Mimesis, de Erich Auerbach." Alabe Revista de Investigación sobre Lectura y Escritura 11, no. 22 (July 1, 2020): 1–4. http://dx.doi.org/10.15645/alabe2020.22.13.
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Sabatos, Charles. "Crossing the “Exaggerated Boundaries” of Black Sea Culture: Turkish Themes in the Work of Odessa Natives Ilf and Petrov." New Perspectives on Turkey 24 (2001): 83–104. http://dx.doi.org/10.1017/s0896634600003502.
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One of the most significant developments in literary studies over the last twenty years has been the postcolonial discourse that emerged with Edward Said's groundbreaking Orientalism, which has been enormously beneficial in heightening awareness of a set of Western assumptions that had gone virtually unquestioned for centuries.One of Said's role models, whom he mentions in both Orientalism and Culture and Imperialism and discusses at greatest length in his essay “Secular Criticism,” is Erich Auerbach, the Jewish-German scholar who wrote the literary history Mimesis during his exile in Istanbul. Auerbach's own explanation of his situation in exile occurs at the very end of Mimesis: “I may also mention that the book was written during the war and at Istanbul, where the libraries are not equipped for European studies …. On the other hand, it is quite possible that the book owes its existence to just this lack of a rich and specialized library” (Auerbach 1953, p. 557).
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Leśniak, Sławomir. "„Aus der Mitte seiner Bildwelt“. Zwischen mimetischer und simulativer Darstellungsweise bei Franz Kafka." Studia Germanica Gedanensia, no. 40 (December 22, 2019): 194–206. http://dx.doi.org/10.26881/sgg.2019.40.16.
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Die Arbeit stellt einen Versuch dar, das fotografische Bild und die Körpermetapher in der Prosa Franz Kafkas als simulative und mimetische Darstellungsregister auszuweisen, die vom Leser zweierlei Empfangsarten verlangen: den Nach-Vollzug des darin inszenierten Phantomisierungs- und Verkörperungsvorgangs. Die Werke Kafkas, so die These der Arbeit, exemplifizieren damit auf eminente Weise die Vieldeutigkeit und Komplexität von Mimesis und Simulation, die auch den poetologischen Theorien von Erich Auerbach und Wolfgang Iser zugrunde liegt. Bei unterschiedlichen Voraussetzungen weisen die Positionen Auerbachs und Isers einen gemeinsamen Wesenspunkt auf, der ihrem dynamischen und prozessualen Charakter entspricht: den kreativen „Blick des Lesenden“. So treffen die poetologische Reflexion und die dichterische Darstellung bei Kafka zusammen.
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Egorova, L. V. "Erich Auerbach. Philology of world literature. Essays and letters." Voprosy literatury, no. 6 (March 22, 2022): 282–87. http://dx.doi.org/10.31425/0042-8795-2021-6-282-287.
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A review of the third book by Erich Auerbach that has been translated into Russian. The publication differs from the original, compiled by the German culturologist M. Bormuth, The Scar of Odysseus. Horizons of World Literature [Die Narbe des Odysseus: Horizonte der Weltliteratur]. Along with the first chapter of Mimesis (‘The scar on Odysseus’ leg’), the Russian edition also contains its final chapter ‘The brown stocking.’ The essays and selected correspondence appear in Russian for the first time. Auerbach’s essays on M. Montaigne, G. Vico, Dante, Virgil, and M. Proust demonstrate the panoramic view of literature from Homer and the Bible to modernism. Fourteen letters, including those addressed to W. Benjamin, E.Panofsky, T. Mann, and M. Buber, focus on exile, a topic on which Bormuth expounds as early as in the introduction. Bormuth’s explanatory notes for each letter help readers to understand the relationship between the correspondents as well as the historical background.
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Rabelo, Adriano de Paula. "Édipo e Noronha: um mito do esplendor à sarjeta." Pitágoras 500 8, no. 2 (November 1, 2018): 88–96. http://dx.doi.org/10.20396/pita.v8i2.8653876.
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O mito de Édipo possui uma longa trajetória de recriações ao longo da história do teatro ocidental, cada uma delas dialogando com seu momento histórico. Partindo da teorização de Erich Auerbach em Mimesis, este trabalho compara esse mito tal como expresso nas tragédiasÉdipo rei e Édipo em Colono, de Sófocles, de um lado, e Os sete gatinhos de Nelson Rodrigues, de outro, mostrando as diferenças de estatura dos dois protagonistas nas duas peças antigas e na moderna.
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Botelho, Marcos Cezar. "Edward Said/Erich Auerbach: humanismo mundano e fenomenologia do exílio." A Cor das Letras 18, no. 1 (June 3, 2017): 79. http://dx.doi.org/10.13102/cl.v18i1.1680.
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Para Edward Said, o exílio e a migração são operadores de leitura caros ao pensamento crítico dissonante. Na perspectiva daquilo que chamo de uma fenomenologia saidiana do exílio, o lócus enunciativo do exilado é, para o pensador palestino, um estilo ético que implica numa posicionalidade diferencial indispensável para a compreensão crítica do mundo atual. Como veremos neste artigo, mesmo que os personagens conceituais do humanismo mundano de Said sejam, por excelência, filósofos, escritores e pensadores que experimentaram a condição de exilados, “perspectivismo do exílio” é lido, contudo, como o valor heurístico de uma posicionalidade crítica sempre fora do lugar e disponível até mesmo para aqueles que não experimentaram diretamente a migração e o desterro. Em outras palavras, este artigo procura comentar a releitura que o pensador palestino realiza, em Humanismo e crítica democrática, de Mimesis, de Erich Auerbach, propondo que o ponto de diálogo entre esses autores esteja na potência que migração e exílio desempenharam em suas trajetórias críticas.
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Dembowski, Peter F. "Erich Auerbach, Mimesis: The Representation of Reality in Western Literature, ed. Edward Said." Romance Philology 58, no. 2 (January 2005): 313–22. http://dx.doi.org/10.1484/j.rph.2.304571.
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Araújo, Nabil. "Do passado como futuro da crítica: “competência performativa” e “formas de escrita” nos Estudos Literários." Aletria: Revista de Estudos de Literatura 29, no. 3 (September 30, 2019): 97–116. http://dx.doi.org/10.17851/2317-2096.29.3.97-116.
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A partir da clássica reflexão metacrítica de Northrop Frye na “Introdução polêmica” à sua Anatomia da crítica (1957), na qual o autor defende uma concepção de “crítica como ciência” contra a concepção de “crítica como literatura”, voltamo-nos para a recente reflexão metacrítica de Ottmar Ette em SaberSobreViver: a (o)missão da filologia (2015), na qual o autor propõe uma “história especializada das formas de escrita” nos Estudos Literários que efetue “uma perspectivação crítica de sua tradição”, visando à sua “reinvenção”. Relendo, em contraste com a leitura de Ette, as considerações metodológicas de Erich Auerbach em Mimesis (1946), apresentamos a concepção de método-como-jogo como inerente à “competência performativa” a ser promovida por uma nova formação estética (Bildung) no tempo presente.
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Torell, Örjan. "Fokus på fiktionen stoppar mordet på Mozart!" Tidskrift för litteraturvetenskap 40, no. 3-4 (January 1, 2010): 38–45. http://dx.doi.org/10.54797/tfl.v40i3-4.11917.
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How to Stop the Constant Killing of Mozart by Focusing Fictionality
This text is a slightly expanded version of a conference speech, delivered at the University of Umeå 2010-10-14. My purpose is to point out the didactic potential of Aristotle’s mimesis theory, and in particular the idea that the human ability to create fictional worlds constitutes a special way of understanding reality (or rather the notions of reality that we are provided with by our senses and rational thinking). This idea is seen as a prerequisite of the exceptionally dialogic character of Russian literary theory from Potebnya to Bakhtin, and in order to show what that dialogic attitude really means, the contrary formalistic position of Boris Shklovsky – and especially his inability to understand the Aristotelian standpoint of Potebnya – is discussed in some detail. Proposing literary transfer as a modern key to dialogic reading, I try to illustrate what it might contribute even to a super reading of Homer like the one Erich Auerbach carries through in his Mimesis. Finally, I point out, with examples from French scholar Jean-Marie Schaeffer, how make-believe-theory can help to restore the reader as a human being and the literary text as a work of art – and thereby to stop the still on-going killing of Mozart that the Russian formalists, according to Bakhtin (in his – or Mevedev’s? – »Scholarly Salierism«) committed themselves to so long ago.
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Quayson, Ato. "Periods versus Concepts: Space Making and the Question of Postcolonial Literary History." PMLA/Publications of the Modern Language Association of America 127, no. 2 (March 2012): 342–48. http://dx.doi.org/10.1632/pmla.2012.127.2.342.
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After being exiled from nazi germany and completing the extraordinary mimesis in istanbul in 1946, erich auerbach wrote from Princeton University in 1952, “Literary criticism now participates in a practical seminar on world history. … Our philological home is the earth: it can no longer be the nation.” Auerbach, who must be reckoned one of the great synthesists and literary historians of the twentieth century, was expressing a sentiment that will be familiar to anyone who has thought about world literature from a postcolonial perspective. While postcolonial literary studies may have helped define the parameters of the practical seminar on world history, its full implications are still somewhat obscured by the arguments about periodicity that are often taken as a terminological necessity in applications of the term postcolonial. This is the burden imposed by the temporalizing post-. However, closer scrutiny of the postcolonial suggests that it contains mutually reinforcing periodizing and spatial functions. Many of the most common ideas that circulate in the field, such as colonial encounter, neocolonialism, nationalism and postnationalism, hegemony, transnationalism, diasporas, and globalization, are organized around often unacknowledged spatial motifs. The concept of space that implicitly structures usages of postcolonialism is far from inert: there is an active dimension of spatializing in them that helps shape the field's distinctiveness. This is because even when the term is deployed exclusively for periodizing purposes, as in showing that the medieval period or Russia today is amenable to a postcolonial analysis, the nature of what is highlighted insistently invokes spatial practices. Once the spatial logic of postcolonialism is brought to the foreground, the complexity of its critical diagnostic as applied in the practical seminar on world history becomes clearer.
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Classen, Albrecht. "Philology Matters! Essays on the Art of Reading Slowly, ed. Harry Lönnroth. Medieval and Renaisscance Authors and Texts, 89. Leiden and Boston: Brill, 2017, xxxv, 223 pp., 15 color ill., 5 tables." Mediaevistik 31, no. 1 (January 1, 2018): 307–8. http://dx.doi.org/10.3726/med012018_307.
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The chosen title for this book, a collection of articles by Scandinavian medievalists, could not be more appropriate for our field, philology truly matters. This implies, as the subtitle indicates, that we read our texts carefully, meticulously, thoroughly, and slowly in order to gain the best possible insights (Nietzsche; here 15). As we all know, while every text represents a large range of challenges, older texts are even much more difficult to handle, whether we think of palaeographical issues, material difficulties, and linguistic and grammatical problems. Medieval Studies has always gone hand in hand with manuscript studies, so there is no question whether philology matters. It is a conditio sine qua non, but it might be relevant, after all, to re-examine the topic at hand once again and to investigate carefully what philology actually means and how it applies to everything we do in our medieval scholarship. It would be a very different question whether philology matters for the present generation, for non-medievalists, or for the modern academy, but this is not the prime purpose of this volume, although many contributors draw significantly from theoretical thinkers such as Friedrich Nietzsche (“Wir Philologen,” 1874/1875), Erich Auerbach (Mimesis, 1946), Ernst-Robert Curtius (Europäische Literatur und lateinisches Mittelalter, 1948), Paul de Man (Resistance to Theory, 1986), Hans-Georg Gadamer (Wahrheit und Methode: Grundzüge einer philosophischen Hermeneutik, 1973), and Edward Said (Humanism and Democratic Criticism, 2004).
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Barck, Karlheinz. "Mimesis, en la encrucijada del exilio de Eric Auerbach." Arbor CLXXXV, no. 739 (August 18, 2009): 909–17. http://dx.doi.org/10.3989/arbor.2009.739n1061.
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Norton, A. "The One Who "Taught Us How to Live on This Real Earth, without Any Conditions but Those of Life": Tracing the Influence of Michel de Montaigne on Erich Auerbach and Mimesis." Monatshefte 100, no. 4 (December 1, 2008): 504–18. http://dx.doi.org/10.1353/mon.0.0076.
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Landauer, Carl. ""Mimesis" and Erich Auerbach's Self-Mythologizing." German Studies Review 11, no. 1 (February 1988): 83. http://dx.doi.org/10.2307/1430835.
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Doran, Robert. "Literary History and the Sublime in Erich Auerbach's Mimesis." New Literary History 38, no. 2 (2007): 353–69. http://dx.doi.org/10.1353/nlh.2007.0029.
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Richards, Earl Jeffrey. "Erich Auerbach's Mimesis as a Meditation on the Shoah." German Politics and Society 19, no. 2 (June 1, 2001): 62–91. http://dx.doi.org/10.3167/104503001782385625.
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Within the enormous body of critical writings dedicated to literaryworks devoted to the Shoah, the possibility of its very representationand the problems arising in the potential deformation of memoryare frequent topics. In light of these issues, it might be helpful toexamine a well-known work of literary scholarship, Erich Auerbach’sMimesis, The Representation of Reality in Western Literature, writtenbetween May 1942 and April 1945, as a potentially overlookedexample of a highly sublimated allegorical meditation on the contemporarymurder of Europe’s Jews. Auerbach’s classic work, whichexplicitly takes literary representation as its central theme, seems touse carefully and subtly selected examples from western literature asfigures for current events.
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Hovind, J. "Figural Interpretation as Modernist Hermeneutics: The Rhetoric of Erich Auerbach's Mimesis." Comparative Literature 64, no. 3 (June 1, 2012): 257–69. http://dx.doi.org/10.1215/00104124-1672934.
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Largier, Niklaus. "Allegorie und Figuration. Figuraler Realismus bei Heinrich Seuse und Erich Auerbach." Paragrana 21, no. 2 (December 2012): 36–46. http://dx.doi.org/10.1524/para.2012.0023.
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Abstract In this essay I discuss the ways in which a Christian spiritual tradition negotiates the challenges of negative theology and the impossibility to access divine truth through the use of images and allegories. This use of images, however, remains paradoxical since it negates the representational character of the – seemingly highly mimetic and concrete – images in order to produce a specific presence of the divine word below the horizon of meaning and semantics. “Figural realism” refers to this practice of figuration, as it can be found, among others, in the writings of Henry Suso.
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Zakai, Avihu. "Constructing and Representing Reality: Hegel and the Making of Erich Auerbach’s Mimesis." Digital Philology: A Journal of Medieval Cultures 4, no. 1 (2015): 106–33. http://dx.doi.org/10.1353/dph.2015.0004.
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Redfield, James Adam. "Behind Auerbach's “Background”: Five Ways to Read What Biblical Narratives Don't Say." AJS Review 39, no. 1 (April 2015): 121–50. http://dx.doi.org/10.1017/s0364009414000671.
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The Hebrew Bible's narrative style has impressed interpreters of many periods and perspectives with its powerful tension between fragmentary speech and meaningful silence, summed up in Erich Auerbach's famous thesis that the Akedah is “fraught with background.” But is it possible to give a coherent account of what the Bible does not say? This article offers a comparative critical analysis of attempts to do just that, starting with Auerbach's Mimesis (1946) and continuing through the contemporary work of James Kugel, Robert Alter, Meir Sternberg, Avivah Zornberg, and others. It claims that, rather than the text itself, the Bible's “background” serves as a metaphor by which the biblical critic navigates a complex relationship with her own normative construct of the reader's mind. This comparison concludes with practical considerations about its potential for research and teaching in biblical poetics, understood as rigorous intersubjective communication, rather than as either method or ideology.
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Vander Weele, Michael. "The Question of Justice in the Novel of Consciousness." Religion and the Arts 24, no. 1-2 (April 22, 2020): 148–73. http://dx.doi.org/10.1163/15685292-02401004.
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Abstract Marilynne Robinson’s achievement in the third novel of the Iowa trilogy can be seen more clearly if measured against Erich Auerbach’s ambivalence about the novel of consciousness. Using Auerbach’s final chapter of Mimesis, on Virginia Woolf, as the horizon for Robinson’s work clarifies two points: Robinson’s work should be viewed within a novel-of-consciousness tradition that is as much European as American; and Robinson’s religious interests turn that tradition toward a more anthropological concern with the complexity of consciousness framed by the concern for justice. While Nicholas Damas’s recent essay in The Atlantic, “The New Fiction of Solitude” (April 2016), claimed that much new fiction “imagines teaching us how to be separate” and Walter Benjamin already wrote at mid-century that “the ability to exchange experiences” disappeared sometime after World War I, in Lila it is as if Marilynne Robinson set out to show both the difficulty and the possibilities of such exchange.
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Sherwood, Yvonne. "Abraham in London, Marburg-Istanbul and Israel: Between Theocracy and Democracy, Ancient Text and Modern State." Biblical Interpretation 16, no. 2 (2008): 105–53. http://dx.doi.org/10.1163/156851507x194251.
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AbstractThis article examines three occurrences of the sacrifice of Isaac in relatively recent cultural and political histories: the case of Godden versus Hales (England, 1686); Erich Auerbach's 'Odysseus' Scar' in Mimesis (Istanbul [Marburg], 1943-1945); and the use of the akedah as a political figure for the modern Israeli nation state. In these three very different cases the biblical narrative undergoes a theological-political translation and the God who issues the exceptional command to sacrifice becomes a figure for the sovereign and/or the state. Each political translation also calls forth critical responses in which the core question becomes the relationship of divine monarchy/state authority to freedom, or, to put it another way, of democracy or would-be 'democracy' to 'theocracy' and its various modern political correlates. By analysing these translations and responses, this essay explores how the questions as it were forced on us by Genesis 22 are not just religious, though they can be understood through the idioms of the religious. It concludes by asking whether such theological-political translations could be relevant to 'Biblical Studies Proper' as a more expansive discipline looks outwards to questions of religion, politics and ethics.
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KARABAŞOĞLU, İ̇sa İ̇lkay. "Katechon ile Saga Arasında: Erich Auerbach ve Mimesis." Divan: Disiplinlerarası Çalışmalar Dergisi, October 18, 2020. http://dx.doi.org/10.20519/divan.811965.
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Gabriel, Gottfried. "Die Wirklichkeitserkenntnis der Literatur." Scientia Poetica 19, no. 1 (January 27, 2015). http://dx.doi.org/10.1515/scipo-2015-0107.
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AbstractDespite using the concept of ›reality‹ (Wirklichkeit) in his book Mimesis Erich Auerbach fails to give an explanation of this concept. This lack of a theoretical reflection on the relation between reality and fiction is not to be taken as a symptom of the failed recognition of this distinction. Rather, its function is positive, namely, as an expression of a particular sense of reality. Auerbach is thus an ally against postmodern pan-fictionalism. For Auerbach, it is obvious not only that we have access to reality, but also that fiction makes an essential contribution to this access. Starting with an explication of Auerbach’s position, this article defends the cognitive value of fictional literature. Fiction conveys cognition when it successfully re-presents situations in which we are able to discover aspects of our own particular situation. Novelistic truth is not simply the truth of propositions in novels. Instead, it might be something like an adequate, or an exemplary, re-presentation (Vergegenwärtigung) of the conditio humana.
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Siassi, Guilan. "The Endless Reading of Interpretation? Said, Auerbach, and the Exilic Will to Criticism." PORTAL Journal of Multidisciplinary International Studies 2, no. 1 (March 7, 2005). http://dx.doi.org/10.5130/portal.v2i1.69.
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In this paper I consider how Edward Said elaborates his concept of exile—as both a physical displacement and as a hermeneutical situation or mode of critical activity—in a transhistorical dialogue with Erich Auerbach. In his efforts to delineate the interrelation between cultural discourses and historical ‘regimes of knowledge,’ Said shows intellectual exile (which gives rise to secular criticism) to be the preliminary step in a concrete act of cultural recuperation: namely the re-appropriation and mobilization of texts, through an exilic will to interpretation and synthesis. Through a close examination of Auerbach’s ‘Philology and Weltliteratur’ and Said’s ‘Secular Criticism’ I compare the writers’ consciousness of their worldly socio-political situations, their humanistic goals, and their readings of cultural history—which they evaluate in the form of literary representations and interpretations of reality. Said locates agency in the exile’s liminal situation, his ‘unhomely’ un-belonging, which affords him a unique perspective and a certain mobility of critical thought. He believes that Auerbach, in his cultural alienation as a Jew exiled to Istanbul during World War II, adopted such a threshold position and could thus exercise precisely this exilic will to criticism as he wrote his magisterial Mimesis. Through a ‘worldly self-situating’ between inside and outside and a refusal of all binding filiations or affiliations that would limit his ability to move freely between the two spaces, the secular critic following the model of Auerbach, can mediate contrapuntally between dominant and minority culture, challenge authority, and indeed, redistribute cultural capital to produce ‘non-coercive knowledge in the interests of human freedom.’ Exilic readings thus become a tool and weapon of resistance, which simultaneously enable a critical recovery of one’s lost world and a reconstitution of the cultural mythos of ‘home,’ to impart historical, or at least aesthetic, coherence to the traumatic experience of loss.
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"Mimesis and Attention: On Christian Sophrosyne." Forum Philosophicum 23, no. 2 (October 30, 2019): 259–74. http://dx.doi.org/10.35765/forphil.2018.2302.15.
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One might well wonder about the source of Girard’s knowledge. Where is it thought to have come from in the first place? From what vantage point are we supposed to be surveying the events he claims are originary? And what, then, is the condition for the very possibility of his Christian wisdom? In this paper, I argue that we can put forward a tentative solution by looking at one particular aspect of all the texts that Girard has interpreted: they are all written texts. Analyzing this in detail with the assistance of the proposals of Bernard Stiegler, I will claim that it is writing itself that has afforded us the possibility of paying attention. Moreover, in the second section, I shall also put forward an analysis of the gnoseological condition of the possibility of Christian wisdom. To do so, I expand on Stiegler’s reading of Kant’s notion of schema focusing on its relation with the hermeneutical notion of figura, as presented by Erich Auerbach. Commenting on the common rhetorical setting of both the Critique of Pure Rea- son and the Bible, I then show that these two written texts address a very similar problem—a critique of the way people judge—and also put forward, surprisingly, much the same solution: to properly judge, it would be better to take into account past examples of judgments and consider that, no matter whether we critique them or not, they will schematize our own experiences and influence our intentionality.
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Hausmann, Frank-Rutger. "Hugo Friedrich, Montaigne." Scientia Poetica 18, no. 1 (January 1, 2014). http://dx.doi.org/10.1515/scipo-2014-0112.
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AbstractIn the years immediately following the Second World War, three books written by German professors of Romance Philology were published in Switzerland: Mimesis by Erich Auerbach in 1946, European literature and the Middle Ages by Ernst Robert Curtius in 1948, and Montaigne by Hugo Friedrich in 1949. Even if the subjects of these studies and the approaches of their authors are different, their aim is nevertheless the same: They want to contribute to the idea of continuity in European literature. It is certainly logical to conclude that Auerbach, banished from Germany by the Nazi authorities because of his Jewish heritage, Curtius, surviving the years from 1933 to 1945 in »inner emigration«, and Friedrich, serving as interpreter in the German army, learned the lessons of the past and evoke the heritage of literature as an antidote to ideological blindness and fanaticism. Friedrich, whose study of Montaigne’s Les Essais forms the center of the following article, is internationally known first and foremost for his bestseller Structure of modern poetry (1957), translated into thirteen languages, but also his work Montaigne, which is the first comprehensive study of Montaigne’s personality and work in German and, even today, far from being outdated. Strangely enough, the book is actually only available in the English translation by Dawn Eng. It helps the modern reader to understand not only the complex composition of Montaigne’s essays, but also their epoch-making place in French moralistic literature.
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"What we can — and cannot — learn from Erich Auerbach’s Mimesis: A personal reflection." Journal of Integrative Cultural Studies 1, no. 2 (2019): 94–104. http://dx.doi.org/10.33910/2687-1262-2019-1-2-94-104.
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Oliveira, Carlisson, and Hermano Rodrigues. "NOMES E IDENTIDADES EM SÃO BERNARDO: IRONIA, BÍBLIA E COMPULSÃO DE REPETIÇÃO." fólio - Revista de Letras 12, no. 1 (July 2, 2020). http://dx.doi.org/10.22481/folio.v12i1.6186.
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Neste artigo propomos que a maior parte dos nomes do romance São Bernardo são nomeados de modo irônico e que possuem algum relação com a Bíblia: Seu Ribeiro em relação ao progresso; d. Glória em relação a sua situação financeira; Paulo em relação ao Apóstolo e o título em relação ao Santo Bernardo de Claraval. E que o nome de Madalena seria uma exceção a este procedimento. Por fim, buscando uma crítica que leve em conta o psicológico, o social e o estético, propomos uma leitura dos nomes Paulo Honório e Casimiro Lopes a partir do nome do cangaceiro Casimiro Honório, especulando que a incorporação psíquica do narrador se confunde com a apropriação capitalista do personagem.
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