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Komparative Ästhetik(en)

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Edited By Ernest W.B. Hess-Lüttich, Meher Bhoot and Vibha Surana

Dieses Buch zu Komparatistischen Studien im Bezirk von Ästhetik, Text- und Kulturwissenschaften widmet sich im Rahmen der interkulturellen Germanistik den Beziehungen nicht nur zwischen Literaturen, sondern auch zwischen anderen Künsten (Malerei, Bildhauerei, Musik, Film, TV) oder zwischen Gattungen (Drama, Prosa, Lyrik, Oper, Tanz, TV-Formate, Blogs), zwischen ‚alten‘ und ‚neuen‘ Medien (Buch/Hörbuch, Literatur/Film, Roman/Drehbuch, Fantasy Genres/Computer Games). Der ästhetische Erkenntnisgewinn lässt sich aus komparatistischer Perspektive noch erweitern, wenn germanistische Ansätze in Afrika, Amerika, Asien, Australien zur Analyse künstlerischen Schaffens in Sprache, Literatur, Medien in Bezug gesetzt werden mit dem Ziel der Entwicklung einer Pluralität von Perspektiven auf Gegenstände ‚Komparativer Ästhetik(en)‘.

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Der Dritte Ort als erzähltechnische Grenzexistenz. Dieter Kühns Roman Beethoven und der schwarze Geiger (Heba Elakkad)

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Heba Elakkad (Kairo)

Der Dritte Ort als erzähltechnische Grenzexistenz

Dieter Kühns Roman Beethoven und der schwarze Geiger

According to historians, Beethoven's Kreutzersonate was originally dedicated to the Afro-European violinist George Bridgetower, who had delivered the first public performance of the sonata along with Beethoven. Had it not been for a falling apart between both musicians, the sonata mulattica would have arguably been dedicated to him. In that light, Dieter Kühn's historical biography, Beethoven und der schwarze Geiger (1996), takes the reader through an alternate scenario. A subversive 'mulatto' in Brighton is writing a script about an imaginary journey to Africa which he and Beethoven go on together in 1813. On this imagined journey both musicians will reconcile and Beethoven will be inspired to compose a new and genuine sonata mulattica for Bridgetower. Moreover, the mulatto himself will reconcile with his African roots, establishing a new identity as a black virtuoso. Thus Bridgetower's in-between identity and his quest for rehabilitation serve as an example for postcolonial 'rewriting', more specifically as an example for the third space notion put forth by Homi K. Bhabha. Throughout the entire novel, the fictional levels and the two narrators (Bridgetower and the narrator of the narrating Bridgetower) are intertwined, emphasizing the ambivalent structure of the text as a whole. The correlation and interaction between the hybrid identity and liminal existence of Bridgetower on the one hand and the ambivalent narrative techniques on the other, constitute the analogy...

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