Der gute Erich

Baudissin, Eva von

Der gute Erich

Bibliographische Daten

Monographie

Strukturtyp:: Monographie

Werks-URN (URL):: https://nbn-resolving.org/urn:nbn:de:kobv:11-711480

URN:: urn:nbn:de:kobv:11-711480

Persistenter Identifier:: BV044416610

Titel:: Der gute Erich

Untertitel:: Roman

Autor:: Baudissin, Eva von

Erscheinungsort:: Berlin ; Leipzig

Verlag:: Hermann Hillger Verlag

Erscheinungsjahr:: 1910

Beschreibung:: Literatur und Sprachen#Deutsche Sprache und Literatur

Signatur:: Xb 10567:742-746:F8

Sammlung:: Allgemeiner Bestand

Wissensgebiet:: Literatur und Sprachen > Deutsche Sprache und Literatur

52° spiegare e, come pittori, fingerne umane immagini” (Vico 1725: 172). Step by step, Evans-Pritchard deploys a machin- ery of visual traces. The development of the song establishes the general markers of the discursive strategies. The narrative exposes a reflexive under- current by positing the question: “Where does it blow to?” — as ıf implying the old-age question: “To be or not to be?” The angular and reductionist form of signifiers foreshadows an existential shudder. The Nuer choose this undefined direction to carry them to the river bank, upholding an old-age metaphor to represent the sanctuary of life. The Nuer imply that the shorthorn “carries its full udder to the pas- ‚ures”, positing differently that the cow refuses to be milked. Cow meets man in unity. The actantial pro- gram of the song suggests that Nyagaak milks her to fill man’s belly with her milk. Sweetened by a hap- py ending of full-bodied bounty, the plot thickens. An enticing element in this narrative is the feeble notion of seduction, the author pronounces: “I am not a man whom girls can refuse. We court girls Dy the stealth of the night.” Nevertheless, desire is erased with the indulgent link to cows, sublimated as an after-thought, the affirmation of one’s link to territory. Alfred Korzybski (1995) pleads: the map is the territory. Evans-Pritchard draws the map of Sudanese imaginary. The consideration of memory in the fantastic day-dreaming is another important aspect which links Giambattista Vico and Evans-Pritchard. Initi- ating a bounce-back of reminiscences, fantasia links co the mother of the Muses: “Ma la fantasia altro non & che risalto di reminiscenze, e l’ingegno al- {ro non € che lavoro d’intorno a cose che si ricor- dano... Quindi a ragione i poeti teologi dissero la Memoria esser ‘madre delle muse’, le quali sopra si 30n0 trovato essere l’arti dell’umanitä” (Vico 1725: 353). The appeal to memory is illustrated in Evans- Pritchard’s song through a passage which recounts the blood feud with incoming foreigners. Natives are pillaged. The drama of Nuerland is explained asing characterizations of bewilderment and aberra- tion at criminal complicity: “They throw our orna- ments into the river.” Perplexed by the threat of for- eign invasion, the Nuer’s last line of recourse lies with prayer to divine powers: ‘We gaze at the stars of Gods.” Vico is considered as a forerunner of modern ethnology, also because of his rejection of Cartesian observation. His insistence on creativity, as the way to facilitate induction, embodies the verum factum principle. This idea was first formulated by Vico in 1710 as part of his “De antiquissima Italorum sa- pientia, ex linguae latinae originibus eruenda” (“On Berichte und Kommentare the Most Ancient Wisdom of Italians, Unearthed {[rom.the Origins of the Latin Language”). The prin- ciple states that truth is verified through creation and aot, as had argued Descartes, through observation. By constructing himself as the writer behind Nuer aistory, Evans-Pritchard is not only the participant observer but the creator of discourse, who thrusts his sense of self on the collected data. While it is Geertz who formulates the thesis that anthropol- ogists are authors (Geertz 1988), anthropology is haunted by the division between the observation and ‘he reporting of facts. Fantasia entices the anthro- pologist to embark upon the quest to create himself as the Subject. The anthropologist’s creative genius imparts upon the narrative subtle infinite meanings. Cattle Poetry as Interpreted by Barthes [n this last section, my intention is to “sew inside the cloak of the text” a structural analysis of nar- rative relative to the cattle poetry segment in the Nuer. I intend to illustrate how anthropoietics ad- vances ethnographic depth, using theories from Ro- ‚and Barthes. The critic proposes a reading of lit- zrature, in light of generative grammars, premised an structural aspects of narrative theory. By eclips- ing the key pillars of his article on “L’analyse struc- tural du recit,” evidence emerges in support of an anthropoietic reading of “The Nuer.” Semiotics ap- plies to life in general, thus also to anthropology. They extend to international, transhistorical, trans- cultural expositions of life, from which the narra- tive emerges, “because it is there, like life”: “Le r&- cit peut Etre supporte par le langage articule, oral du Ecrit, par l’image fixe ou mobile, par le geste et par le melange ordonnee de toutes ces substances; il est present dans le myth, la l&gende, la fable, le zonte, la nouvelle, l’Epopee, l’histoire, la tragedie, le idrame, la com&die, la pantomime, le tableau peint ‘que l’on pense ä la Sainte Ursule de Carpaccio), le vitrail, le cinema, les comics, le fait divers, la conversation. De plus, sous ces formes presque in- finies, le recit est present dans tous les temps, dans tous les lieux, dans toutes les societ6s; le r&cit com- mence avec !’histoire me&me de l’humanit&; il n’y a pas, il n’y a jJamais eu nulle part aucun peuple sans :Ecit; toutes les classes, tous les groupes humains ont leurs r&cits, et bien souvent ces rEcits sont Zou- :j&s en commun par des hommes de culture, diff&- rente, voire opposee: le re&cit se moque de la bonne et de la mauvaise litte&rature: internationale, trans- historique, transculturel, le recit est lä, comme la vie” (Barthes 1966: 1). Barthes’ article emphasizes the functionality of Anthropos 112.2017

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