72. Jahrgang 2020

Inhaltsverzeichnis und Abstracts

Heft 1

 

AUFSÄTZE

Predrag Bukovec: Die Abrahamisierung der Wallfahrt durch Mohammed

Rolf Hosfeld: Welttheater als Tragikomödie. Heinrich Heines Epochenerfahrung

Wolfgang Bock: Walter Benjamin als Leser Søren Kierkegaards. Der geschichtsphilosophische Ursprung des deutschen Trauerspiels zwischen Erbsünde und Sprung in den Glauben

Klaus-Jürgen Hermanik: The Film When Day Breaks – a Visual Lieu de Mémoire for the Yugoslav Jewry

 

MISZELLEN

Christoph Böhr: Einflüsterungen des Rätselhaften: Metaphysik als Änigma. Wolfram Hogrebe über Ungelöstes und Unlösbares 

Julius H. Schoeps: „Kommen Sie, Fontane!“ Der märkische Schriftsteller und sein ambivalentes Verhalten Juden gegenüber 

 

REZENSIONEN

Gottfried Mehnert: Jüdische Wissenschaft im Dialog mit evangelischer Theologie. Auseinandersetzung mit Adolf von Harnack, Marburger Rabbinerprüfungen, Marburger Verein zur Abwehr des Antisemitismus, Forum Christen und Juden, Bd. 16, Berlin/ Münster: LIT Verlag 2017, 172 S. (Klaus-Peter Friedrich)

Hans Otto Horch (Hg.): Handbuch der deutsch-jüdischen Literatur, Berlin/Boston: Walter de Gruyter 2016, VII + 630 S. (Enrico Rosso)

Christof Landmesser (Hrsg.): Bultmann Handbuch, Tübingen: Mohr Siebeck 2017, 546 S. (Lukas Bormann)

Andrew Wright Hurley: Ludwig Leichhardt’s Ghosts. The Strange Career of a Traveling Myth, Rochester, NY: Camden House 2018, 345 S. (Helmut Peitsch)

Norbert Waszek (Hg.): G. W. F. Hegel und Hermann Cohen. Wege zur Versöhnung. Festschrift für Myriam Bienenstock, Freiburg/München: Verlag Karl Alber, 2018, 270 S. (Martin Arndt)

Uta Jungcurt: Alldeutscher Extremismus in der Weimarer Republik. Denken und Handeln einer einflussreichen bürgerlichen Minderheit, Berlin/Boston: Walter de Gruyter 2016, 395 S. (Christoph Kopke)

Olga Benario/Luiz Carlos Prestes: Die Unbeugsamen. Briefwechsel aus Gefängnis und KZ (hg. von Robert Cohen), Göttingen: Wallstein 2013, 270 S.; Robert Cohen:Der Vorgang Benario. Die Gestapo-Akte 1936–1942, Berlin: Edition Berolina 2016, 188 S. (Hiltrud Arens)

Harald Jähner: Wolfszeit. Deutschland und die Deutschen 1945–1955, Berlin: Rowohlt Verlag 2019, 475 S. (Joachim H. Knoll)

Stefan Mückl (Hg.): Kirche und Staat in Mittel- und Osteuropa. Die Entwicklung des Staat-Kirche-Verhältnisses in den Transformationsländern Mittel- und Osteuropas seit 1990, Staatskirchenrechtliche Abhandlungen (SKA), Band 56/I, Berlin: Duncker & Humblot 2017, 264 S. (Martina Bitunjac)

 

ABSTRACTS

Predrag Bukovec: Die Abrahamisierung der Wallfahrt durch Mohammed

The pilgrimage to Mecca is one of the central liturgical rituals in Islam. The local cult of Mecca reaches back to pre-Islamic times and was adapted by Muhammad. The complex process of liturgical reform – by main tain ing more or less the ritual on the one hand, but changing its interpretation by the way of Abrahamitic universalism on the other hand –, is attested in the Qur’ān itself as well as in early Islamic historiography. The present contribution ana lyzes the Qur’ānic quotations in their chronological order (with the special methodological focus on Com pa rat ive Li tur giology) and systemizes Muhammad’s program of cultic transformation which can be understood as the fusion of horizons between Arabic heritage and its incorporation into the Islamic version of the Biblical salvation history.

 

Rolf Hosfeld: Welttheater als Tragikomödie. Heinrich Heines Epochenerfahrung

There is something miraculous about the reception of Heinrich Heine in Germany: One might call him the best-known unknown writer. Critics from Heinrich von Treitschke to Theodor W. Adorno accused him of ruining German poetic language by accommodating his style to journalism. Yet others, like Friedrich Nietzsche and Hannah Arendt saw him as an early “post-modernist”, insofar as he was insulting deep-rooted traditions of German idealism. His innovative poetry was carnivalesque, leading to a multi-perspective tragicomic worldview without inner reason or center, always on the edge of an open and unfijinished present. Deeply influenced by Hegel, he never became an orthodox Hegelian, partly because of his heterodox Spinozism. Influencing the “revolutionary break” in 19th century worldviews, he developed an elucidated view on the tragicomic dialectics of European enlightenment, the modern subject and the age of revolutions.

 

Wolfgang Bock: Walter Benjamin als Leser Søren Kierkegaards. Der geschichtsphilosophische Ursprung des deutschen Trauerspiels zwischen Erbsünde und Sprung in den Glauben

Walter Benjamin’s reading of Søren Kierkegaard used to be underestimated. It might be known that Kierkegaard had a strong influence on the young Benjamin, but his late reception used to be in the shadow of Adorno’s Hegelian interpretation. That is also represented in the organization of Benjamin’s Gesammelte Schriften. In this essay it is shown that the Dane not only played a leading role in Benjamin’s conception of his book on the Barock Mourning Play; he also can be seen as a missing link between this work and the later Arcade-Project. Benjamin sketched the conception for the later view on Parisian passages already in his theological discussion of Kierkegaard’s reception of an Augustinian messianic time concept. But he intends to bring it home from a Christian point of view to a different Jewish heterodox version, which for him and his friend Gershom Scholem underlies Kierkegaard’s writings.

 

Klaus-Jürgen Hermanik: The Film When Day Breaks – a Visual Lieu de Mémoire for the Yugoslav Jewry

Due to the power of empathic identifijication the post-Yugoslav-film Kad svane dan (When Day Breaks, 2012, directed by Goran Paskaljević) revives the memory of Yugoslav Jewry. The article is therefore methodologically based on theories of cultural studies that assume that ‘empathic identifijication’ with media characters is the most direct access of the audience to mediated texts. The movie circles around the quest for the protagonist’s Jewish heritage and as a consequence for his own Jewishness. When Day Breaks does exemplify mediated memory of the Holocaust in Belgrade in particular. Moreover, it can be seen as a milestone for altered memory practices after the breakup of socialist Yugoslavia, since in 2012 it was the oficial Serbian submission to the 85th Academy Awards for the category “Best Foreign Language Film”. Altogether, these facts show the importance of this film becoming a visual lieu de mémoire for the Yugoslav Jewry.