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<p>Based on the relationship between rhetoric as a&#xa0;›practice of play‹ and the lecture (Vorlesung) as an oral-written text type that has become established in the German-speaking world in the university context, the article examines the special case of the Frankfurt poetry lectures, which can be described as a&#xa0;specific type of lecture in which not the finished work (<i>érgon</i>) but the activity (<i>enérgia</i>) of the writers plays a&#xa0;central role. Christa Wolf’s poetry lectures <i>Voraussetzung einer Erzählung</i> (<CitationRef CitationID="CR6">1982</CitationRef>) are paradigmatic in this context, in which the work on the myth of Cassandra, which Wolf fundamentally rewrites, takes centre stage. By analysing the mythical female figures that Christa Wolf names in her first lecture, the interconnectedness of Wolf’s mythical construction is illustrated by observing it in a&#xa0;threefold structure that considers the semiotic level (Barthes), the way in which the myth is corrected (Vöhler/Seidensticker/Emmerich) and the rhetorical effect on the audience.</p>

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Der Mythos als Rhetorik der enérgeia und als semiotische Sinnkonstruktion am Beispiel von Christa Wolfs erster Frankfurter Poetikvorlesung

  • 期刊论文

  • 发表日期：

    2025年9月18日

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  • Giuliano Lozzi

摘要

Based on the relationship between rhetoric as a ›practice of play‹ and the lecture (Vorlesung) as an oral-written text type that has become established in the German-speaking world in the university context, the article examines the special case of the Frankfurt poetry lectures, which can be described as a specific type of lecture in which not the finished work (érgon) but the activity (enérgia) of the writers plays a central role. Christa Wolf’s poetry lectures Voraussetzung einer Erzählung (1982) are paradigmatic in this context, in which the work on the myth of Cassandra, which Wolf fundamentally rewrites, takes centre stage. By analysing the mythical female figures that Christa Wolf names in her first lecture, the interconnectedness of Wolf’s mythical construction is illustrated by observing it in a threefold structure that considers the semiotic level (Barthes), the way in which the myth is corrected (Vöhler/Seidensticker/Emmerich) and the rhetorical effect on the audience.