Jasmin Wrobel
2023 Assistant Professor for Latin American Cultural Studies, Ruhr-Universität Bochum
2022 Marie Curie Postdoctoral Fellow, The University of Manchester
2019-2022 Postdoctoral Researcher at the Cluster of Excellence "Temporal Communities - Doing Literature in a Global Perspective" (Freie Universität Berlin)
https://www.temporal-communities.de/people/wrobel/index.html
PhD in Latin American Studies (Lateinamerika-Institut/Freie Universität Berlin)
Bachelor and Master of Arts in Romance Studies and Comparative Literature (Ruhr-Universität Bochum)
2022 Marie Curie Postdoctoral Fellow, The University of Manchester
2019-2022 Postdoctoral Researcher at the Cluster of Excellence "Temporal Communities - Doing Literature in a Global Perspective" (Freie Universität Berlin)
https://www.temporal-communities.de/people/wrobel/index.html
PhD in Latin American Studies (Lateinamerika-Institut/Freie Universität Berlin)
Bachelor and Master of Arts in Romance Studies and Comparative Literature (Ruhr-Universität Bochum)
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Books by Jasmin Wrobel
Das Ziel der Studie ist eine Neulektüre von Haroldo de Campos’ polyphonem Weltgedicht Galáxias (1984), das bisher vor allem im Kontext der konkreten Poesie und des lateinamerikanischen Neobarock besprochen wurde. Jasmin Wrobel zeigt, dass das Werk vielmehr als poetisches Zeitzeugnis des Jahrhunderts der Katastrophen zu lesen ist: die Referenzen auf traumatische historische Ereignisse – insbesondere auf die Shoah und den europäischen Faschismus – verankern sich als ‹Stolpersteine› in der Textarchitektur der Galáxias, eine Konzept-Metapher, die in der Untersuchung in erster Linie von Gunter Demnigs Mahnmal-Projekt hergeleitet wird. In der Analyse wird erörtert, wie diese ‹textuellen Stolpersteine› zu Momenten des Innehaltens und Verstehens an der hermetischen, neobarocken Textoberfläche führen und wie sie sich zu einer ‹Poetik des Stolperns› fügen. In diesem Zusammenhang wird auch die Bedeutung von Haroldo de Campos’ Europareisen 1959 und 1964 aufgezeigt, die sich als interpretatorische Schlüsselrouten für das Werk erweisen. Die Begegnung mit dem US-amerikanischen Dichter Ezra Pound 1959 wird hierbei als eigener ‹Stolperstein› auf de Campos’ Weg zu den Galáxias identifiziert.
The polyphonic world poem Galáxias (1984) by Brazilian poet Haroldo de Campos has, to date, mainly been discussed in the broader context of concrete poetry and the Latin American neo-baroque. In this book, Jasmin Wrobel offers a completely new reading of the work as a poetic testimony to a century of catastrophes: references to traumatic historical events are embedded as ‘stumbling blocks’ in the textual architecture, guiding the reader towards a ‘Poetics of Stumbling’.
The 1950s Neo-Avant-Gardes experimented for the first time with artistic-poetic artefacts that transcended and challenged definitions and limits of literature and visual arts. Concrete Poetry became an international movement that worked upon the experimental writing heritage of icons such as Mallarmé, Joyce and Cummings integrating visual and material practices into poetry. During the 1970s and 1980s experimental poetry evolved as an international and also highly collaborative practice ranging from visual, sound and installation to performative formats. The reception of these radical poetic practices also oscillates between literature and art: poems appear often in magazines with highly experimental formats or are exhibited in galleries as artworks, performances or happenings.
Strikingly, experimental poetry proliferated in politically contrarian climates and sought for global connection. The chasm between technological modernization and extreme social inequality was a visible expression of such contradictions, especially in Latin America. Societies were flooded with industrially produced goods to which only a small part of the population had access. Radio, TV and color print media increased the circulation of information while repressive regimes in many Latin American countries, the Iberian Peninsula and Eastern Europe practiced a harsh censorship. Yet, the experimental practices also became a strong current in democratic western European countries, such as Italy, France and the Netherlands where the use of new materials and the exchange with international colleagues came into focus.
During these years, experimental poetry overlapped largely, with mail art and even established the first mail art circles in Latin America. Poetry’s entanglement with its material and technological media became an essential characteristic. The Xerox copy, for example, became an important technological medium for experimental poetic practices. From the mid-1990s on, experimental poetry increasingly explored the possibilities of the digital. Yet, we find up until today analogue practices that intervene on the physical material, such as Carlito Azevedo’s Manual da Pedra (2013) or Daniel Monteiro’s Rodapé Literário (2013).
Pauline Bachmann (Universität Zürich)
Jasmin Wrobel (Freie Universität Berlin)
"O presente volume é uma homenagem à poesia. Poesia em um sentido
existencial: como forma de vida, de conhecimento. Poesia que vem do
espírito das vanguardas históricas internacionais e fala a partir do ofício poético do poeta brasileiro Haroldo de Campos." (do prefácio de Susanne Klengel)
Papers by Jasmin Wrobel
http://www.a-virada.com/jasmin-wrobel.html
The Brazilian Haroldo de Campos discussed and regretted the lack of approaches between writers and intellectuals of Hispanic America and Brazil, whose cultural productions
coexisted for a long time, nearly without finding points of contact. De Campos tried to build cultural bridges between the two sides in his triple role as poet, translator, and critic. In
the second half of the 20th century, he established fruitful contacts with several Hispanic American poets and writers, such as Octavio Paz, Severo Sarduy and Julio Cortázar. In our analysis, we would like to emphasize correspondences, common themes, and creative dialogues among these four authors.
KEY WORDS: Haroldo de Campos, Octavio Paz, Severo Sarduy, Julio Cortázar, Brazil and Hispanic America, baroque, transcreation.
RESUMEN
El brasileño Haroldo de Campos tematizó y lamentó en varias ocasiones la escasez de aproximaciones entre los escritores e intelectuales de Hispanoamérica y Brasil, cuyas producciones culturales coexistieron durante mucho tiempo casi sin encontrar puntos de contacto. De Campos intentó construir puentes culturales entre ambas partes en su triple función de poeta, traductor y crítico. En la segunda mitad del siglo XX, estableció contactos fructíferos con varios poetas y escritores hispanoamericanos, entre ellos Octavio Paz, Severo
Sarduy y Julio Cortázar. En nuestro análisis, nos gustaría enfatizar las correspondencias, los temas en común y los diálogos creativos entre estos cuatro autores.
PALABRAS CLAVE: Haroldo de Campos, Octavio Paz, Severo Sarduy, Julio Cortázar, Brasil e Hispanoamérica, barroco, transcreación.
Das Ziel der Studie ist eine Neulektüre von Haroldo de Campos’ polyphonem Weltgedicht Galáxias (1984), das bisher vor allem im Kontext der konkreten Poesie und des lateinamerikanischen Neobarock besprochen wurde. Jasmin Wrobel zeigt, dass das Werk vielmehr als poetisches Zeitzeugnis des Jahrhunderts der Katastrophen zu lesen ist: die Referenzen auf traumatische historische Ereignisse – insbesondere auf die Shoah und den europäischen Faschismus – verankern sich als ‹Stolpersteine› in der Textarchitektur der Galáxias, eine Konzept-Metapher, die in der Untersuchung in erster Linie von Gunter Demnigs Mahnmal-Projekt hergeleitet wird. In der Analyse wird erörtert, wie diese ‹textuellen Stolpersteine› zu Momenten des Innehaltens und Verstehens an der hermetischen, neobarocken Textoberfläche führen und wie sie sich zu einer ‹Poetik des Stolperns› fügen. In diesem Zusammenhang wird auch die Bedeutung von Haroldo de Campos’ Europareisen 1959 und 1964 aufgezeigt, die sich als interpretatorische Schlüsselrouten für das Werk erweisen. Die Begegnung mit dem US-amerikanischen Dichter Ezra Pound 1959 wird hierbei als eigener ‹Stolperstein› auf de Campos’ Weg zu den Galáxias identifiziert.
The polyphonic world poem Galáxias (1984) by Brazilian poet Haroldo de Campos has, to date, mainly been discussed in the broader context of concrete poetry and the Latin American neo-baroque. In this book, Jasmin Wrobel offers a completely new reading of the work as a poetic testimony to a century of catastrophes: references to traumatic historical events are embedded as ‘stumbling blocks’ in the textual architecture, guiding the reader towards a ‘Poetics of Stumbling’.
The 1950s Neo-Avant-Gardes experimented for the first time with artistic-poetic artefacts that transcended and challenged definitions and limits of literature and visual arts. Concrete Poetry became an international movement that worked upon the experimental writing heritage of icons such as Mallarmé, Joyce and Cummings integrating visual and material practices into poetry. During the 1970s and 1980s experimental poetry evolved as an international and also highly collaborative practice ranging from visual, sound and installation to performative formats. The reception of these radical poetic practices also oscillates between literature and art: poems appear often in magazines with highly experimental formats or are exhibited in galleries as artworks, performances or happenings.
Strikingly, experimental poetry proliferated in politically contrarian climates and sought for global connection. The chasm between technological modernization and extreme social inequality was a visible expression of such contradictions, especially in Latin America. Societies were flooded with industrially produced goods to which only a small part of the population had access. Radio, TV and color print media increased the circulation of information while repressive regimes in many Latin American countries, the Iberian Peninsula and Eastern Europe practiced a harsh censorship. Yet, the experimental practices also became a strong current in democratic western European countries, such as Italy, France and the Netherlands where the use of new materials and the exchange with international colleagues came into focus.
During these years, experimental poetry overlapped largely, with mail art and even established the first mail art circles in Latin America. Poetry’s entanglement with its material and technological media became an essential characteristic. The Xerox copy, for example, became an important technological medium for experimental poetic practices. From the mid-1990s on, experimental poetry increasingly explored the possibilities of the digital. Yet, we find up until today analogue practices that intervene on the physical material, such as Carlito Azevedo’s Manual da Pedra (2013) or Daniel Monteiro’s Rodapé Literário (2013).
Pauline Bachmann (Universität Zürich)
Jasmin Wrobel (Freie Universität Berlin)
"O presente volume é uma homenagem à poesia. Poesia em um sentido
existencial: como forma de vida, de conhecimento. Poesia que vem do
espírito das vanguardas históricas internacionais e fala a partir do ofício poético do poeta brasileiro Haroldo de Campos." (do prefácio de Susanne Klengel)
http://www.a-virada.com/jasmin-wrobel.html
The Brazilian Haroldo de Campos discussed and regretted the lack of approaches between writers and intellectuals of Hispanic America and Brazil, whose cultural productions
coexisted for a long time, nearly without finding points of contact. De Campos tried to build cultural bridges between the two sides in his triple role as poet, translator, and critic. In
the second half of the 20th century, he established fruitful contacts with several Hispanic American poets and writers, such as Octavio Paz, Severo Sarduy and Julio Cortázar. In our analysis, we would like to emphasize correspondences, common themes, and creative dialogues among these four authors.
KEY WORDS: Haroldo de Campos, Octavio Paz, Severo Sarduy, Julio Cortázar, Brazil and Hispanic America, baroque, transcreation.
RESUMEN
El brasileño Haroldo de Campos tematizó y lamentó en varias ocasiones la escasez de aproximaciones entre los escritores e intelectuales de Hispanoamérica y Brasil, cuyas producciones culturales coexistieron durante mucho tiempo casi sin encontrar puntos de contacto. De Campos intentó construir puentes culturales entre ambas partes en su triple función de poeta, traductor y crítico. En la segunda mitad del siglo XX, estableció contactos fructíferos con varios poetas y escritores hispanoamericanos, entre ellos Octavio Paz, Severo
Sarduy y Julio Cortázar. En nuestro análisis, nos gustaría enfatizar las correspondencias, los temas en común y los diálogos creativos entre estos cuatro autores.
PALABRAS CLAVE: Haroldo de Campos, Octavio Paz, Severo Sarduy, Julio Cortázar, Brasil e Hispanoamérica, barroco, transcreación.
Weder Jorge Amados Jubiabá noch Milton Hatoums Dois irmãos, die Romane, die – zusammen mit ihren grafischen Adaptationen – im Zentrum meines Vortrags stehen sollen, lassen sich im engeren Sinne der Gattung des romance malandro zuordnen; allerdings weisen ihre Protagonisten, Antônio Balduíno bzw. Omar, phasenweise oder auch fortwährend Merkmale auf, die sie der Figur des malandro annähern. Diese Merkmale gilt es herauszuarbeiten, wobei die beiden Romane, die sowohl eine große Zeitspanne als auch die Verortung in unterschiedlichen Regionen (Nordosten und Amazonien) sowie eine sehr verschiedenartige Ausgangssituation voneinander trennen, im Folgenden keiner komparatistischen Untersuchung unterzogen werden. Vielmehr sollen sie als zwei unterschiedliche Ausprägungen literarischer malandragem analysiert und in vergleichende Perspektive zu den jeweiligen grafischen Umsetzungen von Spacca und den Zwillingen Fábio Moon und Gabriel Bá gebracht werden. In diesem Kontext sollen insbesondere die Möglichkeiten des Comics bzw. der Graphic Novel bei der Darstellung marginalisierter Figuren wie der des malandro erörtert und anhand der Beispiele aufgezeigt werden.
20 de setembro:
Mesa "Éticas da memória: panorama da literatura brasileira contemporânea"
Este painel tem por objetivo traçar um panorama não exaustivo das
expressões da memória na produção literária brasileira a partir dos
anos 50 indo até o extremo contemporâneo. Prosa, poesia e histórias
em quadrinhos serão abordados tendo em vista as representações
possíveis de experiências memorialísticas, entre elas a representação
das diásporas africanas e judias, bem como das tensões pós-coloniais
expressas nos territórios latino-americanos quando dos regimes ditatoriais. Entre os autores cujas obras serão analisadas nesta proposta
encontram-se Graciliano Ramos, Conceição Evaristo, Marcelo D’Salete,
Sirlene Barbosa, João Pinheiro, André Diniz, Oscar Pilagallo, Rafael
Campos Rocha, Laerte e Leila Danziger. Estarão reunidas afim de discutir o topos da memória nesta literatura especialistas da Alemanha,
França e Portugal, num esforço de reunir brasilianistas em torno da
literatura. Esse esforço é tanto mais importante quanto é crucial o momento pelo o qual passa o Brasil atualmente, momento com o qual a
literatura coopera com ferramentas das mais pertinentes. Uma perspectiva abrangente – em referência às diversas formas literárias, mas igualmente em relação às tradições epistemológicas adotadas- permite uma
reflexão sobre os modos de representação da memória em um país
como o Brasil, no qual um esforço incessante é preciso afim de cooperar com a manutenção do estado de direito, dos direitos universais e
onde a literatura e as artes tem voz e espaço na vida da polis.
Mesa:
- Carolina C. Carnier: "Corporeidade, língua e memória: incursões poéticas na obra de Leila Danziger";
- Clara Rowland - Universidade Nova de Lisboa: "Terteão e a chave: memória, escrita e repetição na obra de Graciliano Ramos";
- Jasmin Wrobel – Universidade Livre de Berlim: "Re-visões do passado em quadrinhos: memória(s), ética e advertências na arte sequencial brasileira";
- Luiz Fernando Valente - Brown University: "Memória e História na poesia de Conceição Evaristo".