penwithlit

Heute war ich einfach den ganzen Tag müde,aber wie ein kleines Mädchen wollte ich lieber Zeichnen als ins Bett gehen.

So sind die beiden heutigen Portraits von einem Mädchen mit Blumenkranz im Haar entstanden. Ich sehe in der Zeichnung das Modell vor mir und ich sehe auch mich und meine Trotzhaltung darin. So ist die Ähnlichkeit zu meinem ursprünglichen Modell verlorengegangen aber der Augenblick festgehalten wo ich als Frau über 50 mich wieder in ein trotziges kleines Mädchen verwandele.

Deshalb mag ich diese beiden Portraitzeichnungen besonders.

Mädchem mit Blumen im Haar – 25 x 25 cm – Tusche auf Hahnemuehle Burgund – Version 1 (c) Zeichnung von Susanne Haun

Mädchem mit Blumen im Haar – 25 x 25 cm – Tusche auf Hahnemuehle Burgund – Version 2 (c) Zeichnung von Susanne Haun

I can’t think of a better way to explain the complexities of the term ‘comparative literature’ than to quote the blurb for this book:

Comparative Literature is both the past and the future of literary studies. Its history is intimately linked to the political upheavals of modernity: from colonial empire-building in the nineteenth century to the postcolonial culture wars of the twenty-first century, attempts at “comparison” have defined the international agenda of literature. But what is comparative literature? Ambitious readers looking to stretch themselves are usually intrigued by the concept, but uncertain of its implications. And rightly so, in many ways: even the professionals cannot agree on a single term, calling it comparative in English, compared in French, and comparing in German. The very term itself, when approached comparatively, opens up a Pandora’s box of cultural differences.

Yet this, in a nutshell, is the whole point of comparative literature. To…

A little while ago I developed an interest in German Expressionist art and am quite keen to see and find out more about it. So when I was in Dublin last Sunday afternoon, I decided to call into the National Gallery of Ireland to take a look at their latest temporary exhibition, which is devoted to the work of Emil Nolde.

He was born as Emil Hansen near the village of Nolde  in the PrussianDuchy of Schleswig, close to Denmark (and which had been the area disputed by Denmark and Germany in the mid 19th Century resulting in a war between the two countries). He changed his name to that of his home town, for reasons which probably reflect his political views (more of which later).

In 1906, he joined Die Brücke (The Bridge), the group of Expressionist artists based Dresden, but left after a year. He was…