Michele Vangi
I work currently as an Associate Professor at the Department "Foreign Languages, Literatures and Cultures" at the Università Roma Tre in Rome. Previously, I have been DAAD-Lektor and at the German Department of the National Linguistic University Kiev (Ukraine). My researches focus on: literary Intermediality (literature and photography, literature and music), German speaking authors from Eastern Europe, translation studies, literature and science in the Goethe era. Previously, I have been Research Fellow at the German-Italian Center for European Excellence Villa Vigoni located on the Lake Como (Italy). I also worked as an Associate Professor at the National University Taras Schewchenko Kiev (Chair of World Literature). I have been "Wissenschaftlicher Mitarbeiter" at the Petrarca Institut of the University of Cologne and Lecturer for German Language and Literature at the University Milan. After my studies in Modern Literature at the University of Bari, followed the conferral of my doctorate at the University of Münster where I wrote my dissertation on the reception of photography in the literary discourse. I have been in Münster 'Wissenschaftlicher Mitarbeiter': lecturer and coordinator at the Romanic Language department of the University of Münster for four years. I have been scholarship holder of Stifterverband (PhD grant) and of Goethe-Gesellschaft, Klassik-Stiftung Weimar, Leibniz Institute for Regional Geography Leipzig and Tallinn University (Post Doc scholarships).
Address: Kyiv, Ukraine
Address: Kyiv, Ukraine
less
Interests
Uploads
Papers by Michele Vangi
using two works as examples: Georg Forster’s Ansichten vom Niederrhein (1794) and Alexander von Humboldt’s Ansichten der Natur (1807). The analysis focuses on three perspectives or functions that “Ansichten” fulfil: 1) coping with the information overload about space at the time; 2) harmonising between written description and modes of visualisation that were typical of the visual arts around 1800; 3) gaining newer political insights into post-revolutionary society. Finally, didactic desiderata are synthetically addressed, stimulated by the comparison between Forster’s and
Humboldt’s spatial regime and that of the students. This is still an unexploited potential in research and teaching for German studies with a focus on cultural studies.
Rather, the connections he establishes between individual scenes of catastrophe are allegorical of a general process: a story of universal, continuous and unstoppable destruction in which mankind, through oppression and technological progress, has always participated. Catastrophe as a state without memory and disappearance through progressive shrinkage are examined in this contribution as two poetic modes of representing the natural history of destruction.
German-Jewish women authors are the main focus of this study. In particular, the analysis of Katja Petrovskaya’s and Sasha Marianna Salzmann’s works proves fruitful for answering the following questions: How does transcultural literature arrive at the design of a new concept of the subject, which is here referred to as an anti-binary entity, and why does this literature in particular break the boundaries of poetological concepts and thereby gain epistemological relevance?