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Laura Gemsemer M.A.

gemsemer_laura

Ancient Languages and Texts (ALT)

Romanistik

10/2013  2018    
Promotionsstudentin der BerGSAS

2013     
Studentische Hilfskraft am Arbeitsbereich von Frau Jun.-Prof. Dr. Trînca für Religion und Literatur im Mittelalter am Institut für Religionswissenschaft der Freien Universität Berlin

Seit 10/2011     
Masterstudium der Religionswissenschaft an der Freien Universität Berlin

2009 – 2013     
Masterstudium der Allgemeinen und Vergleichenden Literaturwissenschaft an der Freien Universität Berlin

2006 – 2009     
Bachelorstudium der Allgemeinen und Vergleichenden Literaturwissenschaft (Kernfach), Kunstgeschichte, sowie Indischen Kunstgeschichte an der Freien Universität Berlin

In eigenen Projekten setze ich mich mit Frauenfiguren in Literatur und Kunst auseinander. Hierbei entstand das Gemeinschaftsprojekt "Bilddichtung"(2012) und entsteht derzeit das Tanztheaterprojekt "Poesía" (2013/14).

Visio Amoris et Veneris - T(r)opische Imaginationen von der Liebe im italienischen Spätmittelalter am Übergang zur Frühen Neuzeit

Based on the comparative analysis of two exemplary texts (La elegia di madonna Fiammetta, 1343/44 and Il ninfale fiesolano, 1344/46), this Ph.D. thesis dealed with the literary strategies and narrative devices employed to depict love, sexuality and desire. The roles, functions and transformations of the antique love deities received special consideration.

How is the act of falling in love linguistically expressed? Which roles do Amor and Venus play in it? How does desire show itself, and how is the sexual act expressed in literature? Which roles do antique topoi and their transformations play in these narrative processes? Situated within Topoi research group (C-2) Space and Metaphor, questions like these were answered using the method of close readings and a comparative approach in a framework of a theory of metaphors and with special regard to the spatial dimensions of love.

Results

Venus and Amor clearly play an integral role when it comes to dealing with love in Boccaccio’s times. Nevertheless, it could be shown that due to different strategies, neither can they be clearly interpreted as allegorical or personified abstract beings nor are they clearly identifiable as deities. Boccaccio very aptly works with changing perspectives: Depending on the different points of views (e.g. of the text’s characters) Amor and Venus oscillate between presence and absence, between a simple talking figure and a potent god. In this way, different concepts of both love and the love deities emerge. The visio narratives which frame their apparitions create additional ambivalence which shows itself linguistically.

It is primarily tropes and intertextuality – sometimes with a direct link to the love deities, sometimes not – that play important roles in Boccaccio’s poetics of love. He can be shown to have employed antique topoi (e.g. love as fire, war, hunting or enslavement) and texts (e.g. by Ovid or Seneca) in a very creative and witty way: by alluding to them or by citing them directly. This brings about a certain polyphony that can be read as irony, too. Additionally, tropes are elegantly used as a means to negate the figures’ responsibility for their actions.

It became especially clear that where godly figures are concerned, figurative speech is often about the oscillation between metaphoric and concrete meanings. Consequently, metaphors should not be thought of as something static but as a process. Take, for instance, the dynamics between stability and instability, between evidence and ambivalence, between inexpressible and differently-expressible: All these characteristics of polyvalent speech play a fundamental role in the poetics of love.

This dissertation project was successfully completed within the Research Group C-2 Space and metaphor in cognition, language, and texts of the Excellence Cluster 264 Topoi.

2012   

L. Gemsemer (Hg.): Bilddichtung: Nora und ihre Schwestern. Eine Annäherung an Ibsens Frauengestalten, mit Arbeiten von Anna Holldorf (Malerei) und Hanna Thomas (Fotografie) (Berlin 2012).