Erica Pedretti

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Erica Pedretti , née Erika Schefter (born February 25, 1930 in Šternberk , Czechoslovakia ) is a Swiss writer , object artist and painter. Her childhood experiences of the loss of home and identity form the background of her autobiographical work. In another mostly collage-like prose text on the subject of painter and model, she extends the motif of alienation to the relationship between the sexes. Pedretti's artistic work is characterized by a consistent further development of forms of expression. Bizarre winged beings are replaced by scaffolding-like objects and installations that take up topics such as home and asylum. Her recent series of picture and word compositions create a connection to the text collages of her prose works.

Live and act

Erica Pedretti was born in 1930 in the north Moravian town of Šternberk and spent the first fifteen years of her life mainly in Zábřeh , Šternberk, Berlin and Freudenthal . Her father was the playwright, journalist and owner of a silk factory Hermann Heinrich Schefter. He was interned as an anti-fascist during the war . This circumstance did not save the family from being forced to move. In December 1945, fifteen-year-old Erica and her younger siblings rode a Red Cross transport train with Swiss abroad and concentration camp survivors from Warsaw via Auschwitz , Prague and Munich to St. Margrethen . They were able to travel to Switzerland to live with their relatives because their paternal grandmother came from Switzerland and the invitation from their aunt from Zurich was on hand. Her parents later followed. In Zurich she attended the arts and crafts school from 1946 to 1950 , where she met her future husband Gian Pedretti , from the Engadin artist family Pedretti, the sculptor Giuliano Pedretti was her brother-in-law. In 1950 the Schefter family had to leave Switzerland because they only received a residence permit for the purpose of onward travel. This was followed by emigration to the USA . Erica spent two years in New York working as a goldsmith and silversmith before she finally returned to Switzerland in 1952 and married Gian Pedretti. The artist couple lived in Celerina in the Engadin for 22 years , where they still have a second studio. In 1974 the family of seven moved to La Neuveville , and from 1985 they lived there in a self-built studio building above Lake Biel . The Pedretti couple have been living in Celerina again since 2015.

Erica Pedretti has published her texts since 1970. From 1971 she was a member of the Olten group . Her novel Narrowest Homeland was translated into Czech by Lucy Topoľská under the title Nechte být, paní Smrti (literally: "Let go, woman death") , as was her biographical memories strange enough ( Cizí domov ). Since her first major exhibition as a visual artist in 1976 at the Solothurn Art Museum , she has regularly presented her works as solo and group exhibitions, and occasionally as a joint exhibition with her husband Gian. After the Velvet Revolution there were also exhibitions in the Czech Republic. The large wing sculpture at Zurich Airport is one of the artist's installations in public spaces.

Stays abroad took her to London in 1971; 1988 as a guest at the Istituto Svizzero in Rome; In 1989 she was Writer in Residence at Washington University in St. Louis ; In 1994 she held the Swiss Chair at the City University of New York . The Vienna Lectures on Literature on Poetics and Creative Writing (1996) focused on looking and writing. At the center of Erica Pedretti's poetological considerations are the terms perceiving, looking and looking. She refers to Gertrude Stein . Since 1988 she has been a corresponding member of the German Academy for Language and Poetry in Darmstadt. The Swiss Literary Archives in Bern acquired their literary archive and exemplary artistic works.

Awards

plant

Literary work

Radio plays

In her presentation of the German-language literature in Switzerland, Elsbeth Pulver emphasizes it as extraordinary that Erica Pedretti initially attracted attention from a literary point of view with a radio play before she submitted a printed work. Her radio play Spa Treatment (1970), which was awarded the Prix ​​Suisse , is the first radio play by Swiss Radio DRS that was already drafted as a stereo production in the manuscript. Between 1970 and 1980 a total of eight works were created for the funk, most of which were realized in close collaboration with Studio Basel and Studio Bern.

Paul Weber sees the language-play work as an independent expression, which can therefore be understood "as an original contribution to the New Radio Play in the Federal Republic". In a survey on the production conditions, Erica Pedretti emphasized that, thanks to the technical possibilities of stereophony , she was able to cancel the chronological succession of actions, for example when she uses play-back, superimposed sentences to “a precipitous event that can hardly be reproduced linearly , Words and syllables, through quasi rushing forms ». The numerous dialogues and monologues in her novel Heiliger Sebastian were influenced by these experiences in the production of radio plays.

With the text templates written like a score , the author approaches “the language-wise border to music by assembling loud monosyllabic words into a sound carpet and also mixing in individual meaningless syllables and sounds”, as in a spa treatment . Similar to Weber, Norbert Langer classifies Erica Pedretti's radio plays as “polyphonic sound and phonetic word games”, as “radio montages based on a kind of quasi-musical text-sound score”.

Reminder texts

Subject

In her autobiographical memorial texts, Erica Pedretti addresses the injuries caused by hatred of nationalities, war and loss of home. With her narrative memories, she asks the fundamental question: "How does a person live in a strange place (and if it were paradise) and still have all the horrors in their heads?" For Beatrice von Matt , Pedretti's writing is an attempt to overcome the dichotomy between the “here” of the Swiss present and the “there” of “buried memories”.

Narrative

In a conversation with Patricia Zurcher, the author turns against anecdotal, smooth narration that, in the face of traumatic experiences, has something mendacious about it and cannot do justice to the atmosphere of fear. That is why her writing style is sometimes described as a composition of splinters and fragments. The rhythmically varied spaces between the words and sentence fragments organize some passages into a "moving text graphic". The figure of the narrator with her skepticism towards authentic memories and her commitment to fragmentary narration is characteristic of this highly reflective narrative style. In secondary literature, the end of the first chapter of Pedretti's first work Harmlos, please quote: "What is remembered, read, told, dreamed: projected on top of one another, images that overlap, overlap, can no longer be separated". She tries, according to Erica Pedretti, “to bring what happens while writing into the story,” the narrator in Engste Heimat shows, “that it is not a biography , that it is really a fiction , that is someone sits there and works on something that will then become this story, and that you don't read it purely biographically, although a lot of biographical material has been processed ». This makes remembering itself the subject of narration. The prominent position of the narrator, who sends her character from her peaceful Swiss domicile to the “land of old fears and pains” on a search for traces and accompanies them reflectively, laments the events as a historical law. Elsbeth Pulver can therefore emphasize in her review of the novel Engste Heimat that the last chapters have "the tone and the great breath of an elegy ". Their complaint is not only aimed at the individual; it applies above all to the fact «that man, who, according to Johannes von Tepl [...] is the“ most noble, most skilful, most free work of God ”, repeatedly gets into the cycle of violence and counter-violence, drives it, and crushes it becomes". On the dark ground of this historical pessimism grows the humane and superior consideration of the historical events that would elevate the book to the rank of a masterpiece.

Text organization

The seemingly disordered narrative style with a flood of images, constantly changing times, places, perspectives and a blurred first-person narrator associate different structural patterns to illustrate the textual organization of the prose. One compares, for example, the composition of Engste Heimat with a “mosaic of images” or with a “network of different layers of time”. Also Iso Camartin speaks in his eulogy for Culture Prize of the Canton of Grisons of shreds and rags of a family story into a texture of a patchwork of new weave.

The style pattern of a biographical knotting technique expressed here in connection with Pedretti's last novel Kuckuckskind or What I still wanted to tell her can be transferred to the entire work of memory texts . The novels and stories are interwoven in many ways: through the biographical memories and the historical periods, through the topography of the locations, the themes of home, loss of home and homelessness, but above all through the characters and their fates, through Anna, the alter ego the narrator, and her character, the uncle and painter Gregor. Last but not least, individual novels are interwoven with leitmotiv quotes, such as from the late medieval argument between the Ackermann and the death of Johannes von Tepl .

In her analysis of the text organization in Erica Pedretti, Meike Penkwitt takes up observations that are based on musicological considerations and speak of polyphonic modulation of the texts, of fugal or contrapuntal composition. The radical montage novel does not lead to an absolute disorder. The traditional organizational principles would rather be replaced by “new, more complex and therefore irritating structural patterns”: counterpoint replaces linearity , spatiality in the sense of a “ mental map ” replaces chronological order. Ultimately, the causality of the action is replaced by the materiality of the language. This included intertextuality , a strong rhythm, but also alliterations and the graphic layout of the texts with its larger and smaller " spaces ".

Painter and model

Ferdinand Hodler: Valentine Godé-Darel in the sick bed
occasion

In the months from February 1914 to January 1916, Ferdinand Hodler portrayed the dying, progressive decline and death of his model Valentine Godé-Darel , the beloved and mother of his child, in around 200 sketches, more than 100 drawings and over 50 oil paintings. Erica Pedretti was shocked by the ruthlessness of the pictorial documents of the Hodler exhibition A Painter Before Love and Death (Zurich, Munich, Paris and Berlin 1976/1977) and encouraged by Max Frisch to poetically design the material. She not only connects the work of this writer with the diary-like character of the novel, but also with the theme You shouldn't make a portrait for yourself.

Subject

In 1984 Erica Pedretti received the Ingeborg Bachmann Prize for her text The Model and the Painter , which presented the basic lines of her novel Valerie or The Unbrained Eye , published in 1986, and addresses problems of the aesthetic confrontation with dying and death. The author mirrors Hodler's picture protocols and art-theoretical writings with the fates of the protagonists of her work, the model Valerie and the fictional painter Franz. As a model, the cancer patient is exposed to his artistically trained eye, becoming an object of individual formal elements, proportions and lines and colors.

According to Tina Pusse, “symbolic death” through extreme artistic “close-ups” of the pictorial works corresponds to very “real death”, “which demands another form of modeling: namely for the x-rays that depict her body from within”. Pedretti contrasts the male gaze at the object of the dying with the naughty gaze of the female model. It gives the ailing Valerie voice and justice as a response and counterweight to Franz, who invokes Hodler's aesthetic writings during his work. The additional title of the novel The Untouched Eye also comes from his essay “On Art”.

The “naughty” way of thinking and seeing from the perspective of the dying model expresses itself in a tentative, fragmentary language: “The various levels of narration are seamlessly, fragmentarily, and following no recognizable constructed chronology or other succession, are assembled into one another. Memory, dialogue fragments, diary notes, fantasies, reports, quotations seem to follow rampantly and unmotivated ». In her report on the Ingeborg Bachmann Competition, Klara Obermüller summarized the essence of the work: The dying woman speaks from the point of view of the woman who feels how only artistic interest in her decay binds her lover to him. At the same time, however, she also understands the artist who, in the act of drawing, ensures a kind of protection against death.

reception

Pedretti's novel has so far been received from various angles. The hierarchical pair constellation of painter and model as well as the narrative attitude from the perspective of the female model led to interpretations as a “manifesto of a feminist discourse”. The intertextual references to Hodler's cycle and the fact that a painter's figure and its aesthetic theory appear in all of the author's memory texts, encouraged literary studies that the work deals with the “question of the perception of reality and its implementation in art”. Pedretti developed her own art theory, which amounts to the fact that reality is only created through the artistic gaze, namely as a new, alienated reality.

Iso Camartin also establishes a relationship with the writer's oeuvre when he sees another existential question about home and foreigners: “The question is simply: Is the woman's husband a home? Is the woman a home for the man? Especially when both understand this as the terrain of their creativity, their will to express themselves, their tangible happiness and their art? "

Artistic work

In Erica Pedretti's work, literature and the visual arts are often perceived independently of one another. The New Museum Biel presented the visual work for the first time in a comprehensive retrospective from March 16 to July 7, 2019. The exhibition also explored the interaction and interlinking of text and image. Under the title Erica Pedretti. Strange enough , the Bündner Kunstmuseum is presenting a large exhibition from February 22 to June 7, 2020, which was created in collaboration with the New Museum Biel. The artist Katalin Deér and the architect Lukas Furrer could be won over for the presentation and design for her 90th birthday.

Erica Pedretti: Grand piano above the Last Supper table in the interior of the Reformed Church in Savognin

Wing objects

Erica Pedretti became known as a visual artist in the 1970s for her large-format grand piano creatures . The wired and glued sculptures made of natural and synthetic materials such as reeds, rods or bamboo and materials such as rubber or cotton fabrics soaked with Plexiglas solution leave ample scope for fantasies and associations: the curator of the exhibition at the Museum zu Allerheiligen Schaffhausen (1981) emphasizes that they are not "Flying machines", they belonged in the vicinity of bats or the skin-winged seeds of the maple trees. They are poetic beings in a completely unliterary sense. Its double wing in the Hermann Hesse Hall of the Swiss Literary Archives in Bern floats above the showroom, according to a report on the occasion of the 20th anniversary, "like a cheerful materialization of the fluid substance of inspiration" as an artificial figure that appears as an oversized wing above the communion table in the church of the Reformed Church in Savognin spreads, it reminds the congregation of both the tabernacle of the Israelites and God's guardian angel . In view of the large wings in the hall of Zurich Airport, art historians think of Otto Lilienthal's old flying machines . The sculptures embodied mankind's original dream of flying, which was also linked to the “trauma of falling”. As a result, in Pedretti's early work floating, association-rich flight structures are represented as well as injured wing shapes, oversized bat wipes or the remains of wings and skeletal shapes of a fallen Icarus . Research results emphasize that with the flying objects of the 1970s and with the large-format wings and double wings around 1980, at the same time as the emancipation movement of women at the time, the artist introduced "the motif of the wing as a symbol of liberation" into Swiss art.

Room and landscape installations on the subject of asylum and housing

Furthermore, in the 1980s, large column-like sculptures and skeletal geometric shapes were created: cylindrical tubes and cubes or pyramids. Placed as alien in nature, some of these works can be seen as political appeals in public space and can be seen in connection with Pedretti's essayistic commentary on refugees on refugee policy in Switzerland. Cube shapes balanced on a corner refer to dwellings that are on the edge. The installation ASYL (2002), a multi-part sculpture on a forest meadow with six octagonal tents made of iron rods and bright blue transparent plastic nets as a defenseless roof, is reminiscent of the unprotected and provisional form of the asylum. With a tent as a portable home and the words of the Czech anthem Kde domov můj (“Where is my home?”) Sprayed on the walls and “Dadij” (“Here”) sprayed on the floor, Erica Pedretti presented herself in her former school, the decaying Augustinian monastery in her native town of Šternberk, opposite the former house of her grandparents. With a small Reclam library of her favorite books, paper, paint boxes, writing and painting utensils as a symbolic sign of her artistic existence, she asked about her personal home at the place of her origin and childhood: «Kde domov můj»?

Overrides

In the three cycles today. Ein Tagebuch (2001), From Executions and Saints (2001) and Change of Scenes (2005) Erica Pedretti combines her artistic forms of expression as a writer and as a visual artist. She “overwrites” slightly whitewashed newspaper pages, pictures and photos with the layers and images of her personal handwriting. In this way, a kind of handwritten diary is placed over the "daily roaring" of the flood of news that penetrates through the coloring . The artist explains the procedure of « Palimpsestierens » in the essay Writing & Overwriting , to which she prefers words by Thomas de Quincey as the motto , in which he compares the memory spaces of human memory with a palimpsest.

With her overrides, she is realizing a project that has preoccupied her since her childhood experiences of war, namely to depict the "dissonance of (world) history, wars, bombings, expulsions, etc. / individual, private matters". According to Irmgard Wirtz, there is "a field of tension that comments on each other" between print, handwriting and pictures of the diary palimpsests , the pages are sometimes overwritten with lead and ink, the messages are layered and crossed, one can read "the pictures" but not read them out .

In the cycle Of Executions and Saints , she expands the “dialogue with the newspaper as a medium” through additional layers. Handwritten survivors of saints and legends of martyrs from the Legenda Aurea and parts of the trial files of the Frankfurt maid Susanna Margaretha Brandt join current reports, so that the fate of the martyred and executed across history and cultures results in a "collage of horror". Art critics discuss Pedretti's text-image cycles in the context of exhibitions in literary houses and assign them as hypertexts to the “processes of crossover, text collage or even Robert Walser's pencil areas ”.

Publications

Prose works

  • Harmless, please. Suhrkamp, ​​Frankfurt am Main 1970, DNB 457781130 ; 2nd edition 1985, ISBN 3-518-37058-8 .
  • The three soldiers. With 15 linocuts . Flamberg, Zurich 1971. (The song of the "Trois jolis Tambours" as a five-language children's picture book)
  • Saint Sebastian. Novel. Suhrkamp, ​​Frankfurt am Main 1973 DNB 740207067 ; Paperback 1982, ISBN 3-518-37269-6 .
  • Change. Novel. Suhrkamp, ​​Frankfurt am Main 1977, ISBN 3-518-03818-4 .
    • as a paperback with the title: The destruction of the child Karl and other people. Suhrkamp (st 1156), Frankfurt am Main 1985.
      • with harmless, please and saint Sebastian in a volume with the title harmless, please & two novels : Suhrkamp (st 2518), Frankfurt am Main 1996.
  • The model and his painter ; in: Humbert Fink and Marcel Reich-Ranicki (eds.): Klagenfurt texts on the Ingeborg Bachmann Prize 1984. List, Munich 1984, pp. 13–24.
  • Sunrises, sunsets. Stories. Suhrkamp, ​​Frankfurt am Main 1984.
  • Sing out loud and wrong. Eremiten-Presse (brochure 140), Düsseldorf 1986.
    • New edition in the Insel-Bücherei : Insel (IB 1123), Frankfurt am Main 1992.
  • Valerie or The Unkind Eye. Novel. Suhrkamp, ​​Frankfurt am Main 1986, ISBN 3-518-39657-9 .
  • Closest home. Novel. Suhrkamp, ​​Frankfurt am Main 1995; as paperback: st 3323.
  • It was like this. It wasn't like that. A text in dialogue. In: Special issue "Drehpunkt". 108, Nov. 2000.
  • Cuckoo child or what I really wanted to tell her. Novel. Suhrkamp, ​​Frankfurt am Main 1998, ISBN 3-518-40998-0 .
  • Uncle Hans. In: Verena Auffermann: Best German storytellers 2002. Deutsche Verlagsanstalt, Stuttgart / Munich 2002, pp. 105–110.
  • In front of the fluttering curtains. In: The mirrored self. German-Swiss writers of our time in words and pictures (photos by Yvonne Böhler, foreword by Peter von Matt ). Benziger, Einsiedeln 1990, pp. 118-121, ISBN 3-545-36487-9 .
  • Strange enough. Insel, Frankfurt am Main 2010, ISBN 978-3-458-19329-6 . (= Inselbücherei. Volume 1329.)

Essays, lectures, discussions and statements

  • I suspect ... First reading experiences. In: Siegfried Unseld (Ed.): First reading experiences. Suhrkamp, ​​Frankfurt am Main 1975, (= st 250, pp. 90-95).
  • God is hungry. In: Christoph Möhl (Ed.): Vaduzer Sermons. Benziger, Zurich and Cologne 1979, ISBN 3-545-21030-8 , pp. 102-111.
  • Irmtraud Morgner . The witch in the country house. Conversation in Solothurn. With a contribution by Erica Pedretti. Rauhreif Verlag, Zurich 1984, ISBN 3-907764-03-X .
  • Look / write. How does the image come up? In: NZZ, 9./10. March 1996, pp. 49-50. The three lectures and a conversation are also documented in: "Wespennest" No. 106 of March 10, 1997, pp. 6-10 and in: Meike Penkwitt (Ed.): The memory texts of the author Erica Pedretti. Königshausen & Neumann, Würzburg 2012, pp. 279–287.
  • Maria Aegyptica / Santa Lucia / Sankt Veit / Saint Ursula. In: Simon Beer: Sacra Conversazione. Schwabe, Basel 1999, ISBN 3-7965-1348-4 , pp. 64, 68, 88, 100.
  • "Life is strange, varied and funny". For Libuše Moníková . In: Delf Schmidt and Michael Schwidtal (eds.): Prague - Berlin: Libuše Moníková. Rowohlt Verlag, Reinbek bei Hamburg 1999 (= Rowohlt Literaturmagazin 44), pp. 54–60. ISBN 3-498-03907-5 .
  • Refugees. In: Refugee policy at the turning point. Edited by the Federal Department of Foreign Affairs (Switzerland global), Bern 2001, pp. 14–15.
  • Speak German. In: Hans-Martin Gauger : Praise of the German language. Wallstein, Göttingen 2009, ISBN 978-3-8353-0467-3 , pp. 87-88 (= Valerio series 2009, issue 9).

Audio, speech and sound games

  • Spa treatment. Radio DRS (1970 and numerous other repetitions, most recently in 2012). New productions: Süddeutscher Rundfunk (1971) and ORF (1974). ( The radio play, which was awarded the Prix ​​Suisse in 1970, is available as a DRS audio book: Christoph Merian Verlag, Basel 2010, ISBN 978-3-85616-433-1 . )
  • Rabbits. Süddeutscher Rundfunk (1971), ORF (1974).
  • Catch as Katz can. Radio DRS (1972). ( Printed in: Helga Geyer-Ryan (Ed.): What happened after Nora left her husband. Eight radio plays by Elfriede Jelinek , Ursula Krechel , Friederike Mayröcker , Inge Müller , Erica Pedretti, Ruth Rehmann and Gabriele Wohmann . Deutscher Taschenbuch Verlag, Munich 1982 (= dtv number 10017), ISBN 3-423-10017-6 , pp. 132–144. )
  • February or the whole people are skiing. Radio DRS (1972).
  • Walk to es Inschtitut. Radio DRS (1972).
  • ART 4'73 or that much art cannot exist. Radio DRS (1973 and 1975).
  • Stones or The Shattering of the Child Karl and other people. Süddeutscher Rundfunk / Norddeutscher Rundfunk (1976).

"Overrides"

  • Today. A diary. Suhrkamp, ​​Frankfurt am Main 2001, ISBN 3-518-39805-9 . (= Suhrkamp pocket book 3305)
  • Of executions & saints. Texts, pictures, CD. Rommerskirchen, Remagen / Rolandseck 2001, ISBN 3-926943-74-2 . (= Row signature. 35.) ( media combination of writing, image and sound )
  • Change of scene. Diary sheets. (Text by Hans Saner ). Edizioni Periferia, Poschiavo / Luzern 2005, ISBN 978-3-907474-17-4 .

reception

Under the motto “What I did a long time ago in a different place…” - The “Memories” by the author Erica Pedretti took place from October 28th to 30th, 2010 at the Albert-Ludwigs-Universität Freiburg, one of which was funded by the German Research Foundation international literary symposium takes place. The main focus was on the characterization of the experimental spelling, the thematization of German-Czech history in the memorial texts, their position within Swiss literature and the importance of writing, image and figure in their artistic work. The organizers emphasized that in the meantime many Eastern European women scientists were dealing with the writer's texts, which opened up the Central and Eastern European area, which Pedretti's prose reflected.

literature

  • Iso Camartin : The other home. The web of memory in Erica Pedretti's prose. In: NZZ , November 16, 1999.
  • Ingeborg Fiala-Fürst (Ed.): Lexicon of German-Moravian Authors . Univerzita Palackého, Olomouc 2002, ISBN 80-244-0477-X ( loose-leaf collection , two deliveries so far; 2nd delivery 2006, ISBN 80-244-1280-2 ).
  • Valentina Glajar: Narrating History and Subjectivity: “Coping with the Past” in Erica Pedretti's “Engste Heimat” (1995). In: Dies .: The German Legacy in East Central Europe. As Recorded in Recent German Language Literature. Camden House, Rochester NY 2004, pp. 72-114.
  • Edith Kronawitter-Rintelen: Writing to defend yourself. In: Süddeutsche Zeitung , 2./3. February 1985.
  • Norbert Langer: “Phantom Pain” - On Erica Pedretti's literary work. In: Sudetenland 1985, Issue 1, pp. 13-20.
  • Norbert Langer: Where is my home? Or where my home is. Essay on Erica Pedretti's novel “Engste Heimat”. In: Sudetenland , 1996, No. 4, pp. 410-412.
  • Meike Penkwitt: Remembering between performance and reference. The memorial texts of the author Erica Pedretti. In: Remembering and Gender. Volume II. Josef Fritz Verlag, Freiburg 2007, pp. 237–263.
  • Meike Penkwitt: Erica Pedretti. Counterpoint, spatiality and materiality of language as principles of text organization. Epistemata literary studies number 746. Königshausen & Neumann, Würzburg 2013, ISBN 978-3-8260-4755-8 .
  • Meike Penkwitt (Ed.): The memory texts of the author Erica Pedretti. Königshausen & Neumann, Würzburg 2012, ISBN 978-3-8260-5025-1 . (The anthology brings together the proceeds of the eponymous conference of Pedretti experts from eight countries. It concludes with a detailed index of works and a comprehensive bibliography of secondary literature.)
  • Elsbeth Pulver: The most noble workpiece of God. “Narrowest Home”, the magnum opus by Erica Pedretti. In: Swiss monthly books . 75th year, issue 6, pp. 33–36.
  • Elsbeth Pulver: Homage to Erica Pedretti. In: Dies .: Diary with books. Essays on contemporary literature. Theological Verlag, Zurich 2005, pp. 170–176.
  • Lorena Silos Ribas: 'To look at old things in a new way': Art and memory in Erica Pedretti's 'Narrowest Home'. In: bridges. Germanistic Yearbook Czech Republic-Slovakia / DAAD, New Series 18 / 1–2 (2010), Nakladatelství Lidové Noviny, Prague 2010, ISBN 978-80-7422-079-1 , pp. 281–291.
  • Theo Rommerskirchen: Erica Pedretti. In: viva signature si! Remagen-Rolandseck 2005, ISBN 3-926943-85-8 .
  • Guro Sandnes: Writing between two worlds. To Erica Pedretti's 'Harmless, Please' & 'Narrowest Home'. Institute for Foreign Languages, University of Bergen 2009, bora.uib.no (PDF).
  • Irena Šebestová: The stranger in a stranger. On the artistic identity in the work of Erica Pedretti. Peter Lang, Frankfurt am Main 2008.
  • Jürgen Serke : Erica Pedretti. In: Ders .: Women write. S. Fischer, Frankfurt am Main 1982, pp. 265-282.
  • Lucy Topoľská : Erica Pedretti and her novel about remembering and forgetting. In: Topol'ská / Václavek: Contributions to German-language literature in the Czech Republic. Olomouc 2000, pp. 207-210.
  • Beatrice von Matt : From deadly and from living languages. For Erica Pedretti's 70th birthday. In: NZZ , February 2, 2000.
  • Beatrice von Matt: Women write Switzerland. Verlag Huber Frauenfeld / Stuttgart / Vienna 1998. Pedretti u. a. Pp. 157-174.
  • Gerda Zeltner : Erica Pedretti. In: Dies .: The I without guarantee. Contemporary authors from Switzerland. Suhrkamp, ​​Frankfurt am Main 1980, pp. 101-123.

to "Valerie or The Naughty Eye"

  • Corina Caduff : The art couples 'painter-model' and 'composer-singer' in literary texts of the romantic and contemporary. In: ETA Hoffmann yearbook. Volume 9. Erich Schmidt Verlag, Berlin 2001, pp. 125-148; Remythization of the female artificial sacrifice (Pedretti). Pp. 143-146.
  • Gisela Ecker : The other view. Erica Pedretti's novel "Valerie or the naughty eye". In: Sigrid Weigel (ed.): Body and image space. Readings after Benjamin. Böhlau Verlag, Cologne / Weimar / Vienna 1992, pp. 77–99.
  • Sabine Haupt: Jettatori and Medusen. Evil eyes, deadly brushes and voracious cameras. An intermedia story of motifs. In: Urs Meyer, Roberto Simanowski, Christoph Zeller (Ed.): Transmedialität. On the aesthetics of paraliterary procedures. Wallstein, Göttingen 2006, ISBN 978-3-8353-0087-3 , pp. 152-184.
  • Gunhild Kübler : Erica - Pedretti: The naughty eye. In: Verena Auffermann , Gunhild Kübler, Ursula März , Elke Schmitter (eds.): Passions. 99 women authors of world literature . C. Bertelsmann, Munich 2009, ISBN 978-3-570-01048-8 . Pp. 431-437.
  • Dominik Müller: Erica Pedretti - Ferdinand Hodler . In: Konstanze Fliedl (Ed.): Art in Text. Stroemfled / nexus 72, Frankfurt and Basel 2005, pp. 181–199
  • Anne-Kathrin Reulecke: Image and Death. Erica Pedretti's 'Valerie or The Unbred Eye' . In: Dies: Written Pictures. On art and media discourse in contemporary literature. Wilhelm Fink Verlag, Munich 2002, pp. 343–384.
  • Patricia Anne Simpson: Erica Pedretti's 'Valerie or The Unbred Eye' . In: Monthly books for German teaching, German language and literature 85 (1993), Heft 1, pp. 55–70.
  • Peter Utz: Roses for Valerie. In: Swiss monthly books. 36: 443-446 (1986).
  • Waltraud 'Wara' Wende: Artists ' pictures - or: On how Ferdinand Hodler and Erica Pedretti deal with death. In: Duitse Kroniek. Amsterdam 2003, pp. 80-103.

to plastic and painterly work

  • Irmgard M. Wirtz: reading and deleting. Erica Pedretti's diary palimpsests. In: Lucas Marco Gisi, Hubert Thüring and Irmgard M. Wirtz (eds.): Writing and stroking. At a moment of productive negativity. Wallstein and Chronos, Göttingen and Zurich 2011, ISBN 978-3-8353-0850-3 and ISBN 978-3-0340-1062-7 , pp. 325-340.
  • Marion Mangelsdorf and Antonia Ingelfinger: 'Traumbilder' of airy heaviness - on the plastic and painterly work of Erica Pedretti. In: Meike Penkwitt (Hrsg.): The memorial texts of the author Erica Pedretti. Königshausen & Neumann, Würzburg 2012, ISBN 978-3-8260-5025-1 , pp. 262-278.
  • Justyna Kłopotowska: Modern Change of Perspective in Erica Pedretti's Pictures of the Present. In: Dorota Sośnicka and Malcolm Pender (eds.): Ein neue Aufbruch 1991–2011. German-Swiss literature after the 700th anniversary celebration. Würzburg, Königshausen & Neumann 2012, ISBN 978-3-8260-4906-4 , pp. 83-102.
  • Dolores Denaro (Ed.): Erica Pedretti. Flapping wings . Verlag für Moderne Kunst, Vienna 2017, ISBN 978-3-903153-66-0 .

Web links

Individual evidence

  1. ↑ Seidenfabrik Hermann Schefter: http://mengelmann64.magix.net/public/Schefter.htm
  2. ↑ The Czech title takes up a quote from Der Ackermann aus Böhmen by Johannes von Tepl ; in the Slavic languages ​​death is feminine.
  3. ↑ glüsch e sumbriva - shade and light in the summer of 2017 in the Chesa Planta in Samedan.
  4. ^ Archives Erica Pedretti
  5. ↑ Honorary Citizen of Šternberk sternberk.eu
  6. ↑ According to the cantonal German-speaking literature commission of Bern.
  7. ↑ http://www.literaturpreise.ch/de/archiv/schweizer-literaturpreis-2013/erica-pedretti/ .
  8. ^ Elsbeth powder: The German-language literature of Switzerland. In: Manfred Gsteiger (Ed.): The contemporary literatures of Switzerland. Kindler, Zurich / Munich 1974, pp. 143–405, p. 355.
  9. ^ Paul Weber: Das Deutschschweizer Hörspiel. History - dramaturgy - typology. Peter Lang, Bern and others 1995, p. 25.
  10. ↑ Peter Ándre Bloch (ed.), In collaboration with Otto F. Walter : contemporary literature. Means and conditions of their production. Francke, Bern 1975, p. 174.
  11. ^ Paul Weber: Das Deutschschweizer Hörspiel. P. 420.
  12. ↑ Norbert Langer: Phantom Pain. On the literary work of Erica Pedretti. In: Sudetenland. Quarterly magazine for art, literature, science and folklore. 1985, No. 1, pp. 13-20, p. 20, note 6.
  13. ↑ Meike Penkwitt uses the term “reminder texts” in her publications. These works include Harmless Please (1970), Saint Sebastian (1973), Change or The Destruction of the Child Karl and Others (1977), Engste Heimat (1995) and Kuckuckskind or What I really wanted to tell her (1998) as well the short autobiographical sketch strange enough (2010).
  14. ↑ Erica Pedretti in a dossier from Switzerland global 2001/4 on the refugee convention and foreign policy.
  15. ↑ Beatrice von Matt: The torn consciousness. Erica Pedretti between true and false languages. In: Meike Penkwitt (Hrsg.): The memorial texts of the author Erica Pedretti. Pp. 77-85, p. 81.
  16. ^ Conversation with Erica Pedretti
  17. ↑ Norbert Langer: Phantom Pain. In Sudetenland, 1985, issue 1, page 15
  18. ↑ Erica Pedretti: Harmless please. Suhrkamp Taschenbuch 558, p. 9.
  19. ↑ Conversation with Erica Pedretti , by Patricia Zurcher, 1999, at culturactif.ch
  20. ↑ Pedretti, Closest Home. P. 153.
  21. ↑ Elsbeth powder. In Swiss monthly issues. 75th year, issue 6, p. 36.
  22. ↑ Dorota Sośnicka: I count on emancipated readers: On Erica Pedretti's narrative method . In: Meike Penkwitt (Hrsg.): The memorial texts of the author Erica Pedretti. Pp. 87-100, p. 88.
  23. ↑ Dorota Sośnicka: I count on emancipated readers: On Erica Pedretti's narrative method . In: Meike Penkwitt (Hrsg.): The memorial texts of the author Erica Pedretti. , P. 97.
  24. ↑ Iso cmartin: The other home. The web of memory in Erica Pedretti's prose. In: Neue Zürcher Zeitung of November 16, 1999.
  25. ↑ On the biography, work and Czech secondary literature of the painter and anti-fascist Kurt Gröger, who is the model for the painter figure, compare Irena Šebestová in particular: For the Czechs a German, for the Germans a Czech, he dies a French. In: Dies .: Die Fremde in der Fremde , pp. 70–73.
  26. ↑ Meike Penkwitt: Counterpoint, spatiality and materiality of language as principles of text organization in Erica Pedretti. In: Dies. (Ed.): The memory texts of the author Erica Pedretti. Pp. 101-117, pp. 101.
  27. ↑ Compare: Jura Brüschweiler: Ferdinand Hodler. A painter before love and death. Ferdinand Hodler and Valentine Godé-Darel, a cycle of works from 1908–1915. Exhibition catalog Zurich, St. Gallen, Munich and Bern, 1976/1977.
  28. ↑ Hodler paints Valentine, picture examples: http://hospiz-forum.blogspot.com/2012/06/ferdinand-hodler-malt-valentine.html
  29. ^ Irena Šebestová: The stranger in a stranger. On the artistic identity in the work of Erica Pedretti. Lang, Frankfurt am Main a. a. 2008, ISBN 978-3-631-57979-4 . P. 101.
  30. ↑ Tina-Karen Pusse: Erica Pedretti's anti-documentary exploration of the surface. In: Meike Penkwitt (Hrsg.): The memorial texts of the author Erica Pedretti. Königshausen and Neumann, Würzburg 2012, ISBN 978-3-8260-5025-1 . Pp. 181–191, here p. 182.
  31. ^ Ferdinand Hodler: About art. In: The morning. Issue 1, Berlin 1909, reprinted in: Ferdinand Hodler. Catalog for the exhibition of the National Gallery Berlin / the Musée du Petit / the Kunsthaus Zürich. Published by Jura Brüchschweiler. Zurich 1984, pp. 13-20.
  32. ↑ Gisela Ecker: The other look. Erica Pedretti's novel "Valerie or the naughty eye". In: Sigrid Weigel (ed.): Body and image space. Readings after Benjamin. Böhlau Verlag, Cologne / Weimar / Vienna 1992, pp. 77–99, here p. 78.
  33. ↑ Klara Obermüller: Speeches about birth and death. In: Die Weltwoche , Zurich, July 5, 1984.
  34. ↑ Rosmarie Zeller: "Only the eye creates the world". How to deal with images in Erica Pedretti's work. In: Meike Penkwitt (Hrsg.): The memorial texts of the author Erica Pedretti. Königshausen and Neumann, Würzburg 2012, ISBN 978-3-8260-5025-1 . Pp. 193-208, here p. 194.
  35. ↑ Rosmarie Zeller: "Only the eye creates the world". How to deal with images in Erica Pedretti's work. In: Meike Penkwitt (Hrsg.): The memorial texts of the author Erica Pedretti. Königshausen and Neumann, Würzburg 2012, ISBN 978-3-8260-5025-1 . P. 202
  36. ↑ Rosmarie Zeller, In: Meike Penkwitt (Ed.): The memory texts of the author Erica Pedretti. Königshausen and Neumann, Würzburg 2012, ISBN 978-3-8260-5025-1 , p. 193.
  37. ↑ Iso Camartin: The Other Home. The web of memory in Erica Pedretti's prose. In: Neue Zürcher Zeitung of November 16, 1999.
  38. ↑ http://nmbiel.ch/index.php?id=4&lang=de&eid=64 ; accessed on March 16, 2019
  39. ↑ http://www.buendner-kunstmuseum.ch/de/ausstellungen/vorschau/Seiten/Erica-Pedretti.-Fremd-genug.aspx ; accessed on February 6, 2020
  40. ↑ Compare the data sheet of the Swiss Institute for Art Research | SIKART Lexicon on Art in Switzerland: Erica Pedretti sikart.ch
  41. ^ Max Freivogel: Exhibition Erica Pedretti. Museum zu Allerheiligen, Schaffhausen 1981, p. 2.
  42. ↑ Alexander Sury: Where the literary memory sits. In: Der Bund from January 17, 2011
  43. ↑ Hermann Hesse memorial room with Erica Pedretti's double wing : https://www.nb.admin.ch/snl/de/home/sammlungen/das-schweizerische-literaturarchiv-sla/aktuelle-ausstellungen/saal-hermann-hesse.html
  44. ^ Marion Mangelsdorf and Antonia Ingelfinger: Dream images of airy heaviness - on the plastic and painterly work of Erica Pedretti. In: Meike Penkwitt (Hrsg.): The memorial texts of the author Erica Pedretti. Königshausen and Neumann, Würzburg 2012, ISBN 978-3-8260-5025-1 , pp. 262–278, here p. 267.
  45. ^ Wall legend in the retrospective of the visual work in the New Museum Biel from March 16 to July 7, 2019
  46. ↑ Erica Pedretti: Refugees. In: Refugee policy at the turning point. Federal Department of Foreign Affairs, Switzerland global 4/2001, Bern 2001, pp. 14–15.
  47. ↑ Compare: Marion Mangelsdorf and Antonia Ingelfinger: 'Traumbilder' of airy heaviness - on the plastic and painterly work of Erica Pedretti. In: Meike Penkwitt (Hrsg.): The memorial texts of the author Erica Pedretti. Königshausen & Neumann, Würzburg 2012, ISBN 978-3-8260-5025-1 , pp. 270-271.
  48. ↑ Irmgard M. Wirtz: Reading and stripping. Erica Pedretti's diary palimpsests. In: Lucas Marco Gisi, Hubert Thüring and Irmgard M. Wirtz (eds.): Writing and stroking. At a moment of productive negativity. Wallstein, Göttingen 2011, ISBN 978-3-8353-0850-3 . Pp. 325-339, pp. 325.
  49. ↑ Rainer Weiß, epilogue to Erica Pedrettis Today. A diary. Suhrkamp, ​​Frankfurt am Main 2001, ISBN 3-518-39805-9 , p. 83.
  50. ↑ Erica Pedretti: Writing & Overwriting. In: Lucas Marco Gisi, Hubert Thüring and Irmgard M. Wirtz (eds.): Writing and stroking. At a moment of productive negativity. Wallstein, Göttingen 2011, ISBN 978-3-8353-0850-3 . Pp. 347-351.
  51. ^ Palimpsest of the Human Brain. essays.quotidiana.org
  52. ↑ Erica Pedretti: Writing & Overwriting. In: Lucas Marco Gisi, Hubert Thüring and Irmgard M. Wirtz (eds.): Writing and stroking. At a moment of productive negativity. Wallstein, Göttingen 2011, ISBN 978-3-8353-0850-3 . P. 349.
  53. ↑ Irmgard M. Wirtz: Reading and stripping. Erica Pedretti's diary palimpsests. In: Lucas Marco Gisi, Hubert Thüring and Irmgard M. Wirtz (eds.): Writing and stroking. At a moment of productive negativity. Wallstein, Göttingen 2011, ISBN 978-3-8353-0850-3 . Pp. 325-340, p. 331.
  54. ↑ Review of the cycle: No name for horror. In: Osnabrücker Zeitung from January 10, 2002. noz.de
  55. ↑ Irmgard M. Wirtz: Reading and stripping. In: Lucas Marco Gisi, Hubert Thüring and Irmgard M. Wirtz (eds.): Writing and stroking. At a moment of productive negativity. Wallstein, Göttingen 2011, ISBN 978-3-8353-0850-3 . P. 326.
  56. ↑ Meike Penkwitt: This author is far too unknown in Germany. Interview in: Badische Zeitung from October 28, 2010.
  57. ↑ hsozkult.geschichte.hu-berlin.de
personal data
SURNAME Pedretti, Erica
ALTERNATIVE NAMES Schefter, Erika (maiden name)
BRIEF DESCRIPTION Swiss writer and visual artist
DATE OF BIRTH February 25, 1930
PLACE OF BIRTH Šternberk , Czech Republic