Talk:Literature of Luxembourg/Archive 1

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Archive 1

I'm confused

This article is interesting but (like the corresponding section of the article Culture of Luxembourg) it confuses me.

It starts by suggesting that Luxembourg has a literature for each of its three languages. Fine. But then Furthermore, it was not until the 19th century that the literature of Luxembourg began to develop. This leaves me wondering what's meant: Luxembourgish literaure, a specifically and notably luxembourgeois strain of French literature (or the German-language analogy), or literature in general?

(Consider, um, . . . Hertfordshire. I imagine -- without actually bothering to look it up -- that writers have lived and worked there for centuries. But of course we don't normally think of a "literature of Hertfordshire". Ditto for Essex; although you might say that Martin Newell is one of a minority of writers there who are creating what could reasonably be called a "literature of Essex".)

The section "Yolanda of Vianden" is about a MS in what I'd inexpertly call German. That it doesn't say that it's in German is a minor point (this is a very new article); except that:

the section "19th century" is (at least so far) exclusively about literature in Luxembourgish. This is a big surprise. Unfortunately I know squat about Luxembourg (beyond what I read in WP). Imaginably, Luxembourg was a "cultural desert" for would-be writers in French or German, who scuttled off to cities elsewhere as quickly as they could ("Aa thawt happiness was Luxembourg in ma riya-view mirror"). But I doubt it.

In the 20th century, we're back to trilingualism. But the description of the 19th century manages to make the birth (it seems) of German and French literature look more remarkable than the flourishing of Luxembourgish literature. -- Hoary (talk) 03:03, 10 February 2011 (UTC)

If you are confused then the article must be poorly presented. I'll try to make the necessary improvements but in the meantime, here are some answers to your quesries.
  • The literature of Luxembourg did not begin to develop until the beginning of the 19th century. Over the centuries Luxembourg had been governed by the Burgundians, the Spaniards, the Austrians, the Prussians and the French. As a result, there was virtually nothing that could be called the literature of Luxembourg, nor was there any incentive for the inhabitants to develop their local culture. The only notable author from Luxembourg during this period was Nicolaus Mameranus (1500–1567) who wrote in Latin about the customs of the courts of Europe for Charles V. It was not until the Treaty of Paris (1815) that Luxembourg identity began to evolve although the city was still under the protection of a Prussian garrison. Real independence then came in 1867 with the Treaty of London. So in this context the literature of Luxembourg applies to all three languages: French, German and Luxembourgish. Perhaps I should therefore provide more historical background in the article?
  • Yolanda of Vianden. The Moselle Franconian dialect in which the story is written is indeed a German dialect but it is very different from standard High German and would not normally be understood by the average German. What is interesting about the recently discovered manuscript is the fact that both the grammar and the vocabularly closely resemble modern Luxembourgish. I have now added a few words to clarify this.
  • 19th century Luxembourgish. There was in fact little of note in French and German at the beginning of the 19th century although Félix Thyes (who deserves a short article) wrote the first Luxembourg novel in French: Marc Bruno, profil d'artiste which was published shortly after his early death in 1855. There was nothing of note in German until the end of the century. The first Luxembourg author to write novels in German was Jean-Pierre Erpelding whose first book was published in 1917. So Luxembourgish really was the language used for poetry and drama in the 19th century. Perhaps this should be explained in more detail.
  • 20th century. In a way you are quite right. There was something of a revival of French and German literature after the war while the novels in Luxembourgish did not begin to flourish until the end of the century.
Thanks for making all these useful comments. I'll work on them. But I would still like to add quite a bit on contemporary authors, particularly those who have been awarded the Servais Prize over the past 10 years and those who have been mentioned in the article but still have red links. So keep watching. It's always encouraging to see that someone is taking an interest. You were one of just 33 who turned the article up yesterday. - Ipigott (talk) 11:12, 10 February 2011 (UTC)

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