Relevant bibliographies by topics / German expressionism (Art)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'German expressionism (Art)'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 February 2022

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Journal articles on the topic "German expressionism (Art)"

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Strobl, Andreas, and Dennis Crockett. "German Post-Expressionism. The Art of the Great Disorder 1918-1924." Zeitschrift für Kunstgeschichte 63, no. 1 (2000): 149. http://dx.doi.org/10.2307/1587431.

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Dempsey, Anna, and Dennis Crockett. "German Post-Expressionism: The Art of the Great Disorder 1918-1924." German Studies Review 23, no. 2 (May 2000): 356. http://dx.doi.org/10.2307/1432697.

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Stojanova, Christina. "German Cinematic Expressionism in Light of Jungian and Post-Jungian Approaches." Acta Universitatis Sapientiae, Film and Media Studies 16, no. 1 (August 1, 2019): 35–58. http://dx.doi.org/10.2478/ausfm-2019-0003.

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Abstract Prerogative of what Jung calls visionary art, the aesthetics of German Expressionist cinema is “primarily expressive of the collective unconscious,” and – unlike the psychological art, whose goal is “to express the collective consciousness of a society” – they have succeeded not only to “compensate their culture for its biases” by bringing “to the consciousness what is ignored or repressed,” but also to “predict something of the future direction of a culture” (Rowland 2008, italics in the original, 189–90). After a theoretical introduction, the article develops this idea through the example of three visionary works: Arthur Robison’s Warning Shadows (Schatten, 1923), Fritz Lang’s The Weary Death aka Destiny (Der müde Tod, 1921), and Paul Leni’s Waxworks (Wachsfigurenkabinett, 1924).
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Morgan, David. "The Enchantment of Art: Abstraction and Empathy from German Romanticism to Expressionism." Journal of the History of Ideas 57, no. 2 (1996): 317–41. http://dx.doi.org/10.1353/jhi.1996.0018.

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Golikova, Irina Sergeevna. "International aspect in the history of Russian contemporary graphics: problems of interpretation and identity." Культура и искусство, no. 11 (November 2020): 93–102. http://dx.doi.org/10.7256/2454-0625.2020.11.34375.

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This article analyzes the examples of formal compliance with global trends in Russian print design of the XX – early XXI centuries. The subject of this research is the comparative characteristics of Russian and world practice in the area of contemporary graphic art. In this context, the author highlights the stylistic characteristics of expressionism (1910 – 1920) and neo-expressionism (1960s – 1980s).  Comparative analysis allows determining the points of intersection of Russian examples to Western analogues, as well as their originalities outlying the formal criteria. Emphasis is placed on the sources of determination of the uniqueness of graphics as a form of art within the history of Russian art studies. In the course of this research, the author brings the examples of “expressive” graphics in the works of N. N. Kupreyanov and A. I. Kravchenko in relation to printmaking of German expressionism, and some recent examples of Russian graphics (Saint Petersburg artists P. S. Bely, P. M. Shvetsov) in comparison to the graphic experiments of A. Kiefer. The conclusions lie in determination of the unique tradition of Russian realism (V. A. Vetrogonsky and V. I. Shistko), which in the author’s opinion, should be considered the crucial actor in the identity of Russian graphics against the trends leveling national cultural differences of international contemporary art.
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Varetska, Sofiya. "Picturesque of Literature and Literature of Fine Arts in Works of Twice Exceptional Expressionists." Pitannâ lìteraturoznavstva, no. 102 (December 28, 2020): 134–47. http://dx.doi.org/10.31861/pytlit2020.102.134.

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The article considers a problem of the arts interaction, which is a characteristic feature of German expressionism. It analyzes works of gifted expressionists, which are fulfilling themselves not only as writers, but as painters too and vice versa. All attention is paid to such figures of expressionism as Oscar Kokoschka, Franz Kafka, Alfred Kubin. The article argues that the power of talent of such artists is so great that self-realization in one of the arts is not enough for them, and therefore they actively use the opportunity to reveal the facets of their giftedness not only verbally, but also visually, alternately changing brushes to pen. Such a synthesis is quite productive because these works are enriched by narrative thematic motifs, genre varieties, a figurative vision of reality, compositional figures of the material organization, etc. It is proved that the expressionists did not follow the modernist concept “Art for the sake of art”, yet for them a human is with his fears, complexes and visions in the center. Thus, the main aim of an artist is using various artistic means to show a sacred inner world where in contrast to the real philistine life a spiritual unity and harmony do exist. In a combination of text, drawing or music, or, like Kokoschka’s light and paint, expressionists try to convey through multimedia the sensual and sacred that arises for them as the purpose of existence.
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Drysdale, Graeme R. "Kaethe Kollwitz (1867-1945): the artist who may have suffered from Alice in Wonderland Syndrome." Journal of Medical Biography 17, no. 2 (April 28, 2009): 106–10. http://dx.doi.org/10.1258/jmb.2008.008042.

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Kaethe Kollwitz was a 20th century German artist who grew to fame for her sociopolitical impressions of Germany during World Wars I and II. In her diary Kollwitz self-described symptoms of Alice in Wonderland Syndrome during her childhood. She complained of episodes where objects appeared to grow larger or smaller and perceptual distortions where she felt she was diminishing in size. This may explain why Kollwitz's artistic style appeared to shift from naturalism to expressionism, and why her artistic subjects are often shaped with large hands and faces. The distortion present in her visual art may have less to do with a deliberate emphasis of the artist's feelings and more to do with her perceptual experience.
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Schaefer, Helma. "Paul Kersten. The Bookbinder’s Role in the Development of Decorative Paper." Acta Musei Nationalis Pragae – Historia litterarum 62, no. 1-2 (2017): 41–46. http://dx.doi.org/10.1515/amnpsc-2017-0005.

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In her article, the author discusses the merits of the German craft bookbinder Paul Kersten (1865-1943) in the development of modern decorative papers as an expression of artistic individuality in the field of applied arts. From the Middle Ages, decorative paper had been used in decoration and bookbinding. Bookbinding workshops had traditionally made starched marbled paper. The interest of Paul Kersten, coming from a bookbinding family, in these papers had already dated from his youth. During his travels abroad, he was aware of the poor state of the bookbinding craft, which was affected by the mass production of books and book bindings as well as the industrialisation of paper production at the end of the 19th century. Kersten helped to introduce Art Nouveau into the design of German bookbinding and the methods of the modern production of decorative papers. At first, he worked as a manager in German paper manufactures and then as a teacher of bookbinding. His work was later oriented towards Symbolic Expressionism and he also tried to cope with the style of Art Deco.
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Barnett, David. "Joseph Goebbels: Expressionist Dramatist as Nazi Minister of Culture." New Theatre Quarterly 17, no. 2 (May 2001): 161–69. http://dx.doi.org/10.1017/s0266464x00014561.

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The young Joseph Goebbels, caught up in the heady mix of ideas and ideals permeating German artistic circles during and after the First World War, expressed both his convictions and his confusions through writing plays. None of these deserve much attention as serious drama: but all shed light on the ideological development of the future Nazi Minister of Culture. While also developing an argument on the wider relationship between Expressionism and modernism, David Barnett here traces that relationship in Goebbels' plays, as also the evolution of an ideology that remained equivocal in its aesthetics – the necessary condemnation of ‘degenerate’ art tinged with a lingering admiration, epitomized in the infamous exhibition of 1937. David Barnett has been Lecturer in Theatre Studies at the University of Huddersfield since 1998, and was previously Lecturer in German Language and Literature at Keble College, Oxford. His Literature versus Theatre: Textual Problems and Theatrical Realization in the Later Plays of Heiner Müller was published by Peter Lang in 1998, and other publications include articles on Heiner Müller, Franz Xaver Kroetz, Rolf Hochhuth, Heinar Kipphardt, Werner Schwab, Rainer Werner Fassbinder, and Peter Handke.
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Koroleva, A. Y. "Густав Хартлауб и «новая вещественность»: выставка, собирание коллекции, судьба." Iskusstvo Evrazii [The Art of Eurasia], no. 4(19) (December 30, 2020): 156–67. http://dx.doi.org/10.46748/arteuras.2020.04.013.

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The author of article views the curator activity of famous German art-historian and director of Mannheim Kunsthalle Gustav Friedrich Hartlaub in the context of the collecting and patronage. His interest to actual art has turned to most large-scaled project in the art of Weimar republic, that fixes the bone of new «neorealistic» art in the period between two world wars, that has got a name «New objectivity» after the Hartlaubs exhibition. The aim of article is the study of Hartlaubs role as a gallerist in the awareness of changing, which have took a place in the German art after expressionism and their fixation in the social consciousness by exhibition actual pieces of art and following acquiring of them for different museum collections. For the first time in Russian language tells this article about the rising of interest to the «New Objectivity», the history of the organization of famous exhibition in 1925 and her tourney about Germany, about the problem, that have took a place, also about the contradictions between the participants of two wings inside the movement. Special attention is given to the fate of collection, which was scattered by Nazi. В контексте рассмотрения проблемы коллекционирования и меценатства автор статьи рассматривает кураторскую деятельность известного немецкого искусствоведа Г.Ф. Хартлауба, чей интерес к актуальному искусству в период Веймарской республики обернулся широкомасштабным проектом, зафиксировавшим рождение нового «неореалистического» направления в искусстве между двумя мировыми войнами, получившего название с легкой руки куратора Мангеймского Кунстхалле «новая вещественность». Целью статьи является изучение роли Хартлауба как галериста в осознании перемен, произошедших в немецком искусстве после экспрессионизма, и фиксации их в общественном сознании путем экспонирования произведений остроактуального искусства и их последующего приобретения музеем в свою коллекцию. Статья впервые в русскоязычной литературе освещает предпосылки возникновения интереса к живописи «новой вещественности», историю организации и последующего турне знаменитой выставки 1925 года, рассматривает те проблемы, с которыми столкнулись организаторы, а также внутренние противоречия между участниками и течениями внутри движения. Отдельное внимание уделено судьбе коллекции, разрозненной нацистскими властями.
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Dissertations / Theses on the topic "German expressionism (Art)"

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Bryan, Sarah M. "African Imagery and Blacks in German Expressionist Art from the Early Twentieth Century." Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1353179467.

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Kennedy, Shane Michael. "Expressionist Art and Drama Before, During, and After the Weimar Republic." PDXScholar, 2015. https://pdxscholar.library.pdx.edu/open_access_etds/2508.

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Expressionism was the major literary and art form in Germany beginning in the early 20th century. It flourished before and during World War I and continued to be the dominant art for of the Early Weimar Republic. By 1924, Neue Sachlichkeit replaced Expressionism as the dominant art form in Germany. Many Expressionists claimed they were never truly apart of Expressionism. However, in the periodization and canonization many of these young artists are labeled as Expressionist. This thesis examines the periodization and canonization of Expression in art, drama, and film and proves that Expressionism began much earlier than scholars believe and ended much later than 1924. This thesis examines the conflicts in Germany that led to Expressionism and which authors and artists influenced Expressionists. It will also show that after Expressionism ceased to be the dominant art form in Germany, many former Expressionists continued to use expressionistic form in their works but ceased to use expressionistic content. This thesis argues that both the periodization and canonization of Expressionism should be expanded to include all works that may be classified as having expressionistic form.
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Coffey, Roland M. "Expressionism and Ethnography: Max Pechstein in Nidden and Palau." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/4004.

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This thesis offers a new way to conceptualize Hermann Max Pechstein’s “primitivism” as a kind of ethnographic “primitivism.” By creating a constellation that connects Pechstein’s Nidden and Palau-based projects, Paul Gauguin’s “primitivist” aesthetic, and the research produced by German ethnographers, I argue that the “documentary” nature of Pechstein’s work paradoxically merges the “scientific” aspects of ethnography with his, and more generally, other Expressionists’ interest in the “primitive.” In addition, the following work demonstrates that the purportedly “scientific” representations and visual accounts of South Seas natives that ethnographers like Otto Finsch produced in the late 1800s and early 1900s heavily and problematically relied on an aestheticization of these foreign people that renders them as decorative, “exotic” objects, which are in many ways subjugated to the gaze of and “on display” for the Westerners examining them. This thesis ultimately focuses on how Pechstein’s representations of people from Palau effectively combine the style typical of most Expressionists and an impulse towards ethnographic depiction not seen in the work of his Brücke colleagues.
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Tomita, Midori. "Woodcuts 1946-1953 by Kosaka Gajin (1877-1953) the discovery of children's art in Japan an German expressionism /." Cincinnati, Ohio : University of Cincinnati, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=1054232744.

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TOMITA, MIDORI. "Woodcuts 1946-1953 BY Kōsaka Gajin (1877-1953): The Discovery of Children's Art in Japan and German Expressionism." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1054232744.

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McKeon, Joseph Michael. "Constructuing the Category Entartete Kunst: The Degenerate Art Exhibition of 1937 and Postmodern Historiography." Ohio University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1142622901.

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Terjesen, Lori Ann Martin. "Collecting the Brücke: Their Prints in Three American Museums, A Case Study." Case Western Reserve University School of Graduate Studies / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=case1291164225.

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Goetzmann, Sophie. "« Et les grands cris de l’Est » : Robert Delaunay à Berlin, 1912-1914." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040191.

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Robert Delaunay (1885-1941) est l’un des artistes français les plus présents à Berlin à l’aube de la Première guerre mondiale. Avec l’aide de Herwarth Walden (1878-1941), directeur de la revue et galerie Der Sturm, l’artiste acquiert rapidement une solide réputation dans la capitale allemande, où il expose une quarantaine de toiles au cours de la seule année 1913, tandis qu’il diffuse abondamment ses propres textes théoriques et ceux de ses amis Guillaume Apollinaire (1880-1918) et Blaise Cendrars (1887-1961). Le peintre français suscite bientôt l’engouement de certains artistes berlinois, nombreux à l’avoir rencontré lors de ses deux voyages en Allemagne avant la guerre. Pour une large partie de la recherche, ce succès s’expliquerait par un « malentendu productif » : les artistes de la capitale allemande auraient détourné l’œuvre de Delaunay dans un sens germanique, appréciant sa peinture pour des raisons étrangères à ses intentions initiales. Contestant cette hypothèse – variante de celle, pluriséculaire, de l’incompatibilité par nature des goûts allemands et français – nous proposons d’envisager la réception berlinoise de Delaunay dans une perspective micro-historique, en nous intéressant au regard porté sur lui par trois artistes : Ludwig Meidner (1884-1966), Lyonel Feininger (1871-1956) et Bruno Taut (1880-1936). Après avoir mis en exergue les discours possiblement « entendus » par ceux-ci autour de l’œuvre du peintre français en Allemagne, nous nous intéressons à la trajectoire individuelle de chacun d’entre eux, mettant en évidence la profondeur des liens qui unissent finalement les avant-gardes désignées sous les termes d’orphisme et d’expressionnisme
Robert Delaunay (1885-1941) is among the French artists that are the most involved in Berlin at the dawn of the World War I. Thanks to Herwarth Walden (1878-1941), who is the director of the magazine and the gallery Der Sturm, the artist quickly earns a solid reputation in the German capital city where he exhibits around forty paintings in 1913 alone, while widely circulating his own theoretical texts as well as those of his friends Guillaume Apollinaire (1880-1918) and Blaise Cendrars (1887-1961). The French painter soon spurs the interest of some Berlin artists, many of whom have met him during his two trips to Germany before the war. For an extensive part of the research, this success could be explained by a “working misunderstanding”: the artists of the German capital city supposedly twisted Delaunay’s work in a Germanic sense, appreciating his painting for reasons that were not related to his initial intents. We contest this hypothesis – which is a variant of the centuries-old hypothesis that states a natural incompatibility between German and French tastes – we suggest to consider the Berlin welcome of Delaunay in a micro-historical perspective by focusing on three artist’s point of view about him: Ludwig Meidner (1884-1966), Lyonel Feininger (1871-1956) and Bruno Taut (1880-1936). After underlining the speeches they possibly “heard” surrounding the French painter’s work in Germany, we focus on each artist’s individual path, showcasing the depths of the links that join actually the avant-gardes that are coined under the terms of orphism and expressionism
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Lopes, Vivian Caroline Fernandes. "Traços do expressionismo alemão em Mário de Andrade." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-09012014-122454/.

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O trabalho investiga a presença do expressionismo alemão em Mário de Andrade, a partir da análise de alguns momentos de sua atividade intelectual e artística sobretudo, sua crítica de arte, passagens de seus manifestos literários e os livros Losango cáqui e Amar, verbo intransitivo. A escolha desses momentos se deu após uma leitura abrangente da obra, em que foram identificadas três categorias igualmente essenciais ao expressionismo: o primitivismo, a deformação e a preocupação social, que, portanto, nos serviram de guia para o discurso crítico.
The dissertation investigates the presence of German Expressionism in Mário de Andrade, as from the analysis of some periods of his intelectual and artistic activities - especially, his art criticism, his literary manifestos\' passages and the books Losango Cáqui and Amar, verbo intransitivo. The choice of this specific moments occurred after an embracing reading of his work, which identified three essential categories to the Expressionism: the primitivism, distortion and social concern, that led us to the critical speech.
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Short, Christopher. "Friedrich Nietzsche and German expressionist art." Thesis, University of Essex, 1995. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.706295.

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Books on the topic "German expressionism (Art)"

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Expressionism. Cambridge: Cambridge University Press, 1999.

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German expressionism: Primitivism and modernity. New Haven, Conn: Yale University Press, 1991.

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Elger, Dietmar. Expressionism: A revolution in German art. Köln: Benedikt Taschen, 1991.

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F, Walther Ingo, ed. Expressionism: A revolution in German art. Köln: Taschen, 1998.

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Elger, Dietmar. Expressionism: A revolution in German art. Köln: Taschen, 2002.

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Elger, Dietmar. Expressionism: A revolution in German art. Köln: Benedikt Taschen, 1994.

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Karlen, Roy. Expressionism and realism. New York, N.Y: Lafayette Park Gallery, 1990.

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Starr, Figura, and Jelavich Peter, eds. German Expressionism: The graphic impulse. New York: Museum of Modern Art, 2011.

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Expressionism: Art and idea. New Haven: Yale University Press, 1987.

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David, Frisby, and Los Angeles County Museum of Art., eds. Expressionist utopias: Paradise, metropolis, architectural fantasy. Berkeley, CA: University of California Press, 2001.

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Book chapters on the topic "German expressionism (Art)"

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Umbach, Carla, and Helmar Gust. "Grading Similarity." In Language, Cognition, and Mind, 365–86. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-50200-3_17.

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AbstractThere are numerous words across languages expressing similarity or indistinguishability. In this paper, three types of similarity expressions in German and English are compared—ähnlich/similar, so/such, and gleich/same. They differ in a number of respects, one of them being gradability: While ähnlich/similar are gradable, so/such as well as gleich/same are not. The analysis in this paper starts from the analysis of German so as a demonstrative expressing similarity (instead of identity) to its demonstration target (Umbach and Gust 2014). It is suggested that the meaning of the three types of similarity expressions is based on a common similarity relation, while differences in meaning are provided by constraints referring to the selection of dimensions of comparison and preconditions of usage. The focus of the paper is on gradability and on the question of what it means for a pair of items to be more similar than another pair. An analysis in the spirit of Klein (1980) is presented accounting for the fact that ähnlich/similar are gradable while neither so/such nor gleich/same are. The formal framework makes use of representations based on attribute spaces and classifiers, where representations may be of different granularity.
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Comini, Alessandra. "Gender or Genius? The Women Artists of German Expressionism." In Feminism and Art History, 271–91. Routledge, 2018. http://dx.doi.org/10.4324/9780429500534-15.

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"Illustration, Abstraction, Advertising: Wilhelm Worringer and the Continuities of German Art." In Expressionism and Poster Design in Germany 1905-1922, 51–86. BRILL, 2018. http://dx.doi.org/10.1163/9789004380998_003.

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"Hieroglyphic Appeal: the Visual Rhetoric of the German Object Poster, Werkbund Style, and Expressionist Art." In Expressionism and Poster Design in Germany 1905-1922, 87–136. BRILL, 2018. http://dx.doi.org/10.1163/9789004380998_004.

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Maciuika, John V. "The Politics of Art and Architecture at the Bauhaus, 1919–1933." In Weimar Thought. Princeton University Press, 2013. http://dx.doi.org/10.23943/princeton/9780691135106.003.0015.

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This chapter presents a wide-ranging survey of the politics and aesthetics of developments in interwar German architecture, with special attention to the key institution of Weimar architectural modernism, the Bauhaus. Artists at Walter Gropius's experimental Bauhaus school and in such diverse avant-garde art movements as Expressionism, Cubism, Dada, and Constructivism reflected a broad consensus that the pre-war empire had proved an absolute failure. The Kaiser, the government, the aristocracy, the military, big business, and the bourgeoisie were all seen as complicit in a corrupt system unable to cope with the many challenges of industrial modernity. Like a shifting kaleidoscope, artistic production during the Weimar era dazzled with unexpected forms, ever-shifting conceptual variety, and ideological diversity.
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Carson, Diane. "The Power of Stillness: John Barrymore’s Performance in Svengali." In Hamlet Lives in Hollywood, 85–97. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474411394.003.0008.

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This essay examines the verbal and nonverbal characteristics of Barrymore’s performance as Svengali in the 1931 film of the same name. German Expressionism influences the art direction and the acting flourishes, but Barrymore’s performance controls and anchors the film. Svengali’s hypnotic manipulation of Trilby, and her singing and interaction with others, offers a fruitful area for analysis of performance’s relation to gender politics.
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"Four. Art and Society." In German Expressionist Prose. Toronto: University of Toronto Press, 1987. http://dx.doi.org/10.3138/9781442653764-006.

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Redmond, Sean. "Narrative." In Blade Runner, 27–38. Liverpool University Press, 2016. http://dx.doi.org/10.3828/liverpool/9781911325093.003.0003.

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This chapter discusses the narrative of Ridley Scott's Blade Runner in terms of the way it functions, like the anti-narrative film found in a great deal of European art cinema. It discusses German Expressionism as the reference point for Blade Runner. It also analyses the dislocated and open-ended nature of Blade Runner's narrative that suggests a challenging art aesthetic that was borrowed from film movements, such as the French New Wave. The chapter explores Blade Runner's narrative, which is marked by gaps and enigmas that are never fully cohered or resolved. It addresses arguments made about contemporary science fiction that is predominately driven by a desire to be always visually spectacular.
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Barr, Alfred H. "Abstract Expressionism in Germany." In Cubism and Abstract Art, 64–72. Routledge, 2019. http://dx.doi.org/10.4324/9780429059148-6.

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Wilhelm, Worringer. "Introduction to Old German Book Illustration (1912) *." In The Expressionist Turn in Art History, 81–96. Routledge, 2017. http://dx.doi.org/10.4324/9781315086644-4.

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Conference papers on the topic "German expressionism (Art)"

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Sulejmanova, G. M., and E. A. A. Rudyak. "Social prerequisites for the emergence of expressionism in Germany." In Scientific trends: Philology, Culturology, Art history. ЦНК МОАН, 2020. http://dx.doi.org/10.18411/spc-26-06-2020-03.

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2

Андреев, Дмитрий Андреевич, and Андрей Евгеньевич Крашенинников. "THE CREATIVE PATH OF TILL LINDEMANN." In Сборник избранных статей по материалам научных конференций ГНИИ «Нацразвитие» (Санкт-Петербург, Май 2021). Crossref, 2021. http://dx.doi.org/10.37539/may316.2021.87.93.005.

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В статье рассматривается становление немецкого рокмена Тилля Линдеманна как творческой личности. Он входит в число известных немецких музыкантов, но не всем известно, что Т. Линдеманн еще и поэт. Его произведения написаны в традиционном для Германии стиле экспрессионизма. В своих стихотворениях Т. Линдеманн поднимает темы любви, творчества, жизни и смерти. Чувства у Т. Линдманна обычно преподносятся от лица лирического героя, носят характер исповеди и наполнены трагизмом. The article examines the formation of the German rockman Till Lindemann as a creative person. He is one of the famous German musicians, but not everyone knows that T. Lindemann is also a poet. His works are written in the traditional style of expressionism in Germany. In his poems, T. Lindemann raises the themes of love, creativity, life and death. Feelings in T. Lindmann are usually presented from the perspective of a lyrical hero, have the character of confession and are filled with tragedy.
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3

Krasheninnikov, Andrey, and Arseniy Garipov. "SOME PROBLEMS OF TRANSLATION RECEPTIONOF GERMAN EXPRESSIONISM LYRICS." In ЯЗЫК. КУЛЬТУРА. ПЕРЕВОД = LANGUAGE. CULTURE. TRANSLATION. Science and Innovation Center Publishing House, 2019. http://dx.doi.org/10.12731/lct.2019.2.

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The article discusses the features of creative approaches in the translation of poems by G. Benn, one of the prominent representatives of German expressionism. The author analyzes the poem “Negerbraut” from the signature cycle “Morgue” and its two translations made by V. Toporov and V. Mikushevich. Preliminary conclusions are drawn on the adequacy of translation decisions when translating poems by this author.
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4

Ehren, Rafael. "Literal or idiomatic? Identifying the reading of single occurrences of German multiword expressions using word embeddings." In Proceedings of the Student Research Workshop at the 15th Conference of the European Chapter of the Association for Computational Linguistics. Stroudsburg, PA, USA: Association for Computational Linguistics, 2017. http://dx.doi.org/10.18653/v1/e17-4011.

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