Log in

Relevant bibliographies by topics / German German poetry German poetry / Journal articles

To see the other types of publications on this topic, follow the link: German German poetry German poetry.

Journal articles on the topic 'German German poetry German poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'German German poetry German poetry.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

Crăciun-Fischer, Ioana. "„Schwankend zwischen zwei Kulturen“. Einige Bemerkungen zur deutschlandbezogenen Gelegenheitsdichtung Ion Barbus." Germanistische Beiträge 46, no. 1 (November 1, 2020): 92–107. http://dx.doi.org/10.2478/gb-2020-0004.

Full text

Abstract:

Abstract The Romanian poet and internationally acclaimed mathematician Ion Barbu (i.e. Dan Barbilian), 1895-1961, practiced in his occasional poetry related to his experience as a doctoral student and later as a visiting professor in interbellic Germany a poetic discourse of immediate, sometimes diary-like reflection. The vitality of his occasional poetry mainly addressed to his close friends and seldom intended for publication is fed by the permanent contrast between the German and the Romanian culture and civilization. The paper analyzes the intercultural dialogue which constitutes the background of Ion Barbu’s Germany-related occasional poetry with special emphasis on his poems written in German.

APA, Harvard, Vancouver, ISO, and other styles

2

Durrani, Osman, and Peter Hutchinson. "Landmarks in German Poetry." Modern Language Review 97, no. 2 (April 2002): 504. http://dx.doi.org/10.2307/3736966.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Komilovna, Khaydarova Dildora. "The Literary Relations In Uzbek And German Poetry." American Journal of Social Science and Education Innovations 02, no. 12 (December 30, 2020): 294–97. http://dx.doi.org/10.37547/tajssei/volume02issue12-51.

Full text

Abstract:

Our Uzbek classical poetry has a special role in the world literature as its ideological and artistic maturity and the richness of its genres as well. The names of such poets as Alisher Navoi, Firdavsi, Jami, Hafiz, Nizami, Umar Khayyam and Babur who were recognized as great figures, have been rediscovered and continue to have an impact on world poetry. In this regard, many great epics of Oriental literature have been studied and translated into European languages. In this article, I will discuss the literary relations in Uzbek and German poetry.

APA, Harvard, Vancouver, ISO, and other styles

4

Wittenberg, F., and H. Wittenberg. "The trace of Jewish suffering in Johannes Bobrowski’s poetry." Literator 30, no. 3 (July 16, 2009): 49–76. http://dx.doi.org/10.4102/lit.v30i3.87.

Full text

Abstract:

Johannes Bobrowski (1917-1965) is a significant German modernist poet and novelist whose work directly engages the problematic question of German “Schuld” (guilt) in respect of the Holocaust. Although Bobrowski’s poetry not only deals with the German-Jewish question, but with universal themes of history, memory and trauma, he is largely unknown in the Anglophone world, partly because of his isolation in communist East Germany at the time. This article seeks to trace Bobrowski’s nuanced and complex engagement with German history and his own personal implication in the genocide through a detailed analysis of his most significant “Jewish” poems. A key idea for Bobrowski was the need for memory and direct engagement with the traumatic past, as this offered the only hope for redemption. The article presents a number of original English translations of these symbolist and hermetic poems, and thereby makes Bobrowski’s writing available to a wider range of readers.

APA, Harvard, Vancouver, ISO, and other styles

5

Andreiushkina, Tatiana N. "THE HISTORY OF THE DEVELOPMENT OF THE HEXAMETER IN GERMAN POETRY." Philological Class 26, no. 1 (2021): 22–37. http://dx.doi.org/10.51762/1fk-2021-26-01-02.

Full text

Abstract:

The article traces the history of the development of the hexameter on German soil: from the use of the Leonin hexameter in the Middle Ages and the Reformation, the mixed Latin-German hexameter in the period of humanism (in the form of carmina eroica) and the German hexameter in the 18th–19th centuries (mainly in the form of elegy, epigram and idyll) to derivatives and ironic forms of the XX century (memorandum, instructive poem, etc.). Klopstock played a significant role in the spread of the hexameter in German poetry, bringing a fresh stream to German poetry by rejecting the prevailing in the 17th century predominantly alternating Alexandrian verse. Voss also inspired his contemporaries to create distiches with his translations of Homer’s poems. The flowering of the hexameter falls on the period of classicism: Goethe and Schiller created the best and purest examples of this poetic meter. Goethe and Schiller during the Enlightenment, Hölderlin, Novalis and Kleist in romanticism, Rückert, Platen and Mörike in post-romanticism introduced variety and movement into the hexameter by means of different types of caesura in verse. Austrian poets (Saar, Weinheber, Bachmann) appeal to hexameter as a classic form of German verse, Hauptmann uses it to create a large poetic form. The poets of the pre-war and war period (Colmar, Schröder, Holthusen) seek in him an aesthetic support in an era of timelessness. Poets of the former GDR (Brecht, Bobrowski, Müller), poets of the Federal Republic of Germany (Grünbein, Herbst) use it sporadically and in a transformed form, but at the same time take into account the thematic and genre traditions associated with this antique meter. Most foreign researchers, when determining the hexameter, speak of its dactylic component and only from the middle of the 20th century some of them (Kayser, Mönnighof) note, in addition to the spondees, the possibility of using chorees in the initial syllables of a verse.

APA, Harvard, Vancouver, ISO, and other styles

6

Andreiushkina, Tatiana N. "THE HISTORY OF THE DEVELOPMENT OF THE HEXAMETER IN GERMAN POETRY." Philological Class 26, no. 1 (2021): 22–37. http://dx.doi.org/10.51762/1fk-2021-26-01-02.

Full text

Abstract:

The article traces the history of the development of the hexameter on German soil: from the use of the Leonin hexameter in the Middle Ages and the Reformation, the mixed Latin-German hexameter in the period of humanism (in the form of carmina eroica) and the German hexameter in the 18th–19th centuries (mainly in the form of elegy, epigram and idyll) to derivatives and ironic forms of the XX century (memorandum, instructive poem, etc.). Klopstock played a significant role in the spread of the hexameter in German poetry, bringing a fresh stream to German poetry by rejecting the prevailing in the 17th century predominantly alternating Alexandrian verse. Voss also inspired his contemporaries to create distiches with his translations of Homer’s poems. The flowering of the hexameter falls on the period of classicism: Goethe and Schiller created the best and purest examples of this poetic meter. Goethe and Schiller during the Enlightenment, Hölderlin, Novalis and Kleist in romanticism, Rückert, Platen and Mörike in post-romanticism introduced variety and movement into the hexameter by means of different types of caesura in verse. Austrian poets (Saar, Weinheber, Bachmann) appeal to hexameter as a classic form of German verse, Hauptmann uses it to create a large poetic form. The poets of the pre-war and war period (Colmar, Schröder, Holthusen) seek in him an aesthetic support in an era of timelessness. Poets of the former GDR (Brecht, Bobrowski, Müller), poets of the Federal Republic of Germany (Grünbein, Herbst) use it sporadically and in a transformed form, but at the same time take into account the thematic and genre traditions associated with this antique meter. Most foreign researchers, when determining the hexameter, speak of its dactylic component and only from the middle of the 20th century some of them (Kayser, Mönnighof) note, in addition to the spondees, the possibility of using chorees in the initial syllables of a verse.

APA, Harvard, Vancouver, ISO, and other styles

7

Cory, Mark E., Robert M. Browning, and Thomas Kerth. "German Poetry: A Critical Anthology." Die Unterrichtspraxis / Teaching German 29, no. 1 (1996): 110. http://dx.doi.org/10.2307/3531659.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Ekmanis, Rolfs. "Latvian poetry in German translation." Journal of Baltic Studies 16, no. 2 (June 1985): 156–60. http://dx.doi.org/10.1080/01629778500000071.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Glass, Erlis, and Robert M. Browning. "German Poetry from 1750-1900." German Studies Review 8, no. 2 (May 1985): 327. http://dx.doi.org/10.2307/1428655.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Kuchumova, Galina V. "MODERN POETIC DISCOURSE: THE LINGUISTIC NATURE OF HERMETICISM." Вестник Пермского университета. Российская и зарубежная филология 13, no. 1 (2021): 99–108. http://dx.doi.org/10.17072/2073-6681-2021-1-99-108.

Full text

Abstract:

The paper provides review of the monograph by Ekaterina Evgrashkina The Semiotic Nature of Semantic Uncertainty in Modern Poetic Discourse (based on German and Russian poetry), published in the Russian language as part of the series NEUERE LYRIK. Interkulturelle und interdisziplinäre Studien. Herausgegeben von Henrieke Stahl, Dmitrij Bak, Hermann Korte, Hiroko Masumoto und Stephanie Sandler. BAND 5. Berlin: Peter Lang, Internationaler Verlag der Wissenschaften, 2019. 173 s. ISBN 978- 3-631-78193-7. The monograph deals with the main trends of German and Russian poetry of the last decades. The focus is on the phenomenon of hermetic poetry. Modern authors consciously choose writing strategies such as literary improvisation, language play, and various intermedial inclusions. The first chapter ‘The problem of poetic meaning’ provides a theoretical framework for the field of research. It introduces the definitions of discourse, the concepts ‘language games’ (developed by L. Wittgenstein), ‘text / discourse’, ‘text / work’, dialogical dimensions of poetic text. The second chapter ‘Semiotics of modern poetry’ covers the concept ‘mobile semiosis’ (J. Baudrillard) and some others. In hermetic poetic discourse, generation of meaning is based on mobile semiosis, in which the relationship of stability between the signifier and the signified is called into question. In The Role of the Reader, Umberto Eco describes two models of the reader, different strategies for interpreting text. Susan Sontag denies the possibility of final interpretation of a text, she suggests eroticism of art instead of hermeneutics. The third chapter ‘Linguistic installations’ considers various manifestations of poetic Hermeticism in modern poetry, the experience of concrete and visual poetry in German: Timm Ulrichs (1940), Klaus Peter Dencker (1941), Barbara Köhler (1959), Werner Herbst (1943–2008), Anatol Knotek (1977), Herta Müller (1953). The final chapter ‘The self-reflexive discourse’ deals with the trend of modern poetry towards free verse and construction of new complex poetic forms. The process of occasional word formation is shown in the lyrical texts by German poets Thomas Kling (1957–2005), Lutz Seiler (1963), Konstantin Ames (1979), Lioba Happel (1957), Thomas Böhme (1955), and by Russian authors Polina Andrukovich (1969), Alexander Ulanov (1963), Dmitry Vorobyov (1979). In poetic discourse, the constitution of the poetic subject correlates with the introduction of new elements of culture into the poetic text. Such innovations do not lead to a mechanical increment of the elementary meaning, but to a structural transformation of the whole picture. The reviewed monograph is significant in that it provides theoretical understanding of individual poetic practices and the analysis of specific empirical material – the latest German and Russian poetry.

APA, Harvard, Vancouver, ISO, and other styles

11

Daija, Pauls. "Vācbaltiešu un latviešu attiecību attēlojums Rūdolfa Blaumaņa daiļradē." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 25 (March 5, 2020): 13–25. http://dx.doi.org/10.37384/aplkp.2020.25.013.

Full text

Abstract:

The article explores the relationship between Baltic Germans and Latvians in the works of Rūdolfs Blaumanis by turning attention towards the interpretation of this topic within the context of the social history of literature. An insight into previous evaluations by literary historians has been provided. In the first part of the article, two works with central Baltic German characters – novella “Andriksons” (1899) and play “Ugunī” (In the Fire, 1906, written in 1904) – have been analyzed. In these works, German landowners have been depicted demonstrating the social and national conflicts of the age in their relationship with subordinated Latvians. The characters of landowners are ambiguous and indecisive, and they are distanced from everyday reality and living in the past. Their communication with Latvians is characterized by complications and obstacles. Hence, these characters can be viewed as a wider generalization about the crisis of the Baltic German community by the turn of the 20th century. In the second part of the article, episodic characters of Baltic Germans in prose fiction have been explored along with the overview of satirical poetry by Blaumanis in which the relationship between Baltic Germans and Latvians mostly in the period after the revolution of 1905 has been addressed. It has been concluded in the article that in the representations of the relationship between Baltic Germans and Latvians, Blaumanis depicts the instability of the transition period and avoids disclosing his own views. This corresponds to his concept of the depiction of social problems in literary works. Satirical poetry, which is less neutral but also less literary successful, remains an exception. Baltic German characters in works of Blaumanis are mostly episodic, and besides neutral background characters and politically charged characters in satirical poetry, the most interesting both literary and historically are the characters in which the contradictions of the period have been represented.

APA, Harvard, Vancouver, ISO, and other styles

12

Meier, Albert. "Wir sind Halbierte. Die Entdeckung der DDR in der westdeutschen Literatur vor 1989." Studia Germanica Posnaniensia, no. 37 (April 15, 2017): 201–11. http://dx.doi.org/10.14746/sgp.2016.37.16.

Full text

Abstract:

West German literature has turned its back to the existence of the second German state until the 1980s. Only a few years before the fall of the Berlin wall, three writers started to make the GDR a subject of narration or poetry: Botho Strauß, Peter Schneider and Martin Walser. In different ways, yet unanimously, they complain about the division of Germany dealing with its impact on everyday life and private feelings.

APA, Harvard, Vancouver, ISO, and other styles

13

Thomas, Nicola. "The New German Nature Lyric." Humanities 9, no. 2 (June 4, 2020): 50. http://dx.doi.org/10.3390/h9020050.

Full text

Abstract:

Naturlyrik has long been a contested category in German poetry, but however politically suspect some may find ‘Gespräch(e) über Bäume’ (Brecht), they are vitally important in the era of anthropogenic environmental collapse. The current generation of German-language poets have sought new ways of writing about the natural world and environments; these differ from, and draw on, pre-twentieth-century Naturlyrik as well as the complex, often critical, representations of nature in poetry after the Second World War. Representations of gardens and other human-‘managed’ natural spaces, references to and rewritings of German literary tradition, and the exploration of non-human voices and subjects all serve as means of restoring subjective fullness and complexity to Naturlyrik. The questions of voice and form which are central to the idea of the lyric genre as a whole are implicated in the development of a contemporary nature poetry beyond both Brecht and Benn, and Anthropocene Naturlyrik is pushing German lyric poetry itself into a new phase.

APA, Harvard, Vancouver, ISO, and other styles

14

Kellner, Beate. "Apologie der deutschen Sprache und Dichtkunst in Johann Fischarts Geschichtklitterung." Daphnis 49, no. 3 (July 14, 2021): 379–415. http://dx.doi.org/10.1163/18796583-12340024.

Full text

Abstract:

Abstract In competing with Rabelais’ French novel Garguanta, the German author Fischart aims to illustrate the richness of the German language and its poetry in his comic novel Geschichtklitterung. Focusing on the second chapter of this text, which has so far been viewed as nothing more than an absurd play on language, this article offers a new interpretation and demonstrates how the German author stylizes himself as a poeta vates in his Pantagruelian prophecy and presents himself as a being purified by wine in his poem “Glucktratrara”. In the end, inspired by Apollo and the Muses, he seems to create an epic poem praising both Germans and the German language.

APA, Harvard, Vancouver, ISO, and other styles

15

Schulte, Rainer. "Poetry: A Special Double Issue on “Contemporary German Poetry”." Translation Review 56, no. 1 (November 1998): 99–100. http://dx.doi.org/10.1080/07374836.1998.10524082.

Full text

APA, Harvard, Vancouver, ISO, and other styles

16

Werle, Dirk, and Uwe Maximilian Korn. "Telling the Truth: Fictionality and Epic in Seventeenth-Century German Literature." Journal of Literary Theory 14, no. 2 (September 25, 2020): 241–59. http://dx.doi.org/10.1515/jlt-2020-2006.

Full text

Abstract:

AbstractResearch on the history of fiction of the early modern period has up to now taken primarily the novel into consideration and paralleled the rise of the novel as the leading genre of narrative literature with the development of the modern consciousness of fictionality. In the present essay, we argue that contemporary reflections on fictionality in epic poetry, specifically, the carmen heroicum, must be taken into account to better understand the history of fiction from the seventeenth century onwards. The carmen heroicum, in the seventeenth century, is the leading narrative genre of contemporary poetics and as such often commented on in contexts involving questions of fictionality and the relationship between literature and truth, both in poetic treatises and in the poems themselves. To reconstruct a historical understanding of fictionality, the genre of the epic poem must therefore be taken into account.The carmen heroicum was the central narrative genre in antiquity, in the sixteenth century in Italy and France, and still in the seventeenth century in Germany and England. Martin Opitz, in his ground-breaking poetic treatise, the Buch von der Deutschen Poeterey (1624), counts the carmen heroicum among the most important poetic genres; but for poetry written in German, he cites just one example of the genre, a text he wrote himself. The genre of the novel is not mentioned at all among the poetic genres in Opitz’ treatise. Many other German poetic treatises of the seventeenth century mention the importance of the carmen heroicum, but they, too, provide only few examples of the genre, even though there were many Latin and German-language epic poems in the long seventeenth century. For Opitz, a carmen heroicum has to be distinguished from a work of history insofar as its author is allowed to add fictional embellishments to the ›true core‹ of the poem. Nevertheless, the epic poet is, according to Opitz, still bound to the truthfulness of his narrative.Shortly before the publication of Opitz’ book, Diederich von dem Werder translated Torquato Tasso’s epic poem Gerusalemme liberata (1580); his translation uses alexandrine verse, which had recently become widely successful in Germany, especially for epic poems. Von dem Werder exactly reproduces Tasso’s rhyming scheme and stanza form. He also supplies the text with several peritexts. In a preface, he assures the reader that, despite the description of unusual martial events and supernatural beings, his text can be considered poetry. In a historiographical introduction, he then describes the course of the First Crusade; however, he does not elaborate about the plot of the verse epic. In a preceding epyllion – also written in alexandrine verse – von dem Werder then poetically demonstrates how the poetry of a Christian poet differs from ancient models. All these efforts can be seen as parts of the attempt to legitimate the translation of fictional narrative in German poetry and poetics. Opitz and von dem Werder independently describe problems of contemporary literature in the 1620s using the example of the carmen heroicum. Both authors translate novels into German, too; but there are no poetological considerations in the prefaces of the novels that can be compared to those in the carmina heroica.Poetics following the model established by Opitz develop genre systems in which the carmen heroicum is given an important place, too; for example, in Balthasar Kindermann’s Der Deutsche Poet (1664), Sigmund von Birken’s Teutsche Rede- bind- und Dicht-Kunst (1679), and Daniel Georg Morhof’s Unterricht von der Teutschen Sprache und Poesie (1682). Of particular interest for the history of fictionality is Albrecht Christian Rotth’s Vollständige Deutsche Poesie (1688). When elaborating on the carmen heroicum, Rotth gives the word ›fiction‹ a positive terminological value and he treats questions of fictionality extensively. Rotth combines two contradictory statements, namely that a carmen heroicum is a poem and therefore invented and that a carmen heroicum contains important truths and is therefore true. He further develops the idea of the ›truthful core‹ around which poetic inventions are laid. With an extended exegesis of Homer’s Odyssey, he then illustrates what it means precisely to separate the ›core‹ and the poetic embellishments in a poem. All these efforts can be seen as parts of the attempt to legitimize a poem that tells the truth in a fictional mode.The paper argues that a history of fictionality must be a history that carefully reconstructs the various and specifically changing constellations of problems concerning how the phenomenon of fictionality may be interpreted in certain historical contexts. Relevant problems to which reflections on fictionality in seventeenth-century poetics of the epic poem and in paratexts to epic poems react are, on the one hand, the question of how the genre traditionally occupying the highest rank in genre taxonomy, the epic, can be adequately transformed in the German language, and, on the other hand, the question of how a poetic text can contain truths even if it is invented.

APA, Harvard, Vancouver, ISO, and other styles

17

Anderson, Charlotte, and Robert M. Browning. "German Poetry from 1750 to 1900." Die Unterrichtspraxis / Teaching German 21, no. 2 (1988): 245. http://dx.doi.org/10.2307/3530309.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

Datsko, Dar'ya Aleksandrovna. "PECULIARITIES OF THE GERMAN “POETRY SLAM”." Philological Sciences. Issues of Theory and Practice, no. 3 (March 2019): 19–23. http://dx.doi.org/10.30853/filnauki.2019.3.4.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

Skrine, Peter, Marian R. Sperberg-McQueen, and Paul Fleming. "The German Poetry of Paul Fleming." Modern Language Review 87, no. 1 (January 1992): 252. http://dx.doi.org/10.2307/3732406.

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

Leeder, Karen. "INTRODUCTION: THE ADDRESS OF GERMAN POETRY." German Life and Letters 60, no. 3 (July 2007): 277–93. http://dx.doi.org/10.1111/j.1468-0483.2007.00387.x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

Haymes, Edward. "Oral Theory and Medieval German Poetry." Oral Tradition 18, no. 2 (2004): 258–60. http://dx.doi.org/10.1353/ort.2004.0066.

Full text

APA, Harvard, Vancouver, ISO, and other styles

22

Dreppec, Alex. "Periodic Poetry." Ecozon@: European Journal of Literature, Culture and Environment 11, no. 1 (March 24, 2020): 178–85. http://dx.doi.org/10.37536/ecozona.2020.11.1.3233.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

Landa, Sara. "On the Interplay between Poets’ and Philologists’ Translations of Chinese Poetry into German." Comparative Critical Studies 17, no. 2 (June 2020): 245–62. http://dx.doi.org/10.3366/ccs.2020.0361.

Full text

Abstract:

‘[I]t has unfortunately become a fashion that people who obviously cannot claim to have any legitimation or any understanding in the field of sinology […], take hold of the sinological works of others and exploit them merely for business reasons’, complains the sinologist Leopold Woitsch in 1924, referring to Albert Ehrenstein's newest translations of Chinese poetry. The debate on who could authoritatively translate Chinese poetry was fiercely contested in German modernist circles and still rages to this day. Most scholars still contrast ‘poetical’ and ‘scholarly’ translations of Chinese poetry, either claiming that the former in an intuitive way come closer to the original, or criticizing the work of the poets who did not possess the linguistic and cultural background knowledge to dare approach Chinese poetry. However, it is exactly the interaction between the two modes that shaped the German reception of Chinese poetry in the twentieth century. Referring to a number of examples from the early-twentieth-century adaptations of Tang poetry, this article offers a more differentiated perspective on the cooperative and competitive relations between poets’ and scholars’ translations of Chinese poetry. Against the background of controversies surrounding ‘legitimate’ translations which shaped literary modernism in the early twentieth century, I show how the poetic and scholarly approaches were (and remain) closely interconnected, and discuss the thematic and aesthetic implications of this interrelationship.

APA, Harvard, Vancouver, ISO, and other styles

24

Dambek, Małgorzata. "Wielość światów. Kilka refleksji o twórczości lirycznej Pavla Straussa." Slavia Occidentalis, no. 73/2 (June 14, 2018): 23–32. http://dx.doi.org/10.14746/so.2016.73.27.

Full text

Abstract:

Writer Pavol Strauss is little known in Slovakia and Poland because there were several decades between his first collections of poetry written in the German language in the period between the two World Wars and his Slovak post-war essays, and then his other works (essays, diaries and aphorisms) published sporadically or after 1989 on the other. He published four collections of poetry in German: Die Kanone auf dem Ei (1936), Schwarze Verse (1937), Worte aus der Nacht (published bilingually in 2001) and Bruder Abel lebt ja noch (manuscript).After 1946 Pavol Strauss stopped writing poetry and stopped writing in German.

APA, Harvard, Vancouver, ISO, and other styles

25

BRIDGWATER, PATRICK. "BAUDELAIRE'S COUSINS GERMAN: THE IMPACT OF BAUDELAIRE ON GERMAN POETS AND POETRY." Forum for Modern Language Studies XXXI, no. 4 (1995): 326–44. http://dx.doi.org/10.1093/fmls/xxxi.4.326.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

Durs Grünbein, Translated by Michael Eskin, Translated by Karen Leeder, Esther Dischereit, Translated by Iain Galbraith, Raoul Schrott, Translated by Iain Galbraith, et al. "A Dossier of Contemporary German-language Poetry." World Literature Today 88, no. 6 (2014): 44. http://dx.doi.org/10.7588/worllitetoda.88.6.0044.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

Lubich, Frederick A., Florian Krobb, and Jeff Morrison. "Poetry Project, Irish Germanists Interpret German Verse." German Studies Review 27, no. 2 (May 2004): 445. http://dx.doi.org/10.2307/1433149.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

Eskin, Michael. "German Poetry after the Wall: An Introduction." Germanic Review: Literature, Culture, Theory 77, no. 1 (January 2002): 3–6. http://dx.doi.org/10.1080/00168890209597447.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Guthrie, John. "Eighteenth-Century German Translations of Pope’s Poetry." Publications of the English Goethe Society 82, no. 2 (June 2013): 67–84. http://dx.doi.org/10.1179/0959368313z.00000000017.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Melin, Charlotte. "Unpacking Contemporary German Poetry: Hinsehen, Lesen, Hören." Die Unterrichtspraxis/Teaching German 43, no. 2 (September 2010): 133–43. http://dx.doi.org/10.1111/j.1756-1221.2010.00075.x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

31

Keith-Smith, Brian, Florian Krobb, and Jeff Morrison. "Poetry Project: Irish Germanists Interpret German Verse." Modern Language Review 99, no. 4 (October 2004): 1114. http://dx.doi.org/10.2307/3738594.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Petrič, Jerneja. "The first translations of Harlem renaissance poetry in Slovenia." Acta Neophilologica 41, no. 1-2 (December 19, 2008): 3–12. http://dx.doi.org/10.4312/an.41.1-2.3-12.

Full text

Abstract:

From the present-day perspective Harlem Renaissance poetry represents an epoch-making contribution by America's black authors to the mainstream literature. However, in the post World War 1 era black authors struggled for recognition in their homeland. The publication of a German anthology Afrika singt in the late 1920s agitated Europe as well as the German-speaking authors in Slovenia. Mile Klopčič, a representative of the poetry of Social Realism, translated a handful of Har lem Renaissance poems into Slovene using, except in two cases, the German anthology as a source text. His translations are formally accomplished but fail to reproduce the cultural significance of the Harlem Renaissance poetry.

APA, Harvard, Vancouver, ISO, and other styles

33

Pajević, Marko. "Sprachabenteuer: Yoko Tawadas exophone Erkundungen des Deutschen." Interlitteraria 26, no. 1 (August 31, 2021): 173–88. http://dx.doi.org/10.12697/il.2021.26.1.12.

Full text

Abstract:

Adventures in Language: Yoko Tawada’s Exophonic Explorations of German. Yoko Tawada (1960) is for good reason one of the prime examples for contemporary German exophonic literature. She is a very successful writer in Japanese and in German and provides in her Germanophone writings an ethnography of the German worldview, as Wilhelm von Humboldt famously called languages, or of the German language-mindset. This article focuses on her 2010 poetry volume Abenteuer der deutschen Grammatik (‘Adventures of German Grammar’) to demonstrate how exophonia can allow us to develop an acute awareness of the ways in which language structures shape our patterns of thinking. Coming from a very differently organised language, Japanese, Tawada comments in playful ways on the implications of German, and compares it translinguistically with Japanese. Looking at German from an outside position enables her to be very creative and to make Germans discover their language with new eyes. Translingual writing, even though also present in a real mixing of languages in Tawada, appears here as a way to understand how much our ideas are shaped by our linguistic structures, and that there are alternative worldviews. It thus contributes greatly to a relativisation of one’s own perspective and helps to open up to difference and creativity.

APA, Harvard, Vancouver, ISO, and other styles

34

Werner, Meike G. "Vom Annex zum Atelier." Internationales Archiv für Sozialgeschichte der deutschen Literatur 44, no. 2 (November 8, 2019): 399–409. http://dx.doi.org/10.1515/iasl-2019-0018.

Full text

Abstract:

Abstract In 1960, two competing anthologies of modern poetry were published in an attempt to renew and internationalize German poetry: Günther Steinbrinker’s Panorama moderner Lyrik and Hans Magnus Enzensberger’s Museum der modernen Poesie. This essay argues that the success of Museum over Panorama was based on Enzensberger’s comparative approach to modernist poetry in the first half of the twentieth century as a “chrestomathy” (a textbook) for a “world language of poetry”. This chrestomathy also provided the blueprint for his own German-language poems, which he published the same year in a collection titled Landessprache.

APA, Harvard, Vancouver, ISO, and other styles

35

Pogorelova, Inga Viktorovna. "Bach, Bukowski, genesis." Litera, no. 4 (April 2021): 198–204. http://dx.doi.org/10.25136/2409-8698.2021.4.32719.

Full text

Abstract:

The object of this research is the references to the German composer of the XVIII century – Johann Sebastian Bach in poetry of the classic of modern American literature Charles Bukowski. Special attention is given to the poetic-semiotic and ontological aspects of Bach’s motif in the poetic works of C. Bukowski. The author meticulously examines the nature of mentioned references, categorizing them as the three narrative-ontological types or hypostases, in which the German composer appears in the poetry of C. Bukowski, namely: Bach-ideal, Bach-background, and Bach-father figure. The article employs the method of continuous sampling, interpretation and semantic analysis, motivic analysis, as well as biographical and psychological approaches. The author's special contribution into the research of this topic lies in the conclusion on the Bach’s motif in the poetry of C. Bukowski as a variety of ekphrasis, which suggests a verbal representation not of a single artwork, but of the demiurge (in this case it is Bach) as the creator of entirety of his brilliant compositions.

APA, Harvard, Vancouver, ISO, and other styles

36

Osovska, Iryna, and Liudmyla Konopelniuk. "PECULIARITIES OF THE TRANSLATION INTO GERMAN LINA KOSTENKO’S POETRY." Germanic Philology Journal of Yuriy Fedkovych Chernivtsi National University, no. 831-832 (2021): 252–59. http://dx.doi.org/10.31861/gph2021.831-832.252-259.

Full text

Abstract:

The article is devoted to the classification and analysis of the German-language translations of Lina Kostenko's poems based on the material of the lyrical collection "And again the prologue" translated by Alois Woldan. The article introduces the theoretical foundations of poetry translation as a separate type of literary translation, examines its genre-specific features, and analyses the features of the modern Ukrainian poetry and the author's style of Lina Kostenko, which jointly form the basis for further comparison of the original example and the translation. The paper shows the main difficulties that Alois Voldan faced interpreting the poems, describes the ways of overcoming them and offers a qualitative assessment of the translation. The lexical and stylistic analysis showed the wide usage of the poetic instruments in his works of pictorial and expressive language as well as aphorisms. However, to preserve the idea and reproduce the ideological motives, Alois Voldan avoided literal translation and resorted to the descriptive translation of these linguistic means. When translating lexical tautologies, which are widely inherent in Lina Kostenko's poetics, the translator replaced lexical units, graphic signs, sentence structure and transferred repetitions from one line to another to preserve emotionality and expressiveness in lyric poems. When we look closely at the grammatical level of translation, there are replacements of grammatical constructions and parts of speech. We also recognize the addition of new parts of speech that are missing in the original poem. The reason for such transformations was the differences in the grammatical structures of the German and Ukrainian languages, and the translation strategies used to preserve the rhythmic and melodic pattern of the poems. A special place is given to the characteristics because of the national specificity of poetry and the translation of its semantic equivalent. That is, the reason why the translation is used primarily for intercultural communication, and the translator, in this case, is an intercultural mediator. But Alois Voldan managed to convey the thematic orientation of the poems and the Ukrainian colour.

APA, Harvard, Vancouver, ISO, and other styles

37

Dacko, D. "German Poetry Discourse in Cognitive and Communicative Internet Space of the XXI Century." Scientific Research and Development. Modern Communication Studies 8, no. 6 (December 25, 2019): 34–38. http://dx.doi.org/10.12737/2587-9103-2019-34-38.

Full text

Abstract:

The development of computer technology had a great influence on the structuring of modern discursive practices and led to the introduction of new types of discourse. In particular, the Internet discourse was founded, as well as a number of genres explicated in the Internet space. The purpose of this work is to identify the features of modern German poetry Internet discourse that is an underexplored phenomenon in the context of a cognitive-discursive paradigm. The author deals with the actual questions of study of dichotomy “discourse — (Internet) text” of the poetry discourse, Attention is also focused on Flarf poetry, Google Lyrik, Found poetry, Spoetry / Spam poetry - the main genres presented in German Internet space based on “ready made” technology.

APA, Harvard, Vancouver, ISO, and other styles

38

Mahlmann-Bauer, Barbara. "Sigmund von Birken, der Literaturbetrieb, Netzwerke und Werkpolitik." Scientia Poetica 24, no. 1 (November 1, 2020): 1–56. http://dx.doi.org/10.1515/scipo-2020-001.

Full text

Abstract:

AbstractSigmund von Birken belongs to the »Trio of poets from Nürnberg«, together with Georg Philipp Harsdörffer and Johann Klaj whose posthumous fame is mainly due to their pastoral poetry with fullsounding verses in praise of peace and love. Birken started his career with an enormous upshot as organizer of multi-media spectacles during the peace ceremony in Nürnberg in 1650. Apart from his hymns and pastoral love poems, Birken’s poetry does not belong to the canon of early modern literature in Germany. If he had lived longer, he would probably have edited later all those poems which he had written on demand for special occasions and immediately published as separate brochures or leaflets in at least four huge volumes. He would have properly arranged love poems, odes in praise of friendship, poems dedicated to noblemen and civilians, hymns and secular songs, starting like his famous predecessors with his Latin verses. This ambitious publication project is outlined in his manuscript collections, but was not realized during Birken’s lifetime. To correct for this oversight, the commented edition of Birken’s complete poetic manuscripts, which was recently finished by Hartmut Laufhütte, gives a broad impression of his talents as a playful virtuoso in all kinds of genres, teacher of poetry, advisor, ›ghostwriter‹ and promotor of young poets, male and female alike. His diaries and correspondence account for his enormous productivity and versatility, thus enabling modern readers to watch him during the creative procedure more closely than any other German poet of his time. The edition of Birken’s manuscripts is on the same scale as a few other recently completed long term editions of early modern German ego-documents and poetry and sets high standards for further editions.

APA, Harvard, Vancouver, ISO, and other styles

39

Benthien, Claudia, and Wiebke Vorrath. "German sound poetry from the neo-avant-garde to the digital age." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 7, no. 1 (December 21, 2017): 4–26. http://dx.doi.org/10.7146/se.v7i1.97176.

Full text

Abstract:

This article gives insight into German-language sound poetry since the 1950s. The first section provides a brief historical introduction to the inventions of and theoretical reflections on sound poetry within the avant-garde movements of the early 20th century. The second section presents works by Ernst Jandl and Gerhard Rühm as examples of verbal poetry of the post-war neo-avant-garde. The following two sections investigate contemporary sound poetry relating to avant-garde achievements. Section three deals with two examples that may be classified as sound poetry in a broader sense: Thomas Kling’s poem broaches the issue of sound in its content and vocal performance, and Albert Ostermaier’s work offers an example of verbal poetry featured with music. The fourth section presents recent sound poetry by Nora Gomringer, Elke Schipper and Jörg Piringer, which are more distinctive examples relating to avant-garde poetry genres and use recording devices experimentally.

APA, Harvard, Vancouver, ISO, and other styles

40

Szaruga (Wirpsza), Leszek (Aleksander). "On various kinds of involvement of Avant-Garde." Tekstualia 4, no. 59 (December 20, 2019): 173–90. http://dx.doi.org/10.5604/01.3001.0013.6443.

Full text

Abstract:

The article analyses selected poems and tractates of poetry, with a special focus on the solutions regarding versifi cation, rhythm, and language (dialectological structures, syntactical forms and neologisms characteristic of poetic writing in Polish and Russian, as well as the contexts of English and German languages). Because the author attempts to distinguish the specifi city of poetry and the most important areas of literary biography in selected areas, he asks what the ways of poetry are, trying to present his point of view about the intellectual climate of the end of the 19th century, when the refl ection of language was the strongest and fundamental sign to identity. Besides, he shows what happened in the poetry of Marinetti, Majakowski, Benn, Brecht, Becher, Pound, Jasieński, Brzechwa, and Czyżewski. The article deals with the problem of historical, sociological, political, cultural and religious dialogue in poetry. The dialogue is dedicated to the search of a new language of expression. The author presents what the status of the poetry is at the beginning of the 20th century and what are the ways of poetry spreading and using language as a medium not only of communication, but also an identifi cation of unbelievable, impossibility, and as a consequence what are the strategies in poetry in addition to language (Russian and Polish, but also English and German). All of these paradigms determined functions of lyrics, which can be named an intertextual creativity. The author tries to answer the fundamental question about human condition and identity, the meaning of poetic sign, individual human possibilities towards history and politics, as well as the ways of using different connections with literature, art, religion (especially mysticism), philosophy and intertextual components which described the worldview of poetry.

APA, Harvard, Vancouver, ISO, and other styles

41

Palmer, Peter. "OTHMAR SCHOECK'S SETTINGS OF GOTTFRIED KELLER." Tempo 64, no. 251 (January 2010): 28–37. http://dx.doi.org/10.1017/s0040298210000045.

Full text

Abstract:

The Swiss author Gottfried Keller was 27 when he published his first volume of poems in 1846. His early poetry was partly influenced by the German battle for liberalism and the experience of those émigrés who, like Wagner, found their way to Switzerland. The main literary impulses came from Goethe and the German Romantics, impulses finding expression in subjective, even mystical verses. At the same time Keller never lost touch with the here-and-now: a feature that would earn him the description of a poetic realist.

APA, Harvard, Vancouver, ISO, and other styles

42

Siebenpfeiffer, Hania. "Sibylle – Clio – Thalia. Inszenierungen mythopoetischer Autorschaft im Titelkupfer und in Gedichten von Sibylla Schwarz." Daphnis 44, no. 1-02 (July 21, 2016): 199–222. http://dx.doi.org/10.1163/18796583-04401010.

Full text

Abstract:

Frontispiece and dedication poems of Gerlachs edition of Sibylla Schwarz poetry openly refer to the early modern sibylline iconography by characterizing her as the “German” or “Eleventh Sibyl”. In the poems themselves other references are foregrounded, most prominent those to the apollonian muses Clio and Thalia, constructing a mythopoetic authorship and emphasizing the poetic quality of poetry in contrast to the prophetic. By giving him/herself a mythopoetic identity, the “I” transforms its poems into poetic heterotopias. In “Fretow”, they are given a concrete heterotopic counterpart. The poetic “Fretow” notably uncovers the reciprocal dependency of mythopoetic authorship and poetic heterotopia which characterizes Sibylla Schwarz’ poetic works.

APA, Harvard, Vancouver, ISO, and other styles

43

Weinstock, John, and Lawrence D. Snyder. "German Poetry in Song: An Index of Lieder." Notes 52, no. 4 (June 1996): 1160. http://dx.doi.org/10.2307/898387.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

Hayden-Roy, Priscilla, and Martin Swales. "German Poetry: An Anthology from Klopstock to Enzensberger." German Quarterly 61, no. 4 (1988): 563. http://dx.doi.org/10.2307/406266.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

Zorach, Cecile Cazort, and Charlotte Melin. "The Columbian Legacy in Postwar German Lyric Poetry." German Quarterly 65, no. 3/4 (1992): 267. http://dx.doi.org/10.2307/407587.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

Durrani, Osman, and Martin Swales. "German Poetry: An Anthology from Klopstock to Enzensberger." Modern Language Review 83, no. 1 (January 1988): 245. http://dx.doi.org/10.2307/3728639.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

Swales, Martin, and Osman Durrani. "German Poetry of the Romantic Era: An Anthology." Modern Language Review 83, no. 1 (January 1988): 248. http://dx.doi.org/10.2307/3728640.

Full text

APA, Harvard, Vancouver, ISO, and other styles

48

Bruns, Gerald L. "The Invention of Poetry in Early German Romanticism." Wordsworth Circle 47, no. 2 (March 2016): 110–14. http://dx.doi.org/10.1086/twc47020110.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

Melin, Charlotte A. "German Women's Poetry Circa 1900: A Forgotten Anthology." German Quarterly 87, no. 1 (January 2014): 49–66. http://dx.doi.org/10.1111/gequ.10197.

Full text

APA, Harvard, Vancouver, ISO, and other styles

50

Leeder, Karen. "ThePoeta Doctusand the New German Poetry: Raoul Schrott'sTropen." Germanic Review: Literature, Culture, Theory 77, no. 1 (January 2002): 51–67. http://dx.doi.org/10.1080/00168890209597450.

Full text

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!