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Journal articles on the topic 'German literature German poetry'
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Komilovna, Khaydarova Dildora. "The Literary Relations In Uzbek And German Poetry." American Journal of Social Science and Education Innovations 02, no. 12 (2020): 294–97. http://dx.doi.org/10.37547/tajssei/volume02issue12-51.
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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.
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Kellner, Beate. "Apologie der deutschen Sprache und Dichtkunst in Johann Fischarts Geschichtklitterung." Daphnis 49, no. 3 (2021): 379–415. http://dx.doi.org/10.1163/18796583-12340024.
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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.
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Durrani, Osman, and Peter Hutchinson. "Landmarks in German Poetry." Modern Language Review 97, no. 2 (2002): 504. http://dx.doi.org/10.2307/3736966.
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Werle, Dirk, and Uwe Maximilian Korn. "Telling the Truth: Fictionality and Epic in Seventeenth-Century German Literature." Journal of Literary Theory 14, no. 2 (2020): 241–59. http://dx.doi.org/10.1515/jlt-2020-2006.
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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.
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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.
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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.
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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.
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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.
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Guthrie, John. "Eighteenth-Century German Translations of Pope’s Poetry." Publications of the English Goethe Society 82, no. 2 (2013): 67–84. http://dx.doi.org/10.1179/0959368313z.00000000017.
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Salimzanova, Dilyara A., and Gulnara T. Gilfanova. "The Problem of Historical Choice in East German Literature: Johannes Bobrowski in Context of the Postwar Literature of the 1950s-1970s." Journal of History Culture and Art Research 6, no. 5 (2017): 342. http://dx.doi.org/10.7596/taksad.v6i5.1253.
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<p>The article tells about works of the famous German writer Johannes Bobrowski (1917-1965) born 100 years ago; the world literary community celebrates his 100 anniversary as in 2017. The poetic speech of Bobrowski, difficult for perception, reflected the main perspective of his poetry: history of the people and communication of the person with the nature. Art development of history, author’s cycle of stories and two novels of the original narrative technique in the conditions of totalitarian regime and continuous censorship, in many respects predetermined development of a genre of the historical novel in literature of the East German space of the "middle" of the last century. The creativity J. Bobrowski opens the new truth about the German life and history, thereby expanding a framework of art judgment of the past country. </p>
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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.
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Skrine, Peter, Marian R. Sperberg-McQueen, and Paul Fleming. "The German Poetry of Paul Fleming." Modern Language Review 87, no. 1 (1992): 252. http://dx.doi.org/10.2307/3732406.
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Leeder, Karen. "INTRODUCTION: THE ADDRESS OF GERMAN POETRY." German Life and Letters 60, no. 3 (2007): 277–93. http://dx.doi.org/10.1111/j.1468-0483.2007.00387.x.
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Ivanytska, Maria. "UKRAINIAN EMIGRE TRANSLATORS’ ACTIVITY IN WEST GERMANY AFTER WORLD WAR II." Polish Studies of Kyiv, no. 35 (2019): 150–60. http://dx.doi.org/10.17721/psk.2019.35.150-160.
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The article provides an insight into the work of cultural activists in Germany in the post-war decades. It delineates the following groups of translators and popularizers of Ukrainian literature in West Germany: 1) German speakers: Halychyna descendant Hans Koch and Elisabeth Kottmeier, the wife of the Ukrainian poet Igor Kosteckyj; 2) the Ukrainian scholars who began their activity before the war: Dmytro (Dimitrij) Tschižeswskij, Iwan Mirtschuk; 3) representatives of the younger wave of emigration – Jurij Bojko-Blochyn, Olexa and Anna-Halja Horbatsch, Igor Kostetskyj, Mychahlo Orest, Jurij Kossatsch and others. The author reflects on the question whether or not the post-war Ukrainian emigration was integrated into a wider context of German culture. This is analyzed from the vantage point of the Western European reader’s/ literary critic’s readiness for the reception of Ukrainian literature. Among the first promoters of Ukrainian literature was the Artistic Ukrainian Movement (Munich), whose member of the board, Jurij Kossatsch, published the first review of the then contemporary Ukrainian literature in the German language “Ukrainische Literatur der Gegenwart” (1947). The author analyzes the first collection of translations of Ukrainian poetry “Gelb und Blau: Moderne ukrainische Dichtung in Auswahl” (“Yellow and Blue: Selected Contemporary Ukrainian Poetry”) compiled by Wolodimir Derzhawin, who condemned the persecution and extermination of poets in the USSR, criticized proletarian literature and the choice of authors. The preface by Derzhavin testified to the conviction of Ukrainian emigrants that free Ukrainian literature could flourish only in the exile. The work of the translators’ tandem of Igor Kosteckyj and Elisabeth Kottmeier is further described. The chronological and quantitative comparison of scholarly publications on Ukrainian literature in the then West Germany revealed that one of the major accomplishments of the Ukrainian diaspora was the transition from the complete lack to a gradual increase of interest in the aforementioned subject. The article emphasizes the significance of the translating activity of Anna-Halja Horbatsch aimed at introducing Ukrainian literature to the German Slavic Studies scholars along with ordinary readers. This was made possible when large collections of translations “Blauer November. Ukrainische Erzähler unseres Jahrhunderts” (Blue November: Ukrainian writers of this century) and “Ein Brunnen für Durstige “ (“The Well for the Thirsty”) were out, and in the 90’s – when the publishing house specializing in translations from Ukrainian literature was founded. The Soviets’ negative reaction to those and previous publications is perceived as a manifestation of the political engagement of socialist literary criticism. Conclusion: Anna-Halja Horbatsch’ contribution to the systematic acquaintance of the West German reader with modern Ukrainian literature is by far the most significant due to her numerous translations, scholarly articles, and critical reviews.
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Pajević, Marko. "Sprachabenteuer: Yoko Tawadas exophone Erkundungen des Deutschen." Interlitteraria 26, no. 1 (2021): 173–88. http://dx.doi.org/10.12697/il.2021.26.1.12.
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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.
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Fisher, Rodney W. "Medieval German literature in modern German translation." Babel. Revue internationale de la traduction / International Journal of Translation 44, no. 2 (1998): 110–27. http://dx.doi.org/10.1075/babel.44.2.03fis.
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Abstract In the past 50 years a large number of medieval German texts have appeared in editions which provide translations, mostly in prose, and very often on the pages facing the medieval original. The article begins with a brief overview of this development, and distinguishes between poetic recreations and the more usual functional paraphrases. It then discusses the need for bi-lingual editions and the assumptions which seem to underlie the choice of lay-out. Some exceptions to the use of functional prose are noted. The article examines some of the comments made by the scholars responsible for bilingual texts, in particular comments for their German readers on the perceived difficulties associated with interference, and the rationale which seems to justify the almost universal choice of prose for translations of verse. It is argued that the form of medieval verse is just as much a part of the culture as the content, and that readers should perhaps not be given the impression that they are better able to appreciate the sense of the original through a prose paraphrase. Sommaire Durant les cinquante dernières années, un grand nombre de textes allemands médiévaux ont paru en traduction, essentiellement en prose, et très souvent sous la forme de textes bilingues. La présente étude commence par une présentation de ce phénomène, et met l'accent sur ce qui peut séparer une traduction poétique de la traduction paraphrasée qui est habituelle en ce domaine. Elle souligne ensuite l'intérêt de traductions bilingues et de ce qui sous-tend leur mise en page, notant le cas échéant les exceptions ä la règle commune de traduction en prose. L'étude considère ensuite certains des commentaires avancés par les chercheurs produisant des éditions bilingues pour leurs lecteurs allemands, en particulier en ce qui concerne les difficultés relevant des interférences et les arguments qui président au choix de la prose pour traduire des vers. L'argument fondamental de cette étude étant que la versification médiévale est partie intégrante du message de ces textes, et que les lecteurs contemporains ne doivent pas être induits en erreur quant ä la possibilité d'apprécier la portée de ces textes s'ils sont seulement lus dans le langage paraphrasé de la prose.
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Eskin, Michael. "German Poetry after the Wall: An Introduction." Germanic Review: Literature, Culture, Theory 77, no. 1 (2002): 3–6. http://dx.doi.org/10.1080/00168890209597447.
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Stanaszek, Maciej. "Życie dzielone Karla Dedeciusa (1921–2016)." Studia Interkulturowe Europy Środkowo-Wschodniej 10 (November 15, 2017): 0. http://dx.doi.org/10.5604/01.3001.0010.5765.
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The article presents the figure of Karl Dedecius (1921–2016) by exploring his activity as a translator and ambassador of Polish – but also Russian – literature and culture in German-speaking countries (mainly Germany). Having spent his youth in pre-war multicultural Łódź and – after the outbreak of WW II – having been a prisoner of war in Soviet camps, in December 1949 Dedecius moved to the GDR, from where he fled three years later with his family to West Germany. For 25 years he had divided – his life between literary translation, notably poetry, work as an insurance agent and family matters, and after retiring he managed to set up the Deutsches Polen-Institut, a non-governmental institution devoted to the popularisation of Polish literature in Germany, which he led in the years 1980–1998. As one of his close collaborators states, Dedecius’s editorial legacy comprises about 200 books which he either translated, wrote or edited, with poetry translations and literary essays being the core of his literary activity. He rendered some 3,000 poems of roughly 300 Polish poets into German and composed ca. 10 books that present and analyse – chiefly the 20th-century – Polish literature; some of them also contain essays on translation, fragments of which are cited and commented in the present article. Another important source and basis of considerations is Dedecius’s autobiography Ein Europäer aus Lodz [A European from Łódź], which explains the background of the author’s life at its different stages.
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Twist, Joseph. "From Roots to Rhizomes: Similarity and Difference in Contemporary German Postmigrant Literature." Humanities 9, no. 3 (2020): 64. http://dx.doi.org/10.3390/h9030064.
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There has traditionally been some divergence in the interpretive paradigms used by scholars analysing minority literature in the Germanophone and Anglophone contexts. Whereas the Anglosphere has tended to utilize poststructural and postcolonial approaches, interculturality and transculturality are favoured in the German-speaking world. However, these positions are aligning more closely, as the concept of similarity is gaining ground in Germany, disrupting the self–other binary in what can be regarded as a shift from the idea of roots to rhizomes. In dialogue with Gilles Deleuze and Félix Guattari’s concept of the rhizome, the paradigm of similarity will be explored in terms of culture in Zafer Şenocak’s essay collection Das Fremde, das in jedem wohnt: Wie Unterschiede unsere Gesellschaft zusammenhalten (The Foreign that Resides in Everyone: How Differences Hold Our Society Together, 2018), which explores the similarities between Turkish and German culture alongside their internal differences; in terms of language in Uljana Wolf’s poetry cycle “DICHTionary” (2009), which seeks out links between German and English through ‘false friends’; and in terms of religion in Feridun Zaimoglu and Günter Senkel’s play Nathan Messias (Nathan Messiah 2006), which raises questions about interreligious dialogue. All three texts challenge binary notions of identity in favour of a more complex, rhizomatic network of relations.
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Petrič, Jerneja. "The first translations of Harlem renaissance poetry in Slovenia." Acta Neophilologica 41, no. 1-2 (2008): 3–12. http://dx.doi.org/10.4312/an.41.1-2.3-12.
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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.
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Werner, Meike G. "Vom Annex zum Atelier." Internationales Archiv für Sozialgeschichte der deutschen Literatur 44, no. 2 (2019): 399–409. http://dx.doi.org/10.1515/iasl-2019-0018.
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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.
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Landa, Sara. "On the Interplay between Poets’ and Philologists’ Translations of Chinese Poetry into German." Comparative Critical Studies 17, no. 2 (2020): 245–62. http://dx.doi.org/10.3366/ccs.2020.0361.
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‘[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.
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Keith-Smith, Brian, Florian Krobb, and Jeff Morrison. "Poetry Project: Irish Germanists Interpret German Verse." Modern Language Review 99, no. 4 (2004): 1114. http://dx.doi.org/10.2307/3738594.
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Kuznetsova, T. N., and E. R. Mikhaylova. "WORKS OF F. SCHILLER IN THE CHUVASH LITERATURE: FEATURES OF TRANSLATION INTO CHUVASH LANGUAGE." Bulletin of Udmurt University. Series History and Philology 29, no. 6 (2019): 982–85. http://dx.doi.org/10.35634/2412-9534-2019-29-6-982-985.
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The article is devoted to the features of translation of German poetry into the Chuvash language. Using the example of F. Schiller’s ballad “Der Handschuh” (“Glove”) and its translation into Chuvash, performed by the Chuvash poet S. Shavly, a comparative analysis of the translation and the original is carried out, and the quality of the translation of the work is determined. The purpose of the study is a comprehensive analysis of the translation of F. Schiller’s poem “Der Handschuh” into the Chuvash language, consideration of the linguistic features of the poetry translation. When translating a work, different types of lexical and grammatical transformations are used: omission of lexical units, transliteration, lexical addition, replacement of parts of speech, generalization, etc., which helped to reveal the content of the work and preserve the structure of the poetic work in the target language. S. Shavly made the German work accessible to the Chuvash audience, using the words and expressions most often found in colloquial speech of his native language.
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Leeder, Karen. "ThePoeta Doctusand the New German Poetry: Raoul Schrott'sTropen." Germanic Review: Literature, Culture, Theory 77, no. 1 (2002): 51–67. http://dx.doi.org/10.1080/00168890209597450.
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Ziolkowski, Theodore, and James Rolleston. "Narratives of Ecstasy: Romantic Temporality in Modern German Poetry." World Literature Today 62, no. 2 (1988): 277. http://dx.doi.org/10.2307/40143622.
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Pogorelova, Inga Viktorovna. "Bach, Bukowski, genesis." Litera, no. 4 (April 2021): 198–204. http://dx.doi.org/10.25136/2409-8698.2021.4.32719.
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The object of this research is the references to the German composer of the XVIII century &ndash; 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&rsquo;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&rsquo;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.
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Durrani, Osman, and Martin Swales. "German Poetry: An Anthology from Klopstock to Enzensberger." Modern Language Review 83, no. 1 (1988): 245. http://dx.doi.org/10.2307/3728639.
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Swales, Martin, and Osman Durrani. "German Poetry of the Romantic Era: An Anthology." Modern Language Review 83, no. 1 (1988): 248. http://dx.doi.org/10.2307/3728640.
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Melin, Charlotte A. "German Women's Poetry Circa 1900: A Forgotten Anthology." German Quarterly 87, no. 1 (2014): 49–66. http://dx.doi.org/10.1111/gequ.10197.
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Malý, Radek. "The Figure of Ophelia in Expressionist Poetry: German and Czech Comparison." Porównania 27, no. 2 (2020): 197–217. http://dx.doi.org/10.14746/por.2020.2.10.
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The study deals with the rendition of the figure of Ophelia in Czech modern poetry in comparison with the poetry of European Expressionism. The image of Ophelia’s aesthetic death from Shakespeare’s drama Hamlet has influenced and inspired a whole range of artworks. It strongly reverberated in German Expressionist poetry, especially that by Georg Heym, Gottfried Benn and Georg Trakl. The Czech poets who approached this topic in the spirit of Expressionism include Jan Skácel, Vladimír Holan and Jiří Orten. The study further addresses these works in the light of the Ophelia complex as defined by Bachelard.
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Hofman, T. "Obstetrics literature. About translation experience." Voprosy kul'turologii (Issues of Cultural Studies), no. 2 (February 1, 2020): 17–22. http://dx.doi.org/10.33920/nik-01-2002-02.
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The following article tackles the question of translating as a transformation on several levels: of the language use; of the translater who is a medium; the reader and, last but not least, the author who receives a mirror of his original text. This idea I explain referring to my own experience as a translater from Russian to German, parcularly the Book of Food by Igor Klekh. My argument contradicts Walter Benjamin as I plead for a conscious involvement of the reader’s horizont and a careful treatful of the original text, except we deal with poetry. Else even prose might be transformed into poetry.
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Mahlmann-Bauer, Barbara. "Sigmund von Birken, der Literaturbetrieb, Netzwerke und Werkpolitik." Scientia Poetica 24, no. 1 (2020): 1–56. http://dx.doi.org/10.1515/scipo-2020-001.
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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.
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Riasov, D. L. "GERMAN THEME IN THE WORKS Of A.S. PUSHKIN AND N.V. GOGOL: TO THE QUESTION ABOUT PROBABlE PARALLELS." Culture and Text, no. 45 (2021): 40–46. http://dx.doi.org/10.37386/2305-4077-2021-2-40-46.
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The article provides a detailed comparison of episodes from the works of N. V. Gogol and A. S. Pushkin, where characters of German origin appear. It is shown that Gogol to a great instant followed the Pushkinian tradition of depicting German types. Thus, the presence of the dream motif, the author’s irony and the destruction of illusions make the novels “The Undertaker” and “Nevsky Prospect” related, but in Gogol’s depiction it is a caricature of the Germans. The similarity can be explained at the typological and poetic levels. The images deduced by the authors largely predetermined the further approach to the disclosure of the German theme in Russian literature.
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Wanner, Adrian. "A Forgotten Translingual Pioneer: Elizaveta Kul’man and her Self-Translated Poetry." Polylinguality and Transcultural Practices 16, no. 4 (2019): 562–79. http://dx.doi.org/10.22363/2618-897x-2019-16-4-562-579.
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Elizaveta Borisovna Kul’man (1808-1825) is a unique figure in the history of Russian literature, or more precisely, the history of Russian, German, and Italian literature. A child prodigy with formidable linguistic gifts, Kul’man stands out both with her polyglot prowess and outsized literary productivity. At the time of her premature death at age seventeen, Kul’man left behind a vast unpublished oeuvre in multiple languages. The edition of her works published by the Imperial Russian Academy in 1833 contains a trilingual compendium of hundreds of parallel poems written in Russian, German, and Italian. The writing of poetic texts in three languages simultaneously makes Kul’man an early practitioner of what has been called “synchronous self-translation”. Not only are the poems linked horizontally as mutual translations of each other, they also pose as translations of a fictitious Greek source. Kul’man thus combines translation, self-translation, and pseudo-translation into a unified whole. This article discusses the genesis of Kul’man’s translingualism and explores her trilingual poetics in more detail by following the metamorphosis of one particular poem through its incarnations in Russian, German and Italian. It argues that Kul’man’s translingual creativity anticipates more recent developments in twentieth and twenty-first-century poetry produced by globally dispersed Russians.
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Pratt, T. M., and Patrick Brady. "Rococo Poetry in English, French, German, Italian: An Introduction." Modern Language Review 90, no. 3 (1995): 722. http://dx.doi.org/10.2307/3734327.
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Pajević, Marko. "For a Reappreciation of the Literary in Literary Studies: Poetic Thinking." Interlitteraria 25, no. 1 (2020): 8–15. http://dx.doi.org/10.12697/il.2020.25.1.2.
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As a literary scholar based in German Studies outside of Germany, I am confronted with German being considered a minor subject matter. There are evidently clear differences between the German departments within German-speaking countries and abroad. The latter are shrinking considerably almost everywhere and need to focus on few aspects, often related to historical issues and some general successful movements, such as gender or postcolonialism. In Germany, there seems to be a preoccupation with didactics and media.
 But since I consider these symptoms part of a wider issue, I prefer making some more general observations. World literature is – at least in the dominant anglophone cultures – increasingly identified with English language literature. Comparative literature programmes mostly work with translations as if those were original literary texts which – roughly speaking – reduces literature to its plot and, possibly, its structure. This is also reflected in the tendency in literary studies to be oblivious of the poetic approach.
 Philologies are often subservient to outer goals (history, sociology, psychology), and, in their efforts to justify their existence in the eyes of the market economy, they believe they cannot afford to deal with the core of what litera ture is about, the literary. In my view, this is one of the reasons for the difficulties of the philologies and possibly Humanities altogether. Literary studies, despite the various enriching overlaps with various other disciplines, should not forget this specificity, which I call poetics, the interaction of the form of language and the form of life. By making a strong case for the relevance of an understanding of what language is and does – and literature is the privileged field of observation – philologies would be of obvious importance for society as a whole.
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Garber, Frederick. "Beyond Enchantment: German Idealism & English Romantic Poetry. Mark Kipperman." Wordsworth Circle 19, no. 4 (1988): 210–12. http://dx.doi.org/10.1086/twc24042674.
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Boase–Beier, Jean. "Bringing Together Science and Poetry: Translating the Bystander in German Poetry after the Holocaust." Comparative Critical Studies 2, no. 1 (2005): 93–105. http://dx.doi.org/10.3366/ccs.2005.2.1.93.
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Szaruga (Wirpsza), Leszek (Aleksander). "On various kinds of involvement of Avant-Garde." Tekstualia 4, no. 59 (2019): 173–90. http://dx.doi.org/10.5604/01.3001.0013.6443.
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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.
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Zajas, Paweł. "Hans Joachim Schädlich und die niederländische Lyrik." Internationales Archiv für Sozialgeschichte der deutschen Literatur 46, no. 1 (2021): 1–23. http://dx.doi.org/10.1515/iasl-2021-0001.
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Abstract The paper reveals the backstage of a modern Dutch poetry anthology Gedichte aus Belgien und den Niederlanden (1977), published by an East German publisher Volk & Welt. An analysis of the surviving correspondence, publishing reviews, and peritexts (afterwords) has shown the mechanisms of transfer in literary translation to the GDR. This historical-literary case study illustrates the ways in which the political and cultural function of anthologies enabled the introduction of formal/content innovations into the East German literary system.
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McClelland. "Shaping Multilingual Identity in Angelika Overath's Bilingual Romansh–German Poetry." Modern Language Review 114, no. 3 (2019): 480. http://dx.doi.org/10.5699/modelangrevi.114.3.0480.
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Alfers, Sandra. "The Precariousness of Genre: German-Language Poetry from the Holocaust." Oxford German Studies 39, no. 3 (2010): 271–89. http://dx.doi.org/10.1179/007871910x540062.
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Parente, James A. "The Seventeenth-Century Literary Text: Aesthetic Problems and Perspectives." Central European History 18, no. 1 (1985): 48–69. http://dx.doi.org/10.1017/s0008938900016903.
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Seventeenth-century literature in the Holy Roman Empire has rarely been discussed in general cultural histories about the European Baroque. The dramatic achievements of Shakespeare, Calderon, and Corneille, the inimitable poetry of the Metaphysicals and Marino and the mischievous adventures of the Spanish picaro have long overshadowed the literary accomplishments of the German Baroque. Even today many scholars are still content to dismiss the German seventeenth century as derivative while, in the opposite camp, loyal Germanists currently defend its uniqueness. As is generally known, literary developments in the Empire were slowed by a number of unfortunate circumstances. Geographical, confessional, and linguistic disunity strongly contributed to the parochialism of German Baroque letters. Local literary societies were widely scattered throughout the Empire from Silesia to the Rhine and communication between them was greatly hampered. The lack of a main cultural center similar to the artistic hubs of Paris or London further isolated the writers from each other. In addition, confessional differences not only segregated Catholic and Protestant poets, but also resulted in the simultaneous development of a Batoque Latin and German literature.
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Baruzdina, S. A. "GOOD BAD TIME." Bulletin of Udmurt University. Series History and Philology 31, no. 2 (2021): 246–53. http://dx.doi.org/10.35634/2412-9534-2021-31-2-246-253.
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The article discloses the axiological potential of the qualitative metaphor of time on the example of emotive prose and poetry of German-speaking authors. Time as an abstract notion is rendered metaphorically. Metaphor, taken as an image, is a universal pattern that is used to form emotional and evaluative categories. It encompasses an image representation, evaluation information and attitude expression, both positive and negative. There is an attempt to assess the correlation between ameliorative and pejorative evaluation of time in poetry and emotive prose discourse in the German-language literature. However, besides positive and negative modes, evaluation may also have some other semantic features, which can contribute to its more detailed classification. We analyzed the possibility of using the classification by N.D. Arutyunova to identify and distribute these semantic features among the suggested sets.
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Lootens, Tricia. "BENGAL, BRITAIN, FRANCE: THE LOCATIONS AND TRANSLATIONS OF TORU DUTT." Victorian Literature and Culture 34, no. 2 (2006): 573–90. http://dx.doi.org/10.1017/s1060150306051321.
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To a far greater degree than many of us have yet realized, late-nineteenth-century women's poetry may be a poetry of alien homelands: of cultural spaces, that is, in which the domestic proves alien, even as technically alien territory comes to represent some form of home. And partly for this reasosn, to explore poetry in English may require moving not only beyond Britain, but also beyond English itself. Think, for example, of Christina Rossetti, who composed poems in Italian; of Mathilde Blind, with her German accent and translation of the French edition of theJournal of Marie Bashkirtseff; of Agnes Mary Frances Robinson Darmesteter Duclaux, whose poetry preceded a long, successful career of writing in great part in and for the French; of Louisa S. Bevington Guggenberger, with her German home and husband; or, for that matter, of nineteenth-century India's first influential English-speaking woman poet, Toru Dutt. As generations of Indian critics have stressed, as early anthologizer E. C. Stedman made clear, and as certain editors of recent nineteenth-century poetry collections have also acknowledged, Dutt's writing played a suggestive role within late-century understandings of “British literature.” Indeed, even now, growing attention to her work is helping extend our conception of the geographical origins of “Victorian” poetry from Britain to Bengal. Still, if we are to develop a full exploration of Dutt's cultural presence, we may need to move further as well, connecting Indo-Anglian literature to that of France.
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Oergel, Maike. "Constitutionalism and Cultural Identity as Revolutionary Concepts in German Political Radicalism, 1806–1819: the Case of Karl Follen." Comparative Critical Studies 15, no. 2 (2018): 183–205. http://dx.doi.org/10.3366/ccs.2018.0288.
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The aim of this essay is to investigate the concepts of cultural identity and national sovereignty as they emerge in radical German nationalism after 1806 in relation to French revolutionary ideas and to reconstruct a radical revolutionary, i.e. a ‘French Revolution’, context for the idea of German national unity. Such a ‘French Revolution’ context questions the view that the ‘Teutomania’ emerging in the context of the Wars of Liberation and linked to German national liberation can only be interpreted as the precursor to chauvinist German nationalism of later periods. The investigation focuses on the political ideas and militancy of Karl Follen (1796–1840) as they found expression in his outline of an all-German constitution and his martial poetry. It delineates the overlap, and the differences, between Follen's constitutional outline and the French republican constitution of 1793, and asks whether the differences, which derive from a greater focus on cultural specificity in Follen's constitution, could be due to the German need for imaginative nation-building under conditions perceived as cultural and political oppression. The essay discusses this idea by exploring the pronounced similarity between the approaches to national liberation taken by Follen and Frantz Fanon. Both Follen and Fanon insist that a strong cultural identity linked to uncompromising militancy are necessary for national and social liberation to succeed.
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Orehovs, Ivars. "Liepājai – veltījuma dzejas / dziesmu piemēri mūsdienās un 19. gadsimta baltvācu literārajā mantojumā." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 25 (March 5, 2020): 26–34. http://dx.doi.org/10.37384/aplkp.2020.25.026.
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In a literary heritage with a developed tradition of genres, works whose main purpose is to attract the attention of readers to a selected geographical location, are of particular culture-historical and culture-geographical interest. The most widespread in this respect is travel literature, which is usually written by travellers and consist of impressions portrayed in prose after visits to foreign lands. Another type of literary depiction with an expressed poetic orientation, but a similar goal, is characteristic of dedicatory poetry. The author’s position is usually saturated with emotional expressiveness as well as the artistry of symbols, encouraging the reader or listener to feel the formation of a spontaneous attitude. It is possible to gain confidence in the engagement of the author of the poetry as an individual in the depicted cultural-geographical environment, which can be conceptually expressed by words or pairs of words ‘resident’, ‘native place’, ‘patriot’. With regard to the devotional depictions on the Latvian urban environment, one of the earliest examples known in the history of literature is the dedicatory poem in German by Christian Bornmann to the town Jelgava with its ancient name (Mitau, 1686/1802). The name of Liepāja town in this tradition of the genre has become an embodiment later – in the poetry selection in German, also using the ancient name of the town (Libausche Dichtungen, 1853), but in terms of contemporary literary practice with Imants Kalniņš’ music, there is a convincing dominance of songs with words of poetry. The aim of the article is, looking at the poetry devoted to Liepāja in the 19th century and at the turn of the 20th/21st century in the comparative aspect, to present textually thematic peculiarities as well as to provide the analytical interpretative summary of those.
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Leeder, Karen. "THE POETRY OF SCIENCE AND THE SCIENCE OF POETRY: GERMAN POETRY IN THE LABORATORY OF THE TWENTIETH CENTURY." German Life and Letters 60, no. 3 (2007): 412–29. http://dx.doi.org/10.1111/j.1468-0483.2007.00396.x.
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Barzilai, Maya. "“One Should Finally Learn How to Read This Breath”: Paul Celan and the Buber-Rosenzweig Bible." Comparative Literature 71, no. 4 (2019): 436–54. http://dx.doi.org/10.1215/00104124-7709613.
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Abstract This article examines Paul Celan’s use of the terms cola and breath-unit in his notes for the 1960 “Meridian” address. In the 1920s, Martin Buber and Franz Rosenzweig developed their “colometric translation” of the Bible, using the breath-unit to capture, in German, the spoken qualities of the Hebrew Bible by allowing the human breath to dictate line divisions. Celan repurposed the breath-unit for his post-Shoah poetics: it registered, for him, a further disruption of the Hebrew-German translational link, following the demise of the Jewish community of readers. Celan’s breath-unit became a measure of silence, marking the pauses between poetic lines as sites of interrupted breathing, which entail a painful encounter with deformation and murder. Furthermore, if Buber and Rosenzweig used their breath-inspired cola to bypass the traditional line divisions of biblical verse, Celan’s radicalized breath-unit can be understood as a response to the musicality attributed to his earlier poetry; he drew on the singularity of the breath to forge ever shorter lines and vertical, severed poems that culminate in the lost or buried word.
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Molde, Klas. "Toward a Theory of Poetic License." Poetics Today 41, no. 4 (2020): 561–93. http://dx.doi.org/10.1215/03335372-8720071.
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In a supposedly enlightened and disenchanted age, why has lyric poetry continued to make claims and perform gestures that are now otherwise inadmissible or even unimaginable? Animation, invocation, and unmotivated praise, apparently artificially imposed (dis)order, and spurious gnomic and vatic sayings that pretend to universal or transcendent knowledge are marks of the lyric as a genre. Sketching a theory of poetic license, this article addresses the lyrical entanglement of enchantment and embarrassment. The author argues for a concept of the lyric as a medium for regulating the balance between enchantment and disenchantment in an always imbalanced environment. Engaging other scholars and using examples from modern French and German poetry, the article also ventures a new understanding of lyric modernity. Rather than naming a historical event to be lamented, disenchantment unveils a risk inherent to the lyric whose regulatory function it makes explicit.
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Clarke, Robert, and Gregory Divers. "The Image and Influence of America in German Poetry since 1945." German Quarterly 76, no. 1 (2003): 125. http://dx.doi.org/10.2307/3252311.
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