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Journal articles on the topic 'German literature German poetry'

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Published: 4 June 2021
Last updated: 12 February 2022

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1

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
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3

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 con
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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
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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 h
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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 K
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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
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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 f
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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,
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17

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 Guatt
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18

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
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19

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 co
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20

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 poetr
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21

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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22

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
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23

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 – 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 figu
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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
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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 poe
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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 w
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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 furthe
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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
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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
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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, wh
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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 d
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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 li
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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
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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
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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 e
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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 bec
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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 betwe
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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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