Academic literature on the topic 'German Sonnets'
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Journal articles on the topic "German Sonnets"
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Mokadem, Fatima. "Zu Bertolt Brechts Sonett „Über Kleists ´Prinz von Homburg´." Traduction et Langues 9, no. 2 (December 31, 2010): 31–40. http://dx.doi.org/10.52919/translang.v9i2.472.
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On Bertolt Brecht's sonnet "About Kleist's 'Prinz von Homburg'
In addition to his plays, socio-critical, war and love poems, Bertolt Brecht (b. 1898, died 1956) wrote eight art-critical sonnets. which he called "Studies" and published in 1951 in the 11th issue of "Versuche". These sonnets were written during the exile in the years 1934-1940. Brecht is referring here to classic, mostly literary (both lyrical and dramatic) works whose authors are considered classics in the sense of Brecht. Without exception, the sonnets in question deal with works of the past, more than half of the analyzes in the “Studies” refer to works of the German classics, three of them to those of the Weimar Classic. The "Studies" published in 1951 are not about an overall assessment of a classic work, positive or negative, but about conveying reservations about traditional literary material, which Brecht considers worthy of being examined and looked at again. These include the sonnet "About Kleist's play 'Der Prinz von Homburg'", which refers to the play "Prinz Friedrich von Homburg", which stands at the end of German classicism and which Heinrich von Kleist wrote between 1809 and 1811 as the last work before his suicide Has. In this contribution, which I presented as a lecture at the Humboldt University in Berlin in June 2010, I attempt to carry out a linguistic analysis of this sonnet in three points. First I give a brief overview of the development of Heinrich von Kleist's drama "Der Prinz Friedrich von Homburg", then about the critical sonnets "Studies" by Bertolt Brecht, then historical and socio-critical aspects are explained using examples from B. Brecht's sonnet "Über Kleists' Prince of Homburg'” highlighted.
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Voronevskaya, Natalia V. "ON ENGLISH TRANSLATIONS OF R. M. RILKE’S POETIC LANGUAGE." Вестник Пермского университета. Российская и зарубежная филология 13, no. 2 (2021): 89–96. http://dx.doi.org/10.17072/2073-6681-2021-2-89-96.
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This study aims to assess the adequacy of the form of German sonnets when reproduced in English translations. The focus is on interrogative sentences, which, together with the sonnet in the form of a macro-sentence, the shortened verse and enjambment, are the characteristics of the innovative features of Sonnets to Orpheus by R. M. Rilke. The lyrical cycle Sonnets to Orpheus is among the most translated into world languages of Rilke’s poetry works, as well as Duino Elegies. Both professional and amateur poets and translators have been competing to put the Austrian writer’s best poems into English. Here we examine more than twenty English translations of the Sonnets into English, made from 1936 to 2008. The importance of the comparative linguistic-stylistic study of the original and its translations is determined by the continuing interest in Rilke’s works in English-speaking countries and the necessity to understand the principles of reconstructing the features of Rilke’s poetics using the English language. The system of methods used in this work includes: historical and philological analysis, comparative linguistic and stylistic description, as well as comparative analysis of the original and translation in the form that was developed in the works of V. Bryusov (1905), N. Gumilev (1919), M. Lozinsky (1935), E. Etkind (1963), S. Goncharenko (1987). We have found that the innovative nature of German sonnets is not always reflected in English translations. In some translations, American and British translators significantly modified the form of the original: interrogative sentences dominating in XVII and XVIII sonnets of the second part of the lyric cycle were not reproduced in English translations made by G. Good, D. Young, C. Haseloff, N. Mardas Billias and others.
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Pérez Jáuregui, Mª Jesús. "Henry Constable’s Sonnets to Arbella Stuart." Sederi, no. 19 (2009): 189–202. http://dx.doi.org/10.34136/sederi.2009.9.
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Although the Elizabethan poet and courtier Henry Constable is best known for his sonnet-sequence Diana (1592), he also wrote a series of sonnets addressed to noble personages that appear only in one manuscript (Victoria and Albert Museum, MS Dyce 44). Three of these lyrics are dedicated to Lady Arbella Stuart – cousin-german to James VI of Scotland–, who was considered a candidate to Elizabeth’s succession for a long time. Two of the sonnets were probably written on the occasion of Constable and Arbella’s meeting at court in 1588, and praise the thirteen-year old lady for her numerous virtues; the other one seems to have been written later on, as a conclusion to the whole book, implying that Constable at a certain moment presented it to Arbella in search for patronage and political protection. At a time when the succession seemed imminent, Constable’s allegiance to the Earl of Essex, who befriended Arbella and yet sent messages to James to assure him of his circle’s support, raises the question of the true motivation of these sonnets. This paper will analyze these particular works in a political context rife with courtly intrigue.
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Вороневская, Н. В. "On the Typology of Translations of R. M. Rilke's Poetry into English." Иностранные языки в высшей школе, no. 4(55) (March 5, 2021): 23–30. http://dx.doi.org/10.37724/rsu.2020.55.4.003.
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В статье рассматриваются разновременные переводы XXI сонета первой части «Сонетов к Орфею» Р. М. Рильке, выполненные британскими и американскими переводчиками. Изучение типологии поэтического перевода на примере лирического цикла Рильке основывается на классификации поэтического перевода, разработанной Р. Р. Чайковским. Проанализированные в статье переводы XXI сонета первой части в интерпретациях американских переводчиков Р. Блая и Л. Норриса (в соавторстве с А. Килом) представлены прозаическим и адекватным переводами соответственно. Британский поэт и переводчик Д. Патерсон использует сонеты Рильке как основу для создания поэтической версии оригинала, навеянной мотивами переводимого произведения. Сравнение трех переводов XXI сонета позволяет сделать выбор в пользу адекватного перевода Л. Норриса и А. Кила, в котором воссозданы не только образы оригинала, но и его уникальная поэтическая форма. В прозаической интерпретации сонета Р. Блая не учтены ни жанровые характеристики сонета, ни индивидуально-авторский стиль Рильке. The article deals with the different-time translations of the XXI sonnet of the first part of “Sonnets to Orpheus” by R. M. Rilke made by British and American translators. The study of the typology of poetic translation with examples drawn fromRilke’s lyric cycle is based on the classification of poetic translation developed by R. R. Tchaikovsky. The analyzed translations of the XXI sonnet of the first part in the interpretations of the American translators R. Bly and L. Norris (co-authored with A. Keel) are presented by prosaic and adequate translations, respectively. Inspired by Rilke’s original, the British poet and translator D. Paterson uses Rilke’s sonnets as a basis for creating his poetic version (i. e. interpretation based on the original) of the German sonnets. Comparing three English translations of the XXI sonnet allows us to make a choice in favor of the adequate translation made by L. Norris and A. Keel, in which not only the images of the original but also its unique poetic form are thoroughly recreated. In the prosaic interpretation of R. Bly’s sonnet, neither the genre characteristics of the original sonnet nor Rilke’s individual style are taken into account.
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Taho-Godi, Elena Arkadievna. "Dans le « portique aux sept échos » de la culture : les Sonnets de l’Olympe de Dmitrij Gluškov-Oleron (1884-1918)." Modernités Russes 15, no. 1 (2015): 327–44. http://dx.doi.org/10.3406/modru.2015.1044.
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The article is devoted to the poet and professional revolutionary D. Gluškov-Oleron and his posthumously published Olympic sonnets (1922). What makes the presentation of classical antiquity in this cycle unique is that ancient culture is perceived by the author through the prism of the French Parnassians and Russian Symbolists. Antiquity turns out to be a “seven-voiced portico” that sounds the voices of seven different cultures : Greek, Roman, Egyptian, Persian, French, German and Russian. This highlights the atemporal character of the ancient world as an unchanging model. The integrity of the whole design, the strict inner logic of ordering the twenty-six sonnets contributes to the plot dynamics and internal consistency of the entire cycle.
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Classen, Albrecht. "Boethius and No End in Sight." Daphnis 46, no. 3 (May 18, 2018): 448–66. http://dx.doi.org/10.1163/18796583-04601010.
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Previous scholarship has not considered the continued interest in the philosophical teachings by Boethius (d. 525) by early modern thinkers and poets. This article traces the continued flood of translations and editions of Boethius’s De consolatione philosophiae in Germany far into the seventeenth century and then unearths links between his philosophy and the sonnets by Andreas Gryphius and the epigrams by Johann Scheffler (Angelus Silesius). At first sight, we might not even recognize Boethian ideas in their poems, but the close analysis of images and concepts formulated in these German Baroque texts demonstrate strong similarities. Considering that Boethius was one of the important school authors even in the seventeenth century, it does not surprise us to discover direct echoes of his ideas in these literary reflections.
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Walach, Harald. "Another Cryptogram in "Shakespeare's" Dedication to His Sonnets." Journal of Scientific Exploration 35, no. 1 (March 8, 2021): 129–31. http://dx.doi.org/10.31275/20212019.
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I read with great interest the paper by Peter Sturrock and Kathleen Erickson (Sturrock & Erickson, 2020) on the Dedication in Shakespeare’s Sonnets. I am neither a scholar of literature, nor of Shakespeare, and I do not want to enter the fray as to who was the author of Shakespeare’s sonnets and plays. But I must confess that I found the arguments presented by Sturrock and Erickson intriguing. It is in that vein I would like to communicate an interesting finding. On page 302, Figure 21, of their paper, they present the Dedication of the Sonnets as a grid of 12 x 12 letters. This was done under the assumption that cryptograms can be deciphered better if they are laid out in a certain format. They then present the message they assume is contained there: “PRO PARE VOTIS EMERITER” as a devotion of Edward de Vere, the Earl of Oxford to his supposed friend, the Earl of Southampton, Henry Wriothesley. I find this a possible meaning. My experience with Latin texts – based on a translation of a medieval mystical writer from Latin into German and the reading of many original Latin texts, mainly from the middle ages and beyond (Hugo de Balma, 2017; Walach, 1994, 2010) – let another sequence jump out at me:
SI PATET PRO MIRE VERO RETIRO
The translation would read:
"If it becomes miraculously obvious [who I am], I retire."
That this is a reference of the proposed author, Edward de Vere, to himself would become clear from the double use of “vero”.
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Bobryk, Roman. "„I tutaj będę spędzał kwarantannę...” Berlin czasu pandemii w tomie Ręka pszczelarza Tomasza Różyckiego." Białostockie Studia Literaturoznawcze, no. 23 (2023): 167–78. http://dx.doi.org/10.15290/bsl.2023.23.11.
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Published in the year 2022, the poetic volume Ręka pszczelarza [The Beekeeper’s Hand] by Tomasz Różycki encompasses 78 poems, predominantly sonnets. These poems, according to the publisher’s suggestion, encapsulate the poet’s contemplations during his period of isolation in Berlin amidst the Covid-19 pandemic. Each of these poems serves as a documentation of the metamorphoses undergone by the lyrical persona while confined within an empty apartment-transforming into mythical creatures, with countenances evoking images of an animal. The central figure in these verses embarks on a journey through the deserted streets of Berlin, much like Odysseus, often stumbling upon the “stones of memory” (German: Stolpersteine) embedded in the sidewalks, which serve as poignant reminders of the Jewish inhabitants of the city who perished during the Second World War.
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KOCHAN, Iryna. "Terminology in poetic text." Culture of the Word, no. 96 (2022): 152–64. http://dx.doi.org/10.37919/0201-419x.2022.96.11.
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Terminology of many fields of knowledge has become a component of modern language. It is the basis of professional communication, often breaks stylistic boundaries and under the influence of external and internal language factors expands the scope of its operation. Penetrating into the poetic context, the terms denote both the realities of modern everyday life and become a source of artistic imagery. A. Moisienko's poetry has not been considered from this point of view yet, so the article intends to consider the idiosyncrasy of the writer in such a perspective. Anatolii Moisienko is a well-known Ukrainian poet, author of poetry collections: "I Accept" (1986), "Sonnets and Verlibry" (1996, 1998), "Chess Poetry" (1997), "Seven strings" (2003), "Favorites" (2005), "From the Chernihiv Gardens: New Sonnets and Verlibrs" (2008), "About Veronica Borachok" (2020), etc. He is also known as a translator from German and Slavic languages. Despite his high scientific degree and a worthy position at the prestigious Kyiv University, his soul has always longed for the poetic word, the music of sounds in poetic images. . Moisienko as a scientist constantly operates with te. Moisienko as a scientist constantly operates with terms in his professional activity. This is mainly a philological terminology. However, in his poetic texts we come across the terminology of various spheres of life: flight, airfield, airplane, liner (aviation vocabulary), hard labor, prison (penitentiary), music, melody, sonata, allegro, flute, overture, orchestral, symphony, clarinet, drum, horn (musical), poetry, grotesque, rhyme, epilogue (literary studies), harvest, scythe, mowers, field, stubble, grass, farmer, harvest, rye (agriculture), icon, pray, fasting (sacred), trolleybus, tram, bus, stop, route (transport), cannon, shot, battle, enemy , protection, rifle (military), lightning, storm, rain, wind, snow, sun, clouds, huga, frost (meteorological), convulsions, body, pain, X-ray, plague (medical), etc. In the literary text there is a rethinking of the term in the figurative plane, where semantic innovations are born, due primarily to the context of use. The author's linguistic thinking is purely individual. The subject of poetry is extremely broad. Terminology, which covers not only terms but also professionalisms, professional jargons, nomenclature names, in the poetic text rarely performs its main function - the designation of scientific concepts. For the most part, it becomes an integral part of the figurative outline of the work. The poetic word is the bearer of intellectual and emotional memory, which is actualized in certain images, able to express in a condensed form the emotional attitude to the signified, and therefore has its own internal epistemological, socio-psychological potential.
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Jansohn, Christa. "“What should the wars do with these jigging fools?”: Eta Harich-Schneider (1894 – 1986): German harpsichordist, musician and translator of Shakespeare’s Sonnets in Tokyo during World War II." Angermion 5, no. 1 (December 2012): 59–88. http://dx.doi.org/10.1515/anger-2012-0003.
Full textDissertations / Theses on the topic "German Sonnets"
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Giuffré, Salvatore. "German Literary and Philosophical Influences on the Chinese Poetry of Feng Zhi (1905-1993) : the Sonnets." Thesis, Lyon, 2018. http://www.theses.fr/2018LYSE3026/document.
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Cette thèse porte sur l’analyse des relations intertextuelles entre des œuvres littéraires et philosophiques allemandes, notamment les textes de Novalis et de Rilke, et le recueil de sonnets de l’écrivain et traducteur chinois moderne Feng Zhi. Le but de cette étude est d’analyser et de discerner dans quelle mesure il est possible d’établir des relations « transtextuelles » entre la littérature primaire, la thèse de doctorat de Feng Zhi, qui a joué un rôle vital dans le développement de sa voix poétique, et son recueil de sonnets. Les textes analysés dans le cadre de cette étude visent à montrer comment certains indices transculturels de la poésie de Feng Zhi définissent la tendance poétique de l’écrivain en tant que postromantique et métaphysique, alors qu’une recherche plus approfondie et d’autres évidences transtextuelles encadrent sa production lyrique parmi les premiers exemples de littérature moderniste chinoise. Les profondes et énigmatiques réflexions contemplatives des sonnets font de Feng Zhi un poète métaphysique. La voix lyrique s'engage avec le monde extérieur et gagne de nouvelles expériences esthétiques à travers l'imagination, la méditation sur l'infini spatial et temporel, la reconnaissance de l'état mutable et permanent de la matière, et une finale réalisation existentielle de l'auto-accomplissement de l'homme à travers son état d'isolement. Cette étude analyse enfin l'idée conceptualisée de l'infini et de la transcendance poétique évoquée par le mysticisme orphique. Cette approche redéfinit la relation du sujet poétique avec le monde extérieur et sa perception constructive finale de sa position au sein de la communauté, de la nature et du cosmos dans son ensembleThe research conducted in this work focuses on the intertextuality between German literary and philosophical works, notably those of Novalis and Rilke, and the sonnet collection of the modern Chinese scholar and writer Feng Zhi. This study analyses the extent to which transtextual elements travel between the primary literature, the author’s own German doctoral dissertation, which ultimately played a vital role in the development of his lyrical voice, and his sonnets. Moreover, the texts analysed in this study attempt to demonstrate how given transcultural elements in Feng Zhi’s poetry define the writer’s apparent poetic tendency as a post-Romantic and metaphysical lyricist, whereas other closer transtextual investigations place his work among the first examples of Chinese modernist writings. The profound and enigmatic contemplative reflections of the sonnets make Feng Zhi a metaphysical poet. The lyrical self engages with the surrounding world and gains new aesthetic experiences through the power of imagination, the meditation on spatial and temporal infinity, the recognition of the changeable and permanent state of matter, and a final existential realisation of man’s self-completion through his state of isolation. This study finally also analyses the conceptualised idea of infinity and transcendence evoked by Orphic mysticism. This approach redefines the poetic subject’s relationship with the outer world, and the subject’s final perception of his position within the community, nature and the cosmos as a whole
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Wimmer, Willy. "Deutschland einen Platz an der Sonne?" Universität Potsdam, 2004. http://opus.kobv.de/ubp/texte_eingeschraenkt_welttrends/2010/4730/.
Full textBooks on the topic "German Sonnets"
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Rilke, Rainer Maria. Sonnets to Orpheus. Boston, MA: Shambhala Publications, Inc., 2005.
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Rilke, Rainer Maria. Duino elegies ; The sonnets to Orpheus. Eugene: Hulogosi, 1993.
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Rilke, Rainer Maria. Sonnets to Orpheus. Middletown, Conn: Wesleyan University Press, 1987.
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Rilke, Rainer Maria. Duino elegies: And, The sonnets to Orpheus. New York: Vintage International, 2009.
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Rilke, Rainer Maria. Duino elegies: And, The sonnets to Orpheus. New York: Vintage Books, 2009.
Find full textBook chapters on the topic "German Sonnets"
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Ward, David. "Three Sonnets to Orpheus." In New Vocal Repertory 2, 304–7. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198790181.003.0063.
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Abstract A welcome new cycle from this composer, who is now resident in Shetland, and continues to write steadily. Frequently influenced by High German Romanticism, he has produced several carefully crafted vocal chamber works, including some for music theatre. A small output of high quality pieces reveals a strong and individual voice, rigorous in finely honed detail, and uncompromisingly committed to his own high standards, irrespective of popularity. He does admit, however, to adapting his vocal style to suit the language, and his settings of English texts, which clearly reflect his heritage and present environment, are palpably different from these Rilke songs.
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Wilkinson, Ben. "Breath, You Invisible Poem: Orpheus (2006)." In Don Paterson, 79–94. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781800855373.003.0006.
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This chapter discusses Paterson’s fifth collection, Orpheus, translated versions after the German of Rainer Maria Rilke’s Die Sonette an Orpheus (1923). It argues that the book’s hallmark lies in its attempts to fully uncover the poetic utility of the sonnet – Paterson translates Rilke as a means of evincing his sense of the form as an inevitable necessity. This is discussed in relation to the book’s central themes: the existential concept of ‘the double realm’ of human consciousness, and how this manifests itself in what Paterson views as the ‘uniquely human business’ of song. The chapter argues that Orpheus finds Paterson granting himself licence to be both prophetic and more explicitly philosophical, developing his sense of poetry as a means of intellectual inquiry. It also draws on Stephen Mitchell’s translations of Rilke’s Sonnets by way of illuminating contrast.
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Rothmund, Elisabeth. "Paving the way for Opitz: The first German sonnets at the crossroads of European circulation networks, 1556–1604." In Migration and Mutation. Bloomsbury Academic, 2023. http://dx.doi.org/10.5040/9781501380495.ch-4.
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Robinson, Peter. "What Kind of Question?" In Poetry, Poets, Readers, 59–82. Oxford University PressOxford, 2002. http://dx.doi.org/10.1093/oso/9780199251131.003.0003.
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Abstract IN the month that Yeats died, Auden composed another of his pocket biographies of artists: ‘Edward Lear’. Reviewing Another Time, MacNeice put this sonnet among poems about people and places that ‘are a little too pat, too much written to formula’, while Empson found that ‘a horrid false note of infantilism’ occasionally gets into the pieces ‘about famous men’. Something pat and formulaic does shape the sonnet’s turn. Its octave evokes ‘the white | Italian shore’ where Lear breakfasts alone, weeps to himself in the night, and hates his nose; he is upset by ‘Germans and boats’ in surroundings which are populated by ‘legions of the cruel inquisitive’.
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"TO GERMANO MEYRELLES." In Sonnets and Poems of Anthero de Quental, 12. University of California Press, 2023. http://dx.doi.org/10.2307/jj.8501439.13.
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Riasanovsky, Nicholas V. "The Emergence of Romanticism in Germany." In The Emergence of Romanticism, 41–68. Oxford University PressNew York, NY, 1992. http://dx.doi.org/10.1093/oso/9780195073416.003.0003.
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Abstract Die Lieb’ ist frey gegeben, Und keine Trennung mehr. Es wogt das volle Leben Wie ein unendlich Meer, Nur eine Nacht der Wonne— Ein ewiges Gedicht— Und unser aller Sonne 1st Gottes Angesicht. Love is freely given, Separation is no more. Full life rolls on Like an endless sea. Only one night of ecstasy— An eternal poem— And the sun for all of us Is the countenance of God.
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Fehn, Ann C., and Jürgen Thym. "Chapter Nine. Sonnet Structure and the German Lied: Shackles or Spurs?" In Of Poetry and Song, 240–60. Boydell and Brewer, 2010. http://dx.doi.org/10.1515/9781580467599-011.
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Yoshikawa, Saeko. "The First World War and the Lake District." In William Wordsworth and Modern Travel, 155–80. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621181.003.0006.
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Chapter 5 reveals how the Great War of 1914–1918 produced a remarkable upturn in Wordsworth’s reputation, and how it had an inescapable impact on the cultural landscape of the Lake District. For obvious reasons, Wordsworth’s sonnets on liberty and independence had strong public appeal, and his sense of crisis during the war with Napoleonic France was shared by many who stood against Germany. Equally, Wordsworth’s poetry and the Lake scenery offered consolation and relief at a time of widespread tension, anxiety, and horror. When hostilities ended, Wordsworth’s association with the Lake scenery, combined with his patriotic revival during the war, produced the idea of the Lakeland mountains as a stronghold of national liberty. Twelve mountains were donated to the National Trust to be preserved as war memorials, and public free access to them were also secured.
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Ziegler, Georgianna. "Commemorating Shakespeare." In Shakespeare, 658–72. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780199245222.003.0044.
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Abstract Where in the world is Shakespeare? Where would you go if you went out looking for traces of him or memorials to him? Stratford-upon-Avon in England, his birthplace, is an obvious location, but what about Germany, or Japan, or New Zealand, or even Odessa, Texas in the United States? Shakespeare himself evidently did not think much of monuments, as he says in his Sonnet 55 quoted above. He believed that the best memorial was in his plays and poems; as long as they continued to be performed and read, he would be remembered. Nevertheless, Shakespeare's popularity has grown so much since the eighteenth century that people all over the world have wanted to honour him with more tangible monuments such as statues, theatres, and libraries. This chapter begins with a brief survey of how Shakespeare first became a figure of popular culture. Then it examines places around the world that are dedicated to honouring him and his work.
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Baehr-Oliva, Antonius. "BSMG als Künstlernetzwerk gegen Rassismus am Beispiel von Platz an der Sonne (2017)." In Cultural Responses to the Far Right in Contemporary Germany, 129–53. BRILL, 2024. http://dx.doi.org/10.1163/9789004701335_008.
Full textReports on the topic "German Sonnets"
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Berndt, Christian. RV SONNE Fahrtbericht / Cruise Report SO277 OMAX: Offshore Malta Aquifer Exploration, Emden (Germany) – Emden (Germany), 14.08. – 03.10.2020. GEOMAR Helmholtz Centre for Ocean Research Kiel, January 2021. http://dx.doi.org/10.3289/geomar_rep_ns_57_20.
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SO277 OMAX served two scientific projects. The objectives of the first project, SMART, were to develop multi-disciplinary methodologies to detect, quantify, and model offshore groundwater reservoirs in regions dominated by carbonate geology such as the Mediterranean Sea. To this end we acquired controlled-source electromagnetic, seismic, hydroacoustic, geochemical, seafloor imagery data off Malta. Preliminary evaluation of the geophysical data show that there are resisitivity anomalies that may represent offshore freshwater aquifers. The absence of evidence for offshore springs means that these aquifers would be confined and that it will be difficult to use them in a sustainable manner. The objective of the second project, MAPACT-ETNA, is to monitor the flank of Etna volcano on Sicily which is slowly deforming seaward. Here, we deployed six seafloor geodesy stations and six ocean bottom seismometers for long-term observation (1-3 years). In addition, we mapped the seafloor off Mt. Etna and off the island of Stromboli to constrain the geological processes that control volcanic flank stability.
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Haeckel, Matthias, and Peter Linke. RV SONNE Fahrtbericht/Cruise Report SO268 - Assessing the Impacts of Nodule Mining on the Deep-sea Environment: NoduleMonitoring, Manzanillo (Mexico) – Vancouver (Canada), 17.02. – 27.05.2019. GEOMAR Helmholtz-Zentrum für Ozeanforschung Kiel, November 2021. http://dx.doi.org/10.3289/geomar_rep_ns_59_20.
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Cruise SO268 is fully integrated into the second phase of the European collaborative JPI-Oceans project MiningImpact and is designed to assess the environmental impacts of deep-sea mining of polymetallic nodules in the Clarion-Clipperton Fracture Zone (CCZ). In particular, the cruise aimed at conducting an independent scientific monitoring of the first industrial test of a pre-protoype nodule collector by the Belgian company DEME-GSR. The work includes collecting the required baseline data in the designated trial and reference sites in the Belgian and German contract areas, a quantification of the spatial and temporal spread of the produced sediment plume during the trials as well as a first assessment of the generated environmental impacts. However, during SO268 Leg 1 DEME-GSR informed us that the collector trials would not take place as scheduled due to unresolvable technical problems. Thus, we adjusted our work plan accordingly by implementing our backup plan. This involved conducting a small-scale sediment plume experiment with a small chain dredge to quantify the spatial and temporal dispersal of the suspended sediment particles, their concentration in the plume as well as the spatial footprint and thickness of the deposited sediment blanket on the seabed.