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Vorliegende Arbeit setzt sich zum Ziel, einen weniger besprochenen Aspekt aus dem Werk von Joachim Wittstock aufzugreifen und auf dem Hintergrund des allgemeinen Kontexts rumäniendeutscher Literatur der 70er und 80er Jahre zu analysieren. Vor allem werkpoetologische Aspekte sowie einige Motive und Aufbau- prinzipien seiner Lyrik stehen im Mittelpunkt der Untersuchung.
Metrical patterning and rhyme are frequently employed in poetry but also in infant-directed speech, play, rites, and festive events. Drawing on four line-stanzas from nineteenth and twentieth German poetry that feature end rhyme and regular meter, the present study tested the hypothesis that meter and rhyme have an impact on aesthetic liking, emotional involvement, and affective valence attributions. Hypotheses that postulate such effects have been advocated ever since ancient rhetoric and poetics, yet they have barely been empirically tested. More recently, in the field of cognitive poetics, these traditional assumptions have been readopted into a general cognitive framework. In the present experiment, we tested the influence of meter and rhyme as well as their interaction with lexicality in the aesthetic and emotional perception of poetry. Participants listened to stanzas that were systematically modified with regard to meter and rhyme and rated them. Both rhyme and regular meter led to enhanced aesthetic appreciation, higher intensity in processing, and more positively perceived and felt emotions, with the latter finding being mediated by lexicality. Together these findings clearly show that both features significantly contribute to the aesthetic and emotional perception of poetry and thus confirm assumptions about their impact put forward by cognitive poetics. The present results are explained within the theoretical framework of cognitive fluency, which links structural features of poetry with aesthetic and emotional appraisal.
This article traces the representation of love, gender and national identity in Shani Mootoo’s creative work in general and her most recent novel Valmiki’s Daughter (2008) in particular. In all her work, Mootoo describes the phenomenon of otherness as a part of the negotiating process of the protagonists' selves.Challenging xenophobia, homophobia and all forms of prejudices the author works with the concept of lesbian and bisexual love, cross-racial relationships in order to write identity and to create a home.
The anthology Vînt potrivit pînă la tare. Tineri poeţi germani din România (1982) introduced to Romanian writers and readers a new poetry that used a direct language and referred to the social and political situation of Romania. The authors – Germans from Romania whose texts where translated into Romanian – are Anemone Latzina, Franz Hodjak, Rolf Frieder Marmont, Johann Lippet, William Totok, Richard Wagner, Rolf Bossert, Hellmut Seiler, Horst Samson and Helmut Britz. The young poets engaged during the 1970’s in a dialogue with German literature, which allows an intercultural approach. The publication of the anthology was a daring gesture in the context of the 80’s politics and had also an influence on the poetry of some Romanian poets.
The lively debate about the biblical topics and motifs in search for words and „unwords” represents the subject of the present study, which treats the poetry of two authors: Nelly Sachs and Nichita Stănescu. Jacob’s Wrestling with the Angel (chapter 32 of Genesis) turns out to be, for the two poets, a motive, which describes their own writing, a wrestling with the insufficiency and commonplaceness of language, a wrestling for the word, because poetry is doubtless creation, but first of all mystical revelation.
A partir de un poema póstumo de Paul Celan, el presente artículo analiza el dictum de Theodor W. Adorno sobre la imposibilidad de la lírica después de Auschwitz y busca determinar el impacto de tal proposición en la obra de Celan. Al mismo tiempo, indaga la recepción de la poesía de Celan en las ideas mismas de Adorno, particularmente en Negative Dialektik y Ästhetische Theorie. Por último, explora las paradojas de cualquier lenguaje poético que pretenda dar cuenta del Holocausto artísticamente.
The poetic oeuvre of Franz Hodjak takes an intermediate position between modernism and postmodernism. While his early works show the influence of German modernist poetry (Georg Trakl, Bertolt Brecht), the poems of his last volume, entitled Die Faszination eines Tages, den es nicht gibt (2008), show most clearly the approach to postmodernism. The ironic, sarcastic tone, the robust and acrobatic language as well as the rebellion against all conventional poetical structures are amplified in these poems. Besides ontological questions regarding identity, the borderline status between two worlds – neither of them a home –, also the banalities of everyday life are treated sometimes in an elated tone, sometimes almost parodied.