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Historisierung. Trauer- und Traumarbeit im Belcanto. Die Stuttgarter Inszenierungen von Vincenzo Bellinis Opern (2022)

Heeg, Günther

Brecht equated the practice of historicizing with that of alienating. According to him, the process of historicizing is about letting the present become so alien through the relationship to another time and history that traits, structures, and patterns become visible that would otherwise no longer be perceived in everyday life. For this to succeed, according to Brecht, the present itself must appear historical and temporarally fixed. However, most historical theater productions seem to be far away from this practice of historicization. History has been driven out of its own emotional images in the practice of theatrical historicism. Instead, they create the appearance of ‘vitalization’ and the ‘resurrection’ of history from the dead. Charged as a substitute for religion, these monumental historical images serve as a basis for legitimizing a world disenchanted by metaphysics. Bellini’s operas can become very interesting from this point of view. They not only appear strange in the present but they challenge it by placing it in a strange light. The historical locations of Bellini’s operas are anticipated in the sense of Brecht. These rooms do not evoke distant times but a past that extends into our time and thus refers to the future past of our present. The historical times in “Norma,” “La Sonnambula,” and “I Puritani” are times of transition. Bellini must have experienced various interim periods – between foreign rule and national liberation, between absolutism and democratic participation, between late feudal order and unbridled capitalism – as times of great and fundamental uncertainty. He historicized this experience in his operas. They expose people’s feelings and actions in the space of a pure in-between, which no longer has a reliable origin or a fortuitous outcome. Bellini’s protagonists are exposed to a transitional existence that is held in perpetual suspension.

Theater (und Kunst) als „Ausstellung“. Ein langer Abschied vom Kultus (2022)

Massalongo, Milena

Walter Benjamin’s formulation about epic theater is well-known: Brecht succeeds in turning the theater from a “Bannraum” sort of spell room, into a “conveniently located exhibition space.” The epic playwright draws on “the great old opportunity of the theater in a new way – on the exposure of what is present.” Whether consciously quoting Benjamin or not, the words “exhibition” and “exposure” are often used by theater makers and scholars to reinforce the seriousness either of the act of showing or of the shown object. If something is being exhibited and not simply represented, the stress lies on the attempt to have an effect: to have consequences beyond the aesthetical as-if-frame. “Exhibition” and “exposure” seem first to recur with a precise and alternative sense in Benjamin, in Brecht and in the Russian avantgarde regisseur and author S. Tretiakov, who became a friend of Brecht in the 1920s. What they understand by “exhibition” seems to be something very specific, not a mere metaphor, rather an operational term. Benjamin uses it in various texts and different formulas (as, for example, the famous and enigmatic „Ausstellungswert“, or “exposition-value”, combined with “cult-value”, in a kind of historical dialectic of the work of art). But the concept of aura and its agony generally steal the show, while the concepts of „Ausstellen“ and „Ausstellungswert“ are often misunderstood according to our current idea of “exposition” from the context of museums, galleries and exhibitions, and according to our experience of “absolute visibility” as a paradigm of modern life (Agamben 2005). This easy to misunderstand, difficult to grasp “exposition-value” seems to name a different experience and an innovative chance that resides in modern reproducibility. Its difference could be not only relevant for theater and its history as an art form, but also for theater intended as a dimension and opportunity of social practice.

Vom Drama zum Skript (2022)

Müller-Schöll, Nikolaus

Since Susanne Kennedy appeared with her first production in German spoken theater in 2013, she has disturbed and thrilled the audience with her team: her works established a theater that practically dismisses the idea of a universal, generalizable human being. Not only did Kennedy write a significant piece of the latest theater history, but her work also looks back and sheds a light on the entire history of theater, making us perceive it in a different way. It illustrates a paradigm shift that can be reduced to the formula: from drama to script. At the same time, and in connection with this aspect of her work, her theater project suggests the attempt at a different archeology of the present, taking a step aside from all previous theater historiography and looking at a whole tradition of resistance by the women of theater, to which she is productively linked. Such is the case, for example, of Marieluise Fleißer, whose text „Fegefeuer in Ingolstadt“(Purgatory in Ingolstadt), first appeared on stage after having been renamed, directed, sponsored, curated, edited, and staged by men. On the other hand, with Fleißer’s entry into dramatic poetry, one can observe a transition to a practice of writing and staging that is no longer based on the idealized assumption that one is dealing with the text of a lonely, ingenious author. Rather, the drama is replaced by a polyphonic script that can be recognized from the very beginning. From Fleißer and Gertrude Stein to Ginka Steinwachs, Elfriede Jelinek, and Sarah Kane, this other form of writing will be transferred into a practice of piece-writing that is far away from the male-dominated dramatic production.

Der moderne Zuschauer: Genealogie und Kritik (2022)

Fiorentino, Francesco

Being a spectator in the theater has not always meant watching a performance while sitting quietly in the dark. There was a time when theaters were fully lit and very noisy. A whole range of legislative, administrative, architectural, and aesthetic reforms as well as state ordinances were needed to tame this quarrelsome and undisciplined mass and to transform it into a contemplative and empathic audience that became a function of the imagination. There is a close connection between the development of a theater that had become an agent of government and the emergence of increasingly effective mechanisms of theatrical illusion. Governmentality generates a new aesthetic that aims to steer the audience in certain directions, to determine and to control it. It goes without saying that theater, especially modern theater, has had a decisive effect in this direction. Theater was and is both an agent of governmentality and its critique. Now, this critique has manifested itself and continues to manifest itself in projects aimed at emancipating the public from any kind of governmentality via the stage itself. Yet the stage remains an agent of governmentality even as it seeks to evade this function. This is a paradox that is perhaps constitutive and necessary to theater. The question now is whether this paradox can be resolved and whether an autonomous emancipation of the audience—one that is not governed by the stage—can be imagined, and, if so, in what forms. Put otherwise, it is a question of whether the spectator “without someone else’s guidance” can alienate himself from this position and become a self-determined subject.

Spektakel: Plädoyer für die Revision eines umstrittenen Begriffs (2022)

Röttger, Kati

How do (new) communication and information technologies contribute to the development and maintenance of modern, democratic societies? Do they promote emancipation, enlightenment, and autonomy or do they lock us hermetically into the sparkling world of images and consumption, so that we are guided by false promises and pseudo-needs? Current questions like these make it necessary to revise the concept of spectacle. This term, originally coined by Debord, has again become the focus of cultural-critical debates with the increasing power of new social media. Debord raised the spectacle to a theoretical perspective by describing it as a “society’s worldview that is transferred into the material.” On the other hand, it is precisely this totalizing claim of Debord’s concept of spectacle that is now coming under increasing pressure. Facing this problem, Juliane Rebentisch (2007) suggests suspending the concept of spectacle, as hardly any other concept has been received so unscathed and uncritically of late. I will make a plea for a long overdue revision of the term from the perspective of theater studies. With a few exceptions, the fact that the spectacle itself already has a long (pre-Debordian) history is generally not taken into account. The scope of the spectacle cannot be understood merely within the confines of Debord’s totalizing concept; moreover, it turns out to be an extremely heterogeneous and promising field of investigation, which is far from being sufficiently explored. Here, I would like to stress a potential implementation of the spectacle that, in theater theory, is traditionally placed in opposition to its role in socio-political engagement. The critical potential of the spectacle can only be opened up when the technical conditionality of the spectacle is directly related to the technical conditionality of modernity. This aspect has so far been largely ignored in the critical debates around this concept.

Vorwort (2022)

Fiorentino, Francesco ; Massalongo, Milena

Concepts are by no means merely illustrations from which to adequately describe a state of affairs but are rather tools by means of which we orient ourselves habitually and more or less effectively in our reality. This does not only apply to theoretical thinking: whether in everyday life or in the practice of art, one does not so easily escape concepts either. An indispensable artistic-critical moment consists in overcoming a concept’s periodic “loss of traction” by making it functional again. The articles in this issue work in this direction: in dealing with the changing reality of theater, they further develop its established concepts or explore the critical potential of relatively new concepts that also extend beyond it. Overall, they document the attempt not only to think about theater, but also to think with the help of theater.

Internationale Zeitschrift für Kulturkomparatistik Bd. 8 (2022): Theaterbegriffe (2022)

Begriffe sind keineswegs Abbildungen von adäquat zu beschreibenden Gegenständen, sondern eher Werkzeuge, anhand derer wir uns in der Wirklichkeit mehr oder weniger wirksam ständig orientieren. Dieses gilt nicht nur für das theoretische Denken: auch im Alltag oder in der Kunstpraxis entkommt man Begriffen nicht. Ein unentbehrliches künstlerisch-kritisches Moment besteht darin, den periodisch entstehenden „Haftungsverlust“ von Begriffen zu überwinden und ihre „Greifkraft“ wiederzugewinnen. In diese Richtung arbeiten die Beiträge dieses Heftes. In Auseinandersetzung mit der sich wandelnden Realität des Theaters entwickeln sie etablierte Begriffe weiter oder loten das kritische Potenzial relativ neuer Begriffe aus, die auch außerhalb des Theaters nützlich sein könnten. Insgesamt dokumentieren sie den Versuch, nicht nur über das Theater nachzudenken, sondern auch mit Hilfe des Theaters zu denken.

Liebe als Naturmystik. Postmetaphysische und postkritische Potenziale bei Henri Bergson und Thomas Rentsch (2022)

Thomas, Philipp

When we feel that all beings are interconnected – how can we reconstruct this in philosophical terms, avoiding ideology and scientific-evolutionary or religious big pictures? This text looks at Bergsons notion of intuition and Rentschs notion of negativity and the transcendental conditions of life in order to describe a secular mysticism. Love is a core aspect of this mysticism since love protects singularity (Rentsch), sees potentials of development (Scheler) and can connect us with the world (Bergson).

Die Frage nach der adäquaten Naturerkenntnis bei Immanuel Hermann Fichte (2022)

Hernández Maturana, Cristián

The present article addresses the question of the adequate knowledge of nature in the context of Immanuel Hermann Fichte’s philosophy of nature. After an examination of the position and role that this systematic problem has both in Karl Joël’s book Der Ursprung der Naturphilosophie aus dem Geiste der Mystik and in contemporary research on the Anthropocene, this article offers a depiction of Fichte’s conception of the aposterioric speculative mode of knowledge of nature. Finally, Fichte’s conception of knowledge of nature is brought up for discussion both with Joël’s epistemological thesis and with certain approaches of contemporary research on the Anthropocene. It is shown that Fichte’s philosophy offers a productive perspective to addressing contemporary problems of the Anthropocene.

Naturphilosophie und Wandlung der Seele bei Karl Joël und F.W.J. Schelling (2022)

Hueck, Johanna

In his work “On the Origin of Natural Philosophy from the Spirit of Mysticism” Karl Joël refers several times to Schelling and his thinking about nature without elaborating on this references. The article discusses the thesis, whether the concept of conversion, which seems to be essential for Joëls philosophical approach, could be seen as a link between him and Schelling. It substantiates that both authors find in the conversion of human beings a condition for a non-reductive insight into nature.

Leonardo da Vinci und die Geburt der Naturphilosophie in der Renaissance. Eine Reise durch Bilder (2022)

Cuozzo, Gianluca

The “sfumato” is a new notion, both from an artistic and metaphysical viewpoint. Thanks to this concept, Leonardo brings the reflection on the nature of the cosmos to a level of surprising currency, thus overcoming the dichotomy between the human and the natural world (animals, plants, atmosphere, water, and rock formations). At the same time, the distinction between nature and supernatural reality is also questioned: nature is pervaded by the spirit, i.e., the incorporeal force that animates the entire universe, while the sacred turns out to be rooted in an original dimension that escapes any temporal computation. And it is to this union that such magnificent works such as The Virgin of the Rocks, the Mona Lisa, and Saint Anne with the Virgin and Child are inspired. They are pictorial treatises on the philosophy of nature that are inspired to the divine principle, which pervades creation. At the heart of this deep osmosis between natural exploration and the human-divine world is creativity of the artist, in whose works the world is spiritualized and perfected.

Naturphilosophie, Religiöses Empfinden und Lyrik der frühen Antike bei Karl Joël (2022)

Schneider, Wolfgang Christian

According to Joël’s study from 1906, natural philosophy, religious feeling or thinking and poetry are not separate cultural phenomena, but rather are interrelated. This contradicts the prevailing view around 1900 and so his work can be understood as an attempt to develop a new view of cultural horizons. Joël sees “feeling” and “mysticism” directed at nature as the main impulse. These two terms, which were completely shaped by the psychological ideas around 1900, cannot, however, come close to the life of early antiquity and obstruct the view of the novelty seen by Joël: the determination of a special cognitive disposition of a time that permeates all cultural phenomena.

Mystik als Ursprung der Naturphilosophie. Zur Relevanz von Joëls Grundthese (2022)

Schwaetzer, Harald

Karl Joël’s book “Der Ursprung der Naturphilosophie aus dem Geiste der Mystik” seems at first glance, like almost all of his writings, as if the author was not very keen on an argumentative course. Yet, the text has been very precisely structured. Its four chapters correspond to the four unities: “It is actually a fourfold unity that they all [i.e. the Renaissance thinkers, HS] teach in the sensed unity of life: the unity of man, of the soul with God [1], the unity of God with the world [2] [...], the unity of the world as such [3], and the unity of man with the world [4]”. From the indifference point of feeling, Joël develops mysticism as the source of knowledge on one side and science as its clear verification on the other side. He bases his concept on an understanding of real spirituality as shown in the ensoulment of the cosmos and in the doctrine of metempsychosis.

Der Geist der Mystik als Ursprung der Naturphilosophie – eine Relektüre Karl Joëls (2022)

Schwaetzer, Harald

The volume is devoted to the approach of the philosopher Karl Joël, which he presented under the title “Der Ursprung der Naturphilosophie aus dem Geiste derMystik” in 1906. Although the times have changed, it is worth pointing out the sources from which Joël drew, according to the conviction that gave rise to the present volume. Just as he himself asks about the origin of the philosophy of nature, so the contributions to this volume will enquire about the origin of his own thought. After a presentation of Joël’s concept (Schwaetzer), the three epochs to which he primarily recurs will be considered: Antiquity (Schneider), the Renaissance (Cuozzo) and German Idealism (Hueck), including Late Idealism (Hernández). Finally, there is a view from the present (Thomas). In a narrower sense, the question of the present volume is situated in the area of a philosophy of nature of the Anthropocene. It discusses the thesis that the philosophy of nature arises from mysticism without being dissolved in it, but that the former must not deny its origin Joël thus offers a concept of science that productively questions current understandings and is at the same time embedded in an anthropology that also takes seriously the mental and spiritual in man and the cosmos.

Internationale Zeitschrift für Kulturkomparatistik Bd. 7 (2022): Der Geist der Mystik als Ursprung der Naturphilosophie – eine Relektüre Karl Joëls (2022)

Der Band widmet sich dem Ansatz des Basler Philosophen Karl Joël, den dieser unter dem Titel „Der Ursprung der Naturphilosophie aus dem Geiste der Mystik“ 1906 vorgelegt hat. Trotz der geänderten Zeitlage lohnt es sich, so die Überzeugung, aus welcher der vorliegende Band entstanden ist, auf die Quellen hinzudeuten, aus denen Joël geschöpft hat. Wie er selbst nach dem Ursprung der Naturphilosophie fragt, so soll in den Beiträgen dieses Bandes nach dem Ursprung seines eigenen Denkens gefragt werden. Nach einer grundsätzlichen Vorstellung seines Ansatzes (Schwaetzer) werden die drei Epochen in den Blick genommen, auf die Joël vor allem rekurriert: Antike (Schneider), die Renaissance (Cuozzo) und Deutscher Idealismus (Hueck) sowie Spätidealismus (Hernández). Abschließend erfolgt ein Blick von der Gegenwart her (Thomas). Im engeren Sinne situiert sich die Fragestellung des vorliegenden Bandes im Bereich einer Naturphilosophie des Anthropozän. Er diskutiert dabei die These, dass Naturphilosophie aus Mystik entspringt, ohne in ihr aufzugehen, dass die erstere aber auch ihren Ursprung nicht verleugnen darf. Joël bietet damit einen gegenwärtige Konzeptionen produktiv hinterfragenden Wissenschaftsbegriff, der zugleich in eine auch das Geistige in Mensch und Kosmos ernst nehmende Anthropologie eingebettet ist.

Feministisches Schreiben und politischer Protest im postsowjetischen Raum (2022)

Schmitt, Angelika

This article examines the interrelation of contemporary Russian feminist poetry and political activism. Recent protest movements in the post-Soviet space demonstrate that female activists play major roles in all aspects of social transformation. While this had not yet become as clear in the case of Russia, a growing movement of young feminist and queer writers are giving voice to the suppressed through poetry. This article investigates this movement by tracing the development of the feminist network assembled around the internet platform “F-pisʼmo,” which has existed since 2017. Through political activism, festivals, creative writing courses, and the online-publication of poetry, prose, and philosophical essays on gender issues, the organizers and participants in the network engage the subaltern in empowering practices in order to undermine and transform the conservative and patriarchal social order of post-Soviet Russia. Analysis of one of the most powerful and controversial poems of this sort, “Moja vagina” (My vagina) by Galina Rymbu, demonstrates the political impact of feminist poetry in Russia and its link to US-American feminist discourse. It is argued that the method of political activism practiced by Russian feminist poets today can be described as speaking and acting through poetry in the sense of Hannah Arendtʼs political theory of the vita activa.

Poetisches Subjekt, Medienperson und politischer Habitus. Poetik und Politik der Provokation in A.A. Vituchnovskajas Leben und Werk im 21. Jahrhundert (2022)

Grübel, Rainer

This article investigates the poetry and public life of Alina A. Vitukhnovskaia against the backdrop of her position as a political dissident in Russia. In opposition to most contemporary Russian poets, she considers her writing to be actively “political,” that is directly interfering with governmental politics. The first part of the article introduces methodological concepts in order to consider the relation between Vitukhnovskaia’s poetry and her political activity: distinguishing between the poetic subject, the media-persona (the presentation of the author and the person Alina Vitukhnovskaia to the public), and the political habitus. The subsequent sections investigate her poetic work, her public appearance, and her political activities in relation to these concepts. Vitukhnovskaia’s poetic subject appears to be characterized by provocation with regard to both aesthetic forms and social themes. Formal provocation is carried out by means of disturbing paronomasia, whereas social and thematic provocation involves the negation of traditional, often nationalist, attitudes and the presentation of negative ideological or philosophical terms (nothingness, emptiness, ugliness, evil). While the former has a philosophical appeal (existentialism), the latter is related to the tradition of the demoniacal, such as goth subculture and necro-aesthetics. Vitukhnovskaia turns surrealism upside-down: making artistic ‘reality’ seem less surreal than the reality of the world. The construction of the poetic subject with provocative elements helps Vitukhnovskaia establish a media-persona. This is considered with regard to self-portraits in the book “The Black Icon of Russian Literature” (2017). The combination of aesthetic (beauty), sexuality (domina), and power is interpreted as a provocative dimension of this media-persona. The last part analyzes the political program of Vitukhnovskaia’s application for the 2018 presidential elections as a collection of demands that contain provocative challenges: for instance, the armament of Russian citizens and nuclear disarmament of the state. This incongruity of political demands is a provocation that correlates with an aspiration to unlimited power. Provocation is also considered the main feature of Vitukhnovskaja’s political practice, which she subordinates to the presentation of her media-persona.

Körper in politischen Kontexten bei einigen deutsch- und russischsprachigen Dichterinnen seit 1980 (2022)

Friedrichs, Ekaterina

In contemporary poetry, transgressive writing – understood as a specific type of social action and discourse that generates new meanings – includes diverse and complex poetic practices and relations between the body and politics, the private and the political. This article focuses on a small selection of texts by German- and Russian-speaking female poets that demonstrate different ways of poetically rethinking the body, its borders, and its connection to the political. Included are poems by Barbara Köhler, Gabriele Kachold-Stötzer, Ann Cotten, Lidia Yusupova, Oksana Vasyakina, Galina Rymbu, and Nika Skandiaka.

Zum Geleit (2022)

Stahl, Henrieke ; Fees, Anna ; Telge, Claus

In contemporary Russian poetry, a special movement has emerged that engages in political activism under the feminist banner. This form of political poetry aims less at criticism and subversion than at making a direct social impact. Poems are written as performative forms of social action and often with a concrete purpose. They aim to resist power and take the side of the oppressed. The poetic subject opens her voice and her body in solidarity with others or courageously opposes the establishment through provocation — even aggression.

Wallace Stevens: Lyrisch Philosophieren (2022)

Hühn, Peter

Wallace Stevens is widely regarded as an author whose poetry possesses a particularly close affinity to philosophy, which is usually taken to mean that his poems contain statements of philosophical concepts or propositions. In contrast to this, the following article examines the relation of Stevens’s poetry and philosophy with respect not to the contents of his poems but to their sequential structure. This analytic focus is motivated by the observation that the progression of the utterance in a great many of Stevens’s poems appears to be modelled on the principles of philosophical argumentation: i.e., that the poems go through a quasi-philosophical process of questioning, reflection, and cognition. As lyric poems, however, they pursue this practical process of thinking and arguing on the basis of the principles of poetic composition. The poems can thus be described as employing two different discourse types at the same time and in interaction with each other: philosophical argumentation, on the one hand, and poetic composition on the other. Accordingly, the following analyses are guided by two questions: first, what aims do the argumentations in the poems pursue and, second, how do the two discourse types interact with each other in that process? Three poems from different periods of Stevens’s poetic œuvre are used as examples: “A High-Toned Old Christian Woman” (1923), “Man Carrying Thing” (1947) and “The Plain Sense of Things” (1954).

„Ein Denkender, den Blumen unterworfen.“ Francis Ponge und die Herausforderung poetischer Reflexion (2022)

Geisler, Eberhard

Francis Ponge’s work represents a highly reflective concept of writing. His attempt to come close to nature is determined by the conviction that this approach has to be taken by an almost monastic respect for the phenomena and has to eschew abstract notions and generalizations. His project of writing is a deeply moral one; it pursues a type of representation that involves the subject and does not conceive the world he approaches by writing as an object. In order to grasp the essence of this author’s work, Jacques Derrida’s monograph “Signéponge” is adduced, which is the most enlightening contribution on Ponge to have ever been made. Furthermore, it will be shown that Ponge’s work relates to issues that are central to the poetry of Friedrich Hölderlin and the language theory of Walter Benjamin.

Sinn ohne Bedeutung Gottlob Freges semantische Definition von Dichtung (2022)

Urbich, Jan

In this paper, I examine Gottlob Frege’s attempt in “On Sense and Reference” to determine semantically what poetry is. Therefore, Frege’s assumptions as well as strategies concerning the distinction between poetic and non-poetic discourse are analyzed in order to show in which way a theory of “poetic meaning” is possible. Frege’s rather inconspicuous explanation of poetry, although itself quite unsatisfactory in the end, allows us to strengthen the hope for a ‘minimal’ semantic theory of poetry that depends on a certain idea of fictionality.

Mython akousas Zum Grund der Dichtung bei Parmenides und Empedokles (2022)

Scheier, Claus-Artur

Earliest Greek philosophy concurred with traditional poetry in its attempt to deliver cosmological thought about the Universe (τὰ πάντα); to this end, it used a paratactically descriptive prose style (Anaximander, Anaximenes). Adopted by a new kind of poetry criticizing the traditional myths as mere opinions (δόξαι) and mediated through its Pythagorean mathematization, philosophy gathers itself into its own critical principle: Identity (Xenophanes). Identity and Difference together (Heraclitus) differentiate the world-immanent Logos (λόγος ἐών). In human thought, this Logos presents itself as Judgement (κρίσις): Predication is reflected in a tropic prose style. The disentanglement of the resulting paradoxical unity of opposites calls forth the Principle of Contradiction and reinstates poetry as self-revelation of intellectual intuition (νοεῖν): while in the opinions of mortals, everything might be considered as merely asserted and ambiguous, contradiction is the ever-present presupposition in every act of thinking (Parmenides). The infinite progress of excluding contradiction (Anaxagoras) is itself dialectically shown as contradictory (Zenon): What remains is the perception of the sole, non-conceptualized phenomenon, whose apprehension existentially deepens into faith (πίστις). Linking up with pre-philosophical myth (Hesiod), it manifests itself once again as poetry, now already rhetorically (Empedocles).

Vergeistigung oder ‚Vom Stein zum Wort‘ Zur Poesie in Hegels Philosophie der Kunst (2022)

Vieweg, Klaus

In Hegel’s “Lectures on Aesthetics”, poetry bears special relevance to the thesis of the spiritualization of art, the way of the medium from stone to word. The theoretical basis for this thesis rests on Hegel’s epistemic concept of intuition (Anschauung), representation (Vorstellung), and concept (Begriff ), as well as the components developed in this context for a modern semiology – a philosophical theory of signs and language. Poetry is considered as the most general, most comprehensive, and most spiritual art. A new kind of self-relation is constituted: imagination is related to imagination, representation to representation. Hegel unfolds a gradation from intuitive and imagining self-understanding – from art and religion – towards self-relational thought, a conceptual cognition of philosophy with its basis in the self-thinking thought (das Denken des Denkens). An intermingling of the forms of poetic and philosophical expression is to be avoided; crucial is a clean distinction between the forms of presentation proper to literature and to philosophy respectively, between the “army of metaphors” and the “phalanx of concepts” (Begriffe).

‚Menschlich sprechen‘. Hölderlins politische Philosophie (2022)

Pieper, Vincenz

With Hölderlin’s conversion to philosophy, he began to take an interest in the problem of how to address philosophers and non-philosophers in one and the same literary work. He developed a doctrine that would enable him to transform the desire for eternal things in accordance with his political and educational ambitions. His understanding of exoteric teaching guided his reading of Plato, Kant, Hemsterhuis, and Fichte. It shaped both his correspondence and the composition of his novel, “Hyperion”.

“Compound Invisible Objects” Moralischer Charakter, literarische Figur und die Gyges-Problematik bei Adam Smith und Eliza Haywood (2022)

Guttzeit, Gero

A diachronic approach to the relationship between literature and philosophy since antiquity needs to include the field of rhetoric, regardless of whether it appears as a link or a disruption. This article discusses fundamental questions of rhetoric, philosophy, and poetics in the example of invisible characters and their moral qualities in antiquity and the mid-18th century. Plato’s mythical literary version of the Gyges legend in the “Republic” conceives of the invisible character as an illustration of the morally depraved nature of humans. In the following, I shall not trace this “Gyges problem” in the terms of influence studies but rather with an awareness of the ubiquity of ancient knowledge in philosophy and literature of the 18th century. I shall situate Adam Smith’s oft-discussed metaphor of the invisible hand in the context of his lectures on rhetoric, which were instrumental in founding the tradition of the Scottish New Rhetoric. I shall argue that invisibility forms a central element of Smith’s definition of character. The manifold implications of such a conception of invisible characters will then be illustrated using the example of Eliza Haywood’s “The Invisible Spy” (1755) and her conception of authorial ethos. Thus, the metaphor of invisibility proves itself to be of transhistorical relevance for the relationship between philosophy and literature, especially when they both turn to character – understood as fictional person, moral constitution, and the medium of the letter.

Philosophie und Literatur bei Cicero (2022)

Vielberg, Meinolf

This paper explores the relationship between philosophy and literature in the dialogues of Cicero. It argues that Cicero was a sceptic Roman philosopher who used the freedom permitted by his epistemological point of view to systematically present the doctrines of all the Hellenistic schools of thought without open polemics in an almost neutral and rather new way. In presenting the doctrines of the different Hellenistic schools of thought, Cicero, on the one hand, devaluates only the philosophy of Epicurus by means of rhetoric. On the other hand, he allows his reader, and even stimulates him, to make a rational choice between different philosophical options such as either the ethics of Stoicism or of the Peripatetic school. To this end, Cicero depicts his fellow citizens and himself in the situation or process of theoretical (and practical) decision-making between different philosophical points of view or even different ways of life.

Das Rettungsdilemma des Karneades und sein Nachleben im 20. und 21. Jahrhundert (2022)

Vanderbeke, Dirk

This paper takes up the topic explored by Wolfgang G. Müller in this volume and discusses the various forms in which Carneades’ thought experiment was conceptualized and employed in philosophy, science, and law, as well as literature and film of the 20th and 21st centuries. Of course, it will not be possible to address all instances – in particular in popular culture, where the dilemma raised by Carneades resurfaces in ever new metaphorizations – and I will have to focus on some theoretical aspects, a few practical cases, and a variety of patterns and motifs that emerge in literary works or films. In some variants, the elements of the thought experiment have changed to a certain degree, but the underlying dilemma is still clearly recognizable. Of particular importance in recent discussions is the so-called trolley problem and research into cognitive responses to the dilemma. A second approach can be found in evolutionary theory and the discussion of altruism and self-sacrifice, both of which do not seem to be compatible with the struggle for survival as described in Darwinism. In the realm of law, the case of Mary and Jodie Attard forced a court decision on whether a human being should be killed in order to save the life of the conjoined sibling: similarly, but on a different scale, controversial discussions following the aftermath of 9/11 have involved the question as to whether a plane with possibly hundreds of passengers should be shot down to prevent an even larger catastrophe. Each of these theoretical concepts and their very real considerations have had their impact on literature and cinema, and this paper offers a survey of the most important narrative patterns and examples.

Philosophischer und literarischer Diskurs. Das Rettungsdilemma des Karneades und seine Abwandlungen in Philosophie und Literatur (2022)

Müller, Wolfgang G.

The article starts from a thought experiment attributed to the Greek philosopher Carneades and handed down by Cicero and Lactantius. After a shipwreck, two seamen swim in the sea. There is a plank that promises rescue, but it has room for only one of them. The problem is that in this particular situation, the survival of one is only possible at the cost of the other’s life. This thought experiment, which is, in this instance, called the rescue or survival dilemma, has many intricate moral and juridical implications that require dis cussion. It is significant that what seems to be an intellectual experiment recurs in real-life situations throughout the ages. The first part of the article examines the discussion of the dilemma in question in philosophy from classical antiquity to modernity, with a special focus on Leibniz, whose importance in this tradition has been largely ignored so far. Since the rescue dilemma raises many legal questions, it is necessary to look at the way juridical discourse deals with it. The second part of the article investigates representative instances of the rescue dilemma in literature of the eighteenth and nineteenth centuries. Since philosophy and literature do share a deep interest in one and the same problem here, the investigation is concluded by reflections on the relative nature of discourse in the two disciplines and their different ways of dealing with significant human issues.

Versuch der Grundlegung einer Ethik der Literatur. Fallbeispiele aus den drei Hauptgattungen (2022)

Müller, Wolfgang G.

This essay attempts to establish an ethics of literature, which, as distinct from earlier approaches, is transgenerically oriented in that it does not focus on narrative alone but on the three main literary genres of narrative, dramatic, and lyric art. It follows Wittgenstein’s much-quoted dictum that aesthetics and ethics are one. Its basic assumption is that ethics emerges in literature under the condition of aesthetic form. The much-discussed problem of the relation between philosophy and literature is found in the concept of the proposition, which, in Aristotle, who uses the term apophansis, means a statement, assertion, or predication. In philosophy, the proposition is, as Gottfried Gabriel emphasizes in his monograph on cognition (2015), an essential element within deductive processes of argumentation, contributing to proving a theoretical position or working out a theoretical position. In literature, propositions usually do not occur in extended argumentative contexts. They make a statement that may have a significant philosophical and specifically ethical impact and that may relate to the entire works concerned. Hence, the concept of propositionality makes it possible to relate and simultaneously differentiate the two great achievements of the human mind: philosophy and literature. In the essay’s analytic part attention is given to specific ethical dilemmas in Homer’s “Iliad” and Shakespeare’s “Hamlet”, the representation of evil in Shakespeare’s tragedies, narrative strategies for presenting ethical situations and events in nineteenth-century novels (Austen, Dickens, Trollope, Twain, Tolstoy), and the occurrence of ethical elements in lyric poetry. As far as the lyric genre is concerned, we take note of the paradoxical fact that even in the object poetry of Rilke and the imagists (Williams), an ethical aspect emerges. A common result of textual analysis is the recognition of propositional elements in all texts investigated.

Transformationen des Mimesis-Konzepts in der Neuzeit oder Warum wird die Theorie der Kunst die Nachahmung nicht los? (2022)

Kablitz, Andreas

How does one explain the remarkable resilience of the notion of mimesis in the face of frequently severe criticism, starting with Plato’s “Politeia”? How could a term, whose theoretical career begins with its dismissal, survive for more than two millennia? This article starts off from Hegel’s radical rejection of imitation as a basic principle of art. However, despite such fundamental disapproval, even in literary theory of the 20th century, mimesis continues to play an important role. It looks as if both phenomena – the at times profound criticism of mimesis as well as its remarkable resistance to this criticism – can be explained by going back to the origin of the concept in Ancient Greek philosophy and by reconstructing its transformation in modern times.

Die erste philosophische Literaturtheorie in Europa: Aristoteles’ Mimesistheorie (2022)

Schmitt, Arbogast

It is Aristotle to whom we owe the first philosophical theory of poetic art fully extant from antiquity. He recognized the origin of art and poetry in man’s capacity for theory and his pleasure in it, for he considered imitation (mímēsis) as the beginning and basis of cognition. He understood imitation not as a mere act of copying but as the realization and re-implementation of a single person’s general disposition to act, which is to say his or her disposition to turn towards the world aiming to seek pleasure or to avoid pain. The poet’s task is to represent such a way of acting, real or fictitious, in some medium in a certain way. An orderly representation of this kind starts from an (again, real or fictitious) person’s decision to prefer or avoid something. It closely follows this agent’s ‘quality’ (poiótēs), which is to say his or her character. Thereby, the poet can achieve a congruence of all parts of the entire action with one another and with the whole. This is what, in Aristotle’s view, is the poet’s task. At the time of the reception of Aristotle’s “Poetics” around 1500 AD, the understanding of poetry was widely shaped by Horace and Cicero and hence had a strongly rhetorical character. For Horace, it is true, the poet ought to be an imitator, as well, even though an ‘erudite’ imitator. In Horace’s view, however, his knowledge regards the general manners of man. Therefore, the poet, gifted as such with ‘prophetic eye’ and ‘wisdom,’ has the ability to express this knowledge in vivid and concrete terms (communia proprie dicere). This knowledge, which men, parents, brothers, politicians, judges, military commanders, etc. use to act was considered to be learnable according to the rules of rhetoric, although it is only by the poet’s individual talent that it can become art. It was believed that what Aristotle had called the ‘probable’ could be equated with this skill based on acquired experience and genius. As a consequence of this reinterpretation, Aristotelian probability, which makes a certain man talk and act in a certain way in accordance with his character, changed into the probability of the course of the world. The order of the action was turned into the order of things as the object of imitation. The development of art and literature as well as of the aesthetic theories of the modern age was essentially influenced by the concept of an order of things and thus impedes access to the rationality of poetry envisioned by Aristotle.

Vorbemerkungen (2022)

Müller, Wolfgang G. ; Thiel, Rainer

Though it cannot reasonably be denied that there is a fundamental difference between the mode of rational-logical discourse in philosophy and the aesthetic mode of composition in literature, the two products of the human mind have a common origin in antiquity and have fruitfully interacted in the course of intellectual history. Indeed, philosophy and literature are siblings whose relation reveals infinite possibilities of mutual inspiration. This is the basic idea that informs the present volume, which looks at the interdependence between philosophy and literature from Greek and Latin authors over the millennia to modern philosophers like Derrida, Ricœur, and Gabriel. Some of the topics discussed are Aristotle’s concept of mimesis (imitation) and its tradition, Cicero’s use of dialogue, the logician Frege’s attempt to define poetic speech, the ethical dimension of literature, the literarization of philosophy in Schopenhauer, Hölderlin’s conversion of philosophy into literature, and Wallace Stevens’ lyrical philosophizing. The symbiosis of literature and philosophy is ubiquitous and especially conspicuous, of course, in authors like William Godwin, Albert Camus, and Jean-Paul Sartre, who are simultaneously philosophers and writers of fiction. Further examples of this symbiosis are, for instance, Schleiermacher’s vision of Plato as a philosophical artist in German Idealism; the relation between the modernist poet Francis Ponge and the philosopher Jacques Derrida, which is expressed in Derrida’s book title “Signéponge”; and the American poet Gary Snyder’s assimilation of Asian philosophy. Special emphasis is given to the respective forms of cognition (Erkenntnis) achieved in philosophy and literature and the different ways of handling the problems of reality and fiction – of truth and lying – in the two distinct kinds of discourse.

Brechende Wellen, gebrochene Sprache. Die Natur in der Lyrik Jean Kriers (2021)

Ritte, Jürgen

Despite its predominantly maritime subjects, the work of the German-speaking Luxembourgish poet Jean Krier presents itself from its debut (“Breton Islands,” 1994) as a deconstruction of classical nature poetry. Jean Krier’s poems thus stand in a tradition that goes back to Schiller and extends to the aesthetic theory of Theodor W. Adorno in ratifying the state of man’s separation from nature. Krier’s aesthetic procedure is based on the deconstruction of linguistic material that is subjected to states of play (mots-valises, homophonies, polyphonies, word lists, etc.). His poetry thus becomes a modern form of literary criticism in which disparate flotsam and junk-language reflect each other.

„da draußen weiter horrorvideo“. Über die Idylle in der ,neuen Naturlyrik‘ am Beispiel von Thomas Kling (2021)

Reents, Friederike

This paper investigates how and to what extent the literary genre of the idyll lives on as part of the ‘new nature poetry.’ Following a conceptual, historical, and generic classification of the idyll, Thomas Kling’s „geschrebertes idyll, für mike feser“ is read to show, on the one hand, how skillfully and knowledgeably he unpacks the tradition. He not only plays in extenso with the genre’s characteristic features but also, on the other hand, includes in his “allotment garden idyll,” which can be read as an early example of Anthropocene poetry, astute and sharp-tongued ecological, social, medial, and historical critique. Despite his critical sensitivity to socially relevant themes, however, Kling presents a decidedly patriarchal self image, which today’s readers would probably find less readily acceptable and which distinguishes him from the most recent contemporary poetry.

Die Natur der Musen: Loreley-Gedichte von Franz Josef Czernin, Ulla Hahn, Uwe Kolbe und Peter Rühmkorf (2021)

Braun, Michael

Loreley, a natural-born femme fatale from German mythology, has inspired poets since Romanticism. From a contemporary perspective, however, this character has simply lost her magical qualities and, at the same time, been transformed into a gatekeeper and an advocate for nature under threat in the Anthropocene. This article concerns the poetics surrounding Loreley – including the use of irony, role report, metamorphosis, and inspiration – in Franz Josef Czernin’s sonnet, „nach loreley“, Ulla Hahn’s „Ars poetica“ and „Meine Loreley“, Uwe Kolbe’s „Halle-Lureley“, and Peter Rühmkorf’s „Hochseil“. Loreley’s broken modernity does not only re veal her own abused nature. She is also promoted to a postmodern ‚Zudichterin‘ (Ernst Robert Curtius), reading the book of nature through semiotics rather than in terms of originality and creation.

„De rerum natura“: Fortschreibungsmodi des Lehrgedichts in der deutschsprachigen Naturlyrik der Gegenwart (2021)

Bosco, Lorella

This article will examine how and to what extent the ancient tradition of the didactic poem exerts an influence on contemporary German nature poetry. It will focus in particular on Raoul Schrott’s „Tropen“ and Marion Poschmann’s „Geliehene Landschaften“, which, while different from each other, both offer clues to possible lines of influence. Although there is a long tradition of didascalic poems in the German literature of the Renaissance and of the Enlightenment, my point of reference will be the ancient didactic poem, as it was shaped by Lucretius in his “De rerum natura”, because of its masterful intertwining of knowledge and poetry and its wholly secular view of nature, creation, and evolution, as well as the fact that it stresses the idea that life is accidental. These are the aspects of ancient didactic poetry that I will investigate in the aforementioned German poets and works, with particular attention to the relationship between the knowledge of nature and the language of poetry. Both Schrott and Poschmann openly use the word ‚Lehrgedicht‘ [didactic poem] in order to define their poems, in which the didactic parts function as a knowledge of “nature after nature.” As a consequence, their poetry revolves around the impossibility of an all-encompassing explanation of the world and takes as its theme the rupture that divides human beings from nature in the modern age. Consciousness of the intrinsic constructedness of the way we experience nature is, on the other hand, a condition for both its aesthetic perception and scientific enquiry. At the center of both Schrott’s and Poschmann’s poetry collections, albeit in different ways and with different emphases, we thereby find an understanding of nature as a void that can only be approached (but never overcome) by means of language. Herein lies the main difference between these contemporary poets and the ancient tradition.

Engführungen. Celans etho-poetisches Schreiben „nach“ (und als Teil) der Natur. Ein Essay (2021)

Miglio, Camilla

This article investigates the relation between nature, ethics, and poetics in the work of Paul Celan, using „Engführung“ [“Stretto”] as a starting point. The readings from Celan’s library testify to his careful rethinking of what “reality” means. Applying the terminology and research of geology, physics, and, in particular, quantum mechanics, opens up an interpretative horizon for Celan’s poetry that can be configured according to the laws of entanglement as well as the form of a multidimensional ‚Raumgitter‘. The human and ethical elements of intentionality and being-in-the-world are not obliterated but rather subordinated to the natural itself. Celan goes beyond the idea of a subject-observer of the world-as-object and offers us a perspective in which language, as well as humanity and intentionality (poetic and otherwise), is merely one cosmic manifestation – part of nature itself. Language, like nature, shows different and changing states of being. It can be metamorphic but also sedimentary; conglomerate but also fluid like the elements present in nature. It is not a metaphorical analogy but a changing material state. It is non-local, dynamic, and provisional, like the relationality of quantum aggregations. Writing ‚nach der Natur‘ is, for Celan, who makes the knowledge and vocabulary of the natural sciences his own, to recover this metamorphic, provisional dimension of language – inside and outside time, probabilistic, invisible at a macroscopic level. By writing in and as nature in this way, poetry resists the destruction of what “happened” [geschehen] at the camps in the most devastating way.

Was wäre möglich, wenn die Poesie noch möglich wäre? Und was hätte die Natur damit zu tun? Zeitgemäße Annäherungen an Eugenio Montale (2021)

Söffner, Jan

This essay puts forth a definition of poetry rooted in experience. In following Eugenio Montale, it analyzes two of his poems – “I limoni” and “Notizie dall’Amiata” – to show how the poet, rather than constructing discrete poetic worlds, aims at a poetry revealing the world and nature to a concrete reader, unforeseeable for the poet. Poetry thus aims at imbuing this reader’s life with an ephemeral poetic form, rather than evoking its own self-sufficient aesthetics. In doing so, chance and flaws in the social and cultural construction of reality act as co-authors of his “poesia”.

Zum Geleit: Natur in Transition: Europäische Lyrik nach 1945 (2021)

Braun, Michael ; Stahl, Henrieke ; Valtolina, Amelia

Am 22. und 23. Oktober 2019 fand an der Universität Bergamo ein “Convegno internazionale” über „Europäische Naturlyrik nach 1945“ mit Forscher:innen aus Italien und Deutschland statt. Bei freundlichem Herbstwetter wurden „Gespräche über Bäume“ unternommen, die von Brechts bekanntem Vers über Celans Naturlyrik bis zur Legitimation eines solchen „Gesprächs“ reichten. Der Horizont der Diskussion wurde komparatistisch ausgezogen und erstreckte sich auf die französische, die luxemburgische, die englische, die italienische und die deutsche Naturdichtung. Angesichts der Ideenfülle der Beiträge entschieden sich die Initiator:innen der Tagung dazu, die Beiträge auf zwei Bände zu verteilen: auf einen Themenband über Bäume in der zeitgenössischen Naturlyrik1 und den vorliegenden Band, in den die über das Baum-Motiv hinauswachsenden Beiträge der Tagung Eingang gefunden haben. Die Konferenz sowie die beiden daraus hervorgegangenen Bände sind ein Ergebnis der Zusammenarbeit von Amelia Valtolina (Bergamo) und Michael Braun (Berlin) mit der an der Universität Trier angesiedelten DFG-Kolleg-Forschungsgruppe 2603 „Russischsprachige Lyrik in Transition. Poetische Formen des Umgangs mit Grenzen der Gattung, Sprache, Kultur und Gesellschaft zwischen Europa, Asien und Amerika“. Die Vorträge dieser Konferenz nahmen das Wechselspiel von Geschichte und Natur im poetischen Wort, die Dialektik von Romantisierung und Dämonisierung der Natur sowie die Doppelfunktion von Modernekritik und Zivilisationsmüdigkeit im Naturgedicht in den Blick. Es ging um die Fort- oder Neuschreibung von Traditionen und Genres sowie um die Poetik und Ästhetik des Naturgedichts im kulturellen und historischen Wandel. Entsprechend rückt der Titel des vorliegenden Bandes das immer wieder in der Diskussion unter den Vortra genden hervorgehobene Transitorische des Naturbegriffes ins Zentrum.

Verschiedenheit und Würde der Lebewesen im konjekturalen Denken des Cusanus (2021)

Zeyer, Kirstin

Nicolaus Cusanus presents a subtle theory of alterity. We will show why Cusanus does not consistently assign humans a position superior to other living beings, even when strong anthropocentric arguments seem to be present. Kazuhiko Yamaki (2017: 280), e.g., has recently pointed out that the attribution of a privileged position to humans in the world already fails logically, because the complicatio-explicatio scheme applies to all creatures. I would like to follow up on Yamaki’s argument that Cusanus at this point is rather concerned with describing a specific relationship between God and the creatures or the world. If this argument is extended to the question of humans and animals in Cusanus as a whole, the way in which these relations are to be figured becomes the focus of consideration. Just as Cusanus, in cosmology and anthropology, examines the perspectivity of knowledge and the decentralization of the Earth (as a noble star among other stars) without falling into pure perspectivism or decentralism, so traits of this reflective and (figuratively) ‘living’ thinking must also apply to the description of the relationship of living beings to one another or in relation to their Creator.

Kunst und Technik der menschlichen „mens“ bei Nikolaus von Kues. Bewusstseinsformen als Grundlagen von Kulturen (2021)

Schwaetzer, Harald

In the so-called Anthropocene, we pose anew the question of what man is. If humankind wants to face present challenges, the preconditions of our “Weltanschauung” come into view. Whereas in the past one used to link cultures by factors such as geography or national identity, today it seems necessary to expand the parameters of cultural comparison. Therefore, different forms of consciousness have had to be analysed as different cultural types. Aiming to describe these forms, the 15th century view is of relevance because it sets the course for the modern reflexive form of consciousness and its sciences – but also its alternatives. With that in mind, this article will focus on the example of Nicholas of Cusa. It shows that art and technology can be understood as manifestations of two different types of consciousness. One type, concerning technology and science, refers to the “anima sensibilis”, including a discursive capacity oriented towards sensual perception. The other type legitimizes and guarantees the first and consists in judging; this pure, mental process has to be actively generated. Cusanus named this type of consciousness as “viva imago”, which forms itself towards a “viva substantia”.

Die Begegnung zwischen ‚Artes Liberales‘ und ‚Artes Mechanicae‘ bei Nikolaus von Kues (2021)

Yamaki, Kazuhiko

This article argues that Nicholas of Cusa, in contrast to the scholastic tradition and in consensus with the humanists of his time, develops a high esteem for Artes Me chanicae, placing it on an equal level with Artes Liberales. A close reading of the relevant passages in Cusa’s work reveals that although his early philosophical writings present the old scholastic position, in the Idiota-writings (1450), he shifts his stance toward the Artes Mechanicae and significantly elevates it. Influenced by his encounter with the Italian humanists in Rome, he maintains this approach throughout his late works and late sermons. This positive reweighting of Artes Mechanicae is consistent with Cusanus’ view of the immanence of God and leads him to revaluate his world view.

Vom Glasbläser oder Geist und Hauch, Diversitas und Assimilatio in Cusanus’ „De Genesi“ (2021)

Schneider, Wolfgang Christian

Nicholas of Cusa’s “De genesi”, which begins as a commentary on the Book of Genesis, offers a reflection on the unfolding of the Divine into the world. It primarily considers how the One, the principium that sets and determines everything, can be a basis from which the Other (diversitas) and multiplicity can emerge. The pivotal point is identifying the “Self” that is God and what He transposes outside of Himself such that the transposed is also a “Self”. Thus, it addresses an old problem, directly linked to monotheistic thinking, which preoccupied Platonism and especially Plotinus. In fact, Cusanus takes up Neoplatonic lines of thought, but he transforms them with recourse to Trinitarian ideas. From Plotinus’s “returning” of the creature released by the One into the world to view the One and Divine, he develops the idea of a responding resemblance (assimilatio) to God on the part of the creature, which in turn is a “Self” but also an Other, which the creature in its process of resemblance “sublevates” in reference to God. This not yet fully thought-through or convincing concept leads to the more conclusive explanations given by Cusanus in later texts.

"Allseitig" Denken. Das Thema des dreidimensionalen Sehens bei Nikolaus von Kues, Jan van Eyck und Leonardo da Vinci (2021)

Cuozzo, Gianluca

Alongside the relationship between philosophy and painting, in the fifteenth and sixteenth centuries, a speculative interest emerged in the concept of three-dimensional vision in Cusa, Jan van Eyck, Marsilio Ficino, and Giorgione da Castelfranco. The visio circularis theme becomes a central metaphor for a new way of thinking and seeing the world, which culminates in Leonardo da Vinci’s studies on perspective. In this context, the mirror forms a dominant theme in the development of the studies and applications of perspective, which becomes increasingly sensitive to sculptural relief.

Vorwort (2021)

D'Amico, Claudia ; Schwaetzer, Harald

"Kunst und Technik bei Nikolaus von Kues" is the German translation of a conference that could not take place in Buenos Aires in March 2020 due to the pandemic. However, we have decided to present some of the contributions in print.

Internet Poetry Clips: Multimodale und multimediale Hybridformen als Herausforderung für die Lyrikologie (2021)

Klimek, Sonja

Internet poetry clips are a multimedial hybrid form that comingles features of different literary genres, such as lyric, epic, and drama; different modal categories, such as spoken language, writing, gestures, and facial expressions; and medial modes, such as text, performance, video clip, and documentary. This paper deals with the central features of three selected internet poetry clips: “A Brown Girl’s Guide to Gender” by Aranya Johar, “Water” by Koleka Putuma, and „Ohne mich“ by Sandra Da Vina. The focus is on the media-specific forms of personal union between author and performer in each of these works.

Ein spannungsreicher Normalfall: Lyrik-Performance und Schrifttextgedicht als verschiedene Aggregatzustände (2021)

Bers, Anna

The following contribution seeks to understand poetry as a genre situated between written text and performance. First, it presents instances of the systematic differences between performed and written poems, defining ‘performed poetry’ in a decidedly broad sense. The metaphor of ‘aggregate states’ is tested and critically discussed in order to describe poetry as a genre that not only is received in a state of exception but that in its very essence plays between substantially different media and forms. Due to the dearth of critical work addressing poetry as a performative art, a set of terms and tools for the analysis of performed poetry is proposed. After these brief theoretical remarks, two poems are examined, both of which are accessible as performance and as a written text. Their differences are considered in order to show the potential value of separating and comparing performative and written elements for individual analysis as well as for further conceptual discussion. Nora Gomringer’s „Dichtertreffen“ is presented by the author in the style of a classical reading (‚Wasserglaslesung‘), in which the artist, however, utilizes a full repertoire of performative channels and codes. As a result, the semantics of this performed variant differ significantly from those of the written text. The use of the body, objects, space, and voice alter the meaning of the poem even in a reading that, at first glance, does not conspicuously refer to performative art forms at all. Martina Hefter’s poem about the physical condition of lying („liegen“) focuses on the dance-like handling of body and space in its performed version, which has little in common with a classical reading. The discussion of two poems, written and performed, reveals the importance of considering both ‘aggregate states’ of the poem when working with texts and engaging in the recent debates of lyricology

Gedichte zwischen lyrischer Poesie und diskursiver Prosa? Zum Beispiel Monika Rinck (2021)

Müller, Ralph

This contribution examines the question of how contemporary lyric poetry expands upon established generic concepts by considering the work of Monika Rinck, one of the most striking voices among a generation of exceedingly talented poets who made their debut in the 2000s. In her poetry, we find numerous examples of how the expectations of lyric are deliberately undermined: among them, formal features reminiscent of prose, such as her tendency to use extremely long lines and prose-typical abbreviations, as well as her explicit interest in the discursive exploration of ‘concepts.’ As her essays suggest, this interest manifests itself most readily in Rinck’s efforts to avoid the totalizing economization of society (as well as art and language) and has, as a result, motivated the development of her own style within experimental language poetry. However, while Rinck has played a leading role in expanding the contemporary concept of poetry, the poetic principles to which she refers in her theoretical writings and poems are by no means new. In this article, her poem „Augenfühlerfisch“ (“eye-tentacle fish”) serves not only to illustrate her tendency to expand poetry into discursive prose but demonstrates how it is rooted in a long-standing philosophical tradition. The terminology used in the poem can be traced back to early modern epistemology and particularly to the foundation of scientific aesthetics by Alexander Gottlieb Baumgarten. In referring to Baumgarten’s definition of poetry as “fully sensuous speech” [„vollkommen sinnliche Rede“] (as well as the specific deployment of this definition by Johann Adolf Schlegel), it becomes clear that Rinck reactivates an epistemological potential in lyric that had been hidden by the paradigm of Erlebnislyrik [experiential lyric]. Moreover, Rinck is able to relax the Erlebnislyrik’s pretense to sincerity in part thanks to the same prose features, such as the multiplication of voices, already mentioned above.

Was heißt ‚Weltlyrik in Transition‘? (2021)

Zymner, Rüdiger

This article asks what “world lyric in transition” could mean to literary scholarship by clarifying the terms “lyric,” “world lyric,” and “transition.”

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