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.

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

According to the “Ältestes Systemprogramm des deutschen Idealismus” philosophy resolves itself into poetics at the end. Hölderlin elaborates this idea in his poetic fragments. The article describes the systematic impact of Hölderlin’s concept of „Wechsel der Töne“ on the act of composing poems. On the example of the seven keywords of an unwritten poem „Ovids Rükkehr nach Rom“, the article focusses on a specific metamorphosis: the one from a pure intellectual and pre-lingual realm into the lingual sphere of a concrete poem. Thereby it becomes clear that the way of thinking (in its pre-lingual sense) is poetic; the process of thinking transforms itself into a genuine poetic progress, and vice versa the structure of a poem turns out to be part of a creative development of thinking. By contrast, the described transformative process elucidates an impact of contemporary poetics, because transformation as a core issue is mostly only referred to linguistic, social, or cultural aspects.

This paper characterizes several ways of transferring knowledge via lyric poetry. It is argued that conveying information via schemata is a prevalent mode of that kind. But there are also others like employing a concise use of language or pointing at other texts using intertextual references. Besides, many poetry books establish some sort of a lyric sequence to further elaborate a certain topic. As information in lyric poetry is not only schematized, but also sketchy, from a critical reception point of view it may also be highlighted that recipients can make use of it as some kind of a template that enables them to gain new insights related to their own living environment. The important role of schemata as well as the other kinds of knowledge transfer specified in this paper are exemplified with reference to the contemporary poetry of ageing and with a special focus on several poems by Harald Hartung. As ageing is a process that becomes more and more important to western societies due to demographic development, the poetry of ageing and of old age in particular may serve as a tool for gaining knowledge and especially knowledge of what-it-is-like regarding that topic. This adds even more authority to the question of how knowledge is transferred via literature and lyric poetry in particular.

The paper gives a survey on the German tradition of didactic poems and nature poems from the 18 th century to the immediate present. The early modern pattern of nature as a peaceful Arcadia, the enlightenment pattern of nature reflecting God in every detail, and the romanticist pattern of nature that is impenetrable but nevertheless a permanent object of longing (“Sehnsucht”) are proved to be models of nature poetry that are the most important reference points up to now. The poems about nature written in the early 21st century refer to these models as well as to their destruction and deconstruction by the modernists and avantgardes of the 20th century. The most convincing poets devoting their attention to nature today play with these traditions with artistic perfection and in an ironic manner at the same time. Often, annotations, essays, and talks on nature are accompanying the lyrical texts. In the present, female writers are the authors of some of the best poems about nature. In several poems, the relationship between love and nature appears under new perspectives. Other important subjects are the landscapes of far-away countries.