Search

The article presents the discussion on Samuel Taylor Coleridge's return journey from the University of Göttingen to England in June 1799. Topics include studying historical-critical methods, collecting materials on German poets and literary controversies; and touring significant cultural and academic centers like the Harz Mountains, Wolfenbüttel, and Hamburg, enriching his understanding of German intellectual history.

This article deals with Hölderlin's Homburger Folioheft. It elaborates on the thesis that the question of God or the divine can contribute to exploring both the richness of the poet's extensive manuscript, which fans out in many textual stages, and its fragmentary form. I argue that, despite its fragile textual form, the collection must be perceived as a unity and that reading it means oscillating between the textual stages without privileging the last version. I show that the reference to the divine often can be found at the core of the poet's vast changes to the text. The absence and return of the divine introduces a transformative dynamic into the text, a dynamic about which Hölderlin himself reflects in some passages. [ABSTRACT FROM AUTHOR]

The article analyzes the translations of Christian Felix Weiße's poems in Latvian and Estonian within the context of cultural transfer during the age of Enlightenment. Translations of Weiße's poems were of great significance because they paved the way for the emergence of secular poetry in both languages. First translations appeared in the 1770s, and others followed in the next decades. While the first Latvian translations were connected to the popular enlightenment efforts of Baltic German pastor Gotthard Friedrich Stender and addressed to the peasant readers, the first Estonian translations were written in the context of experiments with the language and addressed to the Baltic German intellectual elite. First translations that were addressed to Estonian peasants appeared in the early 19th century. The frame of reference of the poems was transformed when they were addressed to peasant reading public: they acquired didactic meaning. At the same time, these translations demonstrated the poetic possibilities of Estonian and Latvian languages. The analysis as a case study reveals the multifaceted influence of German poetry on Estonian and Latvian literary cultures. [ABSTRACT FROM AUTHOR]

For Ulrike Draesner, there are clear parallels between West Germany in the 1950s and Germany during the years following reunification. Taking as its starting point Draesner's remark that memory must be viewed as a construct, this article explores embodied intergenerational memory in her debut poetry volume gedächtnisschleifen (1995). gedächtnisschleifen has been commonly read alongside the poetry of Durs Grünbein, Thomas Kling, and other post‐Wende writers who represent divided Berlin as an opened, emaciated body. This article, however, takes a different angle, arguing that gedächtnisschleifen renders the body as a memory apparatus: Memory takes on the quality of a physical force or secretion, passed among bodies and across generations. Moreover, this article contends that Draesner reflects on and negotiates the role of third‐generation poetry vis‐à‐vis Germany's Nazi past. [ABSTRACT FROM AUTHOR]

Analyzing closely a selection of texts composed by the Middle High German poet known as Der Stricker--especially his Arthurian romance Daniel von dem Blühenden Tal (ca. 1220/30)--we can observe a remarkable transformation in the treatment of a literary protagonist's approaches to major challenges in his life, apparently determined by rationality and reason. 1 (AC) [ABSTRACT FROM AUTHOR]

Copyright of Quarterly of the History of Material Culture / Kwartalnik Historii Kultury Materialnej is the property of Instytut Archeologii i Etnologii Polskiej Akademii Nauk and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

A critical account of the Serbian poem in Goethe's conversations with Eckermann reveals the place of Balkan folk poetry in the discourse on world literature and adds a neglected narrative to the myriad genealogies of comparative literature. Building on Laura Doyle's concept of inter-imperiality, the essay foregrounds how language politics manifest the variegated contours Europe takes in Goethe's formulation of world literature. While recent scholarship in comparative literature largely examines Goethe's Eurocentrism through his invocation of an unnamed Chinese novel, an analysis of the inter-imperial and translational project of world literature gives form to multiple spheres of Orientalism. [ABSTRACT FROM AUTHOR]

After the advent of Persian language in subcontinent, the arrival of Iranian poets during the Mughal period, proved to be a puff of cold breeze in the literature of subcontinent. But during the British regime, beside Iranian, most of the European writers and poets also focused upon Urdu and Persian language here in subcontinent, particular their sincere attempts to compose verses in Persian language is an incredible effort on their part. The British, Portages, German, Italian and French poets were particularly worth mentioning in this regard who tried almost all forms of poetry in Persian language and were immensely appreciated and acknowledged because of their unique efforts. Besides giving a brief record of the life sketches of these German poets in subcontinent, in this article, to persuade the literary artists to acknowledge their linguistic and literary contributions which they particularly rendered in the field of Persian poetry. [ABSTRACT FROM AUTHOR]

Beginning with Goethe's review of the so-called 'Dichterbriefe', the article concentrates on the publication Ueber den Werth einiger Deutschen Dichter (1771/1772) by Ludwig August Unzer and Jakob Mauvillon and then explores Mauvillon's contribution to the journal Auserlesene Bibliothek der neuesten deutschen Litteratur (1772–1781). Mauvillon, as it will be shown in detail, was the author of some remarkable reviews of Goethe's and Lenz's works, mostly in favor of the German 'Storm and Stress', while always defending the freedom of opinion and expression. [ABSTRACT FROM AUTHOR]

The author discusses the philosophy and practices of censorship in Central Europe during the early 19th century. Topics covered include a petition written and circulated by Austrian dramatist Eduard Bauernfeld in 1845 on the conditions of Austrian censorship, a theory of human freedom developed by German poet Friedrich Schiller that is linked to the sovereignty of aesthetics, and the censorship regulations of 1810.

The article is devoted to Gender Literary Criticism and its problems especially concerning the teaching of German Literature in school and at University. Being rather a new phenomenon in Russia, taking Gender aspects of literary works while discussing a certain poet's subtle semantics arrived in Russia only in the 1990s in the form of the study of feminine literature and gender poetics. In this article, the so called 'close reading' as one of the most important methods in Gender Literary Studies is applied to August von Platen's poems in order to come to a much better understanding of one of the most important German poets of the 19th century as well as to demonstrate the essential meaning of Gender Literary Criticism for the development of a proper interpretative skill in class. The analysis is exemplified by a close reading of Platen's homoerotic writings. Finally, we argue that exposing layers of public consciousness based on the understanding and assessment of such an outstanding personality, brings us closer to a de-stigmatisation of public attitudes, overcoming a deep-rooted framework of public thinking. [ABSTRACT FROM AUTHOR]

Statements by Heine and Goethe show that they considered Voss a highly significant figure for German culture, as a model citizen and as an interpreter of Greek literature. In his socially critical idylls, Voss brought a new realism and a concern for liberty into German rural poetry, continued in his satire ‘Junker Kord’. Having produced much-admired translations of Homer, he adapted Homeric diction in his idyllic mock-epicLuiseto depict harmonious domestic and social relations, in a way that deserves to be defended against imputations of Philistinism. Much later, he polemicized against the conversion to Catholicism of his old acquaintance Friedrich von Stolberg in a text that, though highly eccentric, attests his independence of mind. [ABSTRACT FROM PUBLISHER]

The present contribution offers a first philological description of Durs Grünbein's 'Vorlass' at the German Literature Archive in Marbach, and examines in particular the palimpsest-like modus operandi of the poet, which aims at documenting every step in the genesis of his texts. Moving from the analysis of different papers from the time before and after Grünbein's literary consecration, the article poses the question of the author's consciousness about his future literary estate ('Nachlassbewusstsein'). Special attention is thereby given to the self-archiving strategies he deploys as well as to the interpretational hints he seems to disseminate in his documents for later philology. Furthermore, the fact that as yet unpublished texts can be found in the 'Vorlässe' of contemporary writers encourages philologists to conceive of the literary estate more widely as a place where not only the past and posthumous, but also the current and anthumous dwell. [ABSTRACT FROM AUTHOR]

In the context of the eighteenth century, during which the anthology became so discursively salient, the collection Elisens und Sophiens Gedichte (1790) assumes a peculiar significance. This anthology, which emerged from the circle of friends surrounding Johann Wilhelm Ludwig Gleim in Halberstadt, is ostensibly devoted to poems by the two women writers and friends, Elisa von der Recke (1754-1833) and Sophie Becker (1754-89). But it is not simply a showcase of these two poets. Closer examination reveals that this work directly derives from the idea of friendship in an age of sensibility, aiming to preserve the relationships among the mixed circle of friends for posterity. In so doing, the collection conflicts with a traditional model of the anthology in the eighteenth century and its aesthetic criteria. For after Sophie Becker's death the editor decided to complete the collection with an inner anthology of poems of grief in an act of memorialisation. The present paper analyses the various tensions characterising this anthology from 1790, reconstructing its complex genesis and publication history. In closing, the following article describes a very particular and previously unknown copy of the anthology. We can read this special edition as the counterpart to the printed manuscript, and as a specific model of communication. [ABSTRACT FROM AUTHOR]

After successfully completing her literary apprenticeship with 3rd place at the 2005 German International Poetry Slam, Lydia Daher has continually sought new and often experimental platforms for showcasing the potential of language. Among her major projects, she has published several volumes of poetry, a number of music albums, and most recently Daher applied an innovative method of 'sampling,' reminiscent of HipHop producers such as DJ Shadow or The Avalanches to produce a volume of text and picture collages entitled Und auch nun, gegenüber dem Ganzen - dies (2014). Each collage relies on the textual (and pictorial) material of just one literary review taken from the literary supplement of the most recent edition of a German weekly newspaper. Although Daher is aware of each text as the most recent part of sequence that stretches back through the literary review, the reviewed novel, and the novelist's source material, she recognises that this structure is mere illusion. To describe the completed collage, I invoke the theoretical framework of the palimpsest, for the collage is less a succession of parts than it is a structure of co-existence. Like the influential cut-up artist, William S. Burroughs, Lydia Daher further recognises that the surface structure closely mirrors the palimpsest of human perception. [ABSTRACT FROM AUTHOR]

1. Folge Interpretation oder Prasenz? An welchem Aufgabenverstandnis sollte sich die Literaturwissenschaft orientieren? CARSTEN DUTT Werkzentrierte Interpretation: Zur Kritik kontextualistischer Orientierungen in der Literaturwissenschaft 'dass gepfleget werde Der reste Buchstab [...]

The article offers the author's insights regarding the life and career of 20th-century German poet Gertrud Kathe Kolmar along with the cruelty she experienced from the Nazi Army led by Adolf Hitler. The author discusses Kolmar's family, education, and works including "Die Dichterin," "Aus dem Dunkel," and "Die Frau und die Tiere."

In this article, I would like to focus on four poems written with almost the same background: the German world at the beginning of the twentieth century. An additional factor connecting the four poems is their biblical theme: Abisag of Sunem. The poems are 'Abisag von Sunem' (by Agnes Miegel); 'David und Abisag' (Erstes Buch der Könige, Kapitel 1.1-4)' by Franz Theodor Csokor; 'Abisag' by R.M. Rilke; and 'Abisag' by Hedwig Caspari. Each poem presents a new reading of the biblical text. Furthermore, my interpretation will demonstrate that this group of poems can be read as referring to two subjects: the generation gap and the lack of communication as its consequence. The use of the biblical story of King David and Abisag and its end with Solomon's murder of Adonijah is employed as a key that allows a variety of interpretations of the diverse approaches to the general themes which concerned the writers at the beginning of the twentieth century. [ABSTRACT FROM AUTHOR]

A literary criticism of German poet Günter Grass's novel "Ein weites Feld" is presented . Topics include the controversy that arose due to the questions about the novel as a literary form and the political context into which it was launched, the novel as an attempt to use the novelistic from as a kind of cultural politics, and its attack against a resurgent German nationalism and those invested in an ideological interpretation of the end of the Cold War as a victory for the West.

The primary quest of anthropological man in the XIXth century revolves around the problematics of origination, in particular in the domain of the aesthetic. We propose to examine how theWeltanschauungof an epoch obsessed with the problematics of origination is manifest in the pathological probing of the ontogenetic status of the romantic aesthetic artefact in the Balzacian and Baudelairian corpus. In tracing the aesthetic cartography subtending the creation of the poetic artefact we shall probe the chthonic substratum of romantic art, understood in terms of the systolic and diastolic rhythms of self-creation and self-destruction postulated by Friedrich Schlegel in the concept of Romantic Irony. Through a microanalysis of the crisis of self-representation encapsulated in the myth of poetic origination as it is articulated in the phenomenological grounding of the romantic aesthetic artefact, we propose to investigate the aesthetics of de-composition embedded in romantic art, or to be more precise, the subversion of the romantic aesthetic object disfigured by the visceral corruption operated by the dissolving powers of irony eating away at the core of the romantic text. In short, the subject of our discourse is the incorrigibleangstingrained in the romantic aesthetic artefact, the aetiology of which may be traced to the pathogenic de-composition symptomatic of the iterative suicide of romantic art. [ABSTRACT FROM AUTHOR]

The article offers the author's insights on the absolute of attraction concept of German philosopher and poet Novalis. Topics discussed by the author include the argument of Novalis that the concept of the absolute becomes less central to his intellectual and poetic projects, the relation of the concept to the use of Novalis to Romanian discourse, and the argument of Novalis on his book "Logologische Fragmente."

The article focuses on the concept of romanticism during the early postwar period in Germany. Topics include the literary works of German poet Heinrich Heine emphasizing social and political critic, the construction of cultural memory in the country, and the poetic impotency. Information regarding the differences between Heine and other Romantic poets like Joseph Freiherr von Eichendorff and Wilhelm Müller.

The article presents the eighteenth-century discussion on the place of Hebrew legacy within German culture. It argues that the exemplar of Hebrew poetry played a pivotal role in the work of a group of influential writers, especially members of the Sturm und Drang movement. As a reaction to anti-Biblical attacks by Deists and radical Enlightenment philosophers, German thinkers and poets posited the Old Testament as a model for sentimental and patriotic poetry. The Hebrew model acted as one of the cultural elements that allowed German literature of that period to distinguish itself from French-identified Neoclassical literature and develop its own stylistic and thematic avenues. In the first decades of the nineteenth century, new myths such as the Hindu-Aryan myth dethroned Hebrew myth from its central role in German identity. However, the search for the roots of German culture in Asia grew out of biblical scholarship, and only gradually disengaged from it. [ABSTRACT FROM AUTHOR]

This article considers Durs Grünbein's use of porcelain in his 2005 collection,Porzellan. Poem vom Untergang meiner Stadtas a symbol for both Dresden's Baroque splendor and its destruction in the firestorm of February 1945. Moving between beautiful, intact artifacts and their shattered remains, Grünbein scrutinizes and critiques the postwar memorialization of his hometown. But there is, the poet admits, “secret eroticism” in his collection of Dresden poems, and porcelain is also central to Grünbein's problematic juxtaposition of desire and destruction: beautiful forms are implicated in a fantasy of violation where the poetic subject imagines the bombers' assault on the city as concubine. While Grünbein surely uses the incongruity of erotic fantasy and Dresden's desecration to challenge how the city has been remembered,Porzellanalso betrays a sense of shame and unease about its own excesses, signalling the limits of such provocation. [ABSTRACT FROM PUBLISHER]

This article considers one of the most enigmatic texts of Hölderlin's poetics, the fragment on the 'The Meaning of Tragedies'. Despite the currently accepted later dating (1802-04), the text is often read in terms of the concept of metaphorical expression found in the earlier Homburg poetics. However, I suggest that if the concept of metaphor is present, it is in the form of two limiting extremes, corresponding to the terms 'das Lebenslicht' and 'das Zeichen = o' respectively. If the former corresponds to an extreme of non-figurative expression, the latter corresponds to an opposite and paradoxical extreme of figurative presentation. [ABSTRACT FROM AUTHOR]

Heinrich Heine's translations from George Gordon Lord Byron were his only translations and date from the early years of his career. Most of the translations were carried out in 1820 while he was studying with August Wilhelm Schlegel at the University of Bonn. The following contribution argues that Heine's translations were influenced by his teacher Schlegel, who was well known for his Shakespeare translations. On the basis of a detailed stylistic analysis and comparison with other contemporary translations of Byron's works this contribution shows how major principles of translation adhered to by Schlegel are reflected in Heine's translating. August Wilhelm Schlegel and Lord Byron can be seen as two teachers who played a crucial role in Heine's development as a poet in his own right. [ABSTRACT FROM AUTHOR]

„Drohung“ („Threat“) is one of the most famous love poems of Gottfried Benn. The German poet published it originally in 1913 in the influential left-wing journal Die Aktion. After World War I the young avant-garde writer became more and more conservative, and by 1933 he sympathized with Hitler. This essay reconstructs the forgotten context of Benn's early publications and his close friendship with Else Lasker-Schüler as well as other Jewish intellectuals and key figures in the Expressionist movement to analyse the consequences and personal problems of his engagement with National Socialism. [ABSTRACT FROM AUTHOR]

The article presents an analysis concerning the relationship between nineteenth century letter-writer Rahel Levin Varnhagen von Ense and German poet Johann Wolfgang von Goethe. The analysis is part of the book that says, through the example of the life of Varnhagen, the main difficulties of early assimilation in Germany. It notes that the history of Varnhagen's assimilation is indistinguishable from the history of her Goetheanism.

The article offers the author's insights on poet Heinrich Kaufringer whose works are classified under the verse narratives genre. The author says that Kaufringer, a 15th century author, has represented the genre for the German-speaking world. He says that the poet's works have been powerful masterpieces in literature that should be given significant attention for their heavy themes and messages.

This article refers to the German poet from Romania, Georg Hoprich (1938-1969) and to his Security Dossier. By studying this dossier from the Security Archives, the literary historian Stefan Sienerth highlights and analyses aspects of the writers' prosecution and of the literary censorship during the Communist period. The poet Georg Hoprich was accused of country betrayal, because he did not dedicate his work to the Socialist Romania, the accusations being based on delation and false testimony. He was sentenced to five years' imprisonment, but he was released by amnesty after more than three years. Being unable to adapt to the everyday life, as he was still prosecuted by the Security, he committed suicide. [ABSTRACT FROM AUTHOR]

This article refers to the German poet from Romania, Georg Hoprich (1938-1969) and to his Security Dossier. By studying this dossier from the Security Archives, the literary historian Stefan Sienerth highlights and analyses aspects of the writers' prosecution and of the literary censorship during the Communist period. The poet Georg Hoprich was accused of country betrayal, because he did not dedicate his work to the Socialist Romania, the accusations being based on delation and false testimony. He was sentenced to five years' imprisonment, but he was released by amnesty after more than three years. Being unable to adapt to the everyday life, as he was still prosecuted by the Security, he committed suicide. [ABSTRACT FROM AUTHOR]

This article refers to the German poet from Romania, Georg Hoprich (1938-1969) and to his Security Dossier. By studying this dossier from the Security Archives, the literary historian Stefan Sienerth highlights and analyses aspects of the writers' prosecution and of the literary censorship during the Communist period. The poet Georg Hoprich was accused of country betrayal, because he did not dedicate his work to the Socialist Romania, the accusations being based on delation and false testimony. He was sentenced to five years' imprisonment, but he was released by amnesty after more than three years. Being unable to adapt to the everyday life, as he was still prosecuted by the Security, he committed suicide. [ABSTRACT FROM AUTHOR]

The article discusses how Karl Marx was influenced by Heinrich Heine's wit and his combination of complicated personal displacements with a sense of loyalty and commitment to the cause of liberation. It provides a sketch of Marx's complicated and negative relation to German economic writings and his preference to free trade which might quicken globalization of capitalism's crisis. It suggest Heine's influence on Marx's distinctive rhetorical patterns as much as Hegel's dialectical chiasmas.

Henri Thomas' letters inform us about his readings, about the autobiographical sources of his fictions, and also about what is momentous in his life. In 1930, a letter to Gide is of special importance as it will decide his destiny as a writer. Another published in 1937 shows his taste for Hölderlin's letters; he will translate some of them. In 1958, Thomas meets an academic specializing in the German poet—Paul de Man—whose strange personality seduces him, and inspires him to write a novel— Le Parjure—first untitled Hölderlin en Amérique. [ABSTRACT FROM AUTHOR]

This 'note' constitutes a study of thematic affinities in the work of the German poet Heinrich Heine (1797-1856) and Max Weber (1864-1920). With an emphasis on Weber's reference to Heine in the footnotes of The Protestant Ethic and the Spirit of Capitalism, we seek to respond to and explore Gregory Höhn's (2002) observation that in the philosophy of history expressed in Heine's poetry and prose, Heine anticipates Weber's understanding of the process of disenchantment and its existential consequences. This discussion is the site for a consideration of the Enlightenment-mythology relation. A particular emphasis is placed on devaluing reversal as a motif of the disenchantment-rationalization narrative in Heine and Weber, and how this motif relates to a condition of alienation. We explore the way in which devaluing reversal as an inner motif of the development of modern capitalist society finds an apposite expression in the religious image of the demonic. [ABSTRACT FROM AUTHOR]

The article examines the philosophy of the music of German composer Hans Pfitzner. Descriptions of Pfitzner's music in the poetry of German author Richard Dehmel including "Venus Mater," "Staatsereignis," and "Heiligen Geist," are provided, the musicology of Hans Pfitner's songs are analyzed, and biographical parallels between Dehmel and Austrian composer Arnold Schönberg are described.

The present study appeared in the periodical "Spiegelungen" (München) and deals with the persecution and collaboration of the modern German poet Oskar Pastior (1927, Sibiu - 2006, Frankfurt am Main) with the Security before leaving Romania and settling in Germany. The German poet, an adolescent aged 17, was deported to the labor camps of the Soviet Union where he survived for 4 years. Once he returned to his country, he continued his studies - the Brukenthal Highschool in Sibiu and the German Studies at the University in Bucharest -, being persecuted by the Secret services, both for his homosexual inclinations and for his anti-Soviet poetry. 1961 he signed a collaboration agreement as an informer with the Security and he assumed this role until 1968 when he left on a journey to Germany and didn't return to Romania any more. Oskar Pastior was a close friend and collaborator of Herta Müller, the 2009 Nobel Prize Laureate for Literature. [ABSTRACT FROM AUTHOR]

The Harbinger was a weekly published from 1845 to 1849, first by Brook Farm, the communal utopian settlement near Boston, then by the American Union of Associationists in New York. Its criticism often concerned German poets and thinkers, and it ran translations of over three dozen German poems. While its accounts of such authors show a strong bias toward the French social theorist Charles Fourier and his "Associationist" tenets, its selection of such poems does not reflect his radical agenda. This difference between its critical slant and its poetic catholicity distinguish it among periodicals covering German thought and literature in nineteenth-century America. [ABSTRACT FROM AUTHOR]

The article offers a look at the life of the late German poet and playwright Bertolt Brecht in the literary industry. It states that the studies conducted by scholars concerning the influence of Brecht to the industry were limited to theater studies. The article also presents information on the book "Brecht and Method," by Fredric Jameson. Also mentioned is Brecht's 1926 essay "Emphasis on Sport."

Despite all efforts by courtly poets to maintain the impression of stability and continuity within the courtly world, by the early thirteenth century individual texts such as the poems by Neidhart and the anonymous verse narrative Mauritius von Craûn signal transgression of the ideal of courtly love. These texts undermine traditional courtly values, thus illustrating how much the Arthurian world lacked any real strategies to combat moral and ethical threats affecting aristocracy at large. [ABSTRACT FROM AUTHOR]

Herybert Menzel (1906-1945) was ranked among the most famous poets of the Nazi-era. Already In 1930, he achieved his first literary success with his anti-Polish and racist novel Umstrittene Erde. Strongly influenced by the quarrels between German and Polish people in the region of his birth, Posen, Menzel became the epitome of those authors who knew how to transform Nazi-ideology into propagandistic slogans suitable for the masses. [ABSTRACT FROM AUTHOR]

Since 1910, the 50th anniversary of his death, there was a particularly intensive public debate about Ernst Moritz Arndt (1769-1860) in Germany until it somewhat subsided during the Second World War. While his opus contained multifaceted, even liberal ideas, Arndt's reception as the probably most influential poet and political writer of the anti-Napoleonic Wars was mostly dominated by radical nationalist and Volkisch ideas during the German Empire, the Weimar Republic and the Third Reich. Under this nationalist banner, a simplistic understanding of Arndt developed on the research level as well as in the general public long before the National Socialists gained power; after 1933, this image was easily integrated into Nazi ideology and propaganda. The article illuminates Arndt's reception during the first third of the 20th century using the especially numerous publications accompanying his anniversary years and presents the inner development of the determining patterns of interpretation. [ABSTRACT FROM AUTHOR]

The article offers the author's insights on the works of poet Michael Hamburger. It states that his works include "Patmos" and "Hlderlin: Poems and Fragments" which explain Hlderin's mental disturbance, and the "Truth of Poetry: Tensions in Modern Poetry Since Baudelaire." It mentions that the full bibliography of Hamburger's works in both German and English were published in "Comparative Criticism."

An essay is presented on poetic theory of German poet Rolf Dieter Brinkmann, with reference to his essay "Der Film in Worten." The author argues that Brinkmann's poetic theory consisted of his reading and understanding of American writers, and his poetry of surface combined the visual element focusing on everyday and popular culture. The author comments that in "Der Film in Worten" Brinkmann explains poetic projection of surface, visuals in lyric poetry, and criticizes his contemporaries.

The article focuses on the philological conceptions and methodologies of the theories of Friedrich Nietzsche, a German philosopher, and Friedrich Schlegel, a German poet, and informs that the bottom line of both the authors is same. It focuses on Walter Benjamin, a German-Jewish philosopher, who presented the Romantic art criticism notion which helped in the demonstration of the turning of Schlegel and Nietzsche to more philological methodology's fundamental theory. It further tells that the article is based on future-oriented philology of Nietzsche and Schlegel.

Images play a major role in the works of the contemporary German poet Durs Grünbein, especially in his volume Vom Schnee oder Descartes in Deutschland. At first glance this complex epic poem seems to focus on modern rationalism and the logic of language, yet closer analysis reveals it to be a poetic meditation on the erratic nature of images. In a Baroque orbis pictus Grünbein's Descartes sets out on a highly emblematic Winterreise through thought, only to discover that what remains is the enigma posed by images themselves. [ABSTRACT FROM AUTHOR]

The article discusses the historical value of medieval texts, along with its evolution and survival in the modern era. It notes on the investigations and study of Anglo-Saxon scholars such as Pauline Head, who asserts on the biases of modern readers that would give preference and importance to the works and masterpieces of famous poets and historians. It adds that German poets have similar observation on the treatment of literary works including poetry during the Age of Enlightenment, which revealed descriptive criticisms in line with their standards on aesthetics.