https://izfk.uni-trier.de/index.php/izfk/issue/feed Internationale Zeitschrift für Kulturkomparatistik 2021-11-08T13:55:53+00:00 Prof. Dr. Henrieke Stahl izfk@uni-trier.de Open Journal Systems <section class="additional_content"> <pre id="tw-target-text" class="tw-data-text tw-text-large XcVN5d tw-ta" style="text-align: left;" data-placeholder="Übersetzung"><strong><span class="Y2IQFc" lang="de">Open-Access Richtlinien</span></strong></pre> <p>IZfK ist eine von der Universität Trier als Volltext online betriebene Open Access-Zeitschrift mit Peer Review, die der <span style="color: #0563c1;"><u><a href="https://creativecommons.org/licenses/by/4.0/">Creative Commons Attribution 4.0 International License</a></u></span> folgt. Diese Lizenz besagt, dass LeserInnen alle Texte der Zeitschrift unter dem Namen der VerfasserInnen und der Angabe der Publikation in IZfK frei verwenden, d.h. lesen, herunterladen, kopieren und übersetzen oder durch Wiederabdruck oder Downloadoption auf anderen Seiten weiterverbreiten dürfen. Zugangsgebühren werden weder von LeserInnen, noch AutorInnen oder Institutionen erhoben.</p> </section> <section class="additional_content"> <pre id="tw-target-text" class="tw-data-text tw-text-large XcVN5d tw-ta" style="text-align: left;" data-placeholder="Übersetzung"><strong><span class="Y2IQFc" lang="de">Peer review und Plagiatsüberprüfung</span></strong></pre> <p>Die Publikation in IZfK setzt einen erfolgreichen Peer Review der Artikel voraus, der im Regelfall Double Blind vorgenommen wird. Die Plagiatsüberprüfung wird durch die an der Universität Trier lizenzierte Software iThenticate vorgenommen.</p> </section> https://izfk.uni-trier.de/index.php/izfk/article/view/Zum%20Geleit%20Natur%20in%20Transition%20Europ%C3%A4ische%20Lyrik%20nach%201945 Zum Geleit: Natur in Transition: Europäische Lyrik nach 1945 2021-08-30T16:07:22+00:00 Michael Braun Braun@test.de Henrieke Stahl stahl@uni-trier.de Amelia Valtolina Valtolina@test.de <p><span style="font-weight: 400;">Am 22. und 23. Oktober 2019 fand an der Universität Bergamo ein “Convegno&nbsp; internazionale” über „Europäische Naturlyrik nach 1945“ mit Forscher:innen&nbsp; aus Italien und Deutschland statt. Bei freundlichem Herbstwetter wurden „Gespräche über Bäume“ unternommen, die von Brechts bekanntem Vers über Celans&nbsp; Naturlyrik bis zur Legitimation eines solchen „Gesprächs“ reichten. Der Horizont der Diskussion wurde komparatistisch ausgezogen und erstreckte sich auf&nbsp; die französische, die luxemburgische, die englische, die italienische und die&nbsp; deutsche Naturdichtung. Angesichts der Ideenfülle der Beiträge entschieden sich&nbsp; die Initiator:innen der Tagung dazu, die Beiträge auf zwei Bände zu verteilen:&nbsp; auf einen Themenband über Bäume in der zeitgenössischen Naturlyrik</span><span style="font-weight: 400;">1 </span><span style="font-weight: 400;">und den&nbsp; vorliegenden Band, in den die über das Baum-Motiv hinauswachsenden Beiträge&nbsp; der Tagung Eingang gefunden haben. Die Konferenz sowie die beiden daraus&nbsp; hervorgegangenen Bände sind ein Ergebnis der Zusammenarbeit von Amelia&nbsp; Valtolina (Bergamo) und Michael Braun (Berlin) mit der an der Universität&nbsp; Trier angesiedelten DFG-Kolleg-Forschungsgruppe 2603 „Russischsprachige&nbsp; Lyrik in Transition. Poetische Formen des Umgangs mit Grenzen der Gattung,&nbsp; Sprache, Kultur und Gesellschaft zwischen Europa, Asien und Amerika“.&nbsp;&nbsp;</span></p> <p><span style="font-weight: 400;">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&nbsp; des vorliegenden Bandes das immer wieder in der Diskussion unter den Vortra genden hervorgehobene Transitorische des Naturbegriffes ins Zentrum.&nbsp; <br></span></p> 2021-08-30T00:00:00+00:00 Copyright (c) https://izfk.uni-trier.de/index.php/izfk/article/view/Zeitgemaesse%20Annaeherungen%20an%20Eugenio%20Montale Was wäre möglich, wenn die Poesie noch möglich wäre? Und was hätte die Natur damit zu tun? Zeitgemäße Annäherungen an Eugenio Montale 2021-11-08T13:55:53+00:00 Jan Söffner Soeffner@test.de <p><span style="font-weight: 400;">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&nbsp; show how the poet, rather than constructing discrete poetic worlds, aims at a poetry&nbsp; revealing the world and nature to a concrete reader, unforeseeable for the poet.&nbsp; Poetry thus aims at imbuing this reader’s life with an ephemeral poetic form, rather&nbsp; than evoking its own self-sufficient aesthetics. In doing so, chance and flaws in&nbsp; the social and cultural construction of reality act as co-authors of his “poesia”</span></p> 2021-08-30T00:00:00+00:00 Copyright (c) 2021 https://izfk.uni-trier.de/index.php/izfk/article/view/Celans%20etho-poetisches%20Schreiben%20nach%20und%20als%20Teil%20der%20Natur Engführungen. Celans etho-poetisches Schreiben „nach“ (und als Teil) der Natur. Ein Essay 2021-08-29T13:59:25+00:00 Camilla Miglio Miglio@test.de <p><span style="font-weight: 400;">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&nbsp; 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&nbsp; perspective in which language, as well as humanity and intentionality (poetic and&nbsp; 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&nbsp; 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.</span></p> <p><span style="font-weight: 400;">&nbsp;</span></p> <p><span style="font-weight: 400;">&nbsp;</span></p> 2021-08-30T00:00:00+00:00 Copyright (c) https://izfk.uni-trier.de/index.php/izfk/article/view/Fortschreibungsmodi%20des%20Lehrgedichts%20in%20der%20deutschsprachigen%20Naturlyrik%20der%20Gegenwart „De rerum natura“: Fortschreibungsmodi des Lehrgedichts in der deutschsprachigen Naturlyrik der Gegenwart 2021-08-29T14:13:58+00:00 Lorella Bosco bosco@test.de <p>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&nbsp; 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&nbsp; 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&nbsp; 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.</p> 2021-08-30T00:00:00+00:00 Copyright (c) https://izfk.uni-trier.de/index.php/izfk/article/view/Loreley-Gedichte%20von%20Franz%20Josef%20Czernin%20%26%20Ulla%20Hahn%20Uwe%20Kolbe%20%26%20Peter%20Ruehmkorf Die Natur der Musen: Loreley-Gedichte von Franz Josef Czernin, Ulla Hahn, Uwe Kolbe und Peter Rühmkorf 2021-08-29T14:24:31+00:00 Michael Braun Braun@test.de <p>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</p> 2021-08-30T00:00:00+00:00 Copyright (c) https://izfk.uni-trier.de/index.php/izfk/article/view/%C3%9Cber%20die%20Idylle%20in%20der%20neuen%20Naturlyrik%20am%20Beispiel%20von%20Thomas%20Kling „da draußen weiter horrorvideo“. Über die Idylle in der ,neuen Naturlyrik‘ am Beispiel von Thomas Kling 2021-08-29T15:42:47+00:00 Friederike Reents reents@uni-trier.de <p>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.</p> 2021-08-30T00:00:00+00:00 Copyright (c) https://izfk.uni-trier.de/index.php/izfk/article/view/Die%20Natur%20in%20der%20Lyrik%20Jean%20Kriers Brechende Wellen, gebrochene Sprache. Die Natur in der Lyrik Jean Kriers 2021-08-29T16:22:46+00:00 Jürgen Ritte ritte@test.de <p>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 (<em>mots-valises</em>, 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.</p> 2021-08-30T00:00:00+00:00 Copyright (c) https://izfk.uni-trier.de/index.php/izfk/article/view/An%20Ecocritical%20Reading%20of%20Seamus%20Heaneys%20Eclogues%20in%20Electric%20Light Affecting Pastoral Dialogues: An Ecocritical Reading of Seamus Heaney’s Eclogues in “Electric Light” (2001) 2021-08-29T16:51:51+00:00 Stefano Rozzoni rozzoni@test.de <p>Pastoral serves as a keyword when understanding Seamus Heaney’s literary production, both in terms of stylistic features and imagery. Although critical attention has focused on the connection between his pastoral works and contemporary Irish politics, the growth of ecocritical scholarship in the last few decades has made evident the importance of broadening such an analytical scope to relationships between humans and the environment while studying this genre. In this alignment, the present essay offers an ecocritical reading of some selected pastoral poems by Heaney, with a specific focus on his revival of the eclogue through the collection “Electric Light” (2001). Precisely, the poems “Virgil: Eclogue IX,” “Bann Valley Eclogue,” and “Glanmore Eclogue” will be read through the innovative perspective offered by the recent engagement of affect theory with ecocriticism: by doing so, I argue that Heaney’s poems can be understood as valuable nature narratives that stress the connectedness between the human and the nonhuman, while resonating with the urgencies posed by the current environmental crisis to re-think more ethical forms of relationships between them. Furthermore, through the lens of econarratology, attention will be paid to the ecological potentials expressed by the formal features of the eclogue: this observation considers, on the one hand, the notion of ‘relationality’ within the practice of the shepherds’ dialogue/singing and, on the other hand, how this literary form stresses the attachment between the human and the environment, both in the real world and in the storyworld. Hence, when exceeding a strictly politically oriented critical analysis of his work, Heaney’s eclogues become visible as compelling ecocritical accounts that favor investigating the role of (pastoral) literature in fostering critical discussions about human/nonhuman ethics as a way to respond to the challenges of the Anthropocene.</p> <p>&nbsp;</p> <p>&nbsp;</p> 2021-08-30T00:00:00+00:00 Copyright (c)