The Precariousness of Genre: German-Language Poetry from the Holocaust

The Jewish poet, Paul Celan, was born in Czernovitz, Rumania, in 1920 and committed suicide in Paris in 1970. His native tongue was German. He wrote eight volumes of poetry, all in German, although he spent almost half his life in France and was fluent in several languages. In a public address delivered in Bremen in 1958, on the occasion of being awarded a literary prize, he spoke of the German language as the one possession that had remained "reachable, close, and unlost in the midst of losses…although it had to pass through a thousand darknesses of deathdealing speech." German is the language of Holderlin, Biichner, and Rilke, all of whom Celan admired, but also the language in which the words Endlösung (final solution), Sonderbehandlung (special treatment), and judenrein (cleansed of Jews) were coined.

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Inspirations, interactions and associations: On some links between the works of Vladimir Vysotsky and English-, French- and German-language poetry, theatre and pop music

Tekstualia ◽

10.5604/01.3001.0013.3290 ◽

2018 ◽

Vol 2 (53) ◽

pp. 99-114

Author(s):

Wojciech Paszkowicz

Keyword(s):

20Th Century ◽

Bertolt Brecht ◽

German Language ◽

Pop Music ◽

Language Poetry ◽

Foreign Literature ◽

Diffi Cult ◽

The Subject ◽

19Th And 20Th Century ◽

The Way

The threads binding the poetry of Vladimir Vysotsky with Russian and foreign literature have a diverse character – some convergences, similarities of his works to those of other authors can be identifi ed in the content, the subject, and the metre of the poems. Some of the literary associations are easily detectable for any recipient, others are more diffi cult to fi nd. The article focuses on the identifi ed links between the works of Vysotsky and those of foreign authors such as Pierre-Jean de Béranger, Robert Burns, and Bertolt Brecht. The convergences observed between Vysotsky’s and de Béranger’s poems, in the subject, form, and metre, indicate the affi nity of the way of thinking and ideals, as well as both poets’ love of freedom, despite the 150 year gap between their birth dates. The presented links with literature of the 18th, 19th, and 20th century widen the opportunities for interpreting the works of Vladimir Vysotsky.

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The Motif of Empty Sheet in Three Pieces of German-Language Poetry

Pitannâ lìteraturoznavstva ◽

10.31861/pytlit2014.90.109 ◽

2014 ◽

Vol 90 ◽

pp. 109-120

Author(s):

Oxana Matiychuk ◽

Keyword(s):

German Language ◽

Language Poetry

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What Remains? The Post-Holocaust Archive in German Memory Culture by Dora Osborne, and: Holocaust Representations in History: An Introduction by Daniel H. Magilow and Lisa Silverman, and: Renegotiating Postmemory: The Holocaust in Contemporary German-Language Jewish Literature by Maria Roca Lizarazu

German Studies Review ◽

10.1353/gsr.2021.0029 ◽

2021 ◽

Vol 44 (1) ◽

pp. 211-217

Author(s):

Charlotte Schallié

Keyword(s):

German Language ◽

Jewish Literature ◽

Memory Culture ◽

The Holocaust

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"sappho gibt es nicht"

10.5771/9783956506673 ◽

2020 ◽

Author(s):

Cornelia Heinsch

Keyword(s):

Seventh Century ◽

Female Voice ◽

German Language ◽

Modern Poetry ◽

Language Poetry

Sappho from Lesbos, born in the seventh century BC, was the first canonical female voice in Europe. From antiquity on she was appreciated in art/ artistically received, even if – or perhaps precisely because – her biography lies in the dark and most of her poetry is lost. To this day, the fascination that emanates from the enigmatic poetess and her shattered homoerotic verses about longing, beauty and farewell has not diminished – on the contrary: This book/volume demonstrates that in the German-language poetry of the 20th and 21st centuries Sappho is more present than ever before. Single exemplary analyses that stick close to the text show the fruitful interplay between archaic and modern poetry. At the same time, the timeless modernity of Sappho’s poetry is explained from a literary perspective.

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