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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.

Der rege Grenzverkehr zwischen den verschiedenen Kunstarten lässt sich bis in die Antike zurückverfolgen und kann dementsprechend auch in der Interart- und Intermedialitätsforschung auf eine relativ lange Geschichte zurückblicken. Im vorliegenden Band geht es um die Vergegenwärtigung von Visuell-Künstlerischem in zeitgenössischen literarischen Texten. Dabei setzt die Studie neue Akzente. Es ist ihr Anliegen, den intermedialen Umgang mit den visuellen Künsten in deutschsprachigen Gedichten von Friederike Mayröcker, Thomas Kling, Durs Grünbein und Ulrike Draesner anhand moderner und postmoderner Entwicklungen im Bereich der Künste zu deuten. Dabei rückt sie eine sich seit dem Anfang des zwanzigsten Jahrhunderts manifestierende zentrifugale Bewegung in den Mittelpunkt der Analyse, die der amerikanische Kunsttheoretiker Craig Owens 1992 als Bewegung vom Werk zum Rahmen (from work to frame) bezeichnet hat. Die vorliegende Abhandlung stellt den ersten umfassenden Versuch dar, die lyrische Wiedergabe dieser modern-postmodernen Entwicklung im Bereich der visuellen Künste im OEuvre der vier erwähnten AutorInnen zu analysieren und zu illustrieren.

Ekphrasis – which roughly means the representation of a visual work of art through words – does not reveal an object to the reader in a transparent way but, on the contrary, screens the reader from it. Indeed, as some kind of meta-discourse, it takes part in the challenging of mimesis and of the referential illusion in modern times. That can be verified in S. Polke’s painting The Copyist and in T. Kling’s poem -pasbild (polke, « the copyist » 1982). What is at stake is showing how Polke stages the ambiguities of mimetic representation : do we see a copyist, a writer, or maybe a painter ? What is he copying ? Nature, an original book or a copy itself ? What status can we grant colours and light ?, etc.). In his poem, Th. Kling explores the enigmatic relationship between reality and copies through the use of a style which is at the same time fragmented, diverse and ironical. By hinting not at his work but rather at various (fictitious) discourses on his work and on old and modern techniques used for copying and for photomechanical reproduction, Kling dissolves the representation of Polke’s painting and thematises that dissolution, therefore abolishing the old hierarchy between the original and the copy. This way, his ekphrasis turns into a verbal analogon of Polke’s post-dadaist paintings. Polke’s scribe, revisited and demultiplied by Kling, becomes close to R. Barthes’ « scripteur » : as a copyist of intertexts which always pre-exist, he escapes the paradigm of origin and originality.

Il contributo propone un'analisi del componimento MANHATTAN MUNDRAUM ZWEI di Thomas Kling nel contesto della sua poetica.

La poesia e la guerra sono due entità costitutivamente differenti: la poesia fa riferimento, tradizionalmente, al sentimento, al potere dell'immaginazione, alla misura del verso, alla dimensione della parola poetica continuamente cercata; la guerra, invece, chiama in causa più direttamente questioni di ordine storico, politico ed economico. Eppure il confine fra questi due particolarissimi fenomeni non appare sempre così deciso, e, nei territori del sogno e delle speranze, le aspettative della vita reale e le aspirazioni dell'arte a volte si confondono. Questo saggio cerca di individuare gli ambiti critici grazie ai quali dallo scarto interdisciplinare fra tema bellico ed evento poetico può svilupparsi un discorso nuovo e unitario sulla relazione fra scrittura poetica e momenti conflittuali. In un percorso trasversale fra i versi di Guillaume Apollinaire, Georg Trakl, Giuseppe Ungaretti e Paul Celan, e nell'orizzonte dell'interazione fra gli spazi immaginati della poesia e la geopolitica novecentesca, si cerca di individuare quella qualità dell'umano che coniuga, come in un respiro, vita e scrittura. Attraverso le coppie tematiche memoria e oblio, creazione e distruzione, umano e divino, vengono evidenziate sotto una nuova luce alcune delle problematiche fondamentali che così marcatamente hanno caratterizzato il Novecento europeo, secolo in cui l'esigenza di libertà dell'essere umano si lega inesorabilmente alla necessità della testimonianza.