«Kein Umriß - nur ein weißer Schatte» Fernöstliche Ästhetik in Max Kommerells Gedichten Mit gleichsam chinesischem Pinsel

Translated title of the contribution: No outline - only a white shadow: Far Eastern aesthetics in Max Kommerell's poems. Mit gleichsam chinesischem Pinsel

Research output: Contribution to journalArticle

Abstract

Although Max Kommerell has been recently rediscovered as a literary scholar, his own poetry remains relatively unknown. The following essay concentrates on Kom-merell's last publication Mit gleichsam chinesischem Pinsel, published in 1944. It examines in what way his poems are committed to Chinese aesthetics and takes a closer look at the aesthetic implications of the artist's brush stroke in Kommerell's poems.

Original languageGerman
Pages (from-to)95-111
Number of pages17
JournalDeutsche Vierteljahrsschrift fur Literaturwissenschaft und Geistesgeschichte
Volume88
Issue number1
Publication statusPublished - 2014
Externally publishedYes

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aesthetics
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artist
poetry
Poem
Aesthetics
Literary Scholars
Chinese Aesthetics
Artist
Poetry

ASJC Scopus subject areas

  • Literature and Literary Theory
  • Philosophy
  • Cultural Studies

Cite this

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abstract = "Although Max Kommerell has been recently rediscovered as a literary scholar, his own poetry remains relatively unknown. The following essay concentrates on Kom-merell's last publication Mit gleichsam chinesischem Pinsel, published in 1944. It examines in what way his poems are committed to Chinese aesthetics and takes a closer look at the aesthetic implications of the artist's brush stroke in Kommerell's poems.",
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