«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.

Translated title of the contributionNo outline - only a white shadow: Far Eastern aesthetics in Max Kommerell's poems. Mit gleichsam chinesischem Pinsel
Original languageGerman
Pages (from-to)95-111
Number of pages17
JournalDeutsche Vierteljahrsschrift fur Literaturwissenschaft und Geistesgeschichte
Volume88
Issue number1
DOIs
Publication statusPublished - 2014 Mar
Externally publishedYes

ASJC Scopus subject areas

  • Cultural Studies
  • Philosophy
  • Literature and Literary Theory

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