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 contribution||No outline - only a white shadow: Far Eastern aesthetics in Max Kommerell's poems. Mit gleichsam chinesischem Pinsel|
|Number of pages||17|
|Journal||Deutsche Vierteljahrsschrift fur Literaturwissenschaft und Geistesgeschichte|
|Publication status||Published - 2014 Mar|
ASJC Scopus subject areas
- Cultural Studies
- Literature and Literary Theory