Peter Huchel 1903-1981 from "Encyclopedia of German Literature"

Total Page:16

File Type:pdf, Size:1020Kb

Peter Huchel 1903-1981 from Peter Huchel 1903-1981 From "Encyclopedia of German Literature" Carol Ann Costabile-Heming Peter Huchel's literary career spanned the period from the late 1920s through the 1970s. He made his literary debut during the Weimar Republic, and he continued to write during the Third Reich until his conscription into the armed forces in 1941. After his release from a Soviet prisoner of war camp in 1945, Huchel worked for the Berliner Rundfunk (Berlin Radio), then edited the literary magazine Sinn und Form (Meaning and Form). Huchel was one of the collaborators on the newspaper Die Kolonne: Zeitung der Jungen Gruppe Dresden (The Crew: Newspaper of the Young Group Dresden), which appeared from 1929 until 1932. It was here that he published his poems. He won the Kolonne prize in 1932 for his poem “Der Knabenteich” (1932; The Boy's Pond). Die Kolonne served as a mouthpiece for a new and decidedly unpolitical type of poetry, a conscious break with the critical and political overtones of Expressionism. At this time, Huchel developed friendships with Ernst Bloch and Alfred Kantorowicz. From 1935 to 1940 Huchel wrote radio plays, an activity that would influence his career after the war. In 1945 Huchel was held at the Soviet prisoner of war camp at Rüdersdorf where he underwent his antifascist reeducation. While in the camp he displayed his artistic talents, leading to a position developing the radio play department. He then rose to become cultural director of the Soviet-licensed Berliner Radiofunk, a position he held until 1949. Despite his indoctrination into communism at the prisoner of war camp, Huchel was not an activist. At the time, ideological purity was not necessary for cultural work. Huchel's lack of commitment to Communist Party ideology would later prove to be his downfall. In 1949 the literary magazine Sinn und Form was founded and published under the auspices of the Akademie der Künste (Academy of Arts). Johannes R. Becher, the Culture Minister, appointed Huchel chief editor. This was an interesting choice because Huchel was not a Marxist, a fact that contributed to the content that Sinn und Form would have in the ensuing years. Under Huchel's leadership, Sinn und Form gained preeminent status in German literary life. He courted Western literature and succeeded in publishing a great deal of it. Huchel also refused to print Party maxims and avoided reviewing contemporary works. This enabled him to be independent of the constantly changing Party- influenced campaigns. Huchel was dismissed from his post at Sinn und Form in 1962, but he had actually fallen into disgrace much earlier. He was first dismissed in 1952, but was reinstated in 1953 through the intervention of Bertolt Brecht. In 1959, Huchel was condemned at the Bitterfeld conference. Huchel's final dismissal occurred because he did not support socialist realism and the Bitterfelder Weg movement initiated by the cultural functionaries of the German Democratic Republic. Instead, he chose to publish a number of West German writers in his literary magazine at a time when the GDR was trying to solidify and define its own contributions to the cultural sphere. Huchel tended to think more in a Gesamtdeutsch or even European context. Following the construction of the Berlin Wall in August 1961, the GDR was able to shut itself off culturally. This enabled the party functionaries to dismiss Huchel as a perpetrator of “Westernisms.” He retained his post long enough to publish the final double issue of 1962. He managed to publish Brecht's “Rede über die Widerstandskraft der Vernunft” (Speech About the Resistance Strength of Reason). Further, Huchel published six of his own poems. In 1963 the culture minister; Kurt Hager, denounced the literary magazine for not having taken a stance in favor of the GDR. The Akademie der Künste replied that although the journal was supportive of the GDR, the section responsible for language and literature always deferred to Huchel's wishes. Huchel's ideological distance from GDR cultural policies also played a role in his own texts. His early poetry can be classified as nature poetry, influenced by the time he spent at his grandfather's country estate during his childhood and youth. As time went on, he changed the focus of his poetry to reflect nature as the showplace for history, using nature metaphors to represent human and social conditions. Huchel was unable to reconcile his poetic works to the political-cultural ideology of the GDR. His works from the 1950s on display a cultural pessimism directly opposed to the GDR's promotion of progress. Following his dismissal from Sinn und Form, Huchel was isolated artistically. His texts grew increasingly dark and he left the nature themes behind, turning his attention to mythological and historical motifs. This remaining poetry was published in the West only after his emigration. Huchel's works did have considerable influence on subsequent generations of poets in the GDR, including Heinz Czechowski, Wulf Kirsten, and Uwe Grüning. Following his firing, Huchel's house in Wilhelmshorst was watched and he was not permitted to travel. Indeed, even visitors were unwelcome. In 1971, he was again permitted to travel; he went first to Rome and then emigrated to West Germany, where he died in April 1981. In December 1981, there was again a changing of the guard at Sinn und Form, and Wilhelm Girnus stepped down as editor. In his departing message, he made no mention of Huchel. Girnus's successor, Paul Wiens, took up this gauntlet in the first issue of 1982 and published four of Huchel's poems. In the annotation, Wiens also indicated Huchel's tenure as chief editor of the magazine. Biography Born in Berlin, 3 April 1903. Studied literature in Berlin, Freiburg, and Vienna; contributor to the literary magazines Die literarische Welt, Die Kolonne, and Das innere Reich, 1930; served in World War II, 1940- 45, and was captured by the Russians; worked for the Berlin Broadcasting Company in various editorial and supervisory functions, 1945-48; editor- in-chief for the prominent East German literary magazine Sinn und Form, 1949-62; during the 1960s, Huchel was prohibited from leaving the country and placed under restricted visitation rights; moved to Rome, 1971, and eventually settled in West Germany. Austrian State Prize for European Literature, 1971. Died 30 April 1981. Selected Works Collections Huchel, Peter Ausgewählte Gedichte, 1973. Huchel, Peter Selected Poems, translated by Michael Hamburger, 1974. Huchel, Peter The Garden of Theophrastus and Other Poems, translated by Michael Hamburger, 1983. Huchel, Peter Gesammelte Werke in zwei Bänden, 2 vols., edited by Axel Vieregg, 1984. Huchel, Peter Thistle in His Mouth: Poems, translated by Henry Beissel, 1987. Poetry Huchel, Peter Gedichte, 1948. Huchel, Peter Chausseen Chausseen, 1963. Huchel, Peter Die Sternenreuse: Gedichte 1925-1947, 1967. Huchel, Peter Gezählte Tage, 1972. Huchel, Peter Der Tod der Büdner, 1976. Huchel, Peter Unbewohnbar die Trauer, 1978. Huchel, Peter Die neunte Stunde, 1979. Huchel, Peter Margarete Minde: Eine Dichtung für den Rundfunk, 1984. Edited Work Huchel, Peter, Marie Luise Kaschnitz, Gedichte, 1975. Further Reading Best, Otto F., editor, Hommage für Peter Huchel: Zum 3. April 1968, Munich: Piper, 1968. Dolan, Joseph P., “The Politics of Peter Huchel’s Early Verse,” University of Dayton Review 13, no. 2 (1978). Freytag, Cornelia, Weltsituationen in der Lyrik Peter Huchels, Frankfurt: Lang, 1998. Hilton, Ian, “Peter Huchel’s Poetic Vision,” in Neue Ansichten: The Reception of Romanticism in the Literature of the GDR, edited by Gaskill, Howard, et al., Amsterdam and Atlanta, Georgia: Rodopi, 1990. Mayer, Hans, editor, Über Peter Huchel, Frankfurt: Shrkamp, 1973. Nijssen, Hub, Der heimliche König: Leben und Werk von Peter Huchel, Würzburg: Königshausen and Neumann, 1998. Parker, Stephen, “Collected—Recollected—Uncollected? Peter Huchel’s Gesammelte Werke,” German Life and Letters 40, no. 1 (1986). Parker, Stephen, “Visions, Revisions and Divisions: The Critical Legacy of Peter Huchel,” German Life and Letters 41, no. 2 (1988). Parker, Stephen, “Peter Huchel and Sinn und Form: The German Academy of Arts and the Issue of German Cultural Unity,” in German Writers and the Cold War, 1945-61, edited by Williams, Rhys W., et al., Manchester and New York: Manchester University Press, 1992. Parker, Stephen, Peter Huchel: A Literary Life in 20th-Century Germany, Bern: Lang, 1998. Schoor, Uwe, Das geheime Journal der Nation: Die Zeitschrift “Sinn und Form”: Chefredakteur, Peter Huchel, 1949-1962, Berlin and New York: Lang, 1992. Siemes, Christof, Das Testament gestürzter Tannen. Das lyrische Werk Peter Huchels, Freiburg im Breisgau: Rombach, 1996. Vieregg, Axel, “The Truth about Peter Huchel?” German Life and Letters 41, no. 2 (1988). Vieregg, Axel, editor, Peter Huchel, Suhrkamp Taschenbuch Materialien, Frankfurt: Suhrkamp, 1986. Walther, Peter, editor, Peter Huchel: Leben und Werk, Frankfurt: Insel, 1996. Copyright © 2000 by FITZROY DEARBORN PUBLISHERS .
Recommended publications
  • Peter Huchel - Poems
    Classic Poetry Series Peter Huchel - poems - Publication Date: 2004 Publisher: Poemhunter.com - The World's Poetry Archive Peter Huchel(1903-1981) Huchel was born in Lichterfelde near Berlin. From 1923 to 1926 Huchel studied literature and philosophy in Berlin, Freiburg and Vienna. Between 1927 and 1930 he travelled to France, Romania, Hungary and Turkey. In 1930, he changed his first name to Peter and befriended Ernst Bloch, Alfred Kantorowicz and Fritz Sternberg. His early poems, published from 1931 to 1936, are strongly marked by the atmosphere and landscape of Brandenburg. In 1934, Huchel married Dora Lassel. The couple would divorce in 1946 and Huchel would marry Monica Rosental in 1953. Between 1934 and 1940, Huchel wrote plays for German radio. During the Second World War, he served as a soldier until he was taken prisoner by the Russians in 1945. After his release, he began working for East German radio and in 1949, he became editor of the influential poetry magazine Sinn und Form ("Sense and Form"). After the building of the Berlin Wall in 1961, Huchel came under attack from the East German authorities and the following year he was forced to resign the editorshop of Sinn und Form. From 1962 to 1971, he lived in isolation under Stasi (secret service) surveillance in his house in Wilhelmshorst near Berlin. In 1971, he was finally permitted to leave the German Democratic Republic and move, first to Rome, then to Staufen im Breisgau, where he later died. www.PoemHunter.com - The World's Poetry Archive 1 Eastern River Do not look for the stones in water above the mud, the boat is gone.
    [Show full text]
  • Literatur 2013/2014 Wallstein Verlag 2 Inhalt
    Literatur 2013/2014 Wallstein Verlag 2 Inhalt 3 – 60 Literatur von A – Z 2013/2014 23 Schwerpunkt Gedichte 31 Schwerpunkt »die horen« 40 Schwerpunkt Typographische Bibliothek 53 Schwerpunkt »Ästhetik des Buches« 59 Schwerpunkt Lyrik aus Korea 61 Schwerpunkt Veröffentlichungen der Deutschen Akademie für Sprache und Dichtung und der Wüstenrot Stiftung 62 – 67 Göttinger Sudelblätter Dies ist das aktuelle Verzeichnis Literatur. Weitere Titel finden Sie im Verzeichnis Wissenschaft und Editionen. Das vollständige Verlagsprogramm mit allen lieferbaren Bü- chern, ergänzt um Werbetexte, Informationen zu den Autoren und Heraus gebern sowie zahl reiche Pressestimmen, erhalten Sie im Internet unter www.wallstein-verlag.de. Sie finden uns auch auf facebook und Twitter. Titel, die auch als E-Book erhältlich sind, erkennen Sie am hinter der ISBN. Das vollständige E-Book-Programm finden Sie unter https://wallstein-verlag.e-bookshelf.de/ Möchten Sie unseren monatlichen Newsletter zu aktuellen Neu- erscheinungen, Veranstaltungen und Auszeichnungen erhalten, wenden Sie sich bitte an: [email protected] Die angegebenen österreichischen Preise sind die Letztverkaufs- mindestpreise unserer österreichischen Auslieferung. Konzept: Susanne Gerhards, Düsseldorf Druck: in puncto druck + medien, Bonn Literatur 3 Wallstein Verlag Jörg Albrecht Beim Anblick des Bildes vom Wolf Roman 262 S., geb., Schutzumschlag € 19,90 (D); € 20,50 (A) ISBN 978-3-8353-1049-0 Jörg Albrecht Sternstaub, Goldfunk, Silberstreif Roman 231 S., 41 Abb., geb., Schutzumschlag € 19,90 (D); € 20,50 (A) ISBN 978-3-8353-0270-9 Jörg Albrechts Roman misst den Puls unse- rer unmittelbaren Gegenwart. Und spürt in ihr die Gespenster der Geschichte auf. »eine der schillerndsten Kritiken des Neo­ liberalismus…« Margarete Affenzeller, Der Standard Jörg Albrecht Drei Herzen Roman 239 S., geb., Schutzumschlag € 19,90 (D); € 20,50 (A) ISBN 978-3-8353-0090-3 Wallstein Verlag 4 Literatur Stefan Andres Werke in Einzelausgaben Hg.
    [Show full text]
  • Die Literatur Und Der Untergang Der Ddr
    DIE LITERATUR UND DER UNTERGANG DER DDR JOACHIM-RÜDIGER GROTH ISBN 978-3-941904-74-3 www.kas.de Die gedruckte Fassung der Publikation enthält umfangreiches Bild- INHALT material, das von Karin Groth zusammengestellt wurde. Aus urheber- rechtlichen Gründen wurde in der Internetfassung auf das Bildmaterial verzichtet. 5 | VORWORT 8 | VORBEMERKUNG 9 | „DU GROSSES WIR” 16 | LITERATUR im WideRSPRUCH Bertolt Brecht: „Freunde, ich wünschte, ihr wüßtet die Wahrheit und sagtet sie!” ......................................... 16 Erich Loest: „Wir meinten neue Leute und eine RedAKTION neue Politik” ................................................................ 19 Uwe Johnson: „Der Versuch, eine Geschichte zu erzählen” .................................................................... 21 Tobias Montag Heiner Müller: „Die Partei kommt und geht, wir arbeiten”... 25 Die Mauer.................................................................... 29 30 | „DIE KÄLTE SCHNITT IN MEINE ZÄHNE” Peter Huchel: „Nicht jeder geht aufrecht durch die Furt der Zeiten” ........................................................... 30 Reiner Kunze: „Und es war schön finster” ........................ 33 37 | EIN VERSUCH, DAS EIGENE SYSTEM ZU RETTEN 39 | WOHNEN IM SOZIALISMUS – BRIGITTE REIMANN: „FRANZISKA LINKERHAND” Das Werk ist in allen seinen Teilen urheberrechtlich geschützt. Jede Verwertung ist ohne Zustimmung der Konrad-Adenauer-Stiftung e.V. 43 | deR sTAATssiCHERHeiTsdieNST – unzulässig. Das gilt insbesondere für Vervielfältigungen, Übersetzungen, eiN zeNTRALes
    [Show full text]
  • Moskauer Tagebücher
    suhrkamp taschenbuch 4637 Moskauer Tagebücher Wer wir sind und wer wir waren Bearbeitet von Christa Wolf, Gerhard Wolf 1. Auflage 2015. Taschenbuch. 266 S. Paperback ISBN 978 3 518 46637 7 Format (B x L): 12 x 19 cm Gewicht: 314 g Weitere Fachgebiete > Literatur, Sprache > Deutsche Literatur schnell und portofrei erhältlich bei Die Online-Fachbuchhandlung beck-shop.de ist spezialisiert auf Fachbücher, insbesondere Recht, Steuern und Wirtschaft. Im Sortiment finden Sie alle Medien (Bücher, Zeitschriften, CDs, eBooks, etc.) aller Verlage. Ergänzt wird das Programm durch Services wie Neuerscheinungsdienst oder Zusammenstellungen von Büchern zu Sonderpreisen. Der Shop führt mehr als 8 Millionen Produkte. Suhrkamp Verlag Leseprobe Wolf, Christa Moskauer Tagebücher Wer wir sind und wer wir waren Herausgegeben von Gerhard Wolf. Mit zahlreichen Abbildungen © Suhrkamp Verlag suhrkamp taschenbuch 4637 978-3-518-46637-7 suhrkamp taschenbuch 4637 Zehnmal besucht Christa Wolf die Sowjetunion, zum ersten Mal 1957 als junge Frau, zuletzt im Oktober 1989. Sie fährt mit Max Frisch auf der Wolga nach Gorki, trifft in Gagra am Schwarzen Meer eine schlagfertige Moskauer Rechtsanwältin und steht in Ko- marowo am Grab Anna Achmatowas. Vor allem aber ist sie eine scharfe Beobachterin der sozialen und politischen Verhältnisse, die die Freundschaft verfolgter Dissidenten wie Lew Kopelew gewinnt. In den Tagebuchnotizen entsteht ein facettenreiches Bild des Rie- senreichs im Wandel, bis hin zu den Tagen des dramatischen En- des, und gleichzeitig erleben wir Christa Wolf im persönlichen Dia- log mit sich selbst und den russischen Freunden. Ergänzt werden ihre Aufzeichnungen durch Begleittexte ihres Mannes Gerhard Wolf sowie durch Briefe, zeitgenössische Fotos und Dokumente.
    [Show full text]
  • Christa Jeitner: Ermutigung We Are Grateful for the Loans by the Artist
    1 Freedom to be Free is the start of the joint exhibition and event series in Tallinn and Dresden is made in cooperation with Annika Üprus (Kanuti Gildi SAAL Tallinn) and Christiane Mennicke-Schwarz, Daniela Hoferer, Robert Thiele (Kunsthaus Dresden) Freiraum is a project of the Goethe-Institutes in Europe in cooperation with 53 actors from culture, science and civil society. Until March 2019, around 40 European cities will explore the issue: What is freedom in Europe today? Where is it endangered? How do we strengthen it? In cooperation with Kanuti Gildi SAAL, Tallinn. Funded by the Goethe-Institut and the Homann-Foundation. Christa Jeitner: Ermutigung We are grateful for the loans by the artist. Jaan Toomik: Oleg In cooperation with Kanuti Gildi SAAL, Tallinn We are grateful for the loans by the artist and Temnikowa & Kasela Gallery Tallinn Marian Bogusz: The Joy of New Constructions - (Post)war Utopias of Marian Bogusz An exhibition by Zachęta Nationalgalerie Warschau With works by: Zbigniew Dłubak, Zbynek Sekal Cooperating artists: Katarzyna Przezwańska, Piotr Kopik, Tomasz Czuban Curated by Joanna Kordjak in cooperation with Julia Leupold FREEDOM TO BE FREE JAAN TOOMIK: OLEG CHRISTA JEITNER: ERMUTIGUNG MARIAN BOGUSZ: THE JOY OF NEW CONSTRUCTIONS 3 FREEDOM TO BE FREE JAAN TOOMIK: OLEG CHRISTA JEITNER: ERMUTIGUNG MARIAN BOGUSZ: THE JOY OF NEW CONSTRUCTIONS What does freedom mean in Europe today, where is it restricted or threatened? In the frame of the Freiraum project initiated by the Goethe Institute in 40 European cities, the Kunsthaus Dresden and Kanuti Gildi SAAL, an art space in Tallinn focusing on performance, raise questions as to the precon- ditions of freedom from two places far away from each other in Europe – Tallinn and Dresden.
    [Show full text]
  • East German Intellectuals and Public Discourses in the 1950S
    East German Intellectuals and Public Discourses in the 1950s Wieland Herzfelde, Erich Loest and Peter Hacks Hidde van der Wall, MA Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy October 2013 1 To the memory of my parents 2 Table of Contents Abstract 5 Publications arising from this thesis 6 Acknowledgements 7 1. Introduction 9 1. Selection of authors and source material 10 2. The contested memory of the GDR 13 3. Debating the role of intellectuals in the GDR 21 4. The 1950s: debates, events, stages 37 5. The generational paradigm 53 2. Wieland Herzfelde: Reforming Party discourses from within 62 1. Introduction 62 2. Ambiguous communist involvement before 1949 67 3. Return to an antifascist homeland 72 4. Aesthetics: Defending a legacy 78 5. Affirmative stances in the lectures 97 6. The June 1953 uprising 102 7. German Division and the Cold War 107 8. The contexts of criticism in 1956-1957 126 9. Conclusion 138 3 3. Erich Loest: Dissidence and conformity 140 1. Introduction 140 2. Aesthetics: Entertainment, positive heroes, factography 146 3. Narrative fiction 157 4. Consensus and dissent: 1953 183 5. War stories 204 6. Political opposition 216 7. Conclusion 219 4. Peter Hacks: Political aesthetics 222 1. Introduction 222 2. Political affirmation 230 3. Aesthetics: A programme for a socialist theatre 250 4. Intervening in the debate on didactic theatre 270 5. Two ‗dialectical‘ plays 291 6. Conclusion 298 5. Conclusion 301 Bibliography 313 4 Abstract The aim of this thesis is to contribute to a differentiated reassessment of the cultural history of the German Democratic Republic (GDR), which has hitherto been hampered by critical approaches which have the objective of denouncing rather than understanding East German culture and society.
    [Show full text]
  • 01 Front.Pdf (2.101Mb)
    Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. ZEICHENSPRACHE UN� PRIVATMYTHOLOGIE IM WERK PETER HUCHELS A thesis presented in partial fu lfi llment of the requirements for the degree of Doctor of Philosophy in Germa n at Ma ssey Un iversity. Axel JUrgen Artur Vieregg 1972 A.J.A.. Vieregg, Massey University, Palmerston North. Zeichensprache und Privatmythologie im Werk '• Peter Huchels ( Abstract) Peter Huchel, born in 1903, editor of the leading East German literary periodical Sinn und Form until 1 962 when he was forced to resign for· · reasons, lived in isolation near Potsdam, East Germany, until political · May 1 971 when he was allowed to move to the West. Hitherto critics have been interested-:in his poetry mainly for its poli­ tical and biographical impor� ,· although Huchel hini.self had warned against an exclusively biographical approach and indicated that his poems had more than one level of meaning. These other le vels of meaning, however are not adequately described by the term "Naturlyrik" which has frequently been applied to his poetryo It has been recognized that, with either approach, a point is soon reached beyond which Huchel's poetry becomes "cryptic" (John Flares: Poetry in East Germany) and it has been suggested that this only seems to be the case because his system of private metaphors, which operate within a private mythology, has not· yet been elucidated.
    [Show full text]
  • Veränderte Landschaft: East German Nature Poetry Since Reunification
    Veränderte Landschaft: East German Nature Poetry Since Reunification Axel Goodbody, Bath ISSN 1470 – 9570 Veränderte Landschaft 103 Veränderte Landschaft. East German Nature Poetry since Reunification Axel Goodbody, Bath This paper asks what has become of the distinctive tradition of GDR landscape poetry since reunification. It examines the representation of the physical changes which have come over the East German landscape in the work of older and younger poets, and considers the extent to which they provide objective correlatives for the socio-political and cultural changes experienced since 1989. The role played by landscape poetry in identity construction is also discussed. The past, travel and Heimat are themes associated with a new critical regionalism in the new Länder founded on personal and collective, local and East German experience. The principal focus is on the poems of Volker Braun, Heinz Czechowski, Wulf Kirsten and Thomas Rosenlöcher, but reference is also made to texts by younger contemporaries such as Kurt Drawert, Durs Grünbein and Michael Wüstefeld. 1. The Landscape Poem as a genre articulating responses to social transformation ‘Veränderte Landschaft’ was the title of an anthology of GDR landscape poetry published by the Insel Verlag in 1979. Its editor, Wulf Kirsten, paid tribute to his former teacher at the Johannes R Becher Literature Institute in Leipzig, Georg Maurer, by opening the volume with Maurer’s poem ‘Veränderte Landschaft’, which expressed the feeling of a new beginning at the end of the Second World War, and adopting the phrase to denote a poetic programme celebrating the transformation of society in the GDR under socialism.
    [Show full text]
  • Naturlyrik in Der Kursstufe – Hinweise Zur Textauswahl Und Unterrichtlichen Erarbeitung Dass Jede Textauswahl Primär Fachwiss
    Naturlyrik in der Kursstufe – Hinweise zur Textauswahl und unterrichtlichen Erarbeitung Dass jede Textauswahl primär fachwissenschaftlichen und didaktischen Kriterien zu folgen hat, versteht sich ebenso von selbst wie Orientierung an persönlichen Präferenzen und unterrichtspraktischen Erfahrungen. Muss die vorgelegte Textauswahl, die auch bisher in der Abiturprüfung (1980 ff.) angebotene Naturgedichte im Blick hat, deshalb als eine Möglichkeit unter vielen verstanden werden, so sind andererseits bestimmte Autoren sicher von besonderer Bedeutung. Dazu zählen etwa Goethe, Hölderlin, Eichendorff, Rilke, Heym, Brecht, Eich, Huchel, Krolow, Fried, Bachmann und Sarah Kirsch. Das literaturgeschichtlich weitgespannte Thema und die Vielzahl der Gedichte verlangen eine konsequente Exemplarität der Erarbeitung. Die vorgeschlagenen 30 Gedichte bedürfen nochmals einer Auswahl. Realistisch erscheint eine Unterrichtseinheit von bis zu 20 Gedichten, die sich nach einer Einführungsphase zeitlich über Kursstufe verteilen lässt. Epochenkenntnisse sind nicht im Detail, sondern im Rahmen von Orientierungswissen zu vermitteln. Die Lösungshinweise der Abiturprüfung verbuchen die Berücksichtigung des literarhistorischen Hintergrunds in der Regel unter „besondere Leistung“. Fortbildung für Multiplikatoren Bad Wildbad, 11.- 13. November 2013 Schwerpunktthema im Fach Deutsch ab Abitur 2016: Natur und Mensch in der deutschsprachigen Lyrik vom Sturm und Drang bis zur Gegenwart UE Naturlyrik – Eine Textauswahl Prof. Peter Merkel Staatliches Seminar für Didaktik und Lehrerbildung Heidelberg Unterrichtseinheit „Naturlyrik“ - Textvorschläge für die Kursstufe - Quellen: Deutsche Naturlyrik, hrsg. v. Dietrich Bode, Reclam Verlag; Stuttgart 2012 (RUB 18944) Moderne deutsche Naturlyrik, hrsg. v. Edgar Marsch, Reclam Verlag; Stuttgart 1980 (RUB 6966) Das Buch der Gedichte, hrsg. v. Otto Conrady, Cornelsen Verlag 2006 Echtermeyer: Deutsche Gedichte, hrsg. v. Elisabeth Paefgen & Peter Geist, Cornelsen Verlag 2005 Die Erde will ein freies Geleit.
    [Show full text]
  • Zeichensprache Und Privatmythologie Im Werk Peter Huchels
    Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. ZEICHENSPRACHE UN� PRIVATMYTHOLOGIE IM WERK PETER HUCHELS A thesis presented in partial fu lfi llment of the requirements for the degree of Doctor of Philosophy in Germa n at Ma ssey Un iversity. Axel JUrgen Artur Vieregg 1972 A.J.A.. Vieregg, Massey University, Palmerston North. Zeichensprache und Privatmythologie im Werk '• Peter Huchels ( Abstract) Peter Huchel, born in 1903, editor of the leading East German literary periodical Sinn und Form until 1 962 when he was forced to resign for· · reasons, lived in isolation near Potsdam, East Germany, until political · May 1 971 when he was allowed to move to the West. Hitherto critics have been interested-:in his poetry mainly for its poli­ tical and biographical impor� ,· although Huchel hini.self had warned against an exclusively biographical approach and indicated that his poems had more than one level of meaning. These other le vels of meaning, however are not adequately described by the term "Naturlyrik" which has frequently been applied to his poetryo It has been recognized that, with either approach, a point is soon reached beyond which Huchel's poetry becomes "cryptic" (John Flares: Poetry in East Germany) and it has been suggested that this only seems to be the case because his system of private metaphors, which operate within a private mythology, has not· yet been elucidated.
    [Show full text]
  • Wege Des Gartengedichts Und Der Naturlyrik Im 20. Jahrhundert
    GERMANICA WRATISLAVIENSIA 133 Acta Universitatis Wratislaviensis No 3308 Wroc³aw 2011 Monika Wolting Wrocław Wege des Gartengedichts und der Naturlyrik im 20. Jahrhundert Zur Zeit der Jahrhundertwende vom 19. zum 20. Jahrhundert erlebt das Motiv des Gartens noch einmal eine solche Blüte, die mit derjenigen innerhalb der klassischen und romantischen Entwicklung, was die Bedeutung für die Literatur betrifft, ver- gleichbar ist. In der Literatur um 1890 bemerkt man eine Hervorhebung des Vege- tativen, Wachsenden, Lebenden sowie des Pflanzlichen. Diese Sehnsüchte der Epo- che kumulieren im Gartenmotiv. Zu den Hauptvertretern, die sich intensiv mit dem Thema des Gartens auseinandersetzten, gehören Stefan George, Rainer Maria Ril- ke, Georg Trakl und Hugo von Hofmannsthal, Detlef Liliencron, Rudolf Borchardt, Arno Holz, Max Halbe und Eduard von Keyserling. Oft sind es noch reale Gärten (der Mirabellengarten bei Trakl, die Pariser Parks wie beispielsweise der Jardin du Luxembourg bei Rilke), die zum Gegenstand der Beschreibung werden, mit eigenem Leben versehen. Die Dichter vermeiden es, ihnen eine symbolische Bedeutung zu zuerkennen, erteilen ihnen eher die Fähigkeit einer selbständigen Möglichkeit. Der Garten „spricht“ eine eigene Sprache, lebt neben der Wirklichkeit der Menschen. In Gedichten dieser Epoche, etwa bei Rilke, George, Hofmannsthal, Hesse oder Trakl, verbindet sich das Bild des schönen, graziösen, kunstvollen und leicht dekadenten Gartens mit der Stimmung einer stillstehenden Zeit. Es steht auch für die Resignati- on des Menschen im Angesicht der Industrialisierung der Welt. Um 1900 Um 1900 fungierten sowohl der Garten als auch der Park immer noch als bevor- zugte Erholungsorte für die höheren Stände. Es gab zwar schon in den Städten öffentliche Volksgärten, aber zur damaligen Zeit noch ohne jegliche Tradition.
    [Show full text]
  • Elke Erb's Poetry Since 1989
    Studies in 20th Century Literature Volume 21 Issue 1 Special Issue on Contemporary German Article 10 Poetry 1-1-1997 Footprints Revisited or "Life in the Changed Space that I don't Know": Elke Erb's Poetry Since 1989 Barbara Mabee Oakland University (Rochester, Michigan) Follow this and additional works at: https://newprairiepress.org/sttcl Part of the German Literature Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Mabee, Barbara (1997) "Footprints Revisited or "Life in the Changed Space that I don't Know": Elke Erb's Poetry Since 1989," Studies in 20th Century Literature: Vol. 21: Iss. 1, Article 10. https://doi.org/10.4148/ 2334-4415.1414 This Article is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Studies in 20th Century Literature by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. Footprints Revisited or "Life in the Changed Space that I don't Know": Elke Erb's Poetry Since 1989 Abstract After the fall of the Wall, the lyrical correspondence of the East German writer Elke Erb with the Austrian experimental writer Friederike Mayröcker proved to be of great significance for Erb's process of reexamining perspectives and constituting a new poetic self. In a close reading of Erb's post-Wende texts, the article discusses Erb's reshaping of her poetic craft against the backdrop of her life in the former GDR and literarty discourses in unified Germany.
    [Show full text]