Alan Sheridan. London: Penguin, The Order of Things. An Archaeology of the Human Sciences. London: Tavistock Publications, Kittler, Friedrich. Discourse Networks. Michael Metteer, with Chris Cullens. Stanford: Stanford UP, Rorty, Richard, ed. The Linguistic Turn. Essays in Philosophical Method. Chicago: U of Chicago P, It emphasizes the fact that the painting refers to something absent and assesses the painting as a paradigm for a semiotics that is characteristic of the so- called age of representation.
Foucault esp. Not only does it include the surfaces of the canvas and the mirror, but it also has a distinct dimension of depth in its interior. At the same time, it positions the spectator in a clearly defined locus in front of the picture — a characteristic that it shares with other pictures cf. Flusser 8. The spectator stands at the point of intersection of lines produced by the painted image of space. The semiotic process of representation that Foucault developed is therefore linked to the simulation of a three-dimensional space organized according to a system of perspective — a topic that recent analyses Alpers; Gibson; Gombrich; Panofsky; Winkler; Wolf have discussed in relationship to the problem of illusory conventions, whereby new media refer to old media, suppressing their own possibilities in order to respect the expectations of the spectator cf.
Winkler As a result, the painting has particular cultural and historical coding. There are many reasons to believe that the unfolding of single-point perspective in European painting and the formation of a linguistic code that builds on the principle of representative sign systems may be seen as parallel developments. It may also be of interest to know that the memorizing techniques of rhetoric mnemonics designate a spatial arrangement of what is remembered, and the electronic file manager roomancer, which transforms the user surface into a three-dimensional picture, makes an ironic reference to this Ender Humberto Maturana be- lieves that these are long-term, behavioural, cognitive structures in our memory.
Thus, pictures also store patterns of cultural experiences and perceptions. Among these structures, our perception of space is of particular significance. One of these is illusionism, that is, the ability of pictures to overcome the technical and material limits of two-dimensionality by simulating three-dimensionality. At the same time, the difference between the traditional medium of painting and new electronic media may be smaller than previously assumed. Although space appears to be more immediately experienced in film or in video games because it is opened up by the movement of the camera or by moving the joystick, these tech- niques of simulation had been in use in painting.
Leonardo da Vinci points out that a painting can achieve a high degree of independence from the world outside it. In contrast to sculptors, whose work depends on space, location, and lighting, painters are able to bring the parameters of space, lighting, and perspective into the painting itself. The two-dimensional canvas allows painters true freedom by letting them create an illusionary space and to measure this space with an illusionary order of light and lighting effects. The nineteenth century sees a coding of human visual perception in science and, issuing from a different set of factors, the development of media.
A person not only sees what is, but also constructs the images that he or she sees. By way of contrast, the optical instrument, the camera obscura, still relies on a parallelism between the strategies of the medium and scientific observation. It requires a passive observer who, in the inner space of the camera obscura and separated from the outside world, sees an inverted but exact optical reproduction of the outer world.
Shelley’s German Afterlives 1814–2000
Belief in the possibility of one-to-one depiction is increasingly shaken in the nineteenth century. It revealed that the lens in each eye projects a flat picture onto the retina. Helmholtz draws our attention to the fact that the eye perceives the world as an aggregation of coloured areas. This also applies to our perception of space. Central perspective, which has been dominant in painting since the time of the Renaissance, has to be called into question if individual modes of perception or the perspective of curves are taken into consideration.
However, it is not only physiological, psychological, and intellectual processes that are responsible for this, but also cultural coding: spectators in Europe have been trained since the Renaissance to perceive three-dimensional space on the basis of geometric signs.
Intermediality and the Simulation of Space They see a two-dimensional picture completely differently from an Asian viewer who also translates pictures painted without perspective into a three-dimensional perspective system. According to Erwin Panofsky, perspective is based simply on a transformation of a psychophysiological experience into a mathematically defined space.
At the same time, this is a transformation of semantics into mathematics, since the production of an optically correct presentation is by no means neutral, but establishes a clearly defined aesthetics — an aesthetics of representation. Its initial hypothesis is informed by the idea that the decision between a planimetric, two-dimensional picture and a picture with three-dimensional perspective corresponds to the alternation between interiorizing and exteriorizing space.
Furthermore, when the simulation strategies employed in different media are compared with each other, it is evident that the new media do not make the old obsolete, but rather assign them new places in the system cf. Kittler Therefore, various cultural and historical patterns of perception and coding in the development of media history are shown to remain always accessible.
He geometrizes the composition, transforming spatial depth into a surface that is organized solely through colour cf. By replacing perspective with a constellation of fixed points of colour, he brings the development of classical painting to a conclusion. As with the strategies of cubism, he establishes a view from above, a constructivist lack of perspective. He brings the spectator into the picture and by doing so renders the picture dynamic.
The colour yellow is now able to become the organizing principle that stimulates the imagination of the viewer. We may draw two conclusions from these observations. As spatial images, they are conscious of the conditions of the picture as a medium.
- Full text of "History of German literature based on the German work of Vilmar".
- Ein Kind geborn zu Behtlehem!
- Art Das Kunstmagazin!
- Just Breathe.
In this regard, painting sets the stage for making spatial images functional in literature. Magritte also dealt with the subject of the exchange between painting and text in works such as Les mots et les images or Le masque vide. Spatial images are translated into two-dimensional contours and texts.
The translation of planimetry into three-dimensionality received special attention in the transitional era of modern painting and media art cf. On entering the room, the spectator experiences — physically to the point of experiencing real feelings of dizziness — a ubiquitous cyberspace where up and down no longer exist. This is a modern realization of sotto in su baroque ceiling paintings cf. In view of this intermedial interrelationship, it makes little sense to draw too clear a line between each medium in modernism or to give priority to the materialness of one particular medium.
It is more important that each new medium builds on the preceding, traditional media and their modes of perception. The historic change in spatial perception and the ensuing strategies that brought about such a change may be seen in scientific, psychological, and, finally, literary contexts. First of all, the scientific reconstruction of the world for Leonardo da Vinci is reflected in spatial images with the help of perspective and geometry cf. Leonardo — Lambert projects the principle of perspective representation onto cartography, where optical perception and geometric surveying assist one another esp.
Alexander von Humboldt also combines scientific description with visual per- ception in his work Kosmos. In the process, a new point of view comes to the fore in which the strict empiricism of geographic description is combined with the aesthetic transformation of what is perceived through landscape paintings. Outside space becomes inside space. At the same time, Humboldt orients his work towards the new media of his time. By doing so, he refers to visual media that have striven for the illusion of authenticity through an increasingly per- fect simulation of three-dimensional space since the time of Daguerre This aspect of simulation also gains much importance for the new medium photography.
Stereoscopic photography aims at simulating depth, just like a dioramic illusion, while the subjective component of visual perception also gains in significance cf. Crary — It is therefore no accident that the space of perception, which has been researched in science and which Pierre Maine de Biran attributes to a sens intime, now seems to complement the space of aesthetic imagination cf.
As mentioned, rhetoric mnemonics also establish imagination as emerging from an arrangement of memory in space. In contemporary aesthetics, visual perception of outside space and the mental activities of fantasizing and imagining are joined together. The theory of imagination corresponds to the simu- lation of a central perspective of a three-dimensional space in a picture, while the suggestive exteriorization of space in picture media corresponds to the interiorizing of space in the world of books cf.
The space of perception, memory, and fantasy all seem to correspond to each other. II, It is remarkable that this development took place at a time when the old paradigm of visual representation, the camera obscura, which allocates a specific place to the spectator, starts to lose sig- nificance. Instead, subjective perception, with its psychological and physiological dimensions, begins to assume greater importance. The aesthetic representation of space is the emancipation of aesthetic perception and mediated systems of representation that not only are equal to daily perception with their variety of simulation techniques but also reflect the autonomy of the aesthetic space of imagination.
Yet this development is not a linear one. Rather, this development characteristic of modern media is an inverted one. The technical and aesthetic possibilities achieved are therefore reorganized, reevaluated — at times even made less potent, or the diverse strategies of media are made functional. In literature, for example, the calculated alternation between simulated surface and depth perception is deployed as an indication of processes of the imagination. RENNER The development of a new medium is therefore accompanied by the unfolding of a new way of perceiving, though the different forms of perception are adopted and changed by other media in the course of media history.
Film sets the framework for a play of the alternation from three- to two-dimensionality. The relationship between canvas classical painting and film is similar. Conventional narrative film aims for a three-dimensional effect of space in order to overcome the flatness of a film image in favour of a credible impression of reality. As a result, film uses techniques that were important in classical painting and discontinued in modern art: framing and depth of focus. In abstract painting, these principles are no longer used, and surface and lines therefore become subjects, as does the emphasis on the vertical and horizontal.
In twentieth-century literature, the calculated change between two-dimensional and three-dimensional simulated space controls imagination and reflection. He uses perspective, a telescope, a map, and geodesy as new instruments to give significance to the unfolding of space in the Die Wahlverwandtschaften, Novelle, and Wanderjahre.
In the second edition of Wanderjahre, all precarious meetings between men and women are structured through passages of great visual power and through the alternation between narrated images of surface and depth, relying on the tradition of painting. Often, the two-dimen- sionality of the images is changed into a three-dimensional space of memory. He initially describes them two-dimensionally according to their outlines and finally three-dimensionally as an opening shell.
But he also creates an association with the medium of photography because this perception presents one and the same view more or less as both a negative and a developed picture Proust Pl I, — The church in Combray is similarly described as a four- dimensional building in which the three-dimensional space of perception opens up to time, transforming it into a space of imagination Proust, Pl I, Again, the space of action becomes the space of memory, and the space of memory becomes the space of imagination, and time and space correlate with each other see Proust, Contre Sainte- Beuve ; cf.
Proust Pl III, Without a doubt, the preceding development of memory and imagination into separate concepts in nineteenth-century reflections on aesthetics may be observed again in modernism. At the same time, this act of visualizing can be read on another level. It marks the abolition of clear linguistic semantics, and creates — and marks the creation of — an imaginative and fantastic deformation of language: the spoken word, he writes in this chapter, loses its own meaning and gains that of its neighbour. As the examples of Musil and Proust show, images of space in classic modernist novels often refer to visual perception and visual media.
Proust compares photographic notation with the psychological effects of impressionist painting, characterizing both by using the metaphorical nature of surface and depth. Musil, on the other hand, develops the same point in a narrative way. In his works, the two-dimensional space of perception and three-dimensional space of memory are continuously brought into relation to each other.
Here the surface of portrait photography marks the restrictive power of familial systems of order Amerika ; also Der Verschollene , while the fantasy of space in Naturtheater von Oklahoma opens up a utopian space of promise, which, however, is signified through patriarchal order — a characteristic feature in Kafka Amerika ; Der Verschollene He perceives the sea and harbour as a flat picture, while the belly of the ship from which he experiences the harbour of New York is also a three-dimensional space that he experiences physically.
Thus we are dealing with a literary schematization of perception that visualizes the interdependency of writing and imagination and develops it with reference to visual perception. Film, whose distinguishing characteristic is regarded by many media theorists as the production of imaginary images of space, also depends on making con- structions of space functional. Sergej Eisenstein is one of the first to relate space in film to time and motion.
He believes the square screen to be most suited to giving the impression of movement because it allows a verticality of the field of vision to be created, which, together with horizontality, contains the promise of a dynamic relation. It is also significant that cinema creates an impression of space in a psychological and physiological way. In a famous lecture on how space is made dynamic, Panofsky said: In cinema […] the viewers can choose where to sit, but only physically […]. And the space the viewers see is as moveable as the viewers themselves.
Not only fixed objects move in space but space itself moves, changes, turns, fades and crystallizes again […]. An internal semantic construct is converted into an external visual and optical construct on a two-dimensional plane. This is based not only on physiological, psychological, and intellectual processes but also on cultural codes. Since visual perception is nothing more than a referential illusion, the perception of space depends on the experience of the perceiving subject. Physics demonstrates that simulation does not arise as a technique of media but is a modelling along the lines of natural perception.
In film, space is to a certain extent immediately present, though in a different way than in texts: while mental projections of space produced for the reader need constant actualization, space in film must also be modelled so as to correspond to patterns of perception. The camera also displaces the speaker from the picture and intensifies the impression of two-dimensionality as a result.
In the visualization of the interaction between characters, two-dimensional silhouette images are alternated with three-dimensional spaces of action. These are, for their part, geometrically organized by a network of horizontal and vertical lines, along which the camera continues to move. The conscious representation of two-dimensionality and the reference to two- dimensional systems of representation have systematic origins in the cinematic adaptation of literature.
The reference to texts requires the transformation of narrated spaces into evocative images. The white fade-in picks up on a development in painting on canvas that Kandinsky ushered into a self-reflective phase by making demands on the presentation of the white surface in painting Kandinsky — , while Aleksandr Rodtschenko referred to the square on the pure white surface as the most essential form of painting see Spielmann ff.
On the other hand, the white fade-in performs a media- specific transformation that makes the viewer conscious of the difference between the media of film and literature. In the medium of film, the constant change between fade-in, image, and voice-over reconstructs the act of reading with its combination of spoken sign, mental image, and its visualization.
Moreover, in Berlin Alexanderplatz this process is symbolically condensed. The withdrawal from the simulation of perspective is remarkable because film originally started with the opposite intention. Faust, Lighting, a clear differentiation between black and white, and cinematic architecture all support a continuing dramatization of spatial depth. It is also supported by a moving camera, a characteristic of German filmmakers.
Yet the concentration on structured space, which has been adopted by commercial Hollywood cinema in particular, decreases over time. Planimetrical cinematic techniques reestablish themselves in spite of these developments influenced by the transition to colour film with its more limited scope for depth of focus and reinforced by the transition from wide-angle lenses to telephoto lenses with greater focal length, which initially supported dramatizing effects.
Planimetrical techniques of filming hold the cinematic image to be the result of layers parallel to the picture and no longer as depth of space with diagonal vanishing lines. Vivre sa vie, are examples of this cf. Bordwell 25— At the same time, however, modernist cinema, which emerged in the s, works against the illusionism of classic Hollywood cinema through its narrative experiment with open endings and characters or plots with double meaning.
It also demonstrates the artificiality and constructed character of the images by plani- metrical image designs. Bordwell He relates them to photography, cartography, and illustrated charts of the natural sciences, and he makes the viewer aware of the historicism of picture techniques in the process. He consciously creates visual clusters, while other directors try to implement one of the historically developed principles of constructing space. Greenaway is convinced that the art of film has just reached the stage of cubism and, for the most part, does not take into account the possibilities inherent in its multitude of perspectives.
Symmetrical image construction, tableaus, a static camera, or, in terms of painting, frame, central perspective, and image symmetry, all create a centripetal arrangement of the image area that is comparable to a painting on canvas but contrasts with the centrifugal tendency of cinematic images. This arrangement is reminiscent of the organization of perspective during the Renaissance with such visual structuring aids as grids or views through doors and windows Spielmann; cf.
His construction of the image unites viewfinder and lens on one axis, and the clip is organized according to a central perspective with the help of the framed picture plane. The image as a whole is broken up into a setting of boxed images that are presented through various masks, from the simple circular form of an iris shot to complex collages of various picture forms and formats. This strategy replaces the sequential presentation of images commonly used in film. All this shows the unfolding of a special effect in film that relates the fabric of space and of time to one another.
In contrast to the use of fading, typical of film, framing, the breaking up of the image into several image boxes, fixes moments and in doing so changes the three-dimensional space of the action into a more or less documentary image-space similar to a photograph. This fixation breaks through the imaginary production of illusion, and the connection between the static images and the voice-over underlines this analytical character.
If one observes this change in the medium of film towards a self-reflexivity that seems to be reserved for experimental film, then the question arises whether, in the age of media, there is not a new, but only differently defined, separation taking place between reflexivity and suggestiveness, and between profound and trivial forms of representation. While the schematization of perception in video games draws its suggestive power more and more from the octagonal simulation of three-dimensionality, replacing the picture of the original with the digital image, reflected art aims on the one hand to make the viewer aware of these processes of transformation and, on the other hand, opens a depth of space of imagination that needs no digital simulation.
It does this by alternating a three-dimensional perspective with planimetrical images, sometimes even by insisting on the planimetrical picture. Works Cited Alpers, Svetlana. Kunst als Beschreibung. Cologne: DuMont, Artaud, Nicolas-Louis. Paris: Rignous, Barck, Karlheinz, et al. Leipzig: Reclam, Baudelaire, Charles. Claude Pichois. Paris: Gallimard, Paris: Presses Universitaires de France, Paris, Presses Universitaires de France, Munich: Hanser, Bordwell, David. Clausberg, Karl. Crary, Jonathan.
Techniques of the Observer. On Vision and Modernity in the Nineteenth Century. Cambridge: MIT, Eisenstein, Sergej. Das dynamische Quadrat. Schriften zum Film. Leipzig: Reclam, , — Ender, Gunnar. Mit Roomancer auf Tour im Rechner. Fechner, Gustav Theodor. Elemente der Psychophysik. Die Ordnung der Dinge. Gibson, James J. Gombrich, Ernst H. Bild und Auge. Neue Studien zur Psychologie der bildlichen Darstellung. Lisbeth Gombrich. Stuttgart: Klett-Cotta, Kunst und Illusion. Zur Psychologie der bildlichen Darstellung. Stuttgart: Belser, Medien-Zeit, Medien-Raum. Zum Wandel der raumzeitlichen Wahrnehmung in der Moderne.
Vienna: Passagen, Hegel, G. Eva Moldenhauer and Karl Markus Michael. Helmholtz, Hermann von. Handbuch der physiologischen Optik. Leipzig: Voss, Sabine S. Cuxhaven: Junghans, Braunschweig: Vieweg, Die Tatsachen in der Wahrnehmung. Darmstadt: Wissenschaftliche Buch- gesellschaft, Henry, Michel. Philosophy and Phenomenology of the Body. Girard Etzkorn, The Hague: Nijhoff, Hoffmann, Christoph. Munich: Fink, Raum und Verfahren: Interventionen. Humboldt, Alexander v. Entwurf einer physischen Erdbeschreibung.
Stuttgart: Cotta, — Joubert, Joseph. Paul de Raynal. Paris: Didier, Kafka, Franz. Gesammelte Werke. Max Brod. Der Verschollene. Jost Schillemeit. Kritische Ausgabe. Kandinsky, Wassilij. Beitrag zur Analyse der malerischen Elemente. Introduction by Max Bill. Kesser, Caroline. Eine Wirkungs- und Rezeptionsgeschichte. Berlin: Reimer, Kittler, Friedrich A. Lambert, Johann Heinrich. Schriften zur Perspektive. Leonardo da Vinci. Marianne Schneider.
The Cult of Leadership and the Transformation of
Munich: Schirmer-Mosel, Mach, Ernst. Jena: Fischer, Erkenntnis und Irrtum: Skizzen zur Psychologie der Forschung. Leipzig: Barth, Maturana, Humberto R. Autopoiesis and Cognition: The Realization of the Living. Dordrecht: Reidel, Boston: Random House, Matzker, Reiner. Wahrnehmungs- und erkenntnistheoretische Aspekte der Medientheorie und Filmgeschichte. Die Gutenberg-Galaxis. Das Ende des Buchzeitalters. Bonn: Addisonwesley, Understanding Media. Handbuch der Physiologie des Menschen. Koblenz: J. Zur vergleichenden Physiologie des Gesichtssinnes. Leipzig: C.
Cnobloch, Gedanken zur 3D-Kartographie, Didaktik und Plato. Musil, Robert. Reinbek: Rowohlt, Der Mann ohne Eigenschaften. Reinbek: Rowohlt. Naumann, Barbara, ed. Vom Doppelleben der Bilder: Bildmedien und ihre Texte. Paech, Joachim, ed. Stuttgart: Metzler, Panofsky, Erwin. Perspective as Symbolic Form. New York: Zone Books, Oxford: Oxford UP, Proust, Marcel. A la recherche du temps perdu. Contre Sainte-Beuve. Rennert, Helmut. Rodtschenko, Alexandre. Rost, Andreas, and David Bordwell, eds.
Zeit, Schnitt, Raum. Digitaler Schein. Schlegel, Friedrich. Ernst Behler, et al. Philosophische Vorlesungen [—]. Jean-Jacques Anstett. Schopenhauer, Arthur. Paul Deussen. Munich: Pieper, Spielmann, Yvonne. Warning, Rainer. Chateaubriand — Flaubert — Proust. Aufbruch zur Moderne. Karl Maurer, Winfried Wehle. Winkler, Hartmut. Der Film und die digitalen Bilder. Wolf, Hertha. Michael Wetzel, Hertha Wolf. Rutschky 79 Das Schisma des Jahrhunderts zwischen literaler und visueller Kultur ist in erster Linie eine Frage der Theoriepolitik. Denn ob platonisches Bilderdenken, alt- testamentarisches Bilderverbot, theologisch-politischer Bilderstreit oder ut-pictura- poiesis-Poetik: jede Kultur zu jeder Zeit war auch immer eine visuelle Kultur.
In Diskussionen des Jahrhunderts, die das Visuelle als paradigmatische Entdeckung feiert, positiv wie negativ notwendig naiv. Sie feiert oder verdammt nicht das Sichtbare generell, sondern das technische Bild: die Fotographie, das Kino, das Fernsehen oder das digitale Bild, und weiter auch nicht die Geschichte des technischen Bildes, sondern die Aufhebung der Geschichte im Bildlichen. Der Text muss unsichtbar sein.
Waren Texte zuvor langsamer und weniger effektiv? Nietzsche beschwert sich schon im Damit ist alles und nichts gesagt. Denn jede Theorie, die von dieser Differenz ausgehend organisiert ist, steht vor der Entscheidung, ob sie mit dieser Differenz beobachtet, oder ob sie die Differenz selbst beobachtet.
Graf Lessing Was sie jedoch nach der geistigen Seite hin gewinnt, verliert sie ebenso wieder nach der sinnlichen. Das ist kein Zufall. An ihre Stelle tritt das Symbol als Gedankenfigur. Im Symbol wird das Sichtbare eine Idee, die die Differenz zwischen Sichtbarem und seiner Beschreibung aufhebt, in der Allegorie war sie eine Beschreibung, die ihre Distanz zum Beschriebenen aufrechterhielt. In der Literatur des Dabei verschwindet das technische Bild aus der Literatur. Die Literatur wird Bildung. Wie auch die bildende Kunst Bildung wird.
Die neuen technischen Sensationen der Panoramen dominieren Ende des Jahrhunderts und die Entdeckung der Fotographie im Jahrhundert die Bildpolitik. Die Philologie des Jahrhunderts schreibt im Namen des Symbols Literaturgeschichten, Literaturkritik und Literaturinterpretation. Literaturtheorie: Im I wird erst wieder mit Paul de Mans literarischer deconstruction positiv an Bedeutung gewinnen. Das literarische Wort wird auf seine gesellschaftliche Funktion hin befragt, als Wort aber bleibt es konkurrenzlos unbefragt. Aber auch hier ist Theoretisierung von Text und Bild in Bezug auf die Literatur in gewissem Sinne naiv, wenn sie nun die semiotischen Vorzeichen einfach umkehrt, um dem Bild die Reverenz zu erweisen.
Eicher 12— Aber weder die Literatur noch ihre Theorie hat die Bilder angefasst. Der aufgehende Mond im Kinderlied, die aufgehende Blume im Liebeslied machen noch keinen lyrischen Text aus. Es geht um die Notwendigkeit des Missverstehens von Sprachbildern, seien sie alte Stereotypen oder neu gepresste. Denn ob frisch oder versiegelt, neu oder alt, im Sprachbild lauert die Tradition des Textes.
In diesem Sinne benutzt es alte Bilder neu. Das Gedicht steht in der Tradition selbst-reflexiver poetischer Schreibweisen. Auf die Geborgenheit traditioneller Literatur- und Kunstinterpretation kann man sich im positiven wie negativen Sinne verlassen zur akademischen Brinkmann-Rezeption vgl. Gross 17— Auf dem hier gezeigten Bild Abb. Was man sieht und was man liest sind zwei Bilder.
Aufzug, 4. Aber welche Lesart auch immer: Abb. Foto und Gedicht als ein Text. Auch das geht noch im Fahrwasser der Textexegese. Der Text unterstellt sich noch, den Sinn anzuleiten, die Interpretation zu lenken. Das ist alles so richtig wie es nicht falsch ist. Warum Godzilla Abb. Aber all das ist schon wieder die Tradition der Texte. Das eigentliche Problem verschiebt sich immer weiter. Denn welche Passagen des Textes beziehen sich auf die Bilder?
Als Leser von Texten, die das Bild umgehen, ist man ungeeignet, den Bildern ein Bedeutungsmonopol zuzugestehen. Oder dass hier Sprachkritik als Wirklichkeitskritik vorliegt vgl. Urbe 70— Godzilla und Kadmos. Ich brauche die Bilder nicht, um das zu lesen. Warum etwas ist wie es ist? Fensterscheiben in Autos, die den Fahrer nicht erkennen lassen.
Ein Mann und ein Junge, die auf die Betrachter zukommen und durch sie hindurch sehen, weil sie sie nicht sehen. Viel Glas, viel hindurchzusehen, aber alles matt. Aufschriften liest man nicht, man sieht sie, nebenbei. Was sie zeigen, ist allenfalls die Zeigbarkeit. Die Kunstwissenschaft hat ihren Bilderkanon, wie die Filmwissenschaft mit dem ihren begonnen hat.
Die Philologie blickt noch in die Ferne. Die Philologie, die heute nicht fernsieht, wird an der neueren Literatur vorbeischreiben. Ob das gut ist, oder schlecht, steht hier nicht zur Debatte. Der sichtbare Mensch oder die Kultur des Films. Baumgarten, Alexander Gottlieb. Hans R. Hamburg: Meiner, Benjamin, Walter. Gesammelte Schriften. Bickenbach, Matthias. Boehm, Gottfried, Hrsg. Was ist ein Bild? Boehm, Gottfired, und Helmut Pfotenhauer, Hrsg. Ekphrasis von der Antike bis zur Gegenwart. Bohn, Volker, Hrsg. Brinkmann, Rolf Dieter.
Brinkmann, Der Film in Worten 95— Neue amerikanische Szene. Reinbek bei Hamburg: Rowohlt, Der Film in Worten. Brinkmann, Standphotos — Gedichte — Brinkmann, Standphotos 91— Brinkmann, Der Film in Worten — Dirscherl, Klaus, Hrsg. Bild und Text im Dialog.
Passau: Wissenschaftsverlag Rothe, Eicher, Thomas. Eicher, Thomas, und Ulf Bleckmann, Hrsg. Bielefeld: Aisthesis, Evans, Jessica, und Stuart Hall. Visual Culture: The Reader. London: Sage Graf, Fritz. Gross, Thomas. Grzimek, Martin. Harms, Wolfgang, Hrsg. Text und Bild, Bild und Text. DFG Symposion Hegel, Georg Wilhelm Friedrich. Eva Moldenaur und Karl Markus Michel.
Hoesterey, Ingeborg, und Ulrich Weisstein, Hrsg. Columbia: Camden House, Kant, Immanuel. Kritik der Urteilskraft. Kravagna, Christian, Hrsg. Privileg Blick. Kritik der visuellen Kultur. Berlin: ID-Archiv, Karl Basler. Berlin: Aufbau-Verlag, Zweisprachige Ausgabe. Melville, Stephan, und Bill Readings. Durham: Duke UP, Miller, J. Cambridge: Harvard UP, Mirzoeff, Nicholas. Nicholas Mirzoeff. London: Routledge, Mitchell, William T.
Neuber, Wolfgang. Entwurf zu einer mnemonischen Emblematiktheorie. Nietzsche, Friedrich. Giorgo Colli und Mazzino Montinari. Postman, Neil. Urteilsbildung im Zeitalter der Unterhaltungsindustrie. Rutschky, Michael. Sanders, Barry. Der Verlust der Sprachkultur. Selg, Olaf. Aachen: Shaker-Verlag, Rolf Dieter Brinkmann. Stafford, Barbara Maria. Kunstvolle Wissenschaft.
Amsterdam: Verlag der Kunst, Striedter, Jurij, Hrsg. Russischer Formalismus. Texte zur allgemeinen Literaturtheorie und Theorie der Prosa. Tynjanov, Jurij. Ueding, Gert. Urbe, Burglind. Wagner, Peter, Hrsg. Essays on Ekphrasis and Intermediality. Berlin: de Gruyter, Wellbery, David E. Winckelmann, Johann Joachim. Stuttgart: Reclam, Liebe Dein Symptom wie Dich selbst! Berlin: Merve, This has been the question at the centre of most international debates on documentary since the s.
The work of Trin T. Minha and Claire Johnston is representative of this trend. In contrast, when looking at the East German documentary tradition, it is almost impossible to find this type of formal self-reflexivity. The close relationship between the documentary film and television studios was strictly enforced, which meant that a great majority of documentary films were commissioned by the state for television. Heimann; Rother Like other documentarists who came before her, Misselwitz focusses in particular on aspects of everyday socialist life.
While scripts for feature films and the audio of documentary footage were screened for inflammatory language, the images remained relatively uncensored. As other scholars have suggested cf. On the one hand, these films provide an escape from larger, overtly political topics. Die Kamera hebt nichts hervor, diskreditiert niemanden, idealisiert nichts. Like so many other social theorists, Eduard Schreiber sees this focus on women and the everyday of socialism as an awareness on the part of artists that women functioned as a site of crystallization for social contradiction and rupture: [Die Frauen] tragen die Last der gesellschaftlichen Entwicklungen, auch deren Deformationen, bis in den privatesten Bereich hinein.
Therefore, both notions — truth and authenticity — are not absolutes, but rather textual constructs that have critical value. Both Sonja Michel and Julia Lesage have argued for the importance of certain realist structures for achieving feminist goals in filmmaking. Thus, in using this technique, Misselwitz participates in the demystification of the past by providing women a public forum in which they can speak about their lives and articulate new knowledges — new truths — of socialist experience Lesage ; Michel ; on the talking-heads technique cf.
The film does not limit itself to one space and time, as is often the case in previous East German documentaries that focus on a single woman, on women working in a particular brigade, or on women working in one factory or living in one town. Personal Narratives Group. Nichols 54— Im Krankenwagen. The image is replaced with a second still of two girls receiving diplomas, while the sound of the opening sequence a passing train is replaced by the sound of creaking. The still image is replaced by a medium shot of a man cranking the railroad gate open.
Misselwitz asks to see the tattoos decorating his chest and back, wondering aloud what kind of women he has inscribed there. Having been born a daughter, rather than the son for whom her father had longed, she was a mixed blessing. While she is born into a state of supposed gender equality, her sex is clearly presented as a barrier.
Further, this sequence illustrates that alternative forms of history writing, like the diary or autobiographical forms, give voice to experiences that are often silenced in official narratives — here, the supposed gender equality in the GDR. As the camera moves slowly through the hall, Misselwitz recounts the first time she left her small town: Mit neunzehn Jahren verlasse ich diese Stadt, um meine Wege zu gehen. Berufsausbildung, Hochzeit, Scheidung.
Eine feste Arbeit, Geburt der Tochter, zweite Ehe. Studium mit Kind, zweite Scheidung. Beharren auf sinnvolle Arbeit. This section of the monologue functions like an abbreviated Lebenslauf noting major life changes: work, marriage, divorce; work, childbearing, marriage, university study, divorce; work. It also functions as a commentary on the previous third of the opening sequence, in which Misselwitz obliquely suggests that all official attempts to enact emancipation from above through social policy — marriage and divorce rights, inexpensive housing for married couples, access to higher education and job training — have only partially alleviated the problems women face in society.
The challenges of single motherhood and its naturalized meanings; see Behrend; Hornig and Steiner; Nagelschmidt; H. This narrative device invites the viewer to join Misselwitz in a personal journey that is also a public attempt to rewrite history through dialogue. From inside the train car, the camera looks out the window as the train passes through the countryside. Auf der Reise werden wir miteinander reden [ The numerous secondary screens in the film — like the photos and the tattoos — reflect on the visual medium and its tendency to objectification.
Thus, in looking out the window of the train, the camera suggests the problems with the documentary gaze. Although the camera does not include Misselwitz in the frame, her presence is made clear through her voice in dialogue with Hillu. She begins by talking about her marriages, the first having occurred after becoming pregnant at age nineteen.
Und auch von meinem Kollektiv war ich die einzige Frau [ In this single monologue, Hillu very clearly and concisely expresses both the gender inequality in the GDR and the astonishment at how that inequality has been maintained. And although her expectations, informed by official discourse, are contradicted by her personal experiences, Hillu continues to express some surprise. Are the two positions reconcilable? Further, it asserts the visual ideology with which Misselwitz is attempting to engage. The camera cuts to a medium shot of a dark room in which a worker is banging pipes.
As the worker emerges, back first with coveralls and hard hat on, it is not clear that this is a woman. However, after emerging from the second dark room, Christine turns briefly to face the camera. The camera follows her at a medium shot as she walks along seemingly endless pipes in the dark factory, banging them along the way, the noise of the machines sometimes drowning out the sounds of the pipes. The camera cuts to a medium close-up of Christine as she sits writing in the work log.
Stirb hin. Du, ich falle! Brown as leaves.
Malayan yellow. The Express train Berlin — Trelleborg and the Baltic sea resorts. Flesh that went naked, and tanned to the lips by the sea. Fully ripe. For Grecian pleasure. And yearning for the scythe: a never-ending summer! And already almost the last day of the ninth month! Stubble and the last shocks of hay thirst in us. Unfoldings, the blood, the weariness. The presence of dahlias clouds the mind. Sun-browned manhood hurries onto sun-browned womanhood.
A woman is something for a night. And if it was good, perhaps for a second! But then, oh, again this being by oneself! These silences! This incessant propulsion! A woman is something with a smell. Die away. She contains the South, the shepherd and the sea. On each slope a pleasure lies. Lightly-tanned woman swoons onto darkly-tanned male. Hold me, you! I am falling. In my head, I am so weary. Oh, this feverish sweet final smell from the gardens. Kasino Menge war schon auf Kriegsschule ein Idiot.
Ha, ha, ha. Ganz geteilte Auffassungen. Ne, Sie? Na Prost, Onkel Doktor! Heut Nacht! Ein Blutweib! Sagt: Arm kann er sein und dumm kann er sein; Aber jung und frisch gebadet. Auf dieser Basis fanden wir uns. Lachen einigt alles. Although there are different opinions on this. You, the Junker, you can gee up with me when I ride. The still before the storm: Arnim, my dear fellow. You are quite incorrigible! Well, have you? It must be pretty interesting. The seats are supposed to be really small. A full-bodied wench! Rather less morality And a bit more of a fine leg.
What sort of figures have you built on this common ground? Everyone saw the joke. Herbst Todstumme Felder an mein Dorf gelehnt. Nirgend mehr Purpur oder junge Glut. Nur in der Georginen Sehnsuchtsaugen brennt noch des Sommers wundervolles Blut. Bald wird auch dies die Erde in sich saugen. The scattered chicory and scabiosa offer a little consolation. While the rangy twigs of a rose bush spread themselves, devoid of bloom, along a fence. No more purple or fresh glowing. Only in the yearning eyes of the Georgia does the summer still burn full of wonder. But soon also this will be sucked up by the earth into itself.
Morgue II I. Mit uns wird Schindluder getrieben. Soll ich damit atmen? Soll da vielleicht der kleine Kreislauf durchgehn? Alles was recht ist! Das geht zu weit! Na, und ich? Wie bin ich hergekommen? Wie aus dem Ei gepellt! Und jetzt?? Und das rechte Herzohr brauchte auch nicht grade aus meinem After rauszusehn! Des Landes Lippe nagt: die Wand reisst ein.
Das Fleisch verfliesst. Wo sass deine Kotfistel, fragt man sich? Vereinfachter Mechanismus. Ich bin aufgestiegen wie ein junger Adler. So stand ich: nackt, vom kalten Sternenlicht Umbrandet Stirn und Blut. They are treating us like rubbish. Who, for example, has thrown my brain into my breast cavity? Am I supposed to breath through this? Is my faint blood circulation supposed to flow through it? By all that is right and fair! This is going too far! How did I get here?
As if peeled from an egg!! And now?? And my heart valve on the right side does not need to be poking out of my arse! That looks like I have got hemeroids. The lips of the land gnaw: the wind roars in. Flesh dissolves. And in the dark towers of the limbs Eternal earth cries out with joy. Freed from my tear-drenched Cage. Freed from hunger and the sword. And as the seagulls flee in winter Over the sweet water: therefore: returned home. Where does my stomach start?
Where can we find your excrement fistula, someone asks? A completely different constitution. The navel has been thrown overboard. A simplified mechanism. Back to nature seems the best way to go. Men, hairy and randy. Women, cowardly and deceitful, Driven out of your shit-lives, Whined around by human beasts. I have ascended like a youg eagle.
And stand there: naked, brow and blood Lit around by cold star light. Ich will ein ausgeschlenkertes Meer sein, du Affe! I want to push you in your shoulders. I want to spead myself over you. I want to be a sea at high tide, you idiot! Komm man mit. They are soft, white, large, As if from the flesh of the womb. But you are wearing a good English suit. You can come with me. But, of course, bring a solid gold coin. Europe, this piece of snot Europe, this piece of snot Out of the nose of a confirmation pupil. Wir gerieten in ein Mohnfeld Wir gerieten in ein Mohnfeld. Everywhere bricks screamed around.
Encase us in the tower of flames With everything that kneels before the gods. Ten naked redskin heathens danced around the edifice and bleated An ape-song to death: You are simply spraying around the dirt from a puddle And are squashing underfoot a mound of worms when You crush us, We are and do not want to be anything more than filth. They have lied to us and deceived us With talk of God, purpose and meaning And gave you as a payment our sins.
For us you are the enticing rainbow Stretched over the peaks of joy. Einer sang: … Einer sang: Ich liebe eine Hure, sie heisst To. Ihr Gang sticht durch mein Blut. Sie ist ein Abgrund wilder, dunkler Blumen. Kein Engel ist so rein. Mit Mutteraugen. Ich liebe eine Hure. Sie heisst To. Yes, as if made from a vessel All through summer. Her step cuts through my blood. She is an abyss of wild, dark flowers. No angel is so pure. With mothering eyes. I love a whore.
Feuchtigkeiten ein lauter Rausch. Ein Kind! O ja, ein Kind! Moistness, a pure intoxication. A child! Oh yes, a child! But how to get one and not — feel ashamed. I dreamt once that a young birch-tree Had given me a son. A violet song from the heavens Sung to the buds of young roses. Oh, through the nights there sobs unto the stars My male blood. Da lobe ich mir den tiefen Alt des Mohns. Da denkt man an Blutfaden und Menstruation. I prefer the deep alto of the poppy. It reminds me of patches of blood and menstruation. Die weiche Bucht. Alles ist Ufer. Ewig ruft das Meer.
Life and death, sex and procreation Would slide from our dumb seed. A piece of algae or a dune of sand: Formed by the wind and heavy at its base. Even the head of a dragonfly or the wing of a gull Would be too much, and would suffer too deeply. II Despicable are the lovers, the mockers, Despair of all longing, and those who hope. We are such sickly corrupted gods. The gentle bay. The dark dreams of the woods. The stars, huge as blossoming snowballs and heavy. The panthers spring soundlessly through the trees. Everything is shoreline.
Eternally calls the sea —. Get in there, into that stale Thermopylae! Drohungen Aber wisse: Ich lebe Tiertage. Ich bin eine Wasserstunde. Wir wollen helle Haut sein. Meine Vorderflossen sind schon lang und haarig. In der ersten Nacht ist alles entschieden. Selbst so segelhaft. Du machst mir Liebe: blutigelhaft: Ich will von dir. Sieh: Ich. I am a water-hour. In the evening my eyelids drowse off towards forest and sky. My love knows few words. It is so beautiful by your blood. My queenly vessel! My roaming hyena! Come into my burrow. Let us be bright flesh. Until the shadows of the cedars rear over the little lizard: You!
Roses bloom in my hair. My front paws are long and hairy. Longing for the boughs of trees. From strong thumbs you can hang down the whole day long. All is decided on the first night. I grip with my teeth the thing that I desire. Hyenas, tigers, vultures are my emblems. You are now crossing the water. So like a sail yourself. Fair skinned.
Cool in play. And yet bitter red, the blood inside is dead, The mouth is a crevice full of screams. You, let us not land on a shore! You make love to me like a leech: I want something from you. You have cornstalks on your hat. Your back is brown from your Maccabee blood. Your forehead flows: you spent so long Looking over the stubs of hay for Boaz. You hold it like a sea, so that nothing spilt in play Should moisten the earth.
Now, look through your eyelids and steel yourself: See: the precipice approaching from a thousand stars away. See: the jaws into which you must pour all. See: me. Ich bin Gestank. Vom Rand der Erde komm ich her. Weil meine Mutter weint? Weil meinem Vater das Haar vergreist? Ich schreie: Ihr grauer Schlaf! Ihr ausgeborenen Schluchten! Mir aber rauscht die Stirn wie Wolken Flug. Wisch ihm eins! The Robbers-Schiller I bring plague. I am stench. From the edge of the world I come here. At times, there is something that runs together in my mouth: If I were to spit it out, the stars would hiss, And the entire cowardly boozy lot and the blood of Abel would go under.
Because my mother cries? I cry out: You grey somniac! You now impotent gorges! Pretty soon a few handfuls of earth Will be fertilising you. In me, however, the brain rages like a flight of clouds. And that touch of infection that trickled into my blood from the slime of a whore? A crumb of death is forever stinking in the corner — Sod it! Give it one! Who cares? Das Affenlied Ihr Spiel Gottes! Du liebes Blut! Von meinem kaum getrennt!
Durchrausche mich noch einen Tag! Ape song You jest from God! Heavens are the shadows Of the great forests around your fur. Sleeping, feeding, breeding quietly ripens on the Summer land of your blood. Your holy reapings! You, dear blood! From mine barely different! One and the same. Rage through me again for just one day! Look: hours, earlier ones, lived out, When we still blithely crouched by the river bank: There was the sea and there was the earth — See these hours once lived out, Oh, the return of all these longings Assemble around you!
Ich bin so hingesunken An dich. Und bin so trunken Von dir. Die Welt ist tot. Alles klingt In mein Herz. Madonna Do not give me back yet! I have totally expired on you. And am completely intoxicated In you. This bliss! The world is dead. The heavens sing stretched out against the stream of stars, bright and full. Everything is resounding in my heart. Deeply fulfilled and so beautiful sings the hunting pack of my blood. Das Fett wird ranzig and hat ausgepaart. Wir aber wehn. O was in Lauben unseres Flesichs geschah! Verwirrt im Haar, in Meer.
Over graves This one slaves away and bakes, bent throughout the night With rotten meat, following an old baking method. Finally the pig broke his legs. His fat became rancid and fell away. We, however, drift. Aegean are our tides. Oh, look what has happened in the foliage of our flesh! Tangled in our hair, in the sea, our breasts bleed in dancing, in the summer, by the strand and Ithaka. Mai ist um die Harfe.
O Sommer dieses Nackens! O Diese jasmindurchseuchte Ellenbeuge! O, ich bin gut zu dir. Ich streichle Dir deine Schultern. Du, wir reisen: Tyrrhenisches Meer. Ein frevelhaftes Blau. Die Dorertempel. In Rosenschwangerhaft Die Ebenen. Felder Sterben den Asphodelentod. Du Kranke, tief im Flor Der dunklen Brauen! May surrounds the harp. The palm trees redden. In the desert wind.
Rahel, a slim goldwatch at her wrist: Protecting her sex and threatening the mind: She is the enemy! Your hand however is as if from earth: Sweetly-brown, almost eternal, wafted by womb. Friendly Earring turns up. The bright Easter lillies are so lovely: Their wide mouths yellow, with meadows at their feet. Oh blond! Oh summer ripened back!
Oh These elbows drenched with jasmine! Oh I am good to you. I stroke Your shoulders. A wicked blue. The Doric temples. Pregnant with roses, The plains. Fields Expire into their asphodel death. Lips, bold and deeply filled like chalices, As if blood from its sweet place was hesitating, Roaring through a mouth of early autumn. Oh the sorry brain. You sick thing, deep in the bloom Of your dark brows! Smile, be bright: The violins are shimmering a rainbow. Sie friert. Der kleine graue Stock in ihrer Hand Friert mit. Wird klein.
Will tiefer in die Hand. O Marmorlicht! Du rauschst so an mein Blut. Du helle Bucht! Du rosa Staub! Du Ufer mit Libellen! Im Veilchenschurz. Machtloser grauer Strand. Kein Boot, kein Segel geht. Wer nimmt mich winters auf?! Spa concert Beyond cripples and bathing proletarians, Sunshades, lapdogs and Boa scarves, Beyond the autumn sea and the ditty by Grieg: Whether Iris will come? It is freezing. The small walking stick in her hand Is also freezing.
Gets smaller. Wants to go deeper into her hand. The bell flowers, enclosed in your scarve, The white cross of your parted hair and teeth Contrasts, when you laugh, so sweetly with your brown skin! You steep, white land! Oh marble light! You are the intemperance of my blood.
You bright bay! The relaxed expanse of your shoulder blades! The delicacy of the skirt around your knee! You, rosy dust. You river bank with dragonfly! You, from the sides of a bowl ascending In bursts of violets. Surrounded by breasts loudly bloomed! Oh autumn and a return home across this sea! The gardens subside. The grey shores lie impotent. No boats, no sails flutter. Who will take me now in winter time?!
From so many distances blown together. From so many stars newly-born. Just before this river bank: — Iris leaves. Untergrundbahn Die weichen Schauer. Der Strumpf am Spann ist da. Doch, wo er endet, ist weit von mir. Ein armer Hirnhund, schwer mit Gott behangen. Ich bin der Stirn so satt. Ich will wandern. Blutlos die Wege. Schatten und Sintflut. In the Subway The soft shudder.
Early bloom. As if from warm fur, it comes straight from the forest. Red swarms up. Hard blood rises. Through full spring the new female comes. She wears her stockings, stretched. But there, where they come to an end, is beyond my reach. I sob at their edge. Sultry fecundity, alien moistures. Oh, how her mouth devours the tepid air! You: rose-mind, sea-blood, twilight-goddess.
You: bed of earth, how your hips flow so coolly down the passage through which you walk. Life is now beneath her dress: all white animal, relaxed, with mute scent. I am a wretched dog-brain, heavy hung with God, sick of the mind. Oh, that a frame of clustered blooms should gently take its place, and swell and stream and shudder. So detached. So tired. I long to wander. Bloodless those paths. Songs from the gardens.
Shadows and the Flood. Buchtet sich ein und aus.
Ich will versinken. And anyway love hit me, the snouts of two whores bulge forward. Gyrates in and out. I want to lose myself. Let me die. Give birth to me. Ich schlage mit der Stirn am Marmorblock die Form heraus. Ich bin mir noch sehr fern. Aber ich will Ich werden! Wir wohen in einer engen Bucht, ausgebaut an des Dorfes Ende. Davon bin ich so entstellt. Unerbittlich ist der Kampf und die Welt starrt von Schwertspitzen. Jede hungert nach meinem Herzen. Young Hebbel You chip away and fashion: with supple chisel and a fine soft hand. I beat form out of the marble block with my brow.
My hands work for my daily bread. I remain to myself still distant, but I will become me! There lies someone deep in my blood who cries for heavens of gods and earths of men, which he has made for himself. My mother is so poor: you would laugh if you saw her. We live in a narrow sty, built at the bottom of the village. My youth is like a scab to me, with a wound beneath. Blood drips everyday from it. That is why I am so disfigured. Sleep I do not need, and food only enough to stay alive. The struggle is relentless, and the world bristles with points of swords, each of which hungers for my heart.
Everyone of them I must melt into my blood: me, the defenceless one. Als wir blutfeucht zur Welt kamen, Waren wir mehr als jetzt. Jetzt haben Sorgen und Gebete beschnitten uns und klein gemacht. Wir leben klein. Wir wollen klein. Aber ich will mein eigenes Blut. Feiger Herr, feiger Herr! Was zitterest du? Fege meinen Saal.
Ich aber will tanzen durch dich schleierlos dein Blut. Made adroit with weapons, to free ourselves, we have become haters, beyond redemption. When we came into this world blood-stained, we were more than we are now. Now sorrow and praying have cut us down and made us small. We live small lives. We want small things. And our feelings, like tame animals, are eating out of the hand of our will. But there are times when desires well up, strong from deep within our blood, their wings like the eagle, as if they wished to broach a flight away from the shadows of the earth.
But the mother of cares and prayers, the earth, allied to you, will not let them go from her old and wrinkled body. But I will have my own blood. I tolerate no other gods beside me. Covered in purple, my beauty persists day and night for you. Why are you trembling? I trained my tendons to be swift for your desires. O give them to me! Let me dance!
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Clean out my hall. Yellow salivating skeletons of white-haired and sullen blood threaten me. I, however, will dance. Sie schmerzt nicht immer. Mother I bear you like a wound upon my brow that will not close. The pain sometimes abates, and my heart flows from it still alive. Only now and then I suddenly become blind, and feel blood in my mouth. Drohung Aber wisse: Ich lebe Tiertage.
It is so beautiful beside your blood. Sieh, wie das Land auch aus seinen Fiebern erwacht. A man speaks A man speaks: Here there is no consolation. See how the land also awakens from its fever. Almost all the dahlias have stopped gleaming. Everything lies wasted as after a cavalry battle. I hear an upsurge in my blood. You, my eyes are already drinking in the blue of distant hills. It is already caressing my temples. Hier ist kein Trost Keiner wird mein Wegrand sein. Mein einer Arm liegt im Feuer. Mein Blut ist Asche. Let your blossoms whither.
My path flows and runs alone. Two hands are too small a bowl. One heart is too small a hill to rest on. You, my life is lived on the strand and under the falling blossom of the sea. Egypt is spread before my heart, and Asia is dawning. One of my arms lies in the fire. My blood is ash. Leaving breasts and bones behind me, I sob my way towards the Tyrrhenian islands: There glimmers a valley with white poplars, an Ilissus with shores of meadows: Eden and Adam: an earth out of nihilism and music. Schnellzug Das Gleitende, das in den Fenstern steht!
Wir kleine Forst, kein Adler und kein Wild! Du Dagmar-blond! Du Nest! Die weiten Felder der Verlassneheit! Das Rot der Erbereschen hat schon Blut. O sei bei mir! The Express The passing images that face me in the windows! Past my shoulders crumble the fields, the arbours, and the overgrown villages; long-forgotten mothers; the entire land, a grave full of fathers: now it is the sons who are great and prance naked with their red god-like brows, in a whirl of unleashed blood. That which is festering sounds loudly with its sick voices: Where did we ever come close to happiness?
We, a small forest, without eagle or game. Paltry blooms blossom in pale tones in our meadows. The heart cries out: Oh, hair! You Dagmar-blond! You nest! You comforting, blossoming hand! The broad fields of abandonment! The red of the rowanberry already is of blood. Oh, be with me! It is so silent in the gardens. But the passing that faces me in the windows. Past my shoulders crumble the fields, fathers and the grief of hills and the happiness of hills —: The sons have grown tall. The sons go naked and in the grief of unleashed blood, their red brows reflect a distant abyss of joy.
In unserem Blute ist kein Dorn. Oktobertiere rechts und links: Wir makellose, wir letzte Julibrut. Ich versenge dem Tode seine kalte Fratze.
Wie alles Rote, Glut und Flammenhafte aus meinen Schenkeln hurt! Flowers I-II I In the room of a pastor between crosses and images of Christ, Jerusalem relics and Golgatha wreaths a bouquet of roses blooms blissfully beyond the shores: We may now happily pass away. There is no thorn in our blood. II A sea, entirely poisened by the grey blood of autumn, has made me sick. Startled, the river bank, devoid of joy and barren of leaf receives my final step as words of commital.
Then in a park there was a flower bed: It bloomed over this entire misery, the sea, the clouds and the storm in the garden. And I cried: I am completely indestructible! I burn away the cold countenance of death. As everything red, glowing and flaming rushes from my limbs! Good morning to you! Der Mond fiel hinterher.
Hing tief. Gab Stein statt Brot Dem atemlosen Blut. Ward still. Schlug um. Wenn mans bedenkt: ein paar verlorene Stunden Haben nun in die Stille Nacht gefunden Und wehen mit den Wolken hin und her. Die Lippen auch. Wie Garben Aus Schnee. O kaum zu denken! Finish I The spittoon — not in the least able to contain such large warm green emissions — finally broke apart. The moon dropped down.
Hung deeply. Sucked Backed the vomit in gulps. Dissapointed All trust. Gave to breathless blood Stone instead of bread. II The little clot smelled like a chicken coup, moved here and there. Became still. The grand-daughter palyed the old game: When grandma is asleep: Around her collar bones the cavities were so deep That she could hide beans in them. A ball could even be fitted into her throat, if one blew the dust out of it. III For him it was all about the spittoon with plum stones.
Then he crawled in and cracked open the stones. He was thrown back into his box bed. And he burrowed into his straw. Towards evening the head keeper came And rebuked the warden: You bloody lazybones, Why has the box not been cleaned up yet? IV For weeks they held the heads of their children, When they had returned from school, high in the air: Then a little breeze went through and she could sleep.
Then one bent down once by mistake And his head fell out of his hands. Turned around. Hung over his shoulders Deep blue. V Requiem A coffin gets work and a bed becomes empty. When one considers it: a few lost hours Have now in stillness found the night And drift with the clouds here and there. How white they are!