Grauer Hintergrund: Vorlesung etc - Phil.



Grauer Hintergrund: Vorlesung etc - Phil.
Dr. Erik Redling
Lehrstuhl für Amerikanistik
Ringvorlesung Amerikanistik II:
„Making It New“: Die Lyrik der amerikanischen Moderne
1. Definitionen der Moderne
1. „Modernisierung“ = Prozesse des gesellschaftlichen Wandels, die durch die industrielle und
technische Revolution ausgelöst und beschleunigt wurden
2. „Modernität“
= das individuelle und kulturelle Bewusstsein des Neuen
3. „Moderne“
= Literaten und Künstler, die sich ganz dem Neuen verschrieben haben / die
versuchen das kulturelle Bewusstsein ästhetisch darzustellen
2. Die drei Phasen der Moderne
1. Frühe Moderne (ca. 1900 – 1920):
Avantgarde – Bruch mit bisherigen ästhetischen Normen, Prinzip einer radikalen Innovation der
2. Hochmoderne (ab 1920):
Abkehr vom realitätsfernen Ästhetizismus der Avantgardisten, bestehende Genres werden durch
experimentelle Transformationen erweitert
3. Spätmoderne:
Institutionalisierung der Schriftsteller der Moderne, Kanonisierung der „großen Meister“ (Nobelpreise an
T.S. Eliot, Faulkner und Hemingway)
3. Die USA als Land der Modernisierung: „The Law of Multiverse“ (Henry Adams)
1. USA entwickelt sich zur größten Industrienation
2. Rasante Ausdehnung der urbanen Zentren
3. Von Agrargesellschaft zur Industriegesellschaft (Telefon, Radio)
4. Veränderung des amerik. Bewusstseins (Darwin, Freud, Marx)
5. Zunehmende Mobilität (z.B. Fords „Tin Lizzie“)
6. USA ist größter Kreditgeber nach dem 1. Weltkrieg
7. „New Woman“: Wahlrecht, Studium, neue Berufsfelder
8. „New Negro“: „Harlem Renaissance“, afro-amerik. Ästhetik
4. Die literarische Moderne der USA: Ästhetische Diaspora und “a homemade world”
4.1 Robert Frost als „innovativer Traditionalist“ (1874-1963)
• the hearing imagination“ vs.
„the kind that merely sees things“
• Dialektsprache, Natur
• Überlagerung eines regelmäßigen Metrums
mit der gesprochenen Sprache, dem „sound
of sense“
• „skillfully breaking the sounds of sense with
all their irregularity of accent across the
regular beat of the meter“
Stopping by Woods on a Snowy Evening
Whose woods these are I think I know.
His house is in the village, though;
He will not see me stopping here
To watch his woods fill up with snow.
My little horse must think it's queer
To stop without a farmhouse near
Between the woods and frozen lake
The darkest evening of the year.
He gives his harness bells a shake
To ask if there's some mistake.
The only other sound's the sweep
Of easy wind and downy flake.
The woods are lovely, dark, and deep,
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep.
4.2 Die „Modernist Expatriates“: Ezra Pound (1885-1972) und T.S. Eliot (1888-1965)
„A Few Don‘ts by an Imagiste“ (Pound):
• „An ‚image‘ is that which presents an intellectual and emotional complex in an instant of time.“
• „It is better to present one Image in a lifetime than to produce voluminous works.“
„Imagism“ (F.S. Flint):
1. Direct treatment of the „thing“, whether subjective or objective.
2. To use absolutely no word that does not contribute to the presentation.
3. As regarding rhythm: to compose in sequence of the musical phrase, not in sequence of the
“In a Station of a Metro” (1913)
The apparition of these faces in the crowd;
Petals on a wet, black bough.
The Cantos – Canto I
And then went down to the ship,
Set keel to breakers, forth on the godly sea, and
We set up mast and sail on that swart ship,
Bore sheep aboard her, and our bodies also
Heavy with weeping, so winds from sternward
Bore us out onward with bellying canvas,
Circe's this craft, the trim-coifed goddess.
Hang it all, Robert Browning,
ere can be but the one “Sordello.”
But Sordello, and my Sordello?
Li Sordels si fo di Montovana.
So-shu churned the sea.
Seal sports in the spray-whited circles of cliff-wash
Sleak head, daughter of Lir,
eyes of Picasso
T.S. Eliot, “The Love Song of J. Alfred Prufrock”
Let us go then, you and I,
When the evening is spread out against the sky
Like a patient etherized upon a table;
Let us go, through certain half-deserted streets,
The muttering retreats
Of restless nights in one-night cheap hotels
And sawdust restaurants with oyster-shells:
Streets that follow like a tedious argument
Of insidious intent
To lead you to an overwhelming question . . .
Oh, do not ask, "What is it?"
Let us go and make our visit.
It is a beauteous Evening, calm and free,
The holy time is quiet as a Nun
Breathless with adoration; the broad sun
Is sinking down in its tranquility.
4.3 Wallace Stevens (1879-1955): Lyrik als „Supreme Fiction“
Interrelation von Realität und Imagination
(Spannungsverhältnis, Opposition und
Externe Realität ist nur interessant, wenn
sie durch die Imagination verfeinert und
koloriert wird
Die Imagination strukturiert die Welt,
durch sie ist die Erkenntnis einer
Wahrheit möglich
„Poetry is the Supreme Fiction in a world
in which one no longer believes in God
(as truth).“
The Snow Man (1931)
One must have a mind of winter
To regard the frost and the boughs
Of the pine-trees crusted with snow;
And have been cold a long time
To behold the junipers shagged with ice,
The spruces rough in the distant glitter
Of the January sun; and not to think
Of any misery in the sound of the wind,
In the sound of a few leaves,
Which is the sound of the land
Full of the same wind
That is blowing in the same bare place
For the listener, who listens in the snow,
And, nothing himself, beholds
Nothing that is not there and the nothing that is.
Bates, Milton J. Wallace Stevens: A Mythology of Self. Berkeley: U of California P, 1985.
DeFusco, Andrea, Hg. Readings on Robert Frost. San Diego: Greenhaven, 1999.
Kenner, Hugh. The Pound Era. Berkeley: U of California P, 1973.
Zapf, Hubert, Hg. Amerikanische Literaturgeschichte. 2. Aufl. Stuttgart: Metzler, 2004.

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