George, Rilke, Kandinsky, Lasker-Schüler
Colour is a problem for poetry, where – unlike in painting, sculpture or film – it
is marked by its absence. This absence raises questions that have often been
overlooked in the study of colour: how do writers navigate the invisibility of
colour in text? What aesthetic commitments do certain attitudes to colour
expose? And how, in the face of its absence, do we read colour?
This ambitious and exciting study addresses these questions, analysing the
use of colour language in the work of Stefan George, Rainer Maria Rilke,
Wassily Kandinsky and Else Lasker-Schüler to tease out how these poets
understood poetic production, and how they negotiated the relations between
poem, reader and world. Covering the poetry, prose, translation, literary and art
criticism and theory of these and other writers central to European literature
at the turn of the twentieth century, Reading Colour sheds new light on poetic
practice of the period, but also uses colour to open up an understanding of
how poetic language works, and to ask how we read poetry.
This book was the winner of the 2018 Early Career Researcher Prize in German
Studies, a collaboration between the Institute for German Studies at the
University of Birmingham and Peter Lang.
abstraction 38, 53–4, 56, 83, 95, 115–18, 126–9, 155–7, 166–7, 173–7
see also colour and abstraction
‘rot anstatt rot’ 147–8, 175, 192
Albers, Josef 147, 155
animals 74, 103–4, 132, 240–1
Arp, Hans 175, 186
Ball, Hugo 149–50, 172, 179, 186, 242
‘Gadji beri bimba’ 176, 187–9
You are not authenticated to view the full text of this chapter or article.
This site requires a subscription or purchase to access the full text of books or journals.
Do you have any questions? Contact us.Or login to access all content.