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Subjekt und Liminalität in der Gegenwartsliteratur

Band 8.2: Schwellenzeit – Gattungstransitionen – Grenzerfahrungen; Sergej Birjukov zum 70. Geburtstag

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Edited By Matthias Fechner and Henrieke Stahl

Liminalität ist ein Signum der Gegenwart. Die neuere Literatur, insbesondere die Lyrik, nimmt seismographisch liminale Phänomene der Gegenwart wahr und bildet vielfältige liminale Formen und Funktionen aus. Zentral betroffen ist das sprechende Subjekt, das in Transition versetzt wird: Zersetzung, Auflösung, Fluidität, aber auch Transparenz und Transformation öffnen seine Grenzen zum Anderen: zu den Mitmenschen, der Natur oder auch der Transzendenz. Der vorliegende Band vereint Aufsätze, die Liminalität in Bezug auf Schwellenzeit als conditio historiae der Gegenwart, auf Gattungstransitionen und auf Grenzerfahrungen des Subjekts behandeln. Der Schwerpunkt liegt auf russisch- und deutschsprachigen Gedichten. Darüber hinaus werden weitere slavische und ostasiatische Literaturen einzeln und komparatistisch behandelt sowie andere Gattungen, intermediale Formen und philosophische Perspektiven einbezogen.

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The Lyric and the Dramatic: Transitional Forms in Russian Poetry since the 1960s

The Lyric and the Dramatic: Transitional Forms in Russian Poetry since the 1960s

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Henrieke Stahl (Trier)

Contemporary literature shows many forms of hybridization and transitions between genres and media.1 It is, therefore, no coincidence that transition in contemporary poetry is the leading question undertaken by the DFG Centre for Advanced Studies at the University of Trier, which was founded in October 2017.2 One of the research areas of this project, to which this article belongs, is genre transition in the sense of crossing, shifting, and transformation of genre boundaries in contemporary poetry.3 Poetry of the last decades is characterized by an ever-increasing tendency towards the presence of voices, the performance of speech, and multiple subjects; one of the possibilities for realizing these features is the hybridization of the lyric and the dramatic in poetry.4

Poetry and drama have one characteristic in common: they work with speech that is localized in the ‘here and now' of pronunciation. This point of intersection between genres also establishes the close relationship that they have shared in literary history since antiquity. Thus, traditionally, they have taken up elements typical to each other or joined in hybrid forms, in which a text participates in both genres in almost the same way at the same time, as, for instance, in Alexander Blok’s “Lyrical Dramas,” Robert Browning’s “Dramatic Lyrics,” or, nowadays, Sasha Dugdale’s “Joy,” which won the Forward Prize for best poem in 2016 and may be read simultaneously as a dramatic monologue and as a single dramatic scene.

Since official literature in the Soviet...

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