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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 Ethics of Grammar in Anna Glazova’s Nature Lyric

The Ethics of Grammarin Anna Glazova’s Nature Lyric

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Luba Golburt (Berkeley)

This paper approaches “the subject and liminality” in contemporary poetry by studying what, in a longer project, I seek to describe as the tradition of the Russian nature lyric, a broadly conceived genre or set of lyric preoccupations, which by virtue of generating a vision of the natural world – whether as object or environment; self, other, or ecology – reliably concerns itself with the reach and boundedness of the lyric subject and poetic utterance.1

In recent decades the status of “nature” itself as a sustainable category of environmental critique, literary analysis and, more broadly, ethical worldview, has come under increasing scrutiny.2 Indeed, it might not appear timely to resuscitate a lyric inquiry or tradition whose very premises – the abstraction that characterizes nature as a poetic construct; the affective power ascribed to its otherness; its scale and permanence as contrasted with human frailty – appear compromised or complicit in nature’s crisis or even its “death” at the hands of culture. In part, then, my work responds to and shares the view that, if there is a modern tradition of nature lyric, originating in the Russian case some time in the late eighteenth century, it too might have now arrived at an endpoint or at least a pivotal moment when its constitutive parameters (subjectivity, temporality, sense of place and agency) will have to be thoughtfully and perhaps radically redefined.

Read in this context, Anna Glazova’s work appears to offer precisely such a thoughtful recalibration of...

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