«Kein Umriß - nur ein weißer Schatte» Fernöstliche Ästhetik in Max Kommerells Gedichten Mit gleichsam chinesischem Pinsel

Arne Klawitter

doi:10.1007/BF03375729

«Kein Umriß - nur ein weißer Schatte» Fernöstliche Ästhetik in Max Kommerells Gedichten Mit gleichsam chinesischem Pinsel

Translated title of the contribution: No outline - only a white shadow: Far Eastern aesthetics in Max Kommerell's poems. Mit gleichsam chinesischem Pinsel

Arne Klawitter^*

^*Corresponding author for this work

Research output: Contribution to journal › Article › peer-review

Abstract

Although Max Kommerell has been recently rediscovered as a literary scholar, his own poetry remains relatively unknown. The following essay concentrates on Kom-merell's last publication Mit gleichsam chinesischem Pinsel, published in 1944. It examines in what way his poems are committed to Chinese aesthetics and takes a closer look at the aesthetic implications of the artist's brush stroke in Kommerell's poems.

Translated title of the contribution	No outline - only a white shadow: Far Eastern aesthetics in Max Kommerell's poems. Mit gleichsam chinesischem Pinsel
Original language	German
Pages (from-to)	95-111
Number of pages	17
Journal	Deutsche Vierteljahrsschrift fur Literaturwissenschaft und Geistesgeschichte
Volume	88
Issue number	1
DOIs	https://doi.org/10.1007/BF03375729
Publication status	Published - 2014 Mar
Externally published	Yes

ASJC Scopus subject areas

Cultural Studies
Philosophy
Literature and Literary Theory

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year = "2014",

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«Kein Umriß - nur ein weißer Schatte» Fernöstliche Ästhetik in Max Kommerells Gedichten Mit gleichsam chinesischem Pinsel

Abstract

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