The article looks at the first two volumes of poetry by the young poet Sonja Harter, who not least through the support of Friederike Mayröcker, the doyenne of contemporary Austrian poetry, has become a shooting-star (1. Der Lyrik - Shooting star). The fact that she has been described by Mayröcker and by literary critics as an elegist has prompted the need for a re-examination of the term from the point of view of content and form, but especially from today's perspective (2. Die Elegikerin). The language-critical aspect that is evident in many of her poems is in 3. Die Sprach- und Medienkritikerin on the one hand placed in the plainly visible context of the language-philosophical and language-critical tradition in Austrian literature, and on the other hand converted into a contemporary form of media criticism. From a formal point of view, Harter proves to be a choreographer on the level of word and sentence who makes a poetic concept out of her deliberate fractures in syntax and semantics, which is also where she finds her own lyrical language (4. Die Wort- und Satzchoreographin).

„Dynamische Brechungen von Syntax und Semantik“. Zur Kompositionsform der Gedichte von Sonja Harter.

BÜRGER-KOFTIS, MICHAELA
2008

Abstract

The article looks at the first two volumes of poetry by the young poet Sonja Harter, who not least through the support of Friederike Mayröcker, the doyenne of contemporary Austrian poetry, has become a shooting-star (1. Der Lyrik - Shooting star). The fact that she has been described by Mayröcker and by literary critics as an elegist has prompted the need for a re-examination of the term from the point of view of content and form, but especially from today's perspective (2. Die Elegikerin). The language-critical aspect that is evident in many of her poems is in 3. Die Sprach- und Medienkritikerin on the one hand placed in the plainly visible context of the language-philosophical and language-critical tradition in Austrian literature, and on the other hand converted into a contemporary form of media criticism. From a formal point of view, Harter proves to be a choreographer on the level of word and sentence who makes a poetic concept out of her deliberate fractures in syntax and semantics, which is also where she finds her own lyrical language (4. Die Wort- und Satzchoreographin).
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Utilizza questo identificativo per citare o creare un link a questo documento: http://hdl.handle.net/11567/305937
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