Todesdarstellung und Jenseitsphantasien in der Lyrik Georg Trakls
Fast in jedem Traklgedicht gibt es Sterbende, Tote und Jenseitige, sodass eine wissenschaftliche Analyse dieser Motivik mehr als sinnvoll erscheint. Da es sich hierbei um ein inhaltliches Thema bei Trakl handelt, muss zuerst die Frage beantwortet werden: Ist Trakl überhaupt inhaltlich deutbar oder a...
|Online Access:||PDF Full Text|
No Tags, Be the first to tag this record!
Table of Contents: There are dead and dying people in almost every poem of Trakl. Therefore a scientifical analysis of these motives seems to be expendient. Since in Trakl this is about a subject that regards content, one has at first to respond the following question: Is it even possible to interpret the opus of Trakl based on its content or does it have to be interpreted in a strictly hermetical way? Thus in chapter 1 follows a characterisation of the most important attitudes of research towards the interpretation of Trakl (Lachmann, Killy, Denneler), an investigation as well as a new definition of the notion hermetic and a typological characterisation of the lyric poetry of Trakl as affective poetry. Due to this are the following assumptions: Trakl is not absolutely but relatively hermetic. Methods of decryption are the parallelizing of text passages, the exploration of different types of texts, the analysis of synchronic text in history of literature and the external attemps of decoding of the Christian, the psychological and the mythological analysis of the poetry of Trakl.In chapter 2 the manners of speaking of Trakl are under examination in consideration of the manifestation of different forms of speech are scrutinized in consideration of the motives of death and dead persons. Chapter 3 comprises a transverse analysis of the motives of death and deceased persons classified by groups of motives in Trakls complete work, i. e. not only the imagery of death and the guises of dead persons are examined but also the affiliated particulars of colours, musical motives, family members as well as the religious and mythological guises are systematically characterized. Conclusions: The motives of death within the lyric poetry of Trakl are existential, realistic, vitalistic and transcending; his physiques of deceased are morbid and transcending. His depiction of death and his imagination of the afterlife are affected by Christianity, archaic, related to the ancient world and individually mythological. The motives of death and of the deceased are completely ambivalent and however they may be interpreted as regards content. Chapter 4 touches the most important external attempts to decrypt the poetry of Georg Trakl i. e. the Christian interpretation of Lachmann, the depth psychological interpretation of Goldmann as well as Neumann and the psychoanalytical interpretation of Kleefeld. Conclusion: The motives of death and dead persons in Trakl are only partly Christian, partly even anti-Christian as well as pre-Christian and archaic, so that the Christian interpretation of Trakl is merely partly justified. The motives of death and dead persons in Trakl are as well only partly swayed by the individual subconscious in terms of Freud and influenced by the collective subconscious in terms of C. G. Jung respectively, so that the only constricted entitlement can be assigned to the analysis of Trakl in terms of Jung and Freud. Furthermore in my dissertation the archaic parallels to archaic motives in the imagination of Trakl of the afterlife are proven in detail in terms of an own external interpretation - based of the idea of myth in Ernst Cassirer. The entire dissertation closes with the question, how the legitimate, de-ideologized aspects of the external interpretation of Trakl discussed before could comport ideally to each other, i. e. whether they - separated of each other - complete complementary or whether they can be synthesised.