of 15 - 20 march 2010 ist der schriftsteller Hans Raimund wieder zu gast in küblis.
3.aufenthalt in küblis im rahmen der aktion "14 räume für die kunst". das projekt dieses aufenthalts hat den titel FREMDSEIN IN KÜBLIS. ich habe vor, mit mindestens 5 bewohnern (auch familien oder paare) von küblis, die dort nicht einheimisch sind, deren namen und adressen mir das gemeindeamt von küblis liebenswürdigerweise überlassen hat, gespräche zu führen über ihre herkunft, die motivation, sich in küblis in der schweiz anzusiedeln, über ihre gesellschaftliche und berufliche situation in dem "gast"-land, ihre zukunftspersprektiven, ihre persönliche befindlichkeit etc. .. be taped and will be published in a form still to be determined - the talks should - provided that the participants in the project are in agreement.
on Friday 19th March there is a public lecture to mark the space with the title:
STILL THINKING ABOUT THE PUBLIC
POEMS AND LETTERS FROM HAND TO translation of poetry Lyric poetry in at least 4 LANGUAGES.
STILL or POEMS: THE LANCE IN THE LOWER SOUND
1995, I asked myself in a in "Literature and Criticism" printed self-representation "Why do I still write poems (...)?" I was at that time the question unanswered. When I look at today, 15 years later and still poetry engrossing, again ask this question, I answer: I'm still writing poems because, in my view, the lyric poem, in its compactness, conciseness and precision, in its unwavering determination through language and form that is most interesting, challenging, pure, to my aesthetic sensibility shaped by the music of contemporary literary genres. The poem is for me a language and form of event, an intense sound experience. What the poem "is" is not for me in Foreground. Nothing is alien to me as a realistic, simulated reality literature that practice by the criticism of her sitter, talk teach, will cause changes in the minds of readers, etc., therefore, an enlightened impulse, as a carrier of a (medical) Embassy behaved. That is, I think, a beautiful literature that has forgotten its origins, namely the sheer play with the tool language: a game from which it is played well, the seriousness of the perfectly-shaped object of language is that in the that it uses, so the reader, certainly a vague, rather volatile, but additional repeatable pleasure, delight, yes or no able to produce happiness. I am unable to read poetry (or even to write!), Especially the spiritual life of man, religion, New Age, in short everything that transcends the material, physical, or used. As one who in religion - rest believes one of the fatal errors of the basic species to recognize human, from any metaphysical I claim any genre, including poetry, decided - to whatever. I been able to gain both a religiously phrased, as well as a high and noble sounding "metaphysical" poetry about abstractions such as God, life, death, love, goodness, evil, etc. hardly anything. (Conversely, but also - So my experience -. Begin with a religious man, "metaphysical" orientation with my poems hardly anything) I prefer the amenities of the poem is the simple physical world, the everyday ordinary and banal in some eyes, on the lot for me so vulnerable and enough is Verwunderbares. Simplicity, restraint, withdrawal of the individual characteristics of the text, etc., to strive for, I think, is worth the effort. However: one, the poetry in general - even in modern poetry - foreign element, which I do not want to miss the writing of poems, probably, according to my nature, do not do without, is the irony.
(Not feasible, but a lovely idea: the assignment which is marked by simplicity and naturalness, each seeking nature of the way previous aesthetic quality of an early symphony or a string quartet by Joseph Haydn on a literary text.)
3.aufenthalt in küblis im rahmen der aktion "14 räume für die kunst". das projekt dieses aufenthalts hat den titel FREMDSEIN IN KÜBLIS. ich habe vor, mit mindestens 5 bewohnern (auch familien oder paare) von küblis, die dort nicht einheimisch sind, deren namen und adressen mir das gemeindeamt von küblis liebenswürdigerweise überlassen hat, gespräche zu führen über ihre herkunft, die motivation, sich in küblis in der schweiz anzusiedeln, über ihre gesellschaftliche und berufliche situation in dem "gast"-land, ihre zukunftspersprektiven, ihre persönliche befindlichkeit etc. .. be taped and will be published in a form still to be determined - the talks should - provided that the participants in the project are in agreement.
on Friday 19th March there is a public lecture to mark the space with the title:
STILL THINKING ABOUT THE PUBLIC
POEMS AND LETTERS FROM HAND TO translation of poetry Lyric poetry in at least 4 LANGUAGES.
STILL or POEMS: THE LANCE IN THE LOWER SOUND
1995, I asked myself in a in "Literature and Criticism" printed self-representation "Why do I still write poems (...)?" I was at that time the question unanswered. When I look at today, 15 years later and still poetry engrossing, again ask this question, I answer: I'm still writing poems because, in my view, the lyric poem, in its compactness, conciseness and precision, in its unwavering determination through language and form that is most interesting, challenging, pure, to my aesthetic sensibility shaped by the music of contemporary literary genres. The poem is for me a language and form of event, an intense sound experience. What the poem "is" is not for me in Foreground. Nothing is alien to me as a realistic, simulated reality literature that practice by the criticism of her sitter, talk teach, will cause changes in the minds of readers, etc., therefore, an enlightened impulse, as a carrier of a (medical) Embassy behaved. That is, I think, a beautiful literature that has forgotten its origins, namely the sheer play with the tool language: a game from which it is played well, the seriousness of the perfectly-shaped object of language is that in the that it uses, so the reader, certainly a vague, rather volatile, but additional repeatable pleasure, delight, yes or no able to produce happiness. I am unable to read poetry (or even to write!), Especially the spiritual life of man, religion, New Age, in short everything that transcends the material, physical, or used. As one who in religion - rest believes one of the fatal errors of the basic species to recognize human, from any metaphysical I claim any genre, including poetry, decided - to whatever. I been able to gain both a religiously phrased, as well as a high and noble sounding "metaphysical" poetry about abstractions such as God, life, death, love, goodness, evil, etc. hardly anything. (Conversely, but also - So my experience -. Begin with a religious man, "metaphysical" orientation with my poems hardly anything) I prefer the amenities of the poem is the simple physical world, the everyday ordinary and banal in some eyes, on the lot for me so vulnerable and enough is Verwunderbares. Simplicity, restraint, withdrawal of the individual characteristics of the text, etc., to strive for, I think, is worth the effort. However: one, the poetry in general - even in modern poetry - foreign element, which I do not want to miss the writing of poems, probably, according to my nature, do not do without, is the irony.
(Not feasible, but a lovely idea: the assignment which is marked by simplicity and naturalness, each seeking nature of the way previous aesthetic quality of an early symphony or a string quartet by Joseph Haydn on a literary text.)
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