Article Details

In: KulturPoetik 2017, Issue 1


Benjamin Specht


›Empirisierte Transzendentalpoesie‹. Wirklichkeits- und Subjektbegriff in Poetik und Lyrik von Arno Holz




In contrast to predominant interpretations, Arno Holz’s aesthetic is not based on a ›naïve‹ mimetic concept of art as the imitation of given ›facts‹. Instead, the ›world‹ is only accessible through ›notional images‹. Due to this epoch-specific psychological ›empiricisation‹ of the Kantian subject, the artistic representation of reality becomes the core problem of his work, and Holz attempts to address it by a concept of ›essential rhythm‹ in verse: an evocative and referentially adequate ›natural‹ use of language inevitably generates a special form of evidence which can only be engendered by means of poetry. It results from a close fusion of form and content which demonstrates the basic identity of subject and object, ›notional image‹ and ›world extract‹, based on the experience of their common laws. Finally, this poetological concept is seen in practice in Holz’s lyric poetry, particularly in his lifelong Phantasus project.