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• W4210589901 abstract "MLR, 105.1, 2010 283 poetics. In each case, the emphasis is on the ambivalence of the intertextual rela tionship. Each chapter follows a similar pattern: a structural analysis of the Trakl poem inquestion is followed by an introductory discussion of how the poem refers intertextually to a particular pretext'; an analysis of relevant aspects of this pretext then leads to a discussion of the dialogue between the two texts.Given both the similarities between the instances of intertextuality examined and thenarrow range of poems discussed, this book could well have been enhanced by a conclusion to draw together the results of the close readings and suggest how the insights gained might be made fruitful in broader studies of Trakl's ceuvre as a whole. Overall, this is amethodical and lucidly written studywhich shows clearly the value of an intertextual approach toTrakl's poetry. University of Exeter Helen Bridge Der Kristall als expressionistisches Symbol: Studien zur Symbolik des Kristallinen in Lyrik, Kunst und Architektur des Expressionismus (1910-1925). By Henrik Leschonski. (Europaische Hochschulschriften, 1.1960) Frankfurt a.M.: Peter Lang. 2008. 209 pp. 39; ?27.30. ISBN 978-3-361-57363-1. This study, adapted from a dissertation for the Technische Universitat Berlin, examines the sources of crystal symbolism and its use in Romantic literature, Baudelaire's Les Paradis artificiels (i860), Cezanne's views of theMontagne Sainte Victoire, and examples of Expressionist works. Henrik Leschonski bases his study on Hermann Bahr's Expressionismus (1914), Theodor Daubler's essays Der neue Standpunkt (1918), Wilhelm Worringer's Abstraktion und Einfuhlung (1921), and Ernst Bloch's Geist der Utopie (1918). In the rare anthology Kristall der Zeit (Leipzig: Grethlein, 1929), Leschonski notes a link between Expressionist lyrics and religion. He defines three levels of symbolism in the crystal as used bymystics: the unity of heaven and earth and a 'thirdkingdom' as foreseen by Joachim von Fiore, a symbol of the soul inAngelus Silesius's Der Cherubinische Wandersmann, and in general a symbol for art. In the Romantics' philosophy of nature (Novalis, Tieck, and Schelling) it becomes a metaphor for the spirit,with nature as the other side of the coin, and fore shadows Expressionism. Baudelaire associated crystal symbolism with dream to highlight thevulnerability of the self.Cezanne used the crystalline to overcome the mimesis of Impressionism and insist on the artist's creative control. Colour isnow understood as a rendezvous of the human brain and the universe, leading towards abstraction. Leschonski interprets Expressionist architecture as a fashioning of the world of metaphysics, and claims that its principles of construction informed Expres sionist theory and practice. The absolutes of time and place give way to a more transcendental and dynamic understanding. Gothic architecture points to formal analysis in Expressionist art, and inspires the birth of a 'New Man'. His selec tive survey of the crystal in Expressionist works is impressive for itsmeasured 284 Reviews application of well-known developments. However, his analysis of Expressionist architecture disappoints because itrelies on already established work by Iain Boyd Whyte and Angelika Thiekotter. He refers frequently to the coincidentia opposi torum of Nicholas of Cusa, or the theories of Schopenhauer and Nietzsche, to support his view of the crystal as spiritual transcendence between the self and the outside world, form and content. Thus Theodor Daublefs 'Nordlicht-Idee', culmi nating in a 'Krystall-Sonne', identified the relationship between theDionysiac and Apolline, and proved the link between Expressionism and Nietzsche's views on Greek tragedy. Leschonski cites Lothar Schreyer's insistence on the importance of rhythm in Expressionist lyrics and art, but does not examine his book Deutsche Landschaft (1932) in a chapter on the crystal that analyses six crystal systems, Schreyer's 'Hymne vom Glashaus', and refer toHans Kayser's Orpheus: Vom Klang derWelt (1924), which explores the harmonic relationship between the crystal and music. The interpretations of individual lyrics aremore convincing than standard state ments on works of art. The exposition ofWorringer's geistige Illusion' (p. 161) and of the influence of his views on Expressionist theorists and artists brings noth ing new. The conclusion that the Expressionist work of art is a 'transzendental dynamische Konstruktion' (p. 168) fits the selection of works illustrated, but excludes the dimension..." @default.
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• W4210589901 title "Der Kristall als expressionistisches Symbol: Studien zur Symbolik des Kristallinen in Lyrik, Kunst und Architektur des Expressionismus (1910–1923) by Henrik Leschonski" @default.
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