Ernst Jandl

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Ernst Jandl (born August 1, 1925 in Vienna ; † June 9, 2000 there ) was an Austrian poet and writer. Jandl became known primarily for his experimental poetry in the tradition of concrete poetry , for visual poetry and sound poems such as schtzngrmm or falamaleikum , which develop particularly effective through the lecture. Jandl's work was always determined by playing with language and spanned an arc from political poetry such as Vienna: heldenplatz and trampled man blues to comical language games such as ottos pug and being five . The late work became more conventional in form and melancholy in content, but still contained Jandl's typical wit of poems such as library or congratulations . In addition to poetry , Jandl wrote prose texts , several radio plays as well as two plays and translated authors from English. Jandl's popularity was due to his readings, which were published on numerous records, as well as his artistic collaboration with jazz musicians.

Jandl's first publications were perceived as a cultural provocation in their time and led to scandal several times. For a long time there was no publisher who wanted to publish his experimental poetry. His first literary successes began in the mid-1960s, but recognition as one of the most important poets of his time and numerous honors in his home country Austria and the entire German-speaking area followed late in Jandl's career. Until his early retirement for health reasons, he worked full-time as a teacher. Jandl lived with the poet Friederike Mayröcker . He was close to the Vienna group and was one of the initiators of the Graz Authors' Assembly , which he later took over as president.

Life

Youth and war

Ernst Jandl was the eldest son of the bank clerk Viktor Jandl (1894–1973) and the trained teacher Luise, née Rappel (1902–1940). He had two younger brothers: Robert (1929–1993) later became an architect, Hermann Jandl (1932–2017) worked as a teacher and also made a name for himself as a writer. Two step-siblings are from the father's second marriage.

Both parents were interested in art. While his father showed little professional ambition in the bank and did not advance until his retirement, his passion was painting , which he pursued in his free time as an autodidact and largely unaffected by modern art movements. It was not until 1971 that his watercolors and drawings were shown at an exhibition due to the influence of his son. The mother, who had never worked as a teacher after Ernst's birth, fell seriously ill with myasthenia gravis in 1934 . From this point on, she began to write, composed poetry and prose , some of which were published. Under their influence, their son Ernst also discovered writing when he was around nine years old. He was particularly impressed by the reactions that can be triggered with writing. It soon became clear to him that he wanted to become a writer, an activity which, however, did not seem suitable for him to make a living, which is why he, like his mother, aspired to become a teacher. At the age of twelve, Jandl published his first poem under the title Flood in the Neuigkeits-Welt-Blatt on September 19, 1937.

The eldest son had conflicts with his mother because of her growing devotion to religion. While the father largely let the adolescents have their way, the illness of the mother increased the moral rigor of the devout Catholic. For the son, the contradictions in their beliefs were sharply exposed and he rebelled against their upbringing. His mother died on April 6, 1940, an event that, according to Klaus Siblewski, had a great influence on Jandl's work and was taken up again and again, for example in the poem mutters early tod from 1984, which Jandl's first work edition from 1985 concludes:

“Mother's early death
gave birth to me for the second time

with
dog-ears and the long nose of pinocchio

so you can easily find me
I'm lost "

However, the death of the mother also gave the adolescent new freedom. He could now read the literature that his mother had previously sorted out as not being “morally impeccable”. His “lyrical provisions” were poems by August Stramm , Wilhelm Klemm and Johannes R. Becher . After the Catholic Schottengymnasium was closed after the annexation of Austria to the German Reich , Jandl attended the Kundmanngasse grammar school in Vienna until he graduated from high school in 1943 . In its mixed social structure, he found like-minded people who, like himself, opposed National Socialism . Jandl withdrew from the Hitler Youth on the grounds that they were not “interested” in him. He got to know jazz and modern art , which the new rulers vilified as “ degenerate art ”.

Gertrude Stein , here in November 1934, became a role model for Jandl.

In early 1942, sixteen-year-old Jandl slept with a housekeeper whose fiancé was in the military. The nineteen-year-old became pregnant, Jandl feared the consequences, but attempts at abortion failed. Finally, he confessed to the paternity of the child who was born in September 1942 and repeated the confession even after the war. The event, in Jandl's eyes a "catastrophe", strained later relationships with women. In 1944, during his military service, Jandl began a story called Gertrude. A confession , and decades later he came back to the incident in the 1942 poem sketch .

After graduating from school, Jandl was posted for three months to the labor service in St. Pölten at the river regulation . Jandl, who was reluctant to do any physical work, later commented: "I will probably not have been a useful worker." In August 1943 he was drafted into the military, where it was his primary aim to postpone the deployment on the front lines . After the assassination attempt on Adolf Hitler on July 20, 1944 , he received orders to march to the Western Front . Together with his comrades, he took the opportunity to overflow to the American troops. Jandl was interned in the English prisoner-of-war camp in Stockbridge . There he worked as an interpreter , broadened his knowledge of English and for the first time came into contact with English-speaking authors who had a strong influence on him in different ways: Ernest Hemingway and Gertrude Stein . On April 29, 1946, Jandl was released from captivity and returned to his family in Vienna. The confrontation with the war left strong traces in Jandl's work and produced poems such as schtzngrmm , father come tell about the war and vienna: heldenplatz .

Marriage, profession and first poems

In April 1946, Jandl began studying German and English at the University of Vienna . It was here in 1947 that he met Roswitha Birthi, a fellow student with whom he became engaged. He broke off the engagement, but eventually decided to get married. Jandl finished his studies in June 1949, and they married on August 1st of the same year. Jandl moved to Favoritenstrasse , into his wife's apartment, who shared it with her mother. He completed his probationary year at the Stubenbastei grammar school . By the summer of 1950 he also wrote his dissertation on Arthur Schnitzler's novels . In September 1950 Jandl found his first job as a middle school teacher at Vienna's Bundesrealgymnasium 2 in Zirkusgasse. He received his doctorate on December 21, 1950.

Jacques Prévert , here in a 1961 film, influenced Jandl to write realistic poems.

Privately and professionally in "orderly circumstances", Jandl turned increasingly to writing from 1951. Apart from the work of Gertrude Stein, Jandl was impressed by the poems EE Cummings 'and Gerard Manley Hopkins ', but he did not yet achieve their radicalism in his own works. While Klaus Siblewski saw Jandl's early poems “ caught in a metaphorical thought poetry”, in 1952, under the influence of Jacques Prévert's poems, Jandl achieved the breakthrough to realistic poems and a first creative high point in his life. Jandl got to know Andreas Okopenko , the editor of neue wege , a magazine of the Vienna Youth Theater distributed to schools . In September 1952, Jandl's first post-war publication Da Come They Run was published in Okopenko's own literary journal publications . Further poems were printed in neue wege and HC Artmann's brochure alpha . Even more conservative writers like Rudolf Felmayer and Hans Weigel included Jandl's poems in anthologies .

The Jandl couple worked in England through 1953: Roswitha Jandl as a teacher in Cambridge , Ernst as a teacher at the East Barnet Grammar School in London . Jandl's literary productivity decreased compared to the fruitful previous year, but he got to know his fellow poet Erich Fried . While Jandl had previously only viewed his writing as a sideline, Fried led him to a much more uncompromising attitude towards literature, for which he now intended to use all his might. Fried also inspired him to change the way he used language, which should no longer be seen merely as a means of transporting content, but rather as a working material. For Jandl, the poem Sign , which he did not finish until 1955, became a programmatic work from his time in London :

"The harmonious jugs,
the plates with the Greek face,
the gold-plated heads of the classics are broken -

but the clay and the water keep turning
in the potters' huts. "

Encounter with Mayröcker and poetry experiments

Friederike Mayröcker , Vienna 1974

In 1954 Jandl returned to Vienna and transferred to the grammar school in Waltergasse in the fourth district. At the youth culture weeks in Innsbruck he met Friederike Mayröcker for the first time , she, too, a teacher from Vienna, who was already known and respected as a young author. Jandl, who had previously questioned the compatibility of his civil marriage with his urge for literature, found in Mayröcker the close spiritual connection to a like-minded writer. Both of them divorced their spouses. But the coexistence of the two writers also turned out to be not free from complications. Jandl needed a regular way of life for his work, which he did not find in Mayröcker's apartment. So Jandl soon moved out again with his partner, and both found that form of separate coexistence which, although planned as a temporary measure, should develop into a constant in their life together.

Jandl and Mayröcker also differed greatly as authors: Jandl attached importance to the order and the formal structure of his poems, Mayröcker wrote in free verse , strongly associative and characterized by references. The linguistically rather simple poems of Jandl contrasted with the high tone of her poetry. Nevertheless, both became “literary allies”, Jandl valued Mayröcker's advice and always expressed himself with great admiration for their work. However, joint work was rare. In 1957 there was an attempt called community work , which was not continued. In the second half of the 1960s, Mayröcker and Jandl wrote a number of radio plays together, of which Fünf Mann Menschen became the birth of the new radio play in 1968 and its outstanding representative. But while Mayröcker later wrote numerous radio plays, Jandl withdrew from this genre in 1970.

Through Mayröcker, Jandl came into contact with the literary group of the Wiener Gruppe , especially HC Artmann and Gerhard Rühm . He shared their fundamental criticism of Austrian post-war literature, which did not break with old traditions clearly enough, and put it himself: A poem that would not have brought its author to a concentration camp because of its form would have no value for him. Nevertheless, Jandl remained an outsider in the group and did not participate in joint productions. His clothes with jacket and tie made him stand out from the group's bohemians . According to Artmann, Jandl lacked humor and his political issues violated the group's literary-aesthetic principles. Jandl's first volume of poems, Other Eyes , which he published in 1956, appeared too conservative and did not meet with any response outside the group. Jandl, who had previously been very committed to the planning, commented: "I had published my first book at berglandverlag and it was gone."

The year 1956 also marked a "turning point" for Jandl's work. With the prosa from the whispering gallery he found a new writing method, which he described as "the first successful assimilation of techniques by the genius of the century Gertrude Stein". For the first time, Jandl's poems reached the height of his own radical claims. After the stagnant production of the previous years, a veritable "writing explosion" of experimental poetry followed in the spring of 1957 , including Jandl's so-called "spoken poems " such as schtzngrmm or the transfer of painful excuses from a patient to the dentist in a series of sounds:

"Boooooooooooooooooooooooo
rrrrrannn
sse
mirrr
[...]"

The publication of these two poems, including four other spoken poems in the May 1957 edition of neue wege , led, according to Klaus Siblewski, to “a storm of indignation that none of the other authors in Jandl's age has even rudely triggered and has to endure.” Jandl's poetry was perceived as an “unparalleled cultural provocation”, reinforced by the fact that Jandl worked as a German teacher in his job, and he was reviled as a “spoiler of youth”. The scandal culminated in the dismissal of the editor in charge of neue wege , Friedrich Polakovics. For Jandl, too, the consequences were serious. In the following years he was excluded from publication opportunities in Austria and was considered a persona non grata in his home country , with whom to get involved only caused inconvenience. Looking back, Jandl admitted that in 1962 he was "already very down": "As a writer, you can be starved by boycotts ."

Growing success and retirement

At the beginning of the 1960s, smaller publications found their way into magazines again, but in the meantime the manuscripts for two publications had accumulated: Laut and Luise and Schleuderbahn (later the basis of dingfest ). With these, Jandl went personally to search for publishers outside Austria in 1963, visiting Suhrkamp and Luchterhand , among others , where he received rejections. He sought contact with the audience through readings, and after a reading in Wendelin Niedlich's bookstore in Stuttgart , he met Max Bense and Helmut Heißenbüttel . The latter made contact with Walter Verlag , whose publishing director Otto F. Walter was planning a new series of Walter prints with modern literature with bibliophile features. However, it was not until October 3rd, 1966 that Laut and Luise appeared in a limited edition of 1000 copies. Once again, the publication was followed by a scandal. Although Walter had foreseen differences with the Catholic supervisory boards and, as a precaution, removed the poem progressive mange from the volume, the supervisory bodies of the publishing house found Jandls Lyrik an “unbearable provocation”. Walter was fired and left the publishing house with Jandl and sixteen other authors in the direction of Luchterhand, where he would publish Jandl's works in the future. Looking back, Siblewski commented: "No book by another author brought about a comparable upheaval in German-language publishing in the post-war period."

Ernst Jandl and Friederike Mayröcker at a reading, Vienna 1974

In the meantime, Jandl's writing career had received impetus from further readings. Jandl's first reading in Graz on June 12, 1964 marked a turning point in his reception in Austria, after which a hesitant examination of his work and gradually growing recognition began. On June 11, 1965, Jandl read in London's Royal Albert Hall in front of 4,000 spectators who were enthusiastic about his lecture, which was followed by the first publications in English. At a reading on November 24, 1967 in Frankfurt , Jandl met Klaus Wagenbach , who subsequently released a record of Jandl's spoken poems, which made the author known to a large audience for the first time. To Laut and Luise. Ernst Jandl reads spoken poems , followed in 1971 by the record hosi + anna . In addition to Wagenbach, Jandl's own publishing house Luchterhand also published other records. Jandl's readings also became increasingly popular and soon filled halls. Through them, Jandl kept in contact with the audience over the years of isolated activity at his desk and drew strength from them for his work. In addition, he was able to earn an ever larger part of his living from the readings.

The volume of poetry published in 1970, The Artificial Tree , was Jandl's greatest sales success up to then. The paperback published in the Luchterhand collection reached three editions of 10,000 copies in its first year. In addition to "reading and speaking poems " such as ottos mops or fünfter sein , the volume also contained so-called "visual poems" in which the graphic arrangement of the words forms a semantic meaning, for example in the title poem the artificial tree , which begins with the following lines:


fruit fruit fruit fruit fruit fruit
        fruit fruit fruit fruit fruit
               fruit fruit
                     fruit fruit fruit
                          fruit fruit
                              freight
                               [...]

Because of the delay in the publication of his works, Jandl went public with poems, some of which were written more than a decade ago and which did not correspond to his literary development. In the early 1970s, for example, he was primarily regarded as an experimental author, while his work had already turned back to more traditional forms of poetry. With the tape dingfest he confronted his image in public in 1973 and drew an arc from his beginnings to the experiments of Laut and Luise to more conventional poems of the present.

Jandl's work as a teacher became more and more a burden. It hindered his writing, but he was dependent on the income from the profession. In 1964 he took the first year of unpaid leave, after returning to school he fell ill several times. From the 1969/1970 school year he was again exempted from service. The unpaid leave was repeated over the next five years. Jandl received a scholarship from the German Academic Exchange Service (DAAD) in Berlin in 1970 , in 1971 he lived for a year as a “ poet in residence ” at the University of Texas at Austin , further stays abroad followed, for example in 1973 for another DAAD scholarship for Mayröcker . In 1975 Jandl, initially in a positive mood, tried to return to school again, but the integration did not succeed. Jandl had been suffering from gastric ulcers and depression for a long time , he first reduced the number of hours, was then given another year off and finally retired in 1979 on the advice of then Education Minister Fred Sinowatz for health reasons.

With a growing influence, Jandl also got involved in the Austrian cultural scene. On October 22, 1972, he converted a televised reading in Graz to public criticism of the Austrian PEN Club . The occasion was the resignation of PEN President Alexander Lernet-Holenia , with whom he protested against the award of the Nobel Prize for Literature to Heinrich Böll , proof for Jandl that the Austrian PEN could no longer speak for the majority of the country's authors. Jandl saw the club occupied by a small number of mediocre authors, while most of the important contemporary Austrian writers did not belong to it and thus had no influence on the Austrian cultural landscape. On the initiative of Jandl and Alfred Kolleritsch , on February 24 and 25, 1973, thirty authors met in Graz to found the Graz Authors' Assembly , an association in competition with the PEN, which was intended to break its dominance and soon brought together the most important Austrian authors. HC Artmann took over the presidency, while Jandl worked in the background as the first secretary. In 1975 Jandl was elected Vice President, from November 1983 to November 1987 President, until 1994 he remained on the board of the association. However, he followed the course of the authors' meeting with increasing discomfort. Due to the growing number of members, it was becoming increasingly difficult for the literary authors to work, so that Jandl later thought about founding the Graz Authors' Assembly a second time.

Late work and late honors

In the mid-1970s, experimental lyric poetry was replaced by a new theme that determined Jandl's work more and more as he grew older: the exploration of himself. In the tagenglas cycle , he looked at things from his everyday surroundings and processed autobiographical material, the cycle poems childhood was fed by memories. Jandl called his newly found linguistic style a "shabby language", the language of people who do not speak German as their mother tongue, grammatically and syntactically distorted, and precisely because of this, they are able to name existential issues free of gusto and pathos . Jandl described: "In view of the flawedness of human life, the linguistic error is turned into an art form."

Two plays that were created during this period are also based on the principle of distorted language: the humanists are a conversation piece between two narrow-minded, reactionary and elitist-minded Nobel Prize winners, one a "university professor capacity from German stories", the other a "great German and inder national artists ”; From abroad is a "speech opera" in the subjunctive about a medieval writer who is isolated in his social environment by a depression. From abroad achieved a strong but brief stage success in the early 1980s and was also played in other European countries. The play reflected Jandl's own constitution, who, through his isolation as a writer, felt increasingly thrown back on himself and isolated and his loneliness and resignation increased. His gloomy worldview was also reflected in the following volumes of poetry. In the yellow dog from 1980 he saw the human worldview without validity and looked at things from close to the ground. The volume idyllen from 1989 turned the usual understanding of an idyll into the grotesque. On the anniversary of Jean Améry's death in 1978, Jandl wrote:

"Sometimes I'm so angry
that it is not good for anyone to be with me,
then I don't like to be alone
because how do I get rid of my anger
[...]"

From 1980 onwards, various combinations of Jandl's poetry with jazz music in the style of jazz & poetry were created . The jazz opera Laut und Luise , developed together with Dieter Glawischnig , was enthusiastically received at the Berlin Jazz Festival on November 3, 1985. Another collaboration came about with the wind player Manfred Schoof . The record you recorded with the Vienna Art Orchestra , its director Mathias Rüegg and the singer Lauren Newton , are you owl? was awarded the German Record Critics' Prize in 1985. In the late summer of 1991, Jandl linked music and poetry in his work in a further way. Within a few weeks, during a vacation and immobilized by the fracture of his ankle, numerous so-called stamps were created . These poems in dialect were based on Gstanzln , sung folk quatrains that Jandl had got to know when he was a child in Lower Austria . More stamps appeared in the volume peter und die kuh , published in 1996 , which was again under the theme of childhood, but which also incorporated everyday experiences about diseases and old age as well as poetologies about writing poetry.

Ernst Jandl's grave in the Vienna Central Cemetery

From the late 1970s onwards, Jandl received a wave of public honors from the Austrian Appreciation Prize and the Georg Büchner Prize to the Grand Austrian State Prize . After honors from the City of Vienna and the Province of Styria, the Golden Decoration of Honor for Services to the Republic of Austria followed in 1996 . Jandl, a member of the SPÖ since 1951 , became a member of the Academy of the Arts in Berlin (since 1970), the Forum Stadtpark Graz, the German Academy for Language and Poetry in Darmstadt (since 1981) and the Austrian Art Senate (since 1984). Twenty-five years earlier, Jandl was still hostile to his experimental poetry. According to Klaus Siblewski, Jandl is now one of the “most important and most recognized authors in the German-speaking world”. In 1984/85 Jandl gave the Frankfurt poetics lectures . In 1981 the first Ernst Jandl Symposium took place in Vienna , followed by a second multi-day symposium in Mürzzuschlag in 1995, on Jandl's seventieth birthday, and an international conference in Udine in 1996 .

On June 9, 2000, Ernst Jandl died of heart failure. He had suffered from aortic constriction for a long time , had to avoid exertion such as climbing stairs and was dependent on a wheelchair. Jandl's funeral was a Catholic ritual. He was buried in a grave of honor in the Vienna Central Cemetery (group 33 G, number 29). The obituary quoted the poem two appearances from the poetry book idyllen :

"I will appear to you
as always I have appeared to you
and you will cry
because I am gone
[...]"

Ernst-Jandl-Weg was named after Jandl in 2003 in Vienna- Donaustadt (22nd district) . In 2005 the key park in Vienna- Wieden (Schlüsselgasse 4) was renamed Ernst-Jandl-Park . The Austrian Federal Ministry for Education, Art and Culture has been awarding the Ernst Jandl Prize every two years since 2001 . Jandl's estate is in the literary archive of the Austrian National Library .

plant

Literary classification

Jandl described the difficulty of his literary localization as early as 1964: "I cannot answer this question to which poetic direction I belong, unless one takes 'to none' or 'to mine' as an answer at will." Volker Kaukoreit and Kristina Pfoser point out that in Jandl's work there were always realistic poems in everyday language alongside experimental poetry and that one type of poetry was never played off against the other. Chronologically, however, the work shows a gradual turning away from the “abstract” experiments between 1956/57 and the beginning of the 1960s towards a more autobiographical orientation up to “age poetry” from the volume idyllen (1989). According to Klaus Siblewski, a constant in Jandl's work became his search for new possibilities of expression. In doing so, Jandl regularly experienced that a new idea usually went through a phase of strong and inspired production, while the viability of the ideas waned in the longer term.

HC Artmann , according to Jandl “the father of the viennese group”, 1974

Jandl is considered the best-known and, according to Peter Pabisch , the most consistent representative of so-called Concrete Poetry . Here refers Karl Riha the relationship to the Vienna Group to HC Artmann and Gerhard Ruhm , the Jandl himself in his poem related described:

"The father of the wiener group is hc artmann
the mother of the wiener group is gerhard rühm
the children of the wiener group are countless
i am the uncle"

Jandl thus reaffirmed his special status and independence, which he always retained despite all influences. His experiments were not confined to themselves, but often drew the arc from experimental to traditional poetry. It was precisely because of this that they broke up the usual perspective and opened up new, surprising perspectives. Jandl explained: "My experiments often take on traits of traditional lyric poetry, which caused stronger reactions through the simultaneous confrontation of known and unknown elements than was the case with texts without this tension".

style

According to Karl Riha, Jandl's work is strongly influenced by his sense of typography , and the printed image of his poems consistently obeys a graphic composition. In this sense, the lower case letters that Jandl uses almost consistently in his poems are, not least, an optical design element. Jandl traced it back to a suggestion by Artmann and Rühm, and he stated that through it “the capital letters, freed from the service of a mere convention, became available for new tasks, especially for emphasizing individual words.” The punctuation is also missing in Jandl's poems are often used or only used purposefully. Anne Uhrmacher explained this with extended room for interpretation for the reader and argued with Jandl's role model, Gertrude Stein, that the lack of assistance with punctuation marks encouraged the reader to process the word sequences independently.

Typical for Jandl's handling of language are changes on the level of word formation and grammar , whereby, according to Jandl, "the greatest changes can be made to the word: distortions, deformities, other words" using the methods of "reshaping, amputation, transplantation". The appeal of the poem wien: heldenplatz arises from the "tension between the damaged word and the unharmed syntax". According to Uhrmacher, Jandl's neologisms arise through "the method of converting or combining known morphemes with unknown, association-bearing word components." On the other hand, an injured syntax can be observed in Jandl's "decrepit language" in the works of the late 1970s, for example in the theater play Die Humanisten : The language is littered with mistakes and breaks the rules of grammar again and again. Jandl certified himself "anti-grammatical (ie in this case also: anarchist) tendencies". Jandl often also records the spoken language in writing, for example in the dialect of the late punch , moves to the level of children's language or mixes different languages ​​into multilingual gibberish .

"Jandln" at school

On Jandl's 70th birthday, Jörg Drews assessed "that Ernst Jandl is the only 'experimental' poet who really became popular and made it into the reading books as a classic". However, according to a study by Hermann Korte , the canon of his works in German lessons is limited to a handful of poems and focuses primarily on Jandl's publications from the 1960s and early 1970s, while his later work hardly found its way into school lessons. The poems ottos mops , auf dem Land und lichtung , in particular, have canonical significance in lower secondary level . The war poem schtzngrmm was particularly well represented in the 1970s . Other frequent titles are ebbe / flut , loch , caterpillar , etude in f , father come tell about the war and my own song . In Korte's opinion, this selection tends to play down Jandl at school and, above all, focus on the cliché of the “language clown”. His punchy language games support the didactic intention of dealing creatively with texts in German lessons and encourage people to imitate, change and create their own.

Jandl himself described the purpose of his phonetic poems “to encourage players to play along, that is, to encourage the reader to deal with language in this way. That will not produce all poets […]. But if someone who tries it himself gains a new, expanded relationship with language and the art of language, then something has happened whose value I have no doubt. ”Jandl especially encouraged children to participate in his readings, and he explained in a letter to the publisher Gertraud Middelhauve his pedagogical intention "to give children a certain feeling for poetry through these poems, or to awaken it in them, or - better still - to confirm it to them". Jandl also received numerous copies of his poems from children. He published various variations of ottos mops with titles such as Hannas Gans , Kurts Uhu or Ruths Kuh in Ein bestes Gedicht and commented: “It is usually children who copy this poem, but in reality they don't copy it at all, they just have discovers how you can make such a poem, and then they do it, and it becomes your own poem. ”The term“ jandln ”became widespread for his own language game modeled on the poet. In the transformation of Jandl's name, Anne Uhrmacher sees confirmation of "how unique the author's linguistic innovation is."

Awards

Works

Work editions

  • Ernst Jandl: Works in 6 volumes. Ed. V. Klaus Siblewski . Luchterhand Literaturverlag, Munich 2016, DNB 1097625370 .
  • Ernst Jandl: Poetic Works. 10 volumes. Ed. V. Klaus Siblewski. Luchterhand Literaturverlag: 1997.
  • Ernst Jandl: Collected Works. 3 volumes. Ed. V. Klaus Siblewski. Luchterhand: 1990.

Single issues

Radio plays and works on sound carriers

  • Laut and Luise . Wagenbach's Quartplatte 2. Berlin 1968
  • Five man people . Radio play together with Friederike Mayröcker. With Günther Neutze, Helmut Wöstmann, Jürgen Schmidt, Friedrich von Bülow a. a. Director: Peter Michel Ladiges. Production: Südwestfunk 1968 (no number). Enclosure to: Klaus Schöning (Ed.): New radio play texts and scores . Suhrkamp, ​​Frankfurt am Main, 1969.
  • the rattle of mona lisa . Radio play. Von Jandl describes it as “an acoustic happening for a voice and apparatus”. Realization: Ernst Jand. BR / HR / NDR 1970. As a podcast / download in the BR radio play pool. There is also a 15-minute introduction by Jandl to his radio play experiment.
  • hosi + anna . Wagenbach's Quartplatte 6. Berlin 1971
  • the artificial tree . Luchterhand 7 PAL 60.159, Darmstadt 1973
  • The rattle of the Mona Lisa . Deutsche Grammophon / Luchterhand 2574 003, Hamburg-Neuwied 1973 (LP together with Helmut Heißenbüttel Max just before going to sleep )
  • him hanflang was the word . Wagenbach's Quartplatte 20, Berlin 1980
  • Ernst Jandl speaks poetry . City and University Library Frankfurt am Main (no number). Enclosure to: “Booklet to the exhibition of the City and University Library Frankfurt am Main October 23, 1984 to December 21, 1984, January 17, 1985 to February 28, 1985” , 1984
  • Lyrics - lyrics and music live . Ernst Jandl with Manfred Schoof (trumpet, flugelhorn), Cosmus Records NSV 1412 ( sampler ), 1984
  • from from to to . ernst jandl with lauren newton (vocals), uli scherer (piano and voice), wolfgang puschnig (woodwind instruments and voice). Extraplatte GmbH Vienna (EX 316 145 CD), 1988
  • The rattle of the Mona Lisa. scenes from real life. Do you know me gentlemen , workshop program from Herbert Kapfer and Mira Alexandra Schnoor. Bavarian radio. Radio play CD (Order No .: 22871), 1990
  • prefer a saxophone . (spoken poems from 'idyllen') with ernst jandl, lauren newton, klaus dickbauer . Audio CD. Erding 1991. ISBN 3-221-51532-4
  • jandl's dilemma . (Jandl-Revue with Ernst Jandl and Statt-Theater FASSUNGSLOS: Robby Langer, Bertram Quosdorf, Frank Schubert, Andrea Thelemann. Director: Ulrich Bassenge . Production Bayerischer Rundfunk 1992). Snowball CD 1051-2.
  • are you owls? . ernst jandl with lauren newton (voice). wolfgang puschnig (alto saxophone, bass clarinet [bass clarinet], flute and voice). woody schabata (marimbaphone, vibraphone, tablas, tarabuka and synthesizer), mathias rüegg (artistic direction and voice). Extraplatte GmbH Vienna (CD EX 316 141-2), 1984 (NA 1994, ISBN 3-221-51412-3 )
  • punch . ernst jandl with erich meixner (voice, accordion). Extraplatte GmbH Vienna (CD EX 316 157-2), 1994
  • from the foreign - spoken opera . Audio CD. Gertraud Scholz Verlag, Obermichelbach 1995. ISBN 3-925599-34-7
  • loud and luise - from the brevity of life . Ernst Jandl with Dieter Glawischnig and the NDR Big Band . HatHut Records CH-4106 Therwil (2 CDs 2-8701) 1995
  • Vienna Heldenplatz . 2 audio CDs read by the author and Wolf Redl. Munich 1998. ISBN 3-89584-742-9
  • him hanflang was the word . spoken poems read by the author. 1 audio CD. Wagenbach, Berlin 2000. ISBN 3-8031-4037-4
  • jandls seriously. Audio CD. Eichborn. Music: Peter Böving. Production: shower records 1999. ISBN 3-8218-5149-X .
  • funk it seriously. Audio CD. Eichborn. Music: Peter Böving. Production: shower records 2001. ISBN 3-8218-5157-0 .
  • 13 radiophonic texts & the rattle of mona lisa . 1 audio CD spoken by the author. BR radio play and media art / intermedium records 2002. ISBN 3-934847-70-6
  • world customs . Audio CD read by the author with Martin Haselböck (organ) and Rudolf Josel (trombone). Erding 2002. ISBN 3-902123-27-3
  • hurry with a file . 1 audio CD spoken by the author. Munich 2003. ISBN 3-89940-262-6
  • loud + luise. hosi + anna . spoken poems read by the author. 1 audio CD. Wagenbach, Berlin 2005. ISBN 3-8031-4026-9
  • springtime . CD with live reading by the author 1982. Herbig, Munich 2008. ISBN 978-3-7844-4157-3

Video

  • ernst jandl live - poems and scenes from two author readings in Mainz and Frankfurt 1983 , Luchterhand
  • food - piece with a view. Animated film / Germany 2013, Klötzchenkino, 10:09 minutes, director: Peter Böving
  • der und die Hybridfilm / Germany 2019, Klötzchenkino, 09:35 minutes. With Anna Mateur , Manfred Lehmann , Markus Pfeiffer, poetry: Ernst Jandl, music and direction: Peter Böving

Translations

Jandl translated some works from English and American: the novel Die Insel by Robert Creeley , the text collection Silence by John Cage , poems by Christopher Middleton and WH Auden as well as texts by Ian Hamilton Finlay , Gertrude Stein, Leo Lionni , Beatrice Schenk de Regniers and Philip de Vos .

Settings

  • Zorah Mari Bauer (* 1957): setting of Jandl poems (1988) for mixed singing and speaking voices
  • Dieter Glawischnig (* 1938): Laut and Luise - from the brevity of life (1995) (Ernst Jandl [language], Dieter Glawischnig [composition] and the NDR big band )
  • Erhan Sanri (* 1957): die humanisten (2000) chamber music conversation opera. Premiere September 2000 Hamburg (opera stable in the Hamburg State Opera; York Reynolds [baritone], Burkhard Schulz [baritone], Ulla Trulla [bass], Helge Slaato [violin], Frank Reinecke [double bass], Nils Gammerstorf [drums], Michael Petermann [Musical director]), further performances in Vienna and Bremen.
  • Alexander Kral (* 1982): perfection (2004) for mixed choir a-cappella. Premiere: February 2nd, 2006 at the European Composers' Congress (hosted by the Austrian Association of Composers) in the Glass Hall of the Musikverein in Vienna by the Vienna Chamber Choir under Johannes Prinz.
  • Ensemble sonorfeo: from times , settings of Jandl poems for speaker (Heiner Waniek), speaking flute (Matthias Nahmmacher) and violin (Ulrike Nahmmacher). Premiere: August 11th, 2006 at the Jandlfest tohuwabohu - jazz me if you can in Wuppertal.
  • Johannes Marks (* 1968): Eine Jandl-Revue (2008) for soprano, clarinet, accordion and violoncello. Premiere May 4th, 2008 Dortmund (Depot; Irene Kurka [soprano], Joachim Striepens [clarinets], Maik Hester [accordion], Burkart Zeller [cello])
1. the cups - 2. 16 years - 3. owls - 4. ears in concert - 5. etude in f ("hurry with file")
  • Novi Sad : Die Wöd is so bitter , Wienmusik 2017, monkey music.

literature

Web links

Commons : Ernst Jandl  - Collection of images, videos and audio files
Wikiquote: Ernst Jandl  - Quotes

Individual evidence

  1. ↑ Klaus Siblewski: a comma point Ernst Jandl. A life in texts and pictures , pp. 12–13, 29–21, 25, 36–37, reprint of the poem Hochwasser p. 24.
  2. ↑ Klaus Siblewski: a comma point Ernst Jandl. A life in texts and pictures , pp. 22–23, 26–27.
  3. ↑ Ernst Jandl: mother died early . In: Collected Works, Volume 2 . Luchterhand, Darmstadt 1985, ISBN 3-472-86610-1 , p. 854.
  4. ↑ Klaus Siblewski: a comma point Ernst Jandl. A life in texts and pictures , pp. 31, 42–46.
  5. ↑ Klaus Siblewski: a comma point Ernst Jandl. A life in texts and pictures , pp. 32–33, 44.
  6. ↑ Klaus Siblewski: a comma point Ernst Jandl. A life in texts and pictures , pp. 50, 54, 56–59.
  7. ↑ Klaus Siblewski: a comma point Ernst Jandl. A life in texts and pictures , pp. 62–66.
  8. ↑ Klaus Siblewski: a comma point Ernst Jandl. A life in texts and pictures , pp. 66–70.
  9. ↑ Ernst Jandl: characters . In: Collected Works, Volume 1 . Luchterhand, Darmstadt 1985, ISBN 3-472-86610-1 , p. 48.
  10. ↑ Klaus Siblewski: a comma point Ernst Jandl. A life in texts and pictures , pp. 69, 75, 78.
  11. ↑ Sandra Rühr: Sound documents from the roller to the audio book. History - media specific - reception . V&R unipress, Göttingen 2008, ISBN 978-3-89971-473-9 , p. 235.
  12. ^ Hans-Jürgen Krug: Small story of the radio play . UVK, Konstanz 2003, ISBN 3-89669-424-3 , p. 73.
  13. ↑ On the paragraph: Klaus Siblewski: a comma point ernst jandl. A life in texts and pictures , pp. 78–80, 108–112.
  14. ↑ Klaus Siblewski: a comma point Ernst Jandl. A life in texts and pictures , pp. 71, 96–97.
  15. ↑ Ernst Jandl: The opening and closing of the mouth . Frankfurt poetics lectures . Luchterhand, Darmstadt 1985, ISBN 3-472-61567-2 , p. 57.
  16. ↑ Klaus Siblewski: a comma point Ernst Jandl. A life in texts and pictures , p. 98.
  17. ↑ Ernst Jandl: boooooooooooooooooooooooo . In: Laut and Luise . Reclam, Stuttgart 1976, ISBN 3-15-009823-8 , p. 74.
  18. ↑ a b For the complete poem online, see z. B. Norbert Hummelt : Remember, your name is Ernst Jandl. A missing person report (PDF) at planetlyrik.de. Published in copybook band 55/2000.
  19. ↑ Klaus Siblewski: a comma point Ernst Jandl. A life in texts and pictures , pp. 98, 101.
  20. ^ Hannes Schweiger: Education for resistance. Ernst Jandl's school of literature. In: Bernhard Fetz (Ed.): The Ernst Jandl Show. Residenz, St. Pölten 2010, ISBN 978-3-7017-1557-2 , p. 102. ( PDF ( Memento of December 7, 2011 in the Internet Archive ))
  21. ↑ Klaus Siblewski (Ed.): Ernst Jandl. Texts, data, images. Luchterhand, Frankfurt am Main 1990, p. 52.
  22. ↑ Klaus Siblewski: a comma point Ernst Jandl. A life in texts and pictures , p. 103.
  23. ↑ Klaus Siblewski: a comma point Ernst Jandl. A life in texts and pictures , pp. 99, 104–106, 130, 133, quotation p. 106.
  24. ↑ Klaus Siblewski: a comma point Ernst Jandl. A life in texts and pictures , pp. 134–138, 155, 159, 195–196.
  25. ↑ Ernst Jandl: the artificial tree . In: the artificial tree . Luchterhand, Darmstadt 1970, ISBN 3-472-61009-3 , p. 7, also online .
  26. ↑ Klaus Siblewski: a comma point Ernst Jandl. A life in texts and pictures , p. 119.
  27. ↑ For the year see z. B. the short biography ( memento of December 7, 2011 in the Internet Archive ) of the exhibition The Ernst Jandl Show in the Literaturhaus Berlin (pdf; 464 kB).
  28. ↑ Klaus Siblewski: a comma point Ernst Jandl. A life in texts and pictures , pp. 130, 142–146, 163.
  29. ↑ Klaus Siblewski: a comma point Ernst Jandl. A life in texts and pictures , pp. 145–148, 158.
  30. ↑ About two poems in "rundown language" the Morgenfeier, September 8th, 1977 and from one languages , Master's thesis 1994 on Ernst Jandl's late poetry by Michaela Schmitz.
  31. ↑ Klaus Siblewski: a comma point Ernst Jandl. A life in texts and pictures , pp. 165–168.
  32. ↑ Ernst Jandl: the humanists . In: peter and the cow. the humanists. From a foreign place . Luchterhand, Munich 1997, ISBN 3-630-86929-7 , p. 162.
  33. ↑ Klaus Siblewski: a comma point Ernst Jandl. A life in texts and pictures , pp. 166, 169–171, 176–177.
  34. ^ Klaus Siblewski: Ernst Jandl ( Memento from May 26, 2013 in the Internet Archive ). Short biography on the website of the University of Duisburg-Essen .
  35. ↑ Ernst Jandl: sometimes I have such anger . In: the yellow dog . Luchterhand, Darmstadt 1980, ISBN 3-472-86508-3 , p. 45.
  36. ↑ Klaus Siblewski: a comma point Ernst Jandl. A life in texts and pictures , pp. 185, 188, 196–203.
  37. ↑ Notes . In: text + kritik 129, p. 111.
  38. ↑ Klaus Siblewski: a comma point Ernst Jandl. A life in texts and pictures , pp. 171, 174–175, 183, 186.
  39. ↑ I have nothing to write a poem. Ernst Jandl's late work (PDF; 143 kB) . Broadcast manuscript by Norbert Hummelt from March 9, 2010 on SWR2 .
  40. ↑ "This last spring". Bernhard Kraller in conversation with Friederike Mayröcker. In: Wasp's Nest . No. 125, pp. 74-79.
  41. ↑ Ernst Jandl: two appearances . In: idylls . Luchterhand, Frankfurt am Main 1989, ISBN 3-630-86716-2 , p. 99.
  42. ↑ Ernst Jandl: Orientation . In: Author in Society. Essays and speeches . Poetic Works Volume 11, Luchterhand, Frankfurt am Main 1997, ISBN 3-630-87030-9 , p. 10.
  43. ↑ Volker Kaukoreit, Kristina Pfoser (Ed.): Poems by Ernst Jandl , pp. 8-10.
  44. ↑ Klaus Siblewski: a comma point Ernst Jandl. A life in texts and pictures , pp. 70, 72.
  45. ↑ Peter Pabisch: funny. Phenomena of German-language poetry 1945 to 1980. Böhlau, Vienna 1992, ISBN 3-205-05553-5 , p. 77.
  46. ↑ Ernst Jandl: related . In: idylls . Luchterhand, Frankfurt am Main 1989, ISBN 3-630-86716-2 , p. 8.
  47. ^ Karl Riha : Orientation . In: text + kritik 129, pp. 11–13.
  48. ↑ a b Ernst Jandl: The poet who concerns us . In: Author in Society. Essays and speeches . Poetic Works Volume 11, p. 9.
  49. ^ Karl Riha: Ernst Jandl - visual . In: Klaus Siblewski (Ed.): Ernst Jandl. Texts, data, images , p. 102.
  50. ^ Letter from Ernst Jandl to the Austrian Society for Language Maintenance and Spelling Renewal. In: Klaus Siblewski (Ed.): Ernst Jandl. Texts, data, images , p. 40.
  51. ^ Anne clockmaker: varieties of the comic. Ernst Jandl and the language , pp. 174–175.
  52. ↑ Ernst Jandl: my poem and its author . In: for everyone . Lucherhand, Frankfurt am Main 1984, ISBN 3-630-61566-X , p. 215.
  53. ^ Anne clockmaker: varieties of the comic. Ernst Jandl und die Sprache , pp. 176–177, quotation p. 177.
  54. ^ Anne clockmaker: varieties of the comic. Ernst Jandl and the language , pp. 175, 183–184.
  55. ↑ Jörg Drews : "Explosive in youth, radical in old age." The poet Ernst Jandl is 70 years old. In: Süddeutsche Zeitung from August 1, 1995.
  56. ^ Hermann Korte : Jandl in school. Didactic considerations for dealing with contemporary literature . In: Andreas Erb (Hrsg.): Construction site contemporary literature. The nineties . Westdeutscher Verlag, Wiesbaden 1998, ISBN 3-531-12894-9 , pp. 203-207.
  57. ↑ Quoted from: Hannes Schweiger: Education for resistance. Ernst Jandl's School of Literature , p. 107. ( pdf )
  58. ↑ Quoted from: Hannes Schweiger: Education for resistance. Ernst Jandl's School of Literature , pp. 106–108, quoted on p. 108. ( pdf )
  59. ↑ Ernst Jandl: A best poem . In: Author in Society. Essays and speeches . Poetic Works Volume 11, Luchterhand, Frankfurt am Main 1997, ISBN 3-630-87030-9 , p. 184.
  60. ^ Anne clockmaker: varieties of the comic. Ernst Jandl and the language , p. 178.
  61. ^ BR radio play Pool - Jandl, the rattle of mona lisa
  62. ↑ Information on the film der and die . Klötzchenkino 2019, accessed on August 2, 2019
  63. ↑ Kristina Pfoser-Schewig: Bibliography of the works by and about Ernst Jandl . In: text + kritik 129, p. 95.
personal data
SURNAME Jandl, Ernst
BRIEF DESCRIPTION Austrian poet and writer
DATE OF BIRTH August 1, 1925
PLACE OF BIRTH Vienna
DATE OF DEATH June 9, 2000
Place of death Vienna