Vienna: Heldenplatz

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Adolf Hitler's speech on March 15, 1938 to the cheering crowds on Heldenplatz in Vienna

wien: heldenplatz is a poem by the Austrian poet Ernst Jandl , dated June 4, 1962 and first published in 1966 in Jandl's collection of poems Laut and Luise . It is one of Ernst Jandl's best-known and most extensively studied poems in secondary literature and is a modern example of political poetry .

The poem refers to the Heldenplatz in Vienna , the vast area of ​​which Adolf Hitler used for his propaganda staging on March 15, 1938 when the annexation of Austria to the National Socialist German Reich was announced . His speech was cheered by a large crowd - including twelve-year-old Ernst Jandl.

Formally, wien: heldenplatz follows the rules of an ordinary syntax , but according to Jandl's words, numerous words are “damaged”. They have been replaced by semantically ambiguous word creations that break the pathos of historical events and give them additional levels of meaning. Jandl mainly uses the complex of motifs of hunting , Germanic myth , religion and sexuality .

Content and form

Ernst Jandl
wien: heldenplatz
Link to the full text of the poem
(please note copyrights )

The poem consists of 15 verses , which are divided into three stanzas . The first stanza is dedicated to the atmosphere on Heldenplatz. It is filled with a crowd that is noisy and filled with tense hope. The aroused women in the crowd are explicitly addressed. In the second stanza the speaker appears, who is not named but is characterized by the part of his hair and a hoarse, hysterical voice. The third stanza captures the bumpy speech style of the speaker as well as the content of his speech, which blows to hunt down all those who think differently, and has an erotic effect on the crowd, again emphasizing the elation of women.

According to Ernst Jandl's own statement, the poem thrives on a “tension between the damaged word and the unharmed syntax”. Of the 69 words in the poem, Walter Ruprecht counts 47 autosemantics , i.e. words with a lexical meaning. The majority of these, namely 28 words, are Jandl's linguistic creations. Nevertheless, all neologisms are clearly recognizable in their syntactic function as noun , verb or adjective , which confirms the inviolability of the syntax . The poem uses a conventional grammatical structure and gets its effect by replacing the expected terms with new, unusual and surprising artificial words with different and ambiguous semantics .

In the sound structure of the poem, the staccato of the dominant plosive and occlusive sounds expresses the aggressiveness of the event (“Döppelte der Gottelbock”). There are hissing sounds that appear threatening, but also undermine the pathos of the event. Jörg Drews names, for example, “the ugly 'z'” that is repeatedly patched into the words and gives them an echo of meanness and vulgarity. The poem is rich in assonances ; the bright, optimistic vowels predominate. The numerous weakly emphasized syllables in the Schwa sound alternate with the strongly emphasized syllables, creating a wavy, dynamic rhythm. There is no end rhyme , but a frequent allied rhyme (“Männchenmeere”, “voicestummel”, “need north” etc.), which already formally quotes the Germanic myth of the Third Reich . The poem is predominantly in the past tense , according to Peter Pabisch the narrative form of the "beautiful" language ", and in the lower case letters typical of Jandl's poetry with the double exception of the word creation" Sa-Atz ".

interpretation

According to Anne Uhrmacher, the various interpretations of wien: heldenplatz “ depend unusually heavily on the perspective of the recipient” and consist primarily “in the imaginative transfer of meanings from known words and metaphors to unknown ones .” For Jörg Drews, the poem opens up “great Freedoms and uncertainties, because the new word formations, the bastardizations of words, the 'hybridizations' and multiple determinations of many of the condensed individual words "open up a" space of association [...] in which there are a few fixed points, but hardly any definite limitation. " According to Peter Pabisch, recipients remain “a feeling of uncertainty as to whether we have grasped everything and interpreted it correctly.” But this uncertainty of the reader is intended by Jandl and a basic feature of experimental poetry . It is precisely in this impossible “interpretation” that, for Walter Ruprecht, “the charm of the poem lies - one can always return to it because one continually discovers new aspects of meaning in it.”

"The shine at heroes' square"

Uhrmacher attributes the title of the poem wien: heldenplatz to Alfred Döblin's novel Berlin Alexanderplatz , whereby the name heldenplatz arouses expectations of heroism and pathos. The double meaning of the word “glanze” is still relatively easy to decipher. Jandl commented: "That is 'whole' and 'shine' in one, radiant totality." Drews is also reminded of the third verse of the Deutschlandlied : "Bloom in the shine of this happiness". The appended “about” already raises more questions, which Pabisch from the Arenarund of Vienna's Heldenplatz suggests a circus performance. Drews takes up this interpretation, in which a "disrespectful marking of the rally" lies. On the other hand, Pabisch also points to a mood of “approximate and vague”, watchmaker points to the perspective of the child who loses track of the crowd. Hans-Peter Ecker notes Jandl's own fuzzy dating of the historical event: in retrospect, Jandl saw the season fixed by the word “Pentecostal”, although the actual event took place in March.

"Failed in meshed male seas"

Crowd on Heldenplatz in Vienna, March 15, 1938

With the beginning of the second line, the initial gloss is reversed. The word “failed” triggers a whole bundle of associations for Ruprecht, which is based on the basic word “sink in”: “a failure (of people), a seepage (of the mind), a sinking (in the basement of history) and the like. “While Drews involuntarily thinks of a drooling and instinctual“ drooling ”, Uhrmacher is reminded of a mud broth that arises from Hitler's speech. For Ruprecht, the “mesh” is the “mass” cheering of the crowd, but also their (hostage) detention, in which they take the new rulers through meshes in the sense of tricks and meshes in the sense of safety nets. Jandl spoke of a “fishing motif”, which leads watchmakers to the biblical metaphor of the “man fisherman”. Drews also associates the wire netting as a foretaste of the future concentration camps and prisoner of war camps . The diminutive "male seas" is, according to Drews the "bombastic, people seas'" down and evaluates the men by the mocking zoological term " male " from. Ursula Link-Heer recognizes a “ridiculous complex of the masculine” throughout the poem.

The third line turns to the women who "tried hard to attach themselves" to the "masculine knee", the combination of "muscle" and "masculine", which Drews interprets as " temptation in the religious-demonic and in the carnal sense". The women are “fat with hope”, not only in hopeful expectation, but also “in good hope” and “fat”, two paraphrases for pregnancy. For Ruprecht, this combines the sexually charged atmosphere on Heldenplatz with the mother cult of Nazi propaganda . According to Jandl, in the expression “roaring essentially” the “animal motif, with the word“ essentially ”as a human brand” is taken up again. “Roaring” results as a montage of “roaring” and “courting”, whereby Drews also adds the combination of “burping” and “flashing”, and he recognizes in the “common sound” an “underground lust” that the crowd finally has something "Essential" happen.

"Balanced forehead swing"

With the second stanza the speaker appears, Adolf Hitler , according to Jandl "characterized in appearance and diction" and "without naming". However, Ruprecht finds the sequence of letters in different word creations: "forehead lunar swung" and "HIRscheLTE". Hitler reduced the "forehead swings" to a strand of hair that hung over his forehead and was trimmed with swing. At the same time, Drews reads in the word the "exuberance" of the crowd and the gymnastics exercise "Unterwung", "weighed" is for him the combination of "daring", "lying" and the triggered "wave".

The speaker "chuckled", in which Pabisch identifies the combinations "cheeky" and "smiled" or "throat" and "panted", Drews "panted" and "rattled" and watchmakers additionally "panted", "panted" and "simmered" . The voice is "on bleeding haggling", according to Drews a mixture of "hawking" and "horny for blood", driven even further into the vulgar by "the ugly 'z'". Her torrent of words to be numbered not only enumerates, according to watchmaker it also eroticizes the crowd into sexual acts, vulgarly described as "numbers", or according to Drews, dehumanizes people into numbers. He talks "after troubles north" - "for notes", "of distress" and "north" of the Nazi ideology of a Nordic master race -, as well "Hinse send" - the death as reaper - "sämmertliche" - "all miserable" - “self-washer” - all people who think independently, which Jandl simply translated as “ individualists ”.

“Stalk! the goat played "

Hitler's motorcade entering downtown Vienna

Uhrmacher sees the increasing number of neologisms in the last stanza (13) as evidence of the increasingly heated mood on Heldenplatz. For Pabisch, the exclamation “pirsch!” Becomes the “focal point” for the poem. According to Jandl, the word has a “signal-like” character and is phonetically and visually exposed in the line, additionally emphasized by an exclamation mark. It commemorates the persecution of Jews and other population groups during the time of National Socialism . It also characterizes the whole poem as a successful stalking by Hitler to his audience on Heldenplatz. Hitler himself becomes a “god goat”, according to Pabisch an “idolatrously revered, Dionysian being, half goat (and less God: after 'gottel'), half 'goat'. And this buck becomes a gardener ”and a golden calf that the crowds dance around. His goat foot reminds watchmakers of the pretending devil, while Drews lets himself be guided by the appeal of the Doppelbock beer . In his synopsis of the poem and Heldenplatz photographs, the Viennese historian Johann Werfring locates a demon who is worshiped by the masses as a supposed god, who “conjures an unheard of bliss on the faces of his worshipers with his promises of salvation”.

The speaker, venerated as God by the crowd, "döppelte", a word in which for watchmakers "bedröppelt" sounds like awkwardness, stupidity, and for Drews the hobbling of a buck as well as the limping of Joseph Goebbels . The speaker speaks with “hünig” - miming a giant , but also a rooster - “sprenkem” - Drews sees a mixture of “spread”, “strict” and “twisted” - “stubby voice”. The allusion to the stubby tail "completes the picture of the rammer " and is an embarrassing phallic symbol for watchmakers . Link-Heer defines a “motive of castration ” in him .

The speech stutters "from Sa-Atz to Sa-Atz", according to the watchmaker, an onomatopoeic imitation of Hitler's halting speech, whose capital letters , which stand out from the other lower case, express a particular aggressiveness. Gerhard Kaiser feels reminded by the gesture of the speech of the parody The Great Dictator by Charlie Chaplin , in which the speech of the dictator Hynkel also turns into animal sounds, and speaks of "rat rhetoric". It also sounds like the SA - Hatz , the manhunt of the Sturmabteilung, but also the etching , the metaphorical nourishment that Hitler accuses people of, so that Pabisch sees the poem as "the most successful new word creation" in the compilation.

"When a kneeling man deerged you"

The human seas are meanwhile further downgraded to the "mannechensee". Drews hears an echo of the Berolinism "Manneken", the reference to the Reich capital Berlin and the speech of the " Piefkes " who live there . In the lake it “churned”, it “swarmed” and people squirm like mindless worms, but they are also “courtship-like” and take on the speaker's courtship , which puts them in a sexual mood and lust for death. Werfring, on the other hand, sees in the "mannechensee" especially the balzerigen men, to whom the Pentecostal women are contrasted in the following verse. According to the watchmaker, women become “women” “in a biblical-archaic tone”, and they “were so well at Pentecost”. Like the downfall of the Holy Spirit at Pentecost, “the 'leader' is viewed as a sacred revelation” that is ecstatic. But for watchmakers “Pentecostal” also means “ardent”, in “Heil”, in addition to the shouts of “ Heil Hitler ” and the religiously warmed heart, there is also the sexually aroused vagina. Finally, Drews hears a “stallion” in “pfingstig” and rhymes, even if it “should properly be called 'heart'”, “Heil” without further ado to “horny”.

The last line once again brings together the religious and sexual level of meaning: “zumahn” - the transition of “especially” and a “warning” - “when a kneeling man whirred you”: the reverent kneeling and praying, “the end of his knee but also acts like a tail ”, as Drews describes what watchmaker directly calls coitus a tergo . Walter Ruprecht brings up associations with the knee, from the "knee of the march kick", the "knee of the Nazis wearing lederhosen" to the bent end of the swastika . The term "-Ender", on the other hand, classifies the antlers of a stag as well as a military rank (for example twelve-pointers ), so that watchmaker draws the parallel: "A militaristic ideology like National Socialism shows many similarities with behavior patterns of a deer pack." The word “hirschelte” finally becomes a vulgar description of a sexual act like numerous other animal names with the suffix “-eln”. Watchmaker describes: "From the proud animal that is a symbol of power, the association remains of eroticism in the philistine atmosphere: the roaring stag ." The festival is happening on the Heldenplatz mutated according Pabisch "the infernal orgy of Walpurgisnacht ," according to Ulrich Greiner to collective orgasm and, according to Ruprecht, is presented "as an instinctual, sexualized, orgiastic party."

Historical-literary reference and Jandl's methodology

Ernst Jandl and Friederike Mayröcker at a reading, Vienna 1974

In his essay my poem and his author , Jandl referred to the autobiographical roots of the poem: “The material for this was the memory of an event from the spring of 1938.” In retrospect, he described his age, although still 12 years old in 1938, as “14 years old ". He was wedged in the crowd on Vienna's Ringstrasse near Heldenplatz. What the scene imprinted on his memory more than its historical context was a touch of his knee triggered by the crowd, which made a woman standing in front of him feel annoyed and protested loudly. Jandl only processed this "anecdotal personal background" 24 years later and combined it with a retrospective knowledge of the collective delusion at the time.

Peter Pabisch judged: "Compared to the superficial, factually logical representation of the scene by the perplexed historians, one must ask whether the poet does not succeed in this representation more credibly through the literary-artistic construction of his language." This is how the historian Ernst Hanisch judged : " Nobody portrayed the mass events more precisely than the linguist Ernst Jandl in the poem wien: heldenplatz . "Pabisch referred to a statement by Hitler from Mein Kampf :" But the power that set the great historical avalanches of religious and political kind rolling was eternal the magic of the spoken word. The broad mass of a people, above all, is subject only to the violence of speech. "Ernst Jandl has transferred this power of language into his poem:" He uses language as an independent, manipulative instrument and shows how he too uses it with ideas, illusions and can create his own scenes. "For Walter Ruprecht, Jandl used" means of suggestion and evocation in order to turn them against those who beguiled the masses with them. "

According to Jörg Drews, "the objectively most terrible irony of the poem" lies in the fact that it uses precisely the linguistic means of literature to depict the mood of 1938, which the Nazis condemned as " degenerate art ", "formalism" or " cultural Bolshevism " and were persecuted. While Jandl himself stated that he was influenced by Dadaism and Expressionism , Drews specified the reference to the names Franz Richard Behrens , Otto Nebel , Johannes R. Becher , August Stramm , Albert Ehrenstein and Karl Kraus and his descriptions of the outbreak of war in The Last Days of humanity , as well as the language techniques of James Joyce in Ulysses and Finnegans Wake . In doing so, wien: heldenplatz undermines conventional beauty and becomes “an ugly poem”, damaging the expressionist pathos to “messed up” pathos, to the negated pathos, in order to undermine the hollow and hopeless aestheticization of the political in the Nazi marches and demonstrations to denounce. "

Anne Uhrmacher sees the power of exposure that lies in wien: heldenplatz primarily due to its obscene joke . This joke hits particularly vulnerable people and gives the listener a superior feeling of malicious glee (for example about women who “roared” or Hitler's “voice stubs”). Jandl's imagery acts as a “weapon to make the Heldenplatz celebration ridiculous in a grotesque way.” She unmasked not only the time of National Socialism, but also that part of bourgeois society from which it grew: “Your body cult, your power, Blood and Eros symbolism ”, which are still present today, in short“ an obscene society ”.

Publication and reception

wien: heldenplatz is dated June 4, 1962. Jandl included it as the only poem from 1962 in his collection of poems Laut und Luise , published in 1966 , which documented his work from the mid-1950s and mainly contains experimental poems from 1957 and the following years. Thematically related poems from the same creative period as wien: heldenplatz , such as hamlet or old sailor , he only published in 1973 in the collection of poems dingfest . The volume Laut und Luise , in which wien: heldenplatz vor schtzngrmm and falamaleikum is classified under the heading war and so , appeared in a limited edition of 1000 copies and led to a scandal at Walter Verlag , which resulted in the editor and publisher's son Otto F. Walter was dismissed from the conservative supervisory board and moved with Jandl and sixteen other authors to Luchterhand Literaturverlag , which has since published Jandl's works.

wien: Heldenplatz became one of Ernst Jandl's most famous poems. According to Anne Uhrmacher, it is “Ernst Jandl's most widely discussed poem in secondary literature” that has also been translated and researched internationally. It is widely considered a fine example of political poetry . Jörg Drews spoke of a “poem in which - a rare moment in German-language literature in view of the usual literary scarcity of political poetry - aesthetic truth does not lag behind political truth, but is equal to it.” And he concluded: “That Poem belongs in every German and Austrian reader - so that the readers grit their teeth. "

Walter Ruprecht pointed out in particular that wien: heldenplatz appeared at a time when repression and restoration prevailed in Austria and people were settling down with the life lie of the first victims of National Socialism, which is why the poem “not only artistically and formally, but also morally to appreciate ". It was only more than 20 years later that the subject was taken up by another great Austrian writer, in Thomas Bernhard's drama Heldenplatz .

expenditure

  • Ernst Jandl: Laut and Luise . Walter, Olten 1966, p. 46
  • Ernst Jandl: my poem and its author . In: Ernst Jandl: for everyone . Lucherhand, Frankfurt am Main 1984, ISBN 3-630-61566-X , pp. 214-223.

literature

  • Nina Birkner, Jan Süselbeck : Interpretation of Ernst Jandl's poem “wien: heldenplatz” . In: Andrea Geier, Jochen Strobel (Hrsg.): German poetry in 30 examples . Wilhelm Fink Verlag, Cologne / Weimar / Vienna 2010, pp. 255–262.
  • Jörg Drews : About a poem by Ernst Jandl: wien: heldenplatz . In: Wendelin Schmidt-Dengler (Ed.): Ernst Jandl. Materials book . Luchterhand, Darmstadt 1982, ISBN 3-472-61364-5 , pp. 34-44.
  • Ursula Link-Heer: Ernst Jandl or daily visitation through poetry . In: Klaus H. Kiefer et al. (Ed.): The poem claims its right. Festschrift for Walter Gebhard on his 65th birthday . Peter Lang, Frankfurt am Main 2001, ISBN 3-631-38257-X , pp. 439-450.
  • Peter Pabisch : funny. Phenomena of German-language poetry 1945 to 1980 . Böhlau, Vienna 1992, ISBN 3-205-05553-5 , pp. 81–86 (revised version of the first major study of the poem: Peter Pabisch: Linguistic structure and associative themes in Ernst Jandl's experimental poem "wien: heldenplatz" . In: Modern Austrian Literature , Volume 9, No. 2, 1976, pp. 73-85).
  • Walter Ruprechte: Political poetry from the language laboratory . In: Volker Kaukoreit, Kristina Pfoser (Ed.): Interpretations. Poems by Ernst Jandl . Reclam, Stuttgart 2002, ISBN 3-15-017519-4 , pp. 34-46.
  • Anne Uhrmacher: Varieties of the comic. Ernst Jandl and the language . Niemeyer, Tübingen 2007, ISBN 978-3-484-31276-0 , pp. 92-109.
  • “The women received so Pentecost for their salvation” Article by Johann Werfring in the “Wiener Zeitung” on April 11, 2013, supplement “ProgrammPunkte”, p. 7.

Web links

Individual evidence

  1. See also the table of contents in Walter Ruperecht: Politische Dichtung aus dem Sprachlabor , p. 35.
  2. a b c d e f g h Ernst Jandl: my poem and his author , p. 215.
  3. ^ Walter Ruprecht: Political poetry from the language laboratory , pp. 37-38.
  4. ^ Walter Ruprecht: Political Poetry from the Language Laboratory , pp. 36, 43.
  5. a b c Jörg Drews: About a poem by Ernst Jandl: wien: heldenplatz , pp. 38–39.
  6. a b Peter Pabisch: funny. Phenomena of German-language poetry 1945 to 1980 , pp. 82–83.
  7. ^ Anne clockmaker: varieties of the comic. Ernst Jandl and the language , pp. 92–93, 95.
  8. Jörg Drews: On a poem by Ernst Jandl: wien: heldenplatz , pp. 35–36.
  9. a b c Peter Pabisch: funny. Phenomena of German-language poetry 1945 to 1980 , p. 85.
  10. ^ Walter Ruprecht: Political Poetry from the Language Laboratory , p. 44.
  11. ^ A b Anne Uhrmacher: Varieties of the comic. Ernst Jandl and the language , p. 96.
  12. Ernst Jandl: my poem and its author , p. 218.
  13. a b c Jörg Drews: About a poem by Ernst Jandl: wien: heldenplatz , p. 36.
  14. a b c Peter Pabisch: funny. Phenomena of German-language poetry 1945 to 1980 , p. 84.
  15. Hans-Peter Ecker: From the linguistic to the historical area of ​​association. Ernst Jandls Vienna: Heldenplatz. In: Andreas Böhn u. a. (Ed.): Poetry in a historical context. Festschrift for Reiner Wild . Königshausen & Neumann, Würzburg 2009, ISBN 978-3-8260-4062-7 , pp. 390-407. Here pp. 391–392.
  16. ^ A b Walter Ruprechte: Political poetry from the language laboratory. P. 41.
  17. a b c Jörg Drews: About a poem by Ernst Jandl: wien: heldenplatz. P. 37.
  18. a b c Anne clockmaker: varieties of the comic. Ernst Jandl and the language. P. 97.
  19. ^ Walter Ruprechte: Political poetry from the language laboratory. P. 35.
  20. Ursula Link-Heer: Ernst Jandl or visitation in everyday life through poetry. P. 446.
  21. ^ Walter Ruprecht: Political poetry from the language laboratory , pp. 39-40.
  22. Jörg Drews: About a poem by Ernst Jandl: wien: heldenplatz. Pp. 37-38, 43.
  23. ^ A b c Walter Ruprecht: Political poetry from the language laboratory , p. 45.
  24. a b c Jörg Drews: About a poem by Ernst Jandl: wien: heldenplatz , p. 38.
  25. ^ Anne clockmaker: varieties of the comic. Ernst Jandl and the language , p. 99.
  26. ^ A b Anne Uhrmacher: Varieties of the comic. Ernst Jandl and the language , p. 100.
  27. ^ Anne clockmaker: varieties of the comic. Ernst Jandl and the language , pp. 100–101.
  28. a b c Peter Pabisch: funny. Phenomena of German-language poetry 1945 to 1980 , p. 83.
  29. ^ A b Anne Uhrmacher: Varieties of the comic. Ernst Jandl and the language , p. 101.
  30. a b c d e Jörg Drews: About a poem by Ernst Jandl: wien: heldenplatz , p. 39.
  31. a b “The women received so Pentecostal for their salvation” Article by Johann Werfring in the “Wiener Zeitung” of April 11, 2013, supplement “ProgrammPunkte”, p. 7.
  32. ^ Anne clockmaker: varieties of the comic. Ernst Jandl and the language , pp. 102-103.
  33. Ursula Link-Heer: Ernst Jandl or Visitation in Everyday Life through Poetry , p. 447.
  34. ^ Anne clockmaker: varieties of the comic. Ernst Jandl and the language , pp. 101–102.
  35. Gerhard Kaiser: History of German lyric poetry from Goethe to the present: a plan in interpretations. Volume 2. Suhrkamp, ​​Frankfurt am Main 1991, ISBN 3-518-38607-7 , p. 499.
  36. ^ Walter Ruprecht: Political Poetry from the Language Laboratory , p. 43.
  37. a b c d Jörg Drews: About a poem by Ernst Jandl: wien: heldenplatz , p. 40.
  38. Jörg Drews: About a poem by Ernst Jandl: wien: heldenplatz , pp. 40, 43.
  39. ^ Anne clockmaker: varieties of the comic. Ernst Jandl and the language , pp. 104–105.
  40. ^ Anne clockmaker: varieties of the comic. Ernst Jandl and the language , pp. 105–106.
  41. ^ Anne clockmaker: varieties of the comic. Ernst Jandl and the language , p. 106.
  42. ^ Anne clockmaker: varieties of the comic. Ernst Jandl and the language , p. 105.
  43. Ulrich Greiner : Gottelbock. Hitler's speech in Vienna and a poem by Ernst Jandl . In: Die Zeit of March 11, 1988.
  44. ^ Walter Ruprechte: Political Poetry from the Language Laboratory , pp. 43–44.
  45. Ernst Jandl: my poem and his author , pp. 214–215.
  46. Jörg Drews: About a poem by Ernst Jandl: wien: heldenplatz , p. 34.
  47. ^ Walter Ruprecht: Political poetry from the language laboratory , pp. 35–36.
  48. Ernst Hanisch : The long shadow of the state. Austrian social history in the 20th century. Ueberreuter, Vienna 1994, ISBN 3-8000-3520-0 , p. 337.
  49. Quotes from: Peter Pabisch: funny. Phenomena of German-language poetry 1945 to 1980 , p. 82.
  50. Jörg Drews: About a poem by Ernst Jandl: wien: heldenplatz , pp. 41–42.
  51. ^ Anne clockmaker: varieties of the comic. Ernst Jandl and the language , pp. 107, 109.
  52. Ernst Jandl - Peter Weibel , conversation July 6, 1976, in: Neue Texte 16/17 1976, o. P.
  53. Klaus Siblewski : a comma point Ernst Jandl. A life in texts and pictures . Luchterhand, Munich 2000, ISBN 3-630-86874-6 , p. 106.
  54. ^ A b Walter Ruprechte: Political Poetry from the Language Laboratory , p. 34.
  55. ^ Anne clockmaker: varieties of the comic. Ernst Jandl and the language , p. 92.
  56. Jörg Drews: About a poem by Ernst Jandl: wien: heldenplatz , p. 42.