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Kreative Abweichungen Syntaktischer Normen In Der Deutschen Poesie (F. G. Klopstock Und Y. Tawada)
This article examines the creative potential of syntactic deviations in poetry, using the works of F. G. Klopstock, a poet of the second half of the 18th century, and Yoko Tawada, an author at the turn of the 21st century, as examples.
Research methods. In analyzing the poems and essays of Klopstock and Tawada, elements of diachronic and comparative analysis are employed: the focus is on the chronological beginning of the legitimation of syntactic deviations and the present moment of the creative engagement with syntax. Klopstock, who postulated the necessity of linguistic irregularities, stands at the origin of this phenomenon, while Tawada is considered a representative of postmodern exophony, filling syntactic constructions with foreign cultural semantics. While the 18th-century German poet was only just beginning to discuss the creative potential of syntactic „incorrectnesses“, the 21st-century author uses them to unlock new meanings not inherent to native speakers.
Research results. Irregular, “excited” syntax is a characteristic feature of Klopstock's poetry. Klopstock was among the first to critically question the necessity of strict adherence to linguistic norms that had developed by the mid-18th century. In his essay „Grammatical Conversations“, he was the first to declare deliberate deviations from syntactic rules a legitimate poetic device, contrasting them with the rationalist view of language advocated by the critic J. C. Gottsched. Klopstock's views subsequently exerted a significant influence on the development of free verse. In the 21st century, the Japanese writer Yoko Tawada reflects on the German language as a cultural phenomenon that shapes mentality. In her poetic essays „Adventures of German Grammar“, Tawada uses the absence of punctuation and free word order as an aesthetic device. Her texts unfold multifaceted layers of meaning and connect linguistic structures with cultural and social issues. Although Klopstock and Tawada's artistic methods differ considerably, they function within a unified literary process in different contexts.
Conclusion. Examining specific mechanisms of syntactic deautomatization reveals shared structural and functional regularities that cannot be definitively perceived as false or unacceptable. Thus, the work of Klopstock and Tawada, belonging to different eras, illustrates the plasticity of language, and their innovative practices demonstrate the potential of artistic self-expression capable of transcending temporal and cultural boundaries.