Abstract
Abstract Holderlin poetically and self-reflexively explores the intersection of sound, visual images, and language/writing. In doing so, he spans the shift from the universal translatability of the arts around 1800 to the technological media transposition apparent since 1900, as described by Friedrich Kittler. As a result, Holderlin’s work envisions a cultural- poetic soundscape that indicates the significance of classical-Romantic aesthetics for current sound studies.
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