9 âUnd nichts reimt sich auf michâ: Intertextualität bei Kerstin Hensel
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Intertextuality has always been a prominent feature in Kerstin Henselâs work, both within a network of GDR authors and occasionally in dialogue with classical literature.
In her poetry collection Schleuderfigur, the cycle âMir eine Szene machenâ contains an accumulation of intertextuality in relation to theatre (and theatrical tradition), drama and tragedy. Hensel enters into a dialogue with mostly classical authors or mythical figures such as Procrustes, Shakespeare, Dante Alighieri, Ovid, Thanatos, Morpheus, Aphrodite, Sappho, Epicurus, Minotaur and Chronos. While other cycles of the book often quote nursery rhymes or figures of speech, creating playfulness and lightheartedness, here the great questions of life â love, time, desire, dreams, death, beauty, madness and suffering â are negotiated. The famous cues and âdramaticâ settings create the distance of a dramatic heroâs fall which is then dismantled with a laconic irony.
While Hensel is never entirely without respect for the great themes, which are, after all, condensates of human experience, she remains down to earth and self-confidently, mockingly, emancipatorily weighs the everyday dramas of ordinary people against the great ones of human history. This chapter subjects four poems to a close reading and finishes with brief reflections on intertextuality.