Yvan Golls Gedicht "Paris Brennt": Zur Bedeutung Von Collage, Montage Und Simultanismus ALS Gestaltungsmittel Der Avantgarde. Mit Einer Edition Der Za
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Die Zagreber Erstfassung von Yvan Golls (1891-1950) Gedicht "Paris brennt", einem der längsten und zugleich vielschichtigsten Gedichte innerhalb der deutschsprachigen literarischen Avantgarde, ist bislang in der Forschung weithin unberücksichtigt geblieben, wohl nicht zuletzt deshalb, weil sie - 1921 als Sonderdruck der Zagreber Literaturzeitschrift 'Zenit' (und damit auch als programmatisches Werk des kurzlebigen 'Zenitismus') erschienen - der allgemeinen Aufmerksamkeit entrückt und schwer zugänglich war. Diese ursprüngliche Version enthielt im Vergleich zu den späteren, bekannteren Fassungen (Paris 1923, französisch; Berlin 1924, deutsch) nicht nur deutlich mehr Text, sondern z.B. auch einmontierte Postkartenmotive und collagenartige Fremdsprachenzitate anderer Dichter, was den avantgardistischen Impetus bei weitem deutlicher hervortreten lä t. Bei genauerer Betrachtung erweist sich Golls Gedicht, welches in Hinblick auf seine Anbindung an die romantische Avantgardetradition (insbesondere etwa Apollinaires "Zône" oder Huidobros "Ecuatorial") in der deutschsprachigen Literatur einzigartig dasteht, als eklektizistischer Versuch, die seit dem Startschu der Avantgardebewegungen durch den italienischen Futurismus herausgebildeten Errungenschaften modernistischen Schreibens in einem Text zu vereinen. Unabhängig davon, für wie überzeugend man das Ergebnis halten mag, bildet "Paris brennt" in seiner Vielschichtigkeit einen nahezu idealen Ausgangspunkt zur weitergehenden Erläuterung einiger der entscheidendsten avantgardistischen Verfahren. So wird es möglich, verschiedene Arten von Montage/Collage und Simultanismus sowie deren Anbindung an die vitalistisch grundierte Idee der Simultaneität systematisch zu analysieren.
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