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THE SUBVERSIVE APPROPRIATION OF POETIC FORMS: GEORG HEYM (1887–1912)

Abstract Heym’s poetry is commonly remembered for its demonic and apocalyptic representations of the modern city, but it is also remarkable for the commitment it displays to highly disciplined poetic structures. This essay investigates Heym’s development as a poet in relation to the range of nineteenth-century models that was available to him in his youth — from Goethe to Stefan George — with a view to encouraging a fuller understanding of those features of his compositions that made a distinctive contribution to early Expressionism.