With the help of the concepts ‘aura’ and ‘autopoiesis’, the relationship between poetry and natural phenomena can be defined as a ‘translation from nature’. Gennadij Ajgi translates his auratic manner of perceiving into poetry. For him, the poem becomes an epistemic medium transcending the sensory perception of nature for a hidden, spiritual level. Les Murray, conversely, demonstrates an autopoietic understanding of nature: The poet himself becomes the medium of the living being. Christian Lehnert takes up impulses from both orientations. He combines the opposing concepts so that they correspond to the hierarchical levels of his religious and metaphysical vision of the world. The three authors all aim to alter the attitude of humans towards nature through their ‘translation from nature into poetry’ so that humankind will open itself towards nature and raise it from an object which can be instrumentalised to an autonomous subject on equal footing with humanity itself.

Recent theory of lyric shows no interest in the subject, because it is no longer considered a basic generic parameter of lyric poetry. Nevertheless, the subject has resurfaced in contemporary practice in a wide range of new and complex forms specific to the lyric mode. This article suggests a multilevel model for both the formal and historical analysis of the subject in contemporary lyric poetry.

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This paper explores the trope of liminality in Elena Schwarz's poetic language. During the latter years of her life and literary work, Italian motifs became a central part of E. Schwarz's conception of both poetic and cosmological models. Since 2000, she has visited Italy several times. Elena Schwarz traveled to Rome, Venice, Florence, Pisa, Bologna, the Marche Region, Trentino-South Tyrol and she enjoyed Italy's beautiful sights with their complex and contradictory reality. In her Italian diaries and Italian poems Elena Schwarz underlines that she felt close to a different, particular sphere of experience, in a second homeland, where she is fascinated by the great and mystical beauty of the surrounding space and symbols, but at the same time she looks terrified, she is scared for her life.In this definite biographical context, the liminality in Elena Schwarz's poems can be understood as the ontological condition of being caught between two opposing realities, in other words between physical and metaphysical universe, between life and death.The most significant metaphors of liminality between life and death appear throughout her last Italian poems, such as "Aqua alta", or "L'Esprit de Venice". The aim of this paper is to examine and to put in evidence the main rhetorical and thematic patterns in the poetic representation of liminality in the later Italian works of Elena Schwarz.

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