Valtera Benjamina un Teodora V. Adorno lirikas teorija: Valoda starp reprezentāciju un neizsakāmo

The article is dedicated to the quarrel existing in the poetry of Romanticism and Modernism between the language as a means of rational communication and the ineffable as the precondition and aim of lyrics. Addressing the poetry readings of Friedrich Hölderlin carried out by the 20^th century philosophers Walter Benjamin and Theodor W. Adorno, the article emphasizes the formally and thematically complicated nature of work of the outstanding poet of the Romanticism period. The article also introduces the reader with the interpretation method offered by the thinkers mentioned above-the immanent critique. The immanent critique measures the quality of a poem not according to its compliance with the predicative logics, but pursuant to the mutual intensity of the text elements, as far as it implies the presence of the ineffable. The article clarifies such essential categories of the immanent critique as the poeticized, inversion, parataxis and caesura, revealing the close ties with the ineffable as the form-establishing principle of lyric. Furthermore, the article highlights the philosophical context of the lyric theory of Benjamin and Adorno, where apart from the motives of Romanticism and Neo-Kantianism an important role is also played by the critique of Enlightenment or the modern rationality. As regards transparent communication, whose ideal is the unambiguity of the term, the modern poem takes an antagonistic position, whereas philosophy serves as a medium between the surface of the poem and the truth encoded in the text. The article is concluded by briefly turning to a contemporary Latvian poet Edvīns Raups's attempts to poeticise the ineffable. The author outlines the potential use of the immanent critique analysing poetry, which keeps moving towards the ideal of Romanticism and Modernism-poetry as an autonomous field of language which shows affinity with music.