With reference chiefly to Dickicht (2011) and ich bin ein Feld voller Raps, verstecke die Rehe und leuchte wie dreizehn Ölgemälde übereinandergelegt (2016) this paper will demonstrate that voice is a key concern of the poet and that the voices created in Sandig's collections are deliberately constructed in various ways. Some contain literary quotations, some play with fairy tales and nursery rhymes. At issue for Sandig more than anything else is the ‘Hörbarkeit der Dichtung’: finding a voice for poetry, which also challenges conventional understandings of the link between voice and identity. What is more: many of the poems have a simultaneous life as songs, sound pieces, or in relation to films; others emerge in collaboration with artists, musicians or composers. This paper teases out Sandig's project with reference to her collections, her multi-media work, recent commissions and ‘Lied aus dem Off’, her lecture on voice as part of her Poetikdozentur in Mainz (2017) in order to understand how the idea of voice relates to her other literary concerns.

中文翻译：

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“我是双声 […] 鸟”：乌尔里克·阿尔穆特·桑迪格诗歌中的身份和声音

主要参考 Dickicht (2011) 和 ich bin ein Feld voller Raps, verstecke die Rehe und leuchte wie dreizehn Ölgemälde übereinandergelegt (2016) 这篇论文将证明声音是诗人的一个主要关注点，并且声音是在 Sandig 的收藏中创造的以各种方式刻意建造。有些包含文学语录，有些则播放童话故事和童谣。桑迪格最关心的问题是“Hörbarkeit der Dichtung”：寻找诗歌的声音，这也挑战了对声音和身份之间联系的传统理解。更重要的是：许多诗歌同时具有歌曲、声音片段或与电影相关的生命；其他人则与艺术家、音乐家或作曲家合作出现。这篇论文根据她的收藏品梳理了 Sandig 的项目，