Visions have gained prominence in the literature of classical modernism. Here, the visionary no longer refers to the appearance of the un- or supersensory, but rather, as a hallucination, represents a form of heightened sensory presence, without completely discarding its earlier connotations. The inner images, understood as anthropologically binding psychophysical processes, gain poetic weight against the backdrop of a scientific disillusionment of the world, the much-discussed so-called language crisis, and the engagement with new media technologies. The visionary becomes a starting point for experimenting with new writing techniques and serves to reaffirm the boundaries and possibilities of literature. The study connects the historical question of the function of images generated in the body with the systematic problem of their interpretation.