This essay explores a particular kind of German postwar aesthetics as a framework for thinking through the conceptual challenges of the Anthropocene. Focusing on the relationship between nature and ...history, the article reads Paul Celan's "The World" from Speech Grille (Sprachgitter) together with Esther Kinsky's 2013 volume Nature Preserve (Naturschutzgebiet) to trace how both authors intertwine commemoration of the Shoah with exact attention to the more-than-human world. These two aspects of their poetry are not merely complementary but mutually constitutive; together, they give shape to the ecological entanglements that Donna Haraway has referred to as naturecultures. Considered in relation to Theodor W. Adorno's Aesthetic Theory, both poets combine reflections on language, history, and the natural world in a way that remains conscious of its own mediation as a specifically human-and, as such, necessarily partial-form of expression. In this way, memory gives rise to a poetics of condensation, a form of literary expression in which history and nature, including human nature, emerge as interwoven in language.
"“In the Air Where You Won’t Lie Too Cramped.” Notes on the Irresolvable Tragedy of the Poet Paul Celan. Paul Celan's work is characterized by reflections on the power and possibilities of language ...and poetry in general in processing personal tragedy and painful borderline experiences, especially the experience of the Holocaust. These experiences range from the persecution of Jews, the deportation and murder of his parents, to the ""Goll Plagiarism Affair"" or to mental illness in the last years of his life. These experiences of persecution and extermination of the Jews and Celan's involvement in the tragedy of his people are reflected in many of his poems, especially in Todesfuge. Keywords: Celan, Shoa, modern German poetry and language, tragedy "
Visibility is a problem in the representation of insurrectionary politics. Dork Zabunyan, for example, suggests that the insurrectionary actions of the Arab Spring of 2011 are represented by a ...circulation of "missing images": images of insurgency (L'Insistance des luttes 28-31). Zabunyan in this sense reprises an argument made in an earlier context by Serge Daney. Writing about visual representations of Tiananmen Square, the Romanian Revolution, and the Gulf War, Daney concludes that "True images are rare" (La Maison cinéma et le monde 784). The world of moving images more often constitutes the "loop" of visibility, the "visual." How, Daney asks, would a "true image" become visible, if its truth meant that it exited that loop of the visual (327)? Opposing the image to the visual in this way, Daney attaches what we might call a formal insurgency to images of political insurrection. Political uprisings also constitute an uprising in images, an unprecedented visibility that threatens, as Zabunyan's "missing images" attest, to be merely invisible in their contemporary visual regime.
Finales para Aluna Ruíz, Sebasián Rodríguez
Lingüística y literatura,
07/2013
64
Journal Article
Odprti dostop
Finales para Aluna posee un formato de novela corta y, tal como nos indica el autor, es «una novela alemana con aliento de selva». Los nombres de las plazas, las calles y de muchos sitios están en su ...equi- valente femenino, planteando un reivindicación de lo femenino, de la importancia de la mujer en la construcción de la cultura y de la sociedad.\n Ya que los conceptos indígenas no son asibles en esta realidad globalizada y, por eso, fluyen por fuerza propia y en direcciones inusitadas, Aluna se vuelve subversiva.
Paul Celan en España y América Latina Škrabec, Simona
Quaderns (Universitat Autònoma de Barcelona. Departament de Traducció i d'Interpretació),
2020, Letnik:
27
Journal Article
Odprti dostop
Analizando la presencia de Paul Celan en ambos lados del Atlántico, podemos comprobar la relevancia de las aportaciones americanas y la capacidad de los grupos aislados, e incluso de los mediadores ...individuales, de promover iniciativas que acaban asentando las bases para la poste-rior recepción amplia de un autor tan complejo como Celan. Por otro lado, dentro de España, los traductores y estudiosos catalanes no solo introdujeron la obra de Celan en catalán, sino que en Cataluña se produjo una relación muy fructífera gracias a la recepción simultanea del autor a través de las dos lenguas, el catalán y el español. El roce tan intenso entre las dos culturas, la española y la catalana, produjo un entorno extremadamente fértil para poner de manifiesto algu-nas de las cuestiones que la propia obra de Celan plantea. Además del catalán, Celan fue tradu-cido también al gallego y al vasco.
In the wake of the Six-Day War of June 1967, Paul Celan wrote the poem “Denk dir, ” which is considered his least hermetic and most political poem. This article examines the poem's four Hebrew ...versions, which were authored by Nathan Zach, Ben-Zion Orgad, Ilana Shmueli, and Shimon Sandbank between 1969 and 2013. Close readings of the original and translations shed light on the myriad philosophical, poetical, historical, and political layers that constitute the original poem, on the interpretation of these layers by the poet-translators into Hebrew, and more generally on the Israeli Hebrew reception of Celan's poetry in the decades after his visit to the country in 1969. The striking variations between the four Hebrew versions expose not only differing translational approaches such as domestication versus foreignization, or autonomistic versus referential readings, but emphasize an original that seems to demand the replication of its irresolvable tensions, conflicts, and strangeness. It is thus considered whether translators into Hebrew transfigured the linguistic and referential disruptions and disjunctures of the source within their target texts. The close philological readings also consider existing literature by Ruth Ginsburg, Peter Szondi, and Shira Wolosky, among others on translation from German into Hebrew and on Celan as prolific translator.
The reconstruction of the creation of Paul Celan’s posthumous poem “In meinem zerschossenen Knie” enables an examination of the complex network of elements of his own biography – the traces of ...formative readings, his identity questions projected in his positions towards Judaism and Zionism, the obsessional poetic motives etc. – from which the poet lets the lyrical text ‘coagulate.’ The relationship between the author’s genetically anticipated ‘message’ and the hermeneutic freedom in the interpretation of Celan’s poetry is also considered.
Abstract Seeing the Other in Paul Celan's "Schliere im Auge" The following article aims to analyse the visual perception and the process of seeing, as presented in the poem Schliere im Auge (Ger. ...schlieren in the eye - optical inhomogenities in the transparent material of the eye). The poem features several of the many indicators of Celan's hermetic poetry, which include: lexical conciseness, precise syntax, semantic variety, the dynamics of motion, the state of mind, cognitive ability, disturbed communication, the perception of the moment. Der Autor, der übrigens als Übersetzer tätig war, greift bevorzugt nach Wörtern wie "Fäden", "Glas", "Schleier", "Mitlaut" und vor allem "Schliere", welches etymologisch auf eine unreine Substanz (Schleim) verweist.9 Das Wort hat überdies diverse Anwendungsbereiche: In der Technik bedeutet die Schliere eine Stelle in einem lichtdurchlässigen Stoff, an dem sie eine andere Dichte aufweist und dadurch andere optische Eigenschaften besitzt, in der Geologie hingegen bezeichnet sie eine streifige Zone im Gestein. 2 Unter anderen Gedichten, die das Motiv des Auges fokussieren, wären zu nennen: "Zuversicht", "Unten", "Nacht", "In die Feme", "In Mundhöhe", "Eine Hand", ,Aber", "Ein Auge, offen", "Niedrigwasser", ,Die Jahre von mir zu dir", "Lob der Feme", "Corona", ,Aus Herzen und Hirnen", "Zähle die Mandeln", "Zwiegestalt", "Femen", "Wo Eis ist", "Von dunkel zu dunkel", "Die Halde", "Das Wort vom Zur-Tiefe-Gehn", "Hüttenfenster", "Heimkehr".
Wien: Mandelbaum, 2012, 190 S., euro 19,90. Er wird auch in die Auseinandersetzungen um die Sprachen verwickelt und schlägt sich früh auf die Seite des Jiddischen - zunächst wohl vor allem aus ...Solidarität mit der Familie, allmählich immer stärker aus Überzeugung Der Band verfolgt die weiteren Stationen des Lebens von Josef Burg: 1934-38 Wien, dann wieder Czernowitz in einer Zeit, in der die rumänischen Juden immer massiver verfolgt werden, es folgt die (erste) Besetzung durch die Sowjetunion, als Folge des Hitler-Stalin-Paktes, und als 1941 die rumänischen (und deutschen) Truppen zurückkehren, geht Burg mit der Roten Armee nach Osten. S. 14), in der Stadt Czernowitz sind dagegen noch um 1930 Juden (ca. 38%) und Deutsche (ca. 13%) gegen Rumänen (ca. 26%), Ukrainer (ca. 12,5%) und Polen (ca. 7%) in der Mehrheit (vgl. Der eine oder andere kurze Text auf Jiddisch (in Transliteration) mit Übersetzung hätte dem weniger vorbereiteten Leser diese Sprache nähergebracht, die englischen und französischen Texte hätten auf Deutsch wiedergegeben werden können.
This dissertation is a study of three recent books by contemporary Mexican authors born in the 1970s. The dissertation examines the relationship between textual strategies and the ongoing social and ...political crisis of the last two decades in Mexico, in the work of the poets Maria Rivera, Heriberto Yepez and Dolores Dorantes. In my reading, these works present the reader with new and radical ways of understanding the relationship between literature and society, and more particularly, between poetry and politics. Together, they also represent an important critique of the cultural and poetic legacy of figures like the late poet Octavio Paz.The first chapter focuses on the work of the poet Maria Rivera, particularly her two poems, "Los muertos" (2011) and "Oscuro" (2017). I propose that the "anomalous poetics" proposed by Rivera serves as a vehicle for a double criticism. On the one hand, she questions the hegemonic notion of a type of cosmopolitan and seemingly atemporal literature, a notion established largely by the late poet Octavio Paz, under whom Rivera herself was formed. On the other hand, she also questions the implicit agreements through which contemporary literary communities are constituted. At the textual level, this critique translates into the emergence of thematic and formal elements that account for a markedly political new poetics on the horizon of contemporary Mexican literature. The second part of the chapter is dedicated to the poem "Los muertos", written in 2011, the historical importance of which lies in having been one of the first poems to openly break with the literary silence around the escalation of violence caused by militarization. The systematic use of textual strategies such as repetition and lists in the poem not only makes visible the countless dead and disappeared in Mexico over the last two decades, but it also problematizes the supposed linearity and continuity with which Mexican history has been perceived. That is, the poem formally interrupts a historical "filiative" vision of the nation, based on the continuity of alleged symbolic and ethnic elements. Instead, the poem articulates an "affiliate" totality founded on affinity and empathy between diverse groups.The second chapter studies the book Transnational Battle Field (2017) by the poet Heriberto Yepez. The chapter pays attention especially to the modalities with which the author explores social antagonisms and some of the transformations in subjectivity derived from neoliberalism. The transnational lens that Yepez has employed in his entire work is also present in Transnational Battle Field, a book that was written directly in English. This focus opens other avenues of reflection beyond the national context within which a large part of recent literary works thematize contemporary violence and social crisis. In dialogue with the decolonial thinking of Frantz Fanon, Yepez invites the reader to recognize the social praxis that is potentially present in works of art; such praxis is able to generate and question critical subjectivities, and question the current cultural, linguistic and aesthetic homogenization at a transnational level.The third and final chapter analyzes the book Estilo by the poet Dolores Dorantes. Her book textually displays affects and images that, in my reading, mimic and represent economic processes that inform the ongoing climate of violence against poor working-class women in the U.S.-Mexico border area. For Dorantes and contemporary thinkers like Silvia Federici, violence against women must be understood as an expression that goes beyond the cultural, and that points to a complex knot of violent economic change derived from the transformation of capital worldwide. Dorantes' book captures and represents elements that suggest phenomena such as population displacement, the attack on working women and the production of value through labor exploitation. Circulating within a landscape of contemporary misogynistic imaginary, as well as a series of economic processes, with the use of a "nosotras" that articulates the poetic voice of the book, Dorantes criticizes the notion of a traditional and unified lyrical subject that is still predominant in Mexican literature.This dissertation represents an invitation to read a group of contemporary works that imagine and build a radical relationship between contemporary textualities, political and poetic imaginations and social crisis.
