Two major poets of the Russian Neo-Avant-Garde—Gennady Aygi and Elizaveta Mnatsakanova—created textual works that transgressed the limits of language and the borders between the arts. Each pursued ...their own method of the visualization and musicalization of verbal matter, yet both share a particular musical sensibility, which guarantees the integrity of the linguistic structure of their verse, despite the fragmentation and logical incoherence of its elements. The atonal (serial) musical tradition has a special significance for these experimental poetics of minimalism. Mnatsakanova, herself a musicologist, who was friends with Dmitri Shostakovich, not only used the techniques of contemporary music composition in her visual and sound poetry, but also collaborated with electronic musicians in her recorded poetry performances. Aygi experimented with language, not only crossing the boundaries between music and poetry, but also between sound and silence. For him, music was a way of expressing pre-verbal subjectivity and reproducing signs of meaning that are hidden from ordinary perception. In his poems, Aygi brought together Chuvash folk music with experimental techniques of minimalism, correlating his own work with such Soviet unofficial composers as Andrey Volkonsky and Sofia Gubaidulina. This paper will address the issues of transmutation between verbal, visual, and sound art in poetic minimalism of the Soviet-era underground.
This article analyzes Paul Celan's translation of James Baldwin's "Everybody's Protest Novel" and considers the connections between the poetics of these two writers. In addition to their shared ...preoccupation with and rearticulation of terms such as human, creature, and darkness, the translation reveals how they explored the relationship between literature and reality at early and transitional moments in their careers. While rejecting regnant modes of realism, Baldwin and Celan insisted, in different but related ways, on the bearing of the world on their writing, which they understood as a response to historical catastrophes that resisted inherited categories and hegemonic language. This article demonstrates how reading Baldwin's essay and Celan's translation together can help us understand their peculiar realism anew, and it elucidates how this aspect of their work continues to feel urgent today, with specific reference to the writing of Claudia Rankine.
This article reads Zafer Şenocak's German- and Turkish-language poetry as a multifaceted site of relation, within which the themes and concerns of Paul Celan and Yunus Emre's poetry come to touch. In ...doing so, it develops the concept of lyrical touch or the sensual experience of connecting with others in and through lyrical language. Celan and Yunus Emre touch in Şenocak's writing in part through his negotiation of each author's very different conception of the body. Through this process of negotiation, Şenocak sets into motion an interpretive movement not unlike Celan's theory of the meridian. Connecting the path of Celan's poems to Yunus Emre's physical peregrinations as a wandering dervish, Şenocak counters recurrent accusations of hermeticism in Celan's more pared-down late poetry, pointing instead to his conception of the addressee as a living, breathing, mortal body that is itself in motion.
Paul Celan is a central figure in the work of José F.A. Oliver, a multilingual poet who emerged from the context of the so-called migration literature. This article shows the extent to which Celan ...stands for Oliver's development into a self-reflexive poet who examines the possibilities of contemporary poetry and memory within the poem itself. For Oliver, the poem results from a process of condensation, a reflective and inward movement. At the same time, however, his "extensive" poetry integrates various places and languages. Celan's role within this field of tension-in fernlautmetz (2000) and fahrtenschreiber (2010), for instance-exceeds that of an intertextual reference. This idiosyncratic reception goes far beyond quotation and points back to an openness inherent in Celan's work itself. The extent to which historical experience and memory are transferable in the poem is an issue that Oliver also tackles on a meta-lyrical level.
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Nos ensaios Das Tor des Übersetzers oder Paul Celan liest japanisch (1996) O portal do tradutor ou Paul Celan lê japonês e Rabbi Löw und 27 Punkte (2007) rabino Löw e 27 pontos, a escritora e ...tradutora Yoko Tawada, oriunda de um contexto exofônico Japão-Alemanha, excursiona pelas poesias de Paul Celan. No primeiro, ela analisa a tradução japonesa e constata a pervivência e a traduzibilidade propostas por Walter Benjamin na célebre reflexão da Tarefa do Tradutor. Em Rabbi Löw und 27 Punkte, Tawada investiga a misticidade da poética celaniana imbricada com o conceito de História. Por último, no ensaio Ma und Mu (2007) Ma e Mu ela verifica a história fragmentada japonesa, entremeada de limiares. O objetivo deste artigo é analisar a tradução e a crítica tradutória de Tawada, sobretudo a partir de suas leituras de Celan, sob um olhar nos conceitos benjaminianos de alegoria, parábola e história.
This article discusses Paul Celan’s conception of the image through a close reading of his poem “Wortaufschüttung.” It reveals Celan’s engagement with allegory and baroque notions of the image as a ...sign which can only signify the absence of that which it presents. Yet Celan does not confine himself to such a negative, apophatic mode of expression. Thus, for Celan, poetry can testify to an originary speech that goes beyond mere negative signification. While the article concentrates on the image in Celan’s “Wortaufschüttung,” the introduction and conclusion suggest that the notion of the image discussed extends beyond the poem’s boundaries and informs Celan’s poetry and poetics more generally.
For flute, English horn, harp, guitar, viola, and cello. For harp and tenor saxophone. Contents: Gecko dance, Habanera caprichosa, Carib-bean daydreams, First flight of spring, and Lapkon's spinning ...wheel. Contents: "To invoke Pan, god of the summer wind", "For the dancer with crotales", "May the night be favorable", and "For a nameless tomb" from Epi-graphs by Debussy; Minotaur by Stéphanie Delplace; Labyrinth dance by R. Murray Schafer; Naxos and the journey with Dia by Roger W. Petersen; Bacchus by Damien Luce; Stellae saltantem by Caroline Lizotte; "Sleeping Beauty's pavane", "Little Thumbling", Em-press of the pagodas", "Beauty and the Beast", and "The fairy garden" from Mother Goose by Ravel.
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