Dissertations / Theses on the topic 'Poetry of Paul Celan'

Paul Celan (1920-1970), the Jewish poet of German descent, lived through the greatest catastrophe of European Jewry of the modern age. He survived, as his parents and innumerable others did not, and dedicated his writing, his voice, to the reality he had witnessed. It would be a mistake, however, to think of him solely as a "Jewish" poet, a term he considered anti-Semitic (see Christina Ivanovic's '''All poets are Jews:' Paul Celan's Reading of Marina Tsvetaeva"). Celan wrote of the world as such; a world that was able to reorganize itself towards the annihilation of countless human beings. In its midst, he questioned how one could live, how brotherhood could still be possible, and how a God could possibly appear in such a place. This thesis follows his questioning and pursues, along with him, the course of poetry and poetic language through the appearance of atrocity.

Tese de Doutoramento em Psicologia Clínica apresentada à Faculdade de Psicologia e Ciências da Educação, Universidade de Coimbra
Paul Celan, cujo nome de nascimento era Paul Antschel-Teitler, nasce a 23 de Novembro de 1920 em Czernowítz, grande cidade da Bucovina, região recém integrada na Roménia. Entre 1775 e 1918 a Bucovina pertencera ao Império Austro-Húngaro, que tinha desenvolvido, na região, uma política de acolhimento e de tolerância em relação aos judeus e que, simultaneamente, fomentara a implantação da língua e da cultura germânicas. Czernowitz era uma cidade próspera, com uma vida cultural intensa e fervilhante, sendo mesmo considerada como um dos centros mais importantes da cultura judaica no leste europeu. Cerca de metade dos seus habitantes eram judeus que preservavam as suas tradições e que falavam a língua alemã. Os pais de Paul Celan eram de origem judaica. Permaneceram sempre ligados às tradições judaicas mas símplificavam-nas. Assim, Paul recebe uma educação burguesa em que o judaísmo desempenha, sobretudo, um papel moral. E, ainda que o pai o pressionasse a uma educação judaica ortodoxa, a mãe, grande apaixonada pela língua e pela literatura alemãs, considerava estas bem mais importantes e, durante toda a sua vida, procurou que um alemão correcto fosse falado em casa, um alemão distinto do iídiche também corrente em Czernowítz. Para além do alemão, sua língua materna, Paul Celan, durante a sua infância, aprende o hebraico e o romeno, língua oficial obrigatória. Durante os seus tempos de liceu, a poesia atrai-o: lê Goethe, Schiller, Heine, Trakl, Hõiderlin, Rilke, Verlaine, Rimbaud, Apollinaire, Éluard, Shakespeare, Yeats... Começa a escrever poemas, que seguem a tradição melancólica da poesia romântica, e inicia os seus primeiros passos no ofício de tradutor. Entretanto, decide prosseguir estudos na área da medicina. Em Novembro de 1938 parte para França, onde frequenta a escola de medicina de Tours. Em Junho de 1939 regressa, para férias, à sua terra natal. O início da Guerra obriga-o, contudo, a permanecer aí. Opta, então, pelo curso de Língua e Literatura Francesas na Universidade de Czernowitz, a que se dedica com muito empenho. Entretanto, em Setembro de 1939, depois do pacto de não agressão assinado por Hitler e Estaline, a Roménia é obrigada a ceder o norte da Bucovina à U.R.S.S. Em Junho de 1940 as tropas russas invadem Czernowitz. Sob este novo poder político, a Universidade é objecto de grandes reformas. Paul passa a estudar russo e ucraniano e contacta com a poesia de Iessenin, que começa a traduzir. Em Junho de 1941 o pacto germano-soviético é quebrado, com a invasão da U.R.S.S. por Hitler. E, nesse mesmo mês, os alemães entram em Czernowitz, onde tentam destruir seiscentos anos de presença judaica: incendeiam a sinagoga, pilham, torturam e matam. Os judeus são destituídos dos seus direitos cívicos, obrigados a ostentar a estrela amarela e coagidos a vários trabalhos forçados. A 11 de Outubro é construído o gueto de Czernowitz. Iniciam-se deportações para campos de trabalho na Transnistria, região que pertencia à União Soviética e que passa a ser ocupada pela Roménia. Serão muito poucos os que regressam desses campos. Em Junho de 1942 os pais de Paul são deportados, primeiro para um campo de trabalho situado a sul, perto do rio Bug e, mais tarde, para o campo alemão de Michailowka, na Ucrânia. Nesse Outono o pai morrerá com tifo e, alguns meses mais tarde, segundo algumas testemunhas, a mãe será executada com uma bala na nuca por ser considerada inapta para o trabalho. Aconselhado por alguns amigos, Paul oferece-se para incorporar um batalhão de cantoneiros com destino aos campos de trabalho situados na Moldávia: Rãdãzani, Fãlticeni e Tãbãresti. Espera-o um trabalho muito duro, em condições de vida miseráveis, mas, também, a possibilidade de escapar à eliminação física sistemática praticada noutros campos. E Paul escreve, escreve, talvez a única forma de resistir, de sobreviver. Entretanto, com a aproximação do fim da Guerra, os romenos começam a desmantelar os campos de trabalho. Em Fevereiro de 1944 todos os judeus de Tãbàreçti são enviados de férias, sem data marcada para o regresso. Paul retoma a sua terra natal que, no mês de Abril, é libertada do domínio alemão pelo Exército Vermelho. Paul consegue escapar ao recrutamento militar soviético trabalhando, como ajudante, numa clínica psiquiátrica. Mais tarde, e com a reabertura da Universidade, recomeça os estudos, dedicando-se à literatura inglesa. Datam, deste período, traduções de sonetos de Shakespeare e a leitura de Blake e de outros grandes autores da língua inglesa. Torna-se cada vez mais claro, para ele, que a poesia é o seu destino. E, aspirando a publicar um livro de poemas, reúne e dactilografa a sua produção poética. Em Abril de 1945, Paul obtém autorização para trabalhar como leitor e tradutor (do russo para o romeno) junto de uma editora em Bucareste. Traduz Tchekov. Simonov, Turgueniev e Lermontov. As suas traduções, muito apreciadas, são assinadas com vários pseudónimos. No entanto, no romance de Lerniontov utiliza o seu verdadeiro nome, modificando apenas a ortografia segundo a grafia romena: Antschel torna-se, assím, Ancel. Em 1947 consegue publicar vários poemas, que assina Paul Celan, anagrama de Ancel. Todesfuge (Fuga da morte) surge inicialmente em romeno, numa tradução efectuada por Petre Solomon. É, certamente, o poema de Celan mais divulgado e conhecido, que prende pela enorme tensão gerada entre a brutalidade e a violência do exposto (o quotidiano dos judeus num campo de concentração) e a musicalidade e a beleza da forma. Em Dezembro de 1947, Paul parte clandestinamente da Roménia com destino a Viena. Aqui encontra verdadeiros amigos que o ajudam a publicar e a ler os seus poemas, em público e na rádio. No início de 1948 aparece, no número 6 da revista Der Plan, uma recolha de dezassete poemas seus, com o título Der Sand aus den Urnen (A areia das urnas). Mais tarde, em Setembro, esses poemas, e outros, serão retomados num volume autónomo, com o mesmo título, no editor vienense A. Sexl. Em Julho de 1948 Paul abandona Viena e fixa-se em Paris e, a partir de então, não conhecerá outra cidade... Os primeiros tempos são duros e solitários. É preciso sobreviver e Celan dá aulas particulares, traduz, arranja trabalhos diversos. Entretanto, começa a frequentar o curso de Literatura Alemã na Sorbonne. Algum tempo depois da sua chegada a Paris, Paul contacta o poeta Yvan Goll, um judeu alsaciano. Goll, que estava gravemente doente com leucemia, confia a Celan, antes da sua morte em Fevereiro de 1950, a tradução para a língua alemã da sua poesia. Paul cumpre o prometido, mas as suas traduções nunca serão publicadas, porque a viúva de Goll se opõe, alegando que o seu trabalho tinha um cunho muito pessoal, que o afasta do texto original. Mais tarde, decide ela própria empreender a tradução da obra do marido, para o que se «inspira» no trabalho anteriormente desenvolvido por Celan. Em 1952 Celan desloca-se à Alemanha para participar numa reunião do Grupo 47. Efectua contactos com uma editora alemã que, em Dezembro, publica o livro Papoila e memória, que abarca os poemas escritos entre 1944 e 1952, incluindo parte da obra A areia das urnas e o poema Fuga da morte. Nesse mesmo mês Celan casa com a artista gráfica Gisèle de Lestrange, a quem dedica o seu novo livro de poemas De limiar em limiar, publicado em 1955. Durante a década de 50, Paul Celan adopta a nacionalidade francesa, conclui a sua licenciatura e lecciona língua e literatura alemãs na École Normal Supérieure. A sua obra poética começa a ser conhecida, sobretudo na Alemanha, e vai adquirindo uma notoriedade crescente, sendo objecto de diversas críticas e resenhas. É convidado, com uma certa regularidade, para realizar leituras dos seus poemas. Em 1956 é-lhe atribuído o Prémio de literatura da Confederação da Indústria Alemã. Em 1957 recebe o Prémio literário da cidade livre e hanseática de Bremen; em 1960, o prémio Georg Buchner e, em 1964, o Grande prémio de literatura da Renânia do Norte-Westefália. No Verão de 1968 passa a integrar a comissão de redacção da revista fEphémère, sob o convite de Yves Bonnefoy, André du Bouchet, Louis-René des Forêts, Gaètan Picon e Jacques Dupín. No Outono de 1969 Celan viaja até Israel, onde reeencontra familiares e antigos amigos de Czernowitz e é calorosamente acolhido pela Associação de escritores Hebraicos. Em 1959 surge o livro Grelha de linguagem; em 1963, A rosa de ninguém, livro esse dedicado ao poeta russo Ossip Mandelstam; em 1967, Sopro, viragem e, em 1968, Sóis desfiados. Paul Celan também se dedica intensamente à tradução. Celan verte para o alemão Cocteau, Breton, Paul Éluard, Cayrol, Baudelaire, Gérard de Nerval, Mallarmé, Artaud, Rimbaud, Valéry, Apollinaire, René Char, Michaux, Supervielle, André du Bouchet, BJock, Maíakovski, Mandelstam, Iessenin, Cioran, Fernando Pessoa, Ungaretti, John Dorme, Yeaís, Shakespeare, EmilyDicldnson, Marianne Moore... Mas o fim dos anos 50 e os anos 60 não serão tempos fáceis... A partir de 1953 Claire Goll lança uma campanha pública de difamação de Paul Celan, em que acusa o Poeta de plágio da obra do marido. Se, inicialmente, Paul parece não se sentir muito afectado por tais calúnias, anos mais tarde elas atingi-lo-ão duramente. Paul desdobra-se na procura de apoio, quer do meio literário de língua alemã, quer no meio literário de língua francesa, mas nunca se sentirá verdadeiramente compreendido. Para o poeta essa campanha não é uma mera intriga literária mas, na verdade, uma tentativa de abolição dele próprio enquanto pessoa e enquanto autor. A partir do Outono de 1961 atravessa períodos de grande sofrimento psicológico e, em Dezembro de 1962 surge a primeira crise de delírio. Celan é acompanhado do ponto de vista psiquiátrico e vive alguns internamentos hospitalares. Apesar de nunca deixar de trabalhar (nomeadamente, continua a escrever e a traduzir), a sua instabilidade emocional acentua-se e atravessa períodos de um sofrimento atroz. E, talvez a 20 de Abril de 1970, Celan lança-se num mergulho definitivo no Sena, silenciando o corpo e as feridas insuportáveis de uma vida. Ao lermos Paul Celan mergulhamos no desabamento de um Mundo, na Perda e na Destruição, no Nada. A angústia, a escuridão, o silêncio estão presentes em toda a sua Obra. O Poeta, sobrevivente do extermínio, vive e revive o tempo da Morte e, obrigado a dizer-se na língua dos seus próprios esbirros, é palavra que luta contra o emudecimento. A sua Poesia radica, assim, numa experiência extrema no limite do dízível. E se os seus primeiros poemas são mais directos, mais acessíveis, os últimos são mais obscuros, mais fechados, mais enigmáticos. Mas, apesar disso, ao longo da sua Obra, a procura do encontro com o Outro é inquestionável. O poema é, em Celan, na sua essência, dialógico; ele quer ir ao encontro de um Outro, procura-o, oferece-se-lhe. No entanto, o apelo desse Outro, vivido como irresistível, conduz a uma busca atormentada, porque entre ambos existe um abismo, uma distância infinita e a palavra não tem força de redenção. O Tu dominante dos seus poemas é um Tu morto, Tu esse face ao qual me parece ser possível descrever dois tipos de relação: - um Tu que, apesar de morto, esteve presente e vivo, com quem se desenvolveram laços e com o qual, portanto, é possível reencenar Encontros, desde que seja o Eu a caminhar para ele; - um Tu inexoravelmente morto, que arrasta o Eu para a sideração do vazio absoluto, para um Nada psíquico onde se encontra perdido qualquer sentido; este Tu, gerador da morte da significação do Eu, condena-o à deriva em aflições extremas. Desta forma, a sua escrita, ainda que portadora de alguma esperança e de alguma reparação, fecha-se no Encontro com um Outro morto, com quem Celan vive o Mesmo e não o diferente e o novo. Na sua poesia Celan comunica-nos o seu sofrimento, o sofrimento decorrente da impossibilidade de se separar do que se teve e se perdeu e que, uma vez que foi vivido como insuficiente, não permitiu uma representação interna sólida que tornasse viável a construção da separação psíquica. Assim, o Poeta fala-nos da dificuldade de se diferenciar de um objecto retirado/ em agonia/ morto com o qual ficou emaranhado e confundido. E fala-nos também do sofrimento atroz e sem nome do Nada, do Nada/ Vazio Absoluto a partir do qual Nada é possível construir (enquanto representação interna securizante e esperançosa) e que acaba por se transformar num abismo voraz e destruidor. A Obra de Paul Celan será uma tentativa para dar forma (através da palavra, da criação de imagens, de ritmos, de sonoridades e de silêncios) a sentimentos de aflição extrema e de grande desamparo. No seu conjunto os seus poemas serão, assim, um esboço de constituição de uma pele psíquica destinada a conter/ suportar essas vivências e, também, a procura desesperada de comunicar e de encontrar compreensão

El objetivo de este trabajo es atender al modo en que la obra de Paul Celan estructura en la lengua una modalidad de vínculo tal que se materializa, al interior de la palabra, su propia escisión. A partir del estudio concreto de su discurso de 1960, Der Meridian, se establece un entrecruzamiento de los diálogos intertextuales y extratextuales que ahí se proyectan, para intentar dilucidar algunas de las repercusiones epistemológicas, éticas y estéticas que la obra celaniana da a pensar. Se estudia la escisión entre lenguaje filosófico y lenguaje poético, a partir de pensadores como Agamben, Heidegger, Gadamer, Caner-Liese y Derrida. Asimismo, se atiende la contraposición entre “Mismo” y “Otro”, según los planteamientos de Emmanuel Levinas y la relación que a partir de ello se establece en nociones como “Identidad”, “Memoria” y “Testimonio” y su repercusión en el lenguaje poético en tanto que vínculo.
The aim of this thesis is to address the way in which the work of Paul Celan structures language as a link that materializes in and within the word, its own division. Departing from Der Meridian address (1960), this study intersects the intertextual and extratextual dialogues there projected, in order to think of some of the epistemological, ethical and aesthetic repercussions that Celan’s work sets. We attended the split between philosophical and poetic languages from some ideas that thinkers such as Agamben, Heidegger, Gadamer, Derrida and Caner-Liese have expressed. Also, the oposition between "Self" and "Other", as Emmanuel Levinas has approached it, was the base to think the link that poetic language constitutes and its impact in notions like "Identity", "Memory" and "Testimony”.

Thesis (Ph. D.)--University of Oregon, 2007.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 276-292). Also available for download via the World Wide Web; free to University of Oregon users.

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A presente tese aborda abrangentemente a obra poética e em prosa do poeta romeno Paul Celan, tendo como objetivo pensá-la a partir de uma reflexão sobre escrita e leitura, que acaba por se encaminhar para uma reflexão mais ampla sobre a linguagem. Nesse sentido, a própria forma de escrita deste trabalho – que parte da leitura de discursos e de textos em prosa de Celan, bem como da leitura de seus poemas – é um problema fundamental para a tese. Tal problema se constitui, em última análise, como interrogação metodológica fundadora do modo vacilante e indecidível pelo qual a leitura se desempenha ante as palavras do poeta. Dividida em duas partes principais – e, posteriormente, repartida outras várias vezes: como meridianos –, a tese ambiciona provocar as instâncias estáveis de qualquer escrita que se proponha a dialogar com poemas. Sendo assim, a tese busca a todo tempo pensar a possibilidade de relação com o outro – sentido e destino da arte –, relação tão indissociável quanto a de escrita e de leitura, repensando o próprio papel da escrita que se queira crítica
This thesis comprehensively approaches the poetry and prose works of the Romanian poet Paul Celan, aiming to think about them from a reflection on writing and reading, which ultimately moves toward a broader reflection on language. In this sense, the very form of writing of this work – that departs from the reading of Celan’s speeches and prose, as well as of his poems – is a fundamental problem for the thesis. This problem is, at last, a methodological questioning that founds the faltering and undecidable way through which the reading performs before the poet’s words. Divided into two main parts – and subsequently distributed other several times: as meridians – the thesis aims to provoke the stable instances of any writing that proposes to establish a dialogue with poems. Thus, the thesis intends to think thouroughly the possibility of relation with the other – art’s way and destiny –, a relation that is as inseparable as the one concerning writing and reading, at the same time rethinking the very role of a writing that longs to be critic

The poets Paul Celan and André du Bouchet were close friends and translated each other's poetry in the 1960s. Despite their proximity and friendship, this study suggests that they differ fundamentally in their poetics of the image. These two important authors outline two very different avenues in engaging with the image as a centuries old topos in philosophy and art. In his conception of the image, Celan links the iconoclastic impetus of the Second Commandment with the biblical confusion of tongues, believing that our need to speak in metaphors and typos images (Abbilder) after Babel impedes truthful poetic expression. For Celan, the Holocaust is a form of renewal of this linguistic Fall of Man. Nonetheless Celan's poetry also suggests that we can give testimony to an archetypos (Urbild) through truthful poetic expression. Du Bouchet, on the other hand, conceives of the image as encompassing the visual juxtaposition of black ink on the white page and the semantic paradoxes of his poetry. Du Bouchet distributes words across the page and as his poetry thematises gaps of meaning these gaps not only surface in his language but also extra-linguistically in the white gaps of the page. These different conceptions of the image in Celan and du Bouchet are first delineated by alternating analyses of the two authors' poetry and poetics. These investigations show Celan's desire to overcome a typified speech and, in his creation of poetic images, to tend toward truth, or an archetypos, whereas du Bouchet perennially negotiates the paradoxes which constitute his poetic image. In a second step, this study investigates how these differences in their conception of the image inform their respective approach to translating the other.

This thesis makes the claim that there is an important correlation between the poetic and the ethical in the work of Jacques Derrida, Hélène Cixous and Paul Celan. Taking its cue from Derrida’s 1988 ‘Che cos’è la poesia?’, it proposes that what he calls the ‘poematic’ entails an ethical experience. It seeks to show that the underlying link between the poetic and the ethical as it emerges in Derrida’s text calls for a reconsideration of the relation between the literary and the ethical. Rather than merely describe ethical situations or prescribe ethical behaviour, the poetic involves an ethical experience of the arrival or ‘invention’ (from the Latin invenire: to come upon) of the other. Focusing on Derrida’s notions of responsibility and hospitality in turn, it argues that the interruption at the heart of Derrida’s ethical event is what characterises poetic force. Chapter 1 presents a reading of Derrida’s notion of the poetic as an instance of ethical responsibility. It begins with a discussion of Derrida’s understanding of responsibility that underlines the importance of the interrelation between the secret, the call and the response. It subsequently argues that the poetic dictate, like responsibility, also involves an interruptive call or apostrophe that demands a response. Referring closely to the biblical narrative of Abraham’s near-sacrifice of Isaac as well as Derrida’s notions of the ‘double yes’ and the countersignature, it finally considers the ethics of poetic response. Chapter 2 claims that the force of Hélène Cixous’s work is intricately bound to the Derridean ethical imperative of responsibility as explored in Chapter 1. It begins by showing the parallels between Cixous’s ‘coming to writing’ and the Derridean notion of the poetic dictate. It maintains that the complex question of genre in Cixous’s work is related to her writing practice as an instance of submitting to the call of the other. Finally, it argues that the ethical import of her work is to be found in what Derrida has described in terms of a monstrous force. Turning its attention primarily to Derrida’s seminars around the subject of hospitality, Chapter 3 begins by focusing on the inherent violence in hospitality through an analysis of the etymological root of the word ‘hospitality’ and Derrida’s neologism ‘hostipitality’. It then addresses Derrida’s aphoristic claim that an ‘act of hospitality can only be poetic’. Relating this assertion to his understanding of invention as the instance of the coming of the other, it argues that the poetic is ethical at its core because it invents the impossible. Finally, drawing out the implications of Derridean hospitality for a reading of Sophocles’ play ‘Antigone’, it demonstrates that the eponymous character enacts the poetic experience at the centre of the discussion. In an extended analysis of the notion poetic hospitality, Chapter 4 takes the concept of the uncanny in Paul Celan’s ‘Der Meridian’ speech as its foremost concern. It makes the claim that the ethical force in Celan’s oeuvre lies in its power to overcome the uncanny automaticity of art. It then turns to ‘Die Niemandsrose’ to explore the uncanny in relation to what Celan calls the ‘groundlessness’ of the poem. Finally, it suggests that the uncanny in Celan’s oeuvre can be seen as the ethical counterpart to the aesthetic of the Romantic sublime that is arguably no longer possible today.

This thesis aims to challenge a number of critical assumptions that have unnecessarily restricted the way we read Paul Celan's work, and poetry in general, by reading an unfinished cycle of poems called 'Eingedunkelt.' The poems were written during the Spring of 1966, when Celan was incarcerated in a psychiatric hospital in Paris, and have received little critical attention since their initial partial publication in 1968, their more extensive publication in 1991, and the exhaustive publication of the transcription of all genetic documents in 2006. The thesis consists of three chapters, the last two of which are divided into two parts. The opening chapter confronts the poems in 'Eingedunkelt' as they are now available to us as genetic documents, and engages with current theories of genetic criticism to explore new ways of reading and creating meaning within the avant-texte. Although studies of Celan's work have proliferated since his death in 1970, very few critics have been willing to look beyond the formulation of the poetics Celan defines in his 1960 Büchner prize speech 'Der Meridian.' Chapters Two and Three therefore seek to identify the presence in 'Eingedunkelt' of alternative ways of thinking about poetry that do not necessarily conform to the poetics most explicitly outlined in 1960, and that allow for the very real possibility that Celan's conception of his poetic task was often challenged and maybe even transformed. Through Celan's engagement with Stéphane Mallarmé and Jean-Paul Sartre, Chapter Two identifies the development of a poetics of suicide, according to which each poem rehearses the poet's final and greatest creative act in his or her own self-destruction. Chapter Three recognizes the existence of a counter-poetics of life through Celan's lifelong interaction with the paintings of Rembrandt van Rijn, in which the material qualities of dried oil paint, which mimic the organic qualities of human skin, offer a way to create a living, breathing, but also decaying memorial to those who died in the Shoah. This provides the platform for Celan's poetic critique of both the 1963 - 1965 Frankfurt Auschwitz Trial, and Peter Weiss's 1965 dramatization of the Trial, 'Die Ermittlung.'

Diese Arbeit befasst sich mit dem Problem der Sprache in der Dichtung Paul Celans (1920-1970). Der Gegenstand der Forschung sind die metasprachlichen und metapoetischen Reflexionen in den Texten Paul Celans. Interpretiert werden Gedichte der mittleren Schaffensperiode (aus den Bänden Sprachgitter,1959, Die Niemandsrose, 1963, Die Atemwende, 1967) sowie poetologische Rede Der Meridian (1960). Folgende Probleme sind als Grundlage der Forschung zu verstehen: 1. Das Problem der Subjektivität in poetischen Texten Paul Celans. In der Arbeit wird versucht, die Zusammenhänge zwischen dem im Text sprechenden Subjekt und der Sprache selbst festzustellen und zu beschreiben, wobei ein großes Augenmerk auf die Ambivalenzen Stimme / Schrift, Bewusstsein / Schrift, Erinnern / Vergessen, Identität / Differenz gerichtet wird. Es werden die Figurativität der poetischen Sprache und die Mechanismen der Bedeutungsübertragung analysiert. Man beachtet dabei den Überfluss von der Bedeutung sowie die Schwierigkeit den Sinn zu rekonstruieren. 2. Das Problem der Entfaltung des Anderen. In der Dissertation wird das „fremde Wort“ in Celans Texten untersucht, indem man die Zweideutigkeiten das Eigene / das Fremde, das Schreiben / das Lesen des Anderen, Abgeschlossenheit / Offenheit des Zitats berücksicht. Die Sprache wird als Reservoir der Dichtung und die Dichtung als einmaliges poetisches Ereignis aufgefasst. Es wird versucht die Korrelation von Subjektivität und Sprachlichkeit in den poetischen... [der volle Text, siehe weiter]
Disertacija skirta kalbos problemos analizei Paulio Celano (1920-1970) kūryboje. Tyrimo objektas – Paulio Celano tekstų metakalbinės ir metapoetinės refleksijos. Interpretuojami brandžiojo Celano kūrybos periodo rinkinių Kalbos grotos (Sprachgitter 1959), Niekieno rožė (Die Niemandsrose, 1963), Kvėpavimo posūkis (Die Atemwende, 1967) eilėraščiai ir poetologinė kalba Meridianas. Darbe keliamos dvi pagrindinės problemos: 1. Poetinės kalbos subjektyvumo problema. Kalbančiojo subjekto ir kalbos santykis gvildenamas, atsižvelgiant į balso / rašto, sąmonės / rašto, atminties / užmaršties, tapatybės / skirtumo ambivalencijas. Celano kalbos sampratos savitumas atskleidžiamas, apibendrinant kalbos kaip poezijos rezervuaro ir eilėraščio kaip vienetinio poetinio įvykio santykių problemą. Analizuojamos poetinės kalbos figūros (prozopopėja, antropomorfizmas, katachrezė) kaip prasmės perkėlimo mechanizmai, atsižvelgiama į reikšmės perteklių ir galutinės prasmės neprieinamumą. 2. Kitybės sklaidos problema. Apibrėžiama Celano tekstų suvokimo specifika, tekstų orientacija į skaitytoją. Aptariamas „svetimas žodis“ poetiniuose tekstuose, atsižvelgiama į eilėraščio savasties ir svetimybės ryšius jame, „kito“ skaitymo / rašymo, citatos baigtinumo / tęstinumo dviprasmybes, „svetimo žodžio“ poveikį teksto reikšmių kūrimuisi.
This thesis analyses problems of language in the works of Paul Celan (1920-1970). The main theme of thesis is metalanguage and metapoetical reflections of Paul Celans texts. The interpreted writings are selected from the collections of Paul Celan’s poetry: Sprachgitter (1959), Die Niemandsrose (1963), Die Atemwende (1967) and the speech Meridian. This thesis paper raises and discusses two main problems. 1. The problem of subjectivity of poetic language. The relationship between the lyrical subject and his language is analyzed with respect to the ambivalences of voice / writing, consciousness / writing, memory / forgetfulness, identity / difference. The uniqueness of Celan’s concept of language is disclosed by generalizing the problem of language as a poetical reservoir and the problem of a poem as unique poetical act. The figures of poetical language, that enable the transfers of meaning, are analyzed: prosopopoeia, anthropomorphism, catachresis. The surplus of meaning and unavailability of final meaning are also taken into the account. 2. The problem of diffusion of otherness. The specificity of perception of Celan’s works and the orientation towards the reader is determined. “Other texts” in poetical texts are discussed, considering the relationships in poetical work between “self and the other”, the reading / writing of “the other”, the finiteness of quotation / succession of ambiguity, the effect of “other texts” on the process of meaning creation.

Martin Heidegger in 'The Origin of the Work of Art' seeks to approach the self-subsistent nature of art. The Greek Temple opens up a space within which our Being may dwell. It is the site of human civilization and religion, and of our capacity to dwell within abstractions like peace, justice, truth and representation. Art breaks open a new place and presents things in a fresh light. Language is the primary model for this activity. Paul Celan in his poetry offers a challenge to Heideggerian abstraction. Both poet and philosopher were intimately familiar with each other's work, yet there is no essay on Celan, or even a reference, in the entire Heideggerian corpus. Celan's poem 'The Straitening' conveys the breakdown of meaning that has occurred after the holocaust. In form and content it challenges any Heideggerian notion of the higher univocity achieved by great poetry. We will explore recent examples of how poets have examined the idea of cultural belonging exclusion. We present a distillation of this idea in the writings of Paul Celan, particularly his presentation of the moment of 'Shibboleth'. We explore the biblical origin of the term 'Shibboleth' in a conflict between the army of Jephtah and the Ephraimites. We look at a contemporary poem with 'shibboleth' as it theme. Seamus Heaney's 'Broagh'. A consistent theme of Maurice Blanchot's critical reflection from The Work of Fire in 1949 up to and including The Space of Literature in 1955, is the manner in which our being creatures unto death allows us to create art, and to think and write in the abstraction that is language. Life endures death and maintains itself in it. For Blanchot Rainer Maria Rilke is one of the most significant modern poets in the way in which he has presented and explored this theme. We challenge Blanchot's inadequate reading of Rilke in The Space of Literature as an instance of his own pre-conceived philosophical nihilism.

The thesis focusses on the suspension of Celan's poetry between speech and silence, in particular on the way in which this suspension functions and on the interrelations between its thematic, formal, metaphorical, tonal and structural manifestations. As is emphasized in a fusion like "das erschwiegene Wort" in the early programmatic poem "Argumentum e silentio, " silence in Celan is not opposed to, but is inherent in, poetic speech. The fundamental mediality of his poetry engenders numerous devices of suspension, which, according to the rhetorical modes in which they silence reference, may be divided into three distinct but not mutually exclusive categories: unfinality, disjunction and displacement. The first category is defined by the avoidance of closure. Whatever the technique employed, be it the elision of a final full stop or an explicit self-revocation, this type of poem not only negates its own finality, but consists of this very invalidation. The speech of the poem is the silencing of speech. This primal suspension infuses Celan's work with a host of correlative disjunctions. Metaphors are often radically suspended between mutually exclusive extremes of connotation, mutually exclusive denotations sometimes starkly juxtaposed. The opposing terms at once define and negate each other: the essence lies in the interstice they delimit. The third category investigated is that of displacement, which, exemplified by the use of irony and anagrams, involves suspension by a deviation from, rather than a negation of, literal meaning: an element of deflection and play is to the fore. All three categories share the basic mechanism of exploiting an interstice between reference and rhetoric. And, the thesis ventures finally to suggest, it is this interstice, reflected thematically in many metaphors of mediality and constituted by a fusion, a synchronization, of multiple grids of signification, that structures the poem; it is silence that speaks.

Attestant les paradigmes de la poesie allemande posterieure a 1945, l'oeuvre de paul celan (1920-1970) se concoit essentiellement comme une ecriture en quete de realite. A la recherche d'un avenir a atteindre qui soit base sur l'instance de l'autre, celan considere l'acte poetique comme l'acte dialogique par excellence. Degageant une profonde congenialite avec la philosophie de martin buber, la creation de paul celan tend a l'instauration d'une structure de l'etre, fonde sur le dialogue et la rencontre que la parole collective du "nous" anticipe dans le medium langagier. Dans l'evolution de l'oeuvre celanienne entre 1948 et 1970 apparaissent deux periodes de creation, - l'une anterieure a 1960 1962 et l'autre posterieure a cette date. Alors que dans les premiers recueils de poemes, le postulat utopique de celan est configure dans le motif du "plus-tard des roses", les figures poetiques de la terre et de l'astre semblent intervenir dans la deuxieme etape de la creation celanienne en tant que prolongements de la conception du "plus-tard des roses". Les structures d'opposition - caracteristiques de cette creation - marquent jusque dans l'oeuvre posthume la poesie de celan qui se situe "dans la clarte de l'u-topie".

Recherche interdisciplinaire sur la crise de la représentation et la circulation des images mémorielles de la Shoah en RFA, ce travail s'organise autour du phénomène de transmission transgénérationnel entre Paul Celan et le peintre Anselm Kiefer. L'analyse critique de la mémoire orale, écrite et imagée, en RFA entre 1945 et 1990 questionne la complexité du silence. L'interprétation des articulations entre la poésie de Celan et l'image non verbale (surréalisme, abstraction, gravure, histoire de l'art) accorde une importance particulière à la résonance phénoménologique entre l'image et le texte. C'est dans la conscience d'une compréhension à distance que la peinture de Kiefer adopte la vision géologique de Celan pour commémorer les victimes de la Shoah. La transformation n'est ni iconique ni littérale. Le peintre interprète et opère une nouvelle condensation du paysage idéographique transmis par le texte de référence : l'idiolecte celanien devient idéogramme kieferien. La poétique de Celan lui fournit le modèle d'un deuil éthique, où les fantasmes durables liés au nazisme sont déconstruits par la connaissance critique de leur construction culturelle. Ceci conduit au contrôle et à la réfection en profondeur de l'héritage culturel allemand en fonction de la Shoah et à l'inscription de la mémoire juive dans l'iconographie mémorielle allemande. La perception même du retrait du sens conduit Celan comme Kiefer à ré-auratiser l'art
This interdisciplinary research on the crisis of representations and the memory images of the Holocaust in Germany is organised around the transgenerational transmission between Paul Celan and Anselm Kiefer. The critical analysis of oral, written and imaged memory in Germany from 1945 to 1990 questions the complexity of silence. The interpretation of the relation between Celan's poetry and the non verbal image (surrealism, abstraction, history of art) focuses on the phenomenological resonance between the image and the text. Kiefer's painting adapts Celan's geological vision to commemorate the victims of the Holocaust, but this transformative adoption is neither iconic nor literal. The painter interprets and operates a new condensation of the ideographic landscape transmitted by the textual reference : the celanien ideolect becomes a kieferian ideogram. Celan's poetics provides him the model of an ethical mourning that permits to deconstruct the perduring phantasmas related to national-socialism by the way of a critique of their cultural construction. The aim of this operation is to control and to renovate the german cultural heritage, according to the Holocaust, and to inscribe the jewish memory into the german iconographic memory. The knowledge of the withdrawal of sense conducts Celan as well as Kiefer to a re-auratisation of art

Pour situer l'œuvre poétique de Paul Celan entre réalité et utopie, il faut distinguer la réalité extérieure, dont les éléments sont absorbés, non transcendés mais transférés dans le langage, et la réalité qui se constitue en se projetant dans ce dernier et présente un caractère utopique pour vouloir embrasser le trop-plein de réalité. Le rapport au réel est inversé et la démarche de Celan s'effectue de l'œuvre vers le monde, de l'utopie vers la réalité. Elle est quête de vérité et d'identité et a ses racines dans la blessure infligée par l'histoire. Le « nom » celanien est une entité pluridimensionnelle et polymorphe, qui cherche à rendre compte de toutes les strates de réalité. Grace à sa nature phénoménale, cette image-objet au sein de laquelle sens et sensible fusionnent est matière et matrice : icone verbale. Ses multiples valences - gestuelle, tactile, phonique, rythmique et graphique - en font un être particulier qui contribue à 'tisser' le texte et remplit ainsi un rôle structurel déterminant : la fonction de distanciation, la fonction tragique et médiatrice opèrent simultanément pour mettre le langage à l'épreuve de l'holocauste. La parenté entre cet art poétique et les arts plastiques est très forte en raison de l'épaisseur et de la plasticité du matériau linguistique qui est substance, pétrie et marquée par le poète qui inscrit en elle la mémoire vive de l'évènement historique. La valeur esthétique procède d'une nécessite éthique, conférant une qualité humaine à l'œuvre.

El propòsit d'aquesta investigació és mostrar com la caracterització del poètic ha de passar necessàriament per la qüestió Grècia–––modernitat, i com tal qüestió ajuda a aclarir les mútues implicacions del poètic amb la qüestió del ser i el caràcter històric. Per tal de fer-ho s'atén a l'obra de diferents poetes, tenint com a punt de partida els “assajos d'Homburg” de Friedrich Hölderlin, potser el primer en formular la radical diferència Grècia ––– modernitat, i contrastant-los amb la tasca poètica de Píndar i amb l'obra de Paul Celan. La investigació es du a terme assumint la crítica de Szondi al procedir tant de la filologia, com, molt particularment en el nostre cas, de l'hermenèutica filosòfica, advertint dels perills de veure el poema en la historia i no, tal com exigeix Szondi, la historia en el poema. A més es fa entenent “la història” no en el sentit d'una successió d'èpoques que sorgeixen i s'enfonsen, sinó, en consonància amb el que defensa Martínez Marzoa, en el sentit de l'únic moviment de sorgir i pèrdua de Grècia, interpretant, aleshores, el que ve després en relació amb aquest esdeveniment. Hölderlin formula una teoria dels gèneres poètics en els “assajos d'Homburg”. Malgrat el seu caràcter fragmentari, ens ha semblat que aquells que s'orienten cap als poemes grecs acaben tancant-se en una interpretació consistent molt il•luminadora del que és Grècia o la seva poesia, en la mesura que constitueix un sistema que caracteritza i diferencia els tres gèneres principals (épos, mélos i tragèdia) fent-los participar d'una estructura comuna, i ho fa de tal manera que admeten només una ordenació, aconseguint amb això donar compte tant del que és el poètic a Grècia, com del mode de ser que cada gènere comporta, i, també, de la història o del temps que és l'esdevenir i perdre's de Grècia. En la primera part de la investigació s'analitza la utilitat de la teoria hölderliniana dels gèneres poètics grecs a l'hora d'interpretar la poesia grega, i molt especialment de llegir Píndar, utilitat que sembla provenir del fet que els poemes grecs participin d'una empresa comuna consistent en l'explicitació d'en què consisteix ser, amb la qual cosa mouen el ser (i.e. el cercle dels gèneres). En la part central del treball s'interpreta el text de Hölderlin titulat “Über die Verfahrungsweise des poetischen Geistes”, en el qual l'autor sembla assajar una poètica que serveixi per al poema en general i per al modern en particular, i es constata, en les dificultats que es van plantejant amb la necessitat d'establir sempre una nova contraposició, certa impotència en aquesta pretensió. Tal impossibilitat sembla respondre al fet que el poema modern ja no participa de cap gran projecte comú, ja no mou la història, quedant-li només el paper de reconèixer l'alteritat respecte el moment en què això es donava i el ser-ne una certa perspectiva, un cert recollir la història. L'alteritat del poema modern respecte Grècia, solidària de l'alteritat respecte la validesa, és clau en tota la poesia moderna i marca l'evolució del poema “avui” que trobem en l'anàlisi d'”El meridià” de Paul Celan. En aquest discurs constatem la conflictiva relació que té el poema amb el seu caràcter marginal, i la possibilitat de, si no superar, almenys assumir aquesta situació essent donació a... i interpretació de... un singular, una data. Per a això li caldrà assolir una individuació radical, però sense abandonar del tot els límits que li marca el llenguatge, essent així una determinada perspectiva sobre la història del ser i, alhora, quelcom a interpretar.
The purpose of this research is to show how the characterization of the Poetic matter must go through the question Greece–Modernity, and how that question is helping to clarify mutual implications between the Poetic matter and the question of the being and the historical character. Its objective is to pay particular attention to the work of various poets, starting with the «Homburg Essays» of Friedrich Hölderlin, probably the first one to formulate the radical difference Greece–Modernity, and contrast them with the work of Pindar and Paul Celan. In the first part of this investigation the usefulness of the Hölderlin theory of the poetic genres is analised to explain Greek poetry and especially in order to read Pindar, confirming that what the philologists consider the most characteristic aspect of his poetry corresponds with great precision with the traits that the hölderlinian system attributes to «lyrical poetry». The reason for them corresponding seems to come from the fact that Greek poems take part in a common undertaking consisting in the exegesis of the being, with which they move the being (i.e. the circle of genres). In the central part Hölderlin's text “Über die Verfahrungsweise des poetischen Geistes“ is interpreted, in which the author seems to try a poetics that could be used for the poem in general and for the modern one in particular, confirming by the necessity to always establish a new opposition a certain impossibility in the aspiration. Such impossibility seems to respond to the fact that the modern poem doesn't participate in any common project any more, it isn't the motor of history, leaving it only the role of recognising the alterity in relation to the moment in which the movement was happening and to being a certain perspective on it. The poems acceptance of its alterity in relation to Greece, closely tied to its alterity regarding validity, determines the evolution of the poem “today” that we found in the analysis of “The meridian” of Paul Celan: now the poem must be a donation to... and a interpretation of... a singular, a date, being then a certain perspective on the history of the being and, at the same time, an interpretable one.
El propósito de esta investigación es mostrar cómo la caracterización de lo poético tiene que pasar necesariamente por la cuestión Grecia–modernidad, y cómo tal cuestión ayuda a aclarar las mutuas implicaciones de lo poético con la cuestión del ser y el carácter histórico. Se pretende hacerlo atendiendo a la obra de diferentes poetas, teniendo como punto de partida los “ensayos de Homburgo” de Friedrich Hölderlin, tal vez el primero en formular la radical diferencia Grecia– modernidad, y contrastándolos con la obra de Píndaro y de Paul Celan. En la primera parte de la investigación se analiza la utilidad de la teoría hölderliniana de los géneros poéticos griegos para interpretar la poesía griega, y muy especialmente para leer a Píndaro, comprobando que aquello que los filólogos consideran lo más característico de su poesía encaja con gran precisión con las cualidades que el sistema hölderliniano atribuye a la «lírica». La razón de este encaje parece encontrarse en el hecho de que los poemas griegos participan de una empresa común consistente en la exégesis del ser, con lo cual mueven el ser (i.e. el círculo de los géneros). En la parte central se interpreta el texto de Hölderlin titulado “Über die Verfahrungsweise des poetischen Geistes”, en el cual el autor parece ensayar una poética que sirva para el poema en general y para el moderno en particular, constatando en la necesidad de establecer siempre una nueva contraposición cierta impotencia en esa pretensión. Tal imposibilidad parece responder al hecho de que el poema moderno ya no participa de ningún gran proyecto común, ya no mueve la historia, quedándole sólo el papel de reconocer la alteridad respecto el momento en que eso se daba y ser una cierta perspectiva sobre ello. La asunción de su alteridad respecto Grecia, solidaria de la alteridad respecto la validez, marca la evolución del poema «hoy» que encontramos en “El meridiano” de Paul Celan: ahora el poema tiene que ser donación a... y interpretación de... un singular, una fecha, siendo entonces una determinada perspectiva sobre la historia del ser y, a la vez, un interpretable.

Extr. de: Proefschrift--Letteren--Nijmeren--Katholieke univ., 1993.
Textes en allemand et en néérlandais. Cette étude constitue la 1ère des 3 parties de la thèse de P. Sars. 2ème partie parue à Baarn, 1988, sous le titre : "Gedichten" 3ème partie non éd. en 1993, mais archivée à la Katholieke universiteit de Nimègue et au Schiller-Nationalmuseum de Marbach sous le titre : "Paul Celan an Diet Kloos-Barendregt"

rezensiertes Werk: Bachmann, Ingeborg ; Celan, Paul: Herzzeit : Ingeborg Bachmann – Paul Celan. Der Briefwechsel / hrsg. von Badiou, Bertrand ; Höller, Hans ; Stoll, Andrea ; Wiedemann, Barbara. - Frankfurt am Main : Suhrkamp, 2008. - 399 S. ISBN 978-3-518-42033-1

L'oeuvre du poete roumain d'expression allemande paul celan (19201970) donne lieu a un antagonisme de deux langues. La langue commune, aussi bien celle du quotidien que celle de la haute tradition poetique, est recusee et contree par une langue separee et idiomatique qui, dans ses lois constitutives, se refere a l'evenement historique de l'extermination des juifs par les nazis. L'interpretation des poemes permet de degager et de confirmer l'hypothese d'une structure matricielle lui se developpe autour des trois stades d'une refection du langage poetique : les langages constitues (1) sont conduits a un point d'extinction (2) du passage par l'abime peut surgir une parole refaite (3). Chaque poeme est une cosmologie linguistique qui produit une visualisation nouvelle, un "monde" dans le verbe, en commentant ses propres conditions de possibilite. La langue du poeme ne se preoccupe que d'elle-meme parce qu'elle cherche a s'assurer de son adequation a l'evenement. Son caractere personnel et dirige implique pour l'interprete une reconnaissance accrue de l'intention, et de la maitrise du poete. Tout en analysant le conflit d'interpretation qui s7est mis en place autour de l'oeuvre, le present travail cherche a definir a partir du vocabulaire de celan et de ses obscurites meme les conditions de determination du sens
The work of the german-writing romanian poet paul celan (1920-1970) is characterized by an antagonism between two languages. The common language, including everyday language as well as traditional poetic language, is rejected and opposed by a separate idiomatic language, which is based on a central reference to the extermination of the jews by the nazis. The interpretation of his poems confirms the hypothesis of a matricial structure which includes three phases of a re-creation of poetic language ; existing languages (1) are cancelled out ; from the abyss (2) a new language may appear (3). Each poem is a linguistic cosmology giving rise to a new visualisation, a "world" in language, each a commentary on its own conditions of possibility. The poem ar centered on themselves in an attempt to adjust their language to the event. Due to the personal and deliberate nature of this language, it is necessary, in interpreting the poems, to take into account the intention and the mastery of the poet. Starting from the vocabulary of celan and precisely from its obscurities, we intend to define the conditions of determination of meaning, while analysing conflicting tendancies in interpretation

L’œuvre fictionnelle et critique de Maurice Blanchot entretient des rapports intenses avec la philosophie et la littérature allemande. Alors que la relation de Blanchot à la philosophie allemande a été largement étudiée, la thèse suivante porte sur son rapport à « l’espace littéraire »allemand – beaucoup moins analysé – et en particulier sur le « genre » fragmentaire qui fonde toute l’œuvre blanchotienne. Après un bref retour sur cette notion polysémique et complexe, on découvre dans les différents chapitres les empreintes profondes laissées par Franz Kafka et Paul Celan dans l’œuvre de Blanchot autour de cette « expérience du fragmentaire » vécue par les trois auteurs selon des modalités différentes.La première partie expose les liens qui unissent les trois auteurs afin d’explorer dans la deuxième partie les caractéristiques communes aux trois écritures fragmentaires. L’exil, la rupture imposée par la Shoah, la lecture comme processus de fragmentation, le rapport entre inconscient et écriture fragmentaire, l’esthétique du blanc et du vide, qui habite ces écritures, sont quelques uns des axes principaux de cette étude. Un des apports de cette recherche est la redéfinition du fragmentaire comme « style » à part entière. De plus, l’ensemble du travail est enrichi d’annexes regroupant notamment des manuscrits de Blanchot qui permettront au lecteur de saisir cette expérience à l’œuvre
Both fictionnal and critical works of Maurice Blanchot have intense relations with the germanliterature and philosophy. But, whereas Maurice Blanchot’s relation to the german philosophy hasbeen widely studied, the following thesis cares about the german « literary space » – far lessanalysed – and more particularly about the fragmentary « genre » that structures the whole of Blanchot’s work. After briefly going back on this complex and polysemous notion, we discoverthrough the different chapters the deep imprints that both Franz Kafka and Paul Celan left onBlanchot’s work around this « fragmentary experience », which the three authors each livedaccording to different modalities.The first part of the work shows the links uniting the various authors so as to explore in the secondpart the common features to the three fragmentary writings. Among the various axis of this studyare the notion of exile, the breaking imposed by the Shoah, the experience of reading as a processof fragmentation, the relation between unconsciounesss and fragmentary writing, the aesthetics ofwhite and emptiness present in the works. One of the contributions of this research is that itredefines the fragmentary genre as a full-fledged style. Further more, the whole of the work is enhanced by annexes bringing together in particular some of Blanchot’s manuscripts. These willhelp the reader understanding this experience in process

Cette thèse de doctorat étudie, dans une première partie, la problématique de la traduisibilité ou de l’intraduisibilité de la poésie et en particulier de la poésie dite « obscure » du 20ème siècle en analysant les textes critiques et traductologiques d’Antoine Berman, de Friedrich Schleiermacher, de Friedrich Hölderlin et de Roman Jakobson. Les résultats de cette analyse sont mis en relief par une étude plus précise de la traduction de la métaphore et de l’altérité textuelle (Martin Buber, Emmanuel Levinas, Antoine Berman). Dans la deuxième partie, nous traitons de la problématique de l’analyse des traductions poétiques en présentant les travaux d’Efim Etkind, d’Henri Meschonnic, d’Antoine Berman et de Gilles Deleuze en contribuant à la constitution de ce que Berman appelle le « genre critique de traduction ». Nous soulevons également la question, d’une part, de savoir dans quelle mesure le traducteur peut être considéré comme étant l’auteur de la traduction et de l’autre, de savoir comment une traduction peut être évaluée. Dans la troisième partie, nous présentons l’histoire de la traduction et de la réception de Celan en France et nous proposons une théorie du paratexte de la traduction. Ensuite, nous analysons les traductions d’André du Bouchet, de Michel Deguy, de Martine Broda et Jean-Pierre Lefebvre. Ces analyses sont précédées d’une étude des textes critiques, poétiques et traductologiques des traducteurs. Enfin, nous analysons cinq traductions différentes du poème « Matière de Bretagne »,

Résumé : Musicienne et traductrice de formation et de métier, je présente ici des traductions de poèmes contemporains qui s’annoncent, par leur titre ou leur forme, comme des fugues. Comme hypothèse de départ, je pose la possibilité du transfert des éléments de fugue musicale à ceux de la fugue littéraire. Ma démarche se décline en deux parties. Dans un premier temps, j’analyse les poèmes en suivant pas à pas la méthode de critique des traductions littéraires d’Antoine Berman. La méthode est adaptée à la traduction intersémiotique et rend compte des éléments de fugue contenus dans chacun des poèmes à l’étude. Dans un second temps, une fois le « projet de traduction » bien établi, je propose une traduction française des fugues-poèmes. Dans l’esprit de ce que Barbara Folkart nomme des « traductions d’auteur », dans le rendu proposé, je m’éloigne des approches dénotatives, tentant de réactualiser en français la démarche compositionnelle des poètes. Que retiendront les poètes pour leur projet de fugue-poème? Une confusion est-elle possible avec d’autres formes répétitives, comme le canon, le thème et variations, le ground, la chaconne, la passacaille, voire des formes de musique minimaliste? Malgré les appréhensions d’un certain nombre de critiques, qui taxent de « vaines » toute expérience intersémiotique ou toute tentative pour en démontrer les correspondances, on trouve quelques exemples probants de fugues littéraires. Bien entendu, la musique ne peut se traduire directement en mots. En s’attardant aux phénomènes perceptuels et créatifs, on accède à un degré correct de pertinence. Je me suis donné pour méthodologie le modèle de critique des traductions littéraires d’Antoine Berman, dont j’ai fait l’ossature des chapitres et auquel j’ai greffé des grilles d’analyse paradigmatique et rythmique. J’ai aussi eu recours à un pense-bête des principaux éléments fugaux (constituants de la fugue musicale, définitions de « fugue » dans la langue courante et critères psychiatriques de la « fugue dissociative »). Un questionnaire maison a été le point de départ de mon travail de collaboration avec les poètes. Dans le cas de Paul Celan (1920-1970), j’ai utilisé le même questionnaire, que j’ai rempli au gré de l’analyse et du dépouillement d’autres recherches. J’explore dans les six premiers chapitres les poèmes « Todesfuge » (1945) de Paul Celan, « Night Thoughts on Clauzewitz’s On War » (1986) d’E. D. Blodgett, « Lives of the Great Composers » (1983) de Dana Gioia, « Domestic Fugues » (2009) de Richard Newman, « Art of Fugue » (2011) de Jan Zwicky » et « Arugula fugues » (2001) d’Adeena Karasick. Dans la conclusion, je discute les résultats de recherche, les choix méthodologiques et le processus de traduction. Un tableau-synthèse des correspondances fugales est aussi présenté et commenté. Le chapitre intitulé « Stretto » vient élargir le corpus des fugues-poèmes analysées et traduites. J’y présente les fugues-poèmes suivantes : « Fugue » et « Round » de Weldon Kees, « Fugue in Cold and Rain » et « Little Fugue of Love and Death » de Richard Newman, « The Praying Mantis » d’Annie Charlotte Dalton Armitage, « The Ballad of the Pink-Brown Fence » de Milton Acorn, « The Children are Laughing » de Gwendolyn MacEwen, « And the Season Advances » d’Herménégilde Chiasson (dans une traduction de Jo-Anne Elder et de Fred Cogswell), « Fugue » de Robyn Sarah, « Fugue » du Kaddish d’Allen Ginsberg, « Fugue » de Neville Dawes, « Seaside Canon » de Julia Galef et « Stretto » de Don MacKay. // Abstract : As a professional musician and translator, I am presenting my translations of contemporary poems that are, either through their titles or their forms, fugue-poems. It is my hypothesis that elements present in a musical fugue can be transferred to a literary fugue. There are two parts to my research. First, I analyze the poems in strict accordance with Antoine Berman’s critical method for literary translation. I adapted the method in order to work with inter-semiotic translation, as well as the fugal elements contained in each of the poems studied. Next, with the “translation project” well established, I propose a French translation of the fugue-poems. Based on Barbara Folkart’s notion of “writerly translations,” I will attempt to capture the essence of the poems and recreate true works of literary art in French, rather than using purely denotative translation methods. Which elements do poets employ in their fugue-poems? Is there a possibility of confusing fugal elements with other repetitive forms, such as a canon, a theme and variations, a ground bass, a chaconne, a passacaglia or even certain forms of minimalist music? Despite the apprehension of some critics, who believe that inter-semiotic work or even the attempt to reveal any form of relationship is in vain, there are a number of clear examples of literary fugues. Naturally, music cannot translate directly into words. However, a study of the perceptual and creative phenomena allows us to make the connection. My research methodology is based on Antoine Berman’s model meant for critics of literary translations, which provides the backbone for the chapters in this presentation, and to which I have added a paradigmatic and rhythmic analysis grid. I also used a memory aid of the principal fugal elements (components of a musical fugue, definitions of a “fugue” in common usage, and the characteristics of the psychiatric disorder referred to as “dissociative fugue”). I designed a questionnaire, which I used as the basis for my collaboration with the poets. In the case of Paul Celan (1920-1970), I used the same questionnaire, which I filled out based on my analysis of his work, as well as analyses put forth by other researchers. In the first six chapters, I explore the following poems: “Todesfuge” (1945) by Paul Celan, “Night Thoughts on Clauzewitz’s On War” (1986) by E. D. Blodgett, “Lives of the Great Composers” (1983) by Dana Gioia, “Domestic Fugues” (2009) by Richard Newman, “Art of Fugue” (2011) by Jan Zwicky and “Arugula fugues” (2001) by Adeena Karasick. In the conclusion, I discuss the research results, the methodological choices and the translation process. I have also included a summary table (with comments) of the corresponding fugal elements. The chapter entitled “Stretto” concludes the corpus of analyzed and translated fugue-poems. It includes: “Fugue ” and “Round” by Weldon Kees, “Fugue in Cold and Rain” and “Little Fugue of Love and Death” by Richard Newman, “The Praying Mantis” by Annie Charlotte Dalton Armitage, “The Ballad of the Pink- Brown Fence” by Milton Acorn, “The Children are Laughing” by Gwendolyn MacEwen, “And the Season Advances” by Herménégilde Chiasson (translation by Jo-Anne Elder and Fred Cogswell), “Fugue” by Robyn Sarah, “Fugue” from Kaddish by Allen Ginsberg, “Fugue” by Neville Dawes, “Seaside Canon” by Julia Galef and “Stretto” by Don MacKay.

This thesis examines a selection of poems of Ingeborg Bachmann and Paul Celan for stylistic devices, used to express the dynamic of speaking and silence in the poems. The main question of the thesis is how speaking and silencing are represented in the poetry of Ingeborg Bachmann and Paul Celan and which influence has the philosophy of Ludwig Wittgenstein and Martin Heidegger on this representation. For both poets the problem of speaking and expressing themselves appeared to be an acute question in the post-war time (World War II). The language scepticism led to the reconsideration of the role of language in poetry and the search for the new ways of expression.

Cette dissertation developpe la these qu'il existe une relation essentielle entre l'homme et la poesie. A l'exemple de l'oeuvre du poete de langue allemande paul celan (1920-1970), du poeme, son , son et son . Dans un dernier chapitre, la notion de l'homme est isole dans l'oeuvre de celan pour nouer plus intimement le lien entre la poetique, mis a jour dans les chapitres precedents et la notion de l'homme, telle quelle est visee dans cette these. Mes reflexions s'appuient sur plusieurs theories, dont les principales sont certaines notions linguistiques d'emile benveniste, la theorie du rythme de henri meschonnic et le principe dialogique de martin buber. Mais elles trouvent egalement leur definition en discutant le debat ethnologique sur l'ecrit et l'oral, le debat autour de l'intertextualite, les theories de michel foucault et de maurice blanchot, le hebraisme, et, bien sur, en se referant constamment a l'oeuvre de paul celan. Cette derniere est exemplaire pour demontrer la relation entre l'homme et le poeme, elle empeche d'oublier la dimension ouverte et infinie de l'homme, la dimension qui va au-dela du pur fonctionnement de sa vie. Mon etude entend donc montrer la necessite d'une anthropologie poetique.

La bibliothèque de Celan regroupait à sa mort quelques 5000 livres dont un tiers environ est annoté. Dans une démarche praxéologique cette thèse propose d’abord une phénoménologie des traces de lecture comme ensemble de signes cohérent et évolutif au sein de l’univers matériel des livres. Elle interroge ensuite le rapport entre la lecture – thématisée, comme les livres, dans l’oeuvre – et l’écriture. En mêlant à celle-ci des références, notamment livresques, Celan invite son lecteur à entreprendre des recherches sur le plan heuristique qui ont des conséquences profondes pour la compréhension ajustée des poèmes. Cette thèse propose donc d’aider les lecteurs à saisir et à situer philologiquement et herméneutiquement les tensions productives entre réseau référentiel externe et expression poétique particulière. Le questionnement des notions de source, de contextualisation et de resémantisation, l’opposition entre langage spécialisé et langage particulier, le problème de l’unicité de la référence à l’extermination dans la diversité de l’horizon référentiel général, mais aussi le rapport de Celan au lyrisme et surtout la discussion autour des catégories esthétiques d’Erlebnisgedicht, d’ « occasionnalité » et de poésie circonstanciée (Gelegenheitsgedicht) donnent le cadre conceptuel aux lectures des poèmes. Cinq études, s’appuyant sur des références inédites pour neuf poèmes de Fadensonnen et Lichtzwang, se penchent alors sur une année (1967) dont les lectures ont été reconstruites. Suivant une progression chronologique, elles permettent d’aborder les points de débat qui ont été identifiés depuis un travail doxographique préalable
At the time of his death, there were some 5000 books in Paul Celan's library, of which around a third had been annotated. Along with a praxeological approach this dissertation first elaborates a phenomenology of the traces of reading. These traces prove to be a coherent, evolving whole within the material reality of the books. This dissertation then focuses on the link between reading—which is, like books, a recurrent theme in the poem—and writing. By incorporating references, especially to and from the books he has read, Celan sends his readers on a number of heuristic quests which have profound consequences on the fine understanding of his poems. This work thus aims at helping other readers to seize and organize the tensions between external references and particular poetic expression, at both hermeneutical and philological levels. The main conceptual frame consists in questioning the notions of source, context and resemantisation; in underlining the opposition between specialized technical language and specific poetic usages; in problematizing the assumption of a unique reference to the Holocaust in Celan’s poetry, as opposed to the numerous other references appearing in his works; in interrogating Celan's relation to lyricism; and more particularly in developing a discussion centered on aesthetics and on the notions of Erlebnisgedicht, occasionality and occasional poetry. Five studies, based on newly discovered references, are dedicated to nine poems from Fadensonnen and Lichtzwang and to one year— 1967—from which Celan's readings have been almost entirely reconstructed. In chronological order, these studies address many points currently debated in Celan studies

Les écrivains-traducteurs sont des acteurs essentiels de la vie littéraire, leur oeuvre exemplifiant les interactions complexes qui gouvernent la création littéraire et les formations culturelles en général. S’intéresser à leur travail permet d’articuler l’étude approfondie des textes et l’examen des dynamiques qui nourrissent les échanges culturels.La présente thèse de doctorat interroge l’œuvre de deux poètes-traducteurs emblématiques du XXe siècle : les traductions de Shakespeare d’Yves Bonnefoy et de Paul Celan sont présentées et analysées dans leur rapport au travail poétique mené par ces deux auteurs. L’étude se base essentiellement sur un choix de traductions, mais elle prend en compte également d’autres textes qui permettent de comprendre la réception de Shakespeare des deux poètes.Tandis que Celan insiste sur la différence irréductible entre l’original et la traduction, la réception de Shakespeare d’Yves Bonnefoy consiste en un mouvement d’identification. En revanche,le travail des deux écrivains-traducteurs est caractérisé par sa forte dimension autoréflexive : traduire Shakespeare permet à Bonnefoy et à Celan de développer leurs projets poétiques et de se positionner dans leurs propres contextes historiques. Chez les deux poètes, la traduction de Shakespeare aboutit à une fusion de voix spécifique, qui intègre Shakespeare dans l’univers poétique de l’écrivain traducteur
Author-translators are key actors of literary life, whose oeuvre exemplifies the complex interactions inherent in literary creation and in cultural formations in general. To concentrate on this figure makes it possible to combine close textual analysis with the investigation of the dynamics of cultural exchange.The present thesis studies the work of two emblematic 20th-century poet-translators: Yves Bonnefoy’sand Paul Celan’s Shakespeare translations are presented and analysed in their role for the poetics of both authors. The thesis draws essentially on close readings of a choice of translations, but it also takes into account other sources which help elucidate the Shakespeare reception of the two poets.While Celan insists on the irreducible difference between original and translation, Bonnefoy’s Shakespeare reception consists of a process of identification. For both poets, however, Shakespeare translation is essentially an auto-reflexive affair: through their confrontation with Shakespeare,Bonnefoy and Celan develop their poetic projects and position themselves in their own historical contexts. In both cases, therefore, Shakespeare translation results in a specific fusion of voices, which integrates Shakespeare into the author-translator’s own poetic universe

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Línguas Estrangeiras e Tradução, Programa de Pós-Graduação em Estudos da Tradução, 2013.
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Este trabalho pretende acompanhar a trajetória de Maurice Blanchot, apresentando um aspecto ainda pouco abordado pela crítica: sua atividade inconfessa de tradutor, que desenvolveu em toda sua obra em virtude de sua proximidade com escritores de língua alemã. Desse aspecto, destacaremos a publicação de Le Dernier à parler [O último a falar], no qual se apresenta a tradução da poesia de Paul Celan, e o lugar ocupado por este ensaio-livreto na obra de Blanchot. Não de modo fortuito, ele vem a público no momento anterior a Le Pas au-delà (1973) e L‟Écriture du desastre (1980), sucedendo L‟Attente l‟oubli (1962), L‟Entretien infini (1969) e L‟Amitié (1971). Em um primeiro momento, trataremos dos discursos sobre a tradução e, como ponto de recusa, abordaremos o jogo subversivo exercido pela atividade de tradução diante da posição secundária que a crítica e a atividade criadora lhe imputaram. Com base nessa tensão, evidenciaremos que a tradução Ŕ atividade desempenhada por Blanchot Ŕ alimentou a aventura da exigência fragmentária, transformando o fragmento, tanto no âmbito do debate teórico quanto no da prática propriamente dita de tradução, posto que Le Dernier à parler promove o encontro entre tradução e fragmento. Em um segundo momento, acentuaremos a relação que tradução e écriture fragmentaire travam com a exigência de escrever sobre Auschwitz, depois de Auschwitz Ŕ après coup, segundo Blanchot. Afirmaremos que a tradução de Paul Celan é fundamental à metamorfose/mobilidade do fragmentário, levando à écriture a poesia, o judaísmo e a Shoah. Por último, analisaremos aspectos de Le Dernier à parler, em uma tentativa de criar uma crítica da tradução tendo por horizonte o fragmento/o fragmentário. Ao aproximarmos poesia e fragmento, há uma abertura para que se discuta um pensamento de poesia. ______________________________________________________________________________ ABSTRACT
This paper aims to follow the trajectory of Maurice Blanchot, showing an aspect which, until now, has been very little considered by the critics: his unacknowledged activity as a translator, who developed his whole life‟s work based on his proximity to German language writers. In this regard, we will highlight the publishing of Le Dernier à parler [The last to speak], which presents the translations of Paul Celan‟s poetry, and the role of this essay-booklet in Blanchot‟s work. Deliberately, right before, he published Le Pas au-delà (1973) and L‟Écriture du desastre (1980) in order to succeed L‟Attente l‟oubli (1962), L‟Entretien infini (1969) and L‟Amitié (1971). At the first stage, we will show the speeches about translation and, as a point of refusal, we will refer to the subversive game played by the translation activity towards the secondary position that both the critics and the creative activity attributed to him. Based on this tension, we will emphasize that translation Ŕ activity performed by Blanchot Ŕ has fed the adventure of fragmentary demand, changing the fragment related to both theoretical debate and practice of translation, since Le Dernier à parler aims to promote a meeting between translation and fragment. Afterwards, we will emphasize the relationship between écriture fragmentaire and the difficult of writing about Auschwitz, after Auschwitz Ŕ après coup, according to Blanchot. We will assure that the translation by Paul Celan is essential to the metamorphosis/mobility of the fragmentary, taking the poetry, the Judaism and the Shoah to the écriture. Finally, we will analyze the aspects of Le Dernier à parler, in order to create a criticism of the translation taking the fragment/fragmentary into consideration. When approaching poetry and fragment, there is an opening discussion about a poetry thought.