Journal articles: 'Poetry of Paul Celan'

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Ives, Margaret C., Haskell M. Block, and Paul Celan. "The Poetry of Paul Celan." Modern Language Review 89, no. 2 (April 1994): 530. http://dx.doi.org/10.2307/3735336.

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Zachevsky, Evgeny A. "PAUL CELAN AND “GROUP 47”." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 5, no. 2 (June 1, 2020): 104–21. http://dx.doi.org/10.18522/2415-8852-2020-2-104-121.

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The article deals with the unsuccessful debut of the little-known at that time, but valued in literary circles, Austrian poet Paul Celan at the meeting of the “Group 47”, the famous literary association, in Nindorf in May 1952. Here two worlds of perception of reality collided, these worlds could not basically coexist, for, while maintaining a common view in respect to the events of World War II, the representatives of these two worlds perceived events in a different light. Refined, full of the richness of world poetry, with elements of Hasidic mystery, the poems of Paul Celan, read by him a là the liturgical sermon, clearly contrasted with the poetry of the “Group 47”, marked by commitment to manifestations of life which were far from being poetic. The critical reviews of the meeting participants on Celan’s speech were sharp, which was characteristic of the authors of the “Group 47”, who were mainly participants in the war, and made Celan feel like he was among the Nazis. The misunderstanding between Celan and the participants in the meeting in Nindorf did not prevent the critics from recognizing the significance of his poetry and contributed to the fact that since then Celan’s work has received worldwide recognition. Thanks to the “Group 47”, the poet found his publisher, but subsequently avoided contact with the “Group 47” in every possible way, although he repeatedly received invitations to take part in its meetings.

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Bidney, Martin. "The Early Poetry of Paul Celan." International Studies in Philosophy 35, no. 2 (2003): 138–39. http://dx.doi.org/10.5840/intstudphil2003352189.

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Kotelevskaya, Vera. "Paul Celan and Osip Mandelstam: Poetry under the Critique of Language." Literatūra 62, no. 2 (November 2, 2020): 47–58. http://dx.doi.org/10.15388/litera.2020.2.2.

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The dialogue of Paul Celan, a reader and translator, with the poetry and the whole complex poetic views of Osip Mandelstam demonstrates an important general condition: both poets worked in the context of the modernist language crisis and language critique. Mandelstam takes on the task of creating a pure language of poetry in the struggle against the symbolist “code,” in the “resurrection” of words (V. Shklovsky) by means of a “defamiliarizated” intermixture of meanings and contexts, in intentional semantic oblivion and, among other things, by immersing himself in foreign languages (“An alien speech will be my warming ear husk”). Paul Celan’s work, under the conditions of “poetry after Auschwitz” (T. Adorno), aiming at clearing up the German language of the terror of history, was influenced, among other things, by his strategy of creating a non-figurative, hermetic poetry language comparable to the so-called “absolute music” (K. Dahlhaus). This paper identifies the common poetic motifs in the works of Celan and Mandelstam, as well as individual solutions for overcoming the lingual crisis.

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Bonnefoy, Yves. "Why Paul Celan Took Alarm." PMLA/Publications of the Modern Language Association of America 125, no. 1 (January 2010): 207–12. http://dx.doi.org/10.1632/s0030812900141598.

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It's Only Normal that Paul Celan was harshly affected by the base slander—accusations of plagiarism—leveled at him by Claire Goll. It's less normal that he should have suffered from this all his life even though these clearly mendacious accusations allowed him to know that most readers spontaneously took his side.This brief essay tries to grasp the reasons for this irreducible affliction and finds them in the deepest rapport between a poet and his thought of what poetry is.

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CHERNYSH, Lilia, and Maria KOSHLAN. "Сolor nominatios in poetry of Paul Celan." Humanities science current issues 7, no. 35 (2021): 171–75. http://dx.doi.org/10.24919/2308-4863/35-7-28.

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Moroşan, Ioana. "Avangarda (Anti)-Umană. Incursiune În Poezia Politică A Lui Paul Celan." Lucian Blaga Yearbook 20, no. 1 (June 1, 2019): 146–53. http://dx.doi.org/10.2478/clb-2019-0015.

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AbstractThis paper aims to analyse a part of Paul Celan's poetic discourse and study the way in which its political dimensions arise, with a particular focus on poems dedicated to Osip Mandelştam in the Nobody's Rose volume. For this purpose, a disjunction is made and justified between political poetry, or expressive discourse treating the political, and politically possessed poetry, discourse in service of ideology. Of particular interest is the social function assumed by such political poetry, triggered by the spreading of illness within the social corpus towards which the poet acts, in Ion Mureşan's conception, as a timely antibody.

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Taylor, Byron. "‘Untranslatable Testimony’: Paul Celan in Back-Translation." Translation and Literature 29, no. 3 (November 2020): 411–26. http://dx.doi.org/10.3366/tal.2020.0439.

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When writers are called ‘untranslatable’, it is either because of the singularity of the experience they write about or because of their unique use of language. As a Holocaust survivor whose poetry remains largely hermetic, Paul Celan is foremost among authors deemed ‘untranslatable’. This article uses back-translation as an empirical method of exploring the reasons for the untranslatability that tends to be attributed to Celan's work. It back-translates Michael Hamburger's and Pierre Joris’ translations of two poems by Celan, and demonstrates that back-translation can enhance the work of translators and be a creative form of criticism when it renders the scene of literary translation more visible and interpretable. Rather than opposing Barbara Cassin's and Lawrence Venuti's respective approaches to the ‘untranslatable’, the article argues that they can be reconciled through the practice of back-translation, insofar as it makes more visible the decision to domesticate or foreignize ‘untranslatable’ philosophical and poetic terms.

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Samson, Horst. "„In den Lüften liegt Man nicht eng“. Anmerkungen zur unauflösbaren Tragik des Dichters Paul Celan." Studia Universitatis Babeș-Bolyai Philologia 66, no. 3 (September 20, 2021): 9–34. http://dx.doi.org/10.24193/subbphilo.2021.3.01.

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"“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 "

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Tokarska-Bakir, Joanna. "Ex silentio. O wierszu „Todtnauberg” Paula Celana." Studia Litteraria et Historica, no. 1 (December 31, 2012): 1–12. http://dx.doi.org/10.11649/slh.2012.017.

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Ex silentio. On Paul Celan’s Poem “Todtnauberg”This paper contests the interpretative framework proposed by Hans Georg Gadamer and Cezary Wodziński in their interpretations of certain poems by Paul Celan. The point of contention lies in the understanding of the relationship between biography and poem. The author analyses the “concept of discretion,” which excludes Celan’s Jewish identity from the analysis of his poetry, and proposes her own reading of both his poem Todtnauberg and anti-volkist interpretation Hüttenfenster. The background consists of the polemic about the famous meeting of Paul Celan and Martin Heidegger in August 1, 1967 in Todtnauberg.

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Balzan, Janice Sant. "Uncanny Reversals: Paul Celan's CounterPoetics." CounterText 3, no. 1 (April 2017): 80–95. http://dx.doi.org/10.3366/count.2017.0076.

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This article presents a reading of Paul Celan's Der Meridian speech that draws attention to its countertextual impulse. Celan's most sustained reflection on poetry begins by making a distinction between art, which he describes as ‘uncanny’, and poetry, which has the power to bear witness to the ‘presence of the human’. The development of Der Meridian, however, reveals that this stark distinction is untenable. Celan will go on to show that art and poetry are more intricately related than he first suggests. Whilst the uncanniness of art estranges and forgets the human, it also provides the necessary position from which to turn toward the human. Hence Celan's claim that poetry must tread the route of art if it is to bear witness to the human. This article locates the countertextual in the encounter between poetry and art, and argues that Celan's exploration of the ‘uncanny’ is central to his reflections on poetry.

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Anna Glazova. "Poetry of Bringing about Presence: Paul Celan translates Osip Mandelstam." MLN 123, no. 5 (2009): 1108–26. http://dx.doi.org/10.1353/mln.0.0073.

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Torres-Martínez, Sergio. "A semiosic translation of Paul Celan’s Schwarze Flocken and Weggebeizt." Semiotica 2019, no. 231 (November 26, 2019): 279–305. http://dx.doi.org/10.1515/sem-2017-0102.

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AbstractThe need for a comprehensive semiotic understanding of poetic translation is at the heart of the present paper. This task is framed in terms of a multidisciplinary theoretical framework termed semiosic translation that I apply in this article to the translation of Holocaust poetry. This type of poetry is characterized as a distinct sign system that poses a number of challenges to both translators and semioticians. One of the most conspicuous problems is the ineffability of nothingness, which is particularly evident in the poetry of Paul Celan. Building on the notions of abductive inference (Charles S. Peirce) and rule-following (Ludwig Wittgenstein), I introduce a method for the translation of two key poems Schwarze Flocken (‘Black Snowflakes’), corresponding to Celan’s early period, and Weggebeizt (‘Worn down,’ a poem written in 1963). The semiotic method applied shows that the underlying Firstness of Holocaust art (an anti-semiotic sign system) is the driving force behind Celan’s poetry. It is also suggested that iconicity and indexicality are not peripheral semiotic processes but central elements to elucidating how the translation across sign systems takes place.

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Bonnefoy, Yves, and John Felstiner. "Why Paul Celan Took Alarm." PMLA/Publications of the Modern Language Association of America 125, no. 1 (January 2010): 204–12. http://dx.doi.org/10.1632/pmla.2010.125.1.204.

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Paul Celan Breaks Into “Tears, His Body Shaken by Sobbing, the Whole Affair Again Present, Accusings, Denouncings, as Stunned and distressed as on day 1.” It's June 1966 in Paris, and he has gone with Yves Bonnefoy to visit a “most generous, most welcoming” friend who has “deep instincts for a poet's quality and for how infamous these attacks on Celan were.” But “[t]hat trustful welcome had only deepened the open wound.”Nothing in the life of Paul Celan (1920-70), short of his parents' murder in the Holocaust, racked him more than the vicious, specious plagiarism charges a German French writer, Claire Goll, launched against him on behalf of her deceased husband. As Bonnefoy saw all too well, Celan never recovered from them.

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Boase-Beier, Jean. "Translating Celan’s poetics of silence." Target. International Journal of Translation Studies 23, no. 2 (December 21, 2011): 165–77. http://dx.doi.org/10.1075/target.23.2.02boa.

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Holocaust poetry is like all poetry in that it does not just convey events, but also triggers emotions, and has the potential to change cognitive models and challenge unconsidered views. And yet it relates to real events that must not be falsified. Silences are at the heart of Holocaust poetry. Here I examine a poem by Paul Celan and how it, and its silences, can be translated. Using the notion of conceptual blending I explain how the poem works, and how its translation can also work as a Holocaust poem.

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Scaff, Susan Von Rohr, Clarise Samuels, and Paul Celan. "Holocaust Visions: Surrealism and Existentialism in the Poetry of Paul Celan." Rocky Mountain Review of Language and Literature 48, no. 2 (1994): 216. http://dx.doi.org/10.2307/1347923.

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Meyerhofer, Nicholas J., Clarise Samuels, and Paul Celan. "Holocaust Visions: Surrealism and Existentialism in the Poetry of Paul Celan." German Studies Review 18, no. 2 (May 1995): 364. http://dx.doi.org/10.2307/1431876.

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Lemberger, Dorit. "The Black Star: Lived Paradoxes in the Poetry of Paul Celan." Humanities 6, no. 4 (December 15, 2017): 100. http://dx.doi.org/10.3390/h6040100.

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Franke, William. "Poetics of Silence in the Post-Holocaust Poetry of Paul Celan." Journal of Literature and Trauma Studies 2, no. 1-2 (2014): 137–58. http://dx.doi.org/10.1353/jlt.2014.0009.

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Tavares, Mariane. "Tamara Kamenszain e Paul Celan: aproximações poéticas." Revista Entrecaminos 2, no. 1 (August 25, 2017): 48–64. http://dx.doi.org/10.11606/issn.2447-9748.v2i1p48-64.

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Tamara Kamensain e Paul Celan, ambos poetas do século XX, pertencentes à tradição judaica escrevem à partir de um luto. O luto de Celan é pessoal e coletivo, imerso no contexto da Segunda Guerra Mundial. O luto de Kamenszain é pessoal - a morte do pai - e coletivo pela Grande Buenos Aires. Fazendo um trajeto panôramico sobre a história dos judeos argentinos, em "O gueto" Tarama Kamenszain convida Paul Celan para ser um dos seus companheiros de viagem, onde a escrita é o caminho para sublimar o luto.

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Shaw, Beau. "Political Form in Paul Celan." Epoché: A Journal for the History of Philosophy 25, no. 1 (2020): 185–205. http://dx.doi.org/10.5840/epoche20201014174.

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Paul Celan’s “Tenebrae” is a scandalous poem: it describes how “unity with the dying Jesus” (in Hans-Georg Gadamer’s words) is achieved by means of the Jewish experience of the concentration camps. In this paper, I provide a new interpretation of “Tenebrae” that breaks from the two traditional ways in which the poem has been viewed—on the one hand, as a Christian poem that suggests that Jesus, insofar as he suffers just like Jewish concentration camp victims do, can provide “hope and redemption for the faithful” (Gadamer), and, on the other hand, as an ironic criticism of this Christian idea. Rather, I suggest that “Tenebrae” is a modification of Christianity: preserving Christian belief about Jesus’s death, it destroys that belief, and does so for the sake of the defense against Christian persecution. Finally, I suggest that this view reveals the peculiar poetic form of “Tenebrae”—what I call “political form.”

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Krajewski, Bruce, and Adrian Del Caro. "The Early Poetry of Paul Celan: "In the Beginning Was the Word"." South Central Review 15, no. 3/4 (1998): 79. http://dx.doi.org/10.2307/3189848.

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Donahue, Neil H., Adrian Del Caro, and Paul Celan. "The Early Poetry of Paul Celan: In the Beginning Was the Word." German Studies Review 23, no. 2 (May 2000): 376. http://dx.doi.org/10.2307/1432713.

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Lotz, Christian. "Poetry as anti-discourse: formalism, hermeneutics, and the poetics of Paul Celan." Continental Philosophy Review 44, no. 4 (October 20, 2011): 491–510. http://dx.doi.org/10.1007/s11007-011-9202-9.

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Bleiker, Roland. "‘Give it the Shade’: Paul Celan and the Politics of Apolitical Poetry." Political Studies 47, no. 4 (September 1999): 661–76. http://dx.doi.org/10.1111/1467-9248.00223.

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Bartkuvienė, Inga. "Disbelief about the time. Timelessness in the late works of Paul Celan." Literatūra 61, no. 4 (December 20, 2019): 27–43. http://dx.doi.org/10.15388/litera.2019.4.2.

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The poetry of Paul Celan has a reflected intention to ask about the temporal determination of human being and simultaneously questions the term and definition of time. In may of his works he reflects he the catastrophic transformation, the reflection also includes the revision of the conventional conception of time. He tries to show, that beside the usual forms of historical, causal und linear time, individuals also perceive timelessness. Paradoxically, the accomplishment of a historical event (Holocaust) evokes a consciousness of the historical caesura, and thus of the untold and the inhospitable. In his perception, for the poet, writing (after holocaust) means writing after apocalyptic break, where history does not exist, in other words surrounded by the timelessness. The task of preserving the memory of what happened in poetry goes hand in hand with the awareness of a disorder and often borders on the impossibility of verbalizing what has happened or even being able to express itself verbally. The experience of disconnection from the temporal sequence of events (through trauma) coincides with the moments of speechlessness, emptiness in consciousness, verbal utterance, and time experience overlap. This tendency is radicalized especially in his late work. In this article late works of Paul Celan, that deal with the questions of timelessness and manifestations of it are analysed (“Zeitlücke”, “Die Trombonestelle” “Largo” and others).

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Zając, Antoni. "Wpaść w słowo mordercom. Paul Celan wobec recepcji własnej twórczości w kontekście powojennych niemieckojęzycznych dyskursów artystyczno‑politycznych." Narracje o Zagładzie, no. 4 (November 11, 2019): 283–97. http://dx.doi.org/10.31261/noz.7906.

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Artykuł stanowi próbę analizy mechanizmów przemocy dyskursywnej i symbolicznej, które ujawniały się w przebiegu niemieckojęzycznej recepcji twórczości poety Paula Celana. Na krytykę (m.in. autorstwa Guntera Blöckera i Hansa Egona Holthusena), formułowaną nierzadko z pobudek antysemickich, Celan reagował w silnie afektywny sposób, rejestrując z niepokojem nawrót retoryki przypominającej nazistowską propagandę. Wyraz swoim niepokojom dał poeta w serii listów oraz w kilku wierszach – autor niniejszego tekstu dokonuje ich interpretacji.

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Fóti, Véronique Marion. "Book Review: Holocaust Visions: Surrealism and Existentialism in the Poetry of Paul Celan." Philosophy and Literature 19, no. 2 (1995): 382–84. http://dx.doi.org/10.1353/phl.1995.0085.

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Koval, Oxana A., and Ekaterina B. Kriukova. "“Todtnauberg” by Paul Celan: An Attempt of a Talk Between Philosophy and Poetry." Vestnik Tomskogo gosudarstvennogo universiteta. Filologiya, no. 64 (April 1, 2020): 196–219. http://dx.doi.org/10.17223/19986645/64/12.

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Dickinson, Colby. "The Logic of the ‘as if’ and the (non)Existence of God: An Inquiry into the Nature of Belief in the Work of Jacques Derrida." Derrida Today 4, no. 1 (May 2011): 86–106. http://dx.doi.org/10.3366/drt.2011.0007.

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For Derrida, the ‘as if’, as a regulative principle directly appropriated and modified from its Kantian context, becomes the central lynchpin for understanding, not only Derrida's philosophical system as a whole, but also his numerous seemingly enigmatic references to his ‘jewishness’. Through an analysis of the function of the ‘as if’ within the history of thought, from Greek tragedy to the poetry of Wallace Stevens, I hope to show how Derrida can only appropriate his Judaic roots as an act of mourning that seeks to render the lost object as present, ‘as if’ it were incorporated by the subject for whom this act nevertheless remains an impossibility. As Derrida discerns within the poetry of Paul Celan, bringing a sense of presence/presentness to our experiences, and as a confirmation of the subject which the human being struggles to assert, is the poetic task par excellence. It is seemingly also, if Derrida is to be understood on this point, the only option left to a humanity wherein poetry comes to express what religious formulations can no longer justify.

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Hoffman-Schwartz, Daniel. "‘Étranger,’ ou plutôt ‘fremd’: Philosophical-Poetic Nationalism in Derrida’s Geschlecht III and Beyond." Philosophy Today 64, no. 2 (2020): 361–78. http://dx.doi.org/10.5840/philtoday2020427334.

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This article takes up the specifically poetic dimension of what Jacques Derrida calls Martin Heidegger’s “philosophical nationalism” in the recently published Geschlecht III, arguing that this text doubles as a self-interrogation of Derrida’s own practice of reading poetry. Thus reading Geschlecht III alongside the nearly contemporaneous “Shibboleth: For Paul Celan,” I claim that Derrida’s critical deconstruction of Heidegger’s philosophical-poetic nationalism both allows us to read the traces of a more affirmatively deconstructive thinking of literary community in “Shibboleth” and draws attention to the limits and traps of such a project. Further, I demonstrate that Derrida’s and Heidegger’s respective approaches to the question of literary community cannot be separated from their respective approaches to the question of translation and their respective ways of mobilizing the motif of the “untranslatable.”

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Mieszkowski, Jan. "Ich, Ach, Auch: Certain Also-Ran Languages of Jacques Derrida." Oxford Literary Review 33, no. 2 (December 2011): 207–30. http://dx.doi.org/10.3366/olr.2011.0018.

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This essay explores the curious role that the word certain plays in Derrida's corpus and the texts of his inheritors. Both less and more than a mere adjective, certain posits a standard for verbal specificity that invariably proves impossible to meet. In this regard, certain is crucial for the conceptualization of syntactic praxes that escape the hegemony of the classical subject-predicate schema. In Derrida's reading of Paul Celan, poetry is understood as the art form that most directly confronts the demands of the language of certain.

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Alexander Moore, Ian, Hans Weichselbaum, and Georg Trakl. "Georg Trakl’s Poem “Hölderlin”." Journal of Continental Philosophy 1, no. 2 (2020): 304–17. http://dx.doi.org/10.5840/jcp202121212.

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This document includes the first English translation of Georg Trakl’s recently discovered poem “Hölderlin,” along with two commentaries on it. Moore’s commentary highlights the significance of this poem for continental philosophy (especially Heidegger and Derrida) by focusing on the German word for madness, Wahnsinn, which Trakl (mis)spells with three n’s. Moore argues that this word resists the sense of gentle gathering that Heidegger locates in Trakl’s poetry and therefore in Hölderlin and his madness. Trakl is, rather, a precursor to Paul Celan. Moore’s commentary concludes with a new translation of Celan’s own poetic response to Hölderlin, titled “Tübingen, Jänner.” Weichselbaum’s commentary discusses the background for the genesis and discovery of Trakl’s “Hölderlin.” Weichselbaum compares this poem with other moments in which Trakl alludes to Hölderlin.

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Vishio, Anton. "Leçons de Tenebrae: Brian Cherney, Paul Celan, and a Music of Witness." Intersections 37, no. 1 (May 17, 2019): 157–79. http://dx.doi.org/10.7202/1059893ar.

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In several compositions, Brian Cherney has reflected on the Holocaust and its impact, exploring how music can respond to such tragedy; his recent engagement with the poetry of Paul Celan is a natural extension of these preoccupations. This article offers a close reading of Cherney’s choral setting of Celan’s Tenebrae. The composer incorporates several additional texts that create a genealogy of the poem, from biblical passages to fragments of Dante and Hölderlin to accounts of the Holocaust itself; he arranges these texts to highlight semantic and sonic features of Celan’s work. Perhaps Cherney’s boldest move is his insertion of Hebrew letters, linking his composition to the long tradition of Lamentations settings—a link cemented by a quotation from Couperin’s Leçons de Ténèbres, which provides important motivic material. Through these additions, Cherney turns the poem towards us, inviting us to respond to its call for reflective witness.

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Rokem. "German–Hebrew Encounters in the Poetry and Correspondence of Yehuda Amichai and Paul Celan." Prooftexts 30, no. 1 (2010): 97. http://dx.doi.org/10.2979/prooftexts.2010.30.1.97.

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Ester, H. "Iconicity as the key to the poetry of Nelly Sachs (1891-1970)." Literator 32, no. 2 (June 22, 2011): 79–102. http://dx.doi.org/10.4102/lit.v32i2.13.

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In her poetry Nelly Sachs tried to overcome all obstaclesi in order to speak about the unspeakable. Words that could adequately embody the horrors of the Nazi concentration camps were lacking. Nevertheless, it was necessary to speak about the experience for the sake of both herself and other victims of the camps. Through her poetry Sachs tests the validity and strength of both traditional images and biblical stories about suffering and grace. Words and images enable her to touch the experiences of people. However, she questions the generally accepted meaning of words in German. Her use of language strives to be different and to draw the attention to both the difficulties and risks of writing authentic words with the necessary symbolic strength. Sachs’ mental fragility made her very vulnerable and caused her to walk on the edge of total silence. As a consequence of her vulnerability, she tried with her whole heart to gain Paul Celan’s sympathy for her way of writing and efforts to turn the events in the concentration camps into dignified and true poetry. The relationship between Celan and Sachs reveals that the true meaning of poetry in her life was a manner of survival. The differences between the two poets provide insight into the specific poetic laws at work in the poetry of Nelly Sachs.

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Barzilai, Maya. "“One Should Finally Learn How to Read This Breath”: Paul Celan and the Buber-Rosenzweig Bible." Comparative Literature 71, no. 4 (December 1, 2019): 436–54. http://dx.doi.org/10.1215/00104124-7709613.

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Abstract This article examines Paul Celan’s use of the terms cola and breath-unit in his notes for the 1960 “Meridian” address. In the 1920s, Martin Buber and Franz Rosenzweig developed their “colometric translation” of the Bible, using the breath-unit to capture, in German, the spoken qualities of the Hebrew Bible by allowing the human breath to dictate line divisions. Celan repurposed the breath-unit for his post-Shoah poetics: it registered, for him, a further disruption of the Hebrew-German translational link, following the demise of the Jewish community of readers. Celan’s breath-unit became a measure of silence, marking the pauses between poetic lines as sites of interrupted breathing, which entail a painful encounter with deformation and murder. Furthermore, if Buber and Rosenzweig used their breath-inspired cola to bypass the traditional line divisions of biblical verse, Celan’s radicalized breath-unit can be understood as a response to the musicality attributed to his earlier poetry; he drew on the singularity of the breath to forge ever shorter lines and vertical, severed poems that culminate in the lost or buried word.

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Bechtol, Harris B. "Event, Death, and Poetry." Philosophy Today 62, no. 1 (2018): 253–68. http://dx.doi.org/10.5840/philtoday201839211.

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Since Heidegger, at least, the theme of the event has become a focal point of current debate in continental philosophy. While scholars recognize the important contributions that Jacques Derrida has made to this debate, the significance of his considerations of the death of the other for his conception of the event has not yet been fully appreciated. This essay focuses on Derrida’s efforts to develop the notion of the event in reference to the death of the other through his engagement with Paul Celan in “Rams—Between Two Infinities, The Poem.” I argue that Derrida’s approach results in a three-fold contribution to the debate about the character of the event. Derrida turns to one of Celan’s poems in an effort to find the kind of speech that attests to the event in its singularity, and in this turn, he develops not only the structure of the event’s appearance in the death of the world when the other dies but also the ethical impetus that accompanies this event of the death of the other, namely a call for workless mourning. Through Derrida’s contribution, we learn that the concern for the event not only includes novel approaches to ontology but also attempts to weave together ontological, ethical, as well as existential concerns.

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Todd, Jeffrey D. "The Early Poetry of Paul Celan: In the Beginning was the Word (review)." Shofar: An Interdisciplinary Journal of Jewish Studies 19, no. 2 (2001): 162–63. http://dx.doi.org/10.1353/sho.2001.0179.

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Feldman, D. "Writing Nothing: Negation and Subjectivity in the Holocaust Poetry of Paul Celan and Dan Pagis." Comparative Literature 66, no. 4 (September 1, 2014): 438–58. http://dx.doi.org/10.1215/00104124-2823874.

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Glenn, Jerry. "Poetik der Transformation: Paul Celan--Ubersetzer und ubersetzt (review)." Shofar: An Interdisciplinary Journal of Jewish Studies 20, no. 1 (2001): 167–69. http://dx.doi.org/10.1353/sho.2001.0062.

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Derrida, Jacques. "Uninterrupted Dialogue: Between Two Infinities, the Poem." Research in Phenomenology 34, no. 1 (2004): 3–19. http://dx.doi.org/10.1163/1569164042404545.

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With the attempt to express my feeling of admiration for Hans-Georg Gadamer an ageless melancholy mingles. This melancholy begins as of the friends' lifetime. A cogito of the farewell signs the breathing of their dialogues. One of the two will have been doomed, from the beginning, to carry alone both the dialogue that he must pursue beyond the interruption, and the memory of the first interruption. To carry the world of the other, to carry both the other and his world, the other and the world that have disappeared, in a world without world. That shall be one of the ways to let resound within ourselves the line of poetry by Paul Celan, " Die Welt ist fort, ich muss dich tragen ."

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Pietrzak, Wit. "Between the Bittern and the Café du Monde: Paul Muldoon’s The Prince of the Quotidian." Czytanie Literatury. Łódzkie Studia Literaturoznawcze, no. 6 (December 30, 2017): 183–91. http://dx.doi.org/10.18778/2299-7458.06.09.

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The article focuses on Paul Muldoon’s 1994 collection The Prince of the Quotidian. The pamphlet is regarded as a poetic autobiography that takes its impetus from a dual drive towards particularising of experience on the one hand and iterative multiplication of its textual representation. Taking cue from Derrida’s Shibboleth: For Paul Celan, I argue that Muldoon sets up a network of connection that his speaker functions within, thereby positioning himself on the threshold between centripetal focus on life, however mundane it should be, and centrifugal textuality, motivated by intertextual references.

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Fernandes, Thiago Grisolia. "O IMPOSSÍVEL DIZER DE LEILA DANZIGER: (DES)ESCRITA, APORIA E ESPANTO / The impossible saying of Leila Danziger: (dis)writing, aporia and amazement." arte e ensaios 26, no. 39 (August 15, 2020): 39–53. http://dx.doi.org/10.37235/ae.n39.4.

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Este artigo lança um olhar sobre a noção de apagamento na obra da artista e poeta Leila Danziger, a partir do procedimento de arrancar a camada mais superficial de folhas de jornal, presente em vários de seus trabalhos. Pensando sua produção plástica e poética a partir deste mesmo procedimento, desdobramos conceitos como os de aporia, testemunho e desescrita, recorrendo a pensadores como Jean-Luc Nancy, Paul Celan e Jacques Derrida, contribuindo para a construção de um campo ampliado da poesia.Palavras-chave: Leila Danziger; Apagamento; Aporia.AbstractThis article takes a look at the notion of erasure in the work of the artist and poet Leila Danziger, based on the procedure of removing the most superficial layer of newspaper sheets, present in several of her works. Thinking about his plastic and poetic production based on this same procedure, we unfold concepts such as aporia, testimony and diswriting, using thinkers like Márcio Seligmann-Silva, Jean-Luc Nancy, Paul Celan and Jacques Derrida, contributing to the construction of an expanded field of poetry.Keywords: Leila Danziger; Erasure; Aporia.

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Bing-Heidecker, Liora. "How to Dance After Auschwitz? Ethics and Aesthetics of Representation in John Cranko's Song of My People—Forest People—Sea." Dance Research Journal 47, no. 3 (December 2015): 5–26. http://dx.doi.org/10.1017/s0149767715000339.

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John Cranko's only ballet for the Batsheva Dance Company in Israel, Ami-Yam, Ami-Ya'ar (Song of My People—Forest People—Sea, 1971) is described in a program note as “A Nation and Man Move in Parallel Cycles from Death to Regeneration.” It has remained unique in Cranko's choreographic corpus and in the Batsheva repertoire. Based on recently discovered film evidence, I reread Cranko's largely forgotten project and discuss its problematic and controversial reception in Israel and abroad, in light of Adorno's statement that “writing poetry after Auschwitz is barbarism.” I situate it as a landmark in tackling the Holocaust in dance in Israel as of 1971. I problematize the ethics and aesthetics of representation in Cranko's ballet on the grounds of Giorgio Agamben's discussion of testimony and in reference to Jacques Derrida's reading of Paul Celan.

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Kuczyńska-Koschany, Katarzyna. "Czerniowce literackie - – alfabet, analfabet, alefbetgidariusz." Polonistyka. Innowacje, no. 9 (June 9, 2019): 47–64. http://dx.doi.org/10.14746/pi.2019.9.4.

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Wychodząc od formuły topobiografii Helmuta Böttigera Paul Celan. Miasta i miejsca (Orte Paul Celans, 1996), podążam interpretacyjnie nie tylko tropem najsłynniejszego poety czerniowieckiego, lecz także innych ważnych pisarzy stolicy Bukowiny, takich jak: Rose Ausländer, Klara Blum, Olga Kobylańska, Dusza Czara-Rosenkranz, Selma Meerbaum-Eisinger, Else Keren, Immanuel Weissglas, Alfred Margul-Sperber, Alfred Gong, Isaac Schreyer, Georg Drozdowski, Moses Rosenkranz, David Goldfeld, Alfred Kittner, Jona Gruber, Manfred Winkler. Wspomagającymi koncepcjami okażą się zapewne: ukuta przez Petra Rychłę formuła „poszukiwania tożsamości żydowskiej w niemieckojęzycznej poezji Bukowiny” (tu także szczególne wcielenia mitu Jerozolimy i Atlantydy w poezji czerniowieckiej); status niemczyzny jako twórczego i jednocześnie śmiercionośnego oksymoronu Muttersprache/Mördersprache (język matki/język morderców) w poezji skazanych na zagładę Żydów, rozważania na temat inkarnacji, żywotności i gwałtownego zanegowania mitu Austria felix (Ewa Wiegandt, Maria Kłańska), Heideggerowski trop wynikający z lektury Friedricha Hölderlina, wreszcie etymologiczno-nomadyczne rozważania Tadeusza Sławka na temat ORT/WORT. Czerniowce jako fenomen literacki, a zwłaszcza poetycki, mogą stać się egzemplifikacją rozważań w ramach szeroko pojętej geopoetyki, lecz ich usytuowanie na pograniczu ukraińsko-rumuńsko-mołdawskim oraz wynikająca z długich i skomplikowanych dziejów multikulturowość (kilka religii, kilka alfabetów i języków, kilka grup etnicznych), czynią to miasto czymś daleko ciekawszym. Poezja stała się w Czerniowcach bardzo wyrazistą synekdochą kultury, figurą autoidentyfikacyjną pewnej kultury miejskiej.

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Yehuda, Omri Ben. ""The Plea of the Scorched": Heteroglossia and the Appropriation of Trauma in the Poetry of Amira Hess and Paul Celan." Journal of Jewish Identities 13, no. 1 (2020): 63–84. http://dx.doi.org/10.1353/jji.2020.0010.

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Malinowski, Bernadette. "«… den Himmel als Abgrund unter sich»: zu einer Poetik des Endes bei Paul Celan." Germanica, no. 24 (January 1, 1999): 177–203. http://dx.doi.org/10.4000/germanica.2257.

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Sacks, Jeffrey. "The Philological Thesis." boundary 2 48, no. 1 (February 1, 2021): 65–107. http://dx.doi.org/10.1215/01903659-8821437.

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This essay addresses the principal form and practice for linguistic domination, philology, to draw out a sense in which philology discombobulates the stabilizing terms it privileges and sends out at the world. This essay traces several moments in a history of the disorganization of linguistic and social form—in the poetic writing of Paul Celan and the Arabic-language translations of Celan offered by the Iraqi poet Khālid al-Ma‘ālī; in Walter Benjamin’s essayistic writing on language and the law; in the tenth-century Arabic-language philosopher Abū Naṣr al-Fārābī; and in Aristotle’s Metaphysics—to suggest the ways in which philology becomes a practice for linguistic indistinction and indefinition. Because language, as philology, ceases to be subordinated to its ends (history, sense, the subject), it becomes a discordant social form; because it disorders the terms privileged in the modern institutions for reading, it speaks to us of a form of life that is obscured in the privileging of the ends to which language is, repeatedly, constrained to be understood.

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Andújar Almansa, José. "Valente y la palabra sumergida." Prosemas 4 (February 19, 2020): 53. http://dx.doi.org/10.17811/prep.4.2019.53-84.

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Resumen: A lo largo de este artículo, dividido en dos partes, se hace una valoración global de la poesía de Valente, atendiendo al especial vínculo que dentro de su obra mantuvieron la palabra-creativa y la palabra-pensamiento. En el primer apartado, «Hasta dónde llega una palabra», se muestran las reflexiones del autor acerca de «el lugar del canto», ese espacio que ya desde sus libros iniciales sintió la necesidad de levantar sobre la morada arruinada del lenguaje, en un «tiempo de miseria» y retóricas usurpadoras del verdadero decir poético. De manera paralela, se produce en Valente la conquista de una tradición literaria propia, fruto del acercamiento a las principales corrientes de la literatura, las artes plásticas, la música, la filosofía y la reflexión estética contemporánea. Los nombres de Juan Ramón, Cernuda, Celan, Jabès, María Zambrano, Webern o Tàpies representan algunos de los principales hitos dentro de ese itinerario, que tiene su reflejo más temprano en las páginas de Las palabras de la tribu y su Diario anónimo. La segunda parte, «La palabra sumergida», transita a lo largo de todos sus libros, prescindiendo de la cronología o las llamadas «etapas» de Valente, tan proclives a crear una ortodoxia en torno al autor. Con la expresión «palabra sumergida» se hace mención a distintos registros de su poética: la necesidad de mantenerse al margen de la superficie que llamamos actualidad, su acercamiento a los procedimientos creativos de la mística, su visión de lo inefable como un sustrato que forma parte de los depósitos del lenguaje o sus relaciones entre la atonalidad, el fragmentarismo y una estética del silencio. El propósito es demostrar que la palabra sumergida de Valente es una palabra afirmadora, que nunca enmudece ni cae en un nihilismo estéril. Poeta de la radical inmanencia y de la memoria material del mundo, es posible discernir a lo largo de su obra una «metafísica del arte», en los términos en que la concibieron Nietzsche o Heidegger. Palabras clave: José Ángel Valente; poesía española contemporánea, Juan Ramón Jiménez; Luis Cernuda; Valente traductor; Paul Celan; poéticas del fragmento; estética del silencio. Abstract: Through out this essay, divided into two parts, a global assessment of Valente’s poetry is made, taking into account the special link that the creative-word and the thought-word maintained in his work. In the first section, «How far does a word go», the author's reflections on «El lugar del canto» are shown, that space which he felt the need to build, on the ruined home of language from his very first books, in a «Time of Misery» and usurping rhetoric of true poetic saying. In parallel, there is the conquest of a literary tradition in Valente, the result of the approach to the main trends of literature, plastic arts, music, philosophy and contemporary aesthetic reflection. The names of Juan Ramón, Cernuda, Celan, Jabès, María Zambrano, Webern or Tàpies represent some of the main milestones within that itinerary, which has its earliest reflection in the pages of Las palabras de la tribu and Diario anónimo. The second part, «The word submerged», travels through out all his books, regardless of the chronology or the so-called «stages» of Valente, so likely to create an orthodoxy around the author. With the expression «Submerged Word» different records of his poetics are referred to: the need to stay away from the surface that we call current existence, his approach to the creative processes of mysticism, his vision of the ineffable as a substratum that is part of the deposits of language, or the relationships between atonality and fragmentation with an aesthetic of silence. The purpose is to demonstrate that Valente’s submerged word is an asserting word, which never keeps silent or leads to vain nihilism. Poet of the radical immanence and the material memory of the world, it is posible to discern through out his work a kind of «metaphysics of art», in the terms conceived by Nietzsche or Heidegger. Key words: José Ángel Valente; Spanish Contemporary poetry; Juan Ramón Jiménez; Luis Cernuda; traduction by Valente; Paul Celan; the fragmentary poetics; aesthetic of silence.

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Journal articles on the topic 'Poetry of Paul Celan'

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