Search

This document provides translations and interpretations of several poems by Paul Celan, a modern poet known for his unique style and deep themes. The translations aim to capture the rhythm and imagery of the original German poems. The document also includes a brief biography of Celan, highlighting his dedication to poetry and his eventual suicide. The poems explore themes such as loss, longing, the search for meaning, the power of language, and the role of the poet. Celan's work is characterized by surreal imagery, neologisms, and a deep knowledge of literature, Judaic and Biblical history, and his personal experiences with the Holocaust. [Extracted from the article]

Starting from the hypothesis that an exhibition can be analyzed independently of its formal particularities, as well as being aware of the need for a research exercise focused on the conceptual mechanisms with which Belu-Simion Făinaru operates, the present article represents an interdisciplinary study on his most recent solo-show (The void of silence, Romania, 2023). Although controversial, the exhibition project stated an anti-extremist stance, criticizing political ideologies and the polarizing perspectives in contemporary status-quo. The purpose of this paper is to identify the methodological landmarks and the functional principles used in the act of artistic representation, respectively to point out the curatorial mechanism of valorization of the above-mentioned project. By using research strategies from the field of cultural studies, art history and the philosophy of arts, the main objective of this article is to identify the junction between the objectual and imagistic dimension of Belu Făinaru's installations. The research is structured on three levels: a contextual one, necessary for (art) historical and archival documentation; an imagistic/video-graphic one, regarding a possible turn in the artist's creative practice; respectively an objectual (corporeal) one, which interprets the indexical systems used to aggregate the exhibition. On a side note, the present article brings together the diachronic insertions (of a technological and video-graphic nature) from Belu Făinaru's works, in order to foreshadow his current and future visual discourse. Also, this paper aims to engage in future researches regarding the origins of his conceptualist reasoning, the artistic practices debating effects of extremism and political polarization, all the above-mentioned placed in the context of Belu Făinaru's creation affiliated within the existentialism of Paul Celan's poetics. [ABSTRACT FROM AUTHOR]

Copyright of Hermenéutica is the property of Hermeneutic - Revista Digital de Arte, Critica y Filosofia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this paper, I explore ways in which metaphors contribute to hermeneutical resistance, that is, to practices that overcome and/or ameliorate hermeneutical injustice. I distinguish two aspects of hermeneutical injustice and two corresponding kinds of resistance: exoteric and esoteric hermeneutical injustice/resistance. The former injustice consists in unjust harm due to an inability to make one's experience understood to others. The latter consists in such a harm due to an inability to fully understand one's own experiences. In exoteric hermeneutical resistance, metaphors can overcome resistances in others to understand oppressed agents' contributions because of its automatic processing and anti‐deniability. In esoteric hermeneutical resistance, metaphors may highlight common structures in various aspects of marginalised agent's experiences, they can provide means of denoting social properties obscured by hermeneutical injustice and they can exhibit hermeneutical injustice by resisting interpretation. I illustrate these practices through works by Emily Dickinson, Ralph Ellison, Frantz Fanon, Paul Celan and Nelly Sachs. Those examples show the power of metaphors in hermeneutical resistance. [ABSTRACT FROM AUTHOR]

The paper investigates from a literary perspective the question of the 'missed encounter' between two crucial authors of 20th century: Samuel Beckett and Paul Celan. Although both living in Paris for the most part of their adult life, sharing acquaintances and friendships, Beckett and Celan never met in person. A last chance presented in March 1970, as the poet and translator Franz Wurm, a mutual friend, invited Celan to come along and meet Beckett. The meeting never took place; few weeks thereafter, Celan drowned unobserved in the Seine. In this paper, I propose a retrospective reading of the 'missed', or 'failed' encounter between Beckett and Celan within a psychoanalytic framework. I will analyse it as a negative event, re-elaborating thus an expression used by André Green in his interpretation of Henry James' The Beast in the Jungle (1903). What Green calls negative event does not provide a patho-biographical category. On the contrary, it bridges the reverberations of the psychic work on absence with the creative process of writing and the dynamics of sublimation. Shifting the attention from the bare biographical data to the textual dimension of such 'missed encounter', I aim to show how the writings of the two authors may be read as an articulation of an après-coup of a non-encounter which, instead of taking place in 'real life', opens new margins of representation of an alterity within the 'life of writing'. As such, writing becomes--between poetry and psychoanalysis--that 'thirdness' harbouring the very possibility of an encounter beyond phenomenological categories, bearing testimony for an unknown transgenerational reader. [ABSTRACT FROM AUTHOR]

Copyright of Methis is the property of University of Tartu Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Sprachkunst: Beiträge zur Literaturwissenschaft is the property of Oesterreichische Akademie der Wissenschaften Verlag and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper aims to explore Paul Celan's writings in the Romanian language which have been preserved as manuscripts, and their significance to his very earliest poetry. Firstly, I will reconstruct the Bucharest episode in his life and work and then discuss the nature of the manuscripts that I examined in 2015. I will then recapitulate existing research on these texts. Discussing one of them, I will propose to update their meaning for this poetic work, especially in the context of Jacques Derrida's Shibboleth for Paul Celan. [ABSTRACT FROM AUTHOR]

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.". [ABSTRACT FROM AUTHOR]

The 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. [ABSTRACT FROM AUTHOR]

The paper reconstructs Primo Levi's idea of poetry and the significance of poetry for his life and literary experience through a systematic analysis of Levi's statements on poetry and poetical writing (sourced from interviews, public interventions and literary and theoretical texts such as the foreword to Ad ora incerta, Dello scrivere oscuro, La ricerca delle radici, Poesia e computer) as well as of the international (Italian, French and Anglo-American) debate on his work. Whilst developing a comparison of Levi's idea of poetry with that of Italian neo-idealism (Croce) and pre-romantic thinkers (Herder, Hamann), the paper focuses on Levi's assertions about the precedence of poetry over prose, the coexistence of rational and irrational, the ideas of clarity and communication, memory and history, and the relationship between poetry and crisis. Furthermore, it develops a critical approach to spiritualistic and psychoanalytical interpretations (De Marco, Tesio, and Mattioda). Levi's definition of the moment of poetry as an »uncertain hour« (Coleridge) is finally explained as both the hour released from the predeterminations of logical thought and the hour of crisis. [ABSTRACT FROM AUTHOR]

This paper focuses on two poems written by Paul Celan after first encounters he had with writers who held great significance for him. In 1960 Celan met fellow Jewish poet Nelly Sachs at the Stork Inn in Zurich, and afterwards recorded the event in the poem "Zürich, Zum Storchen". Seven years later, Celan visited Martin Heidegger at his hut in the German mountains. Celan's depiction of this encounter is found in the poem "Todtnauberg". In this essay, I make a two-fold argument regarding the Zurich poem. First I claim that "Todtnauberg" is clearly crafted in light of the earlier Sachs text, a fact that has been overlooked by previous scholarship. As such, it is only in placing the two texts side by side that a complete understanding of "Todtnauberg" comes into view. Second I will indicate how the Zurich poem reflects key elements of an approach to the problem of evil that I term an "enestological theodicy." Such a term needed to be coined, since this sort of theodicy does not fit in the more traditional narrative categories related to the problem of evil. [ABSTRACT FROM AUTHOR]

Celan's poetry is deemed universal and experimental, and its main characteristic is to "explore possibilities of sense-making". His poetry is also acknowledged to be the apex of Jewish post-Holocaust poetry, contending with existentialist questions such as the existence God in the Holocaust and the possibility of restoring Jewish identity. In this paper I will examine how Celan uses paradoxes in his poetry to create atheistic and skeptical expressions. The technique of paradox expresses the concurrent existence of two contradictory possibilities; the article will present three types of paradox typical of Celan's poetry: (1) the affirmation and denial of the existence of God; (2) the mention of rituals from Jewish tradition, while voiding them of their conventional meaning; (3) the use of German, specifically, for the reconstitution of Jewish identity. My main argument is that paradox in Celan's work creates a unique voice of atheism and skepticism, since it preserves the ideas that it rejects as a source for fashioning meaning. In order to explore how Celan constructs paradox, I will use Wittgenstein's resolutions of the paradoxes that emerge from the use of language, and I will show how they illuminate Celan's use of this technique. The article will examine three Wittgensteinian methods of resolving the paradoxes that Celan employs in his oeuvre: highlighting, containing, and dissolving. [ABSTRACT FROM AUTHOR]

In several late texts, Derrida meditated on Paul Celan's poem ' Grosse, Glühende Wölbung', in which the departure of the world is announced. Delving into the 'origin' and 'history' of the 'conception' of the world, this paper suggests that, for Derrida, the end of the world is determined by and from death-the death of the other. The death of the other marks, each and every time, the absolute end of the world. [ABSTRACT FROM AUTHOR]

This essay explores the notion of Mitsprechen or "with-speaking" in Paul Celan's poetry. "With-speaking" supposes that voices in the poems actively participate and engage in a dialogue that goes beyond traditional hermeneutic frameworks. Celan's notion of col-loquy, distinct from the conventional sense of dialogue, challenges the separation between author and interpreter, rendering the traditional concept of intertextuality inadequate. The poems, according to Celan, give voice to human destinies, making texts audible as the voices of others. This vocal dimension of Celan's poetry has prompted extensive discussion among philosophers, particularly in France. Levinas, Blanchot, and Derrida, influenced by German phenomenology and hermeneutics, critically examine the ethical implications of speaking "about" the other. They challenge traditional hermeneutical practices, emphasizing the responsibility of interpreters to respect the unique and untranslatable character of individual voices. This critique extends to Protestant categories of interpretation, drawing on alternative Jewish perspectives on being-in-the-world and alterity. The text explores the tensions inherent in speaking "for" or "in the name of" others, especially in the context of interpreting Celan's work, raising questions about maintaining the fundamental difference and distance that otherness implies. The discussion concludes by highlighting Werner Hamacher's formulation of a new philology that disrupts hermeneutical violence, influenced by the critiques of Blanchot, Levinas, and Derrida, and offering an alternative way of addressing the particular challenges posed by Celan's poetry. [ABSTRACT FROM AUTHOR]

Traditionally, comparative literature has focused on the study of influences between texts and it is only recent work that has explored the analogies and affinities of historically independent cultures. In this spirit, this paper develops methods for a structured poetic analysis and applies them to a systematic comparison of the poem "Niăo Mĭng Jián" from the 8th-century Chinese poet Wáng Wéi and the program piece of Paul Celan's Atemwende. "Du Darfst," based upon a detailed analysis of their poetics. The analysis and translation reveals how both poems employ words and images as signs without reference, and create dialogical gaps through ambiguity and impersonality. Thus, despite their cultural and historical separation, both poetic texts become "hermetic," and both poets apply the "hermetic" as a method of inquiry into truth, a truth that cannot be simply pronounced, but needs to be co-witnessed, or heard in silence. It is through this meaningful "silence" that their poetry invites readers and translators all the more perceptively to engage in meaningful conversations. These results entail encouraging perspectives for the question of the limits of translation, especially with regard to east-western studies and for cross-cultural comparative literature. Thus, the paper supports Prof. Li Qingben's and Prof. Gut Jinghua's claim for a multi-dimensional framework in the study of East-West cultural influences. [ABSTRACT FROM AUTHOR]

This paper is an attempt to explore the relation between poetry and survival taking as a point of focus the poetry of the post-war European poet Paul Celan. By drawing attention to the French thinker Jacques Derrida's several influential studies of Celan's poetry on the problems of "witnessing", "testimony" and the "idiomatic" this paper finally examines the Italian thinker Giorgio Agamben's notion of the "remnant" to understand a poetics of survival. [ABSTRACT FROM AUTHOR]

In 1969, Paul Celan visited Jerusalem, where he was hosted by Yehuda Amichai. After Celan returned to his home in Paris, they exchanged two letters. But this does not exhaust the correspondence between them. As this paper shows, Amichai's conversation with Celan—in a broad sense of the term—began long before they met and continued through his last book, "Open, Closed, Open." Interrogating the concept of a poetic encounter or a correspondence in poetry, I argue that the basis for the dialogue between Celan and Amichai was their shared German-Hebrew bilingualism. The paper deals with previously unpublished bilingual poems from the Yehuda Amichai Archive at the Beinecke Rare Book and Manuscript Library at Yale University and shows how these materials correspond both with Celan's poetry and with Amichai's published work. [ABSTRACT FROM AUTHOR]

Following a hint from Edmund Husserl, this paper explores the proximity of the phenomenological and aesthetic gazes. It does so with one particular poem in mind: "September Song" by Geoffrey Hill. The paper examines the ways in which the poem responds to a given situation, the death of a child in the Shoah, and responds to the ethical status of its own aesthetic gaze. Phenomenological perspectives by Merleau-Ponty, Levinas, Derrida, and Marion, are brought to bear on the questions considered, and comparisons are made between Hill's poem and similar poems by Dylan Thomas, Paul Celan, and W. S. Merwin. [ABSTRACT FROM AUTHOR]

This paper offers a circling around the interrelations of language and trauma, identity and forgiving through the figure and poems of Paul Celan. In this context, the circle itself becomes a cipher for the trauma of the Shoah and the (im)possibility of speaking or writing poetry after Auschwitz. Via Jenny Edkins, Giorgio Agamben, and Derrida, the poetic is interrogated as an ethical response to the political and social betrayal that is trauma; the subsequent effect of trauma on speaking and listening to testimony is then considered. Finally, the paper explores the poetic as a cipher for forgiving, distinct from moral forgiveness and guilt and equally separate from legal responsibility and debt. Celan's own suicide and one of his elegies are considered as final, literal ciphers in this perpetual and imperfect circling. [ABSTRACT FROM AUTHOR]

The following paper aims to analye Nora Iuga's translation of Paul Celan's poems in terms of her personal poetics and the way in which certain changes are brought upon the translated poems. The analysis takes into consideration the original poems, but also George State's translation, in order to place Nora Iuga's version somewhere in-between. Nora Iuga's version of Paul Celan's poems is one that, even though not as loyal to their original form as State's, manages to depict and convey their essence by creating an original poetry which is a blend of two different poetics. [ABSTRACT FROM AUTHOR]

Yoko Tawada's theory of translation positions the translator at a significant distance, both spatially and temporally, from the original text and its context. This essay offers a "Tawadian" translation of Paul Celan's poem "Psalm," particularly the neologisms in the final stanza, into Chinese characters. In particular, the translation of "Purpurwort" as "yurusu," a character that consists of the signs for "purple" and "word" but has the meaning of "forgiveness, amnesty, pardon," brings forth the idea of "forgiveness" that may appear irrelevant to the original text. Drawing from Derrida's interpretation of The Merchant of Venice in "What is a 'Relevant' Translation?" this paper relates "impossible translation" to "impossible forgiveness," arguing that an "irrelevant" translation could shed a new light on the concept of forgiveness, and in doing so offers a dialogical response to Celan's original text. [ABSTRACT FROM AUTHOR]

This paper revisits questions of translation, and its politics, asking what it is, by reference to Shakespeare's use of the word in A Midsummer Night's Dream, one of those examples which helps to historicise the idea of translation. More specifically, it looks at untranslatability, a term used by Derrida, and asks what it means, through discussion of Benjamin, and of Emily Apter, and Barbara Cassin's Vocabulaire européen des philosophies; Dictionnaire des intraduisibles, a dictionary which demonstrates the impossibility of thinking that philosophical terms can be identical from one language to another, and which therefore questions the possibility of 'philosophy'. The paper's other major example is an examination of Peter Szondi's readings of Paul Celan translating Shakespeare's sonnet 105, which produces not simply an entirely new poem, but reveals how translation shows that poetry has changed - roughly, from a poetry which describes, at the level of the signified, to one that that works solely at the level of the signifier. Celan's translation, as a creative act, writing a post-Mallarméan poem, is compared with the impossible venture of Hölderlin translating Sophocles, and the relation of that to the idea that there can be a translation - a coincidence of two languages - as a form of madness. [ABSTRACT FROM AUTHOR]

This paper proposes that a rich and nuanced understanding of the kinds of ruptures art might be capable of can be achieved through an analysis of Dennis Del Favero's video workTodtnauberg. This work is concerned with the meeting between the Jewish poet and Holocaust survivor Paul Celan and the German philosopher Martin Heidegger in the Todtnauberg Forest in 1967. Del Favero takes this actual historical event and carefully imagines what might have transpired between the two figures. Through beautifully rendered scenes we see and hear Celan's longing and his repeated appeals to Heidegger to explain (or apologise for) his allegiance with the Nazi regime. AsTodtnaubergunfolds its dramaturgy of rupture positions us to reflect upon the concepts of responsiveness and judgment as they pertain to Celan and Heidegger but also to reflect, more broadly, on the significance of the act of responding to the call of the other. This, I argue, is the work's gift to us. [ABSTRACT FROM AUTHOR]

This paper examines the philosophic and political potentials of lyric poetry through an archaeology of its ideological participation, situating a critical moment of the form's partial liberation in the poetry of Paul Celan. [ABSTRACT FROM AUTHOR]

Letters as a form of communication gain their meanings not least by performative practices hints of which are clearly shown in their materiality. Vice versa, the paper discusses the possibilities of performing and making a film of correspondences using the example of Paul Celan and Ingeborg Bachmann (published 2008) and its film version Die Geträumten ('Dreamed people', 2016). The performative aspects of letters may also be represented by audio books or picture books. Yet especially digital letter editions should examine the phatic and conative functions of letter communication supplying specially designed kinds of metadata and their visualizations. The ‚Jenaer Romantikertreffen' ('Jena Meeting of Romanticists') in 1799 serves as a final historical example. [ABSTRACT FROM AUTHOR]

Imre Kertész's Kaddish For an Unborn Child is written in the shape of a monologue with many repetitions. The musical form of the novel evokes both the traditional Jewish mourning prayer kaddish, and Paul Celan's poem Death Fugue. The paper discusses the possibilities of reading the novel as drama, combining the tradition of the Augustinian soliloquies with the writings of Samuel Beckett. The parallel reading of Kertész and Beckett offers a new perspective regarding the influence of Beckett on Kertész's writing, an aspect practically never approached in the Hungarian reception of Imre Kertész's work. [ABSTRACT FROM AUTHOR]

In this paper I wish to analyze Paul Celan's poetics in relation to the topic of the Enigma, both from a structural and a substantial point of view. After a brief overview about some general pivotal characteristics of the work of the author, the main goal of this paper is showing, through a critical examination of three of his poems, Corona, Zähle die Mandeln and Mandorla, the dialectic relation between Celan's poetics and the communicative structure of the Enigma. More precisely, I wish to clarify the possibility for the Enigma of being expressed through the poetic language. [ABSTRACT FROM AUTHOR]

Copyright of Acta Poética is the property of Instituto de Investigaciones Filologicas - UNAM and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The aim of this article is to examine how poetry, in the case of Paul Celan, created its own language after the Shoah. The thesis is that Paul Celan intentionally uses religious language to expose the object, but at the same time he desacralises it. This shift is revolutionary. In the main part of this article I analyse an exemplum of the use of language which is given in the poem, 'In the rivers'. This analysis is meant to show the mechanisms for creating a proper language. The conclusion is that Celan's poetry is founded upon the figure of a witness. This desacralised figure is poetic and ethical (but not substantial). What is more, the way this poetry is written puts it into the position of a witness as well as that of the reader. This is a social fact, so the point of view of the author traverses the sociology of both religion and that of literature. [ABSTRACT FROM AUTHOR]

In this article I contend that Paul Celan's poem, "Todtnauberg," written as a follow up to his visit to Martin Heidegger's Berghütte, should be read not only as a challenge to Heideggerian philosophy's fundamental assumptions – primarily the notion of dwelling in the world via poetic language – but also to the very structure of philosophical thought, with its biases and inadequacies. Drawing on Celan's idiosyncratic use of the term Verjudung I show its centrality in understanding the poem's deconstructive move, as it applied to the binaries inherent to Heideggerian thought: pure/impure, indigenous/foreign, rooted/uprooted, and authentic/inauthentic. Posing the deconstructive qualities of the poetic against the crude decisiveness of philosophical thought, I argue that "Todtnauberg" 'catches' Heideggerian thought unprepared, as it presents it with its own blind spots, misconceptions, and loose ends, and thus rattles the very ground in which it seeks to ground itself. [ABSTRACT FROM AUTHOR]

In this essay, Soyoung Lee explores the theme of mourning as a way of attending to a fundamental aspect of human experience that is bound to negativity. The essay helps readers to see that experience in a different light by drawing on what is shown to be an internal connection between mourning and having language. The dominant culture of contemporary education is preoccupied with management and control, and this renders hollow the understanding of the negative experience children go through. Such experience, if it is acknowledged at all, is regarded as requiring intervention and perhaps correction. Yet negative experience, as Lee tries to show, is the very source of personal growth. This is to take human experience as wounded, and the wound as the very place for the creation of our own words. A hasty approach toward an individual's suffering, whether in the name of "healing" or "knowledge," becomes a suppression of voice. In its denial of the otherness within the self, it neglects the possibilities of self‐transformation. The essay pursues these ideas through a reading of contrasting works of art: some poetry by Paul Celan (in conjunction with Jacques Derrida's response to it) and Still Walking, a film directed by Hirokazu Kore‐eda. Both artworks deal with their own wounds and words in ways that are instructive. [ABSTRACT FROM AUTHOR]

'Zähle die Mandeln' has often been interpreted as a metaphorical encoding of European history or of Celan's biography. In this paper, I propose, however, that the poem be read with an eye toward linguistic enactment, toward what the words do in addition to what they say. When one reads in this way, one finds that the poem itself calls into question a metaphorical mode of interpretation. 'Zähle die Mandeln' embodies the tension between representation and performance and stages, within language, a passage from trope to event. I ultimately argue that the poem's willful suspension of image and reference, far from denying history, enacts its more radical engagement with history. [ABSTRACT FROM AUTHOR]

Copyright of Langage & Societe is the property of Fondation Maison des Sciences de l'Homme and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article presents a discussion on that aspect of Jesus Christ where he is seen as a poet and a pilgrim and found thus, in the works of the Holocaust poet Paul Celan. The author takes the word "poiesis" and "kenosis," the Greek words for making and self-emptying respectively and sees how they find a place in Christian art and its metaphors to describe the Messiah, Jesus Christ.

Levinas's most important contribution to contemporary philosophy is his continual vindication of the primacy of the ethical. For the contemporary reader, educated in the shadow of the Nietzschean thought that existence as will to power is art, this claim comes as an uneasy surprise. What is the place of the aesthetic within the preeminence of the ethical in Levinas's philosophy? Or, more specifically, what is, for Levinas, the place of art in relation to the ethical? Through a Levinasian reading of Plato, and a Platonic reading of Levinas, the paper argues in favor of Paul Celan's statement that there is not "any basic difference.., between a handshake and a poem." [ABSTRACT FROM AUTHOR]

The article offers information on German poetry. A colloquium which was conducted at New College, Oxford on April 2005 and attended by famous German writers like Ulrike Draesner, Michael Krüger, and Iain Galbraith raised the importance of German poetry. As a result of the event, a paper which underlines the notable use of the metaphor in the works of Bertolt Brecht and Paul Celan was developed.

This article reads in tandem works by three poets, George Oppen, Paul Celan, and Yves Bonnefoy, arguing that each in different ways seems to commit poetry to a pursuit of "presence." The idea of lyric poetry as a privileged expression of the "here-and-now" continues to be prominent in what is known as the "New Lyric Theory" (I examine the work of Jonathan Culler as one example), though this can seem awkwardly at odds with the widely accepted critique by Jacques Derrida of what he called "the metaphysics of presence." I propose that although my three poets variously celebrate the "presencing" powers of poetry they do so as a means of showing how the actual impossibility of grasping Being in language becomes the necessary condition of the poem's emergence as a form of skeptical self-reflection. "Presence," however emphatically proposed and desired by these poets, is in fact always compromised by something other to it that sets limits to the very project of poetry. In recognizing those limits, and in negotiating them through figures such as the Heideggerian "rift" (Oppen), the Celanian "breathturn" and Bonnefoy's "opacity," modern poetry may, paradoxically, present itself as something "otherwise than being" (Levinas). [ABSTRACT FROM AUTHOR]

Ever since Christina and Stanislav Grof coined the idea of a "spiritual emergency" (1989), in opposition to or substitution of an episode of psychosis (a break from reality), there has been mounting interest in debating and outlining the role of exactly how alternative states of consciousness (trance states and otherworldly encounters) have come to define life-worlds and spiritual breakthroughs. Clarke (2010) in Psychosis and Spirituality: Consolidating the New Paradigm provides context for these mounting and theoretical concerns; her multidisciplinary and co-authored text examines how psychosis offers a gift of 'trans-liminality' in re-orienting the human mind towards experiences of alternate phenomena, enhanced creativity, and what often translates as mysticism. In working along these lines, I want to explore the sensory worlds of the psychotically inclined, the inspired--carving out intellectual space and capacity to understand and empathize how they as embodied selves process reality, stepped in mythic, symbolic, and, above all else, subversive (sub)texts of being that map out the present moment as a 'lived' psycho-scape. Using theories from the interdisciplinary canon of cultural, social, and political thought, I plan to analyse localized accounts of psychosis, literatures of madness, and the cultural neurophenomenology of belief in documenting both resistance and transformation. To do so, I explore the sensory experiences and poetic texts of three bipolar suicidal poets--namely, Paul Celan, Alejandra Pizarnik, and myself. [ABSTRACT FROM AUTHOR]

Copyright of Quaderns: Revista de Traducció is the property of Universitat Autonoma de Barcelona and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the wake of the Six-Day War of June 1967, Paul Celan wrote the poem "Denk dir," which is considered his least hermetic and most political poem. This article examines the poem's four Hebrew versions, which were authored by Nathan Zach, Ben-Zion Orgad, Ilana Shmueli, and Shimon Sandbank between 1969 and 2013. Close readings of the original and translations shed light on the myriad philosophical, poetical, historical, and political layers that constitute the original poem, on the interpretation of these layers by the poet-translators into Hebrew, and more generally on the Israeli Hebrew reception of Celan's poetry in the decades after his visit to the country in 1969. The striking variations between the four Hebrew versions expose not only differing translational approaches such as domestication versus foreignization, or autonomistic versus referential readings, but emphasize an original that seems to demand the replication of its irresolvable tensions, conflicts, and strangeness. It is thus considered whether translators into Hebrew transfigured the linguistic and referential disruptions and disjunctures of the source within their target texts. The close philological readings also consider existing literature by Ruth Ginsburg, Peter Szondi, and Shira Wolosky, among others on translation from German into Hebrew and on Celan as prolific translator. [ABSTRACT FROM AUTHOR]

This article explores the relationship between the historical materialism of Walter Benjamin and the poetics of Paul Celan, and claims that within Celan’s poetics, we find a form for thinking Benjamin’s Marxism beyond Benjamin. The driving force of Benjamin’s critique of historicism is the desire to free Marx’s ideas (class struggle, classless society, progress) from the empty time of progress. By attending to the “breathturns” at the heart of Celan’s, The Meridian, this article uncovers a poetic historiography grounded in Benjamin’s now-time. It is with this conception of history that Marx’s ideas can be reimagined as a historico-poetic materialism and reinvigorated with revolutionary force. [ABSTRACT FROM AUTHOR]

Copyright of Quaderns: Revista de Traducció is the property of Universitat Autonoma de Barcelona and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Poetic form in the 1960s in Britain, and elsewhere, was affected by trans-disciplinary and trans-cultural influences that came fully into focus after the end of the Second World War. These were substantially iterated and theorized throughout the 1950s, paving the way for radical experiments in language during the following decade. Drawing on Paul Celan’s observation that poetry maintains itself ‘at its own extremity’ (expanded by Lyon [1983. “Poetry and the Extremities of Language: From Concretism to Paul Celan.”Studies in 20th Century Literature8 (1): Article 5. Accessed September 20, 2016. doi:10.4148/2334-4415.1131] and Klink [2000. “You. An Introduction to Paul Celan.”The Iowa Review30 (1): 1–18. http://ir.uiowa.edu/iowareview/vol30/iss1/2], this article considers movement in the form and language of poetry in the post-war period. It looks at some specific examples of how this became manifest in Britain and at traversal connections to developments within other disciplines, not least in scientific and technological domains. [ABSTRACT FROM PUBLISHER]

Copyright of Word & Text: A Journal of Literary Studies & Linguistics is the property of Petroleum - Gas University of Ploiesti and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This essay deals with the poetry of Paul Celan, particularly focusing on the event of appearing of the negative as that which a-voids representation. The key term here is 'Eräugnis,' a term with important resonances between Celan's poetry and the thought of Alain Badiou, whose evental philosophy centers on the void. Another immediate point of reference is Martin Heidegger, whose thought and language permeates Celan's work, and it is likely from Heidegger that Celan takes his impetus in thinking through the problem of representing the void. In readings of poems like 'Heute und Morgen,' 'Welchen der Steine du hebst,' and 'Mandorla,' I argue that Celan is grappling with the appearing of the negative in its function as foundational figure for representation. Celan tropes the negative in his poetry, and this essay explores the theoretical and philosophical implications of this negative visuality. [ABSTRACT FROM AUTHOR]

An essay is presented on the poetry of poet Paul Celan. Topics include Celan's German poem "In den Flüssen" or "In the Rivers," reflection of the realities of the twentieth century in Celan's poems, and expression of futurity in Celan's poetry. Particular focus is also given to his poem "Es war Erde in ihnen" or "There Was Earth Inside Them."