Paul Celan - Poems
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Keeping Faith: Michael Hamburger's Translations of Paul Celan's Poetry
10.3726/82039_63 Keeping Faith: Michael Hamburger’s translations of Paul Celan’s poetry Von Charlotte Ryland, Oxford In a copy of his volume Die Niemandsrose (1963) given by Paul Celan to his English translator Michael Hamburger, Celan inscribed the words ‘ganz und gar nicht hermetisch’. As Hamburger explains in his edition of Celan transla- tions, this negation of hermeticism would seem to relate to Celan’s conviction, held until his death, that Hamburger had been the anonymous author of a review of Atemwende (1967) in the Times Literary Supplement, in which that poetry had been described as ‘hermetic’.1 This misunderstanding, which caused a schism between Celan and Hamburger that was never fully healed during Celan’s lifetime, has two implications for a consideration of Hamburger’s engagement with Celan’s poetry. On the one hand, according to Hamburger, it put a stop to any fruitful discussions about Celan’s poetry that Hamburger and Celan might have had during those final years of Celan’s life; discussions which might, writes Hamburger, have given him ‘pointers’ as to the ‘primary sense’ of some of the poem’s more obscure terms and allusions.2 On the other hand, it casts a certain light over all of Hamburger’s translations of Celan’s poems: imputing to them an urge to give the lie to that term ‘hermetic’, by rendering Celan’s poems accessible. Hamburger’s translations are therefore not Nachdichtungen, ‘free adaptations’ that lift off from the original poem’s ground; yet neither do they remain so close to the original text as to become attempts at wholly literal renderings, providing notes and glosses where the ‘primary sense’ of an image or term is elusive.3 Rather, Hamburger realised that to write after Celan meant to retain the same relationship between the reader and the text; and therefore to reproduce the complexity and ambiguity that is constitutive of Celan’s verses. -
Transatlantica, 1 | 2016 Beyond the American Difficult Poem: Paul Celan’S “Du Liegst” 2
Transatlantica Revue d’études américaines. American Studies Journal 1 | 2016 Modernist Revolutions: American Poetry and the Paradigm of the New Beyond the American Difficult Poem: Paul Celan’s “Du liegst” Xavier Kalck Electronic version URL: http://journals.openedition.org/transatlantica/8096 DOI: 10.4000/transatlantica.8096 ISSN: 1765-2766 Publisher AFEA Electronic reference Xavier Kalck, “Beyond the American Difficult Poem: Paul Celan’s “Du liegst””, Transatlantica [Online], 1 | 2016, Online since 16 January 2017, connection on 29 April 2021. URL: http:// journals.openedition.org/transatlantica/8096 ; DOI: https://doi.org/10.4000/transatlantica.8096 This text was automatically generated on 29 April 2021. Transatlantica – Revue d'études américaines est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Beyond the American Difficult Poem: Paul Celan’s “Du liegst” 1 Beyond the American Difficult Poem: Paul Celan’s “Du liegst” Xavier Kalck 1 In the 2012 Routledge Companion to Experimental Literature, one finds the following statement: “The one feature that all literary experiments share is their commitment to raising fundamental questions about the very nature and being of verbal art itself” (Bray, 1). Quite circuitously, the definition of the thing is that it defines itself. The conclusion follows that “[e]xperiment is one of the engines of literary change and renewal; it is literature’s way of reinventing itself” (Bray, 1). But when any attribute is deemed so fundamental or substantial that it partakes of the nature of the thing described, does it still deserve to be called an attribute? The editors later attempt a measure of clarification, observing that the adjective “experimental” may be understood either as another word for “radical” or “avant-garde,” with the expected political undertones, but may also mean “innovative” in the epistemological sense of questioning cultural traditions. -
Revisiting Zero Hour 1945
REVISITING ZERO-HOUR 1945 THE EMERGENCE OF POSTWAR GERMAN CULTURE edited by STEPHEN BROCKMANN FRANK TROMMLER VOLUME 1 American Institute for Contemporary German Studies The Johns Hopkins University REVISITING ZERO-HOUR 1945 THE EMERGENCE OF POSTWAR GERMAN CULTURE edited by STEPHEN BROCKMANN FRANK TROMMLER HUMANITIES PROGRAM REPORT VOLUME 1 The views expressed in this publication are those of the author(s) alone. They do not necessarily reflect the views of the American Institute for Contemporary German Studies. ©1996 by the American Institute for Contemporary German Studies ISBN 0-941441-15-1 This Humanities Program Volume is made possible by the Harry & Helen Gray Humanities Program. Additional copies are available for $5.00 to cover postage and handling from the American Institute for Contemporary German Studies, Suite 420, 1400 16th Street, N.W., Washington, D.C. 20036-2217. Telephone 202/332-9312, Fax 202/265- 9531, E-mail: [email protected] Web: http://www.aicgs.org ii F O R E W O R D Since its inception, AICGS has incorporated the study of German literature and culture as a part of its mandate to help provide a comprehensive understanding of contemporary Germany. The nature of Germany’s past and present requires nothing less than an interdisciplinary approach to the analysis of German society and culture. Within its research and public affairs programs, the analysis of Germany’s intellectual and cultural traditions and debates has always been central to the Institute’s work. At the time the Berlin Wall was about to fall, the Institute was awarded a major grant from the National Endowment for the Humanities to help create an endowment for its humanities programs. -
Blatt 2 Zum Programm Am 10. März Tät
>Galizien und die Bukowina – viele junge Autoren nach 1945 mit der Behauptung verlorengegangene Vielvölker-Landschaft< antraten, noch einmal ganz von vorn anfangen zu 9. und 10.März 2019 – Blaues Haus zu Breisach müssen, stand Celan in gewissem Sinne für Kontinui- Blatt 2 zum Programm am 10. März tät. In seiner Sensibilität und Intellektualität schien er einem Walter Benjamin oder der in Auschwitz ermorde- ten Gertrud Kolmar viel näher als Kriegsheimkehrern Rose Ausländer, die österreichisch-rumänisch- wie Heinrich Böll oder Alfred Andersch. Auf über- amerikanisch-deutsche Jüdin, die gezwungenermaßen raschende Weise vermitteln Celans zugleich neuartige nomadisierend zwischen Europa und Amerika pendelte, und formbewusste Strophen eine Vorstellung davon, zwei Weltkriege und die Shoah mit knapper Not und wie sich die deutschsprachige Literatur hätte ent- unendlich viel Glück überlebte, sich heimatlos in die wickeln können, wenn sie nicht durch den National- deutsche Sprache als angemessenen Lebensort flüch- sozialismus ruiniert worden wäre. tete, besessen schrieb: ein literarischer Geheimtip bis Nicht nur >Todesfuge<, sondern auch >Corona<, ins hohe Alter. Schließlich, spät, fast zu spät, wurde sie >Der Sand aus den Urnen< oder >Landschaft<, um als Dichterin bekannt, anerkannt und nahezu berühmt. drei Titel herauszugreifen, setzten Maßstäbe. Sie stirbt 1988 in Düsseldorf im Nelly-Sachs-Haus, Am 23.November 1920 wurde Paul Antschel (rumä- dem Elternheim der Jüdischen Gemeinde. nisch Ancel, woraus später das Anagramm Celan ent- 1901 kam sie als Rosalie („Roisele“) Beatrice Scherzer in stand) in Czernowitz, der Hauptstadt der Bukowina, als einem liberal-jüdischen Elternhaus in Czernowitz in der Kind einer deutschsprachigen jüdischen Familie gebo- Bukowina zur Welt und wanderte 1921 in die USA aus, ren. -
Tracing the Journey of Paul Celan's Poetry
Esther Cameron. Western Art and Jewish Presence in the Work of Paul Celan: Roots and Ramifications of the "Meridian" Speech. Maryland: Lexington Books, 2014. xv + 307 pp. $100.00, cloth, ISBN 978-0-7391-8412-7. Reviewed by Jana Vytrhlik Published on H-Judaic (April, 2016) Commissioned by Matthew A. Kraus (University of Cincinnati) The standing of Paul Celan (1920-70) as one of Cameron has devoted her life to a study of Celan. the most significant and controversial German- The results of this compelling journey are at the language poets of the twentieth century has been core of the reviewed book. steadily rolling over into the new millennium. The As an introduction, Cameron opens the book enduring interest in his work and life among both with “The Landscape of Reading,” which sketches readers and academics generates a continuing Celan’s life. The surname Celan was a pseudonym stream of research, publishing, and online pres‐ of Paul Antschel, who, it becomes clear, was not ence. It is as if each new generation is compelled native to any of the traditional German cultural to discover “their own” Celan and to deconstruct centers, like Berlin, Vienna, or Bern. Instead, he and reinterpret what has been said before. There was born and grew up in Bukovina, more than a is a myriad of classics on Celan’s life, psyche, poet‐ thousand kilometers east, to a German-speaking ry, and letters. In the span of the last ffty years, Jewish family. Sharing a border in the north with standing out amongst them are critical works by East Galicia, the area was known for its pre-1938 authors, translators, and editors such as Michael thriving Hasidic community. -
Staging Memory: the Drama Inside the Language of Elfriede Jelinek
Studies in 20th & 21st Century Literature Volume 31 Issue 1 Austrian Literature: Gender, History, and Article 13 Memory 1-1-2007 Staging Memory: The Drama Inside the Language of Elfriede Jelinek Gita Honegger Arizona State University Follow this and additional works at: https://newprairiepress.org/sttcl Part of the Film and Media Studies Commons, and the German Literature Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Honegger, Gita (2007) "Staging Memory: The Drama Inside the Language of Elfriede Jelinek," Studies in 20th & 21st Century Literature: Vol. 31: Iss. 1, Article 13. https://doi.org/10.4148/2334-4415.1653 This Article is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Studies in 20th & 21st Century Literature by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. Staging Memory: The Drama Inside the Language of Elfriede Jelinek Abstract This essay focuses on Jelinek's problematic relationship to her native Austria, as it is reflected in some of her most recent plays: Ein Sportstück (A Piece About Sports), In den Alpen (In the Alps) and Das Werk (The Plant). Taking her acceptance speech for the 2004 Nobel Prize for Literature as a starting point, my essay explores Jelinek's unique approach to her native language, which carries both the burden of historic guilt and the challenge of a distinguished, if tortured literary legacy. Furthermore, I examine the performative force of her language. Jelinek's "Dramas" do not unfold in action and dialogue, rather, they are embedded in the grammar itself. -
Stunde Null: the End and the Beginning Fifty Years Ago." Their Contributions Are Presented in This Booklet
STUNDE NULL: The End and the Beginning Fifty Years Ago Occasional Paper No. 20 Edited by Geoffrey J. Giles GERMAN HISTORICAL INSTITUTE WASHINGTON, D.C. STUNDE NULL The End and the Beginning Fifty Years Ago Edited by Geoffrey J. Giles Occasional Paper No. 20 Series editors: Detlef Junker Petra Marquardt-Bigman Janine S. Micunek © 1997. All rights reserved. GERMAN HISTORICAL INSTITUTE 1607 New Hampshire Ave., NW Washington, DC 20009 Tel. (202) 387–3355 Contents Introduction 5 Geoffrey J. Giles 1945 and the Continuities of German History: 9 Reflections on Memory, Historiography, and Politics Konrad H. Jarausch Stunde Null in German Politics? 25 Confessional Culture, Realpolitik, and the Organization of Christian Democracy Maria D. Mitchell American Sociology and German 39 Re-education after World War II Uta Gerhardt German Literature, Year Zero: 59 Writers and Politics, 1945–1953 Stephen Brockmann Stunde Null der Frauen? 75 Renegotiating Women‘s Place in Postwar Germany Maria Höhn The New City: German Urban 89 Planning and the Zero Hour Jeffry M. Diefendorf Stunde Null at the Ground Level: 105 1945 as a Social and Political Ausgangspunkt in Three Cities in the U.S. Zone of Occupation Rebecca Boehling Introduction Half a century after the collapse of National Socialism, many historians are now taking stock of the difficult transition that faced Germans in 1945. The Friends of the German Historical Institute in Washington chose that momentous year as the focus of their 1995 annual symposium, assembling a number of scholars to discuss the topic "Stunde Null: The End and the Beginning Fifty Years Ago." Their contributions are presented in this booklet. -
5.00 #214 February/MARCH 2008 the Jack Kerouac School of Disembodied Poetics Summer Writing Program 2008
$5.00 #214 FEBRUARY/MARCH 2008 The Jack Kerouac School of Disembodied Poetics Summer Writing Program 2008 7EEKLY7ORKSHOPSs*UNEn*ULYs"OULDER #/ WEEK ONE: June 16–22 The Wall: Troubling of Race, Class, Economics, Gender and Imagination Samuel R. Delany, Marcella Durand, Laird Hunt, Brenda Iijima, Bhanu Kapil, Miranda Mellis, Akilah Oliver, Maureen Owen, Margaret Randall, Max Regan, Joe Richey, Roberto Tejada and Julia Seko (printshop) WEEK TWO: June 23–29 Elective Affinities: Against the Grain: Writerly Utopias Will Alexander, Sinan Antoon, Jack Collom, Linh Dinh, Anselm Hollo, Daniel Kane, Douglas Martin, Harryette Mullen, Laura Mullen, Alice Notley, Elizabeth Robinson, Eleni Sikelianos, Orlando White and Charles Alexander (printshop) WEEK THREE: June 30–July 6 Activism, Environmentalism: The Big Picture Amiri Baraka, Lee Ann Brown, Junior Burke, George Evans, Bobbie Louise Hawkins, Lewis MacAdams, Eileen Myles, Kristin Prevallet, Selah Saterstrom, Stacy Szymaszek, Anne Waldman, Daisy Zamora and Karen Randall (printshop) WEEK FOUR: July 7–13 Performance, Community: Policies of the USA in the Larger World Dodie Bellamy, Rikki Ducornet, Brian Evenson, Raymond Federman, Forrest Gander, Bob Holman,Pierre Joris, Ilya Kaminsky, Kevin Killian, Anna Moschovakis, Sawako Nakayasu, Anne Tardos, Steven Taylor, Peter & Donna Thomas (printshop) Credit and noncredit programs available Poetry s&ICTIONs4RANSLATION Letterpress Printing For more information on workshops, visit www.naropa.edu/swp. To request a catalog, call 303-245-4600 or email [email protected]. Keeping the world safe for poetry since 1974 THE POETRY PROJECT ST. MARK’S CHURCH in-the-BowerY 131 EAST 10TH STREET NEW YORK NY 10003 NEWSLETTER www.poetryproject.com #214 FEBRUARY/MARCH 2008 NEWSLETTER EDITOR John Coletti 4 ANNOUNCEMENTS DISTRIBUTION Small Press Distribution, 1341 Seventh St., Berkeley, CA 94710 6 READING REPORTS THE POETRY PROJECT LTD. -
Magisterská Diplomová Práce
Masarykova univerzita Filozofická fakulta Ústav germanistiky, nordistiky a nederlandistiky Magisterská diplomová práce 2018 Bc. Tereza Mlatečková Masarykova univerzita Filozofická fakulta Ústav germanistiky, nordistiky a nederlandistiky Učitelství německého jazyka a literatury pro střední školy Bc. Tereza Mlatečková Paul Celan als ein bedeutender deutschsprachiger Lyriker der Nachkriegszeit. Sein Leben und Werk Magisterská diplomová práce Vedoucí práce: doc. Mgr. Aleš Urválek, Ph.D. 2018 Erklärung Hiermit erkläre ich, dass ich das vorliegende Diplomarbeit selbstständig ausgearbeitet habe und dass ich nur die angeführte Literatur verwendet habe. Brno, den 29. November 2018 Bc. Tereza Mlatečková Danksagung An dieser Stelle möchte ich mich herzlich bei meinem Betreuer, Herrn doc. Mgr. Aleš Urválek, Ph.D., für seine nützlichen Ratschläge und Zeit, die er mir beim Verfassen dieser Arbeit gewidmet hat, bedanken. Mein riesiger Dank gilt meiner Familie, insbesondere meinen Eltern und meiner Schwester, für ihre bedingungslose Unterstützung während meines Lebensweges. INHALT 1 EINLEITUNG .......................................................................................................... 1 2 PAUL CELANS LEBEN ........................................................................................ 3 2.1 Die frühen Jahre .................................................................................................. 3 2.1.1 Eine inspirierende Gegend ................................................................................. 3 2.1.2 Bukowina -
Celan-Handbuch
Celan-Handbuch Leben – Werk – Wirkung Bearbeitet von Markus May, Peter Goßens, Jürgen Lehmann 2., aktualisierte und erweiterte Auflage 2012. Buch. XIV, 441 S. Hardcover ISBN 978 3 476 02441 1 Format (B x L): 17 x 24,4 cm Gewicht: 958 g Weitere Fachgebiete > Literatur, Sprache > Deutsche Literatur Zu Leseprobe schnell und portofrei erhältlich bei Die Online-Fachbuchhandlung beck-shop.de ist spezialisiert auf Fachbücher, insbesondere Recht, Steuern und Wirtschaft. Im Sortiment finden Sie alle Medien (Bücher, Zeitschriften, CDs, eBooks, etc.) aller Verlage. Ergänzt wird das Programm durch Services wie Neuerscheinungsdienst oder Zusammenstellungen von Büchern zu Sonderpreisen. Der Shop führt mehr als 8 Millionen Produkte. V Inhaltsverzeichnis Vorwort XI 2.5. Celan in Frankreich 27 Einführung 27 – Überblick 28 – Vorwort zur zweiten Auflage XIII Historischer Abriss 28 – Fazit 29 3. Editionen der Werke Celans 30 I. Grundlagen 3.1. Überlieferungslage 30 3.2. Erste Leseausgaben 31 3.3. Die historische-kritische Ausgabe 1. Leben und Werk im Überblick 1 (HKA) 32 1.1. Voraussetzungen für die Forschung 1 Biographie und Interpretation 1 – 3.4. Die Tübinger Celan-Ausgabe (TCA) 35 Die Forschungs situation heute 3 – 3.5. Das Frühwerk und Die Gedichte aus dem Nachlass und Bibliothek 3 – Werkausgaben 4 – Nachlaß 36 Briefeditionen 5 – Biographische Arbeiten, 3.6. Die Kommentierte Gesamtausgabe 37 Ausstellungs kataloge, Bibliographien 5 – Desiderata und Entwicklungen 6 – Ein Paradigmenwechsel für die Forschung 6 1.2. Leben und Werk – eine kurze Chronik 8 II. Dichtung Czernowitz (1920–1938) 8 – Tours (1938/1939) 9 – Czernowitz (1939–1945) 9 – Bukarest (1945–1947) 10 – Wien (1947/1948) 11 – 1. Das Frühwerk bis zu Der Sand aus Paris (1948–1970) 11 den Urnen (1938–1950) 39 1.1. -
1 © Luisa Greenfield
1 © Luisa Greenfield © Luisa MING TSAO (*1966) 1 – 7 ensemble ascolta Conductors: 1 – 7 Johannes Kalitzke, Andrea Nagy, clarinet 8 – 19 Stefan Schreiber Erik Borgir, violoncello Recording dates: 1 – 7 18–19 Jul 2014, Hubert Steiner, guitar 8 – 19 28–29 Nov 2015 Plus Minus (2012 /13) Mirandas Atemwende (2014 /15) Andrew Digby, trombone Recording venues: 1 – 7 KvB-Saal Funkhaus Köln, Germany Realization of Karlheinz Stockhausen’s Markus Schwind, trumpet 8 – 19 Teldex Studio Berlin, Germany “Plus Minus” Anne-Maria Hoelscher, accordion Producer: 1 – 7 Eckhard Glauche Florian Hoelscher, piano 8 – 19 Markus Heiland 1 Plus Minus – Page I. 05:53 8 Erwartung 02:54 Martin Homann, percussion Recording engineer: 1 – 7 Mark Hohn Boris Müller, percussion 8 – 19 Markus Heiland Julian Belli, percussion Technique / Editing: 1 – 7 Astrid Groflmann 2 Plus Minus – Page II. 05:38 9 Es gibt einen Ort 02:33 Akos Nagy, percussion Executive Producer: 1 – 7 Harry Vogt 8 – 19 Markus Heiland 3 Plus Minus – Page III. 04:15 10 Du entscheidest dich 02:01 8 – 19 Kammerensemble Final mastering: Markus Heiland Neue Musik Berlin Graphic Design: Alexander Kremmers 4 Plus Minus – Page IV. 03:24 11 Heute 04:44 Miranda: Tajana Raj, soprano (paladino media), cover based on Caliban: Christoph Gareisen and artwork by Erwin Bohatsch 5 Plus Minus – Page V. 03:04 12 Helligkeitshunger 04:36 Jan Pohl, speaking voices Publisher: Edition Peters Rebecca Lenton, flute Gudrun Reschke, oboe / english horn 1 – 7 © 2014 Produced by 6 13 Plus Minus – Page VI. 03:59 Das Geschriebene 03:44 Theo Nabicht, bass clarinet Westdeutscher Rundfunk Köln. -
Uninterrupted Dialogue: Between Two Infinities, the Poem1
RIPH 34_f2_1-19 10/27/04 8:57 AM Page 1 TOPIC Interpreting Tradition Downloaded from Brill.com09/28/2021 06:47:46PM via free access RIPH 34_f2_1-19 10/27/04 8:57 AM Page 2 Downloaded from Brill.com09/28/2021 06:47:46PM via free access RIPH 34_f2_1-19 10/27/04 8:57 AM Page 3 UNINTERRUPTED DIALOGUE: BETWEEN TWO INFINITIES, THE POEM1 by JACQUES DERRIDA École des Hautes Études en Sciences Sociales ABSTRACT 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.” Will I be able to express, accurately and faithfully, my admiration for Hans-Georg Gadamer? I obscurely sense, mingling with the recognition and affection that have characterized this feeling for such a long time, an ageless melancholy. Such melancholy, I dare say, is not only historical. Even if, by some event still difficult to decipher, this melancholy corresponded to some such history, it would do so in a singular, intimate, almost private fashion, secret, and still in reserve.