DOCSLIB.ORG

The Conception of the Image in the Poetry and Poetics of Paul Celan and André Du Bouchet

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Conception of the Image in the Poetry and Poetics of Paul Celan and André Du Bouchet Effigies or Imaginary Affinities? The Conception of the Image in the Poetry and Poetics of Paul Celan and André du Bouchet Julian Johannes Immanuel Koch Submitted in partial fulfillment of the requirements of the Degree of Doctor of Philosophy Queen Mary, University of London Statement of Originality I, Julian Johannes Immanuel Koch, confirm that the research included within this thesis is my own work or that where it has been carried out in collaboration with, or supported by others, that this is duly acknowledged below and my contribution indicated. Previously published material is also acknowledged below. I attest that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge break any UK law, infringe any third party’s copyright or other Intellectual Property Right, or contain any confidential material. I accept that the College has the right to use plagiarism detection software to check the electronic version of the thesis. I confirm that this thesis has not been previously submitted for the award of a degree by this or any other university. The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without the prior written consent of the author. Signature: Julian Johannes Immanuel Koch Date: 12.09.2017 2 Abstract The poets Paul Celan and André du Bouchet were close friends and translated each other’s poetry in the 1960s. Despite their proximity and friendship, this study suggests that they differ fundamentally in their poetics of the image. These two important authors outline two very different avenues in engaging with the image as a centuries old topos in philosophy and art. In his conception of the image, Celan links the iconoclastic impetus of the Second Commandment with the biblical confusion of tongues, believing that our need to speak in metaphors and typos images (Abbilder) after Babel impedes truthful poetic expression. For Celan, the Holocaust is a form of renewal of this linguistic Fall of Man. Nonetheless Celan’s poetry also suggests that we can give testimony to an archetypos (Urbild) through truthful poetic expression. Du Bouchet, on the other hand, conceives of the image as encompassing the visual juxtaposition of black ink on the white page and the semantic paradoxes of his poetry. Du Bouchet distributes words across the page and as his poetry thematises gaps of meaning these gaps not only surface in his language but also extra-linguistically in the white gaps of the page. These different conceptions of the image in Celan and du Bouchet are first delineated by alternating analyses of the two authors’ poetry and poetics. These investigations show Celan’s desire to overcome a typified speech and, in his creation of poetic images, to tend toward truth, or an archetypos, whereas du Bouchet perennially negotiates the paradoxes which constitute his poetic image. In a second step, this study investigates how these differences in their conception of the image inform their respective approach to translating the other. 3 Abbreviations GS Benjamin, Walter Gesammelte Schriften, I-VII [Arabic numerals refer to sub-partitions of volumes], ed. by Rolf Tiedemann and Hermann Schweppenhäuser (Frankfurt a. M.: Suhrkamp, 1974-1989). AB Du Bouchet, André, Aveuglante ou banale. Essais sur la poésie, 1949-1959, ed. by Clément Layet and François Tison (Paris: Le Bruit du temps, 2011). M Celan, Paul, Der Meridian. Endfassung – Entwürfe – Materialien, ed. by Bernhard Böschenstein and Heino Schmull (Frankfurt a. M.: Suhrkamp, 1999) [=Tübinger Ausgabe] CW I-V Celan, Paul, Gesammelte Werke, I-V, ed. by Beda Allemann and Stefan Reichert (Frankfurt a. M.: Suhrkamp, 1983). HKA Celan, Paul, Historisch kritische Ausgabe, 1-16 [in two-part volumes, Arabic numerals refer to sub-partitions], ed. by Rolf Bücher and Axel Gellhaus (Frankfurt a. M.: Suhrkamp, 2003-2017). KG Celan, Paul, Kommentierte Gesamtausgabe, ed. by Barbara Widemann (Frankfurt a. M.: Suhrkamp, 2005). Mikro Celan, Paul, ‘Mikrolithen sinds, Steinchen’. Die Prosa aus dem Nachlass, ed. Barbara Wiedemann and Betrand Badiou (Frankfurt a. M.: Suhrkamp, 2005). SA Hölderlin, Friedrich, Sämtliche Werke, I-VIII, ed. by Friedrich Beissner (Stuttgart: Kohlkammer, 1946-1985) [= gr. Stuttgarter Ausgabe]. 4 Acknowledgements This study is nourished by my interests, preferences, and preoccupations that at heart can be traced to my upbringing. Thus my thanks and gratitude are first and foremost to my parents without whom I would not be who I am. Their unconditional support in every imaginable respect has reassuresd me innumerable times and I have no doubt will continue to do so in the future. This study owes many thanks to the tireless work of my supervisor Professor Leonard Olschner, with whom I had so many fruitful conversations on- and off-topic. Without his sure hand in manœuvering the difficult field that is Celan studies and without his patient guidance this study would certainly be less coherent and informed. I extend deep gratitude to Clément Layet who patiently answered my questions about du Bouchet and pointed me to interesting research material. I also owe thanks to the many discussions with and feedback from those who have read chapters or listened to my conference papers, particularly Professor Galin Tihanov, Professor Rüdiger Görner, and Professor Christine Ivanović. My research was enriched by the Celan seminars given by Professor Bertrand Badiou and Professor Jean-Pierre Lefebvre at the ENS in Paris, which I attended during my all too brief research stay in France. During my stay in Paris I was fortunate to meet Philippe Blanc who manages du Bouchet’s estate at the Bibliothèque Littéraire Jacques-Doucet and who was more than forthcoming in giving me an overview of du Bouchet’s estate and pointing me to interesting manuscripts. This study has in part grown out of research I conducted during my Master’s studies, which was much improved by the scrupulous feedback from my then supervisors Professor Katrin Kohl and Professor Patrick McGuinness. After my Master’s I was fortunate enough to have been granted a funded internship by the German Literary Archive in Marbach am Neckar where I had the opportunity to already pursue aspects of my PhD research. I am thankful to the German Academic Exchange Service for granting me a generous scholarship without which financing my studies would have been substantially more difficult. I am also very grateful for the support of family Billand despite difficult circumstances. Further thanks go to friends who have read parts of my research. Especially Oliver Kenny and Robin Steedman have helped me form ideas in numerous conversations and critical remarks on my writing. I enjoyed the support and friendship of so many great 5 people of whom I can only name but a few: Nadeschda Bachem who introduced me to Robin Steedman and to the most wonderful circle of friends at SOAS; Douglas Rose with whom I enjoyed many a great dinner and football game; Oliver Kenny with whom I had so many fruitful discussions and whose piano was crucial in preserving my sanity; and Lukas Kleine-Rüschkamp my favorite study buddy and library hipster-caveman. My gratitude to the inventors of and composers for the piano escapes words, but not music. I do not believe in souls and therefore I also do not believe in soulmates. I do believe in Geistesverwandtschaft and I could not be happier to share it with you, Robin. Until death do us part: two idiots one thought. 6 Table of Contents Abstract.........................................................................................................3 Abbreviations................................................................................................4 Acknowledgements.......................................................................................5 Introduction...................................................................................................9 The Distinction between Archetypos and Typos in the Image.......................................11 The Image as Natural Sign............................................................................................15 The Renewal of the Image Discourse in France............................................................17 The Image in du Bouchet and Celan.............................................................................22 Literature Review..........................................................................................................25 Overview of Chapters....................................................................................................30 Chapter 1: Paul Celan’s Early Image..........................................................33 The Notion of the Image in Celan’s ‘Traum vom Traume’...........................................38 The Conception of the Image in the Early Celan and du Bouchet................................47 Chapter 2: Du Bouchet’s Early Essays on the Conception of the Image in his Poetic Predecessors................................................................................50 Du Bouchet’s Discussion of Hölderlin’s Image découpée............................................52 The Subject and the Image in du Bouchet’s Early Essays on Hugo..............................57 Baudelaire’s Image présente and absente in du Bouchet’s Early Essays......................66 The Subject in the Early Celan and du Bouchet............................................................71 Chapter 3: The Typified
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.
    [Show full text]
  • Hermann Burger, Geboren 1942 in Aarau, Gestorben 1989 Auf Schloss Brunegg, Rahmenveranstaltungen: Do 26
    Hermann Burger, geboren 1942 in Aarau, gestorben 1989 auf Schloss Brunegg, Rahmenveranstaltungen: Do 26. Februar 2009, 19.00 Uhr Semper-Sternwarte [Meridian-Saal], ist eine der schillerndsten Figuren der Schweizer Literatur im ausgehenden Schmelzbergstr. 25, 8092 Zürich [beim Uni-Spital] Mo 19. Januar 2009, 20 Uhr 20. Jahrhundert. Einem abgebrochenen Studium der Architektur an der Eidge- Theater Stadelhofen, Stadelhoferstrasse 12, PD Dr. Andreas Urs Sommer [Freiburg im Breisgau], nössischen Technischen Hochschule [ETH] liess er 1965 den Wechsel an die 8001 Zürich „Sterblichkeitskunst: Hermann Burger, die Literatur und der Tod“ [Vortrag] Universität Zürich folgen, wo er Germanistik studierte. Nach dem Lizentiat „Der Orchesterdiener“. Ein Theaterstück nach einem Text von Hermann Burger Fr 27. Februar 2009, 9.15–17.00 Uhr promovierte er bei Emil Staiger über Paul Celan und habilitierte sich anschlies- Gespielt von Werner Bodinek Sa 28. Februar 2009, 9.30–13.15 Uhr send mit einer Studie über zeitgenössische Schweizer Literatur. Kurz darauf Inszenierung: Peter Rinderknecht Semper-Sternwarte [Meridian-Saal], Schmelzbergstr. 25, 8092 Zürich gelang dem frischgebackenen Privatdozenten mit seinem ersten Roman Billette Fr. 25.–/20.–, Reservationen unter www.theater-stadelhofen.ch oder 044 252 94 24 „Ein Hermann aus Wörtern. Internationale literatur- „Schilten. Schulbericht zuhanden der Inspektorenkonferenz“ [1976] auch als wissenschaftliche Tagung“. [Deutsches Seminar der Schriftsteller der Durchbruch. Fortan gehörte er zu den ersten Namen der Fr 30. Januar 2009, 20 Uhr Universität Zürich]. Detailliertes Programm ab Restaurant Falcone, Birmensdorferstrasse 150, Februar unter www.ds.uzh.ch deutschen Literatur und wurde unter anderem mit dem Friedrich Hölderlin- 8003 Zürich, Zunftsaal im 1. Stock Fr 27. Februar 2009, 20 Uhr Preis [1983] und dem Ingeborg Bachmann-Preis [1985] ausgezeichnet.
    [Show full text]
  • Imagepresentation (PDF, 76 Pages, 8.9
    THE CANTON OF AARGAU: ECONOMY AND EMPLOYMENT The Canton of Aargau is situated in Switzerland’s strongest economic area. Some 340 000 people are employed here in around 40 000 companies. An above-average proportion of these workers are active in the field of research and development. In fact, this is more than twice the national average. Our economic, tax and financial policies make the Canton of Aargau an attractive place of business for international corporations as well as for small and medium-sized businesses. The innovative Robotec Solutions AG known as a leading enterprise in robot applications. Standard & Poor’s has awarded the Canton of Aargau the rating AA+. And it’s no wonder. After all, we have a low unemployment rate, a moderate taxation rate, a strong economy and a high standard of living. These factors appeal to many well-known companies operating here in a wide range of industries – including ABB, GE, Franke, Syngenta and Roche. Our media landscape is equally diverse. In addition to AZ Medien, the canton boasts numerous other well-positioned local media companies. THE CANTON OF AARGAU: LIFE AND LIVING SINA SINGER The Canton of Aargau is currently home to some 670 000 people. That makes us the fourth-largest canton in Switzerland. Aargau is an urban area, yet also modest in size. The Canton of Aargau is within reasonable distance of anywhere – whether by car or public transport. However, for those who prefer to stay and be part of the local scene, Aargau has well-established communities and a wealth of vibrant traditions.
    [Show full text]
  • Hermann Burgers Intention Die Welt Als Sprache Zu Sehen in Der
    Robert Rduch (Katowice) Hermann Burgers Intention, „die Welt als Sprache zu sehen" in der Gedicht50mmlung Rauchsignale Hermann Burger, einer der bedeutendsten Vertreter der Deutsch- schweizer Gegenwartsliteratur, hat mit seinem Leben und seinem Werk Aufsehen erregt, das neben Bewunderung und enthusiastischer Wert- schätzung auch Distanznahme und Irritation zeitigt: „Aufihn kann man sich nicht verlassen, er gehört zu den ganz und gar unsicheren Kantoni- sten unter den Schriftstellem. Aber Literatur, die zählt, schreiben immer nurjene, aufdie man sich nicht verlassen kann, weil sie, anders als die Ordentlichen und die Mittelmäßigen, unberechenbar sind.”1 Hermann Burger kam am 10. Juli 1942 in Aarau zur Welt. Bereits im Kindes- und Jugendalter galt er als Multitalent und kompensierte die Strenge der bürgerlichen Erziehung durch Malen und Musizieren. Nach unterbrochenem Architekturstudium ging er seinen literarischen Inter- essen nach und entschied sich fiir Germanistik. 1973 promovierte er über Paul Celan und 1974 folgte die Habilitationsschrift über zeitge- nössische Schweizer Literatur. Der Erfolg seines Romandebüts und der Stellenmangel an der Eidgenössischen Technischen Hochschule in Zü- rich ließen ihn eine Laufbahn als freischaffender Schriftsteller einschla- gen. Er redigierte die wöchentliche Kulturbeilage imAargauer Tagblatt, publizierte Rezensionen und Aufsätze in mehreren Zeitschrifien, bekam Lehraufträge als Privatdozent und nahm an zahlreichen Lesungen teil. Dank dem Wechsel zum Fischer Verlag 1979 und wohlwollenden Be- sprechungen Marcel Reich-Ranickis2 erfreute er sich gewisser Popu- 1 Marcel Reich-Ranicki: Spielmei‚ster am Rande des Abgrunds. Eine Lauda- tio aufHermann Burger; in: Alerkur 1983, H. 421, S. 840. 2 Vgl. Marcel Reich-Ranicki: Er war mir nahe; in: Klaus Isele (Hrsg.): Salü Hermann. In memoriam Hermann Burger; Eggingen 1991, S.
    [Show full text]
  • 74 the Seventeenth Century Article by Alain on Saint-Simon,142 and E
    74 The Seventeenth Century article by Alain on Saint-Simon,142 and E. Delval draws from Limbo an early pamphlet, Telemacomanie, in which a con­ temporary busybody dares to measure himself against Fenelon. 143 THE EIGHTEENTH CENTURY By H. TEMPLE PATTERSON [The place of publication is Paris unless otherwise stated. An asterisk denotes that a book does not deal exclusively with the eighteenth century] I. GENERAL LANGUAGE. F. Brunot, Histoire de la Langue Fra1Zfaise: La Rivolution et l'Empire, ii: Les ivenements, les institutions et la langue, Colin, 660 pp. HISTORY OF LITERATURE. E. Abry, P. Crouzet, J. Beroes et J. Leger, Les Grands Ecrivains de France illustres, iv: Le dix-huitibne siecle, Didier, 424 pp.-P. Russel, The Glittering Century, N.Y., Scribner (18th-century studies).-Chapman, Cons, Levengood and Vree­ land, Anthology of Eighteenth Century French Literature, Princeton Univ. Press, 1937, 529 pp. RELIGION AND THOUGHT. G. Dumas, Histoire du Journal de Trevoux depuis 170ljusqu'en 1762, Boivin, 1936, 210 pp.-·M. Nicholson, A World in the Moon: A Study of the Changing Attitude toward the Moon in the 17th and 18th Centuries, Smith Coll. Studies in Mod. Lang., 1936,72 pp.-H. Hastings,ManandBeastinFrench Thought of the Eighteenth Century, Baltimore, Johns Hopkins Press, and D.U.P. II. FOREIGN RELATIONS AND COMPARATIVE LITERATURE FOREIGN INFLUENCES IN FRANCE. T. J. Beck, Northern Antiquities in French Learning and Literature (1755-1855), vol. ii: The Odin Legend and the Oriental Fascination, N.Y., Columbia Univ. (re­ viewed P. van Tieghem, RLC, juillet-sept. I936).-D. S. von Mohrenschildt, Russia in the Intellectual Life of Eighteenth-century France, D.U.P.-·N.
    [Show full text]
  • 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.
    [Show full text]
  • Swiss National Library. 102Nd Annual Report 2015
    Swiss National Library 102nd Annual Report 2015 Interactive artists‘ books: three-dimensional projections that visitors can manipulate using gestures, e.g. Dario Robbiani’s Design your cake and eat it too (1996). Architectural guided tour of the NL. The Gugelmann Galaxy: Mathias Bernhard drew on the Gugelmann Collection to create a heavenly galaxy that visitors can move around using a smartphone. Table of Contents Key Figures 2 Libraries are helping to shape the digital future 3 Main Events – a Selection 6 Notable Acquisitions 9 Monographs 9 Prints and Drawings Department 10 Swiss Literary Archives 11 Collection 13 “Viva” project 13 Acquisitions 13 Catalogues 13 Preservation and conservation 14 Digital Collection 14 User Services 15 Circulation 15 Information Retrieval 15 Outreach 15 Prints and Drawings Department 17 Artists’ books 17 Collection 17 User Services 17 Swiss Literary Archives 18 Collection 18 User Services 18 Centre Dürrenmatt Neuchâtel 19 Finances 20 Budget and Expenditures 2014/2015 20 Funding Requirement by Product 2013-2015 20 Commission and Management Board 21 Swiss National Library Commission 21 Management Board 21 Organization chart Swiss National Library 22 Thanks 24 Further tables with additional figures and information regarding this annual report can be found at http://www.nb.admin.ch/annual_report. 1 Key Figures 2014 2015 +/-% Swiss literary output Books published in Switzerland 12 711 12 208 -4.0% Non-commercial publications 6 034 5 550 -8.0% Collection Collections holdings: publications (in million units) 4.44
    [Show full text]
  • Exoticism and the Jew: Racine's Biblical Tragedies by Stanley F
    Exoticism and the Jew: Racine's Biblical Tragedies by Stanley F. Levine pour B. Ponthieu [The Comedie franchise production of Esther (1987) delighted and surprised this spectator by the unexpected power of the play itself as pure theater, by the exotic splendor of the staging, with its magnificent gold and blue decor and the flowing white robes of the Israelite maidens, and most particularly by the insistent Jewish references, some of which seemed strikingly contemporary. That production underlies much of this descussion of the interwoven themes of exoticism and the Jewish character as they are played out in Racine's two final plays.] Although the setting for every Racinian tragedy was spatially or temporally and culturally removed from its audience, the term "exotic" would hardly be applied to most of them. With the exception of Esther and Athalie, they lack the necessary 'local color' which might give them the aura of specificity.1 The abstract Greece of Andromaque or Phedre, for example, pales in comparison with the more circumstantial Roman world of Shakespeare's Julius Caesar and Titus Andronicus, to say nothing of the lavish sensual Oriental Egypt in which Gautier's Roman de la Momie luxuriates. To be sure, there are exotic elements, even in Racine's classical tragedies: heroes of Greco-Roman history and legend, melifluous place and personal names ("la fille de Minos et de Pasiphae"), strange and barbaric customs (human sacrifice in Iphigenie). Despite such features, however, the essence of these plays is ahistorical. Racine's Biblical tragedies present a far different picture. Although they may have more in common 52 STANLEY F.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • The Launch of an Undergraduate Research Journal
    The Reception of Literature in France during the Revolution: An Analysis of Reviews of Women Writers in the Mercure de France, 1791-1795 by Jonathan Durham, Department of French Studies, University of Warwick [1] ABSTRACT This paper is based on part of a pan-European research project carried out between 2004 and 2007, the aim of which was to create an index of female authors. The full results may be found in the database WomenWriters, available at www.databasewomenwriters.nl. One section of this project involved listing and analysing all works, both fiction and theatre, which were reviewed during the period 1791 to 1795 in the Mercure de France, the government-funded state journal which was produced during the Ancien Régime. Given the generally accepted view that the French Revolution marked a watershed in literary production, establishing what was being published and reviewed at that time is crucial for our understanding of the changing socio-political literary climate. The eighteenth century was the period of Enlightenment, and many women were active in writing at this time. It was expected, therefore, that a significant number of works written by women would be reviewed in the Mercure. However, this was not the case and so the project was expanded to include an analysis of the development of the Mercure during the Revolutionary years, the theatre of the Revolution, and the status of female authors in French Revolutionary society. This analysis forms the basis of the first part of this article; the second part examines the reviews of the only two female- authored publications to appear in the Mercure during the period 1791-1795, Elizabeth Inchbald’s Simple Histoire [Simple Story] and Charlotte Smith’s Célestine, ou la victime des Préjugés [Celestina].
    [Show full text]