Self-Possession in the Poetry of Paul Celan, Ts Eliot
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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. -
Poetry, Place, and Spiritual Practices by Katharine Bubel BA, Trinity
Edge Effects: Poetry, Place, and Spiritual Practices by Katharine Bubel B.A., Trinity Western University, 2004 M.A., Trinity Western University, 2009 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Department of English Katharine Bubel, 2018 University of Victoria All rights reserved. This dissertation may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. ii Supervisory Committee Edge Effects: Poetry, Place, and Spiritual Practices by Katharine Bubel B.A., Trinity Western University, 2004 M.A., Trinity Western University, 2009 Supervisory Committee Dr. Nicholas Bradley, Department of English Supervisor Dr. Magdalena Kay, Department of English Departmental Member Dr. Iain Higgins, Department of English Departmental Member Dr. Tim Lilburn, Department of Writing Outside Member iii Abstract "Edge Effects: Poetry, Place, and Spiritual Practices” focusses on the intersection of the environmental and religious imaginations in the work of five West Coast poets: Robinson Jeffers, Theodore Roethke, Robert Hass, Denise Levertov, and Jan Zwicky. My research examines the selected poems for their reimagination of the sacred perceived through attachments to particular places. For these writers, poetry is a constitutive practice, part of a way of life that includes desire for wise participation in the more-than-human community. Taking into account the poets’ critical reflections and historical-cultural contexts, along with a range of critical and philosophical sources, the poetry is examined as a discursive spiritual exercise. It is seen as conjoined with other focal practices of place, notably meditative walking and attentive looking and listening under the influence of ecospiritual eros. -
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. -
Protestants Reading Catholicism: Crashaw's Reformed Readership
Georgia State University ScholarWorks @ Georgia State University English Theses Department of English 8-14-2009 Protestants Reading Catholicism: Crashaw's Reformed Readership Andrew Dean Davis Follow this and additional works at: https://scholarworks.gsu.edu/english_theses Part of the English Language and Literature Commons Recommended Citation Davis, Andrew Dean, "Protestants Reading Catholicism: Crashaw's Reformed Readership." Thesis, Georgia State University, 2009. https://scholarworks.gsu.edu/english_theses/69 This Thesis is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. PROTESTANTS READING CATHOLICISM: CRASHAW’S REFORMED READERSHIP by ANDREW D. DAVIS Under the direction of Dr. Paul Voss ABSTRACT This thesis seeks to realign Richard Crashaw’s aesthetic orientation with a broadly conceptualized genre of seventeenth-century devotional, or meditative, poetry. This realignment clarifies Crashaw’s worth as a poet within the Renaissance canon and helps to dismantle historicist and New Historicist readings that characterize him as a literary anomaly. The methodology consists of an expanded definition of meditative poetry, based primarily on Louis Martz’s original interpretation, followed by a series of close readings executed to show continuity between Crashaw and his contemporaries, not discordance. The thesis concludes by expanding the genre of seventeenth-century devotional poetry to include Edward Taylor, who despite his Puritanism, also exemplifies many of the same generic attributes as Crashaw. INDEX WORDS: Richard Crashaw, Edward Taylor, Steps to the Temple , Metaphysical poets, Catholicism, Puritans, New Historicism, Meditative poetry, Louis Martz, Genre Theory PROTESTANTS READING CATHOLICISM: CRASHAW’S REFORMED READERSHIP by ANDREW D. -
Shifts in Modernist Architects' Design Thinking
arts Article Function and Form: Shifts in Modernist Architects’ Design Thinking Atli Magnus Seelow Department of Architecture, Chalmers University of Technology, Sven Hultins Gata 6, 41296 Gothenburg, Sweden; [email protected]; Tel.: +46-72-968-88-85 Academic Editor: Marco Sosa Received: 22 August 2016; Accepted: 3 November 2016; Published: 9 January 2017 Abstract: Since the so-called “type-debate” at the 1914 Werkbund Exhibition in Cologne—on individual versus standardized types—the discussion about turning Function into Form has been an important topic in Architectural Theory. The aim of this article is to trace the historic shifts in the relationship between Function and Form: First, how Functional Thinking was turned into an Art Form; this orginates in the Werkbund concept of artistic refinement of industrial production. Second, how Functional Analysis was applied to design and production processes, focused on certain aspects, such as economic management or floor plan design. Third, how Architectural Function was used as a social or political argument; this is of particular interest during the interwar years. A comparison of theses different aspects of the relationship between Function and Form reveals that it has undergone fundamental shifts—from Art to Science and Politics—that are tied to historic developments. It is interesting to note that this happens in a short period of time in the first half of the 20th Century. Looking at these historic shifts not only sheds new light on the creative process in Modern Architecture, this may also serve as a stepstone towards a new rethinking of Function and Form. Keywords: Modern Architecture; functionalism; form; art; science; politics 1. -
Dada to New Objectivity, Part 2: Duchamp
Dada to New Objectivity, Part 2: Duchamp Arp is always given as the paradigm example of this although recent studies suggest that might be an oversimplification. A recent study of Arp seems to find his multi-lingual childhood a model or metaphor for understanding his “multi-lingual” personality as an artist. Arp wrote poetry, was a sculptor and painter, associated with international constructivism, dada, and surrealism. Making this an apt metaphor are the similarities between his creative activities: in poetry, he wrote in both French and German, easily translating one into the other; in painting and sculpture, he is perhaps best known for his reliefs – a medium which fluidly moves from two to three-dimensions as the relief is painted and like a collage but because they are made of wood or other substantial materials, they engage light and shade and volume in real ways as well as pictorial. The myth about Arp’s early reliefs and collages is that he made them entirely according to the laws of chance – that he cut out pieces of paper (or wood) and let them fall to the ground, creating the future work of art without his direction. Although it seems unlikely that he did, in fact, make his works entirely according to chance, it does not seem unlikely that he wanted them to look as though they had been ruled by chance or that he understood the ways in which chance might affect the final work. Certainly, there is no doubt that in these early works there are no references to figures or recognizable forms and that in place of representation, they assert, if not outright flaunt, the materiality of the object. -
Rethinking New Objectivity in Alfred Barr's Chart of Modern Art in 1936
Rethinking New Objectivity in Alfred Barr’s Chart of Modern Art in 1936 By Niloofar Gholamrezaei, Ph.D. Candidate at Texas Tech University. I- Introduction Historically, modernism refers to the different artistic movements of the 20th century. However, several sets of definitions have shaped the ways in which one defines modern art1. Perhaps the most dominant definition of modernism drives from Alfred Barr’s catalog, “Cubism and Abstract Art" (fig 1). Barr wrote the catalog for the major exhibition, “Cubism and Abstract Art”, curated by the Museum of Modern Art (MoMA) in 1936 (MoMA: Cubism and Abstract Art). The show along with the catalogue were meant to present the modern art (MoMA: Cubism and Abstract Art). In the catalog, Barr wrote a concrete history of modernism (Platt, 293). His definition can be considered as one of the first systematic histographies of modern art (293). In his catalog, Barr identifies the modern art movement as a linear removal from realism toward abstraction (293). According to the Museum of Modern Art, Alfred Barr’s narrative “continues to shape the Museum’s presentation of modernism to this day” (Cubism and Abstract Art). Therefore, his definition of modernism has been promoted by the MoMA as the definition of modern art and has remained an influential way of defining modernism. However, such histography was embedded within certain ideologies and propagandas related to the political condition of its time (Platt, 284). Thus, Barr’s notion of modern art contains limitations and problems and needs to be challenged. Among various problems in Barr’s definition of modernism is his exclusion of some artistic movements and trends that did not fit his model, or which contradicted his definition of modernism. -
Who's Who at the Rodin Museum
WHO’S WHO AT THE RODIN MUSEUM Within the Rodin Museum is a large collection of bronzes and plaster studies representing an array of tremendously engaging people ranging from leading literary and political figures to the unknown French handyman whose misshapen proboscis was immortalized by the sculptor. Here is a glimpse at some of the most famous residents of the Museum… ROSE BEURET At the age of 24 Rodin met Rose Beuret, a seamstress who would become his life-long companion and the mother of his son. She was Rodin’s lover, housekeeper and studio helper, modeling for many of his works. Mignon, a particularly vivacious portrait, represents Rose at the age of 25 or 26; Mask of Mme Rodin depicts her at 40. Rose was not the only lover in Rodin's life. Some have speculated the raging expression on the face of the winged female warrior in The Call to Arms was based on Rose during a moment of jealous rage. Rose would not leave Rodin, despite his many relationships with other women. When they finally married, Rodin, 76, and Rose, 72, were both very ill. She died two weeks later of pneumonia, and Rodin passed away ten months later. The two Mignon, Auguste Rodin, 1867-68. Bronze, 15 ½ x 12 x 9 ½ “. were buried in a tomb dominated by what is probably the best The Rodin Museum, Philadelphia. known of all Rodin creations, The Thinker. The entrance to Gift of Jules E. Mastbaum. the Rodin Museum is based on their tomb. CAMILLE CLAUDEL The relationship between Rodin and sculptor Camille Claudel has been fodder for speculation and drama since the turn of the twentieth century. -
Books Added to Benner Library from Estate of Dr. William Foote
Books added to Benner Library from estate of Dr. William Foote # CALL NUMBER TITLE Scribes and scholars : a guide to the transmission of Greek and Latin literature / by L.D. Reynolds and N.G. 1 001.2 R335s, 1991 Wilson. 2 001.2 Se15e Emerson on the scholar / Merton M. Sealts, Jr. 3 001.3 R921f Future without a past : the humanities in a technological society / John Paul Russo. 4 001.30711 G163a Academic instincts / Marjorie Garber. Book of the book : some works & projections about the book & writing / edited by Jerome Rothenberg and 5 002 B644r Steven Clay. 6 002 OL5s Smithsonian book of books / Michael Olmert. 7 002 T361g Great books and book collectors / Alan G. Thomas. 8 002.075 B29g Gentle madness : bibliophiles, bibliomanes, and the eternal passion for books / Nicholas A. Basbanes. 9 002.09 B29p Patience & fortitude : a roving chronicle of book people, book places, and book culture / Nicholas A. Basbanes. Books of the brave : being an account of books and of men in the Spanish Conquest and settlement of the 10 002.098 L552b sixteenth-century New World / Irving A. Leonard ; with a new introduction by Rolena Adorno. 11 020.973 R824f Foundations of library and information science / Richard E. Rubin. 12 021.009 J631h, 1976 History of libraries in the Western World / by Elmer D. Johnson and Michael H. Harris. 13 025.2832 B175d Double fold : libraries and the assault on paper / Nicholson Baker. London booksellers and American customers : transatlantic literary community and the Charleston Library 14 027.2 R196L Society, 1748-1811 / James Raven. -
Meditate, Meditation. Islam
441 Meditate, Meditation 442 popularized. The World Parliament of Religions son (Al-mura¯ qaba høajj al-aql)” (cf. Massignon: 171, (1893) was a major marker of borrowings and adap- n. 65). tations among the world religions, with the intro- These practices, which find biblical analogues, duction of Swami Vivekananda and Hinduism to were conceived to be an imitation of practices of the America. While later in the 20th century, D. T. Su- prophet Muh ammad, linked to his custom of en- zuki was travelling across the Pacific to instruct gaging in vigils (S 73:1–4, 20; cf. Pss 63:6, 77:6; Sir Westerners in Zen meditation techniques, Christian 39:7). He would spend one month a year, often in clergy began writing texts and practicing these seclusion, in a cave on Mt. H ira¯ outside Mecca (cf. Asian forms of meditation. Among this group were Matt 14:23; Mark 6:46). There he would engage in Bede Griffiths, Thomas Merton, Anthony de Mello, meditation and other devotional practices (Arab. ta- William Johnston, and John Main. John Main, a høannuth, see Wensinck, “tahøannatha”; Kister: 223– Benedictine monk, began to recite a Christian man- 36), which can be equated with the contemplation tra, rather than longer passages from the Bible. In of God and devotion to his worship (Arab. taabbud). 1991 a seminar led by another Benedictine, Bede This practice can be identified with seclusion or (re- Griffiths, led to the founding of the World Commu- ligious) retreat (Arab. khalwa), a focus of which was nity for Christian Meditation, termed “a monastery (religious) meditative reflection (Arab. -
Rodin Museum History [Release]
Contact: Norman Keyes, Jr., Director of Media Relations Frank Luzi, Press Officer (215) 684-7864 [email protected] THE RODIN MUSEUM, PHILADELPHIA In a park setting at 22nd Street and the Benjamin Franklin Parkway (four blocks east of the Philadelphia Museum of Art) is one of the jewels of the city’s cultural landscape. The Rodin Museum, with its elegant gardens and stunning Beaux-Arts architecture, is the legacy of one of Philadelphia's best-known philanthropists. Movie magnate Jules Mastbaum (1872-1926) fell in love with the work of French sculptor Auguste Rodin (1840-1917) while on a visit to Paris in 1923. With characteristic energy Mastbaum spent the next three years assembling an extraordinary collection of sculpture and drawings by the artist, with the idea of establishing a Rodin Museum in Philadelphia for “the enjoyment of my fellow citizens.” While amassing his collection, Mastbaum commissioned the gifted architects Paul Cret and Jacques Gréber to design a building and formal garden on the new Benjamin Franklin Parkway, the broad, tree-lined boulevard designed to evoke another grand avenue, the Champs Elysees in Paris. The museum, simple in detail, is monumental in its conception and yet intimate in scale and feeling. The gateway leading to the garden and museum reproduces the façade of the Château d’Issy, which had been constructed on Rodin’s property at Meudon in 1907. A cast of The Thinker (1902-04) is set in a location similar to that of the one at Meudon that serves as Rodin’s headstone. The overall effect was intended to suggest the setting of Rodin’s tomb.