Peter Szondi's Essays and Lectures on Hölderlin
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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. -
Hansen, Cinema and Experience: Siegfried Kracauer, Walter
Cinema and Experience WEIMAR AND NOW: GERMAN CULTURAL CRITICISM Edward Dimendberg, Martin Jay, and Anton Kaes, General Editors Cinema and Experience Siegfried Kracauer, Walter Benjamin, and Th eodor W. Adorno Miriam Bratu Hansen UNIVERSITY OF CALIFORNIA PRESS Berkeley Los Angeles London University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 2012 by Th e Regents of the University of California Library of Congress Cataloging-in-Publication Data Hansen, Marian Bratu, 1949–2011. Cinema and experience : Siegfried Kracauer, Walter Benjamin, and Th eodor W. Adorno / Miriam Bratu Hansen. p. cm.—(Weimar and now: German cultural criticism ; 44) Includes bibliographical references and index. isbn 978-0-520-26559-2 (cloth : alk. paper) isbn 978-0-520-26560-8 (pbk. : alk. paper) 1. Motion pictures. 2. Kracauer, Siegfried, 1889–1966—Criticism and interpretation. 3. Benjamin, Walter, 1892–1940—Criticism and interpretation. 4. Adorno, Th eodor W., 1903–1969—Criticism and interpretation. I. Title. PN1994.H265 2012 791.4309—dc23 2011017754 Manufactured in the United States of America 20 19 18 17 16 15 14 13 12 10 9 8 7 6 5 4 3 2 1 In keeping with a commitment to support environmentally responsible and sustainable printing practices, UC Press has printed this book on Rolland Enviro100, a 100 percent postconsumer fi ber paper that is FSC certifi ed, deinked, processed chlorine-free, and manufactured with renewable biogas energy. -
Urban Mediations: the Theoretical Space of Siegfried Kracauer's Ginster
Eric Jarosinski Urban Mediations: The Theoretical Space of Siegfried Kracauer’s Ginster Siegfried Kracauer’s notion that “reality is a construction” serves as a starting point for an exploration of urban space in his 1928 novel Ginster. Focusing on the work’s central theoretical and spatial figure, the “mosaic”, this essay argues that Kracauer challenges us to think of urban space as multiply mediated, especially when it would seem to be represented or experienced most directly. The analysis focuses specifically on linguistic mediation, as the traffic between the city as mate- rial fact and as representation is articulated within literary space. Set in opposition to figures of transparency throughout the novel, primarily in the glass and steel of proto- Modernist architecture, language becomes the object, agent, and scene of a complex web of forces inscribed into and as urban space. These “spatial turns” of Kracauer’s metaphors and tropes speak to the current theoretical challenge of con- ceiving of urban space as both material and abstract. Ginster suggests that articu- lating the tensions between the two best defines a more illuminating and dynamic notion of space itself. “Where is Kracauer?” Walter Benjamin and Theodor W. Adorno pose this question frequently in their correspondence throughout the 1920s and 1930s as the two friends attempt to keep track of the location, both geographically and intellectually, of their longtime “extraterritorial” colleague and friend. While his work for the famed Frankfurter Zeitung may have given him the most public profile of the three, Siegfried Kracauer was indeed the hardest to situate precisely. His wide-ranging interests and distaste for the philo- sophically systematic and politically doctrinaire led to an extremely produc- tive intellectual exchange, but also misunderstanding and disagreement with friends Adorno, Benjamin, and others. -
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. -
Professor Marjorie Perloff the Vienna Paradox: a View from America
The American Corner Innsbruck, the Department of American Studies at the University of Innsbruck and the Israelitische Kultusgemeinde für Tirol und Vorarlberg cordially invite you to a talk by Professor Marjorie Perloff Stanford University, CA, U.S.A. The Vienna Paradox: A View from America Monday, July 6, 2015, 7pm Location: Israelitische Kultusgemeinde für Tirol und Vorarlberg Sillgasse 15, 6020 Innsbruck Marjorie Perloff will address the "paradox" of her transplantation to the United States from Vienna as a child and then will speak further about her new book Edge of Irony: Modernism in the Shadow of the Habsburg Empire, whose focus is the brilliant writing of the interwar period in Vienna - from Freud and Wittgenstein to Karl Kraus, and especially those writers of the distant provinces of the empire, Joseph Roth, Robert Musil, and Elias Canetti, culminating in Paul Celan, whom she calls "the last Habsburg Poet." Before her retirement, Marjorie Perloff was Sadie D. Patek Professor of Humanities at Stanford University. She has taught courses and writes on twentieth—and now twenty-first—century poetry and poetics, both Anglo-American and from a comparatist perspective, as well as on intermedia and the visual arts. Her first three books dealt with individual poets—Yeats, Robert Lowell, and Frank O’Hara; she then published The Poetics of Indeterminacy: Rimbaud to Cage (1981), a book that led to her extensive exploration of avant-garde art movements in The Futurist Moment: Avant-Garde, Avant-Guerre, and the Language of Rupture (1986) and her recent book Unoriginal Genius: Poetry by Other Means in the New Century (2011). -
Heinrich Von Kleist
Heinrich von Kleist: Das gescheiterte Genie (Paper VIII, Paper X) Tue 2-3 (wks: 5-8), Taylor Institution Rm 2 This four-week lecture will cover the life and selected writings of Heinrich von Kleist. Besides the prescribed text for paper X, the play ‘Prinz Friedrich von Homburg’, the course will focus on the modernity and openness of Kleist’s work, making him up until the present day one of the most eminent authors in German language. His reputation becomes apparent in the continuous presence of his plays on German stages. While none of his works is autobiographic in a narrow sense, his narrative prose and his plays in many ways reflect the author’s personal struggle with emotions, sexuality and his failure ever to pursue a satisfactory career. To a certain extent, Kleist can be regarded as the contemporary counterpart to Johann Wolfgang von Goethe, the omnipotent embodiment of artistic genius. Finally, the lecture will address Kleist’s unabated relevance, exploring the ambiguities of justice and violence in texts like ‘Michael Kohlhaas’ and ‘die Hermannsschlacht’. This course will be held in German, which makes it particularly suitable for 2nd year students intending to spend their year abroad at a German university and for finalists who would like to improve their German language skills, in particular with relation to literature. To support language learning alongside the lecture’s literary subject matter, specific vocabulary will be addressed and the content will be recapitulated regularly throughout the lecture. Lecture plan: Week 5: Kleist: Leben – Themen – Rezeption Week 6: Widersprüche der Lektüre: Das Erdbeben in Chili Week 7: Die Geburt des Partisanen aus dem Geist der Poesie: Michael Kohlhaas / Die Hermannsschlacht Week 8: Traum und Wirklichkeit: Prinz Friedrich von Homburg Letters in German Literature: From Goethe's ‚’Werther’ to Kafka's 'Brief an den Vater' (Paper VIII, Paper X) Tue 9-10 (wks:1-8), 47 Wellington Square, Grnd Flr Lec Rm 1 This seminar will address the role of the letter in the history of German literature through selected examples. -
LITR) 1 Comparative Literature (LITR)
Comparative Literature (LITR) 1 Comparative Literature (LITR) * LITR 022a, Music and Literature Candace Skorupa This seminar explores the rivalry between music and literature, the attraction and repulsion between these two art forms, and the dialogue between writers and composers. In select fiction and poetry spanning a variety of cultures and times, we look at the aesthetic challenges of conveying music in words; in select music from the same periods, we study the use of literary themes and narrative. How does music inhabit literature, and literature influence music? We read fiction describing music and borrowing musical forms; we study symphonies and opera inspired by literature; we look at films that bring together these two arts. Students examine theoretical approaches and learn comparative methods useful for literature and culture courses. Though not required, musical experience and/or interest is welcomed for the seminar, which may be taken simultaneously with gateway courses in the humanities. Enrollment limited to first-year students. Preregistration required; see under First-Year Seminar Program. WR, HU * LITR 026a, The Literature of Sports Robyn Creswell Writers on sport examine ideas of beauty and human divinity; virtuosic performance; group identity; questions of race, class, and gender; global realities of migration; and the ubiquity of spectacle. Topics include origins and essence of play; and case studies in the literature of sports, including the Olympic games of classical Greece, bull fighting, Muhammad Ali, cricket and colonialism, and the globalization of soccer. Readings by Pindar, Hemingway, Huizinga, CLR James, Mailer, Delillo, Foster-Wallace, and Ben Fountain. Enrollment limited to first-year students. Preregistration required; see under First-Year Seminar Program. -
Film As Language: the Politics of Early Film Theory (1920-1960) the Case of Siegfried Kracauer As Émigré Intellectual
Film as Language: The Politics of Early Film Theory (1920-1960) The case of Siegfried Kracauer as émigré intellectual Markus Rheindorf, with Alexandra Ganser and Julia Pühringeri IFK Internationales Forschungszentrum Kulturwissenschaften International Reserach Center for Cultural Studies Reichsratsstraße 17 1010 Vienna, Austria Tel.: (+43-1) 504 11 26-15 Fax: (+43-1) 504 11 32 [email protected] http://www.ifk.ac.at Department of Applied Linguistics University of Vienna Berggasse 11 1090 Vienna, Austria [email protected] www.univie.ac.at/linguistics http://homepage.univie.ac.at/Markus.Rheindorf/ That any given politics is largely constructed through and in language; that language and language use are always political and that therefore there is not only a language of politics but also a politics language; and that the sciences – whether social, natural, etc. – construct a politics inasmuch as they are a social phenomenon largely situated in the domain of language: these are three critical positions to which my argument here responds. Building on these, I would like to propose a new focus for research in the field of language and politics: the correspondence between a given political position (within the sciences) and a specific understanding and use of the notion of “language” as such. In this, I am taking a detour through a historically specific case: the discourse of early film theory, in particular the work of film critic and theorist Siegfried Kracauer (1889 – 1966). The early history of the now institutionalized discipline of film studies, as I shall argue, provides an intriguing example of the way in which the language of science and theory articulates a politics (and is articulated by politics) by way of its changing use of the term “language” – in this case, the “language of film”. -
Self-Possession in the Poetry of Paul Celan, Ts Eliot
THE LANGUAGE OF REAL LIFE: SELF-POSSESSION IN THE POETRY OF PAUL CELAN, T. S. ELIOT, RAINER MARIA RILKE, AND PAUL VALÉRY by Scott Marentette A thesis submitted in conformity with the requirements for the degree of Ph. D. Graduate Department of The Centre for Comparative Literature University of Toronto © Copyright by Scott James Marentette 2010 The Language of Real Life: Self-Possession in the Poetry of Paul Celan, T. S. Eliot, Rainer Maria Rilke, and Paul Valéry Scott Marentette Ph. D. 2010 Centre for Comparative Literature University of Toronto In his “Letter on Humanism,” Martin Heidegger conveys the importance he attributes to poetry when he states: “Language is the house of being” (“Letter” 239). In response to his early Jesuit education, he developed a secular alternative to theology with his existential phenomenology. Theology, poetry, and phenomenology share the basic concern of explaining the foundations of being. For Heidegger, ownership characterizes being in a fundamental way; in Contributions to Philosophy (From Enowning) , he establishes the “Ereignis” (“event of appropriation”) as the foundation of being. Ownership lies at the core of being in his thinking following Being and Time . Yet his philosophy ignores the material circumstances of ownership. By way of a materialist critique of Heidegger’s Idealist phenomenology, I expose how property-relations are encoded in the modern poetry and philosophy of dwelling with the question: who owns the house of being? The answer lies in “self-possession,” which represents historical subjectivity as the struggle for the means of production. Paul Celan, T. S. Eliot, Rainer Maria Rilke, and Paul Valéry are all poets who address the relationship between being and ownership in expressing what Marx and Engels call the “language of real life” in The German Ideology (26). -
Ruth Beckermann Discusses Her Latest Project the Dreamed Ones, Based
«This love has the character of a dream.» Ruth Beckermann discusses her latest project The Dreamed Ones, based on the correspondence between Ingeborg Bachmann and Paul Celan, which marks a departure for her by venturing into feature film territory. Our conversation about your last film, Those Who Go Those Who Stay, ended with the following sentences: "It is necessary to make the “hors-champ“ much more powerfully visible. Maybe it would be a good idea to make a film about everything that you can't film." Is it possible that using a literary text, with voices and listening – different sensory perceptions, different artistic forms of expression – has opened a window that permits The Dreamed Ones to venture into new film territory? RUTH BECKERMANN: This new film certainly does explore new territory. In The Dreamed Ones I not only worked with actors for the first time but also adopted a completely different approach; at the beginning I didn't know precisely how far I would move away from the essay film. The idea of using a literary text as the basis developed from a meeting with the literary critic Ina Hartwig, and over the course of a year I developed the screenplay for the film together with her. It went through a large number of versions, about 25. We met when we were both on the jury of the Wartholz Literature Prize. As we were driving from Vienna Airport to Reichenau/Rax we got talking about the exchange of letters between Ingeborg Bachmann and Paul Celan, which had been published a few years earlier under the title Herzzeit (Heart’s Time). -
Paul Celan's (M)Other Tongue(S)
Paul Celan’s (M)Other Tongue(s) : On the Self Portrayal of the Artist as a Monolingual Poet Dirk Weissmann To cite this version: Dirk Weissmann. Paul Celan’s (M)Other Tongue(s) : On the Self Portrayal of the Artist as a Mono- lingual Poet. Juliane Prade. (M)Other Tongues: Literary Reflexions on a Difficult Distinction, 2013, 978-1-4438-4263-1. hal-01634669 HAL Id: hal-01634669 https://hal.archives-ouvertes.fr/hal-01634669 Submitted on 14 Nov 2017 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. (M)OtherTongues: Literary Reflexionson a Difficult Distinction Edited by JulianePrade CAMBRIDGE SCHOIITRS PUBLISHING (M)Other Tongues:Literary Reflexionson a Difficult Distinction, Edited by JulianePrade This book first published2013 CambridgeScholars Publishing 12 Back ChapmanSffeet, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguingin PublicationData A cataloguerecord for this book is availablefrom the British Library Copyright @ 2013 by JulianePrade and contributors All rights for this book reserved.No part of this book may be reproduced,stored in a retrieval system, or transmitted,in any form or by any means,electronic, mechanical, photocopying, recording or otherwise,without the prior permissionof the copyright owner.