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The Defiance of Poetic Tradition in Paul Celan and Osip Mandelstam a DISSERTATION

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The Defiance of Poetic Tradition in Paul Celan and Osip Mandelstam a DISSERTATION NORTHWESTERN UNIVERSITY Counter-Quotation: The Defiance of Poetic Tradition in Paul Celan and Osip Mandelstam A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS for the degree DOCTOR OF PHILOSOPHY Field of Comparative Literary Studies By Anna Glazova EVANSTON, ILLIONOIS June 2008 2 ABSTRACT Counter-Quotation: The Defiance of Poetic Tradition in Paul Celan and Osip Mandelstam Anna Glazova This dissertation concentrates on problems of quotation, tradition, and translation in the poetry of Paul Celan and Osip Mandelstam. While examining the nature of poetic inheritance, Celan often refers to Russian poetry and, in particular, to Osip Mandelstam, who, in his turn, understands poetry as an essentially dialogic process. Both for Celan and for Mandelstam, every new poem is an utterance within a poetic conversation. Nowhere is the dialectic of newness and tradition better exemplified than in the act of quotation, both direct and indirect. For this reason, I begin my dissertation with a chapter discussing Celan's idea of quotation as "encounter" in poetic dialogue. Celan welcomes the understanding of poetry as conversation and yet also indicates the limits to which the act of welcoming can be reciprocated. This limit is contained in the so-called "counter-word" (Gegenwort). In my second chapter, I turn to Celan's own encounters with Osip Mandelstam concerning the act or event of "breathturn" (Atemwende), which is a translation and transformation of Mandelstam's poetics of breathing, as it unfolds in his Voronezh Notebooks . The problem of stopping and re-starting breath becomes, as I argue, a way of reconceiving both the content and the idea of tradition. In my concluding chapter, I analyze Celan's own adaptations of Osip Mandelstam's poetry through the theory of translation as an encounter that defies tradition while at the same time making a new tradition possible. Throughout my thesis, I discuss the degree to which Celan's intense engagement with his "conversation partners" can be considered paradigmatic of the poetic encounter as such. 3 Abbreviations. BPh = Celan, Paul. La bibliothèque philosophique , Paris: Éditions Rue d'Ulm, ENS, 2004. BWGL = Paul Celan – Gisèle Celan-Lestrange, Briefwechsel , herausg. Bertrand Badiou, übersetzt von Eugen Helmlé, Memmingen: Suhrkamp, 2001. GN = Celan, Paul. Gedichte aus dem Nachlaß , herausg. Bertrand Badiou et al, Frankfurt am Main: Suhrkamp, 1997. GW, followed by the volume number = Paul Celan, Gesammelte Werke in sieben Bänden , Frankfurt am Main: Suhrkamp, 2000. HTS = Hölderlin, Theoretische Schriften , Philosophische Bibliothek 509 , herausg. Johann Kreuzer, Hamburg: Meiner, 1998. KA = Die Gedichte. Kommentierte Ausgabe , ed. Barbara Wiedemann, Frankfurt am Main: Suhrkamp, 2003. LTA = Celan, Paul, Lichtzwang, Tübinger Ausgabe, Frankfurt am Main: Suhrkamp, 2001: 49. MKR = Celan, Paul, 'Mikrolithen sinds, Steinchen.' Die Prosa aus dem Nachlaß , ed. Bertrand Badiou and Barbara Wiedemann, Frankfurt am Main: Suhrkamp, 2005. MN1 = Мандельштам, Надежда, Воспоминания , Москва: Согласие, 1999 [Mandelstam, Nadezhda, Memoires , Moscow: Soglasie, 1999]. MN2 = Мандельштам, Надежда, Вторая книга , Москва: Согласие, 1999 [Mandelstam, Nadezhda, Book Two , Moscow: Soglasie, 1999]. MTA = Celan, Paul, Der Meridian. Endfassung, Vorstufen, Materialien , Tübinger Ausgabe, Frankfurt am Main: Suhrkamp, 1999. NTA = Celan, Paul, Die Niemandsrose. Vorstufen, Textgenese, Endfassung , bearbeitet von Heino Schmull, Tübingen: Suhrkamp, 1996. OM, followed by the volume number = Мандельштам, Осип, Собрание сочинений в четырёх томах , ред. Г.П.Струве и Б.А.Филлипов, Москва: Терра, 1991 [Mandelstam, Osip, Collected Works in Four Volumes , ed. G.P.Struve i B.A.Fillipov, Moskva: Terra, 1991]. WB, followed by the volume number = Benjamin, Walter, Gesammelte Schriften in sieben Bänden , Frankfurt am Main: Suhrkamp, 1991. 4 Introduction..................................................................................................................................... 5 I. Encounter................................................................................................................................... 14 1. "Elargissez l'Art": Quotation and Bounds of Poetry............................................................. 14 2. The Meridian journey and "die Odysee des Geistes" ........................................................... 30 3. "Geheimes Offen"................................................................................................................. 42 II. Tradition................................................................................................................................... 60 1. Hand and Hands.................................................................................................................... 60 2. Aporrhoea ............................................................................................................................. 87 III. Translation ............................................................................................................................ 117 1. Poetry of Bringing about Presence ..................................................................................... 117 2. Quoting Silence in "Argumentum e silentio" ..................................................................... 139 3. Aurora of the Stone Age ..................................................................................................... 161 4. "Silentium" Quoted and Translated .................................................................................... 168 5. Silence on Edge................................................................................................................... 184 Conclusion .................................................................................................................................. 198 5 Introduction Я нахожу [запечатанную бутылку] в песке, прочитываю письмо, узнаю дату события, последнюю волю погибшего. Я имел право сделать это. Я не распечатал чужого письма. Письмо, запечатанное в бутылке, адресовано тому, кто найдёт её. Нашёл я. Значит, я и есть таинственный адресат. (OM1 235) [I find {a sealed bottle} in the sand, read the letter, learn the date of the event and the last will of the dead. I had my right to do so. I didn't open someone else's 1 letter. The letter sealed in the bottle is addressed to the person who finds it. I found it. Therefore, I am that mysterious addressee.] 2 Aber das Gedicht spricht ja! Es bleibt seiner Daten eingedenk, aber – es spricht. Gewiß, es spricht immer nur in seiner eigenen, allereigensten Sache. Aber ich denke – und dieser Gedanke kann Sie jetzt kaum überraschen –, ich denke, daß es von jeher zu den Hoffnungen des Gedichts gehört, gerade auf diese Weise auch in fremder – nein, dieses Wort kann ich jetzt nicht mehr gebrauchen – gerade auf diese Weise in eines Anderen Sache zu sprechen – wer weiß, vielleicht in eines ganz Anderen Sache. (MTA 8) These two poetological statements, the first from Osip Mandelstam's "О собеседнике [On the Conversation Partner]" and the second from Paul Celan's Der Meridian constitute the point of departure for the following study. Both statements, each in its own idiom, define the poetic tradition and poetry in general as an essentially dialogical process. The poet does not so much create a message as he responds to the message of an other, whom Mandelstam calls the "conversation partner" ("собеседник") and Celan "an altogether other" ("ein ganz Anderer"). Mandelstam's and Celan's definitions of the structure of poetry as conversation, however, do not converge. Mandelstam's conversation partner speaks from the past, and the poet's response to his conversation partner is a projection into the future, a text written for a prospective reader. The 1 "Chuzhoy" is not easily translated into English, as it is semantically close to German "fremd" and may mean "a stranger" but also "belonging to someone else." 2 All translations are mine unless otherwise noted. 6 poet defines himself in relation to an inherited text coming from the past, he relies on a future reader who will enter into an analogous relationship with his poem. The temporality of Mandelstam's poem is, thus, defined both in relation to the past and to the future. This structure perpetuates a poetic tradition which, by means of transformation, continues a "dialogue" with authors long dead and addresses authors to come. This dialogical process, however, cannot be understood as a continuous linear progression. Mandelstam uses the image of a letter sealed in a bottle and thrown into the sea to depict the delay that is formative for the structure of this dialogue. The image of the message in the bottle makes clear that not just any act of reading can lead to the recognition that the poet as the reader is indeed the "mysterious addressee [таинственный адресат]" of the inherited text. There is only one criterion by which the poet can discern whether he is the intended "coversation partner," his astonishment: "The air of poetry is the unexpected [Воздух стиха есть неожиданное]" (OM1 237). This astonishment calls forth the poet's response and thus ensures the continuation of the poetic tradition. The poet who sees himself as contributing to the tradition hopes that his poetry will address a future reader who will, in turn, be astounded by his predecesssor’s work. This structure of request and response as well as the transformation of tradition
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    University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/36265 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. Mosaics of the Self: Kantian Objects and Female Subjects in the Work of Claire Goll and Paula Ludwig Rachel Jones Submitted for the degree of PhD at the University of Warwick Department of Philosophy (Philosophy and Literature) September 1997 II Contents Introduction Journeying into the Darkness 1 Fart One Subjects of Dissolution 17 Chapter One The Dissolution of Woman: Lyotard, Difference and the Postmodem Sublime 18 Chapter Two The Dissolution of Man: German Expressionism and the Post-human Sublime 63 Interlude 125 Chapter 3 Interlude: Another Expressionism 126 Fart Two Manifold Selves 166 Chapter Four Claire Aischmann/ Studei( Go!!: Acrobatic Space-Time 167 Chapter Five The Glass Garden: Mosaic Mirrorings 214 Chapter Six Bodies of Resonance: Eurydice, Music and Darkness 276 Chapter Seven Transformative Touch: The Poetry of Paula Ludwig 315 From Postmodem Patchworks to a Conclusion Mosaics of the Self 362 Appendix 1 377 Appendix 2 384 Appendix 3 388 Bibliography 390 U' Acknowledgements I would like to thank all those, family and friends, who have supported and encouraged me over the last four years. In particular, I would like to thank Valerie Bafico and Mair and Vince Jones for their continual support; my sisters, Beki and Naomi, for theft unflagging encouragement and challenging questions; Catherine Constable, Georgina Paul and Christine Battersby for providing me with endless inspiralion my mother, June Jones, without whom this would not have been written; and AdrianArmstrong, for his endless energy and enthusiasm.
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