Pub Date : 2023-10-02DOI: 10.1080/00168890.2023.2256017
Kristin Dickinson
AbstractThis article reads Zafer Şenocak’s German- and Turkish-language poetry as a multifaceted site of relation, within which the themes and concerns of Paul Celan and Yunus Emre’s poetry come to touch. In doing so, it develops the concept of lyrical touch or the sensual experience of connecting with others in and through lyrical language. Celan and Yunus Emre touch in Şenocak’s writing in part through his negotiation of each author’s very different conception of the body. Through this process of negotiation, Şenocak sets into motion an interpretive movement not unlike Celan’s theory of the meridian. Connecting the path of Celan’s poems to Yunus Emre’s physical peregrinations as a wandering dervish, Şenocak counters recurrent accusations of hermeticism in Celan’s more pared-down late poetry, pointing instead to his conception of the addressee as a living, breathing, mortal body that is itself in motion.Keywords: embodied experiencePaul Celansufi mysticismthe bodytouchtranslationYunus EmreZafer Şenocak Notes1 Zafer Şenocak, “Berühren oder Begegnen?,” in Zungenentfernung (Berlin: Babel, 2001), 62–63.2 Zafer Şenocak, “Zwischen Herz und Haut,” in Atlas des tropischen Deutschland (Berlin: Babel, 1993), 98–99.3 Zafer Şenocak, “Zwischen den Büchern,” in Das Land hinter den Buchstaben: Deutschland und der Islam im Umbruch (Berlin: Babel, 2006), 211.4 For more on this conception of haptic writing see Laura Marks, Touch: Sensuous Theory and Multisensory Media (Minneapolis: University of Minnesota Press, 2002), ix.5 Michael André Bernstein, “In the End Was the Word,” New Republic, 213, no. 18 (October 30, 1995): 39.6 Mark Anderson, “A Poet at War With His Language,” The New York Times, December 31, 2000, http://www.nytimes.com/books/00/12/31/reviews/001231.31anderst.html.7 Ruth Franklin, “How Paul Celan Reconceived Language for a Post-Holocaust World,” The New Yorker, November 16, 2020, https://www.newyorker.com/magazine/2020/11/ 23/how-paul-celan-reconceived-language-for-a-post-holocaust-world.8 For an excellent summary of these debates see Kurt Beals, “Alternatives to Impossibility: Translation as Dialogue in the Works of Paul Celan,” Translation Studies 7, no. 3 (2014): 285–86. For more on depictions of Celan’s poetry as “difficult,” “self referential,” “veiled,” and “hermetic” during his lifetime, see also Joanna Klink, “You. An Introduction to Paul Celan,” Iowa Review 30, no.1 (2000): 1–2.9 Grace Smith, The Poetry of Yunus Emre (Berkeley: University of California Press, 1993), 1–3.10 Abdülbaki Gölpınarlı, Yunus Emre: Hayatı ve Bütün Şiirleri, (Istanbul: Altın Kitaplar Yayınevi, 1991), 32–36.11 Ibid., 37–47.12 İlhan Basgöz, Yunus Emre Araştırma ve Şiirlerinden Güldeste (Bloomington: Indiana University Press, 1990), 5–6.13 Michael Pifer, Kindred Voices: A Literary History of Medieval Anatolia (New Haven: Yale University Press, 2021), 107.14 Ibid., 111.15 Zafer Şenocak, “Einen anderen Duft als den der Rose: Über türkische Volks- und Divandichtung,” Der
摘要本文将扎弗尔Şenocak的德语和土耳其语诗歌作为一个多面关系的场所来解读，在这个场所中，保罗·策兰和尤努斯·埃姆雷的诗歌主题和关注点得以触及。在这样做的过程中，它发展了抒情触摸的概念，或者通过抒情语言与他人联系的感官体验。策兰和尤努斯·埃姆雷在Şenocak的作品中有所接触，部分原因是他对两位作者对身体的不同概念进行了协商。通过这一协商过程，Şenocak启动了一场类似于策兰子午线理论的解释运动。Şenocak将策兰的诗歌之路与尤努斯·埃姆雷(Yunus Emre)作为一个漂泊的苦行僧的身体旅行联系起来，反驳了在策兰更精简的晚期诗歌中反复出现的对赫尔密斯主义的指责，转而指出他认为收件人是一个活生生的、有呼吸的、会死的身体，它本身就是运动的。关键词:具身体验paul Celansufi神秘主义身体接触翻译yunus EmreZafer Şenocak Notes1 Zafer Şenocak“berren oder begegenen ?”Zungenentfernung(柏林:巴别塔，2001)，62-63.2 Zafer Şenocak，“Zwischen Herz und Haut”，《Atlas des tropischen Deutschland》(柏林:巴别塔，1993)，98-99.3 Zafer Şenocak，“Zwischen den b<e:1> chern”，《Das Land hinter den Buchstaben: Deutschland und der Islam im Umbruch》(柏林:巴别塔，2006)，211.4关于触觉写作的更多概念，参见Laura Marks，《触摸:感官理论和多感官媒体》(明尼阿波利斯:明尼苏达大学出版社，2002)，ix.5迈克尔·安德烈·伯恩斯坦，《最终是世界》，《新共和》，213页，第2期。18(1995年10月30日):39.6马克·安德森，“与语言作战的诗人”，《纽约时报》2000年12月31日，http://www.nytimes.com/books/00/12/31/reviews/001231.31anderst.html.7露丝·富兰克林，“保罗·策兰如何为大屠杀后的世界重新构想语言”，《纽约客》2020年11月16日，https://www.newyorker.com/magazine/2020/11/ 23/保罗·策兰如何为大屠杀后的世界重新构想语言”库尔特·比尔斯:《不可能的选择:保罗·策兰作品中的翻译对话》，《翻译研究》第7期。3(2014): 285-86。要了解更多关于策兰一生中“困难的”、“自我参照的”、“隐晦的”和“封闭的”诗歌的描述，请参见乔安娜·克林克的《你》。《保罗·策兰简介》，《爱荷华评论》第30期，第1期(2000): 1-2.9格雷斯·史密斯，《尤努斯·埃姆雷的诗歌》(伯克利:加州大学出版社，1993)，1-3.10 abd<s:1> lbaki Gölpınarlı，尤努斯·埃姆雷:hayatyve b<s:1> t<e:1> n Şiirleri，(伊斯坦布尔:Altın Kitaplar Yayınevi, 1991)， 32-36.11同上，37-47.12 İlhan Basgöz，尤努斯·埃姆雷Araştırma ve Şiirlerinden gldeste(布卢明顿:印第安纳大学出版社，1990)，5-6.13迈克尔·皮弗尔，《亲族之声:中世纪安那托利亚文学史》(纽黑文:耶鲁大学出版社，2021年)，107.14同上，111.15 Zafer Şenocak，“Einen anderen Duft als den der Rose: Über rkische Volks- und Divandichtung，”der Deutschunterricht 45, no. 14。5(1993): 18-31，这里20.16艾琳·曼宁，政治接触:感觉，运动，主权(明尼阿波利斯:明尼苏达大学出版社，2007)，86.17 Zafer Şenocak， Übergang: Ausgewählte Gedichte, 1980-2005 (m<s:1> nchen: Babel, 2005)， 13.18同上，13.19约瑟夫·特威斯特，神秘的伊斯兰教和当代德国文化中的世界主义:对另类的开放(罗切斯特:卡姆登之家，2018)，49-51.20 Şenocak， Übergang, 13.21关于Şenocak自己的诗歌参与这种类型的运动的优秀分析，见Karin ye<s:1> ilada，“诗歌在路上:aktuelle Zwischenstationen im lyrischen Werk Zafer Şenocaks，”在Zafer Şenocak，编辑。Tom Cheesman和Karin ye<e:1> ilada(卡迪夫:大学出版社，2003)，112-29.22关于路径的性质的信息见Julian Baldick，神秘的伊斯兰教:苏菲主义介绍(伦敦:Taurus & Co, 2012)， 3.23 Paul Celan，“Der Meridian，”在Gesammelte Werke in f<s:1> nf Bänden，卷3 (Frankfurt am Main: Suhrkamp Verlag, 1983)， 198.24强调原文。同上，198.25同上，199.26 Amy-Diana Colin和Andrei Corbea-Hoisie，“Paul Celan的布科维纳-子午线”，Paul Celan Today: A Companion, ed. Michael Eskin, Karen Leeder和Marko pajeviki(波士顿:de Gruyter, 2021)， 5.27同上，10-19.28同上，31.29 Celan，“子午线”，201.30同上，202.31 Zafer Şenocak，“Paul Celan”，在Zungenentfernung: Bericht aus Der Quarantänestation(慕尼黑:巴别塔，2001)，96.32 Paul Celan, Gesammelte Werke in f<e:1> Bänden，卷1 (Frankfurt am Main):Suhrkamp Verlag, 1983)， 225.33关于上帝作为“没有人”的讨论，见Marlies Janz，《绝对的约定》:《你的诗》和Ästhetik Paul Celans (Königstein/Taunus: Athenäum, 1984)， 130.34关于取消的过程，见Shane Weller，欧洲现代主义中的语言和消动性:走向不言语的文学(纽约:剑桥大学出版社，2019)，1-15。 35关于“诗篇”中与基督受难有关的形象的讨论，见罗谢尔·托比亚斯，保罗·塞兰诗歌中的自然话语:非自然世界(巴尔的摩:约翰·
{"title":"Lyrical Touch: Paul Celan and Yunus Emre in the Poetry of Zafer Şenocak","authors":"Kristin Dickinson","doi":"10.1080/00168890.2023.2256017","DOIUrl":"https://doi.org/10.1080/00168890.2023.2256017","url":null,"abstract":"AbstractThis article reads Zafer Şenocak’s German- and Turkish-language poetry as a multifaceted site of relation, within which the themes and concerns of Paul Celan and Yunus Emre’s poetry come to touch. In doing so, it develops the concept of lyrical touch or the sensual experience of connecting with others in and through lyrical language. Celan and Yunus Emre touch in Şenocak’s writing in part through his negotiation of each author’s very different conception of the body. Through this process of negotiation, Şenocak sets into motion an interpretive movement not unlike Celan’s theory of the meridian. Connecting the path of Celan’s poems to Yunus Emre’s physical peregrinations as a wandering dervish, Şenocak counters recurrent accusations of hermeticism in Celan’s more pared-down late poetry, pointing instead to his conception of the addressee as a living, breathing, mortal body that is itself in motion.Keywords: embodied experiencePaul Celansufi mysticismthe bodytouchtranslationYunus EmreZafer Şenocak Notes1 Zafer Şenocak, “Berühren oder Begegnen?,” in Zungenentfernung (Berlin: Babel, 2001), 62–63.2 Zafer Şenocak, “Zwischen Herz und Haut,” in Atlas des tropischen Deutschland (Berlin: Babel, 1993), 98–99.3 Zafer Şenocak, “Zwischen den Büchern,” in Das Land hinter den Buchstaben: Deutschland und der Islam im Umbruch (Berlin: Babel, 2006), 211.4 For more on this conception of haptic writing see Laura Marks, Touch: Sensuous Theory and Multisensory Media (Minneapolis: University of Minnesota Press, 2002), ix.5 Michael André Bernstein, “In the End Was the Word,” New Republic, 213, no. 18 (October 30, 1995): 39.6 Mark Anderson, “A Poet at War With His Language,” The New York Times, December 31, 2000, http://www.nytimes.com/books/00/12/31/reviews/001231.31anderst.html.7 Ruth Franklin, “How Paul Celan Reconceived Language for a Post-Holocaust World,” The New Yorker, November 16, 2020, https://www.newyorker.com/magazine/2020/11/ 23/how-paul-celan-reconceived-language-for-a-post-holocaust-world.8 For an excellent summary of these debates see Kurt Beals, “Alternatives to Impossibility: Translation as Dialogue in the Works of Paul Celan,” Translation Studies 7, no. 3 (2014): 285–86. For more on depictions of Celan’s poetry as “difficult,” “self referential,” “veiled,” and “hermetic” during his lifetime, see also Joanna Klink, “You. An Introduction to Paul Celan,” Iowa Review 30, no.1 (2000): 1–2.9 Grace Smith, The Poetry of Yunus Emre (Berkeley: University of California Press, 1993), 1–3.10 Abdülbaki Gölpınarlı, Yunus Emre: Hayatı ve Bütün Şiirleri, (Istanbul: Altın Kitaplar Yayınevi, 1991), 32–36.11 Ibid., 37–47.12 İlhan Basgöz, Yunus Emre Araştırma ve Şiirlerinden Güldeste (Bloomington: Indiana University Press, 1990), 5–6.13 Michael Pifer, Kindred Voices: A Literary History of Medieval Anatolia (New Haven: Yale University Press, 2021), 107.14 Ibid., 111.15 Zafer Şenocak, “Einen anderen Duft als den der Rose: Über türkische Volks- und Divandichtung,” Der ","PeriodicalId":54022,"journal":{"name":"GERMANIC REVIEW","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135902613","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-02DOI: 10.1080/00168890.2023.2262200
Didem Uca
Click to increase image sizeClick to decrease image size Notes1 Rebecca Walkowitz, Born Translated: The Contemporary Novel in an Age of World Literature (New York: Columbia University Press, 2015), 3.
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Pub Date : 2023-10-02DOI: 10.1080/00168890.2023.2262084
Simone Stirner
AbstractTaking Walter Benjamin’s critique of history’s “disciplining” nature as a starting point, this article reads Paul Celan in dialogue with the contemporary German-Jewish poet, playwright, and essayist Max Czollek to consider the undisciplining of remembrance in both their poetry. The article highlights two sites where poetry makes an undisciplined sense of the past felt: language and historical perception. Readings of Celan’s “Lila Luft” and “Mapesbury Road” and Czollek’s “von der wiederkehr” and “nachrichten aus marathon” show how both poets draw on the resources of poetry to produce perceptual openings toward the pervasive reverberations of the national socialist past in the present. In doing so, they convey a sense of time in the aftermath of National Socialism that recent debates around memory in Germany—drawing on theoretical accounts of postcolonial aftermaths—described as “post-national socialist.” Reading Celan with Czollek renders visible to what extent Celan resonates with this contemporary discourse, while also highlighting the historical specificity of remembering in the wake of the Nazi genocide.Keywords: CelanCzollekairremembranceundisciplinedpost-national socialist Notes1 Walter Benjamin, The Arcades Project, trans. Howard Eiland and Kevin McLaughlin (Cambridge, MA and London: Belknap/Harvard University Press, 2002), 631 [W 7,4]; see also Howard Eiland and Kevin McLaughlin, “Translator’s Foreword,” in The Arcades Project, by Walter Benjamin (Cambridge, MA and London: Belknap/Harvard University Press, 2002), xi. The epigraph is taken from: Benjamin, The Arcades Project, 545 [S1a, 3]; The German reads “Die Konstruktionen der Geschichte sind militärischen Ordres vergleichbar, die das wahre Leben kuranzen und kasernieren.” An early note uses the phrasing “kommandieren und kasernieren.” Walter Benjamin, Gesammelte Schriften VI, ed. Rolf Tiedemann and Hermann Schweppenhäuser (Frankfurt am Main: Suhrkamp, 1991), 677, 1014.2 Walter Benjamin, “On the Concept of History,” in Selected Writings 4, ed. Howard Eiland and Michael W. Jennings (Cambridge, MA: Belknap, 2006), 395.3 Benjamin, “Concept of History,” 390.4 Tobias Menely, “Antropocene Air,” Minnesota Review 83 (2014): 93.5 Sanders Isaac Bernstein, “Shall We Not Revenge?,” JewishCurrents (blog), March 3, 2023, https://jewishcurrents.org/shall-we-not-revenge.6 Max Czollek, “5 Fragen an…Max Czollek,” 2023, https://www.hanser-literaturverlage.de/buch/versoehnungstheater/978-3-446-27609-3/.7 https://www.gorki.de/en/celan-mit-der-axt/2018-01-26-2000.8 Bernstein, “Shall We Not Revenge?”9 Max Czollek, De-Integrate: A Jewish Survival Guide for the 21st Century, trans. Jon Cho-Polizzi (Brooklyn, NY: Restless Books, 2023), 132.10 Marjorie Perloff, “‘Sound Scraps, Vision Scraps’: Paul Celan’s Poetic Practice,” in Reading for Form, ed. Susan J. Wolfson and Marshall Brown (Seattle: Univ. of Washington, 2006), 177; Marjorie Perloff, “A Poet’s Hope,” Boston Review (blog), November 1, 2005, https:/
摘要本文以本雅明对历史“规训”本质的批判为出发点，阅读保罗·策兰与当代德国犹太诗人、剧作家、散文家马克斯·乔勒克的对话，探讨他们诗歌中记忆的无规训。这篇文章强调了诗歌在语言和历史感知这两个方面对过去的感觉不加约束。阅读策兰的《莱拉·勒夫特》和《梅普斯伯里路》，以及乔列克的《思想之殇》和《马拉松之夜》，可以看出两位诗人是如何利用诗歌的资源，对国家社会主义过去在当下的普遍回响，产生感性的开放。在这样做的过程中，他们传达了一种国家社会主义之后的时间感，最近围绕德国记忆的辩论——借鉴后殖民后果的理论——被称为“后国家社会主义”。与乔勒克一起阅读《策兰》，可以看出《策兰》在多大程度上与当代话语产生了共鸣，同时也突出了纳粹种族灭绝之后记忆的历史特殊性。关键词:celanczollekairmemormemor无纪律的后国家社会主义笔记1瓦尔特·本雅明，拱廊计划，译。霍华德·艾兰德和凯文·麦克劳克林(剑桥，马萨诸塞州和伦敦:贝尔纳普/哈佛大学出版社，2002年)，631 [W 7,4];另见霍华德·艾兰和凯文·麦克劳克林，“译者的前言，”在《街机项目》中，沃尔特·本杰明著(剑桥，马萨诸塞州和伦敦:贝尔纳普/哈佛大学出版社，2002年)，第11页。题词摘自:Benjamin, The arcade Project, 545 [S1a, 3];德文是“Die Konstruktionen der Geschichte sind militärischen order res vergleichbar, Die das wahre Leben kuranzen and kasernieren”。早期的注释使用了“kommandieren und kasernieren”这句话。Walter Benjamin, Gesammelte Schriften VI，编，Rolf Tiedemann and Hermann Schweppenhäuser (Frankfurt am Main: Suhrkamp, 1991)， 677, 1014.2 Walter Benjamin，《论历史的概念》，选集4，编，Howard Eiland and Michael W. Jennings (Cambridge, MA: Belknap, 2006)， 395.3 Benjamin，《历史的概念》，390.4 Tobias Menely，《人类世的空气》，Minnesota Review 83 (2014): 93.5 Sanders Isaac Bernstein，《我们不应该报复吗?》，“犹太潮流”(博客)，2023年3月3日，https://jewishcurrents.org/shall-we-not-revenge.6 Max Czollek，“5 Fragen和……Max Czollek，”2023,https://www.hanser-literaturverlage.de/buch/versoehnungstheater/978-3-446-27609-3/.7 https://www.gorki.de/en/celan-mit-der-axt/2018-01-26-2000.8 Bernstein，“我们不应该报复吗?”9 Max Czollek:《去整合:21世纪犹太人生存指南》，英译。乔·波利兹(纽约布鲁克林:Restless Books, 2023年)，132.10玛乔丽·佩尔洛夫，“‘声音的碎片，视觉的碎片’:保罗·策兰的诗歌实践”，收录于《形式阅读》，苏珊·j·沃尔夫森和马歇尔·布朗主编(西雅图:华盛顿大学，2006年)，177;Marjorie Perloff，“一个诗人的希望”，波士顿评论(博客)，2005年11月1日，https://www.bostonreview.net/articles/marjorie-perloff-paul-celan-a-poets-hope/.11 Perloff，“声音的碎片，视觉的碎片”，177-78.12。Charles Bernstein，“Celan的折叠和面纱”，文本实践18,no。2 (2004): 200-201;也见谢莉琳·埃尔斯顿，“几乎/你会/已经生活”:阅读保罗·塞兰在哥伦比亚，“在保罗·塞兰今天:一个同伴，编辑迈克尔·埃斯金，凯伦·里德，和马尔科·帕耶维奇，第10卷，同伴当代德国文化(德格鲁伊特，2021)，243.13玛丽娜·切尔尼夫斯基，汉娜·皮斯曼，和丽娅·沃·冯·哈泽尔伯格，“Vergegenwärtigungen，”Jalta。position Zur j<s:1> dischen Gegenwart 4(2018年2月):4 - 7。请参阅问题描述https://neofelis-verlag.de/verlagsprogramm/zeitschriften/jalta/954/gegenwartsbewaeltigung(于2022年2月24日访问)。翻译mine.14同上15 Max Czollek, Versöhnungstheater (Munich: Hanser, 2023)， 156。翻译mine.16Max Czollek, Desintegriert Euch!(慕尼黑:Hanser, 2018)， 107-8.17克里斯蒂娜·夏普，《在觉醒中:论黑人与存在》(达勒姆和伦敦:杜克大学出版社，2016)，13.18夏普，《在觉醒中》，22.19马克斯·乔勒克，“Gegenwartsbewältigung[克服现在]，”译。乔恩·乔·波利兹，12号公交。21 . Max Czollek，“处理当下”，Samplekanon(博客)，2013年4月24日，https://samplekanon.com/max-czollek-dealing-with-the-present/(访问日期:2022年2月24日)Czollek自己在这里肯定了这一点:Max Czollek，“Die Doppelt belichtete Sprache: Paul Celan und das deutsche Vergessen”，在德国-乌克兰文集“Paul Celan 100”中，Evgenia Lopota编辑(切尔诺维茨:子子线，2021)，1865 - 6.22 Viktor Klemperer, Ich will Zeugnis ablegen bis zum letzten: tageb<e:1> 1933-1945(柏林:Aufbau Verlag, 2015);多尔夫·斯特恩伯格，格哈德·斯托兹，威廉·伊曼纽尔·斯<s:1>斯金，《人类的起源Wörterbuch》(深圳:dtv, 1962).23保罗·策兰:《在不莱梅自由汉萨城市接受文学奖时的讲话》，《散文选集》，英译。
{"title":"Remembrance Undisciplined: Reading Paul Celan with Max Czollek","authors":"Simone Stirner","doi":"10.1080/00168890.2023.2262084","DOIUrl":"https://doi.org/10.1080/00168890.2023.2262084","url":null,"abstract":"AbstractTaking Walter Benjamin’s critique of history’s “disciplining” nature as a starting point, this article reads Paul Celan in dialogue with the contemporary German-Jewish poet, playwright, and essayist Max Czollek to consider the undisciplining of remembrance in both their poetry. The article highlights two sites where poetry makes an undisciplined sense of the past felt: language and historical perception. Readings of Celan’s “Lila Luft” and “Mapesbury Road” and Czollek’s “von der wiederkehr” and “nachrichten aus marathon” show how both poets draw on the resources of poetry to produce perceptual openings toward the pervasive reverberations of the national socialist past in the present. In doing so, they convey a sense of time in the aftermath of National Socialism that recent debates around memory in Germany—drawing on theoretical accounts of postcolonial aftermaths—described as “post-national socialist.” Reading Celan with Czollek renders visible to what extent Celan resonates with this contemporary discourse, while also highlighting the historical specificity of remembering in the wake of the Nazi genocide.Keywords: CelanCzollekairremembranceundisciplinedpost-national socialist Notes1 Walter Benjamin, The Arcades Project, trans. Howard Eiland and Kevin McLaughlin (Cambridge, MA and London: Belknap/Harvard University Press, 2002), 631 [W 7,4]; see also Howard Eiland and Kevin McLaughlin, “Translator’s Foreword,” in The Arcades Project, by Walter Benjamin (Cambridge, MA and London: Belknap/Harvard University Press, 2002), xi. The epigraph is taken from: Benjamin, The Arcades Project, 545 [S1a, 3]; The German reads “Die Konstruktionen der Geschichte sind militärischen Ordres vergleichbar, die das wahre Leben kuranzen und kasernieren.” An early note uses the phrasing “kommandieren und kasernieren.” Walter Benjamin, Gesammelte Schriften VI, ed. Rolf Tiedemann and Hermann Schweppenhäuser (Frankfurt am Main: Suhrkamp, 1991), 677, 1014.2 Walter Benjamin, “On the Concept of History,” in Selected Writings 4, ed. Howard Eiland and Michael W. Jennings (Cambridge, MA: Belknap, 2006), 395.3 Benjamin, “Concept of History,” 390.4 Tobias Menely, “Antropocene Air,” Minnesota Review 83 (2014): 93.5 Sanders Isaac Bernstein, “Shall We Not Revenge?,” JewishCurrents (blog), March 3, 2023, https://jewishcurrents.org/shall-we-not-revenge.6 Max Czollek, “5 Fragen an…Max Czollek,” 2023, https://www.hanser-literaturverlage.de/buch/versoehnungstheater/978-3-446-27609-3/.7 https://www.gorki.de/en/celan-mit-der-axt/2018-01-26-2000.8 Bernstein, “Shall We Not Revenge?”9 Max Czollek, De-Integrate: A Jewish Survival Guide for the 21st Century, trans. Jon Cho-Polizzi (Brooklyn, NY: Restless Books, 2023), 132.10 Marjorie Perloff, “‘Sound Scraps, Vision Scraps’: Paul Celan’s Poetic Practice,” in Reading for Form, ed. Susan J. Wolfson and Marshall Brown (Seattle: Univ. of Washington, 2006), 177; Marjorie Perloff, “A Poet’s Hope,” Boston Review (blog), November 1, 2005, https:/","PeriodicalId":54022,"journal":{"name":"GERMANIC REVIEW","volume":"89 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135902618","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-02DOI: 10.1080/00168890.2023.2262199
André Flicker
Click to increase image sizeClick to decrease image size Notes1 Henri Barbusse, Le Feu (Paris: Ernest Flamarion, 1926), reference to p. 350f.2 Walter Benjamin, “The Storyteller: Reflections on the Work of Nikolai Leskov,” in Walter Benjamin: Illuminations, edited by Hannah Arendt, transl. by Harry Zohn (New York: Schocken Books, 2007): 83-109, here 84.
{"title":"German Philosophy and the First World War <i>German Philosophy and the First World War</i> . Nicolas de Warren. Cambridge, UK: Cambridge University Press, 2023, 426 pp., $45.95, ISBN 9781108423496","authors":"André Flicker","doi":"10.1080/00168890.2023.2262199","DOIUrl":"https://doi.org/10.1080/00168890.2023.2262199","url":null,"abstract":"Click to increase image sizeClick to decrease image size Notes1 Henri Barbusse, Le Feu (Paris: Ernest Flamarion, 1926), reference to p. 350f.2 Walter Benjamin, “The Storyteller: Reflections on the Work of Nikolai Leskov,” in Walter Benjamin: Illuminations, edited by Hannah Arendt, transl. by Harry Zohn (New York: Schocken Books, 2007): 83-109, here 84.","PeriodicalId":54022,"journal":{"name":"GERMANIC REVIEW","volume":"85 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135902614","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-02DOI: 10.1080/00168890.2023.2256016
Matthew Johnson
This article analyzes Paul Celan’s translation of James Baldwin’s “Everybody’s Protest Novel” and considers the connections between the poetics of these two writers. In addition to their shared preoccupation with and rearticulation of terms such as human, creature, and darkness, the translation reveals how they explored the relationship between literature and reality at early and transitional moments in their careers. While rejecting regnant modes of realism, Baldwin and Celan insisted, in different but related ways, on the bearing of the world on their writing, which they understood as a response to historical catastrophes that resisted inherited categories and hegemonic language. This article demonstrates how reading Baldwin’s essay and Celan’s translation together can help us understand their peculiar realism anew, and it elucidates how this aspect of their work continues to feel urgent today, with specific reference to the writing of Claudia Rankine.
{"title":"Protest and the Opacity of Literature: James Baldwin and Paul Celan","authors":"Matthew Johnson","doi":"10.1080/00168890.2023.2256016","DOIUrl":"https://doi.org/10.1080/00168890.2023.2256016","url":null,"abstract":"This article analyzes Paul Celan’s translation of James Baldwin’s “Everybody’s Protest Novel” and considers the connections between the poetics of these two writers. In addition to their shared preoccupation with and rearticulation of terms such as human, creature, and darkness, the translation reveals how they explored the relationship between literature and reality at early and transitional moments in their careers. While rejecting regnant modes of realism, Baldwin and Celan insisted, in different but related ways, on the bearing of the world on their writing, which they understood as a response to historical catastrophes that resisted inherited categories and hegemonic language. This article demonstrates how reading Baldwin’s essay and Celan’s translation together can help us understand their peculiar realism anew, and it elucidates how this aspect of their work continues to feel urgent today, with specific reference to the writing of Claudia Rankine.","PeriodicalId":54022,"journal":{"name":"GERMANIC REVIEW","volume":"155 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135902623","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-02DOI: 10.1080/00168890.2023.2257853
Natalie Lozinski-Veach, Jason Groves
The recent venerations of Paul Celan on the occasion of his centenary invite further reflection on how his poems reach across time. As immersed as they are in their own here and now, Celan’s poems demonstrate a remarkable capacity to touch on others’ histories and experiences and to be touched by them in turn. Drawing on the elaborations of touch in transnational German studies, and the ways in which touch apprehends relations that fall outside of the purview of comparison, opposition, reception, and encounter, this introduction sketches out a framework for appreciating the connections that his poetry facilitates. The essays that follow offer connective readings of Celan that range from the 13th-century Anatolian mystic Yunus Emre to the contemporary American poet Claudia Rankine.
{"title":"Reading Celan Today","authors":"Natalie Lozinski-Veach, Jason Groves","doi":"10.1080/00168890.2023.2257853","DOIUrl":"https://doi.org/10.1080/00168890.2023.2257853","url":null,"abstract":"The recent venerations of Paul Celan on the occasion of his centenary invite further reflection on how his poems reach across time. As immersed as they are in their own here and now, Celan’s poems demonstrate a remarkable capacity to touch on others’ histories and experiences and to be touched by them in turn. Drawing on the elaborations of touch in transnational German studies, and the ways in which touch apprehends relations that fall outside of the purview of comparison, opposition, reception, and encounter, this introduction sketches out a framework for appreciating the connections that his poetry facilitates. The essays that follow offer connective readings of Celan that range from the 13th-century Anatolian mystic Yunus Emre to the contemporary American poet Claudia Rankine.","PeriodicalId":54022,"journal":{"name":"GERMANIC REVIEW","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135902758","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-02DOI: 10.1080/00168890.2023.2260061
Barbara Wiedemann
AbstractPaul Celan is present on the Internet not only where knowledge of his work might still be expected—in poetry, music, and visual art. Celan references can also be found in song lyrics and album titles of various bands, crime novels, and fantasy prose. He seems to provide users on Twitter and other social media the material for their account names, and companies not only in German-speaking countries use his poems for their names. This article provides an overview of these references that helps us understand the status of Celan’s vocabulary in the context of current appropriations. A special focus of this essay is the role of references to his famous poem “Todesfuge” on political pages and in song lyrics.Keywords: Compound wordscultural communicationcultural memory"Death Fugue"new mediareception theorysong-lyrics Notes1 Paul Celan, Die Gedichte. Neue kommentierte Gesamtausgabe in einem Band. Mit den zugehörigen Radierungen von Gisèle Celan-Lestrange, hg. und kommentiert von Barbara Wiedemann (Berlin: Suhrkamp, 2018).2 Paul Celan, Die Gedichte. Kommentierte Gesamtausgabe in einem Band, hg. und kommentiert von Barbara Wiedemann (Frankfurt am Main: Suhrkamp, 2003).3 Simon Krauss, “Schneepart, gebäumt bis zuletzt,” Die Presse, Wien, 14. Juli 1971.4 Günter Blöcker, ”Gedichte als graphische Gebilde,” Tagesspiegel, Berlin, 11. Oktober 1959.5 Peter Rühmkorf, “Die unterkühlte Romantik des Lyrikers Paul Celan,” Die Welt, Hamburg, 16. Mai 1959. Meine Einschätzung der Formulierung als antisemitisch innerhalb meiner Dokumentation Paul Celan – Die Goll-Affäre. Dokumente zu einer Infamie (Frankfurt am Main: Suhrkamp, 2000), 664, war seinerzeit nicht unumstritten.6 Curt Hohoff, Geist und Ursprung. Zur modernen Literatur (München: Ehrenwirt, 1954), 242.7 Siehe den Brief Celans an Max Rychner vom 3. November 1946 aus Bukarest, in Paul Celan, ”etwas ganz und gar Persönliches”. Briefe 1934-1970, ausgewählt, hg. und kommentiert von Barbara Wiedemann (Berlin: Suhrkamp, 2019), 25–27, hier 27.8 Siehe Martin Haslpelmath, Ekkehard König, Wulf Oesterreich, Wolfgang Raible, Sprachtypologie und sprachliche Universalien. Ein internationales Handbuch, 1. Halbband (Berlin, New York: Walter de Gruyter, 2001), 716f.9 Geburtsdaten zwischen den frühen 1970er und den frühen 1980er Jahren konnten bei den Inhabern der Konten aufgefunden werden.10 Paul Celan, Die Gedichte aus dem Nachlaß, hg. von Bertrand Badiou, Jean Claude Rambach und Barbara Wiedemann, Anmerkungen von Barbara Wiedemann und Bertrand Badiou (Frankfurt am Main: Suhrkamp, 1997).11 David Fuchs, an Verf., 7. August 2021. Ich danke ihm und allen anderen, die mir auf meine Fragen ausführlich geantwortet haben. “Lichtzwang” erscheint auf den verschiedenartigsten Plattformen als Nutzername, auch auf der Blogging-Plattform Tumblr.12 https://www.turnusdoc.at/de/news/wir-sind-wichtige-nebenfiguren-in-den-lebensgeschichten-unserer-patientinnen-am-puls-ausgabe-07/ (Zugriff 10. August 2021).13 Franz Kratochwil, an Verf., 6. Au
摘要保罗·塞兰出现在互联网上，不仅仅是在诗歌、音乐和视觉艺术领域。在各种乐队的歌词和专辑名称、犯罪小说和奇幻散文中也可以找到对Celan的引用。他似乎为Twitter和其他社交媒体上的用户提供了创建账户名的素材，而且不仅是德语国家的公司使用他的诗歌作为自己的名字。本文提供了这些参考文献的概述，帮助我们了解Celan的词汇在当前拨款上下文中的地位。本文特别关注的是他的著名诗歌《Todesfuge》在政治页面和歌词中所起的作用。关键词:复合词文化传播文化记忆《死亡赋格》新媒介接受理论歌词注释1保罗·策兰《死亡》《新评论》在einem Band中的应用。2 . Mit den zugehörigen raderungen von gis<e:1>， Celan-Lestrange, h . and kommentiert von Barbara Wiedemann(柏林:Suhrkamp, 2018)保罗·塞兰，《生命》。2 .《社会主义研究》，《芭芭拉·魏德曼评论》(法兰克福:Suhrkamp出版社，2003)Simon Krauss，《Schneepart, gebäumt bis zuletzt》，Die press, Wien, 14。1971.4 g<s:1> nter Blöcker，“Gedichte als graphische Gebilde”，《每日镜报》，柏林，第11期。1959.5年10月彼得·雷姆科夫，《保罗·塞兰的浪漫主义<e:1>》，《世界报》，汉堡，16页。1959年梅。Meine Einschätzung der formululierung als inhalb meiner文档Paul Celan - Die Goll-Affäre。6 .《战争的历史》(美因河畔法兰克福:苏坎普出版社，2000)，664，《战争的历史》Curt Hohoff, Geist and Ursprung。《现代文学》(深圳:Ehrenwirt出版社，1954)，第242.7页。1946年11月在布加勒斯特，在保罗·策兰，“etwas ganz und gar Persönliches”。简介1934-1970,ausgewählt, h .和芭芭拉·魏德曼的评论(柏林:Suhrkamp, 2019)， 25-27, hier 27.8 sihe Martin Haslpelmath, Ekkehard König, Wulf osterreich, Wolfgang Raible, Sprachtypologie and sprachliche Universalien。国际手册，1。《Halbband》(柏林，纽约:Walter de Gruyter出版社，2001)，716页10 . Geburtsdaten zwischen den fren hen 1970er und den fren hen 1980er Jahren konnten bei den Inhabern der Konten aufgefunden werden11 .保罗·塞兰，《关于Nachlaß的研究》，冯·贝特朗·巴迪欧，让·克劳德·拉姆巴赫和芭芭拉·魏德曼，《冯·芭芭拉·魏德曼和贝特朗·巴迪欧》(法兰克福:Suhrkamp出版社，1997)大卫·富克斯和Verf。7。2021年8月。我爱你，我爱你，我爱你，我爱你。“Lichtzwang”erscheint auf den verschiedenartigsten Plattformen als Nutzername，每个auder blog - platform Tumblr.12 https://www.turnusdoc.at/de/news/wir-sind-wichtige-nebenfiguren-in-den-lebensgeschichten-unserer-patientinnen-am-puls-ausgabe-07/ (Zugriff 10)。2021年8月)13。弗朗茨·克拉托维奇和Verf。6。2021.14年8月，《生命》杂志，2018,490.15 https://wortschatten.de/ueber-uns/ (Zugriff 29)。2021年9月);[18] [au:] [au:] [au:] [au:] [au:] [au:]2021年8月)。[j] [j] [j] [j] [j] [j] [j] [j] [j] [j]。18. 2021年8月)。19 https://www.fadensonnen.com/(祖格里夫)2021年8月)。20 http://aergernis.blogsport.de/category/wutpilger/(祖格里夫)2021年8月). 21sihe die Erläuterungen in Celan (die Gedichte, 2018)， 854.22 Lane Harlan, and Verf。7。和9。2021.23年8月https://www.baltimoremagazine.com/section/fooddrink/lane-harlan-opens-fadensonnen-in-old-goucher-this-weekend/ (Zugriff)2021年8月)。他在14岁的时候就这样做了。2018年11月，Gedicht(1967)和Bandtitel(1968)在他们的verwehselsel中被发现阿尔伯特·塞拉和Verf。, 13岁。2021年8月。每个人都有自己的梦想，我们的梦想，我们的梦想，我们的梦想，我们的梦想，我们的梦想，我们的梦想。as textile Ensemble " Zwangsjackenschön " der knstlerin Larissa Fritz gef Das Gedicht " Die Liebe " aus Fadensonnen zur<e:1> (https://www.larissafritz.de/portfolio/zwangsjackensch%C3%B6n/， Zugriff 13)。2021年8月)。她说:" Manche ließen siich ich ich ßen en fgr eigene interpretionen, he hin zubloß em Hinnehmen des Titels ohne weiteres Hinterfragen "。她说:" Manche ließen siich ich ich ich ßen fre eigene interpretionen "。Auf ihrer主页erläutert Fritz heute nights zum Hintergrund des Werks(拉里萨·弗里茨和Verf。16。2月23日。2021年8月)为比阿特丽克丝·克斯滕，Verf. 4。Oktober 2022。 摘要保罗·塞兰出现在互联网上，不仅仅是在诗歌、音乐和视觉艺术领域。在各种乐队的歌词
{"title":"“Wutpilger-Streifzüge.” Celans Wörter, aus dem Netz gefischt","authors":"Barbara Wiedemann","doi":"10.1080/00168890.2023.2260061","DOIUrl":"https://doi.org/10.1080/00168890.2023.2260061","url":null,"abstract":"AbstractPaul Celan is present on the Internet not only where knowledge of his work might still be expected—in poetry, music, and visual art. Celan references can also be found in song lyrics and album titles of various bands, crime novels, and fantasy prose. He seems to provide users on Twitter and other social media the material for their account names, and companies not only in German-speaking countries use his poems for their names. This article provides an overview of these references that helps us understand the status of Celan’s vocabulary in the context of current appropriations. A special focus of this essay is the role of references to his famous poem “Todesfuge” on political pages and in song lyrics.Keywords: Compound wordscultural communicationcultural memory\"Death Fugue\"new mediareception theorysong-lyrics Notes1 Paul Celan, Die Gedichte. Neue kommentierte Gesamtausgabe in einem Band. Mit den zugehörigen Radierungen von Gisèle Celan-Lestrange, hg. und kommentiert von Barbara Wiedemann (Berlin: Suhrkamp, 2018).2 Paul Celan, Die Gedichte. Kommentierte Gesamtausgabe in einem Band, hg. und kommentiert von Barbara Wiedemann (Frankfurt am Main: Suhrkamp, 2003).3 Simon Krauss, “Schneepart, gebäumt bis zuletzt,” Die Presse, Wien, 14. Juli 1971.4 Günter Blöcker, ”Gedichte als graphische Gebilde,” Tagesspiegel, Berlin, 11. Oktober 1959.5 Peter Rühmkorf, “Die unterkühlte Romantik des Lyrikers Paul Celan,” Die Welt, Hamburg, 16. Mai 1959. Meine Einschätzung der Formulierung als antisemitisch innerhalb meiner Dokumentation Paul Celan – Die Goll-Affäre. Dokumente zu einer Infamie (Frankfurt am Main: Suhrkamp, 2000), 664, war seinerzeit nicht unumstritten.6 Curt Hohoff, Geist und Ursprung. Zur modernen Literatur (München: Ehrenwirt, 1954), 242.7 Siehe den Brief Celans an Max Rychner vom 3. November 1946 aus Bukarest, in Paul Celan, ”etwas ganz und gar Persönliches”. Briefe 1934-1970, ausgewählt, hg. und kommentiert von Barbara Wiedemann (Berlin: Suhrkamp, 2019), 25–27, hier 27.8 Siehe Martin Haslpelmath, Ekkehard König, Wulf Oesterreich, Wolfgang Raible, Sprachtypologie und sprachliche Universalien. Ein internationales Handbuch, 1. Halbband (Berlin, New York: Walter de Gruyter, 2001), 716f.9 Geburtsdaten zwischen den frühen 1970er und den frühen 1980er Jahren konnten bei den Inhabern der Konten aufgefunden werden.10 Paul Celan, Die Gedichte aus dem Nachlaß, hg. von Bertrand Badiou, Jean Claude Rambach und Barbara Wiedemann, Anmerkungen von Barbara Wiedemann und Bertrand Badiou (Frankfurt am Main: Suhrkamp, 1997).11 David Fuchs, an Verf., 7. August 2021. Ich danke ihm und allen anderen, die mir auf meine Fragen ausführlich geantwortet haben. “Lichtzwang” erscheint auf den verschiedenartigsten Plattformen als Nutzername, auch auf der Blogging-Plattform Tumblr.12 https://www.turnusdoc.at/de/news/wir-sind-wichtige-nebenfiguren-in-den-lebensgeschichten-unserer-patientinnen-am-puls-ausgabe-07/ (Zugriff 10. August 2021).13 Franz Kratochwil, an Verf., 6. Au","PeriodicalId":54022,"journal":{"name":"GERMANIC REVIEW","volume":"89 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135902762","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-02DOI: 10.1080/00168890.2023.2255915
Linda Maeding
Paul Celan is a central figure in the work of José F.A. Oliver, a multilingual poet who emerged from the context of the so-called migration literature. This article shows the extent to which Celan stands for Oliver’s development into a self-reflexive poet who examines the possibilities of contemporary poetry and memory within the poem itself. For Oliver, the poem results from a process of condensation, a reflective and inward movement. At the same time, however, his “extensive” poetry integrates various places and languages. Celan’s role within this field of tension—in fernlautmetz (2000) and fahrtenschreiber (2010), for instance—exceeds that of an intertextual reference. This idiosyncratic reception goes far beyond quotation and points back to an openness inherent in Celan’s work itself. The extent to which historical experience and memory are transferable in the poem is an issue that Oliver also tackles on a meta-lyrical level.Footnote1
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Pub Date : 2023-10-02DOI: 10.1080/00168890.2023.2255916
Jason Groves
AbstractWhile Paul Celan’s lyrical commemoration of the Holocaust has been recognized for its multidirectionality, commentators have not acknowledged his engagement with other colonial and imperial histories contemporaneous with his writing. Celan’s advocacy for reading words “with the acute accent of the present” calls for a reading of his poetry that is attentive to its evocations of, and silence around, multiple histories of racial violence. Recognizing how the longue durée of transatlantic slavery is mediated through oceanic archives and the element of water, this article reads the fraught nearshore landscapes in Sprachgitter for their commemoration of the unresolved unfolding of Auschwitz and, if inadvertently, the unresolved unfolding of the Middle Passage. The reading focuses on “Niedrigwasser,” a poem ostensibly about a coastal landscape that is also about the formation and deformation of that landscape through ecological processes that used materials transported by genocidal violence. The multiple temporalities of the poem move between human time and geologic time in order to grasp the legacy of Auschwitz. In unsettling attempts to contain the spatial and temporal scale of genocide, this and other poems evidence their receptivity to and implicatedness in distant, but not entirely unrelated, histories of violence.Keywords: AnthropoceneCelanHolocaustmemoryMiddle Passage Notes1 Rachel Zolf, No One’s Witness: A Monstrous Poetics (Durham: Duke University Press, 2021), 5.2 Zolf, No One’s Witness, 5.3 Paul Celan, Gesammelte Werke in fünf Bänden, ed. Beda Alleman and Stefan Reichert with Rudolf Bücher, vol. 3 (Frankfurt am Main: Suhrkamp, 1983), 190. All following citations from this edition will be abbreviated GW followed by volume and page number. Christina Sharpe, In the Wake: On Blackness and Being (Durham: Duke University Press, 2016), 14.4 Sharpe, In the Wake, 109.5 Ibid., 19.6 Astrida Neimanis, “The Weather Underwater: Blackness, White Feminism, and the Breathless Sea,” Australian Feminist Studies 34, no. 102 (2019): 490–508.7 Tiffany Lethabo King, The Black Shoals (Durham: Duke University Press, 2019), 19.8 Michael Rothberg, Multidirectional Memory: Remembering the Holocaust in the Age of Decolonization (Stanford: Stanford University Press, 2009), 20.9 Ibid., 23.10 See Charlotte Ryland, Paul Celan’s Encounters with Surrealism: Trauma, Translation and Shared Poetic Space (London: Legenda, 2012), 71–91.11 Zolf, No One’s Witness, 5.12 Paul Celan, Die Gedichte, ed. Barbara Wiedemann (Frankfurt am Main: Suhrkamp, 2020), 766.13 GW, 1:187.14 Marlies Janz, Vom Engagement absoluter Poesie. Zur Lyrik und Ästhetik Paul Celans (Frankfurt am Main: Syndikat, 1976), 75, 223.15 Michael Rothberg, Multidirectional Memory: Remembering the Holocaust in the Age of Decolonization (Stanford: Stanford University Press), 2009, xiii. Simon L. Lewis and Mark A. Maslin, The Human Planet (New Haven: Yale University Press, 2018), 18.16 Heather Davis and Zoe Todd, “On
摘要虽然保罗·策兰对大屠杀的抒情纪念因其多向性而得到认可，但评论家们并没有承认他在写作期间参与了其他殖民和帝国的历史。策兰提倡“带着当下的尖锐口音”来阅读他的诗歌，这就要求我们在阅读他的诗歌时，要注意它对种族暴力的多重历史的唤起和沉默。认识到跨大西洋奴隶制的漫长过程是如何通过海洋档案和水的元素来调解的，本文阅读了Sprachgitter中令人担忧的近岸景观，以纪念未解决的奥斯维辛(Auschwitz)的展开，以及(如果无意中)未解决的中间航道(Middle Passage)的展开。阅读的重点是《Niedrigwasser》，这首诗表面上是关于海岸景观的，但实际上是关于景观在生态过程中形成和变形的，这种生态过程使用了种族灭绝暴力带来的材料。这首诗的多重时间性在人类时间和地质时间之间移动，以把握奥斯维辛的遗产。在令人不安地试图控制种族灭绝的空间和时间尺度时，这首诗和其他诗歌证明了它们对遥远但并非完全无关的暴力历史的接受性和隐含性。关键词:人类世大屠杀记忆中间段落注释1雷切尔·佐尔夫，没有人的见证:一个可怕的诗学(达勒姆:杜克大学出版社，2021)，5.2佐尔夫，没有人的见证，5.3保罗·策兰，Gesammelte Werke在<s:1> nf Bänden，编辑。贝达·阿莱曼和斯特凡·赖克特与鲁道夫·<s:1>切尔，卷3(法兰克福am Main: Suhrkamp, 1983)， 190。本版本的所有引用都将缩写为GW，然后是卷和页码。克里斯蒂娜·夏普，《在尾流中:论黑人与存在》(达勒姆:杜克大学出版社，2016年)，14.4夏普，《在尾流中》，109.5同上，19.6阿斯特丽达·内马尼斯，《水下天气:黑人、白人女权主义和令人窒息的海洋》，《澳大利亚女权主义研究》，第34期，no. 6。102(2019): 149 - 508.7蒂凡尼·莱塞博·金，黑色的沙滩(达勒姆:杜克大学出版社，2019)，19.8迈克尔·罗斯伯格，多向记忆:记住非殖民化时代的大屠杀(斯坦福:斯坦福大学出版社，2009)，20.9同上，23.10见夏洛特·瑞兰德，保罗·塞兰与超现实主义的遭遇:创伤，翻译和共享的诗意空间(伦敦:Legenda, 2012)， 71-91.11 Zolf, No One’s Witness, 5.12 Paul Celan, Die Gedichte，主编，Barbara Wiedemann (Frankfurt am Main: Suhrkamp, 2020)， 766.13 GW, 1:18 . 7.14 Marlies Janz, Vom Engagement绝对诗篇。Zur Lyrik und Ästhetik Paul Celans (Frankfurt am Main: Syndikat, 1976)， 75, 223.15 Michael Rothberg，多向记忆:记住非殖民化时代的大屠杀(Stanford: Stanford University Press)， 2009, 13。西蒙·l·刘易斯和马克·a·马斯林，《人类星球》(纽黑文:耶鲁大学出版社，2018年)，18.16希瑟·戴维斯和佐伊·托德，“关于日期的重要性，或者，人类世的非殖民化”，《ACME:国际关键地理杂志》16期，第4期(2017): 761 - 80,761.17同上，774.18同上，772.19同上。20关于人类世的不可想象性，见Donna Haraway的《与麻烦同在:在Chthulucene制造亲族》(Durham: Duke University Press, 2016)， 36-37，以及Heather Anne Swanson的《人类世的平庸性》，Fieldsights, 2017年2月22日。https://culanth.org/fieldsights/the-banality-of-the-anthropocene21金，黑色浅滩，2.22同上，x.23同上，11.24同上，1 - 2.25同上，70.26同上，35.27 GW, 1: 193.28 GW, 1: 227.29”Immer wieder gibt Celans geologischer Kosmos diskrete Hinweise auf die Dimension des Schreckens, die CACO3 in seiner Welt einnt。“我在德国，我在德国，我在德国，我在德国，我在德国，我在德国。”Uta Werner, Textgräber: Paul Celans geological Lyrik(慕尼黑:Wilhelm Fink出版社，1998)，93。单词列表转载于:Paul Celan, Sprachgitter。Vorstufen - Textgenese - Endfassung编辑。Heino Schmull (Frankfurt am Main: Suhrkamp, 2020)， 109-22。注意“碳酸钙沉淀”(“Ausfallung冯碳酸钙”)可以找到110页的版本,来自弗朗茨Lotze教科书学界,虽然很多方面的“低潮”出现在121页的单词列表,来自罗兰Brinkmann Abriss der Geologie.30”吐(Nehrungen)出现由于沉积物质量的漂移电流平行海岸在洋流继续后退沿海地区由于惯性运行在旧的方向。在水流弯曲处出现的刺状钩子(Haken)是吐槽(Nehrung)的雏形(例如海拉半岛/波罗的海)。”汉斯·穆拉夫斯基，地质学Wörterbuch(斯图加特:费迪南德·恩克出版社，1983)，152.31维尔纳，Textgräber, 141。
{"title":"Low Tide, Black Shoals: Toward Offshore Formations in Celan Studies","authors":"Jason Groves","doi":"10.1080/00168890.2023.2255916","DOIUrl":"https://doi.org/10.1080/00168890.2023.2255916","url":null,"abstract":"AbstractWhile Paul Celan’s lyrical commemoration of the Holocaust has been recognized for its multidirectionality, commentators have not acknowledged his engagement with other colonial and imperial histories contemporaneous with his writing. Celan’s advocacy for reading words “with the acute accent of the present” calls for a reading of his poetry that is attentive to its evocations of, and silence around, multiple histories of racial violence. Recognizing how the longue durée of transatlantic slavery is mediated through oceanic archives and the element of water, this article reads the fraught nearshore landscapes in Sprachgitter for their commemoration of the unresolved unfolding of Auschwitz and, if inadvertently, the unresolved unfolding of the Middle Passage. The reading focuses on “Niedrigwasser,” a poem ostensibly about a coastal landscape that is also about the formation and deformation of that landscape through ecological processes that used materials transported by genocidal violence. The multiple temporalities of the poem move between human time and geologic time in order to grasp the legacy of Auschwitz. In unsettling attempts to contain the spatial and temporal scale of genocide, this and other poems evidence their receptivity to and implicatedness in distant, but not entirely unrelated, histories of violence.Keywords: AnthropoceneCelanHolocaustmemoryMiddle Passage Notes1 Rachel Zolf, No One’s Witness: A Monstrous Poetics (Durham: Duke University Press, 2021), 5.2 Zolf, No One’s Witness, 5.3 Paul Celan, Gesammelte Werke in fünf Bänden, ed. Beda Alleman and Stefan Reichert with Rudolf Bücher, vol. 3 (Frankfurt am Main: Suhrkamp, 1983), 190. All following citations from this edition will be abbreviated GW followed by volume and page number. Christina Sharpe, In the Wake: On Blackness and Being (Durham: Duke University Press, 2016), 14.4 Sharpe, In the Wake, 109.5 Ibid., 19.6 Astrida Neimanis, “The Weather Underwater: Blackness, White Feminism, and the Breathless Sea,” Australian Feminist Studies 34, no. 102 (2019): 490–508.7 Tiffany Lethabo King, The Black Shoals (Durham: Duke University Press, 2019), 19.8 Michael Rothberg, Multidirectional Memory: Remembering the Holocaust in the Age of Decolonization (Stanford: Stanford University Press, 2009), 20.9 Ibid., 23.10 See Charlotte Ryland, Paul Celan’s Encounters with Surrealism: Trauma, Translation and Shared Poetic Space (London: Legenda, 2012), 71–91.11 Zolf, No One’s Witness, 5.12 Paul Celan, Die Gedichte, ed. Barbara Wiedemann (Frankfurt am Main: Suhrkamp, 2020), 766.13 GW, 1:187.14 Marlies Janz, Vom Engagement absoluter Poesie. Zur Lyrik und Ästhetik Paul Celans (Frankfurt am Main: Syndikat, 1976), 75, 223.15 Michael Rothberg, Multidirectional Memory: Remembering the Holocaust in the Age of Decolonization (Stanford: Stanford University Press), 2009, xiii. Simon L. Lewis and Mark A. Maslin, The Human Planet (New Haven: Yale University Press, 2018), 18.16 Heather Davis and Zoe Todd, “On","PeriodicalId":54022,"journal":{"name":"GERMANIC REVIEW","volume":"226 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135902761","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-02DOI: 10.1080/00168890.2023.2262198
Olivia Landry
"Christian Petzold: Interviews." The Germanic Review: Literature, Culture, Theory, 98(4), pp. 480–481 Notes1 Paige Sarlin, “Between We and Me: Filmed Interviews and the Politics of Personal Pronouns,” Discourse 39, no. 3 (2017): 319–37, 320.
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