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Paul Celan
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1
Journal Article
New German Critique (2018) 45 (2 (134)): 133–153.
Published: 01 August 2018
...Jens Klenner Abstract “Gespräch im Gebirg” (“Conversation in the Mountains”), Paul Celan’s only prose piece published during his lifetime, is often described as failed conversation, paradoxical or undecided in language and structure. Points of reference are frequently a dialogic structure of “I...
Journal Article
New German Critique (2011) 38 (1 (112)): 9–38.
Published: 01 February 2011
... Ens
slin, Gudrun’s sister) refuses to recite Rainer Maria Rilke’s poem “Herbsttag”
(“Autumn Day”) at school. Calling the poem “kitschig” (tacky), she suggests
replacing it with “Schwarze Milch” (“Black Milk a reference to Paul Celan’s
“Todesfuge” (“Death Fugue or with Brecht’s “Ballad...
Journal Article
New German Critique (2018) 45 (2 (134)): 179–200.
Published: 01 August 2018
... and pain. 49 This inclusion of coldness and pain as potential linguistic experiences is notable in an essay that otherwise calls for security, inclusion, and positive emotional associations with a foreign language. It resonates strongly with the essay’s opening quotation from Paul Celan: “Ins Offene...
Journal Article
New German Critique (2006) 33 (1 (97)): 73–118.
Published: 01 February 2006
... to have
captured, the place of Auschwitz and the Holocaust in Adorno’s thought.3
Meanwhile, if a very different reception history evolves in Germany (for obvi-
ous sociohistorical reasons, but also and not least because of Paul Celan’s
incomparable poetry), it cannot be gainsaid that even...
Journal Article
New German Critique (2022) 49 (3 (147)): 215–229.
Published: 01 November 2022
... of Paul Celan’s 1960 speech “Der Meridian,” in which Celan defined his authorship as grounded in “meinem 20. Jänner.” Where Weiss and Enzensberger outline a global topography, Celan’s “Toposforschung” circles around the “Ort meiner eigenen Herkunft,” which he traces with his “ungenauen, weil unruhigen...
Journal Article
New German Critique (2021) 48 (3 (144)): 99–139.
Published: 01 November 2021
...Louis Klee Copyright © 2021 by New German Critique, Inc. 2021 The eye, dark: as a hut window. It gathers . . . the constellation which they humankind, need for dwelling, here, among humankind —Paul Celan, “Hut Window” We love shacks because they pose impossible questions. —Lisa...
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Journal Article
New German Critique (2023) 50 (3 (150)): 71–80.
Published: 01 November 2023
... these points, I will draw on the history of a place best known as the “point of departure” of Paul Celan, deemed one of the German language’s greatest twentieth-century poets: Bukovina. Hard as it is to imagine today, this former Habsburg province and its capital, Czernowitz, were once viewed by some people...
Journal Article
New German Critique (2021) 48 (2 (143)): 125–146.
Published: 01 August 2021
... spricht. —Paul Celan, “Sprich auch du,” in Von Schwelle zu Schwelle “Art is autonomous and it is not.” 1 Compressed into a single sentence, this seemingly paradoxical claim from Theodor W. Adorno’s Aesthetic Theory (1970) encapsulates in nuce the argument of the entire book. It might even...
Journal Article
New German Critique (2020) 47 (2 (140)): 217–246.
Published: 01 August 2020
... and Gedächtnis —a title borrowed from Paul Celan’s collection of poetry from 1952—marked a more conscious intervention into this dialogue. 28 Huyssen characterizes the sculpture as a transformed iteration of Benjamin’s imagined figure in a different historical moment. This transformation emphasized...
Journal Article
New German Critique (2013) 40 (1 (118)): 119–148.
Published: 01 February 2013
... of art. The
paralyzing effect of mimesis is transformed into the frozen form of the work.
One expression of this tendency is the poetry of Paul Celan:
Celan’s poems want to speak out the most extreme horror through silence.
Their truth content is itself negative. They imitate a language...
Journal Article
New German Critique (2017) 44 (3 (132)): 225–240.
Published: 01 November 2017
... stud-
ies colleagues—complained about the displacement of the traditional canon
of Goethe and Friedrich Schiller in favor of the works by Theodor W.
Adorno, Walter Benjamin, and Paul Celan, who, as he alleged, persisted in
the curriculum only because of politically correct solidarity...
Journal Article
New German Critique (2017) 44 (3 (132)): 189–203.
Published: 01 November 2017
.... In the poetry of Friedrich
Hölderlin, Stéphane Mallarmé, or Paul Celan, and the theory of Walter Benja-
min, one sought at best the roots of communicability (or its impossibility),
certainly not communication or, God forbid, information. And in the analyses
of modernity—now called postmodernity—one found...
Journal Article
New German Critique (2018) 45 (3 (135)): 97–128.
Published: 01 November 2018
... of Heidegger’s “official position” on the topic, a self-justifying document that lacks remorse or readiness to take responsibility for his support of Adolf Hitler. Indeed, we are presented here with another case—along with those of Herbert Marcuse, Hannah Arendt, Hans Jonas, Paul Celan, and, in a certain respect...
Journal Article
New German Critique (2006) 33 (2 (98)): 49–64.
Published: 01 August 2006
....
There is a tradition of hand-wringing among some recondite postwar
German writers over the question of relevance and responsibility for identi-
fying their target audiences. Paul Celan and Theodor Adorno, for instance,
described their works as “messages in a bottle,” deferring the relevance ques-
tion...
Journal Article
New German Critique (2010) 37 (2 (110)): 209–227.
Published: 01 August 2010
..., Margarete,
1981), a powerful translation of Paul Celan’s poetic lines from “Death Fugue”
(1948) into image. In turn, the trauma of exile, with its loneliness and economic
deprivations, may have found stronger expression in literature than in the visual
arts. For many years, the West German cultural...
Journal Article
New German Critique (2006) 33 (1 (97)): 53–72.
Published: 01 February 2006
....
17. Paul Celan, “Promise of Distance,” in Selected Poems and Prose, ed. and trans. John Fel-
stiner (New York: Norton, 2001), 24.
62 Reflections on Suffering
victims from the survivors. Wounded shame, the shame that wounds itself and
becomes shameless as it enters the artistic image, banishes...
Journal Article
New German Critique (2018) 45 (3 (135)): 73–95.
Published: 01 November 2018
... anticipated the practice of modern artists such as Paul Cézanne, Pablo Picasso, Marcel Duchamp, Barnett Newman, Arnold Schoenberg, John Cage, Pierre Boulez, Beckett, or Paul Celan. “It is in the aesthetic of the sublime,” Lyotard remarks in The Postmodern Condition , “that modern art . . . finds its impetus...
Journal Article
New German Critique (2024) 51 (2 (152)): 79–104.
Published: 01 August 2024
... Socialism and on the numerous attempts to reclaim his legacy after World War II, including pivotal works by Bertolt Brecht, Paul Celan, Peter Szondi, Theodor W. Adorno, and Peter Weiss, since many studies on these themes already exist. For a fascinating overview, see Savage, Hölderlin after...
Journal Article
New German Critique (2010) 37 (1 (109)): 75–98.
Published: 01 February 2010
... until the last
gathering, in 1967), such as Ingeborg Bachman, Böll, Paul Celan, Hans Magnus Enzensberger, Grass,
Peter Handke, Alexander Kluge, and Roehler. For a discussion of the group’s role in post–World
War II culture, see Stuart Parks and John J. White, eds., The Gruppe 47 Fifty Years...
Journal Article
New German Critique (2013) 40 (1 (118)): 65–92.
Published: 01 February 2013
... for “materialist pedagogy,” Adorno is
best known as a proponent of advanced art who defends the radically negative
modernisms of Samuel Beckett and Paul Celan, Arnold Schoenberg and Alban
Berg, Adolf Loos and Franz Kafka.7 As Robert Kaufman has pointed out, such
modernisms represent to Adorno a “key [stage...
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