By Eric Kligerman
This is often the 1st book-length examine that examines Celan´s effect on visible tradition. Exploring poetry´s relation to movie, portray and structure, this learn tracks the transformation of Celan in postwar German tradition and exhibits the level to which his poetics accompany the country´s reminiscence politics after the Holocaust. First learn of the transmission of Paul Celan's lyric poetry to the visible arts attention of the reception of Celan via movie, portray and structure primary research of the significance of Celan for the methods of remembrance in Germany following the Holocaust.
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Additional info for Sites of the Uncanny: Paul Celan, Specularity and the Visual Arts (Interdisciplinary German Cultural Studies, Volume 3)
Example text
19 See Olschner’s Der feste Buchstab, Ivanovic, Gelhaus, and Szondi’s Celan Studies. ” Facing the Holocaust 19 cause “[t]he poem’s fluent meter was probably easier to teach than its abysmal irony” (Paul Celan, 232). Celan was known for his sardonic humor, and it is reflected in Germany’s relation to his poem. He inscribes Goethe’s beloved heroine Margarete (Gretchen) alongside the history of the death camps, and for three generations Germans have been repeating the poem along with the depiction of Germany’s murderous legacy.
This substitution deters any illusion of a totalizing, empathic re-imagining of the Holocaust and the construction of redemptive narratives. My shift to the interplay between affect and proximity via the concept of the Holocaustal uncanny allows me to probe the positioning of the spectator in relation to Holocaust representations. The cognitive lapses that we face in poems, paintings, films, and architecture that foreground erasures, specular disruptions, spatial voids, and visceral discomfort signify the moment when epistemic structures break down and a shift to an ethical context unfolds.
The latter sensations are symptomatic of the uncanny. According to Freud, the most uncanny feeling revolves around the site of a grave and the fear of being buried alive, which, he maintains, symbolizes the repressed desire to return to the womb. Thus, Himmler’s evocation of a grave is particularly resonant. And it is not just any grave that Himmler describes, but the mass graves of the extermination sites that he wished to preserve as a secret with his fellow SS officers at Posen. 3 The historians’ return to Posen does not entail going toward the grave and seeking out its occupants; instead each critic occupies the perpetrators’ position, so in searching for a vantage point from which to subject the Holocaust to philosophical analysis, each historian is limited by the uncanny effect of the speech.
