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By Esther Cameron

Western paintings and Jewish Presence within the paintings of Paul Celan: Roots and Ramifications of the "Meridian" Speech addresses a relevant challenge within the paintings of a poet who holds a special place within the highbrow background of the 20 th century. at the one hand, he used to be maybe the final nice determine of the Western poetic culture, one that took up the discussion with its classics and who replied to the questions of his day from a "global" hindrance, if usually cryptically. And nonetheless, Paul Celan was once a witness to and period in-between survivor of the Holocaust. those identities increase questions that have been obviously current for Celan within the very act of poetry. This research takes the shape of a statement on Celan's most crucial assertion of his poetics and ideology, "The Meridian," that's an awfully condensed textual content, full of allusions and a number of meanings. It displays his early paintings and anticipates later advancements, in order that the dialogue of "The Meridian" turns into a attention of his oeuvre as a complete. The remark is an act of listening—an try to listen what those phrases intended to the poet, to work out the landscapes from which they arrive and the truth they try to venture; and within the gentle of this, to reach at a transparent photograph of the relation among Celan's Jewishness and his vocation as a Western author.

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Extra resources for Western Art and Jewish Presence in the Work of Paul Celan: Roots and Ramifications of the "Meridian" Speech (Graven Images)

Sample text

As all well-considered classifications, this one is useful and clear; as all classifications, it is false. Genres cannot be separated with such intimate ease” (Dividiu Aristóteles a poesia em lírica, elegíaca, épica e dramática. Como todas as classificações bem pensadas, é esta útil e clara; como todas as classificações, é falsa. Os géneros não se separam com tanta facilidade íntima). The substitution of adverse for conventional content constitutes the incongruent use of form. 64 And, ultimately, Pessoa foresees a poet who writes through difference, such as a dramatic poet writing lyric poetry.

79 Pessoa’s creative method gives full dimension to the poetic statement on literary invention by his companion in ORPHEU, José Almada Negreiros (1893–1970), that illuminates the synthetic yet fragmentary method of modernist poetics: “Our century is not one that invented words. Words had already been invented. Ours is the century that will reinvent the words that had already been invented” (Nós não somos do século de inventar as palvaras. As palavras já foram inventadas. 80 As Álvaro de Campos writes in the 1915 “Ode Triunfal”: I sing the present, and also the past and future, Because the present is all the past and all the future.

He erased his account of changing a brief and insignificant moment into one of permanence and significance, eliminating in the process the “emotional and psychic truth” of his experience, which was plainly retained in his Notebooks but missing from his Immortality Ode. ”96 Regardless of the motive, genre was separated from its emotional and psychic roots, and the author wrote from a position of disguise. ”98 In literary theory, adverse genres can be placed within a historical current of hybridity in Western literature.

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