Download Western Art and Jewish Presence in the Work of Paul Celan: by Esther Cameron PDF

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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 principal challenge within the paintings of a poet who holds a special place within the highbrow historical past of the 20 th century. at the one hand, he was once probably 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" quandary, if frequently cryptically. And nonetheless, Paul Celan was once a witness to and meantime survivor of the Holocaust. those identities bring up questions that have been obviously current for Celan within the very act of poetry. This research takes the shape of a observation on Celan's most crucial assertion of his poetics and ideology, "The Meridian," that is 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 an entire. The observation is an act of listening—an try and pay attention what those phrases intended to the poet, to determine the landscapes from which they arrive and the truth they are attempting to undertaking; and within the gentle of this, to reach at a transparent photo 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)

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The circularity of this anatomical medical logic is what constitutes such medical knowing, like Kant’s transcendental deduction, as both diachronic and transcendental. A standardized body comes into being because the empirical evidence that generates that knowledge is neither observable at any single moment nor separable from the abstraction that is its consequence. But this circularity also means that the diachronicity implicit to the comparison—bodies are sick before they are dead—must be bracketed analytically, even though it is the pathological development of disease, the 32 / Chapter One relation of cause and effect, that makes the evidence of the dead body relevant to the sick body, that links the two bodies.

Such a notion of time allows us to understand the various elements of a book as not simply sequentially apprehensible images, but as images that constitute a book because they are caused or intended, which is to say, organized according to an idea. It is this quality of being caused or intended that allows us to distinguish between the kind of thing we are seeing when we see a book’s cover and the kind of thing we are seeing when we see a water stain on that cover. We do not extract the concept of cause from experience; rather, a notion of causation is the precondition for experience.

7 22 / Chapter One We need a concept of time itself, and that concept needs to be “mindindependent”—that is, existing outside the sort of mutually constituting relations of sequentiality that link our experience of our own duration as subjects to our experience of the duration of the synthesized book. Such a notion of time allows us to understand the various elements of a book as not simply sequentially apprehensible images, but as images that constitute a book because they are caused or intended, which is to say, organized according to an idea.

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