The problem of the ‘absolute’: the desacralized language of Paul Celan’s poetry in the post-Shoah era
The aim of this article is to examine how poetry, in the case of Paul Celan, created its own language after the Shoah. The thesis is that Paul Celan intentionally uses religious language to expose the object, but at the same time he desacralises it. This shift is revolutionary. In the main part of t...
| Published in: | Culture and religion |
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| Main Author: | |
| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Taylor and Francis Group
2023
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| In: |
Culture and religion
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| Further subjects: | B
absolute poem
B Witness B Religion B Paul Celan B Poetry B desacralisation |
| Online Access: |
Volltext (lizenzpflichtig) |
| Summary: | The aim of this article is to examine how poetry, in the case of Paul Celan, created its own language after the Shoah. The thesis is that Paul Celan intentionally uses religious language to expose the object, but at the same time he desacralises it. This shift is revolutionary. In the main part of this article I analyse an exemplum of the use of language which is given in the poem, ‘In the rivers’. This analysis is meant to show the mechanisms for creating a proper language. The conclusion is that Celan’s poetry is founded upon the figure of a witness. This desacralised figure is poetic and ethical (but not substantial). What is more, the way this poetry is written puts it into the position of a witness as well as that of the reader. This is a social fact, so the point of view of the author traverses the sociology of both religion and that of literature. |
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| ISSN: | 1475-5629 |
| Contains: | Enthalten in: Culture and religion
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| Persistent identifiers: | DOI: 10.1080/14755610.2023.2294010 |