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Local History, Transnational Memory in the Romanian HolocaustPaul Celan’s Aesthetics of Transnational Remembrance

Local History, Transnational Memory in the Romanian Holocaust: Paul Celan’s Aesthetics of... [Paul Celan repeatedly called attention to three problems which, isolated, always appear as fixed points in his work: (a) violence/Shoah, (b) You/the Other, and (c) aesthetic creation/communication.2 His poems also reflect this correlation. Thus, memory of the “date”3 becomes a central aesthetic figure in Celan’s works,4 a date in the double sense of the given—the inevitable—and of concrete events, which take place at a given time. It is generally known that Celan’s artistic commemoration primarily focused on the Shoah, and it seems to go without saying that the complex process of mutual agreement (interpersonal, public, and hermeneutical) about the symbolic interpretation of the Shoah was a transnational process from the beginning, especially in Celan’s case. This is because of the transna-tionality of Celan’s character, biography, and work. Seen from the history of the discourse, the other two variables either do not have or have very little of a transnational character; these variables are historical events and aesthetic creations, which Celan obsessively combined to ever new equations. For older European scholars, coming to terms with the Shoah was limited by the boundaries set in confronting and describing the respective national history. Only more recently has scholarly research attempted to reconstruct—in hindsight—a synchronie analytical perspective in coming to terms with the Shoah.] http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png

Local History, Transnational Memory in the Romanian HolocaustPaul Celan’s Aesthetics of Transnational Remembrance

Part of the Studies in European Culture and History Book Series
Editors: Glajar, Valentina; Teodorescu, Jeanine
Patrut, Iulia-Karin
Local History, Transnational Memory in the Romanian Holocaust — Oct 18, 2015
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18 pages

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References (19)

Publisher
Palgrave Macmillan US
Copyright
© Palgrave Macmillan, a division of Nature America Inc. 2011
ISBN
978-1-349-29451-0
Pages
137 –155
DOI
10.1057/9780230118416_8
Publisher site
See Chapter on Publisher Site

Abstract

[Paul Celan repeatedly called attention to three problems which, isolated, always appear as fixed points in his work: (a) violence/Shoah, (b) You/the Other, and (c) aesthetic creation/communication.2 His poems also reflect this correlation. Thus, memory of the “date”3 becomes a central aesthetic figure in Celan’s works,4 a date in the double sense of the given—the inevitable—and of concrete events, which take place at a given time. It is generally known that Celan’s artistic commemoration primarily focused on the Shoah, and it seems to go without saying that the complex process of mutual agreement (interpersonal, public, and hermeneutical) about the symbolic interpretation of the Shoah was a transnational process from the beginning, especially in Celan’s case. This is because of the transna-tionality of Celan’s character, biography, and work. Seen from the history of the discourse, the other two variables either do not have or have very little of a transnational character; these variables are historical events and aesthetic creations, which Celan obsessively combined to ever new equations. For older European scholars, coming to terms with the Shoah was limited by the boundaries set in confronting and describing the respective national history. Only more recently has scholarly research attempted to reconstruct—in hindsight—a synchronie analytical perspective in coming to terms with the Shoah.]

Published: Oct 18, 2015

Keywords: Holocaust Memory; Lyrical Poetry; Memory Narrative; Literature Prize; Jewish Writer

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