A-voiding representation: Eräugnis and inscription in Celan

Semiotica ◽  
2016 ◽  
Vol 2016 (213) ◽  
Author(s):  
Kurt Buhanan
Keyword(s):  
Martin Heidegger ◽  
Paul Celan ◽  
Alain Badiou ◽  
Point Of Reference

AbstractThis essay deals with the poetry of Paul Celan, particularly focusing on the event of appearing of the negative as that which a-voids representation. The key term here is “Eräugnis,” a term with important resonances between Celan’s poetry and the thought of Alain Badiou, whose evental philosophy centers on the void. Another immediate point of reference is Martin Heidegger, whose thought and language permeates Celan’s work, and it is likely from Heidegger that Celan takes his impetus in thinking through the problem of representing the void. In readings of poems like “Heute und Morgen,” “Welchen der Steine du hebst,” and “Mandorla,” I argue that Celan is grappling with the appearing of the negative in its function as foundational figure for representation. Celan tropes the negative in his poetry, and this essay explores the theoretical and philosophical implications of this negative visuality.

Narratives of Decadence in Post-Kantian Philosophy

2021 ◽  
Author(s):  
Andrew Huddleston
Keyword(s):  
Martin Heidegger ◽  
Friedrich Nietzsche ◽  
Focus Of Attention ◽  
Max Horkheimer ◽  
Theodor Adorno ◽  
European Philosophy ◽  
Nineteenth And Twentieth Centuries ◽  
Kantian Philosophy ◽  
Point Of Reference

Decadence is a perennial theme in philosophy. But tracing the arc of decline becomes an especially prominent focus of attention in European philosophy in the nineteenth and twentieth centuries. This article explains and contrasts several “narratives of decadence” in the post-Kantian tradition. The article first lays out briefly the basics of G. W. F. Hegel’s optimistic view of progress and history as a foil and point of reference, then turns to expounding several narratives of decadence from other canonical philosophical figures in the nineteenth and twentieth centuries—specifically, from Friedrich Nietzsche, from Martin Heidegger, and from Theodor Adorno and Max Horkheimer. All of these thinkers see modern humanity as being, in some (often quite nuanced) sense, in a decadent state, but all have a rather different diagnosis of what that fallen state consists of, and of how (or whether) we might be able to extricate ourselves from it.

scholarly journals Ex silentio. O wierszu „Todtnauberg” Paula Celana

2012 ◽  
pp. 1-12
Author(s):  
Joanna Tokarska-Bakir
Keyword(s):  
Martin Heidegger ◽  
Jewish Identity ◽  
Paul Celan ◽  
The Relationship ◽  
Hans Georg Gadamer ◽  
Interpretative Framework

Ex silentio. On Paul Celan’s Poem “Todtnauberg”This paper contests the interpretative framework proposed by Hans Georg Gadamer and Cezary Wodziński in their interpretations of certain poems by Paul Celan. The point of contention lies in the understanding of the relationship between biography and poem. The author analyses the “concept of discretion,” which excludes Celan’s Jewish identity from the analysis of his poetry, and proposes her own reading of both his poem Todtnauberg and anti-volkist interpretation Hüttenfenster. The background consists of the polemic about the famous meeting of Paul Celan and Martin Heidegger in August 1, 1967 in Todtnauberg.

scholarly journals Reflexões sobre a avaliação final de uma disciplina eletiva - Reflections on the final evaluation of a discipline elective

2016 ◽  
Vol 5 (10) ◽  
pp. 45
Author(s):  
Fellipe Eloy Teixeira Albuquerque
Keyword(s):  
Martin Heidegger ◽  
Evaluation Process ◽  
Final Evaluation ◽  
Alain Badiou ◽  
Jacques Ranciere ◽  
Peter Greenaway ◽  
Jacques Rancière ◽  
History Of ◽  
Art Philosophy ◽  
The Relationship

Com carga horária de 60 horas a disciplina eletiva do curso de Mestrado Acadêmico em História da Arte, da Unifesp - campus de Guarulhos, possibilitou muitas questões acerca de como a relação entre Arte e Filosofia foram apreendidas durante a História. A consulta de diversos autores como Alain Badiou, Martin Heidegger, Giorgio Agambem e Jacques Rancière ajudaram na compreensão desse processo, assim como a produção artística de propositores como Vik Muniz, Peter Greenaway e Ngwenya. Para a avaliação final desta disciplina os professores responsáveis solicitam a elaboração de um texto que, a partir das referências trabalhadas em aula, ajudassem o aluno a formular um conceito de Arte. Esse artigo vem reunir as principais reflexões levantadas durante todo o processo de avaliação da disciplina que conceituou uma possibilidade de entender a História da ArtePalavras-chave: avaliação, arte, filosofia. REFLECTIONS ON THE FINAL EVALUATION OF A DISCIPLINE ELECTIVEAbstractWith a workload of 60 hours to elective Academic Master's course in History of Art, Unifesp - Campus Guarulhos, enabled many questions about how the relationship between Art and Philosophy were seized during history. Consultation of various authors such as Alain Badiou, Martin Heidegger, Giorgio Agambem and Jacques Rancière helped in understanding this process, as well as the artistic production of proposers as Vik Muniz, Peter Greenaway and Ngwenya. For the final evaluation of this discipline the responsible teachers requested the preparation of a text which, from references worked in class, help the student to formulate a concept of Art. This article is to bring together the main reflections raised during the evaluation process of discipline that conceptualized a chance to understand the History of Art.Key-words: evaluation, art, philosophy.

scholarly journals El silencio como destino de la poesía occidental

2018 ◽  
pp. 102-116
Author(s):  
Hugo Echagüe
Keyword(s):  
Martin Heidegger ◽  
Samuel Beckett ◽  
Martin Buber ◽  
Paul Celan

Según Martin Heidegger, la filosofía se consuma (finaliza) en la época actual en el pleno desarrollo de las ciencias particulares. Estas se ocupan del ente. Pero ya desde su inicio pensó la filosofía al ente en tanto ente, ya como fundamento del todo; ya como ente supremo, relegando al Ser. Filosofía y poesía, pensar y poetizar, son modos paradigmáticos del decir, dialogan, se co-responden. En la consumación de la filosofía, finaliza un modo del decir y del pensar, hasta ahora excluyente: el del ente en cuanto tal. En la consumación de éste, acontece la falta de fundamento, percibida como angustia y silencio. Esto leemos en Samuel Beckett. Una temporada en el infierno de Rimbaud dice la historia de Occidente desde el punto de vista del fundamento en tanto ente supremo: esto es, Dios. En el decir de Rimbaud se patentiza el ser religioso cristiano de Occidente. El callar del poeta se corresponde con el ocultamiento del fundamento poéticamente pensado como ente supremo. En Persona de Bergman se representa el drama del silencio como vacío de las palabras, a la vez que como abismo en el sentido de la ausencia del ente supremo en tanto fundamento, experimentado desde la inmanencia de la conciencia, con lo que se suma la problemática del sujeto de la Modernidad, ahora desfondado por la ausencia. Otra raíz tiene en primera instancia el poetizar de Paul Celan: arranca del pensamiento de Martin Buber y tiende deliberadamente al silencio como modo privilegiado de la relación con un Tú que es Otro absoluto. Sin embargo, su pertenencia a la poesía en lengua alemana implica un cuño metafísico y lo lleva a la órbita de la poesía europea finalizante como silencio. El decir debería entonces detenerse en este destino de la poesía occidental: dejar callar al silencio. Oír y escuchar su voz sin palabras. Acaso diga de otro modo que las irrestaurables palabras vacías.

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