By Eric Kligerman

This can be the 1st book-length examine that examines Celan´s effect on visible tradition. Exploring poetry´s relation to movie, portray and structure, this learn tracks the transformation of Celan in postwar German tradition and exhibits the level to which his poetics accompany the country´s reminiscence politics after the Holocaust. First learn of the transmission of Paul Celan's lyric poetry to the visible arts attention of the reception of Celan via movie, portray and structure basic research of the significance of Celan for the methods of remembrance in Germany following the Holocaust.

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Additional info for Sites of the Uncanny: Paul Celan, Specularity and the Visual Arts (Interdisciplinary German Cultural Studies, Volume 3)

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Although critics argue that both museums are a curator’s nightmare in undermining and interfering with our reception of the exhibits, Libeskind means for the exhibits and the architecture to be in constant dialogue with one another. Contrary to the therapeutic model that James Young sees unfolding in Libeskind’s architecture, I think Libeskind breaks any consensual practice of working through trauma by constantly subverting the spectator’s vision and orientation in both museums. Sites of the Uncanny concludes with an analysis of the memory debates that were provoked by Martin Walser’s Frankfurt Book Prize speech in 1998, where he described Auschwitz as a “moral club” and compared Peter Eisenman’s design for the Holocaust Memorial in Berlin to a “nightmare the size of a football field” (20).

This model of translation is key to my study. Celan’s interpretation of Heidegger’s uncanny in his “Meridian Speech” is itself a translation of the ontological implications of das Unheimliche into an ethical category. In turn, Sites of the Uncanny proceeds to other avenues of translation with regard to Celan’s poetics. After probing Celan’s translation of Resnais’s Holocaust documentary not simply from French into German but also of the filmic image into poetic trace, I examine how Celan’s poetics of the uncanny has been translated as well as reinterpreted by Kiefer and Libeskind.

This moment of the Holocaustal uncanny is not an act of union or substitution between the spectator and the place of the Other; rather, during the Holocaustal uncanny the spectator inhabits a space similar to what Mladen Dolar describes as the “paradoxical realm between the living and the dead” (6). The subject departs toward the Other and is caught in an unsettling space of non-identification, a space where fantasies of witnessing or empathic imagination break down. Instead of forming an empathic union with the Other, there is dissolution of any imaginary union between the spectator and the scene of trauma.

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