By Eric Kligerman

This is often the 1st book-length examine that examines Celan´s impression on visible tradition. Exploring poetry´s relation to movie, portray and structure, this learn tracks the transformation of Celan in postwar German tradition and indicates the level to which his poetics accompany the country´s reminiscence politics after the Holocaust. First examine 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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Extra info for Sites of the Uncanny: Paul Celan, Specularity and the Visual Arts (Interdisciplinary German Cultural Studies, Volume 3)

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Todesfuge” was recited by the actress Ida Ehre, but what was remembered from that day was the ill-fated speech of the president of the Bundestag, Philipp Jenninger. Jenninger spoke of the events leading up to the 1938 pogrom and tried to convey the positive perceptions and mindset average Germans had at the time toward the National Socialist leadership. However, his matter-of-fact tone was construed by those present as sympathetic to the policies of the National Socialists, and the speech ultimately led to his resignation.

In the end, the act of representing the law is thwarted and leads to displeasure in the subject: a dissonance arises between the faculties of imagination and understanding. One of the most central elements of the sublime is the act of substitution, which Kant labels “subreption” (114). During subreption the subject tries to replace the non-object of the moral law located within herself with something graspable or representable in the external world. One can draw a parallel between the subject’s search for adequate representations of the moral law to the process of cathexis in Freud’s depiction of mourning and melancholia, where the subject searches for a substitute object to re-direct libidinal energy after the loss of the original object.

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.

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