ENGLISH. The poetry and poetic of Paul Celan are one of the main matters where hermeneutical philosophy of the 20th century, after Auschwitz, must painfully confront itself with a testimonial need. The aesthetic too has to account for the ethic. The paralleling with Lévinas thought is unavoidable. The fact that a word, unspoken and disfigured, still exists after the Holocaust, and that it cannot recount or describe, but presents the disappearance and oblivion such as the goals of the bio-political project of the Holocaust. Celan’s point is to do just that. The paper retraces the poetic works and prose of Celan, showing how this anti-word is a constant in dialogues not only with other literary and philosophical texts, both antique and modern– especially of Lévinas, Adorno and Heidegger–, but with visual artworks too, like Rembrandt or Kiefer, and Gisèle Celan-Lestrange, who was illustrator of many volumes of the poet. It has been shown, through this verbal and visual dialogue, the anti-word of Celan is a performative-act just like the ethic and political act of substitution in the readings of Tolstoy’s novel Nikita made by Lévinas and Blanchot, and like the anti-memory put forth by the numerous contemporary counter-monuments.
FIMIANI F. (2012). Calque en rien. Sur la plasticité et le témoignage chez Lévinas et Celan. In: ROGER BURGGRAEVE, JOËLLE HANSEL, MARIE-ANNE LESCOURRET, JEAN-FRANÇOIS REY, JEAN-MICHEL SALANSKIS (sous la direction de), Lévinas autrement, Colloque International Un Siècle avec Lévinas : Lévinas en héritage, Maison de l’Europe, Cluny, 19-25 juillet 2006; (vol. 1) pp. 59-72. ISBN/ISSN: 978-90-429-2245-7 (Peeters Leuven) / 978-2-7584-0128-5. LEUVEN: Éditions de l’Institut Supérieur de Philosophie – Éditions Peeters (BELGIUM). La poesia e la poetica di Paul Celan sono uno di luoghi maggiori del Novecento in cui l’ermeneutica filosofica, dopo Auschwitz, si deve dolorosamente confrontare con l’esigenza della testimonianza, e in cui l’estetica deve fare i conti con l’etica. Il confronto con la filosofia di Lévinas è ineludibile. Che una parola, sebbene ammutolita e sfigurata, ci sia ancora dopo la Shoa, e che possa non raccontare o descrivere, ma presentare la scomparsa e l’oblio come obbiettivo del progetto biopolitico dell’Olocausto, è quanto la scrittura di Celan si pone come compito. Il saggio ripercorre il corpus poetico e in prosa di Celan e mostra come questa antiparola sia anche in dialogo costante, non solo con altri testi letterari e filosofici, antichi e moderni –specie Lévinas, Adorno, Hiedegger –, ma con opere d’arte visiva, come Rembrandt o Kiefer. Soprattutto, si è mostrato come in questo dialogo tra verbale e visivo l’anti-memoria e l’antiparola, il Gegenwort di Celan sia un atto performativo politico analogo sia alla sostituzione per Lévinas e Blanchot, sia ai numerosi anti-monumenti contemporanei.
Calque en rien. Sur la plasticité et le témoignage chez Lévinas et Celan
FIMIANI, Filippo
2012-01-01
Abstract
ENGLISH. The poetry and poetic of Paul Celan are one of the main matters where hermeneutical philosophy of the 20th century, after Auschwitz, must painfully confront itself with a testimonial need. The aesthetic too has to account for the ethic. The paralleling with Lévinas thought is unavoidable. The fact that a word, unspoken and disfigured, still exists after the Holocaust, and that it cannot recount or describe, but presents the disappearance and oblivion such as the goals of the bio-political project of the Holocaust. Celan’s point is to do just that. The paper retraces the poetic works and prose of Celan, showing how this anti-word is a constant in dialogues not only with other literary and philosophical texts, both antique and modern– especially of Lévinas, Adorno and Heidegger–, but with visual artworks too, like Rembrandt or Kiefer, and Gisèle Celan-Lestrange, who was illustrator of many volumes of the poet. It has been shown, through this verbal and visual dialogue, the anti-word of Celan is a performative-act just like the ethic and political act of substitution in the readings of Tolstoy’s novel Nikita made by Lévinas and Blanchot, and like the anti-memory put forth by the numerous contemporary counter-monuments.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
