Gegenübersetzungen. Paul Celans Ãbertragungen französischer Symbolisten by Ute Harbusch
2006; Modern Humanities Research Association; Volume: 14; Issue: 1 Linguagem: Inglês
10.1353/aus.2006.0029
ISSN2222-4262
Autores ResumoAUSTRIAN STUDIES, I4, 20 6 373 the third volume of Fred Hennings's Heimat Burgtheater,published in 1974) and with an ingrained resistance to change within the company, which was criticized by a visiting star actor, Klaus Kinski, and contributed to the departure of Oskar Werner. The well-known post-war emphasis on theAustrian classics, accompanied by the Brecht boycott that was broken only in the mid-1960s, is set by Dermutz against the emergence of Regietheater.The flavour of the account can be judged from his black-and-white preference for Franz Castorfs Kr?hwinkelfreiheit of 1998 over themore traditional approach of the company's current Nestroy star, Robert Meyer; the true complexity at work in the Austrian classics ismissed. It is indicative that themost electric acting tourdeforce that I have seen in the Burgtheater in the last thirtyyears or so, Birgit Minichmayr's much-praised performance as Grillparzer's Medea, is not even mentioned, perhaps because the production, though thoroughly modern in its setting, did not subvert the dramatic essence of Grillparzer's work. Nor does the attempt to chart the evolving emphasis of post-war productions of K?nig Ottokars Gl?ck und Ende, from thatbyAdolf Rott in 1955 to thatby Wolfgang Engel in 1991 (pp. 210-12) get much beyond a factual narrative. Written before the launch of the latest controversial production by Martin Kusej, first shown at the Salzburg Festival and transferred to the Burgtheater inOctober 2005, this isa passage that seems bereft of its logical conclusion. An appendix provides a list,compiled by Katharina Fundulus, of productions under Bachler, up to and including the 2004/05 season, and the book is copiously and excellently illustrated, mainly with black-and-white photographs inserted in the textbut also including two sets of eight pages of beautiful colour plates by Georg Soulek and Reinhard Werner. Unversity of Exeter W. E. Yates Gegen?bersetzungen. Paul Celans ?bertragungen franz?sischer Symbolisten.By Ute Harbusch. G?ttingen: Wallstein. 2005. 522 pp. 64,00. isbn 3-89244 881-7. Research into Paul Celan's poetics has come to focus heavily on his translations into German, since these confrontations with other literatures laybare Celan 's poetic concerns. Ute Harbusch's book, a revised version of her doctoral dissertation at the Rheinisch-Westf?lische Technische Hochschule Aachen (2002), makes a valuable contribution to the current debate by highlighting the significance of Celan 's translations of French Symbolist and Surrealist poems. Both a chronological and a thematic study,Harbusch 's investigation deals exclusively with the translations of French poems produced by Celan in the late 1950s. She reads the translations through the prism of Celan's poetics as expressed in his speeches, essays and letters, analysing the translations as metapoetic texts. Three of the four large chapters are devoted to Celan's translations of poems by St?phane Mallarm?, Arthur Rimbaud and Paul Val?ry respectively, while another chapter addresses a series of translations of individual poems 374 Reviews by several different French poets. Each chapter includes highly detailed descriptions of the critical reception of each translation, as well as exhaustive documentation of Celan's connection to the poem in question, of his apparent reasons for translation and of relevant marginalia inhis library in theDeutsches Literaturarchiv, Marbach a. .. Although the relationship between the sheer extent of this documentation and Harbusch's analyses of the translations isnot always apparent, this detailed approach results in some fascinating insights, for example into the changes Celan made to his translations of Baudelaire's poems. These alterations date from May i960, a crucial point in the development of Celan's poetics. Harbusch convincingly argues that the changes reflect the poetics of Celan's speech 'DerMeridian' ( 1960), which he began towrite during this period, the emotional impact of plagiarism accusations (the so-called 'G?ll Affair'), Celan's encounter with the German-Jewish poet Nelly Sachs and his identification with the persecuted Russian poets, such as Osip Mandelstam. This kind of thorough archival work isof great value to future scholars and prepares the ground formore in-depth analysis of the sources. The detailed list of the relevant contents of Celan's library inMarbach, including information on his annotations, confirms the...
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