La perspectiva del zorzal: Paul Celan y el "Tango de la muerte"
2004; Volume: 30; Issue: 2 Linguagem: Inglês
ISSN
1852-9178
Autores Tópico(s)Latin American Literature Studies
ResumoThis paper aims to investigate the sense of Paul Celan's extrange statement about the arrogance of poetry that refers to Auschwitz under the perspective of the nightingale or the thrush in connection with Todesfuge, which is the poem that inaugurates Celan's work -given the fact that he had signed as Paul Antschel up to then. It starts by introducing and commenting a new translation of Todesfuge with the aim of showing how -as Jean Bollack has suggested-Celan's inaugural poetical act consists in the rejection of a cultural tradition in the form of a response to the representations of an imagery sprouted from the structures of the language and concretized in its literature. Secondly, based on Celan's reflections on Todesfuge in a letter addressed to the redaction of the Berliner Tagesspiegel in 1959, it focuses on those linguistic elements -such as pronouns, idioms, images, literary topics- submitted to a violent semantic reelaboration by the very composition of the text. Lastly, it analyzes John Felstiner's interpretation of the poem as a direct reference to a tango that was played during the executions at the Lublin camp in order to suggest, through the examination of certain documents that have not been considered by the critics up to the date, that the original title Todestango belongs to a broader web of historical and symbolical references -among which El tango de la muerte sung by Carlos Gardel is located- where the lyricism of tango constitutes the consummation, over the domain of mass culture, of the poetry model rejected by Celan.
Referência(s)