The exhibition title derives from Paul Celan's poetry collection Atemwende ('breathturn'), a term that the poet equates with the moment when words. Atemwende is a German-language poetry collection by Paul Celan. Reception[edit]. The book was reviewed in Publishers Weekly in "[Pierre] Joris's  Published in English‎: ‎ In Europe, Celan has become an increasingly important poet of the second half of the 20th century, largely for his efforts to create a post-Holocaust language for.


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Paul Celan and Breathturn (Atemwende)

One of the things that JH Prynne and Geoffrey Hill have in common is that they have both written overtly Celan-related poetry. This is how the poem ends: Only the alder paul celan atemwende over the cranial push, the waged in completeness, comes with the animals and their watchful calm.

The long-tailed bird is total awareness, a forced lust, it is that absolutely. Paul celan atemwende us this love of murder and sacred boredom, you walk in the shade of the technical house. Take it away and set up the table ready for white honey, choking the white cloth spread openly for the most worthless accident.

The whiteness is a patchwork of revenge too, open the window and white fleecy clouds sail paul celan atemwende the azure; it is true.

  • Quote by Paul Celan: “Poetry is perhaps this: an Atemwende, a turning”
  • Atemwende – Making – Edmund de Waal
  • Atemwende - Wikipedia
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You know the plum is a nick of paul celan atemwende, is so and is also certainly loved. Forbearance comes into the stormy sky and the water is not quiet. Centaury with your staunch bloom you there alder beech you fern, midsummer closeness my far home, fresh traces of lost origin.

Silvery the black cherries hang, the plum-tree oozes through each cleft and horse-flies syphon the green dung, glued to the sweetness of their graft: One of the more crucial paragraphs is this- Poetry: Who knows, perhaps poetry travels this route paul celan atemwende also the route of art — for the sake of such a breathturn?

File:Paul Celan Atemwende 1967.jpg

I had survived some things, - but survival hopefully isn't "everything"- I had a bad conscience; I was looking for- maybe I can call it that? This 'bad conscience' may be referring to what is termed survivor guilt but some sources suggest that Celan blamed himself for not trying hard enough to persuade his parents to leave their house on the night that they were captured.

Without too much psycholgising, the 'hopefully' gives some of the game away- he is hoping that life isn't simply a struggle for survival but he doesn't know this personally because he's still locked into his own fight. The above noun has several meanings and it would appear to be used in different ways in this part of the notes.

We'll start with a further definition: A paul celan atemwende can be a framing device, a destination, a limit or the point at which the sky appears to touch the land but none of this is helpful unless we can tackle this creature.

I think it's clear that Celan isn't just talking about humans, this term occurs in several places in the notes, and Paul celan atemwende do recall some denseish, Heidegger-related debate about which paul celan atemwende had Being and which didn't and this use of creature may be another way of ascribing this quality to living things.

Being or Being-ness as the poem's limit also sounds a bit existential but I'm probably clutching at straws again.

I think there's slightly firmer footing to be had with the poem's language. The book's German editors give both 'regression' and 'rolling up' as the respective German and French definitions, with the German term applying to biology.

As a confirmed monoglot, I can't comment on either of these but the OED does have a couple of equally appropriate alternatives: The third meaning that I'd paul celan atemwende to think about is the second definition from the OED: An involved or entangled condition; entanglement, complication; intricacy of construction or style as in a literary work or the arrangement of words in a sentence ; also concr.

The second of these is a botanical paul celan atemwende applied to leaves and petals and Celan was a keen and very knowledgeable botanist. Paul celan atemwende, the use of 'involution' in this part might refer to regression or rolling up or being involved.

However, I'm arguing for the language of the poem as opposed to the poem itself having this slight curling effect at the far reaches of the poem.

File:Paul Celan Atemwende jpg - Wikimedia Commons

My only paul celan atemwende evidence for this supposition is the additional note which Celan inserted in this part: The third definition is clearly relevant but, to my paul celan atemwende brain, seems to be at odds with the material that Celan was working towards. The work becomes increasingly terse and on the page seems anything but an intricate construction but perhaps this refers, as well as the 'leaf' analogy, to the complexities created by the further development of his radical ambiguity.

The part about the lightsense sight?