Writing as Violence and Counter-Violence in Paul Celan’s Poetry and Elfriede Jelinek’s Prose

Research output: Chapter in Book/Report/Conference proceeding › Book chapter › Research › peer-review

Standard

Writing as Violence and Counter-Violence in Paul Celan’s Poetry and Elfriede Jelinek’s Prose. / Rösing, Lilian Munk.

The Aesthetics of Violence. ed. / Hans Jacob Ohldieck; Gisle Selnes. Scandinavian Academic Press, 2020. p. 155-182.

Research output: Chapter in Book/Report/Conference proceeding › Book chapter › Research › peer-review

Harvard

Rösing, LM 2020, Writing as Violence and Counter-Violence in Paul Celan’s Poetry and Elfriede Jelinek’s Prose. in HJ Ohldieck & G Selnes (eds), The Aesthetics of Violence. Scandinavian Academic Press, pp. 155-182. <https://s3-eu-west-1.amazonaws.com/spartacus.no/production/attachments/02955_The%20Aesthetics%20of%20Violence_OA.pdf>

APA

Rösing, L. M. (2020). Writing as Violence and Counter-Violence in Paul Celan’s Poetry and Elfriede Jelinek’s Prose. In H. J. Ohldieck, & G. Selnes (Eds.), The Aesthetics of Violence (pp. 155-182). Scandinavian Academic Press. https://s3-eu-west-1.amazonaws.com/spartacus.no/production/attachments/02955_The%20Aesthetics%20of%20Violence_OA.pdf

Vancouver

Rösing LM. Writing as Violence and Counter-Violence in Paul Celan’s Poetry and Elfriede Jelinek’s Prose. In Ohldieck HJ, Selnes G, editors, The Aesthetics of Violence. Scandinavian Academic Press. 2020. p. 155-182

Author

Rösing, Lilian Munk. / Writing as Violence and Counter-Violence in Paul Celan’s Poetry and Elfriede Jelinek’s Prose. The Aesthetics of Violence. editor / Hans Jacob Ohldieck ; Gisle Selnes. Scandinavian Academic Press, 2020. pp. 155-182

Bibtex

@inbook{58474c0b529d4cb0967dd2f04eb45d7f,
title = "Writing as Violence and Counter-Violence in Paul Celan{\textquoteright}s Poetry and Elfriede Jelinek{\textquoteright}s Prose",
abstract = "My ambition is to show, by way of close reading, how Celan{\textquoteright}s poem “Todesfuge” (1945) and Jelinek{\textquoteright}s novel Die Klavierspielerin (1983) both mirror and subvert the violence that they are up against; Celan{\textquoteright}s poem by mirroring the cruel alliance between violence and beauty; Jelinek{\textquoteright}s prose by arranging collisions between the discourses that she cites. In order to prove this point I call on Walter Benjamin's distinction between mythic and divine violence, Slavoj Zizek's point that {"}language is the first and greatest divider{"}, and Eric Santner's and Georges Didi-Huberman's (divergent) concepts of {"}incarnation{"}. I show how incarnation is at work in Celan{\textquoteright}s verses and Jelinek{\textquoteright}s prose—as an incarnation of the subject, as a materialization of the signifier, as the violence inherent in language and as violence against signifying language, and even as a theme.",
keywords = "Det Humanistiske Fakultet, Elfriede Jelinek, Paul Celan, Lacan, Jacques, Didi-Huberman, Georges, Santner, Eric, violence, materiality of the signifier, incarnation, syllepsis, rhyme, flesh",
author = "R{\"o}sing, {Lilian Munk}",
year = "2020",
language = "Dansk",
isbn = "978-82-304-0295-5",
pages = "155--182",
editor = "Ohldieck, {Hans Jacob } and Gisle Selnes",
booktitle = "The Aesthetics of Violence",
publisher = "Scandinavian Academic Press",

}

RIS

TY - CHAP

T1 - Writing as Violence and Counter-Violence in Paul Celan’s Poetry and Elfriede Jelinek’s Prose

AU - Rösing, Lilian Munk

PY - 2020

Y1 - 2020

N2 - My ambition is to show, by way of close reading, how Celan’s poem “Todesfuge” (1945) and Jelinek’s novel Die Klavierspielerin (1983) both mirror and subvert the violence that they are up against; Celan’s poem by mirroring the cruel alliance between violence and beauty; Jelinek’s prose by arranging collisions between the discourses that she cites. In order to prove this point I call on Walter Benjamin's distinction between mythic and divine violence, Slavoj Zizek's point that "language is the first and greatest divider", and Eric Santner's and Georges Didi-Huberman's (divergent) concepts of "incarnation". I show how incarnation is at work in Celan’s verses and Jelinek’s prose—as an incarnation of the subject, as a materialization of the signifier, as the violence inherent in language and as violence against signifying language, and even as a theme.

AB - My ambition is to show, by way of close reading, how Celan’s poem “Todesfuge” (1945) and Jelinek’s novel Die Klavierspielerin (1983) both mirror and subvert the violence that they are up against; Celan’s poem by mirroring the cruel alliance between violence and beauty; Jelinek’s prose by arranging collisions between the discourses that she cites. In order to prove this point I call on Walter Benjamin's distinction between mythic and divine violence, Slavoj Zizek's point that "language is the first and greatest divider", and Eric Santner's and Georges Didi-Huberman's (divergent) concepts of "incarnation". I show how incarnation is at work in Celan’s verses and Jelinek’s prose—as an incarnation of the subject, as a materialization of the signifier, as the violence inherent in language and as violence against signifying language, and even as a theme.

KW - Det Humanistiske Fakultet

KW - Elfriede Jelinek

KW - Paul Celan

KW - Lacan, Jacques

KW - Didi-Huberman, Georges

KW - Santner, Eric

KW - violence

KW - materiality of the signifier

KW - incarnation

KW - syllepsis

KW - rhyme

KW - flesh

M3 - Bidrag til bog/antologi

SN - 978-82-304-0295-5

SP - 155

EP - 182

BT - The Aesthetics of Violence

A2 - Ohldieck, Hans Jacob

A2 - Selnes, Gisle

PB - Scandinavian Academic Press

ER -

ID: 255986573