Dykcja milcząca: Celan i Webern
Silent Diction: Celan and Webern
Author(s): Michalina KmiecikSubject(s): Literary Texts
Published by: Instytut Badań Literackich Polskiej Akademii Nauk
Keywords: Paul Celan’s “Keine Sandkunst mehr... (No more sand art... )”; Anton Webern’s “Drei Lieder (Three Songs)” Op. 25; Piotr Śniedziewski; Theodor W. Adorno
Summary/Abstract: The article focuses on stillness and silence as on the basic determinants of avant-garde negative aesthetics (defined in Theodor W. Adorno’s view) and is limited to the analysis of the problem to the example of Paul Celan’s “Keine Sandkunst mehr... (No more sand art... )” and Anton Webern’s “Drei Lieder (Three Songs)” Op. 25. The starting point is a reflection over the structural presence of silence in a literary and musical work. Referring to researchers’ assumptions (mainly to Piotr Śniedziewski’s analyses) about the role and methods of introducing silence to a work of art, manifestations of “silent diction” are indicated: breaking and disappearing of words, resignation from expressive musical narration, concentration on a single autonomised letter or sound, demise of syntax, and neutralising of meanings. Accumulation of silencing strategies proves to be one of the most vital features of Celan’s and Webern’s poetics and leads to composing a work of art in the likeness of an insoluble riddle.
Journal: Pamiętnik Literacki. Czasopismo kwartalne poświęcone historii i krytyce literatury polskiej
- Issue Year: 2015
- Issue No: 3
- Page Range: 171-193
- Page Count: 23