Performanz in der Briefkommunikation und ihre editorische Repräsentation

2019 ◽  
Vol 33 (1) ◽  
pp. 129-140
Author(s):  
Jochen Strobel
Keyword(s):  
Picture Books ◽  
Paul Celan ◽  
Ingeborg Bachmann ◽  
Film Version ◽  
Audio Books

Abstract Letters as a form of communication gain their meanings not least by performative practices hints of which are clearly shown in their materiality. Vice versa, the paper discusses the possibilities of performing and making a film of correspondences using the example of Paul Celan and Ingeborg Bachmann (published 2008) and its film version Die Geträumten (‘Dreamed people’, 2016). The performative aspects of letters may also be represented by audio books or picture books. Yet especially digital letter editions should examine the phatic and conative functions of letter communication supplying specially designed kinds of metadata and their visualizations. The ‚Jenaer Romantikertreffen‘ (‘Jena Meeting of Romanticists’) in 1799 serves as a final historical example.

Einander-Schreiben verfilmen. : ,,Die Geträumten“ – Überlegungen zu Ruth Beckermanns Verfilmung des Briefwechsels von Ingeborg Bachmann und Paul Celan

2020 ◽  
Vol 30 (3) ◽  
pp. 662-664
Author(s):  
Wolfgang Hottner
Keyword(s):  
Paul Celan ◽  
Ingeborg Bachmann

Im Juni 1948 schickt Paul Celan Ingeborg Bachmann zu deren 22. Geburtstag sein Gedicht In Ägypten mitsamt einer Widmung. In Wien hatten die beiden einen Frühling zusammen erlebt und wissen nun nicht, was diese schicksalhafte und intensive Begegnung bedeutet. Celans Gedicht ist der Anfang einer Liebe, einer Freundschaft sowie einer Vielzahl von Verfehlungen und Versäumnissen. Noch mehr als zehn Jahre später kommt Celan in einem Brief an Bachmann auf In Ägypten und seine zentrale Bedeutung für die Beziehung der beiden zurück:

Montage and Creative Cutting: My Mother: Demonology

Kathy Acker ◽  
2016 ◽  
Author(s):  
Georgina Colby
Keyword(s):  
Vertical Axis ◽  
Experimental Film ◽  
Kathy Acker ◽  
Compositional Process ◽  
Paul Celan ◽  
Ingeborg Bachmann ◽  
Luis Bunuel ◽  
Close Analysis

Acker’s practice of cutting and montage is the focus of the fifth chapter. A close analysis of Acker’s notebooks, the preliminary materials for My Mother: Demonology housed in the Kathy Acker Papers, reveals a compositional process comparable to Maya Deren’s practice of creative cutting in her late modernist experimental film montage. In My Mother: Demonology, Acker explicitly engages with film. Like Luis Buñuel, Acker views desire as having a revolutionary capacity. My Mother: Demonology, in its indeterminacy, sites of condensation, and displacement, embodies the structures of desire. It also marks Acker’s turn to the image. Chapter 5 argues for the primacy of the image in Acker’s experimental montage as a continuation of a modernist aesthetic legacy. The chapter suggests that the work possesses what Deren understands to be a ‘vertical axis’ in poetry that is able to create ‘visible and auditory forms for something that is invisible, which is the feeling, the emotion, or the metaphysical content of the movement.’ This vertical axis is present both in the text’s movement from the quotidian to the poetic, and the cutting in of excerpts from the works of Paul Celan and Ingeborg Bachmann.

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