"Wiederholung ist eine Erinnerung in Richtung nach vorn". Ein Kierkegaardsches Muster in Celans Poetik der Übersetzung

Based on diachronically analysed translation strategies performed by Paul Celan in dealing with very different authors of the Classical Modernity, this contribution focuses on the Kierkegaardian “repetition” as a fundamental pattern of Paul Celan’s Poetics, in its facing The Other, the Fremdes als sein Gegenüber. His poetics of Translation and Poetics of the Foreign: The Kierkegaardian turn allows Celan to link his poetics with the Time-and-Memory issue of “repeating” the voice of the Dead, and re-writing history, allowing them to come “alive” as reapeted voices, coming into the Present of a performed speech. This speech is a poetic speech (poetry as translation, translation as poetry). Poetry and its form are involved in Celan’s work as the “striking back of the voices of the Dead”. There cannot be a poetic voice, or a poetic pattern as it had been before Auschwitz. Valéry, Mandel’stam, and Ungaretti’s texts experience the traumatic effects of disarticulation, a loss of harmony, through Celan’s translation strategies. His Poetics of Translation conveys das Fremde introducing it in the grain of the voice of other poets belonging to the Canon before Auschwitz and repeating them anew, in their Fremdheit to themselves.