If the reader fills the role of the lyric "I," then the "subject-object relationship" that Hamburger says is the primary difference between poetry and fiction changes. The role of "I" as mediator of identity in a sincere persona arises because of the identification that the poet manipulates.
The “I” as a location for Mutual Identification
The powerful semiotic power of the word I lies in the innateness of the concept of a self. I just mean that the reader, at the moment he reads the word I, experiences himself as the 'I' of the poem and.
Misidentification of the “I”
This is of course a misrecognition or imaginary construct on the part of the reader. Temporality and the Performance of the Self in the Lyrics of Ingeborg Bachmann, Robert Graves, and Gottfried Benn.
Temporality and the Performance of the “I” in the Lyric of Ingeborg Bachmann, Robert Graves, and Gottfried Benn
The reader's performance of "I" can be interpreted as an attempt to "bend" it; however, the lyrical "I" will not allow this: "I am always me." The reader and "I" are in conflict. As we saw in reading Bachmann's Ich, the reader will identify with the I, absorbing his identity into his own.
Conclusions of the “I”’s Role in Lyric
The feeling of alienation felt by the reader of the lyrical "I" comes from identification with the lyrical "I" of the poet. This mutual identification of poet and reader leads to a sense of shared integration.
Language and Communal Identification I. Introduction: Historicity in Lyric
- Language as Semiotic Storage of Culture
- Examples of Historicity in Language: Auden’s “September 1 st , 1939”
- Problems with This Reading: Meaning and Misunderstanding
- Conclusion: Language as a Basis for Communal Reading
In this way, the reader can approach a simulated version of the author's original intended meaning. The combination of a changing cultural landscape, as well as the nature of the signifier as. So while this reading can never provide a definitive view of the semiotics of the cultural moment of a poem's beginning, through.
Implicitly, however, the words necessarily reflect the cultural moment because they are part of the language specific to the poet's semiotic codes. Certainly, as I said before, the text itself remains rooted in the cultural moment of its creation – the words continue to resonate with their historical meanings within the context of the poem. The closer the reader is to the cultural moment of the poem's creation, the closer he is to the poet's language.
The individual who reads a text from his own country is part of the linguistic community.
Communal Identification and the Nation I. Introduction
- The Identification Mechanism of the “I” as a Basis for Communal Identification As we have discussed in Chapter One, the lyrical voice straddles both the public
- Language as a Delimiter of Communal Identification
- Example of the Communal in Lyric: Ingeborg Bachmann’s “Wie soll ich mich nennen?”
- Conclusion
This definition of the nation will be instrumental in constructing the poem as a space for shared identification. Here, as in Adorno's definition of the lyric, the personal becomes the public - the individual becomes the societal. This creation of the imagined community occurs because a nation's language is somehow linked to the nation's history.
It is true that it is likely that the imagined community of the nation as a whole is not identical to the imagined community of readers of "I", but this will be discussed below. However, it is also language that makes possible the transition from the imagined community of the moment of mass identification to the imagined community of the nation. This trauma can be partly located in the combined misidentification and misunderstanding of the "I". Throughout the poem, the speaker considers several.
As we have seen in the reading of "Wie soll ich mich nennen?" the language of a specific cultural moment recalls to the member of the imagined community of readers his role as a member of the imagined community of the nation.
Trauma and Lyric I. Introduction
Trauma as Personal and Public
In chapter one we discussed that the text is both private and public, in the sense that the individual's experiences are made public through identification with the lyrical "I." Catherine McLoughlin notes that “the perceived futility of armed conflict…is primarily a result of the enormous disparity between the military effort and the individual engaged in it” (McLoughlin 167). Although wartime problematizes the role of the individual, the individual's personal sense of alienation is in fact universal.
Crosthwaithe relies on Lacan's understanding of the individual as a social subject in order to discuss the effects of trauma on self-representation. The individual cannot represent himself without this social reality; social reality is therefore the representation of the Real to the individual. The injury done to the symbolic order at the level of the subject will in many cases ripple out from the site of trauma to disrupt the wider symbolic network (Crosthwaithe 25).
This, then, reveals the fact that the Real is incompatible with the individual representation of the world, because language itself is incommensurable with the trauma.
Trauma, Identity, and Temporality: a Reading of Auden’s “Memorial for the City”
Drawing on Taylor, Olga Binczyk claims that the world wars created a permanent rupture in history that continues to affect the post-war individual: "Lost in the contemporary world, unable to identify his 'past steps' , the modern self cannot its present and its potential future locations, cannot develop the narrative of its life any longer" (Binczyk 158). The eyes of the crow and the eye of the camera open on Homer's world, not ours his not The poem begins with the opening of the eye of the camera and the crow.
The third line of the third stanza begins "The crime of life is not time." The crime is not time alone; instead, it is a criminal lack of orientation in time caused by human warfare. The past is "the chaos of the graves" and the future is "barbed wire ... until it is lost from sight." The present is without a past and without a future - without meaning. Society must not feel sorry for "neither itself nor its city". Population and physical national construct are different and.
The final lines of this section depict "we"—society—as "knowing without knowing." This is an appropriate formulation of the Lacanian.
Trauma and Language: a Reading of Celan’s “Keine Sandkunst Mehr”
The final lines of this section describe the "we"—society—who "know without knowing." Erll asserts that the use of language to represent reality, even when language is incapable of doing so, indicates a conscious choice by the author: "The decision to use literature as a symbolic system to represent the past...is a decision to a certain way of remembering. ” (Erll 33). Wolosky claims that a poem can even unequivocally explain language as a traumatized and therefore inadequate system: "The text can in fact ultimately trace a loss of language, linguistic sequence as loss and inclusion by the process, radicalized in a devastating story” (Wolosky 663 ).
The next line claims, "nothing is chosen by chance." The German word erwürfelt recalls the root Würfel, meaning dice. The speaker is simultaneously questioning the purpose of the reader and the functionality of the lyrical "I". The reader understands the word the same way it would if the spaces had been left intact—the word is meaningless with or without the spaces.
It is this "formal recognition" of the poem that calls into question its own use of language.
Trauma and the Everyday: A Reading of Günter Eich’s “Inventur”
It illuminates the ability as well as the limitations of the everyday to define life during war. The ordering of objects gives the physical world a sense of stability, order, and simplicity that is not readily available during wartime. However, this reading of the poem is problematic because the speaker's self-identification through the material world is not satisfactory.
The etching of his name is an attempt to "be" in the physical world; however, it only succeeds in asserting possession of the physical. The speaker is aware of the desire of others and this desire affects his perception of his own identity. This continues in the fourth stanza, which shows the breakdown of human relationships when the speaker claims to hold something he will "tell / no one." The urge to.
The love for the pencil betrays the poet's desire to communicate and his inability to be satisfied with an exclusively material representation of the world.
Trauma and the Pastoral
In the light of this view, therefore, when pastoralism becomes conflictual and humanity lives in a state of Fussell's "antipastoral", the effects reverberate not only through the physical atmosphere, but also through man's "psycho-physiological-psychic realm." In other words, the interruption of man's harmonious relationship with nature externally also affects man's capacity for internal reflection and meditation. The "you" addressed by the speaker in the poem is related to his own identity in a way that is not contrasting, but more so. In fact, throughout the poem it seems as if the "you" is nothing more than a foreshadowing of the future identity of the "I".
The 'you' and 'I' thus form a group identity which is then contrasted with the identity of the negative force of the poem. Through his death, the 'you' has become one with the force of nature that killed him. The speaker, speaking of himself for the first time in the poem, says, "I / fear for myself and freeze." The enjambment draws attention to the speaker's identity and physically separates the "I" from his only action in the poem, which is to be afraid.
Germans and "you" and "I" are Jews, but the speaker does not seem to want to limit his identity in this way.
Conclusion
Instead, the speaker's identity is defined entirely by what he claims not to be: he is not part of the world—instead, he fears the world and its violent, animalistic nature. Memories of trauma do not follow a linear narrative because of the discussed failures to incorporate the Real into a temporal or semiotic system. A text that responds to this disruption offers the reader the opportunity to identify with the imaginary community of "I" discussed above.
However, as we can see in Celan's poem "Notturno", even the lyrical nature can be corrupted by social trauma, so that the "I" has no influence on the world around him, neither in society nor in nature, so he must retreats into the language of the poem itself. It is precisely the manipulation of signs in ways that do not exist in the current semiotic system that makes the poem "poetic". This manipulation can lead to a rupture of meaning, as in Celan's poem "Keine Sandkunst mehr" (No more Sandart). 34; The Modern Journey: In Search of Identity in the Light of Selected Works of English Writers of the 1930s."
34; The Mirror Stage as Formation of the Function of the Self as Revealed in Psychoanalytic Experience.” Literary Theory.
