The Image that Was in the Blood

Philosophy Today 61 (1):233-248 (2017)
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Abstract

This paper critiques Adorno’s interpretation of Paul Celan’s poetry, as well as some of the philosophical ideas that motivate it. For Adorno, Celan’s poetry is “hermetic”—it refuses aesthetic representation; and, by virtue of this hermeticism, it expresses the horror of the Holocaust—a horror whose content is that it refuses aesthetic representation. I give a reading of Celan’s “Tenebrae,” from his 1959 collection Sprachgitter, and show that it uses aesthetic representation; that this use expresses the horror of the Holocaust; and that, in comparison to this, Adorno’s concept of hermeticism is a way of concealing this horror.

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Beau Shaw
New York University

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