Paradox, in individual assertions and the favorable system as a whole, pervades the comments of tribulation in Paul Celans meter In encomium of Distance. For Celan, lamentation tell ons non plainly a personal plight just now excessively a metaphysical crisis in the coitionship amidst an I and a you. Through conundrum, Celan describes a shoes of roar that switchs the deduction of furiousness and the termination of a nonher and that calls into question the logical system of indistinguishability whose staple fibre nonion posits personal individuality as ego-directed, radically individuated ingrainedness. The first stanza reveals the poems stupid structure and this structures consanguinity with the cardinal macrocosms of indistinguishability treated in the poem. In the theme of your eye lives the sn bes of the fishermen of the inner ear sea. In the head of your eyeball the sea holds its hollo (1-4). The dickens bodies of water, the w ellhead of your eye and the labyrinth sea, symbolize ii conceptions of identicalness. In the labyrinth sea, identity is a matter of individuated, set-apart entities floating separately. As the fishermen argon an contrive for this head of subjectiveness, their snareticuloendothelial system fight down a want of the unaffectionate subjectivities for a coming to ruleher. How of all time, flush if this singular advise of catching each(prenominal) other unites the fishermen in a divided goal, this is yet possible if wholeness presupposes a profound geological fault amid people. The labyrinthine difficulty is how subjectivities, which are in essence disjunct, could ever come together. In the labyrinth sea, melancholy would be a f answeror, by empathy, for people to plug into to wholeness a nonher, a inwardness to bridge the rift, yet for Celan, in the introduction of the utility(a) of the head, lament as a means of relating what is essentially insulate is inadequate. The holler of the labyri! nth sea is the promise of a relation or alignment amidst subjectivities, further this promise is realizable besides in the wellhead of your eyes. I will examine the aspects of this subjectiveness below, and here I none that the idea of subjectivity in the headspring of your eyes seeks to realise a different presupposition concerning identity, one that does not receive with the presupposition of separation. However, this other idea of subjectivity is unavailing to free itself all in all from the logic of isolated subjectivity. That logic of identity is the ever-present backdrop against which the puzzlees of the poem take their sense. Thus, Celan employs a foolish structure to chip in a minimal space of critique inside that logic. The structure of In Praise of Distance is paradoxical in that the poem is a description of the teary, mournful gaze of another. As a description of the wellspring of your eyes, the poem seeks to do what is impossible within the l ogic of identity, which posits identity to be isolated and impenetrable. A fundamental take in together between subjectivities is necessarily presupposed for the opening night of Celans description. Celan asserts wail, the wellspring of your eyes, as the site of blast and paradox that reveals this fundamental bond between people. The relation between this paradoxical structure and the two conceptions of identity can be witnessed in the relation between the wellspring and the sea. With the logic of identity as represented by the sea, the canonical notion is the individuation of subjectivity. However, by naming the content for lamentation a wellspring, Celan asserts that the personal credit line or forefront of subjectivity is not isolation and individuation but a fundamental bond where in that location can only be an I in relation to a you. inwardly the paradoxical structure launched in the first stanza, the following stanzas offer a series of paradoxical a ssertions that describe aspects of the different idea! of subjectivity. These paradoxical assertions must be read for their dual significance in the logic of isolated subjectivity and in Celans agony of this logic in paradox. In the second stanza, Celan uses compulsive equipment casualty and hyperbole to characterize subjectivity as conceived in the space of wail. Blacker in black, I am to a greater effect naked. Unfaithful I am honest. I am you when I am I (5-7). Against the logic of identity, where naked, admittedly, unfaithful, I, and you are absolute or scoop of their opposites, Celan uses the legal injury to assert that the basis of subjectivity is not its exclusivity, but a seemingly impossible originary bond with it counterpart. For the logic of identity, universe more(prenominal) than naked is not achievable; there, macrocosm naked is subjectivity stripped of all relations and social qualifications, the pure self. But in the wellspring of your eyes, subjectivity is more than naked, more than a pure self in isola tion, in that, here, nakedness is a fundamental exposure to and impinging with the gaze of another, a you. Furthermore, this be more naked takes power within the space of mourning and also represents not an autonomous self but an indigent and distress one. Similarly, to be true to oneself requires that one be unfaithful to that very idea of a true self, if that true self is conceived as isolated from you. The utmost paradox of the stanza, I am you when I am I (7), emphasizes that this is not an easy paradox. For these assumes to be intelligible, one must keep the conventional logic of identity where I and you nurse a original place and meaning, yet one must also get the radical paradox that opens a way to the relation of the terms. As a simple reflection on indexical credit rating the line can be rewritten: I am a you to you when I am an I to me. In this, I and you only have meaning and reference in a concrete situation of discourse, and the terms ca n relate subjectivities in their replacability throug! h pronouns and their connection in discourse. However, this does not account for the unintelligible conceptualisation of the paradox, which risks nonsense in the conflation of an I and a you. There, the paradox bitifests a mutual identity between I and you, such that the unmingled naked truth of subjectivity is a paradoxical wellspring or origin of subjectivity where the identities and fates of I and you arise and go down together. The wellspring of your eyes is the space of mourning that reveals this conflation of I and you in a fundamental and passe-partout bond. It is a capacity for mourning so deep as to experience the detriment and cobblers last of another as ones own.         Stanzas three and four-spot come up this paradoxical reflection on subjectivity. Stanza three reads: In the wellspring of your eyes/ I drift and dream by looting (8-9). Here the I of the logic of identity, the individuated I, manifests some of its main moments as characterized in the poem: drifting, like the boat of a fisherman, in itself, separated from others and dreaming, another reference to what one should only be able to do alone, what can only later be related to another. These, for the logic of identity, epitomize what is the goop state and res publica of the individual in isolation. However, in the space of mourning, the individuality of these terms are said to be robbery. That is, the claim that ones self is ones exclusive and fundamental possession is a wrongful taking-possession of p cockroachrty that is not ones own. Here, Celan introduces the issue of force-out in his reflection on subjectivity. The claim for individuated subjectivity is not an innocent affair but is seen as an act of fury. If I am you when I am I (7), if I and you are basically together, hence the assertion of subjective shore leave and individuation, the basic move of the logic of identity, proceeds from an origin of craze, a rending of the mutual identity of I and you.
         Stanza four revisits the imagery of fishermen and snares and recasts the most worthy propensity of the logic of identity they represent, the desire for connection, in a mold that connotes the inevitable violence of the presupposition of separation. It reads: a snare captures a snare/ we part entwined (10-11). The image of snares capturing each other, an image of forceful conquest, evidences that regular(a)tide the best intentions of the logic of identity are condemned to cast every(prenominal) relation between subjectivities as, in essence, a form of war. The image of fishermen who wield the snares represents the subjectivities in question. Their encounter is not the mee ting of a hunter and his flow but of two hunters, so that, in the logic of identity, even the empathy of mourning that relates isolated subjectivities is a competition and a violence, in that it subordinates the sufferer to the impressive character of the mourner. The space of this mourning is at a trim down place the control of the mourner and is doubly hazardous in this subordination, as well as in the original violence of the presumption of the separation, actually a rending, of isolated identities.         The concluding stanza reads: In the wellspring of your eyes/ a hanged man strangles the rope (12-13). These lines reveal what is at stake in Celans reflections on subjectivity, the possibility of an alternation in the significance of violence and the finish of another. In this final repeat of the phrase In the wellspring of your eyes, Celan highlights the necessity of an alternative sentiment on identity to cope with and understand violence. As we h ave seen, the conception of subjectivity in the logic! of identity is predicated upon an original act of violence. Thus, with such a violent aegis, the logic of identity is incapable of coping with or understanding violence in a non-violent manner. Consistent with this logic, the image of the hanged man represents every I and you as posited by that logic, isolated, alone, and suffocating under these conditions. With this logic, concomitant to its violent assumption of individuation, the suffering of another would be fundamentally take from the mourner and an optional affective disposition. In this conception of mourning, even if I choose to be concerned with your suffering, this does not alter the original violent presupposition of your status as a hanged man or individual, so that even the empathy of this mourning perpetuates a violence similar to that which it mourns. With this, a hanged man begins and is destined to inhabit a hanged man. However, in the wellspring of your eyes, in the space of mourning that Celan desc ribes, there is a reversal in the status of the hanged man, which follows from a reversal in the conception of subjectivity. If, as Celan has asserted previously in the poem, subjectivity is not originary individuation, but a being more than naked as exposure to suffering and death in an originary bond and mutual identity between I and you, then the suffering and death of the hanged man and every you is the suffering and death of every I, in that I and you are necessarily entwined. In the wellspring of your eyes, in this mourning, Celan finds a testimony to such a fundamental bond. Here, the hanged man is not fulfilling a plenty of being hanged, and the mourning of his death is neither optional nor soppy but necessary, as the fate of I and you is a divided fate, as I am you when I am I (7). This mourning, in itself, does not change the violence inflicted, but it does forgo it to be seen from a non-violent perspective and in doing so does not sanction one to be indifferent to it. ! If you want to get a full essay, order it on our website:
OrderEssay.netIf you want to get a full information about our service, visit our page: How it works.
