Da un recipiente all'altro. Studio di una figura poetologica celaniana. / D’un récipient à l’autre. Étude sur une figure poétologique celanienne

This study is dedicated to the analysis of the "recipient" figures in the work of Paul Celan. Positioned critically in relation to the thematic, rhetorical, and lexical approaches historically adopted by some Celan scholars to investigate the meaning of the author's most recurring motifs in poetry, our study employs an analytical perspective aimed at probing the polysemy of each figure from a poetological point of view. Each "recipient" is observed, through a series of comprehensive readings presented sequentially, as a textual phenomenon operating within a complex network of intra-, inter-, and extra-textual relationships, based on the historical and aesthetic specificities that poetically justify its presence in the text. Divided into three chapters, each dedicated to the evolution of a specific poetological figure, such as "communicating vessels" (Chapter I), "transfusion" (Chapter II), and the "breaking of the vessels", our work will focus specifically on the analysis of the following compositions: Ferne, Aequinoctium, Die Krüge, Zähle die Mandeln, Assisi, Die Ewigkeit, Auch das Alleinsein reicht nicht aus für Tränen, Weil du den Notscherben fandst. Following both a chronological and thematic order within each chapter, we will trace the entire poetic career of the author; this will allow us to delve into, on the one hand, the different facets of Celan's poetry and criticism, questioning the nature (surrealist, hermetic, symbolic, phenomenological) and the "second" or exogenous origin of individual images, and on the other hand, the author's specific and contextualized interests in each collection. The figures of the "recipients" will perform in each poem, rather than represent, the path to follow for a correct reception of Celan's poetry, raising fundamental questions about the meaning of "encounter" and "dialogue" with the Other, on the ethical stance of the individual in relation to themselves, in time and in history, on art, philosophy, Jewish tradition, and, not least, on the memory of the dead after Auschwitz.