Comparatio

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Die Suche erzielte 2 Treffer.

Ferdinand Simonis

Comparatio, Jahrgang 10 (2018), Ausgabe 2, Seite 259 - 288

L’article suivant explore l’influence cruciale de Heidegger dans la poésie de René Char et découvre les traces d’une pensée présocratique dans l’oeuvre du poète français, surtout sur le niveau métaphorique et imaginaire. En plus, on trouve une dimension ontologique dans l’expérience poétique de Char inspirée par Heidegger et Héraclite. Char participe à la préoccupation Héraclitienne avec la foudre, qui contrôle l’univers, et au concept des relations réciproques entre les états contraires, c’est-àdire à l’unité harmonique entre les opposés. The following article explores Heidegger’s seminal influence on René Char’s poetry and discovers traces of Presocratic thought in the French poet’s oeuvre, especially on the level of metaphors and imagery as well as in respect to an ontological dimension of poetic experience. Thus, Char participates in the Heraclitean preoccupation with the fiery shaft of lightning as a symbol of the ruling power of the universe and in the Greek philosopher’s concept of the interconnectedness of contrary states, i.e. the harmonic unity of opposites.

Ferdinand Simonis

Comparatio, Jahrgang 4 (2013), Ausgabe 2, Seite 239 - 270

In his late poetry and aesthetics Philippe Jaccottet returns to a recurrant theme and crucial topic of his oeuvre, which he already explored in his earlier collection of Airs poems. What fascinates the poet is the motif of transient beauty and temporary happiness in the wider context of mortality, death and the passage of time. In his Cahier de verdure (1990), Après beaucoup d’années (1994), and Et, Néanmoins (2001) as well as Ce peu de bruits (2008), Jaccottet captures the ephemereal moments of hope and beauty by a subtle and complex imagery of opening blossoms and ascending birds situated within the overall scenario of cyclical processes in nature. Moreover he refers to Gongora’s Soledades, which he has translated into French, by evoking the powerful image of the falcon. In his poetry Jaccottet does not only extensively adapt the bird imagery but also invests it with a self-reflective turn, for the flight of the bird is implicitly compared to the form of the écriture and the process of letter writing.

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