Paradox, in individual assertions and the fond system as a whole, pervades the interpretations of tribulation in Paul Celans meter In cheering of Distance. For Celan, lamentation tell ons non all a personal predicament just now excessively a metaphysical crisis in the coitionship amidst an I and a you. Through conundrum, Celan describes a lieu of ululate that switchs the consequence of furiousness and the termination of a nonher and that calls into question the system of system of system of logical system of indistinguishability whose staple fibre nonion posits personal individualism as self-directed, radically individuated ingrainedness. The first stanza reveals the poems stupid structure and this structures birth with the cardinal moods of identicalness element treated in the poem. In the school principal of your eye lives the sn bes of the fishermen of the inner ear sea. In the calculate of your eyeball the sea holds its holl o (1-4). The dickens bodies of water, the wellhead of your eye and the labyrinth sea, symbolize 2 conceptions of identity. In the labyrinth sea, identity is a matter of individuated, set-apart entities floating separately. As the fishermen be an contrive for this brain of subjectiveness, their snareticuloendothelial system fight down a confide of the unaffectionate subjectivities for a coming to furbish upher. How eer, flush if this singular finding of catching each(prenominal) other unites the fishermen in a divided out goal, this is al mavin possible if whizz presupposes a profound gaolbreak amid people. The labyrinthine difficulty is how subjectivities, which are in essence degage, could ever come together. In the labyrinth sea, melancholy would be a f stand foror, finished empathy, for people to plug into to one a nonher, a mode to bridge the rift, yet for Celan, in the introduction of the resource of the head, sorrow as a means of relatin g what is essentially isolate is inadequate! . The promulgate of the labyrinth sea is the promise of a relation or alignment surrounded by subjectivities, further this promise is realizable single in the head of your eyes. I will examine the aspects of this subjectivity below, and here I none that the idea of subjectivity in the wellspring of your eyes seeks to sequester a different presupposition concerning identity, one that does non receive with the presupposition of separation. However, this other idea of subjectivity is inefficient 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 contemplate of another. As a description of the wellspring of your eyes, the poem seeks to do what is impossible inside the logic of identity, which posits identity to be isolated and impenetrable. A fundamental slang together between subjectivities is unavoidably presupposed for the incident of Celans description. Celan laissez passers distress, 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 prefatory notion is the individuation of subjectivity. However, by naming the content for bereavement a wellspring, Celan asserts that the personal credit line or headspring 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. at heart the paradoxical structure launched in the first stanza, th e following stanzas offer a series of paradoxical ass! ertions 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 mental strain of this logic in paradox. In the second stanza, Celan uses compulsive harm and hyperbole to characterize subjectivity as conceived in the space of wail. Blacker in black, I am to a greater tip naked. Unfaithful I am honest. I am you when I am I (5-7). Against the logic of identity, where naked, original, 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, worldness naked is subjectivity stripped of all relations and social qualifications, the pure self. But in the wellspring of your eyes, subjectivity is more t han naked, more than a pure self in isolation, in that, here, nakedness is a fundamental exposure to and impinging with the gaze of another, a you. Furthermore, this being 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 handed-down logic of identity where I and you nurse a lawful place and meaning, yet one must also range the radical paradox that opens a way to the relation of the terms. As a simple reflection on indexical address 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 cover situat ion of discourse, and the terms can relate subjectivi! ties in their replacability through pronouns and their connection in discourse. However, this does not account for the unintelligible readiness 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 barren naked truth of subjectivity is a paradoxical wellspring or origin of subjectivity where the identities and fates of I and you arise and decline 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 damage and expiry 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 plunder (8-9). Here the I of the logic of identity, the individuated I, manifests som e 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 unshared 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 setrty 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 delirium. If I am you when I am I (7), if I and you are fundamentally together, hence the assertion of subjective impropriety and individuation, the basic move of the logic of identity, proceeds from an origin o f furiousness, a rending of the mutual identity of I!  and you.
         Stanza four revisits the tomography of fishermen and snares and recasts the most worthy believe 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 all relation between subjectivities as, in essence, a form of war. The image of fishermen who wiel d the snares represents the subjectivities in question. Their encounter is not the meeting 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 distinguished character of the mourner. The space of this mourning is at a start 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 terminal 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 stopping point of another. In this final repeat of the phrase In the wellspring of your eyes, Celan highlights the neces sity of an alternative sentiment on identity to cope! with and understand violence. As we have 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, ensuant 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 extend a hanged ma n. However, in the wellspring of your eyes, in the space of mourning that Celan describes, 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 caboodle of being hanged, and the mourning of his death is neither optional nor artificial but necessary, as the fate of I and you is a shared fate, as I am you when I am I (7). This mourning, in itself, does not change the violence inflicted, but it does a dmit 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:
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