"Perdi uma palavra, que me buscava" : a linguagem do trauma, o trauma da linguagem, a diferença em questão na poética de Jacques Derrida e Paul Celan

• Autor(a) principal: Ketzer, Estevan de Negreiros
• Data de Publicação: 2017
• Tipo de documento: Tese
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da PUC_RS
• Texto Completo: http://tede2.pucrs.br/tede2/handle/tede/7404
• topic: Trauma; Paul Celan; Jacques Derrida; Silêncio; Diferença; LINGUISTICA, LETRAS E ARTES::LETRAS

This thesis is dedicated to a study on the possibility of a trauma theory in the Jacques Derrida‟s thought with motivation referenced in the work of the Romanian poet German-speaking Paul Celan. Therefore, we have been thinking of three concerns derived from the idea of writing, trace and justice that permeate what we can identify here as the thought of difference (différance). When we turn to the poetics of Paul Celan, we take into account the problem of aesthetic construction from the second half of the twentieth century, especially on the direct relationship which Paul Celan established with European philosophers such as T.W. Adorno, Martin Buber and Martin Heidegger. His discussion in the Western thought is going for the creation of a new aesthetic conception from the clash with avant-garde music. The discussion extends to the silence, its repercussions in extrapolating the field of phenomenology, addressing the historical dispositions that mark the two modalities of silence: one due to the helplessness from the victims and other from an embarrassment of those who lost the War. We also examine the widespread helplessness of Paul Celan‟s poetic work, especially in the loss of the word as an object of meaning, and from now on rely on the perspective of a fragmented word. The idea of responsibility, in the Emmanuel Levinas‟ interpretation, leads us to the reflection of a support in the maternity as a necessary elaboration of the past and its impossibility imposed in the present time, taking us to the considerations of Jacques Derrida. Finally, we have “Le Menhir”, the torment as we approach the graying stone, reinforcing the sense that its grayness color implies for the subjectivity. The trauma in Paul Celan here is seen with a perspective of future elaboration.