Despite the apparent contrast between the thought of Georg Tralk and the one of Carl Dallago, stated in a resolute way by Dallago himself (letter to Ludwig von Ficker, 19th February 1914), a deep analysis of the writing of both authors highlights a remarkable convergence between their opposed poetics. This is shown by the tension towards an absolute expression, a pure word which is negation and overcoming of the historical crisis, the feeling of the “Unzeitmäßigkeit”, which is a sort of innate discomfort with their own time. This theme builds also the basis for the common relationship with Karl Kraus. Following our investigation, which also rebuilds the historical context of contacts and exchanges between intellectuals linked to both Trakl and Dallago, we may notice unusual affinities, some of which can be considered as presumed filiations, while others can be seen as confluences in that common tension to the absolute. Absolute is declined in philosophical terms by Dallago: we can think about the tension in his poetics which tries to penetrate the depths of the being in a vertical axes that projects the language towards peaks of a transcendental philosophy, trying to save the man from the perception of pain and negation of meaning. On the other hand Trakl aims at an expressive absolute: the transformation of the nihilistic intuition into something else which can be rebuilt through the reversal of the apocalypse of the last lyrics into an apocatastasis in the most tragic and desperate months of 1914. In the common nostalgia for a primordial dimension it can be found the element of communion between the two authors: their tension to what Derrida described as «recognition of the pure language», the vocation to a pure word.
Nonostante l’apparente antitesi fra il pensiero di Georg Trakl e quello di Carl Dallago, asserita in maniera perentoria dallo stesso Dallago (lettera a Ludwig von Ficker del 19 febbraio 1914), un’indagine approfondita della scrittura evidenzia una sorprendente convergenza fra gli esiti artistici delle due contrapposte personalità: essa si eplica nella tensione verso un assoluto espressivo, una parola pura, che è negazione e superamento della dimensione storica, di quel sentimento di Unzeitmäßigkeit, sorta di congenito disagio nei confronti del proprio tempo, sul cui terreno nasce il comune incontro con Karl Kraus. A seguito della nostra indagine, che riscostruisce inoltre il contesto storico di contatti e scambi con intellettuali dell’epoca interlocutori di entrambi, è possibile riscontrare singolari affinità, alcune delle quali si possono ipotizzare come filiazioni, altre come confluenze nella comune tensione verso l’assoluto: filosofico in Dallago (si pensi alla tensione della sua versificazione a penetrare le profondità dell’essere, in un asse verticale che proietta il linguaggio verso le vette di una trascendenza filosofica che salva l’uomo dalla percezione del dolore e della negazione di senso); espressivo in Trakl (la metamorfosi dell’intuizione nichilistica in un altrove ricostruibile attraverso il capovolgimento dell’apocalissi delle ultime liriche in un’apocatastasi che si profila nel periodo più tragico e disperato, i mesi del 1914.). E in questa comune nostalgia per una dimensione primigenia si rinviene l’elemento di comunione all’interno del dissidio fra i due, ovvero la tensione di entrambi verso quello che Derrida ha descritto come «riconoscimento del puro linguaggio», la «vocazione alla parola pura».
Carl Dallago und Georg Trakl: ein ästhetischer oder existentieller Konflikt?
PULVIRENTI, Grazia
2007-01-01
Abstract
Despite the apparent contrast between the thought of Georg Tralk and the one of Carl Dallago, stated in a resolute way by Dallago himself (letter to Ludwig von Ficker, 19th February 1914), a deep analysis of the writing of both authors highlights a remarkable convergence between their opposed poetics. This is shown by the tension towards an absolute expression, a pure word which is negation and overcoming of the historical crisis, the feeling of the “Unzeitmäßigkeit”, which is a sort of innate discomfort with their own time. This theme builds also the basis for the common relationship with Karl Kraus. Following our investigation, which also rebuilds the historical context of contacts and exchanges between intellectuals linked to both Trakl and Dallago, we may notice unusual affinities, some of which can be considered as presumed filiations, while others can be seen as confluences in that common tension to the absolute. Absolute is declined in philosophical terms by Dallago: we can think about the tension in his poetics which tries to penetrate the depths of the being in a vertical axes that projects the language towards peaks of a transcendental philosophy, trying to save the man from the perception of pain and negation of meaning. On the other hand Trakl aims at an expressive absolute: the transformation of the nihilistic intuition into something else which can be rebuilt through the reversal of the apocalypse of the last lyrics into an apocatastasis in the most tragic and desperate months of 1914. In the common nostalgia for a primordial dimension it can be found the element of communion between the two authors: their tension to what Derrida described as «recognition of the pure language», the vocation to a pure word.File | Dimensione | Formato | |
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