{"id":511,"date":"2026-08-08T07:55:48","date_gmt":"2026-08-08T07:55:48","guid":{"rendered":"https:\/\/phd-in-art.uni-ak.ac.at\/?page_id=511"},"modified":"2026-08-08T08:09:16","modified_gmt":"2026-08-08T08:09:16","slug":"mijenadaha-an-associative-translation-of-paul-celans-atemwende","status":"publish","type":"page","link":"https:\/\/phd-in-art.uni-ak.ac.at\/?page_id=511","title":{"rendered":"Mijenadaha \u2013 An associative translation of Paul Celan\u2019s Atemwende"},"content":{"rendered":"\n<h3 class=\"wp-block-heading\"><em>Katarina Damiani<\/em><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Year<br><\/strong>2025<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Supervisor<br><\/strong>Sofia Bempeza (first year)<br>Gerhild Steinbuch (second year on)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In Mijenadaha, I work with literary marginalia, transforming the translator\u2019s notes on selected poems from Atemwende (Celan, 1967) into a large-scale textual installation. By layering, linking, citing, and weaving text into text, each poem becomes a terrain that resists conventional borders\u2014 be they linguistic, geographic, or disciplinary. By focusing on the personal and poetic, Mijenadaha becomes a new model for translation: one that fosters association, ambiguity, and subjectivity\u2013\u2013a translation inseparable from the translator. Inseparable from myself.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In his Meridian speech, Celan described navigating a fraught terrain, a \u2018Kinder-Landkarte\u2019,1 where neither words nor places can be located. My Mijenadaha embodies that terrain. It connects, converses with, and inhabits our, at times shared, \u2019wordcaves\u2019.2 Through annotation, commentary, and citation, I close myself within the windowless room until each translation, each poem becomes a world of its own: a blueprint of what emerged while dwelling with(in) the poem. Like Celan, I have no other landscape. Like Celan, I searched for land, searched for language, and found the meridian.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Katarina Damiani Year2025 SupervisorSofia Bempeza (first year)Gerhild Steinbuch (second year on) In Mijenadaha, I work with literary marginalia, transforming the translator\u2019s notes on selected poems from Atemwende (Celan, 1967) into a large-scale textual installation. By layering, linking, citing, and weaving text into text, each poem becomes a terrain that resists conventional borders\u2014 be they linguistic, [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":11,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-511","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/phd-in-art.uni-ak.ac.at\/index.php?rest_route=\/wp\/v2\/pages\/511","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/phd-in-art.uni-ak.ac.at\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/phd-in-art.uni-ak.ac.at\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/phd-in-art.uni-ak.ac.at\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/phd-in-art.uni-ak.ac.at\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=511"}],"version-history":[{"count":2,"href":"https:\/\/phd-in-art.uni-ak.ac.at\/index.php?rest_route=\/wp\/v2\/pages\/511\/revisions"}],"predecessor-version":[{"id":527,"href":"https:\/\/phd-in-art.uni-ak.ac.at\/index.php?rest_route=\/wp\/v2\/pages\/511\/revisions\/527"}],"up":[{"embeddable":true,"href":"https:\/\/phd-in-art.uni-ak.ac.at\/index.php?rest_route=\/wp\/v2\/pages\/11"}],"wp:attachment":[{"href":"https:\/\/phd-in-art.uni-ak.ac.at\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=511"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}