Lukas Pallitsch

• In diesem Beitrag soll es darum gehen, anhand der Distinktion von Jetztzeit und Erinnerung scheinbare Einheiten im lyrischen Werk der Nelly Sachs zu hinterfragen. Ein Nexus der Jesusfigur zur Shoah ist in den Gedichten nicht zu übersehen; inwieweit eine Korrelation beider Diskurse zwischen dem perennierenden Leiden der Opfer und dem am Kreuz Gemarterten besteht, ist der Gegenstand dieser Untersuchung. Jesus wird im lyrischen Oeuvre auf der zeitlichen wie inhaltlichen Ebene neu figuriert: nicht als christologisch-dogmatische Erlöserfigur, sondern als der qualvoll gemarterte Mann, dessen Schrei im 20. Jahrhundert eine neue Lesbarkeit generiert: als leidender Mit-Bruder. Der historische Index der Jesus-Gestalt wird in der Passionsszenerie, die jedoch transformativ modifiziert wird, manifest.
• This paper intends to examine Nelly Sachs’ work as a whole by establishing the important distinction between the notions of now-time and memory. The Jewish category of re-remembering (zekher) does not denote the processes crucial for preserving proceedings the past in our present lived memory. On the contrary, the category re-actualizes or rather “recollects” (Eingedenken) past events in the present, a phenomenon that is significant in the poems of Nelly Sachs. In his postwar depiction of Jesus, Nelly Sachs puts stress on the figure as sufferer and as a distressful dying person. Thus, the apparent nexus between the figure of Jesus and the Shoah cannot be ignored; to what extent, however, a correlation of both discourses – that of the perennial suffering of the Holocaust victims and Jesus’ on the cross – exists, is this article’s main intention to reveal. Her lyrical post-war work refigures Jesus, the emphasis is now on the temporal and the content plane: he is not depicted as a Christological and dogmatic redeemer, but as theThis paper intends to examine Nelly Sachs’ work as a whole by establishing the important distinction between the notions of now-time and memory. The Jewish category of re-remembering (zekher) does not denote the processes crucial for preserving proceedings the past in our present lived memory. On the contrary, the category re-actualizes or rather “recollects” (Eingedenken) past events in the present, a phenomenon that is significant in the poems of Nelly Sachs. In his postwar depiction of Jesus, Nelly Sachs puts stress on the figure as sufferer and as a distressful dying person. Thus, the apparent nexus between the figure of Jesus and the Shoah cannot be ignored; to what extent, however, a correlation of both discourses – that of the perennial suffering of the Holocaust victims and Jesus’ on the cross – exists, is this article’s main intention to reveal. Her lyrical post-war work refigures Jesus, the emphasis is now on the temporal and the content plane: he is not depicted as a Christological and dogmatic redeemer, but as the agonisingly martyred man, whose cry generates a new readability in the 20th century: that of the suffering brother. The historical index of the Jesus-gestalt becomes manifest in the Passion itself albeit in a transformed and modified version.…