Natalie Lozinski-Veach
Biographic Data
| ID | 1152623 |
|---|---|
| NAME | Natalie Lozinski-Veach |
| GIVEN NAMES | Natalie |
| FAMILY NAME | Lozinski-Veach |
| SIGNATURE | LOZINSKI-VEACH N |
| AFFILIATIONS | Arizona State University |
| ORCID | 0009-0006-5721-1425 |
| VERIFIED | Yes |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 5 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2016 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 0 |
Fichu(s)
In his 2001 Theodor W. Adorno Prize speech, ‘Fichus’, Jacques Derrida imagines a book on the German philosopher that he would never have the opportunity to write. Its last chapter would concern animals, which for Derrida constitute the most important future direction in reading Adorno. This article takes this moment as its point of departure to suggest that among the many threads that connect deconstruction with critical theory, the question of t…
Reading Celan Today
The recent venerations of Paul Celan on the occasion of his centenary invite further reflection on how his poems reach across time. As immersed as they are in their own here and now, Celan's poems demonstrate a remarkable capacity to touch on others' histories and experiences and to be touched by them in turn. Drawing on the elaborations of touch in transnational German studies, and the ways in which touch apprehends relations that fall outside o…
Nature, Condensed
This essay explores a particular kind of German postwar aesthetics as a framework for thinking through the conceptual challenges of the Anthropocene. Focusing on the relationship between nature and history, the article reads Paul Celan’s “The World” from Speech Grille (Sprachgitter) together with Esther Kinsky’s 2013 volume Nature Preserve (Naturschutzgebiet) to trace how both authors intertwine commemoration of the Shoah with exact attention to …
Decompositions
Decompositions:Inheriting Trash with Walter Benjamin and Bruno Schulz Natalie Lozinski-Veach (bio) Methode dieser Arbeit: literarische Montage. Ich habe nichts zu sagen. Nur zu zeigen. Ich werde nichts Wertvolles entwenden und mir keine geistvollen Formulierungen aneignen. Aber die Lumpen, den Abfall: die will ich nicht inventarisieren sondern sie auf die einzig mögliche Weise zu ihrem Rechte kommen lassen: sie verwenden.1 The Demiurge was in lov…
Embodied Nothings
Embodied Nothings:Paul Celan’s Creaturely Inclinations Natalie Lozinski-Veach (bio) Ich sage [das], weil mich dieseInfragestellung der Kunst—um nicht zusagen: diese [latente] Kunstfeindlichkeit—anspricht: das Gedicht = Atem = Kreatur– Among the notes that Paul Celan took in preparation for his 1960 Büchner Prize acceptance speech, Der Meridian, we find a striking observation: “das Gedicht = Atem = Kreatur” (116).1 Rendered in the form of a quasi-…
No prominent works on this page.
Embodied Nothings
Embodied Nothings:Paul Celan’s Creaturely Inclinations Natalie Lozinski-Veach (bio) Ich sage [das], weil mich dieseInfragestellung der Kunst—um nicht zusagen: diese [latente] Kunstfeindlichkeit—anspricht: das Gedicht = Atem = Kreatur– Among the notes that Paul Celan took in preparation for his 1960 Büchner Prize acceptance speech, Der Meridian, we find a striking observation: “das Gedicht = Atem = Kreatur” (116).1 Rendered in the form of a quasi-…
Decompositions
Decompositions:Inheriting Trash with Walter Benjamin and Bruno Schulz Natalie Lozinski-Veach (bio) Methode dieser Arbeit: literarische Montage. Ich habe nichts zu sagen. Nur zu zeigen. Ich werde nichts Wertvolles entwenden und mir keine geistvollen Formulierungen aneignen. Aber die Lumpen, den Abfall: die will ich nicht inventarisieren sondern sie auf die einzig mögliche Weise zu ihrem Rechte kommen lassen: sie verwenden.1 The Demiurge was in lov…
Reading Celan Today
The recent venerations of Paul Celan on the occasion of his centenary invite further reflection on how his poems reach across time. As immersed as they are in their own here and now, Celan's poems demonstrate a remarkable capacity to touch on others' histories and experiences and to be touched by them in turn. Drawing on the elaborations of touch in transnational German studies, and the ways in which touch apprehends relations that fall outside o…
Nature, Condensed
This essay explores a particular kind of German postwar aesthetics as a framework for thinking through the conceptual challenges of the Anthropocene. Focusing on the relationship between nature and history, the article reads Paul Celan’s “The World” from Speech Grille (Sprachgitter) together with Esther Kinsky’s 2013 volume Nature Preserve (Naturschutzgebiet) to trace how both authors intertwine commemoration of the Shoah with exact attention to …
Fichu(s)
In his 2001 Theodor W. Adorno Prize speech, ‘Fichus’, Jacques Derrida imagines a book on the German philosopher that he would never have the opportunity to write. Its last chapter would concern animals, which for Derrida constitute the most important future direction in reading Adorno. This article takes this moment as its point of departure to suggest that among the many threads that connect deconstruction with critical theory, the question of t…
Literature and Cultural Memory (4 works) · Art (3 works) · Literature (3 works) · Philosophy (3 works) · Philosophy, Ethics, and Existentialism (3 works) · Walter Benjamin Studies Compilation (3 works) · Art history (2 works) · German (2 works) · Poetry (2 works) · Anthropocene (1 work)