This article contends that the image is a central trope in Paul Celan's poetry. It suggests that Celan's rejection of metaphor and his opposition to readings of his poetry as mere imagery constitute only one side of his understanding of the image. On the other hand, Celan embraces the image when it goes beyond the merely figurative or imitative and approaches a form of ‘Urbild’. This article traces Celan's understanding of the image as split between ‘Urbild’ and ‘Abbild’ in his mature poems ‘Bei Wein und Verlorenheit’, ‘Tenebrae’, and ‘Halbzerfressener’, through which we will also gain a fuller sense of how Celan conceives of language and poetic voice.

中文翻译：

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“城市”和“绝对”之间：CELAN诗歌“ Bei Wein und Verlorenheit”，“ TENEBRAE”和“ HALBZERFRESSENER”中图像的概念

本文认为，图像是保罗·塞兰诗歌中的中心字。这表明塞兰对隐喻的拒绝和他对诗歌作为纯粹意象的阅读的反对仅构成了他对意象的理解的一方面。另一方面，当Celan超越了单纯的象征性或模仿性，并且接近“ Urbild”形式时，他便拥抱了它。本文追溯了塞兰在其成熟的诗歌《北温与Verlorenheit》，《 Tenebrae》和《 Halbzerfressener》中对“ Urbild”和“ Abbild”之间图像的理解，通过这些我们还将对塞兰的理解有更全面的了解。构想语言和诗意的声音。