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Recovery
(2019)
Despite the increasing incidence of eating disorders, very few films have addressed these conditions in particular. What's more, most of the US-American mainstream fiction films that deal with eating disorders tend to be built on anachronistic clichés, hardly depicting their broad array. Furthermore, the traditional narrative structure of beginning, middle, and (happy) end misrepresents the erratic temporality of eating disorder symptoms as well as the nonlinear phases of recovery and relapse.
Recitation : lyric time(s) I
(2019)
What is the time of the lyric? For Augustine, the recitation of a hymn illustrates the workings of time in the human mind; for Giorgio Agamben, the poem itself exemplifies the structure of what he defines as 'messianic time'. By focusing on Dante's sonnet 'Tanto gentile e tanto onesta pare' and looking at the double act of the recitation of the poem and the "re-citation" of prior gestures, the temporality of both the single poem and lyric discourse will come into focus.
The text considers recirculation as a process through which both visual and cultural imagery are put in motion over and over again in the current information age, especially in the context of post-Internet art. Hito Steyerl's writings and thoughts on the 'poor image', namely the low-resolution digital image bound to a perpetual wandering or 'circulationism', here serve as major reference points for the development of the argument.
Recherche II : anamnesis
(2019)
The temporal loop of Proust's "Recherche" complicates the unidirectional understanding of anamnesis in psychoanalysis, which, in turn, allows for a renewed reading of the temporality of the "Recherche", highlighting the intrinsic link between artistic 'research' and unconscious affect - at the same time origin, motif, and destination.
Recherche I
(2019)
Recherche, (re-)search: do I research to find something not yet found or do I re-search back to find something that has been lost? These two directionalities structure Proust's "À la recherche du temps perdu" and are reflected in its reception. But what if they only seem mutually exclusive, yet really are one and the same thing?
Preface
(2019)
What's in a prefix? How to read a prefix as short as 're-'? Does 're-' really signify? Can it point into a specific direction? Can it reverse? Can it become the shibboleth of a 'postcritical' reboot? At first glance transparent and directional, 're-' complicates the linear and teleological models commonly accepted as structuring the relations between past, present, and future, opening onto errant temporalities.
Ambrosia artemisiifolia causes agricultural losses and severe health problems. Whether the species also has a negative influence on plant species richness and the composition of the vegetation is a matter of ongoing debate. The question whether common ragweed impacts biodiversity or not is of great importance as this impact may be an additional motive for the prevention of import and control. It would also have an influence as to which administrative sector is competent and responsible for these measures. In Germany, for example, where the species is not yet wide spread, the Federal Nature Protection Act provides a legal framework the management of invasive alien species. Only if ragweed would have proven negative effects on other species, communities, or habitats, could this be applied in the fight against the species.
Pasolini was simultaneously a revolutionary Marxist and a man forever influenced by his religious childhood. So his question was: do the revolutionary becoming of history and political negativity represent a destruction of the tragic beauty of the Greek myths and of the peaceful promise of Christianity? Or do we have to speak of a subtraction where an affirmative reconciliation of beauty and peace becomes possible in a new egalitarian world?
Giovanna Trento's article 'Pier Paolo Pasolini and Panmeridional Italianness' engages Pasolini's aesthetic, poetic, and political approach in terms of the complementary dichotomy of national and 'local' issues, on the one hand, and transnational and panmeridional topoi, on the other. Trento argues that despite his 'Third World' and Marxist sympathies, Pasolini showed strong poetic and political attention to national narratives and the building of Italianness. But Pasolini's 'desperate love' for Italy and Italianness, Trento argues, can be fully grasped only if we read it in the light of his fluid, transnational and panmeridional approach marked by different - and at times antithetical - factors, such as the pan-Africanist perspective and the colonial memory. Pasolini was indeed able to build a deterritorialized and idealized never-ending South: the Pan-South (Panmeridione) - that is, a fluid, non-geographical topos where 'traditional' values are used in non-traditional and subversive ways with the goal of resisting industrialization, mass media, and late-capitalist alienation.
In its elusive form between drama, novel and film, "Teorema" marks a 'new turning point in Pasolini's oeuvre'. Both the narrative and the style are remarkable, juxtaposing elements of different genres, nourishing the unresolved tensions within the film: the family members are shown in various scenes that follow one another in seemingly random order. Instead of a cohesive narrative unfolding in time, there reigns a sense of timelessness that gives rise to an oppressive feeling of drifting. Claudia Peppel's essay 'The Guest: Transfiguring Indifference in "Teorema"' explores the figure of the guest, which has always been closely connected with myth and whose appearance often triggers the dramatic conflict. Peppel focuses on "Teorema", in which a sensual stranger causes a bourgeois family to acknowledge its delusions. When he departs, the members of the family are left in a state of unfulfilled yearning, searching for new meaning. While critical literature on Pasolini regularly points to the importance of the figure of the guest but rarely analyzes it, Peppel discusses theories of the guest and hospitality to illuminate the role of the stranger in Pasolini's film. The guest's exceptional state, which is removed from everyday life and removes others from their everyday lives, is meticulously staged and resembles the evenly-suspended attention of the psychoanalyst. He triggers projections, desires, and, ultimately, existential crises.
Pasolini's first visit to a Third World country dates to 1960-61. His impressions and experiences during this journey are told in the collection of articles "L'odore dell'India", which, in Silvia Mazzini's opinion, also reveals his (perhaps characteristic) tension between being up-to-date and being out of time. This essay can thus be understood as a small journey through the author's travels in and relations with India. It argues that while in the 1960s the myth of India became a veritable spiritual fashion, for Pasolini this fashion trivialized the sharp contradictions of a country at once poor and splendid, full of traditions and subversive, rich with mysticism and pragmatic vitality. The collection of journalistic articles "L'odore dell' India" (1961) and the documentary "Appunti per un film sull'India" (1968), which originate from Pasolini's first journeys to the so-called 'Third World', intertwine sharp sociological analyses with instinctual observations and remarks. Mazzini shows that between the effluvia of incense and the adventures of a tiger, one can catch a glimpse of the Pasolinian vision of a humanity which is at once disruptive, archaic, and subversive, and which represents an alternative to the standardization of the consumerist society and its tendency to suppress and absorb any cultural difference.
Figura lacrima
(2012)
Hervé Joubert-Laurencin’s article 'Figura Lacrima', which explores Pasolini's figure of Christ, consists of two interconnected parts. The part called 'Lacrima' argues that Pasolini's Christ sheds a small tear which is analogous to the salvific tear of Dante's Bonconte da Montefeltro. This heretical tear is not explicitly referred to or shown but can only be perceived through the coherent text represented by the ensemble of Pasolini's films. The part called 'Figura' argues that Pasolini invents the new concept of 'figural integration', which extends beyond Erich Auerbach's analysis of medieval figural and typological interpretation and allows him to conceptualize a kind of non-dichotomous tension between the poles structuring his thought and art. Joubert-Laurencin argues thereby that Pasolini's scandal of Christ's small tear is not the simple provocation of a sinful Christ, but the utopian image of a West that frees itself from its own closure through the promise of another world, coming not from somewhere else but from the powers of an outside that it possesses within itself.
Before completing his uncharacteristically hopeful filmic vision of an African Oresteia, Pier Paolo Pasolini invented a theatrical continuation of Aeschylus's trilogy. "Pilade" (1966/70) imagines what happens after Orestes, having being absolved by the Aeropagos in Athens, goes back to Argos. With its clear allusions to political developments in the last century - fascism, the Resistance, and Communist revolutions - the play reads as a mythical allegory for the situation of engaged intellectuals in thetwentieth century. As Christoph F. E. Holzhey's contribution '"La vera Diversità": Multistability, Circularity, and Abjection in Pasolini's "Pilade"' shows, Pasolini's imagined continuation of the Oresteia challenges an ideology of rational foundation and progress by moving through a series of aspect changes prompted by sudden events that allow for some integration while also creating new divisions. After all possible alliances among the principal characters - Orestes, Electra, and Pylades - have been played through, Pylades curses reason for its deceptive, consoling, and violent function and embraces his abjected position of true diversity beyond intelligibility. However, Holzhey argues, rather than functioning as the play's telos, this ending is an open one and participates in the paradoxical performance of a self-contradictory subjectivity and a circular temporality without entirely giving up hope for a truly different alternative.
Pasolini's literature, film, theatre, and essays engaged with Classical tragedy from the mid-1960s onwards. As Bernhard Groß shows in his paper 'Reconciliation and Stark Incompatibility: Pasolini's "Africa" and Greek Tragedy', this engagement forms a modality in Pasolini's politics of aesthetics that seeks to grasp the fundamental transformation from a rural-proletarian to a petit-bourgeois Italy. Since the mid-'60s, Pasolini was concerned with the bourgeoisie and its utopian potentials, which he sought to make productive by reading Classical tragedy as a possibility to make contradictions visible. Pasolini realized his reading of the Classical tragedy by having 'Africa' and 'Europe' - as he understood them - confront one another without mediation. By means of film analyses and film theory, Groß argues that this confrontation, especially in the films on the ancient world, generates an aesthetic place where the incompatible can unfold in the spectators' experience.
The body of the actor : notes on the relationship between the body and acting in Pasolini's cinema
(2012)
Agnese Grieco's paper 'The Body of the Actor: Notes on the Relationship Between the Body and Acting in Pasolini's Cinema' deals with the specific physiognomy of the actor within Pasolini's 'cinema of poetry'. It argues that Pasolini's films allow the spectator to experience directly a complex and polyvalent reality beyond the traditional idea of 'representation'. As a fragment of that reality, actors quote and present themselves beyond and through their interpretations of a role. Instead of conceiving of the actor as a 'professional of fiction', Pasolini employs a variety of actors who are able fully to convey their own anthropological history. It is particularly the body of the actor, Grieco concludes, that becomes a door opening towards a deeper reality. For instance, the figure of Ninetto Davoli can push us back towards Greek antiquity, and the codified art of the comedian Totò or the iconic fixity of Maria Callas can interact with the African faces of the possible interpreters of an African Oresteia.
Manuele Gragnolati's paper 'Analogy and Difference: Multistable Figures in Pasolini's "Appunti per un'Orestiade africana"' discusses Pasolini's preference for the figure of contradiction and his opposition to Hegelian dialectics by exploring his attempt to look at Africa's process of modernization and democratization in the 1960s as analogous to the synthetic transformation of the Furies into Eumenides at the end of Aeschylus's trilogy. Gragnolati shows that Pasolini is aware of the dangers of analogy, which risks imposing the author's or filmmaker's symbolic order onto that of the 'other' represented in the text or film, and he argues that Pasolini seeks to deal with this danger by constantly shifting back and forth between differing positions. "Appunti per un'Orestiade africana" can thereby be thought as a multistable figure that is left suspended and not only resists synthesis, but also problematizes its own feasibility and challenges its own legitimacy.
Robert S. C. Gordon's article 'Pasolini as Jew, Between Israel and Europe' examines a remarkable trope in Pasolini's encounter with the cultures and geographies of Europe and its beyond: his imaginary identification with the figure of the Jew. Gordon examines in turn the site of Israel and its Jewish citizens; the 'Lager' and the Jews as victims of genocide; and finally the figure of Saint Paul and his earlier Jewish identity as Saul, both sacred and a figure of the Law, as a model for the twentieth-century Church and its ambiguous response to Nazism. In all three of these threads, Pasolini's Jew is a 'queer' and destabilizing trope for exploring the border of the European and the non-European, the self and the other.
Astrid Deuber-Mankowsky's paper 'Cinematographic Aesthetics as Subversion of Moral Reason in Pasolini's Medea' explores the 1969 film "Medea". Pasolini's Medea, masterfully played by Maria Callas, betrays her homeland and her origin, stabs both her children, sets her house on fire, and dispossesses Jason of his sons' corpses. But Deuber-Mankowsky argues that it is ultimately not these acts that render the film particularly disturbing and disconcerting, but, rather, the fact that the spectator is left behind in suspension precisely because Medea cannot be easily condemned for her acts. Pasolini's film and its cinematographic aesthetics thereby not only subvert the projection of Medea into the prehistorical world of madness and perversion, but also undermine belief in the validity of the kind of moral rationality developed and constituted in an exemplary way by Immanuel Kant in his "Critique of Practical Reason". In particular, Pasolini seems to relate conceptually to Nietzsche's artistic-philosophical transfiguration of Dionysus and to accuse belief in a world of reasons of failing to grasp the groundlessness, irrationality, or even a-rationality of reason itself.
Francesca Cadel's paper 'Outside Italy: Pasolini's Transnational Visions of the Sacred and Tradition' points out that in the 1940s and 1950s Pasolini's themes were all related to the specificity of Italian society, history, and traditions, while, beginning with the 1960s, Pasolini started travelling around the world, widening his perspectives on a rapidly changing world. Hence he developed new critical patterns, combining an increasing interest in sprawling transnational post-colonial economies with his strenuous defence of tradition and the sacred within human societies. Cadel uses different examples - including Pasolini's Indian travelogues - to show how his initial devotion to Italian millenary traditions and peasant cultures finally led to an open vision and understanding of human behaviours and mores, beyond any national boundary.