ICI Berlin
Refine
Year of publication
Document Type
- Part of a Book (283)
- Book (5)
- Article (2)
Language
- English (210)
- German (79)
- Multiple languages (1)
Has Fulltext
- yes (290)
Is part of the Bibliography
- no (290)
Keywords
- Psychoanalyse (25)
- Rezeption (25)
- Dante Alighieri (22)
- Film (20)
- Freud, Sigmund (20)
- Pasolini, Pier Paolo (19)
- Das Unheimliche (18)
- Productive reception (18)
- Reenactment (18)
- Benjamin, Walter (17)
- Erkenntnistheorie (16)
- Ästhetik (16)
- Multistable figures (13)
- Performance <Künste> (13)
- Affekt (12)
- Epistemologie (12)
- Kunst (12)
- Queer-Theorie (12)
- Zeit (12)
- Geschichte (11)
- Inversionsfigur (11)
- Muttersprache (11)
- Wahrnehmungswechsel (11)
- Canguilhem, Georges (10)
- Foucault, Michel (10)
- Multistability (10)
- Sprache (10)
- Conatus (9)
- Divina Commedia (9)
- Lyrik (9)
- Politik (9)
- Archiv (8)
- Philosophie (8)
- Situiertes Wissen (8)
- Spiel (8)
- Spinoza, Benedictus de (8)
- Time (8)
- Weltliteratur (8)
- Widerstand (8)
- Wiederholung (8)
- Ethica ordine geometrico demonstrata (7)
- Haraway, Donna Jeanne (7)
- Inferno (7)
- Offenheit (7)
- Tension (7)
- Aesthetics (6)
- Agamben, Giorgio (6)
- Biowissenschaften (6)
- Feminism (6)
- Mother tongue (6)
- Spannung (6)
- Spieltheorie (6)
- Weathering (6)
- Zeitlichkeit (6)
- Adaption <Literatur> (5)
- Exposure (5)
- Feminismus (5)
- Greek myths (5)
- Kolonialismus (5)
- Lebensnot (5)
- Liste (5)
- Literatur (5)
- Postkolonialismus (5)
- Technik (5)
- Verwitterung (5)
- War (5)
- World literature (5)
- Übersetzung (5)
- Affect (4)
- Aktivismus (4)
- Archive (4)
- Aspect seeing (4)
- Badiou, Alain (4)
- Decolonization (4)
- Deleuze, Gilles (4)
- Derrida, Jacques (4)
- Dialektik (4)
- Drehbuch (4)
- Fotografie (4)
- Ganzheit (4)
- Kollektives Gedächtnis (4)
- Konservierung (4)
- La vita nuova (4)
- Language (4)
- Lyric (4)
- Medienwissenschaft (4)
- Motion pictures (4)
- Politics (4)
- Reduktion (4)
- Resistance (4)
- Temporality (4)
- Tod (4)
- Totalität (4)
- Translation (4)
- Wholeness (4)
- Aeschylus (3)
- Allegory (3)
- Ausstellung (3)
- Autobiografie (3)
- Community (3)
- Cyborg (3)
- Death (3)
- Divina Commedia. Paradiso (3)
- Dokumentarfilm (3)
- Enclosure (3)
- Erzähltechnik (3)
- Experiment (3)
- Experimentalfilm (3)
- Film adaptions (3)
- Form (3)
- Griechenland (Altertum) (3)
- Heidegger, Martin (3)
- Historismus (3)
- History (3)
- Homosexualität (3)
- Identity politics (3)
- Identität (3)
- Identitätspolitik (3)
- Interpretation (3)
- Interruption (3)
- Kant, Immanuel (3)
- Krieg (3)
- Kultur (3)
- Körper (3)
- Liebe <Motiv> (3)
- Love (3)
- Medien (3)
- Memory (3)
- Mundart (3)
- Natur (3)
- Naturwissenschaften (3)
- Objektivität (3)
- Orestia (3)
- Passivität (3)
- Paulus, Apostel, Heiliger (3)
- Plasticity (3)
- Plastizität (3)
- Prekariat (3)
- Preservation (3)
- Proust, Marcel (3)
- Psychoanalysis (3)
- Queer theory (3)
- Rassismus (3)
- Regionalität (3)
- Repetition (3)
- Singularity (3)
- Theorie (3)
- Totality (Philosophy) (3)
- Vulnerability (3)
- Wandel (3)
- Warburg, Aby Moritz (3)
- Wetter (3)
- Winnicott, Donald W. (3)
- Wissen (3)
- Wissenschaft (3)
- Wissenschaftsphilosophie (3)
- Wissensproduktion (3)
- Wittgenstein, Ludwig (3)
- À la recherche du temps perdu (3)
- Übertragung <Psychologie> (3)
- Afrika (2)
- Allegorie (2)
- Althusser, Louis (2)
- Ambivalenz (2)
- Angst (2)
- Animationsfilm (2)
- Animismus (2)
- Anthropologie (2)
- Anthropozentrismus (2)
- Arendt, Hannah (2)
- Art (2)
- Artistic research (2)
- Auerbach, Erich (2)
- Aufklärung (2)
- Aura (2)
- Authentizität (2)
- Behinderung (2)
- Berlin (2)
- Biopolitik (2)
- Callas, Maria (2)
- Chachkhiani, Vajiko (2)
- Cinematography (2)
- Classical antiquity (2)
- Collage (2)
- Collective memory (2)
- Colonialism (2)
- Computerkunst (2)
- Dante, Alighieri (2)
- Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit (2)
- Das Passagen-Werk (2)
- Dauer (2)
- Dialectic (2)
- Differenz (2)
- Displacement (2)
- Double (2)
- Duration (2)
- Enantiosemy (2)
- Ereignis (2)
- Erfahrung (2)
- Eschatologie (2)
- Eschatology (2)
- Ethics (2)
- Ethnography (2)
- Ethnologie (2)
- Europa (2)
- Event (2)
- Exegese (2)
- Exegesis (2)
- Fehler (2)
- Fiction (2)
- Figure of thought (2)
- Filmtechnik (2)
- Flüchtling (2)
- Gedächtnis (2)
- Gegenwart (2)
- Geisteswissenschaften (2)
- Gemeinschaft (2)
- Gentrification (2)
- Geologie (2)
- Geschichtsschreibung (2)
- Gesellschaft (2)
- Gesture (2)
- Gewalt (2)
- Global South (2)
- Globaler Süden (2)
- Guattari, Félix (2)
- Historicity (2)
- Historischer Materialismus (2)
- History of knowledge (2)
- Humanökologie (2)
- Humor (2)
- Humour (2)
- Identity (2)
- Il vangelo secondo Matteo (2)
- Indien (2)
- Installation <Kunst> (2)
- Intensity (2)
- Irrtum (2)
- Italian literature (2)
- Italian poetry (2)
- Iteration (2)
- Jarman, Derek (2)
- Joyce, James (2)
- Judaism (2)
- Judentum (2)
- Kafka, Franz (2)
- Klausur (2)
- Klima (2)
- Knowledge production (2)
- Knowledge, theory of (2)
- Komplexität (2)
- Kontext (2)
- Künstlerische Forschung (2)
- Lacan, Jacques (2)
- Lists (2)
- Living History (2)
- Logik (2)
- Loss (2)
- Madness (2)
- Marx, Karl (2)
- Marxism (2)
- Mechanik (2)
- Medea (Film, 1969) (2)
- Medienanthropologie (2)
- Medienkunst (2)
- Medienphilosophie (2)
- Medientheorie (2)
- Medieval (2)
- Mensch (2)
- Metaphysik (2)
- Meteorologie (2)
- Meteorology (2)
- Mimesis (2)
- Mittelalter (2)
- Mnemosyne (2)
- Museum (2)
- Naher Osten (2)
- Naming (2)
- Narrative (2)
- Neoliberalismus (2)
- Nietzsche, Friedrich (2)
- Othering (2)
- Paradoxon (2)
- Parodie (2)
- Parody (2)
- Pasolini, Pier Paolo: San Paolo (2)
- Performance art (2)
- Peripherie (2)
- Philosophische Untersuchungen (2)
- Philosophy (2)
- Physik (2)
- Phänomenologie (2)
- Poetry (2)
- Politische Kunst (2)
- Prodger, Charlotte (2)
- Protest (2)
- Psychiatrie (2)
- Queer activism (2)
- Queere Zeitlichkeit (2)
- Raum (2)
- Reading (2)
- Recitation (2)
- Reductionism (2)
- Reduktionismus (2)
- Regen (2)
- Reinterpretation (2)
- Rekonstruktion (2)
- Religion (2)
- Remediation (2)
- Ritornell <Musik> (2)
- Ritual (2)
- Romantik (2)
- Scheitern (2)
- Schreiben (2)
- Science (2)
- Serial (2)
- Serienfilm (2)
- Sichtbarkeit (2)
- Slow cinema (2)
- Sozialgeschichte (2)
- Spekulativer Realismus (2)
- Spiritismus (2)
- Sprache <Motiv> (2)
- Structure (2)
- Struktur (2)
- Subjektivität (2)
- Suspense (2)
- Tango (2)
- Television (2)
- Tiere (2)
- Transhistoricism (2)
- Trauma (2)
- Türkei (2)
- Uncanny (2)
- Verdrängung (2)
- Verweigerung (2)
- Video art (2)
- Videokunst (2)
- Visual culture (2)
- Vitalismus (2)
- Völkermord (2)
- Wahrnehmung (2)
- Wetter <Motiv> (2)
- Whitehead, Alfred North (2)
- Widerspruch (2)
- Wissensrepräsentation (2)
- Woolf, Virginia (2)
- Worlding (2)
- Öffnung (2)
- 'Shadows' series (2016) (1)
- 120 BPM (1)
- A portrait of the artist as a young man (1)
- ACT UP (1)
- Abbasi, Ali (1)
- Abramović, Marina (1)
- Abstract algebra (1)
- Abstraktion (1)
- Academic publishing (1)
- Acting (1)
- Activism (1)
- Adagia (1)
- Adorno, Theodor W. (1)
- Aesthetic form (1)
- Aethetics (1)
- Affect theory (1)
- Affektive Bindung (1)
- Affirmation (1)
- Affizierung (1)
- African American literature (1)
- Afrikaans (1)
- Afroamerikanische Literatur / USA (1)
- Afterwardsness (1)
- Agamben, Giorgio: Altissima povertà (1)
- Agamben, Giorgio: Il sacramento del linguaggio (1)
- Agamben, Giorgio: L'aperto (1)
- Agathon (1)
- Albers, Josef (1)
- Algorithmus (1)
- Alternative gallery models (1)
- Altnordisch (1)
- Amateurfilm (1)
- Ambiguitiy (1)
- Ambiguität (1)
- Ambitransitive verbs (1)
- Ambivalence (1)
- American art (1)
- American poetry (1)
- Anachronism (1)
- Anagoge (1)
- Anagogy (1)
- Analysis (philosophy) (1)
- Anarchive (1)
- Andria (1)
- Angola (1)
- Animal studies (1)
- Anleitung (1)
- Anthologies - Editing (1)
- Anthropogene Klimaänderung (1)
- Anthropology (1)
- Anthropomorphismus (1)
- Anthropozän (1)
- Apartheid (1)
- Apartment-galleries (1)
- Aphasie (1)
- Apokatastasis (1)
- Apparatur (1)
- Appropriation (1)
- Aracoeli (1)
- Architecture and literature (1)
- Architektur (1)
- Archives (1)
- Arithmetik (1)
- Armenian genocide (1)
- Armenier (1)
- Armut (1)
- Arnim, Achim von (1)
- Art and photography (1)
- Art conservation (1)
- Art history (1)
- Art market (1)
- Art, Yugoslav (1)
- Artificial rain (1)
- Artificial weathering (1)
- Artistic collaboration (1)
- Artistic creation (1)
- Arts (1)
- Asian-African Conference (1)
- Aspect-relative cognition (1)
- Assemblage (1)
- Asylpolitik (1)
- Atlas (1)
- Atlas Group (1)
- Atlas Group. Archive (1)
- Atmosphere (1)
- Atmosphäre (1)
- Atopos (1)
- Attridge, Derek (1)
- Attunement (1)
- Aufführung (1)
- Aufstand (1)
- Augustinus, Aurelius (1)
- Augustinus, Aurelius, Heiliger (1)
- Austerity (1)
- Authenticity (Philosophy) in literature (1)
- Authoritarianism (1)
- Authority (1)
- Autismus (1)
- Autobiografische Literatur (1)
- Autobiography (1)
- Autofiction (1)
- Automat (1)
- Autophilosophy (1)
- Autorität (1)
- Avantgarde (1)
- BDSM (sexual behavior) (1)
- Bachelard, Gaston (1)
- Backbuch (1)
- Bacon, Francis (1)
- Badezimmer (1)
- Bandung Conference (1)
- Baraka, Imamu Amiri (1)
- Baraka, Imamu Amiri: The system of Dantes hell (1)
- Barbieri, Caterina (1)
- Bathroom (1)
- Bearbeitung (1)
- Beatgeneration (1)
- Beckett, Samuel (1)
- Becoming (Philosophy) (1)
- Bedrohung (1)
- Begriff (1)
- Begriffsbildung (1)
- Bellatín, Mario (1)
- Belonging (Social Psychology) (1)
- Benedictines (1)
- Benedikt XII., Papst (1)
- Benediktiner (1)
- Benjamin, Walter: Eduard Fuchs, der Sammler und der Historiker (1)
- Benjamin, Walter: Pergamentheft (1)
- Benjamin, Walter: Rastelli erzählt (1)
- Berlin-Neukölln (1)
- Berliner Chronik (1)
- Berliner Mauer <Motiv> (1)
- Beukes, Lauren (1)
- Beukes, Lauren: Zoo City (1)
- Beuys, Joseph (1)
- Bibel. Rut (1)
- Bichat, Xavier (1)
- Bildband (1)
- Bilir-Meier, Cana (1)
- Biology, experimental (1)
- Biopolitics (1)
- Black Arts movement (1)
- Blackbox (1)
- Blas, Zach (1)
- Bloom, Harold (1)
- Boissier, A. (1)
- Boissier, A.: Les amants électrisés par l'amour (1)
- Bojack Horseman (1)
- Books in paintings (1)
- Books mentioned in the Bible (1)
- Border (Gräns) (1)
- Borderland (1)
- Boudry, Pauline (1)
- Bourgeoisie (1)
- Brasilien (1)
- Brazil (1)
- Brecht, Bertolt (1)
- Brecht, Bertolt: Der Rundfunk als Kommunikationsapparat (1)
- Brief (1)
- Buch <Motiv> (1)
- Böttner, Lorenza (1)
- Bürgertum (1)
- COVID-19 (1)
- Campillo, Robin (1)
- Canon (literature) (1)
- Canzoniere (1)
- Capital market (1)
- Capitalism (1)
- Carpenter, John (1)
- Cartography (1)
- Case law (1)
- Castellucci, Romeo (1)
- Cavell, Stanley (1)
- Center for Historical Reenactments (1)
- Certain women (1)
- Chachkhiani, Vajiko: Heavy Metal Honey (1)
- Chachkhiani, Vajiko: Living Dog Among Dead Lions (1)
- Chachkhiani, Vajiko: Rite (Dog Days) (1)
- Challenge for change (1)
- Chance in art (1)
- Change (1)
- Chaos theory (1)
- Chaotisches System (1)
- Chiha, Patric (1)
- Chinesische Medizin (1)
- Chorality (1)
- Christentum (1)
- Christianity (1)
- Christliche Literatur (1)
- Chrononormativität (1)
- Cinema (1)
- Cistercians (1)
- Clanwilliam Arts Project (1)
- Clara (1)
- Classical reception (1)
- Classical tragedy (1)
- Claustrophilia (1)
- Climate (1)
- Climate change (1)
- Closure (1)
- Coetzee, J. M. (1)
- Cognitive mapping (1)
- Cohen, Albert (1)
- Communal resistance (1)
- Complexity (1)
- Computeranimation (1)
- Computermusik (1)
- Computerschach (1)
- Computerspiel (1)
- Comte, Auguste (1)
- Concentration camps (1)
- Concept-art (1)
- Conceptual art (1)
- Conceptuality (1)
- Conclusion (1)
- Confessiones (1)
- Confined weathers (1)
- Conservation (1)
- Contact improvisation jam (1)
- Contemporary art (1)
- Contingency (Philosophy) (1)
- Continuation (1)
- Contradiction (1)
- Contradictory thinking (1)
- Convents (1)
- Conversion (1)
- Counter-history (1)
- Counterpublic (1)
- Courtly culture (1)
- Creative distruction (1)
- Cripistemology (1)
- Critical thinking (1)
- Cuban art (1)
- Cultural identity (1)
- Curatorial archives (1)
- Curatorial practice (1)
- Curatorial practices (1)
- Curatorship (1)
- Damaskuserlebnis (1)
- Darstellung (1)
- Das Andere (1)
- Das Böse (1)
- Das Dionysische (1)
- Das Groteske (1)
- Das Heilige (1)
- Das Kapital (1)
- Das Phantastische (1)
- Das Soziale (1)
- Das Übernatürliche <Motiv> (1)
- De architectura (1)
- Decolonialsm (1)
- Deconstruction (1)
- Deklamation (1)
- Dekonstruktion (1)
- Delay (1)
- Delay, Jean (1)
- Demoris, Emmanuelle (1)
- Demoris, Emmanuelle: Mafrouza (1)
- Denis, Claire (1)
- Der Bau (1)
- Der Tod in Rom (1)
- Desire (1)
- Destruction (1)
- Deutsch (1)
- Deutschland (1)
- Deutschland <Motiv> (1)
- Developmental biology (1)
- Devotional literature (1)
- Dialect (1)
- Dialog (1)
- Dialogue (1)
- Diaspora <Religion> (1)
- Dictatorships (1)
- Die Serapions-Brüder (1)
- Die fröhliche Wissenschaft (1)
- Die unsichtbare Loge (1)
- Die Ästhetik des Widerstands (1)
- Difference (1)
- Digital art (1)
- Digital images (1)
- Digitale Bildmedien (1)
- Dionysos (1)
- Diptychon (1)
- Disability (1)
- Disability Studies (1)
- Disability aesthetics (1)
- Diskontinuität (1)
- Diskurstheorie (1)
- Disputation (1)
- Disruption (1)
- Disruptive innovations (1)
- Dissens (1)
- Disuse (1)
- Diversorium (1)
- Divina commedia (1)
- Division (split) (1)
- Diyarbakır. Region (1)
- Documentary (1)
- Documentary films (1)
- Doktor Faustus (1)
- Don Quijote (1)
- Doppelgänger <Motiv> (1)
- Dramatic conflict (1)
- Drawing (1)
- Drehbuchautor (1)
- Druck (1)
- Dschinn (1)
- Duineser Elegien (1)
- Duncan, Robert Edward (1)
- Durkheim, Émile (1)
- Dyptich (1)
- Eating disorders (1)
- Eckhart, Meister (1)
- Eclipses (1)
- Eco-feminist praxis (1)
- Eco-redaction (1)
- Ecology (1)
- Education, compulsory (1)
- Edward II (Film, 1991) (1)
- Ein Bericht für eine Akademie (1)
- Einbildungskraft (1)
- Einwanderin (1)
- Eisen (1)
- Electricity (1)
- Elektrizität (1)
- Emerson, Ralph Waldo (1)
- Engels, Friedrich (1)
- Englisch (1)
- Enlightenment (1)
- Entangled ecologies (1)
- Entropie (1)
- Entropy (1)
- Entwicklungsbiologie (1)
- Environmental influence (1)
- Epigenetics (1)
- Epigenetik (1)
- Epilog (1)
- Epilogues (1)
- Episkop (1)
- Epoché <Phänomenologie> (1)
- Erasmus, Desiderius (1)
- Erinnerung (1)
- Eritrea (1)
- Erkenntniskritik (1)
- Eros <Begriff> (1)
- Erotische Lyrik (1)
- Errancy (1)
- Error (1)
- Errors (1)
- Erzählung (1)
- Erzählzeit (1)
- Essstörung (1)
- Estado Novo (1)
- Eternity (1)
- Ethik (1)
- Ethnologe (1)
- Eupalinos (1)
- European asylum system (1)
- Eutopos (1)
- Evolutionary biology (1)
- Evolutionsbiologie (1)
- Evolutionstheorie (1)
- Exceptionalism (1)
- Exhibition reactivation (1)
- Exhibitions (1)
- Exil (1)
- Exile (1)
- Exilic consciousness (1)
- Experimental video (1)
- Experimentelles Video (1)
- Extractivism (1)
- Fanon, Frantz (1)
- Fear (1)
- Feldforschung (1)
- Feldtheorie (1)
- Feminist pornography (1)
- Feministische Philosophie (1)
- Fetischismus (1)
- Field theory (1)
- Figuration <Kunst> (1)
- Figures of speech (1)
- Fiktionale Darstellung (1)
- Film scripts (1)
- Fluide Identität (1)
- Fluxus (1)
- Flächennutzung (1)
- Fog (1)
- Folkbildningsterror (1)
- Forests (1)
- Form (aesthetics) (1)
- Fortleben (1)
- Fortpflanzung (1)
- Fortschritt (1)
- Fotobuch (1)
- Fragmentation (Philosophy) in literature (1)
- Franciscans (1)
- Franziskaner (1)
- Fraser, Andrea (1)
- Frau <Motiv> (1)
- Freedom (1)
- Frege, Gottlob (1)
- Freiheit (1)
- Fremder <Motiv> (1)
- French literature (1)
- Freundschaft (1)
- Friedhof (1)
- Friedrich, Su (1)
- Friedrich, Su: Seeing Red (1)
- Fugitivity (1)
- Furcht <Motiv> (1)
- Future concepts (1)
- Futurismus (1)
- Föderation Nordsyrien - Rojava (1)
- Führungslehre (1)
- Gadda, Carlo Emilio (1)
- Galfredus, Monumetensis (1)
- Galuth (1)
- Game Studies (1)
- Gamification (1)
- Gast <Motiv> (1)
- Gastfreundschaft <Motiv> (1)
- Gated Community (1)
- Gay culture (1)
- Gay erotic poetry (1)
- Geburt Jesu (1)
- Gebäckherstellung (1)
- Gefangener (1)
- Gegenöffentlichkeit (1)
- Gegenübertragung (1)
- Geheimdienst (1)
- Geister (1)
- Gender (1)
- Genocide (1)
- Gentrifizierung (1)
- Geo-aesthetics (1)
- Geography (1)
- Geology (1)
- German colonialism (1)
- Germania anno zero (1)
- Geschichte 1250-1500 (1)
- Geschichte 1700-1800 (1)
- Geschichte 1750-1800 (1)
- Geschichte 1960- (1)
- Geschichte 1990-2000 (1)
- Geschichte 2013 (1)
- Geschichte 2015 (1)
- Geschichte <Motiv> (1)
- Geschichtlichtkeit (1)
- Geschichtsphilosophie (1)
- Geschlechterrolle (1)
- Gesellschaftskritik (1)
- Gestalt psychology (1)
- Gestaltpsychologie (1)
- Geteiltes Deutschland <Motiv> (1)
- Gezi movement, Turkey 2013 (1)
- Gezi-Park (Istanbul) (1)
- Ghettoization (1)
- Gide, André (1)
- Giudici, Giovanni (1)
- Gleichheit (1)
- Global histories (1)
- Goats (1)
- Golem (1)
- Golfkrieg <2003> (1)
- Golfstaaten (1)
- Good and evil in literature (1)
- Gottfried, von Straßburg (1)
- Grimm, Jacob (1)
- Grotesque (1)
- Gruppe T (1)
- Gruppo T (1)
- Guayana-Massiv (1)
- Guest (1)
- Guiana Shield (1)
- Gulf futurism (1)
- Halloween (Film, 1978) (1)
- Hamacher, Werner (1)
- Hamann, Johann Georg (1)
- Hammons, David (1)
- Handlesekunst (1)
- Handlungskompetenz (1)
- Handlungsmacht <Soziologie> (1)
- Harmonie (1)
- Harmony (1)
- Haunting (1)
- Havanna (1)
- Hegel, Georg Wilhelm Friedrich (1)
- Heil (1)
- Heilpflanzen (1)
- Heimat <Motiv> (1)
- Hell (theology) (1)
- Hellsehen (1)
- Helmholtz, Hermann von (1)
- Heretics, Christian (1)
- Hermeneutik (1)
- Herzog, Werner (1)
- Herzog, Werner: Wo die grünen Ameisen träumen (1)
- Heterogenese (1)
- Heterotopie (1)
- Heuristic (1)
- Heuristik (1)
- High Life (1)
- Hindernis (1)
- Historical reconstruction (1)
- Historical time (1)
- Historical transformation (1)
- Historicism (1)
- Historiography (1)
- Historische Kritik (1)
- Historizismus (1)
- History from below (1)
- History in literature (1)
- History of medicine (1)
- History of science (1)
- Hobbes, Thomas (1)
- Hoffmann, E.T.A. (1)
- Holbein, Hans (1)
- Holocaust, Jewish (1939-1945) (1)
- Home (1)
- Homonyms (1)
- Homosexuality (1)
- Honigpumpe am Arbeitsplatz (1)
- Hoover, Nan (1)
- Hope (1)
- Hospitality (1)
- Houston, Shine Louise: The wild search (1)
- Hughes, John (1)
- Hughes, John: The idea of home - autobiographical essays (1)
- Human biology (1)
- Humanismus (1)
- Humanity (1)
- Humanität (1)
- Hume, David (1)
- Hunger strike (1)
- Hungerstreik (1)
- Hybridity (1)
- Hysteria (1)
- Hysterie <Motiv> (1)
- Höfische Literatur (1)
- Hölle <Motiv> (1)
- Idioms (1)
- Illusion (1)
- Illustrated atlas (1)
- Illustration (1)
- Illustration of books (1)
- Imagination (1)
- Imitationen (1)
- Imperfection (1)
- Improvisation (1)
- Inclusion (1)
- Incommensurability (1)
- Incompleteness (1)
- Independent cinema (1)
- Index <Semiotik> (1)
- India (1)
- Indigene Medienkulturen (1)
- Indigeneity (1)
- Indigenes Volk (1)
- Individuation (1)
- Inferno, 26 (1)
- Ingenieurwissenschaften (1)
- Innateness (Philosophy) (1)
- Institution (1)
- Institutional critique (1)
- Inszenierung (1)
- Intensität (1)
- Interdisciplinary research (1)
- Interdisziplinarität (1)
- Interdisziplinäre Forschung (1)
- Intermedialität (1)
- Internet (1)
- Intersubjectivity (1)
- Intersubjektivität (1)
- Intransitives Verb (1)
- Ipomedon (1)
- Irak (1)
- Iran (1)
- Iran / Revolution <1978-1979> (1)
- Iranian studies (1)
- Iraq (1)
- Irish literature (1)
- Irland (1)
- Iron (1)
- Isabella von Ägypten (1)
- Island (1)
- Israel (1)
- Italian literature - 20th Century (1)
- Italien (1)
- Italien. Süd (1)
- Italienisch (1)
- Italy - History (1)
- Italy, Southern (1)
- Iterability (1)
- Iturbide, Graciela (1)
- Jabès, Edmond (1)
- Jacir, Annemarie (1)
- Java (1)
- Je ne sais quoi (1)
- Jean Paul (1)
- Jesus Christus (1)
- Jetztzeit (1)
- Jewish Diaspora (1)
- Jewish law (1)
- Jones, LeRoi (1)
- Juden <Motiv> (1)
- Judenvernichtung <Motiv> (1)
- Jugoslawien (1)
- Julien, Isaac (1)
- Julien, Isaac: The Attendant (1)
- Jungfräulichkeit (1)
- Jüdisches Recht (1)
- Kaaps (1)
- Kabir (1)
- Kahlo, Frida (1)
- Kanada (1)
- Kann, Siegfried (1)
- Kanon (1)
- Kapitalismus (1)
- Kartografie (1)
- Kawauchi, Rinko (1)
- Kejawen (1)
- Kerbaj, Mazen (1)
- Kernspaltung (1)
- Khazem, Jean-Pierre (1)
- Kierkegaard, Søren (1)
- Kinetische Kunst (1)
- Kippfigur (1)
- Klangkunst (1)
- Klee, Paul (1)
- Kleine Geschichte der Photographie (1)
- Kleist, Heinrich von (1)
- Klima <Motiv> (1)
- Kloster Lüne (1)
- Knowledge (1)
- Knowledge representation (1)
- Koeppen, Wolfgang (1)
- Konflikt (1)
- Kontingenz (1)
- Konversion <Religion> (1)
- Konzentrationslager <Motiv> (1)
- Konzentrationslager Auschwitz <Motiv> (1)
- Kooperation (1)
- Kopie (1)
- Kosmologie (1)
- Kosmopolitik (1)
- Koťátková, Eva (1)
- Koťátková, Eva: Asylum (1)
- Kraus, Karl (1)
- Kreuzlingen (1)
- Kritik der praktischen Vernunft (1)
- Kritisches Denken (1)
- Krochmal, Nachman (1)
- Kuba (1)
- Kubota, Shigeko (1)
- Kuhn, Thomas S. (1)
- Kulturelle Identität (1)
- Kunstbetrieb (1)
- Kunstgalerie (1)
- Kunstgeschichtsschreibung (1)
- Kunstmarkt (1)
- Kunstproduktion (1)
- Kurden (1)
- Kurdish movement (1)
- Kurdistan-Irak (1)
- Kurzfilm (1)
- Künste (1)
- Künstlerin (1)
- Künstliche Intelligenz (1)
- LGBT (1)
- LGBT people (1)
- La divina mimesis (1)
- La luna e i falò (1)
- Lachen (1)
- Lachman, Harry (1)
- Lachman, Harry: Dante's Inferno (1)
- Lacoue-Labarthe, Philippe (1)
- Land-art (1)
- Landscape (1)
- Landwirtschaft (1)
- Langsamkeit (1)
- Language acquisition (1)
- Language disorders (1)
- Language politics (1)
- Lanzmann, Claude (1)
- Las Meninas (1)
- Latin (1)
- Latour, Bruno (1)
- Laughter (1)
- Le Nemesiache (1)
- Le dernier des injustes (Film) (2013) (1)
- Le livre de ma mère (1)
- Leben (1)
- Lebendige Gegenwart (1)
- Lebensform (1)
- Lefebvre, Henri (1)
- Legal imagination (1)
- Leitung <Technik> (1)
- Lerne deutsch mit Petra von Kant (1)
- Lesbe (1)
- Lesbian Separatism (1)
- Lesbian continuum (1)
- Lesbische Filmgeschichte (1)
- Lesbische Liebe (1)
- Lesbisches Begehren (1)
- Lesen (1)
- Letters (1)
- Libanon (1)
- Libanonkrieg <2006> (1)
- Liberalismus (1)
- Liebmann, Irina (1)
- Liebmann, Irina: Die freien Frauen (1)
- Liebmann, Irina: In Berlin (1)
- Life sciences and philosophy (1)
- Linguistic apartheid (1)
- Linguistic scepticism (1)
- Listening (1)
- Literarisches Leben (1)
- Literary experience (1)
- Literary field (1)
- Literary history (1)
- Literary material (1)
- Literature (1)
- Living and non-living beings (1)
- Living present (1)
- Logic (1)
- Lokales Wissen (1)
- Lorbeer (1)
- Lorenz, Renate (1)
- Lourdes (1)
- Lyotard, Jean-François (1)
- Lévi-Strauss, Claude (1)
- Löwin (1)
- Machtstruktur (1)
- Mafrouza - Oh la nuit! (1)
- Magic Circle (1)
- Magie (1)
- Magnet Theatre (Kapstadt) (1)
- Mainzer Sand (1)
- Malabou, Catherine (1)
- Malcomess, Bettina (1)
- Management (1)
- Management literature (1)
- Mann, Thomas (1)
- Marcos, Ferdinando Edralin (1)
- Marcos, Imelda Romualdez (1)
- Marginal temporality (1)
- Margulis, Lynn (1)
- Maria (1)
- Marxismus (1)
- Maschine (1)
- Massumi, Brian (1)
- Materiality (1)
- Materialität (1)
- Mathematical analysis (1)
- Mathematik (1)
- Maulbeerbaum (1)
- Mauthner, Fritz (1)
- McLaren, Norman (1)
- McLaren, Norman: Begone dull care (1)
- Media art (1)
- Mediated landscapes (1)
- Medicin, Chinese (1)
- Medienkultur (1)
- Medientechnik (1)
- Medienökologie (1)
- Medium (1)
- Medizin (1)
- Medizingeschichte (1)
- Mehrotra, Arvind Krishna (1)
- Mehrotra, Arvind Krishna: Songs of Kabir (1)
- Memorialization (1)
- Memory <remembrance> (1)
- Mental illness (1)
- Meredith, Sean (1)
- Meredith, Sean: Inferno (1)
- Merrill, James Ingram (1)
- Messianismus (1)
- Metamorphose (1)
- Metamorphosis (1)
- Metaphysics of presence (1)
- Meteorological art (1)
- Middle East (1)
- Middle English (1)
- Migration (1)
- Milḥ hāḏa 'l-baḥr (1)
- Military junta (1)
- Militär (1)
- Militärdiktatur (1)
- Minderheit (1)
- Minefields (1)
- Minimal variation (1)
- Minimalism (1)
- Mise en abyme (1)
- Missverständnis (1)
- Misunderstandings (1)
- Mittelenglisch (1)
- Modernisierung (1)
- Monasticism (1)
- Montage (1)
- Montale, Eugenio (1)
- Moral (1)
- Morante, Elsa (1)
- More-than-human memory (1)
- More-than-human relations (1)
- Moten, Fred (1)
- Moten, Fred: B Jenkins (1)
- Mother (1)
- Motion picture (1)
- Motion picture authorship (1)
- Motion picture play (1)
- Mouvance (1)
- Mulberry trees (1)
- Mundart Afrikaans <Kapstadt, Region> (1)
- Murmelstein, Benjamin (1)
- Museum education (1)
- Museumspädagogik (1)
- Music (1)
- Musical (1)
- Musik (1)
- Mutter (1)
- Mutter <Motiv> (1)
- Muzeum Sztuki (Lodz) (1)
- Muzeum Sztuki (Lodz). Mie̜dzynarodowa Kolekcja Sztuki Nowoczesnej (1)
- Muñoz, José Esteban (1)
- Mysticism (1)
- Mystik (1)
- Mystizismus (1)
- Mythologie (1)
- Mythology in Motion Pictures (1)
- Mythos (1)
- Mönchtum (1)
- Müller, Herta (1)
- Münchhausen Effekt (1)
- Mündiche Überlieferung (1)
- NSZZ "Solidarność" (1)
- Nachleben (1)
- Nachträglichkeit (1)
- Name (1)
- Nancy, Jean-Luc (1)
- Narbe (1)
- Nation building (1)
- National socialism (1)
- Nationalbewusstsein (1)
- Nationalism (1)
- Nationalism and collective memory (1)
- Nationalismus (1)
- Nationalsozialismus <Motiv> (1)
- Nationenbildung (1)
- Nativism (1)
- Nativismus (1)
- Naturdarstellung (1)
- Nature (1)
- Nature images (1)
- Nature-culture (1)
- Naturlandschaft (1)
- Nebel <Motiv> (1)
- Negation (1)
- Negation (Logic) (1)
- Negri, Antonio (1)
- Nemes, László (1)
- Neokolonialismus (1)
- Neoliberal ideology (1)
- Neoliberalism (1)
- Neoplastic Room (1)
- Neoplastizismus (1)
- Nerv (1)
- Neue Medien (1)
- Neurath, Otto (1)
- Nichts (1)
- Nichtstaatliche Organisation (1)
- Nonne (1)
- Northern Renaissance (1)
- Nuclear Aesthetics (1)
- Nuclear Art (1)
- Nuclear Culture (1)
- Nuns (1)
- Object relations theory (1)
- Objektbeziehung (1)
- Observatorium <Motiv> (1)
- Observatory (1)
- Odysseus, Fiktive Gestalt (Sagengestalt) (1)
- Old Joy (1)
- Old Norse (1)
- Old Testament (1)
- Ontogenie (1)
- Ontologie (1)
- Ontology (1)
- Opacity (1)
- Open design (1)
- Openness (1)
- Operative reenactment (1)
- Oppression (1)
- Oral history (1)
- Oral tradition (1)
- Ordensreform (1)
- Ordensregel (1)
- Orey, Inês d' (1)
- Organisms (1)
- Organismus (1)
- Origin of language (1)
- Original (1)
- Ort (1)
- Ostblock (1)
- Otherness (1)
- Outopos (1)
- Owen, Robert (1)
- Paik, Nam June (1)
- Palestine (1)
- Palmistry (1)
- Palästina (1)
- Panafricanism (1)
- Pandemie (1)
- Pane, Gina (1)
- Paradox (1)
- Paradoxes in literature (1)
- Paris (1)
- Partiality (1)
- Partisan (1)
- Partisanship (1)
- Pasolini, Pier Paolo: L'odore dell'India (1)
- Pasolini, Pier Paolo: Appunti per un film sull'India (1)
- Pasolini, Pier Paolo: Appunti per un'Orestiade africana (1)
- Pasolini, Pier Paolo: L'uomo di Bandung (1)
- Pasolini, Pier Paolo: Pilade (1)
- Pathosformel (1)
- Pavese, Cesare (1)
- Pedagogy (1)
- Performance (1)
- Periphery (1)
- Petrarca, Francesco (1)
- Petrolio (1)
- Petzold, Christian (1)
- Pflanzen <Motiv> (1)
- Phantasmata (1)
- Phase transitions (1)
- Phenomenology (1)
- Phenotypic plasticity (1)
- Philippine history (1)
- Philippinen (1)
- Philologie (1)
- Philosophy of consciousness (1)
- Philosophy of science (1)
- Phobias (1)
- Phobie (1)
- Photobooks (1)
- Photographic errors (1)
- Phraseologie (1)
- Physics (1)
- Phänotyp (1)
- Picasso, Pablo (1)
- Pirici, Alexandra (1)
- Piss (1)
- Plants (1)
- Plastik (1)
- Plastizität <Physiologie> (1)
- Pleasure (1)
- Plural thought (1)
- Poem (1)
- Poesia in forma di rosa (1)
- Poetry, Yugoslav (1)
- Polemik (1)
- Political Messianism (1)
- Political atmosphere (1)
- Political beginnings (1)
- Political pressure (1)
- Political science (1)
- Political spirituality (1)
- Political theology (1)
- Political violence (1)
- Political-timing-specific art (1)
- Politics of scale (1)
- Politische Theologie (1)
- Popularisierung (1)
- Porcile (Film) (1)
- Pornografie (1)
- Pornographic films (1)
- Portugal (1)
- Positionality (1)
- Post-Apartheid (1)
- Post-Internet art (1)
- Post-enlightenment (1)
- Post-migrantisch (1)
- Postcolonialism (1)
- Postcolonialism in literature (1)
- Postcolonialismus (1)
- Postkolonialismus <Motiv> (1)
- Postmarxismus (1)
- Postponement (1)
- Potentiality (1)
- Power relations (1)
- Praise (1)
- Praktiken des Attunements (1)
- Precariousness (1)
- Preciado, Paul B. (1)
- Preenactment (1)
- Prekarisierung (1)
- Pressburger, Giorgio (1)
- Pressburger, Giorgio: Nel regno oscuro (1)
- Principi di una scienza nuova (1)
- Principle of an-archy (1)
- Print culture (1)
- Prisons (1)
- Process and reality (1)
- Programmed art (1)
- Prolog (1)
- Prologues (1)
- Promise (1)
- Prophecy (1)
- Prophetie <Motiv> (1)
- Prosthetics (1)
- Prostitution (1)
- Protestbewegung (1)
- Prothese (1)
- Präfix (1)
- Psychiatry (1)
- Psychisches Trauma (1)
- Psychoanalyse <Motiv> (1)
- Psychotherapie (1)
- Psychotherapy (1)
- Public sphere (1)
- Punakawan (1)
- Puppe (1)
- Puppenspiel (1)
- Puppet films (1)
- Pädagogik (1)
- Pêcheux, Michel (1)
- Qadiri, Monira al- (1)
- Queer gaze (1)
- Queer sensibilities (1)
- Queere Kollektivität (1)
- Queere Sebstbestimmug (1)
- Queere Zeitlichkeiten (1)
- Queere Zeitpolitiken (1)
- Queere Ästhetik (1)
- Queerer Experimentalfilm (1)
- Quelle <Hydrologie> (1)
- Quer pasticciaccio brutto de Via Merulana (1)
- Raad, Walid (1)
- Racial justice (1)
- Racism (1)
- Radiation (1)
- Radical indifference (1)
- Radical psychiatry (1)
- Radioactive (1)
- Radioaktivität (1)
- Rain (1)
- Rancière, Jacques (1)
- Rationalismus (1)
- Rationalität (1)
- Raubbau (1)
- Rauschenberg, Robert (1)
- Re-citation (1)
- Re-enactment (1)
- Re-enactment, historical (1)
- Re-presentation (1)
- Realismus (1)
- Receptivity (1)
- Recht (1)
- Recipe (1)
- Recirculation (1)
- Reconstruction (1)
- Red (1)
- Reduction (1)
- Reduktion <Phänomenologie> (1)
- Reenaction (1)
- Reference (1)
- Refugee tales (1)
- Refugees (1)
- Rehabilitation (1)
- Reichardt, Kelly (1)
- Relapse (1)
- Religious studies (1)
- Reparativ (1)
- Repeatability (1)
- Repetition compulsion (1)
- Reproduction (1)
- Reproduktion (1)
- Repräsentation (1)
- Resistant roots (1)
- Resnais, Alain (1)
- Resonance (1)
- Restaging (1)
- Restraint (1)
- Retrospection (1)
- Revelation (1)
- Revolt (1)
- Revolution (1)
- Rezept (1)
- Rezirkulation (1)
- Rheinberger, Hans-Jörg (1)
- Rhetorical criticism (1)
- Rhetorical simplicity (1)
- Rhetorik (1)
- Rilke, Rainer Maria (1)
- Rivera, Diego (1)
- Robotik (1)
- Rohstoffgewinnung (1)
- Romanze (1)
- Rosario, Arthur Bispo do (1)
- Rossellini, Roberto (1)
- Rossellini, Roberto: Deutschland im Jahre Null (1)
- Rost (1)
- Ruine (1)
- Ruins (1)
- Rust (1)
- Römisches Recht (1)
- Sade, Marquis de (1)
- Sado-Masochism (1)
- Sadomasochismus (1)
- Saga (1)
- Salome (1)
- Salvation (1)
- Sammelwerk (1)
- Sammlung (1)
- San <Volk> (1)
- Santal (1)
- Scale (1)
- Scar (1)
- Scenarios (1)
- Scepticism (1)
- Schauspielkunst (1)
- Schelling, Friedrich Wilhelm Joseph von (1)
- Schiff <Motiv> (1)
- Schizoid personality disorder (1)
- Schizoidie (1)
- Scholarly communication (1)
- Scholasticism (1)
- Scholastik (1)
- Schooling (1)
- Schriftlichkeit (1)
- Schuld (1)
- Schulden (1)
- Schule (1)
- Schulpflicht (1)
- Schutz (1)
- Schwarz, Roberto (1)
- Schwarze (1)
- Science-Fiction-Film (1)
- Screen writing (1)
- Screenwriting studies (1)
- Sculpture (1)
- Sebald, W. G. (1)
- Sebastianismus (1)
- Secular order (1)
- Segregation <Soziologie> (1)
- Sein (1)
- Sekula, Allan (1)
- Selbst (1)
- Selbstbestimmung (1)
- Selbstreflexion (1)
- Semiperipherie (1)
- Semprún, Jorge (1)
- Senegal (1)
- Sereni, Vittorio (1)
- Serra, Richard (1)
- Sexfilm (1)
- Sexuality (1)
- Sexualverhalten (1)
- Shekhar, Hansda Sowvendra (1)
- Shekhar, Hansda Sowvendra: The adivasi will not dance (1)
- Silveira, Nise da (1)
- Singularität <Philosophie> (1)
- Situated knowledge (1)
- Situierte Subjektivität (1)
- Skeptizismus (1)
- Sklaverei (1)
- Slavery (1)
- Smartness mandate (1)
- Smith, Ali (1)
- Social complexity (1)
- Social history (1)
- Social theory (1)
- Social transformation (1)
- Societas Raffaello Sanzio (1)
- Society (1)
- Son of Saul (1)
- Sonic reenactment (1)
- South Lebanon (1)
- Sozialer Wandel (1)
- Sozialphilosophie (1)
- Spaltung (1)
- Sparpolitik (1)
- Spatial turn (1)
- Speculative realism (1)
- Spekulativer Materialismus (1)
- Spiegelung <Motiv> (1)
- Spielifizierung (1)
- Spieltherapie (1)
- Spielwissenschaft (1)
- Spirited water spots (1)
- Spirituality (1)
- Spiritualität (1)
- Splace (1)
- Splitting (psychology) (1)
- Spracherwerb (1)
- Sprachphilosophie (1)
- Sprachpolitik (1)
- Sprachskepsis (1)
- Sprachtheorie (1)
- Sprachursprung (1)
- Spur (1)
- Staat (1)
- Stadt (1)
- Stadt <Motiv> (1)
- Stage adaptions (1)
- Stalking (1)
- Standardsprache (1)
- State (1)
- State security archives (1)
- Stedelijk Van Abbe-Museum (1)
- Steinmetz, Charles Proteus (1)
- Stench (1)
- Stengers, Isabelle (1)
- Sternwarte (1)
- Steyerl, Hito (1)
- Strahlung (1)
- Strangers (1)
- Stratigraphie (1)
- Stratigraphy (1)
- Strauss, Richard (1)
- Streubombe (1)
- Structuralism (1)
- Strukturale Anthropologie (1)
- Strukturalismus (1)
- Strukturelle Diskriminierung (1)
- Störung (1)
- Subjectivity (1)
- Subjectivity in literature (1)
- Subjekt (1)
- Subjekt <Philosophie> (1)
- Subjektive Sicherheit (1)
- Susceptibility (1)
- Symbiose (1)
- Szenarium (1)
- Südafrika (1)
- Südafrika. Truth and Reconciliation Commission (1)
- Südlibanon (1)
- Talmud (1)
- Teaching (1)
- Technikphilosophie (1)
- Technologie (1)
- Teilung <Motiv> (1)
- Teleologie (1)
- Teleology (1)
- Temporal paradox (1)
- Temporalität (1)
- Teorema (Film) (1)
- Terentius Afer, Publius (1)
- Terminologie (1)
- Testimony (1)
- Text-Installation (1)
- Textuality (1)
- The Beats (1)
- The Childhood of Jesus (1)
- The Dionysian (1)
- The Nativity (1)
- The Owls (1)
- The Sacred (1)
- The Simpsons (Fernsehsendung) (1)
- The book of Margery Kempe (1)
- The extraordinary (1)
- The many (1)
- The self (1)
- The structure of scientific revolutions (1)
- The unconcious (Psychology) (1)
- The waves (1)
- Theater (1)
- Theatre-Philosophy (1)
- Theologie (1)
- Theoretische Physik (1)
- Theorizing (1)
- Therapie (1)
- Theresienstadt (Film) (1)
- This makes me want to predict the past (1)
- Thomas, Yan (1)
- Thomas, von Cantimpré (1)
- Tiere <Motiv> (1)
- Time in motion pictures (1)
- Time-based art (1)
- Time-based media (1)
- To-do lists (1)
- Tod <Motiv> (1)
- Todesangst (1)
- Todestrieb (1)
- Topografie (1)
- Totality (1)
- Totem und Tabu (1)
- Totò (1)
- Touch (1)
- Toxic affect (1)
- Toxicity (1)
- Trace (1)
- Tradition (1)
- Tragedy (1)
- Tragödie (1)
- Trans Rights (1)
- Transcontextual (1)
- Transferability (1)
- Transformation audiovisueller Medien (1)
- Transgender (1)
- Transgender men (1)
- Transindividuelles Beziehungsgefüge (1)
- Transitives Verb (1)
- Transmediality (1)
- Transnational economy (1)
- Transsexueller (1)
- Trantraal, Nathan (1)
- Trieb (1)
- Trägheit (1)
- Turing, Alan Mathison (1)
- Turkey (1)
- Täuschung (1)
- USA (1)
- Ubiquitous Computing (1)
- Umwelt (1)
- Umweltfaktor (1)
- Umweltschaden (1)
- Unbestimmtheit (1)
- Unbewusstes <Motiv> (1)
- Universalism (1)
- Universalismus (1)
- University system (1)
- Universität (1)
- Unmittelbarkeit (1)
- Unsterblichkeit <Motiv> (1)
- Unterdrückung (1)
- Unterhaltung (1)
- Untranslatability (1)
- Unvollkommenheit (1)
- Unvollständigkeit (1)
- Urban change (1)
- Utopia (1)
- Utopie (1)
- VUCA (1)
- Valéry, Paul (1)
- Variation (1)
- Velázquez, Diego Rodríguez de Silva y (1)
- Venedig (1)
- Verführung <Motiv> (1)
- Vergiftung (1)
- Vergleichbarkeit (1)
- Verlust (1)
- Vermeidung (1)
- Vernacular photography (1)
- Versammlung (1)
- Versprechen (1)
- Verwundbarkeit (1)
- Verzweiflung (1)
- Verzögerung (1)
- Veröffentlichung (1)
- Veteranyi, Aglaja (1)
- Vico, Giambattista (1)
- Video (1)
- Video-Installation (1)
- Violence (1)
- Virtuelle Kraft (1)
- Virtuelle Realität (1)
- Visibility (1)
- Visitation (1)
- Visual lists (1)
- Vita Christinae (1)
- Vita Merlini (1)
- Vitruvius (1)
- Volkserzählung (1)
- Voltaire (1)
- Wace (1)
- Wahnsinn <Motiv> (1)
- Wald (1)
- Wapikoni mobile (1)
- Warum das Kind in der Polenta kocht (1)
- Wassergeist (1)
- Wayang kulit (1)
- Weak resistance (1)
- Weather (1)
- Weather art (1)
- Weiss, Peter (1)
- Weltkrieg <1939-1945> (1)
- Weltliche Macht (1)
- Wendy and Lucy (1)
- Werden (1)
- Wert (1)
- Westliche Welt (1)
- Wiederholungszwang (1)
- Wieland, Christoph Martin (1)
- Wild medicinal plants (1)
- Wildnis <Motiv> (1)
- Wirklichkeit (1)
- Wissenschaftliche Literatur (1)
- Wissenschaftsgeschichte (1)
- Wissenschaftsgeschichte <Fach> (1)
- Wissenschaftstheorie (1)
- Withholding power (1)
- Wolff, Charlotte (1)
- Women in literature (1)
- Women* (1)
- Wong, Ming (1)
- Work (1)
- Worldliterature (1)
- Wright, Charles (1)
- Writing (1)
- Wunder (1)
- Yeats, William Butler (1)
- Yella (1)
- Yi jing (Werk) (1)
- Yugoslav wars (1991-2001) (1)
- Yugoslavia - history (1)
- Zanzotto, Andrea (1)
- Zeichnung (1)
- Ziegenhaltung (1)
- Zisterzienser (1)
- Zugehörigkeit (1)
- Zuhören (1)
- Zweite industrielle Revolution <Technik> (1)
- al-Bika (1)
- aperire (1)
- aperte (1)
- hooks, bell (1)
- iPhone-Film (1)
- katéchon (1)
- Öffentlichkeit (1)
- Ökofeminismus (1)
- Ökologie (1)
- Über das Marionettentheater (1)
- Übergangsobjekt (1)
- Überleben (1)
- Übernatürliches Wesen (1)
- Überschreitung (1)
- Übertragbarkeit (1)
- Übertretung (1)
- Überwachung (1)
- Überwachungstechnik (1)
- Žižek, Slavoj (1)
Eine Interpretation des relativ unbekannten Fragments "Clara, oder Zusammenhang der Natur mit der Geisterwelt" (1810-1811), das Friedrich Wilhelm Joseph Schelling kurz nach dem Tod seiner Frau Caroline schrieb, leistet Laurie Johnson. Obwohl dieses Fragment auch als Teil der damals aktuellen Diskussion über Techniken des Hellsehens und die Möglichkeit der Unsterblichkeit verstanden werden kann, richtet es sich vor allem auf die unheimliche Integration der Toten in den Alltag der Lebendigen. Johnson argumentiert, dass Clara als legitimer Bestandteil von Schellings Philosophie gelesen werden kann und daher als bedeutungsvoller Beitrag sowohl zum romantischen Theorie-Diskurs als auch zur Geschichte des Unheimlichen.
Jan Niklas Howe untersucht Freuds Modell des Unheimlichen im Hinblick auf ästhetische und reale Emotionen und bezieht sich dabei auf neuere psychologische Forschungen von 'mere exposure', 'prototypicality' und 'cognitive fluency'. Das Gefühl des Unheimlichen lässt sich Howe zufolge auf Wiederholungsprozesse zurückführen und als Rekontextualisierung ästhetischer Lust beschreiben, die notwendig zu höchst realer ästhetischer Unlust führt.
Von Okkultisten und Spiritisten an- und aufgeführte 'Geister-Zitationen' waren auch Sigmund Freud nicht entgangen. Sein Begriff einer 'Technik der Magie' nimmt in mehrfacher Hinsicht, so Rupert Gaderer in seinen Überlegungen, eine zentrale Rolle für das 'dynamische' Modell des Unheimlichen ein. Einerseits ist die 'Technik der Magie' ein Referenzpunkt zum 'primitiven' Zeitalter des Animismus, andererseits kann sie als spezifische Operation verstanden werden, die ein ambivalentes Wissen über das Unheimliche entstehen lässt. Dem folgend weist Gaderer darauf hin, dass Freuds Analyse der 'Technik der Magie' die Psychoanalyse selbst hat unheimlich werden lassen.
Konstruierte urbane Räume : zur unheim(e)lichen Interaktion und Interdependenz von Emotion und Beton
(2011)
Sandra Evans konzentriert sich in ihren Ausführungen auf sogenannte 'gated communities' und fragt, warum Menschen sich in selbstverwaltete Wohnkomplexe mit schützenden Mauern und Überwachungstechnologien zurückziehen. Um die in diesem Kontext häufig genannten Ursachen - Gefühle des Bedrohtseins, der Furcht und der Angst - genauer beleuchten zu können, rekurriert sie auf das Unheimliche in seiner sozio-politischen Dimension. Vor diesem Hintergrund kann sie erklären, dass das Vertraute - unabhängig etwa von der tatsächlichen Kriminalitätsrate - nicht selten mit Sicherheit in eins gesetzt wird, während das Unvertraute oder Unbekannte als unheimliche Bedrohung empfunden wird. Anstatt sich aber mit den eigentlichen Faktoren der Angst auseinanderzusetzen, verfallen Bewohner von 'gated communities' selbsttäuschenden Vermeidungstaktiken.
Geister versammeln : Vorwort
(2011)
Bereits zu Beginn seiner Abhandlung "Das Unheimliche" (1919) weist Sigmund Freud darauf hin, dass "dies Wort nicht immer in einem scharf zu bestimmenden Sinne gebraucht wird". Entsprechend charakterisiert sich für Freud das Unheimliche durch eine Vielzahl an schwer zu fassenden Eigenschaften: Es bezeichnet eine seltsame Nähe zwischen Wissen und Nichtwissen, erscheint als etwas Vertrautes in fremder Gestalt oder als etwas Fremdes mit vertrauten Eigenschaften. Diese Unfassbarkeit und Definitionsresistenz führt Freud implizit darauf zurück, dass das Unheimliche als "abseits liegendes" Thema vom ästhetischen Fachdiskurs weitgehend vernachlässigt wurde. Dieser Vorwurf hat mittlerweile deutlich an Aktualität eingebüßt: Längst fehlt es nicht mehr an einschlägigen Abhandlungen, deren Faszination für das Thema sich allerdings nicht daraus speist, dass das Unheimliche inzwischen eine eindeutige Bestimmung erfahren hätte, sondern umgekehrt daraus, dass es so vielgestaltig und schwer zu fassen ist.
Innerhalb des kulturellen Kontextes des vereinten Italien ist die unmittelbare Nähe von Wissenschaft und Unterhaltung von primärer Bedeutung. Einer der Gründe dafür war die "Theatralisierung der Wissenschaft" - ein Phänomen, das im neunzehnten Jahrhundert weit verbreitet war. In den 1860er und 70er Jahren gab es besonders in Mailand eine große Anzahl von Vorführungen, bei denen Phantaskope eingesetzt wurden und die sich außerordentlicher Beliebtheit erfreuten. Die überraschende Wirkung phantasmagorischer Aufführungen wurde durch Phänomene wie Magnetismus und Spiritismus verstärkt. Beide Kuriosa verbreiteten sich zu jener Zeit in Italien und stellten eine strikte Scheidung zwischen Wissenschaft und Unterhaltung in Frage. Im Folgenden werden die aufschlussreichsten Äußerungen dieser kulturellen Situation in einer Reihe populärer und politischer Zeitschriften der 1860er und 70er Jahre untersucht. Dabei ist von Interesse, dass mittels eben dieser Zeitschriften zum ersten Mal phantastische Literatur Eingang in die literarische Szene Italiens fand. Untersucht werden insbesondere Formen des Phantastischen, die durch die Interpretation von Phantasmagorien in einer Auswahl nicht-fiktionaler Texte noch verstärkt wurden. Es wird deutlich, dass in Italien zu dieser Zeit Phantasmagorien-Vorstellungen mit der politischen Rhetorik eng verwoben waren.
Voltaires Verwirrung
(2011)
Ausgehend von einer Anekdote über den 80 Jahre alten Voltaire hebt Fabio Camilletti die Wiederholungserfahrung als zentralen Aspekt des Unheimlichen hervor. Den Philosophen Voltaire, der durch den Anblick eines abendlich betenden Mädchens plötzlich beunruhigt und schockiert wird, versteht Camilletti als eine vielsagende Figur der ängstlichen Verzauberung. Dieser Begebenheit folgend untersucht der Beitrag das Unheimliche im Primitivismus des 19. Jahrhunderts und macht deutlich, dass die jeweiligen Bestrebungen, die Vergangenheit wiederzubeleben, mit Rückgriff auf die Struktur des Verdrängungsprozesses interpretiert werden können.
Dinge besitzen eine Ausstrahlung, sie können bezaubern und erschrecken, faszinieren und bannen. Diese Erfahrung machen Menschen nicht nur mit 'auratischen' oder 'authentischen' Kunstwerken, auch im Zeitalter der technischen Reproduzierbarkeit scheinen Dinge ein Eigenleben zu führen. Nachdem konstruktivistische Zugänge versuchten, ihnen genau dieses auszutreiben, kehrt es seit einiger Zeit wieder: in der Rede von der Aktivität der Objekte und der Macht der Dinge. Dies lässt sich mit der Vokabel 'Fetischismus' ideologiekritisch brandmarken oder kulturtheoretisch verherrlichen. In diesem Beitrag wird ein anderer Weg beschritten. Zu Beginn konstatiert er eine Sehnsucht nach dem unmittelbaren Gegebensein der Dinge und präsentiert sodann einen Zugriff, der diesen Befund berücksichtigt, ohne auf den Bereich des Sakralen zurückzugreifen: sei dies in magischer, mythischer oder fetischistischer Form. Vielmehr baut er auf die Phantasmagorie, die sich im Profanen ansiedelt und es erlaubt, systematisch Ästhetik und Ökonomie, Technik und Politik aufeinander zu beziehen. Die Ausführungen laufen auf die These hinaus, dass sich mit der Phantasmagorie eine kritische Alternative zum Fetisch formulieren lässt, welche die profane Moderne mit ihren produktiven Möglichkeiten und Risiken in all ihrer Ambivalenz auf den Begriff zu bringen vermag.
In this brief excursion into the poetry of Dante and Montale, Rebecca West suggests some approaches to only a few issues that emerge out of the creation of both the primary beloveds of Dante and Montale and of those feminine figures that have been characterized as ostensibly 'antitranscendental' and more secondary in their roles and meanings. As regards Montale's primary feminine figure, Clizia, West argues that she is, to use Teodolinda Barolini's term for Beatrice, a 'hybrid' poetic character, and ultimately exceeds the limits of the poetic beloved as traditionally conceived and read, not only in the courtly tradition upon which she is modelled but well beyond it. In the case of the so-called secondary 'other women' in Dante's and Montale's poetry, West seeks to show that they are much less separable from the primary feminine figures than such binaries as major/minor, transcendent/erotic, soul/body, and traditional/experimental may lead us to believe. Lastly, West considers specifically the wife-figure, in her conspicuous absence from Dante's corpus and in her late appearance in Montale's. For both poets, there are complex intertwinings, interferences, and non-dualistic patterns that form a densely textured poetic weave, in which both the primary and the secondary feminine figures provide "fili rossi" as well as not so easily graspable dangling threads of meaning. These threads have to do with the preoccupation of both poets with the possible integration of immanence and transcendence, embodiment and abstraction, and with the very limits of poetic language. West's topic is also motivated by a feminist-oriented search for modes of deciphering the figure of the feminine beloved in lyric poetry that are not conditioned exclusively by the traditional emphasis on the male poet-creator, but which allow for a shift in focus onto the female figure who is, of course, the creature of the poet's imagination and skill, but who also often takes him into regions in which the excesses (commonly associated with the female) of non-binary thought and the mysteries of alterity - the feminine symbolic sphere, in short - do not so much allow the emergence of neatly squared-off meanings as the evolution of more oblique, circular conduits of potential significance. As a specialist of modern literature, Rebecca West concentrates on Montale more than on Dante, mainly noting the Dantesque aspects of the former's poetry.
Even if the title of Wolfgang Koeppen's last novel, "Der Tod in Rom", alludes quite obviously to Thomas Mann's novella, "Der Tod in Venedig", Koeppen's text must be understood first and foremost as a response to Mann's most controversial novel, "Doktor Faustus". The novels of Mann and Koeppen rank among the most well-known literary examinations of National Socialism but stand in a complementary relation to each other. "Doktor Faustus", published in 1947, analyses the cultural and intellectual origins of German fascism, while "Der Tod in Rom", published only seven years later in 1954, criticizes the continuity of National Socialist ideologies in post-war Germany. Both authors focus their analyses of fascism on fictional avant-garde composers who seem at first glance detached from any political context. [...] The actual starting point of Florian Trabert's paper, however, is the fact that both novels are preceded by epigraphs taken from Dante's "Inferno". Trabert begins by commenting on the references to Dante in "Doktor Faustus" and then continues by analysing the allusions to the "Commedia" in Koeppen's novel, which constitute, as Trabert demonstrates, a complex constellation among the three texts.
This paper is a study of language disorders in two works by twentieth-century poets in dialogue with Dante's Paradiso: Vittorio Sereni's "Un posto di vacanza" (1971) and Andrea Zanzotto's 'Oltranza oltraggio' (1968). The constellations that Francesca Southerden focuses on are linguistic, and the specific 'disorder' she wants to consider is aphasia - the dissolution of language. Charting the way in which Sereni and Zanzotto construct the universes of their poems as 'per-tras-versioni' of their Dantean counterpart - something 'turned aside' or 'diverted', which 'cuts across' the ideal, Dantean scheme - she shows how, in different ways, the intertextual dialogue between modern and medieval author manifests itself as a 'resemanticization' of the language of "Paradiso" or, better, of that coming-into-language of desire and the poem which, textually speaking, Dante's third canticle takes as its alpha and omega.
The subject of this paper is a recent comic movie version of Dante's "Comedy": a 2007 puppet and toy theatre adaptation of the "Inferno" directed by Sean Meredith. It is certainly not the first time that Dante and his theatre of hell appear in this kind of environment. Mickey Mouse has followed Dante's footsteps and very recently a weird bunch of prehistoric animals went a similar path: in part three of the blockbuster "Ice Age" (2009), a new, lippy guide character named Buck uses several Dante quotes and the whole strange voyage can be described as a Dantesque descent into dinosaur hell. In the following pages Ronald de Rooy argues that Meredith's version of Dante's "Inferno" is not only funny and entertaining, but that it is also surprisingly innovative if we compare it to other literature and movies which project Dante's hell or parts of it onto the modern metropolis.
Although Dante’s influence on modernism has been widely explored and examined from different points of view, the aspects of Virginia Woolf's relationship with the Florentine author have not yet been extensively considered. Woolf's use of Dante is certainly less evident and ponderous than that of authors such as T.S. Eliot and James Joyce; nonetheless, this connection should not be disregarded, since Woolf's reading of Dante and her meditations on his work are inextricably fused with her creative process. As Teresa Prudente shows in this essay, Woolf's appreciation of Dante is closely connected to major features of her narrative experimentation, ranging from her conception of the structure and design of the literary work to her reflections concerning the meaning and function of literary language.
Dante's 'Strangeness' : the "Commedia" and the late twentieth-century debate on the literary canon
(2011)
A reflection on Dante and the literary canon may appear tautological since nowadays his belonging to the canon seems a self-evident matter of fact and an indisputable truth. It is for this very reason, though, that a paradigmatic role has been conferred on Dante in the contemporary debate both by those who consider the canon a stable structure based on inner aesthetic values and by those who see it as a cultural and social construction. For instance, Harold Bloom suggests that 'Dante invented our modern idea of the canonical', and Edward Said, in his reading of Auerbach, seems to imply that Dante provided foundations for what we call literature "tout court". While his influence on other poets never ceased, the story of Dante's explicit canonization through the centuries revolved around the same critical points we are still discussing today: his anti-classical 'strangeness' in language and style, the trouble he occasions in genre hierarchies and distinctions, and the vastness of the philosophical and theological knowledge embraced by the "Commedia" (and, as a consequence, the relationship between literature and other realms of human experience). Dante's canonicity is also evinced by the ceaseless debates that he has inspired and the many cultural tensions of which he is the focus. In the next few pages Federica Pich tries to reflect on the features that make the "Commedia" central both to the arguments of the defenders of the aesthetic approach, such as Bloom and Steiner, and to the political claims of the so-called 'culture of complaint'.
'Perhaps the sodomites should be written out of Dante's "Inferno"', Jarman wrote in his journal on 1 August 1990: 'I'll offer myself as the ghostwriter.' What does he mean by 'ghostwriter' here? How queer is this odd speech-act? What is he offering to do to the homophobic landscape of the "Inferno", that forbiddingly sealed textual prison, with his Hollywood pitchman's casual bid to 'write out' the sodomites as if they were a slight embarrassment to the divine justice system? Is he speaking in jest as a writer of gay satires and sacrilegious memoirs, or in deadly earnest as an activist who had renounced the middle-class pretensions and frivolities of the pre-AIDS gay world? [...] Jarman counters the trope of homosexual theft visually with the triumphant figure of Man with Snake. The Dantesque merging of snake and thief is replaced by an erotic dance in which the gilded youth raises his phallic partner above his head and seductively kisses it on the mouth. Whereas Dante would have us notice the grotesque parody of the Trinity played out in the seventh bolgia - with the unchanging Puccio as God the Father, the two-natured Agnello-Cianfa as Christ, and the fume-veiled Buoso receiving his forked tongue from the serpent Francesco in a demonic replay of the gift of tongues from the Spirit - Jarman clears away all overdetermined theological meanings to revel in the purely aesthetic impact of the phallic dancer. All the ghosts from Dante's snakepit are conjured away in the film and replaced with the solid presence of a single gorgeously spotlit male body. Ghostwriting Dante, for Jarman, meant more than a mere appropriation of homoerotic scenes from the "Inferno" into his screenplay. It meant a complete reimagining of their aesthetic significance within the filmscape of his Dantean transformations.
Dante's "Inferno" and Walter Benjamin's cities : considerations of place, experience, and media
(2011)
When Walter Benjamin wrote his main texts, the theme of the city as hell was extremely popular. Some of his German contemporaries, such as Brecht or Döblin, also used it. Benjamin was aware of these examples, as well as of examples outside Germany, including Joyce's "Ulysses" and Baudelaire's "poetry". And he was - at least in some way - familiar with Dante's "Inferno" and used it, and in particular Dante's conception of hell, for his own purposes. Benjamin's appropriation of the topos of the Inferno has been seen as a critique of capitalism and as a general critique of modernism by means of allegory. In the following analysis, Angela Merte-Rankin takes a slightly different approach and, despite Benjamin's status as an expert on allegory, considers hell in its literal sense as a place and examines the issues of implacement that might follow from this standpoint.
Manuela Marchesini brings Agamben's ideas to bear on Gadda's "Pasticciaccio" and vice versa. While preserving the specificity of their different fields of operation, this mutual exposure contributes to reframing the Culture War of yore. On the one hand, we have a novel published after World War II with a tortuous gestation and convoluted publication history and reception, written by an author who happened to outlive his creative 'canto del cigno'; on the other, a philosophical and essayistic speculation on contemporary events. The function of Dante's "Comedy" in each author spans from the textual to the allegorical, but rests upon one single crucial common denominator: both Gadda and Agamben take literature seriously. [...] The present essay, part of a larger project unfolding along the same lines, attempts a 'close reading' in the spirit that Edward Said has solicited from the humanities in his lectures at Columbia - or, to put it differently, a tentative 'exercise' of critica in the wake of modern Italian Romance philology and textual criticism from Pasquali through Contini and Debenedetti (a lineage of which Agamben's approach appears to be mindful). [...] Marchesini passes over the general Dantesque infernal allegory of "Pasticciaccio" in order to expand on its final scene. Her thesis is that "Pasticciaccio's" allegorical use of Dante's "Comedy" does not just unravel its interpretive knot. It also points to a utopian overcoming of binarism that concurs with Agamben's reflections. "Pasticciaccio's" closure is neither an epiphany (in the sense of a final celebration of the missing piece that completes the puzzle of the novel), nor does it signal a collapse into ambiguity or irrationality (in the sense that everything is left undecided, wavering between one possibility and its opposite). Gadda maintains his interpellation of wholeness unequivocally throughout the novel.
During the Black Revolution, LeRoi Jones used a radical adaptation of Dante to express a new militant identity, turning himself into a new man with a new name, Amiri Baraka, whose experimental literary project culminated in "The System of Dante's Hell" in 1965. Dante’s poem (specifically, John Sinclair's translation) provides a grid for the narrative of Baraka's autobiographical novel; at the same time, the Italian poet's description of hell functions for Baraka as a gloss on many of his own experiences. Whereas for Ralph Ellison and Richard Wright, Dante marks a way into the world of European culture, Baraka uses Dante first to measure the growing distance between himself and European literature and then, paradoxically, to separate himself totally from it. Baraka's response to the poet at once confirms and belies Edward Said's claim that Dante's "Divine Comedy" is essentially an imperial text that is foundational to the imperial discipline of comparative literature. That Baraka can found his struggle against imperialist culture, as he sees it, on none other than this specific poem suggests the extent to which it is a richer and more complex text than even Said imagined. To see exactly how Baraka does this, Dennis Looney proposes to read several extended passages from "The System of Dante's Hell" to take stock of its allusiveness to the Italian model. For all the critical attention to Baraka, surprisingly no one has undertaken the necessary work of sorting out his allusions to Dante in any systematic way.
Early in his life Pasolini showed interest in Dante: in a letter sent to Luciano Serra in 1945, he declared that 'la questione di Dante è importantissima'. He later reaffirmed his interest in Dante in two attempts to rewrite the "Commedia": "La Mortaccia" and "La Divina Mimesis". [...] In 1963 he mentioned "La Divina Mimesis" for the first time. [...] Critics have mostly focused on the work's unfinished condition as a sign of the poetic crisis which Pasolini experienced at the end of his life. Scholarly interpretations of "La Divina Mimesis" can be divided into three main groups: the first strain can be primarily attributed to a 1979 essay by Giorgio Bàrberi Squarotti, four years after the publication of La Divina Mimesis. Bàrberi Squarotti attributes Pasolini's difficulty in completing his rewriting of the "Divine Comedy" to the author's ideology. The work's intermittent irony and its unfinished state are good indicators of the impossibility of recreating Dante's achievement, in particular the Dantean ideology. [...] The second strain of interpretation stresses the work's linguistic dimensions. The period when Pasolini conceives of the project of "La Divina Mimesis" corresponds, according to his repeated declarations, to a time of dramatic change in the Italian linguistic context. [...] Finally, the third type of interpretation locates "La Divina Mimesis" in the theoretical context of Pasolini's final conception of poetry. Here critics stress in particular the difference between the poet's intentions and the final result.[...] These three interpretative strains share the conviction that, in comparison with its model, Pasolini's project ends in failure. It is a failure in at least three senses: on the level of its ideology (not as strong as Dante's), on the level of reality (because of the linguistic standardization of Italian society), and on the level of aesthetics (even though the author pretends that his failure possesses an aesthetic value). This paper would like to question this conclusion: by redefining the object of mimesis and its conditions Davide Luglio tries to understand the reason why the author decided to print his work in a form that at first sight appears ill-defined and fragmentary.
In a 1949 letter, Cesare Pavese describes with great zeal the genesis of a new work - one he compares, albeit with a certain amount of irony, to Dante's Commedia. [...] This embryonic project would quickly become the novel "La luna e i falò", completed in less than two months and published shortly before Pavese's suicide in 1950. On the surface, there would seem little reason to take seriously the analogy drawn by the author between "La luna" and the "Commedia", for the novel in question contains no explicit references to the medieval poet. Tristan Kay argues in this essay, however, that the presence of Dante in "La luna" is both more pervasive and more significant than has previously been suggested. While critics have noted in passing several narrative and structural parallels between the two texts, which Kay details in Section II, no attempt has been made to consider their wider significance in our understanding of Pavese's novel. What follows is a reading of "La luna" which shows that the "Commedia" functions not simply as a formal model for Pavese, but, more importantly, as an ideological anti-model, in dialogue with which the author articulates his deeply pessimistic understanding of the human condition.