CompaRe | Allgemeine und Vergleichende Literaturwissenschaft
Refine
Year of publication
Document Type
- Part of a Book (287) (remove)
Language
- English (287) (remove)
Has Fulltext
- yes (287)
Is part of the Bibliography
- no (287) (remove)
Keywords
- Rezeption (27)
- Dante Alighieri (22)
- Productive reception (18)
- Pasolini, Pier Paolo (17)
- Reenactment (17)
- Film (13)
- Übersetzung (13)
- Multistable figures (12)
- Muttersprache (11)
- Performance <Künste> (11)
- Zeit (11)
- Ästhetik (11)
- Inversionsfigur (10)
- Kunst (10)
- Sprache (10)
- Wahrnehmungswechsel (10)
- Divina Commedia (9)
- Geschichte (9)
- Literatur (9)
- Multistability (9)
- Offenheit (8)
- Time (8)
- Weltliteratur (8)
- Anthrozoologie (7)
- Comic (7)
- Inferno (7)
- Lyrik (7)
- Tension (7)
- Widerstand (7)
- Wiederholung (7)
- Aesthetics (6)
- Archiv (6)
- Ganzheit (6)
- Human-Animal Studies (6)
- Mother tongue (6)
- Philosophie (6)
- Spannung (6)
- Weathering (6)
- Wissenschaft (6)
- Adaption <Literatur> (5)
- Agamben, Giorgio (5)
- Exposure (5)
- Feminism (5)
- Greek myths (5)
- Imagologie (5)
- Kolonialismus (5)
- Kulturwissenschaft (5)
- Liste (5)
- Politics (5)
- Politik (5)
- Queer-Theorie (5)
- Translation (5)
- Verwitterung (5)
- World literature (5)
- Affect (4)
- Benjamin, Walter (4)
- Comicroman (4)
- Drehbuch (4)
- Fehler (4)
- Feminismus (4)
- Freud, Sigmund (4)
- Interruption (4)
- Intersektionalität (4)
- Konservierung (4)
- La vita nuova (4)
- Language (4)
- Lyric (4)
- Motion pictures (4)
- Postkolonialismus (4)
- Psychoanalyse (4)
- Reduktion (4)
- Resistance (4)
- Temporality (4)
- Theorie (4)
- Tiere <Motiv> (4)
- Totalität (4)
- Vulnerability (4)
- War (4)
- Wholeness (4)
- Aeschylus (3)
- Aktivismus (3)
- Allegory (3)
- Anthropogene Klimaänderung (3)
- Anthropozän (3)
- Archive (3)
- Aspect seeing (3)
- Autobiografie (3)
- Badiou, Alain (3)
- Death (3)
- Decolonization (3)
- Derrida, Jacques (3)
- Deutschland (3)
- Divina Commedia. Paradiso (3)
- Enclosure (3)
- Evolutionspsychologie (3)
- Film adaptions (3)
- Form (3)
- Foucault, Michel (3)
- Frau <Motiv> (3)
- Fremdbild (3)
- Griechenland (Altertum) (3)
- History (3)
- Homosexualität (3)
- Identity politics (3)
- Identitätspolitik (3)
- Imagology (3)
- Interpretation (3)
- Intersectionality (3)
- Intertextualität (3)
- Kollektives Gedächtnis (3)
- Krieg (3)
- Kultur (3)
- Körper (3)
- Liebe <Motiv> (3)
- Love (3)
- Memory (3)
- Mensch (3)
- Mittelalter (3)
- Mundart (3)
- Orestia (3)
- Paulus, Apostel, Heiliger (3)
- Peripherie (3)
- Plasticity (3)
- Plastizität (3)
- Preservation (3)
- Proust, Marcel (3)
- Queer theory (3)
- Raum (3)
- Repetition (3)
- Selbstbild (3)
- Singularity (3)
- Stereotyp (3)
- Synergie (3)
- Tiere (3)
- Totality (Philosophy) (3)
- Türkei (3)
- Völkermord (3)
- Wandel (3)
- Warburg, Aby Moritz (3)
- Welternährung (3)
- Wetter (3)
- Wissensproduktion (3)
- Zeitlichkeit (3)
- À la recherche du temps perdu (3)
- Affekt (2)
- Afrika (2)
- Allegorie (2)
- Ambivalenz (2)
- Arendt, Hannah (2)
- Art (2)
- Artistic research (2)
- Auerbach, Erich (2)
- Ausstellung (2)
- Authentizität (2)
- Bearbeitung (2)
- Behinderung (2)
- Berlin (2)
- Callas, Maria (2)
- Chachkhiani, Vajiko (2)
- Cinematography (2)
- Classical antiquity (2)
- Collage (2)
- Colonialism (2)
- Community (2)
- Computerkunst (2)
- Concept-art (2)
- Dante, Alighieri (2)
- Darstellung (2)
- Das Unheimliche (2)
- Dauer (2)
- Deutsch (2)
- Dialectic (2)
- Dialektik (2)
- Displacement (2)
- Divina commedia (2)
- Double (2)
- Duration (2)
- Emergenz (2)
- Enantiosemy (2)
- Englisch (2)
- Ereignis (2)
- Erinnerung (2)
- Erkenntnistheorie (2)
- Erzähltechnik (2)
- Eschatologie (2)
- Eschatology (2)
- Ethics (2)
- Ethik (2)
- Ethnography (2)
- Ethnologie (2)
- Europa (2)
- Event (2)
- Exegese (2)
- Exegesis (2)
- Fiction (2)
- Figure of thought (2)
- Flüchtling (2)
- Gedächtnis (2)
- Gentrification (2)
- Geologie (2)
- Geschichte <Motiv> (2)
- Geschichtsschreibung (2)
- Gesellschaft (2)
- Gesture (2)
- Gewalt (2)
- Global South (2)
- Globaler Süden (2)
- Großbritannien (2)
- Hetero-image (2)
- Heuristik (2)
- Historicity (2)
- History of knowledge (2)
- Humanökologie (2)
- Humor (2)
- Humour (2)
- Identity (2)
- Identität (2)
- Il vangelo secondo Matteo (2)
- Indien (2)
- Installation <Kunst> (2)
- Intensity (2)
- Interaktion (2)
- Intermedialität (2)
- Irland (2)
- Italian literature (2)
- Italian poetry (2)
- Italien (2)
- Iteration (2)
- Joyce, James (2)
- Judaism (2)
- Judentum (2)
- Kafka, Franz (2)
- Kant, Immanuel (2)
- Klausur (2)
- Klima (2)
- Klimaänderung (2)
- Knowledge production (2)
- Knowledge, theory of (2)
- Komplexität (2)
- Kulturanthropologie (2)
- Kulturelle Evolution (2)
- Kulturelle Identität (2)
- Kulturwissenschaften (2)
- Künstlerische Forschung (2)
- Landwirtschaft (2)
- Latin (2)
- Lists (2)
- Literary history (2)
- Living History (2)
- Loss (2)
- Madness (2)
- Marx, Karl (2)
- Marxism (2)
- Medea (Film, 1969) (2)
- Medienkunst (2)
- Medieval (2)
- Mehrsprachigkeit (2)
- Mensch-Tier-Beziehung (2)
- Meteorologie (2)
- Meteorology (2)
- Mimesis (2)
- Missverständnis (2)
- Mnemosyne (2)
- Museum (2)
- Naher Osten (2)
- Naming (2)
- Narrative (2)
- Narrativität (2)
- Nationalbewusstsein (2)
- Nationalism (2)
- Nationalismus (2)
- Natur (2)
- Neoliberalismus (2)
- Ostblock (2)
- Paradoxon (2)
- Paris (2)
- Parodie (2)
- Parody (2)
- Pasolini, Pier Paolo: San Paolo (2)
- Performance art (2)
- Periphery (2)
- Phänomenologie (2)
- Politische Kunst (2)
- Psychiatrie (2)
- Psychoanalysis (2)
- Queer activism (2)
- Rassismus (2)
- Reading (2)
- Recitation (2)
- Reductionism (2)
- Reduktionismus (2)
- Regen (2)
- Reinterpretation (2)
- Reiseliteratur (2)
- Rekonstruktion (2)
- Remediation (2)
- Rhetorik (2)
- Schreiben (2)
- Science (2)
- Serial (2)
- Serienfilm (2)
- Spinoza, Benedictus de (2)
- Sprache <Motiv> (2)
- Staat (2)
- Structure (2)
- Struktur (2)
- Suspense (2)
- Tango (2)
- Television (2)
- Textuality (2)
- Theater (2)
- Tod (2)
- Transgender (2)
- Transhistoricism (2)
- Trauma (2)
- Uncanny (2)
- Unterricht (2)
- Visual culture (2)
- Wahnsinn <Motiv> (2)
- Wetter <Motiv> (2)
- Widerspruch (2)
- Wissen (2)
- Wissensvermittlung (2)
- Wittgenstein, Ludwig (2)
- Woolf, Virginia (2)
- Öffnung (2)
- A portrait of the artist as a young man (1)
- Abgeschlossenheit (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)
- African American literature (1)
- Afrikaans (1)
- Afrikabild (1)
- Afroamerikanische Literatur / USA (1)
- Afterwardsness (1)
- Agamben, Giorgio: Altissima povertà (1)
- Agamben, Giorgio: Il sacramento del linguaggio (1)
- Agamben, Giorgio: L'aperto (1)
- Agency (1)
- Aktienmarkt (1)
- Akzeptanz (1)
- Albers, Josef (1)
- Ally Sloper's HalfHoliday (1)
- Althusser, Louis (1)
- Altnordisch (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)
- Andria (1)
- Angola (1)
- Animal Turn (1)
- Animal agency (1)
- Animal studies (1)
- Animationsfilm (1)
- Anleitung (1)
- Anthologies - Editing (1)
- Anthropologie (1)
- Anthropology (1)
- Anthropomorphismus (1)
- Anthropozentrismus (1)
- Aphasie (1)
- Appropriation (1)
- Aquaponik (1)
- Aracoeli (1)
- Architecture and literature (1)
- Architektur (1)
- Archives (1)
- Armenian genocide (1)
- Armenier (1)
- Art and photography (1)
- Art conservation (1)
- Art history (1)
- Art, Yugoslav (1)
- Artensterben (1)
- Artificial rain (1)
- Artificial weathering (1)
- Artistic creation (1)
- Arts (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)
- Aufklärung (1)
- Aufsatzsammlung (1)
- Aufstand (1)
- Augustinus, Aurelius (1)
- Augustinus, Aurelius, Heiliger (1)
- Ausgrenzung (1)
- Austerity (1)
- Australien (1)
- Authenticity (Philosophy) in literature (1)
- Authoritarianism (1)
- Authority (1)
- Auto-image (1)
- Autobiography (1)
- Autorität (1)
- Avantgarde (1)
- Axiology (1)
- BDSM (sexual behavior) (1)
- Baader, Franz von (1)
- Bachmann, Ingeborg (1)
- Bachtin, Michail M. (1)
- Backbuch (1)
- Badezimmer (1)
- Balkanbild (1)
- Balzac, Honoré de (1)
- Banaba (1)
- Baraka, Imamu Amiri (1)
- Baraka, Imamu Amiri: The system of Dantes hell (1)
- Barbar <Motiv> (1)
- Barbieri, Caterina (1)
- Bathroom (1)
- Beatgeneration (1)
- Beatty, Paul (1)
- Beatty, Paul: Slumberland (1)
- Beckett, Samuel (1)
- Becoming (Philosophy) (1)
- Begriff (1)
- Belgien (1)
- Bellatín, Mario (1)
- Belonging (Social Psychology) (1)
- Benedictines (1)
- Benedikt XII., Papst (1)
- Benediktiner (1)
- Benjamin, Walter: Pergamentheft (1)
- Berlin <Motiv> (1)
- Berlin-Neukölln (1)
- Berliner Chronik (1)
- Beuys, Joseph (1)
- Bibel. Rut (1)
- Bild <Psychologie> (1)
- Bildband (1)
- Bildung (1)
- Biodiversität (1)
- Biology, experimental (1)
- Biopolitics (1)
- Biowissenschaften (1)
- Black Arts movement (1)
- Blackbox (1)
- Bloom, Harold (1)
- Boccaccio, Giovanni (1)
- Body politic (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)
- Borderland (1)
- Bosnienkrieg <Motiv> (1)
- Boudry, Pauline (1)
- Bourgeoisie (1)
- Brasilien (1)
- Bratʹja Karamazovy (1)
- Brazil (1)
- Brecht, Bertolt (1)
- Brecht, Bertolt: Der Rundfunk als Kommunikationsapparat (1)
- Brief (1)
- Brinkmann, Rolf Dieter (1)
- Brontë, Charlotte (1)
- Brüder Karamasow (1)
- Buch <Motiv> (1)
- Böttner, Lorenza (1)
- Bürgertum (1)
- Canguilhem, Georges (1)
- Canon (literature) (1)
- Canzoniere (1)
- Capital market (1)
- Capitalism (1)
- Carmen (1)
- Carroll, Lewis / Alice's adventures in wonderland (1)
- Carroll, Lewis / Through the looking-glass and what Alice found there (1)
- Carter, Angela (1)
- Cartography (1)
- Case law (1)
- Castellucci, Romeo (1)
- Categories (1)
- Cavell, Stanley (1)
- Center for Historical Reenactments (1)
- Chachkhiani, Vajiko: Heavy Metal Honey (1)
- Chachkhiani, Vajiko: Living Dog Among Dead Lions (1)
- Chachkhiani, Vajiko: Rite (Dog Days) (1)
- Chance in art (1)
- Change (1)
- Chaos theory (1)
- Chaotisches System (1)
- Charlie hebdo (1)
- Children's literature (1)
- Chinabild (1)
- Chinesische Medizin (1)
- Chorality (1)
- Christentum (1)
- Christianity (1)
- Christliche Literatur (1)
- Chronotopos (1)
- Cinema (1)
- Cistercians (1)
- Classical reception (1)
- Classical tragedy (1)
- Claustrophilia (1)
- Climate (1)
- Climate change (1)
- Closure (1)
- Cocker, Mark (1)
- Cocker, Mark: Crow country: a meditation on birds, landscape and nature (1)
- Coetzee, J. M. (1)
- Coetzee, J.M. (1)
- Coetzee, J.M.: The lives of animals (1)
- Coevolution (1)
- Cognitive mapping (1)
- Cohen, Albert (1)
- Collective memory (1)
- Comic studies (1)
- Communal resistance (1)
- Complexity (1)
- Computermusik (1)
- Concentration camps (1)
- Conceptual art (1)
- Conceptuality (1)
- Conclusion (1)
- Confessiones (1)
- Confined weathers (1)
- Conservation (1)
- Contact improvisation jam (1)
- Contingency (Philosophy) (1)
- Continuation (1)
- Contradiction (1)
- Contradictory thinking (1)
- Convents (1)
- Conversion (1)
- Cortez, Jaime / Sexile (1)
- Counter-history (1)
- Counterpublic (1)
- Courtly culture (1)
- Creative distruction (1)
- Cripistemology (1)
- Critical thinking (1)
- Cultural Turn (1)
- Cultural identity (1)
- Curatorial archives (1)
- Curatorial practice (1)
- Curatorial practices (1)
- Curatorship (1)
- Dahl, Ken (1)
- Dahl, Ken / Monsters (1)
- Danish (1)
- Darwin, Charles (1)
- Das Andere (1)
- Das Böse (1)
- Das Dionysische (1)
- Das Ganze (1)
- Das Groteske (1)
- Das Heilige (1)
- Das Kapital (1)
- De architectura (1)
- Decolonialsm (1)
- Deconstruction (1)
- Deklamation (1)
- Dekonstruktion (1)
- Delay (1)
- Delay, Jean (1)
- Deleuze, Gilles (1)
- Demoris, Emmanuelle (1)
- Demoris, Emmanuelle: Mafrouza (1)
- Denmark (1)
- Der Bau (1)
- Der Fall Franza (1)
- Der Tod in Rom (1)
- Desai, Anita (1)
- Desire (1)
- Destruction (1)
- Deutsche <Motiv> (1)
- Developmental biology (1)
- Devotional literature (1)
- Dialect (1)
- Dialog (1)
- Dialogue (1)
- Diaspora <Religion> (1)
- Dickens, Charles (1)
- Dictatorships (1)
- Die Ästhetik des Widerstands (1)
- Difference (1)
- Differenz (1)
- Digital art (1)
- Digital images (1)
- Dionysos (1)
- Diptychon (1)
- Disability (1)
- Disability Studies (1)
- Disability aesthetics (1)
- Diskontinuität (1)
- Diskurs (1)
- Disputation (1)
- Disruption (1)
- Disruptive innovations (1)
- Dissens (1)
- Disuse (1)
- Diversorium (1)
- Division (split) (1)
- Diyarbakır. Region (1)
- Documentary (1)
- Documentary films (1)
- Doktor Faustus (1)
- Dokumentarfilm (1)
- Don Quijote (1)
- Dostoevskij, Fëdor Michajlovič (1)
- Dramatic conflict (1)
- Drawing (1)
- Drehbuchautor (1)
- Druck (1)
- Dschinn (1)
- Duineser Elegien (1)
- Duncan, Robert Edward (1)
- Durkheim, Émile (1)
- Dyptich (1)
- Dänemark (1)
- Dänisch (1)
- Earthquake (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)
- Eigenübersetzung (1)
- Eighteenth century (1)
- Ein Bericht für eine Akademie (1)
- Einfühlung (1)
- Einwanderin (1)
- Eisen (1)
- Electricity (1)
- Elektrizität (1)
- Emerson, Ralph Waldo (1)
- Engels, Friedrich (1)
- England (1)
- English Romanticism (1)
- Enlightenment (1)
- Entangled ecologies (1)
- Entropie (1)
- Entropy (1)
- Entwicklungsbiologie (1)
- Environmental influence (1)
- Epigenetics (1)
- Epigenetik (1)
- Epilog (1)
- Epilogues (1)
- Epoché <Phänomenologie> (1)
- Erasmus, Desiderius (1)
- Erdbeben (1)
- Erfahrung (1)
- Erinnerung <Motiv> (1)
- Eritrea (1)
- Ernährung (1)
- Erotische Lyrik (1)
- Errancy (1)
- Error (1)
- Errors (1)
- Erzählen (1)
- Erzählforschung (1)
- Erzähltheorie (1)
- Erzählung (1)
- Erzählzeit (1)
- Essstörung (1)
- Estado Novo (1)
- Eternity (1)
- Ethnologe (1)
- Ethnozentrismus (1)
- Eupalinos (1)
- Europabild (1)
- European asylum system (1)
- European ethnotypes (1)
- Europeanization (1)
- Europäisierung (1)
- Eutopos (1)
- Evaluative apriorism (1)
- Evolution (1)
- Evolutionary biology (1)
- Evolutionsbiologie (1)
- Exceptionalism (1)
- Exhibition reactivation (1)
- Exil (1)
- Exile (1)
- Exilic consciousness (1)
- Experimental video (1)
- Extractivism (1)
- Fanon, Frantz (1)
- Fear (1)
- Feldforschung (1)
- Feldtheorie (1)
- Feminist pornography (1)
- Field theory (1)
- Figures of speech (1)
- Fiktion (1)
- Fiktionale Darstellung (1)
- Film scripts (1)
- Filmtechnik (1)
- Finanzmarkt (1)
- Flaubert, Gustave (1)
- Flemish comics (1)
- Flämisch (1)
- Fog (1)
- Forests (1)
- Form (aesthetics) (1)
- Fortleben (1)
- Fotobuch (1)
- Fotografie (1)
- Fragmentation (Philosophy) in literature (1)
- Franciscans (1)
- Franziskaner (1)
- Franzosen <Motiv> (1)
- Fraser, Andrea (1)
- Frau (1)
- Frauenbild (1)
- Freedom (1)
- Fremder <Motiv> (1)
- French literature (1)
- Freundschaft (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)
- Garšin, Vsevolod M. / Četyre dnja (1)
- Gast <Motiv> (1)
- Gastfreundschaft <Motiv> (1)
- Gay culture (1)
- Gay erotic poetry (1)
- Geburt Jesu (1)
- Gebäckherstellung (1)
- Gedenken (1)
- Gedenken <Motiv> (1)
- Gefangener (1)
- Gefühl (1)
- Gegenöffentlichkeit (1)
- Geheimdienst (1)
- Geister (1)
- Gemeinschaft (1)
- Gender (1)
- Genocide (1)
- Gentrifizierung (1)
- Geo-imagology (1)
- Geochelone nigra (1)
- Geocultural space (1)
- Geography (1)
- Geology (1)
- Geopoetics (1)
- Geopoetik (1)
- German (1)
- German colonialism (1)
- German music historiography (1)
- German reunification (1)
- Geschichte 1250-1500 (1)
- Geschichte 1700-1800 (1)
- Geschichte 1750-1800 (1)
- Geschichte 1770-1780 (1)
- Geschichte 1790-1800 (1)
- Geschichte 1960- (1)
- Geschichte 1990-2000 (1)
- Geschichte 2013 (1)
- Geschichte 2015 (1)
- Geschichtlichtkeit (1)
- Geschichtsunterricht (1)
- Geschlechterrolle (1)
- Geschlechterverhältnis (1)
- Gesellschaftskritik (1)
- Gesundheit <Motiv> (1)
- Gezi movement, Turkey 2013 (1)
- Gezi-Park (Istanbul) (1)
- Ghettoization (1)
- Gide, André (1)
- Giudici, Giovanni (1)
- Gleichheit (1)
- Global histories (1)
- Gluck, Christoph Willibald (1)
- Goats (1)
- Golfstaaten (1)
- Good and evil in literature (1)
- Gordimer, Nadine (1)
- Gottfried, von Straßburg (1)
- Grbavica (1)
- Grenze (1)
- Grenzen des Wachstums (1)
- Grenzüberschreitung (1)
- Grimm, Jacob (1)
- Grotesque (1)
- Gruppe T (1)
- Gruppo T (1)
- Guayana-Massiv (1)
- Guest (1)
- Guiana Shield (1)
- Gulf futurism (1)
- Gützlaff, Carl F. (1)
- Gützlaff, Carl F.: Wanguo dili quanji (1)
- Haken, Hermann (1)
- Hamacher, Werner (1)
- Hamann, Johann Georg (1)
- Hammons, David (1)
- Handlesekunst (1)
- Harmonie (1)
- Harmony (1)
- Haunting (1)
- Hegel, Georg Wilhelm Friedrich (1)
- Heidegger, Martin (1)
- Heil (1)
- Heilpflanzen (1)
- Heimat <Motiv> (1)
- Hell (theology) (1)
- Helmont, Jan Baptista van (1)
- Hentz, Caroline L. (1)
- Hentz, Caroline L.: The planter's northern bride (1)
- Herder, Johann Gottfried von (1)
- Heretics, Christian (1)
- Heterogenität (1)
- Heterotopie (1)
- Heuristic (1)
- Hindernis (1)
- Historical reconstruction (1)
- Historical time (1)
- Historical transformation (1)
- Historicism (1)
- Historiography (1)
- Historische Kritik (1)
- Historismus (1)
- Historizismus (1)
- History from below (1)
- History in literature (1)
- History of medicine (1)
- History of science (1)
- Hobbes, Thomas (1)
- Holbein, Hans (1)
- Holismus (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)
- Hronský, Jozef Cíger (1)
- Hronský, Jozef Cíger: Smelý zajko v Afrike (1)
- Hughes, John (1)
- Hughes, John: The idea of home - autobiographical essays (1)
- Human biology (1)
- Human-Animal studies (1)
- Humanismus (1)
- Humanity (1)
- Humanität (1)
- Hume, David (1)
- Hunger strike (1)
- Hungerstreik (1)
- Huzur (1)
- Hybridity (1)
- Hysteria (1)
- Hysterie <Motiv> (1)
- Höfische Literatur (1)
- Hölle <Motiv> (1)
- Ideenlehre (1)
- Identity discourses (1)
- Idioms (1)
- Illusion (1)
- Illusions perdues (1)
- Illustrated atlas (1)
- Illustration (1)
- Illustration of books (1)
- Image of Italian music (1)
- Images (1)
- Imagotypical representation (1)
- Imperfection (1)
- Improvisation (1)
- In the land of blood and honey (1)
- Inclusion (1)
- Incommensurability (1)
- Incompleteness (1)
- India (1)
- Indigeneity (1)
- Individuation <Philosophie> (1)
- Individuationsprozess (1)
- Infektion <Motiv> (1)
- Innateness (Philosophy) (1)
- Innerer Monolog (1)
- Insekten (1)
- Institution (1)
- Institutional critique (1)
- Inszenierung (1)
- Interdisciplinary research (1)
- Interdisziplinarität (1)
- Interdisziplinäre Forschung (1)
- Interkulturalität (1)
- International relations (1)
- Intersubjectivity (1)
- Intersubjektivität (1)
- Intertextuality (1)
- Intralingual transfer (1)
- Intransitives Verb (1)
- Ipomedon (1)
- Irak (1)
- Iran (1)
- Iran / Revolution <1978-1979> (1)
- Iranian studies (1)
- Iraq (1)
- Irish literature (1)
- Iron (1)
- Irrtum (1)
- Iser, Wolfgang (1)
- Iser, Wolfgang: Der Akt des Lesens (1)
- Island (1)
- Israel (1)
- Italian literature - 20th Century (1)
- Italien. Süd (1)
- Italienbild (1)
- Italienisch (1)
- Italy - History (1)
- Italy, Southern (1)
- Iterability (1)
- Iturbide, Graciela (1)
- Jabès, Edmond (1)
- Jacir, Annemarie (1)
- Jack, the Ripper (1)
- James, Henry (1)
- Jane Eyre (1)
- Japan (1)
- Japanbild (1)
- Jarman, Derek (1)
- Java (1)
- Je ne sais quoi (1)
- Jennings, John (1)
- Jesus Christus (1)
- Jewish Diaspora (1)
- Jewish law (1)
- Jezebel (1)
- Jolie, Angelina (1)
- Jones, LeRoi (1)
- Juden <Motiv> (1)
- Judenvernichtung <Motiv> (1)
- Jugoslawien (1)
- Julien, Isaac (1)
- Julien, Isaac: The Attendant (1)
- Jüdisches Recht (1)
- Kaaps (1)
- Kabir (1)
- Kahlo, Frida (1)
- Kanon (1)
- Kapitalismus (1)
- Kara, Yadé (1)
- Kartografie (1)
- Kategorie (1)
- Kawauchi, Rinko (1)
- Kejawen (1)
- Kerbaj, Mazen (1)
- Kinderliteratur (1)
- Kinetische Kunst (1)
- Kippfigur (1)
- Klangkunst (1)
- Klee, Paul (1)
- Kleist, Heinrich von (1)
- Klima <Motiv> (1)
- Kloster Lüne (1)
- Knowledge (1)
- Knowledge representation (1)
- Koeppen, Wolfgang (1)
- Kognitionswissenscahft (1)
- Kolonialliteratur (1)
- Konflikt (1)
- Kontext (1)
- Kontingenz (1)
- Konversion <Religion> (1)
- Konzentrationslager <Motiv> (1)
- Kopie (1)
- Koťátková, Eva (1)
- Koťátková, Eva: Asylum (1)
- Krankheit <Motiv> (1)
- Kraus, Karl (1)
- Kreditmarkt (1)
- Kreuzlingen (1)
- Kritik der praktischen Vernunft (1)
- Kritisches Denken (1)
- Krochmal, Nachman (1)
- Krähen (1)
- Krähen <Motiv> (1)
- Kuhn, Thomas S. (1)
- Kunstgeschichtsschreibung (1)
- Kunstproduktion (1)
- Kurden (1)
- Kurdish movement (1)
- Kurdistan-Irak (1)
- Kurdjumov, S. P. (1)
- Kurzfilm (1)
- Kurzgeschichte (1)
- Künste (1)
- Künstlerin (1)
- LGBT (1)
- LGBT people (1)
- La Guzla (1)
- La divina mimesis (1)
- La luna e i falò (1)
- Lacan, Jacques (1)
- Lachen (1)
- Lachman, Harry (1)
- Lachman, Harry: Dante's Inferno (1)
- Lacoue-Labarthe, Philippe (1)
- Landschaftszerstörung (1)
- Langsamkeit (1)
- Language acquisition (1)
- Language disorders (1)
- Language politics (1)
- Las Meninas (1)
- Latour, Bruno (1)
- Laughter (1)
- Le Nemesiache (1)
- Le livre de ma mère (1)
- Lebendige Gegenwart (1)
- Lebensmittelindustrie (1)
- Lefebvre, Henri (1)
- Legal imagination (1)
- Leid (1)
- Leopold-Stich (1)
- Lesbian continuum (1)
- Lesen (1)
- Letters (1)
- Lewis, John Robert (1)
- Li, Danlin (1)
- Libanon (1)
- Libanonkrieg <2006> (1)
- Liberalismus (1)
- Life sciences and philosophy (1)
- Linguistic apartheid (1)
- Linguistic scepticism (1)
- Listening (1)
- Literarische Übersetzung (1)
- Literarisches Leben (1)
- Literary experience (1)
- Literary field (1)
- Literary material (1)
- Literature (1)
- Literaturgeschichtsschreibung (1)
- Literaturtheorie (1)
- Literaturunterricht (1)
- Literaturwissenschaft (1)
- Living and non-living beings (1)
- Living present (1)
- Logic (1)
- Logik (1)
- Lokales Wissen (1)
- Lorbeer (1)
- Lorenz, Renate (1)
- Lourdes (1)
- Low German (1)
- Lucretius Carus, Titus (1)
- Lyotard, Jean-François (1)
- Lévi-Strauss, Claude (1)
- Machtstruktur (1)
- Mafrouza - Oh la nuit! (1)
- Malabou, Catherine (1)
- Malerei (1)
- Management (1)
- Management literature (1)
- Manga (1)
- Mann, Thomas (1)
- Marcos, Ferdinando Edralin (1)
- Marcos, Imelda Romualdez (1)
- Marginal temporality (1)
- Maria (1)
- Marxismus (1)
- Massenaussterben (1)
- Materialismus (1)
- Materiality (1)
- Materialität (1)
- Mathematical analysis (1)
- Mathematik (1)
- Maulbeerbaum (1)
- Mauthner, Fritz (1)
- Media art (1)
- Medicin, Chinese (1)
- Medizin (1)
- Medizingeschichte (1)
- Mehrotra, Arvind Krishna (1)
- Mehrotra, Arvind Krishna: Songs of Kabir (1)
- Melancholie <Motiv> (1)
- Memorialization (1)
- Memory <remembrance> (1)
- Menschenrechtsdeklaration (1)
- Menschenrechtsverletzung (1)
- Mental illness (1)
- Meredith, Sean (1)
- Meredith, Sean: Inferno (1)
- Merrill, James Ingram (1)
- Messianismus (1)
- Meta-image (1)
- Metamorphose (1)
- Metamorphosis (1)
- Metaphysics of presence (1)
- Metaphysik (1)
- Meteorological art (1)
- Middle Ages (1)
- Middle East (1)
- Middle English (1)
- Migrantenliteratur (1)
- Migration (1)
- Migration literature (1)
- Milḥ hāḏa 'l-baḥr (1)
- Military junta (1)
- Militärdiktatur (1)
- Minderheit (1)
- Minefields (1)
- Minimal variation (1)
- Minimalism (1)
- Misunderstandings (1)
- Mittelenglisch (1)
- Mittellatein (1)
- Monasticism (1)
- Montage (1)
- Montale, Eugenio (1)
- Moral (1)
- Morante, Elsa (1)
- More-than-human memory (1)
- More-than-human relations (1)
- Moritz, Karl Philipp (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)
- Multilingualism (1)
- Mundart Afrikaans <Kapstadt, Region> (1)
- Museum education (1)
- Museumspädagogik (1)
- Music (1)
- Musical nationalism (1)
- Musik (1)
- Musikalischer Geschmack (1)
- Musikgeschichtsschreibung (1)
- Mutter (1)
- Mutter <Motiv> (1)
- Muzeum Sztuki (Lodz) (1)
- Muzeum Sztuki (Lodz). Mie̜dzynarodowa Kolekcja Sztuki Nowoczesnej (1)
- Mysticism (1)
- Mystik (1)
- Mythologie (1)
- Mythology in Motion Pictures (1)
- Mythos (1)
- Mérimée, Prosper (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 character (1)
- National character in music (1)
- National identity (1)
- National socialism (1)
- National stereotypes (1)
- National taste (1)
- Nationalbewegung (1)
- Nationalcharacter (1)
- Nationalcharakter (1)
- Nationale Einheit (1)
- Nationalism and collective memory (1)
- Nationalsozialismus <Motiv> (1)
- Nationenbildung (1)
- Nativism (1)
- Nativismus (1)
- Naturdarstellung (1)
- Nature (1)
- Nature images (1)
- Nature writing (1)
- Nature-culture (1)
- Naturwissenschaften (1)
- Naturwissenschaften <Motiv> (1)
- Nebel <Motiv> (1)
- Negation (1)
- Negation (Logic) (1)
- Neokolonialismus (1)
- Neoliberal ideology (1)
- Neoliberalism (1)
- Neoplastic Room (1)
- Neoplastizismus (1)
- Netzwerk (1)
- Neue Medien (1)
- Neuropsychologie (1)
- Nichtstaatliche Organisation (1)
- Niederdeutsch (1)
- Niederlande (1)
- Nietzsche, Friedrich (1)
- Nonne (1)
- Northern Renaissance (1)
- Novalis (1)
- Nuclear Aesthetics (1)
- Nuclear Art (1)
- Nuclear Culture (1)
- Nuns (1)
- Objektivität (1)
- Observatorium <Motiv> (1)
- Observatory (1)
- Occidentalism (1)
- Ocean Island (1)
- Okzidentalismus (1)
- Old Norse (1)
- Old Testament (1)
- Ontologie (1)
- Ontology (1)
- Opacity (1)
- Open design (1)
- Open work (1)
- Open-ended (1)
- Openness (1)
- Oper (1)
- Operatic debates (1)
- Operative reenactment (1)
- Oppression (1)
- Oral tradition (1)
- Ordensreform (1)
- Ordensregel (1)
- Orey, Inês d' (1)
- Organisms (1)
- Organismus (1)
- Orientalism (1)
- Orientalismus <Kulturwissenschaften> (1)
- Orientbild (1)
- Origin of language (1)
- Original (1)
- Ornament <Motiv> (1)
- Ort (1)
- Osmanisches Reich <Motiv> (1)
- Otherness (1)
- Outopos (1)
- Owen, Robert (1)
- Palestine (1)
- Palmistry (1)
- Palästina (1)
- Pamuk, Orhan (1)
- Panafricanism (1)
- Pane, Gina (1)
- Paradox (1)
- Paradoxes in literature (1)
- Parisienne (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: Pilade (1)
- Pathosformel (1)
- Pavese, Cesare (1)
- Pedagogy (1)
- Performance (1)
- Petrarca, Francesco (1)
- Petrolio (1)
- Petzold, Christian (1)
- Pflanzen <Motiv> (1)
- Phase transitions (1)
- Phenomenology (1)
- Phenotypic plasticity (1)
- Philippine history (1)
- Philippinen (1)
- Philosophische Untersuchungen (1)
- Philosophy (1)
- Philosophy of consciousness (1)
- Philosophy of science (1)
- Phobias (1)
- Phobie (1)
- Phosphatbergbau (1)
- Phosphate (1)
- Photobooks (1)
- Photographic errors (1)
- Phraseologie (1)
- Physics (1)
- Physik (1)
- Phänotyp (1)
- Picasso, Pablo (1)
- Pictures from Italy (1)
- Pirici, Alexandra (1)
- Piss (1)
- Plantage <Motiv> (1)
- Plantation novel (1)
- Plants (1)
- Plastik (1)
- Plastizität <Physiologie> (1)
- Pleasure (1)
- Plural thought (1)
- Poesia in forma di rosa (1)
- Poetry (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)
- Politisches Lied (1)
- Populärwissenschaftliche Darstellung (1)
- Pornografie (1)
- Pornographic films (1)
- Porter, Max (1)
- Porter, Max: Grief is the thing with feathers (1)
- Portugal (1)
- Positionality (1)
- Post-Internet art (1)
- Post-enlightenment (1)
- Postcolonialism (1)
- Postcolonialism in literature (1)
- Postcolonialismus (1)
- Postkolonialismus <Motiv> (1)
- Postponement (1)
- Potentiality (1)
- Power relations (1)
- Praise (1)
- Precariousness (1)
- Preenactment (1)
- Prekarisierung (1)
- Premodern China (1)
- Pressburger, Giorgio (1)
- Pressburger, Giorgio: Nel regno oscuro (1)
- Principle of an-archy (1)
- Print culture (1)
- Prisons (1)
- Production aesthetics (1)
- Produktionsästhetik (1)
- Programmed art (1)
- Prolog (1)
- Prologues (1)
- Promise (1)
- Propaganda (1)
- Prophecy (1)
- Prophetie <Motiv> (1)
- Prosthetics (1)
- Protest (1)
- Protestbewegung (1)
- Prothese (1)
- Prozessualität (1)
- Präfix (1)
- Psychiatry (1)
- Psychisches Trauma (1)
- Psychoanalyse <Motiv> (1)
- Psychotherapie (1)
- Psychotherapy (1)
- Public sphere (1)
- Punakawan (1)
- Puppet films (1)
- Pädagogik (1)
- Pêcheux, Michel (1)
- Qadiri, Monira al- (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)
- Raubbau (1)
- Rauschenberg, Robert (1)
- Re-citation (1)
- Re-enactment (1)
- Re-enactment, historical (1)
- Re-presentation (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)
- Reisen eines Deutschen in England im Jahr 1782 (1)
- Relapse (1)
- Repeatability (1)
- Repetition compulsion (1)
- Reproduction (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)
- Rilke, Rainer Maria (1)
- Ritter, Joachim (1)
- Ritual (1)
- Rivera, Diego (1)
- Robinson, Stacey (1)
- Rochlitz, Friedrich (1)
- Rohstoffgewinnung (1)
- Rom, Blicke (1)
- Romantik (1)
- Romanze (1)
- Rosario, Arthur Bispo do (1)
- Rost (1)
- Ruine (1)
- Ruins (1)
- Rust (1)
- Römisches Recht (1)
- Sachbuch (1)
- Sado-Masochism (1)
- Sadomasochismus (1)
- Saga (1)
- Salvation (1)
- Sammelwerk (1)
- Sammlung (1)
- Santal (1)
- Scale (1)
- Scar (1)
- Scenarios (1)
- Scepticism (1)
- Schauspielkunst (1)
- Schiff <Motiv> (1)
- Scholarly communication (1)
- Scholasticism (1)
- Scholastik (1)
- Schooling (1)
- Schreiben <Motiv> (1)
- Schriftlichkeit (1)
- Schule (1)
- Schulpflicht (1)
- Schutz (1)
- Schwarz, Roberto (1)
- Schwarze (1)
- Schwarze <Motiv> (1)
- Science-Fiction-Literatur (1)
- Screen writing (1)
- Screenwriting studies (1)
- Sculpture (1)
- Sebald, W. G. (1)
- Sebastianismus (1)
- Secular order (1)
- Segregation <Soziologie> (1)
- Sekula, Allan (1)
- Selam Berlin (1)
- Selbstregulation (1)
- Semiperipherie (1)
- Semprún, Jorge (1)
- Senegal (1)
- Sereni, Vittorio (1)
- Serra, Richard (1)
- Sexfilm (1)
- Sexualisierte Gewalt (1)
- Sexuality (1)
- Sexualverhalten (1)
- Shekhar, Hansda Sowvendra (1)
- Shekhar, Hansda Sowvendra: The adivasi will not dance (1)
- Sichtbarkeit (1)
- Silveira, Nise da (1)
- Singularität <Philosophie> (1)
- Situated knowledge (1)
- Skeptizismus (1)
- Sklaverei (1)
- Slavery (1)
- Slow cinema (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)
- Song culture (1)
- Sonic reenactment (1)
- South Lebanon (1)
- South Slavic region (1)
- Southern Belle (1)
- Sozialer Wandel (1)
- Sozialgeschichte (1)
- Sozialphilosophie (1)
- Spain (1)
- Spaltung (1)
- Spanienbild (1)
- Sparpolitik (1)
- Spatial turn (1)
- Speculative realism (1)
- Spekulativer Realismus (1)
- Spirited water spots (1)
- Spirituality (1)
- Spiritualität (1)
- Splace (1)
- Spracherwerb (1)
- Sprachpolitik (1)
- Sprachskepsis (1)
- Sprachursprung (1)
- Spur (1)
- Stadt (1)
- Stadt <Motiv> (1)
- Stage adaptions (1)
- Standardsprache (1)
- State (1)
- State ideology (1)
- State security archives (1)
- Stedelijk Van Abbe-Museum (1)
- Stench (1)
- Stereotypes (1)
- Stereotypes in musical fiction (1)
- Sternwarte (1)
- Steyerl, Hito (1)
- Stimme (1)
- Strahlung (1)
- Strangers (1)
- Stratigraphie (1)
- Stratigraphy (1)
- Streubombe (1)
- Structuralism (1)
- Strukturale Anthropologie (1)
- Strukturalismus (1)
- Strukturelle Diskriminierung (1)
- Subjectivity (1)
- Subjectivity in literature (1)
- Subjektivität (1)
- Susceptibility (1)
- Suske en Wiske (1)
- Szenarium (1)
- Südafrika. Truth and Reconciliation Commission (1)
- Südlibanon (1)
- Südslawenbild (1)
- Talmud (1)
- Tanpınar, Ahmet Hamdi (1)
- Tastsinn (1)
- Tastwahrnehmung (1)
- Tatsache (1)
- Teaching (1)
- Teil (1)
- Teil-Ganzes-Beziehung (1)
- Teleologie (1)
- Teleology (1)
- Temporal paradox (1)
- Temporalität (1)
- Teorema (Film) (1)
- Terentius Afer, Publius (1)
- Testimony (1)
- Text-Installation (1)
- Textualität (1)
- The American (1)
- The Beats (1)
- The Childhood of Jesus (1)
- The Dionysian (1)
- The Nativity (1)
- The Sacred (1)
- The Simpsons (Fernsehsendung) (1)
- The book of Margery Kempe (1)
- The extraordinary (1)
- The many (1)
- The structure of scientific revolutions (1)
- The unconcious (Psychology) (1)
- The waves (1)
- Theatre-Philosophy (1)
- Theorizing (1)
- Third space (1)
- Thomas, Yan (1)
- Thomas, von Cantimpré (1)
- Tierhaltung (1)
- Tierrecht (1)
- Tierschutz (1)
- Time in motion pictures (1)
- Time-based art (1)
- Time-based media (1)
- To-do lists (1)
- Tod <Motiv> (1)
- Topografie (1)
- Totality (1)
- Totò (1)
- Touch (1)
- Toxic affect (1)
- Toxicity (1)
- Trace (1)
- Tradition (1)
- Tragedy (1)
- Tragödie (1)
- Transcontextual (1)
- Transferability (1)
- Transgender <Motiv> (1)
- Transgender men (1)
- Transhumanismus (1)
- Transitives Verb (1)
- Transmediality (1)
- Transnational economy (1)
- Transnationalism (1)
- Transsexueller (1)
- Trantraal, Nathan (1)
- Trattatello in laude di Dante (1)
- Travel writing (1)
- Turkey (1)
- Turkish literature (1)
- Twombly, Cy (1)
- Türkisch (1)
- USA (1)
- USA / Südstaaten <Motiv> (1)
- Ubiquitous Computing (1)
- Umwelt (1)
- Umweltfaktor (1)
- Umweltschaden (1)
- Unbewusstes <Motiv> (1)
- Unfinished (1)
- Universalism (1)
- Universalismus (1)
- University system (1)
- Universität (1)
- Unterbrechung (1)
- Unterdrückung (1)
- Untranslatability (1)
- Unvollkommenheit (1)
- Unvollständigkeit (1)
- Urban change (1)
- Urbaner Gartenbau (1)
- Utopia (1)
- Utopie (1)
- VUCA (1)
- Vaderlandsliefde (1)
- Value ambivalence (1)
- Valéry, Paul (1)
- Variation (1)
- Vazquez, Adela (1)
- Velázquez, Diego Rodríguez de Silva y (1)
- Verbraucher (1)
- Vereinfachung (1)
- Vergiftung (1)
- Vergleichbarkeit (1)
- Vergleichende Literaturwissenschaft (1)
- Verlust (1)
- Vernacular photography (1)
- Verschiedenheit (1)
- Versprechen (1)
- Vertreibung (1)
- Verwundbarkeit (1)
- Verzögerung (1)
- Veröffentlichung (1)
- Veteranyi, Aglaja (1)
- Video (1)
- Video art (1)
- Video-Installation (1)
- Videokunst (1)
- Viktorianisches Zeitalter (1)
- Violence (1)
- Visibility (1)
- Visitation (1)
- Visual lists (1)
- Vita Christinae (1)
- Vita Merlini (1)
- Vitruvius (1)
- Volkserzählung (1)
- Voyage en Egypte (1)
- Wace (1)
- Wahrheit (1)
- Wald (1)
- Warum das Kind in der Polenta kocht (1)
- Wassergeist (1)
- Wayang kulit (1)
- Weak resistance (1)
- Weather (1)
- Weather art (1)
- Wei, Yuan (1)
- Wei, Yuan: Haiguo tuzhi (1)
- Weiss, Peter (1)
- Welternährung <Motiv> (1)
- Weltkrieg <1914-1918> (1)
- Weltkrieg <1939-1945> (1)
- Weltliche Macht (1)
- Werden (1)
- Wert (1)
- Wertphilosophie (1)
- Westliche Welt (1)
- Wiederholungszwang (1)
- Wiedervereinigung <Deutschland> (1)
- Wild medicinal plants (1)
- Wildnis <Motiv> (1)
- Winterson, Jeanette (1)
- Winterson, Jeanette: Frankissstein (1)
- Wissenschaftliche Literatur (1)
- Wissenschaftsgeschichte (1)
- Wissenschaftsphilosophie (1)
- Wissensrepräsentation (1)
- Withholding power (1)
- Wolf <Motiv> (1)
- Wolff, Charlotte (1)
- Women in literature (1)
- Women* (1)
- Work (1)
- Worldliterature (1)
- Wright, Charles (1)
- Writing (1)
- Yeats, William Butler (1)
- Yella (1)
- Yi jing (Werk) (1)
- Youli Tuji (1)
- Yugoslav wars (1991-2001) (1)
- Yugoslavia - history (1)
- Zanzotto, Andrea (1)
- Zeichnung (1)
- Ziegenhaltung (1)
- Zisterzienser (1)
- Zugehörigkeit (1)
- Zuhören (1)
- al-Bika (1)
- aperire (1)
- aperte (1)
- hooks, bell (1)
- katéchon (1)
- Öffentlichkeit (1)
- Ökofeminismus (1)
- Ökologie (1)
- Ökosystem (1)
- Über das Marionettentheater (1)
- Überlappung (1)
- Übernatürliches Wesen (1)
- Überschreitung (1)
- Übertragbarkeit (1)
- Übertretung (1)
- Überwachung (1)
- Žbanić, Jasmila (1)
- 李丹麟 (1)
- 游历图记 (1)
Institute
- Extern (5)
The essay confronts the question of weathering by considering its excess to the conceptual dimension and relating it to what Jacques Derrida names (the) 'trace'. The study of the 'logic' of weathering/the trace is confronted with Giorgio Agamben's critique of Derrida's project. Their two different conceptions of language, of its presuppositional structure, and of its order of 'metaphysical presence' are considered, in particular by turning to Werner Hamacher's work on these and related matters.
Enduring ornament
(2020)
This is an essay about rust. Iron usually plays the part of strength, stubbornness, and impenetrability, but rust registers the dimension of time in the material, reminding us that it always carries the potential for its own decomposition. While great expense is incurred to stave off iron's oxidization, we read the uselessness that rust precipitates as an interruption of the instrumental logics that sustain racial capitalism. Looking to the rusted ring that became Elsa von Freytag-Loringhoven's "Enduring Ornament" (1913), we consider how the discarded and defunctionalized lend themselves to ornamental redeployment. The essay then turns to works by the contemporary American artists David Hammons and Andrea Fraser, both of which transform Richard Serra's rusty steel sculptures into a backdrop for fleeting gestures of impromptu reclamation. Attending to questions of susceptibility and monumental weathering, these reflections look to rusty leakages that play out the impossibility of refusing the environment. Rust, we suggest, is a material archive of exposure that does not keep itself, but flakes apart and seeps away.
One of the theoretical tensions that has arisen from Anthropocene studies is what Dipesh Chakrabarty has called the 'two figures of the human', and the question of which of these two figures of the human inheres in the concept of the Anthropocene more. On the one hand, the Human is conceived as the universal reasoning subject upon whom political rights and equality are based, and on the other hand, humankind is the collection of all individuals of our species, with all of the inequalities, differences, and variability inherent in any species category. This chapter takes up Deborah Coen's argument that Chakrabarty's claim of the 'incommensurability' of these two figures of the human ignores the way both were constructed within debates over how to relate local geophysical specificities to theoretical generalities. This chapter examines two cases in the history of science. The first is Martin Rudwick's historical exploration of how geologists slowly gained the ability to use fossils and highly local stratigraphic surveys to reconstruct the history of the Earth in deep time, rather than resort to speculative cosmological theory. The second is Coen's own history of imperial, Austrian climate science, a case where early nineteenth-century assumptions about the capriciousness of the weather gave way to theories of climate informed by thermodynamics and large-scale data collection.
The essay investigates the meteorological phenomena represented in Dante Alighieri's Commedia and their interrelation with the subjectivity of the dead in Hell, Purgatory, and Heaven. Examining how the dead weather the afterlife and how the elements affect them, in turn, the essay takes the complex enantiosemy of the word 'weathering' as a conceptual guiding thread for the exploration of dynamics of exposure ('Inferno'), vulnerability ('Purgatorio'), and receptivity ('Paradiso').
Radiating exposures
(2020)
The brief explorations of radiation exposures presented within this essay draw primarily from nuclear art and culture and contribute to the field of nuclear aesthetics, which has long been fixated on the problem of visibility and the representation of nuclear residues. The examples draw primarily from photographic technologies and other aesthetic registers that capture visual residues of radiation. The challenges of nuclear aesthetics are also political and social. This constellation of objects and inquiries is meant to explore the fraught political, environmental, and social relations between radiation, visibility, toxicity, through the concept of exposure. They offer feminist glimpses into other ways of thinking exposure, as it develops in relation to (often imperceptible) toxicity that is not inscribed into a logic that partitions the passive victim of suffering from some pure or unaffected subject. They are examples that are both forms of exposure specific to the nuclear while also, perhaps, helping to expose more nuanced and complex ways of understanding forms of exposure that extend beyond nuclearity.
The chapter engages the nature-culture divide with the generative ambivalences of weathering in both language and physics. Taking the different uses of the enantiosemic and ambitransitive verb as indicative of the human's fraught relationship with its environment and itself, it analyses multiple ways in which 'weathering' can involve subject-object relations, objectless subject-predicate relations, or even subjectless processes, and proposes to think them with mechanics, thermodynamics, and chaos theory.
Preface
(2020)
The intensifying ecological devastation of the planet is being registered across scientific disciplines and activist, artistic, or more broadly cultural endeavours in ways that rethink the temporal dimensions of a catastrophe that can no longer be considered 'looming'. In many political contexts - trying to get scientists heard, mobilizing state power and international agreements to curb the extractivist rapaciousness of global capitalism - it might still seem essential to create a sense of urgency, of a rapidly closing interval, last chance, now or never. Yet taking stock not only of the planetary sum totals of global climate change but its present local manifestations, the devastations of neocolonial extractivism, the irreversible extinctions of countless species, destruction of ecotopes on land and in the sea, has produced a growing awareness that in many crucial senses, it is 'too late' - that the time can no longer be given as 'five minutes to midnight' but has moved a lot closer to the dead of night, whether this is being regarded primarily as a question of the cumulative loss of biodiversity as part of what is now known as the 'sixth mass extinction' or as the approach of several 'tipping points' of global climate change, such as the current ice sheet disintegrations in the polar regions, the greenhouse gas release triggered by the loss of permafrost, and irreversible desertifications. The complexion of ecology, over these last years, has turned from juicy green to dark and brittle. The most decisive recent interventions, while acknowledging the overwhelming pessimist thrust of ecological thought, have tried to use a more complex, more differentiated account of the temporality of environmental ruination in order to reflect on the diminished possibilities for life in these ruins while avoiding familiar registers both of science fiction dystopias and self-healing planets.
Wholes are said to be more than the sum of their parts. This 'more' contains both a promise and a threat. When different elements - which might be individuals, cultures, disciplines, or methods - form a whole, they not only join forces but also generate a surplus from which the parts can benefit. Being part of a whole is a way to acquire meaning and to extend beyond one's limited existence; and having a part in the whole is to have an enlarged agency. But wholes are also more powerful than the sum of their parts. Wholes constitute their parts: they determine what is a part and what is apart, what can become a part, and which parts have no part. Even if parts therefore may not be said to pre-exist a whole, there may still be something in them that exceeds being a part - if only the possibility of being part of a different whole.
Ruth Preser's essay 'Things I Learned from the "Book of Ruth": Diasporic Reading of Queer Conversions' performs a queer appropriation of history. The "Book of Ruth" is a biblical narrative that opens with two women, Naomi the Israelite, a bereaved woman who wishes to return from Moab to Judea, and her no-longer-daughter-in-law Ruth the Moabite, who pledges to follow Naomi, turning away from her gods and people. This laconic tale of nomadic intimacies and speech-acts of pledges and conversions has become an iconic narrative and a seminal text in Judaism, and it has also been appropriated by contemporary feminist and lesbian readings. Indeed, since it is not fully narrated but rather full of gaps, voids, and 'ghostly matters', the "Book of Ruth" provides apt ground and a malleable vessel for contemporary appropriation by stories seeking incarnation beyond linear or teleological constraints. In Preser's 'palimpsest reading', the biblical tale continues to communicate a story of successful assimilation of the poor and the foreign, and of a 'home-coming', but it is troubled by displacement, unresolved diasporic longing, and an acute and continuous sense of vulnerability. Thinking with Avery Gordon's modality of haunting, Preser's reading aims to understand contemporary forms of dispossession and their impact, especially when their oppressive nature is denied. It reflects on what kind of theory might emerge by remobilizing the category of 'home' through its de-constitution, through movement rather than destination, through disintegration rather than determination. Troubled by questions of race, nomadism, gender, and sexuality, in an era when (some) bodies may traverse national, sexual, and class borders, Preser's investigation asks what happens to bodies that continuously signify precarity and loss.
Marcus Coelen's essay 'An Eclipse of the Screen: Jorge Semprún's Scripts for Alain Resnais' starts from the assumption that the peculiar status of film scripts (not written to be read as such) can be illustrated by the figure of their eclipse. For they are, in inverting the very logic of the figure they invite, eclipsed for the sake of and by the fractured light on the screen they help to produce. Yet just as the sun, obscured by the 'black writing' of the moon, leaves an ephemeral contour in the skies - a spectacle to many when happening - so too can the script that is made to disappear by the screen be assumed to draw its own particular and even more vanishing traits into the movie that is given not only to sight but also to thought. The analyses and critical constructions proposed by Coelen try to detect such traits in the work of Jorge Semprún the screen writer. Writing not only for movies by Alain Resnais - most notably "La guerre est finie" (1966) and "Stavisky" (1974) - but also publishing versions of them after their release and calling those versions 'scénarios' despite various divergences and subtly violent inversions of the movies' images, the screenwriter's figure describes yet another twist of the eclipse. It can be assumed not only that Semprún strongly resisted the influence of the constellation formed by writing and cinematographic shooting, as well as projecting, but furthermore that this writing was almost imperceptibly yet essentially directed against the eclipse it was drawn into. No minor forces are conjured up in this enterprise. Driven by the desire to re-appropriate cinema's a-personal and anti-psychological movement, to domesticate the images of scribbling lights drifting away from the mental and into thought - as well as into a history not mastered -, Semprún attempted to shape mastery itself and most traditional forms of authorship, along with memory and agency, in order to cloud the eclipse of script - that is, we might add, to conjure up a ghost recovering the trace of what has been eclipsed so that it may continue to haunt.
Arnd Wedemeyer's article focuses on the German artist Joseph Beuys (1921–86), who did not shy away from describing the social order with traditional organic metaphors, such as the notion of a 'central organ'. However, it is above all the - plastic - relationship between society and art that is at issue in Wedemeyer's article, entitled 'Pumping Honey: Joseph Beuys at the documenta 6'. Using the term 'Soziale Plastik', Beuys not only classified his own artistic practice as essentially sculptural but, more importantly, thematized its heterogeneous yet anything but passive relationship to art market, exhibition, museum, and various modes of reception, as well as staked its political claim. Wedemeyer looks at Beuys's contribution to the 1977 documenta, 'Honey Pump at the Workplace', in order to argue that the layered invocation of plasticity characteristic of Beuys's practice and theorizing ought not be historicized, as is commonly done, as an instantiation of the excessive, transgressive - and quite possibly disingenuous - zeal of the neo-avant-garde. Beuys's 'Plastik' should not be confused with anti-aesthetic formlessness, base materialism, a post-Duchampian ruination of the 'objet trouvé', and least of all a Neoromantic or Wagnerian projection or hypostatization of the autonomous work of art. The avant-gardes of the twentieth century have rendered the relationship of art and aesthetics tenuous at best, their artistic 'innovations' straining against the supratemporally or anthropologically defined characteristics of aesthetic valuation, play, or force. While many have sought to address this problem by tethering art to society in a shared 'contemporaneity', the article explores the implications of recasting this relation as one of plasticity, using the conceptual richness harvested by Catherine Malabou.
A paradigm for thinking about wholes, their constitution and re-production, has long been provided by living organisms. While the emphasis is often on the relation between parts and wholes - between the functionally differentiated organs and the organism, or, on a lower level, between cells and organs - Robert Meunier and Valentine Reynaud's essay 'The Innate Plasticity of Bodies and Minds: Integrating Models of Genetic Determination and Environmental Formation' poses the question of the whole in biology with respect to the organism and its environment. A developmental system involves not only what we conventionally discern as the organism, that is, initially, the fertilized egg and the cellular mass arising from it by cell division, but also the physical and biological surrounding of the developing embryo. In the sense that not every aspect of the environment plays a role, the organism as part of the system constitutes this whole by determining what has an effect on the process and what does not. On the other hand, by not only enabling development or providing material but instead shaping the process in specific ways, the whole of organism-environment interactions constitutes its part, i.e., the developing organism. If there are therefore different, potentially incommensurable constitutions of the whole developmental system, there are also different ways of identifying the relevant units of selection in evolution, such as the living organism as a whole or the genes as the units of replication. In their essay, Meunier and Reynaud argue for a view on development and evolution that integrates notions of environmental influence and genetic determination. The notion of plasticity that has recently gained currency in the life sciences seems to oppose genetic determination and innateness by underlining the importance of environmental influence. However, while morphological and cognitive development is indeed plastic and sensitive to the environment, the essay emphasizes that the mechanisms and elements enabling a system to respond to influences must be available for development to happen in the first place. These resources for development are not homogeneous 'stuff' that becomes formed by the environment through the course of development. Instead, they are highly structured and specific and thus enable specific responses to contextual conditions. Under varying conditions they will of course appear in different combinations and produce different outcomes. Thus, they enable plasticity. And yet, as they are specific mechanisms and elements, which mainly gain their specificity from the structure of the genetic material on which the environment can act, it appears appropriate to refer to them as innate.
A different take on knowledge, history, and totalization is presented in Jamila Mascat's essay 'Hegel and the Ad-venture of the Totality', which aims at exploring the controversial notion of the Hegelian totality. Countering Louis Althusser's critique of Hegel's 'expressive totality', where every part is thought to expresses the whole, it proposes to consider such a speculative figure as a temporalizing instance situated at the entanglement of Knowing and History. Firstly, it illustrates the paradoxical inclination of Hegel's totality to being both complete and a never-ending task. Secondly, it analyses the accomplishment of totality at the peak of the Science of Logic, focusing on the temporal circularity of the Concept ('Begriff'). Thirdly, drawing on the readings of Alexandre Koyré, Alexandre Kojève, and Jean Hyppolite, the essay illustrates the peculiar relation between becoming and eternity that is located at the heart of Hegel's conception of time. Finally, it approaches the last section of the "Phenomenology of Spirit" devoted to Absolute Knowing in order to highlight the twofold movement of seizure ('Begreifen') and release ('Entlassen') that characterizes the activity of the Spirit and that is constitutive of the contingent ad-venture of the totality as a philosophical achievement. In other words, it is by embracing contingency as its limit that Absolute Knowing reaffirms the status of its absoluteness precisely because of its capacity to sacrifice itself and let it go. Critically engaging with Catherine Malabou's reading of plasticity in Hegel, Mascat highlights that Absolute Knowing is a process of totalization that entails cuts and interruptions. The essay shows that the Hegelian totality may be interpreted and actualized as a theoretical construct densely charged with temporal and historical implications: on the one hand, totality expresses a timely standpoint for thought - the standpoint of Hegel's age, which is, as claimed by the philosopher at the end of his "Lectures on the History of Philosophy", 'for the time being completed', as well as the standpoint of the present time to be speculatively accomplished; on the other hand, Hegel's idea of a speculative totalization sets for the philosophies yet to come the never-ending task of constituting and re-constituting wholes.
Filippo Trentin's essay 'Warburg's Ghost: On Literary Atlases and the "Anatopic" Shift of a Cartographic Object' analyses the atlas as a method of assemblage in literary theory. It takes issue with the use of cartography advocated by proponents of a 'spatial turn' within literary studies, including Malcolm Bradbury's "Atlas of Literature", Franco Moretti's "Atlas of European Literature", and Sergio Luzzatto and Gabriele Pedullà's "Atlante della letteratura italiana". While these atlases claim to dismantle the normative canon of historicism and to offer a different way of gathering knowledge, Trentin argues that they often risk reproducing analogous positivistic, hierarchical, and colonizing assumptions. Showing a totalizing attitude embedded in modern atlases and in the 'cartographic reason' emerging from the sixteenth century onwards, the essay proposes a speculative and heuristic use of the term 'anatopy' that aims to capture the disorienting potentialities that are intrinsic to non-cartographic explorations of space. In particular, it interprets Aby Warburg's "Bilderatlas Mnemosyne" as an 'anatopic' object that keeps troubling any purely cartographic use of the atlas. In Trentin's reading, by theorizing an anti-foundational (and anti-identitarian) method of knowledge organization based on the morphological affect between disparate images and objects, Warburg's project leads to the profanation of the atlas as a topographical machine and, with its recurrences, intervals, and voids, destitutes its traditional apparatus of power. This disparate and anti-holistic aesthetic disposition challenges the solid foundations of the constructions of historicism and cartographic reason. It breaks up the technical explanation of cause and effect and substitutes it with a 'danced causality', which Trentin relates to Leo Bersani's idea of 'aesthetic subject' and the possibility of moving beyond an immobile and filial principle of identity formation towards a virtual and impersonal one that is located beyond the 'ego', as well as beyond the rigid borders of cartographic reason and the linearity of positivistic historicism.
The de-constitution of the 'I' is at the centre of Manuele Gragnolati's essay 'Differently Queer: Temporality, Aesthetics, and Sexuality in Pier Paolo Pasolini's "Petrolio" and Elsa Morante's "Aracoeli"'. The essay explores the relationship between temporality, aesthetics, and sexuality in the final novels of two twentieth-century Italian authors: Pasolini's "Petrolio" (1972–75) and Morante's "Aracoeli" (1982). Both novels mobilize a form of temporality that resists a sense of linear and teleological development and that instead appears contorted, inverted, and suspended. The article argues that both novels thereby allow for the articulation of queer desires and pleasures that cannot be inscribed in normative logics of completion, progression, or productivity. It shows how the aesthetics of Pasolini's and Morante's texts replicate the movement of queer subjectivity and dismantle the traditional structure of the novel but do so differently. The fractured and dilated movement of "Petrolio's" textuality corresponds to a post-Oedipal and fully formed subject who is haunted by his complicity with bourgeois power and wants to shatter and annihilate himself by replicating the paradoxical pleasure of non-domesticated sexuality. "Aracoeli", by contrast, has a 'formless form' ('forma senza forma') that corresponds to the position of never completing the process of subject formation by adapting to the symbolic order. The poetic operation of Morante's novel consists in staging an interior journey, backwards along the traces of memory and the body and at the same time forward towards embracing the partiality and fluidity of an inter-subjectivity that is always in the process of becoming.
Eirini Avramopoulou asks the following questions in her essay 'Claims of Existence between Biopolitics and Thanatopolitics': How is the desire for existence implicated in the experience of identity as wound? Under which conditions does the demand for desire appear to confront the repetition of trauma? Or else, what echoes in the last breath of someone dying? In Istanbul, a city built upon neoliberal structures of governance and cosmopolitan aesthetics, and defined by severe policing and local histories of ethnic and gender violence, these questions reflect upon a particular historical and political period through a personal story. The essay focuses on a transgender activist named Ali, his fight against transphobia, his illness and death, while reflecting on the 2013 public uprising in Istanbul following attempts by the Turkish government to demolish Gezi park. By exploring the notion of spectral survival as a political praxis, it argues that this notion, rather than acceding to claims over a fuller subjectivity, mobilizes an aporia of de-subjectivation. De-constituting the 'I' here attests to an attempt neither to reconfigure its parts nor to merely perceive life as dismantled, but rather to speak of a loss that no familiar language can yet describe. The spectrality of this 'I' troubles and repoliticizes, then, the very notion of haunting, as it lays claims to its own differing and deferral from the constitution of a proper name, or of a 'self'-acclaimed existence, especially when the fight for existence here is also a performative assertion of loss and death connected to processes of resisting sexist, neoliberal, heteronormative, and phallogocentric representations of possession and belonging.
Volker Woltersdorff's essay 'Sexual Ghosts and the Whole of History: Queer Historiography, Post-Slavery Subjectivities, and Sadomasochism in Isaac Julien's "The Attendant"' discusses the controversial concept of wholeness in historiography with regard to the fascination with past horrors and the desire to do justice to their victims who retain a ghostly presence. The essay retraces how this commitment produces a dilemma, as it can result either in the aspiration to historical wholeness as full memoralization or alternatively in the radical rejection of wholeness as an impossible healing. Employing Elizabeth Freeman's notion of 'erotohistoriography', Woltersdorff introduces affect into the work of historiography in order to find an escape from the dilemmatic impasse between history's wholeness as pacified reconciliation and as ongoing catastrophe along the lines of Walter Benjamin. Sadomasochism is presented as a practice that may correspond most adequately to the paradoxical affect caused by traumatic history that continues to haunt the present. Indeed, re-enactments of historical oppression and violence occur frequently within the BDSM community. However, what distinguishes them from 'living history' re-enactments is their potential to modify affective attachments to history by altering the historical script. The essay elaborates this potential through Isaac Julien's 1993 short film "The Attendant", which, in a kind of queer re-enactment, overwrites the memory of colonial chattel slavery by a sadomasochistic encounter of a black guardian and a white visitor in a museum dedicated to the history of slavery. The film raises the ethical and political question of how to relate affectively to the legacy and ongoing presence of racism. Against this backdrop, the author argues that, through the BDSM scenario and its changes to the historical script, Julien's film represents and promotes a paradoxical way to perform both the memorialization and the forgetting of past horrors and pleasures. Here, historical wholeness acquires a conflicting double meaning of both achieving completeness and restoring integrity. Woltersdorff concludes by interpreting "The Attendant" as urging a utopian perspective, produced by the tension between the impossibility of history's wholeness and the necessary, reparative desire for it. The article concludes by highlighting the paradox that Julien's film shows wholeness 'to be impossible and yet necessary' and 'expresses a necessary desire made impossible'. While the essay explicitly engages with the figure of haunting, one could perhaps speak here also of plasticity insofar as the contradictory conjunction of remembering and forgetting seems to rely on a malleability of affects and on producing an affective economy that sustains the fantasmatic remembrance of a painful past through paradoxical pleasure but breaks with any pleasure derived from real inequality, injustice, or suffering imparted non-consensually.
The children's book "Duck! Rabbit!" dramatizes the lesson that just because one is right, others don’t have to be wrong. An endless dispute is quickly settled once the quarrellers experience an aspect change or gestalt switch and thereby realize that the same picture can be seen in different ways. This simple scenario offers an intriguing model for arbitrating between conflicting positions by going back and forth between different aspects and thereby realizing that conflicting accounts can be equally valid.
The notion of ambivalence currently seems to be an invigorating figure with heuristic potential in political, social, and art theory. It refers to a plurality of possibilities, a paradoxical multiplicity, and a complex relationality. It foregrounds thinking in terms of indeterminacy and incommensurability, as well as in terms of the possible. Ambivalence has been deployed in positive ways, as offering political promise, while, at the same time, being regarded with suspicion.
In 1989 the triumphant discourse on the 'end of history' brought the death of socialism and the expansion of liberal democracy. The proclamation of the end of history could also be read literally, as the death of 'history' as a discipline with a homogenized narrative. It is in the same year that Pierra Nora wrote a groundbreaking article, which disentangled the fundamental opposition between history and memory, and at the end assumed the standpoint of memory. The article departs from the diagnosis of post-Yugoslav contemporary accounts of Yugoslav and partisan events. The critique of nationalist and Yugonostalgic discourses discloses shared assumptions that are based on the 'romantic' temporality of Nation and on history as a closed process. In the main part of the article the author works on the special, multiple temporality of partisan poetry that emerged during the WWII partisan struggle. The special temporality hinges on the productive and tensed relationship between the 'not yet existing' - the position of the new society free of foreign occupation, but also in a radically transformed society - and the contemporary struggle within war, which is also marked by the fear that the rupture of the struggle might not be remembered rightly, if at all. The memory of the present struggle remains to be the task to be realized not only for poets, but for everyone participating in the struggle. This is where the revolutionary temporality of the unfinished process comes to its fore, relating poetry to struggle, but again producing a form of poetry in the struggle.
Identity politics redux
(2014)
Pornography reappropriated by feminist and queer pornographers is being reimagined as a site of activist productions, be it through the reshaping of desire or engaging with wider discussions of representational politics. Here, K. Heintzman takes up Shine Louise Houston's feature length film, "The Wild Search", as a unique case study for addressing the relationship between debates of identity politics and queer activist practice.
In his major theoretical work on experimentation, "Towards a History of Epistemic Things" (1997), Hans-Jörg Rheinberger writes: 'If experimental systems have a life of their own, precisely what kind of life they have remains to be determined.' Rheinberger is alluding to the slogan Ian Hacking gave to the post-Kuhnian 'practical turn' in the history and epistemology of science.
This paper deals with the general topic of subjectivity and subjectivation, considered through a philosophical tradition opposed to the 'philosophies of consciousness': that is, a philosophical tradition, from Spinoza to Althusser, that rejects as a myth the supposed primacy and presocial character of subjective identity.
Aspects and abstracta
(2014)
Philosophers of perception and psychologists first studied 'multistable' or 'reversible' figures, 'Kippbilder', in the nineteenth century. The earliest description of the phenomenon of a 'sudden and involuntary change in the apparent position' of a represented object occurred in a letter written by Louis Albert Necker in Geneva to Sir David Brewster on 24 May 1832 and published six months later in the "Philosophical Magazine". The picture in question would become known as the Necker cube.
KippCity
(2014)
On 28 April 2011, on the Rathausplatz of Neukölln, Christine Hentschel's puzzlement vis-à-vis Neukölln's liberation met the neighbourhood's flickering urbanity, which she seeks to capture in a project called KippCity. KippCity is an experiment in tracing urban change while it happens. If space is the 'event of place', as Doreen Massey holds, the space of KippCity is the transformation of Neukölln. This chapter explores the potentials of multistable figures (Kippbilder) for conceptualizing urban change. This potential, Hentschel argues, lies in the flip-moment itself, in the space-time of urban transformation. In Berlin-Neukölln, a neighbourhood long branded as poor and failing, multiple and partly conflicting flip-scenarios have begun to inspire and haunt the neighbourhood and its self-reflective talk. KippCity Neukölln is thus a flickering figure. But unlike an artefact Kippbild, which flickers between duck and rabbit, for example, KippCity Neukölln does not simply tip into a new pre-fabricated form, but rather wavers between different future scenarios. Neukölln's flickering urbanity is thus nervous, full of uncertainty, frustration and enthusiasm. The article shows how the neighbourhood seeks escape from the dystopia of two dominant flip scenarios of ghettoization and gentrification by digging its claws into its 'Now'.
Introduction
(2014)
The experience of multistable figures or so-called Kippbilder - the sudden and repeated 'kippen' of perception as the same object is seen under different aspects - is fascinating in its own right. However, what animated the year-long discussion leading to this volume was a critical exploration of the proposition that such figures may offer a helpful model for thinking through the intercultural and interdisciplinary effort of productively negotiating between conflicting positions.
The aim of this essay is to provide an analysis of Foucault's use of the notion of revolution in the reports he wrote for "Il Corriere della Sera" during his two trips to Iran in September and November 1978. Foucault critically frames the historical and philosophical concept of revolution, in order to oppose it to the spreading revolts against the Shah, which embody the simple and negative opening of the possibility of a transformation in history. Yet is it possible to reactivate the notion of revolution in a nonrestrictive sense in order to think about the role and the possibility of political revolts and freedom today?
Reversion: lyric time(s) II
(2019)
Is a 'history' of the lyric even conceivable? What would a 'lyric' temporality look like? With a focus on Rainer Maria Rilke's decision not to translate, but rather to rewrite Dante's "Vita nova" (1293–1295) in the first of his "Duineser Elegien" (1912), the essay deploys 'reversion' (as turning back, return, coming around again), alongside 're-citation', as a keyword that can unlock the transhistorical operations of the lyric as the re-enactment of selected gestures under different circumstances.
Restrain
(2019)
The re- of 'restrain' - not the more common iterative 're-' but a mere, if semantically obscure intensifier - marks a temporal paradox: the restraint that prevents a force from reaching its 'telos' is not only a delay, but the intervention of a separate, autonomous, and anti-teleological regime of time. The article reads the biblical figure of the 'katéchon', 'the withholder', as an expression of this paradox and as symptomatic of a political-theological ambivalence essential to the foundation of Western political thought. If the 'secular order' or 'worldly government' has the function of withholding both the ultimate salvation and the final outbreak of chaos, then it sustains itself only by postponing any determination of its value or effect.
Resolution
(2019)
Many parodies operate through temporal strategies that distort the narrative proportions of their targets. This essay discusses two texts that manipulate time for parodic purposes: the contemporary animated sitcom "Bojack Horseman" and the twelfth-century romance "Ipomedon". Their shared method involves the absurd prolongation of narrative structures of resolution and satisfaction in order to reveal these structures' arbitrary nature. But this method, in turn, shows that resolution - a retrospective determination of shape and meaning - can never be avoided entirely, even if it can be deferred.
Resistance
(2019)
The term 'resistance', as it appears in the writings of Walter Benjamin, marks the attempt to think a politics that emerges out of a certain experience of history and time. This entry shows that 'Widerstand' is conceived here principally as a resistance against the course of a catastrophic history - a desire for time to cease its flow and come to a standstill.
Resistance II
(2019)
Resistance I
(2019)
In an essay on Peter Weiss, W. G. Sebald remarked that 'the grotesque deformities of our inner lives have their background and origin in collective social history'. Weiss's works explore the relationships between writing and action, aesthetics and politics. This short essay discusses some fragments of texts by Weiss, asking how subjects formed and (grotesquely) deformed by history can continue to resist or intervene to alter its course.
Repetition
(2019)
Repetition
(2019)
This article explores the creative value of the notion of 'repetition' in Michel Foucault's texts from the 1960s and early 1970s. Re-enacting Gilles Deleuze's philosophy, Foucault implicitly refers to the Freudian repetition mechanisms in order to distort and reverse them. Foucault's repetition is de-psychologized, affectively de-individualizing, and temporally erratic, using the power of a senseless repetition to create new possibilities for the future.
Repetition
(2019)
Serial texts must repeat, so that they can be recognized, but they must also change, so that they can remain interesting. Unusual temporal manipulations can emerge in such texts in order to balance these contradictory demands. This essay studies two serial texts whose need for self-extension produces a suspension of historical time: the contemporary animated sitcom "The Simpsons", and medieval romance as theorized by the twelfth-century poet Wace. I suggest that we might name this temporal constraint fiction.
Renewal
(2019)
Interruptions and discontinuity are the very essence of Aby Warburg's conception of the temporality that affects art objects. Beneath the seemingly immobilized expressive gesture, the Hamburg scholar recognizes the vitality of the "Pathosformeln" that convey the intricacy of human multi-layered temporality, made of interruptions, resumptions, inversions, regressions, stops, accelerations, and survivals (Nachleben). In this sense, Warburg's idea of 'renewal', which he developed from his well-known investigation of the Italian Renaissance, does not quite overlap with the notion of rebirth: an expressive gesture can re-emerge and be renewed in a different time without dying and being born a second time with a different form.
Rehabilitation II
(2019)
Rehabilitation I
(2019)
By distancing it from historical revival (i.e., 'Living History'), reenactment is here understood as artistic strategy as well as curatorial practice, and therefore as critical method. As artistic strategy it implies the reactivation (over time) and remediation (on different supports) of images stemming from a vast visual repertoire that artists - especially those working with time-based media (film, video, performance) - appropriate in order to give them new meanings. As curatorial practice and critical method, reenactment regards the remaking of impermanent artworks and the restaging of temporary exhibitions to possibly offer an understanding of (art) history that gives preference to a visual and performative, sometimes immersive, approach.
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.
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.
By focusing on Pasolini's uncompleted film project "San Paolo", Luca Di Blasi's article 'One Divided by Another: Split and Conversion in Pasolini's "San Paolo"' analyzes the notion of split (the split in the structure of time and, above all, the split of the figure of Paul) and concentrates especially on the very moment of Paul's Damascene conversion. Di Blasi refers to the "Kippbild" as a model that can be used to understand better certain ambivalences in Pasolini's Paul. Locating Pasolini's reading of the founder of the Church in a triangulation with two major contemporary philosophers, Alain Badiou and Giorgio Agamben, Di Blasi shows that two opposing possibilities of interpreting Paul - as militant subject of a universal event and its necessary consequences (Badiou) and as representative of softness, weakness, poverty, "homo sacer" (Agamben) - fit perfectly with the two aspects of Pasolini's Paul. Pasolini's profoundly split Paul thus represents a dichotomy which disunites two major figures of contemporary leftist thought.
Bruno Besana's article 'Badiou's Pasolini: The Problem of Subtractive Universalism' also deals with Pasolini's script about Saint Paul, but from the perspective of Alain Badiou's theoretical essay "Saint Paul and the Foundation of Universalism" and of Badiou's different thoughts on Pasolini, on the logic of emergence of novelty, and on its thwarted relation with universalism. Two main points appear in Besana's comparative reading. First, the idea that radical novelty or change can only be built in a 'subtractive manner', i.e. via the appearance of something that, by its sole presence, erodes the consistency upon which the present is structured. This is developed through Pasolini's ideas of 'inactuality' and 'forza del passato' and by Badiou's concept of 'event'. Second, a fundamental paradox inherent to the logic of change: change is only possible if it is organized in a set of coherent consequences, but the organized mode (for instance, the party) of such consequences inevitably reduces change to a constant compromise with the present.
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.
The 'fortuna di Dante' among English and American poets of the twentieth century is a rich story that continues on into this millennium with new permutations and undiminished energies. Pound and Eliot canonized Dante for more than one generation of poets and readers. It was "Purgatorio" rather than "Inferno" that both Pound and Eliot valorized, its charged and affectionate poetic encounters serving as a model for key moments in both their works. [...] Yet it was two American poets, James Merrill and Charles Wright, who focused their attention and delight specifically on the "Paradiso", a much less common predilection for both poets and general readers. [...] Wright says that he writes for the dead; sometimes he seems to write as the dead. It is this premature identification with the dead, even if sporadic, which makes Wright so different from both Dante and Merrill, for whom the afterlife is ultimately an affirmation of life. Both Dante and Merrill make us understand the usefulness of the fiction of the afterlife as a way of staging a dialogue with the dead - which is what much of poetry, perhaps much of life, is about. What all three poets share is a dream of paradise as a site that emboldens the imagination.
The 1935 Fox Films "Dante's Inferno" (directed by Harry Lachman) traces the rise and fall of an entrepreneur. Its protagonist, Jim Carter (played by Spencer Tracy), begins the story as a stoker on a cruise liner. The narrative opens with a burst of flames from the ship's boiler, and the ensuing scene goes on to show the protagonist competing at shovelling coal for a bet in the sweltering engine-room. Interspersed are shots of the superstructure directly above with a number of elegant and vapid passengers following the game below. This initial sequence thus concisely conveys the main features of the film's social agenda through imagery that anticipates that of two of its later 'infernal' sequences. [...] Spectacular admonition and concern about the ruthless pursuit of wealth are the main features which link this "Inferno" of the thirties to the one that had appeared some six hundred years earlier. Wealth and avarice were, of course, demonstrably serious concerns for Dante: as Peter Armour, for example, has shown, there is a recurrent and pervasive concern with money, its meaning, and its misuse throughout the "Commedia". So it is not surprising that the "Inferno" should also have been appropriated by social critics some hundred years before the 1935 Hollywood fable. [...] Some of the narrative and visual patterns in "Dante's Inferno" imply an uneasy underlying vision of the movie industry and its practices. Other productions, publicity, and journalism of the time reinforce suggestions of such a metafictional approach to movies, morality, and the market in the 1935 "Dante's Inferno".
"Nel regno oscuro" is the first part of a planned trilogy inspired by the "Divine Comedy", integrating the Middle European style of Giorgio Pressburger's previous works with the attempt to engage with the first part of Dante's poem. The role of Virgil, Dante's guide in the "Inferno", is taken by Sigmund Freud, and the journey of the melancholic protagonist begins as psychoanalytic therapy to enable him to come to terms with the loss of his father and his twin brother, but soon turns into a journey through the realm of the dead which, like the "Divine Comedy", takes the shape of a series of encounters with the shades of historical figures. Thus Dante's descent to hell metamorphoses into a phantasmagoric voyage to the most intimate and obscure dimensions of the human psyche as well as a journey through the tragic events of history in the twentieth century - and the Shoah in particular. The combination of the personal, the collective, and even the universal is one of the most interesting aspects Pressburger takes from Dante's poem. In the following analysis Manuele Gragnolati explores how both Dante's "Divine Comedy" and Pressburger's "Nel regno oscuro" place personal and collective suffering at the centre of their own narratives and stage writing as a political, ethical, and possibly 'salvific' way to deal with this dual suffering, even as they differ in their concepts of identity and selfhood on the one hand and in their models of history on the other.
Dante as a gay poet
(2011)
The reception of the "Vita nuova" among contemporary Italian poets is not based on the love theme. The "Vita nuova" provides Italian twentieth-century poets more with a model of autobiographical writing than with an erotic paradigm. What is essential is that the imitation of the "Vita nuova" expresses a clearly polemical anti-Petrarchan poetics - something which, of course, one would have no reason to look for in American poets. The American poet Frank Bidart's idiosyncratic appropriation of the young Dante, as opposed to the Dante-versus-Petrarch-based interpretation of Italian poets, is peculiar but by no means as exceptional in the American panorama as it might at first appear. Other gay American poets also treat Dante as a model: Robert Duncan, J. D. McClatchy, and James Merrill. In this essay Nicola Gardini attempts to explore, however rapidly, the grounds on which Dante may have become so essential for such poets. To be sure, the Dantism of these gay American poets may be viewed as a particular moment of the well-established American interest in Dante which goes as far back as Emerson and Longfellow and had its peak in Pound and Eliot. But Gardini argues that such gay Dantism - which no survey of Dante's twentieth-century influence has yet brought to the fore - is a kind of cultural allegiance stemming originally and specifically from the soil of gay discourses and gender preoccupations. Interestingly, Dante, not Petrarch, also serves as a model for some Italian homosexual poets: Michelangelo, Pier Paolo Pasolini, and Giovanni Testori. What, then, is it in the work of a poet like Dante, who confined the sodomites in hell and mostly sang the praises of one woman, that is so compatible with, indeed inspiring for, gay views?
In December 1960 the Leo Castelli Gallery in New York displayed a series of thirty-four illustrations of the "Inferno" by the avant-garde artist Robert Rauschenberg. Rauschenberg had developed this project over the previous two years, working on it almost exclusively, first in New York City, and then in an isolated storage room in Treasure Island, Florida, where he retreated to concentrate on the last half of the cycle. [...] Whatever the spark that set the project in motion, we find Rauschenberg's reply to his detractors here: the refuse that crowded his "Combines" was no joke, nor was it there to undermine or deride high art in the spirit of Dada. With his collection of things, he was composing a new language, turning fragments - the ruins of his environment and culture - into emblems. And what is an emblem if not a composite figure, an assemblage of diverse fragments into a new unity and order? As such, it is an elusive visual allegory whose pictorial image tends to lose its consistency and become a sign open to interpretations; in it, the different narratives springing from its multiple nature come together and give birth to a polysemic language. It is with this language, abstract and referential at the same time, that Rauschenberg translates Dante's poem and makes it new by linking it to something in existence, present in the viewer’s reality of mechanically reproduced images. By choosing 'to ennoble the ordinary', he, perhaps unconsciously, became the hermeneutist of his age and gave durability to what was trivial and precarious.
Between 1816 and 1821, the philologist François Raynouard (1761–1836) published a "Choix des poésies originales des troubadours". His connections with Madame de Staël's cultural circle at Coppet determined the construction of the myth of courtly love as a forerunner of Romantic love. [...] Acording to this cultural tradition, Dante is an intermediate (although pre-eminent) step in the history of Western desire, a process begun in medieval Provence and revitalized by European Romanticism. When Lacan approaches Dante, it is therefore one Dante - this Dante - that he is approaching. The present essay, in which Fabio Camilletti analyses three tightly interwoven texts, explores some of the reverberations of this encounter. In 1958, Lacan published in "Critique" an article entitled 'La jeunesse d'André Gide, ou la lettre et le désir'. This text, later included in Lacan's "Écrits", was meant to be a review of a biography of the young Gide published in 1956 by Jean Delay, entitled "La jeunesse d'André Gide". In comparing Gide's life with his works of youth, Delay notably focused on Gide's novel of 1891, "Les Cahiers d'André Walter", the third text on which Camilletti focuses his inquiry. These three texts evoke in various ways the relationship between Dante and Beatrice, using it as a cultural allusion through which specific problems of sexuality (or, better, of the absence of sexuality) are conveyed. This essay aims therefore to be a study in the rhapsodic and subterranean presence of Dante and the "Vita Nova" between the end of the nineteenth and the twentieth centuries, as well as in the relationship between literature and psychoanalysis through the quartet Dante-Gide-Delay-Lacan.
'Dante and Ireland', or 'Dante and Irish Writers', is an extremely vast topic, and to cover it a book rather than an essay would be necessary. If the relationship between the poet and Ireland did not begin in the fourteenth century - when Dante himself may have had some knowledge of, and been inspired by, the "Vision of Adamnán", the "Vision of Tungdal", and the "Tractatus de purgatorio Sancti Patricii" - the story certainly had started by the eighteenth, when the Irish man of letters Henry Boyd was the first to produce a complete English translation of the "Comedy", published in 1802. Even if one restricts the field to twentieth-century literature alone, which is the aim in the present piece, the list of authors who are influenced by Dante includes Yeats, Joyce, Beckett, and Heaney - that is to say, four of the major writers not only of Ireland, but of Europe and the entire West. To these should then be added other Irish poets of the first magnitude, such as Louis MacNeice, Ciaran Carson, Eiléan Ní Cuilleanáin, and Thomas Kinsella. Therefore Piero Boitani treats this theme in a somewhat cursory manner, privileging the episodes he considers most relevant and the themes which he thinks form a coherent and intricate pattern of literary history, where every author is not only metamorphosing Dante but also rewriting his predecessor, or predecessors, who had rewritten Dante. Distinct from the English and American Dante of Pound and Eliot, an 'Irish Dante', whom Joyce was to call 'ersed irredent', slowly grows out of this pattern.
Transforming a text - narrative or poetic - into a play, made of dialogues and organized into scenes, has been one of the most frequent forms of literary transcodification both in the past and in the present. We can find examples of this procedure at the very origins of Italian theatre, which indeed began as the rewriting of earlier texts, both in the "sacre rappresentazioni" and in the profane field: the Bible in the first case and the Ovidian mythologies in the second. Poliziano's "Fabula d'Orfeo" and "Cefalo e Procri" by Niccolò da Correggio are the first well-known examples of this process. Thus, the metamorphosis of a text into a dramatization has many models in the history of theatre and literature. It would be of great interest to start with an overview of the different types, aims, and forms of transcodification of texts that are enacted in order to create dramatizations capable of being performed on stage. Erminia Ardissino attempts to offer an introduction to her study of Giovanni Giudici's play about Dante's "Paradiso" with a brief discussion of three different practices of theatrical transcodification. She looks at three pièces written at the request of the Italian scenographer Federico Tiezzi between 1989 and 1990 as stage productions of the three cantiche of the Divine Comedy. Although they belong to the same project, are inspired by the same person, and share a unified aim, the three pièces created by Edoardo Sanguineti, Mario Luzi, and Giovanni Giudici show three different approaches to the task of transcodifying a text in order to produce a drama - the task, in Genette's words, of creating a theatrical palimpsest.
'ici uniglory' is an installation on paper. The piece intertwines fragments of six texts by Bruno Besana, Fabio Camilletti, Antke Engel, Sara Fortuna, Laura Taler, and Andrea von Kameke, written in response to the video installation UNIGLORY, a work-in-progress exhibited at ICI Berlin. The responses are edited, fragmented, and re-assembled to reflect the way the filmmaker worked with the filmed dance footage in the original installation, essentially re-choreographing words. The subtle tensions between the different responses allow for shifts and movements within the piece. The result is a poetic intermingling of voices that rub up against one another. Tension also acts as a binding agent, holding all the fragments together and allowing them to be woven into a collective text.
The article offers a philosophical reading of Mazen Kerbaj's sound piece "Starry Night". Recorded in 2006 during the bombing of Beirut by the Israeli Air Force, the piece stages an acoustic encounter between the improvised sounds of the trumpet and live bomb explosions. Arguing for a formal examination of the ways in which Kerbaj stages the problem of the genesis of musical order in the exchange between trumpet and bombs, the article draws parallels with explorations of the problems of the State and of political contradiction in the Marxist tradition. Three common points are identified: the contingency of the appearance of order, its inseparability from an excess of violence, and its spatializing function. The last part delineates parallels between Kerbaj's subversive aesthetic strategies and Badiou's elaboration of the concept of the subject as the interruption of a repetitive logic of placement.
This contribution consists of an explanatory introduction and extracts from recent fiction works, 'White Tales' (novel) and 'Peep Show' (novel in progress). Both fiction works explore the spiralling tensions between intensity and excess, desire and jouissance, via the structure and methodology pioneered in the author's previous work with 'subconscious narrative' film. The result of this prior work was the 18-minute subconscious narrative film 'The Dangers', which explores an experimental narrative structure and is fascinated by the creation and sustenance of suspense, particularly when created with the notion of the uncanny in mind.
The article sketches a critical paradigm for interdisciplinary work that is centred on tension as a highly ambiguous and ultimately deeply paradoxical notion. It highlights that a unifying account of what tension is or a systematic classification of its diverse meanings would risk resolving tensions between different approaches and privileging a particular mode of doing so. Successively focussing on aesthetic, socio-political, and physical tensions, the essay articulates tension rather as a broad umbrella term that is stretched by multi-perspectival articulations, unified through its intensive surface tension, and at the same time full of transformative and generative potentials. In particular, it proposes that tensions between different cultural or disciplinary fields can be made productive by inducing tensions within each field so that different fields can be related to each other on the basis of tension rather than some substantial commonality.
The article analyses A. Boissier's image "Les Amants électrisés par l'amour" in view of the larger question of how something is able to arouse interest on first sight, but also in repeat encounters. Highlighting the engraving's didactic iconography, the article shows how it revolves around the solution to a riddle and uses a typical design of the Enlightenment to show the uncovering of a deception. As such, the engraving is part of a long tradition of showing (supposedly) supernatural events, more specifically the tradition of Magia naturalis. At the same time, the image contains dissonances and can be seen to simulate suspense through dichotomies that can be identified as antagonistic historical concepts. The article furthermore discusses the amalgamation of love and electricity in contemporary discourses and addresses the temporal dimension of the engraving, which constructs itself out of an absence, out of something yet unseen.
The article provides a close reading of the video "Sometimes you fight for the world, sometimes you fight for yourself", dir. by Pauline Boudry/Renate Lorenz (2004, 5'). It reads the video as promoting what it calls a 'queer politics of paradox', that is, a politics that acknowledges desire as a constitutive moment of the political and at the same time challenges the political via a queer understanding of desire in order to make room for the political articulation of the Other. The article argues that a reworking of the political - one that aims at de-centring its hegemonic dynamic and creating space for Otherness - becomes possible if one invites paradox as a specific, anti-identitarian, and agonistic mode of tension to function as a constitutive moment of desire and of the political.
Writing a positive account of utopias has always been a difficult and risky task. Utopias have always already been out of fashion and outside of time. Since 1989 at the latest, visions of utopia appear to have come to an end. Twenty years after Fukayama's 'end of history', this article re-assesses the potentially fruitful roles for utopia’s out-of-timeness. Focusing on the critical potential of utopias through the concept of tension, it argues that utopian thought must be conceptualized through its tensile connections both to the status quo of a given society and to its possible futures.
The article compares the aesthetic notions of the "je ne sais quoi" (as it emerges in the Renaissance and is widely debated in the eighteenth century) and of the 'uncanny' as theorized by Ernst Jentsch and Sigmund Freud in the early twentieth century. Its hypothesis is that both notions, in situating aesthetic experience in a liminal space between pleasure and trouble, can be considered after-images of non-aesthetical notions - notions that belong to the domain of the sacred and have metamorphosed as forms of aesthetic undecidability through the paradigmatic fracture of early modernity. The article focuses on depictions of female figures directing their gaze upward - in the iconography of Sade's Justine, in popular imagery connected with Lourdes apparitions (1858), in medium photography, and in the images taken by Charcot of his hysterical patients at the Salpêtrière - and argues that they become a Warburgian Pathosformel indicating a space of undecidability and 'nonsense' between the subject and otherness.
This article shows that 'tension' cannot be conceived as a specific object of an analysis for which one could determine a precise field of enquiry. Instead, it establishes tension as a specific mode or angle of approach with which any given contingent object or set of objects can be explored. The wideness of its applicability and the specificity of its angle suggest that research on tension can help to unfold a better understanding of a classical ontological question concerning the essential value of actions and relations in the definition of what a thing is. The text follows this line of argumentation by pairing contemporary philosophical sources and specific aesthetic and political examples. Suggesting the possibility of an open classification of different modes of tension, it clarifies the extent to which the essential definition of a thing is bound to the contingent analysis of its transformations.
This article discusses the function of tension in autobiographies written by eighteenth-century doctors George Cheyne, Francis Fuller, Claude Revillon, and the Viscount de Puysegur. It studies how their rhetorical strategies stir tensions in readers through the narration of their own periods of infirmity and search for a remedy. The descriptions of their recoveries offer resolution, legitimate their medical practices, and help diffuse their works. Through the staging of these reversals, the authors suggest a shift in the way the role of medical doctors was perceived as well as a fundamental change in their relationship to illness.
This edited transcript of a presentation by filmmaker/choreographer Laura Taler responds to Heinrich von Kleist's text by taking him on as a dancing partner. It follows a simple structure of proposal and response similar to that found in the movements between leader and follower in Argentine tango. Engaging Kleist's text in the double form of a speech and a tango performance, this critical contribution follows a twofold direction: it questions Kleist's representation of dance as a mechanical activity deprived of any form of intelligence and it refuses his attempt to force the aesthetic experience of dance into a framework that privileges theory over bodily experience. These two classical philosophical positions are questioned and provocatively opposed to the dynamic, situated, and dialogic thought performed within a witty tango interaction.
This article conceptualizes tension as a relation between elements in which at least two forces with different directions are involved. How can this concept of tension be applied to the analysis of the peculiar logic of life in common? The article offers a reading, inspired by the method of conceptual history, of the use of the concept of 'force' in three models of society: Hobbes's political model, the economic model proposed by the thinkers of commercial society, and Durkheim's social theory. The analysis sheds some light on the ways in which the presence of contradictory forces can be taken to be constitutive of the social itself. This observation is then used to suggest that the puzzling fascination exerted by the notion of tension can be better understood if we see it pointing to some fundamental features of our way of collectively inhabiting the world.
Insects, the new food?
(2017)
In many parts of the world it is common to eat insects while in the western world it is regarded as a bizarre habit, even evoking disgust. Is this justified? What if insects were nutritionally similar to our common meat products and have proven to be delicious in blind tests? Insects have an environmental impact which is much less than our common production animals, so why not eat it? If these questions can be answered affirmatively, then the question is: Can we persuade the western consumers to take this psychological barrier? There has been a tremendous interest during the last five years to promote insects as food. There are now close to 200 start-up companies listed. Also, in the scientific world the interest is growing exponentially, testified by the number of articles on edible insects that have appeared during the last 15 years (83 from 2011 to 2015 against 9 from 2001 to 20051). These articles deal with harvesting from nature, environmental benefits, nutritional value, food safety, processing, and consumer attitudes. I will give a short overview of the developments in these different areas.
Am 6. Juli 1916 notierte Ludwig Wittgenstein in seinem Tagebuch: "Und insofern hat wohl auch Dostojewskij recht, wenn er sagt, dass der, welcher glücklich ist, den Zweck des Daseins erfüllt." Diese Aussage ist eingebettet in Überlegungen zur Beziehung von Ethik und Ästhetik in seinem Tagebuch, die später in den 'Tractatus logicophilosophicus' einfliessen (ab Satz 6.42). Die Figur Dostojewskijs, die am explizitesten solche Sätze aussprach, wie den oben zitierten, ist der Starez Sosima aus den 'Brüdern Karamasow'. Wittgenstein hat diesen Roman so oft gelesen, dass er ihn nahezu auswendig konnte, insbesondere die Reden des Starez Sosima. Obwohl Wittgenstein darauf bestand, dass Ethik "unaussprechbar" ist, deutet er an, dass Literatur das gute Leben "zeigen" kann. Somit überschreitet er die Grenzen der frühen analytischen Philosophie, die sich an mathematischen Wissenschaften orientierte und sich möglichst von der Kunst abzugrenzen suchte.
Des critiques et écrivains de nouvelles ont défendu l'idée que la brieveté et un unique moment de clarté sont les éléments essentiels du format court typique de la nouvelle. Cependant, la nouvelle postcoloniale est plurielle, polyphonique et versatile, et elle a tendance à s'appuyer sur le désaccord culturel, social, et linguistique. Ce chapitre examine la traduction et l'échec de celle-ci dans l'oeuvre de deux nouvellistes prolifiques qui viennent des deux différentes traditions postcoloniales : Nadine Gordimer et Anita Desai. La prémisse de mon argument est que les nouvelles de ces écrivains ont pour la plupart lieu dans des espaces périphériques, par exemple des villages et des avant-postes. Elles dramatisent une forme de processus postcolonial de désengagement des centres de pouvoir en explorant et en remettant en question des hiérarchies discursives. Cette renégociation implique la présence de perspectives multiples et de subjectivités plurielles, de même qu'elle insiste sur des traductions problématiques et des malentendus surgissant en leur sein. Par l'étude de textes de Gordimer et Desai, ce chapitre considère plusieurs formes de malentendus – fausses représentations, mécompréhension, traductions erronées et obstructions linguistiques – qui ses présentent dans deux nouvelles. Il ressort de cette analyse que les malentendus sont susceptibles de devenir les instruments de l'expression d'une résistance dans les sites hégémoniques de la langue et du pouvoir.
Cet article examine le rôle souvent occulté et pourtant essentiel de la traduction comme source d'innovation et de créativité dans l'histoire littéraire et la théorie. Il s'appuie sur plusieurs exemples allant du fameux épisode de la création d'Ève à partir de la "côte d'Adam" dans la Bible de Jérôme, basée sur la traduction fautive du mot hébreu "qaran" en latin et reflétant le biais patriarcal de Jérôme, à la traduction, tronquée du Deuxième Sexe de Simone de Beauvoir (1946) par le zoologiste retraité Howard M. Parshley qui allait néanmoins inspirer des études marquantes de la seconde vague féministe américaine telles que "The Feminine Mystique" (1963) de Betty Friedan et "Sexual Politics" (1970) de Kate Millett. L'exemple le plus développé retrace l'interaction productive de la traduction et de la réécriture dans la fiction d'Angela Carter, de "The Fairy Tales of Charles Perrault" (1977) jusqu'à ses célèbres "stories about fairy stories" recueillies dans "The Bloody Chamber and Other Stories" (1979) et "American Ghosts and Old World Wonders" (1992). Je propose de lire les variations de Carter sur "Aschenputtel" dans "Ashputtle or The Mother's Ghost" comme un correctif à sa traduction de la morale de "Cendrillon ou la Petite Pantoufle de Verre" de Perrault. La poétique traductive (translational poetics) de Carter démontre ainsi l'impact crucial de la traduction – y compris des erreurs – sur la démarche de l'écrivain, qui associe la (re)lecture créative inhérente à l'activité de traduction au travail de (ré)écriture jusqu'à en faire la matrice à partir de laquelle elle a élaboré son oeuvre singulière.
BLACK KIRBY is a collaborative "entity" that is the creative doppelganger of artists / designers John Jennings and Stacey "Blackstar" Robinson. The manifestation of this avatar is an exhibition and catalog1 of primarily visual artworks-on-paper that celebrate the groundbreaking work of legendary comics creator Jack Kirby regarding his contributions to the pop culture landscape and his development of some of the conventions of the comics medium.
BLACK KIRBY also functions as a highly syncretic mythopoetic framework by appropriating Jack Kirby’s bold forms and revolutionary ideas combined with themes centered around AfroFuturism social justice, Black history, media criticism, science fiction, magical realism, and the utilization of Hip Hop culture as a methodology for creating visual expression. This collection of work also focuses on the digital medium and how its inherent affordances offer much more flexibility in the expression of visual communication and what that means in its production and consumption in the public sphere. In a sense, BLACK KIRBY appropriates the gallery as a conceptual "crossroads" to examine identity as a socialized concept and to show the commonalities between Black comics creators and Jewish comics creators and how they both utilize the medium of comics as space of resistance. The duo attempts to re-mediate "Blackness" and other identity contexts as "sublime technologies" that produce experiences that sometime limit human progress and possibility. This paper / presentation will examine some of the themes of this inaugural exhibition of this new artistic team and share the processes involved with the ideation, execution, and installation of the exhibition.
The present volume documents the twofold character of the conference 'Science meets Comics' with the first part focusing on comics as a format for communicating complex topics and the second part addressing food in the age of the Anthropocene as one such example for complex topics. The overall objective of the symposium was to deal with the results and suggestions of the presentations and discussions, to find possible pathways on how to feed the world in the future and to co-produce the final chapter of the scientific comic 'Eating Anthropocene' together with all artists participating in the project. In order to sum up the framing, contents and design process of the comic as well as to highlight its Anthropocene context we below provide a slightly abridged version of the preface of our comic book.