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Sie zielt darauf ab, einen Diskurs über das Sich-zeigen von Wahrheit in der Sprache des Films zu führen. Um dies zu erreichen, werden die Kräfte von sprachlichen und visuellen Zeichen, Schriftzeichen im Besonderen, als Bedeutungs- und Wahrheitsträger in Kommunikationsprozessen erforscht und die Erscheinungsformen dieser Schriftzeichen der Wahrheit, wie wir sie hier nennen, ermittelt. Auch Analogien zwischen einzelnen Schriftzeichen und Filmbildern einerseits sowie zwischen Sequenzen von Schriftzeichen und der Bildmontage im Film andererseits werden deshalb untersucht. Eine Analyse der Phänomene Fiktion, Täuschung und Illusion, die sich zur Wahrheit gegensätzlich verhalten und doch mit ihr verwandt sind, fließt in den Diskurs über die Schriftzeichen der Wahrheit ein. Dadurch wird ersichtlich, inwieweit Film dem Wesen nach eine der Kommunikation dienende Bilderschrift ist, die sich aus einem vielschichtigen und spannenden Zusammenspiel von Zeichen, Wahrheit und Fiktion konstituiert. 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Sie zielt darauf ab, einen Diskurs über das Sich-zeigen von Wahrheit in der Sprache des Films zu führen. Um dies zu erreichen, werden die Kräfte von sprachlichen und visuellen Zeichen, Schriftzeichen im Besonderen, als Bedeutungs- und Wahrheitsträger in Kommunikationsprozessen erforscht und die Erscheinungsformen dieser Schriftzeichen der Wahrheit, wie wir sie hier nennen, ermittelt. Auch Analogien zwischen einzelnen Schriftzeichen und Filmbildern einerseits sowie zwischen Sequenzen von Schriftzeichen und der Bildmontage im Film andererseits werden deshalb untersucht. Eine Analyse der Phänomene Fiktion, Täuschung und Illusion, die sich zur Wahrheit gegensätzlich verhalten und doch mit ihr verwandt sind, fließt in den Diskurs über die Schriftzeichen der Wahrheit ein. Dadurch wird ersichtlich, inwieweit Film dem Wesen nach eine der Kommunikation dienende Bilderschrift ist, die sich aus einem vielschichtigen und spannenden Zusammenspiel von Zeichen, Wahrheit und Fiktion konstituiert. Auf diese Weise entsteht ein Forschungsbeitrag, der Wahrheit im Film untersucht und zu einer originellen Philosophie der Filmsprache führt. \nISBN-10: 0982530927\nISBN-13: 978-0982530924","page_numbers":"218","publication_date":"2009,,","publication_name":"Atropos Press, USA. Available on Amazon.com"},"document_type":"book","pre_hit_view_count_baseline":null,"quality":"high","language":"de","title":"Schriftzeichen der Wahrheit: Zur Philosophie der Filmsprache (New York: Atropos Press 2009). Einleitung.","broadcastable":true,"draft":null,"has_indexable_attachment":true,"indexable":true}}["work"]; window.loswp.workCoauthors = [13851262]; window.loswp.locale = "en"; window.loswp.countryCode = "SG"; window.loswp.cwvAbTestBucket = ""; window.loswp.designVariant = "ds_vanilla"; window.loswp.fullPageMobileSutdModalVariant = "control"; window.loswp.useOptimizedScribd4genScript = false; window.loginModal = {}; window.loginModal.appleClientId = 'edu.academia.applesignon'; window.userInChina = "false";</script><script defer="" src="https://accounts.google.com/gsi/client"></script><div class="ds-loswp-container"><div class="ds-work-card--grid-container"><div class="ds-work-card--container js-loswp-work-card"><div class="ds-work-card--cover"><div class="ds-work-cover--wrapper"><div class="ds-work-cover--container"><button class="ds-work-cover--clickable js-swp-download-button" data-signup-modal="{"location":"swp-splash-paper-cover","attachmentId":43267054,"attachmentType":"pdf"}"><img alt="First page of “Schriftzeichen der Wahrheit: Zur Philosophie der Filmsprache (New York: Atropos Press 2009). Einleitung.”" class="ds-work-cover--cover-thumbnail" src="https://0.academia-photos.com/attachment_thumbnails/43267054/mini_magick20190216-19159-qvttry.png?1550336361" /><img alt="PDF Icon" class="ds-work-cover--file-icon" src="//a.academia-assets.com/images/single_work_splash/adobe_icon.svg" /><div class="ds-work-cover--hover-container"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span><p>Download Free PDF</p></div><div class="ds-work-cover--ribbon-container">Download Free PDF</div><div class="ds-work-cover--ribbon-triangle"></div></button></div></div></div><div class="ds-work-card--work-information"><h1 class="ds-work-card--work-title">Schriftzeichen der Wahrheit: Zur Philosophie der Filmsprache (New York: Atropos Press 2009). Einleitung.</h1><div class="ds-work-card--work-authors ds-work-card--detail"><a class="ds-work-card--author js-wsj-grid-card-author ds2-5-body-md ds2-5-body-link" data-author-id="13851262" href="https://paragoniu.academia.edu/AlexanderKlemm"><img alt="Profile image of Alexander J . Klemm" class="ds-work-card--author-avatar" src="https://0.academia-photos.com/13851262/3840458/143148198/s65_alexander.klemm.png" />Alexander J . Klemm</a></div><div class="ds-work-card--detail"><p class="ds-work-card--detail ds2-5-body-sm">2009, Atropos Press, USA. Available on Amazon.com</p><div class="ds-work-card--work-metadata"><div class="ds-work-card--work-metadata__stat"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">visibility</span><p class="ds2-5-body-sm" id="work-metadata-view-count">…</p></div><div class="ds-work-card--work-metadata__stat"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">description</span><p class="ds2-5-body-sm">34 pages</p></div><div class="ds-work-card--work-metadata__stat"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">link</span><p class="ds2-5-body-sm">1 file</p></div></div><script>(async () => { const workId = 22688448; const worksViewsPath = "/v0/works/views?subdomain_param=api&work_ids%5B%5D=22688448"; const getWorkViews = async (workId) => { const response = await fetch(worksViewsPath); if (!response.ok) { throw new Error('Failed to load work views'); } const data = await response.json(); return data.views[workId]; }; // Get the view count for the work - we send this immediately rather than waiting for // the DOM to load, so it can be available as soon as possible (but without holding up // the backend or other resource requests, because it's a bit expensive and not critical). const viewCount = await getWorkViews(workId); const updateViewCount = (viewCount) => { try { const viewCountNumber = parseInt(viewCount, 10); if (viewCountNumber === 0) { // Remove the whole views element if there are zero views. document.getElementById('work-metadata-view-count')?.parentNode?.remove(); return; } const commaizedViewCount = viewCountNumber.toLocaleString(); const viewCountBody = document.getElementById('work-metadata-view-count'); if (!viewCountBody) { throw new Error('Failed to find work views element'); } viewCountBody.textContent = `${commaizedViewCount} views`; } catch (error) { // Remove the whole views element if there was some issue parsing. document.getElementById('work-metadata-view-count')?.parentNode?.remove(); throw new Error(`Failed to parse view count: ${viewCount}`, error); } }; // If the DOM is still loading, wait for it to be ready before updating the view count. if (document.readyState === "loading") { document.addEventListener('DOMContentLoaded', () => { updateViewCount(viewCount); }); // Otherwise, just update it immediately. } else { updateViewCount(viewCount); } })();</script></div><p class="ds-work-card--work-abstract ds-work-card--detail ds2-5-body-md">Die vorliegende Studie hat interdisziplinärer Charakter und beruft sich hauptsächlich auf die Sprachphilosophie, Kontinentalphilosophie und Medienphilosophie. Sie zielt darauf ab, einen Diskurs über das Sich-zeigen von Wahrheit in der Sprache des Films zu führen. Um dies zu erreichen, werden die Kräfte von sprachlichen und visuellen Zeichen, Schriftzeichen im Besonderen, als Bedeutungs- und Wahrheitsträger in Kommunikationsprozessen erforscht und die Erscheinungsformen dieser Schriftzeichen der Wahrheit, wie wir sie hier nennen, ermittelt. Auch Analogien zwischen einzelnen Schriftzeichen und Filmbildern einerseits sowie zwischen Sequenzen von Schriftzeichen und der Bildmontage im Film andererseits werden deshalb untersucht. Eine Analyse der Phänomene Fiktion, Täuschung und Illusion, die sich zur Wahrheit gegensätzlich verhalten und doch mit ihr verwandt sind, fließt in den Diskurs über die Schriftzeichen der Wahrheit ein. Dadurch wird ersichtlich, inwieweit Film dem Wesen nach eine der Kommunikation dienende Bilderschrift ist, die sich aus einem vielschichtigen und spannenden Zusammenspiel von Zeichen, Wahrheit und Fiktion konstituiert. Auf diese Weise entsteht ein Forschungsbeitrag, der Wahrheit im Film untersucht und zu einer originellen Philosophie der Filmsprache führt. 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Bemerkungen über das Wahre des Falschen und das Falsche des Wahren [2015]</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="66776601" href="https://hsbund.academia.edu/KurtGuss">Kurt Guss</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Phänomenal - Zeitschrift für Gestalttheoetische Psychotherapie, 2015</p><p class="ds-related-work--abstract ds2-5-body-sm">Zusammenfassung: „Schweigen ist die Heimat des Wortes“ ist paradox formulierter Tiefsinn. Prägnanz und Paradox sind keine Gegensätze oder Unvereinbarkeiten. Paradoxa sind Aufrufe zum Handeln, zum Übersteigen individueller und epistemologischer Sackgassen. Die Paradoxa der aristotelischen Logik verlangen nach neuen Systemen des Denkens. Psychotherapie ist ein Kunststück, welches „eigentlich“ nicht gelingen kann und auch nur dem Lügenbaron gelingen konnte.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Schweigen ist die Heimat des Wortes. Bemerkungen über das Wahre des Falschen und das Falsche des Wahren [2015]","attachmentId":53999680,"attachmentType":"pdf","work_url":"https://www.academia.edu/34062838/Schweigen_ist_die_Heimat_des_Wortes_Bemerkungen_%C3%BCber_das_Wahre_des_Falschen_und_das_Falsche_des_Wahren_2015_","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/34062838/Schweigen_ist_die_Heimat_des_Wortes_Bemerkungen_%C3%BCber_das_Wahre_des_Falschen_und_das_Falsche_des_Wahren_2015_"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="5" data-entity-id="63125815" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/63125815/Wahrheitssuche_als_zitat_Jacques_Rivettes_Film_la_belle_noiseuse_und_die_Visionen_der_Maler_Hoffmanns_Poes_und_Balzacs">Wahrheitssuche als zitat: Jacques Rivettes Film la belle noiseuse und die Visionen der Maler Hoffmanns, Poes und Balzacs</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="249927" href="https://rub.academia.edu/MonikaSchmitzEmans">Monika Schmitz-Emans</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Neohelicon, 1997</p><p class="ds-related-work--abstract ds2-5-body-sm">Inwiefern gehtirt das Medium des Films zu den -- ohnehin komplexen -- Gegenstandsbereichen literaturwissenschaftlicher Komparatistik? DaB die Komparatistik nicht schlichtweg dort auf-htiren darf, wo die Biicher enden und die Filme anfangen, l~iBt sich schon damit tiberzeugend ...</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Wahrheitssuche als zitat: Jacques Rivettes Film la belle noiseuse und die Visionen der Maler Hoffmanns, Poes und Balzacs","attachmentId":75652841,"attachmentType":"pdf","work_url":"https://www.academia.edu/63125815/Wahrheitssuche_als_zitat_Jacques_Rivettes_Film_la_belle_noiseuse_und_die_Visionen_der_Maler_Hoffmanns_Poes_und_Balzacs","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/63125815/Wahrheitssuche_als_zitat_Jacques_Rivettes_Film_la_belle_noiseuse_und_die_Visionen_der_Maler_Hoffmanns_Poes_und_Balzacs"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="6" data-entity-id="29702765" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/29702765/Leben_als_Loch_im_Medium_Die_Vermittlung_des_Films_durch_Siegfried_Kracauer_zumal_in_seinen_Kleinen_Schriften_zum_Film_2004_">Leben als Loch im Medium: Die Vermittlung des Films durch Siegfried Kracauer (zumal in seinen "Kleinen Schriften zum Film") (2004)</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="21068055" href="https://independent.academia.edu/DrehliRobnik">Drehli Robnik</a></div><p class="ds-related-work--metadata ds2-5-body-xs"> in: kolik.film, Dossier Filmvermittlung – Filmpublizistik, Sonderheft 2, 2004</p><p class="ds-related-work--abstract ds2-5-body-sm">(zumal in seinen "Kleinen Schriften zum Film") in: kolik.film, Sonderheft 2, 2004 (Dossier Filmvermittlung -Filmpublizistik) Die unlängst erschienene dreibändige Sammlung 1 von Rezensionen, Reportagen und Essays, die Siegfried Kracauer in seiner Eigenschaft als Filmkritiker zwischen 1921 und 1961 geschrieben hat, enthält auch einige Exposés zu Spiel-und Dokumentarfilmen. Ein 1933, kurz nach seiner Flucht vor dem NS-Regime und der Kündigung durch die Frankfurter Zeitung im Pariser Exil verfasster (niemals realisierter) Kurzfilmentwurf Kracauers beschreibt einen Familienausflug aus der Sicht eines dreijährigen Buben. Die Ausmalung der Verzerrungen und Verwirrungen im kleinkindlich erkrabbelten Blick auf Hosenbeine, einen Hund, einen Käfer oder ein Ringelspiel, dieser vielleicht nicht rasend originelle Gehversuch eines Filmkritikers als Filmemacher, lässt charakteristische Züge von Kracauers Denken fokusiert hervortreten. Was hervortritt, ist ein Schreiben, das sich an ein Bild, eben den Kleinkindblick, anschmiegt; dieses Bild ist Subjektivität aus dem Affiziert-Sein heraus, ist Wahrnehmung, die sich die Welt gerade nicht mittels Aktion und Kontrolle erschließt, sondern ein Modus "minoritärer", in jedem Sinn "kleiner" Erfahrung-als-Empfindung, exponiert in unsicherer Nähe zu den Qualitäten und Veränderungen der Welt. Kracauer sei "ein Mensch ohne Haut", schrieb Adorno ein Jahr vor dem Tod seines Jugendfreundes, und der "Vorrang des Optischen" in seinem Denken, als Form einer radikalen "Nähe zur Dingwelt", resultiere aus einer "Fixierung an die Kindheit". 2 Wenn es im folgenden darum geht, wie Kracauer zur -in jedem Sinn gemeinten -Vermittlung des Films steht (und sich dabei einigemale umstellt), dann kommt zunächst seine Rolle als Film-Vermittler in Betracht. Weit mehr als Filme zu "kritisieren" -im schlechten Sinn von "beurteilen" auf Basis von Autoritäten (Besserwissen, Geschmack, Moral) -vermittelt Kracauer Filme, in dem Maß, wie Filme vermitteln, nichts weniger als die Welt vermitteln. Letzteres gilt bereits in Hinblick auf jenen Weltbezug des Kino, der Weltweitheit ist, Kosmopolitismus, wie ihn die Internationalität von Industrie und Markt ermöglicht (ohne ihn zu garantieren). "Überhaupt: Warum sieht man so viele ausländische Filme jetzt bei uns?" ereifert sich Kracauer 1923 in einer seiner ersten Kritiken (sie trägt die Nummer 11 unter den fortlaufend bis 807 nummerierten Texten der Edition). Später jedoch kultiviert er ein Verstehen von Filmen -auch der jeweiligen "unsrigen", d.h. bis 1933 der deutschen, ab 1941 der Filme seines dauerhaften Exillandes USA -vermittels des internationalen Vergleichs: Als Frankfurter bzw. Berliner Filmkritiker etwa schaut er auf sowjetische und amerikanische Filme nicht aus indentitär-nationaler Distanz, sondern im Modus einer Öffnung auf Bilder, die andere Optionen von Wahrnehmen und Leben bekunden. Kracauer vermittelt Film: Renoirs "La Chienne", der in Deutschland nicht läuft und dessen konsequenter Realismus in der deutschen Kinolandschaft kurz vor Hitler fremd anmutet, hat Kracauer 1932 in einem Pariser Vorstadtkino gesehen; im Rückblick aufs abgelaufene Kinojahr würdigt er ihn in der Frankfurter Zeitung vom 1. Jänner 1933 (Text Nr. 704) unter dem Titel "Der schönste Film". Kracauer geht es um Film-Vermittlung. Das heißt auch, dass er den Kontext mit bedenkt und beschreibt, der Filme als sinnträchtige vermittelt -den medialen Horizont von Kino als Rezeptionspraxis, Institution, "Kultur". Was Kracauer für heutige cultural und audience studies attraktiv macht, sind nicht zuletzt seine Weimarer Texte zur Performativität und Öffentlichkeit des Kinos: kanonisierte Essays zum rationalisierten Massenkulturbetrieb, aber auch kleine, nun erstmals wiederveröffentlichte Kommentare zu Wochenschauen, Kultur-und Industriefilmen, berichtet über die kassenträchtige "Ausgrabung" zehn Jahre alter Valentino-Filme und ein paar Zeilen darunter über die Gründung der FIAF, der "Féderation internationale des archives du film" (Nr. 744). Das ist 1938: Während Kracauer Wiedersehen mit alten Filmen erlebt -was ihm oft komisch vorkommt; für uns heute ist es ja im Zeichen des "Zitierens" von Filmen via Patschenkino, Retrospektive und DVD ganz normal, was ebenfalls komisch ist -, flüchtet er immer weiter vor den Nazis. Und er entwirft seine Theorie vom Film als Errettung der äußeren Wirklichkeit, zumal dessen, was an dieser so maßlos, machtlos oder unbestimmt ist, dass die Norm-Wahrnehmung es übersieht. Film als Sammlung und Neuerschließung ungenutzter Möglichkeiten des Wahrnehmens, Denkens, Welt-und Selbstbezugs: Die kleinen Schriften zum Film -nicht zuletzt die erstmals wiederveröffentlichten und die überhaupt erstmals gedruckten, die wie das Typoskript zu Rossellinis "Paisà" von 1948 (Nr. 791) bislang reine Möglichkeit waren -machen neue Angebote, seine</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Leben als Loch im Medium: Die Vermittlung des Films durch Siegfried Kracauer (zumal in seinen \"Kleinen Schriften zum Film\") (2004)","attachmentId":50150042,"attachmentType":"pdf","work_url":"https://www.academia.edu/29702765/Leben_als_Loch_im_Medium_Die_Vermittlung_des_Films_durch_Siegfried_Kracauer_zumal_in_seinen_Kleinen_Schriften_zum_Film_2004_","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/29702765/Leben_als_Loch_im_Medium_Die_Vermittlung_des_Films_durch_Siegfried_Kracauer_zumal_in_seinen_Kleinen_Schriften_zum_Film_2004_"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="7" data-entity-id="45092250" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/45092250/_Lebensfuge_oder_Eine_Philosophie_des_%C3%9CberLebenSchreibens_Laudatio_f%C3%BCr_Jorge_Sempr%C3%BAn_In_Asholt_Wolfgang_Ette_Ottmar_Hg_Literaturwissenschaft_als_Lebenswissenschaft_Programm_Projekte_Perspektiven_T%C3%BCbingen_Gunter_Narr_Verlag_2010_pp_265_280">"Lebensfuge oder Eine Philosophie des ÜberLebenSchreibens. Laudatio für Jorge Semprún." In: Asholt, Wolfgang / Ette, Ottmar (Hg.): Literaturwissenschaft als Lebenswissenschaft. Programm - Projekte - Perspektiven. Tübingen: Gunter Narr Verlag 2010, pp. 265-280.</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="180982910" href="https://bbaw.academia.edu/OttmarEtte">Ottmar Ette</a></div><p class="ds-related-work--metadata ds2-5-body-xs">2010</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"\"Lebensfuge oder Eine Philosophie des ÜberLebenSchreibens. Laudatio für Jorge Semprún.\" In: Asholt, Wolfgang / Ette, Ottmar (Hg.): Literaturwissenschaft als Lebenswissenschaft. Programm - Projekte - Perspektiven. Tübingen: Gunter Narr Verlag 2010, pp. 265-280.","attachmentId":65653782,"attachmentType":"pdf","work_url":"https://www.academia.edu/45092250/_Lebensfuge_oder_Eine_Philosophie_des_%C3%9CberLebenSchreibens_Laudatio_f%C3%BCr_Jorge_Sempr%C3%BAn_In_Asholt_Wolfgang_Ette_Ottmar_Hg_Literaturwissenschaft_als_Lebenswissenschaft_Programm_Projekte_Perspektiven_T%C3%BCbingen_Gunter_Narr_Verlag_2010_pp_265_280","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/45092250/_Lebensfuge_oder_Eine_Philosophie_des_%C3%9CberLebenSchreibens_Laudatio_f%C3%BCr_Jorge_Sempr%C3%BAn_In_Asholt_Wolfgang_Ette_Ottmar_Hg_Literaturwissenschaft_als_Lebenswissenschaft_Programm_Projekte_Perspektiven_T%C3%BCbingen_Gunter_Narr_Verlag_2010_pp_265_280"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="8" data-entity-id="7968406" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/7968406/Intermedialit%C3%A4t_und_Medienreflexion_zwischen_Konvention_und_Paradoxie_Schrift_und_Blindenschrift_im_Film_2014_together_with_Andreas_B%C3%B6hn_">Intermedialität und Medienreflexion zwischen Konvention und Paradoxie. Schrift und Blindenschrift im Film (2014, together with Andreas Böhn)</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="120164" href="https://xn--universitt-siegen-yqb.academia.edu/DominikSchrey">Dominik Schrey</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Medienreflexion im Film. Ein Handbuch, 2014</p><p class="ds-related-work--abstract ds2-5-body-sm">In einer Szene aus THE MATRIX (A. Wachowski/L. Wachowski, USA/AUS 1999) erkundet der Protagonist Neo, kurz nachdem er die volle Wahrheit über seine bisherige Existenz in der digitalen Scheinwelt der Matrix erfahren hat, die karge Umgebung seines neuen Zuhauses. Er betritt einen Raum, in dem sich ein Terminal mit drei Computermonitoren befindet, über die Kaskaden neongrün leuchtender Schriftzeichen flimmern. Wie sich herausstellt, handelt es sich bei diesen geheimnisvollen Zeichenfolgen um den verschlüsselten Programmcode der Matrix, die zu decodieren -d.h. in bewegte Bilder zu übersetzen -die Rechenleistung der verfügbaren Bildwandler übersteigen würde.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Intermedialität und Medienreflexion zwischen Konvention und Paradoxie. Schrift und Blindenschrift im Film (2014, together with Andreas Böhn)","attachmentId":47137243,"attachmentType":"pdf","work_url":"https://www.academia.edu/7968406/Intermedialit%C3%A4t_und_Medienreflexion_zwischen_Konvention_und_Paradoxie_Schrift_und_Blindenschrift_im_Film_2014_together_with_Andreas_B%C3%B6hn_","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/7968406/Intermedialit%C3%A4t_und_Medienreflexion_zwischen_Konvention_und_Paradoxie_Schrift_und_Blindenschrift_im_Film_2014_together_with_Andreas_B%C3%B6hn_"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="9" data-entity-id="34643337" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/34643337/J%C3%BCrgen_K%C3%BChnel_Einf%C3%BChrung_in_die_Filmanalyse_Teil_1_Die_Zeichen_des_Films_Siegen_2oo4">Jürgen Kühnel: Einführung in die Filmanalyse. Teil 1: Die Zeichen des Films. Siegen 2oo4.</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="567299" href="https://universitaetsiegen.academia.edu/JuergenKuehnel">Juergen Kuehnel</a></div><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Jürgen Kühnel: Einführung in die Filmanalyse. Teil 1: Die Zeichen des Films. Siegen 2oo4.","attachmentId":54503988,"attachmentType":"pdf","work_url":"https://www.academia.edu/34643337/J%C3%BCrgen_K%C3%BChnel_Einf%C3%BChrung_in_die_Filmanalyse_Teil_1_Die_Zeichen_des_Films_Siegen_2oo4","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/34643337/J%C3%BCrgen_K%C3%BChnel_Einf%C3%BChrung_in_die_Filmanalyse_Teil_1_Die_Zeichen_des_Films_Siegen_2oo4"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div></div></div><div class="ds-sticky-ctas--wrapper js-loswp-sticky-ctas hidden"><div class="ds-sticky-ctas--grid-container"><div class="ds-sticky-ctas--container"><button class="ds2-5-button js-swp-download-button" data-signup-modal="{"location":"continue-reading-button--sticky-ctas","attachmentId":43267054,"attachmentType":"pdf","workUrl":null}">See full PDF</button><button class="ds2-5-button ds2-5-button--secondary js-swp-download-button" data-signup-modal="{"location":"download-pdf-button--sticky-ctas","attachmentId":43267054,"attachmentType":"pdf","workUrl":null}"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span>Download PDF</button></div></div></div><div class="ds-below-fold--grid-container"><div class="ds-work--container js-loswp-embedded-document"><div class="attachment_preview" data-attachment="Attachment_43267054" style="display: none"><div class="js-scribd-document-container"><div class="scribd--document-loading js-scribd-document-loader" style="display: block;"><img alt="Loading..." src="//a.academia-assets.com/images/loaders/paper-load.gif" /><p>Loading Preview</p></div></div><div style="text-align: center;"><div class="scribd--no-preview-alert js-preview-unavailable"><p>Sorry, preview is currently unavailable. You can download the paper by clicking the button above.</p></div></div></div></div><div class="ds-sidebar--container js-work-sidebar"><div class="ds-related-content--container"><h2 class="ds-related-content--heading">Related papers</h2><div class="ds-related-work--container js-related-work-sidebar-card" data-collection-position="0" data-entity-id="44787033" data-sort-order="default"><a class="ds-related-work--title js-related-work-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/44787033/Der_Schriftsteller_als_Sprachendieb_Versuch_%C3%BCber_Roland_Barthes_und_die_Philosophie_In_Nagl_Ludwig_Silverman_Hugh_J_Hg_Textualit%C3%A4t_der_Philosophie_Philosophie_und_Literatur_Wien_M%C3%BCnchen_R_Oldenbourg_Verlag_1994_pp_161_189">Der Schriftsteller als Sprachendieb. Versuch über Roland Barthes und die Philosophie. In: Nagl, Ludwig / Silverman, Hugh J. (Hg.): Textualität der Philosophie: Philosophie und Literatur. Wien - München: R. 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Über einen blinden Fleck der Moderne“, Berlin: Matthes & Seitz 2021), in: Deutsche Zeitschrift für Philosophie 71(1), S. 143-148.</a><div class="ds-related-work--metadata"><a class="js-related-work-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="92254262" href="https://fu-berlin.academia.edu/FabianBernhardt">Fabian Bernhardt</a></div><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Jean-Pierre Wils: Aufklärung über ein dunkles Gefühl (Rezension von „Rache. 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Literarische Autorschaft im Film</a><div class="ds-related-work--metadata"><a class="js-related-work-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="67454094" href="https://tu-dortmund.academia.edu/SigridNieberle">Sigrid Nieberle</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Verfilmte Autorschaft. Auftritte von Schriftsteller*innen in Dokumentationen und Biopics, 2020</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Von den Möglichkeiten des Verschwindens. 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Nietzsche and the Modern Drama, Evanstan, Illinois (Northwestern University Press) 2016, 238 S., ISBN 978-0-8101-3260-3.</a><div class="ds-related-work--metadata"><a class="js-related-work-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="6572613" href="https://divinity.academia.edu/PaulDaniels">Paul Daniels</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Nietzsche-Studien, 2017</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"[Review] Englischsprachige Neuerscheinungen zur Geburt der Tragödie: David Kornhaber, The Birth of Theater from the Spirit of Philosophy. 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Rainer Maria Rilkes ästhetisches Denken und die "Duineser Elegien". Wien: Praesens Verlag ISBN: 978-3-7069-1036-1; ISSN: 1789-1272</a><div class="ds-related-work--metadata"><a class="js-related-work-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="28699886" href="https://u-szeged.academia.edu/lajosmitny%C3%A1n">Lajos Mitnyán</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Lajos Mitnyán, 2020</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Das reine Wort. Rainer Maria Rilkes ästhetisches Denken und die \"Duineser Elegien\". 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Maier (Hrsgg.): Die symphonischen Schwestern. Narrative Konstruktionen von ‚Wahrheit‘ in der nachklassischen Geschichtsschreibung (Stuttgart 2018), 327-344</a><div class="ds-related-work--metadata"><a class="js-related-work-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="8490286" href="https://uni-saarland.academia.edu/ChristophKugelmeier">Christoph Kugelmeier</a></div><p class="ds-related-work--metadata ds2-5-body-xs">2018</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Tacitus und die Macht der Nerobilder, in: Thomas Blank / Felix K. Maier (Hrsgg.): Die symphonischen Schwestern. 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In: Marianne Kubaczek / Wolfgang Pircher / Eva Waniek (Hrsg.): Kunst, Zeichen, Technik. Philosophie am Grund der Medien. Münster: 271-289</a><div class="ds-related-work--metadata"><a class="js-related-work-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="3973449" href="https://artindustrialdesignlinz.academia.edu/MarkusArnold">Markus Arnold</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Markus Arnold: Die 'leeren' Formen des Narrativen: Zu den Bedingungen der Erfahrung menschlicher Freiheit. In: M. Kubaczek, W. Pircher, E. Waniek (Hg.): Kunst, Zeichen, Technik. Philosophie am Grund der Medien. Münster 2004: 271-289, 2004</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Markus Arnold (2004): Die 'leeren' Formen des Narrativen: Zu den Bedingungen der Erfahrung menschlicher Freiheit. 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Eine Rezension von Thomas Zabkas »Pragmatik der Literaturinterpretation« [Thomas Zabka, Pragmatik der Literaturinterpretation. Theoretische Grundlagen – kritische Analysen, 2005.]</a><div class="ds-related-work--metadata"><a class="js-related-work-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="4345757" href="https://independent.academia.edu/WernerJanC">Jan C. Werner</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Jltonline Reviews, 2010</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Interpretationshandlungen \u0026 Wahrheit. Eine Rezension von Thomas Zabkas »Pragmatik der Literaturinterpretation« [Thomas Zabka, Pragmatik der Literaturinterpretation. 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