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fake-truncate js-profile-about" style="margin: 0px;">publications: germanistyka.amu.edu.pl/pl/index.php/nauka-mm/publikacje-mainmenu-43/literaturoznawstwo-mainmenu-44/184-sommerfeld-beate<br /><div class="js-profile-less-about u-linkUnstyled u-tcGrayDarker u-textDecorationUnderline u-displayNone">less</div></div></div><div class="suggested-academics-container"><div class="suggested-academics--header"><h3 class="ds2-5-heading-sans-serif-xs">Related Authors</h3></div><ul class="suggested-user-card-list" data-nosnippet="true"><div class="suggested-user-card"><div class="suggested-user-card__avatar social-profile-avatar-container"><a data-nosnippet="" href="https://independent.academia.edu/SmithVivian"><img class="profile-avatar u-positionAbsolute" alt="Vivian C Smith related author profile picture" border="0" src="//a.academia-assets.com/images/s200_no_pic.png" /></a></div><div class="suggested-user-card__user-info"><a class="suggested-user-card__user-info__header ds2-5-body-sm-bold 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data-work-id="125763581"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/125763581/Diffracted_landscapes_decentered_agencies_photography_as_a_tool_of_mattering_in_the_novels_of_Esther_Kinsky_Franz_Friedrich_and_Michel_Houellebecq"><img alt="Research paper thumbnail of Diffracted landscapes, decentered agencies– photography as a tool of ‘mattering’ in the novels of Esther Kinsky, Franz Friedrich and Michel Houellebecq" class="work-thumbnail" src="https://attachments.academia-assets.com/119747472/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/125763581/Diffracted_landscapes_decentered_agencies_photography_as_a_tool_of_mattering_in_the_novels_of_Esther_Kinsky_Franz_Friedrich_and_Michel_Houellebecq">Diffracted landscapes, decentered agencies– photography as a tool of ‘mattering’ in the novels of Esther Kinsky, Franz Friedrich and Michel Houellebecq</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Following Donna J. Haraway and Karen Barad's concept of diffraction and Barad's thought model of ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Following Donna J. Haraway and Karen Barad's concept of diffraction and Barad's thought model of agential realism, the paper investigates the diffractive practices of photography, as staged in literary texts. In the novels By the River (2014) by Esther Kinsky, The titmouses of Uusimaa don't sing any more (2014) by Franz Friedrich, and Map and Territory (2010) by Michel Houellebecq, a 'mattering' of nature is performed that, through diffraction and intra-actions within the photographic apparatus, questions an anthropocentric worldview and resists the representational claims of photography in favor of an ontology of radical posthuman performativity.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a28df12110b96ac95098258c0e353b52" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":119747472,"asset_id":125763581,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/119747472/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="125763581"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="125763581"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 125763581; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=125763581]").text(description); $(".js-view-count[data-work-id=125763581]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 125763581; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='125763581']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "a28df12110b96ac95098258c0e353b52" } } $('.js-work-strip[data-work-id=125763581]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":125763581,"title":"Diffracted landscapes, decentered agencies– photography as a tool of ‘mattering’ in the novels of Esther Kinsky, Franz Friedrich and Michel Houellebecq","translated_title":"","metadata":{"ai_title_tag":"Photography and Mattering in Contemporary Novels","grobid_abstract":"Following Donna J. Haraway and Karen Barad's concept of diffraction and Barad's thought model of agential realism, the paper investigates the diffractive practices of photography, as staged in literary texts. 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Haraway and Karen Barad's concept of diffraction and Barad's thought model of agential realism, the paper investigates the diffractive practices of photography, as staged in literary texts. In the novels By the River (2014) by Esther Kinsky, The titmouses of Uusimaa don't sing any more (2014) by Franz Friedrich, and Map and Territory (2010) by Michel Houellebecq, a 'mattering' of nature is performed that, through diffraction and intra-actions within the photographic apparatus, questions an anthropocentric worldview and resists the representational claims of photography in favor of an ontology of radical posthuman performativity.","owner":{"id":33006035,"first_name":"Beate","middle_initials":null,"last_name":"Sommerfeld","page_name":"BeateSommerfeld","domain_name":"amu","created_at":"2015-07-12T10:37:55.155-07:00","display_name":"Beate Sommerfeld","url":"https://amu.academia.edu/BeateSommerfeld"},"attachments":[{"id":119747472,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/119747472/thumbnails/1.jpg","file_name":"sommerfeld_2024_diffracted_landscapes_decentered_agencies_photography_as_a_tool_of_mattering_in_the_novels_of_esther.pdf","download_url":"https://www.academia.edu/attachments/119747472/download_file","bulk_download_file_name":"Diffracted_landscapes_decentered_agencie.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/119747472/sommerfeld_2024_diffracted_landscapes_decentered_agencies_photography_as_a_tool_of_mattering_in_the_novels_of_esther-libre.pdf?1732299699=\u0026response-content-disposition=attachment%3B+filename%3DDiffracted_landscapes_decentered_agencie.pdf\u0026Expires=1743666406\u0026Signature=CxMmFXC4IsrXTus5Iqv3-gBx0n241zGBHkGnjAa0ouP-lD5511hYqptNKcjJyGjP6qJqzaZ49T6~DXdS52fkUQT89K84NpDBeDKhc5S0N21gHpY8jFTANsP1hc1x0bf5BmrX-j~rnIo6s5k3Ak~0dW9Jy-FS4BAr57jum5ccv7yFhbPN8LEYuhzvDWeKhWgpHAJ-OmryxFVvgFq2IC9hSo1-5KOLWbZxq2cj~2nQ0eDKSCe2gZm~shn6zikOJ1JtysezsNMMrW9OlZG8TWlYUhxrJd5uIzHrbVYcHlL6okvoNYu4wcfkc1gaNANEaT7EAJQN8arYnevPJUM~e8v2vg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-125763581-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="118570967"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/118570967/Die_Reise_beginnt_im_eigenen_Zimmer_imagin%C3%A4re_Topographien_in_Oswald_Eggers_K%C3%BCnstlerbuch_Entweder_ich_habe_die_Fahrt_am_Mississippi_nur_getr%C3%A4umt_oder_ich_tr%C3%A4ume_jetzt"><img alt="Research paper thumbnail of Die Reise beginnt im eigenen Zimmer – imaginäre Topographien in Oswald Eggers Künstlerbuch Entweder ich habe die Fahrt am Mississippi nur geträumt, oder ich träume jetzt" class="work-thumbnail" src="https://attachments.academia-assets.com/114165092/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/118570967/Die_Reise_beginnt_im_eigenen_Zimmer_imagin%C3%A4re_Topographien_in_Oswald_Eggers_K%C3%BCnstlerbuch_Entweder_ich_habe_die_Fahrt_am_Mississippi_nur_getr%C3%A4umt_oder_ich_tr%C3%A4ume_jetzt">Die Reise beginnt im eigenen Zimmer – imaginäre Topographien in Oswald Eggers Künstlerbuch Entweder ich habe die Fahrt am Mississippi nur geträumt, oder ich träume jetzt</a></div><div class="wp-workCard_item"><span>Lublin Studies in Modern Languages and Literature 48(1):121-132</span><span>, 2024</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">ABSTRACT The article attempts to read Oswald Egger’s prose text: „Either I only dreamed the trip ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">ABSTRACT<br />The article attempts to read Oswald Egger’s prose text: „Either I only dreamed the trip on the Mississippi or I’m dreaming now” (2021) as travel literature. Egger’s artist book, which relates an imaginary trip to the Mississippi in text and image, is not a travelogue in the traditional sense, <br />but a highly complex and auto-referential work that plays with the transgression between the real and the imaginary. Using Egger as an example, the article discusses the hermeneutic movements of travel and writing and the media transformation of real and fictional journeys, exploring both the mobility patterns and the corresponding writing and image processes.<br /><br />Im Artikel wird der Versuch unternommen, Oswald Eggers Prosaepos Entweder ich habe die Fahrt am Mississippi nur geträumt, oder ich träume jetzt (2021) als Reiseliteratur zu lesen. Eggers Künstlerbuch, das in Text und Bild von einer imaginären Reise an den Mississippi erzählt, ist kein Reisebericht im herkömmlichen Sinne, sondern ein komplex angelegtes und hochgradig autoreferenzielles Werk, das mit den Grenzüberschreitungen zwischen dem Realen und dem Imaginären spielt. Am Beispiel Eggers werden die hermeneutischen Bewegungen von Reisen und Schreiben und die mediale Überformung realer und fiktiver Reisen erörtert, wobei sowohl die Mobilitätsmuster, als auch die mit ihnen korrespondierenden Text- und Bildverfahren ausgelotet werden.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="466327f8d86a6a6d98198b3af2b02783" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":114165092,"asset_id":118570967,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/114165092/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="118570967"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="118570967"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 118570967; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=118570967]").text(description); $(".js-view-count[data-work-id=118570967]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 118570967; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='118570967']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "466327f8d86a6a6d98198b3af2b02783" } } $('.js-work-strip[data-work-id=118570967]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":118570967,"title":"Die Reise beginnt im eigenen Zimmer – imaginäre Topographien in Oswald Eggers Künstlerbuch Entweder ich habe die Fahrt am Mississippi nur geträumt, oder ich träume jetzt","translated_title":"","metadata":{"doi":"10.17951/lsmll.2024.48.1.121-132","abstract":"ABSTRACT\nThe article attempts to read Oswald Egger’s prose text: „Either I only dreamed the trip on the Mississippi or I’m dreaming now” (2021) as travel literature. Egger’s artist book, which relates an imaginary trip to the Mississippi in text and image, is not a travelogue in the traditional sense, \nbut a highly complex and auto-referential work that plays with the transgression between the real and the imaginary. Using Egger as an example, the article discusses the hermeneutic movements of travel and writing and the media transformation of real and fictional journeys, exploring both the mobility patterns and the corresponding writing and image processes.\n\nIm Artikel wird der Versuch unternommen, Oswald Eggers Prosaepos Entweder ich habe die Fahrt am Mississippi nur geträumt, oder ich träume jetzt (2021) als Reiseliteratur zu lesen. Eggers Künstlerbuch, das in Text und Bild von einer imaginären Reise an den Mississippi erzählt, ist kein Reisebericht im herkömmlichen Sinne, sondern ein komplex angelegtes und hochgradig autoreferenzielles Werk, das mit den Grenzüberschreitungen zwischen dem Realen und dem Imaginären spielt. 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Using Egger as an example, the article discusses the hermeneutic movements of travel and writing and the media transformation of real and fictional journeys, exploring both the mobility patterns and the corresponding writing and image processes.\n\nIm Artikel wird der Versuch unternommen, Oswald Eggers Prosaepos Entweder ich habe die Fahrt am Mississippi nur geträumt, oder ich träume jetzt (2021) als Reiseliteratur zu lesen. Eggers Künstlerbuch, das in Text und Bild von einer imaginären Reise an den Mississippi erzählt, ist kein Reisebericht im herkömmlichen Sinne, sondern ein komplex angelegtes und hochgradig autoreferenzielles Werk, das mit den Grenzüberschreitungen zwischen dem Realen und dem Imaginären spielt. Am Beispiel Eggers werden die hermeneutischen Bewegungen von Reisen und Schreiben und die mediale Überformung realer und fiktiver Reisen erörtert, wobei sowohl die Mobilitätsmuster, als auch die mit ihnen korrespondierenden Text- und Bildverfahren ausgelotet werden.","internal_url":"https://www.academia.edu/118570967/Die_Reise_beginnt_im_eigenen_Zimmer_imagin%C3%A4re_Topographien_in_Oswald_Eggers_K%C3%BCnstlerbuch_Entweder_ich_habe_die_Fahrt_am_Mississippi_nur_getr%C3%A4umt_oder_ich_tr%C3%A4ume_jetzt","translated_internal_url":"","created_at":"2024-05-05T03:32:48.602-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":33006035,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":114165092,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/114165092/thumbnails/1.jpg","file_name":"Journey_Begins_in_Ones_Own_Room_Imaginary_Topog.pdf","download_url":"https://www.academia.edu/attachments/114165092/download_file","bulk_download_file_name":"Die_Reise_beginnt_im_eigenen_Zimmer_imag.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/114165092/Journey_Begins_in_Ones_Own_Room_Imaginary_Topog-libre.pdf?1714911953=\u0026response-content-disposition=attachment%3B+filename%3DDie_Reise_beginnt_im_eigenen_Zimmer_imag.pdf\u0026Expires=1743666406\u0026Signature=gqDmhejIS2ckzawPeONWj2HoOp8Sm5ndzZKuBd~bFszCCqYBZhU8nnW-QLsz-urZb53iN4xTzvvVDHZAmOZdPUpSM9iXWnH4Cnh~3uXhqeEfMjPgEXbwT-ozk78LIv3J63uvL5nbvZcLnYm2dCeU4G~lqQ9N6TmeR4T1iKoL4eRdAC6xuEG1flSCGjZ54UPfFzEDW0emPW3-~RHt8eCw-P2w7e95CLT1tH0Z4ywzi-QwIstFu4pGStpQ5qThfqMP5TcXAIwSlvv-ob542rdgx-FAfRWu9jH1y6hL12GpZD~W8GCeYCAcXyzNI2HqDvoG2~Ai5Th3uFmF7iMYCQ3Zdg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Die_Reise_beginnt_im_eigenen_Zimmer_imaginäre_Topographien_in_Oswald_Eggers_Künstlerbuch_Entweder_ich_habe_die_Fahrt_am_Mississippi_nur_geträumt_oder_ich_träume_jetzt","translated_slug":"","page_count":12,"language":"de","content_type":"Work","summary":"ABSTRACT\nThe article attempts to read Oswald Egger’s prose text: „Either I only dreamed the trip on the Mississippi or I’m dreaming now” (2021) as travel literature. Egger’s artist book, which relates an imaginary trip to the Mississippi in text and image, is not a travelogue in the traditional sense, \nbut a highly complex and auto-referential work that plays with the transgression between the real and the imaginary. Using Egger as an example, the article discusses the hermeneutic movements of travel and writing and the media transformation of real and fictional journeys, exploring both the mobility patterns and the corresponding writing and image processes.\n\nIm Artikel wird der Versuch unternommen, Oswald Eggers Prosaepos Entweder ich habe die Fahrt am Mississippi nur geträumt, oder ich träume jetzt (2021) als Reiseliteratur zu lesen. Eggers Künstlerbuch, das in Text und Bild von einer imaginären Reise an den Mississippi erzählt, ist kein Reisebericht im herkömmlichen Sinne, sondern ein komplex angelegtes und hochgradig autoreferenzielles Werk, das mit den Grenzüberschreitungen zwischen dem Realen und dem Imaginären spielt. Am Beispiel Eggers werden die hermeneutischen Bewegungen von Reisen und Schreiben und die mediale Überformung realer und fiktiver Reisen erörtert, wobei sowohl die Mobilitätsmuster, als auch die mit ihnen korrespondierenden Text- und Bildverfahren ausgelotet werden.","owner":{"id":33006035,"first_name":"Beate","middle_initials":null,"last_name":"Sommerfeld","page_name":"BeateSommerfeld","domain_name":"amu","created_at":"2015-07-12T10:37:55.155-07:00","display_name":"Beate Sommerfeld","url":"https://amu.academia.edu/BeateSommerfeld"},"attachments":[{"id":114165092,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/114165092/thumbnails/1.jpg","file_name":"Journey_Begins_in_Ones_Own_Room_Imaginary_Topog.pdf","download_url":"https://www.academia.edu/attachments/114165092/download_file","bulk_download_file_name":"Die_Reise_beginnt_im_eigenen_Zimmer_imag.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/114165092/Journey_Begins_in_Ones_Own_Room_Imaginary_Topog-libre.pdf?1714911953=\u0026response-content-disposition=attachment%3B+filename%3DDie_Reise_beginnt_im_eigenen_Zimmer_imag.pdf\u0026Expires=1743666406\u0026Signature=gqDmhejIS2ckzawPeONWj2HoOp8Sm5ndzZKuBd~bFszCCqYBZhU8nnW-QLsz-urZb53iN4xTzvvVDHZAmOZdPUpSM9iXWnH4Cnh~3uXhqeEfMjPgEXbwT-ozk78LIv3J63uvL5nbvZcLnYm2dCeU4G~lqQ9N6TmeR4T1iKoL4eRdAC6xuEG1flSCGjZ54UPfFzEDW0emPW3-~RHt8eCw-P2w7e95CLT1tH0Z4ywzi-QwIstFu4pGStpQ5qThfqMP5TcXAIwSlvv-ob542rdgx-FAfRWu9jH1y6hL12GpZD~W8GCeYCAcXyzNI2HqDvoG2~Ai5Th3uFmF7iMYCQ3Zdg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":21277,"name":"Travel Literature","url":"https://www.academia.edu/Documents/in/Travel_Literature"},{"id":51331,"name":"Avant garde Poetry","url":"https://www.academia.edu/Documents/in/Avant_garde_Poetry"},{"id":56200,"name":"Reiseliteratur","url":"https://www.academia.edu/Documents/in/Reiseliteratur"},{"id":58021,"name":"Neo-Avant-Garde","url":"https://www.academia.edu/Documents/in/Neo-Avant-Garde"},{"id":463767,"name":"Avantgarde","url":"https://www.academia.edu/Documents/in/Avantgarde"},{"id":1169883,"name":"Oswald Egger","url":"https://www.academia.edu/Documents/in/Oswald_Egger"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-118570967-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="106254035"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/106254035/Thomas_Bernhards_subversive_Mimikry_von_Kunstkritik_und_diskursiver_Begriffssprache_in_der_Prosakom%C3%B6die_Alte_Meister_"><img alt="Research paper thumbnail of Thomas Bernhards subversive Mimikry von Kunstkritik und diskursiver Begriffssprache in der Prosakomödie "Alte Meister"" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title">Thomas Bernhards subversive Mimikry von Kunstkritik und diskursiver Begriffssprache in der Prosakomödie "Alte Meister"</div><div class="wp-workCard_item"><span>Thomas Bernhard: Language, History, Subjectivity. Edited by / Herausgegeben von Katya Krylova, Ernest Schonfield. Brill: Leiden / Boston 2023, S. 207-223.</span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The chapter considers Thomas Bernhard’s Alte Meister / Old Masters with regard to the ambivalent ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The chapter considers Thomas Bernhard’s Alte Meister / Old Masters with regard to the ambivalent relationship it unfolds with the medium of language. It focuses on the subversive mimicry by means of which language and thought conventions are both obeyed and undermined. The ambivalence of lustful subordination and subversion is explored with reference to Gilles Deleuze’s concept of ‘masochism’. Bernhard’s ironic-<br />repetitive adherence to linguistic and genre patterns as well as discourse templates, which eventually aim at the decomposition of discursive language, is shown as the author’s means to gain aesthetic autonomy. In Alte Meister the visual arts function as a catalyst of Bernhard’s relationship to language and as a creative ferment that shapes his literary practice, paving his way toward aesthetic autonomy in dealing with linguistic forms, genre conventions and discourse patterns. The first part of the chapter draws out the relationship between language and image, and the second part analyses the subversive strategies towards language developed in Bernhard’s ‘comedy’.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="106254035"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="106254035"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 106254035; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=106254035]").text(description); $(".js-view-count[data-work-id=106254035]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 106254035; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='106254035']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=106254035]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":106254035,"title":"Thomas Bernhards subversive Mimikry von Kunstkritik und diskursiver Begriffssprache in der Prosakomödie \"Alte Meister\"","translated_title":"","metadata":{"abstract":"The chapter considers Thomas Bernhard’s Alte Meister / Old Masters with regard to the ambivalent relationship it unfolds with the medium of language. It focuses on the subversive mimicry by means of which language and thought conventions are both obeyed and undermined. The ambivalence of lustful subordination and subversion is explored with reference to Gilles Deleuze’s concept of ‘masochism’. Bernhard’s ironic-\nrepetitive adherence to linguistic and genre patterns as well as discourse templates, which eventually aim at the decomposition of discursive language, is shown as the author’s means to gain aesthetic autonomy. In Alte Meister the visual arts function as a catalyst of Bernhard’s relationship to language and as a creative ferment that shapes his literary practice, paving his way toward aesthetic autonomy in dealing with linguistic forms, genre conventions and discourse patterns. The first part of the chapter draws out the relationship between language and image, and the second part analyses the subversive strategies towards language developed in Bernhard’s ‘comedy’.\n","publication_date":{"day":null,"month":null,"year":2023,"errors":{}},"publication_name":"Thomas Bernhard: Language, History, Subjectivity. Edited by / Herausgegeben von Katya Krylova, Ernest Schonfield. Brill: Leiden / Boston 2023, S. 207-223."},"translated_abstract":"The chapter considers Thomas Bernhard’s Alte Meister / Old Masters with regard to the ambivalent relationship it unfolds with the medium of language. It focuses on the subversive mimicry by means of which language and thought conventions are both obeyed and undermined. The ambivalence of lustful subordination and subversion is explored with reference to Gilles Deleuze’s concept of ‘masochism’. Bernhard’s ironic-\nrepetitive adherence to linguistic and genre patterns as well as discourse templates, which eventually aim at the decomposition of discursive language, is shown as the author’s means to gain aesthetic autonomy. In Alte Meister the visual arts function as a catalyst of Bernhard’s relationship to language and as a creative ferment that shapes his literary practice, paving his way toward aesthetic autonomy in dealing with linguistic forms, genre conventions and discourse patterns. The first part of the chapter draws out the relationship between language and image, and the second part analyses the subversive strategies towards language developed in Bernhard’s ‘comedy’.\n","internal_url":"https://www.academia.edu/106254035/Thomas_Bernhards_subversive_Mimikry_von_Kunstkritik_und_diskursiver_Begriffssprache_in_der_Prosakom%C3%B6die_Alte_Meister_","translated_internal_url":"","created_at":"2023-09-04T02:27:36.662-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":33006035,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[],"slug":"Thomas_Bernhards_subversive_Mimikry_von_Kunstkritik_und_diskursiver_Begriffssprache_in_der_Prosakomödie_Alte_Meister_","translated_slug":"","page_count":null,"language":"en","content_type":"Work","summary":"The chapter considers Thomas Bernhard’s Alte Meister / Old Masters with regard to the ambivalent relationship it unfolds with the medium of language. It focuses on the subversive mimicry by means of which language and thought conventions are both obeyed and undermined. The ambivalence of lustful subordination and subversion is explored with reference to Gilles Deleuze’s concept of ‘masochism’. Bernhard’s ironic-\nrepetitive adherence to linguistic and genre patterns as well as discourse templates, which eventually aim at the decomposition of discursive language, is shown as the author’s means to gain aesthetic autonomy. In Alte Meister the visual arts function as a catalyst of Bernhard’s relationship to language and as a creative ferment that shapes his literary practice, paving his way toward aesthetic autonomy in dealing with linguistic forms, genre conventions and discourse patterns. The first part of the chapter draws out the relationship between language and image, and the second part analyses the subversive strategies towards language developed in Bernhard’s ‘comedy’.\n","owner":{"id":33006035,"first_name":"Beate","middle_initials":null,"last_name":"Sommerfeld","page_name":"BeateSommerfeld","domain_name":"amu","created_at":"2015-07-12T10:37:55.155-07:00","display_name":"Beate Sommerfeld","url":"https://amu.academia.edu/BeateSommerfeld"},"attachments":[],"research_interests":[{"id":3887,"name":"Word and Image Studies","url":"https://www.academia.edu/Documents/in/Word_and_Image_Studies"},{"id":8302,"name":"Gilles Deleuze","url":"https://www.academia.edu/Documents/in/Gilles_Deleuze"},{"id":11339,"name":"Masochism","url":"https://www.academia.edu/Documents/in/Masochism"},{"id":17232,"name":"Thomas Bernhard","url":"https://www.academia.edu/Documents/in/Thomas_Bernhard"},{"id":579109,"name":"Literatur und Bildende Kunst","url":"https://www.academia.edu/Documents/in/Literatur_und_Bildende_Kunst"},{"id":700933,"name":"Intermedialität","url":"https://www.academia.edu/Documents/in/Intermedialitat"},{"id":1239734,"name":"Kunstkritik","url":"https://www.academia.edu/Documents/in/Kunstkritik"},{"id":1286414,"name":"Ekfrasis","url":"https://www.academia.edu/Documents/in/Ekfrasis"}],"urls":[{"id":33767346,"url":"https://brill.com/display/title/64061"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-106254035-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="106110688"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/106110688/STUDIA_GERMANICA_POSNANIENSIA_Rocznik_Jahrbuch"><img alt="Research paper thumbnail of STUDIA GERMANICA POSNANIENSIA Rocznik / Jahrbuch" class="work-thumbnail" src="https://attachments.academia-assets.com/105394060/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/106110688/STUDIA_GERMANICA_POSNANIENSIA_Rocznik_Jahrbuch">STUDIA GERMANICA POSNANIENSIA Rocznik / Jahrbuch</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://amu.academia.edu/BeateSommerfeld">Beate Sommerfeld</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uni-weimar.academia.edu/MoritzHiller">Moritz Hiller</a></span></div><div class="wp-workCard_item"><span>Studia Germanica Posnaniensia: Ästhetiken des Posthumanen in Literatur und Medien</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Das Themenheft von „Studia Germanica Posnaniensia“ nimmt literarische Texte und mediale Artefakte...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Das Themenheft von „Studia Germanica Posnaniensia“ nimmt literarische Texte und mediale Artefakte wie etwa Filme, Installationen und theatrale Performances aus einer weit gefassten posthumanistischen Perspektive in den Blick. Es reiht sich damit ein in die Debatte um die Neudefinition des Menschen, die zugleich eine Neubestimmung der Natur, der Materie und deren Interaktion mit dem Menschen, seiner Kultur und Technologie sowie mit diskursiven Prozessen einschließt. Die Beiträge machen die von Posthumanismus, New Materialism, Ecocriticism oder den Animal Studies entwickelten Konzepte von Mensch und Natur für die Analyse literarischer Texte und anderer medialer Formate nutzbar und loten die Möglichkeiten von Literatur und Medien zur Darstellung, performativen Inszenierung und Verhandlung des Verhältnisses von Mensch und Umwelt aus. In einer Zusammenschau der divergierenden medialen Dispositive möchte das vorliegende Heft Ansätze zu einer Ästhetik des Posthumanen entwickeln.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="741dc64ada43b6d8e27788dc00989bc2" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":105394060,"asset_id":106110688,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/105394060/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="106110688"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="106110688"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 106110688; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=106110688]").text(description); $(".js-view-count[data-work-id=106110688]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 106110688; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='106110688']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "741dc64ada43b6d8e27788dc00989bc2" } } $('.js-work-strip[data-work-id=106110688]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":106110688,"title":"STUDIA GERMANICA POSNANIENSIA Rocznik / Jahrbuch","translated_title":"","metadata":{"doi":"10.14746/sgp","abstract":"Das Themenheft von „Studia Germanica Posnaniensia“ nimmt literarische Texte und mediale Artefakte wie etwa Filme, Installationen und theatrale Performances aus einer weit gefassten posthumanistischen Perspektive in den Blick. Es reiht sich damit ein in die Debatte um die Neudefinition des Menschen, die zugleich eine Neubestimmung der Natur, der Materie und deren Interaktion mit dem Menschen, seiner Kultur und Technologie sowie mit diskursiven Prozessen einschließt. Die Beiträge machen die von Posthumanismus, New Materialism, Ecocriticism oder den Animal Studies entwickelten Konzepte von Mensch und Natur für die Analyse literarischer Texte und anderer medialer Formate nutzbar und loten die Möglichkeiten von Literatur und Medien zur Darstellung, performativen Inszenierung und Verhandlung des Verhältnisses von Mensch und Umwelt aus. In einer Zusammenschau der divergierenden medialen Dispositive möchte das vorliegende Heft Ansätze zu einer Ästhetik des Posthumanen entwickeln. ","publication_date":{"day":null,"month":null,"year":2022,"errors":{}},"publication_name":"Studia Germanica Posnaniensia: Ästhetiken des Posthumanen in Literatur und Medien"},"translated_abstract":"Das Themenheft von „Studia Germanica Posnaniensia“ nimmt literarische Texte und mediale Artefakte wie etwa Filme, Installationen und theatrale Performances aus einer weit gefassten posthumanistischen Perspektive in den Blick. Es reiht sich damit ein in die Debatte um die Neudefinition des Menschen, die zugleich eine Neubestimmung der Natur, der Materie und deren Interaktion mit dem Menschen, seiner Kultur und Technologie sowie mit diskursiven Prozessen einschließt. 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","owner":{"id":33006035,"first_name":"Beate","middle_initials":null,"last_name":"Sommerfeld","page_name":"BeateSommerfeld","domain_name":"amu","created_at":"2015-07-12T10:37:55.155-07:00","display_name":"Beate Sommerfeld","url":"https://amu.academia.edu/BeateSommerfeld"},"attachments":[{"id":105394060,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/105394060/thumbnails/1.jpg","file_name":"2635_844_PB.pdf","download_url":"https://www.academia.edu/attachments/105394060/download_file","bulk_download_file_name":"STUDIA_GERMANICA_POSNANIENSIA_Rocznik_Ja.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/105394060/2635_844_PB-libre.pdf?1693410458=\u0026response-content-disposition=attachment%3B+filename%3DSTUDIA_GERMANICA_POSNANIENSIA_Rocznik_Ja.pdf\u0026Expires=1743666407\u0026Signature=VlLf46FzHmB~0dlpmf0cI-Y-a5v1tDA54BCeeGmXl0sqeDfwui4W~ouajnwnBaBeO~jbJ9zA5fJhzrx9wuiHqa24fxBZPU57mACFBwOrPCw0AUgXjq98fTGtokbapG~1O-mjRnFrKFhiwYUJ2cFu5f4g3QKVStrMfFmZCBRb0Q7BmYqNBpoYY8WWGMb~QOCZWHeKXzgD9eP2xGh-gCgsIhXFjgh9NpzRuwQIw-zzN36-UO6IE1eUVunFSAoA3GzC5nNHH0YhTJcNuiilIUIaXIREMP38gpNZIlzjkCwK9VwRFyH7oxhyTy-oCnnkX0qWD0zg~Uo6kLjDt-0y0hRR0g__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics"},{"id":3115,"name":"Posthumanism","url":"https://www.academia.edu/Documents/in/Posthumanism"},{"id":10101,"name":"Critical Posthumanism","url":"https://www.academia.edu/Documents/in/Critical_Posthumanism"},{"id":16201,"name":"Ecocriticism","url":"https://www.academia.edu/Documents/in/Ecocriticism"},{"id":34273,"name":"Transhumanism/Posthumanism","url":"https://www.academia.edu/Documents/in/Transhumanism_Posthumanism"},{"id":40329,"name":"Donna Haraway","url":"https://www.academia.edu/Documents/in/Donna_Haraway"},{"id":53499,"name":"Elias Canetti","url":"https://www.academia.edu/Documents/in/Elias_Canetti"},{"id":53514,"name":"Vilém Flusser","url":"https://www.academia.edu/Documents/in/Vil%C3%A9m_Flusser"},{"id":113497,"name":"Rosi Braidotti","url":"https://www.academia.edu/Documents/in/Rosi_Braidotti"},{"id":1986763,"name":"Posthumanismus","url":"https://www.academia.edu/Documents/in/Posthumanismus"}],"urls":[{"id":33693779,"url":"https://pressto.amu.edu.pl/index.php/sgp/issue/view/2635"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-106110688-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="98946951"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/98946951/Thomas_Bernhards_Affektpoetik_des_Hasses"><img alt="Research paper thumbnail of Thomas Bernhards Affektpoetik des Hasses" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title">Thomas Bernhards Affektpoetik des Hasses</div><div class="wp-workCard_item"><span>Menschen als Hassobjekte. Interdisziplinäre Verhandlungen eines destruktiven Phänomens. Hrsg. von Arletta Szmorhun und Paweł Zimniak. Brill, V & R unipress 2022, S. 53-77</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Kaum ein anderer Autor der österreichischen Literatur ist so eng mit dem Phänomen des Hasses verb...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Kaum ein anderer Autor der österreichischen Literatur ist so eng mit dem Phänomen des Hasses verbunden wie Thomas Bernhard. Besonders die späten Texte wie Alte Meister (1985), Auslöschung. Ein Zerfall (1986) oder Heldenplatz (1988) sind von Hass und dessen Ausdrucksformen durchzogen. Umso erstaunlicher ist es, dass den Erscheinungsformen des Hasses in Bernhards Texten bislang in der Forschung kaum Aufmerksamkeit zuteilwurde. Gerhard Scheit untersucht am Beispiel des Romans Auslöschung die Ausprägungen von Hass im Kontext der Auseinandersetzung mit dem Heimatland Österreich. In jüngerer Zeit widmet sich Karl Heinz Bohrer in seiner Studie Mit Dolchen sprechen. Der literarische Hass-Effekt den ästhetischen Dimensionen von Hass-Poetik Bernhards und konzentriert sich dabei auf das Drama Heldenplatz. Im Aufsatz wird eine Konzeptualisierung des Hasses, die die ästhetische Funktionalisierung von Bernhards Hassrede mit affekttheoretischen Zugängen (Brian Massumi) engführt, für die Lektüre seiner Texte produktiv gemacht. Ohne die gesellschaftlichen und politischen Dimensionen von Bernhards Affektpoetiken auszublenden, wird Hass als fundamentale Energiequelle seiner Literatur kenntlich gemacht.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="98946951"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="98946951"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 98946951; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=98946951]").text(description); $(".js-view-count[data-work-id=98946951]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 98946951; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='98946951']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=98946951]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":98946951,"title":"Thomas Bernhards Affektpoetik des Hasses","translated_title":"","metadata":{"abstract":"Kaum ein anderer Autor der österreichischen Literatur ist so eng mit dem Phänomen des Hasses verbunden wie Thomas Bernhard. Besonders die späten Texte wie Alte Meister (1985), Auslöschung. Ein Zerfall (1986) oder Heldenplatz (1988) sind von Hass und dessen Ausdrucksformen durchzogen. Umso erstaunlicher ist es, dass den Erscheinungsformen des Hasses in Bernhards Texten bislang in der Forschung kaum Aufmerksamkeit zuteilwurde. Gerhard Scheit untersucht am Beispiel des Romans Auslöschung die Ausprägungen von Hass im Kontext der Auseinandersetzung mit dem Heimatland Österreich. In jüngerer Zeit widmet sich Karl Heinz Bohrer in seiner Studie Mit Dolchen sprechen. Der literarische Hass-Effekt den ästhetischen Dimensionen von Hass-Poetik Bernhards und konzentriert sich dabei auf das Drama Heldenplatz. Im Aufsatz wird eine Konzeptualisierung des Hasses, die die ästhetische Funktionalisierung von Bernhards Hassrede mit affekttheoretischen Zugängen (Brian Massumi) engführt, für die Lektüre seiner Texte produktiv gemacht. Ohne die gesellschaftlichen und politischen Dimensionen von Bernhards Affektpoetiken auszublenden, wird Hass als fundamentale Energiequelle seiner Literatur kenntlich gemacht.","more_info":"Please request a private copy","page_numbers":"53-77","publication_date":{"day":null,"month":null,"year":2022,"errors":{}},"publication_name":"Menschen als Hassobjekte. Interdisziplinäre Verhandlungen eines destruktiven Phänomens. Hrsg. von Arletta Szmorhun und Paweł Zimniak. Brill, V \u0026 R unipress 2022, S. 53-77"},"translated_abstract":"Kaum ein anderer Autor der österreichischen Literatur ist so eng mit dem Phänomen des Hasses verbunden wie Thomas Bernhard. Besonders die späten Texte wie Alte Meister (1985), Auslöschung. Ein Zerfall (1986) oder Heldenplatz (1988) sind von Hass und dessen Ausdrucksformen durchzogen. Umso erstaunlicher ist es, dass den Erscheinungsformen des Hasses in Bernhards Texten bislang in der Forschung kaum Aufmerksamkeit zuteilwurde. Gerhard Scheit untersucht am Beispiel des Romans Auslöschung die Ausprägungen von Hass im Kontext der Auseinandersetzung mit dem Heimatland Österreich. In jüngerer Zeit widmet sich Karl Heinz Bohrer in seiner Studie Mit Dolchen sprechen. Der literarische Hass-Effekt den ästhetischen Dimensionen von Hass-Poetik Bernhards und konzentriert sich dabei auf das Drama Heldenplatz. Im Aufsatz wird eine Konzeptualisierung des Hasses, die die ästhetische Funktionalisierung von Bernhards Hassrede mit affekttheoretischen Zugängen (Brian Massumi) engführt, für die Lektüre seiner Texte produktiv gemacht. Ohne die gesellschaftlichen und politischen Dimensionen von Bernhards Affektpoetiken auszublenden, wird Hass als fundamentale Energiequelle seiner Literatur kenntlich gemacht.","internal_url":"https://www.academia.edu/98946951/Thomas_Bernhards_Affektpoetik_des_Hasses","translated_internal_url":"","created_at":"2023-03-22T07:46:51.808-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":33006035,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[],"slug":"Thomas_Bernhards_Affektpoetik_des_Hasses","translated_slug":"","page_count":null,"language":"de","content_type":"Work","summary":"Kaum ein anderer Autor der österreichischen Literatur ist so eng mit dem Phänomen des Hasses verbunden wie Thomas Bernhard. Besonders die späten Texte wie Alte Meister (1985), Auslöschung. Ein Zerfall (1986) oder Heldenplatz (1988) sind von Hass und dessen Ausdrucksformen durchzogen. Umso erstaunlicher ist es, dass den Erscheinungsformen des Hasses in Bernhards Texten bislang in der Forschung kaum Aufmerksamkeit zuteilwurde. Gerhard Scheit untersucht am Beispiel des Romans Auslöschung die Ausprägungen von Hass im Kontext der Auseinandersetzung mit dem Heimatland Österreich. In jüngerer Zeit widmet sich Karl Heinz Bohrer in seiner Studie Mit Dolchen sprechen. Der literarische Hass-Effekt den ästhetischen Dimensionen von Hass-Poetik Bernhards und konzentriert sich dabei auf das Drama Heldenplatz. Im Aufsatz wird eine Konzeptualisierung des Hasses, die die ästhetische Funktionalisierung von Bernhards Hassrede mit affekttheoretischen Zugängen (Brian Massumi) engführt, für die Lektüre seiner Texte produktiv gemacht. Ohne die gesellschaftlichen und politischen Dimensionen von Bernhards Affektpoetiken auszublenden, wird Hass als fundamentale Energiequelle seiner Literatur kenntlich gemacht.","owner":{"id":33006035,"first_name":"Beate","middle_initials":null,"last_name":"Sommerfeld","page_name":"BeateSommerfeld","domain_name":"amu","created_at":"2015-07-12T10:37:55.155-07:00","display_name":"Beate Sommerfeld","url":"https://amu.academia.edu/BeateSommerfeld"},"attachments":[],"research_interests":[{"id":17230,"name":"Austrian Literature","url":"https://www.academia.edu/Documents/in/Austrian_Literature"},{"id":17232,"name":"Thomas Bernhard","url":"https://www.academia.edu/Documents/in/Thomas_Bernhard"},{"id":21498,"name":"Affect/Emotion","url":"https://www.academia.edu/Documents/in/Affect_Emotion"},{"id":23855,"name":"Affect Studies","url":"https://www.academia.edu/Documents/in/Affect_Studies"},{"id":50238,"name":"Affect","url":"https://www.academia.edu/Documents/in/Affect"},{"id":223841,"name":"Brian Massumi","url":"https://www.academia.edu/Documents/in/Brian_Massumi"},{"id":398208,"name":"Gegenwartsliteratur","url":"https://www.academia.edu/Documents/in/Gegenwartsliteratur"},{"id":1825379,"name":"Österreichische Literatur","url":"https://www.academia.edu/Documents/in/%C3%96sterreichische_Literatur"},{"id":2781558,"name":"Affekttheorie","url":"https://www.academia.edu/Documents/in/Affekttheorie"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-98946951-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="98178527"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/98178527/Between_N_Ostalgie_and_Ideology_New_Perspectives_on_DEFA_Children_s_Film"><img alt="Research paper thumbnail of Between ‘(N)Ostalgie’ and Ideology – New Perspectives on DEFA Children’s Film" class="work-thumbnail" src="https://attachments.academia-assets.com/99600641/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/98178527/Between_N_Ostalgie_and_Ideology_New_Perspectives_on_DEFA_Children_s_Film">Between ‘(N)Ostalgie’ and Ideology – New Perspectives on DEFA Children’s Film</a></div><div class="wp-workCard_item"><span>Dzieciństwo. Literatura i Kultura 4(2) 2022, 121–134</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This review article discusses the volume Von Pionieren und Piraten. Der DEFA-Kinderfilm in seinen...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This review article discusses the volume Von Pionieren und Piraten. Der DEFA-Kinderfilm in seinen kulturhistorischen, filmästhetischen und ideologischen Dimensionen [Of Pioneers and Pirates: DEFA Children's Film in Its Cultural-Historical, Film-Aesthetic, and Ideological Dimensions], edited by Steffi Ebert and Bettina Kümmerling-Meibauer (2021). The author of the paper situates the volume in the context of research on children's and young adult media in the state-controlled environment of the German Democratic Republic and highlights the political, ideological, social, and cultural mechanisms of the production and reception of children's films in the GDR. She raises questions about the relationship between society, cultural politics, and children's film and calls for a broad interdisciplinary approach to the complex phenomenon of DEFA [Deutsche Film-Aktiengesellschaft] children's film that includes historical, political, socio-cultural, theoretical, as well as film-didactic aspects. From this perspective, DEFA children's film not only becomes an important document of everyday life in the GDR, but also inscribes itself in the current discourses on remembering and forgetting.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="517289453a32236d7dadbfa689b96187" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":99600641,"asset_id":98178527,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/99600641/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="98178527"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="98178527"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 98178527; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=98178527]").text(description); $(".js-view-count[data-work-id=98178527]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 98178527; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='98178527']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "517289453a32236d7dadbfa689b96187" } } $('.js-work-strip[data-work-id=98178527]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":98178527,"title":"Between ‘(N)Ostalgie’ and Ideology – New Perspectives on DEFA Children’s Film","translated_title":"","metadata":{"doi":"10.32787/dlk.1010","abstract":"This review article discusses the volume Von Pionieren und Piraten. 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Der DEFA-Kinderfilm in seinen kulturhistorischen, filmästhetischen und ideologischen Dimensionen [Of Pioneers and Pirates: DEFA Children's Film in Its Cultural-Historical, Film-Aesthetic, and Ideological Dimensions], edited by Steffi Ebert and Bettina Kümmerling-Meibauer (2021). The author of the paper situates the volume in the context of research on children's and young adult media in the state-controlled environment of the German Democratic Republic and highlights the political, ideological, social, and cultural mechanisms of the production and reception of children's films in the GDR. She raises questions about the relationship between society, cultural politics, and children's film and calls for a broad interdisciplinary approach to the complex phenomenon of DEFA [Deutsche Film-Aktiengesellschaft] children's film that includes historical, political, socio-cultural, theoretical, as well as film-didactic aspects. 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Antinarrative Prosa in der österreichischen Literatur des 20. Jahrhunderts Viktor Konitzer. Bielefeld: transcript, 2021. 406 p. 49$. ISBN: 9783837657913" class="work-thumbnail" src="https://attachments.academia-assets.com/95575495/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/92612959/Geschichten_zerst%C3%B6ren_Antinarrative_Prosa_in_der_%C3%B6sterreichischen_Literatur_des_20_Jahrhunderts_Viktor_Konitzer_Bielefeld_transcript_2021_406_p_49_ISBN_9783837657913">Geschichten zerstören. Antinarrative Prosa in der österreichischen Literatur des 20. Jahrhunderts Viktor Konitzer. Bielefeld: transcript, 2021. 406 p. 49$. ISBN: 9783837657913</a></div><div class="wp-workCard_item"><span>The Germanic Review: Literature, Culture, Theory, 97:1</span><span>, 2022</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="7e35f3bf51fc21163de6a224f1f88843" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":95575495,"asset_id":92612959,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/95575495/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="92612959"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="92612959"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 92612959; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=92612959]").text(description); $(".js-view-count[data-work-id=92612959]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 92612959; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='92612959']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "7e35f3bf51fc21163de6a224f1f88843" } } $('.js-work-strip[data-work-id=92612959]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":92612959,"title":"Geschichten zerstören. 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These are negotiated via the visual arts. The paintings and photographs by the artist Jed Martin reflect the place of humans in nature and culture, thereby shifting the agency from humans to nature. The last photographic installations adopt the perspective of vegetation, which has replaced human agency. <br />Through the medium of art, Houellebecq’s novel creates transversal alliances, practices and visions that are at odds with the industrial-technological hybris of the Anthropocene. Houellebecq’s text is reflected in the context of the ethical debate about the Anthropocene.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="6a9246dafc8fc741a67384ff1e5dc4d4" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":77369457,"asset_id":66014885,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/77369457/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="66014885"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="66014885"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 66014885; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=66014885]").text(description); $(".js-view-count[data-work-id=66014885]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 66014885; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='66014885']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "6a9246dafc8fc741a67384ff1e5dc4d4" } } $('.js-work-strip[data-work-id=66014885]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":66014885,"title":"„Der Triumph der Vegetation ist total“ – eine Re-Lektüre von Michel Houellebecqs \"La carte et le territoire\" aus humanökologischer Perspektive","translated_title":"","metadata":{"doi":"1014746/por.2021.2.16","abstract":"The article deals with the interdependences between humans and their natural environment as developed in Houellebecq’s The Map and the Territory (2010). 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Austin and in its poststructuralist revisions. It depicts the performative nature of Mayröcker’s poetry which consists in the theatralization of texts, ritualized speech acts that have an auto-reference character and iteration mechanisms. Translation is seen as a re-staging and re-citation of the meanings of the original. It is understood as a creative activity that emphasizes the role of the translator, whereas the performative view counteracts the “invisibility” of the translator.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="7a1a408740d316f3e76ba35cb2c0fc2e" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":68393415,"asset_id":50382383,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/68393415/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="50382383"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="50382383"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 50382383; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=50382383]").text(description); $(".js-view-count[data-work-id=50382383]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 50382383; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='50382383']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "7a1a408740d316f3e76ba35cb2c0fc2e" } } $('.js-work-strip[data-work-id=50382383]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":50382383,"title":"Poetyka performatywności w przekładzie – Ryszard Wojnakowski jako tłumacz liryki Friederike Mayröcker","translated_title":"","metadata":{"doi":"10.14746/por.2020.1.6","issue":"1 ","volume":"26","abstract":"Poetics of the Performative in Translation – Ryszard Wojnakowski as \nthe Translator of Friederike Mayröcker’s Poetry\nThe article discusses some Polish translations of the lyrical texts of the Austrian poetress Friederike Mayröcker by Ryszard Wojnakowski in the perspective of the theory of the performative – in its initial version by J.L. 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Österreichische Autorinnen prüfen Geschichtsmythen, hrsg. von Andrea Rudolph, Gabriele Jelitto-Piechulik, Monika Wójcik-Bednarz. Wien: new academic press</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Der Aufsatz bezieht die in den Ekphrasen Friederike Mayröckers entfaltete Ästhetik des Performati...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Der Aufsatz bezieht die in den Ekphrasen Friederike Mayröckers entfaltete Ästhetik des Performativen auf die etwa zeitgleich entwickelten ideologiekritischen Postulate des pictorial turn. Die theatralische Um-Inszenierung von Bedeutungen wird als Diskurselement wirksam und stellt die Hierarchisierungen und Grenzziehungen zwischen Text und Bild, Körper und Geist des „ikonophoben“ Logozentrismus der geisteswissenschaftlichen Tradition, aber auch Genderzuschreibungen in Frage.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e1790b6d557a6152bae4e45abcd1848c" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":101078990,"asset_id":49537601,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/101078990/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="49537601"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="49537601"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 49537601; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=49537601]").text(description); $(".js-view-count[data-work-id=49537601]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 49537601; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='49537601']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "e1790b6d557a6152bae4e45abcd1848c" } } $('.js-work-strip[data-work-id=49537601]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":49537601,"title":"\"struggles between body and soul, word and mind\" – Die Ästhetik des Performativen in Friederike Mayröckers Ekphrasen im Kontext des pictorial turn","translated_title":"","metadata":{"abstract":"Der Aufsatz bezieht die in den Ekphrasen Friederike Mayröckers entfaltete Ästhetik des Performativen auf die etwa zeitgleich entwickelten ideologiekritischen Postulate des pictorial turn. 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Der Beitrag geht den Entgrenzungen der Sprache nach, die in Bernhards Roman "Fro...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">A b s t r a c t. Der Beitrag geht den Entgrenzungen der Sprache nach, die in Bernhards Roman "Frost" metapoetisch zur Disposition gestellt und performativ eingelöst werden. Dessen Protagonist, der Maler Strauch, hat der Ausübung seiner Kunst entsagt und gibt sich seinen Phantasien<br />und Traumvisionen hin. In den literarischen Inszenierungen dieser inneren Bildproduktion wird ein Konzept der visionären Schau entfaltet, welches die alleinige Geltung begrifflicher Kategorisierungen<br />infrage stellt und auf die Brückenlosigkeit zwischen wortlosem Bilderlebnis und Sprache verweist. Die aus der Handlung herausgesprengten Tableaus einer von Begriffslogik entbundenen,<br />opaken Visualität zersetzen den Logos der Wissenschaftssprache und werden von dieser mit dem Stigma der Verrücktheit belegt.<br />Bernhards Visualisierungsstrategien werden auf rhetorischer und synästhetischer Ebene nachvollzogen und dabei in ihren diskursiven Verflechtungen mit anthropologischen Fragestellungen sichtbar gemacht. So wird ein diskursiver Bezug zur Psychopathologie angedeutet, indem die psychopathologischen Anteile einer radikal künstlerischen Existenz herausgestellt werden, die als kommunikative Lähmung in der rational verfassten Welt entworfen wird. Zudem unterhalten die Visionen eine untergründige Beziehung zu menschheitsgeschichtlich früheren Zuständen des Bewusstseins, die als phylogenetische Relikte weiterhin präsent sind und eine tiefere Wirklichkeitsschicht erlebbar machen, die jenseits von Sprache liegt.<br /><br />Schlüsselwörter: Thomas Bernhard; Frost; Anthropologie; innere Bilder; Visualisierung.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="1cdc9a3b5aeb56501d8f936e117a8e79" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":67700510,"asset_id":49324728,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/67700510/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="49324728"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="49324728"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 49324728; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=49324728]").text(description); $(".js-view-count[data-work-id=49324728]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 49324728; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='49324728']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "1cdc9a3b5aeb56501d8f936e117a8e79" } } $('.js-work-strip[data-work-id=49324728]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":49324728,"title":"„IST DAS DENN AUCH NOCH SPRACHE?“ – VISUALITÄT ALS ENTGRENZUNG DER BEGRIFFSSPRACHE IN THOMAS BERNHARDS ROMAN FROST","translated_title":"","metadata":{"doi":"10.18290/rh21695-5","issue":"5","volume":"69","abstract":"A b s t r a c t. Der Beitrag geht den Entgrenzungen der Sprache nach, die in Bernhards Roman \"Frost\" metapoetisch zur Disposition gestellt und performativ eingelöst werden. Dessen Protagonist, der Maler Strauch, hat der Ausübung seiner Kunst entsagt und gibt sich seinen Phantasien\nund Traumvisionen hin. In den literarischen Inszenierungen dieser inneren Bildproduktion wird ein Konzept der visionären Schau entfaltet, welches die alleinige Geltung begrifflicher Kategorisierungen\ninfrage stellt und auf die Brückenlosigkeit zwischen wortlosem Bilderlebnis und Sprache verweist. Die aus der Handlung herausgesprengten Tableaus einer von Begriffslogik entbundenen,\nopaken Visualität zersetzen den Logos der Wissenschaftssprache und werden von dieser mit dem Stigma der Verrücktheit belegt.\nBernhards Visualisierungsstrategien werden auf rhetorischer und synästhetischer Ebene nachvollzogen und dabei in ihren diskursiven Verflechtungen mit anthropologischen Fragestellungen sichtbar gemacht. 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So wird ein diskursiver Bezug zur Psychopathologie angedeutet, indem die psychopathologischen Anteile einer radikal künstlerischen Existenz herausgestellt werden, die als kommunikative Lähmung in der rational verfassten Welt entworfen wird. 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Der Beitrag geht den Entgrenzungen der Sprache nach, die in Bernhards Roman \"Frost\" metapoetisch zur Disposition gestellt und performativ eingelöst werden. Dessen Protagonist, der Maler Strauch, hat der Ausübung seiner Kunst entsagt und gibt sich seinen Phantasien\nund Traumvisionen hin. In den literarischen Inszenierungen dieser inneren Bildproduktion wird ein Konzept der visionären Schau entfaltet, welches die alleinige Geltung begrifflicher Kategorisierungen\ninfrage stellt und auf die Brückenlosigkeit zwischen wortlosem Bilderlebnis und Sprache verweist. Die aus der Handlung herausgesprengten Tableaus einer von Begriffslogik entbundenen,\nopaken Visualität zersetzen den Logos der Wissenschaftssprache und werden von dieser mit dem Stigma der Verrücktheit belegt.\nBernhards Visualisierungsstrategien werden auf rhetorischer und synästhetischer Ebene nachvollzogen und dabei in ihren diskursiven Verflechtungen mit anthropologischen Fragestellungen sichtbar gemacht. 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Leseszenarien in der Prosa Friederike Mayröckers" class="work-thumbnail" src="https://attachments.academia-assets.com/67571187/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/49187761/_ein_Umgang_welcher_im_Unendlichen_sich_verliert_Leseszenarien_in_der_Prosa_Friederike_Mayr%C3%B6ckers">"ein Umgang, welcher im Unendlichen sich verliert". Leseszenarien in der Prosa Friederike Mayröckers</a></div><div class="wp-workCard_item"><span>Leseszenen. Poetologie - Geschichte - Medialität. Hrsg. von Irina Hron, Jadwiga Kita-Huber, Sanna Schulte. Heidelberg: Universitätsverlag Winter</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Lesen soll nach dem Abschluss von Buchprojekten "die schreckliche Leere nach getaner Arbeit" ausf...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Lesen soll nach dem Abschluss von Buchprojekten "die schreckliche Leere nach getaner Arbeit" ausfüllen 2 und zu weiteren Buchplänen überleiten. Das Gelesene wird mit in den neuen Text hineingenommen und treibt ihn an, wird zu dessen Zünd-und Treibstoff. Mayröckers Leseszenen sind somit immer auch zugleich Schreibszenen. Sie halten damit die Ambivalenz aus, die Julia Kristeva in der Doppelfunktion von Texten als "Schreibweise" und als "Lektüre" von vorausgegangenen Texten, und-radikaler noch-als "Absorption eines anderen Textes und als Antwort auf einen anderen" sieht. 3 Mayröckers Texte konstituieren sich durch Aneignungsprozesse, die die Sinnmuster und Schreibverfahren 1</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="fd5e6b7ae9dd19658595cb3586b49688" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":67571187,"asset_id":49187761,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/67571187/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="49187761"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="49187761"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 49187761; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=49187761]").text(description); $(".js-view-count[data-work-id=49187761]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 49187761; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='49187761']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "fd5e6b7ae9dd19658595cb3586b49688" } } $('.js-work-strip[data-work-id=49187761]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":49187761,"title":"\"ein Umgang, welcher im Unendlichen sich verliert\". 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In: Adrian Glen´ / Jacek Gutorow / Łukasz Musiał / Daniel Pietrek (Hg.): Spaziergänge auf dem Papier. Robert Walser in Polen." class="work-thumbnail" src="https://attachments.academia-assets.com/67700764/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44848138/Zwischen_Demutsabbildung_und_Sprachverwilderung_zur_Gattungspoetik_von_Robert_Walsers_Texten_zur_bildenden_Kunst_In_Adrian_Glen_Jacek_Gutorow_%C5%81ukasz_Musia%C5%82_Daniel_Pietrek_Hg_Spazierg%C3%A4nge_auf_dem_Papier_Robert_Walser_in_Polen">Zwischen ›Demutsabbildung‹ und ›Sprachverwilderung‹ – zur Gattungspoetik von Robert Walsers Texten zur bildenden Kunst. In: Adrian Glen´ / Jacek Gutorow / Łukasz Musiał / Daniel Pietrek (Hg.): Spaziergänge auf dem Papier. Robert Walser in Polen.</a></div><div class="wp-workCard_item"><span>Spaziergänge auf dem Papier. Robert Walser in Polen. Vandenhoeck & Ruprecht </span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Robert Walser ist unter den Autoren der Moderne, in deren Texte ekphrastische Elemente einfließen...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Robert Walser ist unter den Autoren der Moderne, in deren Texte ekphrastische Elemente einfließen, eine singuläre Erscheinung. Zunächst durch seinen Bruder, den erfolgreichen Illustrator und Maler Karl Walser vermittelt, war Walsers Verhältnis zur bildenden Kunst zeit seines Lebens sehr innig. Diese Affinität zur Kunst fand auf vielschichtige Weise Eingang in sein Werk. An zahlreichen Stellen seines Werks ist von Künstlern und von Kunstwerken und deren Entstehungsprozess die Rede, Walser schrieb eine Reihe von Prosastücken und Gedichten, die Künstlern oder Werken der bildenden Kunst gewidmet sind. Die intermedialen Bezüge von Walsers Werk sind bereits recht gut erforscht. Besonders ab den 1990er Jahren wurde im Gefolge des iconic turn den Manifestationen der Wechselbeziehung von bildender Kunst und Literatur im Werk Walsers viel Aufmerksamkeit zuteil. Weniger präsent sind dabei gattungstheoretische Überlegungen. Walsers Texte zur bildenden Kunst durchziehen die ganze Vielfalt literarischer Gattungen, und das Schreiben über Bilder wird für Walser zur Problemkonstante, die eine beständige Arbeit an den Gattungen und literarischen Traditionen erfordert. Hier möchte der vorliegende Beitrag ansetzen und untersuchen, wie sich über die Bezugnahme auf die Kunst Walsers Umgang mit den Textkonventionen gestaltet.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="656d2f16acba398363747a656d1cf1df" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":67700764,"asset_id":44848138,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/67700764/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44848138"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44848138"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44848138; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44848138]").text(description); $(".js-view-count[data-work-id=44848138]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44848138; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44848138']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "656d2f16acba398363747a656d1cf1df" } } $('.js-work-strip[data-work-id=44848138]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44848138,"title":"Zwischen ›Demutsabbildung‹ und ›Sprachverwilderung‹ – zur Gattungspoetik von Robert Walsers Texten zur bildenden Kunst. In: Adrian Glen´ / Jacek Gutorow / Łukasz Musiał / Daniel Pietrek (Hg.): Spaziergänge auf dem Papier. Robert Walser in Polen.","translated_title":"","metadata":{"abstract":"Robert Walser ist unter den Autoren der Moderne, in deren Texte ekphrastische Elemente einfließen, eine singuläre Erscheinung. Zunächst durch seinen Bruder, den erfolgreichen Illustrator und Maler Karl Walser vermittelt, war Walsers Verhältnis zur bildenden Kunst zeit seines Lebens sehr innig. Diese Affinität zur Kunst fand auf vielschichtige Weise Eingang in sein Werk. An zahlreichen Stellen seines Werks ist von Künstlern und von Kunstwerken und deren Entstehungsprozess die Rede, Walser schrieb eine Reihe von Prosastücken und Gedichten, die Künstlern oder Werken der bildenden Kunst gewidmet sind. Die intermedialen Bezüge von Walsers Werk sind bereits recht gut erforscht. 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DOI: 10.18276/cgs.2020.29-01. </span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Abstract Kafka's humor and the comic aspects of his texts recently have been focused extensively ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Abstract Kafka's humor and the comic aspects of his texts recently have been focused extensively by scholars. Both can be observed particularly in Kafka's confrontation with his religious environment. This is pointed out on the example of his diaries and letters. Referring to Henri Bergson, Kafka's specific comical imagery is shown as an effect of the observed incongruencies between assimilated Western Judaism and Hasidic Judaism. With reference to Felix Weltsch and Søren Kierkegaard, Kafka's humor is emphasized as an expression of his own religious inquiries.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="23e4dc2dd21fbdda1b6e820b17bc38bc" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":65319588,"asset_id":44818702,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/65319588/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44818702"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44818702"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44818702; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44818702]").text(description); $(".js-view-count[data-work-id=44818702]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44818702; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44818702']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "23e4dc2dd21fbdda1b6e820b17bc38bc" } } $('.js-work-strip[data-work-id=44818702]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44818702,"title":"\"DEN LETZTEN ZIPFEL DES GEBETSMANTELS\" – KOMISCHE INKONGRUENZEN UND ‚RELIGIÖSER HUMOR' IN FRANZ KAFKAS TAGEBUCHAUFZEICHNUNGEN UND BRIEFEN","translated_title":"","metadata":{"doi":"10.18276/cgs.2020.29-01","volume":"29","abstract":"Abstract Kafka's humor and the comic aspects of his texts recently have been focused extensively by scholars. 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With reference to Felix Weltsch and Søren Kierkegaard, Kafka's humor is emphasized as an expression of his own religious inquiries.","internal_url":"https://www.academia.edu/44818702/_DEN_LETZTEN_ZIPFEL_DES_GEBETSMANTELS_KOMISCHE_INKONGRUENZEN_UND_RELIGI%C3%96SER_HUMOR_IN_FRANZ_KAFKAS_TAGEBUCHAUFZEICHNUNGEN_UND_BRIEFEN","translated_internal_url":"","created_at":"2021-01-02T04:56:44.566-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":33006035,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":65319588,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/65319588/thumbnails/1.jpg","file_name":"CGS_SOmmerfeld_fin.pdf","download_url":"https://www.academia.edu/attachments/65319588/download_file","bulk_download_file_name":"DEN_LETZTEN_ZIPFEL_DES_GEBETSMANTELS_KO.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/65319588/CGS_SOmmerfeld_fin-libre.pdf?1609595467=\u0026response-content-disposition=attachment%3B+filename%3DDEN_LETZTEN_ZIPFEL_DES_GEBETSMANTELS_KO.pdf\u0026Expires=1743666407\u0026Signature=EEQpWtbhxAUfRT56rIYkQzczd-Q73nqtPPlIOX2UpNjbGTIpQJAULUhWcLFiPLn66uFaUmnPDcDiMOTgsSiD~kCJJzaLf3dO428Fp0S9eB1PTZ0cDm~ftIJboj-vt8oEpi5IEn0wbZrc6nfOGgW8tRKzRBFvbifJHkxnMhHaF7fwFFcjj~Vrj8xOEWpxzh9wdif78zs-yOUTj62TwBTjPbkXuwFmMJg750ugHvyH6ZCydet5kE8EnvitEsPrR2vPu8UB6toNBhn4zcgewdllmaeCJ1ZQT-SEP16JTSWG0hAOsYZ-5mEnHY8PMJZQ1wMuD2HtGEIre6vwpn6X5-AmDA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"_DEN_LETZTEN_ZIPFEL_DES_GEBETSMANTELS_KOMISCHE_INKONGRUENZEN_UND_RELIGIÖSER_HUMOR_IN_FRANZ_KAFKAS_TAGEBUCHAUFZEICHNUNGEN_UND_BRIEFEN","translated_slug":"","page_count":22,"language":"de","content_type":"Work","summary":"Abstract Kafka's humor and the comic aspects of his texts recently have been focused extensively by scholars. Both can be observed particularly in Kafka's confrontation with his religious environment. This is pointed out on the example of his diaries and letters. Referring to Henri Bergson, Kafka's specific comical imagery is shown as an effect of the observed incongruencies between assimilated Western Judaism and Hasidic Judaism. With reference to Felix Weltsch and Søren Kierkegaard, Kafka's humor is emphasized as an expression of his own religious inquiries.","owner":{"id":33006035,"first_name":"Beate","middle_initials":null,"last_name":"Sommerfeld","page_name":"BeateSommerfeld","domain_name":"amu","created_at":"2015-07-12T10:37:55.155-07:00","display_name":"Beate Sommerfeld","url":"https://amu.academia.edu/BeateSommerfeld"},"attachments":[{"id":65319588,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/65319588/thumbnails/1.jpg","file_name":"CGS_SOmmerfeld_fin.pdf","download_url":"https://www.academia.edu/attachments/65319588/download_file","bulk_download_file_name":"DEN_LETZTEN_ZIPFEL_DES_GEBETSMANTELS_KO.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/65319588/CGS_SOmmerfeld_fin-libre.pdf?1609595467=\u0026response-content-disposition=attachment%3B+filename%3DDEN_LETZTEN_ZIPFEL_DES_GEBETSMANTELS_KO.pdf\u0026Expires=1743666407\u0026Signature=EEQpWtbhxAUfRT56rIYkQzczd-Q73nqtPPlIOX2UpNjbGTIpQJAULUhWcLFiPLn66uFaUmnPDcDiMOTgsSiD~kCJJzaLf3dO428Fp0S9eB1PTZ0cDm~ftIJboj-vt8oEpi5IEn0wbZrc6nfOGgW8tRKzRBFvbifJHkxnMhHaF7fwFFcjj~Vrj8xOEWpxzh9wdif78zs-yOUTj62TwBTjPbkXuwFmMJg750ugHvyH6ZCydet5kE8EnvitEsPrR2vPu8UB6toNBhn4zcgewdllmaeCJ1ZQT-SEP16JTSWG0hAOsYZ-5mEnHY8PMJZQ1wMuD2HtGEIre6vwpn6X5-AmDA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":1186,"name":"Translation Studies","url":"https://www.academia.edu/Documents/in/Translation_Studies"},{"id":3887,"name":"Word and Image Studies","url":"https://www.academia.edu/Documents/in/Word_and_Image_Studies"},{"id":8446,"name":"Franz Kafka","url":"https://www.academia.edu/Documents/in/Franz_Kafka"},{"id":17230,"name":"Austrian Literature","url":"https://www.academia.edu/Documents/in/Austrian_Literature"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-44818702-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="42642619"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/42642619/_die_ganze_Mensch_und_Tiergemeinschaft_%C3%BCberblicken_literarische_Grenzverhandlungen_des_Humanen_bei_Franz_Kafka"><img alt="Research paper thumbnail of "die ganze Mensch- und Tiergemeinschaft überblicken" – literarische Grenzverhandlungen des Humanen bei Franz Kafka" class="work-thumbnail" src="https://attachments.academia-assets.com/62848347/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/42642619/_die_ganze_Mensch_und_Tiergemeinschaft_%C3%BCberblicken_literarische_Grenzverhandlungen_des_Humanen_bei_Franz_Kafka">"die ganze Mensch- und Tiergemeinschaft überblicken" – literarische Grenzverhandlungen des Humanen bei Franz Kafka</a></div><div class="wp-workCard_item"><span>Studia Germanica Gedaniensia</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Kafkas hybride Tierfiguren stehen in einer höchst vielschichtigen Gemengelage von zeitgenössische...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Kafkas hybride Tierfiguren stehen in einer höchst vielschichtigen Gemengelage von zeitgenössischen Debatten und Diskursen. Sie werden jeweils mittels spezifisch literarischer Darstellungsformen verarbeitet. In der dekonstruktiven Verunsicherung der Mensch-Tier-Grenze und der Schaffung von Schwellenräumen machen Kafkas Texte Anleihen bei der Romantik. Der Beitrag fokussiert insbesondere Kafkas kreative Umschriften phantastischen Erzählens und romantischer Ironie. <br /><br /> <br />Kafka's hybrid animal figures are situated in a complex set of contemporary debates and discourses always modified through specific literary presentation forms. In the deconstructive questioning of the human-animal frontier and the creation of threshold spaces, Kafka's texts refer to the Romantic tradition. In particular, the article focuses on Kafka's creative transcriptions of fantastic narration and romantic irony.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="b99e0f3a5fa6c689764706f3634a2f0c" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":62848347,"asset_id":42642619,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/62848347/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="42642619"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="42642619"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 42642619; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=42642619]").text(description); $(".js-view-count[data-work-id=42642619]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 42642619; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='42642619']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "b99e0f3a5fa6c689764706f3634a2f0c" } } $('.js-work-strip[data-work-id=42642619]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":42642619,"title":"\"die ganze Mensch- und Tiergemeinschaft überblicken\" – literarische Grenzverhandlungen des Humanen bei Franz Kafka","translated_title":"","metadata":{"doi":"10.26881/sgg.2019.40.15","issue":"40","abstract":"Kafkas hybride Tierfiguren stehen in einer höchst vielschichtigen Gemengelage von zeitgenössischen Debatten und Diskursen. Sie werden jeweils mittels spezifisch literarischer Darstellungsformen verarbeitet. In der dekonstruktiven Verunsicherung der Mensch-Tier-Grenze und der Schaffung von Schwellenräumen machen Kafkas Texte Anleihen bei der Romantik. Der Beitrag fokussiert insbesondere Kafkas kreative Umschriften phantastischen Erzählens und romantischer Ironie. \n\n \nKafka's hybrid animal figures are situated in a complex set of contemporary debates and discourses always modified through specific literary presentation forms. In the deconstructive questioning of the human-animal frontier and the creation of threshold spaces, Kafka's texts refer to the Romantic tradition. In particular, the article focuses on Kafka's creative transcriptions of fantastic narration and romantic irony. ","page_numbers":"182-192","publication_date":{"day":null,"month":null,"year":2019,"errors":{}},"publication_name":"Studia Germanica Gedaniensia"},"translated_abstract":"Kafkas hybride Tierfiguren stehen in einer höchst vielschichtigen Gemengelage von zeitgenössischen Debatten und Diskursen. Sie werden jeweils mittels spezifisch literarischer Darstellungsformen verarbeitet. In der dekonstruktiven Verunsicherung der Mensch-Tier-Grenze und der Schaffung von Schwellenräumen machen Kafkas Texte Anleihen bei der Romantik. Der Beitrag fokussiert insbesondere Kafkas kreative Umschriften phantastischen Erzählens und romantischer Ironie. \n\n \nKafka's hybrid animal figures are situated in a complex set of contemporary debates and discourses always modified through specific literary presentation forms. In the deconstructive questioning of the human-animal frontier and the creation of threshold spaces, Kafka's texts refer to the Romantic tradition. In particular, the article focuses on Kafka's creative transcriptions of fantastic narration and romantic irony. ","internal_url":"https://www.academia.edu/42642619/_die_ganze_Mensch_und_Tiergemeinschaft_%C3%BCberblicken_literarische_Grenzverhandlungen_des_Humanen_bei_Franz_Kafka","translated_internal_url":"","created_at":"2020-04-06T09:43:20.388-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":33006035,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":62848347,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/62848347/thumbnails/1.jpg","file_name":"SGG_40_Beate_Sommerfeld_120200406-31370-1u26oar.pdf","download_url":"https://www.academia.edu/attachments/62848347/download_file","bulk_download_file_name":"die_ganze_Mensch_und_Tiergemeinschaft_u.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/62848347/SGG_40_Beate_Sommerfeld_120200406-31370-1u26oar-libre.pdf?1586192971=\u0026response-content-disposition=attachment%3B+filename%3Ddie_ganze_Mensch_und_Tiergemeinschaft_u.pdf\u0026Expires=1743666407\u0026Signature=McJPBGZfr~Nh9V2JXcLZ7i1wtsv4EAEmjGOGaIbiLErO1qRGPxLy3V-nk5AezbH6k53RU5tVwzjq0o1nahZtqqKzR4zKinD7NHFZ77DplfRWstjQUFjHP3UIF-~HByZR0KVl5GObZi6h1n0Z6MqdztKlKAff63LKQq3TC3cRg~anwYuX1Zcs~o74ytltnHEKBue70E~0SnCfakISC8mj17BLxXipDjOgEtc095k0TyqkPRxL9FosCVD5k69DvJjdyf5pNU29LQIS0if7V0WUlFUP1fWgtKalJzOD91pvDukWNVDggCw9jD1r115LkN664SPXCoF3HKWLrzxFqFibRw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"_die_ganze_Mensch_und_Tiergemeinschaft_überblicken_literarische_Grenzverhandlungen_des_Humanen_bei_Franz_Kafka","translated_slug":"","page_count":11,"language":"de","content_type":"Work","summary":"Kafkas hybride Tierfiguren stehen in einer höchst vielschichtigen Gemengelage von zeitgenössischen Debatten und Diskursen. Sie werden jeweils mittels spezifisch literarischer Darstellungsformen verarbeitet. In der dekonstruktiven Verunsicherung der Mensch-Tier-Grenze und der Schaffung von Schwellenräumen machen Kafkas Texte Anleihen bei der Romantik. Der Beitrag fokussiert insbesondere Kafkas kreative Umschriften phantastischen Erzählens und romantischer Ironie. \n\n \nKafka's hybrid animal figures are situated in a complex set of contemporary debates and discourses always modified through specific literary presentation forms. In the deconstructive questioning of the human-animal frontier and the creation of threshold spaces, Kafka's texts refer to the Romantic tradition. In particular, the article focuses on Kafka's creative transcriptions of fantastic narration and romantic irony. ","owner":{"id":33006035,"first_name":"Beate","middle_initials":null,"last_name":"Sommerfeld","page_name":"BeateSommerfeld","domain_name":"amu","created_at":"2015-07-12T10:37:55.155-07:00","display_name":"Beate Sommerfeld","url":"https://amu.academia.edu/BeateSommerfeld"},"attachments":[{"id":62848347,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/62848347/thumbnails/1.jpg","file_name":"SGG_40_Beate_Sommerfeld_120200406-31370-1u26oar.pdf","download_url":"https://www.academia.edu/attachments/62848347/download_file","bulk_download_file_name":"die_ganze_Mensch_und_Tiergemeinschaft_u.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/62848347/SGG_40_Beate_Sommerfeld_120200406-31370-1u26oar-libre.pdf?1586192971=\u0026response-content-disposition=attachment%3B+filename%3Ddie_ganze_Mensch_und_Tiergemeinschaft_u.pdf\u0026Expires=1743666407\u0026Signature=McJPBGZfr~Nh9V2JXcLZ7i1wtsv4EAEmjGOGaIbiLErO1qRGPxLy3V-nk5AezbH6k53RU5tVwzjq0o1nahZtqqKzR4zKinD7NHFZ77DplfRWstjQUFjHP3UIF-~HByZR0KVl5GObZi6h1n0Z6MqdztKlKAff63LKQq3TC3cRg~anwYuX1Zcs~o74ytltnHEKBue70E~0SnCfakISC8mj17BLxXipDjOgEtc095k0TyqkPRxL9FosCVD5k69DvJjdyf5pNU29LQIS0if7V0WUlFUP1fWgtKalJzOD91pvDukWNVDggCw9jD1r115LkN664SPXCoF3HKWLrzxFqFibRw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":4138,"name":"Hybridity","url":"https://www.academia.edu/Documents/in/Hybridity"},{"id":8446,"name":"Franz Kafka","url":"https://www.academia.edu/Documents/in/Franz_Kafka"},{"id":26812,"name":"Human-Animal Studies","url":"https://www.academia.edu/Documents/in/Human-Animal_Studies"},{"id":98459,"name":"E.T.A. Hoffmann","url":"https://www.academia.edu/Documents/in/E.T.A._Hoffmann"},{"id":128256,"name":"Romantik","url":"https://www.academia.edu/Documents/in/Romantik"},{"id":955119,"name":"Phantastische Literatur","url":"https://www.academia.edu/Documents/in/Phantastische_Literatur"},{"id":1407779,"name":"Cultural and Literary Animal Studies","url":"https://www.academia.edu/Documents/in/Cultural_and_Literary_Animal_Studies"},{"id":1477892,"name":"Hybride","url":"https://www.academia.edu/Documents/in/Hybride"},{"id":3601778,"name":"Tiere und Mensch-Tier-Verhältnisse in der Kunst","url":"https://www.academia.edu/Documents/in/Tiere_und_Mensch-Tier-Verh%C3%A4ltnisse_in_der_Kunst"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-42642619-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="41296471"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/41296471/_zum_K%C3%BCssen_nahe_die_Fotografie_als_Ann%C3%A4herung_an_die_Dingwelt_in_Kafkas_Romanfragment_Der_Verschollene"><img alt="Research paper thumbnail of "zum Küssen nahe" - die Fotografie als Annäherung an die Dingwelt in Kafkas Romanfragment Der Verschollene" class="work-thumbnail" src="https://attachments.academia-assets.com/61512327/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/41296471/_zum_K%C3%BCssen_nahe_die_Fotografie_als_Ann%C3%A4herung_an_die_Dingwelt_in_Kafkas_Romanfragment_Der_Verschollene">"zum Küssen nahe" - die Fotografie als Annäherung an die Dingwelt in Kafkas Romanfragment Der Verschollene</a></div><div class="wp-workCard_item"><span>Kafkas Dinge. Hrsg. von Agnes Bidmon und Michael Niehaus (= Forschungen der Deutschen Kafka-Gesellschaft, Bd. 6), Würzburg, Königshausen & Neumann, ISBN 978-3-8260-6783-9</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Die Rückkehr der Materialität, der Sinnlichkeit sowie des Eigensinns der Dinge ist seit einiger Z...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Die Rückkehr der Materialität, der Sinnlichkeit sowie des Eigensinns der Dinge ist seit einiger Zeit verstärkt in den Horizont der Geisteswissenschaften getreten. 1 Dieses neu erwachte und bis heute andauernde Interesse an konkreter Stofflich-und Dinghaftigkeit lässt von einer "Wiederkehr der Dinge" 2 sprechen. Im Forschungsbereich der materiellen Kulturen werden die Dinge hinsichtlich kultureller Kodierungen und sozialer Konstruktionen von gesellschaftlichen Normen und Praktiken befragt. 3 Wertvolle Anregungen haben die Literatur-und Kulturwissenschaften von Bruno Latours Akteur-Netzwerk-Theorie erhalten, in der die Dinge an Selbstständigkeit gewinnen und zu gleichberechtigten Partnern des Menschen werden. 4 In literarischen Texten wird der Stellenwert imaginierter Dinge untersucht und ihr Status für den Menschen einer Reflexion unterzogen. So fragt Michael Niehaus nach der Produktivität eigenmächtig durch den Text "wandernder Dinge" 5 , "bewegliche(r) Sachen, die man geben und entgegennehmen, […] in Besitz nehmen und abstoßen, verlieren und finden kann" 6 und schreibt ihnen eine narrative Funktion zu: Die Dinge geraten auf Abwege, und das Verfolgen dieser Irrwege führt zu Geschichten. 7 Dorothee Kimmich spricht von der Vorherrschaft der Dinge in der Moderne, ihrer Loslösung vom Menschen, so erwecke Literatur vielerorts die Vorstellung von Dingen als materiellem Gegenüber mit Eigenlogik. 8 Daher sieht Kimmich in der Literatur das Medium, das der materiellen Dimension der Lebenswelt einen angemessenen Raum zu verschaffen vermag. 9 In literarischen Texten, wo die Materialität der Dinge nur imaginiert und lediglich auf der Textebene vorhanden ist, können diese mitunter ein Eigenleben entfalten, eine geheime Macht ausüben oder dem Menschen als eigensinnige Akteure gegenübertreten. 10 Dabei wird die verborgene Seite der Dinge virulent, die sich den menschlichen Vorstellungen entzieht. Die Fremdheit der Dingwelt bewirkt nach Kimmich eine Infragestellung von Wahrnehmung,</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="291430642c6d116fc36fba950647328f" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":61512327,"asset_id":41296471,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/61512327/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="41296471"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="41296471"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 41296471; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=41296471]").text(description); $(".js-view-count[data-work-id=41296471]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 41296471; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='41296471']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "291430642c6d116fc36fba950647328f" } } $('.js-work-strip[data-work-id=41296471]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":41296471,"title":"\"zum Küssen nahe\" - die Fotografie als Annäherung an die Dingwelt in Kafkas Romanfragment Der Verschollene","translated_title":"","metadata":{"page_numbers":"143-162","grobid_abstract":"Die Rückkehr der Materialität, der Sinnlichkeit sowie des Eigensinns der Dinge ist seit einiger Zeit verstärkt in den Horizont der Geisteswissenschaften getreten. 1 Dieses neu erwachte und bis heute andauernde Interesse an konkreter Stofflich-und Dinghaftigkeit lässt von einer \"Wiederkehr der Dinge\" 2 sprechen. 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Im Forschungsbereich der materiellen Kulturen werden die Dinge hinsichtlich kultureller Kodierungen und sozialer Konstruktionen von gesellschaftlichen Normen und Praktiken befragt. 3 Wertvolle Anregungen haben die Literatur-und Kulturwissenschaften von Bruno Latours Akteur-Netzwerk-Theorie erhalten, in der die Dinge an Selbstständigkeit gewinnen und zu gleichberechtigten Partnern des Menschen werden. 4 In literarischen Texten wird der Stellenwert imaginierter Dinge untersucht und ihr Status für den Menschen einer Reflexion unterzogen. So fragt Michael Niehaus nach der Produktivität eigenmächtig durch den Text \"wandernder Dinge\" 5 , \"bewegliche(r) Sachen, die man geben und entgegennehmen, […] in Besitz nehmen und abstoßen, verlieren und finden kann\" 6 und schreibt ihnen eine narrative Funktion zu: Die Dinge geraten auf Abwege, und das Verfolgen dieser Irrwege führt zu Geschichten. 7 Dorothee Kimmich spricht von der Vorherrschaft der Dinge in der Moderne, ihrer Loslösung vom Menschen, so erwecke Literatur vielerorts die Vorstellung von Dingen als materiellem Gegenüber mit Eigenlogik. 8 Daher sieht Kimmich in der Literatur das Medium, das der materiellen Dimension der Lebenswelt einen angemessenen Raum zu verschaffen vermag. 9 In literarischen Texten, wo die Materialität der Dinge nur imaginiert und lediglich auf der Textebene vorhanden ist, können diese mitunter ein Eigenleben entfalten, eine geheime Macht ausüben oder dem Menschen als eigensinnige Akteure gegenübertreten. 10 Dabei wird die verborgene Seite der Dinge virulent, die sich den menschlichen Vorstellungen entzieht. 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"Malergedichte" der galizischen Lyrikerin Rose Ausländer vor dem ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Der Aufsatz fokussiert die sog. "Malergedichte" der galizischen Lyrikerin Rose Ausländer vor dem Hintergrund des Schreibens nach der Shoah. Die Referenzen auf die bildende Kunst in Ausländers Lyrik werden als Emanationen des Sprach-und Wirklichkeitsverhältnisses nach der Shoah lesbar. In den Gedichten wird das "Drama der Repräsentation" ausgetragen, von dem die moderne Malerei, aber auch die Literatur erfasst wird. Sowohl die Ablehnung einfachen Abbildens als auch die Suche nach neuen künstlerischen Artikulationsformen werden von der Lyrikerin zum Krisensymptom der Literatur nach dem Holocaust umgedeutet. Über die Partizipation am Bild erprobt Ausländer Wege eines allusiven Schreibens über den Holocaust, in den Bildern und Verfahren der modernen Kunst findet sie Metaphern einer postapokalyptischen Befindlichkeit. Schlüsselwörter: Rose Ausländer, Malergedichte, Marc Chagall, Paul Cézanne, Paul Klee <br />Rose Ausländer's "painter poems" as post-apocalyptic writing <br />The essay focuses on the so-called "painter poems" of the Galician lyricist Rose Ausländer in the context of writing after the Shoah. The references to the fine arts in Ausländer's poetry become readable as reflections on the problematics of language and reality after the Holocaust. In the poems, the "drama of representation" is carried out, which affects modern painting, but also literature. Both the rejection of simple mimesis and the inquiry of new forms of artistic articulation are reinterpreted by the lyricist as a crisis symptom of literature after the Holocaust. Via the participation in the picture , Ausländer experiments with ways of an allusive writing about the Holocaust, in the pictures and procedures of modern art they find metaphors of a post-apocalyptic state of mind.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="dd2558f83c5893a67a4e58692abfef5c" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":61494638,"asset_id":41275242,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/61494638/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="41275242"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="41275242"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 41275242; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=41275242]").text(description); $(".js-view-count[data-work-id=41275242]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 41275242; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='41275242']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "dd2558f83c5893a67a4e58692abfef5c" } } $('.js-work-strip[data-work-id=41275242]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":41275242,"title":"Rose Ausländers \"Malergedichte\" als post-apokalyptisches Schreiben","translated_title":"","metadata":{"doi":"10.19195/0435-5865.144.5","issue":"144","abstract":"Der Aufsatz fokussiert die sog. \"Malergedichte\" der galizischen Lyrikerin Rose Ausländer vor dem Hintergrund des Schreibens nach der Shoah. Die Referenzen auf die bildende Kunst in Ausländers Lyrik werden als Emanationen des Sprach-und Wirklichkeitsverhältnisses nach der Shoah lesbar. In den Gedichten wird das \"Drama der Repräsentation\" ausgetragen, von dem die moderne Malerei, aber auch die Literatur erfasst wird. Sowohl die Ablehnung einfachen Abbildens als auch die Suche nach neuen künstlerischen Artikulationsformen werden von der Lyrikerin zum Krisensymptom der Literatur nach dem Holocaust umgedeutet. Über die Partizipation am Bild erprobt Ausländer Wege eines allusiven Schreibens über den Holocaust, in den Bildern und Verfahren der modernen Kunst findet sie Metaphern einer postapokalyptischen Befindlichkeit. Schlüsselwörter: Rose Ausländer, Malergedichte, Marc Chagall, Paul Cézanne, Paul Klee \nRose Ausländer's \"painter poems\" as post-apocalyptic writing \nThe essay focuses on the so-called \"painter poems\" of the Galician lyricist Rose Ausländer in the context of writing after the Shoah. The references to the fine arts in Ausländer's poetry become readable as reflections on the problematics of language and reality after the Holocaust. In the poems, the \"drama of representation\" is carried out, which affects modern painting, but also literature. Both the rejection of simple mimesis and the inquiry of new forms of artistic articulation are reinterpreted by the lyricist as a crisis symptom of literature after the Holocaust. Via the participation in the picture , Ausländer experiments with ways of an allusive writing about the Holocaust, in the pictures and procedures of modern art they find metaphors of a post-apocalyptic state of mind.","page_numbers":"65-82","publication_date":{"day":null,"month":null,"year":2019,"errors":{}},"publication_name":"Germanica Wratislaviensia"},"translated_abstract":"Der Aufsatz fokussiert die sog. \"Malergedichte\" der galizischen Lyrikerin Rose Ausländer vor dem Hintergrund des Schreibens nach der Shoah. Die Referenzen auf die bildende Kunst in Ausländers Lyrik werden als Emanationen des Sprach-und Wirklichkeitsverhältnisses nach der Shoah lesbar. In den Gedichten wird das \"Drama der Repräsentation\" ausgetragen, von dem die moderne Malerei, aber auch die Literatur erfasst wird. Sowohl die Ablehnung einfachen Abbildens als auch die Suche nach neuen künstlerischen Artikulationsformen werden von der Lyrikerin zum Krisensymptom der Literatur nach dem Holocaust umgedeutet. Über die Partizipation am Bild erprobt Ausländer Wege eines allusiven Schreibens über den Holocaust, in den Bildern und Verfahren der modernen Kunst findet sie Metaphern einer postapokalyptischen Befindlichkeit. Schlüsselwörter: Rose Ausländer, Malergedichte, Marc Chagall, Paul Cézanne, Paul Klee \nRose Ausländer's \"painter poems\" as post-apocalyptic writing \nThe essay focuses on the so-called \"painter poems\" of the Galician lyricist Rose Ausländer in the context of writing after the Shoah. The references to the fine arts in Ausländer's poetry become readable as reflections on the problematics of language and reality after the Holocaust. In the poems, the \"drama of representation\" is carried out, which affects modern painting, but also literature. Both the rejection of simple mimesis and the inquiry of new forms of artistic articulation are reinterpreted by the lyricist as a crisis symptom of literature after the Holocaust. Via the participation in the picture , Ausländer experiments with ways of an allusive writing about the Holocaust, in the pictures and procedures of modern art they find metaphors of a post-apocalyptic state of mind.","internal_url":"https://www.academia.edu/41275242/Rose_Ausl%C3%A4nders_Malergedichte_als_post_apokalyptisches_Schreiben","translated_internal_url":"","created_at":"2019-12-12T05:47:33.755-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":33006035,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":61494638,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/61494638/thumbnails/1.jpg","file_name":"GW_2019_6_Sommerfeld_120191212-34867-1i5wl1q.pdf","download_url":"https://www.academia.edu/attachments/61494638/download_file","bulk_download_file_name":"Rose_Auslanders_Malergedichte_als_post_a.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/61494638/GW_2019_6_Sommerfeld_120191212-34867-1i5wl1q-libre.pdf?1576160019=\u0026response-content-disposition=attachment%3B+filename%3DRose_Auslanders_Malergedichte_als_post_a.pdf\u0026Expires=1743666407\u0026Signature=fxCKi5EkJQsg9hBB9hRUBN~y9VRf2hdOhU75pii6yya-ongUqwTaQ8hX5E0Kg16SuTqqOkuynj1z6zcBBoeLTJZzoqXdwolX1U9KLJE6v8JCDOS3dkttdxZdE7TS~SF~KWGTdJJJIVXNqqjzMiaoLDxZsDhRTb7tNz~UXhYX0OOPLa3KVCzrI0bGQKaINAlb7ob8wvFm2sksFuC-tWHRc6KPXbWpVMAorzP4k1rpah1adtrfiFupeEdSoxK10SvQMa0fYJcY2Xf4h5src6bsKOcBmHZC4HiGtpx4728uLcxt2voFxwHNlbLmH0qzQWJdV4TZWYKNeGYAdgBldXOcQA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Rose_Ausländers_Malergedichte_als_post_apokalyptisches_Schreiben","translated_slug":"","page_count":18,"language":"de","content_type":"Work","summary":"Der Aufsatz fokussiert die sog. \"Malergedichte\" der galizischen Lyrikerin Rose Ausländer vor dem Hintergrund des Schreibens nach der Shoah. Die Referenzen auf die bildende Kunst in Ausländers Lyrik werden als Emanationen des Sprach-und Wirklichkeitsverhältnisses nach der Shoah lesbar. In den Gedichten wird das \"Drama der Repräsentation\" ausgetragen, von dem die moderne Malerei, aber auch die Literatur erfasst wird. Sowohl die Ablehnung einfachen Abbildens als auch die Suche nach neuen künstlerischen Artikulationsformen werden von der Lyrikerin zum Krisensymptom der Literatur nach dem Holocaust umgedeutet. Über die Partizipation am Bild erprobt Ausländer Wege eines allusiven Schreibens über den Holocaust, in den Bildern und Verfahren der modernen Kunst findet sie Metaphern einer postapokalyptischen Befindlichkeit. Schlüsselwörter: Rose Ausländer, Malergedichte, Marc Chagall, Paul Cézanne, Paul Klee \nRose Ausländer's \"painter poems\" as post-apocalyptic writing \nThe essay focuses on the so-called \"painter poems\" of the Galician lyricist Rose Ausländer in the context of writing after the Shoah. The references to the fine arts in Ausländer's poetry become readable as reflections on the problematics of language and reality after the Holocaust. In the poems, the \"drama of representation\" is carried out, which affects modern painting, but also literature. Both the rejection of simple mimesis and the inquiry of new forms of artistic articulation are reinterpreted by the lyricist as a crisis symptom of literature after the Holocaust. Via the participation in the picture , Ausländer experiments with ways of an allusive writing about the Holocaust, in the pictures and procedures of modern art they find metaphors of a post-apocalyptic state of mind.","owner":{"id":33006035,"first_name":"Beate","middle_initials":null,"last_name":"Sommerfeld","page_name":"BeateSommerfeld","domain_name":"amu","created_at":"2015-07-12T10:37:55.155-07:00","display_name":"Beate Sommerfeld","url":"https://amu.academia.edu/BeateSommerfeld"},"attachments":[{"id":61494638,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/61494638/thumbnails/1.jpg","file_name":"GW_2019_6_Sommerfeld_120191212-34867-1i5wl1q.pdf","download_url":"https://www.academia.edu/attachments/61494638/download_file","bulk_download_file_name":"Rose_Auslanders_Malergedichte_als_post_a.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/61494638/GW_2019_6_Sommerfeld_120191212-34867-1i5wl1q-libre.pdf?1576160019=\u0026response-content-disposition=attachment%3B+filename%3DRose_Auslanders_Malergedichte_als_post_a.pdf\u0026Expires=1743666407\u0026Signature=fxCKi5EkJQsg9hBB9hRUBN~y9VRf2hdOhU75pii6yya-ongUqwTaQ8hX5E0Kg16SuTqqOkuynj1z6zcBBoeLTJZzoqXdwolX1U9KLJE6v8JCDOS3dkttdxZdE7TS~SF~KWGTdJJJIVXNqqjzMiaoLDxZsDhRTb7tNz~UXhYX0OOPLa3KVCzrI0bGQKaINAlb7ob8wvFm2sksFuC-tWHRc6KPXbWpVMAorzP4k1rpah1adtrfiFupeEdSoxK10SvQMa0fYJcY2Xf4h5src6bsKOcBmHZC4HiGtpx4728uLcxt2voFxwHNlbLmH0qzQWJdV4TZWYKNeGYAdgBldXOcQA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":3242,"name":"Intermediality","url":"https://www.academia.edu/Documents/in/Intermediality"},{"id":3887,"name":"Word and Image Studies","url":"https://www.academia.edu/Documents/in/Word_and_Image_Studies"},{"id":14732,"name":"Ekphrasis","url":"https://www.academia.edu/Documents/in/Ekphrasis"},{"id":37461,"name":"Paul Klee","url":"https://www.academia.edu/Documents/in/Paul_Klee"},{"id":316744,"name":"Paul Cézanne","url":"https://www.academia.edu/Documents/in/Paul_C%C3%A9zanne"},{"id":327876,"name":"Post-Apocalyptic Literature","url":"https://www.academia.edu/Documents/in/Post-Apocalyptic_Literature"},{"id":579109,"name":"Literatur und Bildende Kunst","url":"https://www.academia.edu/Documents/in/Literatur_und_Bildende_Kunst"},{"id":970776,"name":"Comparative Literature and Arts","url":"https://www.academia.edu/Documents/in/Comparative_Literature_and_Arts"},{"id":2781291,"name":"Rose Ausländer","url":"https://www.academia.edu/Documents/in/Rose_Ausl%C3%A4nder"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-41275242-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="38519086"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/38519086/Auf_der_Schwelle_Liminalit%C3%A4t_als_Struktur_%C3%A4sthetischer_Erfahrung_in_Franz_Kafkas_Kunstbetrachtungen_der_Reisetageb%C3%BCcher_und_Quarthefte"><img alt="Research paper thumbnail of Auf der Schwelle – Liminalität als Struktur ästhetischer Erfahrung in Franz Kafkas Kunstbetrachtungen der Reisetagebücher und Quarthefte" class="work-thumbnail" src="https://attachments.academia-assets.com/58587532/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/38519086/Auf_der_Schwelle_Liminalit%C3%A4t_als_Struktur_%C3%A4sthetischer_Erfahrung_in_Franz_Kafkas_Kunstbetrachtungen_der_Reisetageb%C3%BCcher_und_Quarthefte">Auf der Schwelle – Liminalität als Struktur ästhetischer Erfahrung in Franz Kafkas Kunstbetrachtungen der Reisetagebücher und Quarthefte</a></div><div class="wp-workCard_item"><span>Fremdheit - Andersheit - Vielheit. Studien zur deutschsprachigen Literatur und Kultur. Edited by Zbigniew Feliszewski and Monika Blidy. Berlin: Peter Lang 2019,pp. 29-51 </span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Der Begriff der Schwellenkunde geht bekanntlich auf Walter Benjamin zurück 1 , für den die Modell...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Der Begriff der Schwellenkunde geht bekanntlich auf Walter Benjamin zurück 1 , für den die Modellierung von "Grenzbezirken" als "Merkmal des neuen Forschergeistes" 2 galt. Dieser sollte es mit Phänomenen aufnehmen, die im Grenzbereich heterogener Ordnungen liegen oder verschiedenen Epistemen angehören. Als Untersuchungsverfahren bezieht sich Schwellenkunde für Benjamin auf die erkenntnistheoretische Profilierung des Erwachens, das als Strukturmodell einer Erkenntnisposition ‚auf der Schwelle' verstanden und als eines der letzten Refugien der Schwellenerfahrung in der Moderne gefasst wird. 3 In seinen "rites de passages" geht es Benjamin also um die Erfahrung der Schwelle, womit das Subjekt des Übergangs ins Zentrum rückt. Ihre herausgehobene Stellung innerhalb der Theorie der Moderne hat die Schwelle in den ethnologischen und religionsgeschichtlichen Forschungen zu den "rites de passages" erhalten, in denen die raumzeitliche Struktur von Kult und Ritus sowie die Statustransformationen des Subjekts und der Zustand der Liminalität im Vordergrund stehen. Im Anschluss an das Konzept der Liminalität ist eine fächerübergreifende Theorie entstanden, die sich dem symbolischen Potential von Figuren wie Schwelle, Zwischenraum, Grenze, Übergang und Transgression u.a. widmet. Fokussiert wird auf die Grenze als Universalie 4 , die Schwelle als Ort des Übergangs 5 oder als Metapher 6 oder die Analogie von Ritual und Literatur 7 . Insbesondere bei Victor Turner erhält die Schwellenphase als Zustand der Liminalität eine herausgehobene Bedeutung: Jene mittlere Phase aus der dreigliedrigen Struktur der Übergangsriten ist durch die Merkmale der Ambiguität oder Unbestimmtheit gekennzeichnet. 8 1 Vgl. Menninghaus, Winfried: Schwellenkunde. Walter Benjamins Passage des Mythos. Frankfurt a.M., 1986.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="176da5c1478a71f6fe7dd8f05a1bf5f7" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":58587532,"asset_id":38519086,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/58587532/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="38519086"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="38519086"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38519086; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=38519086]").text(description); $(".js-view-count[data-work-id=38519086]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 38519086; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='38519086']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "176da5c1478a71f6fe7dd8f05a1bf5f7" } } $('.js-work-strip[data-work-id=38519086]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":38519086,"title":"Auf der Schwelle – Liminalität als Struktur ästhetischer Erfahrung in Franz Kafkas Kunstbetrachtungen der Reisetagebücher und Quarthefte","translated_title":"","metadata":{"more_info":"ISBN 978-3-631-76663-7","page_numbers":"S. 29-51","grobid_abstract":"Der Begriff der Schwellenkunde geht bekanntlich auf Walter Benjamin zurück 1 , für den die Modellierung von \"Grenzbezirken\" als \"Merkmal des neuen Forschergeistes\" 2 galt. Dieser sollte es mit Phänomenen aufnehmen, die im Grenzbereich heterogener Ordnungen liegen oder verschiedenen Epistemen angehören. Als Untersuchungsverfahren bezieht sich Schwellenkunde für Benjamin auf die erkenntnistheoretische Profilierung des Erwachens, das als Strukturmodell einer Erkenntnisposition ‚auf der Schwelle' verstanden und als eines der letzten Refugien der Schwellenerfahrung in der Moderne gefasst wird. 3 In seinen \"rites de passages\" geht es Benjamin also um die Erfahrung der Schwelle, womit das Subjekt des Übergangs ins Zentrum rückt. Ihre herausgehobene Stellung innerhalb der Theorie der Moderne hat die Schwelle in den ethnologischen und religionsgeschichtlichen Forschungen zu den \"rites de passages\" erhalten, in denen die raumzeitliche Struktur von Kult und Ritus sowie die Statustransformationen des Subjekts und der Zustand der Liminalität im Vordergrund stehen. 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Dieser sollte es mit Phänomenen aufnehmen, die im Grenzbereich heterogener Ordnungen liegen oder verschiedenen Epistemen angehören. Als Untersuchungsverfahren bezieht sich Schwellenkunde für Benjamin auf die erkenntnistheoretische Profilierung des Erwachens, das als Strukturmodell einer Erkenntnisposition ‚auf der Schwelle' verstanden und als eines der letzten Refugien der Schwellenerfahrung in der Moderne gefasst wird. 3 In seinen \"rites de passages\" geht es Benjamin also um die Erfahrung der Schwelle, womit das Subjekt des Übergangs ins Zentrum rückt. Ihre herausgehobene Stellung innerhalb der Theorie der Moderne hat die Schwelle in den ethnologischen und religionsgeschichtlichen Forschungen zu den \"rites de passages\" erhalten, in denen die raumzeitliche Struktur von Kult und Ritus sowie die Statustransformationen des Subjekts und der Zustand der Liminalität im Vordergrund stehen. Im Anschluss an das Konzept der Liminalität ist eine fächerübergreifende Theorie entstanden, die sich dem symbolischen Potential von Figuren wie Schwelle, Zwischenraum, Grenze, Übergang und Transgression u.a. widmet. Fokussiert wird auf die Grenze als Universalie 4 , die Schwelle als Ort des Übergangs 5 oder als Metapher 6 oder die Analogie von Ritual und Literatur 7 . Insbesondere bei Victor Turner erhält die Schwellenphase als Zustand der Liminalität eine herausgehobene Bedeutung: Jene mittlere Phase aus der dreigliedrigen Struktur der Übergangsriten ist durch die Merkmale der Ambiguität oder Unbestimmtheit gekennzeichnet. 8 1 Vgl. Menninghaus, Winfried: Schwellenkunde. Walter Benjamins Passage des Mythos. Frankfurt a.M., 1986.","owner":{"id":33006035,"first_name":"Beate","middle_initials":null,"last_name":"Sommerfeld","page_name":"BeateSommerfeld","domain_name":"amu","created_at":"2015-07-12T10:37:55.155-07:00","display_name":"Beate Sommerfeld","url":"https://amu.academia.edu/BeateSommerfeld"},"attachments":[{"id":58587532,"title":"","file_type":"doc","scribd_thumbnail_url":"https://attachments.academia-assets.com/58587532/thumbnails/1.jpg","file_name":"Kafka_Liminalitat_Fremdheit.doc","download_url":"https://www.academia.edu/attachments/58587532/download_file","bulk_download_file_name":"Auf_der_Schwelle_Liminalitat_als_Struktu.doc","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/58587532/Kafka_Liminalitat_Fremdheit.doc?1738381546=\u0026response-content-disposition=attachment%3B+filename%3DAuf_der_Schwelle_Liminalitat_als_Struktu.doc\u0026Expires=1743666407\u0026Signature=VktjqPlgY~ge6WQlxZkjj1BcsuSdTipCrJGuvi57hGk6ltR0-4wCoI2uE6aks7QcqyaVOdQGpQL4936xTxnFE7g3Jo30acOGM1SM7742PgrgeVf2bLite~GmGfwGYe2h-CaxixI37LuW6e1aodoGrYmhJlQCddrbVBmRKzlHh2ggGfOYJ-Mcwc9nPdHIKpgpdIr6Es5jCr72LAJecKu9OXJ~8tVAex-447sazk1WSq1qJGolYrasIp1JtnAYevONOAO3SE4y7q7ZK7pn~D8XkN6wGupHTvRR4p8xa6peIsGgD7Y0KdhuEjPRKEdveFlRL7ncNdD~smY~H5TdtrgJFw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":3242,"name":"Intermediality","url":"https://www.academia.edu/Documents/in/Intermediality"},{"id":8446,"name":"Franz Kafka","url":"https://www.academia.edu/Documents/in/Franz_Kafka"},{"id":14067,"name":"Literature and Visual Arts","url":"https://www.academia.edu/Documents/in/Literature_and_Visual_Arts"},{"id":122807,"name":"Visual and Performing Arts","url":"https://www.academia.edu/Documents/in/Visual_and_Performing_Arts"},{"id":655563,"name":"Ekphrasis, Hermeneutics, Aesthetic Experience","url":"https://www.academia.edu/Documents/in/Ekphrasis_Hermeneutics_Aesthetic_Experience"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-38519086-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="38074020"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/38074020/_Bilder_eigentlich_Worte_eigentlich_Evidenzen_Konturierungen_des_Unsagbaren_in_Friederike_Mayr%C3%B6ckers_Texten_zur_bildenden_Kunst_Studia_Germanica_Gedanensia_38_2018_S_95_105_"><img alt="Research paper thumbnail of „Bilder, eigentlich Worte, eigentlich Evidenzen“ – Konturierungen des Unsagbaren in Friederike Mayröckers Texten zur bildenden Kunst (Studia Germanica Gedanensia 38, 2018, S. 95-105)" class="work-thumbnail" src="https://attachments.academia-assets.com/58100072/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/38074020/_Bilder_eigentlich_Worte_eigentlich_Evidenzen_Konturierungen_des_Unsagbaren_in_Friederike_Mayr%C3%B6ckers_Texten_zur_bildenden_Kunst_Studia_Germanica_Gedanensia_38_2018_S_95_105_">„Bilder, eigentlich Worte, eigentlich Evidenzen“ – Konturierungen des Unsagbaren in Friederike Mayröckers Texten zur bildenden Kunst (Studia Germanica Gedanensia 38, 2018, S. 95-105)</a></div><div class="wp-workCard_item"><span>Studia Germanica Gedanensia</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Der Beitrag verortet Friederike Mayröckers Texte zur bildenden Kunst im Kontext des Sprachdenkens...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Der Beitrag verortet Friederike Mayröckers Texte zur bildenden Kunst im Kontext des Sprachdenkens der literarischen Moderne. In der medienreflexiven Literatur zu Beginn des zwanzigsten Jahrhunderts fasziniert das Bild als das Andere der Sprache, es verspricht eine Grenzerweiterung der Sprache ins Unsagbare hinein und birgt ein Evidenzversprechen, das die literarische Sprache nicht mehr einzulösen vermag. Anhand von Textbeispielen wird aufgezeigt, wie Mayröckers Sprache sich am Bild als dem Unsagbaren konturiert.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="d57a039ef569e231af25973fcd8e5632" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":58100072,"asset_id":38074020,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/58100072/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="38074020"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="38074020"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38074020; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=38074020]").text(description); $(".js-view-count[data-work-id=38074020]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 38074020; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='38074020']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "d57a039ef569e231af25973fcd8e5632" } } $('.js-work-strip[data-work-id=38074020]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":38074020,"title":"„Bilder, eigentlich Worte, eigentlich Evidenzen“ – Konturierungen des Unsagbaren in Friederike Mayröckers Texten zur bildenden Kunst (Studia Germanica Gedanensia 38, 2018, S. 95-105)","translated_title":"","metadata":{"volume":"38","abstract":"Der Beitrag verortet Friederike Mayröckers Texte zur bildenden Kunst im Kontext des Sprachdenkens der literarischen Moderne. 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Anhand von Textbeispielen wird aufgezeigt, wie Mayröckers Sprache sich am Bild als dem Unsagbaren konturiert. 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Haraway and Karen Barad's concept of diffraction and Barad's thought model of ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Following Donna J. Haraway and Karen Barad's concept of diffraction and Barad's thought model of agential realism, the paper investigates the diffractive practices of photography, as staged in literary texts. In the novels By the River (2014) by Esther Kinsky, The titmouses of Uusimaa don't sing any more (2014) by Franz Friedrich, and Map and Territory (2010) by Michel Houellebecq, a 'mattering' of nature is performed that, through diffraction and intra-actions within the photographic apparatus, questions an anthropocentric worldview and resists the representational claims of photography in favor of an ontology of radical posthuman performativity.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a28df12110b96ac95098258c0e353b52" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":119747472,"asset_id":125763581,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/119747472/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="125763581"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="125763581"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 125763581; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=125763581]").text(description); $(".js-view-count[data-work-id=125763581]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 125763581; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='125763581']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "a28df12110b96ac95098258c0e353b52" } } $('.js-work-strip[data-work-id=125763581]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":125763581,"title":"Diffracted landscapes, decentered agencies– photography as a tool of ‘mattering’ in the novels of Esther Kinsky, Franz Friedrich and Michel Houellebecq","translated_title":"","metadata":{"ai_title_tag":"Photography and Mattering in Contemporary Novels","grobid_abstract":"Following Donna J. Haraway and Karen Barad's concept of diffraction and Barad's thought model of agential realism, the paper investigates the diffractive practices of photography, as staged in literary texts. 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Haraway and Karen Barad's concept of diffraction and Barad's thought model of agential realism, the paper investigates the diffractive practices of photography, as staged in literary texts. In the novels By the River (2014) by Esther Kinsky, The titmouses of Uusimaa don't sing any more (2014) by Franz Friedrich, and Map and Territory (2010) by Michel Houellebecq, a 'mattering' of nature is performed that, through diffraction and intra-actions within the photographic apparatus, questions an anthropocentric worldview and resists the representational claims of photography in favor of an ontology of radical posthuman performativity.","owner":{"id":33006035,"first_name":"Beate","middle_initials":null,"last_name":"Sommerfeld","page_name":"BeateSommerfeld","domain_name":"amu","created_at":"2015-07-12T10:37:55.155-07:00","display_name":"Beate Sommerfeld","url":"https://amu.academia.edu/BeateSommerfeld"},"attachments":[{"id":119747472,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/119747472/thumbnails/1.jpg","file_name":"sommerfeld_2024_diffracted_landscapes_decentered_agencies_photography_as_a_tool_of_mattering_in_the_novels_of_esther.pdf","download_url":"https://www.academia.edu/attachments/119747472/download_file","bulk_download_file_name":"Diffracted_landscapes_decentered_agencie.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/119747472/sommerfeld_2024_diffracted_landscapes_decentered_agencies_photography_as_a_tool_of_mattering_in_the_novels_of_esther-libre.pdf?1732299699=\u0026response-content-disposition=attachment%3B+filename%3DDiffracted_landscapes_decentered_agencie.pdf\u0026Expires=1743666406\u0026Signature=CxMmFXC4IsrXTus5Iqv3-gBx0n241zGBHkGnjAa0ouP-lD5511hYqptNKcjJyGjP6qJqzaZ49T6~DXdS52fkUQT89K84NpDBeDKhc5S0N21gHpY8jFTANsP1hc1x0bf5BmrX-j~rnIo6s5k3Ak~0dW9Jy-FS4BAr57jum5ccv7yFhbPN8LEYuhzvDWeKhWgpHAJ-OmryxFVvgFq2IC9hSo1-5KOLWbZxq2cj~2nQ0eDKSCe2gZm~shn6zikOJ1JtysezsNMMrW9OlZG8TWlYUhxrJd5uIzHrbVYcHlL6okvoNYu4wcfkc1gaNANEaT7EAJQN8arYnevPJUM~e8v2vg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-125763581-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="118570967"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/118570967/Die_Reise_beginnt_im_eigenen_Zimmer_imagin%C3%A4re_Topographien_in_Oswald_Eggers_K%C3%BCnstlerbuch_Entweder_ich_habe_die_Fahrt_am_Mississippi_nur_getr%C3%A4umt_oder_ich_tr%C3%A4ume_jetzt"><img alt="Research paper thumbnail of Die Reise beginnt im eigenen Zimmer – imaginäre Topographien in Oswald Eggers Künstlerbuch Entweder ich habe die Fahrt am Mississippi nur geträumt, oder ich träume jetzt" class="work-thumbnail" src="https://attachments.academia-assets.com/114165092/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/118570967/Die_Reise_beginnt_im_eigenen_Zimmer_imagin%C3%A4re_Topographien_in_Oswald_Eggers_K%C3%BCnstlerbuch_Entweder_ich_habe_die_Fahrt_am_Mississippi_nur_getr%C3%A4umt_oder_ich_tr%C3%A4ume_jetzt">Die Reise beginnt im eigenen Zimmer – imaginäre Topographien in Oswald Eggers Künstlerbuch Entweder ich habe die Fahrt am Mississippi nur geträumt, oder ich träume jetzt</a></div><div class="wp-workCard_item"><span>Lublin Studies in Modern Languages and Literature 48(1):121-132</span><span>, 2024</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">ABSTRACT The article attempts to read Oswald Egger’s prose text: „Either I only dreamed the trip ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">ABSTRACT<br />The article attempts to read Oswald Egger’s prose text: „Either I only dreamed the trip on the Mississippi or I’m dreaming now” (2021) as travel literature. Egger’s artist book, which relates an imaginary trip to the Mississippi in text and image, is not a travelogue in the traditional sense, <br />but a highly complex and auto-referential work that plays with the transgression between the real and the imaginary. Using Egger as an example, the article discusses the hermeneutic movements of travel and writing and the media transformation of real and fictional journeys, exploring both the mobility patterns and the corresponding writing and image processes.<br /><br />Im Artikel wird der Versuch unternommen, Oswald Eggers Prosaepos Entweder ich habe die Fahrt am Mississippi nur geträumt, oder ich träume jetzt (2021) als Reiseliteratur zu lesen. Eggers Künstlerbuch, das in Text und Bild von einer imaginären Reise an den Mississippi erzählt, ist kein Reisebericht im herkömmlichen Sinne, sondern ein komplex angelegtes und hochgradig autoreferenzielles Werk, das mit den Grenzüberschreitungen zwischen dem Realen und dem Imaginären spielt. Am Beispiel Eggers werden die hermeneutischen Bewegungen von Reisen und Schreiben und die mediale Überformung realer und fiktiver Reisen erörtert, wobei sowohl die Mobilitätsmuster, als auch die mit ihnen korrespondierenden Text- und Bildverfahren ausgelotet werden.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="466327f8d86a6a6d98198b3af2b02783" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":114165092,"asset_id":118570967,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/114165092/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="118570967"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="118570967"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 118570967; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=118570967]").text(description); $(".js-view-count[data-work-id=118570967]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 118570967; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='118570967']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "466327f8d86a6a6d98198b3af2b02783" } } $('.js-work-strip[data-work-id=118570967]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":118570967,"title":"Die Reise beginnt im eigenen Zimmer – imaginäre Topographien in Oswald Eggers Künstlerbuch Entweder ich habe die Fahrt am Mississippi nur geträumt, oder ich träume jetzt","translated_title":"","metadata":{"doi":"10.17951/lsmll.2024.48.1.121-132","abstract":"ABSTRACT\nThe article attempts to read Oswald Egger’s prose text: „Either I only dreamed the trip on the Mississippi or I’m dreaming now” (2021) as travel literature. Egger’s artist book, which relates an imaginary trip to the Mississippi in text and image, is not a travelogue in the traditional sense, \nbut a highly complex and auto-referential work that plays with the transgression between the real and the imaginary. Using Egger as an example, the article discusses the hermeneutic movements of travel and writing and the media transformation of real and fictional journeys, exploring both the mobility patterns and the corresponding writing and image processes.\n\nIm Artikel wird der Versuch unternommen, Oswald Eggers Prosaepos Entweder ich habe die Fahrt am Mississippi nur geträumt, oder ich träume jetzt (2021) als Reiseliteratur zu lesen. Eggers Künstlerbuch, das in Text und Bild von einer imaginären Reise an den Mississippi erzählt, ist kein Reisebericht im herkömmlichen Sinne, sondern ein komplex angelegtes und hochgradig autoreferenzielles Werk, das mit den Grenzüberschreitungen zwischen dem Realen und dem Imaginären spielt. 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Using Egger as an example, the article discusses the hermeneutic movements of travel and writing and the media transformation of real and fictional journeys, exploring both the mobility patterns and the corresponding writing and image processes.\n\nIm Artikel wird der Versuch unternommen, Oswald Eggers Prosaepos Entweder ich habe die Fahrt am Mississippi nur geträumt, oder ich träume jetzt (2021) als Reiseliteratur zu lesen. Eggers Künstlerbuch, das in Text und Bild von einer imaginären Reise an den Mississippi erzählt, ist kein Reisebericht im herkömmlichen Sinne, sondern ein komplex angelegtes und hochgradig autoreferenzielles Werk, das mit den Grenzüberschreitungen zwischen dem Realen und dem Imaginären spielt. Am Beispiel Eggers werden die hermeneutischen Bewegungen von Reisen und Schreiben und die mediale Überformung realer und fiktiver Reisen erörtert, wobei sowohl die Mobilitätsmuster, als auch die mit ihnen korrespondierenden Text- und Bildverfahren ausgelotet werden.","internal_url":"https://www.academia.edu/118570967/Die_Reise_beginnt_im_eigenen_Zimmer_imagin%C3%A4re_Topographien_in_Oswald_Eggers_K%C3%BCnstlerbuch_Entweder_ich_habe_die_Fahrt_am_Mississippi_nur_getr%C3%A4umt_oder_ich_tr%C3%A4ume_jetzt","translated_internal_url":"","created_at":"2024-05-05T03:32:48.602-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":33006035,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":114165092,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/114165092/thumbnails/1.jpg","file_name":"Journey_Begins_in_Ones_Own_Room_Imaginary_Topog.pdf","download_url":"https://www.academia.edu/attachments/114165092/download_file","bulk_download_file_name":"Die_Reise_beginnt_im_eigenen_Zimmer_imag.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/114165092/Journey_Begins_in_Ones_Own_Room_Imaginary_Topog-libre.pdf?1714911953=\u0026response-content-disposition=attachment%3B+filename%3DDie_Reise_beginnt_im_eigenen_Zimmer_imag.pdf\u0026Expires=1743666406\u0026Signature=gqDmhejIS2ckzawPeONWj2HoOp8Sm5ndzZKuBd~bFszCCqYBZhU8nnW-QLsz-urZb53iN4xTzvvVDHZAmOZdPUpSM9iXWnH4Cnh~3uXhqeEfMjPgEXbwT-ozk78LIv3J63uvL5nbvZcLnYm2dCeU4G~lqQ9N6TmeR4T1iKoL4eRdAC6xuEG1flSCGjZ54UPfFzEDW0emPW3-~RHt8eCw-P2w7e95CLT1tH0Z4ywzi-QwIstFu4pGStpQ5qThfqMP5TcXAIwSlvv-ob542rdgx-FAfRWu9jH1y6hL12GpZD~W8GCeYCAcXyzNI2HqDvoG2~Ai5Th3uFmF7iMYCQ3Zdg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Die_Reise_beginnt_im_eigenen_Zimmer_imaginäre_Topographien_in_Oswald_Eggers_Künstlerbuch_Entweder_ich_habe_die_Fahrt_am_Mississippi_nur_geträumt_oder_ich_träume_jetzt","translated_slug":"","page_count":12,"language":"de","content_type":"Work","summary":"ABSTRACT\nThe article attempts to read Oswald Egger’s prose text: „Either I only dreamed the trip on the Mississippi or I’m dreaming now” (2021) as travel literature. Egger’s artist book, which relates an imaginary trip to the Mississippi in text and image, is not a travelogue in the traditional sense, \nbut a highly complex and auto-referential work that plays with the transgression between the real and the imaginary. Using Egger as an example, the article discusses the hermeneutic movements of travel and writing and the media transformation of real and fictional journeys, exploring both the mobility patterns and the corresponding writing and image processes.\n\nIm Artikel wird der Versuch unternommen, Oswald Eggers Prosaepos Entweder ich habe die Fahrt am Mississippi nur geträumt, oder ich träume jetzt (2021) als Reiseliteratur zu lesen. Eggers Künstlerbuch, das in Text und Bild von einer imaginären Reise an den Mississippi erzählt, ist kein Reisebericht im herkömmlichen Sinne, sondern ein komplex angelegtes und hochgradig autoreferenzielles Werk, das mit den Grenzüberschreitungen zwischen dem Realen und dem Imaginären spielt. Am Beispiel Eggers werden die hermeneutischen Bewegungen von Reisen und Schreiben und die mediale Überformung realer und fiktiver Reisen erörtert, wobei sowohl die Mobilitätsmuster, als auch die mit ihnen korrespondierenden Text- und Bildverfahren ausgelotet werden.","owner":{"id":33006035,"first_name":"Beate","middle_initials":null,"last_name":"Sommerfeld","page_name":"BeateSommerfeld","domain_name":"amu","created_at":"2015-07-12T10:37:55.155-07:00","display_name":"Beate Sommerfeld","url":"https://amu.academia.edu/BeateSommerfeld"},"attachments":[{"id":114165092,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/114165092/thumbnails/1.jpg","file_name":"Journey_Begins_in_Ones_Own_Room_Imaginary_Topog.pdf","download_url":"https://www.academia.edu/attachments/114165092/download_file","bulk_download_file_name":"Die_Reise_beginnt_im_eigenen_Zimmer_imag.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/114165092/Journey_Begins_in_Ones_Own_Room_Imaginary_Topog-libre.pdf?1714911953=\u0026response-content-disposition=attachment%3B+filename%3DDie_Reise_beginnt_im_eigenen_Zimmer_imag.pdf\u0026Expires=1743666406\u0026Signature=gqDmhejIS2ckzawPeONWj2HoOp8Sm5ndzZKuBd~bFszCCqYBZhU8nnW-QLsz-urZb53iN4xTzvvVDHZAmOZdPUpSM9iXWnH4Cnh~3uXhqeEfMjPgEXbwT-ozk78LIv3J63uvL5nbvZcLnYm2dCeU4G~lqQ9N6TmeR4T1iKoL4eRdAC6xuEG1flSCGjZ54UPfFzEDW0emPW3-~RHt8eCw-P2w7e95CLT1tH0Z4ywzi-QwIstFu4pGStpQ5qThfqMP5TcXAIwSlvv-ob542rdgx-FAfRWu9jH1y6hL12GpZD~W8GCeYCAcXyzNI2HqDvoG2~Ai5Th3uFmF7iMYCQ3Zdg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":21277,"name":"Travel Literature","url":"https://www.academia.edu/Documents/in/Travel_Literature"},{"id":51331,"name":"Avant garde Poetry","url":"https://www.academia.edu/Documents/in/Avant_garde_Poetry"},{"id":56200,"name":"Reiseliteratur","url":"https://www.academia.edu/Documents/in/Reiseliteratur"},{"id":58021,"name":"Neo-Avant-Garde","url":"https://www.academia.edu/Documents/in/Neo-Avant-Garde"},{"id":463767,"name":"Avantgarde","url":"https://www.academia.edu/Documents/in/Avantgarde"},{"id":1169883,"name":"Oswald Egger","url":"https://www.academia.edu/Documents/in/Oswald_Egger"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-118570967-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="106254035"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/106254035/Thomas_Bernhards_subversive_Mimikry_von_Kunstkritik_und_diskursiver_Begriffssprache_in_der_Prosakom%C3%B6die_Alte_Meister_"><img alt="Research paper thumbnail of Thomas Bernhards subversive Mimikry von Kunstkritik und diskursiver Begriffssprache in der Prosakomödie "Alte Meister"" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title">Thomas Bernhards subversive Mimikry von Kunstkritik und diskursiver Begriffssprache in der Prosakomödie "Alte Meister"</div><div class="wp-workCard_item"><span>Thomas Bernhard: Language, History, Subjectivity. Edited by / Herausgegeben von Katya Krylova, Ernest Schonfield. Brill: Leiden / Boston 2023, S. 207-223.</span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The chapter considers Thomas Bernhard’s Alte Meister / Old Masters with regard to the ambivalent ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The chapter considers Thomas Bernhard’s Alte Meister / Old Masters with regard to the ambivalent relationship it unfolds with the medium of language. It focuses on the subversive mimicry by means of which language and thought conventions are both obeyed and undermined. The ambivalence of lustful subordination and subversion is explored with reference to Gilles Deleuze’s concept of ‘masochism’. Bernhard’s ironic-<br />repetitive adherence to linguistic and genre patterns as well as discourse templates, which eventually aim at the decomposition of discursive language, is shown as the author’s means to gain aesthetic autonomy. In Alte Meister the visual arts function as a catalyst of Bernhard’s relationship to language and as a creative ferment that shapes his literary practice, paving his way toward aesthetic autonomy in dealing with linguistic forms, genre conventions and discourse patterns. The first part of the chapter draws out the relationship between language and image, and the second part analyses the subversive strategies towards language developed in Bernhard’s ‘comedy’.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="106254035"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="106254035"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 106254035; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=106254035]").text(description); $(".js-view-count[data-work-id=106254035]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 106254035; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='106254035']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=106254035]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":106254035,"title":"Thomas Bernhards subversive Mimikry von Kunstkritik und diskursiver Begriffssprache in der Prosakomödie \"Alte Meister\"","translated_title":"","metadata":{"abstract":"The chapter considers Thomas Bernhard’s Alte Meister / Old Masters with regard to the ambivalent relationship it unfolds with the medium of language. It focuses on the subversive mimicry by means of which language and thought conventions are both obeyed and undermined. The ambivalence of lustful subordination and subversion is explored with reference to Gilles Deleuze’s concept of ‘masochism’. Bernhard’s ironic-\nrepetitive adherence to linguistic and genre patterns as well as discourse templates, which eventually aim at the decomposition of discursive language, is shown as the author’s means to gain aesthetic autonomy. In Alte Meister the visual arts function as a catalyst of Bernhard’s relationship to language and as a creative ferment that shapes his literary practice, paving his way toward aesthetic autonomy in dealing with linguistic forms, genre conventions and discourse patterns. The first part of the chapter draws out the relationship between language and image, and the second part analyses the subversive strategies towards language developed in Bernhard’s ‘comedy’.\n","publication_date":{"day":null,"month":null,"year":2023,"errors":{}},"publication_name":"Thomas Bernhard: Language, History, Subjectivity. Edited by / Herausgegeben von Katya Krylova, Ernest Schonfield. Brill: Leiden / Boston 2023, S. 207-223."},"translated_abstract":"The chapter considers Thomas Bernhard’s Alte Meister / Old Masters with regard to the ambivalent relationship it unfolds with the medium of language. It focuses on the subversive mimicry by means of which language and thought conventions are both obeyed and undermined. The ambivalence of lustful subordination and subversion is explored with reference to Gilles Deleuze’s concept of ‘masochism’. Bernhard’s ironic-\nrepetitive adherence to linguistic and genre patterns as well as discourse templates, which eventually aim at the decomposition of discursive language, is shown as the author’s means to gain aesthetic autonomy. In Alte Meister the visual arts function as a catalyst of Bernhard’s relationship to language and as a creative ferment that shapes his literary practice, paving his way toward aesthetic autonomy in dealing with linguistic forms, genre conventions and discourse patterns. The first part of the chapter draws out the relationship between language and image, and the second part analyses the subversive strategies towards language developed in Bernhard’s ‘comedy’.\n","internal_url":"https://www.academia.edu/106254035/Thomas_Bernhards_subversive_Mimikry_von_Kunstkritik_und_diskursiver_Begriffssprache_in_der_Prosakom%C3%B6die_Alte_Meister_","translated_internal_url":"","created_at":"2023-09-04T02:27:36.662-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":33006035,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[],"slug":"Thomas_Bernhards_subversive_Mimikry_von_Kunstkritik_und_diskursiver_Begriffssprache_in_der_Prosakomödie_Alte_Meister_","translated_slug":"","page_count":null,"language":"en","content_type":"Work","summary":"The chapter considers Thomas Bernhard’s Alte Meister / Old Masters with regard to the ambivalent relationship it unfolds with the medium of language. It focuses on the subversive mimicry by means of which language and thought conventions are both obeyed and undermined. The ambivalence of lustful subordination and subversion is explored with reference to Gilles Deleuze’s concept of ‘masochism’. Bernhard’s ironic-\nrepetitive adherence to linguistic and genre patterns as well as discourse templates, which eventually aim at the decomposition of discursive language, is shown as the author’s means to gain aesthetic autonomy. In Alte Meister the visual arts function as a catalyst of Bernhard’s relationship to language and as a creative ferment that shapes his literary practice, paving his way toward aesthetic autonomy in dealing with linguistic forms, genre conventions and discourse patterns. The first part of the chapter draws out the relationship between language and image, and the second part analyses the subversive strategies towards language developed in Bernhard’s ‘comedy’.\n","owner":{"id":33006035,"first_name":"Beate","middle_initials":null,"last_name":"Sommerfeld","page_name":"BeateSommerfeld","domain_name":"amu","created_at":"2015-07-12T10:37:55.155-07:00","display_name":"Beate Sommerfeld","url":"https://amu.academia.edu/BeateSommerfeld"},"attachments":[],"research_interests":[{"id":3887,"name":"Word and Image Studies","url":"https://www.academia.edu/Documents/in/Word_and_Image_Studies"},{"id":8302,"name":"Gilles Deleuze","url":"https://www.academia.edu/Documents/in/Gilles_Deleuze"},{"id":11339,"name":"Masochism","url":"https://www.academia.edu/Documents/in/Masochism"},{"id":17232,"name":"Thomas Bernhard","url":"https://www.academia.edu/Documents/in/Thomas_Bernhard"},{"id":579109,"name":"Literatur und Bildende Kunst","url":"https://www.academia.edu/Documents/in/Literatur_und_Bildende_Kunst"},{"id":700933,"name":"Intermedialität","url":"https://www.academia.edu/Documents/in/Intermedialitat"},{"id":1239734,"name":"Kunstkritik","url":"https://www.academia.edu/Documents/in/Kunstkritik"},{"id":1286414,"name":"Ekfrasis","url":"https://www.academia.edu/Documents/in/Ekfrasis"}],"urls":[{"id":33767346,"url":"https://brill.com/display/title/64061"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-106254035-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="106110688"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/106110688/STUDIA_GERMANICA_POSNANIENSIA_Rocznik_Jahrbuch"><img alt="Research paper thumbnail of STUDIA GERMANICA POSNANIENSIA Rocznik / Jahrbuch" class="work-thumbnail" src="https://attachments.academia-assets.com/105394060/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/106110688/STUDIA_GERMANICA_POSNANIENSIA_Rocznik_Jahrbuch">STUDIA GERMANICA POSNANIENSIA Rocznik / Jahrbuch</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://amu.academia.edu/BeateSommerfeld">Beate Sommerfeld</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uni-weimar.academia.edu/MoritzHiller">Moritz Hiller</a></span></div><div class="wp-workCard_item"><span>Studia Germanica Posnaniensia: Ästhetiken des Posthumanen in Literatur und Medien</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Das Themenheft von „Studia Germanica Posnaniensia“ nimmt literarische Texte und mediale Artefakte...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Das Themenheft von „Studia Germanica Posnaniensia“ nimmt literarische Texte und mediale Artefakte wie etwa Filme, Installationen und theatrale Performances aus einer weit gefassten posthumanistischen Perspektive in den Blick. Es reiht sich damit ein in die Debatte um die Neudefinition des Menschen, die zugleich eine Neubestimmung der Natur, der Materie und deren Interaktion mit dem Menschen, seiner Kultur und Technologie sowie mit diskursiven Prozessen einschließt. Die Beiträge machen die von Posthumanismus, New Materialism, Ecocriticism oder den Animal Studies entwickelten Konzepte von Mensch und Natur für die Analyse literarischer Texte und anderer medialer Formate nutzbar und loten die Möglichkeiten von Literatur und Medien zur Darstellung, performativen Inszenierung und Verhandlung des Verhältnisses von Mensch und Umwelt aus. In einer Zusammenschau der divergierenden medialen Dispositive möchte das vorliegende Heft Ansätze zu einer Ästhetik des Posthumanen entwickeln.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="741dc64ada43b6d8e27788dc00989bc2" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":105394060,"asset_id":106110688,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/105394060/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="106110688"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="106110688"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 106110688; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=106110688]").text(description); $(".js-view-count[data-work-id=106110688]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 106110688; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='106110688']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "741dc64ada43b6d8e27788dc00989bc2" } } $('.js-work-strip[data-work-id=106110688]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":106110688,"title":"STUDIA GERMANICA POSNANIENSIA Rocznik / Jahrbuch","translated_title":"","metadata":{"doi":"10.14746/sgp","abstract":"Das Themenheft von „Studia Germanica Posnaniensia“ nimmt literarische Texte und mediale Artefakte wie etwa Filme, Installationen und theatrale Performances aus einer weit gefassten posthumanistischen Perspektive in den Blick. Es reiht sich damit ein in die Debatte um die Neudefinition des Menschen, die zugleich eine Neubestimmung der Natur, der Materie und deren Interaktion mit dem Menschen, seiner Kultur und Technologie sowie mit diskursiven Prozessen einschließt. Die Beiträge machen die von Posthumanismus, New Materialism, Ecocriticism oder den Animal Studies entwickelten Konzepte von Mensch und Natur für die Analyse literarischer Texte und anderer medialer Formate nutzbar und loten die Möglichkeiten von Literatur und Medien zur Darstellung, performativen Inszenierung und Verhandlung des Verhältnisses von Mensch und Umwelt aus. In einer Zusammenschau der divergierenden medialen Dispositive möchte das vorliegende Heft Ansätze zu einer Ästhetik des Posthumanen entwickeln. ","publication_date":{"day":null,"month":null,"year":2022,"errors":{}},"publication_name":"Studia Germanica Posnaniensia: Ästhetiken des Posthumanen in Literatur und Medien"},"translated_abstract":"Das Themenheft von „Studia Germanica Posnaniensia“ nimmt literarische Texte und mediale Artefakte wie etwa Filme, Installationen und theatrale Performances aus einer weit gefassten posthumanistischen Perspektive in den Blick. Es reiht sich damit ein in die Debatte um die Neudefinition des Menschen, die zugleich eine Neubestimmung der Natur, der Materie und deren Interaktion mit dem Menschen, seiner Kultur und Technologie sowie mit diskursiven Prozessen einschließt. 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","owner":{"id":33006035,"first_name":"Beate","middle_initials":null,"last_name":"Sommerfeld","page_name":"BeateSommerfeld","domain_name":"amu","created_at":"2015-07-12T10:37:55.155-07:00","display_name":"Beate Sommerfeld","url":"https://amu.academia.edu/BeateSommerfeld"},"attachments":[{"id":105394060,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/105394060/thumbnails/1.jpg","file_name":"2635_844_PB.pdf","download_url":"https://www.academia.edu/attachments/105394060/download_file","bulk_download_file_name":"STUDIA_GERMANICA_POSNANIENSIA_Rocznik_Ja.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/105394060/2635_844_PB-libre.pdf?1693410458=\u0026response-content-disposition=attachment%3B+filename%3DSTUDIA_GERMANICA_POSNANIENSIA_Rocznik_Ja.pdf\u0026Expires=1743666407\u0026Signature=VlLf46FzHmB~0dlpmf0cI-Y-a5v1tDA54BCeeGmXl0sqeDfwui4W~ouajnwnBaBeO~jbJ9zA5fJhzrx9wuiHqa24fxBZPU57mACFBwOrPCw0AUgXjq98fTGtokbapG~1O-mjRnFrKFhiwYUJ2cFu5f4g3QKVStrMfFmZCBRb0Q7BmYqNBpoYY8WWGMb~QOCZWHeKXzgD9eP2xGh-gCgsIhXFjgh9NpzRuwQIw-zzN36-UO6IE1eUVunFSAoA3GzC5nNHH0YhTJcNuiilIUIaXIREMP38gpNZIlzjkCwK9VwRFyH7oxhyTy-oCnnkX0qWD0zg~Uo6kLjDt-0y0hRR0g__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics"},{"id":3115,"name":"Posthumanism","url":"https://www.academia.edu/Documents/in/Posthumanism"},{"id":10101,"name":"Critical Posthumanism","url":"https://www.academia.edu/Documents/in/Critical_Posthumanism"},{"id":16201,"name":"Ecocriticism","url":"https://www.academia.edu/Documents/in/Ecocriticism"},{"id":34273,"name":"Transhumanism/Posthumanism","url":"https://www.academia.edu/Documents/in/Transhumanism_Posthumanism"},{"id":40329,"name":"Donna Haraway","url":"https://www.academia.edu/Documents/in/Donna_Haraway"},{"id":53499,"name":"Elias Canetti","url":"https://www.academia.edu/Documents/in/Elias_Canetti"},{"id":53514,"name":"Vilém Flusser","url":"https://www.academia.edu/Documents/in/Vil%C3%A9m_Flusser"},{"id":113497,"name":"Rosi Braidotti","url":"https://www.academia.edu/Documents/in/Rosi_Braidotti"},{"id":1986763,"name":"Posthumanismus","url":"https://www.academia.edu/Documents/in/Posthumanismus"}],"urls":[{"id":33693779,"url":"https://pressto.amu.edu.pl/index.php/sgp/issue/view/2635"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-106110688-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="98946951"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/98946951/Thomas_Bernhards_Affektpoetik_des_Hasses"><img alt="Research paper thumbnail of Thomas Bernhards Affektpoetik des Hasses" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title">Thomas Bernhards Affektpoetik des Hasses</div><div class="wp-workCard_item"><span>Menschen als Hassobjekte. Interdisziplinäre Verhandlungen eines destruktiven Phänomens. Hrsg. von Arletta Szmorhun und Paweł Zimniak. Brill, V & R unipress 2022, S. 53-77</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Kaum ein anderer Autor der österreichischen Literatur ist so eng mit dem Phänomen des Hasses verb...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Kaum ein anderer Autor der österreichischen Literatur ist so eng mit dem Phänomen des Hasses verbunden wie Thomas Bernhard. Besonders die späten Texte wie Alte Meister (1985), Auslöschung. Ein Zerfall (1986) oder Heldenplatz (1988) sind von Hass und dessen Ausdrucksformen durchzogen. Umso erstaunlicher ist es, dass den Erscheinungsformen des Hasses in Bernhards Texten bislang in der Forschung kaum Aufmerksamkeit zuteilwurde. Gerhard Scheit untersucht am Beispiel des Romans Auslöschung die Ausprägungen von Hass im Kontext der Auseinandersetzung mit dem Heimatland Österreich. In jüngerer Zeit widmet sich Karl Heinz Bohrer in seiner Studie Mit Dolchen sprechen. Der literarische Hass-Effekt den ästhetischen Dimensionen von Hass-Poetik Bernhards und konzentriert sich dabei auf das Drama Heldenplatz. Im Aufsatz wird eine Konzeptualisierung des Hasses, die die ästhetische Funktionalisierung von Bernhards Hassrede mit affekttheoretischen Zugängen (Brian Massumi) engführt, für die Lektüre seiner Texte produktiv gemacht. Ohne die gesellschaftlichen und politischen Dimensionen von Bernhards Affektpoetiken auszublenden, wird Hass als fundamentale Energiequelle seiner Literatur kenntlich gemacht.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="98946951"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="98946951"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 98946951; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=98946951]").text(description); $(".js-view-count[data-work-id=98946951]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 98946951; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='98946951']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=98946951]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":98946951,"title":"Thomas Bernhards Affektpoetik des Hasses","translated_title":"","metadata":{"abstract":"Kaum ein anderer Autor der österreichischen Literatur ist so eng mit dem Phänomen des Hasses verbunden wie Thomas Bernhard. Besonders die späten Texte wie Alte Meister (1985), Auslöschung. Ein Zerfall (1986) oder Heldenplatz (1988) sind von Hass und dessen Ausdrucksformen durchzogen. Umso erstaunlicher ist es, dass den Erscheinungsformen des Hasses in Bernhards Texten bislang in der Forschung kaum Aufmerksamkeit zuteilwurde. Gerhard Scheit untersucht am Beispiel des Romans Auslöschung die Ausprägungen von Hass im Kontext der Auseinandersetzung mit dem Heimatland Österreich. In jüngerer Zeit widmet sich Karl Heinz Bohrer in seiner Studie Mit Dolchen sprechen. Der literarische Hass-Effekt den ästhetischen Dimensionen von Hass-Poetik Bernhards und konzentriert sich dabei auf das Drama Heldenplatz. Im Aufsatz wird eine Konzeptualisierung des Hasses, die die ästhetische Funktionalisierung von Bernhards Hassrede mit affekttheoretischen Zugängen (Brian Massumi) engführt, für die Lektüre seiner Texte produktiv gemacht. Ohne die gesellschaftlichen und politischen Dimensionen von Bernhards Affektpoetiken auszublenden, wird Hass als fundamentale Energiequelle seiner Literatur kenntlich gemacht.","more_info":"Please request a private copy","page_numbers":"53-77","publication_date":{"day":null,"month":null,"year":2022,"errors":{}},"publication_name":"Menschen als Hassobjekte. Interdisziplinäre Verhandlungen eines destruktiven Phänomens. Hrsg. von Arletta Szmorhun und Paweł Zimniak. Brill, V \u0026 R unipress 2022, S. 53-77"},"translated_abstract":"Kaum ein anderer Autor der österreichischen Literatur ist so eng mit dem Phänomen des Hasses verbunden wie Thomas Bernhard. Besonders die späten Texte wie Alte Meister (1985), Auslöschung. Ein Zerfall (1986) oder Heldenplatz (1988) sind von Hass und dessen Ausdrucksformen durchzogen. Umso erstaunlicher ist es, dass den Erscheinungsformen des Hasses in Bernhards Texten bislang in der Forschung kaum Aufmerksamkeit zuteilwurde. Gerhard Scheit untersucht am Beispiel des Romans Auslöschung die Ausprägungen von Hass im Kontext der Auseinandersetzung mit dem Heimatland Österreich. In jüngerer Zeit widmet sich Karl Heinz Bohrer in seiner Studie Mit Dolchen sprechen. Der literarische Hass-Effekt den ästhetischen Dimensionen von Hass-Poetik Bernhards und konzentriert sich dabei auf das Drama Heldenplatz. Im Aufsatz wird eine Konzeptualisierung des Hasses, die die ästhetische Funktionalisierung von Bernhards Hassrede mit affekttheoretischen Zugängen (Brian Massumi) engführt, für die Lektüre seiner Texte produktiv gemacht. Ohne die gesellschaftlichen und politischen Dimensionen von Bernhards Affektpoetiken auszublenden, wird Hass als fundamentale Energiequelle seiner Literatur kenntlich gemacht.","internal_url":"https://www.academia.edu/98946951/Thomas_Bernhards_Affektpoetik_des_Hasses","translated_internal_url":"","created_at":"2023-03-22T07:46:51.808-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":33006035,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[],"slug":"Thomas_Bernhards_Affektpoetik_des_Hasses","translated_slug":"","page_count":null,"language":"de","content_type":"Work","summary":"Kaum ein anderer Autor der österreichischen Literatur ist so eng mit dem Phänomen des Hasses verbunden wie Thomas Bernhard. Besonders die späten Texte wie Alte Meister (1985), Auslöschung. Ein Zerfall (1986) oder Heldenplatz (1988) sind von Hass und dessen Ausdrucksformen durchzogen. Umso erstaunlicher ist es, dass den Erscheinungsformen des Hasses in Bernhards Texten bislang in der Forschung kaum Aufmerksamkeit zuteilwurde. Gerhard Scheit untersucht am Beispiel des Romans Auslöschung die Ausprägungen von Hass im Kontext der Auseinandersetzung mit dem Heimatland Österreich. In jüngerer Zeit widmet sich Karl Heinz Bohrer in seiner Studie Mit Dolchen sprechen. Der literarische Hass-Effekt den ästhetischen Dimensionen von Hass-Poetik Bernhards und konzentriert sich dabei auf das Drama Heldenplatz. Im Aufsatz wird eine Konzeptualisierung des Hasses, die die ästhetische Funktionalisierung von Bernhards Hassrede mit affekttheoretischen Zugängen (Brian Massumi) engführt, für die Lektüre seiner Texte produktiv gemacht. Ohne die gesellschaftlichen und politischen Dimensionen von Bernhards Affektpoetiken auszublenden, wird Hass als fundamentale Energiequelle seiner Literatur kenntlich gemacht.","owner":{"id":33006035,"first_name":"Beate","middle_initials":null,"last_name":"Sommerfeld","page_name":"BeateSommerfeld","domain_name":"amu","created_at":"2015-07-12T10:37:55.155-07:00","display_name":"Beate Sommerfeld","url":"https://amu.academia.edu/BeateSommerfeld"},"attachments":[],"research_interests":[{"id":17230,"name":"Austrian Literature","url":"https://www.academia.edu/Documents/in/Austrian_Literature"},{"id":17232,"name":"Thomas Bernhard","url":"https://www.academia.edu/Documents/in/Thomas_Bernhard"},{"id":21498,"name":"Affect/Emotion","url":"https://www.academia.edu/Documents/in/Affect_Emotion"},{"id":23855,"name":"Affect Studies","url":"https://www.academia.edu/Documents/in/Affect_Studies"},{"id":50238,"name":"Affect","url":"https://www.academia.edu/Documents/in/Affect"},{"id":223841,"name":"Brian Massumi","url":"https://www.academia.edu/Documents/in/Brian_Massumi"},{"id":398208,"name":"Gegenwartsliteratur","url":"https://www.academia.edu/Documents/in/Gegenwartsliteratur"},{"id":1825379,"name":"Österreichische Literatur","url":"https://www.academia.edu/Documents/in/%C3%96sterreichische_Literatur"},{"id":2781558,"name":"Affekttheorie","url":"https://www.academia.edu/Documents/in/Affekttheorie"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-98946951-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="98178527"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/98178527/Between_N_Ostalgie_and_Ideology_New_Perspectives_on_DEFA_Children_s_Film"><img alt="Research paper thumbnail of Between ‘(N)Ostalgie’ and Ideology – New Perspectives on DEFA Children’s Film" class="work-thumbnail" src="https://attachments.academia-assets.com/99600641/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/98178527/Between_N_Ostalgie_and_Ideology_New_Perspectives_on_DEFA_Children_s_Film">Between ‘(N)Ostalgie’ and Ideology – New Perspectives on DEFA Children’s Film</a></div><div class="wp-workCard_item"><span>Dzieciństwo. Literatura i Kultura 4(2) 2022, 121–134</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This review article discusses the volume Von Pionieren und Piraten. Der DEFA-Kinderfilm in seinen...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This review article discusses the volume Von Pionieren und Piraten. Der DEFA-Kinderfilm in seinen kulturhistorischen, filmästhetischen und ideologischen Dimensionen [Of Pioneers and Pirates: DEFA Children's Film in Its Cultural-Historical, Film-Aesthetic, and Ideological Dimensions], edited by Steffi Ebert and Bettina Kümmerling-Meibauer (2021). The author of the paper situates the volume in the context of research on children's and young adult media in the state-controlled environment of the German Democratic Republic and highlights the political, ideological, social, and cultural mechanisms of the production and reception of children's films in the GDR. She raises questions about the relationship between society, cultural politics, and children's film and calls for a broad interdisciplinary approach to the complex phenomenon of DEFA [Deutsche Film-Aktiengesellschaft] children's film that includes historical, political, socio-cultural, theoretical, as well as film-didactic aspects. From this perspective, DEFA children's film not only becomes an important document of everyday life in the GDR, but also inscribes itself in the current discourses on remembering and forgetting.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="517289453a32236d7dadbfa689b96187" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":99600641,"asset_id":98178527,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/99600641/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="98178527"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="98178527"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 98178527; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=98178527]").text(description); $(".js-view-count[data-work-id=98178527]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 98178527; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='98178527']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "517289453a32236d7dadbfa689b96187" } } $('.js-work-strip[data-work-id=98178527]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":98178527,"title":"Between ‘(N)Ostalgie’ and Ideology – New Perspectives on DEFA Children’s Film","translated_title":"","metadata":{"doi":"10.32787/dlk.1010","abstract":"This review article discusses the volume Von Pionieren und Piraten. 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Der DEFA-Kinderfilm in seinen kulturhistorischen, filmästhetischen und ideologischen Dimensionen [Of Pioneers and Pirates: DEFA Children's Film in Its Cultural-Historical, Film-Aesthetic, and Ideological Dimensions], edited by Steffi Ebert and Bettina Kümmerling-Meibauer (2021). The author of the paper situates the volume in the context of research on children's and young adult media in the state-controlled environment of the German Democratic Republic and highlights the political, ideological, social, and cultural mechanisms of the production and reception of children's films in the GDR. She raises questions about the relationship between society, cultural politics, and children's film and calls for a broad interdisciplinary approach to the complex phenomenon of DEFA [Deutsche Film-Aktiengesellschaft] children's film that includes historical, political, socio-cultural, theoretical, as well as film-didactic aspects. 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Antinarrative Prosa in der österreichischen Literatur des 20. Jahrhunderts Viktor Konitzer. Bielefeld: transcript, 2021. 406 p. 49$. ISBN: 9783837657913" class="work-thumbnail" src="https://attachments.academia-assets.com/95575495/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/92612959/Geschichten_zerst%C3%B6ren_Antinarrative_Prosa_in_der_%C3%B6sterreichischen_Literatur_des_20_Jahrhunderts_Viktor_Konitzer_Bielefeld_transcript_2021_406_p_49_ISBN_9783837657913">Geschichten zerstören. Antinarrative Prosa in der österreichischen Literatur des 20. Jahrhunderts Viktor Konitzer. Bielefeld: transcript, 2021. 406 p. 49$. ISBN: 9783837657913</a></div><div class="wp-workCard_item"><span>The Germanic Review: Literature, Culture, Theory, 97:1</span><span>, 2022</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="7e35f3bf51fc21163de6a224f1f88843" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":95575495,"asset_id":92612959,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/95575495/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="92612959"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="92612959"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 92612959; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=92612959]").text(description); $(".js-view-count[data-work-id=92612959]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 92612959; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='92612959']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "7e35f3bf51fc21163de6a224f1f88843" } } $('.js-work-strip[data-work-id=92612959]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":92612959,"title":"Geschichten zerstören. 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These are negotiated via the visual arts. The paintings and photographs by the artist Jed Martin reflect the place of humans in nature and culture, thereby shifting the agency from humans to nature. The last photographic installations adopt the perspective of vegetation, which has replaced human agency. <br />Through the medium of art, Houellebecq’s novel creates transversal alliances, practices and visions that are at odds with the industrial-technological hybris of the Anthropocene. Houellebecq’s text is reflected in the context of the ethical debate about the Anthropocene.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="6a9246dafc8fc741a67384ff1e5dc4d4" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":77369457,"asset_id":66014885,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/77369457/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="66014885"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="66014885"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 66014885; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=66014885]").text(description); $(".js-view-count[data-work-id=66014885]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 66014885; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='66014885']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "6a9246dafc8fc741a67384ff1e5dc4d4" } } $('.js-work-strip[data-work-id=66014885]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":66014885,"title":"„Der Triumph der Vegetation ist total“ – eine Re-Lektüre von Michel Houellebecqs \"La carte et le territoire\" aus humanökologischer Perspektive","translated_title":"","metadata":{"doi":"1014746/por.2021.2.16","abstract":"The article deals with the interdependences between humans and their natural environment as developed in Houellebecq’s The Map and the Territory (2010). 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Austin and in its poststructuralist revisions. It depicts the performative nature of Mayröcker’s poetry which consists in the theatralization of texts, ritualized speech acts that have an auto-reference character and iteration mechanisms. Translation is seen as a re-staging and re-citation of the meanings of the original. It is understood as a creative activity that emphasizes the role of the translator, whereas the performative view counteracts the “invisibility” of the translator.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="7a1a408740d316f3e76ba35cb2c0fc2e" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":68393415,"asset_id":50382383,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/68393415/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="50382383"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="50382383"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 50382383; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=50382383]").text(description); $(".js-view-count[data-work-id=50382383]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 50382383; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='50382383']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "7a1a408740d316f3e76ba35cb2c0fc2e" } } $('.js-work-strip[data-work-id=50382383]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":50382383,"title":"Poetyka performatywności w przekładzie – Ryszard Wojnakowski jako tłumacz liryki Friederike Mayröcker","translated_title":"","metadata":{"doi":"10.14746/por.2020.1.6","issue":"1 ","volume":"26","abstract":"Poetics of the Performative in Translation – Ryszard Wojnakowski as \nthe Translator of Friederike Mayröcker’s Poetry\nThe article discusses some Polish translations of the lyrical texts of the Austrian poetress Friederike Mayröcker by Ryszard Wojnakowski in the perspective of the theory of the performative – in its initial version by J.L. 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Österreichische Autorinnen prüfen Geschichtsmythen, hrsg. von Andrea Rudolph, Gabriele Jelitto-Piechulik, Monika Wójcik-Bednarz. Wien: new academic press</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Der Aufsatz bezieht die in den Ekphrasen Friederike Mayröckers entfaltete Ästhetik des Performati...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Der Aufsatz bezieht die in den Ekphrasen Friederike Mayröckers entfaltete Ästhetik des Performativen auf die etwa zeitgleich entwickelten ideologiekritischen Postulate des pictorial turn. Die theatralische Um-Inszenierung von Bedeutungen wird als Diskurselement wirksam und stellt die Hierarchisierungen und Grenzziehungen zwischen Text und Bild, Körper und Geist des „ikonophoben“ Logozentrismus der geisteswissenschaftlichen Tradition, aber auch Genderzuschreibungen in Frage.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e1790b6d557a6152bae4e45abcd1848c" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":101078990,"asset_id":49537601,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/101078990/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="49537601"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="49537601"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 49537601; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=49537601]").text(description); $(".js-view-count[data-work-id=49537601]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 49537601; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='49537601']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "e1790b6d557a6152bae4e45abcd1848c" } } $('.js-work-strip[data-work-id=49537601]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":49537601,"title":"\"struggles between body and soul, word and mind\" – Die Ästhetik des Performativen in Friederike Mayröckers Ekphrasen im Kontext des pictorial turn","translated_title":"","metadata":{"abstract":"Der Aufsatz bezieht die in den Ekphrasen Friederike Mayröckers entfaltete Ästhetik des Performativen auf die etwa zeitgleich entwickelten ideologiekritischen Postulate des pictorial turn. 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Der Beitrag geht den Entgrenzungen der Sprache nach, die in Bernhards Roman "Fro...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">A b s t r a c t. Der Beitrag geht den Entgrenzungen der Sprache nach, die in Bernhards Roman "Frost" metapoetisch zur Disposition gestellt und performativ eingelöst werden. Dessen Protagonist, der Maler Strauch, hat der Ausübung seiner Kunst entsagt und gibt sich seinen Phantasien<br />und Traumvisionen hin. In den literarischen Inszenierungen dieser inneren Bildproduktion wird ein Konzept der visionären Schau entfaltet, welches die alleinige Geltung begrifflicher Kategorisierungen<br />infrage stellt und auf die Brückenlosigkeit zwischen wortlosem Bilderlebnis und Sprache verweist. Die aus der Handlung herausgesprengten Tableaus einer von Begriffslogik entbundenen,<br />opaken Visualität zersetzen den Logos der Wissenschaftssprache und werden von dieser mit dem Stigma der Verrücktheit belegt.<br />Bernhards Visualisierungsstrategien werden auf rhetorischer und synästhetischer Ebene nachvollzogen und dabei in ihren diskursiven Verflechtungen mit anthropologischen Fragestellungen sichtbar gemacht. So wird ein diskursiver Bezug zur Psychopathologie angedeutet, indem die psychopathologischen Anteile einer radikal künstlerischen Existenz herausgestellt werden, die als kommunikative Lähmung in der rational verfassten Welt entworfen wird. Zudem unterhalten die Visionen eine untergründige Beziehung zu menschheitsgeschichtlich früheren Zuständen des Bewusstseins, die als phylogenetische Relikte weiterhin präsent sind und eine tiefere Wirklichkeitsschicht erlebbar machen, die jenseits von Sprache liegt.<br /><br />Schlüsselwörter: Thomas Bernhard; Frost; Anthropologie; innere Bilder; Visualisierung.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="1cdc9a3b5aeb56501d8f936e117a8e79" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":67700510,"asset_id":49324728,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/67700510/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="49324728"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="49324728"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 49324728; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=49324728]").text(description); $(".js-view-count[data-work-id=49324728]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 49324728; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='49324728']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "1cdc9a3b5aeb56501d8f936e117a8e79" } } $('.js-work-strip[data-work-id=49324728]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":49324728,"title":"„IST DAS DENN AUCH NOCH SPRACHE?“ – VISUALITÄT ALS ENTGRENZUNG DER BEGRIFFSSPRACHE IN THOMAS BERNHARDS ROMAN FROST","translated_title":"","metadata":{"doi":"10.18290/rh21695-5","issue":"5","volume":"69","abstract":"A b s t r a c t. Der Beitrag geht den Entgrenzungen der Sprache nach, die in Bernhards Roman \"Frost\" metapoetisch zur Disposition gestellt und performativ eingelöst werden. Dessen Protagonist, der Maler Strauch, hat der Ausübung seiner Kunst entsagt und gibt sich seinen Phantasien\nund Traumvisionen hin. In den literarischen Inszenierungen dieser inneren Bildproduktion wird ein Konzept der visionären Schau entfaltet, welches die alleinige Geltung begrifflicher Kategorisierungen\ninfrage stellt und auf die Brückenlosigkeit zwischen wortlosem Bilderlebnis und Sprache verweist. Die aus der Handlung herausgesprengten Tableaus einer von Begriffslogik entbundenen,\nopaken Visualität zersetzen den Logos der Wissenschaftssprache und werden von dieser mit dem Stigma der Verrücktheit belegt.\nBernhards Visualisierungsstrategien werden auf rhetorischer und synästhetischer Ebene nachvollzogen und dabei in ihren diskursiven Verflechtungen mit anthropologischen Fragestellungen sichtbar gemacht. 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So wird ein diskursiver Bezug zur Psychopathologie angedeutet, indem die psychopathologischen Anteile einer radikal künstlerischen Existenz herausgestellt werden, die als kommunikative Lähmung in der rational verfassten Welt entworfen wird. 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Der Beitrag geht den Entgrenzungen der Sprache nach, die in Bernhards Roman \"Frost\" metapoetisch zur Disposition gestellt und performativ eingelöst werden. Dessen Protagonist, der Maler Strauch, hat der Ausübung seiner Kunst entsagt und gibt sich seinen Phantasien\nund Traumvisionen hin. In den literarischen Inszenierungen dieser inneren Bildproduktion wird ein Konzept der visionären Schau entfaltet, welches die alleinige Geltung begrifflicher Kategorisierungen\ninfrage stellt und auf die Brückenlosigkeit zwischen wortlosem Bilderlebnis und Sprache verweist. Die aus der Handlung herausgesprengten Tableaus einer von Begriffslogik entbundenen,\nopaken Visualität zersetzen den Logos der Wissenschaftssprache und werden von dieser mit dem Stigma der Verrücktheit belegt.\nBernhards Visualisierungsstrategien werden auf rhetorischer und synästhetischer Ebene nachvollzogen und dabei in ihren diskursiven Verflechtungen mit anthropologischen Fragestellungen sichtbar gemacht. 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Leseszenarien in der Prosa Friederike Mayröckers" class="work-thumbnail" src="https://attachments.academia-assets.com/67571187/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/49187761/_ein_Umgang_welcher_im_Unendlichen_sich_verliert_Leseszenarien_in_der_Prosa_Friederike_Mayr%C3%B6ckers">"ein Umgang, welcher im Unendlichen sich verliert". Leseszenarien in der Prosa Friederike Mayröckers</a></div><div class="wp-workCard_item"><span>Leseszenen. Poetologie - Geschichte - Medialität. Hrsg. von Irina Hron, Jadwiga Kita-Huber, Sanna Schulte. Heidelberg: Universitätsverlag Winter</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Lesen soll nach dem Abschluss von Buchprojekten "die schreckliche Leere nach getaner Arbeit" ausf...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Lesen soll nach dem Abschluss von Buchprojekten "die schreckliche Leere nach getaner Arbeit" ausfüllen 2 und zu weiteren Buchplänen überleiten. Das Gelesene wird mit in den neuen Text hineingenommen und treibt ihn an, wird zu dessen Zünd-und Treibstoff. Mayröckers Leseszenen sind somit immer auch zugleich Schreibszenen. Sie halten damit die Ambivalenz aus, die Julia Kristeva in der Doppelfunktion von Texten als "Schreibweise" und als "Lektüre" von vorausgegangenen Texten, und-radikaler noch-als "Absorption eines anderen Textes und als Antwort auf einen anderen" sieht. 3 Mayröckers Texte konstituieren sich durch Aneignungsprozesse, die die Sinnmuster und Schreibverfahren 1</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="fd5e6b7ae9dd19658595cb3586b49688" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":67571187,"asset_id":49187761,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/67571187/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="49187761"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="49187761"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 49187761; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=49187761]").text(description); $(".js-view-count[data-work-id=49187761]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 49187761; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='49187761']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "fd5e6b7ae9dd19658595cb3586b49688" } } $('.js-work-strip[data-work-id=49187761]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":49187761,"title":"\"ein Umgang, welcher im Unendlichen sich verliert\". 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In: Adrian Glen´ / Jacek Gutorow / Łukasz Musiał / Daniel Pietrek (Hg.): Spaziergänge auf dem Papier. Robert Walser in Polen." class="work-thumbnail" src="https://attachments.academia-assets.com/67700764/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44848138/Zwischen_Demutsabbildung_und_Sprachverwilderung_zur_Gattungspoetik_von_Robert_Walsers_Texten_zur_bildenden_Kunst_In_Adrian_Glen_Jacek_Gutorow_%C5%81ukasz_Musia%C5%82_Daniel_Pietrek_Hg_Spazierg%C3%A4nge_auf_dem_Papier_Robert_Walser_in_Polen">Zwischen ›Demutsabbildung‹ und ›Sprachverwilderung‹ – zur Gattungspoetik von Robert Walsers Texten zur bildenden Kunst. In: Adrian Glen´ / Jacek Gutorow / Łukasz Musiał / Daniel Pietrek (Hg.): Spaziergänge auf dem Papier. Robert Walser in Polen.</a></div><div class="wp-workCard_item"><span>Spaziergänge auf dem Papier. Robert Walser in Polen. Vandenhoeck & Ruprecht </span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Robert Walser ist unter den Autoren der Moderne, in deren Texte ekphrastische Elemente einfließen...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Robert Walser ist unter den Autoren der Moderne, in deren Texte ekphrastische Elemente einfließen, eine singuläre Erscheinung. Zunächst durch seinen Bruder, den erfolgreichen Illustrator und Maler Karl Walser vermittelt, war Walsers Verhältnis zur bildenden Kunst zeit seines Lebens sehr innig. Diese Affinität zur Kunst fand auf vielschichtige Weise Eingang in sein Werk. An zahlreichen Stellen seines Werks ist von Künstlern und von Kunstwerken und deren Entstehungsprozess die Rede, Walser schrieb eine Reihe von Prosastücken und Gedichten, die Künstlern oder Werken der bildenden Kunst gewidmet sind. Die intermedialen Bezüge von Walsers Werk sind bereits recht gut erforscht. Besonders ab den 1990er Jahren wurde im Gefolge des iconic turn den Manifestationen der Wechselbeziehung von bildender Kunst und Literatur im Werk Walsers viel Aufmerksamkeit zuteil. Weniger präsent sind dabei gattungstheoretische Überlegungen. Walsers Texte zur bildenden Kunst durchziehen die ganze Vielfalt literarischer Gattungen, und das Schreiben über Bilder wird für Walser zur Problemkonstante, die eine beständige Arbeit an den Gattungen und literarischen Traditionen erfordert. Hier möchte der vorliegende Beitrag ansetzen und untersuchen, wie sich über die Bezugnahme auf die Kunst Walsers Umgang mit den Textkonventionen gestaltet.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="656d2f16acba398363747a656d1cf1df" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":67700764,"asset_id":44848138,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/67700764/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44848138"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44848138"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44848138; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44848138]").text(description); $(".js-view-count[data-work-id=44848138]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44848138; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44848138']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "656d2f16acba398363747a656d1cf1df" } } $('.js-work-strip[data-work-id=44848138]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44848138,"title":"Zwischen ›Demutsabbildung‹ und ›Sprachverwilderung‹ – zur Gattungspoetik von Robert Walsers Texten zur bildenden Kunst. In: Adrian Glen´ / Jacek Gutorow / Łukasz Musiał / Daniel Pietrek (Hg.): Spaziergänge auf dem Papier. Robert Walser in Polen.","translated_title":"","metadata":{"abstract":"Robert Walser ist unter den Autoren der Moderne, in deren Texte ekphrastische Elemente einfließen, eine singuläre Erscheinung. Zunächst durch seinen Bruder, den erfolgreichen Illustrator und Maler Karl Walser vermittelt, war Walsers Verhältnis zur bildenden Kunst zeit seines Lebens sehr innig. Diese Affinität zur Kunst fand auf vielschichtige Weise Eingang in sein Werk. An zahlreichen Stellen seines Werks ist von Künstlern und von Kunstwerken und deren Entstehungsprozess die Rede, Walser schrieb eine Reihe von Prosastücken und Gedichten, die Künstlern oder Werken der bildenden Kunst gewidmet sind. Die intermedialen Bezüge von Walsers Werk sind bereits recht gut erforscht. 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DOI: 10.18276/cgs.2020.29-01. </span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Abstract Kafka's humor and the comic aspects of his texts recently have been focused extensively ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Abstract Kafka's humor and the comic aspects of his texts recently have been focused extensively by scholars. Both can be observed particularly in Kafka's confrontation with his religious environment. This is pointed out on the example of his diaries and letters. Referring to Henri Bergson, Kafka's specific comical imagery is shown as an effect of the observed incongruencies between assimilated Western Judaism and Hasidic Judaism. With reference to Felix Weltsch and Søren Kierkegaard, Kafka's humor is emphasized as an expression of his own religious inquiries.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="23e4dc2dd21fbdda1b6e820b17bc38bc" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":65319588,"asset_id":44818702,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/65319588/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44818702"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44818702"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44818702; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44818702]").text(description); $(".js-view-count[data-work-id=44818702]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44818702; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44818702']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "23e4dc2dd21fbdda1b6e820b17bc38bc" } } $('.js-work-strip[data-work-id=44818702]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44818702,"title":"\"DEN LETZTEN ZIPFEL DES GEBETSMANTELS\" – KOMISCHE INKONGRUENZEN UND ‚RELIGIÖSER HUMOR' IN FRANZ KAFKAS TAGEBUCHAUFZEICHNUNGEN UND BRIEFEN","translated_title":"","metadata":{"doi":"10.18276/cgs.2020.29-01","volume":"29","abstract":"Abstract Kafka's humor and the comic aspects of his texts recently have been focused extensively by scholars. 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With reference to Felix Weltsch and Søren Kierkegaard, Kafka's humor is emphasized as an expression of his own religious inquiries.","internal_url":"https://www.academia.edu/44818702/_DEN_LETZTEN_ZIPFEL_DES_GEBETSMANTELS_KOMISCHE_INKONGRUENZEN_UND_RELIGI%C3%96SER_HUMOR_IN_FRANZ_KAFKAS_TAGEBUCHAUFZEICHNUNGEN_UND_BRIEFEN","translated_internal_url":"","created_at":"2021-01-02T04:56:44.566-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":33006035,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":65319588,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/65319588/thumbnails/1.jpg","file_name":"CGS_SOmmerfeld_fin.pdf","download_url":"https://www.academia.edu/attachments/65319588/download_file","bulk_download_file_name":"DEN_LETZTEN_ZIPFEL_DES_GEBETSMANTELS_KO.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/65319588/CGS_SOmmerfeld_fin-libre.pdf?1609595467=\u0026response-content-disposition=attachment%3B+filename%3DDEN_LETZTEN_ZIPFEL_DES_GEBETSMANTELS_KO.pdf\u0026Expires=1743666407\u0026Signature=EEQpWtbhxAUfRT56rIYkQzczd-Q73nqtPPlIOX2UpNjbGTIpQJAULUhWcLFiPLn66uFaUmnPDcDiMOTgsSiD~kCJJzaLf3dO428Fp0S9eB1PTZ0cDm~ftIJboj-vt8oEpi5IEn0wbZrc6nfOGgW8tRKzRBFvbifJHkxnMhHaF7fwFFcjj~Vrj8xOEWpxzh9wdif78zs-yOUTj62TwBTjPbkXuwFmMJg750ugHvyH6ZCydet5kE8EnvitEsPrR2vPu8UB6toNBhn4zcgewdllmaeCJ1ZQT-SEP16JTSWG0hAOsYZ-5mEnHY8PMJZQ1wMuD2HtGEIre6vwpn6X5-AmDA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"_DEN_LETZTEN_ZIPFEL_DES_GEBETSMANTELS_KOMISCHE_INKONGRUENZEN_UND_RELIGIÖSER_HUMOR_IN_FRANZ_KAFKAS_TAGEBUCHAUFZEICHNUNGEN_UND_BRIEFEN","translated_slug":"","page_count":22,"language":"de","content_type":"Work","summary":"Abstract Kafka's humor and the comic aspects of his texts recently have been focused extensively by scholars. Both can be observed particularly in Kafka's confrontation with his religious environment. This is pointed out on the example of his diaries and letters. Referring to Henri Bergson, Kafka's specific comical imagery is shown as an effect of the observed incongruencies between assimilated Western Judaism and Hasidic Judaism. With reference to Felix Weltsch and Søren Kierkegaard, Kafka's humor is emphasized as an expression of his own religious inquiries.","owner":{"id":33006035,"first_name":"Beate","middle_initials":null,"last_name":"Sommerfeld","page_name":"BeateSommerfeld","domain_name":"amu","created_at":"2015-07-12T10:37:55.155-07:00","display_name":"Beate Sommerfeld","url":"https://amu.academia.edu/BeateSommerfeld"},"attachments":[{"id":65319588,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/65319588/thumbnails/1.jpg","file_name":"CGS_SOmmerfeld_fin.pdf","download_url":"https://www.academia.edu/attachments/65319588/download_file","bulk_download_file_name":"DEN_LETZTEN_ZIPFEL_DES_GEBETSMANTELS_KO.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/65319588/CGS_SOmmerfeld_fin-libre.pdf?1609595467=\u0026response-content-disposition=attachment%3B+filename%3DDEN_LETZTEN_ZIPFEL_DES_GEBETSMANTELS_KO.pdf\u0026Expires=1743666407\u0026Signature=EEQpWtbhxAUfRT56rIYkQzczd-Q73nqtPPlIOX2UpNjbGTIpQJAULUhWcLFiPLn66uFaUmnPDcDiMOTgsSiD~kCJJzaLf3dO428Fp0S9eB1PTZ0cDm~ftIJboj-vt8oEpi5IEn0wbZrc6nfOGgW8tRKzRBFvbifJHkxnMhHaF7fwFFcjj~Vrj8xOEWpxzh9wdif78zs-yOUTj62TwBTjPbkXuwFmMJg750ugHvyH6ZCydet5kE8EnvitEsPrR2vPu8UB6toNBhn4zcgewdllmaeCJ1ZQT-SEP16JTSWG0hAOsYZ-5mEnHY8PMJZQ1wMuD2HtGEIre6vwpn6X5-AmDA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":1186,"name":"Translation Studies","url":"https://www.academia.edu/Documents/in/Translation_Studies"},{"id":3887,"name":"Word and Image Studies","url":"https://www.academia.edu/Documents/in/Word_and_Image_Studies"},{"id":8446,"name":"Franz Kafka","url":"https://www.academia.edu/Documents/in/Franz_Kafka"},{"id":17230,"name":"Austrian Literature","url":"https://www.academia.edu/Documents/in/Austrian_Literature"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-44818702-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="42642619"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/42642619/_die_ganze_Mensch_und_Tiergemeinschaft_%C3%BCberblicken_literarische_Grenzverhandlungen_des_Humanen_bei_Franz_Kafka"><img alt="Research paper thumbnail of "die ganze Mensch- und Tiergemeinschaft überblicken" – literarische Grenzverhandlungen des Humanen bei Franz Kafka" class="work-thumbnail" src="https://attachments.academia-assets.com/62848347/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/42642619/_die_ganze_Mensch_und_Tiergemeinschaft_%C3%BCberblicken_literarische_Grenzverhandlungen_des_Humanen_bei_Franz_Kafka">"die ganze Mensch- und Tiergemeinschaft überblicken" – literarische Grenzverhandlungen des Humanen bei Franz Kafka</a></div><div class="wp-workCard_item"><span>Studia Germanica Gedaniensia</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Kafkas hybride Tierfiguren stehen in einer höchst vielschichtigen Gemengelage von zeitgenössische...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Kafkas hybride Tierfiguren stehen in einer höchst vielschichtigen Gemengelage von zeitgenössischen Debatten und Diskursen. Sie werden jeweils mittels spezifisch literarischer Darstellungsformen verarbeitet. In der dekonstruktiven Verunsicherung der Mensch-Tier-Grenze und der Schaffung von Schwellenräumen machen Kafkas Texte Anleihen bei der Romantik. Der Beitrag fokussiert insbesondere Kafkas kreative Umschriften phantastischen Erzählens und romantischer Ironie. <br /><br /> <br />Kafka's hybrid animal figures are situated in a complex set of contemporary debates and discourses always modified through specific literary presentation forms. In the deconstructive questioning of the human-animal frontier and the creation of threshold spaces, Kafka's texts refer to the Romantic tradition. In particular, the article focuses on Kafka's creative transcriptions of fantastic narration and romantic irony.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="b99e0f3a5fa6c689764706f3634a2f0c" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":62848347,"asset_id":42642619,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/62848347/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="42642619"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="42642619"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 42642619; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=42642619]").text(description); $(".js-view-count[data-work-id=42642619]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 42642619; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='42642619']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "b99e0f3a5fa6c689764706f3634a2f0c" } } $('.js-work-strip[data-work-id=42642619]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":42642619,"title":"\"die ganze Mensch- und Tiergemeinschaft überblicken\" – literarische Grenzverhandlungen des Humanen bei Franz Kafka","translated_title":"","metadata":{"doi":"10.26881/sgg.2019.40.15","issue":"40","abstract":"Kafkas hybride Tierfiguren stehen in einer höchst vielschichtigen Gemengelage von zeitgenössischen Debatten und Diskursen. Sie werden jeweils mittels spezifisch literarischer Darstellungsformen verarbeitet. In der dekonstruktiven Verunsicherung der Mensch-Tier-Grenze und der Schaffung von Schwellenräumen machen Kafkas Texte Anleihen bei der Romantik. Der Beitrag fokussiert insbesondere Kafkas kreative Umschriften phantastischen Erzählens und romantischer Ironie. \n\n \nKafka's hybrid animal figures are situated in a complex set of contemporary debates and discourses always modified through specific literary presentation forms. In the deconstructive questioning of the human-animal frontier and the creation of threshold spaces, Kafka's texts refer to the Romantic tradition. In particular, the article focuses on Kafka's creative transcriptions of fantastic narration and romantic irony. ","page_numbers":"182-192","publication_date":{"day":null,"month":null,"year":2019,"errors":{}},"publication_name":"Studia Germanica Gedaniensia"},"translated_abstract":"Kafkas hybride Tierfiguren stehen in einer höchst vielschichtigen Gemengelage von zeitgenössischen Debatten und Diskursen. Sie werden jeweils mittels spezifisch literarischer Darstellungsformen verarbeitet. In der dekonstruktiven Verunsicherung der Mensch-Tier-Grenze und der Schaffung von Schwellenräumen machen Kafkas Texte Anleihen bei der Romantik. Der Beitrag fokussiert insbesondere Kafkas kreative Umschriften phantastischen Erzählens und romantischer Ironie. \n\n \nKafka's hybrid animal figures are situated in a complex set of contemporary debates and discourses always modified through specific literary presentation forms. In the deconstructive questioning of the human-animal frontier and the creation of threshold spaces, Kafka's texts refer to the Romantic tradition. In particular, the article focuses on Kafka's creative transcriptions of fantastic narration and romantic irony. ","internal_url":"https://www.academia.edu/42642619/_die_ganze_Mensch_und_Tiergemeinschaft_%C3%BCberblicken_literarische_Grenzverhandlungen_des_Humanen_bei_Franz_Kafka","translated_internal_url":"","created_at":"2020-04-06T09:43:20.388-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":33006035,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":62848347,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/62848347/thumbnails/1.jpg","file_name":"SGG_40_Beate_Sommerfeld_120200406-31370-1u26oar.pdf","download_url":"https://www.academia.edu/attachments/62848347/download_file","bulk_download_file_name":"die_ganze_Mensch_und_Tiergemeinschaft_u.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/62848347/SGG_40_Beate_Sommerfeld_120200406-31370-1u26oar-libre.pdf?1586192971=\u0026response-content-disposition=attachment%3B+filename%3Ddie_ganze_Mensch_und_Tiergemeinschaft_u.pdf\u0026Expires=1743666407\u0026Signature=McJPBGZfr~Nh9V2JXcLZ7i1wtsv4EAEmjGOGaIbiLErO1qRGPxLy3V-nk5AezbH6k53RU5tVwzjq0o1nahZtqqKzR4zKinD7NHFZ77DplfRWstjQUFjHP3UIF-~HByZR0KVl5GObZi6h1n0Z6MqdztKlKAff63LKQq3TC3cRg~anwYuX1Zcs~o74ytltnHEKBue70E~0SnCfakISC8mj17BLxXipDjOgEtc095k0TyqkPRxL9FosCVD5k69DvJjdyf5pNU29LQIS0if7V0WUlFUP1fWgtKalJzOD91pvDukWNVDggCw9jD1r115LkN664SPXCoF3HKWLrzxFqFibRw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"_die_ganze_Mensch_und_Tiergemeinschaft_überblicken_literarische_Grenzverhandlungen_des_Humanen_bei_Franz_Kafka","translated_slug":"","page_count":11,"language":"de","content_type":"Work","summary":"Kafkas hybride Tierfiguren stehen in einer höchst vielschichtigen Gemengelage von zeitgenössischen Debatten und Diskursen. Sie werden jeweils mittels spezifisch literarischer Darstellungsformen verarbeitet. In der dekonstruktiven Verunsicherung der Mensch-Tier-Grenze und der Schaffung von Schwellenräumen machen Kafkas Texte Anleihen bei der Romantik. Der Beitrag fokussiert insbesondere Kafkas kreative Umschriften phantastischen Erzählens und romantischer Ironie. \n\n \nKafka's hybrid animal figures are situated in a complex set of contemporary debates and discourses always modified through specific literary presentation forms. In the deconstructive questioning of the human-animal frontier and the creation of threshold spaces, Kafka's texts refer to the Romantic tradition. In particular, the article focuses on Kafka's creative transcriptions of fantastic narration and romantic irony. ","owner":{"id":33006035,"first_name":"Beate","middle_initials":null,"last_name":"Sommerfeld","page_name":"BeateSommerfeld","domain_name":"amu","created_at":"2015-07-12T10:37:55.155-07:00","display_name":"Beate Sommerfeld","url":"https://amu.academia.edu/BeateSommerfeld"},"attachments":[{"id":62848347,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/62848347/thumbnails/1.jpg","file_name":"SGG_40_Beate_Sommerfeld_120200406-31370-1u26oar.pdf","download_url":"https://www.academia.edu/attachments/62848347/download_file","bulk_download_file_name":"die_ganze_Mensch_und_Tiergemeinschaft_u.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/62848347/SGG_40_Beate_Sommerfeld_120200406-31370-1u26oar-libre.pdf?1586192971=\u0026response-content-disposition=attachment%3B+filename%3Ddie_ganze_Mensch_und_Tiergemeinschaft_u.pdf\u0026Expires=1743666407\u0026Signature=McJPBGZfr~Nh9V2JXcLZ7i1wtsv4EAEmjGOGaIbiLErO1qRGPxLy3V-nk5AezbH6k53RU5tVwzjq0o1nahZtqqKzR4zKinD7NHFZ77DplfRWstjQUFjHP3UIF-~HByZR0KVl5GObZi6h1n0Z6MqdztKlKAff63LKQq3TC3cRg~anwYuX1Zcs~o74ytltnHEKBue70E~0SnCfakISC8mj17BLxXipDjOgEtc095k0TyqkPRxL9FosCVD5k69DvJjdyf5pNU29LQIS0if7V0WUlFUP1fWgtKalJzOD91pvDukWNVDggCw9jD1r115LkN664SPXCoF3HKWLrzxFqFibRw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":4138,"name":"Hybridity","url":"https://www.academia.edu/Documents/in/Hybridity"},{"id":8446,"name":"Franz Kafka","url":"https://www.academia.edu/Documents/in/Franz_Kafka"},{"id":26812,"name":"Human-Animal Studies","url":"https://www.academia.edu/Documents/in/Human-Animal_Studies"},{"id":98459,"name":"E.T.A. Hoffmann","url":"https://www.academia.edu/Documents/in/E.T.A._Hoffmann"},{"id":128256,"name":"Romantik","url":"https://www.academia.edu/Documents/in/Romantik"},{"id":955119,"name":"Phantastische Literatur","url":"https://www.academia.edu/Documents/in/Phantastische_Literatur"},{"id":1407779,"name":"Cultural and Literary Animal Studies","url":"https://www.academia.edu/Documents/in/Cultural_and_Literary_Animal_Studies"},{"id":1477892,"name":"Hybride","url":"https://www.academia.edu/Documents/in/Hybride"},{"id":3601778,"name":"Tiere und Mensch-Tier-Verhältnisse in der Kunst","url":"https://www.academia.edu/Documents/in/Tiere_und_Mensch-Tier-Verh%C3%A4ltnisse_in_der_Kunst"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-42642619-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="41296471"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/41296471/_zum_K%C3%BCssen_nahe_die_Fotografie_als_Ann%C3%A4herung_an_die_Dingwelt_in_Kafkas_Romanfragment_Der_Verschollene"><img alt="Research paper thumbnail of "zum Küssen nahe" - die Fotografie als Annäherung an die Dingwelt in Kafkas Romanfragment Der Verschollene" class="work-thumbnail" src="https://attachments.academia-assets.com/61512327/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/41296471/_zum_K%C3%BCssen_nahe_die_Fotografie_als_Ann%C3%A4herung_an_die_Dingwelt_in_Kafkas_Romanfragment_Der_Verschollene">"zum Küssen nahe" - die Fotografie als Annäherung an die Dingwelt in Kafkas Romanfragment Der Verschollene</a></div><div class="wp-workCard_item"><span>Kafkas Dinge. Hrsg. von Agnes Bidmon und Michael Niehaus (= Forschungen der Deutschen Kafka-Gesellschaft, Bd. 6), Würzburg, Königshausen & Neumann, ISBN 978-3-8260-6783-9</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Die Rückkehr der Materialität, der Sinnlichkeit sowie des Eigensinns der Dinge ist seit einiger Z...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Die Rückkehr der Materialität, der Sinnlichkeit sowie des Eigensinns der Dinge ist seit einiger Zeit verstärkt in den Horizont der Geisteswissenschaften getreten. 1 Dieses neu erwachte und bis heute andauernde Interesse an konkreter Stofflich-und Dinghaftigkeit lässt von einer "Wiederkehr der Dinge" 2 sprechen. Im Forschungsbereich der materiellen Kulturen werden die Dinge hinsichtlich kultureller Kodierungen und sozialer Konstruktionen von gesellschaftlichen Normen und Praktiken befragt. 3 Wertvolle Anregungen haben die Literatur-und Kulturwissenschaften von Bruno Latours Akteur-Netzwerk-Theorie erhalten, in der die Dinge an Selbstständigkeit gewinnen und zu gleichberechtigten Partnern des Menschen werden. 4 In literarischen Texten wird der Stellenwert imaginierter Dinge untersucht und ihr Status für den Menschen einer Reflexion unterzogen. So fragt Michael Niehaus nach der Produktivität eigenmächtig durch den Text "wandernder Dinge" 5 , "bewegliche(r) Sachen, die man geben und entgegennehmen, […] in Besitz nehmen und abstoßen, verlieren und finden kann" 6 und schreibt ihnen eine narrative Funktion zu: Die Dinge geraten auf Abwege, und das Verfolgen dieser Irrwege führt zu Geschichten. 7 Dorothee Kimmich spricht von der Vorherrschaft der Dinge in der Moderne, ihrer Loslösung vom Menschen, so erwecke Literatur vielerorts die Vorstellung von Dingen als materiellem Gegenüber mit Eigenlogik. 8 Daher sieht Kimmich in der Literatur das Medium, das der materiellen Dimension der Lebenswelt einen angemessenen Raum zu verschaffen vermag. 9 In literarischen Texten, wo die Materialität der Dinge nur imaginiert und lediglich auf der Textebene vorhanden ist, können diese mitunter ein Eigenleben entfalten, eine geheime Macht ausüben oder dem Menschen als eigensinnige Akteure gegenübertreten. 10 Dabei wird die verborgene Seite der Dinge virulent, die sich den menschlichen Vorstellungen entzieht. Die Fremdheit der Dingwelt bewirkt nach Kimmich eine Infragestellung von Wahrnehmung,</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="291430642c6d116fc36fba950647328f" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":61512327,"asset_id":41296471,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/61512327/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="41296471"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="41296471"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 41296471; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=41296471]").text(description); $(".js-view-count[data-work-id=41296471]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 41296471; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='41296471']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "291430642c6d116fc36fba950647328f" } } $('.js-work-strip[data-work-id=41296471]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":41296471,"title":"\"zum Küssen nahe\" - die Fotografie als Annäherung an die Dingwelt in Kafkas Romanfragment Der Verschollene","translated_title":"","metadata":{"page_numbers":"143-162","grobid_abstract":"Die Rückkehr der Materialität, der Sinnlichkeit sowie des Eigensinns der Dinge ist seit einiger Zeit verstärkt in den Horizont der Geisteswissenschaften getreten. 1 Dieses neu erwachte und bis heute andauernde Interesse an konkreter Stofflich-und Dinghaftigkeit lässt von einer \"Wiederkehr der Dinge\" 2 sprechen. 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Im Forschungsbereich der materiellen Kulturen werden die Dinge hinsichtlich kultureller Kodierungen und sozialer Konstruktionen von gesellschaftlichen Normen und Praktiken befragt. 3 Wertvolle Anregungen haben die Literatur-und Kulturwissenschaften von Bruno Latours Akteur-Netzwerk-Theorie erhalten, in der die Dinge an Selbstständigkeit gewinnen und zu gleichberechtigten Partnern des Menschen werden. 4 In literarischen Texten wird der Stellenwert imaginierter Dinge untersucht und ihr Status für den Menschen einer Reflexion unterzogen. So fragt Michael Niehaus nach der Produktivität eigenmächtig durch den Text \"wandernder Dinge\" 5 , \"bewegliche(r) Sachen, die man geben und entgegennehmen, […] in Besitz nehmen und abstoßen, verlieren und finden kann\" 6 und schreibt ihnen eine narrative Funktion zu: Die Dinge geraten auf Abwege, und das Verfolgen dieser Irrwege führt zu Geschichten. 7 Dorothee Kimmich spricht von der Vorherrschaft der Dinge in der Moderne, ihrer Loslösung vom Menschen, so erwecke Literatur vielerorts die Vorstellung von Dingen als materiellem Gegenüber mit Eigenlogik. 8 Daher sieht Kimmich in der Literatur das Medium, das der materiellen Dimension der Lebenswelt einen angemessenen Raum zu verschaffen vermag. 9 In literarischen Texten, wo die Materialität der Dinge nur imaginiert und lediglich auf der Textebene vorhanden ist, können diese mitunter ein Eigenleben entfalten, eine geheime Macht ausüben oder dem Menschen als eigensinnige Akteure gegenübertreten. 10 Dabei wird die verborgene Seite der Dinge virulent, die sich den menschlichen Vorstellungen entzieht. 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"Malergedichte" der galizischen Lyrikerin Rose Ausländer vor dem ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Der Aufsatz fokussiert die sog. "Malergedichte" der galizischen Lyrikerin Rose Ausländer vor dem Hintergrund des Schreibens nach der Shoah. Die Referenzen auf die bildende Kunst in Ausländers Lyrik werden als Emanationen des Sprach-und Wirklichkeitsverhältnisses nach der Shoah lesbar. In den Gedichten wird das "Drama der Repräsentation" ausgetragen, von dem die moderne Malerei, aber auch die Literatur erfasst wird. Sowohl die Ablehnung einfachen Abbildens als auch die Suche nach neuen künstlerischen Artikulationsformen werden von der Lyrikerin zum Krisensymptom der Literatur nach dem Holocaust umgedeutet. Über die Partizipation am Bild erprobt Ausländer Wege eines allusiven Schreibens über den Holocaust, in den Bildern und Verfahren der modernen Kunst findet sie Metaphern einer postapokalyptischen Befindlichkeit. Schlüsselwörter: Rose Ausländer, Malergedichte, Marc Chagall, Paul Cézanne, Paul Klee <br />Rose Ausländer's "painter poems" as post-apocalyptic writing <br />The essay focuses on the so-called "painter poems" of the Galician lyricist Rose Ausländer in the context of writing after the Shoah. The references to the fine arts in Ausländer's poetry become readable as reflections on the problematics of language and reality after the Holocaust. In the poems, the "drama of representation" is carried out, which affects modern painting, but also literature. Both the rejection of simple mimesis and the inquiry of new forms of artistic articulation are reinterpreted by the lyricist as a crisis symptom of literature after the Holocaust. Via the participation in the picture , Ausländer experiments with ways of an allusive writing about the Holocaust, in the pictures and procedures of modern art they find metaphors of a post-apocalyptic state of mind.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="dd2558f83c5893a67a4e58692abfef5c" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":61494638,"asset_id":41275242,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/61494638/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="41275242"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="41275242"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 41275242; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=41275242]").text(description); $(".js-view-count[data-work-id=41275242]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 41275242; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='41275242']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "dd2558f83c5893a67a4e58692abfef5c" } } $('.js-work-strip[data-work-id=41275242]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":41275242,"title":"Rose Ausländers \"Malergedichte\" als post-apokalyptisches Schreiben","translated_title":"","metadata":{"doi":"10.19195/0435-5865.144.5","issue":"144","abstract":"Der Aufsatz fokussiert die sog. \"Malergedichte\" der galizischen Lyrikerin Rose Ausländer vor dem Hintergrund des Schreibens nach der Shoah. Die Referenzen auf die bildende Kunst in Ausländers Lyrik werden als Emanationen des Sprach-und Wirklichkeitsverhältnisses nach der Shoah lesbar. In den Gedichten wird das \"Drama der Repräsentation\" ausgetragen, von dem die moderne Malerei, aber auch die Literatur erfasst wird. Sowohl die Ablehnung einfachen Abbildens als auch die Suche nach neuen künstlerischen Artikulationsformen werden von der Lyrikerin zum Krisensymptom der Literatur nach dem Holocaust umgedeutet. Über die Partizipation am Bild erprobt Ausländer Wege eines allusiven Schreibens über den Holocaust, in den Bildern und Verfahren der modernen Kunst findet sie Metaphern einer postapokalyptischen Befindlichkeit. Schlüsselwörter: Rose Ausländer, Malergedichte, Marc Chagall, Paul Cézanne, Paul Klee \nRose Ausländer's \"painter poems\" as post-apocalyptic writing \nThe essay focuses on the so-called \"painter poems\" of the Galician lyricist Rose Ausländer in the context of writing after the Shoah. The references to the fine arts in Ausländer's poetry become readable as reflections on the problematics of language and reality after the Holocaust. In the poems, the \"drama of representation\" is carried out, which affects modern painting, but also literature. Both the rejection of simple mimesis and the inquiry of new forms of artistic articulation are reinterpreted by the lyricist as a crisis symptom of literature after the Holocaust. Via the participation in the picture , Ausländer experiments with ways of an allusive writing about the Holocaust, in the pictures and procedures of modern art they find metaphors of a post-apocalyptic state of mind.","page_numbers":"65-82","publication_date":{"day":null,"month":null,"year":2019,"errors":{}},"publication_name":"Germanica Wratislaviensia"},"translated_abstract":"Der Aufsatz fokussiert die sog. \"Malergedichte\" der galizischen Lyrikerin Rose Ausländer vor dem Hintergrund des Schreibens nach der Shoah. Die Referenzen auf die bildende Kunst in Ausländers Lyrik werden als Emanationen des Sprach-und Wirklichkeitsverhältnisses nach der Shoah lesbar. In den Gedichten wird das \"Drama der Repräsentation\" ausgetragen, von dem die moderne Malerei, aber auch die Literatur erfasst wird. Sowohl die Ablehnung einfachen Abbildens als auch die Suche nach neuen künstlerischen Artikulationsformen werden von der Lyrikerin zum Krisensymptom der Literatur nach dem Holocaust umgedeutet. Über die Partizipation am Bild erprobt Ausländer Wege eines allusiven Schreibens über den Holocaust, in den Bildern und Verfahren der modernen Kunst findet sie Metaphern einer postapokalyptischen Befindlichkeit. Schlüsselwörter: Rose Ausländer, Malergedichte, Marc Chagall, Paul Cézanne, Paul Klee \nRose Ausländer's \"painter poems\" as post-apocalyptic writing \nThe essay focuses on the so-called \"painter poems\" of the Galician lyricist Rose Ausländer in the context of writing after the Shoah. The references to the fine arts in Ausländer's poetry become readable as reflections on the problematics of language and reality after the Holocaust. In the poems, the \"drama of representation\" is carried out, which affects modern painting, but also literature. Both the rejection of simple mimesis and the inquiry of new forms of artistic articulation are reinterpreted by the lyricist as a crisis symptom of literature after the Holocaust. Via the participation in the picture , Ausländer experiments with ways of an allusive writing about the Holocaust, in the pictures and procedures of modern art they find metaphors of a post-apocalyptic state of mind.","internal_url":"https://www.academia.edu/41275242/Rose_Ausl%C3%A4nders_Malergedichte_als_post_apokalyptisches_Schreiben","translated_internal_url":"","created_at":"2019-12-12T05:47:33.755-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":33006035,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":61494638,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/61494638/thumbnails/1.jpg","file_name":"GW_2019_6_Sommerfeld_120191212-34867-1i5wl1q.pdf","download_url":"https://www.academia.edu/attachments/61494638/download_file","bulk_download_file_name":"Rose_Auslanders_Malergedichte_als_post_a.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/61494638/GW_2019_6_Sommerfeld_120191212-34867-1i5wl1q-libre.pdf?1576160019=\u0026response-content-disposition=attachment%3B+filename%3DRose_Auslanders_Malergedichte_als_post_a.pdf\u0026Expires=1743666407\u0026Signature=fxCKi5EkJQsg9hBB9hRUBN~y9VRf2hdOhU75pii6yya-ongUqwTaQ8hX5E0Kg16SuTqqOkuynj1z6zcBBoeLTJZzoqXdwolX1U9KLJE6v8JCDOS3dkttdxZdE7TS~SF~KWGTdJJJIVXNqqjzMiaoLDxZsDhRTb7tNz~UXhYX0OOPLa3KVCzrI0bGQKaINAlb7ob8wvFm2sksFuC-tWHRc6KPXbWpVMAorzP4k1rpah1adtrfiFupeEdSoxK10SvQMa0fYJcY2Xf4h5src6bsKOcBmHZC4HiGtpx4728uLcxt2voFxwHNlbLmH0qzQWJdV4TZWYKNeGYAdgBldXOcQA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Rose_Ausländers_Malergedichte_als_post_apokalyptisches_Schreiben","translated_slug":"","page_count":18,"language":"de","content_type":"Work","summary":"Der Aufsatz fokussiert die sog. \"Malergedichte\" der galizischen Lyrikerin Rose Ausländer vor dem Hintergrund des Schreibens nach der Shoah. Die Referenzen auf die bildende Kunst in Ausländers Lyrik werden als Emanationen des Sprach-und Wirklichkeitsverhältnisses nach der Shoah lesbar. In den Gedichten wird das \"Drama der Repräsentation\" ausgetragen, von dem die moderne Malerei, aber auch die Literatur erfasst wird. Sowohl die Ablehnung einfachen Abbildens als auch die Suche nach neuen künstlerischen Artikulationsformen werden von der Lyrikerin zum Krisensymptom der Literatur nach dem Holocaust umgedeutet. Über die Partizipation am Bild erprobt Ausländer Wege eines allusiven Schreibens über den Holocaust, in den Bildern und Verfahren der modernen Kunst findet sie Metaphern einer postapokalyptischen Befindlichkeit. Schlüsselwörter: Rose Ausländer, Malergedichte, Marc Chagall, Paul Cézanne, Paul Klee \nRose Ausländer's \"painter poems\" as post-apocalyptic writing \nThe essay focuses on the so-called \"painter poems\" of the Galician lyricist Rose Ausländer in the context of writing after the Shoah. The references to the fine arts in Ausländer's poetry become readable as reflections on the problematics of language and reality after the Holocaust. In the poems, the \"drama of representation\" is carried out, which affects modern painting, but also literature. Both the rejection of simple mimesis and the inquiry of new forms of artistic articulation are reinterpreted by the lyricist as a crisis symptom of literature after the Holocaust. Via the participation in the picture , Ausländer experiments with ways of an allusive writing about the Holocaust, in the pictures and procedures of modern art they find metaphors of a post-apocalyptic state of mind.","owner":{"id":33006035,"first_name":"Beate","middle_initials":null,"last_name":"Sommerfeld","page_name":"BeateSommerfeld","domain_name":"amu","created_at":"2015-07-12T10:37:55.155-07:00","display_name":"Beate Sommerfeld","url":"https://amu.academia.edu/BeateSommerfeld"},"attachments":[{"id":61494638,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/61494638/thumbnails/1.jpg","file_name":"GW_2019_6_Sommerfeld_120191212-34867-1i5wl1q.pdf","download_url":"https://www.academia.edu/attachments/61494638/download_file","bulk_download_file_name":"Rose_Auslanders_Malergedichte_als_post_a.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/61494638/GW_2019_6_Sommerfeld_120191212-34867-1i5wl1q-libre.pdf?1576160019=\u0026response-content-disposition=attachment%3B+filename%3DRose_Auslanders_Malergedichte_als_post_a.pdf\u0026Expires=1743666407\u0026Signature=fxCKi5EkJQsg9hBB9hRUBN~y9VRf2hdOhU75pii6yya-ongUqwTaQ8hX5E0Kg16SuTqqOkuynj1z6zcBBoeLTJZzoqXdwolX1U9KLJE6v8JCDOS3dkttdxZdE7TS~SF~KWGTdJJJIVXNqqjzMiaoLDxZsDhRTb7tNz~UXhYX0OOPLa3KVCzrI0bGQKaINAlb7ob8wvFm2sksFuC-tWHRc6KPXbWpVMAorzP4k1rpah1adtrfiFupeEdSoxK10SvQMa0fYJcY2Xf4h5src6bsKOcBmHZC4HiGtpx4728uLcxt2voFxwHNlbLmH0qzQWJdV4TZWYKNeGYAdgBldXOcQA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":3242,"name":"Intermediality","url":"https://www.academia.edu/Documents/in/Intermediality"},{"id":3887,"name":"Word and Image Studies","url":"https://www.academia.edu/Documents/in/Word_and_Image_Studies"},{"id":14732,"name":"Ekphrasis","url":"https://www.academia.edu/Documents/in/Ekphrasis"},{"id":37461,"name":"Paul Klee","url":"https://www.academia.edu/Documents/in/Paul_Klee"},{"id":316744,"name":"Paul Cézanne","url":"https://www.academia.edu/Documents/in/Paul_C%C3%A9zanne"},{"id":327876,"name":"Post-Apocalyptic Literature","url":"https://www.academia.edu/Documents/in/Post-Apocalyptic_Literature"},{"id":579109,"name":"Literatur und Bildende Kunst","url":"https://www.academia.edu/Documents/in/Literatur_und_Bildende_Kunst"},{"id":970776,"name":"Comparative Literature and Arts","url":"https://www.academia.edu/Documents/in/Comparative_Literature_and_Arts"},{"id":2781291,"name":"Rose Ausländer","url":"https://www.academia.edu/Documents/in/Rose_Ausl%C3%A4nder"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-41275242-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="38519086"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/38519086/Auf_der_Schwelle_Liminalit%C3%A4t_als_Struktur_%C3%A4sthetischer_Erfahrung_in_Franz_Kafkas_Kunstbetrachtungen_der_Reisetageb%C3%BCcher_und_Quarthefte"><img alt="Research paper thumbnail of Auf der Schwelle – Liminalität als Struktur ästhetischer Erfahrung in Franz Kafkas Kunstbetrachtungen der Reisetagebücher und Quarthefte" class="work-thumbnail" src="https://attachments.academia-assets.com/58587532/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/38519086/Auf_der_Schwelle_Liminalit%C3%A4t_als_Struktur_%C3%A4sthetischer_Erfahrung_in_Franz_Kafkas_Kunstbetrachtungen_der_Reisetageb%C3%BCcher_und_Quarthefte">Auf der Schwelle – Liminalität als Struktur ästhetischer Erfahrung in Franz Kafkas Kunstbetrachtungen der Reisetagebücher und Quarthefte</a></div><div class="wp-workCard_item"><span>Fremdheit - Andersheit - Vielheit. Studien zur deutschsprachigen Literatur und Kultur. Edited by Zbigniew Feliszewski and Monika Blidy. Berlin: Peter Lang 2019,pp. 29-51 </span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Der Begriff der Schwellenkunde geht bekanntlich auf Walter Benjamin zurück 1 , für den die Modell...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Der Begriff der Schwellenkunde geht bekanntlich auf Walter Benjamin zurück 1 , für den die Modellierung von "Grenzbezirken" als "Merkmal des neuen Forschergeistes" 2 galt. Dieser sollte es mit Phänomenen aufnehmen, die im Grenzbereich heterogener Ordnungen liegen oder verschiedenen Epistemen angehören. Als Untersuchungsverfahren bezieht sich Schwellenkunde für Benjamin auf die erkenntnistheoretische Profilierung des Erwachens, das als Strukturmodell einer Erkenntnisposition ‚auf der Schwelle' verstanden und als eines der letzten Refugien der Schwellenerfahrung in der Moderne gefasst wird. 3 In seinen "rites de passages" geht es Benjamin also um die Erfahrung der Schwelle, womit das Subjekt des Übergangs ins Zentrum rückt. Ihre herausgehobene Stellung innerhalb der Theorie der Moderne hat die Schwelle in den ethnologischen und religionsgeschichtlichen Forschungen zu den "rites de passages" erhalten, in denen die raumzeitliche Struktur von Kult und Ritus sowie die Statustransformationen des Subjekts und der Zustand der Liminalität im Vordergrund stehen. Im Anschluss an das Konzept der Liminalität ist eine fächerübergreifende Theorie entstanden, die sich dem symbolischen Potential von Figuren wie Schwelle, Zwischenraum, Grenze, Übergang und Transgression u.a. widmet. Fokussiert wird auf die Grenze als Universalie 4 , die Schwelle als Ort des Übergangs 5 oder als Metapher 6 oder die Analogie von Ritual und Literatur 7 . Insbesondere bei Victor Turner erhält die Schwellenphase als Zustand der Liminalität eine herausgehobene Bedeutung: Jene mittlere Phase aus der dreigliedrigen Struktur der Übergangsriten ist durch die Merkmale der Ambiguität oder Unbestimmtheit gekennzeichnet. 8 1 Vgl. Menninghaus, Winfried: Schwellenkunde. Walter Benjamins Passage des Mythos. Frankfurt a.M., 1986.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="176da5c1478a71f6fe7dd8f05a1bf5f7" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":58587532,"asset_id":38519086,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/58587532/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="38519086"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="38519086"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38519086; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=38519086]").text(description); $(".js-view-count[data-work-id=38519086]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 38519086; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='38519086']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "176da5c1478a71f6fe7dd8f05a1bf5f7" } } $('.js-work-strip[data-work-id=38519086]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":38519086,"title":"Auf der Schwelle – Liminalität als Struktur ästhetischer Erfahrung in Franz Kafkas Kunstbetrachtungen der Reisetagebücher und Quarthefte","translated_title":"","metadata":{"more_info":"ISBN 978-3-631-76663-7","page_numbers":"S. 29-51","grobid_abstract":"Der Begriff der Schwellenkunde geht bekanntlich auf Walter Benjamin zurück 1 , für den die Modellierung von \"Grenzbezirken\" als \"Merkmal des neuen Forschergeistes\" 2 galt. Dieser sollte es mit Phänomenen aufnehmen, die im Grenzbereich heterogener Ordnungen liegen oder verschiedenen Epistemen angehören. Als Untersuchungsverfahren bezieht sich Schwellenkunde für Benjamin auf die erkenntnistheoretische Profilierung des Erwachens, das als Strukturmodell einer Erkenntnisposition ‚auf der Schwelle' verstanden und als eines der letzten Refugien der Schwellenerfahrung in der Moderne gefasst wird. 3 In seinen \"rites de passages\" geht es Benjamin also um die Erfahrung der Schwelle, womit das Subjekt des Übergangs ins Zentrum rückt. Ihre herausgehobene Stellung innerhalb der Theorie der Moderne hat die Schwelle in den ethnologischen und religionsgeschichtlichen Forschungen zu den \"rites de passages\" erhalten, in denen die raumzeitliche Struktur von Kult und Ritus sowie die Statustransformationen des Subjekts und der Zustand der Liminalität im Vordergrund stehen. 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Dieser sollte es mit Phänomenen aufnehmen, die im Grenzbereich heterogener Ordnungen liegen oder verschiedenen Epistemen angehören. Als Untersuchungsverfahren bezieht sich Schwellenkunde für Benjamin auf die erkenntnistheoretische Profilierung des Erwachens, das als Strukturmodell einer Erkenntnisposition ‚auf der Schwelle' verstanden und als eines der letzten Refugien der Schwellenerfahrung in der Moderne gefasst wird. 3 In seinen \"rites de passages\" geht es Benjamin also um die Erfahrung der Schwelle, womit das Subjekt des Übergangs ins Zentrum rückt. Ihre herausgehobene Stellung innerhalb der Theorie der Moderne hat die Schwelle in den ethnologischen und religionsgeschichtlichen Forschungen zu den \"rites de passages\" erhalten, in denen die raumzeitliche Struktur von Kult und Ritus sowie die Statustransformationen des Subjekts und der Zustand der Liminalität im Vordergrund stehen. Im Anschluss an das Konzept der Liminalität ist eine fächerübergreifende Theorie entstanden, die sich dem symbolischen Potential von Figuren wie Schwelle, Zwischenraum, Grenze, Übergang und Transgression u.a. widmet. Fokussiert wird auf die Grenze als Universalie 4 , die Schwelle als Ort des Übergangs 5 oder als Metapher 6 oder die Analogie von Ritual und Literatur 7 . Insbesondere bei Victor Turner erhält die Schwellenphase als Zustand der Liminalität eine herausgehobene Bedeutung: Jene mittlere Phase aus der dreigliedrigen Struktur der Übergangsriten ist durch die Merkmale der Ambiguität oder Unbestimmtheit gekennzeichnet. 8 1 Vgl. Menninghaus, Winfried: Schwellenkunde. Walter Benjamins Passage des Mythos. Frankfurt a.M., 1986.","owner":{"id":33006035,"first_name":"Beate","middle_initials":null,"last_name":"Sommerfeld","page_name":"BeateSommerfeld","domain_name":"amu","created_at":"2015-07-12T10:37:55.155-07:00","display_name":"Beate Sommerfeld","url":"https://amu.academia.edu/BeateSommerfeld"},"attachments":[{"id":58587532,"title":"","file_type":"doc","scribd_thumbnail_url":"https://attachments.academia-assets.com/58587532/thumbnails/1.jpg","file_name":"Kafka_Liminalitat_Fremdheit.doc","download_url":"https://www.academia.edu/attachments/58587532/download_file","bulk_download_file_name":"Auf_der_Schwelle_Liminalitat_als_Struktu.doc","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/58587532/Kafka_Liminalitat_Fremdheit.doc?1738381546=\u0026response-content-disposition=attachment%3B+filename%3DAuf_der_Schwelle_Liminalitat_als_Struktu.doc\u0026Expires=1743666407\u0026Signature=VktjqPlgY~ge6WQlxZkjj1BcsuSdTipCrJGuvi57hGk6ltR0-4wCoI2uE6aks7QcqyaVOdQGpQL4936xTxnFE7g3Jo30acOGM1SM7742PgrgeVf2bLite~GmGfwGYe2h-CaxixI37LuW6e1aodoGrYmhJlQCddrbVBmRKzlHh2ggGfOYJ-Mcwc9nPdHIKpgpdIr6Es5jCr72LAJecKu9OXJ~8tVAex-447sazk1WSq1qJGolYrasIp1JtnAYevONOAO3SE4y7q7ZK7pn~D8XkN6wGupHTvRR4p8xa6peIsGgD7Y0KdhuEjPRKEdveFlRL7ncNdD~smY~H5TdtrgJFw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":3242,"name":"Intermediality","url":"https://www.academia.edu/Documents/in/Intermediality"},{"id":8446,"name":"Franz Kafka","url":"https://www.academia.edu/Documents/in/Franz_Kafka"},{"id":14067,"name":"Literature and Visual Arts","url":"https://www.academia.edu/Documents/in/Literature_and_Visual_Arts"},{"id":122807,"name":"Visual and Performing Arts","url":"https://www.academia.edu/Documents/in/Visual_and_Performing_Arts"},{"id":655563,"name":"Ekphrasis, Hermeneutics, Aesthetic Experience","url":"https://www.academia.edu/Documents/in/Ekphrasis_Hermeneutics_Aesthetic_Experience"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-38519086-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="38074020"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/38074020/_Bilder_eigentlich_Worte_eigentlich_Evidenzen_Konturierungen_des_Unsagbaren_in_Friederike_Mayr%C3%B6ckers_Texten_zur_bildenden_Kunst_Studia_Germanica_Gedanensia_38_2018_S_95_105_"><img alt="Research paper thumbnail of „Bilder, eigentlich Worte, eigentlich Evidenzen“ – Konturierungen des Unsagbaren in Friederike Mayröckers Texten zur bildenden Kunst (Studia Germanica Gedanensia 38, 2018, S. 95-105)" class="work-thumbnail" src="https://attachments.academia-assets.com/58100072/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/38074020/_Bilder_eigentlich_Worte_eigentlich_Evidenzen_Konturierungen_des_Unsagbaren_in_Friederike_Mayr%C3%B6ckers_Texten_zur_bildenden_Kunst_Studia_Germanica_Gedanensia_38_2018_S_95_105_">„Bilder, eigentlich Worte, eigentlich Evidenzen“ – Konturierungen des Unsagbaren in Friederike Mayröckers Texten zur bildenden Kunst (Studia Germanica Gedanensia 38, 2018, S. 95-105)</a></div><div class="wp-workCard_item"><span>Studia Germanica Gedanensia</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Der Beitrag verortet Friederike Mayröckers Texte zur bildenden Kunst im Kontext des Sprachdenkens...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Der Beitrag verortet Friederike Mayröckers Texte zur bildenden Kunst im Kontext des Sprachdenkens der literarischen Moderne. In der medienreflexiven Literatur zu Beginn des zwanzigsten Jahrhunderts fasziniert das Bild als das Andere der Sprache, es verspricht eine Grenzerweiterung der Sprache ins Unsagbare hinein und birgt ein Evidenzversprechen, das die literarische Sprache nicht mehr einzulösen vermag. Anhand von Textbeispielen wird aufgezeigt, wie Mayröckers Sprache sich am Bild als dem Unsagbaren konturiert.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="d57a039ef569e231af25973fcd8e5632" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":58100072,"asset_id":38074020,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/58100072/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="38074020"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="38074020"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38074020; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=38074020]").text(description); $(".js-view-count[data-work-id=38074020]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 38074020; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='38074020']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "d57a039ef569e231af25973fcd8e5632" } } $('.js-work-strip[data-work-id=38074020]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":38074020,"title":"„Bilder, eigentlich Worte, eigentlich Evidenzen“ – Konturierungen des Unsagbaren in Friederike Mayröckers Texten zur bildenden Kunst (Studia Germanica Gedanensia 38, 2018, S. 95-105)","translated_title":"","metadata":{"volume":"38","abstract":"Der Beitrag verortet Friederike Mayröckers Texte zur bildenden Kunst im Kontext des Sprachdenkens der literarischen Moderne. In der medienreflexiven Literatur zu Beginn des zwanzigsten Jahrhunderts fasziniert das Bild als das Andere der Sprache, es verspricht eine Grenzerweiterung der Sprache ins Unsagbare hinein und birgt ein Evidenzversprechen, das die literarische Sprache nicht mehr einzulösen vermag. Anhand von Textbeispielen wird aufgezeigt, wie Mayröckers Sprache sich am Bild als dem Unsagbaren konturiert. ","page_numbers":"95-105","publication_date":{"day":null,"month":null,"year":2018,"errors":{}},"publication_name":"Studia Germanica Gedanensia"},"translated_abstract":"Der Beitrag verortet Friederike Mayröckers Texte zur bildenden Kunst im Kontext des Sprachdenkens der literarischen Moderne. In der medienreflexiven Literatur zu Beginn des zwanzigsten Jahrhunderts fasziniert das Bild als das Andere der Sprache, es verspricht eine Grenzerweiterung der Sprache ins Unsagbare hinein und birgt ein Evidenzversprechen, das die literarische Sprache nicht mehr einzulösen vermag. Anhand von Textbeispielen wird aufgezeigt, wie Mayröckers Sprache sich am Bild als dem Unsagbaren konturiert. 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In der medienreflexiven Literatur zu Beginn des zwanzigsten Jahrhunderts fasziniert das Bild als das Andere der Sprache, es verspricht eine Grenzerweiterung der Sprache ins Unsagbare hinein und birgt ein Evidenzversprechen, das die literarische Sprache nicht mehr einzulösen vermag. Anhand von Textbeispielen wird aufgezeigt, wie Mayröckers Sprache sich am Bild als dem Unsagbaren konturiert. ","owner":{"id":33006035,"first_name":"Beate","middle_initials":null,"last_name":"Sommerfeld","page_name":"BeateSommerfeld","domain_name":"amu","created_at":"2015-07-12T10:37:55.155-07:00","display_name":"Beate Sommerfeld","url":"https://amu.academia.edu/BeateSommerfeld"},"attachments":[{"id":58100072,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/58100072/thumbnails/1.jpg","file_name":"B-Sommerfeld_SGG_38_1.pdf","download_url":"https://www.academia.edu/attachments/58100072/download_file","bulk_download_file_name":"Bilder_eigentlich_Worte_eigentlich_Evid.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/58100072/B-Sommerfeld_SGG_38_1-libre.pdf?1546432726=\u0026response-content-disposition=attachment%3B+filename%3DBilder_eigentlich_Worte_eigentlich_Evid.pdf\u0026Expires=1743666407\u0026Signature=H7MaHg2PI35DmE18DREKjkG0B3V42ikdlj7~aZ3ZwvSg48zYMLdNSLNVmZDbpXEqP8Xoi62nlallgxxyE34wVABTESU7Vro-TqwSe~IpA3qIpIoKTfdG7SXOMOiVhOJvJ8Ly-OYHQEO4LDNVp7NkPP09omWPzatHZKfkdRWTUPtX9ALyFviGZ4E6wgvN9QI7IOfpYM1JMXmQatXn~jcbsWP0givaoisRd2YLvoa75Qi71Key-8jIJSM5Y65EVixkwbtv0KjvZnpKcQnQyl4Z8R1pACZ4x6rPtJdnQJWDlNJIUeimKkriW~l9FVuqwDSG~2BaQPUn9Ope3R-Z7F2nag__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":3242,"name":"Intermediality","url":"https://www.academia.edu/Documents/in/Intermediality"},{"id":3887,"name":"Word and Image Studies","url":"https://www.academia.edu/Documents/in/Word_and_Image_Studies"},{"id":14732,"name":"Ekphrasis","url":"https://www.academia.edu/Documents/in/Ekphrasis"},{"id":17230,"name":"Austrian Literature","url":"https://www.academia.edu/Documents/in/Austrian_Literature"},{"id":579109,"name":"Literatur und Bildende Kunst","url":"https://www.academia.edu/Documents/in/Literatur_und_Bildende_Kunst"},{"id":700933,"name":"Intermedialität","url":"https://www.academia.edu/Documents/in/Intermedialitat"},{"id":1381649,"name":"Friederike Mayröcker","url":"https://www.academia.edu/Documents/in/Friederike_Mayrocker"},{"id":2762272,"name":"Österreichische Geschichte","url":"https://www.academia.edu/Documents/in/%C3%96sterreichische_Geschichte"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-38074020-figures'); } }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="8580017" id="books"><div class="js-work-strip profile--work_container" data-work-id="114557654"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/114557654/Trajektorien_der_%C3%B6sterreichischen_Gegenwartsliteratur_Inhaltsverzeichnis"><img alt="Research paper thumbnail of Trajektorien der österreichischen Gegenwartsliteratur. Inhaltsverzeichnis" class="work-thumbnail" src="https://attachments.academia-assets.com/111225228/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/114557654/Trajektorien_der_%C3%B6sterreichischen_Gegenwartsliteratur_Inhaltsverzeichnis">Trajektorien der österreichischen Gegenwartsliteratur. Inhaltsverzeichnis</a></div><div class="wp-workCard_item"><span>Trajektorien der österreichischen Gegenwartsliteratur</span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Der von Beate Sommerfeld herausgegebene Band versammelt Fallstudien zu österreichischen Gegenwart...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Der von Beate Sommerfeld herausgegebene Band versammelt Fallstudien zu österreichischen Gegenwartsautor*innen, die aktuelle Tendenzen der österreichischen Literatur vertreten und exemplarisch jene Bewegungsbahnen nachzeichnen, die neuere Texte aus Österreich durchziehen. Die Trajektorien, denen der Band folgt, sind der Weg von der Moderne zur Postmoderne und darüber hinaus, es sind die im Zuge der Postmoderne verschwimmenden Identitäten und Geschlechterrollen sowie der Wandel des Verhältnisses zur Natur im Zeichen eines Posthumanismus, der ein humanistisch-aufklärerisches Menschenbild hinterfragt. Autor*innen, denen sich die Aufsätze widmen, sind u.a. Robert Menasse, Martin Pollack, Peter Handke, Gustav Ernst, Belmen O, Daniel Kehlmann, Cordula Simon, Isabella Breier, Barbara Frischmuth, Anna Mitgutsch, Christoph Ransmayr sowie Friederike Mayröcker und der Filmemacher Michael Haneke.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="52aefb49c8db1cf3c327e070929e1592" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":111225228,"asset_id":114557654,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/111225228/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="114557654"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="114557654"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 114557654; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=114557654]").text(description); $(".js-view-count[data-work-id=114557654]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 114557654; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='114557654']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "52aefb49c8db1cf3c327e070929e1592" } } $('.js-work-strip[data-work-id=114557654]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":114557654,"title":"Trajektorien der österreichischen Gegenwartsliteratur. Inhaltsverzeichnis","translated_title":"","metadata":{"abstract":"Der von Beate Sommerfeld herausgegebene Band versammelt Fallstudien zu österreichischen Gegenwartsautor*innen, die aktuelle Tendenzen der österreichischen Literatur vertreten und exemplarisch jene Bewegungsbahnen nachzeichnen, die neuere Texte aus Österreich durchziehen. Die Trajektorien, denen der Band folgt, sind der Weg von der Moderne zur Postmoderne und darüber hinaus, es sind die im Zuge der Postmoderne verschwimmenden Identitäten und Geschlechterrollen sowie der Wandel des Verhältnisses zur Natur im Zeichen eines Posthumanismus, der ein humanistisch-aufklärerisches Menschenbild hinterfragt. Autor*innen, denen sich die Aufsätze widmen, sind u.a. Robert Menasse, Martin Pollack, Peter Handke, Gustav Ernst, Belmen O, Daniel Kehlmann, Cordula Simon, Isabella Breier, Barbara Frischmuth, Anna Mitgutsch, Christoph Ransmayr sowie Friederike Mayröcker und der Filmemacher Michael Haneke.","publication_date":{"day":null,"month":null,"year":2023,"errors":{}},"publication_name":"Trajektorien der österreichischen Gegenwartsliteratur"},"translated_abstract":"Der von Beate Sommerfeld herausgegebene Band versammelt Fallstudien zu österreichischen Gegenwartsautor*innen, die aktuelle Tendenzen der österreichischen Literatur vertreten und exemplarisch jene Bewegungsbahnen nachzeichnen, die neuere Texte aus Österreich durchziehen. 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Die Erwartungen an die Übersetzungswissenschaft sind heute hoch, zumal die Translationswissenschaft sich als eine recht heterogene Theorielandschaft darbietet. Der stetig anwachsende Fundus an theoretischen Arbeiten lässt es angeraten erscheinen, den Forschungsstand von Zeit zu Zeit zu hinterfragen und eine (selbst-)kritische Zwischenbilanz zu ziehen. Dies wollen die im Band versammelten Beiträge aus der Perspektive junger TranslationswissenschaftlerInnen versuchen. Sie rücken den Übersetzungsprozess als ein komponentenreiches und aspektreiches Handlungsgefüge in den Blick, der sich damit auch einfacher und eindeutiger Bewertung entziehen muss.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="6d4514e3da7155ef8c489b3983f19514" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":68294827,"asset_id":50232714,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/68294827/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="50232714"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="50232714"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 50232714; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=50232714]").text(description); $(".js-view-count[data-work-id=50232714]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 50232714; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='50232714']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "6d4514e3da7155ef8c489b3983f19514" } } $('.js-work-strip[data-work-id=50232714]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":50232714,"title":"Facetten der literarischen Übersetzung","translated_title":"","metadata":{"doi":"10.14746/9788394760984","abstract":"Der vorliegende Band versammelt eine Reihe von theoretischen Zugriffen und Fallstudien zu Problemfeldern der literarischen Übersetzung. 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Beate Sommerfeld / Eliza Pieciul-Karmińska / Michael Düring (Hrsg.)" class="work-thumbnail" src="https://attachments.academia-assets.com/65327686/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44825523/Kulturelle_Diversit%C3%A4t_in_der_Kinder_und_Jugendliteratur_%C3%9Cbersetzung_und_Rezeption_Beate_Sommerfeld_Eliza_Pieciul_Karmi%C5%84ska_Michael_D%C3%BCring_Hrsg_">Kulturelle Diversität in der Kinder-und Jugendliteratur: Übersetzung und Rezeption. Beate Sommerfeld / Eliza Pieciul-Karmińska / Michael Düring (Hrsg.)</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://amu.academia.edu/BeateSommerfeld">Beate Sommerfeld</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://amu.academia.edu/ElizaKarminska">Eliza Pieciul-Karmińska</a></span></div><div class="wp-workCard_item"><span>Kulturelle Diversität in der Kinder- und Jugendliteratur: Übersetzung und Rezeption. Beate Sommerfeld / Eliza Pieciul-Karmińska / Michael Düring (Hrsg.)</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Die Beiträge des Bandes erkunden die Möglichkeiten und Bedingungen kultureller Diversität und Alt...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Die Beiträge des Bandes erkunden die Möglichkeiten und Bedingungen kultureller Diversität und Alteritätserfahrungen in der Kinder-und Jugendliteratur. Es wird der Frage nachgegangen, wie sich in kinderliterarischen Texten die Heranführung an das Fremde vollzieht und kulturelle Vielfalt eingeübt wird, oder aber die Begegnung mit anderen Kulturen kanalisiert, instrumentalisiert und ideologisiert wird. Die Beiträge diskutieren Rezeptionsbarrieren aufgrund kultureller Asymmetrien und Tabu-Themen sowie Ideologisierung der Kinder-und Jugendliteratur. Erörtert werden Purifikationen in der Übersetzung, Graphic Novels und illustrierte Kinderbücher im Kulturtransfer sowie der Status von Kinderliteratur zwischen National-und Weltliteratur. Die Herausgeber Beate Sommerfeld ist Professorin für Germanistische Literatur-und Überset-zungswissenschaft an der Adam-Mickiewicz-Universität in Poznań. Sie forscht zur österreichischen Literatur seit der Wiener Moderne, Intermedialität und Übersetzungstheorie. Eliza Pieciul-Karmińska ist Professorin für Germanistische Sprach-und Über-setzungswissenschaft an der Adam-Mickiewicz-Universität in Poznań. Sie forscht zur Übersetzung der Kinder-und-Hausmärchen der Brüder Grimm, Übersetzung der Kinder-und Jugendliteratur und Übersetzungstheorie. Michael Düring ist Professor für Slavistische Kultur-und Literaturwissenschaft an der Christian-Albrechts-Universität zu Kiel und Verfasser zahlreicher Studi-en zur polnischen, russischen und tschechischen Literatur. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-44825523-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="38062562"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/38062562/Facetten_der_literarischen_%C3%9Cbersetzung"><img alt="Research paper thumbnail of Facetten der literarischen Übersetzung" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title">Facetten der literarischen Übersetzung</div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Der vorliegende Band versammelt eine Reihe von theoretischen Zugriffen und Fallstudien zu Problem...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Der vorliegende Band versammelt eine Reihe von theoretischen Zugriffen und Fallstudien zu Problemfeldern der literarischen Übersetzung. Die Erwartungen an die Übersetzungswissenschaft sind heute hoch, zumal die Translationswissenschaft sich als eine recht heterogene Theorielandschaft darbietet. Der stetig anwachsende Fundus an theoretischen Arbeiten lässt es angeraten erscheinen, den Forschungsstand von Zeit zu Zeit zu hinterfragen und eine (selbst-)kritische Zwischenbilanz zu ziehen. Dies wollen die im Band versammelten Beiträge aus der Perspektive junger TranslationswissenschaftlerInnen versuchen. Sie rücken den Übersetzungsprozess als ein komponentenreiches und aspektreiches Handlungsgefüge in den Blick, der sich damit auch einfacher und eindeutiger Bewertung entziehen muss.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="38062562"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="38062562"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38062562; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=38062562]").text(description); $(".js-view-count[data-work-id=38062562]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 38062562; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='38062562']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=38062562]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":38062562,"title":"Facetten der literarischen Übersetzung","translated_title":"","metadata":{"doi":"10.14746/9788394760984","abstract":"Der vorliegende Band versammelt eine Reihe von theoretischen Zugriffen und Fallstudien zu Problemfeldern der literarischen Übersetzung. Die Erwartungen an die Übersetzungswissenschaft sind heute hoch, zumal die Translationswissenschaft sich als eine recht heterogene Theorielandschaft darbietet. Der stetig anwachsende Fundus an theoretischen Arbeiten lässt es angeraten erscheinen, den Forschungsstand von Zeit zu Zeit zu hinterfragen und eine (selbst-)kritische Zwischenbilanz zu ziehen. Dies wollen die im Band versammelten Beiträge aus der Perspektive junger TranslationswissenschaftlerInnen versuchen. Sie rücken den Übersetzungsprozess als ein komponentenreiches und aspektreiches Handlungsgefüge in den Blick, der sich damit auch einfacher und eindeutiger Bewertung entziehen muss. ","publication_date":{"day":null,"month":null,"year":2018,"errors":{}}},"translated_abstract":"Der vorliegende Band versammelt eine Reihe von theoretischen Zugriffen und Fallstudien zu Problemfeldern der literarischen Übersetzung. Die Erwartungen an die Übersetzungswissenschaft sind heute hoch, zumal die Translationswissenschaft sich als eine recht heterogene Theorielandschaft darbietet. Der stetig anwachsende Fundus an theoretischen Arbeiten lässt es angeraten erscheinen, den Forschungsstand von Zeit zu Zeit zu hinterfragen und eine (selbst-)kritische Zwischenbilanz zu ziehen. Dies wollen die im Band versammelten Beiträge aus der Perspektive junger TranslationswissenschaftlerInnen versuchen. Sie rücken den Übersetzungsprozess als ein komponentenreiches und aspektreiches Handlungsgefüge in den Blick, der sich damit auch einfacher und eindeutiger Bewertung entziehen muss. ","internal_url":"https://www.academia.edu/38062562/Facetten_der_literarischen_%C3%9Cbersetzung","translated_internal_url":"","created_at":"2018-12-30T14:12:18.311-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":33006035,"coauthors_can_edit":true,"document_type":"book","co_author_tags":[],"downloadable_attachments":[],"slug":"Facetten_der_literarischen_Übersetzung","translated_slug":"","page_count":null,"language":"de","content_type":"Work","summary":"Der vorliegende Band versammelt eine Reihe von theoretischen Zugriffen und Fallstudien zu Problemfeldern der literarischen Übersetzung. Die Erwartungen an die Übersetzungswissenschaft sind heute hoch, zumal die Translationswissenschaft sich als eine recht heterogene Theorielandschaft darbietet. Der stetig anwachsende Fundus an theoretischen Arbeiten lässt es angeraten erscheinen, den Forschungsstand von Zeit zu Zeit zu hinterfragen und eine (selbst-)kritische Zwischenbilanz zu ziehen. Dies wollen die im Band versammelten Beiträge aus der Perspektive junger TranslationswissenschaftlerInnen versuchen. Sie rücken den Übersetzungsprozess als ein komponentenreiches und aspektreiches Handlungsgefüge in den Blick, der sich damit auch einfacher und eindeutiger Bewertung entziehen muss. ","owner":{"id":33006035,"first_name":"Beate","middle_initials":null,"last_name":"Sommerfeld","page_name":"BeateSommerfeld","domain_name":"amu","created_at":"2015-07-12T10:37:55.155-07:00","display_name":"Beate Sommerfeld","url":"https://amu.academia.edu/BeateSommerfeld"},"attachments":[],"research_interests":[{"id":1186,"name":"Translation Studies","url":"https://www.academia.edu/Documents/in/Translation_Studies"}],"urls":[{"id":8664971,"url":"http://hdl.handle.net/10593/24228"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-38062562-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="37373167"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/37373167/Problemfelder_der_literarischen_%C3%9Cbersetzungsanalyse_Lehr_und_%C3%9Cbungsbuch_f%C3%BCr_Studierende_und_Lehrende_der_Translationswissenschaft"><img alt="Research paper thumbnail of Problemfelder der literarischen Übersetzungsanalyse. Lehr‐ und Übungsbuch für Studierende und Lehrende der Translationswissenschaft" class="work-thumbnail" src="https://attachments.academia-assets.com/57335133/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/37373167/Problemfelder_der_literarischen_%C3%9Cbersetzungsanalyse_Lehr_und_%C3%9Cbungsbuch_f%C3%BCr_Studierende_und_Lehrende_der_Translationswissenschaft">Problemfelder der literarischen Übersetzungsanalyse. Lehr‐ und Übungsbuch für Studierende und Lehrende der Translationswissenschaft</a></div><div class="wp-workCard_item"><span>Poznań Wydawnictwo Naukowe UAM 2015, ISBN: 978-83-232-2910-0</span><span>, 2015</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Das Unterrichtswerk versteht sich als Handreichung für Studierende und Lehren-de im Bereich der l...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Das Unterrichtswerk versteht sich als Handreichung für Studierende und Lehren-de im Bereich der literarischen Übersetzungsanalyse. In didaktisch durchdachten Arbeitsschritten und Übungen wird Hilfestellung beim Einstieg in die literarische Übersetzungsanalyse geleistet. Ausgangspunkt der praktisch vorgeführten Analysen ist jeweils ein Problemaufriss innerhalb der Gesamtproblematik der literarischen Übersetzung. Anhand konkreter Fallbeispiele wird eine Bewertung vorliegender Übersetzungen versucht. Von den Modellanalysen wird zu Übungstexten hingeleitet, die von den Studierenden selbstständig zu bearbeiten sind. Hilfsfragen leiten hier noch einmal gezielt bei der analytischen Arbeit an. Jedes Kapitel wird mit einem Verzeichnis weiterführender Literatur zum jeweiligen Problemfeld ab-gerundet. Die Kapitel des Lehrbuchs bieten insofern zahlreiche Anregungen zur Konzipierung eigener Forschungsvorhaben.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="1058793fe939527a104068c86a206628" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57335133,"asset_id":37373167,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57335133/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37373167"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37373167"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37373167; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=37373167]").text(description); $(".js-view-count[data-work-id=37373167]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 37373167; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='37373167']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "1058793fe939527a104068c86a206628" } } $('.js-work-strip[data-work-id=37373167]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":37373167,"title":"Problemfelder der literarischen Übersetzungsanalyse. 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Modelle, Perspektiven, Didaktik" class="work-thumbnail" src="https://attachments.academia-assets.com/57329581/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/37367999/%C3%9Cbersetzungskritik_Modelle_Perspektiven_Didaktik">Übersetzungskritik. Modelle, Perspektiven, Didaktik</a></div><div class="wp-workCard_item"><span>Übersetzungskritik. Modelle, Perspektiven, Didaktik. Poznan: Wydawnictwo Naukowe UAM 2016, ISBN: 978-83-232-3112-7 </span><span>, 2016</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Im vorliegenden Band werden die wichtigsten translationswissenschaftlichen Ansätze und die daraus...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Im vorliegenden Band werden die wichtigsten translationswissenschaftlichen Ansätze und die daraus entwickelten Modelle für die Übersetzungskritik dargestellt und einer kritischen Revision unterzogen. Dabei wird dem Wandel Rechnung getragen, der sich derzeit in der Übersetzungslandschaft anbahnt und die Translatkritik vor neue Herausforderungen stellt. Ziel ist es, das Thema Evaluierung in einer Form anzusprechen, die es den Praktikern erlaubt, Modellbildungen und Resultate auf ihre Arbeit zu beziehen, um so die Qualität von übersetzerischen Leistungen zu verbessern. Übersetzungsqualität wird zuallererst mittels übersetzungsdidaktischer Anstrengungen gesteigert. Deshalb werden die den einzelnen Modellen innewohnenden Möglichkeiten didaktischer Applizierbarkeit erwogen und Fragen nach ihrem Stellenwert in der universitären Lehre aufgeworfen.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="9543a1ff76bdcbb8843dd270ecfbc106" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57329581,"asset_id":37367999,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57329581/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37367999"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37367999"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37367999; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=37367999]").text(description); $(".js-view-count[data-work-id=37367999]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 37367999; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='37367999']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "9543a1ff76bdcbb8843dd270ecfbc106" } } $('.js-work-strip[data-work-id=37367999]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":37367999,"title":"Übersetzungskritik. 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Die Tagebuchaufzeichnungen Hugo von Hofmannsthals, Robert Musils und Franz Kafkas</a></div><div class="wp-workCard_item"><span>Frankfurt a.M.: Peter Lang-Verlag 2013, ISBN 978-3-631-63932-0</span><span>, 2013</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Schreiben auf einer "einfachen Bühne"-Dialogische Selbstverständigung über das Schreiben zwischen...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Schreiben auf einer "einfachen Bühne"-Dialogische Selbstverständigung über das Schreiben zwischen der Performanz des Schreibakts und der "Übermacht des Fixierten" ..... 3.3 Von der Autobiographie zur "Wanzengeschichte"-Kafkas in den Quartheften dokumentierte Lektüren als Modelle narrativer Lebenskonfiguration .</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="201c86795a5062f798baff81874fc034" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":67700483,"asset_id":37372977,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/67700483/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37372977"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37372977"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37372977; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=37372977]").text(description); $(".js-view-count[data-work-id=37372977]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 37372977; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='37372977']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "201c86795a5062f798baff81874fc034" } } $('.js-work-strip[data-work-id=37372977]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":37372977,"title":"Zwischen Augenblicksnotat und Lebensbilanz. 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data-click-track="profile-work-strip-title" href="https://www.academia.edu/37458387/CFP_Internationale_Konferenz_Kulturelle_Diversit%C3%A4t_in_der_Kinder_und_Jugendliteratur_%C3%9Cbersetzung_und_Rezeption">CFP: Internationale Konferenz: Kulturelle Diversität in der Kinder-und Jugendliteratur – Übersetzung und Rezeption</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">transkulturelle Prozesse in der Übersetzung und Rezeption von Kinder-und Jugendliteratur. Dabei s...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">transkulturelle Prozesse in der Übersetzung und Rezeption von Kinder-und Jugendliteratur. Dabei soll der Begriff der kulturellen Diversität im Zentrum stehen und mit neuen Inhalten gefüllt werden. Die Existenz eines internationalen Marktes für Kinder-und Jugendliteratur impliziert ja keineswegs, wie von O'Sullivan (2000) nachgewiesen, eine Begegnung zwischen den Kulturen der einzelnen Länder. Die Frage, ob in den Gegebenheiten des globalen Marktes überhaupt noch Raum für Alteritätserfahrungen und genuine Kulturkontakte bleibt, soll am Beispiel der Übersetzung und Rezeption von KJL zugespitzt werden. So soll untersucht werden, wie sich in der Kinder-und Jugendliteratur die Heranführung an das Fremde vollzieht und Fremdheitserfahrung ‚eingeübt' wird. Hier geht es zunächst um die Repräsentation der eigenen und fremden Kultur und deren Konstanz und Wandel. 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Interpretationskategorien einer kulturorientierten Literaturwissenschaft (= Danziger Beiträge zur Germanistik, Bd. 56). Peter Lang, Berlin 2018 (Rezension)" class="work-thumbnail" src="https://attachments.academia-assets.com/67713797/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/49339884/Katarzyna_Lukas_Fremdheit_Ged%C3%A4chtnis_Translation_Interpretationskategorien_einer_kulturorientierten_Literaturwissenschaft_Danziger_Beitr%C3%A4ge_zur_Germanistik_Bd_56_Peter_Lang_Berlin_2018_Rezension_">Katarzyna Lukas: Fremdheit, Gedächtnis, Translation. Interpretationskategorien einer kulturorientierten Literaturwissenschaft (= Danziger Beiträge zur Germanistik, Bd. 56). Peter Lang, Berlin 2018 (Rezension)</a></div><div class="wp-workCard_item"><span>Germanica Wratislaviensia 145, </span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Man darf hierbei Zbigniew Herberts Gedicht "Die Kraft des Geschmacks" ("Potęga smaku", 1983) in ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Man darf hierbei Zbigniew Herberts Gedicht "Die Kraft des Geschmacks" ("Potęga smaku", 1983) in diesem Zusammenhang erwähnen; dort gehört die "Gestalt von Architektur" im Ostblock zu den Gründen, die es einem erleichtern konnten, die Gefahren des Dissidententums auf sich zu nehmen.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="c9c0203d506c0ce2b30c1995128e6592" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":67713797,"asset_id":49339884,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/67713797/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="49339884"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="49339884"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 49339884; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=49339884]").text(description); $(".js-view-count[data-work-id=49339884]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 49339884; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='49339884']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "c9c0203d506c0ce2b30c1995128e6592" } } $('.js-work-strip[data-work-id=49339884]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":49339884,"title":"Katarzyna Lukas: Fremdheit, Gedächtnis, Translation. 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