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Ludwig Dietz: Attributionen an Musil und Borchardt Astrid Lange-Kirchheim: Zwei frühe Rezensionen zu Arthur Schnitzlers Spätwerk Elsbeth Dangel-Pelloquin: Ein Spiel von Original und Fälschung in »Die Lästigen« Heinz Hiebler: Hofmannsthal und die Medienkultur der Moderne Bernhard Neuhoff: Ritual und Trauma bei Benjamin, Freud und Hofmannsthal Gabriele Brandstetter: Die Szene des Virtuosen Caroline Pross: Das Gesetz der Reihe in Schnitzlers »Reigen« Otto Neudeck und Gabriele Scheidt: Zerfall und Restituierung des Subjekts im dramatischen Werk Arthur Schnitzlers Isak Winkel Holm: Franz Kafkas Metaphern Bernd Stiegler: Raoul Hausmanns Theorie der Optophonetik Heiko Christians: Handkes »Poetik der Verlangsamung«
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Franz Kafka --- littérature polonaise --- Théâtre
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Ludwig Dietz: Attributionen an Musil und Borchardt Astrid Lange-Kirchheim: Zwei frühe Rezensionen zu Arthur Schnitzlers Spätwerk Elsbeth Dangel-Pelloquin: Ein Spiel von Original und Fälschung in »Die Lästigen« Heinz Hiebler: Hofmannsthal und die Medienkultur der Moderne Bernhard Neuhoff: Ritual und Trauma bei Benjamin, Freud und Hofmannsthal Gabriele Brandstetter: Die Szene des Virtuosen Caroline Pross: Das Gesetz der Reihe in Schnitzlers »Reigen« Otto Neudeck und Gabriele Scheidt: Zerfall und Restituierung des Subjekts im dramatischen Werk Arthur Schnitzlers Isak Winkel Holm: Franz Kafkas Metaphern Bernd Stiegler: Raoul Hausmanns Theorie der Optophonetik Heiko Christians: Handkes »Poetik der Verlangsamung«
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Ludwig Dietz: Attributionen an Musil und Borchardt Astrid Lange-Kirchheim: Zwei frühe Rezensionen zu Arthur Schnitzlers Spätwerk Elsbeth Dangel-Pelloquin: Ein Spiel von Original und Fälschung in »Die Lästigen« Heinz Hiebler: Hofmannsthal und die Medienkultur der Moderne Bernhard Neuhoff: Ritual und Trauma bei Benjamin, Freud und Hofmannsthal Gabriele Brandstetter: Die Szene des Virtuosen Caroline Pross: Das Gesetz der Reihe in Schnitzlers »Reigen« Otto Neudeck und Gabriele Scheidt: Zerfall und Restituierung des Subjekts im dramatischen Werk Arthur Schnitzlers Isak Winkel Holm: Franz Kafkas Metaphern Bernd Stiegler: Raoul Hausmanns Theorie der Optophonetik Heiko Christians: Handkes »Poetik der Verlangsamung«
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This new collection of J. Hillis Miller’s essays centres on the question “why and to what end should we read, teach, and spend our time with literary and/or cultural studies?” At a time when electronic media seem to dominate the market completely, and jobs follow the money flows into electronic and technical fields, literary and cultural studies might appear as a decorative addenda but not really necessary for the process of growth and development, neither in business nor in the area of personal development. This question is not really new, it has many facets, requires differentiated answers which depend and mirror the political and cultural climate of a society.
Literature & literary studies --- Cultural studies --- cultural studies --- literary studies --- literaturwissenschaft --- kulturwissenschaft --- Franz Kafka --- Lyrik
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What is a problem? What's asked in that question, and how does one even begin to take its measure? How else could one begin, except as one does with any other problem--by way of its impulsion. Of Learned Ignorance: Idea of a Treatise in Philosophy is about philosophy because philosophy is about problems: philosophy, in a word, is where problems become a problem. After Anti-Oedipus, in the Kafka book and in A Thousand Plateaus, what Deleuze and Guattari counsel, strikingly, is sobriety. Sobriety is what they praise in Kafka. And it is sobriety that seems above all else to be necessary here. (Steven Shaviro has pointed out the prominence of structure in Deleuze's writing: "even when Deleuze's prose, by himself or with Guattari, seems to be ranging anarchically all over the place, in fact it has a rigid and unvarying architecture, which is what keeps it from falling apart.") Of Learned Ignorance is a dead letter because it names a problem. It's a dead letter because it is, cautiously, a love letter. It's a dead letter because it lovingly stages an experiment in whimsy, and perhaps above all, because it is problematic (in the Kantian sense): It is a (sober) attempt at exemplifying what it talks about -- and what eludes it: A series of footnotes, with blank (transcriptive) pages above, effects something like the integration of a differential, the reciprocal determination where the sources enter into in relation to one another in order to produce a paper, essay, or (inexistent) (chap)book. Of Learned Ignorance, in facing down a problem, makes a wager; it courts failure; it puts it all on the line. All, yes, for love -- a kind of love ... (of wisdom?).
Philosophy (General) --- philosophy --- Emmanuel Kant --- Franz Kafka --- Louis Althusser --- Gilles Deleuze --- Felix Guattari
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What is a problem? What's asked in that question, and how does one even begin to take its measure? How else could one begin, except as one does with any other problem--by way of its impulsion. Of Learned Ignorance: Idea of a Treatise in Philosophy is about philosophy because philosophy is about problems: philosophy, in a word, is where problems become a problem. After Anti-Oedipus, in the Kafka book and in A Thousand Plateaus, what Deleuze and Guattari counsel, strikingly, is sobriety. Sobriety is what they praise in Kafka. And it is sobriety that seems above all else to be necessary here. (Steven Shaviro has pointed out the prominence of structure in Deleuze's writing: "even when Deleuze's prose, by himself or with Guattari, seems to be ranging anarchically all over the place, in fact it has a rigid and unvarying architecture, which is what keeps it from falling apart.") Of Learned Ignorance is a dead letter because it names a problem. It's a dead letter because it is, cautiously, a love letter. It's a dead letter because it lovingly stages an experiment in whimsy, and perhaps above all, because it is problematic (in the Kantian sense): It is a (sober) attempt at exemplifying what it talks about -- and what eludes it: A series of footnotes, with blank (transcriptive) pages above, effects something like the integration of a differential, the reciprocal determination where the sources enter into in relation to one another in order to produce a paper, essay, or (inexistent) (chap)book. Of Learned Ignorance, in facing down a problem, makes a wager; it courts failure; it puts it all on the line. All, yes, for love -- a kind of love ... (of wisdom?).
Philosophy (General) --- philosophy --- Emmanuel Kant --- Franz Kafka --- Louis Althusser --- Gilles Deleuze --- Felix Guattari
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What is a problem? What's asked in that question, and how does one even begin to take its measure? How else could one begin, except as one does with any other problem--by way of its impulsion. Of Learned Ignorance: Idea of a Treatise in Philosophy is about philosophy because philosophy is about problems: philosophy, in a word, is where problems become a problem. After Anti-Oedipus, in the Kafka book and in A Thousand Plateaus, what Deleuze and Guattari counsel, strikingly, is sobriety. Sobriety is what they praise in Kafka. And it is sobriety that seems above all else to be necessary here. (Steven Shaviro has pointed out the prominence of structure in Deleuze's writing: "even when Deleuze's prose, by himself or with Guattari, seems to be ranging anarchically all over the place, in fact it has a rigid and unvarying architecture, which is what keeps it from falling apart.") Of Learned Ignorance is a dead letter because it names a problem. It's a dead letter because it is, cautiously, a love letter. It's a dead letter because it lovingly stages an experiment in whimsy, and perhaps above all, because it is problematic (in the Kantian sense): It is a (sober) attempt at exemplifying what it talks about -- and what eludes it: A series of footnotes, with blank (transcriptive) pages above, effects something like the integration of a differential, the reciprocal determination where the sources enter into in relation to one another in order to produce a paper, essay, or (inexistent) (chap)book. Of Learned Ignorance, in facing down a problem, makes a wager; it courts failure; it puts it all on the line. All, yes, for love -- a kind of love ... (of wisdom?).
Philosophy (General) --- philosophy --- Emmanuel Kant --- Franz Kafka --- Louis Althusser --- Gilles Deleuze --- Felix Guattari
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This edited volume presents theoretical concepts of space from disciplines such as philosophy, literary studies, cultural studies and social sciences by applying them to one literary text: Franz Kafka's "Der Bau". Theoretical basics of current spatial theories are introduced and compared, and their usefulness in relation to literary texts is reflected upon critically. This volume functions as a companion to current debates on the cultural production of space, while at the same time delivering profound contributions to research on Kafka's works.
Space in literature. --- Space and time in literature. --- Kafka, Franz, --- Franz Kafka. --- Introduction. --- Space. --- Spatial Turn.
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Jonathan Kassner widmet sich dem Thema der Hundefiguren in der Literatur aus ästhetischer und ideengeschichtlicher Sicht. Er nimmt seinen Ausgang von der klassischen Ästhetik, die die Auseinandersetzung mit Tieren und der menschlichen Tierlichkeit führt, um stets den autonomen Geist über die Natur triumphieren zu lassen. Dagegen artikuliert sich parallel in der Literatur durch Tierfiguren, und insbesondere durch Hunde, ein Gegendiskurs zum vorherrschenden Idealismus der Zeit. Der Autor liest Hunde als poetologische Reflexionsfiguren, mit denen Autoren wie Goethe und Jean Paul und in der Moderne Kafka und Thomas Mann sowohl ästhetische als auch ontologische Fragen verhandeln. Er rekonstruiert in textnahen Lektüren den Übergang von der humanistischen Ästhetik der Klassiker zu einer Ästhetik der Kreatur, deren Spur er vom Faust bis zum Doktor Faustus verfolgt.
Animal Studies --- Hunde --- Ästhetik --- Kreatürlichkeit --- Tiere --- Johann Wolfgang Goethe --- Jean Paul --- Franz Kafka --- Thomas Mann --- Goethezeit --- Moderne
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