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  1. Tension in/between aesthetics, politics, and physics
    Autor*in: Holzhey, Christoph F. E.
    Erschienen: 15.10.2019

    The article sketches a critical paradigm for interdisciplinary work that is centred on tension as a highly ambiguous and ultimately deeply paradoxical notion. It highlights that a unifying account of what tension is or a systematic classification of... mehr

     

    The article sketches a critical paradigm for interdisciplinary work that is centred on tension as a highly ambiguous and ultimately deeply paradoxical notion. It highlights that a unifying account of what tension is or a systematic classification of its diverse meanings would risk resolving tensions between different approaches and privileging a particular mode of doing so. Successively focussing on aesthetic, socio-political, and physical tensions, the essay articulates tension rather as a broad umbrella term that is stretched by multi-perspectival articulations, unified through its intensive surface tension, and at the same time full of transformative and generative potentials. In particular, it proposes that tensions between different cultural or disciplinary fields can be made productive by inducing tensions within each field so that different fields can be related to each other on the basis of tension rather than some substantial commonality.

     
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    Hinweise zum Inhalt: kostenfrei
    Quelle: CompaRe
    Sprache: Englisch
    Medientyp: Teil eines Buches (Kapitel); Teil eines Buches (Kapitel)
    Format: Online
    ISBN: 978-3-85132-616-1
    DDC Klassifikation: Literatur und Rhetorik (800)
    Sammlung: ICI Berlin
    Schlagworte: Spannung; Ästhetik; Politik; Physik; Feldtheorie
    Lizenz:

    creativecommons.org/licenses/by-sa/3.0/de/deed.de

    ;

    info:eu-repo/semantics/openAccess
  2. Cinematographic aesthetics as subversion of moral reason in Pasolini's "Medea"
    Autor*in: Deuber-Mankowsky, Astrid
    Erschienen: 11.12.2019

    Astrid Deuber-Mankowsky's paper 'Cinematographic Aesthetics as Subversion of Moral Reason in Pasolini's Medea' explores the 1969 film "Medea". Pasolini's Medea, masterfully played by Maria Callas, betrays her homeland and her origin, stabs both her... mehr

     

    Astrid Deuber-Mankowsky's paper 'Cinematographic Aesthetics as Subversion of Moral Reason in Pasolini's Medea' explores the 1969 film "Medea". Pasolini's Medea, masterfully played by Maria Callas, betrays her homeland and her origin, stabs both her children, sets her house on fire, and dispossesses Jason of his sons' corpses. But Deuber-Mankowsky argues that it is ultimately not these acts that render the film particularly disturbing and disconcerting, but, rather, the fact that the spectator is left behind in suspension precisely because Medea cannot be easily condemned for her acts. Pasolini's film and its cinematographic aesthetics thereby not only subvert the projection of Medea into the prehistorical world of madness and perversion, but also undermine belief in the validity of the kind of moral rationality developed and constituted in an exemplary way by Immanuel Kant in his "Critique of Practical Reason". In particular, Pasolini seems to relate conceptually to Nietzsche's artistic-philosophical transfiguration of Dionysus and to accuse belief in a world of reasons of failing to grasp the groundlessness, irrationality, or even a-rationality of reason itself.

     
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  3. 'La vera diversità' : multistability, circularity, and abjection in Pasolini's "Pilade"
    Autor*in: Holzhey, Christoph F. E.
    Erschienen: 16.12.2019

    Before completing his uncharacteristically hopeful filmic vision of an African Oresteia, Pier Paolo Pasolini invented a theatrical continuation of Aeschylus's trilogy. "Pilade" (1966/70) imagines what happens after Orestes, having being absolved by... mehr

     

    Before completing his uncharacteristically hopeful filmic vision of an African Oresteia, Pier Paolo Pasolini invented a theatrical continuation of Aeschylus's trilogy. "Pilade" (1966/70) imagines what happens after Orestes, having being absolved by the Aeropagos in Athens, goes back to Argos. With its clear allusions to political developments in the last century - fascism, the Resistance, and Communist revolutions - the play reads as a mythical allegory for the situation of engaged intellectuals in thetwentieth century. As Christoph F. E. Holzhey's contribution '"La vera Diversità": Multistability, Circularity, and Abjection in Pasolini's "Pilade"' shows, Pasolini's imagined continuation of the Oresteia challenges an ideology of rational foundation and progress by moving through a series of aspect changes prompted by sudden events that allow for some integration while also creating new divisions. After all possible alliances among the principal characters - Orestes, Electra, and Pylades - have been played through, Pylades curses reason for its deceptive, consoling, and violent function and embraces his abjected position of true diversity beyond intelligibility. However, Holzhey argues, rather than functioning as the play's telos, this ending is an open one and participates in the paradoxical performance of a self-contradictory subjectivity and a circular temporality without entirely giving up hope for a truly different alternative.

     
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    Quelle: CompaRe
    Sprache: Englisch
    Medientyp: Teil eines Buches (Kapitel); Teil eines Buches (Kapitel)
    Format: Online
    ISBN: 978-3-85132-681-9
    DDC Klassifikation: Bühnenkunst (792); Literatur und Rhetorik (800)
    Sammlung: ICI Berlin
    Schlagworte: Pasolini, Pier Paolo; Aeschylus; Orestia; Paradoxon; Widerspruch; Inversionsfigur; Wahrnehmungswechsel
    Lizenz:

    creativecommons.org/licenses/by-sa/3.0/de/deed.de

    ;

    info:eu-repo/semantics/openAccess
  4. Preface
    Autor*in: Holzhey, Christoph F. E.; Wedemeyer, Arnd
    Erschienen: 08.01.2020

    What's in a prefix? How to read a prefix as short as 're-'? Does 're-' really signify? Can it point into a specific direction? Can it reverse? Can it become the shibboleth of a 'postcritical' reboot? At first glance transparent and directional, 're-'... mehr

     

    What's in a prefix? How to read a prefix as short as 're-'? Does 're-' really signify? Can it point into a specific direction? Can it reverse? Can it become the shibboleth of a 'postcritical' reboot? At first glance transparent and directional, 're-' complicates the linear and teleological models commonly accepted as structuring the relations between past, present, and future, opening onto errant temporalities.

     
    Export in Literaturverwaltung
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    Quelle: CompaRe
    Sprache: Englisch
    Medientyp: Teil eines Buches (Kapitel); Teil eines Buches (Kapitel)
    Format: Online
    ISBN: 978-3-96558-001-5; 978-3-96558-002-2
    DDC Klassifikation: Literatur und Rhetorik (800);
    Sammlung: ICI Berlin
    Schlagworte: Präfix
    Lizenz:

    creativecommons.org/licenses/by-sa/3.0/de/deed.de

    ;

    info:eu-repo/semantics/openAccess
  5. Introduction
    Autor*in: Holzhey, Christoph F. E.

    The experience of multistable figures or so-called Kippbilder - the sudden and repeated 'kippen' of perception as the same object is seen under different aspects - is fascinating in its own right. However, what animated the year-long discussion... mehr

     

    The experience of multistable figures or so-called Kippbilder - the sudden and repeated 'kippen' of perception as the same object is seen under different aspects - is fascinating in its own right. However, what animated the year-long discussion leading to this volume was a critical exploration of the proposition that such figures may offer a helpful model for thinking through the intercultural and interdisciplinary effort of productively negotiating between conflicting positions.

     
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    Quelle: CompaRe
    Sprache: Englisch
    Medientyp: Teil eines Buches (Kapitel); Teil eines Buches (Kapitel)
    Format: Online
    ISBN: 978-3-85132-734-2
    DDC Klassifikation: Literatur und Rhetorik (800)
    Sammlung: ICI Berlin
    Schlagworte: Inversionsfigur; Wahrnehmungswechsel; Erkenntnistheorie; Heuristik; Kritisches Denken
    Lizenz:

    creativecommons.org/licenses/by-sa/3.0/de/deed.de

    ;

    info:eu-repo/semantics/openAccess