Papers by Richard Langston
Women in German Yearbook: Feminist Studies in German Literature & Culture, 2006
... Of my many students drawn to the question of bodies, it was Polly who was most dismayed by wh... more ... Of my many students drawn to the question of bodies, it was Polly who was most dismayed by whatshe saw as an unmistakable cultural difference. ... With its excessive use of exclamation points,Polly's confession about her inabilityto feel like the German characters was ...
The Germanic Review: Literature, Culture, Theory, 2008
In response to the question of how he defines the work of the chronicler at the threshold of the ... more In response to the question of how he defines the work of the chronicler at the threshold of the new millennium, Alexander Kluge cited in an interview from 2001 the unavoidability of condensation and collaboration.“I believe that in order to describe the footprint of our ...
Alexander Kluge-Jahrbuch, Oct 2015
Enzyklopädist, »Chronist des Jahrhunderts«, »Erzähler der Kritischen Theorie«, »der einzige Proje... more Enzyklopädist, »Chronist des Jahrhunderts«, »Erzähler der Kritischen Theorie«, »der einzige Projektemacher großen Formats, den wir heute haben« (Habermas) – so lauten Berufsbezeichnungen, mit denen Alexander Kluge in den letzten Jahrzehnten bedacht wurde. Es handelt sich dabei um Flaschenpost war Adornos resignative Metapher aus dem Jahr 1940 für die eingebüßte Wirkungsmacht der Kritischen Theorie im Exil. Echos einer Flasche heißt für Kluge die bescheidene Optik – etwas indirekt im Glassplitter sehen – womit er wirksame Perspektiven im globalisierten 21. Jahrhundert sucht. Der zweite Band des Kluge-Jahrbuchs widmet sich einerseits Kluges theoretischer Verwandlung am Beispiel seiner Theoriearbeit mit Oskar Negt und andererseits den multimedialen Sichtweisen, die nicht nur seine »Haltung der Bescheidenheit« zum Ausdruck bringen, sondern auch seine theoretischen Wurzeln offenlegen.
Adorno characterized Critical Theory as a message in a bottle in 1940 when the exiled Frankfurt School's sphere of influence was an ocean away from the catastrophes of fascism it sought to fight. Turning Adorno’s metaphor on its head some six decades later, Kluge likens his creative method in the interview with Oskar Negt that opens the second volume of the Kluge-Jahrbuch to echoes of light refracted through a bottle: “I can also see something by looking through shards of glass,” he explains. Deploying this turn of phrase as its point of departure, this issue of the Jahrbuch devotes its attention first to Kluge’s theory work written with Negt, its roots in and adaptation of the Frankfurt School tradition as well as its indebtedness to other schools of thought. In the remainder of the volume, scholars working in five different disciplines across the humanities query Kluge’s ways of seeing in film, television and literature.
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Papers by Richard Langston
Adorno characterized Critical Theory as a message in a bottle in 1940 when the exiled Frankfurt School's sphere of influence was an ocean away from the catastrophes of fascism it sought to fight. Turning Adorno’s metaphor on its head some six decades later, Kluge likens his creative method in the interview with Oskar Negt that opens the second volume of the Kluge-Jahrbuch to echoes of light refracted through a bottle: “I can also see something by looking through shards of glass,” he explains. Deploying this turn of phrase as its point of departure, this issue of the Jahrbuch devotes its attention first to Kluge’s theory work written with Negt, its roots in and adaptation of the Frankfurt School tradition as well as its indebtedness to other schools of thought. In the remainder of the volume, scholars working in five different disciplines across the humanities query Kluge’s ways of seeing in film, television and literature.
Adorno characterized Critical Theory as a message in a bottle in 1940 when the exiled Frankfurt School's sphere of influence was an ocean away from the catastrophes of fascism it sought to fight. Turning Adorno’s metaphor on its head some six decades later, Kluge likens his creative method in the interview with Oskar Negt that opens the second volume of the Kluge-Jahrbuch to echoes of light refracted through a bottle: “I can also see something by looking through shards of glass,” he explains. Deploying this turn of phrase as its point of departure, this issue of the Jahrbuch devotes its attention first to Kluge’s theory work written with Negt, its roots in and adaptation of the Frankfurt School tradition as well as its indebtedness to other schools of thought. In the remainder of the volume, scholars working in five different disciplines across the humanities query Kluge’s ways of seeing in film, television and literature.