Imaginations (Journal)
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KANT CRISIS
Get PDF• ISSUE 2-1, 2011 • 68KANT CRISISThis study approaches the last days of Immanuel Kantthrough the lens of his contemporary biographers andother correspondents. Among the latter, Kant’s brotherand, subsequently, his brother’s family provide a symptomaticreflection upon Kant’s management of his genealogyand his legacy. Yet behind this body of workis another corpus, one which embodies maternal andpaternal legacies that are not readily subsumed by Oedipusor Kant’s philosophy. This work (of art) is Kant’sown body or corpus, which he painstakingly maintainedand which provided a case study for his refelctions onpreventive medicine in The Conflict of the Faculties.William H. Carter studied at the University of Virginia,the University of Heidelberg, and earned his Ph.D. atthe University of California, Santa Barbara. He taughtGerman for three years at Tulane University and recentlyreturned to the Department of World Languagesand Cultures at Iowa State University, where he beganhis teaching career. His current book project is titled“Devilish Details: Goethe’s Public Service and PoliticalEconomy.”Julian Fickler attends the Academy of Fine Arts Karlsruhe,class of Helmut Dorner. He is the recipient of aprestigious fellowship award bestowed by the Künstlerförderungdes Cusanuswerks Bonn. He has exhibitedsolo locally and in group at venues in Berlin and Hamburg
ON HAMLET’S CRYPT: EFFI BRIEST, ASTA NIELSEN, AND BRITNEY SPEARS
Get PDFThis contribution looks at the way instinct is transmittedand represented as ghost appearance. The essay elaboratestwo basic theses: first, that instinct is not definedby creaturely heritage, since it is not a testable structurein itself, nor subject to mourning and developmentalprocesses; and second, that works of fine literature andpop oeuvres alike may serve as carriers of a ghost transmissioncharged with instinctive heritage. The studyrepresents a model for reading ghostly genealogies thatcomplement the familiar and familial reproductive onesas it draws on traditions such as the adultery novel, continentalphilosophy, psychoanalysis, and Disney.Currently based in Berlin, Viola Kolarov has taught inthe German Departments of the Johns Hopkins Universityand New York University. She has published onShakespeare, contemporary art, film, and pop culture.Her forthcoming book, “Shakespeare and the Autobiographyof the Machine Age,” rethinks Goethe, theGerman translation/transmission of Shakespeare, andthe German literary tradition in the contexts of mediatechnology.Originally from Berlin, Susanne Lanckowsky enteredthe Academy of Fine Arts Karlsruhe, class of Franz Ackermann,in 2007. Since 2009 she has shown solo and ingroup on numerous occasions and studied abroad withprestigious scholarship support for one semester at theFaculdade de Belas Artes Universidade do Porto, Portugal,and for another semester at the Escuela Nacional dePintura, Escultura y Grabado La Esmeralda in Mexico
ADDICTATION MACHINES
Get PDFEntry into the crypt William Burroughs shared with his mother opened and shut around a failed re-enactment of William Tell’s shot through the prop placed upon a loved one’s head. The accidental killing of his wife Joan completed the installation of the addictation machine that spun melancholia as manic dissemination. An early encryptment to which was added the audio portion of abuse deposited an undeliverable message in WB. Wil- liam could never tell, although his corpus bears the in- scription of this impossibility as another form of pos- sibility. James Godley is currently a doctoral candidate in Eng- lish at SUNY Buffalo, where he studies psychoanalysis, Continental philosophy, and nineteenth-century litera- ture and poetry (British and American). His work on the concept of mourning and “the dead” in Freudian and Lacanian approaches to psychoanalytic thought and in Gothic literature has also spawned an essay on zombie porn. Since entering the Academy of Fine Arts Karlsruhe in 2007, Valentin Hennig has studied in the classes of Sil- via Bächli, Claudio Moser, and Corinne Wasmuht. In 2010 he spent a semester at the Dresden Academy of Fine Arts. His work has been shown in group exhibi- tions in Freiburg and Karlsruhe.
ELSE LASKER-SCHÜLER AND THE POETICS OF INCORPORATION
Get PDFn Else Lasker-Schüler’s poetry and prose, we nd the desire or wish to be devoured by the love object while consuming the object in turn. In this analysis the merger or turn of phrase is tied to the subject’s own constitutive incorporation of a dead loved one. Now living objects must be loved to death or undeath. It was her mother’s death that guided Lasker-Schüler to live and love on as haunted subject to repeat and rehearse the love object’s loss or departure via fantasies of incorporation. Leigh Gold is currently working as a translator. She trained in German philology at Williams College and New York University. Her contribution refers to her re- cently defended NYU dissertation titled: “Ich sterbe am Leben”: Else Lasker-Schüler and the Work of Mourn- ing. Rodrigo Hernandez trained at the Escuela Nacional de Pintura, Escultura y Grabado La Esmeralda, Mexico City before entering the Academy of Fine Arts Karl- sruhe, class of Silvia Bächli in 2010. His work has been shown in solo and group exhibitions in Alberta, Berlin, Hamburg, Mexico City, Stockholm, and Zürich, among other cities.
EX-CORPORATION: ON MALE BIRTH FANTASIES
Get PDFBetween 1890 and 1933, male birth fantasies became awidespread phenomenon in European culture. One ofthe key examples of male birth fantasies is Filippo TommasoMarinetti’s “African” novel Mafarka the Futurist.The novel’s protagonist, Mafarka, gives birth to a childby his will power and by drawing on diverse formationsof knowledge, from alchemy to theories of evolution. Inaddition to the consideration given the psycho-historical,cultural, and scientific contexts of male birth fantasiesin the avant-garde, the contribution reflects on siblingencryptment within the relationship to the motheras one more aspect of a span of genealogy one mightterm “Maternal Modernity.”Christine Kanz is Professor of German Literature atGhent University in Belgium. Her contribution refersto her 2009 book Maternale Moderne. Männliche Gebärphantasienzwischen Kultur und Wissenschaft, 1890-1933. In addition she edited several collections andauthored another book on Ingeborg Bachmann, andnumerous articles and reviews in the area of interdisciplinarystudies.Before entering the Academy of Fine Arts Karlsruhe,class of Daniel Roth, in 2008, Adam Cmiel trained invarious media in Bad Dürkheim, Hamburg, Mannheim,and Trier. He has participated in nine exhibitions sincethe onset of his studies in Karlsruhe
OVER YOUR DEAD MOTHER: RUMORS AND SECRETS IN STIFTER’S “TOURMALINE”
Get PDFDespite his con dence that he could create a simple and lucid masterpiece of descriptive narration, Adalbert Stifter’s “Tourmaline” turned out to be the most obscure and complex tale in his story-collection Many-Colored Stones (1852). This essay traces the cryptological drive undermining the coherence and closure the realist nar- rator attempts to provide. Stifter’s abundant description of seemingly super uous details, the numerous narrative gaps and various rumors confuse any suf cient account of what really happened. The breaks and leaks in sto- rytelling can be understood as indices leading to a sub- merged work of mourning. The pedagogical intention organizing Stifter’s meticulous story-telling not only in this story turns upon itself through the incessant sup- ply of these commemorative indices or fragments. Not only is such pedagogy unable to nd an ef cient narra- tive mode, it also consistently undermines the authority whereby the instructor-narrator might come to terms with his own tale.
Missing Letters
Get PDFThis paper tracks the symptom of ‘missing letters’ in or- der to connect the anxiety that permeates August Strind- berg’s life and works to his destiny as the carrier of his dead sister’s crypt. In his 1887 essay “‘Soul Murder’ (A Propos “Rosmersholm”),” Strindberg reveals that the bottom-line of his anxiety is not interpersonal con ict, but the potential for loss that always accompanies trans- mitted messages along their itineraries. By couching this threat of loss in the image of missing letters, Strindberg establishes the interchangeability between letters that go missing in transit to those missing letters that enter the corpus uninvited through the apertures of communica- tion. Following the trajectory of these missing letters in his oeuvre (most notably, in The Father, Miss Julie, and The Dance of Death I), the paper eventually locates at the (missing) dead center of Strindberg’s literary corpus the phantom transmission from mother to son of the author’s younger sister Eleonora.
The Vanished Child: An inquiry into figures and their modes of appearance
Get PDFoai:ojs.pkp.sfu.ca:article/9526Sophie Calle\u27s texts are elaborate devices that facilitate the production of figures, of complex symbolic entities. In fact, her work enables us to better understand how figures emerge and unfold in the imaginary. Thus, we find in her Disparitions (Disappearances), a startling figure, which we can name the "Vanished Child". I will present this figure and explain how it stems from the description of a painting by Rembrandt, stolen at the Gardner Museum in Boston. I will start by identifying some of the essential processes implied in the identification of a figure, and, to do so, I will give two short examples, drawn from Witold Gombrowicz and Don DeLillo. Then, after having described in details the figure of the Vanished Child, I will argue, following the French art historian Georges Didi-Huberman in his reading of Walter Benjamin, that figures are auratic objects. Dans ses textes, Sophie Calle emploie des techniques détaillées qui facilitent la production de figures, d\u27entités symboliques complexes. Son œuvre nous permet effectivement de mieux comprendre comment les figures émergent et se déploient dans l\u27imaginaire. Ainsi, nous trouvons dans ses Disparitions (Disappearances) une figure surprenante que nous pouvons désigner comme « l\u27enfant disparu ». Je présenterai cette figure en expliquant comment elle découle de la description d\u27un tableau de Rembrandt volé au musée Gardner à Boston. J\u27identifierai d\u27abord quelques-uns des procédés essentiels à l\u27identification d\u27une figure, et pour ce faire je donnerai deux exemples, tirés des œuvres de Witold Gombrowicz et Don DeLillo. Puis je décrirai de façon détaillée la figure de l\u27enfant disparu, avant de démontrer le caractère auratique des figures à partir de la lecture de Walter Benjamin qu\u27exécute l\u27historien de l\u27art français Georges Didi-Huberman
After Imagining/ Après l\u27imaginer: Imaginations
No full textWe welcome you to Imaginations: Journal of Cross-Cultural Image Studies / Revue d’études interculturelles de l’image, an open-access online peer-reviewed journal born out of research and developments in cross-cultural and intersecting epistemological fields that have at their root a determined focus on the role and power of the image in contemporary culture and in cultural communications.Nous vous souhaitons la bienvenue à Imaginations: Journal of Cross-Cultural Image Studies / Revue d’études interculturelles de l’image, un journal en ligne à accès libre dont les contributions sont préalablement soumises à un comité de révision par les pairs. Cette publication est le fruit d’un vif intérêt pour la recherche et la pratique au croisement de multiples champs épistémologiques et interculturels autour du rôle et de la puissance de l’image dans la société et les média contemporains