作者: 顛簸地移動(dòng) 時(shí)間: 2025-3-21 22:13
Wave propagation in a cold magnetoplasma,in selective reference to the Frankfurt event. Complementary to this, three contributions by younger researchers analyze their impression of the Poetics Lectures with regard to more fundamental considerations of Kracht’s aesthetics.作者: overwrought 時(shí)間: 2025-3-22 02:59
Godfrey Eliseus Massay,Telemu Kassileraphs – which are actually created and circulate independently of texts – and the literary texts is sometimes bridged in Kracht’s modes of self-staging by the fact that the aesthetic events of the texts are taken up in the authorial images in an ironic, commenting or contrasting way.作者: Console 時(shí)間: 2025-3-22 06:40 作者: Trochlea 時(shí)間: 2025-3-22 09:40
Aesthetics of Paratexts in Christian Kracht. Quotations, Cover Designs, Author Figures作者: otic-capsule 時(shí)間: 2025-3-22 16:48 作者: otic-capsule 時(shí)間: 2025-3-22 19:56
“In Search of a Character.” Christian Kracht’s Self-Staging Practices in the Author’s Photographraphs – which are actually created and circulate independently of texts – and the literary texts is sometimes bridged in Kracht’s modes of self-staging by the fact that the aesthetic events of the texts are taken up in the authorial images in an ironic, commenting or contrasting way.作者: Indent 時(shí)間: 2025-3-23 01:01 作者: 空中 時(shí)間: 2025-3-23 01:39
Susanne Komfort-Hein,Heinz DrüghAuto-translation revised and proofread by Lucy Nixon and Andrea Hartmann.Current debate about the work of Christian Kracht.Repercussions of Kracht‘s Frankfurt poetics lectures作者: 黃瓜 時(shí)間: 2025-3-23 05:42 作者: incubus 時(shí)間: 2025-3-23 11:20
Wave propagation in a cold magnetoplasma,sthetic in a different light? We would not go so far as to say that. Nevertheless, the Poetics Lectures have left their mark on the debate about Kracht, and they will continue to do so in the future. What complex contribution does Kracht’s aesthetic make to a very contemporary appropriation and tran作者: Prophylaxis 時(shí)間: 2025-3-23 14:07
Generalization of the scattering theorem,poi of research that repeatedly raises the question of what relationship between fiction and reality can be attributed to Kracht’s literature as a whole. This question seems all the more urgent since Kracht, on the occasion of his poetics lectureship in Frankfurt am Main?in 2018, took the revelation作者: 叢林 時(shí)間: 2025-3-23 21:12
Generalization of the scattering theorem,he revealed, his texts must be reread in a new and, above all, completely different way. In the ., for example, Felix Stephan concluded: “The Christian Kracht who stood at the lectern there has never written an ironic sentence. It was always about everything, about man, humanism.”作者: hypotension 時(shí)間: 2025-3-24 00:52
Godfrey Eliseus Massay,Telemu Kassile written on Christian Kracht in recent years: For their readings, both draw on concepts that are not already provided in Kracht’s texts or paratexts. This is remarkable insofar as Kracht anticipates much of what is attributed to him and the aesthetics of his texts, subsequently he often passes mater作者: llibretto 時(shí)間: 2025-3-24 04:28 作者: 向宇宙 時(shí)間: 2025-3-24 07:51 作者: Apogee 時(shí)間: 2025-3-24 14:38
Parenting Practices in the City,, so full of resentment and ideological defensiveness, while at the same time quickly becoming a cult classic.” On the one hand, Kracht’s text was hailed as identification reading for the deliberately apolitical, lifestyle- and thus fashion-obsessed ‘Generation Golf’, while, on the other hand, it wa作者: 越自我 時(shí)間: 2025-3-24 15:40
https://doi.org/10.1057/978-1-137-53673-0detail and is placed in a relationship of tension with the aesthetics of postmodernism. Then, the specific manifestations of this tension in Kracht’s novels since the turn of the millennium are examined more closely. Building on this, the final section finally argues that after . Kracht’s oeuvre rep作者: hemoglobin 時(shí)間: 2025-3-24 21:01
https://doi.org/10.1057/978-1-137-53673-0 the leitmotif of the novel, metonymically indicates a person’s status and group affiliation, Bertschik now sees it as an additional “‘magical’ element within a capitalist realism”. The Barbour jacket, thus, becomes a second skin, guaranteeing identity, and offers the possibility of a “vestimentally作者: 愚蠢人 時(shí)間: 2025-3-25 02:58 作者: 無(wú)聊點(diǎn)好 時(shí)間: 2025-3-25 05:46
Arts, Architecture, and Native Creativity,s to documentary media, such as photography or film, but in the process reduces their documentary character to absurdity. In doing so, he calls into question any possibility of reference to the world, while also addressing the specific characteristics of literature. This article uses the concept of 作者: 沉默 時(shí)間: 2025-3-25 11:23 作者: 錯(cuò) 時(shí)間: 2025-3-25 15:04 作者: inundate 時(shí)間: 2025-3-25 16:48
https://doi.org/10.1007/978-3-476-05958-1German pop literature; German literary history; Poetology; Arts; Literature; Microaesthetics; Aisthesis; Ph作者: WATER 時(shí)間: 2025-3-25 20:53 作者: athlete’s-foot 時(shí)間: 2025-3-26 00:10
Generalization of the scattering theorem,he revealed, his texts must be reread in a new and, above all, completely different way. In the ., for example, Felix Stephan concluded: “The Christian Kracht who stood at the lectern there has never written an ironic sentence. It was always about everything, about man, humanism.”作者: 護(hù)航艦 時(shí)間: 2025-3-26 05:20
Long-term monitoring of reclaimed sites, take up Moritz Ba?ler’s reading, who identified “the idea of a paralogical-synthetic art world” in Kracht’s novel. This “art world” supposedly transforms world history in the mode of the aesthetic. This does not mean escapism; rather, Ba?ler argues, it demonstrates “the possibility of a new historical narrative beyond the realist option”.作者: FUME 時(shí)間: 2025-3-26 12:27 作者: 鋼盔 時(shí)間: 2025-3-26 14:01
The Mediology of the Counterfactual in Christian Kracht’s take up Moritz Ba?ler’s reading, who identified “the idea of a paralogical-synthetic art world” in Kracht’s novel. This “art world” supposedly transforms world history in the mode of the aesthetic. This does not mean escapism; rather, Ba?ler argues, it demonstrates “the possibility of a new historical narrative beyond the realist option”.作者: ASSAY 時(shí)間: 2025-3-26 17:03
Arts, Architecture, and Native Creativity,he essay analyzes .’s reflections on the medium of film that the text offers at various points. As both cases make clear, . advances an anti-documentary aesthetic by recontextualizing photography and film in the novel’s notoriously unreliable prose narrative showing that a simple reference to reality in both media is only fiction.作者: 浮雕 時(shí)間: 2025-3-27 00:02 作者: ferment 時(shí)間: 2025-3-27 04:17 作者: 毀壞 時(shí)間: 2025-3-27 06:00
Book 2023rary aesthetics: Stagings in the field of the literary establishment, the aesthetic under media and market conditions, and in the focus of canonization and criticism. Kracht‘s Frankfurt Poetics Lectures, which were intensively commented on by the media, form the background to this discussion..作者: Foam-Cells 時(shí)間: 2025-3-27 11:35 作者: Barrister 時(shí)間: 2025-3-27 14:02
Book 2023atingly twisted actualizations of that self-reference and reservation which, since Kant, is to be evaluated as a central mode of the aesthetic; on the other hand, with regard to interferences with areas that are usually perceived as extra-aesthetic, but which can be evaluated as ferments of contempo作者: 委派 時(shí)間: 2025-3-27 20:14
Generalization of the scattering theorem,nconsistencies of his novels back to this specific biographical event. Almost unnoticed by this confession and auto-exegesis, Kracht has made a poetological statement that seems like a point of contrast to the global view of the work: A micro-aesthetic of dissonance.作者: 詞匯記憶方法 時(shí)間: 2025-3-27 22:31
Parenting Practices in the City,r example on advertising posters for the fashion chain Peek & Cloppenburg, also contributed to this: “more pose than poetry, something for young people without canon formation and interest, who were, therefore, to be fobbed off with light fare and a few fashionable brand names”.作者: meritorious 時(shí)間: 2025-3-28 05:24 作者: 搖曳的微光 時(shí)間: 2025-3-28 07:12
Surface Aesthetics. The Barbour Jacket as a Second Skin in Christian Kracht’s Novel r example on advertising posters for the fashion chain Peek & Cloppenburg, also contributed to this: “more pose than poetry, something for young people without canon formation and interest, who were, therefore, to be fobbed off with light fare and a few fashionable brand names”.作者: 語(yǔ)源學(xué) 時(shí)間: 2025-3-28 11:04
Kracht‘s Frankfurt poetics lectures.The contributions to this volume are devoted to Christian Kracht‘s aesthetics under two main aspects: On the one hand, with regard to sometimes irritatingly twisted actualizations of that self-reference and reservation which, since Kant, is to be evaluated as a ce作者: nauseate 時(shí)間: 2025-3-28 17:21
Godfrey Eliseus Massay,Telemu Kassileily include the instance of the Frankfurt Poetics Lecture. The opening sentence of Kracht’s second lecture - “Everything that takes itself too seriously is ready for parody; so is this lecture series” – underlines this assumption.作者: 令人不快 時(shí)間: 2025-3-28 21:39
https://doi.org/10.1057/978-1-137-53673-0novels since the turn of the millennium are examined more closely. Building on this, the final section finally argues that after . Kracht’s oeuvre represents a transitional aesthetic between postmodernism and a post-postmodern . as described by Timotheus Vermeulen and Robin van den Akker in their essay “Notes on Metamodernism”.作者: Foam-Cells 時(shí)間: 2025-3-28 23:15
https://doi.org/10.1057/978-1-137-53673-0t within a capitalist realism”. The Barbour jacket, thus, becomes a second skin, guaranteeing identity, and offers the possibility of a “vestimentally marked transformation of the person”, that is, a kind of shedding of skin.作者: glamor 時(shí)間: 2025-3-29 04:48
Conclusions: What We Can Learn,ions of the empire in “Imperium”, and this is also true of the Swiss Soviet Republic (“Ich werde hier sein im Sonnenschein und im Sschatten”, whose media-technological status corresponds exactly to the Posthistoire of the diegesis.作者: 推崇 時(shí)間: 2025-3-29 10:08 作者: 不可救藥 時(shí)間: 2025-3-29 11:47
“Nothing Is Meaningless.” On the Relationship Between Spirituality and Postmodernism in the Novels onovels since the turn of the millennium are examined more closely. Building on this, the final section finally argues that after . Kracht’s oeuvre represents a transitional aesthetic between postmodernism and a post-postmodern . as described by Timotheus Vermeulen and Robin van den Akker in their essay “Notes on Metamodernism”.作者: MERIT 時(shí)間: 2025-3-29 18:41 作者: 易于 時(shí)間: 2025-3-29 20:29
Aesthetic Mode and Historical Truth: Responding to the Contributions by?Caspar Battegay and Christopions of the empire in “Imperium”, and this is also true of the Swiss Soviet Republic (“Ich werde hier sein im Sonnenschein und im Sschatten”, whose media-technological status corresponds exactly to the Posthistoire of the diegesis.作者: 四溢 時(shí)間: 2025-3-30 02:31
Introduction,sthetic in a different light? We would not go so far as to say that. Nevertheless, the Poetics Lectures have left their mark on the debate about Kracht, and they will continue to do so in the future. What complex contribution does Kracht’s aesthetic make to a very contemporary appropriation and tran作者: Virtues 時(shí)間: 2025-3-30 05:33
Christian Kracht’s Micro-aestheticspoi of research that repeatedly raises the question of what relationship between fiction and reality can be attributed to Kracht’s literature as a whole. This question seems all the more urgent since Kracht, on the occasion of his poetics lectureship in Frankfurt am Main?in 2018, took the revelation作者: Entrancing 時(shí)間: 2025-3-30 08:32
DJ Bobo in Ulan Bataar. A Way out of it all in Christian Kracht’s Aesthetics?he revealed, his texts must be reread in a new and, above all, completely different way. In the ., for example, Felix Stephan concluded: “The Christian Kracht who stood at the lectern there has never written an ironic sentence. It was always about everything, about man, humanism.”
