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An Answer to Two Opera Quotations 对两段歌剧引文的回答
Pub Date : 2019-09-15 DOI: 10.7591/cornell/9781501739200.003.0015
A. Kluge
This chapter highlights Alexander Kluge's engagement with opera. In this essay, Kluge addresses two quotations from opera. The first is from Guiseppe Verdi's Aida (1871): “Do you see? The angel of death…” This line is spoken by the main character Aida. Kluge investigates the concept of the angel of death. He then explains that the mission of the twentieth century is to tell counter-stories to the collected stories of the nineteenth century. The second quote is from Richard Wagner's The Flying Dutchman (1843): “Here I am, true to you till death!” This line is spoken by the character Senta. Feelings take time to develop. It therefore seems unlikely that love at first sight is mutual. Thus, the suddenness of the Dutchman's and Senta's fatal and mutual falling in love has something of an act of force. One could call it a putsch in the domain of emotion. Kluge then discusses the unfulfilled program of the bourgeois tragic drama.
这一章强调了亚历山大·克鲁格对歌剧的投入。在这篇文章中,克鲁格引用了歌剧中的两句话。第一句出自居塞佩·威尔第的《阿依达》(1871):“你看到了吗?死亡天使……”这句话是主角阿依达说的。克鲁格调查了死亡天使的概念。然后他解释说,20世纪的使命是讲述与19世纪收集的故事相反的故事。第二句出自理查德·瓦格纳的《飞翔的荷兰人》(1843):“我在这里,对你忠诚至死!”这句话是由角色Senta说的。感情的发展需要时间。因此,一见钟情似乎不太可能是相互的。因此,荷兰人和圣塔的突然的致命的相互相爱有一种力量的行为。我们可以称之为情感领域的一次政变。克鲁格接着讨论了资产阶级悲剧戏剧未完成的纲领。
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引用次数: 0
Acknowledgments 致谢
Pub Date : 2019-09-15 DOI: 10.7591/9781501739224-003
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引用次数: 0
4. Companions in Now-Time (2007) 4. 《当代同伴》(2007)
Pub Date : 2019-09-15 DOI: 10.7591/9781501739224-008
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引用次数: 0
List of Illustrations 插图一览表
Pub Date : 2019-09-15 DOI: 10.1515/9781501739224-002
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引用次数: 0
The Guardian of Difference: The Essayist Alexander Kluge 《差异的守护者:散文家亚历山大·克鲁格
Pub Date : 2019-09-15 DOI: 10.7591/9781501739224-004
Richard Langston
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引用次数: 0
21. The Function of the Distorted Angle in the Destructive Intention (1989) 21. 扭曲角度在破坏性意图中的作用(1989)
Pub Date : 2019-09-15 DOI: 10.7591/9781501739224-025
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引用次数: 0
An Instance of Internet Telephony over the Himalayas 喜马拉雅山上的互联网电话实例
Pub Date : 2019-09-15 DOI: 10.7591/cornell/9781501739200.003.0029
A. Kluge
This chapter assesses Alexander Kluge's Skype conversation with renowned Chinese literary scholar Wang Hui, recorded in the spring of 2012. The interview was held following a public screening of Kluge's documentary News from Ideological Antiquity (2008) subtitled in Chinese. A testimony to Kluge's desire to think beyond Europe's geographic and intellectual boundaries, the interview engages the viability of Marxist thinking in the age of globalization and testifies to the centrality of cooperation and collaboration in the form of dialogue for Kluge's essayism. Kluge also discusses fragmentary storytelling, which is already present in Tacitus, in his Roman historical writing. The fragmentary, he says, is what Walter Benjamin and Theodor W. Adorno teach people: people should use it. Kluge and Hui then further explores film. Kluge claims that the reality of film is not sealed off. This means that new possibilities remain open for film.
本章评估了亚历山大·克鲁格与中国著名文学学者王辉的Skype对话,记录于2012年春天。采访是在克鲁格的纪录片《来自意识形态古代的新闻》(2008)公开放映之后进行的,该片有中文字幕。作为克鲁格超越欧洲地理和知识边界思考的愿望的见证,访谈涉及全球化时代马克思主义思想的可行性,并证明了克鲁格散文形式的合作与协作的中心地位。克鲁格还讨论了支离破碎的故事叙述,这在塔西佗的罗马历史著作中已经出现了。他说,片断是瓦尔特·本雅明(Walter Benjamin)和西奥多·阿多诺(Theodor W. Adorno)教给人们的:人们应该使用它。Kluge和Hui进一步探讨了电影。克鲁格声称,电影的现实并不是封闭的。这意味着电影仍有新的可能性。
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引用次数: 0
Critique, Up Close and Personal 批评,近距离和个人
Pub Date : 2019-09-15 DOI: 10.7591/cornell/9781501739200.003.0026
A. Kluge
This chapter examines the dialogue between Joseph Vogl and Alexander Kluge, which illustrates the origins and consequences of Kluge's theory of feeling for critique. Kluge explains that the critical capacity—the capacity to differentiate practically at the crucial moment—is an undercover characteristic that people know nothing about. He then mentions that Sigmund Freud speaks of the two-staged development in humans. First, an entire being, along with its sexuality and capacity for differentiation, is formed between infancy and the age of six or seven. This is followed by a latency period when the creature can learn—humans have a genuine period of learning—until puberty upends everything again and a second being, equally sexual, develops. This is the adult. Kluge then claims that classical writers use the word “critique” much differently. He says that critique is the positive capacity to differentiate between something new and an old falsehood.
本章考察了约瑟夫·沃格尔与亚历山大·克鲁格之间的对话,这说明了克鲁格批判情感理论的起源和后果。克鲁格解释说,关键能力——在关键时刻进行实际区分的能力——是一种人们一无所知的隐性特征。然后他提到西格蒙德·弗洛伊德说过人类的两阶段发展。首先,一个完整的人,连同他的性和分化能力,在婴儿期到六七岁之间形成。这之后是一段潜伏期,这时动物可以学习——人类有一个真正的学习期——直到青春期再次颠覆一切,第二个同样具有性别的生物开始发育。这是成年人。克鲁格接着声称,古典作家使用“批判”一词的方式截然不同。他说,批判是一种积极的能力,可以区分新事物和旧谬误。
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引用次数: 0
Index 指数
Pub Date : 2019-09-15 DOI: 10.1515/9781501739224-033
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引用次数: 0
9. Bits of Conversation (1966) 9. 《对话片段》(1966)
Pub Date : 2019-09-15 DOI: 10.7591/9781501739224-013
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引用次数: 0
期刊
Difference and Orientation
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