Pub Date : 2019-09-15DOI: 10.7591/cornell/9781501739200.003.0007
A. Kluge
This chapter studies the first of four lectures that Alexander Kluge gave in 2012 in conjunction with the acclaimed series, Frankfurt Lectures on Poetics. Kluge's Frankfurt lectures were entitled, “Theory of Storytelling.” A praxis of poetics and narrative can be explained. A collection of every practical experience is also a task none too difficult. A theory, however, is something very difficult. Kluge uses the term “theory” in the sense of Critical Theory. Theory in the sense of Critical Theory is always nourished on interests that are simultaneously practical, political, and vital. It does not theorize in any old manner, but rather serves as an orientation for essential questions. Kluge then explains that reality has many properties when it comes to narration. When it comes to enumeration, registration, or balancing accounts, reality is fairly straightforward. But once one begins to tell stories, one begins to notice that reality has catacombs, wells, and abysses. Below every linear narrative lie happiness and misfortune. In addition to the objective inconsistencies of reality, which are neither smooth nor clear and thus constitute a kind of spirit world, there exists within humans an antirealism of feeling. Kluge also provides a definition of narrative and notes that narrative distinguishes itself from information quite clearly.
本章研究了亚历山大·克鲁格在2012年与广受赞誉的系列《法兰克福诗学讲座》(Frankfurt lectures on Poetics)相结合的四场讲座中的第一场。克鲁格在法兰克福的演讲题目是“讲故事的理论”。这是一种诗学和叙事的实践。收集每一种实际经验也是一项毫不困难的任务。然而，理论是非常困难的。克鲁格在批判理论的意义上使用了“理论”一词。批判理论意义上的理论总是由同时具有实践性、政治性和生命力的利益滋养的。它不以任何旧的方式理论化，而是作为基本问题的导向。克鲁格接着解释说，当涉及到叙述时，现实有许多属性。当涉及到枚举、注册或平衡账户时，现实是相当简单的。但是，一旦一个人开始讲故事，他就会开始注意到现实中有地下墓穴、水井和深渊。在每一个线性叙述的下面都隐藏着幸福和不幸。除了现实的客观不一致，即不光滑不清晰，构成了一种精神世界之外，人的内心还存在着一种反实在主义的感觉。Kluge还给出了叙述的定义，并指出叙述与信息的区别非常明显。
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Pub Date : 2019-09-15DOI: 10.7591/9781501739224-029
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Pub Date : 2019-09-15DOI: 10.7591/9781501739224-030
A. Kluge
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Pub Date : 2019-09-15DOI: 10.7591/cornell/9781501739200.003.0018
A. Kluge
This chapter details the dialogue between Christian Schulte and Alexander Kluge wherein they talked about opera's historical relationship to film. In Kluge's film The Power of Emotions (1983), he describes opera as a power station of emotions. He uses this image to talk about the nineteenth century, while in the first half of the twentieth century film took on the role of mobilizing and connecting the masses. He further explains that opera is a power station of emotions in the rather extreme sense insofar as it vicariously carries out emotional waste removal without actually being the power station. The power is generated elsewhere. Kluge then agrees that the opera is primarily defined through tragedy and fundamentally follows victim logic. When watching opera, the audience mainly watches a victim. In almost every opera one can make out a victim somewhere. This is a ritual in opera. One can also find mourning that comes with sacrifice as well as consolation. In this respect, the original, seventeenth-century operas were cast from the same rigid mold, one that cannot be changed for entertainment's sake.
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Pub Date : 2019-09-15DOI: 10.7591/9781501739224-016
{"title":"12. A Plan with the Force of a Battleship (2008)","authors":"","doi":"10.7591/9781501739224-016","DOIUrl":"https://doi.org/10.7591/9781501739224-016","url":null,"abstract":"","PeriodicalId":345609,"journal":{"name":"Difference and Orientation","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121063558","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This chapter details the coauthored 1965 essay “Word and Film” by Alexander Kluge, Edgar Reitz, and Wilfried Reinke, which was originally published when all three taught at the Ulm School of Design's trailblazing film department. Words can interact with film in a hundred different ways. Add to this the diversity of conceptions of film. For every one of these conceptions, for every kind of literary expression, the issue presents itself differently and demands a different answer. Walter Hagemann argues that film does not raise any new questions, “because it does not speak a new language; rather it conveys the old language through a new medium. This is the real reason for the backlash which the language of film suffered with the advent of sound.” The authors of the essay then recognize the need to examine how the old language relates to the old film, how new forms of language available today relate to new concepts of film, and how the interplay of word and film may produce new, nonliterary forms of language.
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