The last third of the twentieth century brought about cultural changes, including the rapid scientific progress and the informatization that began in the 1960s. Artists of this period, especially the progressive artists of New York, responded to the changes by integrating the digital reality and a new scientific understanding of the universe into their oeuvre. Such art projects were based on the pure data comprised of facts, instead of subjective ideas, and conveyed in a strongly reduced non-semiotic form. I define (...) this trend as informational art to describe a shift from the verbal, visual and conceptual cognition toward the data-oriented thinking. This pivotal moment in Western history has not been given enough scholarly attention yet. For this reason, the achievement of Walter De Maria and his colleagues in the placement of scientific principles at the foundation of contemporary art has not been fully appreciated. In my paper, I aim to highlight the role of informational art in the advancement of the modern scientifically based ›Weltanschauung‹. (shrink)

On September 10, 1918, from Bernau in the Black Forest, Edmund Husserl writes a letter to Martin Heidegger. Surprisingly, preluded only by the letters »NB«, ›nota bene‹, Husserl near the end of the text points out the following: »NB. I also have Hölderlin, whom I love very much but know very little, with me here; thus, we will, in him, touch each other reading. / Regards / Yours / EHusserl.« The paper attends to this passage – the only passage in (...) the whole of Husserl’s oeuvre mentioning the name »Hölderlin« – in a threefold manner, developing a philological, a psychoanalytical, and a phenomenological reading. (shrink)

This article proceeds on the observation that although literary research and theory always emphasize the importance of genres, they often neglect their concrete role in text constitution and thus also miss the implications that this role has for the term and the concept of genre itself. Building on Roland Barthes’s concept of »code« as developed in ›S/Z‹, the aim of the article is to develop a theoretical framework that makes it possible to grasp the complex interaction between genres on the (...) one hand, and individual texts and their techniques on the other. Genres are understood as codes that determine the methods of narration and are simultaneously influenced by these methods. This model is intended to help explain the generic ambiguity that is not only understood as a sign of modern literature par excellence, but also characterizes the concept of »genre« itself. (shrink)

Husserl’s analyses of time consciousness have proved to be one of the more intricate challenges of his phenomenology. The article addresses his writings on time consciousness not with the aim of discussing or solving the epstemological problems that arise, but instead is interested in the descriptive procedure with which Husserl approaches them. The concept of ›Darstellung‹ serves as a starting point for this, a concept which Husserl takes up in order to describe the unified constitution of temporal objects ›vis à (...) vis‹ the continuity of their temporal givenness. Thus importing a traditionally poetological-rhetorical vocabulary – in rhetoric ›Darstellung‹ denotes vivid representation in language – into the analysis of temporal consciousness, it points to Husserl’s own descriptive project as potentially working in a similar manner. In Husserl’s writings, a ›Verlaufspoetik‹ (transitory poetics) comes into view, in which the textual flow of the descriptive process seems to match the stream of experience of temporal consciousness. (shrink)

Hans Blumenberg’s late idea of thoughtfulness, which the philosopher presented as an acceptance speech on the occasion of the Sigmund Freud Prize for Scientific Prose awarded to him in 1981, formulates a (seemingly) simple claim: thoughtfulness means a reduction of the self-evident – beyond the limiting horizon of methodological regulations and conceptuality. But how can we dismantle what is self-evident? How can we describe what is reminiscent of the life-world in the preliminary stage of a concept? This article takes up (...) these open questions and, based on them, attempts to take thoughtfulness seriously as a poietic form of thinking. It becomes clear that Blumenberg’s thoughtfulness is not merely the (self-)reflective reaction to the »speech situation« of a philosophy committed to unambiguity. Rather, it relies – conversely – on the philosophical production of ambiguity. (shrink)

The essay reexamines the famous scene from Proust’s ›In Search of Lost Time‹ about the death of the writer Bergotte. In pointing out that the notorious ›patch of yellow wall‹ Bergotte claims to have discovered in Vermeer’s ›View of Delft‹ does not exist in the real painting, the article’s aim is to show that the scene is not to be read as an autobiographical recollection, but rather as a reflection on ›mimesis‹, i.e. on the transcendental conditions of perception and representation. (...) As such, it can be considered to have in large measure inspired the reorientation of Maurice Merleau-Ponty’s later phenomenological oeuvre towards a new ontology. On the basis of Merleau-Ponty’s recently published lecture notes, the essay locates the common concern of the writer and the philosopher in the idea of remembrance not as a derivative phenomenon, but as an originary mode of givenness. (shrink)

The essay addresses Heidegger’s language in two distinct yet interrelated ways: in terms of his understanding of language as well his own jargon. The analysis is based on a close reading of the preamble to ›Being and Time‹ (›Sein und Zeit‹), which serves as an exemplar and is representative of the suggestive language-games that are characteristic of Heidegger’s philosophy. Therefore, the analysis focuses on the use of a single word, the adverb ›eigentlich‹. In a second step, the article examines the (...) nominalized form of inauthenticity and questions its source and shows to which extent Husserl’s understanding of language serves as a contrast to Heidegger’s own understanding of language. In conclusion, it is demonstrated how Heidegger employed two distinct exoteric languages and why ›Being and Time‹ can be regarded as a critique of language. (shrink)

Unfortunately, experiences of suffering not only have an individual dimension, but are always already embedded in social orders that produce, structure, and offer perspectives for relief. In this regard, suffering is inscribed with a duality that moves between individual experience and social formation. It is argued that the young Karl Marx and the old Heinrich Heine determine this duality as precarious and consequently problematize this relationship. However, while Marx seeks to eliminate individual suffering within a revolutionary collective, Heine insists on (...) the irreversibility of suffering in collective offerings of identity. This finding is evident when Marx’s ›Critique of Hegel’s Philosophy of Right‹ is confronted with Heine’s ›Germany – A Winter’s Tale‹. Based on this, it will be traced that Heine’s critique of the abolition of suffering forms the basis for Theodor W. Adorno’s essay ›Heine the Wound‹. (shrink)

The paper proposes a parallel reading of Albrecht Dürer’s engraving ›Melencolia I‹ (1514) and Alfred Sohn-Rethel’s notion of real abstraction. It argues for a constitutive link between the abstractions operative in ›Melencolia I‹, in commodity exchange, and in certain formations of psychological suffering, most notably described in the psychoanalytic conception of melancholia theorized by Sigmund Freud and the subsequent Lacanian tradition. With and against the iconographic analysis put forward by Raymond Klibansky, Erwin Panofsky, and Fritz Saxl in ›Saturn and Melancholy‹ (...) (1964), this paper understands the engraving’s polyhedron as a pivot point in Dürer’s artwork and in art history in general – namely, as a stumbling block that indicates the negativity of abstraction through its very positive existence. Abstraction, understood in this specific sense, and contrary to classical ontology and epistemology can in fact constitute a world of real material social relations instantiated through acts (and failures) of exchange. (shrink)

Masochism serves as a key element of Kathy Acker’s poetics, spanning from her early works to her final novels. In ›Great Expectations‹ (1982), Acker’s transtextual poetics intricately weaves masochism into her literary fabric. Her methodological ›plagiarism‹ serves as the core of her poetic program, engaging with masochistic themes through a neo-avant-garde lens. This paper examines how Acker’s textual interventions critically dissect canonical notions of masochistic theory, particularly in relation to gender dynamics and socio-political dimensions. By deconstructing and recontextualizing literary intertexts, (...) Acker exposes the ideological underpinnings of masochistic typologies and challenges its aestheticization and idealization, ultimately reshaping our understanding of poetic masochism. (shrink)

Annette von Droste-Hülshoff’s fragment ›Ledwina‹, like its homonymous protagonist, has a primarily medial, and therefore transmissive, profile. This profiling is based on Ledwina’s suffering which at the same time provides the material for overcoming it. Assuming a – tentatively formulated – poetics of decrescence, this specific constellation can be traced insofar as the dwindling but not completely disappearing (text) body is concerned with its epistemic-poetological potential. A potential which allows for the aesthetic and human pathological approaches to (literary) figures of (...) suffering to be reconfigured. The concept of trans-corporeality (S. Alaimo) clarifies this reconfiguration. From this perspective, the text opens up to an ethics of vulnerability and puts the impositions of a standardizing health episteme up for discussion. (shrink)

The essay delves into the masochistic poetry found in the poetry collection ›Confirmo te chrysmate‹ by Maria Eichhorn, who, writing under the pseudonym Dolorosa, showed significant public activity within the Berlin Bohemian circles between 1900 and 1910. Alongside her artistic endeavors she contributed to the psychoanalytic discourse on masochism. Her poems unveil the myth of a bourgeois model of desire, predicated on the notion that femininely coded desire finds its fulfillment in physical and psychological submission. Eichhorn’s poetry reveals that masochistic (...) tendencies are not inherently feminine but rather the result of a ritualized initiation of young girls into bourgeois desire practices, wherein acts of suffering sacralize sexualized violence. Christian iconography ennobles this violence by stylizing suffering as an ›imitatio‹ of the Mater Dolorosa. The radical consequence, as Eichhorn’s poetry demonstrates, is that these practices of suffering culminate directly in a death wish for the girl. (shrink)

The aesthetics of masochism can be found in the 20th century across different media: pictorial and literary models influenced the history of comics, photographic art, and ultimately film. In his book ›Aus Leiden Freuden‹ (1940), Theodor Reik mentions three essential elements: 1. imagination, 2. suspense and 3. the demonstrative character of the masochistic scenario. This gives rise to the idea of masochistic performance: masochistic aesthetics need a stage on which they can unfold their imagination and the staging of suspense. Masochistic (...) performance plays with the desire for fear in the face of the threatening and sublime. Masochistic aesthetics therefore do not require the clear drasticness of pornography, but rather play with suspense, the tension of expectation in the face of the strange and dangerous – and with the pleasure of this fear. The article illustrates this approach by analyzing the film ›Titane‹ (2021) by Julia Ducournau. (shrink)

The article examines Heidi’s suffering in the multimedial career of Johanna Spyri’s 1880 novel ›Heidis Lehr- und Wanderjahre‹. In the adaptations, Heidi’s suffering is continually recontextualized according to societal and genre specific conditions. In Spyri’s novel, the focus lies on a pathologized homesickness which is elevated through Christian interpretation, presenting it as a necessity on the path to salvation. The religious motivation fades throughout the adaptations, so that in the (post-)war era, the idyllic mountain world is used to foster community (...) and sharpen Switzerland’s political profile. In perhaps the most famous adaptation Heidi undergoes a childish regression as ›cute Heidi‹ in the anime, while in 21st century adaptations, she emancipates herself, ultimately appearing as ›Mad Heidi‹ in a dystopian setting to save Switzerland from a cheese dictatorship: Heidi no longer suffers; she’s mad. (shrink)

Die Metapher des Prüfsteins (lapis lydius) dient der Bewertung der Praktiken, die freundschaftliche Verbindungen herstellen. Die Kraft des Prüfsteins hängt bei Alexander Gottlieb Baumgarten von den medialen Bedingungen der Gattung der Moralischen Wochenschrift "Philosophische Brieffe von Aletheophilus" (1741) ab, in der die Prinzipien von Baumgartens "Ethica Philosophica" in zeichenförmige Handlungen übersetzt und dem ästhetischen Urteil anheimgestellt werden. In den "Brieffen" sind es die beiden rhetorischen Gedankenfiguren der Ethopoeia und der Apostrophe, mittels deren Aletheophilus ein freundschaftliches Band mit seinen Leser:innen knüpft (...) und vice versa. (shrink)