Many-Colored Stones<\/em> (1852). This essay traces the cryptological drive undermining the coherence and closure the realist narrator attempts to provide. Stifter\u2019s abundant description of seemingly superfluous details, the numerous narrative gaps and various rumors confuse any sufficient account of what really happened. The breaks and leaks in storytelling can be understood as indices leading to a submerged work of mourning. The pedagogical intention organizing Stifter\u2019s meticulous story-telling not only in this story turns upon itself through the incessant supply of these commemorative indices or fragments. Not only is such pedagogy unable to find an efficient narrative mode, it also consistently undermines the authority whereby the instructor-narrator might come to terms with his own tale.<\/p>\nAddictation Machine |\u00a0James Godley<\/p>\n
Entry into the crypt William Burroughs shared with his mother opened and shut around a failed re-enactment of William Tell\u2019s shot through the prop placed upon a loved one\u2019s 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. William could never tell, although his corpus bears the inscription of this impossibility as another form of possibility.<\/p>\n
Else Lasker-Sch\u00fcler and the Poetics of Incorporation |\u00a0Leigh Gold<\/p>\n
In Else Lasker-Sch\u00fcler\u2019s poetry and prose, we find 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\u2019s own constitutive incorporation of a dead loved one. Now living objects must be loved to death or undeath. It was her mother\u2019s death that guided Lasker-Sch\u00fcler to live and love on as haunted subject\u2014to repeat and rehearse the love object\u2019s loss or departure via fantasies of incorporation.<\/p>\n
Ex-Corporation: On Male Birth Fantasies |\u00a0Christine Kanz<\/p>\n
Between 1890 and 1933, male birth fantasies became a widespread phenomenon in European culture. One of the key examples of male birth fantasies is Filippo Tommaso Marinetti\u2019s \u201cAfrican\u201d novel Mafarka the Futurist<\/em>. The novel\u2019s protagonist, Mafarka, gives birth to a child\u2014by his will power and by drawing on diverse formations of knowledge, from alchemy to theories of evolution. In addition to the consideration given the psycho-historical, cultural, and scientific contexts of male birth fantasies in the avant-garde, the contribution reflects on sibling encryptment within the relationship to the mother as one more aspect of a span of genealogy one might term \u201cMaternal Modernity.\u201d<\/p>\nKant Crisis |\u00a0William H. Carter<\/p>\n
This study approaches the last days of Immanuel Kant through the lens of his contemporary biographers and other correspondents. Among the latter, Kant\u2019s brother and, subsequently, his brother\u2019s family provide a symptomatic reflection upon Kant\u2019s management of his genealogy and his legacy. Yet behind this body of work is another corpus, one which embodies maternal and paternal legacies that are not readily subsumed by Oedipus or Kant\u2019s philosophy. This work (of art) is Kant\u2019s own body or corpus, which he painstakingly maintained and which provided a case study for his reflections on preventive medicine in The Conflict of the Faculties<\/em>.<\/p>\nOn Hamlet’s Crypt |\u00a0Viola Kolarov<\/p>\n
This contribution looks at the way instinct is transmitted and represented as ghost appearance. The essay elaborates two basic theses: first, that instinct is not defined by creaturely heritage, since it is not a testable structure in itself, nor subject to mourning\u2014and developmental\u2014processes; and second, that works of fine literature and pop oeuvres alike may serve as carriers of a ghost transmission charged with instinctive heritage. The study represents a model for reading ghostly genealogies that complement the familiar and familial reproductive ones as it draws on traditions such as the adultery novel, continental philosophy, psychoanalysis, and Disney.<\/p>\n
<\/h4>\nAbout the Contributors<\/strong><\/h4>\n<\/h4>\nGuest Editor<\/h4>\n
LAURENCE A. RICKELS moved to the Coast in 1981 upon completing his graduate training in German philology at Princeton University. While in California he established his reputation as theorist and earned his license in psychotherapy. He has published numerous studies of the phenomenon he calls \u201cunmourning,\u201d a term that became the title of his trilogy: Aberrations of Mourning<\/em>, The Case of California<\/em>, and Nazi Psychoanalysis.<\/em> His more recent publications include The Devil Notebooks<\/em> and I Think I Am: Philip K. Dick<\/em>. In April 2011 Rickels followed the call or \u201cRuf\u201d to the Academy of Fine Arts in Karlsruhe, where he is Klaus Theweleit\u2019s successor as professor of art and theory.<\/p>\n<\/h4>\nAuthors<\/strong><\/h4>\nNICOLA BEHRMANN (Ph.D. 2010, New York University) is Assistant Professor of German at Rutgers University. Her research touches on literary theory, gender studies, avant-garde studies, German realism, and literature in exile. She is currently editing the collected works of Expressionist writer and poet Emmy Hennings. She has published articles on Hugo Ball, Walter Benjamin, Berthold Brecht, Franz Kafka, and Frank Wedekind.<\/p>\n
WILLIAM H. CARTER studied at the University of Virginia, the University of Heidelberg, and earned his Ph.D. at the University of California, Santa Barbara. He taught German for three years at Tulane University and recently returned to the Department of World Languages and Cultures at Iowa State University, where he began his teaching career. His current book project is titled \u201cDevilish Details: Goethe\u2019s Public Service and Political Economy.\u201d<\/p>\n
JAMES GODLEY is currently a doctoral candidate in English at SUNY Buffalo, where he studies psychoanalysis, Continental philosophy, and nineteenth-century literature and poetry (British and American). His work on the concept of mourning and \u201cthe dead\u201d in Freudian and Lacanian approaches to psychoanalytic thought and in Gothic literature has also spawned an essay on zombie porn.<\/p>\n
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 recently defended NYU dissertation titled: \u201cIch sterbe am Leben\u201d: Else Lasker-Sch\u00fcler and the Work of Mourning<\/em>.<\/p>\nCHRISTINE KANZ is Professor of German Literature at Ghent University in Belgium. Her contribution refers to her 2009 book Maternale Moderne. M\u00e4nnliche Geb\u00e4rphantasien zwischen Kultur und Wissenschaft, 1890-1933<\/em>. In addition she edited several collections and authored another book on Ingeborg Bachmann, and numerous articles and reviews in the area of interdisciplinary studies.<\/p>\nVIOLA KOLAROV, currently based in Berlin, has taught in the German Departments of the Johns Hopkins University and New York University. She has published on Shakespeare, contemporary art, film, and pop culture. Her forthcoming book, \u201cShakespeare and the Autobiography of the Machine Age,\u201d rethinks Goethe, the German translation\/transmission of Shakespeare, and the German literary tradition in the contexts of media technology.<\/p>\n
CHRIS LEE was born in Seoul, Korea and moved to Virginia, where he finished his schooling, and attended the University of Virginia, intending to study philosophy and Classics. However, a chance encounter with Gilles Deleuze in a Spinoza class developed into a strong interest in postmodern thought and psychoanalysis, and ultimately led him to pursue his interest in psychoanalytic theory and modernist literature at the UCSB, where he received his Ph.D. in 2010. In his dissertation, Lee addressed those foreign bodies that go undetected in the canons of literary history, calling attention to those aspects of Strindberg, Virginia Woolf, and Beckett, that get passed over as the Unreadable (or simply as the unread).<\/p>\n
<\/h4>\nArtists<\/strong><\/h4>\nBefore commencing his studies at the Academy of Fine Arts Karlsruhe, class of Franz Ackermann, SASCHA BROSAMER trained as paramedic and was enrolled for two years in the \u201cMusic and Media Art\u201d program at the State Academy of Music in Bern, Switzerland.<\/p>\n
Before entering the Academy of Fine Arts Karlsruhe, class of Daniel Roth, in 2008, ADAM CMIEL trained in various media in Bad D\u00fcrkheim, Hamburg, Mannheim, and Trier. He has participated in nine exhibitions since the onset of his studies in Karlsruhe.<\/p>\n
ANDERS DICKSON transferred in 2008 from the Wisconsin university system to the Academy of Fine Arts Karlsruhe, class of Daniel Roth. He is working to establish a system of symbols like a language in which to examine and share his views.<\/p>\n
JULIAN FICKLER attends the Academy of Fine Arts Karlsruhe, class of Helmut Dorner. He is the recipient of a prestigious fellowship award bestowed by the K\u00fcnstlerf\u00f6rderung des Cusanuswerks Bonn. He has exhibited solo locally and in group at venues in Berlin and Hamburg.<\/p>\n
Since entering the Academy of Fine Arts Karlsruhe in 2007, VALENTIN HENNIG has studied in the classes of Silvia B\u00e4chli, 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 exhibitions in Freiburg and Karlsruhe.<\/p>\n
RODRIGO HERNANDEZ trained at the Escuela Nacional de Pintura, Escultura y Grabado La Esmeralda, Mexico City before entering the Academy of Fine Arts Karlsruhe, class of Silvia B\u00e4chli in 2010. His work has been shown in solo and group exhibitions in Alberta, Berlin, Hamburg, Mexico City, Stockholm, and Z\u00fcrich, among other cities.<\/p>\n
Originally from Berlin, SUSANNE LANCKOWSKY entered the Academy of Fine Arts Karlsruhe, class of Franz Ackermann, in 2007. Since 2009 she has shown solo and in group on numerous occasions and studied abroad with prestigious scholarship support for one semester at the Faculdade de Belas Artes Universidade do Porto, Portugal, and for another semester at the Escuela Nacional de Pintura, Escultura y Grabado La Esmeralda in Mexico.<\/p>\n
POLA SPERBER, currently enrolled at the Academy of Fine Arts Karlsruhe, class of John Bock, worked from 2005-2009 as sculptor for theater design at the S\u00fcdwestrundfunk (SWR) in Baden-Baden. In 2009 she received the Baden-Baden Award for \u201cbest sculptor.\u201d<\/div>\n
<\/p>\n
R\u00e9sum\u00e9s des articles<\/h4>\n
Missing Letters |\u00a0Christopher Lee<\/p>\n
Cet article suit le ph\u00e9nom\u00e8ne des \u00ab lettres disparues \u00bb pour faire le lien entre les grandes inqui\u00e9tudes qui impr\u00e8gnent la vie et les \u0153uvres d\u2019August Strinberg et son destin de porter la crypte de sa s\u0153ur d\u00e9c\u00e9d\u00e9e. Dans son essai \u00e9crit en 1887, \u00ab Soul Murder (A Propos<\/em> Rosmerholm) \u00bb Strindberg r\u00e9v\u00e8le que le r\u00e9sultat de ses grandes inqui\u00e9tudes n\u2019est pas un conflit interpersonnel, mais la probabilit\u00e9 des messages de se perdre en cours de route. En d\u00e9guisant la menace de perte en l\u2019image des lettres disparues, Strindberg \u00e9tablit l\u2019interchangeabilit\u00e9 entre les lettres disparues en transit et celles non sollicit\u00e9es qui p\u00e9n\u00e8trent le corpus \u00e0 travers les ouvertures de communication. En suivant la trajectoire de ces lettres disparues dans ces \u0153uvres (notamment dans P\u00e8re<\/em>, dans Mademoiselle Julie<\/em> et dans La danse de mort I<\/em>), cet article trouve finalement la transmission fant\u00f4me de m\u00e8re \u00e0 fils de la s\u0153ur cadette Eleonora au centre mort (absent ou disparu) du corpus litt\u00e9raire.<\/p>\nOver Your Dead Mother: Rumors and Secrets in Stifter\u2019s \u201cTourmaline” |\u00a0Nicola Behrmann<\/p>\n
Malgr\u00e9 sa confiance de pouvoir cr\u00e9er un chef-d\u2019\u0153uvre descriptif simple et clair, Adalbert Stifter fait de son \u0153uvre \u00ab Tourmaline \u00bb le plus obscur et le plus complexe conte de la collection Roches multicolores<\/em> de 1892. Cet article suit la trace du dynamisme cryptographique qui sape la coh\u00e9rence, ainsi que la possibilit\u00e9 d\u2019une fin ferm\u00e9e que l\u2019auteur r\u00e9aliste essaye de fournir. La description abondante des d\u00e9tails apparemment superflus, les nombreuses lacunes narratives, ainsi que les diff\u00e9rentes rumeurs compliquent le compte-rendu du vrai incident. On peut expliquer les interruptions et les fuites dans le conte comme des indices de la pr\u00e9sence cach\u00e9e du travail de deuil. L\u2019intention p\u00e9dagogique qui dirige la fa\u00e7on selon laquelle Stifter raconte une histoire se retourne contre lui \u00e0 travers l\u2019apport incessant des signes comm\u00e9moratifs ou des fragments comm\u00e9moratifs. Non seulement ce type de p\u00e9dagogie ne peut pas trouver un mode narratif efficace, mais il sape aussi la capacit\u00e9 de l\u2019instructeur-narrateur d\u2019arriver en accord avec son propre conte.<\/p>\nAddictation Machine |\u00a0James Godley<\/p>\n
L\u2019entr\u00e9e dans la crypte \u00e0 laquelle participent William Burroughs et sa m\u00e8re s\u2019ouvre et se ferme autour d\u2019une repr\u00e9sentation \u00e9chou\u00e9e de la l\u00e9gende de Guillaume Tell essayant d\u2019atteindre une pomme plac\u00e9e sur la t\u00eate d\u2019un \u00eatre aim\u00e9. Le meurtre accidentel de sa femme ach\u00e8ve l\u2019installation de la machine d\u2019addictation<\/em> qui file la m\u00e9lancolie comme une diffusion fr\u00e9n\u00e9tique. Un encodage pr\u00e9coce auquel s’ajoute une part audio de l\u2019abus induit un message impossible \u00e0 livrer en WB. William ne peut jamais le dire (tell<\/em>), bien que son corps porte l\u2019inscription de cette impossibilit\u00e9 comme une autre sorte de possibilit\u00e9.<\/p>\nElse Lasker-Sch\u00fcler and the Poetics of Incorporation |\u00a0Leigh Gold<\/p>\n
On trouve le d\u00e9sir ou l\u2019espoir d\u2019\u00eatre d\u00e9vor\u00e9 par l\u2019objet aim\u00e9 en m\u00eame temps qu\u2019on consomme l\u2019objet \u00e0 son tour dans la prose et la po\u00e9sie d\u2019Else Lasket-Sch\u00fcler. Dans cette analyse, cette fusion ou cette tournure de phrase prend sa source dans le fait que le sujet cause l\u2019incorporation constitutive d\u2019un \u00eatre aim\u00e9 d\u00e9c\u00e9d\u00e9. \u00c0 partir de l\u00e0, on doit aimer les objets encore vivants jusqu\u2019\u00e0 la mort ou \u00e0 la \u00ab contre-mort \u00bb de ceux-ci. La mort de sa m\u00e8re dirige Lasker-Sch\u00fcler vers la fa\u00e7on de vivre et d\u2019aimer d\u2019un individu hant\u00e9 : r\u00e9p\u00e9ter la perte de l\u2019objet aim\u00e9 ou son d\u00e9part \u00e0 travers le fantasme d\u2019incorporation.<\/p>\n
Ex-Corporation: On Male Birth Fantasies |\u00a0Christine Kanz<\/p>\n
Le fantasme du male birth<\/em> se r\u00e9pand dans la culture europ\u00e9enne entre 1890 et 1933. Un exemple-cl\u00e9 du fantasme du male birth<\/em> est le roman \u00ab africain \u00bb Mafarka le Futuriste<\/em> de Filippo Tommaso Marinetti. Le protagoniste du roman, Mafarka, donne naissance \u00e0 un enfant \u00e0 travers sa volont\u00e9, mais aussi en faisant appel \u00e0 diverses connaissances de l\u2019alchimie jusqu\u2019aux th\u00e9ories de l\u2019\u00e9volution. En plus de consid\u00e9rer les contextes psycho-historique, culturel et scientifique du concept du male birth<\/em> dans le cadre de l\u2019avant-garde, cet article consid\u00e8re l\u2019encodage de la fratrie \u00e0 travers la relation \u00e0 la m\u00e8re comme un autre aspect de l\u2019intervalle g\u00e9n\u00e9alogique qu\u2019on peut appeler \u00ab la modernit\u00e9 maternelle \u00bb.<\/p>\nKant Crisis |\u00a0William H. Carter<\/p>\n
Cet article est une analyse des derniers jours d\u2019Immanuel Kant \u00e0 travers ses biographes contemporains, ainsi qu\u2019\u00e0 travers d\u2019autres correspondants, parmi lesquels le fr\u00e8re de Kant, dont la famille fournit une r\u00e9flexion symptomatique de sa gestion de son h\u00e9ritage du pass\u00e9, ainsi que celui de l\u2019avenir. Cependant, \u00e0 l\u2019arri\u00e8re de ce corpus il y en a un autre. La philosophie d\u2019\u0152dipe ou m\u00eame celle de Kant ne subsume pas facilement ce deuxi\u00e8me corpus qui incarne l\u2019h\u00e9ritage de sa m\u00e8re, ainsi que celui de son p\u00e8re. Cette \u0153uvre (d\u2019art) repr\u00e9sente le corpus, son propre corps, conserv\u00e9 m\u00e9ticuleusement et utilis\u00e9 pour r\u00e9fl\u00e9chir aux rem\u00e8des pr\u00e9ventifs dans Conflit de facult\u00e9s<\/em>.<\/p>\nOn Hamlet’s Crypt |\u00a0Viola Kolarov<\/p>\n
Cet article examine la fa\u00e7on dont on repr\u00e9sente l\u2019instinct comme un fant\u00f4me et comment on le transmit de cette mani\u00e8re. Il entre dans les d\u00e9tails de deux th\u00e8ses fondamentales. La premi\u00e8re dit qu\u2019on ne d\u00e9finit pas l\u2019instinct \u00e0 travers l\u2019h\u00e9ritage humain puisque l\u2019instinct n\u2019est pas une structure \u00e9valuable et, en plus, il ne se soumet ni au processus du deuil ni \u00e0 celui du d\u00e9veloppement. La deuxi\u00e8me dit que les \u0153uvres litt\u00e9raires classiques, ainsi que celles populaires peuvent servir \u00e0 transmettre un fant\u00f4me charg\u00e9 de l\u2019h\u00e9ritage instinctif. Cet \u00e9tude repr\u00e9sente un mod\u00e8le de lecture des g\u00e9n\u00e9alogies fant\u00f4mes qui combine les famili\u00e8res reproductives avec les familiales reproductives puisqu\u2019il fait appel aux traditions telles que le roman de l\u2019adult\u00e8re, de la philosophie continentale, de la psychanalyse et de Disney.<\/p>\n
\u00c0 propos des contributeurs<\/h4>\nR\u00e9dacteur en chef invit\u00e9<\/h4>\n
LAURENCE A. RICKELS\u00a0d\u00e9m\u00e9nage sur la c\u00f4te Ouest en 1981 lorsqu\u2019il termine ses \u00e9tudes de troisi\u00e8me cycle en philologie \u00e0 l\u2019Universit\u00e9 de Princeton. En Californie, il se fait une r\u00e9putation de th\u00e9oricien et il obtient un permis d\u2019exercice de psychoth\u00e9rapie. Il publie des nombreux textes sur le ph\u00e9nom\u00e8ne qu\u2019il appelle \u00ab unmourning \u00bb, appellation qui devient le titre de sa trilogie : Aberrations of Mourning<\/em>, The Case of California<\/em>, et Nazi Psychoanalysis<\/em>. Des plus r\u00e9centes publications sont The Devil Notebooks<\/em> et I Think I Am : Philip K. Dick<\/em>. En avril 2011 il r\u00e9pond \u00e0 l\u2019appel ou \u00ab Ruf \u00bb de l’Acad\u00e9mie des beaux-arts de Karlsruhe pour succ\u00e9der \u00e0 Klaus Theweleit au poste de professeur d\u2019arts et de th\u00e9orie.<\/p>\nAuteurs<\/h4>\n
NICOLA BEHRMANN\u00a0obtient un doctorat de l\u2019Universit\u00e9 de New York en 2010. Elle est ma\u00eetre de conf\u00e9rences en allemand \u00e0 l\u2019Universit\u00e9 Rutgers. Ses recherches incluent des th\u00e8mes comme la th\u00e9orie litt\u00e9raire, les \u00e9tudes sur le genre, l\u2019avant-garde, le r\u00e9alisme allemand et la litt\u00e9rature de l\u2019exil. Actuellement, elle est en train de r\u00e9viser les \u0153uvres compl\u00e8tes de l\u2019expressionniste Emmy Hennings, \u00e9crivaine et po\u00e8te. Elle publie aussi sur Hugo Ball, Walter Benjamin, Berthold Brecht, Franz Kafka et Frank Wedekind.<\/p>\n
WILLIAM H. CARTER\u00a0obtient son doctorat \u00e0 l\u2019Universit\u00e9 de Californie Santa Barbara apr\u00e8s avoir \u00e9tudi\u00e9 \u00e0 l\u2019Universit\u00e9 de Virginie, ainsi qu\u2019\u00e0 l\u2019Universit\u00e9 de Heidelberg. Il enseigne l\u2019allemand \u00e0 l\u2019Universit\u00e9 de Tulane pendant trois ans, puis il reprend le poste du d\u00e9but de sa carri\u00e8re dans le cadre du D\u00e9partement des langues et des cultures \u00e0 l\u2019Universit\u00e9 d\u2019\u00e9tat de l\u2019Iowa. Son projet litt\u00e9raire actuel s\u2019appelle\u00a0Devilish Details : Goethe\u2019s Public Service and Political Economy<\/em>.<\/p>\nJAMES GODLEY\u00a0est actuellement doctorant en anglais \u00e0 l\u2019Universit\u00e9 de Buffalo o\u00f9 il \u00e9tudie la psychanalyse, la philosophie continentale et la litt\u00e9rature du dix-neuvi\u00e8me si\u00e8cle des \u00c9tats-Unis, ainsi que celle de l\u2019Angleterre. Son travail sur les concepts de deuil et des \u00ab d\u00e9c\u00e9d\u00e9s \u00bb de la psychanalyse freudienne et lacanienne dans la litt\u00e9rature gothique sert d\u2019inspiration pour un article au sujet de la zombie porn<\/em>.<\/p>\nLEIGH GOLD, actuellement traductrice, \u00e9tudie la philologie allemande \u00e0 Williams College et \u00e0 l\u2019Universit\u00e9 de New York. Sa th\u00e8se r\u00e9cemment soutenue, intitul\u00e9e \u201cIch sterbe am Leben\u201d: Else Lasker-Sch\u00fcler and the Work of Mourning<\/em>, sert d\u2019inspiration \u00e0 l\u2019article publi\u00e9 ici.<\/p>\nCHRISTINE KANZ\u00a0est professeur de litt\u00e9rature allemande \u00e0 l\u2019Universit\u00e9 Ghent en Belgique. Son article se rapporte \u00e0 son livre Maternale. Moderne. M\u00e4nnliche Geb\u00e4rphantasien zwischen Kultur und Wissenschaft, 1890-1933<\/em>, publi\u00e9 en 2009. Elle est \u00e9ditrice de plusieurs collections et auteur d\u2019un autre livre sur Igeborg Bachmann, ainsi que de nombreux articles et de nombreux comptes-rendus dans le domaine des \u00e9tudes interdisciplinaires.<\/p>\nVIOLA KOLAROV, enseigne l\u2019allemand \u00e0 l\u2019Universit\u00e9 Johns Hopkins, ainsi qu\u2019\u00e0 l\u2019Universit\u00e9 de New York avant de s\u2019installer \u00e0 Berlin. Elle publie des textes sur Shakespeare, sur l\u2019art contemporain, sur le cin\u00e9ma et sur la culture populaire. Son prochain livre, intitul\u00e9 Shakespeare and the Autobiography of the Machine Age<\/em>, propose des nouvelles r\u00e9flexions sur Goethe, sur la traduction\/transmission de Shakespeare en allemand, ainsi que sur la tradition litt\u00e9raire allemande, dans le contexte de media technology<\/em>.<\/p>\nCHRIS LEE, n\u00e9 \u00e0 S\u00e9oul en Cor\u00e9e, d\u00e9m\u00e9nage en Virginie o\u00f9 il finit ses \u00e9tudes secondaires. Il s\u2019inscrit \u00e0 l\u2019Universit\u00e9 de Virginie avec l\u2019intention d\u2019\u00e9tudier la philosophie et les lettres classiques. Cependant, il prend de l\u2019int\u00e9r\u00eat pour la pens\u00e9e postmoderne, ainsi que pour la psychanalyse gr\u00e2ce \u00e0 une rencontre fortuite avec Gilles Deleuze dans le cadre d\u2019un cours sur Spinoza. En raison de cette rencontre il d\u00e9veloppe son int\u00e9r\u00eat pour la th\u00e9orie psychanalytique, ainsi que pour la litt\u00e9rature moderniste \u00e0 l\u2019Universit\u00e9 de Californie \u00e0 Santa Barbara, o\u00f9 il obtient son doctorat en 2010. Sa th\u00e8se porte sur les \u0153uvres \u00e9trang\u00e8res omises dans les canons de la litt\u00e9rature en soulignant les aspects consid\u00e9r\u00e9s unreadable<\/em> (ou simplement unread<\/em>) dans l\u2019\u0153uvre de Strindberg, de Virginia Wolf et de Beckett.<\/p>\nArtistes<\/strong><\/h4>\nAvant de commencer ses \u00e9tudes \u00e0 l’Acad\u00e9mie des beaux-arts de Karlsruhe sous la direction de Franz Ackermann, SASCHA BROSAMER\u00a0re\u00e7oit une formation d\u2019auxiliaire m\u00e9dical. Il suit aussi deux ans du programme Musique et arts m\u00e9diatiques<\/em> au Conservatoire de Berne en Suisse.<\/p>\nAvant de s\u2019inscrire \u00e0 l’Acad\u00e9mie des beaux-arts de Karlsruhe sous la direction de Daniel Roth en 2008, ADAM CMIEL suit diverses \u00e9tudes \u00e0 Bad D\u00fcrkheim, \u00e0 Hamburg, \u00e0 Mannheim et \u00e0 Trier. Apr\u00e8s le d\u00e9but de ses \u00e9tudes \u00e0 Karlsruhe, il prend part \u00e0 neuf expositions.<\/p>\n
En 2008, ANDERS DICKSON passe de l\u2019Universit\u00e9 du Wisconsin \u00e0 l’Acad\u00e9mie des beaux-arts de Karlsruhe sous la direction de Daniel Roth. Son travail actuel consiste \u00e0 formuler un syst\u00e8me de symboles, comme un langage, pour pouvoir s\u2019exprimer et partager ses perspectives.<\/p>\n
JULIAN FICKLER\u00a0\u00e9tudie \u00e0 l’Acad\u00e9mie des beaux-arts de Karlsruhe sous la direction de Helmut Dorner. Il re\u00e7oit une bourse universitaire prestigieuse de K\u00fcnstlerf\u00f6rderung des Cusanuswerks Bonn<\/em>. Il participe \u00e0 des expositions individuelles et collectives \u00e0 Berlin et \u00e0 Hamburg.<\/p>\nVALENTIN HENNIG\u00a0s\u2019inscrit \u00e0 l’Acad\u00e9mie des beaux-arts de Karlsruhe en 2007. Il \u00e9tudie sous la direction de Silvia B\u00e4chli, de Claudio Moser, ainsi que de Corinne Wasmuht. En 2010, il \u00e9tudie \u00e0 \u00c9cole d’enseignement sup\u00e9rieur des beaux-arts \u00e0 Dresde. Ses \u0153uvres apparaissent dans des expositions collectives \u00e0 Freiburg et \u00e0 Karlsruhe.<\/p>\n
RODRIGO HERNANDEZ\u00a0\u00e9tudie \u00e0 Escuela Nacional de Pintura, Escultura y Grabado La Esmeralda<\/em> \u00e0 Mexico avant de s\u2019inscrire \u00e0 l’Acad\u00e9mie des beaux-arts de Karlsruhe sous la direction de Silvia B\u00e4chli en 2010. Il participe \u00e0 des expositions individuelles et collectives en Alberta, \u00e0 Berlin, \u00e0 Hamburg, \u00e0 Mexico, \u00e0 Stockholm et \u00e0 Z\u00fcrich parmi d\u2019autres endroits.<\/p>\nOriginaire de Berlin, SUSANNE LANCKOWSKY\u00a0s\u2019inscrit \u00e0 l’Acad\u00e9mie des beaux-arts de Karlsruhe sous la direction de Franz Ackermann en 2007. Apr\u00e8s 2009, elle participe \u00e0 de nombreuses expositions individuelles et collectives. Elle \u00e9tudie \u00e0 l\u2019\u00e9tranger pendant un semestre \u00e0 Faculdade de Belas Artes Universidade do Porto<\/em> au Portugal, ainsi que \u00e0 la Escuela Nacional de Pintura, Escultura y Grabado La Esmeralda<\/em> au Mexique gr\u00e2ce \u00e0 des bourses prestigieuses.<\/p>\nPOLA SPERBER, actuellement inscrite \u00e0 l’Acad\u00e9mie des beaux-arts de Karlsruhe sous la direction de John Bock, travaille comme sculpteur sc\u00e9nographique au S\u00fcdwestrundfunk (SWR) \u00e0 Baden-Baden. Elle re\u00e7oit le Baden-Baden Award du meilleur sculpteur en 2009.<\/div>
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Imaginations\u00a02-1 | Crypt Studies | Table of Contents\u00a0\u00a0| Table des mati\u00e8res Guest Editor | Laurence A. Rickels Preface\u00a0| Author and Editor\u00a0Laurence A. Rickels |\u00a0Artist\u00a0Pola Sperber Missing Letters\u00a0| Author Christopher Lee |\u00a0Artist Sascha Brosamer Over Your Dead Mother: Rumors and Secrets in Stifter\u2019s \u201cTourmaline\u201d\u00a0| Author Nicola Behrmann\u00a0| Artist Anders Dickson Addictation Machines\u00a0| Author James Godley\u00a0| […]<\/p>\n","protected":false},"author":4062,"featured_media":7324,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[91,4],"tags":[88],"class_list":["post-1177","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-crypt-studies-2","category-article","tag-laurence-a-rickels","wpautop"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/imaginations.space\/wp-content\/uploads\/2015\/05\/Moor-Kollageanaloge-Photographie.jpg","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p707hj-iZ","_links":{"self":[{"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/posts\/1177","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/users\/4062"}],"replies":[{"embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1177"}],"version-history":[{"count":63,"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/posts\/1177\/revisions"}],"predecessor-version":[{"id":8511,"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/posts\/1177\/revisions\/8511"}],"wp:attachment":[{"href":"https:\/\/imaginations.space\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1177"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1177"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1177"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}