{"title":"Imagined Scenarios of Disruption. A Concept","authors":"L. Koch, Tobias Nanz, Johannes Pause","doi":"10.1515/9783110580082-005","DOIUrl":"https://doi.org/10.1515/9783110580082-005","url":null,"abstract":"","PeriodicalId":395841,"journal":{"name":"Disruption in the Arts","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130593329","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}
{"title":"Notes on Secondary Drama","authors":"Elfriede Jelinek","doi":"10.1515/9783110580082-018","DOIUrl":"https://doi.org/10.1515/9783110580082-018","url":null,"abstract":"","PeriodicalId":395841,"journal":{"name":"Disruption in the Arts","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124956761","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}
{"title":"Frontmatter","authors":"","doi":"10.1515/9783110580082-fm","DOIUrl":"https://doi.org/10.1515/9783110580082-fm","url":null,"abstract":"","PeriodicalId":395841,"journal":{"name":"Disruption in the Arts","volume":"85 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123051722","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}
{"title":"“They Starve to death, but who dares ask why?”: Steve McQueen’s Film Hunger","authors":"Tanja Nusser","doi":"10.1515/9783110580082-013","DOIUrl":"https://doi.org/10.1515/9783110580082-013","url":null,"abstract":"","PeriodicalId":395841,"journal":{"name":"Disruption in the Arts","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115791779","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}
{"title":"Citizen n-1: Laura Poitras’s Citizenfour as a Reparative Reading of a Paranoid World","authors":"Katrin M. Kämpf, Christina Rogers","doi":"10.1515/9783110580082-017","DOIUrl":"https://doi.org/10.1515/9783110580082-017","url":null,"abstract":"","PeriodicalId":395841,"journal":{"name":"Disruption in the Arts","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117064623","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}
{"title":"Writing Aphasia: Intermedial Observation of Disrupted Language in Wolfgang Herrndorf’s Arbeit und Struktur","authors":"E. Heyne","doi":"10.1515/9783110580082-014","DOIUrl":"https://doi.org/10.1515/9783110580082-014","url":null,"abstract":"“I am reading my own dialogues and realizing that I consider misunderstanding to be the essence of communication,”1 notes German writer Wolfgang Herrndorf in his blog Arbeit und Struktur.2 Herrndorf began this autobiographical and autopathographical blog in 2010, after being diagnosed with an incurable brain tumor, and continued it until his death in August 2013. The blog follows his life with a diagnosis of incurable cancer and psychosis due to initial surgery and an increasing number of malfunctions in language, coordination, and orientation caused by epileptic seizures. It also contains reflections on the process of writing the last two novels published during the author’s lifetime. In Arbeit und Struktur, physical disruption both produces the writing and becomes its subjectmatter. Disruptions, disorders of speech, mental disorders, fragmentary language, misunderstandings, going mute, aphasia: by treating all these phenomena as objects of discourse, Herrndorf joins a modern tradition of writing about mental disorders and evokes the narrative of the creative aspects of disruption, which assumes that every rupture has a reflective and innovative potential (Habscheid and Koch 2014). The blog touches on the discourse of writing on madness, and is simultaneously disrupted by a secondary level that deals with the narrator’s own medical condition experimentally and autobiographically in the medium of writing. For in the mode of autobiographical experience, Arbeit und Struktur renders visible the fact that, in Herrndorf ’s case, instead of creative potential, there is simply nothing to be found behind the epistemic category of disruption. Therefore, the narrative of the re-normalizing power of de-normalization is dismantled, and the regularity of disruption itself gets disrupted.","PeriodicalId":395841,"journal":{"name":"Disruption in the Arts","volume":"70 4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129341842","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}
{"title":"Disturbance in the Intermediate: Secondary Drama as a Parasite","authors":"T. Kovács","doi":"10.1515/9783110580082-019","DOIUrl":"https://doi.org/10.1515/9783110580082-019","url":null,"abstract":"Elfriede Jelinek’s essay (for a reprint see this volume: 337–338) describes a concept that can be viewed as a form of editing, that, however, extends well beyond parody, contrafactum, travesty, etc.1 What Jelinek calls for with the “genre” of secondary drama she introduced, cannot be referred to as a counter-song or a sequel; her concept is about concurrence, about making two texts simultaneously present in the moment of staging, as suggested by the characterization of secondary drama as an accompanying drama (Begleitdrama). By this requirement, Jelinek intervenes in the theatre business more extensively than texts usually do, thus continuing to question its historical and present conditions, a constitutive principle of her dramatic work (Haß and Meister 2015: 113– 114). Jelinek associates two of her theatre texts with secondary drama: Abraumhalde (2009), created as a secondary drama to Gotthold Ephraim Lessing’s Nathan der Weise, as well as FaustIn and out (2011) that cites Goethe’s Urfaust as the central referential text. Formulated in this essay, the instruction to stage the plays only along with Lessing’s and Goethe’s dramas respectively was at first actually enforced by Jelinek’s publishing house. Both premieres thus chose a form, in which primary2 and secondary dramas were connected, and yet showing very different approaches at the same time.3 Notes on Secondary Drama (Anmerkung zum Sekundärdrama) has to be seen in the context of the much‐debated issue concerning the progressing economisation of public theatre. In the first sentence of the text, Jelinek links aesthetic considerations primarily to economic conditions and presents the secondary drama","PeriodicalId":395841,"journal":{"name":"Disruption in the Arts","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121424820","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}
{"title":"Perturbing the Reader: The Riddle-character of Art and the Dialectical Impact of Contemporary Literature (Adorno, Goetz, Kracht)","authors":"Chris Kleinschmidt","doi":"10.1515/9783110580082-007","DOIUrl":"https://doi.org/10.1515/9783110580082-007","url":null,"abstract":"In his criticism of Adorno’s Aesthetic Theory, Hans Robert Jauß argues that Adorno widely neglects the constitutive role of reception in art, particularly forms of interaction like enjoying, identification, or catharsis (Jauß 1982: 64–65). If he is right, every attempt to analyze Adornos Aesthetic Theory via strategies that evoke certain effects would be in vain. As a matter of fact, Adorno himself expresses reservation about the effort to understand artworks by their effects. He defines the logic of the artwork as “determined objectively in themselves without regard to their reception”1 (Adorno 2013: 188). By this statement Adorno might think of a research tradition, which investigates individual reactions towards the experience of art. In contrast to these empirical studies, from which Adorno wants to distance himself, another research area, namely an abstract one, considers effects of reception as linked to the textual structures. Of course, it takes an act of reading to actualize those structures, but from the perspective of thinkers such as Wolfgang Iser or Umberto Eco, effects cannot be engendered without considering them as implicit models and intentional aims of the artwork. On the basis of this research line, this essay looks at whether and how it is possible to approach one of the most important aspects of Adorno’s Aesthetic Theory: the riddle-character of art.Without doubt the term implies an activating mode for those trying to solve the riddle. Regarding the different ways of interaction in the process of riddling, I am going to answer the two following questions. First, how does Adorno conceptualize the riddle-character of art, and in which ways does it relate to concepts of interpretation, sense, and truth? Furthermore, which role does the riddle-character play in the reconciliation, which is according to Adorno the great achievement of art in society? Second, on the basis of the novels Irre, by Rainald Goetz (1983), and Ich werde hier sein im Sonnenschein und im Schatten, by Christian Kracht (2008), I am going to review whether the riddlecharacter, as Adorno understands it, actually describes all kinds of modern literature – particularly developments in contemporary literature, which strongly works in a dialectic mode of involvement and disruption. By answering these questions, I want to highlight another aspect of modern literature; namely,","PeriodicalId":395841,"journal":{"name":"Disruption in the Arts","volume":"211 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121925318","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}