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Ergebnisanzeige "Reading/Viewing Alexander Kluge's Work"
RessourcentypCall for Papers
TitelReading/Viewing Alexander Kluge's Work
BeschreibungReading/Viewing Alexander Kluge's Work
International conference – University of Liège - 11-13 December 2013

Keynote Speakers
Prof. Dr. Nicole Brenez, Paris 3 – Sorbonne Nouvelle
Prof. Dr. Thomas Elsaesser, Universiteit van Amsterdam
Prof. Dr. Gertrud Koch, Freie Universität Berlin
Prof. Dr. Christian Schulte, Universität Wien

Practical information
Dates and venue: 11-13 December 2013, University of Liège (Belgium)
Proposals of about 500 wordsare to be sent to the following address by 30 June 2013. A short biographical note and complete details should be enclosed (professional address, email, phone number). Answers will be sent by 1 August 2013.
Languages: The conference languages will be English, German and French.
Fee: Registration is free. Depending on available budget accommodation expenses may be partly covered.
Exposition to Kluge's work: Each of the three days will end with public screenings and readings of some of Alexander Kluge's works.
Proceedings: Proceedings will be published with Presses Universitaires de Liège (PULg).
Organisation : Prof. Dr. Céline Letawe, Department of Modern Languages and Literatures, Dr. Grégory Cormann, Department of Philosophy, Dr. Jeremy Hamers, Department of Communication Arts and Sciences

Alexander Kluge, writer, sociologist, film and television director, is a versatile figure whose work eludes any category that the history of art or ideas might attempt to force on it. While he was delighted by the "primitive diversity" of cinema in its early years, he has also embraced with enthusiasm those technical innovations that have occurred since portable video. Though he is the most acute mind in the New German Film, he has not been one of its best known representatives. A key player in German private television broadcasting, he has produced some of its most startling and challenging programs. His writings too resist any labeling. His texts waver between essays, short stories and theoretical developments; readers should just explore the many interweaving stories that overlap and recur but must not be reduced to any kind of order. Fully convinced of the importance of subjectivity, he advocates sharing creation with viewers and readers.
Analysts and commentators may be tempted to trace genealogies that would help to cope with such a many-sided and shape-shifting work. Kluge's biography (for instance his friendship with key artists and thinkers in the 20th century) as well as the many explicit references and less obvious echoes to systems of thought and representation are as many inviting trails. However, on closer examination, Kluge's literary and visual work goes beyond such an approach: what matters is precisely what lies in-between, in the gaps among a host of juxtaposed narratives (text and image, big screen and monitor, mathematical equation and figurative representation…). Kluge does not just bear witness to history, he recreates it, and invites readers and viewers to join him: literature like film should lead us to retrieve our millennia-old histories to bring out a kind of historiographical approach woven with recurring obsessions.
What is at stake in this unending rewriting, re-articulating, crossing and editing that ought to turn readers and viewers into agents in the creative process goes beyond aesthetic considerations. His project may be essentially political since he aims at identifying the driving force of inherited feelings in the narrative that tells the history of humankind. When he takes his readers and viewers along to revisit countless episodes as wide apart as Napoleon's Russian campaign, the continental drift, or his father's ritual concern about the welfare of fish in their family pond, Alexander Kluge actually creates an 'anti-genealogic' work that aims at releasing his audience from some historiography of fate to bring about an awareness that since man appeared and from the moment of our birth, because we are animated by feelings, we protest (Kluge).
Kluge's work is an invitation for readers and viewers to explore representations, their various mediums, texts and personal accounts to uncover the traces of an endless mental labour with film, television, drawing, painting, and literature as some its manifestations. The present conference responds to such invitation as it suggests that its contributors turn into readers/viewers of Kluge's work, i.e. extend in their examination its anti-genealogical, cross-media and political echoes.

The topics described below are not an exclusive list of fields, issues or objects to be considered during the conference. They are presented as suggestions that might shed light on the organizers' approach.
Editing: While Alexander Kluge and most of his commentators have underlined the significance of editing as an analytical form, readers and viewers are caught in a dizzying loss of traditional landmarks, which may seem incompatible with a historical-political analysis. Yet such loss might be the very condition to the political empowerment that Kluge wishes to enact. The apparent decontextualisation of fragments of history that can be observed in his editing of texts and images results indeed in a striking political cosmogony where feelings – also called 'dreams' or 'emotions' − are a driving force, manifesting the subject's never-ending capacity to protest which is at the heart of what viewers and readers inherit.
Interviewing: Kluge's position as brilliant interviewer/interviewee has already been the object of studies that show that from his 'Socratic dialogues' (Negt) on television to interviews with the media, interviewing is never limited to some horizontal exchange, but accumulates layers and thus blurs the boundary between commentary and commented work. Fewer studies examine more uncertain forms such as false dialogues, or fictitious dialogues though these too can prove an inexhaustible source for analysts of Kluge's work.
Translating: Part of the conference will be dedicated to translations of the writer's works, which because of their many cross references often resist a too systematic approach. Translating a text by Kluge means being exposed to echoes which may be obvious (Adorno, Bloch, Marx) or elusive (fairy tales, opera, ancient cultures), since Kluge appropriated those various strands thus making it compulsory for translators to become readers, i.e. creators and editors.

The international conference Reading/Viewing Alexander Kluge's Work is organized in the context of the 'German Year' at the University of Liège and is supported by the Goethe Institut in Brussels and the Arts Faculty at the University of Liège.
Quelle der BeschreibungInformation des Anbieters
PersonName: Céline Letawe 
Funktion: Professor für Übersetzung und Übersetzungswissenschaft an der Universität Lüttich 
KontaktdatenName/Institution: Céline Letawe, Universität Lüttich (Belgien) 
Strasse/Postfach: Place Cockerill 3-5 
Postleitzahl: 4000 
Stadt: Lüttich 
SchlüsselbegriffeÜbersetzungswissenschaft; Literaturwissenschaft; Literarische Wertung/Literaturkritik; Literatur- u. Kulturgeschichte; Literatursoziologie; Medien- u. Kommunikationsgeschichte (Hand-, Druckschrift, Film, Rundfunk, Computerspiel usw.); Medien- u. Kommunikationstheorie
Zusätzliches SuchwortAlexander Kluge, Film, Literatur, Philosophie, Übersetzung
Ediert von  H-Germanistik
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