“Take the Beuys off!” – Reconsidering the Current Concept of Ekphrasis in the Performative Poetry of Thomas Kling
DOI:
https://doi.org/10.17851/2317-2096.27.2.157-188Palabras clave:
ekphrasis, visuality, performativity, semiotics, multimodality, mimesis, Thomas KlingResumen
A portrait poem by the German poet Thomas Kling (1957-2005) about the German artist Joseph Beuys is the starting point to reconsider the current ekphrasis discourse in the light of experienced visuality by combining the concept of ancient rhetoric with modern ideas of imagination, multimodality and performativity.
Descargas
Citas
AGAMBEN, Giorgio. Poiesis and Praxis. In: AGAMBEN, Giorgio. The Man Without Content. Translated by Georgia Albert. Stanford: Stanford University, 1999. p. 42-57.
BARAD, Karen. Meeting the Universe Halfway: Realism and Social Constructivism Without Contradiction. In: NELSON, Lynn Hankinson; NELSON, Jack (Ed.). Feminism, Science, and the Philosophy of Science. Dordrecht: Kluwer Academic Publishers, 1996. p. 161-194.
BARINAGA, Ester. A Performative View of Language – Methodological Considerations and Consequences for the Study of Culture. Forum Qualitative Social Research, [S.l.], v. 10, h. 1, p. 1-43, 2009. Special Issue on Qualitative Research on Intercultural Communication.
BARNUM, Jeff. Social Sculpture: Enabling Society to Change Itself. Reos: Innovation in Complex Systems, p. 1-5, July 2010. Available at: http://reospartners.com/wp-content/uploads/old/Social_Sculpture_J_Barnum_2010.pdf. Accessed on: 2 July 2017.
BEUYS, Joseph. Humboldt. Inter Nationes Bonn. 2017. Print on paper. 837 x 592 mm. Tate, National Gallery of Scotland. Available at: http://www.tate.org.uk/art/artworks/beuys-humboldt-inter-nationes-bonn-ar00989. Accessed on: 29 May 2017.
BEUYS, Joseph. Interview with Willoughby Sharp. In: KUONI, Carin (Ed.). Energy Plan for Western Man / Joseph Beuys in America: Writings by and with the Artist. New York: Four Walls Eight Windows, 1990.
BEUYS, Joseph. What is Art? Conversation with Joseph Beuys. Edited by Volker Harlan. East Sussex: Clairview Books, 2007.
BORG, Barbara B. Literarische Ekphrasis und künstlerischer Realismus. In: BÜCHSEL, Martin von; SCHMIDT, Peter (Ed.). Realität und Projektion: Wirklichkeitsnahe Darstellung in Antike und Mittelalter. Berlin: Gebr. Mann, 2005. p. 157-178.
BOYNE, Roy. Fractured Subjectivity. In: JENKS, Chris (Ed.). Visual Culture. London, New York: Routledge, 1995. p. 58-76.
BUCHLOH, Benjamin H. D. Reconsidering Joseph Beuys: Once Again. In: RAY, Gene. (Ed.). Joseph Beuys: Mapping the Legacy. New York: Distributed Art, 2001. p. 75-89.
BURGBACHER-KRUPKA, Ingrid. Beuys Joseph Prophet Rechts Prophet Links. Nürnberg: Belser Verlag, 1977.
BURGBACHER-KRUPKA, Ingrid. Beuys Joseph Prophet Rechts Prophet Links. Nürnberg: Belser Verlag, 1977.
CARLSON, Marvin. Performance: A Critical Introduction. 2. ed. London: Routledge, 2004.
CASTILLO, David R.; EGGINTON, William. Medialogies: reading reality in the age of inflationary media. New York: Bloomsbury Academic, 2017
CHEEKE, Stephen. Writing for Art: The Aesthetics of Ekphrasis. Manchester: Manchester University Press, 2008.
CLARKE, Holly A. Getch. Land-scopic Regimes: Exploring Perspectival Representation Beyond the ‘Pictorial’ Project. Landscape Journal. Madison, v. 24, issue 1, p. 50-68, 2005.
CLÜVER, Claus. A New Look on an Old Topic: Ekphrasis Revisited. Todas as Letras: Revista de Língua e Literatura, São Paulo, v. 19, n. 1, p. 30-44, jan-abr 2017.
CLÜVER, Claus. Intermediality and Interart Studies. In: ARVIDSON, Jens et al. (Ed.). Changing Borders: Contemporary Positions in Intermediality. Lund: Intermedia Studies Press, 2007. p. 19-38.
DELEUZE, Gilles; GUATTARI, Félix. A Thousand Plateaus: Capitalism and Schizophrenia. Translated by Brian Massumi. Minneapolis, London: University of Minnesota Press, 1987.
DERRIDA, Jacques. The Truth in Painting. Translated by Ian Mcleod and Geoff Bennington. Chicago: The University of Chicago Press, 1987.
DRUCKER, Johanna. Art. In: MITCHELL, William John Thomas; HANSEN, Mark B. N. Critical Terms of Media Studies. Chicago: The University of Chicago Press, 2010. p. 3-18.
EILITTÄ, Leena. Introduction. In: EILITTÄ, Lena; LOUVEL, Liliane; KIM, Sabine (Ed.). Intermedial Arts: Disrupting, Remembering and Transforming Media. Newcastle: Cambridge Scholars Pub. 2012. p. vii-xiii.
ELLESTRÖM, Lars. Media Transformation: The Transfer of Media Characteristics among Media. Houndmills: Palgrave Macmillan, 2014.
ELLESTRÖM, Lars. The Modalities of Media: A Model for Understanding Intermedial Relations, In: ELLESTRÖM, Lars (Ed.). Media Borders, Multimodality and Intermediality. Basingstoke: Palgrave Macmillan, 2010. p. 11-48.
FINGER, Anke. Das Gesamtkunstwerk der Moderne. Gottingen: Vandenhoeck & Ruprecht, 2006.
FOUCAULT, Michel. Power, Truth, Strategy. Edited by Paul Foss and Meaghan Morris. Sydney: Feral Publications,1979.
FÜHRER, Heidrun; BANASZKIEWICZ, Bernadette. The Trajectory of Ancient Ekphrasis. In: JEDLICKOVA, Alice (Ed.). On Description. Prague: Akropolis, 2014. p. 45-75.
FYRKAMN, Jonas; FYRKMAN, Maja Povrzanovic. Affect and Material Culture. In: FYRKAMN, Jonas (Ed.). Sensitive. Objects. Affect and Material Culture. Lund: Nordic Academic Press, 2016. p. 9-30.
GRANT, James Eric. The Critical Imagination. Oxford: Oxford University Press, 2013.
GRIMM, Erk. Mediamania? Contemporary German Poetry in the Age of New Information Technologies: Thomas Kling and Durs Grünbein. Studies in 20th Century Literature, Manhattan, KS, v. 21, issue 1, p. 1-29, 1997. Special Issue on Contemporary German Poetry.
GROYS, Borris. On Art Activism. E-Flux, [S.l.], n. 56, June 2014. Available at: http://www.e-flux.com/journal/56/60343/on-art-activism/. Accessed on: 19 Aug. 2017.
HALLIWELL, Stephen. Fiction. In: DESTREE, Pierre; MURRAY, Penelope (Ed.). A Companion to Ancient Aesthetics. Hoboken, NJ: John Wiley & Sons, 2015, p. 341-353. DOI: https://doi.org/ 10.1002/9781119009795.fmatter.
HALLIWELL, Stephen. The Aesthetics of Mimesis. Ancient Texts and Modern Problems. Princeton: Princeton University Press, 2002.
HEFFERNAN, James A. W. Ekphrasis: Theory. In: RIPPL, Gabriele (Ed.). Handbook of Intermediality: Literature – Image – Sound – Music. Berlin, Boston: De Gruyter, 2015. p. 35-49. (Handbooks of English and American Studies, 1). DOI: https://doi.org/10.1515/9783110311075-003.
HEFFERNAN, James A. W. Museum of Words: The Poetics of Ekphrasis from Homer to Ashbery. Chicago: University of Chicago Press, 1993.
HERMAN, David. Introduction. In: HERMAN, David (Ed.). The Cambridge Companion to Narrative (Cambridge Companions to Literature). Cambridge: Cambridge University Press, 2007. p. 3-21.
INGOLD, Tim. The Perception of the Environment: Essays in Livelihood, Dwelling, and Skill. London, New York: Routledge, 2000. DOI: https://doi.org/10.4324/9780203466025.
JAY, Martin. Scopic Regimes of Modernity. In: FOSTER, Hal (Ed.). Vision and Visuality. Seattle: Bay Press; New York: New Press, 1988. p. 3-23.
JENKS, Chris. The Centrality of the Eye in Western Culture: An Introduction. In: JENKS, Chris (Ed.). Visual Culture. London, New York: Routledge, 1995. p. 1-25.
JORDAN, Cara. The Evolution of Social Sculpture in the United States: Joseph Beuys and the Work of Suzanne Lacy and Rick Lowe. Public Art Dialogue, Abingdon, v. 3, issue 2, p. 144-167, 2013.
KLING, Thomas. brennstabn. Gedichte. Frankfurt am Main: Suhrkamp. 1991. p. 60.
KORTE, Hermann. “Kopfjägermaterial Gedicht”: Thomas Klings lyrisches Werk in sechs Facetten. In: AMMON, Frieder von et al. (Ed.). Das Gellen der Tinte: Zum Werk Thomas Klings. Göttingen: V&R Unipress, 2012. p. 25-40.
LACHMANN, Renate. Die Rolle der enargeia in Texten der Phantastik. In: UEDING, Gert; KALIVODA, Gregor (Ed.). Wege moderner Rhetorikforschung: Klassische Fundamente und interdisziplinäre Entwicklung. Berlin: De Gruyter, 2013. p. 223-236. DOI: https://doi.org/10.1515/9783110309577.223.
LARLHAM, Daniel. The Meaning in Mimesis: Philosophy, Aesthetics, Acting Theory. New York: Columbia University Press, 2012.
LEEDER, Karen. “spritzende brocken: der erinnerung/ versteht sich”: Thomas Kling’s Poetry of Memory. Forum of Modern Language Studies, [S.l.], v. 42, n. 2, p. 174-186, Apr. 2005.
LEVY, Lior. Sartre and Ricoeur on Productive Imagination. Southern Journal of Philosophy, [S.l.], v. 52, issue 1, p. 56-78, Mar. 2014.
LJUNGBERG, Christina. Intermediality and Performance Art. In: RIPPL, Gabriele (Ed.). Handbook of Intermediality: Literature – Image – Sound – Music. Berlin, Boston: De Gruyter, 2015. p. 547-561. (Handbooks of English and American Studies, 1). DOI: https://doi.org/10.1515/9783110311075-031.
LOUVEL, Liliane. The Poetics of the Iconotext. Edited by Karen Jacobs. Translated by Laurence Petit. Burlington, VT: Ashgate, 2011.
LUND, Hans. Medier i samspel. In: LUND, Hans (Ed.). Intermedialitet: Ord, bild och ton i samspel. Lund: Studentlitteratur, 2002. p. 7-23.
MASSUMI, Brian. The Autonomy of Affect. In: PATTON, Paul (Ed.). Deleuze: A Critical Reader. Cambridge, MA: Blackwell Publishers, 1996. p. 217-239.
MEYER-KALKUS, Reinhart. “Ohrenbelichtung für alle”: Thomas Kling über den Dichter als ‘Live-Act’. In: AMMON, Frieder von et al. (Ed.). Das Gellen der Tinte: Zum Werk Thomas Klings. Göttingen: V&R Unipress, 2012. p. 241-262.
MITCHELL, William John Thomas; HANSEN, Jack B. N. Critical Terms for Media Studies. Chicago: University of Chicago Press, 2010. DOI: https://doi.org/10.7208/chicago/9780226532660.001.0001.
MITCHELL, William John Thomas. Picture Theory: Essays on Verbal and Visual Representation. Chicago: University of Chicago Press, 1994.
PIPER, Adrian M. S. Impartiality, Compassion, and Modal Imagination. Ethics, Chicago, v. 101, n. 4, p. 726-757, July 1991. DOI: https://doi.org/10.1086/293341.
PLETT, Heinrich F. Enargeia in Classical Antiquity and the Early Modern Age: The Aesthetics of Evidence. Leiden, Boston: Brill, 2012. DOI: https://doi.org/10.1163/9789004231184.
RANCIÈRE, Jacques. The Politics of Aesthetics: The Distribution of the Sensible. Translated by Gabriel Rockhill. London: Continuum, 2004.
REUMKENS, Noël. From Work to Frame in Intermedial References. Joseph Beuys in Three Contemporary German Poems. Trans – Revue de Littérature General et Comparée, Paris, v. 8, p. 1-17, 2009. Available at: http://trans.revues.org/352>. Accessed on: 12 July 2017ç
RICŒUR, Paul. The Function of Fiction in Shaping Reality. In: RICŒUR, Paul. Time and Narrative. Translated by Kathleen Mclaughlin and David Pellauer. Chicago: University of Chicago Press, 1984. p. 53-64.
RIPPL, Gabriele (Ed.). Handbook of Intermediality: Literature – Image – Sound – Music. Berlin, Boston: De Gruyter, 2015. p. 35-49. (Handbooks of English and American Studies, 1). DOI: https://doi.org/10.1515/9783110311075.
ROBERTS, David. The Total Work of Art in European Modernism. New York: Cornell University Press, 2011.
ROTARU, Arina. Contemporary German Poetry and Avant-Garde Reappraisals in the Work of Thomas Kling and Oskar Pastior. Forum for Modern Language Studies, [S.l.], v. 47, issue 4, p. 364-378, Oct. 2011.
RUPKE, Nicolaas A. Alexander von Humboldt: A Meta-biography. Chicago: University of Chicago Press, 2005.
SACHS, Aaron. The Humboldt Current: Nineteenth-Century Exploration and the Roots of American Environmentalism. New York: Viking, 2006.
SCHAEFFER, Jean-Marie. Fictional vs. Factual Narration. In: HÜHN, Peter et al. (Ed.). The Living Handbook of Narratology. Hamburg: Hamburg University Press, Sept. 2013. Available at: http://www.lhn.uni-hamburg.de/article/fictional-vs-factual-narration. Accessed on: 11 July 2017.
SCHOENE, Janneke. Beuy’s Hut: Performance und Autofiktion. Heidelberg: Artbooks, 2017.
SCHOLZ, Bernhard F. ‘Sub Oculos Subiectio’: Quintilian on Ekphrasis and Enargeia. In: ROBILLARD, Valerie; JONGENEELS, Els (Ed.). Pictures into Words: Theoretical and Descriptive Approaches to Ekphrasis. Amsterdam: VU University Press, 1998. p. 73-99.
SCOTT, Alan; PASQUOLINI, Pier Paolo. Invoking Humboldt: The German Model. In: CÔTÉ, James E.; FURLONG, Andy (Ed.). Routledge Handbook of the Sociology of Higher Education. London: Routledge, 2016. Available at: https://goo.gl/ZLbr8q. Accessed on: 8 Mar. 2017.
SOMAINI, Antonio. Walter Benjamin’s Media Theory: The Medium and the Apparat. Zeitschrift für Medien- und Kulturforschung, Hamburg, v. 7, n. 1, p. 9-25, 2016.
SPITZER, Leo. The ‘Ode on a Grecian Urn,’ or Content vs. Metagrammar. Comparative Literature, Durham, v. 7, n. 3, p. 203-225, Summer 1955. DOI: https://doi.org/10.2307/1768227.
SPRINGGAY, Stephanie. Body Knowledge and Curriculum. New York: Peter Lang, 2008.
SQUIRE, Michael. Ecphrasis: Visual and Verbal Interactions in Ancient Greek and Latin Literature. Oxford Handbooks Online, Apr 2015, p. 1-36. DOI: https://doi.org/10.1093/oxfordhb/9780199935390.013.58.
THIELEMANS, Veerle. Beyond Visuality: Review on Materiality and Affect (Au-delà de la visualité: retours critiques sur la matérialité et laffect). Perspective, [S.l.], n. 2, p. 141-147, 2015.
TURNER, Victor. The Anthropology of Performance. New York: PAJ Publications, 1987.
VIRILIO, Paul. The Vision Machine. Translated by Julie Rose. Bloomington, Indianapolis: Indiana University Press, 1994.
WALLENSTEIN, Sven-Olov. Space, Time, and the Arts: Rewriting the Laocoon. Journals of Aesthetics & Culture, [S.l.], v. 2, p. 1-13, 2010.
WALTENBERGER, Michael. “paddelnde mediävistik”: Über Thomas Klings Umgang mit mittelalterlichen Texten. In: AMMON, Frieder von et al. (Ed.). Das Gellen der Tinte: Zum Werk Thomas Klings. Göttingen: V&R Unipress, 2012. p. 137-162.
WEBB, Ruth. Ekphrasis, Imagination and Persuasion in Ancient Rhetorical Practice and Theory. Farnham: Ashgate, 2009.
WOLFE, Katharine. From Aesthetics to Politics: Rancière, Kant and Deleuze. Contemporary Aesthetics, [S.l.], v. 4, Apr. 2006. Available at: http://www.contempaesthetics.org/newvolume/pages/article.php?articleID=382. Accessed on: 8 Mar. 2017.
YACOBI, Tamar. Pictorial Models and Narrative Ekphrasis. Poetics Today, Durham, v. 16, n. 4, p. 599-649, Winter 1995.
Descargas
Publicado
Cómo citar
Número
Sección
Licencia
Derechos de autor 2017 Heidrun Führer (Autor)
Esta obra está bajo una licencia internacional Creative Commons Atribución 4.0.
Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution Non-Commercial No Derivatives License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
