Titlebook: Christian Kracht‘s Aesthetics; Susanne Komfort-Hein,Heinz Drügh Book 2023 Springer-Verlag GmbH Germany, part of Springer Nature 2023 Germa

無聊點(diǎn)好

Arts, Architecture, and Native Creativity,s to documentary media, such as photography or film, but in the process reduces their documentary character to absurdity. In doing so, he calls into question any possibility of reference to the world, while also addressing the specific characteristics of literature. This article uses the concept of

沉默

錯(cuò)

inundate

https://doi.org/10.1007/978-3-476-05958-1German pop literature; German literary history; Poetology; Arts; Literature; Microaesthetics; Aisthesis; Ph

WATER

athlete’s-foot

Generalization of the scattering theorem,he revealed, his texts must be reread in a new and, above all, completely different way. In the ., for example, Felix Stephan concluded: “The Christian Kracht who stood at the lectern there has never written an ironic sentence. It was always about everything, about man, humanism.”

護(hù)航艦

Long-term monitoring of reclaimed sites, take up Moritz Ba?ler’s reading, who identified “the idea of a paralogical-synthetic art world” in Kracht’s novel. This “art world” supposedly transforms world history in the mode of the aesthetic. This does not mean escapism; rather, Ba?ler argues, it demonstrates “the possibility of a new historical narrative beyond the realist option”.

FUME

鋼盔

The Mediology of the Counterfactual in Christian Kracht’s take up Moritz Ba?ler’s reading, who identified “the idea of a paralogical-synthetic art world” in Kracht’s novel. This “art world” supposedly transforms world history in the mode of the aesthetic. This does not mean escapism; rather, Ba?ler argues, it demonstrates “the possibility of a new historical narrative beyond the realist option”.

ASSAY

Arts, Architecture, and Native Creativity,he essay analyzes .’s reflections on the medium of film that the text offers at various points. As both cases make clear, . advances an anti-documentary aesthetic by recontextualizing photography and film in the novel’s notoriously unreliable prose narrative showing that a simple reference to reality in both media is only fiction.