BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//TYPO3/NONSGML Calendarize//EN
BEGIN:VEVENT
UID:calendarize-selbst-bildung-als-oeffentlicher-vorgang-beispiele-aus-dem
-literarischen-feld-im-deutschsprachigen-raum
DTSTAMP:20161004T211556Z
DTSTART:20161121T170000Z
DTEND:20161121T190000Z
SUMMARY:Self-education as a public process. Examples from the literary fie
ld in German-speaking countries
DESCRIPTION:Lecture by Prof. Dr Tasos Zembylas (University of Music and Pe
rforming Arts Vienna) With reference to the literary field\, the concept
of self-education can be thought of in many ways: self-education occurs p
rocessually in the course of the development of self-perception and recogn
ition as a writer\, in the articulation of a certain artistic claim to pre
stige\, in self-positioning within the field\, in building a reputation\,
in the development of a 'personal brand' (i.e. in the forms and ways of id
entifying one's own literary achievement with one's person)\, etc.\, in th
e efforts to raise the level of public interest in one's work\, and so on.
This means in the forms and ways of identifying their own literary achieve
ments with their person)\, in their endeavours to raise the level of publi
c interest in their work\, etc. The spectrum of observation is therefore v
ery broad. The lecture will therefore focus on public conflicts and scanda
ls surrounding literary works of art. The aim is to show how claims to val
idity\, statements and references to others (all moments of self-formation
processes) are observed\, questioned\, commented on\, evaluated\, critici
sed\, appreciated\, used and instrumentalised by others. The analysis will
shed light on different social locations where symbolic acts of exchange\
, negotiations and disputes take place and interpret the respective domain
-specific rules and logics of the game. \nFiles:\n Series of lectures of
the DFG Research Training Group "Self-Formations" - General overview Indiv
idual announcement - Lecture by Prof. Dr Tasos Zembylas Abstract German Ab
stract English
X-ALT-DESC;FMTTYPE=text/html:Lecture by Prof. Dr Tasos Zembylas (University of Music and Per
forming Arts Vienna) With referenc
e to the literary field\, the concept of self-education can be thought of
in many ways: self-education occurs processually in the course of the deve
lopment of self-perception and recognition as a writer\, in the articulati
on of a certain artistic claim to prestige\, in self-positioning within th
e field\, in building a reputation\, in the development of a 'personal bra
nd' (i.e. in the forms and ways of identifying one's own literary achievem
ent with one's person)\, etc.\, in the efforts to raise the level of publi
c interest in one's work\, and so on.This means in the forms and ways of i
dentifying their own literary achievements with their person)\, in their e
ndeavours to raise the level of public interest in their work\, etc. The s
pectrum of observation is therefore very broad. The lecture will therefore
focus on public conflicts and scandals surrounding literary works of art.
The aim is to show how claims to validity\, statements and references to
others (all moments of self-formation processes) are observed\, questioned
\, commented on\, evaluated\, criticised\, appreciated\, used and instrume
ntalised by others. The analysis will shed light on different social locat
ions where symbolic acts of exchange\, negotiations and disputes take plac
e and interpret the respective domain-specific rules and logics of the gam
e. \n
Files:
\n Series of lectures
of the DFG Research Training Group "\;Self-Formations"\; - General
overviewIndividual announcement - Lec
ture by Prof. Dr Tasos ZembylasAbstrac
t GermanAbstract English
LOCATION:BIS hall
END:VEVENT
BEGIN:VEVENT
UID:calendarize-kritik-und-kanon-wer-schreibt-die-kunstgeschichte
DTSTAMP:20161004T165051Z
DTSTART:20161128T170000Z
DTEND:20161128T190000Z
SUMMARY:Criticism and canon: Who writes art history?
DESCRIPTION:Lecture by Dr Julia Voss (Managing Editor of the FAZ\, Fellow
at the Wissenschaftskolleg Berlin) The lecture examines the role of art
criticism in the art world. In particular\, the structural change in the f
ield\, which has been driven by various processes\, will be discussed. On
the one hand\, the number of institutions that collect or exhibit art has
risen sharply in recent decades. On the other hand\, the prices paid for c
ontemporary art have multiplied. The museum finds itself at the interface
between private and public interests. What does this mean for art criticis
m? The subject of the lecture is both the practice of daily newspaper work
and art historical analysis. \nFiles:\n Series of lectures of the DFG Res
earch Training Group "Selbst-Bildungen" - General overview Individual anno
uncement - Lecture by Dr Julia Voss Abstract Engl.
X-ALT-DESC;FMTTYPE=text/html:Lecture by Dr Julia Voss (Managing Ed
itor of the FAZ\, Fellow at the Wissenschaftskolleg Berlin) The lecture examines the role of art criticism i
n the art world. In particular\, the structural change in the field\, whic
h has been driven by various processes\, will be discussed. On the one han
d\, the number of institutions that collect or exhibit art has risen sharp
ly in recent decades. On the other hand\, the prices paid for contemporary
art have multiplied. The museum finds itself at the interface between pri
vate and public interests. What does this mean for art criticism? The subj
ect of the lecture is both the practice of daily newspaper work and art hi
storical analysis. \n
LOCATION:BIS hall
END:VEVENT
BEGIN:VEVENT
UID:calendarize-subjektkonstitutionen-annaeherungen-an-ein-diskurs-und-mac
htfeld-mit-judith-butler
DTSTAMP:20161004T171819Z
DTSTART:20170116T170000Z
DTEND:20170116T190000Z
SUMMARY:Subject Constitutions. Approaches to a field of discourse and powe
r with Judith Butler
DESCRIPTION:Lecture by Prof. Dr Anna Babka (University of Vienna\, Institu
te for German Studies) Power techniques and self-practices shape the (gen
dered) subject. The most influential contemporary theorisation of power co
mes from Michel Foucault. According to Foucault\, sexuality is an essentia
l factor in the constitution of the subject - the 'sexuality dispositif' i
s a power technique that is decisive for the subject. Judith Butler locali
ses the call to the gender order with Foucault in a field of discourse and
power in which it is determined what may be considered human and what is
excluded from it. The exclusion\, or rather the violent conditioning or ev
en erasure\, affects those who are not qualified as properly gendered and
whose humanity is thus called into question. The lecture is dedicated to t
he forms of contradiction and agency within these regimes of knowledge and
draws connections to other theoretical approaches dedicated to questions
of subject constitution. \nFiles:\n Series of lectures of the DFG Research
Training Group "Selbst-Bildungen" - General overview Individual announcem
ent - Lecture by Prof. Dr Anna Babka Abstract German Abstract English
X-ALT-DESC;FMTTYPE=text/html:Lecture by Prof. Dr Anna Babka (University of Vienna\, I
nstitute for German Studies) Power techniques an
d self-practices shape the (gendered) subject. The most influential contem
porary theorisation of power comes from Michel Foucault. According to Fouc
ault\, sexuality is an essential factor in the constitution of the subject
- the 'sexuality dispositif' is a power technique that is decisive for th
e subject. Judith Butler localises the call to the gender order with Fouca
ult in a field of discourse and power in which it is determined what may b
e considered human and what is excluded from it. The exclusion\, or rather
the violent conditioning or even erasure\, affects those who are not qual
ified as properly gendered and whose humanity is thus called into question
. The lecture is dedicated to the forms of contradiction and agency within
these regimes of knowledge and draws connections to other theoretical app
roaches dedicated to questions of subject constitution. \n
Files:
\
n Series of lectures of the DFG Research Tr
aining Group "\;Selbst-Bildungen"\; - General overviewIndividual announcement - Lecture by Prof. Dr Anna
Babka Abstract GermanAbstract English
LOCATION:BIS hall
END:VEVENT
BEGIN:VEVENT
UID:calendarize-kunst-als-praxis-der-reflexion-und-kritik
DTSTAMP:20161004T172154Z
DTSTART:20170123T170000Z
DTEND:20170123T190000Z
SUMMARY:Art as a practice of reflection and criticism
DESCRIPTION:Lecture by Prof. Dr Daniel Martin Feige (Stuttgart State Acade
my of Art and Design) In the tradition of philosophical aesthetics\, man
y authors have argued that works of art have a critical potential with reg
ard to the practices of our way of life. Drawing on considerations by Hege
l\, Gadamer\, Wittgenstein and Adorno in particular\, the lecture aims to
develop a particular reading of this thesis on the basis of a fundamentall
y praxeological understanding of historical forms of life: Art can be unde
rstood as a particular kind of self-understanding event that is intrinsica
lly critical in that works of art are\, in form\, antithetical to everyday
practice. They are not critical because they propose a different practice
in terms of content\, modelled on theses or political agitation. Rather\,
they are critical because the way in which they show us something about o
urselves also makes us into others. In order to develop and justify this c
entral idea\, it will be necessary to combine more general considerations
on the concept of practice and the concept of the subject with the aesthet
ic thesis in the narrower sense. \nFiles:\n Series of lectures of the DFG
Research Training Group "Selbst-Bildungen" - General overview Individual a
nnouncement - Lecture by Prof. Dr Anna Babka Abstract German Abstract Engl
ish
X-ALT-DESC;FMTTYPE=text/html:Lecture by Prof. Dr Daniel Martin Feige (Stuttg
art State Academy of Art and Design) In the tra
dition of philosophical aesthetics\, many authors have argued that works o
f art have a critical potential with regard to the practices of our way of
life. Drawing on considerations by Hegel\, Gadamer\, Wittgenstein and Ado
rno in particular\, the lecture aims to develop a particular reading of th
is thesis on the basis of a fundamentally praxeological understanding of h
istorical forms of life: Art can be understood as a particular kind of sel
f-understanding event that is intrinsically critical in that works of art
are\, in form\, antithetical to everyday practice. They are not critical b
ecause they propose a different practice in terms of content\, modelled on
theses or political agitation. Rather\, they are critical because the way
in which they show us something about ourselves also makes us into others
. In order to develop and justify this central idea\, it will be necessary
to combine more general considerations on the concept of practice and the
concept of the subject with the aesthetic thesis in the narrower sense. \
n
