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out the most important ones here to give a brief insight into this movement. Most films employ long takes and long shots. The films draw attention to the framing and only rarely use extra-diegetic music and sounds, often not hierarchizing or prioritizing voices over surrounding noise or sounds. 7 The

In: 25 Years Berlin Republic

—and they can in their work embody that range. They are (and have for a long time been) both artists and researchers. This state of affairs brings with it a rich form of self-identification, but likely also a decreased need to consider the poetic voice as research per se . The supposedly higher status of

In: Artistic Research and Literature

original)—as it conceals society’s power over its members. 4 The name Siri and her search of her lover who was a young sailor calls forth the mythological figure of the Sirens in Homer’s The Odyssey whose beautiful, enchanting voices lured nearby sailors to shipwreck on the rocky coast of their island

In: Protest und Verweigerung / Protest and Refusal

crushed under the surfeit of emotion and intractable structural problems that emerge at every juncture. Marie, the film’s protagonist, gives poetic monologues to the camera and in voice-over, drawing the viewer into more universal utopian space beyond socialism, before the harsh realities and unnecessary

In: 25 Years Berlin Republic

dominance and territorial appropriation that forces the voice of the colonized into the unconscious of the imperial subject and thus haunts the colonizer across generations, time and space. (Edwards 2008, 121) Die Figur, die jedoch hier auftritt, verkehrt dieses Verständnis. Es ist nicht die kolonisierte

In: The Common Bond of the Sea

the sky. Everything was coming apart. Everything was falling. […] and amidst the dust and the falling things, and the flapping scenery , Cincinnatus made his way in that direction where, to judge by the voices, stood beings akin to him. (S. 191) 6 Der grausame Autor 6.1 Nabokov – Monologiker

In: Schwangere Musen - Rebellische Helden

übersetzte – und die Tragödien des Sophokles. 87 Über die Aufführung der Pindar’schen Dichtung ist wenig bekannt. Weitgehend etabliert ist die Ansicht, dass die Gesänge von einer Gruppe junger Männer chorisch dargeboten wurden; doch: „how many participated, what range of voice was employed, whether the

In: Gegend am Aetna

im zweiten Abschnitt des Letter concerning Enthusiasm wiedergibt, wird eine Heerschar durch geschickt in einer Höhle positionierte Trommler in die Flucht geschlagen: „their Imagination help’d ’em to hear Voices, and doubtless to see Forms too, which were more than Human“ ( Char . I.15). Hat die

In: Die Kraft der Figuren

his feet ascended a confused and unceasing mutter. […] The hour was striking! No more! No more! – but the opened packet under the lamp brought back the sounds, the visions, the very savour of the past – a multitude of fading faces, a tumult of low voices, dying away upon the shores of distant seas

In: The Common Bond of the Sea

, Leipzig 1910. 11 Lacoue-Labarthe: „Das Theater Hölderlins“, S. 50. 12 Ebd., S. 52. 13 Ebd., S. 61 (im Original deutsch). 14 Zum Verhältnis von Tragödie und Klage s. Loraux: The Mourning Voice . Mit Loraux kann auch die Unterscheidung von Tragödie und Trauerspiel hinterfragt werden. S. dazu skizzenhaft

In: Gegend am Aetna