Universiẗat, Diss., 2004--Frankfurt (Main).

The films and theoretical writings of Alexander Kluge have been receiving greater attention from the North American German Studies community in the 1980's. This thesis is designed to give the reader a general introduction to the intellectual context of his writing and film-making, as well as provide an analysis of the relationship between the structure and content of one of his more recent films, "Der Ang riff der Gegenwart auf die Obrige Zeit", and his theories about the structure and content of the individual and collective societal consciousness. The first part of the thesis deals with Kluge's association with the lnstitut tor Sozialforschung, more commonly known as the Frankfurt School, and their particular brand of marxist social and cultural theory. The work of the Frankfurt School's most noted scholar, Theodor W. Adorno, is used as a reference work with which Alexander Kluge's early theoretical writings are contrasted and compared. The second part deals with two exemplary cultural producers and critics, Bertolt Brecht and Jean-Luc Godard. The use of montage technique in Brecht's dramas and Godard's films, and the desired effect which was to be produced, is compared to Kluge's own ideas on the associative technique and its potential as an analytic tool. The third part of the thesis deals with the work of Walter Benjamin, whose unique fusion of Critical Theory and near-eastern mysticism produced an epistemology which finds its most precise expression in the employment of montage. Benjamin's assertion that the truth content in any situation can only arise out of the juxtaposition of elements in a 'constellation' corresponds very closely to the 'constellation' construction in Kluge's films. Finally, the analysis of the film "Der Angriff der Gegenwart auf die Obrige Zeit" brings together all of these concepts --the social theory of the Frankfurt School, the production aesthetics of Godard and Brecht, the epistemology of Benjamin --and combines them with Kluge's own most recent theoretical writings to provide the reader with a possible interpretation of the elements in the film and their relation to the network of ideas which forms the world-view of theorist and film-maker Alexander Kluge. / Thesis / Master of Arts (MA)

Texte remanié de: Dissertation--Neuphilologische Fakultät--Tübingen--Eberhard-Karls-Universität, 2002. Titre de soutenance : Laboratorien sozialer Phantasie ? : posttheologische Utopiekonzeptionen bei Heiner Müller und Alexander Kluge. / Bibliogr. p. 387-399. Index.

Minha dissertação se divide em três partes. A primeira é dedicada à trajetória de Alexander Kluge na televisão, no cinema e em sua incursão por outras formas midiáticas, de modo a verificar o percurso que tornou possível o projeto estético de \"Notícias da Antiguidade Ideológica\" (2008). A segunda é uma contextualização de \"Notícias da Antiguidade Ideológica\" (2008), que parte das anotações de Eisenstein, escritas entre 1927 e 1929, sobre filmar O Capital de Marx segundo a lógica de Ulysses, de James Joyce, e é concluída com uma análise de como Kluge se aproximou de tais ideias do diretor russo. A terceira parte é composta por quatro análises de entrevistas apresentadas em \"Notícias da Antiguidade Ideológica\" (2008) - com Galina Antoschewskaja, Peter Sloterdjik, Oskar Negt e Jean-Luc Godard - que evidenciam como Kluge usa exemplos do processo tradutório para reivindicar uma leitura mais poética de O Capital de Karl Marx. / My dissertation is divided in three parts. The first one is dedicated to the trajectory of Alexander Kluge in television and cinema and his incursion into other media, in order to verify the path that made the aesthetic project \"News from Ideological Antiquity - Marx/Eisenstein/Das Kapital\" (2008) possible. I devote the second part of my dissertation to contextualizing \"News from Ideological Antiquity - Marx/Eisenstein/Das Kapital\", that moves from the annotations of Eisenstein about filming Das Kapital according to the logic of Joyces\'s Ulysses, written between 1927 and 1929, concluding with an analysis of how Kluge approached such ideas from the Russian director. The third part is composed of four analyses of interviews belonging to \"News from Ideological Antiquity - Marx/Eisenstein/Das Kapital\" (2008) - with Galina Antoschewskaja, Peter Sloterdjik, Oskar Negt and Jean-Luc Godard - that show how Kluge uses examples of the translation process to claim a more poetic reading of Das Kapital by Marx

Minha dissertação se divide em três partes. A primeira é dedicada à trajetória de Alexander Kluge na televisão, no cinema e em sua incursão por outras formas midiáticas, de modo a verificar o percurso que tornou possível o projeto estético de \"Notícias da Antiguidade Ideológica\" (2008). A segunda é uma contextualização de \"Notícias da Antiguidade Ideológica\" (2008), que parte das anotações de Eisenstein, escritas entre 1927 e 1929, sobre filmar O Capital de Marx segundo a lógica de Ulysses, de James Joyce, e é concluída com uma análise de como Kluge se aproximou de tais ideias do diretor russo. A terceira parte é composta por quatro análises de entrevistas apresentadas em \"Notícias da Antiguidade Ideológica\" (2008) - com Galina Antoschewskaja, Peter Sloterdjik, Oskar Negt e Jean-Luc Godard - que evidenciam como Kluge usa exemplos do processo tradutório para reivindicar uma leitura mais poética de O Capital de Karl Marx. / My dissertation is divided in three parts. The first one is dedicated to the trajectory of Alexander Kluge in television and cinema and his incursion into other media, in order to verify the path that made the aesthetic project \"News from Ideological Antiquity - Marx/Eisenstein/Das Kapital\" (2008) possible. I devote the second part of my dissertation to contextualizing \"News from Ideological Antiquity - Marx/Eisenstein/Das Kapital\", that moves from the annotations of Eisenstein about filming Das Kapital according to the logic of Joyces\'s Ulysses, written between 1927 and 1929, concluding with an analysis of how Kluge approached such ideas from the Russian director. The third part is composed of four analyses of interviews belonging to \"News from Ideological Antiquity - Marx/Eisenstein/Das Kapital\" (2008) - with Galina Antoschewskaja, Peter Sloterdjik, Oskar Negt and Jean-Luc Godard - that show how Kluge uses examples of the translation process to claim a more poetic reading of Das Kapital by Marx