La voix cinématographique interroge : d’où vient-elle et quelle temporalité déploie-t-elle ? Que dit-elle des images avec lesquelles elle entre parfois en conflit ? L’analyse des voix dans les films d’Alexander Kluge s’inscrit dans un questionnement du monde sonore qui nous entoure : les voix klugiennes, qui s’obstinent inlassablement à parler, résistent à la brutalité du monde moderne, en conviant le spectateur à une écoute attentive et patiente. L’esthétique du fragmentaire de l’œuvre de Kluge ne vise pas une totalité impossible : face aux voix tyranniques du passé nazi et aux voix dogmatiques du présent, qui cherchent à faire taire et à imposer une pensée unique, une pluralité de voix s’élèvent et s’opposent à l’appauvrissement de la langue. L’entremêlement de voix spontanées et de voix littéraires est pensé par Kluge en termes d’authenticité (Authentizität), non pas ce qui est original – premier et unique –, ce qui fait autorité et dont la provenance est attestée, mais ce qui échappe à son contexte premier, se métamorphose, pour être réapproprié par d’autres – le cinéaste, comme le spectateur. La voix klugienne se diffracte en de multiples voix dont l’ancrage spatial et temporel n’est jamais assuré : voix-témoin qui enchevêtre l’Histoire et les histoires où se mêlent les sentiments, elle est aussi voix-politique multiple, et jamais dogmatique, qui ouvre un espace public oppositionnel cinématographique où les voix s’entrecroisent ; elle est aussi fondamentalement une voix-musique qui crée un paysage sonore dans lequel la phonè, le son de la musique et la musicalité des voix, interroge le logos philosophique. / The cinematic voice asks questions: where does it come from and what temporality does it deploy? What does it tell us about the images it sometimes competes with? The analysis of voice in Alexander Kluge’s films leads to an investigation of the sonic world around us: the Klugian voices, obstinately persisting in speaking, resisting the brutality of the modern world, inviting the spectator to listen attentively and patiently. The fragmentary aesthetics of Kluge’s work do not aim for an impossible totality. Rather, against the tyrannical voices of the Nazi past, and against the dogmatic voices of the present that try to reduce the other to silence and demand uniformity of thought, a plurality of voices is raised in resistance to the impoverishment of language. For Kluge, the entangling of spontaneous and literary voices is thought of in terms of authenticity (Authentizität). Not as something original – not as something unique, or without precedent – not as that which creates authority, or as that with an unquestionable provenance – but as something that escapes its original context, constantly changing and being reappropriated by others – by the filmmaker, as well as by the spectator. The Klugean voice diffracts itself into a multiplicity of voices whose spatial and temporal anchoring is never certain. A witness-voice that intertwines history and stories with feelings, it is also a undogmatic and plural politics-voice that opens up a cinematic counter-public sphere where voices speak across each other; it is also fundamentally a music-voice, creating a soundscape in which the phonè – the vocality of music and the musicality of voices – questions the philosophical logos.

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

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.

Diss.--Osnabrück--Universität, 1990.

Regensburg, Univ., Diss., 2009.

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)

Multiple studies have shown that organizational learning have a positive effect on military organizations. This is especially true in contemporary warfare, where cyber and information warfare increases to influence modern warfare means and methods. To counter this, it is important that the processes of organizational learning is functional and allows innovations to change what soldiers learn, to better equip them for the conflict of the future.   This essay analyses the Swedish army’s policy documents regarding organizational learning and solider education to expose barriers described by Schilling et.al., which might hinder processes within organizational learning. The purpose of the study is thus to show how policy documents influences organizational learning by enabling or hindering this process.  The results show that many of the barriers described by Schilling et.al is covered and adequately handled within the policy documents of the army, but not all of them. Most notable is the army’s attitude towards the technological development regarding warfare, which is said to risk making innovation from past experiences obsolete, hindering the innovation's path through the organization and thus risk that useful innovations are discarded which in turn can lead to risks in a presumptive conflict.

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

The luxury segment has been late in its technology adaptation even though e-commerce, and the importance of internet presence, has increased. To succeed the conversion, traders need to know how to keep the customers perception of luxury on a webpage. This report aims to investigate how an e-shop should be designed to be perceived luxurious in terms of design. The question “How should an e-shop be designed to perceived as luxury according to its design?” is answered by developing and designing a web application for self-composed jam giving a luxurious perception. The method used is based on a study investigating homepage design. Several design factors that has a positive effect of customers perception of luxury were identified, whereupon a web application was developed. The web application and conventional one as reference, was individually evaluated on the BLI-scale together and with a Thinking Aloud test. The result showed a significant difference of the average for all dimensions of the BLI scale, where the hypothetically luxurious web application achieved the higher result. The Thinking Aloud test showed that the test page got more comments that pointed to a more luxurious experience, compared to the conventional page. The report concludes that esthetics and an overall impression of uniqueness and quality are important dimensions for the web application to be perceived as luxurious.