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Coolness is a desired but overlooked concept in fashion. The thesis The Vincent Vega in Helmut Lang: Framing Helmut Lang’s Coolness in Relation to Cool Movie Characters sheds light on how coolness is created in Helmut Lang’s spring 2004 collection in relation to movie representations. The thesis frames coolness as a myth and gendered performance. With the method of representation studies, several movies are analysed in how they present coolness. It is discovered that movies continuously reproduce the same myth. With critical visual analysis, Lang’s collection is put in context to these movies. It is shown that Lang’s collection has many similarities to the movie costumes and although he tries to break out the gendered myth, he still reproduces it. The thesis contributes to understand coolness as a concept but also that coolness, at least in Lang’s case, is heavily dependent on the cinematic representations rather than pursuing his own unique approach.

In meinem Text werde ich mich auf jene Musik beschränken, die ungefähr in dem dritten Viertel des 20. Jahrhunderts in Slowenien entstand und mit dem Imperativ des Neuen als ästhetischer Grundkategorie dieser Periode verbunden wurde. Von dem breiteren geistig-historischen Kontext des Modernismus in der Musik ausgehend werde ich die Situation zu dieser Zeit im Westen und im Osten vergleichen, wonach ich mich der Erörterung einzelner typischen Werke, die in dem erwähnten Rahmen entstanden sind, widmen werde. Der Schwerpunkt wird dabei auf jene Gruppe von Komponisten gelegt, die sich den Namen Pro musica viva gab und der eine Schlüsselstellung für das Verständnis des Modernismus in Slowenien zukommt.

This analysis examines similarities between different levels of the formal structure in Helmut Lachenmann’s second string quartet. The methodological approach presents a visual model of structural entities based on a categorization of sound structures that expands Lachenmann’s well-known »Klangtypen« (sound types), namely »sound processes«, »sound conditions« and »structure sounds«. It also describes three main types of categorical transformation relevant to the analysis, namely timbral transformation, transformation to impulse-categories, and transformation from horizontal to vertical sounds. An overview of the large-scale form reveals five main sections that introduce (1) flautato-, trill-/tremolo-, and noise-variants (all played »tenuto«), (2) »inverted pizzicati«/glissandi, (3) pizzicati, (4) pizzicato-chords and (5) »toneless« noise-variants respectively. The overall form might also be described as a process leading from »toneless« sounds to pitched sounds and back to »toneless« sounds again. This fadein/ fade-out of pitched sounds can also be observed on microformal levels, e.g. frequently in trill-variants, providing an example for formal self-similarity. In the main part of the analysis three sections comprising the first 19 bars of the quartet are analysed in detail, applying a hierarchical system of »supersounds« and »subsounds«. It can be argued that all three sections describe self-similar relationships with the large-scale form (and, consequently, among each other). The first five bars, for example, can be described as »tenuto«-sounds that are increasingly »perforated«, eventually resulting in short impulses – a process that is (self-)similar to the first three sections of the large-scale form. The further development of the piece up to bar 40 is considered a first major step towards what the composer has described as a »superinstrument« which combines all four instruments into a single sound body. Bars 35-40 in particular, can again be compared to the large-scale formal development, representing a first climax of four major realms of categorical transformation: horizontal to vertical, noise to pitch, solo to tutti, tenuto to impulse. Finally, the article argues that, although Lachenmann has probably conceived of the sound structures in his second string quartet in different terms than those introduced here, the revealed connections between different levels of the formal structure have been uncovered by his specific compositional methods.

A short perception-based analysis of Helmut Lachenmann’s Pression for cellist (1969/70) serves as point of departure for a general discussion of sound and perception as key methodological elements in the analysis and interpretation of post-tonal music and in their historical implications. Diverse perception strategies are applied to Pression: an »architectural« strategy, based on cross-references between salient cues in the sound surface, a transformation-oriented strategy, based on »categorical transformation« between noise and pitch, and strategies that emerge from the experience of presence and aspects of performance practice. From this analytical sketch emerges a provisional threefold definition of sound which tentatively suggests (1) that the term includes the entire spectrum between isolated sine waves and unpitched noises of maximal spectral complexity, (2) that there is no viable distinction between musical and non-musical sounds as it is not the property of an acoustic event, but only our interpretation of it that makes it part of a »musical« or »non-musical« context, and (3) that, consequently, our perception has the capacity to »organize« any acoustic event into a »sound«. Such a »liberal« and context-oriented definition motivates a historical review of the concept of sound and related perception theories since the late eighteenth century. Sound has been a prominent »Other« in nineteenth-century music theory and aesthetics, disciplined mainly by »form«, »structure«, or »logic«, supported by eye- and architecture-related metaphorical language. An early emancipation of sound, in contrast, was articulated through ear- and »wave«- or »stream«-related metaphors that profoundly influenced modernist music aesthetics (Herder, Richard Wagner). Facets of this discourse can be traced to the association of sound with the world of the unconscious and suppressed emotions as well as the discussion about the concealment or disclosure of a sound’s source. This debate expanded well into the later twentieth century including criticism of Wagner’s »objective sound« (Adorno), theories of »acousmatic listening« (Schaeffer, Scruton), »musique concrète instrumentale« (Lachenmann), and the twofold model of »hearing-in« (Hamilton). Music theory has yet to cope with the emancipation of sound as a primary category in the twentieth century as it was, and in part still is, limited by the persistence of a hierarchical »surface-depth metaphor« that places (sub-)structural relationships above »surface events«. The morphosyntactic analytical methodology, developed as part of the research project A Context-Sensitive Theory of Post-Tonal Sound Organization (University of Music and Performing Arts Graz, 2012–2014), in contrast, aims to place a bodily-perceptual experience of sound events at the centre of analytical attention, based on three principal preliminaries: (1) the theory assigns a prominent role to the interaction of morphological (Gestalt-oriented) and syntactic (time-oriented) perceptual processes based on syntactic archetypes (tension/release, call/response, presence etc.); (2) it does not idealize a particular listening strategy, but aims at a multiplicity of perception modes that provide the basis for »performative listening«; (3) it under- stands musical perception as an interaction of cognitive factors and social construction with a particular focus on the relevance of everyday perception. A concluding analytical sketch aims to demonstrate the interaction of the archetypes »tension/release« and »presence«. A short morphosyntactic analysis of the third movement from Giacinto Scelsi’s I Presagi (1958) demonstrates how the »flat«, non- hierarchical absence of a conventional »event structure«, provoking the perception of a timeless presence of sound, is juxtaposed with a breath-like, ritualistic phrase arch- ing, suggesting a contemplative experience of sound transformed in time. »Performative listening« might be defined as a mode of perception that (consciously or intuitively) oscillates between such juxtaposed archetypes, allowing for an integration of a broad spectrum of meanings, associations, and emotions.

No description available.

Characteristics of Helmut Lachenmann’s music are approached through the author’s own music and musical thinking, intertwining portrait and self-portrait. Lachenmann’s music reflects problems of a recent history of composition and asks key questions about music’s relation to society. It challenges, for example, the position of composers/writers towards collective standards, but also reflects what critical thinking can mean in a society that consumes criticism and makes it part of its own system. Polyvalent structural relationships within Lachenmann’s music reflect his insistent method of observing and perceiving, of re-working, re-shaping traditional modes of listening. Whereas the terms »revolutionary« and »novelty« (not only in contemporary music) have become commodities or matters of fast changing trends, Helmut Lachenmann can be characterized as a »homo differentialis« whose work substantiates an existential necessity to bring music to the ear of the listener.

This article tries to approach Helmut Lachenmann’s music from the perspective of the cognitive sciences. The first part examines important theoretical concepts developed in Lachenmann’s own writings such as »polyphony of allocations« (Polyphonie von Anordnungen), »structure sound« (Strukturklang), »family« (Familie), »screening process« (Abtast-Prozess), modes of listening (»(Hin-)Hören« vs. »Zu-Hören«) and points at their cognitive implications. The second part discusses interrelations between Lachenmann’s and Ludwig Wittgenstein’s concepts of »family«. These concepts share an anti-essentialist perspective and argue that »families« might assemble highly heterogeneous mixtures of components. Theories of cognitive categorization based on Wittgenstein’s notion of »family resemblance« include Irene Deliège’s concept of »cue-abstraction«, based on the identification of salient features in musical contexts and their similarity, and Adam Ockelford’s »zygonic model« that criticizes this emphasis on similarity-relations; according to Ockelford, members of a category (or family) do not necessarily share a single property (or essence), but might be connected by association or contiguity. In the third part, two analytical examples related to Lachenmann’s concept of a »musique concrète instrumentale«, Pression (1969/70) and Allegro Sostenuto (1986/88), exemplify the composer’s intuitive use of cognitive principles, based mainly on Gestalt laws. The consistency of cognitive features in Pression for solo violoncello provides counter evidence against Hans-Peter Jahn’s thesis that the order of sections in this piece is arbitrary. Allegro Sostenuto demonstrates Lachenmann’s inventive play with Gestalt principles that serve as tools for categorical transformation: reference pitches, for example, provide clear levels of listening orientation for sounds that metaphorically »extinguish« or »mask« each other. The conclusion argues that Lachenmann’s theoretical ideas and theories of cognitive categorization tend to converge and might be transformed into a theory of musical context that is crucial for an adequate understanding of Lachenmann’s works.

The thesis deals with the history of Czech artistic translation in general and with the diachronic examination of Josef Hiršal's translation method in the area of translation poetry from German in particular. In the sixties Josef Hiršal alongside with his life and artistic partner Bohumila Grögerová was the main promoter and initiator of experimental poetry in Czechoslovakia. He devoted to experiment not only in his own work but also in translation. It was to his merit that Czech readers could familiarize themselves with the work of current foreign experimental poets, both in anthologies and in independent collections. Speaking of German language area he was consistent in translating Ernst Jandl, Hans Carl Artmann and Helmut Heißenbüttel. The practical part of this work is dedicated to the analysis of translation of selected poems of the mentioned trio using the hermeneutical approach. Hiršal translated from the whole range of other languages (using language cooperation), thanks to which he left a remarkable trace in the history of Czech translation from the second half of the twentieth century. Interestingly enough, his contribution to translation has not yet been subjected to critical analysis. The thesis aims to cover at least partially Hiršal's translation work, specifically in the area of...

Der Name des populären Chirurgen Professor Julius Hackethal (1921-1997) weckt bis heute Assoziationen mit den Schlagwörtern Medizinkritik, Sterbehilfe und alternative Krebsbehandlungen. In einem stetig größer werdenden Forschungsstand zur Geschichte der Alternativmedizin und deutschen Nachkriegsmedizin beschäftigt sich vorliegende Dissertation mit Julius Hackethals Medizinkritik im Allgemeinen und Krebs im Speziellen, seinem therapeutischen Gegenvorschlag EUBIOS, der Sterbehilfedebatte sowie der Darstellung seiner Medizinkritik und der entsprechenden Resonanz in deutschen Medien. Die vermeintlichen „Kardinalfehler“ der Schulmedizin bei Krebs werden dabei exemplarisch am Beispiel Prostatakarzinom erläutert. Welche gesellschaftlichen und schulmedizinischen Rahmenbedingungen vorlagen und die Medizinkritik anfachten, was die Gründe für Julius Hackethals Abkehr von der Schulmedizin waren und inwiefern sich seine Medizinkritik von anderen Kritikern der damaligen schulmedizinischen Verhältnisse unterschied, waren wichtige Fragestellungen der Arbeit. Zudem wird unter Miteinbeziehung von Zeitzeugenberichten beantwortet, warum er mit seinem EUBIOS-Konzept und vermeintlichen Pauschalbehandlungen gerade bei Krebspatienten regen Zulauf fand. Zuletzt stand das Verhältnis von Julius Hackethal zu den Medien sowie das der Medien zu Julius Hackethal im Fokus. Neben allen Publikationen Hackethals als Hauptquellen und Mikroebene wurde die Recherche um umfangreiche Quellen der Epoche, Forschungsliteratur zum Thema und audiovisuelle Medien als Makroebene erweitert. Hauptschlagwörter waren Medizinkritik und Krise der Krebstherapie, Alternativmedizin sowie das Thema Sterbehilfe. Zudem wurden alle im Zusammenhang mit Julius Hackethal erschienenen Artikel in vorselektionierten Medien, dem Deutschen Ärzteblatt, den Nachrichtenmagazinen Spiegel und Stern sowie den Illustrierten Quick und BUNTE, den Fragestellungen entsprechend, analysiert. Vor einem sich wandelnden Gesundheitspanorama in der zweiten Jahrhunderthälfte mit enttäuschten Hoffnungen an rasche Behandlungserfolge chronischer (Krebs-)Erkrankungen und einem kritischen Hinterfragen von (Arzt-)Autoritäten wurden Forderungen nach einer posthippokratischen Medizin und Ethik laut. Schlagwörter wie Fünfminutenmedizin, Apparate- und Maschinenmedizin und anonyme Großkliniken machten die Runde. Als Gegenantwort kam es zu einer Renaissance alternativer Behandlungsrichtungen, die von verunsicherten, von der Schulmedizin enttäuschten Patienten aufgegriffen wurden. Julius Hackethal war dabei nicht der einzige oder erste Kritiker der damaligen schulmedizinischen Praxis, allerdings war Kritik von einem bis dahin selbst praktizierenden Schulmediziner und Professor ein Novum. Mit bewusstem Verzicht auf „Medizinbabylonisch“ und Büchern sowie öffentlicher Kritik in teils vulgärer, aggressiver „Volkssprache“ wurden komplexe Sachverhalte der breiten Masse zugänglich gemacht. Bis heute ist sein Neologismus harmloser „Haustierkrebse“ ein Begriff und mit ihm verquickt. Durch derart provozierende Rhetorik, aber auch spektakuläres, medienwirksames Handeln polarisierte Julius Hackethal dabei zeitlebens. Seine Beihilfe zum Suizid Hermine Eckerts im Jahr 1984 ist hierfür Beispiel und wird in der Arbeit dargelegt. Zudem ließ er keine Möglichkeit aus, seine Thesen in Medien jedweder Couleur zu verbreiten, die großen medizinischen Themenfelder für sich zu reklamieren und gleichzeitig für eigene Kliniken und sein Behandlungsprogramm EUBIOS zu werben. Ein einzelner Querdenker habe es geschafft, die viel zu kompliziert denkende Schulmedizin zu entmystifizieren. Die Position des Deutschen Ärzteblatts war zwangsläufig klar abgesteckt: Gegenüber Standeskritikern galt es eine klare Position aufrechtzuerhalten, um die bereits in der Kritik stehende Schulmedizin nicht noch weiter zu gefährden. Entsprechend einseitig und teils unseriös fielen die Artikel aus. Das Nachrichtenmagazin Spiegel begrüßte Hackethals anfängliche Medizinkritik, distanzierte sich dann aber ausdrücklich von ihm und seinen Krebsheilungsvisionen sowie seiner Forderung nach einer Legalisierung des ärztlich assistierten Suizids. Im 21. Jahrhundert ist Medizinkritik weiterhin präsent, gleichzeitig sind alternative Behandlungsverfahren zu einem festen Bestandteil des Behandlungsrepertoires einst streng schulmedizinisch ausgerichteter Ärzte geworden. Julius Hackethal war dabei ein zeitgeschichtliches Phänomen auf einem kurz vor und vor allem nach ihm existenten Kontinuum deutscher Medizinkritik, dem weitere Persönlichkeiten mit neuen Heilsversprechungen oder Ideen zur Umstrukturierung der modernen Schulmedizin rasch nachfolgten und nachfolgen werden. / Even in the 21th century, the name of the popular surgeon Professor Julius Hackethal (1921-1997) is still associated with the slogans euthanasia or medical assisted suicide, criticism on modern medicine and alternative treatments of cancer. Since the current state of research, especially regarding the history of alternative medicine and german postwar medicine is in the rise, the dissertation exemplarily examines Hackthals criticism on practiced medicine at that time in general and his criticism on cancer in particular, his therapeutic counterproposal EUBIOS, the fanned debate on medically assisted suicide and his personal and professional presentation in german media.