无聊点好
发表于 2025-3-25 05:46:25
Arts, Architecture, and Native Creativity,s to documentary media, such as photography or film, but in the process reduces their documentary character to absurdity. In doing so, he calls into question any possibility of reference to the world, while also addressing the specific characteristics of literature. This article uses the concept of
沉默
发表于 2025-3-25 11:23:51
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错
发表于 2025-3-25 15:04:49
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inundate
发表于 2025-3-25 16:48:59
https://doi.org/10.1007/978-3-476-05958-1German pop literature; German literary history; Poetology; Arts; Literature; Microaesthetics; Aisthesis; Ph
WATER
发表于 2025-3-25 20:53:26
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athlete’s-foot
发表于 2025-3-26 00:10:30
Generalization of the scattering theorem,he revealed, his texts must be reread in a new and, above all, completely different way. In the ., for example, Felix Stephan concluded: “The Christian Kracht who stood at the lectern there has never written an ironic sentence. It was always about everything, about man, humanism.”
护航舰
发表于 2025-3-26 05:20:52
Long-term monitoring of reclaimed sites, take up Moritz Baßler’s reading, who identified “the idea of a paralogical-synthetic art world” in Kracht’s novel. This “art world” supposedly transforms world history in the mode of the aesthetic. This does not mean escapism; rather, Baßler argues, it demonstrates “the possibility of a new historical narrative beyond the realist option”.
FUME
发表于 2025-3-26 12:27:13
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钢盔
发表于 2025-3-26 14:01:09
The Mediology of the Counterfactual in Christian Kracht’stake up Moritz Baßler’s reading, who identified “the idea of a paralogical-synthetic art world” in Kracht’s novel. This “art world” supposedly transforms world history in the mode of the aesthetic. This does not mean escapism; rather, Baßler argues, it demonstrates “the possibility of a new historical narrative beyond the realist option”.
ASSAY
发表于 2025-3-26 17:03:39
Arts, Architecture, and Native Creativity,he essay analyzes .’s reflections on the medium of film that the text offers at various points. As both cases make clear, . advances an anti-documentary aesthetic by recontextualizing photography and film in the novel’s notoriously unreliable prose narrative showing that a simple reference to reality in both media is only fiction.