Cornelia Vismann

Inhaltsverzeichnis

Uwe Wirth
Kultur als Pfropfung. Pfropfung als Kulturmodell.
Prolegomena zu einer Allgemeinen Greffologie (2.0)

Falko Schmieder
Vom Lobpreis der Veredelung zum Prospekt der Vernichtung.
Aspekte einer Problemgeschichte der Pfropfmetapher

Cornelia Vismann
Genealogische Ordnung und ungeschlechtliche Vermehrungsweise

Hans-Jörg Rheinberger
Pfropfen in Experimentalsystemen

Emmanuel Alloa
Fremdkörper. Fragmente einer Theorie des Eindringlings

Cornelia Zumbusch
Innovation oder Kontamination? Kreuzungen der Impfmetapher bei Schiller und Nietzsche

Michael Bies
Geburten aus dem Geist der Pfropfung? Zu Kant und Goethe

Davide Giuriato
'Blendlinge'. Zur Theorie der Übersetzung bei Friedrich Schleiermacher

Sylvia Sasse
Wörter und Äpfel. Prozesse der Hybridisierung bei Michail M. Bachtin und Ivan Vl. Mičurin

Juliane Vogel
Anti-Greffologie. Schneiden und Kleben in der Avantgarde

Bettine Menke
Stimmen/Gemurmel: Aufpfropfungen, Exzitationen, Szenen

Irmela Marei Krüger-Fürhoff
"Eine Letter aus einer anderen Schriftart". Zur Poetik zeitgenössischer Transplantationsfiktionen am Beispiel von Ulrike Draesners Gedicht "pflanzstätte (autopilot IV)" und Sabine Grubers Roman Über Nacht

Eckhard Schumacher
"Be Here Now" – Zitathaftes Aufpfropfen im Pop-Diskurs

Heide Volkening
Mode als Aufpfropfung. Über Rouge, crossdressing, Monogrammstoffe und deren Fälschung

The essay follows the history of tradition of the story "The Blind Witness," from the publication in François Richer's "Causes célèbres" and the subsequent inclusion in the "Neuer Pitaval," to its previous iterations reaching back to the 16th century. Starting from this historical-comparative perspective, the interdependencies of investigative representations and criminal procedure codes are traced, with special attention paid to the various writing practices within the framework of criminal procedure since the 17th century. Taking Georg Philipp Harsdörffer's version of "The Blind Witness" as part of his collections of crime narratives as an example, the article suggests that the demand for truth or truthfulness made by the juridical orders of writing of the time endows several forms of modern narratives with a reflection on the theory of representation.

In this paper, I define cultural techniques and discuss how food production may be analyzed from a cultural-technical perspective. Citing the work of Bernhard Siegert (2015; 2013) and Claude Levi-Strauss (1991;1970), I show that some of the same techniques which produce food have also been fundamental to the emergence of culture and the human as such: namely cooking, agriculture and animal husbandry, and techniques of eating. Though these techniques form the basis of what we know as food, they remain, to quote Levi-Strauss, “on the margin of the semantic field which embraces all food products” (1970:267). They escape representation, which arguably, is why food technologies are neglected by media studies, despite the rapid advancement of information and communication technologies in food production, processing, and distribution. This is what makes cultural techniques particularly suited to discussing food as an object of media theoretical analysis, food being something that is typically represented in the media, and not interrogated for its own ability to mediate, transmit, or reproduce culture on a technical level.

Der Beitrag untersucht das Verhältnis zwischen Kulturtechniken, Dingen und Medien des Rechts in Ingeborg Bachmanns Erzählung „Ein Wildermuth“ (1961). Dabei stellt sich die Frage, inwiefern dem Streit-Ding in der Erzählung eine Akteursbeschaffenheit und dem Recht eine Vernetzungsleistung von Menschen, Akten und Texten zugeschrie- ben wird. Die Erzählung thematisiert ein epistemologisches Problem, das von einem Streit-Ding ausgehend in unterschiedlichen Varianten durchgespielt wird: Wie ist es möglich, einen Zugang zur (juristischen) Wahrheit zu erlangen, wenn es bereits außerordentlich schwierig ist, etwas über die Identität eines Knopfes auszusagen? Bachmann bezieht sich auf literarische Diskurse der sprachlichen Urteilskraft über Dinge (H. v. Hofmannsthal) und verbindet diese mit der Frage nach juristischen Wahrheitsformen. Dabei zeigt sich die Wahrheitssuche als eine Recherche in den Abgrenzungen eines pädagogischen, juristisch-bürokratischen und sexuellen Dispositivs.


The article investigates the relationship between cultural techniques, things and the law in Ingeborg Bachmann’s novella „Ein Wildermuth“ (1961). The main question in this context concerns the agency of a thing and the network of people, files and texts. Starting with the dispute over a button, the novella takes off and debates a profound epistemological dilemma: How can one find truth if already the origin of a button is indeterminable? Bachmann draws on literary discourses of linguistic judgment over things (H. v. Hofmannsthal) and connects them with the question of legal forms of truth. Wildermuth’s quest for the truth reveals the boundaries of a pedagogical, legal- bureaucratic and sexual dispositive.

http://jacket2.org/poems/it-subject

Four source-essays — by Anne Carson, Michel de Certeau, Amy Ireland, Cornelia Vismann — converge here in heavily edited form to delimit a terrain of extremity through their respective themes of gender, glossolalia, alienation, and war.

"One in the 'Visual Cultures As...' series, each comprising 2 essays by staff from the Visual Cultures department at Goldsmiths on a named theme, plus a conversation between these colleagues concerning these essays in the context of their broader research interests.  This edition is named Recollection and contains work by Lynn Turner and Astrid Schmetterling. The series is edited by Jorella Andrews"

In legal discourse and practice, concerns regarding the appearance of text focus almost exclusively on questions of
legibility. There is little analysis of law’s textual form beyond matters of practical readability, indicating an underlying
assumption that printed words are merely a vehicle for the transmission of law’s intellectual content. However, the UK’s
Road Vehicles (Display of Registration Marks) Regulations 2001 (SI No 561) (the ‘2001 Regulations’) prescribe the
detailed regulation of the visual appearance of registration marks (or number plates) beyond that required for their
practical operation. Through analysis of these regulations, this paper overturns the assumption that the significance of
textual appearance is purely pragmatic by demonstrating the widespread importance of the visual form of writing within
the regulatory praxis of the modern state—of which registration marks are a part. When we read the law, when we
encounter a regulatory text, we are not just decoding intellectual content but are witnessing the appearance and repetition
of sovereign power. Keywords: Road Vehicles (Display of Registration Marks) 2001; textual appearance; legal aesthetics; materiality; power.