Sternagel, Jörg
0000-0002-0970-1087 Berufsbeschreibung
Nachname
Vorname
Name
Suchergebnisse Publikationen
Moving Towards the Point Beyond with Sarah M. Broom’s Memoir The Yellow House
Inside an actor's scrapbook : Heath Ledger's aesthetic practice of unbalancing
In the process of his preparation, Heath Ledger compiles, cuts, sketches, writes, highlights, underlines and scribbles, emphasizes what he finds, (re-)discovers, imagines and remembers from other films, TV, magazines, comics and more. Ledger’s Joker chooses a “killer smile”, as Daniel Wallace remarks in his Visual History of the Clown Prince of Crime, while “[c]ritics praised Ledger’s portrayal of the Joker as a bringer of anarchy. The repertoire of Ledger is an open source of influences and inspiration. While the process of clowning, with the predecessors, the films and the graphic novels, develops to a process of gaming, toying with several possible modalities, the very instance of what Ledger achieves is the Joker as a bearer of confusion. Before the film, Ledger, the actor works up interests in the work, in his fellow-actors, in props and set designs, in the camera, to bring, at least in part, the Joker to life.
Performance Philosophy and the philosophy of mediality
In order to contour Performance Philosophy in terms of a philosophy of media/mediality, this chapter aims to reflect the relationship between medium and mediality. It shows that this relationship can be revealed as a relation of affects and thinking. The question of what a medium is, is approached from three angles: in terms of its function as an in-between (meta), as poiesis or bringing forth (dia), and as affect and affectivity. The article focuses on the following three perspectives. First: creation. In this part, the text approaches the realm of the performative and the medial as the manner in which something appears as something through something. Second: the body as a medium, with references to Marina Abramović and Jean-Luc Nancy. Here, the body is addressed as the spacing of space that provides the interaction of the image and the body, matter and meaning, sense and sensing and is thus a medium in itself. Third: mediality in the objectified world, regarding the Western tradition as well as glimpsing at an intercultural horizon.
Schauspiel/Darstellung
Von rhetorischen Impulsen der Deskription und Ekphrasis ausgehend, entwickelt die Filmanalyse des Schauspiels und der Darstellung über die zwei Grundzüge Kraft und Eloquenz sowie Sichtbarkeit und Sichtbarmachung ein phänomenologisches Denken, dass die präreflexive, sinnhafte Leibhaftigkeit von der reflexiven, symbolischen Zeichenhaftigkeit ab-, voran- und voraussetzt. Was auf diese Weise ins Zentrum des Interesses rückt, ist die Frage, wie Beweglichkeit, Mimik, Stimme und Gestik Effekte schaffen, wie sie Affekte generieren.
Transformative Erfahrungen : Havi Carels Ansätze einer Phänomenologie der Pandemie im Ausgang von ihrer Phänomenologie der Krankheit
This article discusses illness and the Corona virus pandemic as transformative experiences, as suggested by the English philosopher Havi Carel, who has extensively written on a phenomenology of illness: Combining her own personal experiences of serious illness with insights and reflections from her work as a philosopher, Carel explores the changes in the physical, social and emotional world of the affected persons. Following this approach, she is currently developing a phenomenology of the current pandemic, from which this article also presents first approaches that deal with questions of the experience of the pandemic and the ways in which they manifest in our contemporary world.