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Fall 2011 Newsletter.Indd GermanGerman CultureCulture NeNewsws Cornell University Institute for German Cultural Studies Fall 2011 Vol. XXI No. 1 In this Issue: Artist in Residence: Hans Christoph Buch Artist in Residence: Hans Christoph Buch His grandfather’s pharma- Cornell Lectures on cy, which had been a family Contemporary Aesthetics business for many decades, was destroyed in the earth- The Legacy of Kant III Conference quake of 2010, as was the Haitian publishing house Signale Online Forum that had published Buch’s works in French. Visit of Germany ‘ s Discussion of the Consul General earthquake marked the end- Hohendahl Graduate point of Buch’s introductory Essay Prize Awarded Photo by Gerd Vennemann gions in Africa for several remarks. He next presented The German writer newspapers and magazines. historical drawings, carica- Colloquium Series: and journalist Hans Chris- In 2004, he received the tures and photographs of Thomas Kling and toph Buch was the Institute Preis der Frankfurter An- Haiti from before and after the Avant-Gardes of German Cultural Studies’ thologie, and in 2011, the the earthquake, stressing his Artist in Residence from Schubart-Literaturpreis. personal investment in the Sakrale Räume im Schwank September 5th through the In her introduction country’s social and politi- Psychological Aesthetics and 22nd. Buch was fi rst no- to his reading, Leslie Adel- cal history. Buch observed the Paradox of Tragic Pleasure ticed for his prose in 1963, son called Buch a “precur- that his strong interest in Index and Diegesis in Weimar when he gave a reading of sor of postcolonial literature Haiti and other developing Broadcasting – The Problematic his work at a meeting of the in Germany,” given that countries poses many chal- “Akustische Kulisse” “Gruppe 47.” After study- early on in his career Buch lenges to German readers began to make the nation Wayward Trajectories: Peter ing German and Slavic without this background Weiss’s Aesthetics of Resistance Studies in Bonn and Berlin, of Haiti the focus of many knowledge to read his work. and the Parataxis of History Buch received his Ph.D. in of his works. His artistic Buch then proceeded to involvement with Haiti en- Beyond Repetition? Karl Kraus’s 1972. He worked as an edi- present his works Die Ho- “Absolute Satire” tor for the Rowohlt Verlag tails both an examination of chzeit von Port-au-Prince in the 1970s and taught at its colonial history as well (1984), the title an allusion several universities in Ger- as an engagement with his to Kleist’s Die Verlobung many and the United States. personal family history: von San Domingo (1811), Buch’s grandfather had German Culture News In the 1990s, Buch became and Tanzende Schatten oder Cornell University IGCS well known for reporting immigrated to Haiti in the der Zombie bin ich (2004), 726 University Avenue from war and crisis re- late nineteenth century and which addresses Aristide’s Ithaca, NY 14850 phone: 607.255.8408 married a Haitian woman. email: [email protected] Leslie A. Adelson: Director *** Olga Petrova: Editor & Designer Newsletter summaries of Institute-sponsored events are generously provided by graduate students in various stages of doctoral study in the interdisciplinary fi eld of German Studies at Ari Linden: Copy Editor Cornell University. These summaries are customarily written by students with a general Alexander Phillips: Photographer & Student Coordinator audience in mind and highlight selected aspects of complex presentations by specialists. *** role in Haitian history and a bloody ture by reciting Wordsworth’s “To colonial reading, in which Haiti is carnival. The following discussion Toussaint L’Overture” (1803), also ultimately seen as “kind” to the US focused primarily on the oscillation quoted in Heiner Müller’s Der author/tourist but “unkind” to its of Buch’s work between different Auftrag (1979). Wordsworth’s poem own people. genres, and on how Buch negotiates pays homage to the revolutionary Buch ended his lecture by between the demands of publishing hero and freedom fi ghter, but makes commenting on how the prevalent companies on the one hand, and the no specifi c reference to Haiti. Like chaos in Haiti aggravated the im- necessary constraints of journalis- Hegel and Hölderlin, Wordsworth pact of the recent earthquake, which tic writing on the other. Buch also was a supporter of the French revo- prompted a discussion about the mentioned that he had once tried to lution who saw in Haiti a represen- earthquake’s effects on the image of write a play about Haitian history, tation of humanitarian idealism. Ac- Haiti portrayed by the American and but soon realized that this dramatic cording to Buch, however, this ideal European media. Buch asserted that subject matter defi es all conventions is by now far removed from the while Western media certainly re- of dramatic genre. (Hannah Müller) Haitian reality, which he described vive stereotypes about Haitians and On September 19, Buch as “chaotic,” “complex,” “irritat- Haiti, racism and stereotypes sadly delivered a public lecture on con- ing” and “inexplicable.” But Buch govern the country’s everyday life, temporary aesthetics entitled “Haiti nonetheless identifi ed in this chaos a and are equally disseminated by the and World Literature,” in which he creative, “revitalizing” force, which right and the left sides of the coun- juxtaposed his own experiences liv- has enabled him to discover the lim- try’s political spectrum. Other ques- ing in and writing about Haiti with a its of “his own [German] culture.” tions from the audience addressed long-standing tradition of other writ- For Buch, the artistic per- the possibility of an aesthetic trans- ers’ and artists’ fascination with the ception of Haiti-as-chaos does not lation of the “Haitian chaos,” notions country. Buch referenced a number preclude the possibility for political of experimentation and technique, of authors, artists, and revolution- engagement and critique. In Gra- and the links between the revolu- aries, including André Breton, the ham Greene’s novel The Comedi- tionary histories of Haiti and Cuba. American Beatnik writer Herbert ans (1966), for example, a parallel Buch’s illuminating oral remarks on Gold, Graham Greene, the Cuban is drawn between the dictator Papa the place of Haiti in world literature painter Wilfredo Lam, Claude Lévi- Doc and Baron Samedi, the god of and postwar German literary history Strauss and Anna Seghers. These lu- cemeteries and voodoo. A similar are complemented by a separate aes- minaries have all traveled to Haiti, rendition of Haiti can be found in thetics lecture that the author wrote generally seeking there one of the Herbert Gold’s more recent experi- for Cornell University on his own country’s two romanticized images: mental novel Haiti - Best Nightmare “poetics of non-identity.” The IGCS the revolutionary ideal, and the het- on Earth (2001), which depicts the is pleased to publish Buch’s written erogeneous, chaotic “land of voo- author’s experiences since fi rst ar- remarks on this subject in this issue doo.” riving in Haiti in 1953. The novel of GCN. (Anna Horakova) Buch commenced his lec- lends itself to an illuminating post- “Futurity Now” Conference Scheduled for April 2012 Under the auspices of Cornell’s Institute for German Cultural Studies Leslie A. Adelson of Cornell University (Ja- cob Gould Schurman Professor of German Studies and Director of IGCS) and Devin Fore of Princeton University (Germanic Languages and Literatures, Slavic Languages and Literatures, and Media and Modernity) are co- organizing a two-day conference titled “Futurity Now: Interdisciplinary German Studies in 20th- and 21st-Cen- tury Perspectives.” The conference will be held at the A.D. White House on Cornell’s Ithaca campus April 13-14, 2012, and is free and open to the public. Professor Samuel Weber of Northwestern University will present the con- ference’s keynote lecture on futurity in relation to the aesthetics of terror. Additional confi rmed speakers include Rüdiger Campe (Yale University), Nahum Chandler (University of California, Irvine), Fatima El-Tayeb (Uni- versity of California, San Diego), Birgit Erdle (London), Peter Gilgen (Cornell University), Julia Hell (Universi- ty of Michigan), Peter Hohendahl (Cornell University), Andreas Huyssen (Columbia University), Lutz Koepnick (Washington University), Patrizia McBride (Cornell University), and Madeleine Casad (Cornell University and Rose Goldsen Archive of New Media Art). Additional details will be posted on the IGCS website in spring. Jetzt: Contemporary and Historical Figurations March 31/April 1, 2012 Keynote Speaker: Peter Fenves (Northwestern University) “Now: it has already ceased to be since it was pointed out; the now that is is an other than that pointed out to us, it is what has been.” (Hegel, The Phenomenology of Spirit) The now, by virtue of its ephemerality, presents a series of problems for attempts to defi ne it. Along with its deictic counterpart the here, it resists the fi xity of any determinate content. Yet this very quality of now simultaneously includes a generative power—as demonstrated by ongoing efforts to conceptualize, interpret, produce or poeticize the now. While the notion of the now is one of perpetual interest and diffi culty, something to which one always returns, it is also important to historicize those moments in which the now reasserts itself against a fi xation on the past or future. Recent attempts to do so can be seen, for example, in Hans Ulrich Gumbrecht’s emphasis on presence in its temporal dimension
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