Möglichkeitsdenken Utopie Und Dystopie in Der Gegenwart

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Möglichkeitsdenken Utopie Und Dystopie in Der Gegenwart WILHELM VOSSKAMP, GÜNTER BLAMBERGER UND MARTIN ROUSSEL (HRSG.) MÖGLICHKEITSDENKEN Utopie und Dystopie in der Gegenwart MORPHOMATA VOSSKAMP, BLAMBERGER UND ROUSSEL (HRSG.) – MÖGLICHKEITSDENKEN Utopien denken Möglichkeiten von Zukunft. Mit Beginn der historischen Moderne, in der die Erwar- tung an die Zukunft die Erfahrung der Vergangenheit übersteigt, entstehen in der je aktuellen Gegenwart Entwürfe, die Utopien genannt werden können. Die Temporali sierung der Erfahrung macht Projektionen in die Zukunft möglich (Reinhart Koselleck). Diese sind nie eindeutig. Sie liefern mehrdeutige Wunsch- und Schreckbilder auch in eigentümlichen Verschränkungen. Die Einsicht in diese Dialektik nimmt mit dem Grad der Selbstreferentialität von Zukunfts entwürfen zu; Utopie und Dystopie bedingen sich wechselseitig. – Ge genwärtig leben wir mit außerordentlich unsicheren Zukunftsperspektiven. Haben Utopien nur in Dystopien überlebt? Nach dem Ende des Utopismus-Verdachts am Beginn der 90er Jahre geht es heute um eine Bestands- aufnahme von Zukunftspotentialen, um Diskussionen von Denkformen des Hypothetisch-Möglichen. Bietet die Tradition des utopischen Denkens Anknüpfungs- punkte für aktuelle, positiv oder negativ konnotierte Zukunftsbeschreibungen? Wunsch- oder Warnbilder sind noch immer jenem utopischen Impuls verpflichtet, der den Blick aus der Gegenwart in die Zukunft richten will. Die Frage nach der Zukunft utopischen Denkens stellt somit in den Möglichkeiten temporalen, visionä- ren und konjunktivischen Denkens zugleich die Frage nach dem Ort des Gesellschaftlichen und der Gesell- schaft heute – und damit die Frage nach der Verbind lich- keit von Tradition, und das heißt auch: nach Traditionen des Utopischen. HERAUSGEGEBEN VON WILHELM VOSSKAMP, GÜNTER BLAMBERGER UND MARTIN ROUSSEL UNTER MITARBEIT VON CHRISTINE THEWES MORPHOMATA MÖGLICHKEITSDENKEN HERAUSGEGEBEN VON GÜNTER BLAMBERGER UND DIETRICH BOSCHUNG Utopie und Dystopie in der BAND 9 Gegenwart WILHELM FINK INHALT GÜNTER BLAMBERGER Über die Aktualität des Zukunftsdenkens. Vorwort 7 WILHELM VOSSKAMP Möglichkeitsdenken. Utopie und Dystopie in der Gegenwart. Einleitung 13 I. UTOPIE UND DYSTOPIE ALS PROBLEM DER FORSCHUNG UND IHRER GRENZEN HEUTE GABRIEL MOTZKIN Utopie, Dystopie und Evolution 33 FRIEDRICH BALKE Michel Foucault und die Möglichkeiten eines Denkens in der »Leere des verschwundenen Menschen« 45 unter dem Förderkennzeichen 01UK0905. Die Verantwortung für den Inhalt MATHIAS LÖWE Utopie versus Anthropologie. der Veröffentlichung liegt bei den Autoren. Konstellationen eines Konflikts um 1800 und heute 69 Bibliografische Informationen der Deutschen Nationalbibliothek: Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen National­ biblio grafie; detaillierte Daten sind im Internet über www.dnb.d­nb.de abrufbar. II. GRUNDLEGUNGEN DES UTOPISCHEN Alle Rechte, auch die des auszugweisen Nachdrucks, der fotomechanischen MÖGLICHKEITSDENKENS Wiedergabe und der Übersetzung vorbehalten. Dies betrifft auch die Verviel­ ARBOGAST SCHMITT Der Staat als Möglichkeitsraum fältigung und Übertragung einzelner Textabschnitte, Zeichnungen oder Bilder individueller Selbstentfaltung bei Platon 91 durch alle Verfahren wie Speicherung und Übertragung auf Papier, Transpa­ rente, Filme, Bänder, Platten und andere Medien, soweit es nicht § 53 und 54 KLAUS L. BERGHAHN Möglichkeit als Kategorie der Philosophie, UrhG ausdrücklich gestatten. Politik und Dichtung in Ernst Blochs Das Prinzip Hoffnung 121 © 2013 Wilhelm Fink Verlag, München VIVIAN LISKA Sprache und Gesetz im Messianismus Wilhelm Fink GmbH & Co. Verlags­KG, Jühenplatz 1, D­33098 Paderborn Walter Benjamins und Giorgio Agambens 137 Internet: www.fink.de Lektorat: Martin Roussel und Christine Thewes MARTIN ROUSSEL Möglichkeitsdenken. Utopie, Dystopie und Gestaltung und Satz: Kathrin Roussel, Sichtvermerk Lektüre in Robert Musils Der Mann ohne Eigenschaften 157 Printed in Germany Herstellung: Ferdinand Schöningh GmbH & Co. KG, Paderborn ISBN 978-3-7705-5554-3 III. LITERARISCHE UND VISUELLE FORMEN HANS ULRICH SEEBER Präventives statt konstruktives Handeln. Zu den Funktionen der Dystopie in der anglo­amerikanischen Literatur 185 JUDITH LEISS Gattungsgeschichte als Spirale. Die Heterotopie als Möglichkeit utopischen Schreibens in der Gegenwart 207 GÜNTER BLAMBERGER RYOZO MAEDA Techno, Apokalypse, »Ikai«. Utopien und Dystopien in der visuellen Massenkultur Japans 223 ÜBER DIE AKTUALITÄT ROBERTO SIMANOWSKI Utopien und Dystopien im Internet DES ZUKUNFTSDENKENS und die antiutopische Botschaft des Mediums 259 Vorwort IV. AKTUELLE GEGENWART Vielleicht gibt es keinen schöneren Rückzugsort für Literaturliebhaber als den idyllischen Park in François Truffauts Verfilmung von Ray Bradburys JÜRGEN FOHRMANN Die Versprechen einer Institution. Roman Fahrenheit 451, in den der Feuerwehrhauptmann Montag sich Die Universität als Projektionsraum 293 flüchtet, weil er genug hat von dem ihm befohlenen Verbrennen aller Bü­ KARL HEINZ BOHRER Utopie ›Europa‹. cher. Oskar Werner spielt diesen Feuerwehrhauptmann, auf unvergessli­ Eine Ursache ihres Zerfalls 307 che Weise. Im Park trifft Montag auf eine Gemeinschaft von Dissidenten, auf Bibliophile, die ihr Lieblingsbuch wieder und wieder memorieren und so an die nächste Generation weitergeben, an ihre jungen Begleiter, Verzeichnis der Autoren 330 die während der gemeinsamen Spaziergänge aufmerksam zuhören und nach dem Tode ihrer Lehrer das Buch verkörpern und rezitieren werden. So changiert in diesem tröstlichen Schluss Truffauts Film von der Dys­ topie zur Utopie: Nicht im Schreckbild des totalen Biblioklasmus endet er, sondern im Wunschbild von Büchermenschen, die im Vergangenen den Funken der Hoffnung für eine humane Zukunft werden anzufachen wissen. Dergestalt ist auch ein historisches Kolleg wie das Internationale Kolleg Morphomata der Universität zu Köln, das im Juni 2012 eine hier in diesem Band dokumentierte Tagung über »Möglichkeitsdenken« aus­ richtete, Gegenwarts­ und Zukunftskolleg zugleich. Der Name ›Morpho­ mata‹, griechisch für Gestaltbildungen, ist Programm. Die Fellows und Mitarbeiter dieses Kollegs verpflichten sich auf die einfache Annahme, dass die Geschichte kulturellen Wissens und Fortschritts nicht in einer Systematik abstrakter Begriffe oder Vernunftideen allein aufgeht und ana­ lysieren stattdessen Artefakte unterschiedlicher materialer oder medialer Gestalt und historischer bzw. kultureller Herkunft im Hinblick auf die mit ihnen verflochtenen ästhetischen Ideen, die eine Kultur nachhaltig 8 VORWORT 9 geprägt haben und vermutlich weiter prägen werden. Sie richten ihr in Wartesälen, in denen nichts mehr wirklich erwartet wird. Bei Intellek­ Augenmerk also auf die Ausformung der Einbildungskraft in Werken tuellen wie Politikern im Westen scheint heute Stillstand im Fortschritt der Literatur, der Malerei, der Musik, der mythischen Rituale, auf das zu herrschen, jeglicher Richtungssinn verloren gegangen zu sein, selbst Zusammenspiel von gestaltbildendem Bewußtsein und gestaltgebendem das permanente Krisengerede ist nicht wörtlich zu nehmen, denn Krise Material, auf das in jedem großen Kunstwerk erst dank seiner je beson­ meinte ja einmal Entscheidung, Entscheidung wenigstens vom Schlech­ deren Gestalt erfahrbare Wissen über Grundfragen des menschlichen ten zum Nächstbesseren und Handeln danach. Daseins, und dazu gehört auch die Frage, wie man sich menschliches So ist es kein Wunder, dass das futurische Denken wieder zum The­ Leben über die engen Grenzen des eigenen Lebens hinaus vorzustellen ma wird. Zeitgleich mit der in diesem Band dokumentierten Tagung über hat – eine Frage, die historische wie futurische Denker und ihre Leser »Möglichkeitsdenken« fand im Juni 2012 in Berlin eine Tagung der Kul­ gleichermaßen antreibt. turstiftung des Bundes statt, unter dem Titel »Kulturen des Bruchs«, bei Aber klingt das alles nicht zu schön, um wahr zu sein, handelt der man sich mit »Gründen und Energien unserer Memoria­Leidenschaft es sich nicht um eine altbekannte Legitimation des historischen Ge­ auseinandersetzen und nach Alternativen suchen« wollte, in einer »funda­ schäfts, deren Wirkmacht bei genauerem Hinsehen selbst passé ist? Ist mentalen Aussprache über Nutzen und Nachteil des Vergessens für unser die Kopplung von historischem und futurischen Denken nicht längst Leben«. Nietzsche, auf den hier angespielt wird, ist dagegen bekanntlich so verblasst wie Truffauts Film bzw. nur Consolatio und Camouflage davon überzeugt, dass der Mensch das Vergessen im Gegensatz zum dessen, dass es heute keine genuin futurischen, geschweige denn uto­ Tier weder beherrscht noch eigentlich lernen kann und »immerfort am pischen Denker jenseits der Gen­, Computer­ und neurobiologischen Vergangenen zu hängen« pflegt, es folglich darum geht, über denNutzen Laboratorien mehr gibt? Verschafft man als Geisteswissenschaftler mit und Nachtheil der Historie für das Leben weiter nachzudenken. In dieser einer »Cur der Geister«, wie Nietzsche es in § 188 von Der Wanderer und Konsequenz haben wir auf unserer Tagung die neuzeitliche Gattungs­ sein Schatten genannt hat, den Heutigen Luft, indem man den Lebenden tradition der Utopie selbst in den Blick genommen und gefragt, ob ihre den Spiegel der Toten vorhält und sie aus der Eindimensionalität des je Wunsch­ und Schreckbilder noch Anknüpfungspunkte für futurisches eigenen Daseins befreit? Oder verschleiert man nur das Faktum, dass Denken heute bilden. gegenwärtig ohnehin die Wiedergänger und Epigonen dominieren, dass Die Konzeption der Morphomta­Tagung über »Möglichkeitsden­
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