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References
Arjun Appadurai, Modernity at Large. Cultural Dimensions of Globalization, Minneapolis 1996, 31.
Arjun Appadurai, The Future as Cultural Fact. Essays on the Global Condition, London 2013, 5 and 285. On anthropology’s relation to future-making, see especially Chapter Fifteen, 285–300.
David Harvey, The Condition of Postmodernity. An Enquiry into the Origins of Cultural Change, Oxford 1989.
See also David Harvey, Spaces of Hope, Berkeley 2000.
Alexander Kluge, Geschichten vom Kino, Frankfurt a.M. 2007, 7.
For the original German-language passages cited, see Yoko Tawada, Das nackte Auge. Erzählung, Tübingen 2004, 51 and 120. Susan Bernofsky, who translated this novel into English, renders Kopfkino as both »mental cinema« and »the cinema in my head.«
For relevant passages, see Yoko Tawada, The Naked Eye, trans. from the German by Susan Bernofsky, New York 2009, 56, 142 and 143.
See especially the segment titled »Sony Center« in Ulrich Peltzer, Teil der Lösung. Roman, 2nd ed., Hamburg 2012, 7–21.
See Emine Sevgi Özdamar, Mutterzunge. Erzählungen, Berlin 1990, and Der Hof im Spiegel. Erzählungen, Cologne 2001.
See Zsuzsa Bánk, Der Schwimmer. Roman, Frankfurt a.M. 2002.
Stefanie Harris takes critical issue with Friedrich Kittler’s approach to literature and media technologies in her account of German modernism and mediascapes early in the 20th Century. See Stefanie Harris, Mediating Modernity. German Literature and the ›New‹ Media, 1895–1930, University Park Pennsylvania 2009.
See especially Kant’s first and third critiques. The link between Appadurai and Kant is admittedly very loose but not therefore insignificant for present purposes. As Gilles Deleuze noted in 1963, for Kant, »Both space and time have to find completely new determinations.« See Gilles Deleuze, Kaufs Critical Pkilosophy. The Doctrine ofthe Faculties, trans. Hugh Tomlinson, Barbara Habberjam, Minneapolis 2003, viii.
J. Michael Young, »Kant’s View of Imagination«, Kant-Studien 79.1-4 (1988), 140–164, here: 140. More recently Angelica Nuzzo has addressed what she calls »the alleged mediating function that Kant assigns to the imagination.« According to Nuzzo, for Kant, »the imagination is unambiguously a form of sensibility, and yet it appears as a fundamentally ambiguous function or activity when it is tied to the task of mediation — and this is the problematic concept given the premises of the first Critique.« See Angelica Nuzzo, »Imaginative Sensibility Understanding, Sensibility, and Imagination in the Critique of Pure Reason«, in: Imagination in Kan’s Critical Philosophy, ed. Michael L. Thompson, Berlin 2013, 19–47, here: 21–22 and 23.
For additional reflections, see also Jane Kneller, Kant and the Power of the Imagination, Cambridge 2007
Matthias Wunsch, Einbildungskraft und Erfahrung bei Kant, Berlin 2007
and Paul Natterer, Systematischer Kommentar zur Kritik der reinen Vernunft. Interdisziplinäre Bilanz der Kantforschung seit 1945, Berlin 2003.
See Leslie A. Adelson, »Futurity Now. An Introduction«, in: Futurity Now, ed. Leslie A. Adelson, Devin Fore, spec. issue of The Germanic Review 88.3 (2013), 213–218, for general remarks in this regard, and other articles in the special issue for detailed reflections on ways in which German literature and philosophy pertain to the historical conceptualization of futurity in particular.
For an extended comparison of time travel and parallel worlds in works by Kluge and Tawada, see Leslie A. Adelson, »The Future of Futurity. Alexander Kluge and Yoko Tawada«, The Germanic Review 86.3 (2011), 153–184.
Elsewhere I have argued that one of Kluge’s literary miniatures from his 2006 collection Tür an Tür mit einem anderen Leben, by virtue of its narrative form, renders futurity accessible to experience and thus brealcs with both Benjamin and the modern European concept of futurity as a temporal structure. See Leslie A. Adelson, »Horizons of Hope. Alexander Kluge’s Cosmic Miniatures and Walter Benjamin«, GegenwartsLiteratur. Ein germanistisches Jahrbuch 13 (2014), 203–225. For another literary-critical approach to futurity, including a chapter on Kluge, see Amir Eshel’s comparative study, Futurity. Contemporary Literature and the Quest for the Past, Chicago 2013; Eshel’s study appeared in German translation with Suhrkamp in 2012.
For a seminal interdisciplinary anthology on the arts more generally in relation to prognostics and prophecy, see Daniel Weidner, Stefan Willer (eds.), Prophetie und Prognostik. Verfügungen über Zukunft in Wissenschaften, Religionen und Künsten, Munich 2013.
See Wolfgang Welsch, »Was ist eigentlich Transkulturalität?«, in: Kulturen in Bewegung. Beiträge zur Theorie und Praxis der Transkulturalität, ed. Dorothee Kimmich, Schamma Schahadat, Bielefeld 2012, 25–40.
See also Wolfgang Welsch, »Transculturality. The Puzzling Form of Cultures Today«, in: Spaces of Culture. City, Nation, World, ed. Scott Lash, Mike Featherstone, London 1999, 194–213, especially 204–205.
Appadurai’s The Future as Cultural Fact ties exploitive regimes of probability — as one particularly nefarious form of future-making in our current age of globalization — to capitalist developments in speculative finance early in the 21st Century. By contrast, Rüdiger Campe offers literary-critical, philosophical, and historical perspectives on the multifaceted entwinement of probability and affect from the early modern era on. Campe’s astute analyses arguably also speak in some ways to subject-object relations today, even though Campe does not directly address the phenomenon of globalization. See Rüdiger Campe, »How to Use the Future. The Old European and the Modern Form of Life«, in: Prognosen über Bewegungen, ed. Gabriele Brandstetter, Sibylle Peters, Kai van Eikels, Berlin 2009, 107–120.
See also Rüdiger Campe, Spiel der Wahrscheinlichkeit. Literatur und Berechnung zwischen Pascal und Kleist, Göttingen 2002; this book appeared in English translation in 2013.
Their primary examples in this case include the architectural renovation of the Burg Runkelstein around 1400 and the palace descriptio of the Candacia episode in the Straβburger Alexander from the 12th Century. See Hans Jürgen Scheuer, Björn Reich, »Die Realität der inneren Bilder. Candacias Palast und das Bildprogramm auf Burg Runkelstein als Modelle mittelalterlicher Imagination«, in: Innenräume in der Literatur des deutschen Mittelalters, XIX. Anglo-German Colloquium Oxford 2005, ed. Burkhard Hasebrink, Hans-Jochen Schiewer, Almut Suerbaum, Annette Volfing, Tübingen 2008, 101-124.
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Adelson, L.A. Literary Imagination and the Future of Literary Studies. Dtsch Vierteljahrsschr Literaturwiss Geistesgesch 89, 675–683 (2015). https://doi.org/10.1007/BF03396506
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DOI: https://doi.org/10.1007/BF03396506