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Gernot Gruber


Lecture: "narrative strategies in the Mozart Mozart biographies around the years 1991 and 2006."

The Mozart anniversary in 2001 and 2006 show a certain change in the narrative strategies of the biographer: In 2001, one of the most important biographies of more and preferred phenomenon considerations. In 2006, there is no great excitement on the book market: Ulrich Konrad's traditional life-and-works biography does not claim to be new. Martin Geck was aware, however, in his biography, I said, 'he throws himself into narrative position in pose.

Subsequent to Frank: In terms of Mozart, we must ask ourselves whether he is the next centuries a classic. Classics need care and the generation of today has very different interests.

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Mathias Iven


Lecture: "Wittgenstein and ...": problems writing a biography

As a biographer is to Today, in very rare cases, a virgin territory. How do you deal thus with the biographies of other authors and how to influence their own views? Prevent large-scale material-rich work possibly further studies or are they just not that lead us back to the origins of the "real" life documents? Any prospect of a biographer arranged the material from new perspectives. I have looked at the life and work of Wittgenstein in terms of ethics again. An overall perspective, which is also reflected in Wittgenstein's concept of genius, which is been a holistic scale for character and work.

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Kurt Palm


Lecture: ". Trazom versus Mozart's biographer, with the twisted view: 'The Wade knife or the wild life of Wolfgang Mozart."
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The course of the Mozart year suggest that Mozart was indeed often used as a springboard for countless events to abermit fights tooth and nail to hold on Mozart and his work a truly substantive discourse. To this end, one would have to work with categories namely, that many fear in this country again plague. I speak of categories such as conflict, movement, and processual. Instead, the country pays homage to prefer one above the clouds has suspended genius who is immaterialized thus not only deprived but also criticism. Instead, there are contradictory smoothing, instead of moving solidification and processual rather than the insistence on traditional positions.

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Thomas Ballhausen


Lecture: "Philosophers and Marvianer About Derek Jarman's Wittgenstein.."

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Ferry Radax


Lecture: "Wittgenstein - No Thanks!"

My film, Ludwig Wittgenstein - Philosophical and Biographical Notes', 2 transmission parts à 58 minutes, created for the 1970-76 WDR Cologne tries, contributed a little to average would be formed to give television something about the life and work of a philosopher to read to them otherwise neither important nor interesting enough published. In his philosophy there was already plenty of English literature. Over his life was still a mysterious fog of countless conjectures. , Where he was said to be where he had lived only briefly, but he was gone, too, or there more often, perhaps even more, though not forever, before he came back, but soon to vanish again to where He was away from it all. " All information on top of that salad was garnished with place names, scattered throughout England, Ireland, Norway and Austria, his foreign homeland. Everything so far was written theory, as long as they had not provided evidence for its correctness. Finally, the decision was to travel to all cases first to England, Ireland, Norway and Austria, to research there and to film, which traces and statements about Wittgenstein was even still there. The final script had to be written on the spot during the search.

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Manfred Permoser


Lecture: "... no one believes that he was poisoned" - between poetry and wahrhiet: myths in Mozart reception.

Even with the death of the "All too soon departed" is a romantic, idealized myths one. The construct of a pathetic, tragic-veiled legends and heroes at once the idea of history is brilliantly creative "Gods Favorite" to the side. A first relativization of stylization and myth-making is done with the by O. L. Jahn and Kochel founded modern Mozart research center of the 19 Century.

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Thomas Miesgang


Lecture: "The emptiness has taken on form over de creation of 'superstars' in post-media era.."

In the era of the "authentic inauthenticity" (Laurence Grossberg), in which everything relates only to images in this marketing industry works Mozart well. He is seeded to the Enlightenment Impetus and obscene letters, and remains a cultural projection screen. Mozart is one of the few composers of the one can earn something. He is the codification of the popular Viennese classics. He was already a pop star, before there was the pop star as such. One can imagine him as the ideal Europeans for political purposes, although there was no EU at that time. This all works through a massive reduction of Komplexiät. In science, however, making career terms, not their creator. What does this mean for a period in which the narratives have been replaced by images? Each image deletes a work permit - at least outside the discipline.

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Herbert Lachmeyer



Lecture: "Mozart productive decadence - reflections on artistic figure and the creativity of composers economy.

Little Man is a form of staging that worked at the court well. The 19th Wiedrum century was full of projections on the phenomenon of child prodigy. Here then the artist was, however, the rational world to the advanced world. Mozart was not a romantic genius, no suffering genius, the aesthetics needed as counterpart but part of the staged nobility, it has its symbols and its pathos formulas known to operate perfectly. Here it was important to get views prince and the miracle child a good concept to come into the picture.

In Exhibition "Enlightenment Experiment" Mozart is shown as a pioneer of individualism: I was looking for a connection to today's Age of Enlightenment. As a teacher I see my students confronted with plural lifestyles. I see Mozart as someone who is not the traditional path of success in the 18th biography Century struck, but wanted to realize itself in many facets. And offered to Vienna, especially after the abolition of censorship, the opportunity the opportunity.

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Christian Klein



Lecture: "From the charm of the staged life - challenges and opportunities of the current biography."

Who, on whom and how: these are the three key questions to be answered for the biographer. Question, which a biographer can answer only if it is interdisciplinary.
Every life is full of chance and breaks but most biographers working on a closed system where everything follows a logic. This help takes a chronological thematic structure to act to follow. For the chronology gives the illusion that the biography of the structure and meaning have discovered instead that she has that yet created themselves, with the style of the omniscient.

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Stefan Zahlmann



lecture, "Genius in self-defense Individual failure and talking about the normal biography".

Much has been researched biographical models of success, there are also countless Erfolgsnarrative - but it lacks narrative of failure. The failure of a society is an important moment in a biography, because it cemented the individual failure. This is typical of the rhetoric of failure, which is predominantly in the GDR biography. It delegates the individual failure of the social failure. Similarly, a Erfolgsnarrativ as that of genius, in other connotations. The concept of genius is in totalitarian systems, a different one. The successful narrative is always a custom. Genie in the GDR, in the society living, one who has perfectly integrated, and within Framework works perfectly and provides great. The concept of genius in the communist countries has thus a very different connotation than in the West.

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Klaus Puhl



Lecture: "Between Trattenbach and Gugging: The institutionalization of Wittgenstein.

stories about Wittgenstein, as the rumor that he had in Cambridge refferiert lying on his back, have contributed to the cult of genius, Wittgenstein considerably. What is the role of an institution and its way of the story? The role of the Austrian Ludwig Wittgenstein Society is ambivalent: it has promoted the Wittgenstein research in Austria significantly, other hand supported also by their invitation practice (especially analytic philosophers from the anglosächsichen space) the analytical collection of Wittgenstein. This was but always against a Catholic-idealistic attitude of Wittgenstein, which meant he was only much later, a public.

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Werner Zillig



Lecture. "Wittgenstein and the marketing genius, a philosopher is usable."

Where Success is coming from is to say often difficult. There are several categories of worship (students, researchers and institutions interested with the content, trailers) and marketing. Marketing, these are measures to make people aware. Here, various Marekting types are distinguished: The pride of having known a special person, or jealousy and self-profiling in the name of Wittgenstein. Zillig voted to Wittgenstein not to use as a label.

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Allan Janik



Allan Janik was a speaker at the concluding panel discussion: "Wittgenstein's Vienna ', a biography?

My book has been misunderstood as a book about Vienna. I was unhappy with the title, because it is a book about the importance of ethics for Wittgenstein in the context of his Viennese context. To understand Wittgenstein, one has to work hermeneutic, thousands of pages of Wittgenstein deconstructed take us any further. In contrast, some biographical myth helps but the deconstructive view: For example, the popular image of Wittgenstein's ascetic life. Wittgenstein simply had a bad stomach. There was nothing brilliant. Biographies today replace the Saints, the role models, heroes. I need a biography of Wittgenstein.