Lore Knapp

Liminal experiences and the aesthetics of Thomas Bernhard, Peter Handke and Christoph Schlingensief (Modern German Literature)

Alumna FSGS

Email loreknapp@gmx.de

Lore Knapp, born in 1983 in Braunschweig, studied German Literature, Musicology and Theater Studies at Freie Universität Berlin and Violoncello at the Universität der Künste Berlin. She worked as a Student Assistant in the Collaborative Research Centre Aesthetic Experience and the Dissolution of Artistic Limits. In 2008 she completed her Magister Artium in German Literature with a thesis about Religion and Eros in the Poem “Hymnen an die Nacht” of Novalis.

 In 2012/13 Lore Knapp has concluded her doctoral studies at the Friedrich Schlegel Graduate School of Literary Studies (Freie Universität Berlin). Her thesis is entitled Formen des Kunstreligiösen. Peter Handke - Christoph Schlingensief.

In 2013 she is a Visiting Postdoctoral Scholar at the Department of German and Dutch at Cambridge University.

She currently works as a lecturer at the Institut für Deutsche Literatur of the Humboldt Universität Berlin, at the Institut für deutsche und niederländische Philologie of the Freie Universität Berlin as well as at the Peter Szondi-Institut of the Freie Universität Berlin.

Her research interests include Literary Theory, Aesthetics, Literature and Performativity, Writing Processes, Literature and Music, Religious Philosophy, Early Romanticism


Abstract to "Formen des Kunstreligiösen. Peter Handke - Christoph Schlingensief“.


Within contemporary theoretical and practical aesthetics there is a tendency towards the mystification of art as well as to observe the critique and parody of this. This thesis describes these tendencies as art-religious (kunstreligiös), whereby the history of the term ‘art-religion’ (Kunstreligion) is taken up and the art-religious is defined as a discursively and structurally relevant category for contemporary aesthetics. Drawing on the poetics of Peter Handke along with the theatre aesthetics of Christoph Schlingensief, various forms of the art-religious and approaches to art-religion are distinguished and assessed. Within the framework of the history of ideas, the observation of text and enactment strategies is supplemented through an introduction to the early romantic period and to Richard Wagner, as well as through an analytical component, which challenges mystifying tendencies through an engagement with aesthetic experience and the performative characteristics of the aesthetic.