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Ildikó Enyedi: Testről és lélekről •
Skizze zu einer semiotischen Analyse eines Films zwischen Romantik, Strukturalismus und Psychoanalyse
This article is about Ildiko Enyedi's film “Testről és lélekről”. It proposes a semiotic analyse. Its thematic frame is a theory of the fantastic literature and film and refers to Tzvetan Todorov (part 1). Following Roand Barthes “S/Z” it discusses the codes in the film, the sequences and spaces in the film (part 2). In the next part the composition of the film comes into play (e. g. repetition, analogy). The fourth part is dedicated to the uncanny and fantastic element that are created by a lack of knowledge about the world in the and the figures of the movy. The article refers to Freud's “Traumdeutung”. Part 5 analyses the funktion of silence in the film on several levels (level of narrating, communication of the figures in the film). The film is seen in a post-romantic tradition which is in-written in “classical modernism”.
György Lukács is an intellectual ‘heavyweight’ of that century which, since Eric Hobsbawm, we have called a short one, although the years from 1900 to 1914 and from 1989 to 2000 do not fit into the picture of a century that was defined by war and civil war, by ideological trench warfare, by the Shoah and the Gulag, by the Cold War and decolonisation, by new art forms and media. With his early books The Soul and the Forms and his Theory of the Novel, he made an enduring contribution to aesthetic modernity; with History and Class Consciousness, his first work in the footsteps of Hegel and Marx, he made a pioneering attempt to place Marxism on philosophical feet and, like Antonio Gramsci or Karl Korsch, to correct the theoretically non-ambitious, Darwinian-influenced Marxism of the last quarter of the 19th century. It is seen in this essay as a work of discontinuity in continuity.