Prof. Dr. Juliane Vogel
Curriculum
Juliane Vogel is Professor of Modern German Literature and General Literary Studies with a focus on the 18th century to the present at the University of Konstanz (since 2007), where she heads the research unit: form theory and historical poetics. She studied German and English literature at the University of Vienna (Habilitation 2000). She has held visiting professorships at the LMU Munich, the University of Chicago, Johns Hopkins University, and NYU; and research fellowships at the IFK Vienna (2002), UC Berkeley (2006), the Cultural Studies College at the University of Konstanz (2010/11), the Forscherkolleg Bildevidenz at the FU Berlin (2018), and the Wissenschaftskolleg zu Berlin (2018/19). In 2020, she was awarded the Leibniz Prize of the German Research Council (DFG). She is co-editor of the Deutsche Vierteljahrsschrift für Literaturwissenschaft und Geistesgeschichte (German Quarterly Journal for Literary Studies and Intellectual History), and a member of the Scientific Advisory Boards of the Wissenschaftskolleg and the Center for Literary Research in Berlin. Juliane Vogel is spokesperson of the research project "Traveling Forms" funded by Stiftung Nomis, which investigates historical and current migrations of aesthetic and social forms. Her research interests include European drama, foundations and basic concepts of European dramaturgy, form and historical poetics, experimental modes of writing in modernity, and Austrian literature. She is currently preparing a book on cutting in modernist literature and art.
Publications (selection)
- Monographs:
- Aus dem Grund. Auftrittsprotokolle zwischen Racine und Nietzsche, Paderborn: Fink 2018.
- Die Furie und das Gesetz. Zur Dramaturgie der „großen Szene“ in der Tragödie des 19. Jahrhunderts, Freiburg im Breisgau: Rombach 2002.
- Edited volumes (selection):
- Epiphanie der Form. Goethes »Pandora« im Licht seiner Form- und Kulturkonzepte, ed. by Juliane Vogel and Sabine Schneider, Göttingen: Wallstein Verlag 2018.
- Flucht und Szene. Perspektiven und Formen eines Theaters der Fliehenden, ed. by Bettine Menke and Juliane Vogel, Berlin: Verlag Theater der Zeit 2018.
- Auftreten: Wege auf die Bühne, ed. by Juliane Vogel und Christopher Wild, Verlag Theater der Zeit: Berlin. Theater der Zeit 2014.
- Weiß, ed. by Wolfgang Ullrich and Juliane Vogel. Frankfurt am Main: Fischer 2003.
- Essays:
- Sonnenpartituren. Solarität im Drama des Naturalismus. In: Poetica 51 (2020), H. 1-2, pp. 148-169.
- Komische Schwärme. Zur Poiesis des Sozialen bei Hugo v. Hofmannsthal, In: Hofmannsthal-Jahrbuch zur europäischen Moderne 26 (2018), pp. 125-141.
- Gradatio. Zur Darstellung des Gefühls im 18. Jahrhundert. (together with Janine Firges). In: Handbuch Literatur & Emotionen, ed. by Martin von Koppenfels and Cornelia Zumbusch, Berlin/Boston: de Gruyter 2016, pp. 313-328.
- Windung und Bahn. Landschaftsdramaturgie in Kleists Penthesilea. In: DVjs 87 (2013), H. 4, pp. 600-615.
- Stifters Gitter. Poetologische Dimensionen einer Grenzfigur. In: Die Dinge und die Zeichen, ed. by Sabine Schneider and Barbara Hunfeld. Würzburg: Königshausen & Neumann 2008, pp. 43-58.
- Verstrickungskünste. Lösungskünste. Zur Geschichte des dramatischen Knotens. In: Poetica 40 (2008), H. 3-4, pp. 269-288.
Research project: Pathos and force. Making an Entrance in 19th century tragedy
During my stay at the DFG CAS "Imaginaria of Force" I hope to further deepen my reflections on performance protocols in drama. Following my book Aus dem Grund. Auftrittsprotokolle zwischen Racine und Nietzsche, I start from the assumption that the tragic stage of the 19th century is conceived as a field of force whose performance and dramatic-theatrical arrangements demand for a ‘protocol of force’. Entering the stage and performing actions may be described as expressions of force that supersede and transcend traditional and especially rhetorical concepts of energeia. Reading literary texts by Christian Dietrich Grabbe, Friedrich Hebbel, and others, and philosophical or theoretical texts by Friedrich Wilhelm Schelling and Friedrich Nietzsche, among others, as examples, I would like to examine the performative consequences of this energization of tragedy. I am particularly interested in the intertwinement of pathos and force that characterizes this process. Looking at the basic features of a theater that conceives itself as Dionysian, I would like to investigate principles of a performance dramaturgy in which suffering and the expression of force, radical exposition and elemental activity interpenetrate one another to the point of indistinguishability. In such intertwinings, action appears as suffering and pathos itself becomes a manifestation of force.