@article{Ungelenk2018,
  author    = {Ungelenk, Johannes},
  title     = {Catastrophic Spectacle},
  series = {Catastrophe \& Spectacle: Variations of a Conceptual Relation from the 17th to the 21st Century},
  journal   = {Catastrophe \& Spectacle: Variations of a Conceptual Relation from the 17th to the 21st Century},
  publisher = {Neofelis},
  address   = {Berlin},
  isbn      = {978-3-95808-173-4},
  pages     = {92 -- 101},
  year      = {2018},
  abstract  = {The wood-engraving with the caption "The first sight of Paris", published in Cassell's History of the War between France and Germany 1870-1871 (1873), does not depict a spectacular catastrophe. As its title already indicates, it rather illustrates a constellation of sight. What there is to see is not so much a spectacular vista but the fact that one sees - and the way how this works. I would therefore like to use the wood-engraving to analyse the basic setting that is formative for every constellation of 'spectacle'. This prepares for the second step, which brings in the notion of catastrophe: I will argue that the spectacle of catastrophe which has gained prominence especially in the nineteenth century is not merely a phenomenon of representing catastrophe, but involves the constellation of spectacle as such. Spectacular catastrophes perform and derive their force from a catastrophe of spectacle - this is what the following will elaborate on.},
  language  = {en}
}
@article{Ungelenk2020,
  author    = {Ungelenk, Johannes},
  title     = {Touching this dreaded sight},
  series = {Tangieren : Praktiken und Arrangements des Ber{\"u}hrens in den performativen K{\"u}nsten},
  journal   = {Tangieren : Praktiken und Arrangements des Ber{\"u}hrens in den performativen K{\"u}nsten},
  editor    = {Fluhrer, Sandra and Waszynski, Alexander},
  publisher = {Rombach},
  address   = {Freiburg i. Br.},
  isbn      = {978-3-96821-002-5},
  pages     = {203 -- 220},
  year      = {2020},
  abstract  = {Ausgehend von der in Shakespeare zweimal wiederkehrenden Phrase „Touching this dreaded sight" widmet sich der Beitrag mithilfe ausgew{\"a}hlter Stellen aus Shakespeares Hamlet und The Tempest der Wirkkraft des fr{\"u}hneuzeitlichen Theaters. Er geht der Frage nach, wie Zuschauer*innen eines St{\"u}ckes aus der Distanz be-troffen und ge-r{\"u}hrt werden. Um dem nachzudenken, wie diese Distanz zwischen dem Visuellen, dem Schauen im Theater, und dem Haptischen, der Ber{\"u}hrung, {\"u}berbr{\"u}ckt werden kann, helfen fr{\"u}hneuzeitliche Vorstellungen von theatraler Ansteckungskraft und Hans Blumenbergs Konzept menschlicher Betreffbarkeit.},
  language  = {de}
}