Prof. Dr. Alfrun Kliems
Profil
Forschungsthemen6
Bewegte Vergangenheit - Gemeinsame Zukunft
Quelle ↗Förderer: Land Berlin - Andere Zeitraum: 05/2013 - 05/2013 Projektleitung: Prof. Dr. Alfrun Kliems
Blackness Imagery in the Construction of European Identity/ies: The Case of the Czech Lands in a Transnational Perspective
Quelle ↗Förderer: Horizon Europe: Postdoctoral Fellowship EU (PF-EU) Zeitraum: 10/2022 - 09/2024 Projektleitung: Prof. Dr. Alfrun Kliems
CENTRAL-10 Poetics of a sociality. Central European poetry after the end of literature-centrism
Quelle ↗Förderer: DAAD Zeitraum: 03/2015 - 12/2018 Projektleitung: Prof. Dr. Alfrun Kliems
"Nach dem Krieg um halb sechs". Mitteleuropa, seine Literaturen und wir
Quelle ↗Förderer: Volkswagen Stiftung Zeitraum: 10/2024 - 01/2026 Projektleitung: Prof. Dr. Alfrun Kliems
VA: Bodyczech. Repräsentationen von Körperlichkeit in der tschechischen Kultur nach 1948
Quelle ↗Förderer: DFG sonstige Programme Zeitraum: 04/2015 - 05/2015 Projektleitung: Prof. Dr. Alfrun Kliems
Visegrad Programm an der Humboldt Universität zu Berlin
Quelle ↗Zeitraum: 10/2012 - 12/2018 Projektleitung: Prof. Dr. Alfrun Kliems
Mögliche Industrie-Partner10
Stand: 26.4.2026, 19:48:44 (Top-K=20, Min-Cosine=0.4)
- 33 Treffer55.8%
- EU: Observatory for Political Texts in European Democracies: A European Research Infrastructure (OPTED)P55.8%
- EU: Observatory for Political Texts in European Democracies: A European Research Infrastructure (OPTED)
- 3 Treffer54.9%
- Urbane Biodiversität und ÖkosystemdienstleistungenP54.9%
- Urbane Biodiversität und Ökosystemdienstleistungen
- 26 Treffer54.7%
- EU: Transmitting Contentious Cultural Heritages With the Arts: From Intervention to Co-Production (TRACES)P54.7%
- EU: Transmitting Contentious Cultural Heritages With the Arts: From Intervention to Co-Production (TRACES)
- 26 Treffer54.7%
- EU: Transmitting Contentious Cultural Heritages With the Arts: From Intervention to Co-Production (TRACES)P54.7%
- EU: Transmitting Contentious Cultural Heritages With the Arts: From Intervention to Co-Production (TRACES)
- 26 Treffer54.7%
- EU: Transmitting Contentious Cultural Heritages With the Arts: From Intervention to Co-Production (TRACES)P54.7%
- EU: Transmitting Contentious Cultural Heritages With the Arts: From Intervention to Co-Production (TRACES)
- Playing beyond CLILP54.5%
- Playing beyond CLIL
- 8 Treffer54.5%
- Playing beyond CLILP54.5%
- Playing beyond CLIL
- 5 Treffer54.5%
- Playing beyond CLILP54.5%
- Playing beyond CLIL
- 7 Treffer54.5%
- Playing beyond CLILP54.5%
- Playing beyond CLIL
- 17 Treffer54.3%
- Professionalisierung in der Deutsch-als-Zweitsprache-Förderung für geflüchtete Menschen mit LernschwierigkeitenT54.3%
- Professionalisierung in der Deutsch-als-Zweitsprache-Förderung für geflüchtete Menschen mit Lernschwierigkeiten
Publikationen25
Top 25 nach Zitationen — Quelle: OpenAlex (BAAI/bge-m3 embedded für Matching).
Imaginationen des Urbanen : Konzeption, Reflexion und Fiktion von Stadt in Mittel- und Osteuropa
20094 Zitationen
3 Zitationen · DOI
2 Zitationen · DOI
transcript Verlag eBooks · 2 Zitationen · DOI
Central European University Press eBooks · 1 Zitationen · DOI
Central European University Press eBooks · 1 Zitationen · DOI
The literary scholar Alfrun Kliems explores the aesthetic strategies of Eastern European underground literature, art, film and music in the decades before and after the fall of communism, ranging from the ‘father’ of Prague Underground, Egon Bondy, to the neo-Dada Club of Polish Losers in Berlin. The works she considers are "underground" in the sense that they were produced illegally, or were received as subversive after the regimes had fallen. Her study challenges common notions of ‘Underground’ as an umbrella term for nonconformism. Rather, it depicts it as a sociopoetic reflection of modernity, intimately linked to urban settings, with tropes and aesthetic procedures related to Surrealism, Dadaism, Expressionism, and, above all, pop and counterculture. The author discusses these commonalities and distinctions in Czech, Polish, Slovak, Ukrainian, Russian, and German authors, musicians, and filmmakers. She identifies intertextual relations across languages and generations, and situates her findings in a transatlantic context (including the Beat Generation, Susan Sontag, Neil Young) and the historical framework of Romanticism and modernity (including Baudelaire and Brecht). Despite this wide brief, the book never loses sight of its core message: Underground is no arbitrary expression of discontent, but rather the result of a fundamental conflict at the socio-philosophical roots of modernity.
Edition Kulturwissenschaft · 1 Zitationen · DOI
Edition Kulturwissenschaft · 1 Zitationen · DOI
Der »Underground« ist eine künstlerische Verfahrensweise, die auf das historische Krisenbewusstsein der Moderne mit einer radikalen »Poetik der Vertikalität« reagiert. Die »Wende« steht metonymisch für diesen Moment sozialer Entsicherung. Als bevorzugter Topos ihrer erfahrbaren Manifestation dient die Stadt. Alfrun Kliems analysiert diese Konstellation anhand multimedialer Materialien des ostmitteleuropäischen Underground vor allem zwischen 1980 und 2010 - darunter von Egon Bondy, Ivan Martin Jirous, Jacek Podsiadlo, Marcin Swietlicki, Vladimir Makanin, Andrzej Stasiuk, Jurij Andruchovyc, Jáchym Topol und Peter Wawerzinek, aber auch vom Club der Polnischen Versager in Berlin und von der Orangen Alternative aus Breslau.
Revue des études slaves · 1 Zitationen · DOI
La poétique du « localisme agressif » et du « globalisme local » réunit les œuvres des écrivains Andrzej Stasiuk (Pologne), Jáchym Topol (République tchèque) et Jana Beňová (Slovaquie). Tous trois se font l’écho des révolutions de 1989 en Europe centrale et orientale et, plus spécifiquement, explorent la façon dont cette rupture a transformé leurs sociétés en entités postsocialistes. Dans cette perspective, ils envisagent Varsovie, Prague et Bratislava comme cadre de référence dominant pour représenter les courants conflictuels du cosmopolitisme, du nationalisme et de la globalisation. Leurs personnages font face à la solitude urbaine et à la mort, au rôle changeant du flâneur archétypal, ainsi qu’aux fissures (post-) multiculturelles dans la (grande) ville. Cependant, ils n’ont pas la même intention. Stasiuk imagine une structure agressive : une Varsovie ethniquement pure, re-ruralisée. Topol, au contraire, chercher à subvertir ces prétentions ethniques de la ville et ses hiérarchies spatiales, démystifiant Prague par la mise en scène de la non-conformité sociale, de la marginalité urbaine. Enfin, Beňová dépeint la Bratislava post-socialiste comme un endroit imprégné de consumérisme et du symbolisme de l’économie de marché. Ce que ces romans ont en commun, ce sont des moyens littéraires qui correspondent au modèle du junk space, un concept esthétique développé par Rem Koolhaas. De surcroît, ils s’efforcent tous d’éviter une re-mythification des espaces urbains pluralisés, ce qui a valu à la nouvelle littérature d’Europe centrale et orientale des louanges répétées.
Zurich Open Repository and Archive (University of Zurich) · 1 Zitationen
1 Zitationen · DOI
Zeitschrift für Slawistik · 1 Zitationen · DOI
Abstract This essay discusses the phenomenon of “aggressive localism” in literary works by Andrzej Stasiuk and Jurij Andruchovyč. The former is characterized by anti-urbanism, underground aesthetic, and regional determinism. The Wende – as the revolutionary events of 1989/91 in East and Central Europe are commonly, if controversially, referred to in German – is used as metaphorical pivot. Across this rupture the city serves as the dominant frame of reference for (self-) interpretations of underground art, defined as a specifically all-embracing form of expression that seeks to subvert “official” claims about the city, i. e. spatial hierarchies. The city thus connects the marginally (sub-) urban with political dissent in the form of social nonconformity. Stasiuk and Andruchovyč intensely employ literary means derived from aesthetic patterns of underground art. Their characters envisage urban solitude and death, post-multicultural fissures in the (great) city. Yet, both narrators depict “their” respective city as a metropolitan village, as a place of a more local, even rural, of indeed pagan profile. At the same time, they use these patterns to praise the East Central European countryside as a “slow space”. In such manner, they appropriate a pre- Wende aesthetic strategy in order to produce structural aggressive fantasies of a re-ruralized “East”.
1 Zitationen
"The literary scholar Alfrum Kliems explores the aesthetic strategies of Eastern European underground literature, art, film and music in the decades before and after the fall of communism, ranging from the 'father' of Prague Underground, Egon Bondy, to the neo-dada Club of Polish Losers in Berlin. The works she considers are 'underground' in the sense that they were produced illegally, or were received as subversive after the regimes had fallen. Her study challenges common notions of 'Underground' as an umbrella term for nonconformism. Rather, it depicts it as a sociopoetic reflection of modernity, intimately linked to urban settings, with tropes and aesthetic procedures related to Surrealism, Dadaism, Expressionism, and, above all, pop and counterculture. The author discusses these commonalities and distinctions in Czech, Polish, Slovak, Ukrainian, Russian, and German authors, musicians, and filmmakers. She identifies intertextual relations across languages and generations, and situates her findings in a transatlantic context (including the Beat Generation, Susan Sontag, Neil Young) and the historical framework of Romanticism and modernity (including Baudelaire and Brecht). Despite this wide brief, the book never loses sight of its core message: Underground is no arbitrary expression of discontent, but rather the result of a fundamental conflict at the socio-philosophical roots of modernity"--
J.B. Metzler eBooks · DOI
osteuropa · DOI
Milan Kundera’s novels combine a sense of the fragile and tragic with a robust affirmation of life. They are full of ambivalence and contradictions. Deadly seriousness alternates with irony. Aesthetic purpose is paired with lightness. Aphorisms that stand next to philosophical excursions – against kitsch, against idyll, nostalgia, forgetting. Kundera was always accompanied by accusations of being an erotomaniac who saw only the male perspective. This is not wrong, but in totalitarian times, he was above all concerned with a counterforce to the impositions of crude collectivism. Born in the Czech city of Brno and living in exile since 1975, Kundera died in Paris in July 2023.
J.B. Metzler eBooks · DOI
Bellová, Bianca
2023J.B. Metzler eBooks · DOI
J.B. Metzler eBooks · DOI
Benová, Jana
2022J.B. Metzler eBooks · DOI
J.B. Metzler eBooks · DOI
J.B. Metzler eBooks · DOI
Slovo a smysl
Böhlau Verlag eBooks · DOI
Böhlau Verlag eBooks · DOI
Kooperationen2
Bestätigte Forscher↔Partner-Paare aus HU-FIS — Gold-Standard-Positive für das Matching.
Blackness Imagery in the Construction of European Identity/ies: The Case of the Czech Lands in a Transnational Perspective
other
Blackness Imagery in the Construction of European Identity/ies: The Case of the Czech Lands in a Transnational Perspective
university
Stammdaten
Identität, Organisation und Kontakt aus HU-FIS.
- Name
- Prof. Dr. Alfrun Kliems
- Titel
- Prof. Dr.
- Fakultät
- Sprach- und literaturwissenschaftliche Fakultät
- Institut
- Institut für Slawistik und Hungarologie
- Arbeitsgruppe
- Westslawische Literaturen und Kulturen
- Telefon
- +49 30 2093-73368
- HU-FIS-Profil
- Quelle ↗
- Zuletzt gescrapt
- 26.4.2026, 01:07:26