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On a Species of Origin: Luhmann's Darwin

机译:在起源物种上:卢曼的达尔文

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摘要

In his obituary of Niklas Luhmann (1927-1998)—a remarkable necrological vignette that reads like a cross between Marc Anthony's funerary farewell to Caesar and W. H. Auden's poem on the death of William Yeats—Friedrich Kittler described Luhmann as a Herr (in the double sense of master and gentleman) who "spoke from further away than I have ever heard anyone speak." This succinctly captures the most widespread image of the deceased: Luhmann the Distant, Luhmann the Remote, Luhmann the Unfathomable—an inscrutable, immensely erudite, post-humanist sphinx posing questions that demanded far more important answers than "Man." This perception also underlies the more negative view of Luhmann as a conformist technocrat, whose conceptually fortified slacker theory aims to convince people of the uselessness of any kind of critical activism designed to disturb the self-sufficient circles of functionally differentiated social systems. And now that he can no longer defend himself, Luhmann is in danger of suffering the ultimate fate that German fame holds in store: he is on the verge of being turned into something resembling the old Goethe—a marble-encased Olympian of glacial imperturbability far removed from the lukewarm messi-ness of real life.
机译:在弗里德里希·基特勒(Friedrich Kittler)在尼克拉斯·卢曼(Niklas Luhmann)(1927-1998)的ob告中,这幅非凡的讽刺小品像马克·安东尼(Marc Anthony)葬礼上告别凯撒和威廉·叶芝(WH Auden)关于威廉·叶芝(William Yeats)逝世的诗作。主人和绅士的感觉),“比我从未听过的任何人说话都远。”这简洁地捕捉了死者的最广泛的印象:遥远的卢曼,遥远的卢曼,深不可测的卢曼–一个难以理解,博学多闻的后人文狮身人面像,提出的问题比“人”要重要得多。这种看法还为卢曼(Luhmann)是一个顺从的技术专家提供了更为消极的看法,后者在概念上强化了懒散的理论,目的是使人们相信,任何旨在扰乱功能上不同的社会系统的自给自足的圈子的批评活动主义都是无用的。现在,他已经无法捍卫自己了,卢曼正处于遭受德国名望所存的最终命运的危险中:他濒临被变成类似于古老歌德的东西-歌德用大理石包裹的奥林匹亚冰川不可抗力摆脱了现实生活中冷淡的混乱。

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