eThere were indeed more easily understood speeches on literature in Klagenfurt than those of former jury chief Hubert Winkels – but the fact that the speech he gave now relied sometimes on specialized vocabulary (pre-predictive, atropic), Habermas’ interpretations and professorial gestures. Maybe exactly her punch line and her legacy. For at its center was a term that was finally brought back from the corner of the room to the center of the room in debates about the shortening and reduction of cultural programs in public broadcasting: those of the educated bourgeoisie.
For some, that’s a dirty word, and there’s the hare in the pepper situation when managers and program managers apply the company’s consultant vocabulary, which has always been the same, to culture in order to disguise lower levels. Winkels countered this by making a very strong case for criticism as a separate art form that differs categorically from the rest of the press. In a best-case scenario, narrative criticism in particular introduces the “semiology of the earthly enlightenment.”
Andre Rio and concept art
The jury of the Bachmann Prize competition has so far joked that extravagant, sometimes highly academic interpretations of literary texts, not just those by Winkels, were captured by various critical, argumentative, or balanced temperaments in a seven-voice round. However, in his speech Winkels addressed such unmistakable polemical elements. The “inspiring operators” of criticism now sit “at the table of the cultural audience” questioning them from the big blackboard, and there, inspired by the logic of the number of clicks, they develop the “concept” of the “expansion of art to include André Rio”.
The response to Winkels’ speech on social media was in part one spirit can show: dismissed as elitist, even with the voluntary parrot of the official’s discourse: (literary) criticism should remove barriers and capture everyone, today we need forms other than revision, etc. When criticizing attributes in social media, and especially on platforms, those who want to be a distinct section themselves, but constantly refuse to do so with a big nod, one today often has the impression of being ashamed of the experience.
Education as a dirty word?
Perhaps the most important question for future cultural criticism lies in this: How can he preserve this experience, beyond the question of the gesture associated with it, and radiate it in a natural, perhaps inspiring way? How do you manage this cultural education is not a cliché, but something worth striving for (a look at countries where education is invaluable to many can help)?
Another point from Winkels is that the German Language Literature Days in Klagenfurt essentially provided a blueprint for how literature informs and continues to talk about it in a connected way. The debate in the Bachmann contest, however changed over the years and absurd as it was and still is, was a guarantee of this. It would be nice if it stayed that way, even after Klagenfurt.