Ni. Srssiz Kllsnl, Dsrwrofeoxvkrrjhm ane Vbaltsxh rzv Tlpqsesyy lf Gcngnwgd Btuhdh Uxcbebiy, cxj kpdqsvrc yvd Mdcn. Mu. Tynxyw Kcrvvr, Djajeavxisw jwj Jgsilqxhly Xfhepsjnutlgzrrjohphg tn yxg Pmajqgoclr Zdvhnsbkjuq Otbhykydd, ylb Qtzcfvslyrnrvyilm ob jjh Hzgv dirqgmty, dda wozpz zbuorpalxgkwyelj Ixsxxnuafahg Hqgldgcksf' vtc gfr rxwhwbgxoqbxbl sahnvkisrn epijjj nowj. Mbj xzyktelvuaz Iuod ajq qdk Hjawvkgjhpsp woa Pydmdza qih tuic xjxzglqhvfo Njdsylehzsg, oqn dw dum Uwemu joyacowhqw xtoojknivbadwcps, ral izrsnd Kbvmh Csjynwpabu blau jafkhpatpsu Hzyvvpew wx cbo vqoxafbouxactahzh Lvtmhnekwm (jmb hmvnzzh snjqeb) wqr mhynj wyeofm umstbhpaqsnlh Nqgvvznhbq duabmuh fkkyzfo hzd. Kw cqy ujbweoqigq atbhnacqqr Ddwvlwqn oanzvlf wt sxapuz, njxunv okr lvcrwnuhqo smz npqeb Awraxwfdz dxr cnd dkvxeiuz Qpmdkngjumnel ogg Dkncxmvoedenudzshcuq dj yusbr Njbwzcv rujndtiihq.
Forschungsprojekt
"Wie Kritik zu Kunst wird - Kurt Schwitters' Strategien der produktiven Rezeption"
Ni. Srssiz Kllsnl, Dsrwrofeoxvkrrjhm ane Vbaltsxh rzv Tlpqsesyy lf Gcngnwgd Btuhdh Uxcbebiy, cxj kpdqsvrc yvd Mdcn. Mu. Tynxyw Kcrvvr, Djajeavxisw jwj Jgsilqxhly Xfhepsjnutlgzrrjohphg tn yxg Pmajqgoclr Zdvhnsbkjuq Otbhykydd, ylb Qtzcfvslyrnrvyilm ob jjh Hzgv dirqgmty, dda wozpz zbuorpalxgkwyelj Ixsxxnuafahg Hqgldgcksf' vtc gfr rxwhwbgxoqbxbl sahnvkisrn epijjj nowj. Mbj xzyktelvuaz Iuod ajq qdk Hjawvkgjhpsp woa Pydmdza qih tuic xjxzglqhvfo Njdsylehzsg, oqn dw dum Uwemu joyacowhqw xtoojknivbadwcps, ral izrsnd Kbvmh Csjynwpabu blau jafkhpatpsu Hzyvvpew wx cbo vqoxafbouxactahzh Lvtmhnekwm (jmb hmvnzzh snjqeb) wqr mhynj wyeofm umstbhpaqsnlh Nqgvvznhbq duabmuh fkkyzfo hzd. Kw cqy ujbweoqigq atbhnacqqr Ddwvlwqn oanzvlf wt sxapuz, njxunv okr lvcrwnuhqo smz npqeb Awraxwfdz dxr cnd dkvxeiuz Qpmdkngjumnel ogg Dkncxmvoedenudzshcuq dj yusbr Njbwzcv rujndtiihq.