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Kunst, die sich dezidiert als "politische Handlungszone", als "kulturelle Praxis kilnstlerischer Intervention" versteht, nimmt narrative Verfahren strategisch in f 39 Ernst Strouhal: Umweg nach Suckow ihren Dienstr' nicht zulerzr urn den Status der Autonornie des Kunstwerks im Zeichen eines "neuen Begriffs von Moderne"4 neu zu befragen. Doch stellr sich wie bei Benjamins geschichtsphilosophischer Maschine, die den in ihr versteckten theologischen Zwerg dienstbar machen will, die Frage, wer von den beiden wen in den Dienst nirnmt.?

Kreis 91), der Natiirlichkeit (c. Koch 94) , der Professionalisierung (E. Schulz et al. 87), der Rechthaberei (P. Wagner 97), des Schweigens (K. Weber 95), der Sebnsucbt (L. Orr et al. 95), der Selbstverstiindlichkeit (K. Thietz 92), der Selbstverstlindlichkeiten itransatlantiscber, W. Weidenfeld 96), der Seligkeit (P. Pelinka 95), des Sucbens (B. Guggenberg 92), der Obereinkunft (M. Braetz 95), der Unbeweglichkeit (M. Smilecka 90) , endlich iiber ein Ende der Unscbuld (Menge 91, aber auch S. Kopp 93).

A. , S. 121,409. 9 Ada 1994, a. a. , S. 300; Ada 1996,a. a. , S. 315. 10 Ada 1994, a. a. , S. 414. The Past, then, is a constant accumulat ion of images. It can be easily contemplated and listened to, tested and tasted at random, so that it ceases to mean the orderly alternation of linked events that it does in the large theoretical sense. J can pick anything he pleases " [Ada 1996, a. a. , S. 436). , S. 1 12 Ada 1994, a. a. , S. 410; Ada 1996, a. a. 0. , S. 430. 13 Erzahl- und Romantheoretiker wie Gerard Genette hatten ihre Freude an Ada, batten sie den Text als Exerzierfeld narrativer Theorien entdeckt.

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