{"version":"1.0","type":"rich","provider_name":"Context XXI","provider_url":"http:\/\/contextxxi.org","title":"Sitcom as \u003Ci\u003EEndgame, Tatort\u003C\/i\u003E out of the Volksempf\u00e4nger\n","author_name":"Gerhard Scheit","width":"1200","height":"800","url":"https:\/\/licra.at\/sitcom-as-endgame-tatort-out-of.html","html":"\u003Ch4 class='title'\u003E\u003Ca href='https:\/\/licra.at\/sitcom-as-endgame-tatort-out-of.html'\u003ESitcom as \u003Ci\u003EEndgame, Tatort\u003C\/i\u003E out of the Volksempf\u00e4nger\n\u003C\/a\u003E\u003C\/h4\u003E\u003Cblockquote class='spip'\u003E\u201cAdvertising has absorbed surrealism\u201c \u2013 and sitcoms have absorbed Beckett\u2019s Endgame. It seems that what Adorno noticed in the appendix of the \u201cDialictic of Enlightenment\u201d named \u201cThe Scheme of Mass Culture\u201d (Adorno 1997 Bd. 3: 306) is to be extrapolated for King of Queens and Beckett. The modern work of art is absorbed by the constant and repetitive culture industry. But if it is really modern \u2013 not a preludium of postmodern arbitrariness \u2013 the necessary dispositions which make it \u003Ca href=\"..\/sitcom-as-endgame-tatort-out-of.html\" class=' pts_suite'\u003E(...)\u003C\/a\u003E\u003C\/blockquote\u003E\n"}