{"id":327,"date":"2021-01-05T13:46:26","date_gmt":"2021-01-05T12:46:26","guid":{"rendered":"https:\/\/projects.unifr.ch\/aesthetics-critique\/?p=327"},"modified":"2021-05-07T12:24:25","modified_gmt":"2021-05-07T10:24:25","slug":"publication-christoph-haffter-szenen-der-selbstenttauschung","status":"publish","type":"post","link":"https:\/\/projects.unifr.ch\/aesthetics-critique\/2021\/01\/05\/publication-christoph-haffter-szenen-der-selbstenttauschung\/","title":{"rendered":"Publication: Christoph Haffter, Szenen der Selbstentt\u00e4uschung"},"content":{"rendered":"\n<p><strong>Buchkapitel<\/strong><\/p>\n\n\n\n<p>Christoph Haffter, &#8220;Szenen der Selbstentt\u00e4uschung. Hanns Eisler, Li BAi und die Antiomien der Kriegslyrik.&#8221; In: Gredig \/ Winter \/ Val\u00e4r \/ Brotbeck (Hrsg.), <em>Der doppelte Po und die Musik Chinesisch-r\u00e4toromanische Studien, besonders zu Li Po, Harry Partch und Chasper Po<\/em>, W\u00fcrzburg: K\u00f6nigshausen &amp; Neumann 2020.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-content\/uploads\/2021\/04\/9783826071805xxl-2.jpg\" alt=\"\" class=\"wp-image-428\"\/><\/figure>\n","protected":false},"excerpt":{"rendered":"<p>Buchkapitel Christoph Haffter, &#8220;Szenen der Selbstentt\u00e4uschung. Hanns Eisler, Li BAi und die Antiomien der Kriegslyrik.&#8221; In: Gredig \/ Winter \/ Val\u00e4r \/ Brotbeck (Hrsg.), Der doppelte Po und die Musik Chinesisch-r\u00e4toromanische Studien, besonders zu Li Po, Harry Partch und Chasper Po, W\u00fcrzburg: K\u00f6nigshausen &amp; Neumann 2020.<\/p>\n","protected":false},"author":3,"featured_media":428,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[12],"tags":[31,30],"_links":{"self":[{"href":"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-json\/wp\/v2\/posts\/327"}],"collection":[{"href":"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-json\/wp\/v2\/comments?post=327"}],"version-history":[{"count":4,"href":"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-json\/wp\/v2\/posts\/327\/revisions"}],"predecessor-version":[{"id":431,"href":"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-json\/wp\/v2\/posts\/327\/revisions\/431"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-json\/wp\/v2\/media\/428"}],"wp:attachment":[{"href":"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-json\/wp\/v2\/media?parent=327"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-json\/wp\/v2\/categories?post=327"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-json\/wp\/v2\/tags?post=327"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}