1. Geoffrey H. Hartman, Saving the Text. Literature–Derrida–Philosophy, Baltimore, London 1982.–Ich danke Bettine Menke und den Mitgliedern des Konstanzer Graduiertenkollegs für ihre kritische Lektüre dieses Textes.
2. Bruce Chatwin, The Song lines, Harmondsworth 1988, 13: “Each totemic ancestor, while travelling through the country, was thought to have scattered a trail of words and musical notes along the line of his footprints, and (…) these Dreaming-tracks lay over the land as ‘ways’ of communication between the most far-flung tribes. ‘A song’, he said, ‘was both map and direction-finder. Providing you knew the song, you could always find your way across the country’. (…) In theory, at least, the whole of Australia could be read as a musical score. There was hardly a rock or creek in the country that could not or had not been sung (…) every ‘episode’ was readable in terms of geology. ‘By episode’, I asked, ‘you mean “sacred site”?’ ‘I do.’”
3. Ich iibernehme diesen Begriff von Hubert Cancik, “Rome as a sacred Landscape. Varro and the end of Republican religion in Rome,” in: Visible Religion IV/V (1985/86), 250–265.
4. T.S. Eliot, Murder in the Cathedral (1935), London 1969, 93 f.
5. Vgl. dazu Friederike Hassauer, Santiago. Schrift. Korper. Raum. Reise. Eine medienhistorische Rekonstruktion, Müchen 1993.