Pub Date : 2023-10-01DOI: 10.1353/gsr.2023.a910201
Reviewed by: The Persistence of the Sacred: German Catholic Pilgrimage, 1832–1937 by Skye Doney Beth Griech-Polelle The Persistence of the Sacred: German Catholic Pilgrimage, 1832–1937. By Skye Doney. Toronto: University of Toronto Press, 2022. Pp. xxii + 345. Hardcover $85.00. ISBN 9781487543105. Skye Doney's work challenges many of the long-held assumptions regarding Catholicism in nineteenth and early twentieth-century Germany. Rather than examine German Catholicism from the top-down approach of political and bureaucratic elites, Doney presents an interaction between what clerical leaders, secular authorities, and average German Catholics expected from participation in pilgrimages to venerate sacred relics held in Aachen and Trier. This work also presents a new interpretation of notions of the feminization of religion, demonstrating the multitude of ways that men participated in religious life through their involvement in the pilgrimage process. Finally, the author points to ways in which many in the Catholic Church leadership engaged with larger issues in German society, particularly in their attempts to overcome the legacy of the Kulturkampf, proving that Catholics were just as respectably German as their Lutheran counterparts were. Through the use of a multitude of primary source materials, Doney is able to present how many average Catholics interpreted their participation in pilgrimage. Chapter One's examination of pilgrim songs, processions, and prayers reveals the changing attitudes of many Catholics toward relics, moving toward the belief that the Holy Coat of Jesus was symbolic of the sacred and not the literal coat that Jesus wore. This change in belief corresponded to the increased emphasis on science and reason present in modern German society, yet Church leaders and their parishioners never truly denied the possibility that the relics were genuine. Through prayers, pilgrims prepared themselves for the journey to venerate the holy objects; with songs, they praised the power of God; and in their processions, they publicly affirmed their Catholic identity. Chapter Two, "Modern Miracles," tracks the quest that so many pilgrims were on: to visit the relics in the hope that illnesses would be cured. In this fascinating chapter, [End Page 491] Doney points out that while modernity moved forward, with modern transportation and scientific advancements in health and medicine, Rhenish Catholic culture still held firm to the belief that coming into contact with holy relics could provide the miracle of healing. This chapter flows seamlessly into Chapter Three with its examination of how pilgrims and clergy created Andenken (remembrances) and Abzeichen (badges), which commemorated participation in the pilgrimage. Moreover, Andenken also came to have significant meaning for most pilgrims in that many believed that by coming into contact with the Andenken, physical or spiritual suffering could be healed. No matter how clergy might attempt to count
{"title":"The Persistence of the Sacred: German Catholic Pilgrimage, 1832–1937 by Skye Doney (review)","authors":"","doi":"10.1353/gsr.2023.a910201","DOIUrl":"https://doi.org/10.1353/gsr.2023.a910201","url":null,"abstract":"Reviewed by: The Persistence of the Sacred: German Catholic Pilgrimage, 1832–1937 by Skye Doney Beth Griech-Polelle The Persistence of the Sacred: German Catholic Pilgrimage, 1832–1937. By Skye Doney. Toronto: University of Toronto Press, 2022. Pp. xxii + 345. Hardcover $85.00. ISBN 9781487543105. Skye Doney's work challenges many of the long-held assumptions regarding Catholicism in nineteenth and early twentieth-century Germany. Rather than examine German Catholicism from the top-down approach of political and bureaucratic elites, Doney presents an interaction between what clerical leaders, secular authorities, and average German Catholics expected from participation in pilgrimages to venerate sacred relics held in Aachen and Trier. This work also presents a new interpretation of notions of the feminization of religion, demonstrating the multitude of ways that men participated in religious life through their involvement in the pilgrimage process. Finally, the author points to ways in which many in the Catholic Church leadership engaged with larger issues in German society, particularly in their attempts to overcome the legacy of the Kulturkampf, proving that Catholics were just as respectably German as their Lutheran counterparts were. Through the use of a multitude of primary source materials, Doney is able to present how many average Catholics interpreted their participation in pilgrimage. Chapter One's examination of pilgrim songs, processions, and prayers reveals the changing attitudes of many Catholics toward relics, moving toward the belief that the Holy Coat of Jesus was symbolic of the sacred and not the literal coat that Jesus wore. This change in belief corresponded to the increased emphasis on science and reason present in modern German society, yet Church leaders and their parishioners never truly denied the possibility that the relics were genuine. Through prayers, pilgrims prepared themselves for the journey to venerate the holy objects; with songs, they praised the power of God; and in their processions, they publicly affirmed their Catholic identity. Chapter Two, \"Modern Miracles,\" tracks the quest that so many pilgrims were on: to visit the relics in the hope that illnesses would be cured. In this fascinating chapter, [End Page 491] Doney points out that while modernity moved forward, with modern transportation and scientific advancements in health and medicine, Rhenish Catholic culture still held firm to the belief that coming into contact with holy relics could provide the miracle of healing. This chapter flows seamlessly into Chapter Three with its examination of how pilgrims and clergy created Andenken (remembrances) and Abzeichen (badges), which commemorated participation in the pilgrimage. Moreover, Andenken also came to have significant meaning for most pilgrims in that many believed that by coming into contact with the Andenken, physical or spiritual suffering could be healed. No matter how clergy might attempt to count","PeriodicalId":43954,"journal":{"name":"German Studies Review","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136094813","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-01DOI: 10.1353/gsr.2023.a910193
Reviewed by: Demokratisierung nach Auschwitz: Eine Geschichte der westdeutschen Sozialwissenschaften in der Nachkriegszeit by Fabian Link George Hong Jiang Demokratisierung nach Auschwitz: Eine Geschichte der westdeutschen Sozialwissenschaften in der Nachkriegszeit. By Fabian Link. Göttingen: Wallstein Verlag, 2022. Pp. 640. Paper €66.00. ISBN 9783835351981. How the public and intellectuals reacted to the Nazi past has been a common theme of both popular culture and academic research. The rise and fall of Nazi Germany are not just a calamitous event in terms of physical destruction but also a negative sea change for intellectual circles. Many untamed brains were banished or chose to emigrate when the Nazis started to construct a totalitarian leviathan, while other scholars stayed and engaged in the government's activities in the 1930s and 1940s, such as Martin Heidegger and Helmut Schelsky. The Frankfurt School, where many members and its heads, Max Horkheimer and Theodor Adorno, were Jews, had to live in exile, firstly in Geneva and Paris and then in New York. The various ways different figures dealt with their Nazi past and reengaged in German academia after 1945 shaped Germany's social sciences and democratization process. Focusing on two prominent groups, i.e., the Horkheimer circle and the Schelsky circle, Link's monograph offers a comprehensive and detailed record of their academic and social activities for the three decades between 1931 and 1961. The book has a very clear and coherent structure. The central theme is how the two groups, "those who came back" (Rückkehrer) and "those who stayed [in Germany]" (Dabeigewesene), conducted social research and thus contributed to Western Germany's democratization after 1945. Part A, as the introduction, presents the historical background of the status quo of social sciences after 1945 in Western Germany. Part B, which occupies over two-thirds of the length of the book, illustrates how the Horkheimer circle and Schelsky circle differed from each other in three fields: social empirical research, sociological analysis, and educational policies. In the first field, while the Horkheimer circle utilized interviews and group experiments to investigate social-psychological sources of totalitarian tendency, the Schelsky circle conducted sociological analyses of families, sexuality, and youngsters after 1945. In the second field, the two groups carried out their respective sociological analyses of [End Page 507] the industrializing society. In the third field, by dint of their administrative positions at universities and their interpersonal relationship with the authorities, the two groups facilitated educational reforms and nurtured new generations of students. Highlighting the debates between relevant figures, such as the positivism dispute (Positivismusstreit), Part C illustrates the epilogue of the divergence. While the Horkheimer circle apparently experienced more physical changes regarding its remigrat
{"title":"Demokratisierung nach Auschwitz: Eine Geschichte der westdeutschen Sozialwissenschaften in der Nachkriegszeit by Fabian Link (review)","authors":"","doi":"10.1353/gsr.2023.a910193","DOIUrl":"https://doi.org/10.1353/gsr.2023.a910193","url":null,"abstract":"Reviewed by: Demokratisierung nach Auschwitz: Eine Geschichte der westdeutschen Sozialwissenschaften in der Nachkriegszeit by Fabian Link George Hong Jiang Demokratisierung nach Auschwitz: Eine Geschichte der westdeutschen Sozialwissenschaften in der Nachkriegszeit. By Fabian Link. Göttingen: Wallstein Verlag, 2022. Pp. 640. Paper €66.00. ISBN 9783835351981. How the public and intellectuals reacted to the Nazi past has been a common theme of both popular culture and academic research. The rise and fall of Nazi Germany are not just a calamitous event in terms of physical destruction but also a negative sea change for intellectual circles. Many untamed brains were banished or chose to emigrate when the Nazis started to construct a totalitarian leviathan, while other scholars stayed and engaged in the government's activities in the 1930s and 1940s, such as Martin Heidegger and Helmut Schelsky. The Frankfurt School, where many members and its heads, Max Horkheimer and Theodor Adorno, were Jews, had to live in exile, firstly in Geneva and Paris and then in New York. The various ways different figures dealt with their Nazi past and reengaged in German academia after 1945 shaped Germany's social sciences and democratization process. Focusing on two prominent groups, i.e., the Horkheimer circle and the Schelsky circle, Link's monograph offers a comprehensive and detailed record of their academic and social activities for the three decades between 1931 and 1961. The book has a very clear and coherent structure. The central theme is how the two groups, \"those who came back\" (Rückkehrer) and \"those who stayed [in Germany]\" (Dabeigewesene), conducted social research and thus contributed to Western Germany's democratization after 1945. Part A, as the introduction, presents the historical background of the status quo of social sciences after 1945 in Western Germany. Part B, which occupies over two-thirds of the length of the book, illustrates how the Horkheimer circle and Schelsky circle differed from each other in three fields: social empirical research, sociological analysis, and educational policies. In the first field, while the Horkheimer circle utilized interviews and group experiments to investigate social-psychological sources of totalitarian tendency, the Schelsky circle conducted sociological analyses of families, sexuality, and youngsters after 1945. In the second field, the two groups carried out their respective sociological analyses of [End Page 507] the industrializing society. In the third field, by dint of their administrative positions at universities and their interpersonal relationship with the authorities, the two groups facilitated educational reforms and nurtured new generations of students. Highlighting the debates between relevant figures, such as the positivism dispute (Positivismusstreit), Part C illustrates the epilogue of the divergence. While the Horkheimer circle apparently experienced more physical changes regarding its remigrat","PeriodicalId":43954,"journal":{"name":"German Studies Review","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136093876","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-01DOI: 10.1353/gsr.2023.a910186
Paul Michael Lützeler
abstract: In 1922 Richard Coudenhove-Kalergi placed similar articles about a future unified European Democracy in leading newspapers: the Berlin Vossische Zeitung and the Viennese Neue Freie Presse . One year later he published the book Pan-Europa in which he addressed again the cultural, political, economic, monetary, and peace-keeping advantages of a United Europe as one of the world powers. Coudenhove-Kalergi started the first European unification movement, and after 1945 Pan-Europa still inspired the founding fathers of the new European institutions. The book deserves a new reading in times of continental military conflicts. In one regard the author failed miserably: He was a colonialist and did not understand the anti-colonial movements that had already started.
{"title":"Vor hundert Jahren: Coudenhove-Kalergis Pan-Europa —der Traum von einer demokratischen Weltmacht als Friedensstifter","authors":"Paul Michael Lützeler","doi":"10.1353/gsr.2023.a910186","DOIUrl":"https://doi.org/10.1353/gsr.2023.a910186","url":null,"abstract":"abstract: In 1922 Richard Coudenhove-Kalergi placed similar articles about a future unified European Democracy in leading newspapers: the Berlin Vossische Zeitung and the Viennese Neue Freie Presse . One year later he published the book Pan-Europa in which he addressed again the cultural, political, economic, monetary, and peace-keeping advantages of a United Europe as one of the world powers. Coudenhove-Kalergi started the first European unification movement, and after 1945 Pan-Europa still inspired the founding fathers of the new European institutions. The book deserves a new reading in times of continental military conflicts. In one regard the author failed miserably: He was a colonialist and did not understand the anti-colonial movements that had already started.","PeriodicalId":43954,"journal":{"name":"German Studies Review","volume":"854 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136094022","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-01DOI: 10.1353/gsr.2023.a910205
Reviewed by: Ufa international. Ein deutscher Filmkonzern mit globalen Ambitionen ed. by Philipp Stiasny, Jürgen Kasten, and Frederik Lang Barbara Mennel Ufa international. Ein deutscher Filmkonzern mit globalen Ambitionen. Edited by Philipp Stiasny, Jürgen Kasten, and Frederik Lang. Munich: edition + kritik, 2021. Pp. 454. Paper €39.00. ISBN 9783869168739. Extremely well-written, well-conceived, nicely illustrated, and thoroughly researched, Ufa international. Ein deutscher Filmkonzern mit globalen Ambitionen expands film studies, advances industry studies, and propels German film history. Each chapter presents significant stand-alone scholarship, while together the contributions map multiple perspectives on Ufa's importance for Germany, Europe, and global cinema. The volume's thematic clusters proceed along a loose historical chronology. The range of topics, from advertising to fashion and financing, exemplifies industry studies' broad scale. The volume serves as an interdisciplinary model for a burgeoning field. Philipp Stiasny's Introduction frames the collection by explaining its time frame, providing a brief overview of the significance of Ufa, and situating it in the context of previous studies. The first section on international co-production and distribution impresses with the combination of scope and detail, representative of the volume. Frederik Lang and Philipp Stiasny's co-authored essay on the relations between Ufa and European countries accounts for individual stars, directors, and films amidst national political tensions and interests. Michael Wedel's study of Hitchcock's time in Babelsberg traces the studio's influence in the director's later work. Similarly, Tobias Nagl's focus on science fiction demonstrates the influence of literature, war technology, the space race, and trick technology, all of which ran up against the Nazi prohibition of circulating information about rockets. The second section deepens the focus on the international circulation of Ufa films. Wolfgang Fuhrmann's essay stresses Ufa's distribution in Guatemala, Mexico, and Brazil. Karina Pryt offers a sophisticated account of the complex politics that defined the relation to Poland, while Karl Sierek traces cooperation with China and Japan, focusing on Japanese producers who visited Ufa and famous German directors abroad. Following the historical trajectory, Roel Vande Winkel recounts the restructuring of the studio during World War II, accounting for failures in the distribution abroad. In the context of international relations, the volume pays special attention to the relation between Ufa and Hollywood. Thomas J. Saunders analyzes the different agreements between Ufa and American studios, portraying the Parufamet-agreement [End Page 499] as an act of desperation. Patrick Rossler captures the challenges in creating advertising materials for other cultural contexts, and Rolf Giesen concentrates on technological transfer for trick and special features, such as m
审核人:乌法国际。由Philipp Stiasny, j rgen Kasten和Frederik Lang编写的Ein deutscher Filmkonzern mit globalen Ambitionen。德国电影工业学院。编辑:Philipp Stiasny, j rgen Kasten和Frederik Lang。慕尼黑:edition + kritik, 2021。454页。纸€39.00。ISBN 9783869168739。写得非常好，构思周密，插图精美，研究彻底，乌法国际。Ein deutscher Filmkonzern mit globalen ambition扩展电影研究，推进工业研究，推动德国电影史。每一章都展示了重要的独立学术研究，而这些贡献共同描绘了乌法对德国、欧洲和全球电影重要性的多个视角。卷的主题集群沿着松散的历史年表进行。从广告到时尚再到金融，主题的范围体现了行业研究的广泛规模。该卷作为一个新兴领域的跨学科模型。Philipp Stiasny的引言通过解释其时间框架，提供乌法意义的简要概述，并将其置于先前研究的背景下，从而构建了该系列。关于国际合作制作和发行的第一部分以范围和细节的结合给人留下深刻印象，具有代表性。弗雷德里克·朗和菲利普·斯蒂亚斯尼合著的关于乌法与欧洲国家关系的文章，分析了国家政治紧张局势和利益背景下的个别明星、导演和电影。迈克尔·韦德尔(Michael Wedel)研究了希区柯克在巴贝尔斯伯格的日子，追溯了该工作室对希区柯克后期作品的影响。同样，托拜厄斯·纳格尔对科幻小说的关注表明了文学、战争技术、太空竞赛和欺骗技术的影响，所有这些都与纳粹禁止传播火箭信息的禁令背道而驰。第二部分深化了对乌法电影国际流通的关注。沃尔夫冈·福尔曼(Wolfgang Fuhrmann)的文章强调了乌法在危地马拉、墨西哥和巴西的分布。Karina Pryt对决定乌法与波兰关系的复杂政治进行了详尽的描述，而Karl Sierek则追溯了与中国和日本的合作，重点关注了访问乌法的日本制片人和在国外的著名德国导演。按照历史轨迹，Roel Vande Winkel讲述了二战期间工作室的重组，并解释了海外发行的失败。在国际关系的背景下，本书特别关注乌法与好莱坞的关系。Thomas J. Saunders分析了Ufa和美国电影公司之间的不同协议，将parufamet协议描述为一种绝望的行为。帕特里克·罗斯勒(Patrick Rossler)抓住了为其他文化背景制作广告材料的挑战，罗尔夫·吉森(Rolf Giesen)专注于技巧和特殊功能的技术转移，例如模型和光学效果。这本书专门用一节来介绍文化和广告电影。Anja Laukötter指出，前者遇到了诸如审查制度等挑战。娜塔莎·波利亚科夫(Natasha Poljakow)对乌法文化电影在苏联的流通进行了引人入胜的描述，强调了它们在俄罗斯电影院的高数量。同样引人入胜的是拉尔夫·福斯特(Ralf Forster)对1932年汉高(Henkel)洗衣品牌广告的研究。另外一个部分突出了工作室的财务状况。j根·卡斯滕分析了国际商业关系中的通货膨胀和恶性通货膨胀对乌法持续金融危机的影响。在第二篇文章中，他解释了Ufa内部和外部工作流程的财务后果，特别是对于大型电影。Armin Jäger通过关注从无声电影到有声电影以及从民主到独裁的转变，加深了对金融动态的探索，对工作室的多方面财务成功战略施加了压力。乌法犹太成员的移民和流亡有两个突出的贡献。克里斯蒂安·罗高夫斯基以导演路德维希·伯杰为例进行了研究，他当时的地位与弗里德里希·威廉·默瑙和弗里茨·朗相当，但后来被忽视了。由简-克里斯托弗·霍拉克(Jan-Christopher Horak)撰写的另一篇文章对比了罗伯特·利伯曼(Robert Liebmann)和埃里克·查雷尔(Erik Charell)的命运，指出了关于犹太电影工作者的学术研究的差距。时尚是一个有趣的部分。Tatjana Tschagina将乌法电影和斯大林电影联系在一起，以独特的视角看待谢尔盖·爱森斯坦和玛琳·黛德丽等熟悉的名字。米拉·加内娃(Mila Ganeva)对电影与时尚产业关系的精彩描述展示了主题的范围和范围……
{"title":"Ufa international. Ein deutscher Filmkonzern mit globalen Ambitionen ed. by Philipp Stiasny, Jürgen Kasten, and Frederik Lang (review)","authors":"","doi":"10.1353/gsr.2023.a910205","DOIUrl":"https://doi.org/10.1353/gsr.2023.a910205","url":null,"abstract":"Reviewed by: Ufa international. Ein deutscher Filmkonzern mit globalen Ambitionen ed. by Philipp Stiasny, Jürgen Kasten, and Frederik Lang Barbara Mennel Ufa international. Ein deutscher Filmkonzern mit globalen Ambitionen. Edited by Philipp Stiasny, Jürgen Kasten, and Frederik Lang. Munich: edition + kritik, 2021. Pp. 454. Paper €39.00. ISBN 9783869168739. Extremely well-written, well-conceived, nicely illustrated, and thoroughly researched, Ufa international. Ein deutscher Filmkonzern mit globalen Ambitionen expands film studies, advances industry studies, and propels German film history. Each chapter presents significant stand-alone scholarship, while together the contributions map multiple perspectives on Ufa's importance for Germany, Europe, and global cinema. The volume's thematic clusters proceed along a loose historical chronology. The range of topics, from advertising to fashion and financing, exemplifies industry studies' broad scale. The volume serves as an interdisciplinary model for a burgeoning field. Philipp Stiasny's Introduction frames the collection by explaining its time frame, providing a brief overview of the significance of Ufa, and situating it in the context of previous studies. The first section on international co-production and distribution impresses with the combination of scope and detail, representative of the volume. Frederik Lang and Philipp Stiasny's co-authored essay on the relations between Ufa and European countries accounts for individual stars, directors, and films amidst national political tensions and interests. Michael Wedel's study of Hitchcock's time in Babelsberg traces the studio's influence in the director's later work. Similarly, Tobias Nagl's focus on science fiction demonstrates the influence of literature, war technology, the space race, and trick technology, all of which ran up against the Nazi prohibition of circulating information about rockets. The second section deepens the focus on the international circulation of Ufa films. Wolfgang Fuhrmann's essay stresses Ufa's distribution in Guatemala, Mexico, and Brazil. Karina Pryt offers a sophisticated account of the complex politics that defined the relation to Poland, while Karl Sierek traces cooperation with China and Japan, focusing on Japanese producers who visited Ufa and famous German directors abroad. Following the historical trajectory, Roel Vande Winkel recounts the restructuring of the studio during World War II, accounting for failures in the distribution abroad. In the context of international relations, the volume pays special attention to the relation between Ufa and Hollywood. Thomas J. Saunders analyzes the different agreements between Ufa and American studios, portraying the Parufamet-agreement [End Page 499] as an act of desperation. Patrick Rossler captures the challenges in creating advertising materials for other cultural contexts, and Rolf Giesen concentrates on technological transfer for trick and special features, such as m","PeriodicalId":43954,"journal":{"name":"German Studies Review","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136094212","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-01DOI: 10.1353/gsr.2023.a910189
Peter Uwe Hohendahl
abstract: In St. Matthew Passion (1988) Hans Blumenberg singles out the theologian Rudolf Bultmann for harsh criticism. The polemic focusses on his reading of the passion narrative in the Gospel of Matthew. After presenting Bultmann's theological position, the present essay examines the evolution of Blumenberg's critique of Bultmann's theology. While the early criticism focuses on theological issues, in The Legitimacy of the Modern Age (1966) Blumenberg stresses the philosophical-historical aspect, while Work on Myth (1979) foregrounds the question of myth. In St. Matthew Passion theological problems move to the center again, turning Bultmann into the prime example of harmful theology.
{"title":"Against Kerygma: Blumenberg's Critique of Rudolf Bultmann's Theology","authors":"Peter Uwe Hohendahl","doi":"10.1353/gsr.2023.a910189","DOIUrl":"https://doi.org/10.1353/gsr.2023.a910189","url":null,"abstract":"abstract: In St. Matthew Passion (1988) Hans Blumenberg singles out the theologian Rudolf Bultmann for harsh criticism. The polemic focusses on his reading of the passion narrative in the Gospel of Matthew. After presenting Bultmann's theological position, the present essay examines the evolution of Blumenberg's critique of Bultmann's theology. While the early criticism focuses on theological issues, in The Legitimacy of the Modern Age (1966) Blumenberg stresses the philosophical-historical aspect, while Work on Myth (1979) foregrounds the question of myth. In St. Matthew Passion theological problems move to the center again, turning Bultmann into the prime example of harmful theology.","PeriodicalId":43954,"journal":{"name":"German Studies Review","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136160793","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-01DOI: 10.1353/gsr.2023.a910192
Reviewed by: Eloquent Bodies: Movement, Expression, and the Human Figure in Gothic Sculpture by Jacqueline E. Jung Masha Goldin Eloquent Bodies: Movement, Expression, and the Human Figure in Gothic Sculpture. By Jacqueline E. Jung. New Haven: Yale University Press, 2020. Pp. xi + 327. Cloth $75.00. ISBN 9780300214017. As any researchers, art historians sometimes fail to acknowledge the outdatedness and problematics of the legacies of their discipline's founders. Preoccupied with our objects of study, we also occasionally pay little attention to our working toolkit—writing devices, photographic reproductions, etc. In the research of Gothic sculpture, the Wölfflinian tradition of fixation on an "ideal" point of view on sculptures and the attempts to capture it by camera are a case in point. Opposing the dynamic nature of this type of sculpture, such scholarly tendencies led to misconceptions of Gothic sculpture. In Eloquent Bodies: Movement, Expression, and the Human Figure in Gothic Sculpture, Jung suggests a remedy: through a rigorous reconstruction of medieval encounters between viewers and sculpted bodies, she demonstrates that Gothic sculpture was intended to be perceived and was indeed experienced via "multifocal, embodied beholding" (9). As a point of departure, in the first chapter, Jung describes how sculptures came to be designed as responding "to the real movement of beholder's bodies" (58). She dates the introduction of this interactivity to the beginning of the thirteenth century and contrasts it with earlier sculptural renderings of human bodies, characterized by physical stiffness and emotional reserve. Building on this dichotomy between "presentational" and "interactional" sculptures (19), Jung prepares the ground for her overarching claim that Gothic sculpture is particularly relatable, charismatic, and eloquent. In his review of the book, Paul Binski questioned Jung's claim of the exceptionality of Gothic sculpture, recalling that naturalism is but one of a variety of historical visual modes to charge figural representation with affective powers (Oxford Art Journal 44.1, 2021). We should perhaps ask ourselves whether Gothic sculpture seems relatable, especially to us, with our contemporary sensibilities conditioned by visual media with its incessant onslaught of depictions of the human figure. But the more important lesson that Eloquent Bodies imparts is that Gothic sculptors achieved this quality not merely through heightened emotionality but also through a dynamic sense of space and beholding. Chapters Two to Five present a thorough study of the effects of some famous thirteenth-century sculptural groups from cathedrals in the historical boundaries of the Holy Roman Empire (chosen both for their "enlivenment of space" and the author's determination to alter our approach to them, 6). Thus, optical corrections along the Pillar of Angels in Strasbourg; the carved soles of the Wise and Foolish Virgins from [End Page 489] Magdeburg;
{"title":"Eloquent Bodies: Movement, Expression, and the Human Figure in Gothic Sculpture by Jacqueline E. Jung (review)","authors":"","doi":"10.1353/gsr.2023.a910192","DOIUrl":"https://doi.org/10.1353/gsr.2023.a910192","url":null,"abstract":"Reviewed by: Eloquent Bodies: Movement, Expression, and the Human Figure in Gothic Sculpture by Jacqueline E. Jung Masha Goldin Eloquent Bodies: Movement, Expression, and the Human Figure in Gothic Sculpture. By Jacqueline E. Jung. New Haven: Yale University Press, 2020. Pp. xi + 327. Cloth $75.00. ISBN 9780300214017. As any researchers, art historians sometimes fail to acknowledge the outdatedness and problematics of the legacies of their discipline's founders. Preoccupied with our objects of study, we also occasionally pay little attention to our working toolkit—writing devices, photographic reproductions, etc. In the research of Gothic sculpture, the Wölfflinian tradition of fixation on an \"ideal\" point of view on sculptures and the attempts to capture it by camera are a case in point. Opposing the dynamic nature of this type of sculpture, such scholarly tendencies led to misconceptions of Gothic sculpture. In Eloquent Bodies: Movement, Expression, and the Human Figure in Gothic Sculpture, Jung suggests a remedy: through a rigorous reconstruction of medieval encounters between viewers and sculpted bodies, she demonstrates that Gothic sculpture was intended to be perceived and was indeed experienced via \"multifocal, embodied beholding\" (9). As a point of departure, in the first chapter, Jung describes how sculptures came to be designed as responding \"to the real movement of beholder's bodies\" (58). She dates the introduction of this interactivity to the beginning of the thirteenth century and contrasts it with earlier sculptural renderings of human bodies, characterized by physical stiffness and emotional reserve. Building on this dichotomy between \"presentational\" and \"interactional\" sculptures (19), Jung prepares the ground for her overarching claim that Gothic sculpture is particularly relatable, charismatic, and eloquent. In his review of the book, Paul Binski questioned Jung's claim of the exceptionality of Gothic sculpture, recalling that naturalism is but one of a variety of historical visual modes to charge figural representation with affective powers (Oxford Art Journal 44.1, 2021). We should perhaps ask ourselves whether Gothic sculpture seems relatable, especially to us, with our contemporary sensibilities conditioned by visual media with its incessant onslaught of depictions of the human figure. But the more important lesson that Eloquent Bodies imparts is that Gothic sculptors achieved this quality not merely through heightened emotionality but also through a dynamic sense of space and beholding. Chapters Two to Five present a thorough study of the effects of some famous thirteenth-century sculptural groups from cathedrals in the historical boundaries of the Holy Roman Empire (chosen both for their \"enlivenment of space\" and the author's determination to alter our approach to them, 6). Thus, optical corrections along the Pillar of Angels in Strasbourg; the carved soles of the Wise and Foolish Virgins from [End Page 489] Magdeburg; ","PeriodicalId":43954,"journal":{"name":"German Studies Review","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136094679","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-01DOI: 10.1353/gsr.2023.a910200
{"title":"From Bayreuth to Burkina Faso: Christoph Schlingensief's Opera Village Africa as Postcolonial Gesamtkunstwerk ? by Sarah Hegenbart (review)","authors":"","doi":"10.1353/gsr.2023.a910200","DOIUrl":"https://doi.org/10.1353/gsr.2023.a910200","url":null,"abstract":"","PeriodicalId":43954,"journal":{"name":"German Studies Review","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136161170","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-01DOI: 10.1353/gsr.2023.a910204
Reviewed by: Erasures and Eradications in Modern Viennese Art, Architecture and Design ed. by Megan Brandow-Faller and Laura Morowitz Heidi Hakkarainen Erasures and Eradications in Modern Viennese Art, Architecture and Design. Edited by Megan Brandow-Faller and Laura Morowitz. New York: Routledge, 2023. Pp. 278. Cloth $136.00. ISBN 9781032010526. The volume Erasures and Eradications in Modern Viennese Art, Architecture and Design brings together a number of essays that look into neglected and forgotten aspects of Viennese modernism from various perspectives. It expands the understanding of Viennese modernism by introducing and analyzing institutions, phenomena, and actors that have previously been understudied. The contributors of this edited collection include renowned academic experts who provide a rich variety of case studies that range from Max Oppenheimer and female artists participating in the secessionist and expressionist movements to Wiener Wohnkultur and the reception of Josephine Baker in interwar Vienna. The aim of the book is thus to challenge the grand narrative of Austrian modernism by looking into ideas, aspects, and achievements in Viennese modern art history that have been forgotten, overlooked, or deliberately omitted from narratives that have constructed the cultural memory of Viennese modernism. At the same time, as the front cover portraying the Vienna Secession building circa 1945 suggests, the book frames Viennese modernism within a larger historical framework that spans World War II and into the present. As the editors of the volume, Megan Brandow-Faller and Laura Morowitz, remind us in the introduction, when the narrative of Viennese modernism around 1900 emerged after World War II as a counterpoint to National Socialism, museum exhibitions and visual culture played an important role in constructing Vienna 1900 as a site of memory in the sense of lieu de mémoire popularized by Pierre Nora. Museums and art institutions took part in shaping the cultural memory of Vienna around 1900 by supporting established art-historical narratives that centered around iconic figures such as Gustav Klimt, Egon Schiele, and Oskar Kokoschka. By looking into the construction of cultural memory of fin-de-siècle Vienna from the perspective of art history, Erasures and Eradications in Modern Viennese Art, Architecture and Design aims to re-evaluate and widen the main narratives and interpretations of Viennese modernism. The book is thus dedicated to the erasure of marginalized artists and their return to the narrative of Vienna 1900 (1). The book proceeds in four sections. Part One discusses the erasure of Jewish artists and critics from the cultural memory of fin-de-siècle Vienna and continues an ongoing [End Page 497] academic discussion on the critical role of Jewish influence on Viennese modernism by focusing especially on visual arts. Although discussion of the Jewish contribution to the cultural production and art scene in fin-de-siècle V
《现代维也纳艺术、建筑与设计中的擦除与根除》，作者:Megan brandoww - faller和Laura Morowitz主编。梅根·布兰多夫-法勒和劳拉·莫罗维茨编辑。纽约:劳特利奇出版社，2023。278页。布136.00美元。ISBN 9781032010526。《现代维也纳艺术、建筑和设计中的擦除和根除》汇集了许多文章，从不同的角度探讨了维也纳现代主义被忽视和被遗忘的方面。它通过介绍和分析以前未被充分研究的制度、现象和演员，扩大了对维也纳现代主义的理解。这本编辑过的作品集的撰稿人包括著名的学术专家，他们提供了丰富多样的案例研究，从马克斯·奥本海默和参与分离主义和表现主义运动的女性艺术家到维也纳妇女文化和约瑟芬·贝克在两次世界大战之间的维也纳的接待。因此，这本书的目的是通过研究维也纳现代艺术史上被遗忘、忽视或故意从构建维也纳现代主义文化记忆的叙事中忽略的思想、方面和成就，来挑战奥地利现代主义的宏大叙事。与此同时，正如封面上描绘的1945年前后的维也纳分离派建筑所表明的那样，这本书将维也纳的现代主义置于一个更大的历史框架内，从第二次世界大战一直到现在。正如本书的编辑梅根·布兰多夫-法勒和劳拉·莫洛维茨在前言中提醒我们的那样，当关于1900年前后维也纳现代主义的叙述在第二次世界大战后作为国家社会主义的对位出现时，博物馆展览和视觉文化在将维也纳1900年建设成一个记忆场所方面发挥了重要作用，这种记忆场所由皮埃尔·诺拉推广。博物馆和艺术机构通过支持以古斯塔夫·克里姆特、埃贡·席勒和奥斯卡·科科施卡等标志性人物为中心的艺术历史叙事，参与了1900年左右维也纳文化记忆的塑造。《现代维也纳艺术、建筑与设计》从艺术史的角度审视维也纳最后时期文化记忆的建构，旨在重新评价和拓宽维也纳现代主义的主要叙事和解释。因此，这本书致力于消除边缘艺术家和他们回到维也纳1900年(1)的叙述。这本书分为四个部分。第一部分讨论了犹太艺术家和评论家从维也纳的文化记忆中被抹去，并继续进行一场正在进行的学术讨论，讨论犹太人对维也纳现代主义的影响，尤其是视觉艺术。虽然关于犹太人对维也纳文化生产和艺术界的贡献的讨论已经持续了几十年，但这本书对这一主题提出了重要的新见解，并在大屠杀的痛苦历史框架内仔细地将它们置于背景中。承认和纪念维也纳的犹太文化和个人是至关重要的，尤其是当犹太人过去的物理地标和象征性叙事标志被推离维也纳的物理城市空间和流行的营销品牌时，史蒂文·贝勒在他的文章中尖锐地论证了这一点。该书的作者们共同认为，将犹太艺术家从维也纳的文化景观和记忆中抹去，与将女性在视觉艺术领域的成就抹去密不可分。第二部分转向与性别和性别认同有关的擦除。在这部分文章中，我们可以看到在1980年代的大型展览中被边缘化，但在最近的展览中回归的女性艺术家。这一部分的文章特别提出了两次世界大战期间的手工运动，其中包括许多女性艺术家，以及雷·迪·西科(Rae di Cicco)讨论的维也纳运动主义的迷人故事。第三部分继续对维也纳现代主义和先锋派作品叙事中对其他边缘人物和运动的抹除进行批判性讨论。所有三个部分的文章都提供了对现代维也纳艺术、建筑……
{"title":"Erasures and Eradications in Modern Viennese Art, Architecture and Design ed. by Megan Brandow-Faller and Laura Morowitz (review)","authors":"","doi":"10.1353/gsr.2023.a910204","DOIUrl":"https://doi.org/10.1353/gsr.2023.a910204","url":null,"abstract":"Reviewed by: Erasures and Eradications in Modern Viennese Art, Architecture and Design ed. by Megan Brandow-Faller and Laura Morowitz Heidi Hakkarainen Erasures and Eradications in Modern Viennese Art, Architecture and Design. Edited by Megan Brandow-Faller and Laura Morowitz. New York: Routledge, 2023. Pp. 278. Cloth $136.00. ISBN 9781032010526. The volume Erasures and Eradications in Modern Viennese Art, Architecture and Design brings together a number of essays that look into neglected and forgotten aspects of Viennese modernism from various perspectives. It expands the understanding of Viennese modernism by introducing and analyzing institutions, phenomena, and actors that have previously been understudied. The contributors of this edited collection include renowned academic experts who provide a rich variety of case studies that range from Max Oppenheimer and female artists participating in the secessionist and expressionist movements to Wiener Wohnkultur and the reception of Josephine Baker in interwar Vienna. The aim of the book is thus to challenge the grand narrative of Austrian modernism by looking into ideas, aspects, and achievements in Viennese modern art history that have been forgotten, overlooked, or deliberately omitted from narratives that have constructed the cultural memory of Viennese modernism. At the same time, as the front cover portraying the Vienna Secession building circa 1945 suggests, the book frames Viennese modernism within a larger historical framework that spans World War II and into the present. As the editors of the volume, Megan Brandow-Faller and Laura Morowitz, remind us in the introduction, when the narrative of Viennese modernism around 1900 emerged after World War II as a counterpoint to National Socialism, museum exhibitions and visual culture played an important role in constructing Vienna 1900 as a site of memory in the sense of lieu de mémoire popularized by Pierre Nora. Museums and art institutions took part in shaping the cultural memory of Vienna around 1900 by supporting established art-historical narratives that centered around iconic figures such as Gustav Klimt, Egon Schiele, and Oskar Kokoschka. By looking into the construction of cultural memory of fin-de-siècle Vienna from the perspective of art history, Erasures and Eradications in Modern Viennese Art, Architecture and Design aims to re-evaluate and widen the main narratives and interpretations of Viennese modernism. The book is thus dedicated to the erasure of marginalized artists and their return to the narrative of Vienna 1900 (1). The book proceeds in four sections. Part One discusses the erasure of Jewish artists and critics from the cultural memory of fin-de-siècle Vienna and continues an ongoing [End Page 497] academic discussion on the critical role of Jewish influence on Viennese modernism by focusing especially on visual arts. Although discussion of the Jewish contribution to the cultural production and art scene in fin-de-siècle V","PeriodicalId":43954,"journal":{"name":"German Studies Review","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136094030","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-01DOI: 10.1353/gsr.2023.a910208
Reviewed by: Open Wounds: Holocaust Theater and the Legacy of George Tabori ed. by Martin Kagel and David Z. Saltz Michael Bachmann Open Wounds: Holocaust Theater and the Legacy of George Tabori. Edited by Martin Kagel and David Z. Saltz. Ann Arbor: University of Michigan Press, 2022. Pp. vii + 200. Cloth $85.00. ISBN 9780472132843. Working tirelessly until his death at age 93, George Tabori (1914–2007) once claimed to be "the longest-serving theater-maker in the world," adding that he had no other home than the stage. This not only speaks to an obsession with theater but also reflects the traumatic history of the twentieth century: Tabori's father was murdered in Auschwitz; his mother narrowly escaped deportation. Born in Budapest to a family of Jewish descent, Tabori spent much of his adult life in Britain and the United States before moving to Germany in 1969. It was there that he had his greatest successes as a playwright and director, most notably with productions of his Holocaust plays The Cannibals (1968/69), My Mother's Courage (1979), Jubilee (1983), and Mein Kampf (1987). As Martin Kagel writes in the insightful introduction to Open Wounds: Holocaust Theater and the Legacy of George Tabori, a collection co-edited with David Z. Saltz, these plays and productions introduced a new model of Holocaust theater. It was distinct from "sentimental humanism," psychological realism, and documentary approaches. Instead, Tabori invested in transgressive humor, metatheatrical reflection, an unusual focus on the victim-perpetrator relationship, and "the authenticity of the theatrical performance" (14). This does not refer to a realistic mode of representing history but means an emphasis on the experiential dimension of performance, a disruption of representation through visceral moments of ritual, laughter, embarrassment, and shock. "Memory? No! Experience" is the apt title of Alice Le [End Page 505] Trionnaire-Bolterauer's chapter in the collection (50–64). For Tabori, "true memory" was only possible through reliving the past "with skin, nose, tongue, buttocks, feet, and belly," as he wrote in his Shylock Improvisations (1978). In the eighties and nineties, Tabori was a towering figure in German theater. Academic studies of his work, such as Anat Feinberg's seminal Embodied Memory: The Theatre of George Tabori (1999), brought his unique memory theater to the attention of an international audience. In her opening chapter for Open Wounds, Feinberg revisits some of the material from the earlier book. Like Kagel's introduction, her contribution serves an important function for the collection. Tabori's work is less well known today than it was twenty years ago: many readers will need the overview given by Feinberg and Kagel, especially since the book's primary focus, as per its subtitle, is on "the legacy of George Tabori." While it is easy to identify his influences—including Brecht, Beckett, Kafka, Open Theater, and Gestalt therapy—the question of Tabor
书评:《开放的伤口:大屠杀剧院和乔治·塔波里的遗产》，作者:马丁·卡格尔和大卫·z·萨尔茨迈克尔·巴赫曼《开放的伤口:大屠杀剧院和乔治·塔波里的遗产》。马丁·卡格尔和大卫·z·萨尔茨编辑。安娜堡:密歇根大学出版社，2022。Pp. vii + 200。布85.00美元。ISBN 9780472132843。乔治·塔博里(1914-2007)在93岁去世之前，一直孜孜不倦地工作，他曾声称自己是“世界上工作时间最长的戏剧制作人”，并补充说，除了舞台，他没有其他的家。这不仅说明了他对戏剧的痴迷，也反映了20世纪的创伤历史:塔波里的父亲在奥斯维辛集中营被谋杀;他的母亲险些被驱逐出境。塔里出生于布达佩斯的一个犹太血统家庭，成年后的大部分时间在英国和美国度过，1969年移居德国。正是在那里，他作为剧作家和导演取得了最大的成功，最著名的作品是他的大屠杀戏剧《食人族》(1968/69)、《我母亲的勇气》(1979)、《禧年》(1983)和《我的奋斗》(1987)。正如马丁·卡格尔在与大卫·z·萨尔茨合编的《开放的伤口:大屠杀戏剧和乔治·塔博里的遗产》一书中所写的那样，这些戏剧和作品引入了一种新的大屠杀戏剧模式。它与“感伤的人文主义”、心理现实主义和纪实方法截然不同。相反，塔里投入了越界的幽默、超戏剧的反思、对受害者-加害者关系的不同寻常的关注，以及“戏剧表演的真实性”(14)。这并不是指一种表现历史的现实主义模式，而是指强调表演的经验维度，通过仪式、笑声、尴尬和震惊等发自内心的时刻来破坏表现。“记忆吗?不!“体验”是Alice Le Trionnaire-Bolterauer文集(50-64)中章节的恰当标题。对塔波里来说，“真正的记忆”只有通过“用皮肤、鼻子、舌头、臀部、脚和肚子”重温过去才有可能，正如他在《夏洛克即兴创作》(1978)中所写的那样。在八九十年代，塔波里是德国戏剧界的杰出人物。对他作品的学术研究，如阿纳特·范伯格开创性的《具身记忆:乔治·塔波里的戏剧》(1999)，使他独特的记忆戏剧引起了国际观众的注意。在《敞开的伤口》的第一章中，范伯格回顾了早期书中的一些材料。就像凯格尔的介绍一样，她的贡献对这个系列起着重要的作用。塔波里的作品在今天不像20年前那么出名:许多读者需要Feinberg和Kagel给出的概述，特别是因为这本书的主要焦点，正如其副标题所示，是“乔治·塔波里的遗产”。虽然很容易确定他的影响——包括布莱希特、贝克特、卡夫卡、开放剧场和格式塔疗法——但塔波里的遗产问题却极其复杂。很难列出直接追随他脚步的艺术家，《开放的伤口》明智地没有尝试这样做。它经常寻求遗产，正如杰克·戴维斯(Jack Davis)在一个关于后戏剧戏剧的章节中所写的那样，“不是通过直接的影响，而是通过一系列调换和转化的关注”，在他的案例中，关于“动物、动物性、大屠杀的受害者和肇事者”(127)。其他人关注的是“表演身体的遗产”(约翰娜Öttl)，大屠杀音乐剧中的“痛苦的笑声”(芭芭拉华莱士格罗斯曼)，以及“道德见证”的问题(丽贝卡罗维特)。这种通过主题和概念关注来处理遗产的方法可以产生出色的见解。例如，彼得Höyng的章节令人信服地论证了为什么乌尔斯·奥德马特2009年改编自《我的奋斗》的电影没有继承塔博里的遗产。它试图调和戏剧的挑衅和滑稽的情节——想象年轻的希特勒和他的犹太室友什洛莫·赫茨之间的友谊——与“历史准确的叙述”(162)，从而“无效”了戏剧制作人的戏剧原则，从而失去了塔波里打破禁忌的幽默的越界潜力。其他章节则远离大堀。弗雷迪·罗克姆对戏剧进行了原创性的、发人深省的分析，并自我反思地回顾了自己的历史，包括——但绝不是专注于……
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Pub Date : 2023-10-01DOI: 10.1353/gsr.2023.a910195
Reviewed by: The Streets Echoed with Chants: The Urban Experience of Post-War West Berlin by Laura Bowie Alexandria N. Ruble The Streets Echoed with Chants: The Urban Experience of Post-War West Berlin. By Laura Bowie. Oxford: Peter Lang, 2022. Pp 302. 9781789975819. $70.00. The physical destructionand division of Berlin after World War II is well documented, with scars that remain today. Laura Bowie's intriguing new monograph explores how 1968ers envisioned West Berlin's future and reshaped the urban landscape surrounding them. Bowie depicts West Berlin as a product of social, political, and intellectual impulses on a global scale. Her case study is Aktion 507, a group comprised of 120 architectural students at the Technical University of Berlin who sought to highlight the problems with Berlin's urban planning and, by extension, its social and political ailments. To understand 1968, she contends, we must examine micropolitics and everyday life in West Berlin. Dividing the book into three sections, Bowie begins with "The Present." The first chapter, "Urban Planning and the Formulation of Society," explores the impact of the modernist movement on postwar architecture. Prior to the war, the Nazis had wanted to demolish cities to construct the perfect modernist cityscape. Ironically, this wish came true; by 1945, destroyed cities gave postwar architects their opening to redesign urban landscapes. While some city planners had radical visions for a new Berlin, geopolitical realities of occupation and division soon tempered their whims. In addition, the demolition of working-class neighborhoods (such as Wedding and Kreuzberg) and the relocation of their residents were controversial. Planned districts such as Gropiusstadt and the Märkisches Viertel were then developed, but demand for more housing in West Berlin quickly led to revised blueprints and, consequently, unanticipated social problems. Chapter Two, "Colour in the City," covers the use of color in urban planning. Postwar modernists traded prewar ornamentation for bright splashes of color. If drab [End Page 511] colors represented the fascist past and the depressing circumstances of war, then color signified a democratic and bright future. Moreover, color was inexpensive compared to stone carvings. Aktion 507, meanwhile, rejected the premise of city planners prescribing colors for buildings, arguing that it was an inadequate replacement for real social services, such as transportation and kindergartens. Furthermore, they claimed that color had to be determined by the residents, not imposed on them by authorities. Chapter Three, "Functionalism under Attack," begins by placing Aktion 507's critiques in a transnational context. Sociologists worldwide noted that postwar urban environments were not pleasing to their inhabitants, but as Bowie points out, local context mattered. Aktion 507 took several different approaches to criticizing the new urban landscape surrounding them. For example, TU students
书评:《圣歌回响的街道:战后西柏林的城市经验》作者:劳拉·鲍伊亚历山大·n·卢布《圣歌回响的街道:战后西柏林的城市经验》劳拉·鲍伊著。牛津:彼得·朗，2022。页302。9781789975819. 70.00美元。第二次世界大战后柏林的物理破坏和分裂是有据可查的，至今仍留有伤疤。劳拉·鲍伊引人入胜的新专著探讨了20世纪80年代的人如何设想西柏林的未来，并重塑了他们周围的城市景观。鲍伊将西柏林描绘成全球范围内社会、政治和智力冲动的产物。她的案例研究是“行动507”(Aktion 507)，这是一个由柏林工业大学(Technical University of Berlin) 120名建筑系学生组成的团体，他们试图突出柏林城市规划的问题，进而突出柏林的社会和政治问题。她认为，要理解1968年，我们必须审视西柏林的微观政治和日常生活。鲍伊把这本书分为三个部分，以“现在”开头。第一章“城市规划与社会形成”探讨了现代主义运动对战后建筑的影响。在战争之前，纳粹想要摧毁城市来建造完美的现代主义城市景观。讽刺的是，这个愿望实现了;到1945年，被摧毁的城市给了战后建筑师重新设计城市景观的机会。虽然一些城市规划者对新柏林有着激进的愿景，但占领和分裂的地缘政治现实很快就缓和了他们的异想天开。此外，工人阶级社区(如Wedding和Kreuzberg)的拆除和居民的重新安置也引起了争议。随后开发了Gropiusstadt和Märkisches Viertel等规划区，但西柏林对更多住房的需求很快导致了蓝图的修改，因此出现了意想不到的社会问题。第二章“城市中的色彩”，介绍了色彩在城市规划中的应用。战后的现代主义者用鲜艳的色彩取代了战前的装饰。如果说单调的颜色代表着法西斯主义的过去和战争中令人沮丧的环境，那么颜色则象征着民主和光明的未来。此外，与石雕相比，彩雕价格低廉。与此同时，507行动反对城市规划者规定建筑颜色的前提，认为它不足以取代真正的社会服务，如交通和幼儿园。此外，他们声称颜色必须由居民决定，而不是当局强加给他们的。第三章，“受到攻击的功能主义”，首先将行动507的批评置于跨国背景下。世界各地的社会学家都注意到，战后的城市环境并不讨居民的欢心，但正如鲍伊指出的那样，当地环境很重要。Aktion 507采用了几种不同的方法来批评周围的新城市景观。例如，TU的学生和教授在一栋在建的建筑中组织了一个展览，作为一种批评的形式。此外，行动507的成员参加了与居民的会议，抱怨发展的不同方面，如Märkisches Viertel。507行动的成员认为这是一个记录居民经历的机会。与此同时，主流媒体，如《明镜周刊》，通过强调涂鸦、酗酒和家庭暴力的严重程度，引起了人们对住房发展的关注。第二部分“过去”(The Past)探讨了纳粹最近的过去是如何影响人们对当前环境的情绪反应的。第四章，“战后德国的纠缠政治”，探讨了507行动的建筑系学生和教师如何将城市规划视为阻碍公众参与过去的另一种方式。根据507行动，通过向公众规定新建筑应该是什么样子，城市规划者正在复制过去的威权主义，并为别有用心的资本主义动机提供资金，从被摧毁的城市中获利。第五章“战后心灵与政治的审美化”，涵盖了法西斯主义的过去及其对美学的痴迷影响战后政治的无数方式。507行动通过广告和艺术将纳粹的过去与1968年的政治直接联系起来。68年代的人还认为，如果设计得当，城市环境可以促进参与民主的责任心，从而防止个人倾向于他们最卑鄙的诱惑。根据“行动507”，像Märkisches Viertel这样的住宅区的居民因为专制国家积极寻求……而感到疏远和不安。
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