Pub Date : 2022-08-01DOI: 10.1215/0094033x-9734833
B. Nagel
The attention that the Swiss modernist writer Robert Walser pays to domestic violence can be regarded as exceptional. So why does child abuse still remain a blind spot in the scholarship on Walser? This article discerns techniques that Walser uses to render family violence invisible, such as multiperspectivism and changes of tonality. These aesthetic techniques gain in depth through comparison to concepts from object relations theory: Sándor Ferenczi’s “identification with the aggressor” and Wilfred R. Bion’s “attacks on linking.” With family brutality, the problem of perspective is not purely formal but intrinsic, because part of the violence of domestic violence is the exhausting degree of affective mobility it demands—a capacity but also a vertiginous obligation to change tones and perspectives.
{"title":"The Child in the Dark: On Child Abuse in Robert Walser","authors":"B. Nagel","doi":"10.1215/0094033x-9734833","DOIUrl":"https://doi.org/10.1215/0094033x-9734833","url":null,"abstract":"The attention that the Swiss modernist writer Robert Walser pays to domestic violence can be regarded as exceptional. So why does child abuse still remain a blind spot in the scholarship on Walser? This article discerns techniques that Walser uses to render family violence invisible, such as multiperspectivism and changes of tonality. These aesthetic techniques gain in depth through comparison to concepts from object relations theory: Sándor Ferenczi’s “identification with the aggressor” and Wilfred R. Bion’s “attacks on linking.” With family brutality, the problem of perspective is not purely formal but intrinsic, because part of the violence of domestic violence is the exhausting degree of affective mobility it demands—a capacity but also a vertiginous obligation to change tones and perspectives.","PeriodicalId":46595,"journal":{"name":"NEW GERMAN CRITIQUE","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43484888","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-01DOI: 10.1215/0094033x-9734861
Brook Henkel
Fritz Lang’s film The Thousand Eyes of Dr. Mabuse (1960) stands out among West German cinema of the Adenauer years for its attention to urban space and the afterlife of Nazism in the postwar era. This article rereads the film as an incisive representation of the new mobilities and historically layered spaces and infrastructure of 1950s Berlin, a representation informed by Lang’s exile experience and Hollywood film noir. By newly contextualizing the film in relation to the history of Nazi television, as well as Siegfried Kracauer’s and Theodor W. Adorno’s early postwar writings, the article reconstructs the film’s interconnections with critical discourses on the afterlife of fascist terror, authoritarianism, and irrationality in postwar urban space, media, and astrology. It demonstrates further the importance of rereading Lang, and cinema in general, in close relation to other media like television.
{"title":"Mabuse Returns: Fritz Lang, 1950s Berlin, and the Afterlife of Nazi Television","authors":"Brook Henkel","doi":"10.1215/0094033x-9734861","DOIUrl":"https://doi.org/10.1215/0094033x-9734861","url":null,"abstract":"Fritz Lang’s film The Thousand Eyes of Dr. Mabuse (1960) stands out among West German cinema of the Adenauer years for its attention to urban space and the afterlife of Nazism in the postwar era. This article rereads the film as an incisive representation of the new mobilities and historically layered spaces and infrastructure of 1950s Berlin, a representation informed by Lang’s exile experience and Hollywood film noir. By newly contextualizing the film in relation to the history of Nazi television, as well as Siegfried Kracauer’s and Theodor W. Adorno’s early postwar writings, the article reconstructs the film’s interconnections with critical discourses on the afterlife of fascist terror, authoritarianism, and irrationality in postwar urban space, media, and astrology. It demonstrates further the importance of rereading Lang, and cinema in general, in close relation to other media like television.","PeriodicalId":46595,"journal":{"name":"NEW GERMAN CRITIQUE","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42933085","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-01DOI: 10.1215/0094033x-9734805
Ido Ben Harush
This article deals with the mark of Richard Wagner on Franz Rosenzweig’s account of the Day of Atonement service in Der Stern der Erlösung. It exposes the presence of Wagner’s Tristan und Isolde, his theory of Gesamtkunstwerk, and particularly his theory of gesture in Rosenzweig’s discussion of the liturgical gesture of the Jewish holiday. It suggests that Rosenzweig models this most significant moment as a form of “sacred theater” depicting the Wagnerian “music opera.” Through this analysis, not only does “drama” emerge as the link between the three sections of Der Stern and as the key to unlocking the work’s argument as a whole, but also the fertility of Wagner’s theatrical theory for religious thought is revealed.
{"title":"Franz Rosenzweig, Richard Wagner, and the Sacred Theater of the Day of Atonement","authors":"Ido Ben Harush","doi":"10.1215/0094033x-9734805","DOIUrl":"https://doi.org/10.1215/0094033x-9734805","url":null,"abstract":"This article deals with the mark of Richard Wagner on Franz Rosenzweig’s account of the Day of Atonement service in Der Stern der Erlösung. It exposes the presence of Wagner’s Tristan und Isolde, his theory of Gesamtkunstwerk, and particularly his theory of gesture in Rosenzweig’s discussion of the liturgical gesture of the Jewish holiday. It suggests that Rosenzweig models this most significant moment as a form of “sacred theater” depicting the Wagnerian “music opera.” Through this analysis, not only does “drama” emerge as the link between the three sections of Der Stern and as the key to unlocking the work’s argument as a whole, but also the fertility of Wagner’s theatrical theory for religious thought is revealed.","PeriodicalId":46595,"journal":{"name":"NEW GERMAN CRITIQUE","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43696953","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-01DOI: 10.1215/0094033x-9734847
Karolina Watroba
Guy Maddin is a contemporary Canadian director who has been often lauded for the national distinctiveness of his work. Maddin’s Careful (1992), however, poses as an unrestored German Bergfilm (mountain film) from the early 1930s. This article offers a close reading of Careful and a critical dialogue with commentaries on both the mountain film and discussions of Maddin’s oeuvre. Putting to use transnational perspectives, this analysis of a Canadian director’s appropriation of a hallmark German genre problematizes previous constructions of national identity and national cinema as well as the periodization of film history.
Guy Maddin是一位当代加拿大导演，他经常因其作品的民族特色而受到赞誉。然而，《玛丁的小心》（1992）是一部20世纪30年代初未经改编的德国伯格电影（山地电影）。这篇文章细读了《小心》，并对山地电影和马丁作品的讨论进行了评论对话。从跨国视角来看，这篇对一位加拿大导演挪用德国标志性电影类型的分析，对之前国家身份和国家电影的构建以及电影史的分期提出了质疑。
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Pub Date : 2022-08-01DOI: 10.1215/0094033x-9734791
Ville Suuronen
Drawing on a large array of less-known materials, this article offers a new comparison of Carl Schmitt and Hannah Arendt by focusing on their opposing understandings of National Socialism as a novel political ideology. While Schmitt’s Nazi writings theorize a new kind of racial politics under Nazi rule, Arendt’s political thought develops as a systematic critique and response to the histories of antisemitism, imperialism, and totalitarianism. After joining the Nazi Party in 1933, Schmitt endorsed the expulsion of Jewish intellectuals from Germany, celebrated the burning of their writings (including those of Arendt), and supported the process of Gleichschaltung as the first steps in creating a nazified Germany. While Schmitt claimed that the Jews have no access to German substance, culture, and language, noting that “the Jew lies when he speaks German,” Arendt always emphasized that for her, Germany meant precisely “the mother tongue, the philosophy and the poetry.” Relying on thus far unacknowledged biographical and theoretical contrasts, this article aims to show that Schmitt and Arendt understand the political meanings of race and language in a radically different manner.
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Pub Date : 2022-08-01DOI: 10.1215/0094033x-9734819
Juliane Schicker
This article deals with questions of the sociopolitical involvement of classical music performance spaces. During the last twenty years of the German Democratic Republic (GDR), the Gewandhaus in Leipzig provided opportunities for its users to emancipate themselves from Socialist Unity Party oppression. Through its architecture, music, and visual art, the Gewandhaus symbolized an agonistic space that aided in disrupting its sociopolitical surroundings, because it made visible what real-existing socialism was lacking: unity, openness, transparency, and internationality. Examining how the Gewandhaus interacted with its sociopolitical surroundings sheds light on its ability to engage with public discourse within the restricted society of the GDR.
{"title":"The Concert Hall as Agonistic Public Space: The Gewandhaus in Leipzig","authors":"Juliane Schicker","doi":"10.1215/0094033x-9734819","DOIUrl":"https://doi.org/10.1215/0094033x-9734819","url":null,"abstract":"This article deals with questions of the sociopolitical involvement of classical music performance spaces. During the last twenty years of the German Democratic Republic (GDR), the Gewandhaus in Leipzig provided opportunities for its users to emancipate themselves from Socialist Unity Party oppression. Through its architecture, music, and visual art, the Gewandhaus symbolized an agonistic space that aided in disrupting its sociopolitical surroundings, because it made visible what real-existing socialism was lacking: unity, openness, transparency, and internationality. Examining how the Gewandhaus interacted with its sociopolitical surroundings sheds light on its ability to engage with public discourse within the restricted society of the GDR.","PeriodicalId":46595,"journal":{"name":"NEW GERMAN CRITIQUE","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43775812","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-01DOI: 10.1215/0094033x-9439601
Leif Weatherby
Hans Blumenberg’s only known treatment of the topic of artificial intelligence comes in the form of a fragmentary meditation on the first chatbot, Joseph Weizenbaum’s ELIZA. Blumenberg compares this program to the philosophy of Edmund Husserl, arguing that both AI and phenomenology make a false assumption about intelligence or consciousness. This article argues that Blumenberg’s brush with digital systems is crucial in updating our own critique of AI as it proliferates in a new, dynamic form today. Drawing on and shifting the account of technology in the phenomenological tradition, Blumenberg includes machines in the constitution of meaning through rhetoric and points the way to a new wave of digital critique.
Hans Blumenberg对人工智能话题唯一已知的处理方式是对第一个聊天机器人Joseph Weizenbaum的ELIZA进行零碎的思考。布鲁门伯格将这个程序与埃德蒙·胡塞尔的哲学进行了比较，认为人工智能和现象学都对智力或意识做出了错误的假设。这篇文章认为，随着人工智能以一种新的、动态的形式激增，布鲁门伯格对数字系统的梳理对于更新我们自己对人工智能的批评至关重要。布鲁门伯格借鉴并改变了现象学传统中对技术的描述，通过修辞将机器纳入意义的构成中，并为新一轮的数字批判指明了道路。
{"title":"Intermittent Legitimacy: Hans Blumenberg and Artificial Intelligence","authors":"Leif Weatherby","doi":"10.1215/0094033x-9439601","DOIUrl":"https://doi.org/10.1215/0094033x-9439601","url":null,"abstract":"Hans Blumenberg’s only known treatment of the topic of artificial intelligence comes in the form of a fragmentary meditation on the first chatbot, Joseph Weizenbaum’s ELIZA. Blumenberg compares this program to the philosophy of Edmund Husserl, arguing that both AI and phenomenology make a false assumption about intelligence or consciousness. This article argues that Blumenberg’s brush with digital systems is crucial in updating our own critique of AI as it proliferates in a new, dynamic form today. Drawing on and shifting the account of technology in the phenomenological tradition, Blumenberg includes machines in the constitution of meaning through rhetoric and points the way to a new wave of digital critique.","PeriodicalId":46595,"journal":{"name":"NEW GERMAN CRITIQUE","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43928064","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-01DOI: 10.1215/0094033x-9439643
Vida Pavesich
The Anthropocene concept emerged from questions raised by scientists about whether human activity has ushered in a new and perilous geological age. The term migrated into the humanities and social sciences and now involves a proliferation of metanarratives about anthropogenic disruptions to systems that support life on this planet. This article develops an interpretive framework drawn from Hans Blumenberg’s theories of myth and metaphor, philosophical anthropology, and philosophy of history to address how Immanuel Kant’s fourth question, “What is the human being?,” has reemerged in the Anthropocene, and to assess which narratives tend to best reflect realistic responses to the current crisis. In contrast to the mythical species-subject Anthropos, Blumenberg’s minimal anthropology characterizes humans as having a permanent bioanthropological need for orientation that requires cultural compensation, including partial reliance on metaphor and myth. As an interpretive optic, this anthropology has the resources to deflate narrative excess. In addition, Blumenberg’s philosophy of history can shed light on how the Anthropocene is both unprecedented yet not entirely new insofar as it addresses problems or questions suppressed by modernist progress myths. Through the prism of a minimal anthropology and an application of Blumenberg’s philosophy of history, this article explores those questions and presents criteria for distinguishing between harmless narratives and unrealistic, dangerous myths, such as ecomodernist fantasies of controlling the Earth system.
{"title":"Working on the Myth of the Anthropocene: Blumenberg and the Need for Philosophical Anthropology","authors":"Vida Pavesich","doi":"10.1215/0094033x-9439643","DOIUrl":"https://doi.org/10.1215/0094033x-9439643","url":null,"abstract":"The Anthropocene concept emerged from questions raised by scientists about whether human activity has ushered in a new and perilous geological age. The term migrated into the humanities and social sciences and now involves a proliferation of metanarratives about anthropogenic disruptions to systems that support life on this planet. This article develops an interpretive framework drawn from Hans Blumenberg’s theories of myth and metaphor, philosophical anthropology, and philosophy of history to address how Immanuel Kant’s fourth question, “What is the human being?,” has reemerged in the Anthropocene, and to assess which narratives tend to best reflect realistic responses to the current crisis. In contrast to the mythical species-subject Anthropos, Blumenberg’s minimal anthropology characterizes humans as having a permanent bioanthropological need for orientation that requires cultural compensation, including partial reliance on metaphor and myth. As an interpretive optic, this anthropology has the resources to deflate narrative excess. In addition, Blumenberg’s philosophy of history can shed light on how the Anthropocene is both unprecedented yet not entirely new insofar as it addresses problems or questions suppressed by modernist progress myths. Through the prism of a minimal anthropology and an application of Blumenberg’s philosophy of history, this article explores those questions and presents criteria for distinguishing between harmless narratives and unrealistic, dangerous myths, such as ecomodernist fantasies of controlling the Earth system.","PeriodicalId":46595,"journal":{"name":"NEW GERMAN CRITIQUE","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43715516","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-01DOI: 10.1215/0094033x-9439629
John C. Endres
Hans Blumenberg’s, frequently oblique, reflections on art rank among the most erudite in twentieth-century theories of art. The following investigations focus especially on his views on the visual arts as they unfold from his critical reception of Leonardo da Vinci’s art and science. At the center of such a reception stands a preeminent image concept of the Renaissance, the “window image,” and its epistemological implications, which Blumenberg counters with a skeptical attitude toward the mimetic aesthetics of images. In doing so, he contradicts Paul Valéry’s influential interpretation of Leonardo’s “method,” which Blumenberg discusses at great length, just to cut short the ambiguities of Renaissance perspective as a “symbolic form.”
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Pub Date : 2022-02-01DOI: 10.1215/0094033x-9439699
O. Marquard, Hannes Bajohr
First delivered as a short laudatory speech on the occasion of Hans Blumenberg receiving the Sigmund Freud Prize for Academic Prose in 1980, this essay by the German philosopher Odo Marquard served as a eulogy at a memorial event for Blumenberg after his death in 1996. Marquard, who was a colleague of Blumenberg’s at the University of Giessen between 1965 and 1970, offers one of the first and still most influential attempts at condensing Blumenberg’s thought to a basic idea: willfully reductive, Marquard argues that all of Blumenberg’s books can be read as a variation on the theme of “unburdening from the absolute”—the task of human beings to keep an overwhelming reality at bay. Marquard thus interprets him mainly as a proponent of the German current of “philosophical anthropology.” The text also sheds light on Blumenberg’s relationship to finitude, his life and reclusiveness, and his writing technique.
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