Pub Date : 2021-08-01DOI: 10.1215/0094033x-8989218
M. Pensky
Theodor W. Adorno’s claim in Aesthetic Theory that artworks have a truth content, and that this truth content in turn depends on philosophical interpretation, is among the work’s most challenging and obscure claims. This article argues that “The Idea of Natural History,” Adorno’s lecture dating to 1932, offers important resources for interpreting the claim of art’s truth content. Reading the lecture’s core idea of transience, the article proposes that the form of philosophical interpretation Adorno develops there illuminates one way to clarify what Adorno means, in Aesthetic Theory, by the interpretation of art’s truth content. While far from definitive, this conclusion does support interpretations of art’s truth content that foreground art’s function as a critique of ideology, that is, of having a field of application that moves beyond the sphere of the aesthetic and toward the disclosure of conditions of social domination.
{"title":"Natural History and Aesthetic Truth in Aesthetic Theory","authors":"M. Pensky","doi":"10.1215/0094033x-8989218","DOIUrl":"https://doi.org/10.1215/0094033x-8989218","url":null,"abstract":"\u0000 Theodor W. Adorno’s claim in Aesthetic Theory that artworks have a truth content, and that this truth content in turn depends on philosophical interpretation, is among the work’s most challenging and obscure claims. This article argues that “The Idea of Natural History,” Adorno’s lecture dating to 1932, offers important resources for interpreting the claim of art’s truth content. Reading the lecture’s core idea of transience, the article proposes that the form of philosophical interpretation Adorno develops there illuminates one way to clarify what Adorno means, in Aesthetic Theory, by the interpretation of art’s truth content. While far from definitive, this conclusion does support interpretations of art’s truth content that foreground art’s function as a critique of ideology, that is, of having a field of application that moves beyond the sphere of the aesthetic and toward the disclosure of conditions of social domination.","PeriodicalId":46595,"journal":{"name":"NEW GERMAN CRITIQUE","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41750211","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 : 2021-08-01DOI: 10.1215/0094033x-8989330
Steven E. Aschheim
This article presents an exposition, analysis, and critique of Anson Rabinbach’s historical research and theses as reflected in Staging the Third Reich: Essays in Cultural and Intellectual History (2020), a volume of his essays on Nazism, fascism, antifascism, and the aftermath of these movements in political life, public remembrance, and historiography. The article probes Rabinbach’s particular method and significant contributions to intellectual and cultural history.
{"title":"On Anson Rabinbach’s Staging the Third Reich","authors":"Steven E. Aschheim","doi":"10.1215/0094033x-8989330","DOIUrl":"https://doi.org/10.1215/0094033x-8989330","url":null,"abstract":"\u0000 This article presents an exposition, analysis, and critique of Anson Rabinbach’s historical research and theses as reflected in Staging the Third Reich: Essays in Cultural and Intellectual History (2020), a volume of his essays on Nazism, fascism, antifascism, and the aftermath of these movements in political life, public remembrance, and historiography. The article probes Rabinbach’s particular method and significant contributions to intellectual and cultural history.","PeriodicalId":46595,"journal":{"name":"NEW GERMAN CRITIQUE","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44025142","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 : 2021-08-01DOI: 10.1215/0094033x-8989190
P. E. Gordon
“Great works wait. While their metaphysical meaning dissolves, something of their truth content, however little it can be pinned down, does not.” This hopeful remark appears in Theodor W. Adorno’s Aesthetic Theory, a work that was first published in 1970, just a year after the author’s death. Fifty years later we can still hear in this remark a double entendre. In both art and personal life, we must surrender any hope for metaphysical eternity, but we can nonetheless affirm the survival of what we might call the “truth content” that is preserved in either an artwork or any “work” that survives long after its creator has passed. It is no less true for great works of philosophy, which are born with an aura at a particular time and place. No doubt this aura, too, is vulnerable to decay, but the work continues to awaken new thoughts well after the aura has dissolved. Wewill never be done reading Aesthetic Theory. It is admittedly the case for any work of philosophical importance that the task of its interpretation is ongoing and potentially infinite. But for a work such as Aesthetic Theory this truismmaycarry an enhanced truth. Because the author left it unfinished, all of us in the community of readers are burdened with the task of completing the work itself, as if each critical encounter were not only an interpretation but also
“伟大的作品等待着。虽然它们的形而上学意义消失了，但它们的某些真理内容，无论多么难以确定，都不会消失"这句充满希望的话出现在西奥多·w·阿多诺(Theodor W. Adorno)的《美学理论》(Aesthetic Theory)一书中，该书于1970年首次出版，就在阿多诺去世一年后。五十年后的今天，我们仍然可以从这句话中听到双关语。在艺术和个人生活中，我们必须放弃对形而上学永恒的任何希望，但我们仍然可以肯定，我们可以称之为“真理内容”的存在，它保存在艺术品或任何“作品”中，在其创作者去世后很长一段时间里。伟大的哲学著作也是如此，它们在特定的时间和地点产生了一种光环。毫无疑问，这种光环也很容易腐烂，但在光环消散后，这项工作继续唤醒新的思想。我们永远读不完《美学理论》。不可否认，对于任何具有哲学意义的工作来说，解释它的任务都是持续的，而且可能是无限的。但对于像《美学理论》这样的作品来说，这一真理可能带有增强的真实性。因为作者没有完成它，所以我们读者群体中的所有人都肩负着完成作品本身的任务，好像每一次批判性的遭遇不仅是一种解释，而且也是一种解释
{"title":"Adorno’s Aesthetic Theory at Fifty: Introductory Remarks","authors":"P. E. Gordon","doi":"10.1215/0094033x-8989190","DOIUrl":"https://doi.org/10.1215/0094033x-8989190","url":null,"abstract":"“Great works wait. While their metaphysical meaning dissolves, something of their truth content, however little it can be pinned down, does not.” This hopeful remark appears in Theodor W. Adorno’s Aesthetic Theory, a work that was first published in 1970, just a year after the author’s death. Fifty years later we can still hear in this remark a double entendre. In both art and personal life, we must surrender any hope for metaphysical eternity, but we can nonetheless affirm the survival of what we might call the “truth content” that is preserved in either an artwork or any “work” that survives long after its creator has passed. It is no less true for great works of philosophy, which are born with an aura at a particular time and place. No doubt this aura, too, is vulnerable to decay, but the work continues to awaken new thoughts well after the aura has dissolved. Wewill never be done reading Aesthetic Theory. It is admittedly the case for any work of philosophical importance that the task of its interpretation is ongoing and potentially infinite. But for a work such as Aesthetic Theory this truismmaycarry an enhanced truth. Because the author left it unfinished, all of us in the community of readers are burdened with the task of completing the work itself, as if each critical encounter were not only an interpretation but also","PeriodicalId":46595,"journal":{"name":"NEW GERMAN CRITIQUE","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44439360","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 : 2021-08-01DOI: 10.1215/0094033x-8989302
D. Fuente, Ricardo Samaniego
Rejecting a reading of Theodor W. Adorno as a critic of the culture industry who could not conceive of film’s critical potential, many commentators have argued that for Adorno, film can become autonomous and thus a medium for social critique. This article argues that such a reading is only partly correct. Indeed, Adorno thought that film could be a medium for critique, yet he never stopped asserting film’s heteronomy. Building on the work of Miriam Hansen, the article argues that for Adorno, critical film could overcome the limitation of technique by film’s representational base and its inability to achieve a neutral standpoint through the use of montage, which arranges the material without dominating it.
{"title":"Adorno’s Magic Lantern: On Film, Semblance, and Aesthetic Heteronomy","authors":"D. Fuente, Ricardo Samaniego","doi":"10.1215/0094033x-8989302","DOIUrl":"https://doi.org/10.1215/0094033x-8989302","url":null,"abstract":"\u0000 Rejecting a reading of Theodor W. Adorno as a critic of the culture industry who could not conceive of film’s critical potential, many commentators have argued that for Adorno, film can become autonomous and thus a medium for social critique. This article argues that such a reading is only partly correct. Indeed, Adorno thought that film could be a medium for critique, yet he never stopped asserting film’s heteronomy. Building on the work of Miriam Hansen, the article argues that for Adorno, critical film could overcome the limitation of technique by film’s representational base and its inability to achieve a neutral standpoint through the use of montage, which arranges the material without dominating it.","PeriodicalId":46595,"journal":{"name":"NEW GERMAN CRITIQUE","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43669932","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 : 2021-02-01DOI: 10.1215/0094033X-8809371
Marit Grøtta
The Nature theater of Oklahama in Der Verschollene is one of Kafka’s most enigmatic inventions, widely known through Walter Benjamin’s and Giorgio Agamben’s reading of it as a theater of gestures. This article explores the intertextual archive of Kafka’s novel, bringing into play an entry hitherto overlooked: the nature theater movement in the early twentieth century, promoted by the conservative Heimatkunstbewegung. Discussing the historical nature theater, on the one hand, and Benjamin’s and Agamben’s theater of gestures, on the other, the article examines the conceptions of life that come into play in the novel (life as career, life as theater, life as gesture) and considers the fate of the protagonist in this light. Seeing the question of inclusion/exclusion as key to Kafka’s novel, the article argues that it exposes the thin line between utopia and dystopia and allows us to reflect on the dangers as well as the possibilities of modernity.
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Pub Date : 2021-02-01DOI: 10.1215/0094033X-8732173
S. Hake
In the social imaginaries that sustained Nazi ideology from the 1920s through the 1930s, Arbeitertum, translated here as “workerdom,” played a key role in integrating socialist positions into the discourse of the Volksgemeinschaft. Workerdom proved essential for translating the class-based identifications associated with the proletariat into the race-based categories that redefined the people, and hence the workers, in line with antisemitic thought. The writings of the prolific but largely forgotten August Winnig (1878–1956) can be used to reconstruct how workerdom came to provide an emotional blueprint, an identificatory model, and a compensatory fantasy in the reimagining of class, folk, and nation. The influential Vom Proletariat zum Arbeitertum (1930), as well as select autobiographical and fictional works by Winnig, are used to uncover these continuities through the political emotions, dispositions, and identifications that can properly be called populist. In the larger context of worker’s literature, conservative revolution, and völkisch thought, the Nazi discourse of workerdom not only confirms the close connection between political emotion and populist (un)reason but also opens up new ways to understand the continued attractions of populism as a particular kind of politics of emotion based on the dream of the people.
在20世纪20年代至30年代维持纳粹意识形态的社会想象中，Arbeitertum，在这里被翻译为“工人主义”，在将社会主义立场融入人民话语中发挥了关键作用。事实证明，工人主义对于将与无产阶级相关的基于阶级的认同转化为基于种族的类别至关重要，这些类别根据反犹太主义思想重新定义了人民，从而重新定义了工人。多产但基本上被遗忘的August Winning（1878-1956）的作品可以用来重建工人主义是如何在重新想象阶级、民间和国家的过程中提供情感蓝图、识别模式和补偿幻想的。颇具影响力的Vom Proletariat zum Arbeitertum（1930），以及温尼伯精选的自传体和虚构作品，被用来通过可以被恰当地称为民粹主义的政治情感、倾向和认同来揭示这些连续性。在工人文学、保守革命和沃尔基什思想的大背景下，纳粹的工人主义话语不仅证实了政治情感与民粹主义理性之间的密切联系，而且为理解民粹主义作为一种基于人民梦想的特殊情感政治的持续吸引力开辟了新的途径。
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Pub Date : 2021-02-01DOI: 10.1215/0094033X-8732187
Christoph Schaub
Largely overlooked in the booming scholarship on world literature, literary globalization, and transnational modernism, a world literature of socialist internationalism was imagined, written, theorized, and practiced in the aftermath of World War I, representing the first attempt to actualize the idea of world literature under the auspices of a social and political mass movement. This article develops and illustrates five theses about this internationalist world literature. It thereby sketches aspects of the history of internationalist world literature in Germany between 1918 and 1933 and formulates historical, historiographical, poetological, and literary and cultural theoretical interventions into the field of world literature studies. In particular, the article develops the notions of the transnational literary counterpublic and of realist modernism while tracing ideas about transnational class literatures and nonnormative imaginaries of the proletariat.
{"title":"World Literature and Socialist Internationalism in the Weimar Republic: Five Theses","authors":"Christoph Schaub","doi":"10.1215/0094033X-8732187","DOIUrl":"https://doi.org/10.1215/0094033X-8732187","url":null,"abstract":"\u0000 Largely overlooked in the booming scholarship on world literature, literary globalization, and transnational modernism, a world literature of socialist internationalism was imagined, written, theorized, and practiced in the aftermath of World War I, representing the first attempt to actualize the idea of world literature under the auspices of a social and political mass movement. This article develops and illustrates five theses about this internationalist world literature. It thereby sketches aspects of the history of internationalist world literature in Germany between 1918 and 1933 and formulates historical, historiographical, poetological, and literary and cultural theoretical interventions into the field of world literature studies. In particular, the article develops the notions of the transnational literary counterpublic and of realist modernism while tracing ideas about transnational class literatures and nonnormative imaginaries of the proletariat.","PeriodicalId":46595,"journal":{"name":"NEW GERMAN CRITIQUE","volume":"48 1","pages":"153-180"},"PeriodicalIF":0.3,"publicationDate":"2021-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49396899","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 : 2021-02-01DOI: 10.1215/0094033X-8732201
Jana Cattien
This article interrogates the discursive regimes that underpin Leitkultur (guiding culture) discourse in contemporary Germany and argues that Leitkultur conjures Germany’s imagined “freedom from history” from within Enlightenment temporalities of liberal freedom. This requires that liberal Germany mark its limits in certain moments of German history—namely, National Socialism—while disavowing its role in the constitution of German colonialism. The return to the Enlightenment implied in hegemonic formulations of Leitkultur restores Germany’s freedom from an ugly past; this imagined return can carry the promise of a “diverse” and “inclusive” Germany only insofar as Germany’s colonial heritage is suppressed. The article aims to expose how Germany’s colonial legacy underpins dominant Leitkultur discourse while it is nevertheless hidden from it.
{"title":"What IsLeitkultur?","authors":"Jana Cattien","doi":"10.1215/0094033X-8732201","DOIUrl":"https://doi.org/10.1215/0094033X-8732201","url":null,"abstract":"This article interrogates the discursive regimes that underpin Leitkultur (guiding culture) discourse in contemporary Germany and argues that Leitkultur conjures Germany’s imagined “freedom from history” from within Enlightenment temporalities of liberal freedom. This requires that liberal Germany mark its limits in certain moments of German history—namely, National Socialism—while disavowing its role in the constitution of German colonialism. The return to the Enlightenment implied in hegemonic formulations of Leitkultur restores Germany’s freedom from an ugly past; this imagined return can carry the promise of a “diverse” and “inclusive” Germany only insofar as Germany’s colonial heritage is suppressed. The article aims to expose how Germany’s colonial legacy underpins dominant Leitkultur discourse while it is nevertheless hidden from it.","PeriodicalId":46595,"journal":{"name":"NEW GERMAN CRITIQUE","volume":"48 1","pages":"181-209"},"PeriodicalIF":0.3,"publicationDate":"2021-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45836977","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 : 2021-02-01DOI: 10.1215/0094033X-8732159
K. Gilchrist
This article investigates a problem in Theodor W. Adorno’s thought: how can Adorno critique advanced capitalist societies for their dehumanizing tendencies while also refusing the possibility of defining the human? Motivating this inquiry is a renewed investigation of philosophical anthropology by thinkers like Axel Honneth and Jürgen Habermas, who explore positive theories of human limits and needs as the basis of social critique. As Adorno consistently refused to define the human on philosophical and political grounds, this article asks whether his work offers an unexamined alternative to philosophical anthropology’s revival. A reconstruction of Adorno’s position shows how Adorno displaces anthropological problems into his philosophy of art, where the principle of mimesis offers a potentially nonanthropological model of human potential. Yet it also reveals how Adorno’s refusal to directly interrogate philosophical anthropology leads him to implicitly prescribe a certain figure of the human, undermining the value of his resistance to anthropological definitions.
{"title":"We Cannot Say What the Human Is: The Problem of Anthropology in Adorno’s Philosophy of Art","authors":"K. Gilchrist","doi":"10.1215/0094033X-8732159","DOIUrl":"https://doi.org/10.1215/0094033X-8732159","url":null,"abstract":"\u0000 This article investigates a problem in Theodor W. Adorno’s thought: how can Adorno critique advanced capitalist societies for their dehumanizing tendencies while also refusing the possibility of defining the human? Motivating this inquiry is a renewed investigation of philosophical anthropology by thinkers like Axel Honneth and Jürgen Habermas, who explore positive theories of human limits and needs as the basis of social critique. As Adorno consistently refused to define the human on philosophical and political grounds, this article asks whether his work offers an unexamined alternative to philosophical anthropology’s revival. A reconstruction of Adorno’s position shows how Adorno displaces anthropological problems into his philosophy of art, where the principle of mimesis offers a potentially nonanthropological model of human potential. Yet it also reveals how Adorno’s refusal to directly interrogate philosophical anthropology leads him to implicitly prescribe a certain figure of the human, undermining the value of his resistance to anthropological definitions.","PeriodicalId":46595,"journal":{"name":"NEW GERMAN CRITIQUE","volume":"48 1","pages":"71-102"},"PeriodicalIF":0.3,"publicationDate":"2021-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49120386","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 : 2021-02-01DOI: 10.1215/0094033X-8732145
Andrea Gyenge
This article returns to the figure of the mouth in Gotthold Ephraim Lessing’s Laocoön: An Essay on the Limits of Painting and Poetry. While many scholars treat Lessing’s attention to the statue’s mouth as a sign of his contempt for the body, the article argues that Lessing’s interest in orality is a test of the limits of the eighteenth century’s neoclassicism. The article concludes that Lessing is thus not a representative of conservative aesthetics but a proto-Freudian thinker who inadvertently challenged the foundations of his own aesthetic project.
{"title":"Laocoön’s Scream; or, Lessing Redux","authors":"Andrea Gyenge","doi":"10.1215/0094033X-8732145","DOIUrl":"https://doi.org/10.1215/0094033X-8732145","url":null,"abstract":"\u0000 This article returns to the figure of the mouth in Gotthold Ephraim Lessing’s Laocoön: An Essay on the Limits of Painting and Poetry. While many scholars treat Lessing’s attention to the statue’s mouth as a sign of his contempt for the body, the article argues that Lessing’s interest in orality is a test of the limits of the eighteenth century’s neoclassicism. The article concludes that Lessing is thus not a representative of conservative aesthetics but a proto-Freudian thinker who inadvertently challenged the foundations of his own aesthetic project.","PeriodicalId":46595,"journal":{"name":"NEW GERMAN CRITIQUE","volume":"48 1","pages":"41-70"},"PeriodicalIF":0.3,"publicationDate":"2021-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46124217","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}
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