writing and the projection of a cultural other that has shaped scholarship. However, Leitloff does not engage in substance with Hartmut Böhme’s monograph on Fichte (1992) and does not even mention David Simo’s seminal book on interculturality and aesthetic experience (1993), which would certainly have enriched her study. In particular the relation between aesthetic experience and Fichte’s emphatic concepts of knowledge and research represents a crucial dimension that is neglected here. Apart from Fichte scholars, for whom this book will be valuable, Leitloff’s monograph remains of interest for those scholars seeking to bridge the linguistic boundaries that often limit philological research, such as those between German, Brazilian, or Cuban literature, whose respective audiences remain largely divided. This is an important ambition not just for the field of literary studies, but cultural studies at large. In her dissertation, Leitloff fulfills this ambition in part, while mapping out a territory for future scholars to venture into.
{"title":"Weiße Normalität. Perspektiven einer postkolonialen Literaturdidaktik. Von Magdalena Kißling. Bielefeld: Aisthesis, 2020. 432 pages. €45,00 gebunden oder eBook.","authors":"Andrea Dawn Bryant","doi":"10.3368/m.115.1.138","DOIUrl":"https://doi.org/10.3368/m.115.1.138","url":null,"abstract":"writing and the projection of a cultural other that has shaped scholarship. However, Leitloff does not engage in substance with Hartmut Böhme’s monograph on Fichte (1992) and does not even mention David Simo’s seminal book on interculturality and aesthetic experience (1993), which would certainly have enriched her study. In particular the relation between aesthetic experience and Fichte’s emphatic concepts of knowledge and research represents a crucial dimension that is neglected here. Apart from Fichte scholars, for whom this book will be valuable, Leitloff’s monograph remains of interest for those scholars seeking to bridge the linguistic boundaries that often limit philological research, such as those between German, Brazilian, or Cuban literature, whose respective audiences remain largely divided. This is an important ambition not just for the field of literary studies, but cultural studies at large. In her dissertation, Leitloff fulfills this ambition in part, while mapping out a territory for future scholars to venture into.","PeriodicalId":54028,"journal":{"name":"Monatshefte","volume":"115 1","pages":"138 - 140"},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69653103","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
eben die Philosophie auch nur als Fahne am Rand. Die hermeneutische Idee und ihre Praxis sind die Autoreflexion und deren Spuren. Worauf läuft das bei König hinaus? Auf die Dichterexistenz Zarathustras und zwar: Dichtung als l’art pour l’art. Man kann König danken, dass er uns so von manchem inhaltlichen Satz Nietzsches befreit: ,,Gehst du zum Weibe, vergiss die Peitsche nicht.“ – das steht zwar in jedem Zitatenbuch, aber man hört es nicht nur mit feministischen Ohren nicht mehr gerne. Aber was bleibt von einem Nietzsche, wenn dessen Worte von ihren philosophischen Gehalten abgetrennt werden, diese aber wie abgeköpft daneben liegen? Ein Nietzsche der Worte, aber ohne Gedanken? Bestenfalls bleibt uns so ein ästhetischer Nietzsche, der für König auch in den Dithyramben des Dionysios gipfelt. Das ist nicht wenig und gibt Blicke frei auf die kreative Praxis-Werkstatt dieses Sprachmagiers. Aber: Auch die Dichtungen Nietzsches sind nicht inhaltsleer, sondern sprechen vom ,,Jäger noch Gottes, dem Fangnetz aller Tugend“, ,,vom Folterer / du Henker-Gott“, ,,Ewigkeit“. Nietzsche im 21. Jahrhundert: Er zwingt wahrscheinlich die Leser_innen, eine Auswahl zu treffen zwischen großartigen Einsichten, die es immer noch sind. Noch einmal: ,,Bleibt mir der Erde treu, meine Brüder“ (KSA IV, 99) – ,,wir haben nur eine“, können wir hinzufügen. Seine Leib-Lehre: ,,Der Leib ist eine grosse Vernunft, eine Vielheit mit Einem Sinne“ (KSA IV, 39), weg mit der Missachtung des Körpers und des Körperlichen, an der die gegenwärtigen Kirchen kranken. Überhaupt: Nietzsches Religionskritik und die an den Priestern als den falschen Propheten erhält immer neue Aktualität. Grandios ist der Satz: ,,Nicht nur die Vernunft von Jahrtausenden – auch ihr Wahnsinn bricht an uns aus. Gefährlich ist es Erbe zu sein.“ (KSA IV, 100), der als ein Menetekel über der ganzen technisch-industriellen Zivilisation zu schweben scheint. Auch die Kritik an der Verflachung von Menschen ist im Zeitalter der Massenmedien nicht unangebracht. Nietzsche hatte den Gedanken des ,,Übermenschen“, dem auch weiland Novalis nachspürte, der einmal schrieb: ,,eh die Zeit der Gleichheit kommt, brauchen wir noch übernatürliche Kräfte“, ihn interessiere jetzt jeder ,,übergewöhnliche Mensch“ (Novalis: Schriften, Bd. IV, Darmstadt 1975: 140). Nietzsches Zarathustra wütet gegen die ,,Gleichheit“ und ersehnt den ,,Übermenschen“, über den in der Geschichte allerdings viel Unsinn schwadroniert wurde. Nietzsche ist ein ,,Powerhouse of Ideas“, der ganze Generationen mit Ideen befüttert hat. Treiben wir ihm diese nicht aus, sondern nehmen sie an, wie er sie ausgespieen hat, aber gehen sorgfältig mit ihnen um.
我们没有联系，也没有联系神话和实践是编辑史上的…这对国王来说意味着什么?为苏鲁图斯这个诗人的存在干杯一个夏天的故事可以谢谢国王救了我们脱离了许多错误的思想“虽然所有分类书都有这几点，但不仅所有女权主义者都不想再听到这番话了。但是如果尼采的言语与你的哲学本质互相背离而你的哲学本质却像傻瓜一样漂在了一起，那他会有什么遭遇呢?用文字去点缀一下，但不去想?充其量，他只剩下美感尼采伊萨在皇帝的早期鸡尾酒中演出这个工资很高，作为这个语言硕士的创意实践工作室但是尼采的文学创作也不是真内容，而是关于:“猎人，上帝，救世主，救世主。”21世纪的尼采他可能会要求读者在现在仍在的伟大洞察之间进行选择。再一次:“我的兄弟们，要忠于大地(KSA IV, 99)，我们只有一个”，我们可以再加上。他的身体教义:“身体是大理智，是有知觉的复数体”(KSA IV, 39)，事实上，尼采的宗教批评以及祭司眼中的假先知的故事总有及时性。富兰多有句话:“不仅仅是数千年以来的理性;而且它们的疯狂也发自我们。”而身为后人是很危险的“(KSA IV, 100)”仿佛是从技术和工业文明方面界定出来的。在大众传播媒介的时代，批评人的过热也是恰当的。尼采明白“超人”是怎样的人，这一点，魏伦·纳维利也亲身体验过。他说:“平等的时代还没有到，我们就需要一些超自然的力量。”现在，每个人都对“超自然的人”感兴趣。(尼采的苏鲁支愤怒反对“平等”，并向往“超人间”，历史上关于他的流言不绝。尼采就像是“思想之家”，为子孙后代提供了创意。我们不是要驱散他，而是想像他的反应，但要小心应对。
{"title":"„Das Publikum wird immer besser“. Literarische Adressatenfunktionen vom Realismus bis zur Avantgarde. Herausgegeben von Lorella Bosco und Giulia A. Disanto. Wien/Köln/Weimar: Böhlau, 2020. 207 Seiten. €40,00 broschiert oder eBook.","authors":"David Brehm","doi":"10.3368/m.115.1.117","DOIUrl":"https://doi.org/10.3368/m.115.1.117","url":null,"abstract":"eben die Philosophie auch nur als Fahne am Rand. Die hermeneutische Idee und ihre Praxis sind die Autoreflexion und deren Spuren. Worauf läuft das bei König hinaus? Auf die Dichterexistenz Zarathustras und zwar: Dichtung als l’art pour l’art. Man kann König danken, dass er uns so von manchem inhaltlichen Satz Nietzsches befreit: ,,Gehst du zum Weibe, vergiss die Peitsche nicht.“ – das steht zwar in jedem Zitatenbuch, aber man hört es nicht nur mit feministischen Ohren nicht mehr gerne. Aber was bleibt von einem Nietzsche, wenn dessen Worte von ihren philosophischen Gehalten abgetrennt werden, diese aber wie abgeköpft daneben liegen? Ein Nietzsche der Worte, aber ohne Gedanken? Bestenfalls bleibt uns so ein ästhetischer Nietzsche, der für König auch in den Dithyramben des Dionysios gipfelt. Das ist nicht wenig und gibt Blicke frei auf die kreative Praxis-Werkstatt dieses Sprachmagiers. Aber: Auch die Dichtungen Nietzsches sind nicht inhaltsleer, sondern sprechen vom ,,Jäger noch Gottes, dem Fangnetz aller Tugend“, ,,vom Folterer / du Henker-Gott“, ,,Ewigkeit“. Nietzsche im 21. Jahrhundert: Er zwingt wahrscheinlich die Leser_innen, eine Auswahl zu treffen zwischen großartigen Einsichten, die es immer noch sind. Noch einmal: ,,Bleibt mir der Erde treu, meine Brüder“ (KSA IV, 99) – ,,wir haben nur eine“, können wir hinzufügen. Seine Leib-Lehre: ,,Der Leib ist eine grosse Vernunft, eine Vielheit mit Einem Sinne“ (KSA IV, 39), weg mit der Missachtung des Körpers und des Körperlichen, an der die gegenwärtigen Kirchen kranken. Überhaupt: Nietzsches Religionskritik und die an den Priestern als den falschen Propheten erhält immer neue Aktualität. Grandios ist der Satz: ,,Nicht nur die Vernunft von Jahrtausenden – auch ihr Wahnsinn bricht an uns aus. Gefährlich ist es Erbe zu sein.“ (KSA IV, 100), der als ein Menetekel über der ganzen technisch-industriellen Zivilisation zu schweben scheint. Auch die Kritik an der Verflachung von Menschen ist im Zeitalter der Massenmedien nicht unangebracht. Nietzsche hatte den Gedanken des ,,Übermenschen“, dem auch weiland Novalis nachspürte, der einmal schrieb: ,,eh die Zeit der Gleichheit kommt, brauchen wir noch übernatürliche Kräfte“, ihn interessiere jetzt jeder ,,übergewöhnliche Mensch“ (Novalis: Schriften, Bd. IV, Darmstadt 1975: 140). Nietzsches Zarathustra wütet gegen die ,,Gleichheit“ und ersehnt den ,,Übermenschen“, über den in der Geschichte allerdings viel Unsinn schwadroniert wurde. Nietzsche ist ein ,,Powerhouse of Ideas“, der ganze Generationen mit Ideen befüttert hat. Treiben wir ihm diese nicht aus, sondern nehmen sie an, wie er sie ausgespieen hat, aber gehen sorgfältig mit ihnen um.","PeriodicalId":54028,"journal":{"name":"Monatshefte","volume":"115 1","pages":"117 - 120"},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69653363","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Pseudo-Memoirs: Life and Its Imitation in Modern Fiction. By Rochelle Tobias. Lincoln: University of Nebraska Press, 2021. 222 pages + 1 image. $60.00 hardcover or eBook.","authors":"P. Buchholz","doi":"10.3368/m.115.2.312","DOIUrl":"https://doi.org/10.3368/m.115.2.312","url":null,"abstract":"","PeriodicalId":54028,"journal":{"name":"Monatshefte","volume":"115 1","pages":"312 - 314"},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69653582","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Problem of the Actress in Modern German Theater and Thought . By S. E. Jackson. Rochester, NY: Camden House, 2021. 246 pages + 15 b/w images. £90.00/$105.00 hardcover, £24.99/$29.95 eBook. In a scene from Arthur Schnitzler’s play Reigen (1897), “the Count” approaches “the Actress
{"title":"The Problem of the Actress in Modern German Theater and Thought.<i>By S. E. Jackson. Rochester, NY: Camden House, 2021. 246 pages + 15 b/w images. £90.00/$105.00 hardcover, £24.99/$29.95 eBook.</i>","authors":"George S. Williamson","doi":"10.3368/m.115.3.494","DOIUrl":"https://doi.org/10.3368/m.115.3.494","url":null,"abstract":"The Problem of the Actress in Modern German Theater and Thought . By S. E. Jackson. Rochester, NY: Camden House, 2021. 246 pages + 15 b/w images. £90.00/$105.00 hardcover, £24.99/$29.95 eBook. In a scene from Arthur Schnitzler’s play Reigen (1897), “the Count” approaches “the Actress","PeriodicalId":54028,"journal":{"name":"Monatshefte","volume":"121 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135262616","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Centennial Exhibition of 1876 in Philadelphia ignited debates about the here-and-now of innovation driven by transnational flows of capital, commodities, immigration, and the exchange of ideas. In this article, I direct our attention to book exhibitions at this event. I demonstrate that the proper display and handling of American and German books occasioned reflections on the distinctive national German character of book history, advertised technologies that fostered book manufacture, and generated a space in which booksellers and readers could imagine the past, present, and future of books, precisely at a moment when the status of the United States and Germany as industrial nations was far from settled. (VB)
{"title":"Empire, Mass Manufacture, and Craft on Display: The German Book Pavilion at the Centennial Exhibition of 1876","authors":"Vance Byrd","doi":"10.3368/m.115.3.386","DOIUrl":"https://doi.org/10.3368/m.115.3.386","url":null,"abstract":"The Centennial Exhibition of 1876 in Philadelphia ignited debates about the here-and-now of innovation driven by transnational flows of capital, commodities, immigration, and the exchange of ideas. In this article, I direct our attention to book exhibitions at this event. I demonstrate that the proper display and handling of American and German books occasioned reflections on the distinctive national German character of book history, advertised technologies that fostered book manufacture, and generated a space in which booksellers and readers could imagine the past, present, and future of books, precisely at a moment when the status of the United States and Germany as industrial nations was far from settled. (VB)","PeriodicalId":54028,"journal":{"name":"Monatshefte","volume":"131 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135267202","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
tion that binds them together with their positive force. It’s a little emblematic of how inessential the words can be, how much they lack of positive conceptual force, when we see how easily they can under certain circumstances vanish. The Muirs don’t find “frei” a distinctive enough reference to render as “free” in their translation of that chapter of Der Proceß. They choose “at ease” for their version (Willa and Edwin Muir translation, page 168 of the 1968 edition). Oschmann builds on the point that what we confront here is the condition of the petit-bourgeois individual under developed capitalism in his relationship to his work. Josef K. goes to his office at the bank to deal with the documents that locate other people’s money and determine the work that goes on in the world beyond. The land surveyor K. goes to the village to measure out other people’s land. He has to leave his home ground because in that profession, you don’t measure your own ground, or have a professional relation to it, any more than a bank official has a professional relationship to his own money. Such people are “free” in an extremely peculiar way, quite hard to penetrate. Critical minds among Kafka’s contemporaries, certainly going back to Georg Simmel, were the first generation to have made it their professional business to penetrate that exterior standpoint from which one might fail to know one’s own being. Kafka’s artistic achievement was not to document how his characters thought about freedom, but how they had lost the ability to do so and how they had lost the last whisper of tragic awareness when ground out of existence by this inability. Simmel appears in several of Oschmann’s footnotes, as in fact do other figures who could have lent a better framework to this enterprise if they had been intimately woven into the discussion. There has been a lot of interest in recent years in exploring the line of division between the being of animals and the being of human individuals in Kafka’s work. He explores the issue of freedom and estrangement most vividly and painfully in “Bericht für eine Akademie” with the case of Rotpeter, an ape who has acquired human speech, and therefore a human conception of freedom applied to the existence of an animal. Clearly, if we say an animal is free we have yet to open the meaning of the word for ourselves. Restricting this study to the three novels, Der Verschollene, Der Proceß, and Das Schloß as a sequential development in the three primary chapters does close out this theme, except for a general setting of the scene in the early pages and an all-too-brief addition entitled “Die Freiheit der Tiere?” (223–30) that brings it back at the end. In that apparent afterthought one can surmise a missed opportunity. Perhaps a second volume might make it up.
用正能量把它们结合在一起。当我们看到这些词在某些情况下是多么容易消失的时候，这有点象征着这些词是多么不重要，它们是多么缺乏积极的概念力量。缪尔夫妇在翻译《进程》的那一章时，并没有发现“frei”这个词有足够的独特之处，所以没有把它翻译成“free”。他们在自己的版本中选择了“自在”(Willa and Edwin Muir翻译，1968年版第168页)。Oschmann的观点是，我们在这里面对的是发达资本主义下的小资产阶级个人与其工作的关系。约瑟夫·k去他在银行的办公室处理文件，这些文件定位了其他人的钱，并决定了世界上正在进行的工作。土地测量员k去村里测量别人的土地。他必须离开自己的地盘，因为在这个行业中，你不会衡量自己的地盘，也不会与它有专业关系，就像银行官员不会与自己的钱有专业关系一样。这样的人以一种极其奇特的方式“自由”，很难渗透。卡夫卡同时代的批判思想，当然可以追溯到乔治·齐美尔，是第一代把穿透一个人可能无法了解自己存在的外部立场作为自己职业的人。卡夫卡的艺术成就不在于记录他笔下的人物是如何思考自由的，而在于记录他们是如何失去了思考自由的能力，以及他们是如何在这种无能为力的情况下失去了最后一丝悲剧性意识。齐美尔出现在奥什曼的几个脚注中，事实上，其他人物也出现在奥什曼的脚注中，如果他们被紧密地编织在讨论中，他们本可以为这一事业提供更好的框架。近年来，人们对探索卡夫卡作品中动物存在与人类个体存在之间的分界线产生了浓厚的兴趣。在《Bericht fr eine Akademie》中，他以罗彼得为例，最生动、最痛苦地探讨了自由和疏远的问题，罗彼得是一只学会了人类语言的猿猴，因此，人类的自由概念应用于动物的存在。显然，如果我们说一只动物是自由的，我们还没有为自己打开这个词的含义。把这个研究局限在《人》、《过程》和《Schloß》这三部小说上，作为三个主要章节的顺序发展，确实结束了这个主题，除了在前几页的场景设置和一个过于简短的补充，题为“Die Freiheit Der Tiere?”(223-30)，最后把它带回来。在这种明显的事后思考中，人们可以推测出错过了一个机会。也许第二卷可以弥补。
{"title":"Black Magic Woman: Gender and the Occult in Weimar Germany. By Barbara Hales. Oxford/Bern/Berlin/Bruxelles/New York/Wien: Peter Lang, 2021. xii + 206 pages. $62.80 paperback, $61.85 e-book.","authors":"Kaia L. Magnusen","doi":"10.3368/m.115.1.123","DOIUrl":"https://doi.org/10.3368/m.115.1.123","url":null,"abstract":"tion that binds them together with their positive force. It’s a little emblematic of how inessential the words can be, how much they lack of positive conceptual force, when we see how easily they can under certain circumstances vanish. The Muirs don’t find “frei” a distinctive enough reference to render as “free” in their translation of that chapter of Der Proceß. They choose “at ease” for their version (Willa and Edwin Muir translation, page 168 of the 1968 edition). Oschmann builds on the point that what we confront here is the condition of the petit-bourgeois individual under developed capitalism in his relationship to his work. Josef K. goes to his office at the bank to deal with the documents that locate other people’s money and determine the work that goes on in the world beyond. The land surveyor K. goes to the village to measure out other people’s land. He has to leave his home ground because in that profession, you don’t measure your own ground, or have a professional relation to it, any more than a bank official has a professional relationship to his own money. Such people are “free” in an extremely peculiar way, quite hard to penetrate. Critical minds among Kafka’s contemporaries, certainly going back to Georg Simmel, were the first generation to have made it their professional business to penetrate that exterior standpoint from which one might fail to know one’s own being. Kafka’s artistic achievement was not to document how his characters thought about freedom, but how they had lost the ability to do so and how they had lost the last whisper of tragic awareness when ground out of existence by this inability. Simmel appears in several of Oschmann’s footnotes, as in fact do other figures who could have lent a better framework to this enterprise if they had been intimately woven into the discussion. There has been a lot of interest in recent years in exploring the line of division between the being of animals and the being of human individuals in Kafka’s work. He explores the issue of freedom and estrangement most vividly and painfully in “Bericht für eine Akademie” with the case of Rotpeter, an ape who has acquired human speech, and therefore a human conception of freedom applied to the existence of an animal. Clearly, if we say an animal is free we have yet to open the meaning of the word for ourselves. Restricting this study to the three novels, Der Verschollene, Der Proceß, and Das Schloß as a sequential development in the three primary chapters does close out this theme, except for a general setting of the scene in the early pages and an all-too-brief addition entitled “Die Freiheit der Tiere?” (223–30) that brings it back at the end. In that apparent afterthought one can surmise a missed opportunity. Perhaps a second volume might make it up.","PeriodicalId":54028,"journal":{"name":"Monatshefte","volume":"46 1","pages":"123 - 126"},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69653384","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
focused on selected artworks. But the conclusion could have been an opportunity to explore how key aspects of the volume’s topic resonate post-Weimar, such as Dix’s work in the Third Reich or in West Germany, or art and reproducibility in the digital age, or a comparison of Weimar-era writings on fashion and temporality with more recent texts. Several chapters conclude by introducing an additional Dix painting, but as the chapters already thoroughly (and superbly) address their topics, these conclusions could have instead drawn the big picture for the reader, all without diluting the strengths of this already-strong book. Otto Dix and Weimar Media Culture is a thoroughly researched and nuanced study and well-suited for graduate students, independent scholars, and faculty in art history, especially those interested in modern German art or media studies.
{"title":"The Hygienic Apparatus: Weimar Cinema and Environmental Disorder. By Paul Dobryden. Evanston, IL: Northwestern University Press, 2022. vii + 208 pages + 21 b/w images. $120.00 hardcover, $39.95 paperback or eBook.","authors":"Steve Choe","doi":"10.3368/m.115.2.305","DOIUrl":"https://doi.org/10.3368/m.115.2.305","url":null,"abstract":"focused on selected artworks. But the conclusion could have been an opportunity to explore how key aspects of the volume’s topic resonate post-Weimar, such as Dix’s work in the Third Reich or in West Germany, or art and reproducibility in the digital age, or a comparison of Weimar-era writings on fashion and temporality with more recent texts. Several chapters conclude by introducing an additional Dix painting, but as the chapters already thoroughly (and superbly) address their topics, these conclusions could have instead drawn the big picture for the reader, all without diluting the strengths of this already-strong book. Otto Dix and Weimar Media Culture is a thoroughly researched and nuanced study and well-suited for graduate students, independent scholars, and faculty in art history, especially those interested in modern German art or media studies.","PeriodicalId":54028,"journal":{"name":"Monatshefte","volume":"115 1","pages":"305 - 307"},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69653494","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
social sciences, as seen for example in the essays of Derek Hillard, Martz, MuellerGreene, and Jared Poley. Particularly in the realm of emotions, which are challenging to pinpoint and to study scientifically, cultural artifacts can help tease out nuances that do not show up on fMRI imaging. The only small drawback is related to the book’s index. In essay volumes, indexes are welcomed as they can illuminate productive connections across essays that may not be apparent upon first glance. However, it seems that this index was not double-checked after the pagination was set in its final form. A quick spot check of this work’s index reveals that some entries are off by a few pages (e.g., the second listings for fMRI and for Wolfgang von Kempelen). This is only a minor annoyance and does not detract from the volume’s overall worth. These types of errors happen sometimes, and they are not necessarily the responsibility of the volume editors as the book is often out of their hands by that stage of production. Pointing out the mistakes here is intended as a reminder to publishers that readers of the hard-copy versions of their books still rely on traditional indexes rather than on an electronic search function that makes the page numbers irrelevant. Readers who are drawn to this book by the appearance of AI in the title might be slightly disappointed, as most essays are oriented toward earlier epochs and thus the focus is on non-human animals, or on more conventional robots, rather than on twenty-first-century AI technology. Still, this highly intriguing, informative, and interdisciplinary volume with essays from historians as well as literary scholars should be of great interest and usefulness to anyone involved in German cultural studies from the Enlightenment to the present day. Written and published during the COVID-19 pandemic, the volume is a timely reminder of how technology and emotions continue to be intertwined in important and evolving ways depending on our circumstances, and of how literature and art portray and document the endlessly fascinating relationships between the human and the non-human in each era.
社会科学，例如在德里克·希拉德、马茨、穆勒·格林和贾里德·波利的文章中可以看到。特别是在情感领域，这是一个很难精确定位和科学研究的领域，文化文物可以帮助梳理出功能磁共振成像无法显示的细微差别。唯一的小缺点与这本书的索引有关。在论文卷中，索引是受欢迎的，因为它们可以阐明论文之间的富有成效的联系，而这些联系第一眼可能并不明显。但是，在最终形式设置分页之后，似乎没有对该索引进行二次检查。快速抽查一下这份工作的索引，就会发现有些条目少了几页(例如，fMRI和Wolfgang von Kempelen的第二份清单)。这只是一个小烦恼，并不会降低卷的整体价值。这些类型的错误有时会发生，它们不一定是卷编辑的责任，因为在制作阶段，书通常不在他们的控制范围内。指出这里的错误是为了提醒出版商，纸质版图书的读者仍然依赖传统索引，而不是电子搜索功能，这使得页码无关紧要。被书名中人工智能的出现吸引到这本书的读者可能会有点失望，因为大多数文章都是面向更早的时代，因此关注的是非人类动物，或者更传统的机器人，而不是21世纪的人工智能技术。尽管如此，这本极具吸引力、内容丰富、跨学科的书，包括历史学家和文学学者的文章，对于任何参与从启蒙运动到现在的德国文化研究的人来说，都应该是非常有趣和有用的。这本书是在2019冠状病毒病大流行期间撰写和出版的，它及时提醒我们，技术和情感如何根据我们的环境继续以重要和不断发展的方式交织在一起，以及文学和艺术如何描绘和记录每个时代人类与非人类之间无休止的迷人关系。
{"title":"Forms of Life: Aesthetics and Biopolitics in German Culture. By Andreas Gailus. Ithaca, NY: Signale, 2020. xxiii + 383 pages. $115.00 hardcover, $29.95 paperback, $19.99 eBook.","authors":"Carl Gelderloos","doi":"10.3368/m.115.2.283","DOIUrl":"https://doi.org/10.3368/m.115.2.283","url":null,"abstract":"social sciences, as seen for example in the essays of Derek Hillard, Martz, MuellerGreene, and Jared Poley. Particularly in the realm of emotions, which are challenging to pinpoint and to study scientifically, cultural artifacts can help tease out nuances that do not show up on fMRI imaging. The only small drawback is related to the book’s index. In essay volumes, indexes are welcomed as they can illuminate productive connections across essays that may not be apparent upon first glance. However, it seems that this index was not double-checked after the pagination was set in its final form. A quick spot check of this work’s index reveals that some entries are off by a few pages (e.g., the second listings for fMRI and for Wolfgang von Kempelen). This is only a minor annoyance and does not detract from the volume’s overall worth. These types of errors happen sometimes, and they are not necessarily the responsibility of the volume editors as the book is often out of their hands by that stage of production. Pointing out the mistakes here is intended as a reminder to publishers that readers of the hard-copy versions of their books still rely on traditional indexes rather than on an electronic search function that makes the page numbers irrelevant. Readers who are drawn to this book by the appearance of AI in the title might be slightly disappointed, as most essays are oriented toward earlier epochs and thus the focus is on non-human animals, or on more conventional robots, rather than on twenty-first-century AI technology. Still, this highly intriguing, informative, and interdisciplinary volume with essays from historians as well as literary scholars should be of great interest and usefulness to anyone involved in German cultural studies from the Enlightenment to the present day. Written and published during the COVID-19 pandemic, the volume is a timely reminder of how technology and emotions continue to be intertwined in important and evolving ways depending on our circumstances, and of how literature and art portray and document the endlessly fascinating relationships between the human and the non-human in each era.","PeriodicalId":54028,"journal":{"name":"Monatshefte","volume":"115 1","pages":"283 - 286"},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69653817","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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