The Challenge of History
Edited by Helen Fehervary, Christiane Zehl Romero and Amy Kepple Strawser
Edited by Efraim Podoksik
Each chapter focuses on a particular branch of the humanities, such as philosophy, history, classical philology, theology, or history of art. The volume both offers a broad overview of the history of German humanities and examines an array of particular cases that illustrate their inner dilemmas, ranging from Ranke’s engagement with the world of poetry to Max Weber’s appropriation of the notion of causality.
Ontology, Epistemology, Politics
Seventy Years of History as Seen Through German Courts
Edited by Ben Lewis
This book aims to rekindle interest in Kautsky’s ideas by exploring his democratic-republican understanding of state and society. It demonstrates how Kautsky’s republican thought was positively influenced by Marx and Engels – especially in relation to the lessons they drew from the experience of the Paris Commune.
Figures of Excess in Seventeenth-Century European Art and German Literature
Peter J. Burgard
This book discerns in the Baroque an aesthetic phenomenon that crosses both media and national boundaries in its celebration of excess and its disintegration of system, unity, and identity. The compositional principles and theoretical implications of the Baroque, as it first arose in Italian art, find expression in German poetics, drama, poetry, and narrative – expression accessible only through resolute close reading. Readings of Bernini, Borromini, Velázquez, Rubens, Fracanzano, and de Hooch precipitate readings of Opitz, Gryphius, Fleming, Zesen, Hoffmannswaldau, and Grimmelshausen, demonstrating that seventeenth-century German literature both is Baroque and confirms what the Baroque is.
Critical Readings on Art, Consciousness, Social Theory and Performance
Edited by Norman Roessler and Anthony Squiers
Contributors: Kevin S. Amidon, José María Durán, Felix J. Fuch, Philip Glahn, Jim Grilli, Wolfgang Fritz Haug, Norman Roessler, Jeremy Spencer, Anthony Squiers, Peter Zazzali.
This intended paper will address the dialogue between Brecht’s theory and method and the authors associated with the development of so-called “Screen Theory” of the British film magazine Screen between 1971 and 1979. Authors such as Stephen Heath did not read Brecht to appeal to the authority of a person but to articulate a “truly dialectical practice” in a new situation, namely, the reflection on cinema and the intervention of the practice of film in ideology. Heath was concerned with how Brecht’s theory and practice could be used to understand film as an “ideological intervention” and therefore the “possible actuality” of Brecht’s dialectical work. This paper explores the actuality of Brecht’s ideas—his “critical lessons”—in the context of Screen, as part of the magazine’s defence of political modernism or the “politics of form,” how they were mobilised in relation to political cinema, semiotic theory, and psychoanalysis.
José María Durán
This essay explores the claim made by the so-called dialogical aesthetics that the emphasis of today’s socially engaged art lies on a modality of engagement and theatricality that follows the footsteps of the historical avant-garde. It asks if the framework of dialogism is an adequate one for the analysis of today’s socially engaged art practices that claim to be transformative. In searching for an answer, it examines the intersection of thinkers such as Brecht, Althusser, Voloshinov and Medvedev in the context of contemporary art practices.
This essay discusses Brecht’s “technics of aesthetics,” his attitude toward class struggle as the active engagement with the tools of intellectual-as-material production, as articulated through the playwright’s disdain for the passive politicking and complicit posturing of his contemporaries in the face of capitalist exploitation and fascist violence. Accusing the “Tuis” or “Tellekt-uell-ins,” including Thomas Mann, Andre Gide, Georg Lukacs, and the “Frankfurtists,” of wanting to save Geist and Kultur rather than addressing questions of ownership and power, Brecht instead sought a proletarian understanding of art as active contest over the mechanisms of representation and imagination, the devices that link the perception of the given to inscribed as well as latent histories and thus multiple, potential futures. Brecht’s attempt at determining a “useful” position of artistic agency and solidarity is traced through his writings on popular culture and communication apparatuses, his poetry, letters and plans to pen a “Tui-novel.”