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art after Auschwitz
Cultural Politics (2014) 10 (3): 300–319.
Published: 01 November 2014
... sense, is inextricably barbaric as a result of simply being after Auschwitz. Culture must acknowledge the finitude in its own ability to live up to an ethical demand in response to justice, whose arrival is infinitely deferred. In spite of this, culture, and art in particular, must not refrain from...
Cultural Politics (2017) 13 (1): 34–47.
Published: 01 March 2017
... beautiful depiction, so that it may be acceptable; in The Aesthetic Dimension he says, after citing Auschwitz and the massacre of civilians at My Lai in the Vietnam war, “Art draws away from this reality, because it cannot represent this suffering without subjecting it to aesthetic form, and thereby...
Cultural Politics (2020) 16 (3): 281–302.
Published: 01 November 2020
... is to be understood as “sublimated business envy and unconscious collective guilt felt in the aftermath of Auschwitz.” Far more complicated in the play is the portrayal of the Rich Jew. He is presented as an unscrupulous businessman who collaborates with the authorities and the police to carry out the unpopular...
Cultural Politics (2009) 5 (1): 27–62.
Published: 01 March 2009
... the Palestinians and Lebanese “in the war that Tsahal [the Hebrew acronym for the Israeli Defense Forces] wages on them.” Yet Ben Heine contributed a cartoon of the gates of Auschwitz as a Hassidic Jew with side curls, one ending in a Star of David, the other in a swastika, and the infamous sign above now...
Cultural Politics (2012) 8 (1): 61–72.
Published: 01 March 2012
... that there can be no writing after Auschwitz, no painting, no poetry. But Kafka said it before. His was a prophetic understanding of what would happen, irreversibly, to literature. Here we connect up with Deleuze and Guattari on the question of a minor literature, at the point where they connect with Kafka...
Cultural Politics (2005) 1 (3): 339–352.
Published: 01 November 2005
..., that chef-d'œuvre in negative, by subtraction , as we were saying earlier, which, like the accident, is only ever a miracle in reverse – in a word, a lay miracle. 5 Proof, if proof were needed after Auschwitz and Hiroshima, of the birth of philofolly and of the aesthetics of disappearance...
Cultural Politics (2020) 16 (3): 322–339.
Published: 01 November 2020
..., even after Auschwitz. MF: Many of the artists we have discussed were commenting upon postmodern themes about the radical transformation of society. I wonder if your work is responding to a similar kind of situation or whether your themes are more personal. MS: I pointed to the answer...
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Cultural Politics (2020) 16 (1): 111–122.
Published: 01 March 2020
...), a graduate student at the University of Chicago during this period wrote, “Auschwitz and Hiroshima were fresh in people’s minds.” 4 For both Spero and her future husband, Leon Golub (1922–2004), a fellow artist and returning GI studying at the SAIC, these ontological questions-of-being in the modern world...
Cultural Politics (2021) 17 (2): 228–245.
Published: 01 July 2021
...). And once again Žižek (2020a: 361) goes to Auschwitz. What is the correct, the inhuman point of view? It is, he repeats, “precisely as a pure subject, as the Cartesian cogito which is to be strictly distinguished from any kind of humanism, from the ‘wealth of personality.’ Cogito is the subject reduced...
Cultural Politics (2015) 11 (2): 163–183.
Published: 01 July 2015
... . 2008 . Images in Spite of All: Four Photographs from Auschwitz . Chicago : University of Chicago Press . Elahi Hasan . 2014 . Tracking Transience , trackingtransience.net . Accessed June 14 . Gibb Susan . 2014 . “ An Ongoing State of Conflict: Richard Mosse’s the ‘Enclave...
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Cultural Politics (2012) 8 (2): 207–231.
Published: 01 July 2012
.... Thus Vera Schwarcz (1996) and Tu Wei-ming (1996) draw a straight line from Hitler, the Storm Troopers, and Auschwitz to the decades of Maoist rule and the Cultural Revolution in particular. Here the link is not argued so much as asserted as an obviousness; it rests entirely on the “fact...
Cultural Politics (2015) 11 (3): 361–375.
Published: 01 November 2015
... to accuse Kittler of subscribing to Speer’s technologized top-down vision because it moves the analysis of the Third Reich firmly into the media-technological domain and thus away from questions related to politics, ideology, guilt, and the “Auschwitz-theoretical” aspects of the war that Kittler...
Cultural Politics (2007) 3 (3): 327–356.
Published: 01 November 2007
... with events. This applies even to that darkest of all hyperboles, formulated from the standpoint of the exemplary victims of the century’s madness, the murdered Jews of Europe: the definition of the twentieth century as the age of that great collapse of civilization symbolized in such names as Auschwitz...