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“late style”

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Journal Article
New German Critique (1 August 2015) 42 (2 (125)): 97–113.
Published: 01 August 2015
...Stuart Taberner Many of Martin Walser's early works describe the triumph of conformity over subjectivity. From the early 1990s, however, Walser's characters begin to develop a stubborn insistence on self-expression, and this externalizes their author's “late style.” In a series of extraordinarily...
Journal Article
New German Critique (1 August 2015) 42 (2 (125)): 1–29.
Published: 01 August 2015
...Karen Leeder This introduction addresses the interrelated ideas of lateness, belatedness, anachronism, untimeliness, old age, and “late style” that run through this special issue. After a brief overview of recent thinking about time, especially in the transition from modernity to postmodernity, it...
Journal Article
New German Critique (1 August 2015) 42 (2 (125)): 65–80.
Published: 01 August 2015
...Joy H. Calico This article argues that misreadings of Theodor W. Adorno undermine some musicological research on late musical style, particularly with regard to the works of Arnold Schoenberg. It considers alternatives in the forms of exile (Edward Said), old-age style (Stuart Taberner), and...
Journal Article
New German Critique (1 August 2015) 42 (2 (125)): 137–153.
Published: 01 August 2015
... Rabinovici and Marcel Beyer, are fifty-three and forty-nine years of age. Their work is not written “in the proximity of death,” at least not of their own death. While not models of “late style” in a narrow definition, Rabinovici’s Andernorts (Else- where) and Beyer’s Kaltenburg have the feel of...
Journal Article
New German Critique (1 August 2015) 42 (2 (125)): 31–48.
Published: 01 August 2015
...Anne Fuchs As the flip side of acceleration, lateness and slowness disrupt the relentless logic of the modernizing project by critiquing the harnessing of attention that is a hallmark of modernity's high-speed society. This article debates three prominent modes of lateness around 1900 that...
Journal Article
New German Critique (1 November 2007) 34 (3 (102)): 45–60.
Published: 01 November 2007
...Ursula von Keitz New German Critique, Inc. 2007 Translated from the German by Rachel Leah MagShamhráin Between Dramatization and Epicization: The Portrayal of Nazi Crimes in Exemplary German Films from the Late 1940s to the 1970s Ursula...
Journal Article
New German Critique (1 February 2018) 45 (1 (133)): 23–47.
Published: 01 February 2018
... Technological Reproducibility .” Monatshefte 104 , no. 1 : 70 – 85 . Ziolkowski Theodore . 1993 . Virgil and the Moderns . Princeton, NJ : Princeton University Press . Word Creatures: Theodor Haecker and Walter Benjamin between Geschwätz and Pure Language in the Late Weimar Republic...
Journal Article
New German Critique (1 November 2011) 38 (3 (114)): 95–114.
Published: 01 November 2011
.... The implications of the concept of charisma must be understood in their social, political, and—most important—affective dynamics. Writing Hitler's biography always means not only retracing the emotions, hopes, desires, and imaginations invoked by his political style but also working on the affects...
Journal Article
New German Critique (1 August 2010) 37 (2 (110)): 107–124.
Published: 01 August 2010
.... The compositional diversity of the heterogeneous styles and programs presents a music-historical panorama that comprises dodecaphonic, aleatory, bruitist, phonetic, music-theatrical, and electronic music along with classical works and art songs from the nineteenth and twentieth centuries. In this...
Journal Article
New German Critique (1 August 2009) 36 (2 (107)): 5–51.
Published: 01 August 2009
... propaganda films for the German High Command. However, he shunned live-action film sequences of the war, which were subject to heavy censorship, and instead drew on American-style cinematic animation to convey a subversive message about the war's violence and horror. Although he later became famous for his...
Journal Article
New German Critique (1 February 2018) 45 (1 (133)): 207–245.
Published: 01 February 2018
... these with the literary reportage style of Egon Erwin Kisch. Its similarity to Der Querschnitt reveals the dialectical engagement of Berlin’s artist and journalist circles with mass cultural forms, including tourism. While guidebooks diversified to accommodate a modern “art-loving” demographic that...
Journal Article
New German Critique (1 November 2013) 40 (3 (120)): 85–110.
Published: 01 November 2013
... “objective”—but also reveals sliding generational conflicts and alliances and shifting constellations of cosmopolitan taste. New trends in European (and, in particular, French) film culture provided approaches, vocabularies, and inspiration for a transition in the style, perspective, and function of German...
Journal Article
New German Critique (1 November 2009) 36 (3 (108)): 133–160.
Published: 01 November 2009
... Richter's best-known paintings— Warum ich kein Konservativer bin (2000), Eine Stadt namens Authen (2001), and Phienox (2000)—I explore the complexities of political painting in today's world. Through a consideration of Richter's neosymbolist style, his postmodern penchant for citation, the influence of the...
Journal Article
New German Critique (1 August 2018) 45 (2 (134)): 99–132.
Published: 01 August 2018
...Katherine Hollander Abstract Between 1931 and 1941 Bertolt Brecht and Margarete Steffin were lovers, friends, and intellectual collaborators. Yet scholars have struggled to understand the mechanics of their collaborative style, and presentist and liberal notions of authorship and accreditation have...
Journal Article
New German Critique (1 August 2014) 41 (2 (122)): 47–65.
Published: 01 August 2014
..., cuts sooner than shots, form instead of function—such, among others, were parameters of style emphasized by Soviet montage theorists throughout the 1920s. © 2014 by New German Critique, Inc. 2014 Talking to Miriam: Soviet Americanitis and the Vernacular Modernism Thesis...
Journal Article
New German Critique (1 August 2012) 39 (2 (116)): 25–45.
Published: 01 August 2012
...), one of the most singular photographic books about Berlin to appear since the fall of the Wall and the subsequent reunification of Germany in 1990. Long approaches Profitlich via F. Albert Schwartz, the late nineteenth-century photographer of Berlin, whose work shortly followed Germany's first...
Journal Article
New German Critique (1 August 2008) 35 (2 (104)): 71–102.
Published: 01 August 2008
... National Socialism and World War II, and the rise of musical “authenticism” as part of a general movement toward postwar reconstruction of an allegedly unsullied past. While there remain undeniable differences between Furtwängler's late Romanticism and Adorno's Marxist modernism, their conceptions of a...
Journal Article
New German Critique (1 November 2016) 43 (3 (129)): 5–26.
Published: 01 November 2016
... characteristics of its own. In his late embrace of musique informelle , he admired a music that eschewed both reified categories and subjective domination of the apparent contingency of the material world, a music that expressed a nominalism that might better be called “magical” than “conventional.” © 2016 by...
Journal Article
New German Critique (1 August 2011) 38 (2 (113)): 51–88.
Published: 01 August 2011
... international and increasingly global framework. The history of Weber's concept of charisma—which was first enthusiastically embraced in the United States between the late 1930s and the mid-1960s—must necessarily be told from such a transnational perspective. © 2011 by New German Critique, Inc. 2011 Max...
Journal Article
New German Critique (1 February 2013) 40 (1 (118)): 65–92.
Published: 01 February 2013
... Adorno but also the culture of late capitalist modernity, which is too often still seen as, in Fredric Jameson's famous phrase, “bereft of all historicity.” In pursuing this future, Burges hopes to point toward a reinvigorated study of temporality and historicity for twenty-first-century critical...