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Journal Article
New German Critique (2018) 45 (1 (133)): 79–109.
Published: 01 February 2018
...Zeynep Çelik Alexander This essay contributes to an expanding literature around the terms medium , media , and mediation by offering a historical point of contact between the philosophical and technical genealogies of this constellation of terms. In his theory of the baroque, Heinrich Wölfflin...
Journal Article
New German Critique (2009) 36 (1 (106)): 83–101.
Published: 01 February 2009
... historical trajectory. This story is largely one of decline from the fullness of the Renaissance cosmos, to the fragmentation of the baroque, to the fi nal recovery of a liv- ing totality with the rise of the truly modern worldview. It was Simmel’s idea, 12. See Gustave Kahn, “Les mains chez Rodin...
Journal Article
New German Critique (2008) 35 (2 (104)): 71–102.
Published: 01 August 2008
..., disregarded, or sim- ply unknown—to this claim? It is clearly a value judgment, both in terms of the relative merits of Bach and Telemann and in terms of “them,” as in “They say . . .” The fi rst is easily explained: Bach is being reduced to the level of a generic baroque composer. This is restoration...
Journal Article
New German Critique (2021) 48 (2 (143)): 23–41.
Published: 01 August 2021
..., with all its peculiar theological armature, into the origins of the commodity world in the nineteenth century, where the reified commodity bears the same disclosive range of possibilities for understanding the world of high capitalism that the corpse bore for the baroque. Both are graphic representations...
Journal Article
New German Critique (2011) 38 (1 (112)): 85–113.
Published: 01 February 2011
... cities in its eerie splendor and in virtually baroque dimensions.”12 While the melodramatic love triangle was judged less favorably by critics, Dresden was praised for its political impartiality and ability to engage the audience emotionally.13 In contrast, it was rare to encounter criticisms...
Journal Article
New German Critique (2021) 48 (1 (142)): 103–123.
Published: 01 February 2021
... not address the nature theater movement or Benjamin’s interest in gestures, and he counters Benjamin’s reading of Kafka’s theater rather than problematizing it. 39. Benjamin, “Franz Kafka,” 801 . 40. Benjamin’s reading of Kafka’s theater was informed by his work on the baroque mourning play...
Journal Article
New German Critique (2017) 44 (1 (130)): 143–167.
Published: 01 February 2017
... the apotheosis of a much more far-reach- ing crisis. It begins with the onset of secularization at the end of the baroque era and the growing conceptualization of art as the expression of a single per- sonality rather than of a collective subjectivity: in terms Worringer does not employ, expressionism...
Journal Article
New German Critique (2016) 43 (3 (129)): 175–201.
Published: 01 November 2016
... as the dissolution of the Trauerspiel genre: its most sublime expression and therefore its most complete negation. Adorno refers in passing to the genre as “com[ing] to an end in Hamlet,” in an important letter written to Benjamin in 1935.2 As is well understood, Benjamin’s work on baroque allegory can...
Journal Article
New German Critique (2006) 33 (2 (98)): 101–133.
Published: 01 August 2006
... Geschlechts- wesen]” (ME, 4:37).21 This use of womenʼs bodies ebbs and fl ows throughout the history Rabenalt traces, but it becomes particularly apparent again in the periods of the baroque and rococo, when it visibly transcends the theater to appear in the scenic presentation (“szenische Darbietung...
Journal Article
New German Critique (2022) 49 (3 (147)): 65–91.
Published: 01 November 2022
..., in part because a serendipitous coincidence in the English translation suggests that we approach this narrative mechanism as a fold in the Deleuzian sense. In his book on Leibniz and the baroque, Gilles Deleuze argues that baroque thinking and culture more generally consist of folds that continuously...
Journal Article
New German Critique (2012) 39 (2 (116)): 119–132.
Published: 01 August 2012
...: the destruction of the cultural heritage. It is only logical that the ongoing reconstruction of the baroque center in a his- toricizing style is viewed not as a form of Disneyfication but as a vital pro- cess of recuperation that concerns the nation as a whole. However, resistance is only one aspect...
Journal Article
New German Critique (2017) 44 (1 (130)): 87–107.
Published: 01 February 2017
... applied for membership in the Nazi Party in 1938 and was accepted two years later. 19. Dagobert Frey, a Viennese scholar of Renaissance and baroque art in Austria and Italy, was appointed professor of art history at Breslau in 1931. After the Nazi invasion of Poland, Frey was one of three scholars...
Journal Article
New German Critique (2018) 45 (2 (134)): 133–153.
Published: 01 August 2018
... in the now. Leibniz’s baroque metaphysics offers a philosophical alternative to a systematic, and ultimately destructive, rationality; in so doing, the image of the fold provides shelter for the interlocutors and their language. Protection is afforded not by the infinite deferral of the actual conversation...
Journal Article
New German Critique (2010) 37 (2 (110)): 9–30.
Published: 01 August 2010
... centuries, and for that reason steel skeletons undergirded much of its archi- tecture. The capital’s buildings (even its historical edifices from the baroque to the Wilhelminian eras) were so massive that they withstood bombing during 1. Most filmmakers who worked in this vein, submits Kirsten...
Journal Article
New German Critique (2007) 34 (1 (100)): 165–187.
Published: 01 February 2007
...). 182 Benjamin and the Traces of the Detective the baroque emblem, the commodity is a decontextualized fragment, poly- valent and empty. Its signifi cance lies in the social relations of production, but it obliterates the traces of this production and fl oats, like the baroque allegory...
Journal Article
New German Critique (2019) 46 (3 (138)): 53–78.
Published: 01 November 2019
... circulate on a global scale—without having recourse to an external point of reference and critique. The film’s plot develops in modular stages, again and again changing direction. Sometimes it takes the form of an anachronistic historical film in which a baroque baroness (Ralfs) is cross-examined by TV...
Journal Article
New German Critique (2023) 50 (1 (148)): 59–82.
Published: 01 February 2023
... modern period, whose exemplary form Benjamin recognizes in the baroque Trauerspiel , maintained an insight into the origins and fate of the modern state, his “Analytical Description” of Europe’s downfall evokes a view in which the contingency harbored by the figure of the sovereign is thought...
Journal Article
New German Critique (2014) 41 (2 (122)): 35–45.
Published: 01 August 2014
...) and Benjamin’s mourning play (Trauerspiel).6 Profoundly related in their confrontation with death, the two terms can perhaps be posed as dialectical opposites. The baroque dramas Benjamin described (through which he hoped to capture insights into contemporary expressionist 5. Walter Benjamin...
Journal Article
New German Critique (2009) 36 (3 (108)): 39–71.
Published: 01 November 2009
... Modernism Reconsidered Essen, exhibits a German baroque infl uence in a reduced, contemporary man- ner. During the Nazi period Kreis worked in a mode similar to Albert Speer and Paul Troost. Buildings like the former Luftgaukommando in Dresden (1938) are typical of his work from this period...
Journal Article
New German Critique (2010) 37 (2 (110)): 125–152.
Published: 01 August 2010
... of Müller’s plays are strongly influenced by the baroque 27. Hannah Arendt, The Human Condition, 2nd ed. (Chicago: University of Chicago Press, 1998), 79–174. 28. Ben Fowkes, note in Karl Marx, Capital, trans. Ben Fowkes, vol. 1 (New York: Vintage, 1977), 896, quoted in Arne de Boever, “Agamben...