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1
Journal Article
New German Critique (2010) 37 (2 (110)): 107–124.
Published: 01 August 2010
...Ulrich Schönherr The year 1960 marks the point of departure for Edgar Reitz's twenty-five-hour movie Die zweite Heimat ( The Second Homeland ), which tries to reconstruct ten years of German history from the selective perspective of young avant-garde artists in Munich. In contrast to critics who...
Journal Article
New German Critique (2008) 35 (2 (104)): 103–137.
Published: 01 August 2008
... into a vocal critic of what he saw as the reductive pseudo-Darwinism of racial hygiene and eugenics. © 2008 by New German Critique, Inc. 2008 “Diesmal fehlt die Biologie!” Max Horkheimer,
Richard Thurnwald, and the Biological
Prehistory of German Sozialforschung...
Journal Article
New German Critique (2011) 38 (1 (112)): 65–84.
Published: 01 February 2011
...Elke Heckner In the latest effort to publicly reclaim the German experience of displacement and bombardment toward the end of the Nazi period, the TV docudramas Dresden (2006), March of Millions (2007), and Die Gustloff (2008) have articulated a new set of rules of cinematic engagement...
Journal Article
New German Critique (2012) 39 (2 (116)): 87–102.
Published: 01 August 2012
...Gillian Pye This article looks at the interplay between material authenticity, waste, decay, loss, and forgetting in Wolfgang Hilbig's prose texts Die Kunde von den Bäumen ( The Lore of the Trees , 1992) and Alte Abdeckerei ( Old Knackers Yard , 1991). It argues that the thrown-away, the ruined...
Journal Article
New German Critique (2015) 42 (1 (124)): 203–221.
Published: 01 February 2015
... by closely examining his 1980 Adorno Prize address, “Die Moderne—ein unvollendetes Projekt,” a work that both makes clear Habermas's continued faith in the Enlightenment project and offers one of his few direct remarks on aesthetic modernity. This article presents the shortcomings of Habermas's thinking...
Journal Article
New German Critique (2019) 46 (1 (136)): 1–14.
Published: 01 February 2019
... copy of “Zionism Reconsidered,” kept in his library in Jerusalem, Scholem added many exclamation marks in the margins, and where Arendt wrote “national aim of the socialist Zionists,” Scholem wrote “humane aim, moral aim!” 24 He noted: “Hear, hear! Die Amerikanerin scolds!” 25 In January 1946...
Journal Article
New German Critique (2019) 46 (2 (137)): 35–63.
Published: 01 August 2019
... and ruptures of modern German history than the conventional and highly commercial Blauen Bücher, published by Karl Robert Langewiesche starting in 1907. Die Schöne Heimat , first published in 1915, was the series’ best-selling title. By 1971, and the 619,000th copy, Germany had changed fundamentally, yet...
Journal Article
New German Critique (2018) 45 (2 (134)): 33–66.
Published: 01 August 2018
... that Dix deliberately painted the dotted veil and red eyes of the woman in the Die Witwe watercolor housed in the Zeppelin Museum Friedrichshafen ( fig. 1 ) to suggest syphilitic infection, which by extension addresses the period’s fixation on the scourge of syphilis. The veil’s decorative dots, which...
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/10.1215_0094033X-7214737/2/s_ngc7214737figure3.png?Expires=2147483647&Signature=zzaOcxYjLoaNjRJgc41Y78aM86RT4uuc99wNt7TyeVHlAXhP8Toi6Uytr9uvaV3ERrQPWPGm2CPNbEl~QEjjIR64-VcVONVjMEn2zmlWPdON99fWsSeTNz7dp-pwTbBJInSCTJ9faoQexQMy-b~5D66DZOpv1tXWytOGEGV7KX81ekzE-JA1sqpZTGz4z3H1P9kM3x5K~5J80BDSmbOqzaMdxQJDrzbwcDFXdHUf0Hcsfj1qdxLHcSTBzCvxtekv~NrbUpWct0O51e81ly2vdwkKFFeVOTdPBEcXZygnEHdeqRaD2d113DTbWULjvvy4NraAZ46dy9Po-5Ge~TWKmw__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
Published: 01 February 2019
Figure 3. Photo spread from “Als die Jackson-Girls auf Urlaub waren” (“When the Jackson Girls Were on Holiday”), UHU , October 1928, 36–37.
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/10.1215_0094033X-7214737/2/s_ngc7214737figure4.png?Expires=2147483647&Signature=Nr0rA-~xWl3FesIDmhLzVEqSa0A0FM-a4E0iM0XRXLqRXyQ-Yx8Dktlfse3OFPRLBlQxHDPFkMcl7noI9diqLEF4HUa-C1FMmlGt~mpIi-PevfgmNjjvzrA25GbQorA51kV9pJgpJ8w1RnnJTzhfKlWoAICkw6Vt3DEUcBt1x2X2ygjPVnq6AsgpqbSMlTZCwsOUwcYO1Z7DSUpY7AT69oi~C0F9IrDWtyQ-oZfrUXoUyR2574HCYteaxKcVBe8S8l~7xIvkKxrnhWe6XL1ud70Yo6492673An6VxvS54Krhgvc3xQO1vphIQB8dyvuHRIJDNyG3RzQtP~BQsUBgFg__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
Published: 01 February 2019
Figure 4. Photo spread from “Als die Jackson-Girls auf Urlaub waren” (“When the Jackson Girls Were on Holiday”), UHU , October 1928, 38–39.
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/10.1215_0094033X-6684135/8/s_ngc6684135figure1.png?Expires=2147483647&Signature=ou39zbFc-t1KBje8BHikNz-J5fL2sKbygiSd306cXsyIUbbfofw51i1Xuk-xHe0g-3W5vpYfg0fL6QzzXckUlLZBGc8jJIBj2rVL1ykYUxSsrYy~YVPMELHav75Zpqv8tnDX9yXbfDKbOek5g5fK3LeuP9d73UqufIebXFeV7fwpHUHtg~l1HBrfY-dV61ZlxJ7Y90M226xMGzJP2JTaifgpFISWCh~baOT346abWvaXcQhwYk6jUMGGVUtQBmRIC-2-rLwS4aIaLDeZ1tgDYct1FjZSIbu8tGnR1DrtfTCHYAvM9ETYJj7uJrVCgSCGkeItrGdsaAcClG5r9tZgoQ__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
in “The Great Imitator”: Syphilis and Clandestine Prostitution in Otto Dix’s Die Witwe Watercolors
> New German Critique
Published: 01 August 2018
Figure 1. Die Witwe ( Widow ), by Otto Dix, 1922. Watercolor and pencil on paper, 49.7 × 44.0 cm (19 9/16 × 17 5/19 in). Zeppelin Museum Friedrichshafen. © 2006 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn
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/10.1215_0094033X-6684135/8/s_ngc6684135figure2.png?Expires=2147483647&Signature=eJCMWg-JBgGeLoRgRyHw0Y2Fih7uWBZO-QGUgjGpwy1pgB~iMOYQuQ1TPbrt19atZZ3WLLAQZAHSxzkgyATyfBempRvueTL~2lWBE3YaaZGaUrZBFQ8i8rMI7yOGehM-LY62kRjXZQNkwMPOuNE44ydv5Vy~W2nLmgcJLixwejEJbRcSuIu0-8C1ibOoabvdupoqv4HDoy4jzdq-~Z6T-~KR~JfM06SlfB37LM7wzcANRvMAmn0~ZPYwRYWHT4bFCHuiQn7M-QMlew1vZEmsl5eDmraUtid2uf28hBmZs9dya4MP2Yld~b4eIrIEhkwwzfwDUPprHjr1vZ6DMv3K7g__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
in “The Great Imitator”: Syphilis and Clandestine Prostitution in Otto Dix’s Die Witwe Watercolors
> New German Critique
Published: 01 August 2018
Figure 2. Die Witwe ( Widow ), by Otto Dix, 1922. Ink, watercolor, and pencil on paper, 58.0 × 48.5 cm (22 7/8 × 19 1/8 in). Saarlandmuseum Saarbrücken, Stiftung Saarländerischer Kulturbesitz. Photo credit: Raphael Maass. © 2006 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn
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/10.1215_0094033X-6684135/8/s_ngc6684135figure8.png?Expires=2147483647&Signature=tb3golNGBZmio6KFtD1CJ4Sjs1V10Zz0tY9wYWJXwWNUob6rhHBdg2gzcj7QYpUQDxdiUCYMC20SF0zRxLw2y9caFI7dZBBxq6qYkF-XX17HGJSgVT33~su4hi4EUm9u8izaT4d4tatIMioGbHrK7P~eTy~8iv9z6vB1AlFRl5W0wBLTDcAfBmJ42ZCs4nHk5nTFS9QorhjEVr77vsnFz4C~z-N8eWcuXlLwJeIKobN3F6TuyaNFPRpyNlNpEALn3u6poPOb1zZPYIzsqWyoGoh6jtUwd8L0R9na5jDvTmaOJo~EKa~Z0Mu086Gz5YWWinNj4~FVOLVYUuzCVYwfng__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
in “The Great Imitator”: Syphilis and Clandestine Prostitution in Otto Dix’s Die Witwe Watercolors
> New German Critique
Published: 01 August 2018
Figure 8. “Die meisten Prostituierten werden syphilitisch!,” ca. 1925. Slide 6 from Erläuterungen zu den Lichtbildreihen des Deutsches Hygiene-Museums . Vortrag 40, Soziale Bedingungen der Geschlechtskrankheiten (58 Lichtbilder). Reproduction from glass-plate negative, Deutsches Hygiene-Museum
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/10.1215_0094033X-6684135/8/s_ngc6684135figure10.png?Expires=2147483647&Signature=C-cZ5j38kXPvkXxoNaBzjvV8Hq6GDW3tarA0MzW4lm34nViwBUEihEiF1ENYk1CzFZ2fAu6gYmwRQrGwO5Nx2Gv4nUEOw2reDK4YWxNLeGeif6T9EUrU1lqA4GZG49qr4qJ9tPdo6xDRMSgvGRZ3vxhziJZpJJluqg2tcPEfi25xodExHj5zRSAUt89epvfBtNjSBgTOL4FYHtiGEo8mAtGVKVhbEviBMKfDbv-W1eT0du6tS-Vu9UDoRIzRBXPw4jSdAdeGUu7lUcUSB1a0-MVLaQ5Qic38iDgcCMHxH1xoKw5J0n~oFeUxDHkLLhyhfl3ShJuY~pZw16c2j~iLGA__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
in “The Great Imitator”: Syphilis and Clandestine Prostitution in Otto Dix’s Die Witwe Watercolors
> New German Critique
Published: 01 August 2018
Figure 10. Detail of Die Witwe ( Widow ), by Otto Dix, 1922. Watercolor and pencil on paper, 49.7 × 44.0 cm (19 9/16 × 17 5/19 in). Zeppelin Museum Friedrichshafen. © 2006 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn
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/10.1215_0094033X-10926467/1/s_ngc10926467figure3.png?Expires=2147483647&Signature=NM5FzvNFkiK4iZAbbliGPO-Oqnl5jDve13P4T7y2OyJxwOotNyJmYyFNW3RksnWGZt4LS5VuwRTZ2mTKAQp7MlaF3vcRNPA~AeLhxpfHGYanyX6zlBh3HExoh3sFSp1hPOMX-nS~QWF1lHdjLd4dlJApZMdbKbdJ9fxT6x6c63h2QbYJguDy4dklThhvfwnpNfBVKsDK75wYxQHQYvpgKmeRf0mArM6M0cH-MXkpTgFxy9PLOMkm~TNSaQ12ZNzReFKdXEXzG4VKPjFfebEWHmajPZul-hX2svsMrHf1Cp9NpGpEPQMmX8npKQPwkykKKveaYiqqfm8JUYvvMD23xQ__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
Image
/10.1215_0094033X-10926467/1/s_ngc10926467figure4.png?Expires=2147483647&Signature=PT6eA4NQ8SWJ1~BPzy13ssJU~0o309a-0dr6H7BiZZM9XcHCZOtNVGNNQD7dT6DjX9ZJ8FPAktmFQE14TUYUydyqUfLgEdS0r9lGjXSSA5oegWbcVbJ9~l6KN0lR90ejcbiyc~OgwpsSarhVi6If~BQetlMgtVeKolepy8H219hnTVv3XDIdhUNRjZDa7rGCj2utptuk~E7gDil7soJ5gOEIBRN9MbOwCELMOcswnZnhwpAtVBiK-l9cerusJUxaT6vUvyPFOZ~o8S73EDYMrOJCSLTiCle0N6tdua2cn15M2horLoTwaC6bHfYYlfZ0iE~4nJkEQ~xzFD~oPHlx8A__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
Published: 01 February 2024
Figure 4. Alfred Andersch/Lutz Büscher, Die Entwaffnung (1968): visual language versus voice-over.
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/10.1215_0094033X-10926453/1/s_ngc10926453figure9.png?Expires=2147483647&Signature=3LfAyrqr-rGEWlFGTVRFSf8UnvahSxg8OTwXGZDgfDpcx3mFClQmrUJgcvGRYlk4u94XhHVcEpST7TPfkoSnIAZ6BMayJc93UGeoO3VsZVm8jBrv1-0xe8ljM54~O3P1rPTLhHBFASqM05y21sXTWetw0O10ar-z-MQWAyaVtCwiiu5D1nhelf4vzhFNdl8zfjUSAyHaxqXl5SRlH4FcepmWmUp959poZgAntKYeDbJaatnOhRaJ69ULxq~u4bMc3KIyCxdU3QOy6XGr~qHRocL50pqo4VFOCIO9J~jeiGXbBwXu~u7g-tCzpgQ4Em5yDYTygV5SCUEJ-THhxL2Uyg__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
in Art in the First Screen Age: László Moholy-Nagy and the Affordances of Surfaces, Canvases, and Scrims
> New German Critique
Published: 01 February 2024
Figure 9. Hans Poelzig’s Deutsches Lichtspieltheater in Breslau, interior, in Die Form 2, no. 5 (1927): 154, 156.
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Journal Article
New German Critique (2022) 49 (3 (147)): 43–63.
Published: 01 November 2022
...Seth Howes This essay explores how Peter Weiss’s anticolonial, anti-imperialist analysis, developed in the 1960s in response to the advent of decolonization and the emergence of neocolonialism, is woven into Die Ästhetik des Widerstands ’ story of political self-education. Two central features...
Journal Article
New German Critique (2024) 51 (1 (151)): 77–107.
Published: 01 February 2024
...Figure 1. Helmut Käutner, Die Rote (1962): opening sequence. ...
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