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New German Critique (2013) 40 (1 (118)): 175–198.
Published: 01 February 2013
... on the disfigurement of social relations in late capitalist society. © 2013 by New German Critique, Inc. 2013 Adorno on Kafka: Interpreting the Grimace on the Face of Truth Roger Foster Anyone who cannot come to terms with this life while...
New German Critique (2008) 35 (3 (105)): 121–141.
Published: 01 November 2008
... with the linguistic and performative transformations of sacred cursing in mind. New German Critique, Inc. 2008 Herrschaftszeiten! Theopolitical Profanities in the Face of Secularization Arnd Wedemeyer The Coercive Value Implicit in the Idea of a Wrathful God...
New German Critique (2016) 43 (1 (127)): 59–89.
Published: 01 February 2016
... concepts into ones that could be made serviceable for Marxism. The “Psyche of the White Man” and the Mass Face on Film: Béla Balázs between Racialist and Marxist Physiognomics Laura Heins The works of Béla Balázs, the Hungarian-German-Jewish film...
in “The Great Imitator”: Syphilis and Clandestine Prostitution in Otto Dix’s Die Witwe Watercolors > New German Critique
Published: 01 August 2018
Figure 5. Moulage of a face showing early-stage syphilitic rash (casting after natural impression), 1920–25. Wax mixture and fabric, 14.0 × 19.7 × 27.9 cm. Deutsches Hygiene-Museum, Dresden More
in Guy Maddin’s Careful and the Mountain Film: A Transnational Approach to German Film History > New German Critique
Published: 01 August 2022
Figure 10. Johann’s face and the flag. More
New German Critique (2014) 41 (2 (122)): 111–124.
Published: 01 August 2014
..., vernacular modernism, D. W. Griffith's hieroglyphic language, and, not least, Babel as a structuring catastrophe of the linguistic dream. Here Doane isolates the concept of a universal language and traces its haunting of film theory in a direction that Hansen does not pursue—that of the close-up of the face...
Published: 01 February 2020
Figure 2. Lequeu, South-Facing Cow Barn . From Negt and Kluge, Öffentlichkeit und Erfahrung , 652. More
New German Critique (2013) 40 (3 (120)): 85–110.
Published: 01 November 2013
...Mattias Frey The history of the Young German Film and the European New Waves is widely rehearsed as the story of rebels who sought new visual languages in the face of moribund film culture. Perhaps less consistently told is the contemporaneous debate in Western European film periodicals about...
New German Critique (2013) 40 (2 (119)): 167–184.
Published: 01 August 2013
... Schmitt (and on Müller's own appropriations of Walter Benjamin and Antonin Artaud), however, this article argues that for Müller the state of exception had become the norm. The emergency is the everyday. Mommsen's Block therefore narrates the author's dilemma, faced with a subject he finds all...
New German Critique (2014) 41 (3 (123)): 179–197.
Published: 01 November 2014
... for the analysis of three films and informs the investigation of the wider cultural and historical contexts of the return. Two of the films bring their protagonists to Germany to face the descendants of the perpetrators. The encounter with Germany and German characters initiates an emotional process that may...
New German Critique (2018) 45 (1 (133)): 181–205.
Published: 01 February 2018
... and Scholem’s thought also reveals a deep intellectual affinity that both were unwilling to face. This article shows how Scholem and Taubes had a surprisingly similar understanding of the nature of messianism, though not its scope. For Scholem, messianism remains a strictly Jewish phenomenon; for Taubes...
New German Critique (2009) 36 (1 (106)): 119–147.
Published: 01 February 2009
... of human experience in the face of modern empirical science's advocacy of perceptual conformism. New German Critique, Inc. 2009 “The Merely Illusory Paradise of Habits”: Salomo Friedländer, Walter Benjamin, and the Grotesque Thomas O...
New German Critique (2011) 38 (2 (113)): 1–23.
Published: 01 August 2011
... in the face of the meaninglessness of history. In his essay “The German Constitution,” composed during the same period as his Wallenstein review, Hegel instead formulates his familiar exhortation that we see history as meaningful. Hegel's objection to Wallenstein 's darkness, then, is primarily an objection...
New German Critique (2016) 43 (1 (127)): 119–140.
Published: 01 February 2016
...Isabel Capeloa Gil Literary communication faces challenges when addressing torture, an unmediated and untranslatable event that antagonizes representation. Given the radical difference between the act of reading torture and the experience thereof, the representation of the event is never mastered...
New German Critique (2016) 43 (2 (128)): 153–176.
Published: 01 August 2016
... read this text as an exploration of distributed agency that challenges humanist assumptions about both “man” and “nature” by disclosing the limits of rational human mastery in the face of unruly natural phenomena, both “inner” and “outer.” At the same time, the multiple narrative frames of this tragic...
New German Critique (2020) 47 (2 (140)): 217–246.
Published: 01 August 2020
... but also ensures that it may take no action on behalf of the suffering that it expresses. This analysis is then used to consider the possible status of the angel in the moment of contemporaneity, as art embraces sociality and faces a weakened autonomy. Copyright © 2020 by New German Critique, Inc. 2020...
New German Critique (2015) 42 (3 (126)): 91–114.
Published: 01 November 2015
... or Gruselfilm ; rather, horror is deployed as a mode within a generic hybrid, reminiscent of what Linda Williams terms the “melodramatic mode” in very dissimilar films. These 1950s generic hybrids deploy this horror mode to deal with violent pasts as their characters face uncertain futures, a telling dilemma...
New German Critique (2011) 38 (3 (114)): 115–132.
Published: 01 November 2011
... evaluated. In most cases particular attention is paid to the extremes: the faces of good and evil—the extremes of strength, virtue, beauty, and their opposites—are often evaluated at length. One need only think of the “facies hippocratica,” with its sharp nose and sunken eyes. Attention...
New German Critique (2020) 47 (1 (139)): 173–195.
Published: 01 February 2020
... their world forever. Lene and Nelly form the center of four women, flanked by two others to their left. The faces of these two women are now marked by circles, which, Lene tells Nelly, signify that these friends are Nazis. The woman to their right (seated to the left of Lene) bears a cross above her head: she...
New German Critique (2020) 47 (3 (141)): 7–20.
Published: 01 November 2020
...—the “invisible, but evident expression”—through its knowing deployment of an opaque face and body, enacts the similar opacity of the historical crisis permeating Euro-American political economies in the mid- to late interwar. The performing body here absorbs and externalizes that state of crisis...