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fascist aesthetics

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Journal Article
New German Critique (2016) 43 (1 (127)): 37–58.
Published: 01 February 2016
... with poems like “Erst wenn” and “Ostafrika,” this essay contextualizes Benn's colonial turn in the primitivist/modernist poetics of his earlier Rönne novellas and his brief turn to a fascist aesthetic in essays of the early 1930s. His primitivist poetic fantasy of the “Southern Word” becomes an imaginary...
Journal Article
New German Critique (2012) 39 (3 (117)): 5–8.
Published: 01 November 2012
..., and fascism. Both concurred in rejecting the privileging of rationalism and the repudiation of helplessness, which Benjamin identified in the thinking of Sigmund Freud and Theodor W. Adorno. Rabinbach's implicit perspective on this repudiation and his explicit analysis of the fascist aesthetics of virility...
Journal Article
New German Critique (2022) 49 (3 (147)): 135–157.
Published: 01 November 2022
... the Swedish figures Ström and Rogeby near the end of the second volume feature the imagination as a force of aesthetic and political resistance respectively: whereas the narrator’s engagement with Géricault’s Raft yields a vision of common plight and solidarity in defiance of colonialist and fascist...
Journal Article
New German Critique (2009) 36 (2 (107)): 53–88.
Published: 01 August 2009
... world, repress- ing the construction of the image to heighten the sensation of looking at an organic totality. Yet, in theoretical terms, organic illusionism has been associated with auratic bourgeois representation, harmonious dreamworlds, and fascist aesthetics—not radical Left...
Journal Article
New German Critique (2021) 48 (3 (144)): 65–98.
Published: 01 November 2021
... also Ravetto, Unmasking of Fascist Aesthetics . 15. Berlatsky, “Man in the High Castle.” 16. See, e.g., the Metacritic’s user reviews at www.metacritic.com/tv/the-man-in-the-high-castle . 17. Peschanski, “Entre-t-on dans l’ère du bourreau?” 18. Alice Miller claimed...
Journal Article
New German Critique (2023) 50 (1 (148)): 103–128.
Published: 01 February 2023
... between aesthetics and politics. Opposite of the anesthetic that results from the distance from what is most distant, fascism is a heightened aesthetic experience of existence, or what Benjamin refers to as the “aestheticizing of political life” ( SW , 4:269). For the fascist, there is a deep sense...
Journal Article
New German Critique (2007) 34 (3 (102)): 101–126.
Published: 01 November 2007
... against fas- cism, Flanner is never prescribed or didactic in her opinions; nor, however, does she offer any explicit interrogation of what ethics can mean in relation to the aesthetics she so admires. One question, then, is why, despite her prolonged study of fascist image production and its...
Journal Article
New German Critique (2021) 48 (2 (143)): 205–220.
Published: 01 August 2021
..., public memory, and historiography, respectively. The very title of the volume reflects this dialectic. It refers not only to the ways in which Nazis, fascists, and antifascists presented, or literally staged, their respective movements in real time but also to the politically inflected, dynamic...
Journal Article
New German Critique (2009) 36 (2 (107)): 207–230.
Published: 01 August 2009
... for avant-garde fi lm, for through its form we become conscious of the destructive forces in mass culture. The fascist aesthetic allows the individual to 11. Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction,” in Illuminations: Essays and Refl ections, ed. Hannah Arendt...
Journal Article
New German Critique (2006) 33 (1 (97)): 159–178.
Published: 01 February 2006
... to a theory of the political, and from philosophical issues to questions of ethics in a world after Auschwitz. In suggesting that we link Adorno’s engagement with tropes of nature to larger questions of history and aesthetics, I argue that Adorno stages, rather than explains, concepts that would...
Journal Article
New German Critique (2022) 49 (3 (147)): 159–185.
Published: 01 November 2022
... in the wake of fascist victory in the Spanish Civil War. There Brecht registers not just the final defeat of the Spanish antifascist resistance but also the survival of underlying social forces on which future political resistance might draw. Bringing to a close the novel’s reflections on the aesthetics...
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Journal Article
New German Critique (2010) 37 (2 (110)): 107–124.
Published: 01 August 2010
... of postwar literature, whose proclaimed “zero hour” proved nothing but a myth. By contrast, the rediscovery of Arnold Schoen­ berg, Alban Berg, and particularly Anton Webern after the war enabled the young musical avant-garde to reconnect with a tradition uncontaminated by the fascist music aesthetic...
Journal Article
New German Critique (2015) 42 (3 (126)): 69–90.
Published: 01 November 2015
... to largely conservative aesthetic and cultural presuppositions. © 2015 by New German Critique, Inc. 2015 postwar German culture Anna Seghers Willi Bredel Bertolt Brecht Hermann Hesse The Postwar Restoration in East and West Stephen Brockmann...
Journal Article
New German Critique (2012) 39 (1 (115)): 27–48.
Published: 01 February 2012
... and at times regressive connotations of the concept, but they seek to go beyond what they consider either uncritical or reductive uses of the term Heimat. These reductive notions include not only obvious ones like the fascist appropriation for a Blut and Boden (blood and soil) ideology but also...
Journal Article
New German Critique (2011) 38 (1 (112)): 9–38.
Published: 01 February 2011
... into fascists, who in collaboration with American capitalism want to annihilate the Palestinian people.”3 In addi- tion to the failed bombing on the anniversary of Kristallnacht, the words “Sha- lom and Napalm” were painted on antifascist memorials adorning synagogues in Berlin.4 For much of the German...
Journal Article
New German Critique (2022) 49 (3 (147)): 215–229.
Published: 01 November 2022
... intellectuals. Although Weiss and Enzensberger do not address the relationship between politics and aesthetics directly, the introduction asks us to rethink postwar modernisms. Keeping in mind the connection between anticolonial politics and surrealism in the writings of Fanon and Aimé Césaire, the introduction...
Journal Article
New German Critique (2012) 39 (3 (117)): 135–153.
Published: 01 November 2012
..., a sort of action hero against fascism. On the other hand, it held that Germans across the board were Adolf Hitler’s first victims and thus naturally antifascist. In brief, this myth exonerated Germans and exaggerated the anti- fascist resistance while ignoring the wide support National Socialism had...
Journal Article
New German Critique (2011) 38 (1 (112)): 39–63.
Published: 01 February 2011
... relationship between word and image central to Duden’s exploration of the recent fascist past that para- lyzes and unmoors her protagonist. Teresa Ludden views Duden’s aesthetic 25. Marianne Hirsch uses this term to describe the memories of the first generation that have come to occupy the second...
Journal Article
New German Critique (2022) 49 (3 (147)): 1–20.
Published: 01 November 2022
...Kai Evers; Julia Hell; Seth Howes In this introduction the editors first trace the reception of Peter Weiss’s Aesthetics of Resistance in (West) Germany and the United States. Focusing on the relation between politics and aesthetics, some critics characterized this relation as fraught, arguing...
Journal Article
New German Critique (2013) 40 (2 (119)): 53–75.
Published: 01 August 2013
... Massenpsychologie und Ich-Analyse as a book about fascism. After World War II Adorno summarized this type of reception in his essay “Freud- ian Theory and the Pattern of Fascist Propaganda.” He stated that Freud “clearly foresaw the rise and nature of fascist mass movements.”25 Indeed, he declared...