... irreconcilable opposition between invocations of German wartime suffering and expiation of war guilt, the article shows that these charges do not account for the new frameworks of filmic representation, which specifically challenge the revisionist legacy. By examining the possibilities and limits...

.... Paradoxically, such events are obscured in J. M. Bernstein's account, in Adorno: Disenchantment and Ethics, of Adorno's “exemplary first-person experience” of unredeemable guilt after Auschwitz. Fredric Jameson's Late Marxism argues from an opposing perspective to a similar effect, construing negative...

... that is the very subject of the book. The focus on criminal guilt is not enough, because the Nazi genocide distorted legal and moral standards by which one could judge crimes in the past. The unprecedented nature of the atrocities under discussion requires philosophical reflection. This article attempts to explain...

... with long-silenced familial legacies. These attempts to work through, or at least make readable, the affective afterlife of silenced histories of guilt and shame are evidence of the limits of any strategy for mastering the affective inheritance that this past represents. © 2011 by New German Critique, Inc...

... Traudl Junge, and the families of Nazi perpetrators. Drawing on theories of shame developed by Emmanuel Lévinas (1935) and Ruth Leys (2007), it demonstrates how these films perform a move away from guilt in the juridical or moral sense and toward shame as an exposure of the psychological and emotional...

..., empathetic, and ethical engagement with the past. This makes them a particularly provocative means of engaging with the figure of the perpetrator and with questions of guilt, responsibility, and agency. This article reads reenactments by Romuald Karmakar and Milo Rau as challenges to a teleological...

... subjectivity that seeks to harness a form of antiauthoritarian energy, albeit in a manner invested with ambivalence. In this poem Lasker-Schüler reimagines the story of Eve outside constructions of guilt, emphasizing transgression as a positive, almost salvific action. Still, this attempt on the poet’s part...

... miracle) was also one of melancholy and discontent. Copyright © 2020 by New German Critique, Inc. 2020 postwar Holocaust memory guilt resentment hope Hitler hat den Menschen im Stande ihrer Unfreiheit einen neuen kategorischen Imperativ aufgezwungen: ihr Denken und Handeln so...

... Critique of Group Experiment,” in Guilt and Defense: On the Legacies of National Socialism in Postwar Germany, ed. and trans. Jeffrey K. Olick and Andrew J. Perrin (Cambridge, MA: Harvard University Press, 2010), 208. The “Reply” was originally published in German in 1957. Adorno also uses...

... it with the statement that “three aspects” of the religious structure of capitalism are to be conceived, and continues first, second, third—and, sur- prisingly enough, fourth. The first aspect is capitalism’s cultic nature; the sec- ond, the permanent endurance of cult; the third, that in capitalism the guilt...

... and empty norm without content, the object of which remains unknowable.” The law’s emptiness is assumed to be reactionary and to forge a “necessary connection of law and guilt.” Kafka: Toward a Minor Litera- ture, trans. Dana Polan (Minneapolis: University of Minnesota Press, 1986), 43–44. The notion...

...; and it generates and trans- fi gures his guilt through his heroic suffering. Religion, on the other hand, generates the individual in the human soul and in its sins. But it brings redemp- tion in the recognition of human weakness; weakness becomes the attribute of human morality.”1 In these three sentences...

...: Criminals and Accessories in Die Mörder sind unter uns (The Murderers Are among Us) Questions of individual guilt and responsibility for actions that took place in a social context determined by NS, anti-Semitism, and the Holocaust as well as a war of conquest and extermination begins...

..., a second nar- rative voice emerges: the voice of a survivor who was hidden on a cart and watched his father being killed, and who has had a hard time ever since owing to his “survivor guilt.” Jonas Shtrom’s statements, first to the Central Office of the State Justice Administration...

... that it is not they who would tell me what I am accused of, but I must tell them.” Unlike in Kafka’s novel, the eventual indictment was clear, constructed, and absurdly false. But as in The Trial, the burden of accusation and guilt was laid on Goldstücker, accord- ing to the strange logic and rhetoric...

... to take part . . . in the public worship of God, as it now is (with the claim that it is the Christianity of the New Testament), thou hast constantly one guilt the less, and that a great one. . . . I want...

..., Christianity marks a step beyond Judaism. It escapes the rule of exchange, a rule that in Judaism smacks of moral double-entry 6. During this period Adorno quotes Friedrich Nietzsche quite approvingly: “The guilt sacri- fice, in its most repulsive and most barbaric form: the sacrifice...

... discourse of the Weimar Republic did not disappear after World War II. Rather, it became intertwined with “the question of guilt,” die Schuldfrage . Thus the war was interpreted as an indication of the bankruptcy of the West or of modernity itself. 12 This meant that the concept of Schuld —with its...

...- ized and homeless people. Regardless of the genre format, Germans usually appear as victims or rescuers, rarely as perpetrators.6 Guilt belongs to the par- ties responsible for the misery of average German citizens and the desperate postwar situation. Although Hitler is referred to on occasion...

... The thirst and water motif of Kremer’s nightmare introduces a theme that deepens the fi lm’s central moral confl ict. The theme is guilt. As one of the screenwriters, Andreas Pfl üger, confi rms, the inclusion of this element was inspired by the well-documented complex of “survivor guilt,” perhaps most...