...Max Paddison This article proposes that it is the notion of the “image” that provides the key to how Adorno understands interpretation in both philosophy and art. It seeks to show that it is especially music, and musical interpretation as performance, that provides the model for Adorno's conception...

... Diehl The Image of Happiness We Harbor: The Messianic Power of Weakness in Cohen, Benjamin, and Paul Astrid Deuber-Mankowsky “Tragedy,” writes Hermann Cohen in his 1904 Ethics of Pure Will, “gener- ates the individual in the hero, in the demi-god...

... that Sextus Tarquinius's crime, the res atrox , can actually be transformed into a res publica , a matter of concern for everybody . The Image of Lucretia: On the Creation of Republican Charisma in Livy Friedrich Balke Thinking about the political...

...Stefan Andriopoulos New German Critique, Inc. 2006 The Terror of Reproduction: Early Cinemaʼs Ghostly Doubles and the Right to Oneʼs Own Image Stefan Andriopoulos...

... maintaining the idea of redemption. © 2014 by New German Critique, Inc. 2014 In the Image: The Transformation of Cinematic Shoah Representations in Michael Glawogger’s Kill Daddy Goodnight Norbert Otto Eke Cinema as Consensus Machine Writing...

... Ruttmann's Melodie der Welt ( Melody of the World , 1929), it argues that Weimar culture mobilized Querschnitt montage to come to terms with a new visual “archive”: namely, the thousands of indexical images of the world now circulating in illustrated journals and films. © 2013 by New German Critique, Inc...

... archival images, and the earlier footage is thus doubly reframed. In the exploration of the survivors' relationship to the archival images, the film critiques and revises perspectives adopted by earlier films, particularly those that take an uncritical orientation toward iconic Holocaust imagery. © 2014...

... contributed the image of Ernst Thälmann as a symbol of antifascism through montages for the AIZ in 1934 and 1936. The Comintern's critique of the April 1936 montage, which is understood to be aimed more at the AIZ 's publisher, Münzenberg, entangled him and the AIZ in a double-edged crisis in the Comintern...

... that takes stock of the state of German cities, German media, and German society from the viewpoint of their “end.” In reading these three variations of his essay films as “architectures of images,” the article presents Graf and his collaborators as “collectors” and “combiners,” who not only (re)construct...

...Bernhard Malkmus This essay explores the relation between text and image in Alexander Kluge's literary work. The publication of Chronik der Gefühle , which accounts for Kluge's entire literary production until 2000, allows a detailed study of his techniques of intermediality and how they developed...

... these features of Benjamin’s allegorical image of chance, the article considers it alongside an alternate image found in Benjamin Constant’s portrayal of Napoleonic warfare. Finally, and in connection with the gambler, the article draws out the aleatory elements of yet another of Benjamin’s dialectical images...

...Peter J. Schwartz Abstract The final, unfinished project of the Hamburg art historian and Kulturwissenschaftler Aby M. Warburg (1866–1929)—the so-called Mnemosyne image atlas ( Bilderatlas )—has recently drawn increased attention not only from scholars but also from artists and museum curators...

...Karin L. Crawford This essay focuses on the relationship between ideology, language, and image to consider the question of subjectivity that is at the core of Gerhard Richter's cycle of paintings on the Red Army Faction. Through a close reading of Richter's paintings, I demonstrate how...

.... At the center of such a reception stands a preeminent image concept of the Renaissance, the “window image,” and its epistemological implications, which Blumenberg counters with a skeptical attitude toward the mimetic aesthetics of images. In doing so, he contradicts Paul Valéry’s influential interpretation...

... the first two acts of the opera Moses und Aron , and he worked on the third act during his time in Los Angeles. For both men, the Second Commandment, against idolatry (the Bilderverbot ), played an important role. Theodor W. Adorno believed that the prohibition against images was the key to understanding...

...An Paenhuysen In the fall of 1928 the Weimar photographer Sasha Stone published his photobook Berlin in Bildern ( Berlin in Pictures ). The opening image of the smokestacks of the Klingenberg power station was a clear statement in favor of the modern city. As a photographer of the New Vision...

... or symbolic way with this infrastructure. Rather than based in a physical feature of its subterranean space, the reigning image of subterranean Berlin was metaphorical: the underworld of decadent Weimar culture, a subversive image reinforced during the 1920s by the political identity das rote Berlin...