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Journal Article
New German Critique (2015) 42 (1 (124)): 23–44.
Published: 01 February 2015
... drama and causes a series of formal flaws that demand an artistic solution. The article indicates the limits of Lukács's approach as well as a necessary rectification of the “political” reading of his first work. © 2015 by New German Critique, Inc. 2015 aesthetics Georg Lukács...
Journal Article
New German Critique (2019) 46 (2 (137)): 117–149.
Published: 01 August 2019
...Terence Renaud Abstract The New Left that arose in West Germany during the 1960s mimicked the antifascist reformations of the 1930s. For grassroots campaigns, extraparliamentary opposition groups, and radical student organizations of the postwar decades, the Marxist humanist theories...
Journal Article
New German Critique (2019) 46 (3 (138)): 1–9.
Published: 01 November 2019
...Brad Prager; Eric Rentschler Copyright © 2019 by New German Critique, Inc. 2019 This content is made freely available by the publisher. It may not be redistributed or altered. All rights reserved. Within New German Critique’ s long-standing commitment to analyzing German-language...
Journal Article
New German Critique (2007) 34 (3 (102)): 101–126.
Published: 01 November 2007
...Annalisa Zox-Weaver New German Critique, Inc. 2007 At Home with Hitler: Janet Flanner’s
Führer Profi les for the New Yorker
Annalisa Zox-Weaver
Reporting on Hermann Göring’s appearance in court at the Nuremberg war-
crimes trials, Janet Flanner...
Journal Article
New German Critique (2011) 38 (2 (113)): 89–128.
Published: 01 August 2011
... of the Copenhagen interpretation of quantum physics and Gestalt theory; and the rise of phenomenology. It argues that German-educated Russian émigrés were central to transforming French thought, in particular a new kind of phenomenological and antifoundational realism and a new understanding of the body...
Journal Article
New German Critique (2012) 39 (2 (116)): 11–24.
Published: 01 August 2012
...Kathleen James-Chakraborty The collapse of communism and the reunification of Germany have dramatically altered our understanding of the Bauhaus's legacy. New institutions in the former East now compete with each other and with the Bauhaus Archive in Berlin as the official successors...
Journal Article
The Ends of (German) Film Criticism: On Recurring Doomsday Scenarios and the New Algorithmic Culture
New German Critique (2020) 47 (3 (141)): 45–57.
Published: 01 November 2020
.... The article proceeds to examine the supposed new threat to critics: algorithmic recommender systems for video-on-demand platforms such as Netflix. Based on the author’s mixed-method empirical audience study, it concludes that the need and desire for human cultural mediators has not decreased despite...
Journal Article
New German Critique (2021) 48 (3 (144)): 141–163.
Published: 01 November 2021
.... That a group of human beings stimmen in their language überein says, so to speak, that they are mutually voiced with respect to it, mutually attuned to bottom” ( CR , 32). Copyright © 2021 by New German Critique, Inc. 2021 Abbas Khider’s fifth book, Deutsch für alle: Das endgültige Lehrbuch...
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Published: 01 November 2019
Figure 1. The opening shot of Good News (1990). Hans Selikovsky Filmproduktion.
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Published: 01 November 2019
Figure 2. A portrait of a woman in a kitchen in Good News . Hans Selikovsky Filmproduktion.
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/10.1215_0094033X-6684135/8/s_ngc6684135figure4.png?Expires=2147483647&Signature=y0kQgKbitWImXiivoL8IeQ7scUWzmyDmduudGan7UHdSMnD7et9OJdhA95ALNcFwE-qFupNz3FQokTzmJJcNt9gG~L6oG219NPDSVl4Qas~CI4RNc~p837eu9JJk0Af4x79Moewn0l7SZaBYhN6C1Fx47TMxfc1-1B6oX2k0KcYneGtFrAx3zTWBugyDoO70FHk5jKvnEjL~MizBjjCV3V-NzfSWvap7tdojpliYY4xxmmuw6NqRNq2gMTwiAJXh0zHHrhP-79~h1ub6jmJU1wbRR1aBp~4gH3qaQ3CemBwdK6H9D7HLhMJ~eJNnCiad91is5zCL9yi5MIMlrWi6PA__&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 4. Dame mit Pelz und Schleier ( Lady with Mink and Veil ), by Otto Dix, 1920. Oil and tempera on canvas mounted on board, 73.0 × 54.6 cm (28 ¾ ×21 ½ in). Collection of Michael and Judy Steinhardt, New York. © 2006 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn
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/10.1215_0094033X-8607633/6/s_ngc8607633figure11.png?Expires=2147483647&Signature=SDMSY1DdEe6agTu6PiBL-iE5hULT0SnUEuWpi4Gb06h3YZRNcCdJB6KRd5vX-P6HKp5HedvOc6yZvMibUvDeRkoqA3caMBI8CGgpiY3bG6xAEuCxfQF-QDL5ngbs94UA18R2ik3OjrLNHVsUtb~KEdIY7boHG2At-6E7lji5W0lrmRhDZ3TSKiYnfmDB9di1H3oLkAViBohzNfEwKXLOw0ftF5bfSVmanaICFNo0zdTMG3k-x07PahIkyQyHLDcI4u1U9B1JxNqx2-PEwLDYH5KX76TT9p5fKMojgnZ3FRYK8ji2CeXhse63ktc3UiX53etMyg6i~rNyG7LLW9mkOQ__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
in The Last Dwelling before the Last: Siegfried Kracauer’s Critical Contribution to the Modernist Housing Debate in Weimar Germany
> New German Critique
Published: 01 November 2020
Figure 11. Portrait of Siegfried Kracauer, 1964, photograph by Lili Kracauer in their New York City apartment (“interior photo”), from a negative scan. Courtesy Deutsches Literaturarchiv Marbach.
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/10.1215_0094033X-9965346/1/s_ngc9965346figure2.png?Expires=2147483647&Signature=EZqRc9~2V28Jw~luUGsr7vAkcX3pGQUqIqIUbx~FB~zdYeRDgAGiLyseFjvfJsNh0z3ErV-wKFIu5Qnjt9O~W2ofiGloeCkqfO4upRYPS1tw5rFfWDo3LBt0P05ORX6h4UAr4S3wV5PssSBrxYgWsLt-aMM51E~JlSRPgZOZkavcXshezQvfQ8FylrZNpfOiMQRAYtY5jUVsKxiVfUY9iLpT6rcEBlOm1KMPNinRITNvOmJgF1aOEqAx3Jgr71u0MT~mGQbOB9tG5HwIfHDU0ouNbBghE8fcPJIM0MGPY4QIhJsjo-uN2~5zSbWMnodVasxkVaWgHYTl0gOGkQpRpQ__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
in Marxist and Formless : Uncanny Materialism in Peter Weiss’s The Aesthetics of Resistance
> New German Critique
Published: 01 November 2022
Figure 2. Théodore Géricault, Scène de deluge (1820). Oil on canvas, 97 × 130 cm. Musée du Louvre, Paris. Photograph: Michel Urtado. © 2021 Réunion des Musées Nationaux-Grand Palais/Art Resource, New York.
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in Marxist and Formless : Uncanny Materialism in Peter Weiss’s The Aesthetics of Resistance
> New German Critique
Published: 01 November 2022
Figure 3. Donald Judd, Untitled (DSS 65, 1965). Galvanized steel, seven units: each 297.7 × 101.6 × 76.2 cm. Moderna Museet, Stockholm. Photograph: Albin Dahlström. © 2021 Judd Foundation/Artists Rights Society (ARS), New York.
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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-9965346/1/s_ngc9965346figure1.png?Expires=2147483647&Signature=4MX2LJulK2IJYbNcuVNSpvZDHnLedxU46qYDv6r7j3ToTc00FDPATHBvubj7btb8mS1-84d~jy~TkcHc6eJxQeNUsFcVmI2h4slSzu8REpQPiiVE6zZuuFWmz2suJzQvQZr7MMKzEfCVTf9EdTkUTCfRzmJJGOUK8dQBRV5WORHkKdovhoSOhdOiZS1QGxSABa0wMORLxXSsEkic8jQY5QSj6og5Qq4ot-nEc81QYJUXHu~3~ezKJDTACrDAEDs8vL9y5x4Eif-I9eFJwTLUfMRWrCXV06Qdhjsp5M5SJjf3bzBINgwnKJMET-j8X1L53AUKveCyp6u7lk~gO4nXDw__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
in Marxist and Formless : Uncanny Materialism in Peter Weiss’s The Aesthetics of Resistance
> New German Critique
Published: 01 November 2022
Figure 1. Nicolas Poussin, L’hiver ou le déluge ( Winter, or The Flood , 1660–64). Oil on canvas, 118 × 160 cm. Musée du Louvre, Paris. Photograph: Stéphane Maréchalle. © 2021 Réunion des Musées Nationaux-Grand Palais/Art Resource, New York.
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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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Journal Article
New German Critique (2009) 36 (3 (108)): 39–71.
Published: 01 November 2009
... and modernism conditionally. In architecture, “modernization” resulted in the invention of new materials and construction or production methods (technology), and the design challenge of new building types like railroad stations, airports, and public housing. “Modernism” refers to the corresponding aesthetic...
Journal Article
New German Critique (2010) 37 (1 (109)): 1–25.
Published: 01 February 2010
...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...
Journal Article
New German Critique (2009) 36 (2 (107)): 89–131.
Published: 01 August 2009
... photographic fragments in a montage might engage viewers in a new way. In addition, Moholy-Nagy's and Brandt's photomontages resituate the mass media's representations of New Women and frequently create representations of the figure of the constructor, a hybrid technician-artist that each artist sought...
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