... aspirations, eventually ‘only’ serve the goal of increasing and sharpening attentiveness.” 11 In another variation on phenomenology’s theme, Blumenberg’s philosophizing is aimed at “seeing more, no more than seeing.” 12 But this social and theoretical retreat to a spectatorial position does not mark...

..., the occultation of the means of production, masked in Husserlian phenomenology by its static categories and reductions. Given the prominent role of physiognomy as a form of social critique in Adorno's later writings, Current of Music offers a unique opportunity to see the concept at work in its earliest formation...

...) to produce an active mode of seeing. © 2012 by New German Critique, Inc. 2012 Narrative Resemblance: The Production of Truth in the Modernist Photobook of Weimar Germany Patrizia McBride It would be difficult to overstate the impact...

...Artemy Magun This article discusses the relationship between two philosophies of the twentieth century: those of Theodor W. Adorno and Philippe Lacoue-Labarthe. Both authors emphasize the notion of mimesis and see it as an ontological and an epistemological category and as the site...

... as the basis for a possible but as yet incomprehensible reconciliation with it. He sees no separate ontology but that of incompleteness, so that the transitive is given priority over the intransitive within being, thus transforming it, in a Hegelian sense, into becoming. For Heidegger, time is just the shell...

... incorrect, provocatively immoral, and even deliberately deviant. In this way Walser declares his own untimeliness and his own “late” rejection of what he sees as the normative authority of contemporary social and political discourse. © 2015 by New German Critique, Inc. 2015 aging in literature late...

... by the “truth content” of artworks. This theoretical move is meant to shed new light on how Adorno sees the relationship between art and politics. The inclusion of Adorno in the tradition of the beautiful and his portrayal as a forerunner of Jean-François Lyotard’s aesthetics of the sublime are flawed. In other...

... of fiction—Ka-Tzetnik’s Salamandra , David Grossman’s See Under: Love , A. B. Yehoshua’s Mr. Mani —as well as more minor texts. Using theoretical work in narrative (E. M. Forster, James Phelan) and imagology (Manfred Beller and Joep Leerssen on German national character), this article formulates the recent...

... for the self; episodic selves, living as tourists from one experience to the next; and Facebook eye, seeing the world in terms of garnering “likes.” These notions point to a deeper change in identity construction that is undermining the age of authenticity. In an age of profile-based identity or “profilicity...

... adversaries more clearly provides the chance to see her conceptual distinctions as interventions into concurrent attempts to revise Marxian political economy in the latter half of the twentieth century. Copyright © 2020 by New German Critique, Inc. 2020 Marxism labor automation the human condition...

...Mattias Frey Abstract A prominent strain of discourse sees digital-age German film criticism in a terminal trajectory of commercialization and dumbing down. This article demonstrates that this rhetoric is not unique: neither to German-speaking countries nor to the digital age. Complaints about...

... and the cinematic apparatus, and seeing film as a form of “productive thinking.” It represents a kernel of Farocki’s wish to put the tools of filmmaking into the hands of ordinary people, thus revealing both theoretical aspects of the cinematic apparatus itself and the interweaving of visual images with social...

... the conceptions of life that come into play in the novel (life as career, life as theater, life as gesture) and considers the fate of the protagonist in this light. Seeing the question of inclusion/exclusion as key to Kafka’s novel, the article argues that it exposes the thin line between utopia and dystopia...

... discourse, “spiritual experience,” in part read through the eyes of Kojève and, via him, Vladimir Soloviev, is thereby distinguished from what Adorno sees as an irrepressible tendency toward “spiritualization” in contemporary culture and the philosophy that reflects on it. Instead, it reveals a dimension...

... 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...

... of the archive—Petzold must turn to this material but sees that its (re)mediatization in mainstream Holocaust cinema has obscured its relationship to the traumatic events at stake. This article shows how Petzold uses his film to describe the difficulties of working with the archive from the positions...

... paintings take several risks, one of which is that the viewer may sympathize with the terrorists Richter portrays or may see these paintings, particularly Funeral , as redeeming them. Yet a dialectical reading that focuses on the narrative impulse of Richter's images demonstrates that the hope Richter holds...

... on in Aesthetic Theory that see Kant's views on “aesthetic feeling” as necessarily applicable to “art itself.” Thus Adorno's reception of Kant's aesthetics is fundamental to Adorno's articulation of the inversion of subject and object, which is, in turn, a central feature of his philosophy as a whole. © 2008...

... is also relevant to the modern feminist debate on the political position of women. However, the focus has often been limited to one side of her actions: the struggle against the unequal and oppressive treatment of women. Readings and appropriations that see Medea as an advocate of women’s demands...

...— resulted directly from their encounter with Nazi tyranny. What, they asked, was 1. Klemens von Klemperer, “Naturrecht und der deutsche Widerstand gegen den Nationalsozial- ismus: Ein Beitrag zur Frage des deutschen ‘Sonderwegs Vierteljahrshefte für Zeitgeschichte 40, no. 3 (1992): 324; see also...