The European Union entered into an economic crisis in late 2009 that was sparked by bank bailouts and led to large, unsustainable, sovereign debt. The crisis was European in scale, but hit some countries in the Eurozone harder than others. Despite the plethora of writings devoted to the economic crisis in Europe, present understandings of how the political decisions would influence the integration project continue to remain vague. What does it actually mean to be European? Is Europe still a collection of peoples that rallied together during good times and then retreat to nationalism when challenges appear? Or has Europe adopted a common identity that would foster solidarity during hard times? This book provides its reader with a fresh perspective on the importance identity has on the functioning of the European Union as exemplified in Jurgen Habermas' seminal text, 'The Crisis of the European Union: A Response'. Rather than exploring the causes of the crisis, the contributors examine the current state of European identity to determine the likelihood of implementing Habermas' suggestions. The contributor's interdisciplinary approach is organized into four parts and examines the following key areas of concern: Habermas' arguments, placing them into their historical context. To which degree do Europeans share the ideals Habermas describes as crucial to his program of reform. Influence of Habermas' cosmopolitanism through religious and literary lenses. Impact of Habermas' notions in the arenas of education, national economies, austerity, and human rights. Jurgen Habermas and the European Economic Crisis will be read by scholars in the fields of Political Theory and Philosophy, European Politics and Cultural Studies.

How to Make the Body: Difference, Identity, and Embodiment brings together contemporary and historical readings of the body, exploring the insights and limits of established and emerging theories of difference, identity, and embodiment in a variety of German contexts. The engaging contributions to this volume utilize and challenge cutting-edge approaches to scholarship on the body by putting these approaches in direct conversation with canonical texts and objects, as well as with lesser-known yet provocative emerging forms. To these ends, the chapter authors investigate "the body" through detailed studies across a wide variety of disciplines and modes of expression: from advertising, aesthetics, and pornography, to social media, scientific experimentation, and transnational cultural forms. Thus, this volume showcases the ways in which the body as such cannot be taken for granted and surmises that the body continues to undergo constant--and potentially disruptive--diversification and transformation.

The European Union entered into an economic crisis in late 2009 that was sparked by bank bailouts and led to large, unsustainable, sovereign debt. The crisis was European in scale, but hit some countries in the Eurozone harder than others. Despite the plethora of writings devoted to the economic crisis in Europe, present understandings of how the political decisions would influence the integration project continue to remain vague. What does it actually mean to be European? Is Europe still a collection of peoples that rallied together during good times and then retreat to nationalism when challenges appear? Or has Europe adopted a common identity that would foster solidarity during hard times? This book provides its reader with a fresh perspective on the importance identity has on the functioning of the European Union as exemplified in Jurgen Habermas' seminal text, 'The Crisis of the European Union: A Response'. Rather than exploring the causes of the crisis, the contributors examine the current state of European identity to determine the likelihood of implementing Habermas' suggestions. The contributor's interdisciplinary approach is organized into four parts and examines the following key areas of concern: Habermas' arguments, placing them into their historical context. To which degree do Europeans share the ideals Habermas describes as crucial to his program of reform. Influence of Habermas' cosmopolitanism through religious and literary lenses. Impact of Habermas' notions in the arenas of education, national economies, austerity, and human rights. Jurgen Habermas and the European Economic Crisis will be read by scholars in the fields of Political Theory and Philosophy, European Politics and Cultural Studies.

Grotesque Visions focuses on the radical avant-garde interventions of Salomo Friedländer (aka Mynona), Til Brugman, and Hannah Höch as they challenged the questionable practices and evidentiary claims of late-19th- and early-20th-century science. Demonstrating the often excessive measures that pathologists, anthropologists, sexologists, and medical professionals went to present their research in a seemingly unambiguous way, this volume shows how Friedländer/Mynona, Brugman, Höch, and other Berlin-based artists used the artistic grotesque to criticize, satirize, and subvert a variety of forms of supposed scientific objectivity. The volume concludes by examining the exhibition Grotesk!: 130 Jahre Kunst der Frechheit/Comic Grotesque: Wit and Mockery in German Arts, 1870-1940. In contrast to the ahistorical and amorphous concept informing the exhibition, Thomas O. Haakenson reveals a unique deployment of the artistic grotesque that targeted specific established and emerging scientific discourses at the turn of the last fin-de-siècle.

Grotesque Visions focuses on the radical avant-garde interventions of Salomo Friedlander (aka Mynona), Til Brugman, and Hannah Hoech as they challenged the questionable practices and evidentiary claims of late-19th- and early-20th-century science. Demonstrating the often excessive measures that pathologists, anthropologists, sexologists, and medical professionals went to present their research in a seemingly unambiguous way, this volume shows how Friedlander/Mynona, Brugman, Hoech, and other Berlin-based artists used the artistic grotesque to criticize, satirize, and subvert a variety of forms of supposed scientific objectivity. The volume concludes by examining the exhibition Grotesk!: 130 Jahre Kunst der Frechheit/Comic Grotesque: Wit and Mockery in German Arts, 1870-1940. In contrast to the ahistorical and amorphous concept informing the exhibition, Thomas O. Haakenson reveals a unique deployment of the artistic grotesque that targeted specific established and emerging scientific discourses at the turn of the last fin-de-siecle.

This book is a cutting-edge, interdisciplinary collection of essays by some of today's most forward-thinking scholars. The contributors explore the ways in which the prefix "trans" erupts German identity and the identity of Germany itself. The volume calls German identity into question and examines the ways in which the prefix "trans" is deployed to these ends in relation to national borders, historical limits, political institutions, social practices, and forms of cultural and aesthetic expression. The collection reveals the ways in which the transcendence of national, corporeal, disciplinary, and institutional limits is embodied by the use of the prefix "trans"- and has the potential to do so much more. The volume engages the multifaceted nature of "trans"- and a Germanness that defies geography - to explore how Germans and Germany are increasingly situated "beyond" limits. Collectively, these investigations reveal a radical discourse of Germanness, a discourse with significant implications for historical and contemporary German self-understanding.The book asks the following: What is German identity beyond geography? And what are the promises and perils for Germany, and German identity, in becoming transGerman?

How does the visual nature of spectacle inform the citizenry, destabilize the political, challenge aesthetic convention and celebrate cultural creativity? What are the limits - aesthetic, political, social, cultural, economic - of spectacle? How do we explain the inherently exclusionary, revolutionary, dehumanizing and utopian elements of spectacle? In this book, authors from the fields of cultural studies, cinema studies, history and art history examine the concept of spectacle in the German context across various media forms, historical periods and institutional divides. Drawing on theoretical models of spectacle by Guy Debord, Max Horkheimer and Theodor Adorno, Jonathan Crary and Michel Foucault, the contributors to this volume suggest that a decidedly German concept of spectacle can be gleaned from critical interventions into exhibitions, architectural milestones, audiovisual materials and cinematic and photographic images emerging out of German culture from the Baroque to the contemporary.

Who is "German"? What defines "Germanness"? These questions about national identity have continued to confound both Germans and foreign observers in light of Germany's complex history: its changing borders between 1871 and 1989 make even a geographic definition of the nation complex, let alone allowing for a clear definition of the national character. Questions about German identity continue to play out not only in political discussions but also in visual cultural forms. This essay collection examines the multi-faceted nature of German identity through the lens of myriad forms of visual representation. The contributors explore the nature of German national identity in different historical periods from the Middle Ages to the present and consider how conceptions of that identity have been depicted across the broad spectrum of visual culture: from painting to sculpture, advertising to architecture, television and film to installation art. Because of the unusual approach, the essays address broad questions about identity formation, authenticity, and affirmation in the German context. Together, the essays in this volume demonstrate the complexities of identity construction and offer new insights into the "German Question" from the perspective of visual culture.