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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.
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