Bernhard Malkmus – författare

The German Pícaro and Modernity reads the re-emergence of the picaresque narrative in twentieth-century German-language writing as an expression of modernity and its social imaginaries. Malkmus argues that the picaresque, whose origins date back to the Spanish Renaissance and the Baroque Age, re-emerged as a reflection both of Germany's explosive modernizing processes between 1880 and 1930 and of the most barbarous implosion of modern civilization under National Socialism. Another reason for the fertility of this literary form at that particular cultural moment is rooted in the complexities of German-Jewish relations and the history of Jewish assimilation in central Europe. A considerable number of authors who used the picaresque form in the twentieth century are from a Jewish background, and Malkmus demonstrates how the picaresque narrative template also offers a medium for German-Jewish self-reflection. In highlighting these connections, he contributes not only to scholarship in European literature, but also but also to our understanding of major social, economic and political issues at stake in modernity

From Hegel to the present, the humanities and social sciences have revealed the volatile power of third agency. Systems of thought and practice are often disturbed by the presence of a figure that exceeds traditional binary oppositions. The articles in this volume trace the role of these triadic figures across a broad range of discourses in social theory, philosophy and science studies. Modernity emerges as a mode of system-formation, perpetuation and self-reflection that is deeply rooted in the dynamics of dialectic and paradox.The volume offers an approach which is both systematic and genealogical, providing innovative perspectives on such major thinkers as Adorno, Agamben, Derrida, C. S. Peirce, the Romantics and Simmel as well as phenomena like the psychology of jealousy and envy, the epistemic status of scientific images and conceptions of metabolism. It is the first attempt to look at configurations of the third as a paradigm for the ‘unfinished project of modernity’ (Habermas).