Thomas O. Haakenson - Böcker

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 Jürgen 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.Jürgen Habermas and the European Economic Crisis will be read by scholars in the fields of Political Theory and Philosophy, European Politics and Cultural Studies.

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 Jürgen 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.Jürgen 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.

Jeanne Mammen’s watercolour images of the gender-bending ‘new woman’ and her candid portrayals of Berlin’s thriving nightlife appeared in some of the most influential magazines of the Weimar Republic and are still considered characteristic of much of the ‘glitter’ of that era. This book charts how, once the Nazis came into power, Mammen instead created ‘degenerate’ paintings and collages, translated prohibited French literature and sculpted in clay and plaster—all while hidden away in her tiny studio apartment in the heart of Berlin’s fashionable west end. What was it like as a woman artist to produce modern art in Nazi Germany? Can artworks that were never exhibited in public still make valid claims to protest? Camilla Smith examines a wide range of Mammen’s dissenting artworks, ranging from those created in solitude during inner emigration to her collaboration with artist cabarets after the Second World War. Smith's engaging analysis compares Mammen's popular Weimar work to her artistic activities under the radar after 1933, in order to fundamentally rethink the moral complexities of inner emigration and its visual culture. The examination of Mammen’s life and work demonstrates the crucial role women artists played as both markers and agents of German modernity, but the double marginalisation they have nonetheless encountered as inner émigrés in recent history. It will be of interest to students of German studies, art history, literature, history, gender studies and cultural studies.

Unsettling traditional understandings of housing reform as focused on the nuclear family with dependent children, Single People and Mass Housing in Germany, 1850-1930 is the first complete study of single-person mass housing in Germany and the pivotal role this class- and gender-specific building type played for over 80 years—in German architectural culture and society, the transnational Progressive reform movement, Feminist discourse, and International Modernism—and its continued relevance.Homes for unmarried men and women, or Ledigenheime, were built for nearly every powerful interest group in Germany—progressive, reactionary, and radical alike—from the mid-nineteenth century into the 1920s. Designed by both unknown craftsmen and renowned architects ranging from Peter Behrens to Bruno Taut, these homes fought unregimented lodging in overcrowded working-class dwellings while functioning as apparatuses of moral and social control. A means to societal reintegration, Ledigenheime effectively bridged the public-private divide and rewrote the rules of who was deserving of quality housing—pointing forward to the building programs of Weimar Berlin and Red Vienna, experimental housing in Soviet Russia, Feminist collectives, accommodations for postwar “guestworkers,” and even housing for the elderly today.

Photography and fascism in interwar Europe developed into a highly toxic and combustible formula. Particularly in concert with aggressive display techniques, the European fascists were utterly convinced of their ability to use the medium of photography to manufacture consent among their publics. Unfortunately, as we know in hindsight, they succeeded. Other dictatorial regimes in the 1930s harnessed this powerful combination of photography and exhibitions for their own odious purposes. But this book, for the first time, focuses on the particularly consequential dialectic between Germany and Italy in the early-to-mid 1930s, and within each of those countries vis-à-vis display culture.The 1930s provides a potent case study for every generation, and it is as urgent as ever in our global political environment to deeply understand the central role of visual imagery in what transpired. Photofascism demonstrates precisely how dictatorial regimes use photographic mass media, methodically and in combination with display, to persuade the public with often times highly destructive—even catastrophic—results.

The harsh realities of wartime and Weimar-era Germany called for a new kind of art. Dada, followed by Neue Sachlichkeit (New Objectivity), confronted social and political issues in new and bold ways. This book highlights how Otto Dix (1891–1969) – one of the leading artists connected to these artistic movements – employed these new approaches to reveal the injustices of wartime and post-World War I Germany. Having spent 38 months on the frontline, his pictures revealed the brutalities of the conflict and helped establish him as one of Europe’s leading modernists.Offering substantial new research and presenting numerous primary sources to an English readership for the first time, the book examines Dix’s war pictures within the broader visual culture of war in order to assess how they functioned alternatively as cutting-edge modernist art and transgressive war commemoration.Each chapter provides a case study of the first public display of one or more of Dix’s war pictures at key exhibitions and explores how their reception was subjected to changing socio-political and cultural conditions as well as divergent attitudes to the lost war. It pulls together a number of key approaches and texts: contemporary reviews, contemporary cultural productions (such as novels and cartoons), and theoretical and historical approaches from history, memory studies and art history.Bringing a unique perspective and original scholarship to Dix’s war works, this book is essential reading for art historians of World War I and the visual culture of Weimar Germany.

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 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.

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.

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.