Forthcoming From NGC

Issue #152 (Aug 2024)

New German Critique’s 152nd issue is a general issue that includes new work on literature, film, and philosophy. The issue opens with Mary Hennessy’s study of radical montage techniques in Weimar Cinema, wherein she examines the role of the female film editor in the production of silent film with the aim of developing a feminist theory of “montage-as-disruption.” Turning to poetry and literature: Lukas Hoffman explores the revolutionary politics of Else Lasker-Schüler’s 1905 poem “Erkenntnis” (“Knowledge”), arguing that the poet’s vision of the biblical garden advances a concept of abjected subjectivity that harnesses anti-authoritarian energies; while Eneken Laanes foregrounds Katja Petrowskaja’s innovative contributions to translingual and postlingual practices in the novel Maybe Esther (2014). In a philosophically inflected essay, Sebastian Truskolaski analyzes the anarchist activist Gustav Landauer’s 1916 lecture on Friedrich Hölderlin’s hymn “Der Rhein” (“The Rhine”), noting the lecture’s unique vision of community as well as its imbrication in its First World War context. Gerard Passannante examines how Max Weber’s elaboration of the “strange intoxication” of compulsion connects the concrete histories associated with the past and present. Timo Pankakoski analyzes the linguistic means Ernst Jünger employed in his early political writings to construct the relationship between war and politics. In its last two contributions, the issue rounds out with two essays on Jürgen Habermas: Peter Verovšek demonstrates the intensely political thinking to be found in Habermas’s early-career freelance journalism before he arrived at the Institute for Social Research, while Khagendra Prasai examines how Habermas’s radical democratic utopia entails a “lifeworldization” through which the primacy of communicative reason is affirmed in all spheres of action.

Table of Contents

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