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Journal articles on the topic 'Berlin in art and literature'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 February 2022

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1

Davis, Whitney, Hans Christian Hönes, and Jakub Stejskal. "Berlin Symposium on Post-culturalist Art History." Estetika: The European Journal of Aesthetics 54, no. 2 (2017): 238. http://dx.doi.org/10.33134/eeja.165.

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2

Attia, Kader. "Sidewalk’s Cloud (2014)." TDR/The Drama Review 59, no. 1 (2015): 2. http://dx.doi.org/10.1162/dram_a_00422.

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Kader Attia lives and works in Berlin and Algiers. His first solo exhibition was held in 1996 in the Democratic Republic of Congo. In 2003, he gained international recognition at the 50th Venice Biennale. In 2014, he was awarded the Berlin Art Prize: Jubilee Foundation 1848/1948. Recent exhibitions include Culture, Another Nature Repaired (solo show), Middelheim Museum, Antwerp; Contre Nature (solo show), Beirut Art Center; Continuum of Repair: The Light of Jacob’s Ladder (solo show), Whitechapel Gallery, London; Repair. 5 Acts (solo show), KW Institute for Contemporary Art, Berlin; Construire, Déconstruire, Reconstruire: Le Corps Utopique (solo show), Musée d’Art Moderne de la Ville de Paris; the Biennale of Dakar; dOCUMENTA(13) in Kassel; Performing Histories (1) at MoMA, New York; and Contested Terrains, Tate Modern, London.

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3

Ivanov, Paola. "African Art in the Ethnologisches Museum in Berlin." African Arts 33, no. 3 (2000): 18. http://dx.doi.org/10.2307/3337687.

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4

Cajal, O. H. "BERLIN/BERLIN." Theater 26, no. 3 (1996): 53–84. http://dx.doi.org/10.1215/01610775-26-3-53.

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5

Krug, Hartmut, and Marjorie Gelus. "Form as Goal: Art as Message: The 29th Berlin Theatertreffen." Theatre Journal 45, no. 1 (1993): 91. http://dx.doi.org/10.2307/3208585.

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6

Skare, Roswitha. ""Kann jemand, der diese Musik gehört hat, […] noch ein schlechter Mensch sein?" – om Wieslers forandring og kunstens påståtte rolle i denne prosessen." Nordlit 16, no. 2 (2012): 35. http://dx.doi.org/10.7557/13.2371.

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The Life of Others (2006) has been a successful film, winning the Oscar for Best Foreign Feature in 2007. It is a film about surveillance, but also about the lives of artists and writers in East Berlin in the middle of the 1980s, and about what role literature and art played in the GDR and in the events of autumn 1989. The article focuses on the way the film portrays Wiesler’s transformation from hard-boiled Stasi officer into the guardian angel of his target, and shows how art – both literature and music – plays an important role in this process.

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7

Schäme, Ulrike. "The situation in the New Lander (except Berlin)." Art Libraries Journal 21, no. 4 (1996): 18–22. http://dx.doi.org/10.1017/s0307472200010063.

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Bis zum Beginn des Zweiten Weltkrieges hatte man in den wissenschaftlichen Bibliotheken der nunmehr neuen Bundeslanäer, besonders aber in Sachsen, ausgezeichnete Bestände an Kunstliteratur zur Verfügung. Der Krieg brachte mit Zerstörung und Abtransport von Kriegstrophäen schwere Verluste. In den folgenden Jahrzehnten behinderte vor allem Devisenmangel den Anschluß an die internationale wissenschaftliche Literatur. In dieser Zeit konzentrierte die Sächsische Landesbibliothek in Dresden ihre Mittel auf ihr spezielles Sammelgebiet bildende Kunst und ist ein Erwerbungs- und Informationszentrum, besonders für die Universitäten des Landes, gewesen. Seit 1990 fließen aus verschiedenen Quellen Gelder, um neueste Literatur zu erwerben und die störendsten Lücken nach Möglichkeit zu schließen. Gleichzeitig wurden vor allem die Bibliotheken der Universitäten und Kunsthochschulen mit moderner Technik ausgestattet und die Vernetzung in Angriff genommen, hinweg über die verschwundene innerdeutsche Grenze.Until the beginning of the Second World War the scholarly libraries of what is nowadays known as the ‘New Länder’ (‘new federal states’), and especially those in Saxonia, had excellent collections of art literature. The war brought severe losses through devastation and transportation of war booty out of the country. In the following decades, lack of foreign currency impeded the acquisition of international academic literature. The Sächsische Landesbibliothek in Dresden concentrated its budget on its focal collection subject, fine arts, and it has ever since been a centre for acquisition and information, in particular for the universities of the country. After German reunification, since 1990, there has been a flow of money from different sources to enable the acquisition of the most recent literature and to complete most of the inconvenient gaps. Simultaneously, libraries, especially those belonging to universities and art academies, have been equipped with modern technology, and have been integrated into a library network which unites the formerly divided nation.

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8

Geary, Christraud M. "Art of Central Africa: Masterpieces from the Berlin Museum für Völkerkunde." African Arts 24, no. 2 (1991): 78. http://dx.doi.org/10.2307/3336856.

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9

Cameron, Elisabeth L., and Hans-Joachim Koloss. "Art of Central Africa: Masterpieces from the Berlin Museum für Völkerkunde." African Arts 24, no. 4 (1991): 24. http://dx.doi.org/10.2307/3337039.

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10

Goldstein, Cora Sol. "The Ulenspiegel and anti-American Discourse in the American Sector of Berlin." German Politics and Society 23, no. 2 (2005): 28–49. http://dx.doi.org/10.3167/104503005780880722.

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In December 1945, less than six months after the unconditional defeat of the Third Reich and the military occupation of Germany, two anti-Nazi German intellectuals, Herbert Sandberg and Günther Weisenborn, launched the bimonthly journal, Ulenspiegel: Literatur, Kunst, und Satire (Ulenspiegel: Literature, Art and Satire), in the American sector of Berlin. Sandberg, the art editor, was a graphic artist. He was also a Communist who had spent ten years in Nazi concentration camps—the last seven in Buchenwald. Weisenborn, a Social Democrat and the literary editor, was a playwright, novelist, and literary critic. He had been a member of the rote Kapelle resistance group, was captured and imprisoned by the Gestapo in 1942, and was liberated by the Red Army in 1945.

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11

Doherty, Brigid. "The Work of Art and the Problem of Politics in Berlin Dada." October 105 (July 2003): 73–92. http://dx.doi.org/10.1162/016228703769684164.

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12

Harjes, Kirsten. "Stumbling Stones: Holocaust Memorials, National Identity, and Democratic Inclusion in Berlin." German Politics and Society 23, no. 1 (2005): 138–51. http://dx.doi.org/10.3167/104503005780889237.

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In 1997, Hinrich Seeba offered a graduate seminar on Berlin at the University of California, Berkeley. He called it: "Cityscape: Berlin as Cultural Artifact in Literature, Art, Architecture, Academia." It was a true German studies course in its interdisciplinary and cultural anthropological approach to the topic: Berlin, to be analyzed as a "scape," a "view or picture of a scene," subject to the predilections of visual perception in the nineteenth and twentieth centuries. This course inspired my research on contemporary German history as represented in Berlin's Holocaust memorials. The number and diversity of these memorials has made this city into a laboratory of collective memory. Since the unification of East and West Germany in 1990, memorials in Berlin have become means to shape a new national identity via the history shared by both Germanys. In this article, I explore two particular memorials to show the tension between creating a collective, national identity, and representing the cultural and historical diversity of today's Germany. I compare the Denkmal für die ermordeten Juden Europas (Memorial for the Murdered Jews of Europe, or "national Holocaust memorial") which opened in central Berlin on May 10, 2005, to the lesser known, privately sponsored, decentralized "stumbling stone" project by artist Gunter Demnig.

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13

Kim, Christine Sun, and Amanda Cachia. "Six Types of Waiting in Berlin, 2017." South Atlantic Quarterly 120, no. 2 (2021): 279–83. http://dx.doi.org/10.1215/00382876-8915980.

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In Six Types of Waiting in Berlin, Christine Sun Kim’s drawings provide a fascinating constellation of cultural and sensorial experiences with time. Originally from the United States, the artist shares her account of how time (and waiting) is measured differently according to the cities in which she has lived, with each place having its own advantages and drawbacks. While each environment in which one must tediously wait—an immigration office, the health insurance office, the doctor’s office, the bank, an art supplies shop, and the grocery store—is familiar, the subtext of the drawings is how the artist’s relationship with time is also measured by her style of communication. Kim uses American Sign Language and asks questions in a written form using an iPhone on a daily basis as she goes about her chores. “Crip time” is thus also punctuated by the pauses in writing/scrawling questions, in reading, and the creativity involved in ad-lib responding between deaf and non-deaf sensorial modalities.

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14

Itkin, Alan Joshua. "Restaging “Degenerate Art”: The Politics of Memory in the Berlin Sculpture Find Exhibit." German Quarterly 87, no. 4 (2014): 395–415. http://dx.doi.org/10.1111/gequ.10216.

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15

McNeill, John Robert. "Matthew Gandy. The Fabric of Space: Water, Modernity, and the Urban Imagination." Anuario Colombiano de Historia Social y de la Cultura 45, no. 2 (2018): 282–85. http://dx.doi.org/10.15446/achsc.v45n2.71039.

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Matthew Gandy is a geographer at University College London whose work focuses on cities, how they work, and how their workings are represented in art and literature. His first book, entitled Concrete and Clay (2002), about New York, won a prize. Since its appearance, he has published dozens of articles and several edited books, and his output has earned him election to the British Academy. This latest book concerns six big cities at various points in their recent history: Paris, Berlin, Lagos, Mumbai, Los Angeles, and London.

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16

Jennings, Michael W. "The Mausoleum of Youth: Between Experience and Nihilism in Benjamin's Berlin Childhood." Paragraph 32, no. 3 (2009): 313–30. http://dx.doi.org/10.3366/e0264833409000662.

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Key sections of Walter Benjamin's montage-text Berlin Childhood around 1900 figure the relationship between human experience and modern media, with the sections that frame the text, ‘Loggias’ and ‘The Moon’, structured around metaphors of photography. Drawing on the work of Siegfried Kracauer, and especially his seminal essay ‘Photography’, Benjamin develops, in the course of his book, a theory of photography's relationship to experience that runs counter to the better-known theories developed in such essays as ‘Little History of Photography’ and ‘The Work of Art in the Age of its Technological Reproducibility’, theories that are part of the broad currents of technological utopianism and, as such, emphasize photography's transformative potentials. In the Berlin Childhood, Benjamin instead emphasizes photography's role in the mortification and annihilation of meaningful human experience. Photography emerges here as the mausoleum of youth and hope.

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17

Anderson, Jaanika, and Maria-Kristiina Lotman. "Intrasemiotic translation in the emulations of ancient art: On the example of the collections of the University of Tartu Art Museum." Semiotica 2018, no. 222 (2018): 1–24. http://dx.doi.org/10.1515/sem-2016-0118.

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AbstractIn his 1959 paper “On linguistic aspects of translation,” Roman Jakobson distinguished between interlingual, intralingual, and intersemiotic translation. As Gideon Toury (1986, Translation: A cultural-semiotic perspective. In Thomas A. Sebeok (ed.),Encyclopedic dictionary of semiotics, vol. 2, 1111–1124. Berlin: Mouton de Gruyter) pointed out, such an approach centers on verbal systems and comprises only the translations that one or another way include some linguistic system, while it discards all the cases of translation from one non-linguistic sign system to another. Consequently, it seems reasonable to add intrasemiotic translation to these types of translation to encompass these cases. The paper follows from an assumption that translation studies could offer a productive perspective to describe the history and development of copy art, as well as to define and typologize the phenomenon itself. The copies in the collections of the University of Tartu Art Museum are analyzed as intrasemiotic translations, distinguishing between a number of different subtypes, while the basis for this distinction is the way and how the copy has changed in comparison with its prototype.

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18

Toepfer, Karl, Peter Jelavich, and Laurence Senelick. "Berlin Cabaret." TDR (1988-) 39, no. 4 (1995): 193. http://dx.doi.org/10.2307/1146496.

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19

Bulatova, Asiya. "Estranging Objects and Complicating Form: Viktor Shklovsky and the Labour of Perception." Transcultural Studies 13, no. 2 (2017): 160–76. http://dx.doi.org/10.1163/23751606-01302004.

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In Viktor Shklovsky’s essay “Art as Device” habitual perception is described as a dangerous practice, which renders one insensitive to the experiences of modernity. Importantly, the subjects’ automatized relationship with the surrounding world disrupts their ability to engage with objects. Rather than being experienced through the senses, the object is recognized through an epistemological (preconceived) framework. As a result, Shklovsky argues, “we do not see things, we merely recognize them by their primary characteristics. The object passes before us, as if it were prepackaged.” By making the usual strange Shklovsky’s technique of estrangement promises a relief from an alienating, consumerist experience of modernity, which “automatizes the object” instead of enabling perception: “in order to return sensation to our limbs, in order to make us feel objects, to make a stone feel stony, man has been given the tool of art.” In this article I trace the development of Shklovsky’s views on literature and the arts as an alternative way of experiencing objects in his writings during and after the Russian Revolution. I will pay particular attention to the relationship between things and words in Shklovsky’s writings produced during his exile in Berlin in 1923. The publication of the Berlin-based magazine Veshch/ Objet /Gegenstand in 1922, shortly before Shklovsky’s arrival, signals a rejection of both recognition and observation as passive consumerist practices. Instead, the manifesto published in the first issue of the magazine invites its readers to create new objects, which here is inseparable from the creation of new social formations. I will argue that Shklovsky’s 1923 writings provide a rethinking of the word “object” in society, literature and the arts. The function of art is not to “express what lies beyond words and images,” in other words, not to point to a referent that exists as a ‘real’ object, but rather to create a world “of independently existing things.”

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20

SCHRAMM, HELMAR, and BARBARA SUŠEC MICHIELI. "Pathos and Melancholy: Rethinking ‘Theatre’ in Times of Doubt." Theatre Research International 34, no. 3 (2009): 278–93. http://dx.doi.org/10.1017/s0307883309990071.

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In times of crises and existential disorientation, the arts often lean on gestures of radical doubt, the articulation of which demands the art of masquerade, deception, diversion and dissimulation, and simultaneously includes characteristic constellations of pathos and melancholy. The authors of this article analyse different artistic projects in Slovenia, Germany, Russia and elsewhere, which were created in the breakthrough period after the fall of the Berlin Wall and connect these projects to the wider social events of the previous two decades. In their treatment of the contemporary ‘art of doubt’ they focus especially on the perspective of the political and existential and in addition point out the fundamental historical concepts of doubt which have influenced the development of theatre and experimental knowledge in Europe from the beginnings of the early modern era until today.

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21

Koepnick, Lutz. "Forget Berlin." German Quarterly 74, no. 4 (2001): 343. http://dx.doi.org/10.2307/3072629.

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22

Mennel, Barbara. "Marco Abel and Jaimey Fisher, editors. The Berlin School and Its Global Contexts: A Transnational Art Cinema." Seminar: A Journal of Germanic Studies 55, no. 3 (2019): 306–8. http://dx.doi.org/10.3138/seminar.55.3.rev005.

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23

Otto, Elizabeth. "ringl + pit and the Queer Art of Failure." October 173 (September 2020): 37–64. http://dx.doi.org/10.1162/octo_a_00403.

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In 1929, in the midst of the artistic and political ferment that was Weimar Berlin, the young photographers Ellen Auerbach and Grete Stern formalized their personal and creative affinities to create Studio ringl + pit. Their collaboration, which would continue for the next four years, produced groundbreaking portraits, still lifes, and a handful of print advertisements that were celebrated for their inventively formal daring. In line with their training with Bauhaus photography master Walter Peterhans, ringl + pit's pictures were meticulously constructed and technically perfect, but they were also uniquely imprinted with the artists' characteristic blend of the playful, the strange, and, in multiple senses of the word, the queer. In this essay, Auerbach and Stern's adventurous approach to photographic experimentation is explored within the context of their correspondingly adventurous inclination to defy bourgeois conventions in their personal lives. In concert with the aesthetic synchrony that inspired their creative collaboration (such that, for its duration, they disavowed individual authorship in favor of the collective moniker “ringl + pit”) they were also lovers, a fact which, until now, has not been integrated into scholarly engagement with their work. Passionate photographic explorations, their work consistently privileged play, discovery, and intimacy over such conventional markers of success as money or fame. In this light, ringl + pit's audaciously anticipatory collective body of work might be said to adhere to the delineations of what Jack Halberstam has described as a “queer art of failure.”

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24

Higgins, Aidan. "Berlin, October 1969." Journal of Beckett Studies 2, no. 2 (1993): 1–4. http://dx.doi.org/10.3366/jobs.1993.2.2.3.

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25

Junge, Peter. "Ethnologisches Museum Berlin." African Arts 35, no. 4 (2002): 89. http://dx.doi.org/10.1162/afar.2002.35.4.89a.

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26

Pakyurek, Muhammet, Mahir Atmis, Selman Kulac, and Umut Uludag. "Extraction of Novel Features Based on Histograms of MFCCs Used in Emotion Classification from Generated Original Speech Dataset." Elektronika ir Elektrotechnika 26, no. 1 (2020): 46–51. http://dx.doi.org/10.5755/j01.eie.26.1.25309.

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This paper introduces two significant contributions: one is a new feature based on histograms of MFCC (Mel-Frequency Cepstral Coefficients) extracted from the audio files that can be used in emotion classification from speech signals, and the other – our new multi-lingual and multi-personal speech database, which has three emotions. In this study, Berlin Database (BD) (in German) and our custom PAU database (in English) created from YouTube videos and popular TV shows are employed to train and evaluate the test results. Experimental results show that our proposed features lead to better classification of results than the current state-of-the-art approaches with Support Vector Machine (SVM) from the literature. Thanks to our novel feature, this study can outperform a number of MFCC features and SVM classifier based studies, including recent researches. Due to the lack of our novel feature based approaches, one of the most common MFCC and SVM framework is implemented and one of the most common database Berlin DB is used to compare our novel approach with these kind of approaches.

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27

Huyssen, Andreas. "Kiefer in Berlin." October 62 (1992): 84. http://dx.doi.org/10.2307/778703.

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28

Goldman, Natasha. "From Ravensbrück to Berlin: Will Lammert’s Monument to the Deported Jews 1957/1985." Images 9, no. 1 (2016): 140–63. http://dx.doi.org/10.1163/18718000-12340056.

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In 1985 one of the earliest memorials dedicated to the Jewish victims of the Holocaust was installed in East Berlin. The Monument to the Deported Jews was an arrangement of thirteen bronze figures in expressionist style. Will Lammert, the artist, originally designed the figures for the base of his monument for Ravensbrück in 1957. The artist died in 1957, however, before finalizing his design for the monument. Only two figures on a pylon were installed at the concentration camp in 1959. The figures meant for the base of the Ravensbrück memorial were unfinished, but were nonetheless cast in bronze by the artist’s family. Thirteen of those figures were installed on the Große Hamburger Straße in 1985 by the artist’s grandson, Mark Lammert. This essay analyzes the Große Hamburger Straße monument in three ways: first, it returns to the literature on the Ravensbrück memorial in order to better understand the role that the unfinished figures would have played, had they been installed. I argue that they originally were most likely meant to depict “Strafestehen”—or torture by standing—at Ravensbrück. Secondly, it aims to explain why and how Lammert’s seemingly expressionist memorial would have been acceptable to East Germany in 1959. While Western art historical attitudes toward East Germany up until the 1990s assumed that Soviet socialist realism was the de facto art style of the Deutsche Demokratische Republik (DDR), some elements of expressionism were being theorized in the late 1950s, at precisely the time when Lammert designed the Ravensbrück monument. Finally, I analyze the role that a monument for Ravensbrück plays in this particular neighborhood of Mitte, Berlin: standing silently, they are no longer legible as women being tortured by standing. Instead, the sculptures signify, at the same time, the deported Jews of Berlin and the harrowing aftermath of their deportations, the improbable return of the deported Jews, and the changing attitudes toward the history of the neighborhood in which the sculptural group is located.

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29

Rouse, John. "The 1988 Berlin Theatertreffen." Theatre Journal 40, no. 4 (1988): 532. http://dx.doi.org/10.2307/3207894.

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Rouse, John. "The 27th Berlin "Theatertreffen"." Theatre Journal 43, no. 2 (1991): 244. http://dx.doi.org/10.2307/3208222.

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31

Rouse, John. "The 28th Berlin Theatertreffen." Theatre Journal 44, no. 1 (1992): 99. http://dx.doi.org/10.2307/3208524.

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32

Asaad, Hend. "Berlin als literarischer Chronotopos in Nellja Veremejs Berlin liegt im Osten (2013) und Sonallah Ibrahims Berlin 69 (2014)." German Quarterly 94, no. 3 (2021): 332–49. http://dx.doi.org/10.1111/gequ.12198.

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33

Perloff, Marjorie, and Craig Dworkin. "The Sound of Poetry / The Poetry of Sound: The 2006 MLA Presidential Forum." PMLA/Publications of the Modern Language Association of America 123, no. 3 (2008): 749–61. http://dx.doi.org/10.1632/pmla.2008.123.3.749.

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An onomatopoeic expression automatically entails the specification of what is being described. A pattering sound cannot come from a piece of wood. But when I was listening to [Peter Ablinger's Berlin sound] recordings, I sometimes couldn't tell whether a sound was coming from thunder or a sheet of metal. I wanted to represent the sound, not the person who was producing it, nor its metaphorical significance. It took me quite some time to come up with a solution: My solution was not to find a solution, but rather to enter into the crevice between sound and language and make countless little notes.—Yoko Tawada, “The Art of Being Synchronous”

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34

CLEMONS, LEIGH. "Serious Fun: Berlin Dada's Tactical Engagement with German National Narration." Theatre Research International 28, no. 2 (2003): 143–56. http://dx.doi.org/10.1017/s0307883303001020.

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German Dada, particularly the Berlin performance practices of George Grosz and Richard Hülsenbeck, shifted the ‘eternal’ history of the German Reich into the immediacy and annihilation of the postwar Berlin environment. These practitioners formed their social and political opinions into Dada's own German national narrative. The Weimar government responded by classifying ‘Dada’ as obscene, putting its members on trial, and judging its practices to be detrimental to the reforming German nation. The issues raised by Berlin Dada's performance practices formed the basis for Berlin Dada's future historical treatment by its own members, who sought to establish the German cell's primacy as both the singular heir to Hugo Ball's Cabaret Voltaire and the only legitimate mode of Dada expression in Weimar Germany.

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35

Jolles, André, and Peter J. Schwartz. "Legend: From Einfache Formen (“Simple Forms”)." PMLA/Publications of the Modern Language Association of America 128, no. 3 (2013): 728–43. http://dx.doi.org/10.1632/pmla.2013.128.3.728.

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Who was andré Jolles? born in den helder in 1874; raised in amsterdam; in his youth a significant player in the literary Movement of the Nineties (Beweging van Negentig), whose organ was the Dutch cultural weekly De Kroniek; a close friend of Aby M. Warburg's and Johan Huizinga's—Jolles studied art history at Freiburg beginning in 1902 and then taught art history in Berlin, archaeology and cultural history in occupied Ghent during World War I, and Netherlandic and comparative literature at Leipzig from 1919 until shortly before his death, in 1946. A man of extraordinary intellectual range—his publications include essays on early Florentine painting, a dissertation on the aesthetics of Vitruvius, a habilitation thesis on Egyptian-Mycenaean ceremonial vessels, literary letters on ancient Greek art, and essays in German and Dutch on folklore, theater, dance, Boccaccio, Dante, Goethe, Zola, Ibsen, Strindberg, and Provençal and Renaissance Italian poetry—he was also an amateur playwright and an outspoken champion of modern trends in dramatic art and stage design. To his friends, he could be something of an intellectual midwife, helping Warburg to formulate what would become a signature notion, the “pathos formula,” and Huizinga to conceive The Waning of the Middle Ages (1919). Jolles's chief work, the one for which he is best known, is Einfache Formen (1930; “Simple Forms”), a collection of lectures he had delivered in German at Leipzig in 1927-28 and revised.

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36

James, David. "Art and Ethical Life: The Social and Historical Background to Hegel's Reflections on Ancient and Modern Literature in the Mit- and Nachschriften of his Lectures on Aesthetics." Hegel Bulletin 31, no. 02 (2010): 83–100. http://dx.doi.org/10.1017/s0263523200000070.

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In 1835, a few years after Hegel's death, one of his students, Heinrich Gustav Hotho, put together the first printed edition of the lectures on aesthetics, using Hegel's own lecture notes, which have mostly disappeared, and various student transcripts (Mit- and Nachschriften) of the lectures that Hegel gave on the philosophy of art in Berlin in 1820/21, 1823, 1826 and 1828/29. Hotho made some minor revisions to this edition in 1843 and in the following year. The revised edition of the lectures has until recently formed the basis of all subsequent editions of Hegel's lectures on aesthetics and, consequently, of most previous interpretations of his aesthetics. Hotho's edition of the lectures, however, has been shown to be highly problematic. To begin with, there are the various editorial interventions that Hotho made in order to give Hegel's lectures on aesthetics the systematic form he thought they lacked, while other interventions include various evaluative judgements concerning particular works of art and even some of Hotho's own ideas concerning art.As regards the systematic structure of Hotho's edition of Hegel's lectures on aesthetics, this edition divides the lectures into three main parts, whereas the available student transcripts of the lectures show that only the last series of lectures from 1828/29 were given such a three-part structure by Hegel himself.

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37

Stokowy, Robert. "Bill Fontana’s Distant Trains: A documentation of an acoustic relocation." Organised Sound 22, no. 1 (2017): 112–21. http://dx.doi.org/10.1017/s135577181600039x.

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Witnessing a sound installation in person offers an opportunity to experience the qualities and elements of a work first hand and in full, multisensory effect. A thorough documentation of an exhibition and the work that goes into it is at the essence of preserving important information for future generations. Though information can be gathered from archives, some works of sound art are only marginally presented in the literature, making it difficult to fully grasp aspects of an artist’s technical, organisational and, most particularly, creative ways of working. Instead, already existing information is often reproduced. Previous documentation regarding Bill Fontana’s Sound Sculpture Distant Trains, exhibited in Berlin in 1984, offers an example of the possible loss of key details. This article aims to present new research findings that will examine and illuminate the full scope of this artistic project.

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Alter, Nora M. "Two or Three Things I Know about Harun Farocki." October 151 (January 2015): 151–58. http://dx.doi.org/10.1162/octo_a_00206.

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I last saw my friend Harun Farocki a few days before the opening of his exhibition at the Hamburger Bahnhof in late January 2014. Astonishingly, this was his first major one-person show in Berlin, a city that he called home and that had shaped his intellectual and artistic sensibility for over half a century. “I should have been born in Berlin,” he muses in his autobiographical “Written Trailers” (2009). Farocki was initially drawn to West Berlin in the early 1960s because the island city had been spared the Wirtschaftswunder (economic miracle) of the 1950s that had reshaped the rest of West Germany. It retained a forlorn rawness, a sense of bohemia, and a countercultural public sphere that attracted hippies, draft dodgers, political outcasts, and artists of all kinds. Farocki was a member of the first Deutsche Film und Fernsehakademie (Berlin Film Academy) class, along with Helke Sander, Holger Meins, and Wolfgang Petersen. He lived in a commune, wrote criticism, and produced relatively obscure agitprop films such as Herstellung eines Molotow-Cocktails (How to Make a Molotov Cocktail) (1968), Anleitung, Polizisten den Helm abzurissen (How to Remove a Police Helmet) (1969), and the better-known Nicht löschbares Feuer (Inextinguishable Fire) (1969). As Berlin changed over the years, however, so, too, did Farocki and his filmmaking practice.

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Jennings, Michael W. "“The Secrets of the Darkened Chamber”: Michael Schmidt's Berlin nach 45." October 158 (October 2016): 89–99. http://dx.doi.org/10.1162/octo_a_00271.

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It seems increasingly clear that the reputation of the late German photographer Michael Schmidt will rest on the three photo books that form his “Berlin trilogy:” Waffenruhe (1987), Ein-Heit (1996), and Berlin nach 45 (2005). These projects are linked by Schmidt's obsessive fidelity to Berlin and its history. Rather than offer a vision of German history through the representation of experience or through cognitive reconstruction—the strategies that structure Waffenruhe and Ein-Heit —Schmidt in Berlin nach 45 offers a vision of Berlin's history that is suggestively metaphorical. The overarching figure is that of theatricality: in a remarkable number of images, the viewer looks across a vast open stage—the great swaths of devastation left not just by the building of the Berlin Wall, but by battles, bombings, and capitalist neglect—toward a proscenium at the rear, a proscenium provided by Berlin's built environment. The viewer looks at the ruined landscapes not just from the great physical distance, but as if from a great historical distance, as if these were the ruins of a lost and perhaps irrecoverable world. This theatricality, and the affective constitution of the spectator that accompanies it, is complicated, however, by a second metaphorical system: that of the camera aperture. Many of the images in Berlin nach 45 are structured around the representation of a rectangular opening made up of the edges of buildings and fences; reading this opening as the aperture suggests that viewer and viewed alike exist within a photographic apparatus. Through excurses on William Henry Fox Talbot and Walter Benjamin, the essay explores the status and effects of this “aperture character of viewing” and its primary effect of complicity with the events that have shaped the represented space.

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Rieger, Marie A. "Jackie Thomae: Brüder. Roman. Hanser Berlin Verlag, München 32019. 430 Seiten." Jahrbuch für Internationale Germanistik 52, no. 1 (2020): 249–60. http://dx.doi.org/10.3726/ja521_249.

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Gerade wenn es der Wahrheit entsprechen sollte, dass die Bearbeitung eines von der Associated Press verbreiteten Fotos ausschließlich ästhetische Zwecke verfolgte, wäre das Wegretuschieren der ugandischen Klimaaktivistin Vanessa Nakate aus dem Gruppenbild, das sie auf dem Weltwirtschaftsforum in Davos zusammen mit vier weißen Mitkämpferinnen zeigt, ein Paradebeispiel von Alltagsrassismus.1 Dass westliche Medien auf dem afrikanischen Auge häufig blind sind, zeigt auch die ebenfalls von AP nach dem Absturz der Ethiopian Airlines Maschine im März 2019 verbreitete Twittermeldung, in der zwar eine Reihe von nord-amerikanischen, europäischen und asiatischen Nationaltäten aufgezählt werden, die größte betroffene Gruppe aus 32 Kenianerinnen und Kenianern aber keine Erwähnung findet.2 Diese Form der Diskriminierung ist gerade deshalb so gefährlich, weil die ihm zugrunde liegenden rassistischen Denkmuster so tief verwurzelt sind, dass sie unsere Wahrnehmung der Welt ganz unbemerkt beeinflussen. Dies führt dann z.B. dazu, dass in Deutschland geborene und/oder aufgewachsene People of Color, deren Sprache sich bis hin zur dialektalen Färbung in nichts von der ihrer Umgebung unterscheidet, ständig nach ihrer Herkunft gefragt werden, weil sie äußerlich nicht dem Stereotyp eines/einer Biodeutschen entsprechen. Ganz stereotyp verlaufen dagegen die entsprechenden Dialoge wie zahlreiche Betroffene – so, um nur einige wenige Beispiele zu nennen, die Dichterin und Aktivistin May Ayim, der Kabarettist und Schauspieler Marius Jung und die Publizistin Ferda Ataman – übereinstimmend beschreiben, denn Antworten wie Ich bin aus Deutschland, Castrop-Rauxel oder Gostenhof werden nicht akzeptiert, sondern durch die nachgeschobene Standardfrage nach der eigentlichen Herkunft beiseite gewischt, die dann oft mit der Frage nach der Rückkehr in die vermeintliche Heimat verbunden wird. Mitten aus dem Leben gegriffene Erfahrungen dieser Art macht auch der in Deutschland geborene, aber in London lebende Gabriel, einer der beiden Protagonisten in Jackie Thomaes Roman Brüder, denn sein Vater stammt aus dem Senegal:

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Battisti, Luca, Lauranne Pille, Thomas Wachtel, Federica Larcher, and Ina Säumel. "Residential Greenery: State of the Art and Health-Related Ecosystem Services and Disservices in the City of Berlin." Sustainability 11, no. 6 (2019): 1815. http://dx.doi.org/10.3390/su11061815.

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Inclusively accessible green areas are essential for livable cities. The residential greenery on a door’s step of urban dwellers has rarely been the subject of research. Here we provide insights into the state of the art of residential greenery in Berlin, Germany. We focus on socially disadvantaged neighborhoods exposed to high loads of environmental stressors and belonging to four relevant building types of Central European cities. 32 plots in eight sample areas were randomly chosen and surveyed during 2017 and 2018. We surveyed the presence of structural elements, the presence and abundance of woody species and the health-related ecosystem (dis-)services (i.e., species’ air filtration and allergenic potential). We analysed the similarity among tree species to assess plant use patterns. The air cleaning and allergenic potential of woody species were assigned based on literature. In order to discuss strategies to improve residential greenery, we performed an analysis of strengths, weaknesses, opportunities and threats of these green spaces. We revealed a high dissimilarity of woody species assemblages across sites and within different building types, indicating no common plant use fashion. Recorded species provide moderate to high air filtering capacity. One to two third of all trees have a high allergenic potential that has to be addressed in future plant use decisions. Bike racks, benches, lights and playgrounds are common elements, whereas bioswales, facade-bound greening, atrium, fountains or ponds are rare. Their implementation can enhance the health and wellbeing of local residents. Building-attached greenery can improve densely built up areas of the Wilhelminian period, whereas space-intensive measures can be implemented in the spacious greenery of row–buildings settlements of the 1920s–1970s and of large housing estates of the 1970s–1980s. We revealed a high motivation for (co-)design and care by residents and discussed strategies on transformation towards multi-functional, healthy and biodiversity-friendly residential greeneries.

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Elswit, Kate. "“Berlin … Your Dance Partner Is Death”." TDR/The Drama Review 53, no. 1 (2009): 73–92. http://dx.doi.org/10.1162/dram.2009.53.1.73.

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Dance and death combined in post-WWI Germany to complicate the material authority they were seen to share. Using nascent modern dance techniques to exploit the expressive capacities of the dancing body, choreographers turned to dances of death to portray the increasingly difficult conditions of humanity. The logistics of performing these spectacles of the real are investigated through three choreographer/performers of the Weimar Republic: Kurt Jooss, Valeska Gert, and Anita Berber.

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Whaley, Joachim. "Book Review: Recasting German Identity. Culture, Politics and Literature in the Berlin Republic." Journal of European Studies 34, no. 4 (2004): 376–78. http://dx.doi.org/10.1177/004724410403400420.

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Manning, Susan. "Cross-Viewing in Berlin and Chicago: Nelisiwe Xaba’s Fremde Tänze." TDR/The Drama Review 64, no. 2 (2020): 54–72. http://dx.doi.org/10.1162/dram_a_00917.

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Viewing Nelisiwe Xaba’s Fremde Tänze (2014) in Berlin and Chicago revealed differing levels of meaning in the work. In Berlin the work exposed and parodied the white gaze of the black female dancer, while in Chicago the work vivified the gap between the responses of black and white spectators. The reception of Fremde Tänze in the two cities demonstrates the workings of “cross-viewing,” the moments when spectators from distinct social locations watch one another watching.

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Pint, Kris. "The Paleotechnology of Telephones and Screens." idea journal 17, no. 01 (2020): 205–20. http://dx.doi.org/10.37113/ij.v17i01.383.

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This article argues that the essentials of the complex relationship between interiority and exteriority, and the mediating role of teletechnology, are already present in the interiors of Paleolithic caves. As philosopher Maxine Sheets-Johnstone argues in The Roots of Thinking (1990), cave art emerged from the primal fascination with ‘being inside.’ Yet at the same time, these first interiors were most likely created to establish a form of communication with an exterior, the ‘augmented reality’ of the spirit world, made possible through rudimentary technological and biological extensions. It also required a specific use of the spatial qualities of these caves, both sensory and atmospheric. This complex hybrid constellation of interior space, the human body and (psycho)technology created a permeability between different human and non-human actors. According to prehistorian Jean Clottes in Pourquoi l’art préhistorique (2011), the ‘permeability’ between inner and outer worlds is indeed one of the concepts that are crucial to understanding the Paleolithic human outlook on the environment, and is a concept which is still relevant today. Ever since these animistic Paleolithic works of art, teletechnology reveals what philosopher and literary theorist Jennifer Gosetti-Ferencei calls, in The Ecstatic Quotidian: Phenomenological Sightings in Modern Art and Literature (2007), the ‘ecstatic’ side of the quotidian. In this article, I follow the traces of this animistic, ecstatic experience in literature, in Walter Benjamin’s Berlin Childhood around 1900 (1932-8) and Marcel Proust’s In Search of Lost Time (1913-1927), and in cinematography, in Maya Deren’s Meshes of the Afternoon (1943) and David Cronenberg’s Videodrome (1983). The imagination of now outdated technologies creates a kind of anachronistic, defamiliarizing perspective that helps to grasp the animistic, mythical dimension of our daily domestic immersion in contemporary teletechnologies (from video chats to ASMR-videos). These anachronistic experiences we find in art allow us to better reflect on the ecstatic role of media-technology in relation to our spatial and psychological interiors, and the (psycho)technological conditions of contemporary dwelling in the interiors of the communication age.

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Emmerich, Wolfgang, Nicole G. Burgoyne, and Andrew B. B. Hamilton. "What Is and to What End Does One Study the History of East German Literature?" PMLA/Publications of the Modern Language Association of America 133, no. 3 (2018): 594–609. http://dx.doi.org/10.1632/pmla.2018.133.3.594.

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East german literary history is a case study of how political and cultural institutions interact. the state's cultural regime mo-nopolized the right to publish within its borders and demanded that the nation's new art describe contemporary life or its precedents. Even authors seen in the West as dissidents understood themselves, more often than not, as pursuing that goal and the broader aims of socialism with their work. During the lifespan of the German Democratic Republic, this political albatross weighed on all literary scholarship. Even now, whatever their feelings toward the socialist state, scholars, critics, and readers are bound to approach a text from East Germany as an artifact of its political culture—and rightly, because the political sphere encroached heavily on the artistic. But since German unification, the rise and fall in the stock of so many East German authors has directly resulted from political revelations, raising a number of troubling questions. Though historical distance seemed to have sprung up as abruptly as the Berlin Wall had come down, to what extent does scholarship from the German Democratic Republic represent only a heightened case of what is always true of literary history— namely, that political motivation colors critical evaluation? Is it possible to consider a work of literature with no recourse to the social and political circumstances under which it was written? And would it even be desirable to do so?

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Eysteinsson, Ástráður. "Hlið við hlið. Tapað-fundið í framandi borgum." Ritið 18, no. 2 (2018): 17–49. http://dx.doi.org/10.33112/ritid.18.2.2.

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This essay concerns itself with perceptions of the urban sphere, with its manifestations in literature and life writing, and with the city as a place of strangeness and travel in various senses, including the ways in which it pertains to the individual world view. Cities are places of density and internal connections, but their gates also open out and connect with other places, and increasingly other cities. Following a discussion of the Icelandic links between Copenhagen and Reykjavík, and the slow emergence of the latter as a „literary capital“, the course is set for foreign cities, including Berlin and Paris in the company of Walter Benjamin, and the experience of getting lost with Franz Kafka in places that may be Prague and New York. In attempting to answer the question whether it is possible to become intimate with cities, we have recourse to city guides, life maps, a touring theatre – and the art of losing and finding.

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Schoeps, Karl-Heinz, Ernst Schurer, Manfred Keune, and Philip Jenkins. "The Berlin Wall: Representations and Perspectives." German Quarterly 73, no. 2 (2000): 231. http://dx.doi.org/10.2307/407975.

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Lorde, Audre. "Berlin is Hard on Colored Girls." Callaloo, no. 26 (1986): 89. http://dx.doi.org/10.2307/2931057.

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Bishop, Paul. "Book Review: Andrew J. Webber (ed.): The Cambridge Companion to the Literature of Berlin." Journal of European Studies 48, no. 1 (2018): 98–100. http://dx.doi.org/10.1177/0047244118756213o.

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