Julia Hell
University of Michigan, Germanic Languages and Literatures, Faculty Member
- Classics, German Studies, German Literature and Culture, 20th Century German Literature, Nazi Germany, Ruins, and 29 moreRoman Empire, Comparative Literature, GDR History, Modernist Literature (Literary Modernism), Socialist Realism, Psychoanalysis, Lacanian theory, Cultural Studies, Memory Studies, Political Theory, Intellectual History, Mary Beard, Pompeii: The Life of a Roman Town, Contemporary Art, Cultural Memory, Sigmund Freud, Walter Benjamin, Critical Theory, Aesthetics, Theodor Adorno, Postcolonial Studies, Cultural Theory, German Literature, Jacques Lacan, Carl Schmitt, Holocaust Studies, Lacanian psychoanalysis, Simon Goldhill, Mladen Dolar, and Paul Gilroyedit
- humanitiesedit
This book critically analyses the role of Communist exile and GDR-era literature in the creation of East Germany's anti-fascist narrative. The analysis is faced on Claude Lefort's theory of totalitarianism to which the author adds a... more
This book critically analyses the role of Communist exile and GDR-era literature in the creation of East Germany's anti-fascist narrative. The analysis is faced on Claude Lefort's theory of totalitarianism to which the author adds a psychoanalytic lens.
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This chapter continues analysis of neo-Roman scenarios of ruin contemplation.
Theoretical chapter on neo-Roman mimesis, departing from Homi Bhabha's concept of mimicry.
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In chapter 24 I explore how Schmitt evolved into the neo- Roman theorist of empire, imperial mimesis, and imperial imaginary by observing the rise, and then the fall, of the Third Reich. With his katechontic theory of empire, Schmitt sums... more
In chapter 24 I explore how Schmitt evolved into the neo- Roman
theorist of empire, imperial mimesis, and imperial imaginary by observing
the rise, and then the fall, of the Third Reich. With his katechontic theory
of empire, Schmitt sums up the entire neo- Roman imperial tradition. Polybios developed his ideas about imperial endtimes at the moment when Rome conquered Carthage. Schmitt’s idea of the restrainer who postpones the empire’s end emerged in the early 1940s, when Werner Best, the leading SS- Großraum- theorist, argued that the Nazi empire might be in the process of repeating Rome’s fall while the Reich’s leadership was still celebrating its victories.
I conclude The Conquest of Ruins with a conservative revolutionary thinker as controversial as Carl Schmitt, briefly exploring in chapter 25
Heidegger’s thinking about empire and imperialism. Coming to Heidegger’s defense, Arendt stated that the philosopher lacked the capability to think politically. Arendt should have said that when Heidegger thought politically, he thought in Spenglerian terms. Hitler, Himmler, and Speer proposed a thousand- year Reich and thousands of years of glorious ruins. Schmitt devoted himself to the neo- Roman problem of how to prolong the time before the fall by returning to the first century. Privileging ancient Greek readiness to face the end, Heidegger analyzed and criticized this Roman desire to endure. In contrast to Schmitt, when Heidegger thought about Reich, he did not return to Rome but turned to archaic Greece. We will hear echoes of Schmitt’s (and Best’s) reflections on empire in Heidegger’s thoughts about (Jewish) Western imperialism. But the strongest voice in Heidegger’s diaries, the so- called Black Notebooks, is that of Oswald Spengler.
theorist of empire, imperial mimesis, and imperial imaginary by observing
the rise, and then the fall, of the Third Reich. With his katechontic theory
of empire, Schmitt sums up the entire neo- Roman imperial tradition. Polybios developed his ideas about imperial endtimes at the moment when Rome conquered Carthage. Schmitt’s idea of the restrainer who postpones the empire’s end emerged in the early 1940s, when Werner Best, the leading SS- Großraum- theorist, argued that the Nazi empire might be in the process of repeating Rome’s fall while the Reich’s leadership was still celebrating its victories.
I conclude The Conquest of Ruins with a conservative revolutionary thinker as controversial as Carl Schmitt, briefly exploring in chapter 25
Heidegger’s thinking about empire and imperialism. Coming to Heidegger’s defense, Arendt stated that the philosopher lacked the capability to think politically. Arendt should have said that when Heidegger thought politically, he thought in Spenglerian terms. Hitler, Himmler, and Speer proposed a thousand- year Reich and thousands of years of glorious ruins. Schmitt devoted himself to the neo- Roman problem of how to prolong the time before the fall by returning to the first century. Privileging ancient Greek readiness to face the end, Heidegger analyzed and criticized this Roman desire to endure. In contrast to Schmitt, when Heidegger thought about Reich, he did not return to Rome but turned to archaic Greece. We will hear echoes of Schmitt’s (and Best’s) reflections on empire in Heidegger’s thoughts about (Jewish) Western imperialism. But the strongest voice in Heidegger’s diaries, the so- called Black Notebooks, is that of Oswald Spengler.
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An act of reconstruction and recontextualization, this article reframes Freud’s reflections on archaeology and Imperial Rome from the perspective of the deep history of European empires’ neo-Roman imitations. I propose to read Freud’s... more
An act of reconstruction and recontextualization, this article reframes Freud’s reflections on archaeology and Imperial Rome from the perspective of the deep history of European empires’ neo-Roman imitations. I propose to read Freud’s thinking and writing as modes of analysis attuned to the reality of Europe’s imperial histories. That is, a form of analysis that consciously—and, at times, unconsciously—draws on and works against the discursive orders and imperial imaginaries of Europe’s neo-Roman empires. Relying on my recent analysis of Europe’s formal empires as neo-Roman formations, I will trace this mediating background to Freud’s thought. I first explore Freud’s reflections on world history and empires in Why War? and Moses and Monotheism before narrowing the focus to a rereading of Freud’s archaeological metaphors/analogies and preoccupation with Virgil, Hannibal, and Dido in his earlier texts. In this latter section, I unfold the context of the Habsburgs’ neo-Roman practices in more detail, foregrounding the excavations in Duna Pentele, Carnuntum, and Vienna’s Ruin of Carthage/Roman Ruin (1778). With Freud’s neo-Roman archaeo-analysis in mind, I then move to a brief reading of a contemporary archaeological site, the London Mithraeum in Bloomberg SPACE.
Research Interests: Psychoanalysis, German Studies, Art History, Museum Studies, Installation Art, and 15 morePostcolonial Studies, Empires, British Empire, Museums and Exhibition Design, Collective Memory, 20th Century German History, Imperial Rome, History of Psychoanalysis (History), Roman Empire, History of Archaeology, Imperialism, Roman Art, European Imperialism and Colonialism, Austro-Hungarian History, and Roman Archaeology
Connecting post-imperial studies to ruin studies, The Conquest of Ruins reconstructs and analyzes the Roman Empire’s afterlife as Western Europe’s history of neo-Roman mimesis. Each moment in the long European history of imitating Rome,... more
Connecting post-imperial studies to ruin studies, The Conquest of Ruins reconstructs and analyzes the Roman Empire’s afterlife as Western Europe’s history of neo-Roman mimesis. Each moment in the long European history of imitating Rome, from Charles V to the Nazi empire, generated its own mimetic practices as well as a vast body of texts reflecting on the history and theory of Roman and neo-Roman empires. The Romans’ monumentalizing empire-making and theatricality of politics pre-structured later imitations. These moments of neo-Roman mimesis created the ancient empire as the ultimate expression of imperial power. At the same time, they also produced a never-ending series of scenes about Roman ruins. The first of these ruin scenarios originated with the Romans’ conquest of Carthage. Constructing the ancient Roman metropole as a ruined stage, these scenes thematize the enigma of Rome’s fall. They also define empire’s time as eschaton or endtime and raise the question about how to ward off the end. Operating in this endtime, political leaders, imperial theorists, and artists went in search of strategies to fortify their empires. The book traces this obsession with the Roman empire’s ruinous end from Augustus to Hitler, Polybios to Carl Schmitt, Virgil to Riefenstahl, and Roman to Nazi architecture. The author combines intellectual history with literary/visual and psychoanalytic methods of analysis concerning identification as Besetzung/occupation and the nexus of visuality, power and desire. She proposes a model of imperial mimesis and the neo-Roman imaginary and analyzes the theatrical form of ruin scenarios across different textual and visual media. She also develops a notion of realism proper to the political aesthetics of neo-Roman empires. This notion is based on the ruin’s absent presence and mimesis as a mode of representation that demands both recognition and imitation.
Research Interests: Ancient History, European History, Cultural History, Cultural Studies, German Studies, and 39 moreClassics, Roman History, Visual Studies, Political Theory, German History, Mimesis, Postcolonial Studies, Visual Culture, Cultural Theory, Architectural History, French colonialism, Nietzsche, Postcolonial Theory, Carl Schmitt, Hannah Arendt, German Colonial Empire, Psychoanalysis and Politics, Nazi Germany, Carthage (History), Oswald Spengler, Ruins, Realism, Thomas Cole, Edward Gibbon Studies, French Colonial History, Anselm Kiefer, Napoleonic History, Italian Fascism, Mussolini, Mussolinismo, Giovanni Battista Piranesi 1720-1778, Roman Imperialism, Greek Hisoriography, Polybius, Rose Macaulay, Hubert Robert, Albert Speer, Gradiva, Art History and Aesthetics of Ruins, FORSTER Johann Georg (1754-1794), Mostra Augustea della Romanità, Imperium Studies, and Louis Bertrand Algeria
This chapter explores in depth the concept of neo-Roman mimesis, using the Tunis campaign of Charles V. Drawing on theorists of mimesis from Aristotle to Homi Bhabha and the Roman practice of wearing death masks, the author analyzes... more
This chapter explores in depth the concept of neo-Roman mimesis, using the Tunis campaign of Charles V. Drawing on theorists of mimesis from Aristotle to Homi Bhabha and the Roman practice of wearing death masks, the author analyzes neo-Roman mimesis as a political practice and mode of representation. Ad 1: Arguing that these political acts of imitating Rome always involve an encounter with death, the author rethinks Bhabha's model of colonial mimicry in the neo-Roman context. Ad 2: Reading Augustus's Res Gestae and panels of the Augustan Aa Pacis, the author argues with Freud's concept of cathexis or Besetzung that this resurrectional mode responds to the desire of the past to be imitated.
This chapter focuses on Oswald Spengler's stance as the West's last imperial ruin gazer and analyzes The Decline of the West in the context of the Kaiserreich's neo-Roman mimesis. Connecting back to the reading of Louis Bertrand's texts... more
This chapter focuses on Oswald Spengler's stance as the West's last imperial ruin gazer and analyzes The Decline of the West in the context of the Kaiserreich's neo-Roman mimesis. Connecting back to the reading of Louis Bertrand's texts about African Latinity in chapter 11, the author explores the conservative revolutionaries's thought as a key strand in the long history of neo-Roman mimesis and its obsession with Rome's ruinous end (see also the chapters on Carl Schmitt and Martin Heidegger). Excavating Spengler's Roman matrix, the author analyzes Spengler's ideas about imperial endtime and the role of the Caesarist leader. Reading Spengler's Jahr der Entscheidung (1933), the author points at the importance of Spengler's thought in the Nazi era, culminating with Heidegger's Spenglerian reflections in the Black Notebooks (chapter 25).
Chapter 17 and 22 focus on Hitler's state visit to Rome in 1938 in the context of the Italian fascists's celebration of Augustus's birth. Chapter 17 describes Hitler's visit to the Mostra Augustea and the triumphal parade organized by... more
Chapter 17 and 22 focus on Hitler's state visit to Rome in 1938 in the context of the Italian fascists's celebration of Augustus's birth.
Chapter 17 describes Hitler's visit to the Mostra Augustea and the triumphal parade organized by Mussolini's experts in mimesis, the author argues that this visit played a crucial role in the NS leadership's conception of their future empire.
Chapter 22 focuses on Hitler's night-time ride across the Roman stage, analyzing it as one of the preformances of imperial ruin gazing.
Chapter 17 describes Hitler's visit to the Mostra Augustea and the triumphal parade organized by Mussolini's experts in mimesis, the author argues that this visit played a crucial role in the NS leadership's conception of their future empire.
Chapter 22 focuses on Hitler's night-time ride across the Roman stage, analyzing it as one of the preformances of imperial ruin gazing.
Review of Hell, The Conquest of Ruins by Sarah Jacobson
Images of ruins may represent the raw realities created by bombs, natural disasters, or factory closings, but the way we see and understand ruins is not raw or unmediated. Rather, looking at ruins, writing about them, and representing... more
Images of ruins may represent the raw realities created by bombs, natural disasters, or factory closings, but the way we see and understand ruins is not raw or unmediated. Rather, looking at ruins, writing about them, and representing them are acts framed by a long tradition. This unique interdisciplinary collection traces discourses about and representations of ruins from a richly contextualized perspective. In the introduction, Julia Hell and Andreas Schönle discuss how European modernity emerged partly through a confrontation with the ruins of the premodern past.
Several contributors discuss ideas about ruins developed by philosophers such as Immanuel Kant, Georg Simmel, and Walter Benjamin. One contributor examines how W. G. Sebald’s novel The Rings of Saturn betrays the ruins erased or forgotten in the Hegelian philosophy of history. Another analyzes the repressed specter of being bombed out of existence that underpins post-Second World War modernist architecture, especially Le Corbusier’s plans for Paris. Still another compares the ways that formerly dominant white populations relate to urban-industrial ruins in Detroit and to colonial ruins in Namibia. Other topics include atomic ruins at a Nevada test site, the connection between the cinema and ruins, the various narratives that have accrued around the Inca ruin of Vilcashuamán, Tolstoy’s response in War and Peace to the destruction of Moscow in the fire of 1812, the Nazis’ obsession with imperial ruins, and the emergence in Mumbai of a new “kinetic city” on what some might consider the ruins of a modernist city. By focusing on the concept of ruin, this collection sheds new light on modernity and its vast ramifications and complexities.
Contributors. Kerstin Barndt, Jon Beasley-Murray, Russell A. Berman, Jonathan Bolton, Svetlana Boym, Amir Eshel, Julia Hell, Daniel Herwitz, Andreas Huyssen, Rahul Mehrotra, Johannes von Moltke, Vladimir Paperny, Helen Petrovsky, Todd Presner, Helmut Puff, Alexander Regier, Eric Rentschler, Lucia Saks, Andreas Schönle, Tatiana Smoliarova, George Steinmetz, Jonathan Veitch, Gustavo Verdesio, Anthony Vidler
Several contributors discuss ideas about ruins developed by philosophers such as Immanuel Kant, Georg Simmel, and Walter Benjamin. One contributor examines how W. G. Sebald’s novel The Rings of Saturn betrays the ruins erased or forgotten in the Hegelian philosophy of history. Another analyzes the repressed specter of being bombed out of existence that underpins post-Second World War modernist architecture, especially Le Corbusier’s plans for Paris. Still another compares the ways that formerly dominant white populations relate to urban-industrial ruins in Detroit and to colonial ruins in Namibia. Other topics include atomic ruins at a Nevada test site, the connection between the cinema and ruins, the various narratives that have accrued around the Inca ruin of Vilcashuamán, Tolstoy’s response in War and Peace to the destruction of Moscow in the fire of 1812, the Nazis’ obsession with imperial ruins, and the emergence in Mumbai of a new “kinetic city” on what some might consider the ruins of a modernist city. By focusing on the concept of ruin, this collection sheds new light on modernity and its vast ramifications and complexities.
Contributors. Kerstin Barndt, Jon Beasley-Murray, Russell A. Berman, Jonathan Bolton, Svetlana Boym, Amir Eshel, Julia Hell, Daniel Herwitz, Andreas Huyssen, Rahul Mehrotra, Johannes von Moltke, Vladimir Paperny, Helen Petrovsky, Todd Presner, Helmut Puff, Alexander Regier, Eric Rentschler, Lucia Saks, Andreas Schönle, Tatiana Smoliarova, George Steinmetz, Jonathan Veitch, Gustavo Verdesio, Anthony Vidler
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This chapter situates the Nazis' discourse and aesthetics of ruins in the context of western imperialism's post-Roman mimesis. The fall of Rome represents a problem for all post-Roman empires, a problem visualized in the scenario of the... more
This chapter situates the Nazis' discourse and aesthetics of ruins in the context of western imperialism's post-Roman mimesis. The fall of Rome represents a problem for all post-Roman empires, a problem visualized in the scenario of the imperial ruin gazer which originates with Polybios' account of the Romans' victory over Carthage. I read Hitler's visit to Rome in 1938 as the staging of this scenario. This staging reasserts the scopic mastery of the sovereign imperial subject over Rome's ruins, eliminating the barbarian ruin gazer from the scene.
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Post-Fascist Fantasies examines the cultural function of the novels of communist authors in East Germany from a psychoanalytic angle. Various critics have argued that these socialist realist fictions were monolithic attempts to translate... more
Post-Fascist Fantasies examines the cultural function of the novels of communist authors in East Germany from a psychoanalytic angle. Various critics have argued that these socialist realist fictions were monolithic attempts to translate Communist dogma into the realm of aesthetics. Julia Hell argues to the contrary that they were in fact complex fictions sharing the theme of antifascism, the founding discourse of the German Democratic Republic. Employing an approach informed by Slavoj Zizek’s work on the Communist’s sublime body and by British psychoanalytic feminism’s concern with feminine subjectivity, Hell first examines the antifascist works by exiled authors and authors tied to the resistance movement. She then strives to understand the role of Christa Wolf, the GDR’s most prominent author, in the GDR’s effort to reconstruct symbolic power after the Nazi period.
By focusing on the unconscious fantasies about post-fascist body and post-fascist voice that suffuse the texts of Wolf and others, Hell radically reconceptualizes the notion of the author’s subjective authenticity. Since this notion occupies a key position in previous literary-historical accounts of East German culture, Hell’s psychoanalytic approach problematizes the established literary model of an "authentic feminine voice" that gradually liberates itself from the GDR’s dominant ideological narrative. Far from operating solely on a narrowly political level, the novels of Wolf and others were intricate family sagas portraying psychic structures linked in complex ways to the GDR’s social dynamics. Hell traces this link through East German literatrure’s dominant narrative, a paternal narrative organized around the figure of the Communist father as antifascist hero.
By focusing on the unconscious fantasies about post-fascist body and post-fascist voice that suffuse the texts of Wolf and others, Hell radically reconceptualizes the notion of the author’s subjective authenticity. Since this notion occupies a key position in previous literary-historical accounts of East German culture, Hell’s psychoanalytic approach problematizes the established literary model of an "authentic feminine voice" that gradually liberates itself from the GDR’s dominant ideological narrative. Far from operating solely on a narrowly political level, the novels of Wolf and others were intricate family sagas portraying psychic structures linked in complex ways to the GDR’s social dynamics. Hell traces this link through East German literatrure’s dominant narrative, a paternal narrative organized around the figure of the Communist father as antifascist hero.
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This introduction situates the 1966 essays by Peter Weiss and Hans Magnus Enzensberger in the context of decolonization, taking into account Gary Wilder’s and Michael Rothberg’s reframing of the immediate postwar decades. More precisely,... more
This introduction situates the 1966 essays by Peter Weiss and Hans Magnus Enzensberger in the context of decolonization, taking into account Gary Wilder’s and Michael Rothberg’s reframing of the immediate postwar decades. More precisely, the introduction discusses Weiss’s and Enzensberger’s texts as engaging Frantz Fanon’s “On Violence,” published in Kursbuch, together with Enzensberger’s “Europäische Peripherie” (1965), the article to which Weiss responds with “Enzensberger’s Illusions.” Analyzing their present moment in global terms, the authors debate the role of European intellectuals. Although Weiss and Enzensberger do not address the relationship between politics and aesthetics directly, the introduction asks us to rethink postwar modernisms. Keeping in mind the connection between anticolonial politics and surrealism in the writings of Fanon and Aimé Césaire, the introduction briefly traces the political and aesthetic significance of surrealism in Weiss’s thought and writing.
Frantz Fanon, decolonization, surrealism, Ernst Jünger
Frantz Fanon, decolonization, surrealism, Ernst Jünger
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This paper discusses the affinity between Alexandr Dugin's neo-Eurasian geopolitics and Steve Bannon's nationalist populism. We argue that one key characteristic of the new American populism is its orientation toward global military... more
This paper discusses the affinity between Alexandr Dugin's neo-Eurasian geopolitics and Steve Bannon's nationalist populism. We argue that one key characteristic of the new American populism is its orientation toward global military confrontation with ''Islam.'' The paper focuses on texts by Michael Anton, Stephen K. Bannon, including Bannon's film Torchbearer (2016). Comparing their ideological work to Alexander Dugin's writings on the global order, the authors organize the comparison around the contextual similarity between American and Russian right-wing thinkers. There are substantive affinities, but more important is the similar relation between textual production and imperial context. We conclude by arguing that these new authoritarian movements and regimes combine coherent ideological projects with deliberately chaotic, even incoherent statements and interventions.
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The article explores Schmitt's imperial theology and his core concept of the katechontic sovereign in the cotext of the Third Reich's post-Roman mimesis.
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The author proposes post-imperial analysis as a new research agenda for the study of (post-)GDR literature and painting. The article models this kind of analysis with respect to works by the authors listed in the title, focusing on the... more
The author proposes post-imperial analysis as a new research agenda for the study of (post-)GDR literature and painting. The article models this kind of analysis with respect to works by the authors listed in the title, focusing on the representation/destruction of the Soviet tank as an object embodying imperial sovereignty. More specifically, the author explores a series of scopic scenarios that dramatize the confrontation with Soviet tanks, drawing on Carl Schmitt's 1950s concept of iconographic space for its political theory and tracing the genealogy of this iconographic object, its constitution as aesthetic object, in the work of Soviet artists. Reading the (textual and visual) demolition of the tank as post-imperial gesture, the article studies strategies that either destroy aesthetic conventions or explode the object through a process of de-scription.
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Interview with Zygmunt Bauman: http://theoryculturesociety.org/interview-with-zygmunt-bauman/ Abstract In this article, I offer a literary-critical reading of Modernity and the Holocaust, arguing that Bauman’s non-Hobbesian ethics is... more
Interview with Zygmunt Bauman: http://theoryculturesociety.org/interview-with-zygmunt-bauman/
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In this article, I offer a literary-critical reading of Modernity and the Holocaust, arguing that Bauman’s non-Hobbesian ethics is linked to a form of Orphic authorship. I contextualize this reading with a study of three literary authors: W.G. Sebald, Peter Weiss and Janina Bauman, and their respective
versions of this post-Holocaust authorship. At stake is the drama of the forbidden gaze, the moment when Orpheus turns to look at Eurydice, killing her a second time. Using Levinas’ ethics and his scenario of recognition, Bauman re-writes this fateful gaze as a loving gaze, implicitly proposing a
counter-model to the Schmittian gaze – always ready to recognize the enemy, always ready to kill.
Abstract
In this article, I offer a literary-critical reading of Modernity and the Holocaust, arguing that Bauman’s non-Hobbesian ethics is linked to a form of Orphic authorship. I contextualize this reading with a study of three literary authors: W.G. Sebald, Peter Weiss and Janina Bauman, and their respective
versions of this post-Holocaust authorship. At stake is the drama of the forbidden gaze, the moment when Orpheus turns to look at Eurydice, killing her a second time. Using Levinas’ ethics and his scenario of recognition, Bauman re-writes this fateful gaze as a loving gaze, implicitly proposing a
counter-model to the Schmittian gaze – always ready to recognize the enemy, always ready to kill.
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When, in some chance encounter at a professional gathering, I am politely asked what I "do," I find myself in the unhappy position of having to admit that I work on the Soviet novel. Usually my interlocutor tries to help... more
When, in some chance encounter at a professional gathering, I am politely asked what I "do," I find myself in the unhappy position of having to admit that I work on the Soviet novel. Usually my interlocutor tries to help me out at first by suggesting ... that I am working on one of the ...
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This article proposes a critical re-reading of a set of East German historical novels which write the GDR's pre-history as proletarian family narratives: Willi Bredel's Verwandte und Bekannte (1941-1953), Hans Marchwitza's Die Kumiaks... more
This article proposes a critical re-reading of a set of East German historical novels which write the GDR's pre-history as proletarian family narratives: Willi Bredel's Verwandte und Bekannte (1941-1953), Hans Marchwitza's Die Kumiaks (1934-1964), and Otto Gotsche's Die Fahne von Kriwoj Rog (1959). The argument revolves around a specific formal inconsistency common to all three novels, namely a chronological break in the otherwise consistent structure of the family narrative. These structural gaps are understood as "symptomatic" of a repressed historical experience, the defeat suffered in 1933 by those who called themselves "Sieger der Geschichte." In its exploration of these ruptures, the article investigates the texts' symbolic system of gender, arguing that the novels' particular gender constructs should be understood as a response to this very experience of crisis: whereas the novels' discourse of masculinity constructs the father's/party's/state's position as one of strength, their discourse of femininity tells a story of death and defeat.
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Migrants adrift on a surveilled, fortified Mediterranean; the anti-democratic, antisemitic, and racist furor of ascendant authoritarian movements; debates on strategy between an internally divided opposition—the contemporary news often... more
Migrants adrift on a surveilled, fortified Mediterranean; the anti-democratic, antisemitic, and racist furor of ascendant authoritarian movements; debates on strategy between an internally divided opposition—the contemporary news often echoes Peter Weiss’s The Aesthetics of Resistance (1975–1982). This special issue returns to Weiss’s novel to retrieve its utility for grasping the present moment. The essays explore the novel’s orientation toward future readers by reading it as an imageless image-text whose collective voices, aesthetic encounters and intense moments of immersion and distance defy ideological and aesthetic simplifications and the refusal of dialogue.
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Review of Julia Hell (2019): The Conquest of Ruins. The Third Reich and the Fall of Rome. Chicago and London: The University of Chicago Press, 2019. Pp. xiv + 618. Paper $35.00. ISBN 978-0226588193.
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Review of Hell, Post-fascist Fantasies: Psychoanalysis, History, and the Literature of East Germany (1997)
When Durs Grtinbein received Germany's prestigious Biichner Prize in 1995, thirty-five years after Paul Celan, he entitled his acceptance speech "Den K6rper zerbrechen."l In their... more
When Durs Grtinbein received Germany's prestigious Biichner Prize in 1995, thirty-five years after Paul Celan, he entitled his acceptance speech "Den K6rper zerbrechen."l In their dialogue with Btichner, Celan and Grtinbein both touch on the topic of the artist's gaze. Celan ...
Research Interests: Cultural Studies, Philosophy, Art History, Art, History and Memory, and 14 moreMemory Studies, Holocaust Studies, Literature and Trauma, German, Peter Weiss, Literary studies, The Holocaust, W. G. Sebald, Uncanny, Archaeology of Natural Places, Scopic Scenario, Wolfgang Hilbig, Scenario of Confrontation, and Durs Gruenbein
This introduction situates the 1966 essays by Peter Weiss and Hans Magnus Enzensberger in the context of decolonization, taking into account Gary Wilder’s and Michael Rothberg’s reframing of the immediate postwar decades. More precisely,... more
This introduction situates the 1966 essays by Peter Weiss and Hans Magnus Enzensberger in the context of decolonization, taking into account Gary Wilder’s and Michael Rothberg’s reframing of the immediate postwar decades. More precisely, the introduction discusses Weiss’s and Enzensberger’s texts as engaging Frantz Fanon’s “On Violence,” published in Kursbuch, together with Enzensberger’s “Europäische Peripherie” (1965), the article to which Weiss responds with “Enzensberger’s Illusions.” Analyzing their present moment in global terms, the authors debate the role of European intellectuals. Although Weiss and Enzensberger do not address the relationship between politics and aesthetics directly, the introduction asks us to rethink postwar modernisms. Keeping in mind the connection between anticolonial politics and surrealism in the writings of Fanon and Aimé Césaire, the introduction briefly traces the political and aesthetic significance of surrealism in Weiss’s thought and writing.
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Seit den siebziger Jahren hat sich eine neue Sicht Wilhelm Raabes herausgebildet, die den beschaulichen, weitabgewandten „Idylliker" der älteren Germanistik durch den Skeptiker Raabe ersetzte. Verbindlich wurde nun das Bild vom... more
Seit den siebziger Jahren hat sich eine neue Sicht Wilhelm Raabes herausgebildet, die den beschaulichen, weitabgewandten „Idylliker" der älteren Germanistik durch den Skeptiker Raabe ersetzte. Verbindlich wurde nun das Bild vom skeptischen Beobachter, der, die Zerstörungen des Industrialisierungsprozesses aufzeichnend, immer noch in seinen am Rande der Gesellschaft lebenden skurrilen Gestalten einen Rest von Humanität zu bewahren wußte. Zugrunde lag dieser Veränderung die Tatsache, daß sich das Interesse der Interpreten vom Frühwerk auf die späten Romane des Autors verlagert hatte, deren komplexe, auf die Moderne verweisende Schreibweise jetzt zum ersten Mal in den Mittelpunkt der Auseinandersetzung gerückt wurde. Hier möchte die vorliegende Untersuchung ansetzen. Ihr Ziel soll sein, sich auf die Komplexität der narrativen Strukturen des 1890 entstandenen Romans Stopfkuchen. Eine Seeund Mordgeschichte einzulassen, um aus ihr den Raabe herauszuarbeiten, wie er offen nur in der historischen Erzählung Das Odfeld in Erscheinung tritt, als Autor der „Angst der Welt". Stopfkuchen also nicht als der Roman des ,,Hoffen[s] aus Dummheit", sondern als „Roman[...] des Dahinlebens", das eigentlich ein Scheitern ist. Diese Untersuchung schließt sich an Russell Bermans Überlegungen zum Aufstieg des modernen deutschen Romans im 19. Jahrhundert an. Eine der zentralen Thesen Bermans betrifft den Zusammenhang zwischen Reichsgründung und bürgerlichem Realismus:
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1. Quoted in Oskar Negt, Bleierne Zeit, bleierne SolidaritätDer 'Baader-Meinhof-Komplex', in Achtundsechzig: Politische Intellektuelle und die Macht (Göttingen: Steidl Verlag, 2001), p. 261. Unless otherwise indicated, all... more
1. Quoted in Oskar Negt, Bleierne Zeit, bleierne SolidaritätDer 'Baader-Meinhof-Komplex', in Achtundsechzig: Politische Intellektuelle und die Macht (Göttingen: Steidl Verlag, 2001), p. 261. Unless otherwise indicated, all translations are my own. 2. Hannah ...
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... In “Reading and Writing,” Wolf will later refer to the “source” of this technique, the ... The strangely split and ruptured voice that results from these shifting narrative modes even characterizes ... register of subjective narration... more
... In “Reading and Writing,” Wolf will later refer to the “source” of this technique, the ... The strangely split and ruptured voice that results from these shifting narrative modes even characterizes ... register of subjective narration occurs when Rita sinks into a long inner monologue as she ...
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... these strategies, observing that while American neoconservatives (and some liberals) abhor the word ... or ''parasite,''among his occidental ''host people.''≥∫ Like Carthaginians, Jews belong to... more
... these strategies, observing that while American neoconservatives (and some liberals) abhor the word ... or ''parasite,''among his occidental ''host people.''≥∫ Like Carthaginians, Jews belong to ... century Germany: while Britain and France had carried their civilizing mission to the ...
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Die vorherrschende feministische Lesart der Asthetik des Widerstands setzt bei Weiss’ eigener Thematisierung weiblicher Unterdruckung an und verfolgt dieses Thema sowohl auf der diskursiv-reflektierenden Ebene der Notizbucher und des... more
Die vorherrschende feministische Lesart der Asthetik des Widerstands setzt bei Weiss’ eigener Thematisierung weiblicher Unterdruckung an und verfolgt dieses Thema sowohl auf der diskursiv-reflektierenden Ebene der Notizbucher und des Romans als auch auf der Ebene der Frauenbilder des literarischen Textes. Dabei hat sich ein zweifacher Konsens herausgebildet. Erstens wird der Text als Kritik eines “patriarchalisch autoritaren Musters” gelesen, wie Weiss sich gelegentlich selbst ausdruckt.1 Diese fur Weiss neue kritische Perspektive wird oft auf den Einflus der neuen Frauenbewegungen zuruckgefuhrt,2 oder im Zusammenhang mit der fur den Roman so wichtigen Dialektik der Aufklarung und deren Thesen zur historischen Ausformung von Weiblichkeitskonzepten gelesen.3 Dabei werden Weiblichkeitskonzepte und deren Reprasentationen als historisch spezifisch, aber veranderbar verstanden, d.h. Weiss’ Gebrauch von typisch mannlichen bzw. weiblichen Eigenschaften wird als zugleich historisch akkurat und herrschaftskritisch gesehen, als “Formen des Gezeichnetseins”4. Frauen, so argumentieren die meisten Interpretinnen, sind in der Asthetik des Widerstands dargestellt als Opfer patriarchalisch organisierter Klassengesellschaften oder einer auf instrumenteller Vernunft basierenden Gesellschaftsordnung. In seiner affirmativen Lesart gilt dieser Ansatz als eine Art “feministischer Realismus”, d.h. als eine historisch adaquate Darstellung weiblicher Unterdruckung.5 In seiner kritischen Variante mundet er in eine Diskussion uber die Frage, ob Weiss die Frauen letztlich zu Opfern reduziere.6
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«ь* Zilcosky_2397_l23.fin Page 123 Monday. May 26,2008 12:12 PM Ф 6 Ruins Travel: Orphic Journeys through 1940s Germany JULIA HELL -& -& Jetzt ist Sehenszeit! There wasn't much for the eyes to see. Ruins of Empire:... more
«ь* Zilcosky_2397_l23.fin Page 123 Monday. May 26,2008 12:12 PM Ф 6 Ruins Travel: Orphic Journeys through 1940s Germany JULIA HELL -& -& Jetzt ist Sehenszeit! There wasn't much for the eyes to see. Ruins of Empire: Confronting the In/Visible Max Frisch (1946).1 Hans ...
Research Interests: Travel Writing and Art
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THE GERMANIC REVIEW ... and abstraction are not so easily mapped geographically, but also because the fascination of Rauch's paintings does not re-ally stem from the painterly qualities of the best abstract art (Jackson Pollack, or... more
THE GERMANIC REVIEW ... and abstraction are not so easily mapped geographically, but also because the fascination of Rauch's paintings does not re-ally stem from the painterly qualities of the best abstract art (Jackson Pollack, or closer to home, Gerhard Richter), but rather ...
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List of Illustrations Acknowledgments Introduction / Julia Hell and Andreas Schonle Part I. Catastrophe, Utopia, and the Architecture of Destruction 1. Authentic Ruins: Products of Modernity / Andreas Huyssen 2. Air War and Architecture /... more
List of Illustrations Acknowledgments Introduction / Julia Hell and Andreas Schonle Part I. Catastrophe, Utopia, and the Architecture of Destruction 1. Authentic Ruins: Products of Modernity / Andreas Huyssen 2. Air War and Architecture / Anthony Vidler 3. Modernism and Destruction in Architecture / Vladimir Paperny 4. Ruins of the Avant-Garde: From Tatlin's Tower to the Paper Architecture / Svetlana Boym Part II. Ruins and the Democratic Polity 5. Modernity as a "Destroyed Anthill": Tolstoy on History and the Aesthetics of Ruins / Andreas Schonle 6. Democratic Destruction: Ruins and Emancipation in the American Tradition / Russell A. Berman 7. The Ruins of a Republic: Czech Modernism after Munich, 1938-39 / Jonathan Bolton 8. Layered Time: Ruins as Shattered Post, Ruins as Hope in Israeli and German Landscapes and Literatures / Amir Eshel 9. Cities, Citizenship and Other Jo burg Stories / Lucia Saks Part III. Empires, Ruins, and Their Stories 10. Imperial Ruin Gazers, or Why did Scipio Weep? / Julia Hell 11. Hegel's Philosophy of World History via Sebald's Imaginary of Ruins: A Contrapuntal Critique of the "New Space" of Modernity / Todd Samuel Presner 12. Vilcashuaman: Telling Stories in Ruins / Jon Beasley-Murray 13. The Monument in Ruins / Daniel Herwitz 14. Simultaneous Modernity: Negotiations and Resistances in Urban India / Rahul Mehrotra Part IV. (Post-)Ruinscapes 15. Ruins as Models: Displaying Destruction 16. "Memory Traces of an Abandoned Set of Futures": Industrial Ruins in the Postindustrial Landscapes of Germany / Kerstin Barndt 17. Colonial Melancholy and Fordist Nostalgia: The Ruinscapes of Namibia and Detroit / George Steinmetz 18. Dr. Strangelove's Cabinet of Wonder: Sifting through the Atomic Ruins at the Nevada Test Site / Jonathan Veitich 19. Invisible at a Glance: Indigenous Cultures of the Past, Ruins, Archaeological Sites, and Our Regimes of Visibility / Gustavo Verdesio Part V. Ruin Gazing 20. Foundational Ruins: The Lisbon Earthquake and the Sublime / Alexander Regier 21. The Promise of a Ruin: Gavrila Derzhavin's Archaic Modernity / Tatiana Smoliarova 22. Ruin Cinema / Johannes von Moltke 23. The Place of Rubble in the Trummerfilm / Eric Rentschler 24. Lost in Time: Boris Mikhailov and his Study of the Soviet / Helen Petrovksy Bibliography Contributors Index
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... Ann-Marie Rasmussen's interest in my work, but above all, her very presence have been vital. ... 51 And, second, Hiippauf's narrative shares its categories and teleology with the most influential accounts of forty years of... more
... Ann-Marie Rasmussen's interest in my work, but above all, her very presence have been vital. ... 51 And, second, Hiippauf's narrative shares its categories and teleology with the most influential accounts of forty years of East German literature: Wolfgang Emmerich's seminal 1988 ...
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Page 1. 1999: The Cultural Logics of the Berlin Republic JULIA HELL and JOHANNES VON MOLTKE peaking at the first session of the Bundestag held in the Reich-stagsgebäude on April 19, 1999, the parliament's president ...
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Research Interests: Sociology, Geopolitics, Militarism, Ideology, Fascism, and 15 moreConservative Revolution, Populism, Martin Heidegger, American Cultural Sociology, Islamophobia, Documentary Film, Hegemony, Authoritarianism, New Right, Oswald Spengler, Russian Empire, Political Crisis, Alexandr Dugin, Donald Trump, and Neo Fascism
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An act of reconstruction and recontextualization, this article reframes Freud’s reflections on archaeology and Imperial Rome from the perspective of the deep history of European empires’ neo-Roman imitations. I propose to read Freud’s... more
An act of reconstruction and recontextualization, this article reframes Freud’s reflections on archaeology and Imperial Rome from the perspective of the deep history of European empires’ neo-Roman imitations. I propose to read Freud’s thinking and writing as modes of analysis attuned to the reality of Europe’s imperial histories. That is, a form of analysis that consciously—and, at times, unconsciously—draws on and works against the discursive orders and imperial imaginaries of Europe’s neo-Roman empires. Relying on my recent analysis of Europe’s formal empires as neo-Roman formations, I will trace this mediating background to Freud’s thought. I first explore Freud’s reflections on world history and empires in Why War? and Moses and Monotheism before narrowing the focus to a rereading of Freud’s archaeological metaphors/analogies and preoccupation with Virgil, Hannibal, and Dido in his earlier texts. In this latter section, I unfold the context of the Habsburgs’ neo-Roman practices in more detail, foregrounding the excavations in Duna Pentele, Carnuntum, and Vienna’s Ruin of Carthage/Roman Ruin (1778). With Freud’s neo-Roman archaeo-analysis in mind, I then move to a brief reading of a contemporary archaeological site, the London Mithraeum in Bloomberg SPACE.
Research Interests: Psychoanalysis, German Studies, Archaeology, Art History, Art, and 15 moreMuseum Studies, Installation Art, Postcolonial Studies, Empires, British Empire, Museums and Exhibition Design, Collective Memory, Imperial Rome, Multidisciplinary, Empire, Psychoanalysis and Politics, History of Archaeology, Imperialism, European Imperialism and Colonialism, and Roman Archaeology
The author proposes post-imperial analysis as a new research agenda for the study of (post-)GDR literature and painting. The article models this kind of analysis with respect to works by the authors listed in the title, focusing on the... more
The author proposes post-imperial analysis as a new research agenda for the study of (post-)GDR literature and painting. The article models this kind of analysis with respect to works by the authors listed in the title, focusing on the representation/destruction of the Soviet tank as an object embodying imperial sovereignty. More specifically, the author explores a series of scopic scenarios that dramatize the confrontation with Soviet tanks, drawing on Carl Schmitt's 1950s concept of iconographic space for its political theory and tracing the genealogy of this iconographic object, its constitution as aesthetic object, in the work of Soviet artists. Reading the (textual and visual) demolition of the tank as post-imperial gesture, the article studies strategies that either destroy aesthetic conventions or explode the object through a process of de-scription.
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Filr mich ist das eine der iltesten, wenn auch fast verschtitteten Erinnerungen: daB ich immer gewult habe, ich muB dieses Buch schreiben-schon sehr frtih, noch wdhrend ich Gedichte geschrieben habe. DaB ich immerzu nach dieser... more
Filr mich ist das eine der iltesten, wenn auch fast verschtitteten Erinnerungen: daB ich immer gewult habe, ich muB dieses Buch schreiben-schon sehr frtih, noch wdhrend ich Gedichte geschrieben habe. DaB ich immerzu nach dieser Hauptperson gesucht habe. DaB ich wugte: sie wird ...
«ь* Zilcosky_2397_l23.fin Page 123 Monday. May 26,2008 12:12 PM Ф 6 Ruins Travel: Orphic Journeys through 1940s Germany JULIA HELL -& -& Jetzt ist Sehenszeit! There wasn't much for the eyes to see. Ruins of Empire:... more
«ь* Zilcosky_2397_l23.fin Page 123 Monday. May 26,2008 12:12 PM Ф 6 Ruins Travel: Orphic Journeys through 1940s Germany JULIA HELL -& -& Jetzt ist Sehenszeit! There wasn't much for the eyes to see. Ruins of Empire: Confronting the In/Visible Max Frisch (1946).1 Hans ...
Research Interests: Travel Writing and Art
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Seit den siebziger Jahren hat sich eine neue Sicht Wilhelm Raabes herausgebildet, die den beschaulichen, weitabgewandten „Idylliker" der älteren Germanistik durch den Skeptiker Raabe ersetzte. Verbindlich wurde nun das Bild vom... more
Seit den siebziger Jahren hat sich eine neue Sicht Wilhelm Raabes herausgebildet, die den beschaulichen, weitabgewandten „Idylliker" der älteren Germanistik durch den Skeptiker Raabe ersetzte. Verbindlich wurde nun das Bild vom skeptischen Beobachter, der, die Zerstörungen des Industrialisierungsprozesses aufzeichnend, immer noch in seinen am Rande der Gesellschaft lebenden skurrilen Gestalten einen Rest von Humanität zu bewahren wußte. Zugrunde lag dieser Veränderung die Tatsache, daß sich das Interesse der Interpreten vom Frühwerk auf die späten Romane des Autors verlagert hatte, deren komplexe, auf die Moderne verweisende Schreibweise jetzt zum ersten Mal in den Mittelpunkt der Auseinandersetzung gerückt wurde. Hier möchte die vorliegende Untersuchung ansetzen. Ihr Ziel soll sein, sich auf die Komplexität der narrativen Strukturen des 1890 entstandenen Romans Stopfkuchen. Eine Seeund Mordgeschichte einzulassen, um aus ihr den Raabe herauszuarbeiten, wie er offen nur in der historischen Erzählung Das Odfeld in Erscheinung tritt, als Autor der „Angst der Welt". Stopfkuchen also nicht als der Roman des ,,Hoffen[s] aus Dummheit", sondern als „Roman[...] des Dahinlebens", das eigentlich ein Scheitern ist. Diese Untersuchung schließt sich an Russell Bermans Überlegungen zum Aufstieg des modernen deutschen Romans im 19. Jahrhundert an. Eine der zentralen Thesen Bermans betrifft den Zusammenhang zwischen Reichsgründung und bürgerlichem Realismus:
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Die vorherrschende feministische Lesart der Asthetik des Widerstands setzt bei Weiss’ eigener Thematisierung weiblicher Unterdruckung an und verfolgt dieses Thema sowohl auf der diskursiv-reflektierenden Ebene der Notizbucher und des... more
Die vorherrschende feministische Lesart der Asthetik des Widerstands setzt bei Weiss’ eigener Thematisierung weiblicher Unterdruckung an und verfolgt dieses Thema sowohl auf der diskursiv-reflektierenden Ebene der Notizbucher und des Romans als auch auf der Ebene der Frauenbilder des literarischen Textes. Dabei hat sich ein zweifacher Konsens herausgebildet. Erstens wird der Text als Kritik eines “patriarchalisch autoritaren Musters” gelesen, wie Weiss sich gelegentlich selbst ausdruckt.1 Diese fur Weiss neue kritische Perspektive wird oft auf den Einflus der neuen Frauenbewegungen zuruckgefuhrt,2 oder im Zusammenhang mit der fur den Roman so wichtigen Dialektik der Aufklarung und deren Thesen zur historischen Ausformung von Weiblichkeitskonzepten gelesen.3 Dabei werden Weiblichkeitskonzepte und deren Reprasentationen als historisch spezifisch, aber veranderbar verstanden, d.h. Weiss’ Gebrauch von typisch mannlichen bzw. weiblichen Eigenschaften wird als zugleich historisch akkurat und herrschaftskritisch gesehen, als “Formen des Gezeichnetseins”4. Frauen, so argumentieren die meisten Interpretinnen, sind in der Asthetik des Widerstands dargestellt als Opfer patriarchalisch organisierter Klassengesellschaften oder einer auf instrumenteller Vernunft basierenden Gesellschaftsordnung. In seiner affirmativen Lesart gilt dieser Ansatz als eine Art “feministischer Realismus”, d.h. als eine historisch adaquate Darstellung weiblicher Unterdruckung.5 In seiner kritischen Variante mundet er in eine Diskussion uber die Frage, ob Weiss die Frauen letztlich zu Opfern reduziere.6
THE GERMANIC REVIEW ... and abstraction are not so easily mapped geographically, but also because the fascination of Rauch's paintings does not re-ally stem from the painterly qualities of the best abstract art (Jackson Pollack, or... more
THE GERMANIC REVIEW ... and abstraction are not so easily mapped geographically, but also because the fascination of Rauch's paintings does not re-ally stem from the painterly qualities of the best abstract art (Jackson Pollack, or closer to home, Gerhard Richter), but rather ...
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... Was bleibt? Wolfgang Hilbig's "Provisorium", or the dissapearance of the author in a blind spot. Autores: Julia Hell; Localización: Zeitschrift für Literaturwissenschaft und Linguistik: Lili, ISSN 0049-8653, Vol. 31, Nº... more
... Was bleibt? Wolfgang Hilbig's "Provisorium", or the dissapearance of the author in a blind spot. Autores: Julia Hell; Localización: Zeitschrift für Literaturwissenschaft und Linguistik: Lili, ISSN 0049-8653, Vol. 31, Nº 124, 2001 , págs. 91-14. Fundación Dialnet. ...
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This paper argues that one key characteristic of the new American populism is its orientation toward global military confrontation with “Islam.” The paper focuses on texts by Michael Anton, Stephen K. Bannon, including Bannon’s film... more
This paper argues that one key characteristic of the new American populism is its orientation toward global military confrontation with “Islam.” The paper focuses on texts by Michael Anton, Stephen K. Bannon, including Bannon’s film Torchbearer (2016). Comparing their ideological work to Alexander Dugin’s writings on the global order, the authors organize the comparison around the contextual similarity between American and Russian rightwing thinkers. There are substantive affinities, but more important is the similar relation between textual production and imperial context. We conclude by arguing that these new authoritarian movements and regimes combine coherent ideological projects with deliberately chaotic, even incoherent statements and interventions.
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Sascha Anderson, Sascha Anderson (Cologne, 2002)Jörg Magenau, Christa Wolf. Eine Biographie (Berlin, 2002)Christa Wolf, Leibhaftig. Erzahlung (Munich, 2002)
1. Quoted in Oskar Negt, Bleierne Zeit, bleierne SolidaritätDer 'Baader-Meinhof-Komplex', in Achtundsechzig: Politische Intellektuelle und die Macht (Göttingen: Steidl Verlag, 2001), p. 261. Unless otherwise indicated, all... more
1. Quoted in Oskar Negt, Bleierne Zeit, bleierne SolidaritätDer 'Baader-Meinhof-Komplex', in Achtundsechzig: Politische Intellektuelle und die Macht (Göttingen: Steidl Verlag, 2001), p. 261. Unless otherwise indicated, all translations are my own. 2. Hannah ...