This chapter refutes the long-standing prejudice that Theodor W. Adorno offered no concrete suggestions capable of bridging theory and praxis by scrutinizing the philosopher's contributions to Germany's educational reforms following World War II. The last lines of the introduction that Adorno added to “The Meaning of ‘Working through the Past’” when he gave the lecture again in 1962 suggest, like the original questions and answers to the lecture, that his mind was very much on the ethics suggested by his lecture, (...) on the norms and praxis it unfolded, even if skeptically. As Adorno's best-known work about education, “Education after Auschwitz” commences with the conceptual groundwork laid in “Working through the Past”, not so much by merely beginning where the latter essay leaves off, but—as “Working through the Past” did with “Democratization”–by extracting specific elements from it and subsequently elaborating them in revealingly different directions. (shrink)

ExcerptA 1988 Die Welt “video tip” that revisited Bernhard Wicki's film The Bridge (1959) declared it one of the earliest confrontations with Germany's Nazi past.1 The film is seen as an initiating, even originary moment of the engagement with Germany's difficult past that would famously, and contentiously, mark the 1960s and 70s. Of course the piece's presupposition is complete nonsense. It provides stark testimony as to how one historical moment frequently conjures a past that never was, for cultural and political (...) purposes entirely its own. In this case, the later understanding of the film projects onto the past a public…. (shrink)

Spatial Turns brings together essays that apply a spatial analysis to German literature and other media and engages with specifically German theorizations of ...

Whatever the difference in the authors' positions, this collection gains its unity through their common interest in the significance and value of Critical ...