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Ilse Kilic has published several comics e. Read more about her work in the interview section! Schaut doch einfach rein und falls ihr Anregungen habt oder einfach was loswerden wollt, oder vielleicht sogar mitmachen wollt Prinzip Leserbrief , mailt uns doch einfach! Elena's zine covers about anything from interviews with bandsto diary writings, quotes, comics, info about how the get active, stories about "maennliches Verhalten und dessen Folgen", women and hardcore, A great personal and political zine, now also online! Check the interview with her in the interview section!

Style gehoert als Identitaetsstrategie zu unserer Alltagskultur. Die Fehler im System. Von der Hausfrau bis zum Glamour-Girl. E-mail nylon. Suppenkommix Nr. Drop me an email when you know of zines not listed here or if I haven't listed your incredible zine yet!! Auf www. Die Krake is a Zine about polyamorous relationships with a focus on the love life of lesbians. So far in its second issue Nr. Full of essays, first-hand reports, interviews, historic statements on polyamory, comics and images, it gives a great insight into various opinions and experiences of women who love not one but many!

Punk Girl Elite Germany. Die an. Anattitude Magazine Belgium. The entire zine is written in German and unless you know German, you won't know what's up. Although what is up is these beautiful art by all different people from this collective. It's very impressive. Quoted and available to order from Gimme Brains!!! Keine oder wenige. Es ist ein undankbarer Job Muse zu sein. Die Anti-Muse inspiriert sich selbst.

Genau das solltest du auch tun! Nutze deine Energie und sei kreativ! Sehr empfehlenswert! AntiMuse Morrigan Leipzig, Germany. Annikafish Germany. Already 19 issues of this feminist print zine publishing twice a year! The web site has lots of articles and links! An Austrian print maga zine about women in music, art, literature, pop culture, Years, Bei uns in Wien. Aus Nylon wurde fiber. Wir bauen auf Gewonnenem auf und erweitern es um neue Ideen. Below both the song and the portrait of the oafish German male is a cartoon by Paul Pribbernow depicting a diminutive man, apparently of African descent, standing with arms at his sides on a scooter being pulled quickly along a track by a rope though the pulling mechanism is not visible and wearing a modern t-shirt with palm trees on it implying his equatorial country of origin.

He looks ahead obliviously as beefy Nazis or neo-Nazis with billy clubs bolt from the gates at a racetrack resembling the kind used for greyhound races. Such uniforms were, and are still today, worn by German neo-Nazis. The cartoon powerfully blends three conceptual spaces: 1 the Nazi era the Hitler figure, Nazis, police, military jackboots, billy clubs, circa ; 2 late twentieth-century xenophobic violence in Germany neo-Nazis, shaved heads, military jackboots, African male victim, circa ; and 3 the greyhound racetrack racetrack gates, bait animal, gate operator, greyhound dogs.

The skinheads likely represent eastern German youth and its growing xenophobic tendencies, tendencies that are, ultimately, residues of fascism. In the fictional world of the caricature, Hitler is still pulling the strings— even from the grave. The overarching goal of this Eulenspiegel page is to expose right-wing extremists as primitive bullies, as well as to condemn the prevalent racism and its destructive potential in eastern Germany in particular and Germany in general. Taken out of context, however, especially in the case of the song, the reader may be left to wonder how each text qualifies as satire as a letter writer named G.

Only taken together can the reader understand each text as satirical commentary on contemporary German society, intended to ridicule and correct the xenophobic tendencies that right-wing extremists fostered among some eastern Germans, youths in particular. The cartoon illuminates a hybrid space for new, postwall German counter-narratives, which defied harmonious governmental and media representations of the unification process in both East and West.

However, in the s, Turkish youth co-opted it, using it to denote not only a cultural, but also a discursive, community, as a sociolect particular to the Turks residing in Germany Zaimoglu Thus begins his journey through a Kafkaesque labyrinth of bureaucracy, during which he loses his job and, debatably, his sanity. A modern-day fool, Engin is continually a victim of his circumstances and cannot navigate the system well enough to vindicate himself. Engin grants the reader access to the experience of living with this threat. Engin and Leckmikowski are thus competitors in a truly capitalistic endeavor.

But Yusuf refuses to play this game, for money talks in post- unification Germany and can alter the parameters and rules of any given community. Auf dem Gebiet kenne ich mich bestens aus. Ich habe genug Philippinos aus der DDR rausgejagt! Satire dient dazu, auf Punkte zu zeigen, die nicht richtig sind, die menschenfeindlich oder menschenverachtend sind. Satire selbst kann den Zustand ja nicht verbessern. Conclusion After the dynamic transformations of the Wende period and the unification process caused great uncertainty for eastern Germans, unleashing long-simmering resentments, anxieties, and rivalries.

Humorists used this volatile time to reflect on existential questions and the potential for correction of uncivil behaviors, prompted, among other causes, by xenophobia, because, although eastern and western Germans had their difficulties reuniting, they always recognized each other as fellow Germans. Tes Howell 51 German affairs and who never had a chance to achieve political representation in the GDR, were forced to compete with East Germans for recognition as equal citizens in the new bundesdeutsche reality.

By presenting humorous texts with such sharp commentary on contemporary culture, humorists were able to draw attention to these failures and successes, ultimately aiding in the discursive creation of an eastern and unified German identity that was more tenable, through its rectitude and complexity, than what grew organically out of the unification process. Onlein und in Farbe. Krause, Bernd. Eulenspiegel 29 : 2.


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Pribbernow, Paul. Schulz, Volker. Seidler, G. Eulenspiegel 25 : 2. Swienty, Dietmar. Eulenspiegel 28 : 2. Secondary Sources Ayim, May. Heimat und Einheit aus afro-deutscher Perspektive. Berlin: Orlanda Frauenverlag, Laughter: An Essay on the Meaning of the Comic. Cloudesley Brereton and Fred Rothwell. London: MacMillan and Green Integer, orig. Bhabha, Homi K. Homi K. Blackbourn, David. Oxford: Oxford UP, Cooke, Paul. Oxford: Berg, Epitroupolis, Mike-Frank G.

American Culture in Europe: Interdisciplinary Perspectives. Westport, CT: Praeger, Germany in Transit: Nation and Migration, A Sourcebook. Berkeley: U of California P, Gregson, Ian. Character and Satire in Postwar Fiction. NY: Continuum, Grub, Frank Thomas. Ein Handbuch. Hall, Stuart. Stuart Hall and Paul du Gay. London: Sage, Hensel, Jana. Hamburg: Rowohlt, Hermenau, Antje. U of California-Berkeley, Tes Howell 53 Jaschke, Hans-Gerd. Bonn: Dietz, Jung, Peter. Verordneter Humor. DDR Berlin: Edition Hentrich, Klein, Olaf Georg.

Warum Ost- und Westdeutsche aneinander vorbeireden.

Pop journalism

Kress, Gunther, and Theo van Leeuwen. Anderssein gab es nicht. Kuck, Dennis. Tes Howell. Kulish, Nicholas. Leue, Gunnar. Neubert, Werner. Die Wandlung des Juvenal. Satire zwischen gestern und morgen. Rosbach, Jens. Deutschlandradio Kultur 28 May Siemons, Mark. Slackman, Michael. Soldan, Angelika. Steinlein, Christina. Berlin: Eulenspiegel, Yesilada, Karin. Zaimoglu, Feridun. Kanak Sprak. Hamburg: Rotbuch, Go for Zucker, , Swiss director Dani Levy, who has been living in Berlin for decades, broke one of the longest-standing taboos of post German cinema: using the comedy genre to grapple with questions of Jewish identity in Germany and specifically the Berlin Republic.

It is presumed that if a Jewish director spins a humorous story around Jewish characters, Jewish humor must be in play. The purpose of this chapter is first to outline several characteristics attributed to Jewish humor in traditional and more recent scholarship. These features will then serve as a framework for exploring the wit that pervades Alles auf Zucker! Both in terms of content and technique, Alles auf Zucker! Establishing the type of humorous lens through which these relations are screened is critical, not only because it aids in understanding the mostly favorable reception this unlikely comedy has enjoyed in twenty-first century Germany and around the world,5 but also because it offers insights into the status of German-Jewish relations and Jewish life in Germany today from the perspective of this minority group.

He owes money to many lenders, has troubled relationships with his wife and children, and is in danger of gambling his way into homelessness. In fact, it took Levy over three years to secure financing for the film Biehl. After initially rejecting the script, the German broadcasting company Westdeutscher Rundfunk WDR finally decided to take on the project in Alles auf Zucker! Can the Shoah Be Funny? Some Thoughts on Recent and Older Films.

If the brothers cannot reconcile, the money will be donated to the Jewish community in Berlin. As mentioned above, much like humor in general, Jewish humor had until recently been the subject of many anthologies but only limited scholarly debate. Even after few instances of Jewish humor can be found there. Broder, and the author Esther Dischereit. With the fall of the Berlin Wall and the vast immigration of Russian Jews to Germany in the s, however, Jewish artists, intellectuals, and authors are beginning to gain a more prominent voice in Germany, above all in its capital, Berlin.

The past two decades have been a period in which eastern and western Germans have had to negotiate their coexistence and reunification. In addition, Germans from the former East and West have had to adjust to an increase in minority residents and citizens, including Jews, whose population has grown from 10,, in to an estimated , today Knobloch. The reemergence of Jewish humor not only informs us about the status of these renegotiations, but it can also help set the tone for future efforts to establish a more normalized coexistence marked by mutual tolerance and respect.

It is also worth noting that the remarkable influx of the nineties has stalled since Germany limited the immigration of Russian Jews with the Immigration Act of Taberner traces the history of the term back to the Kohl era and highlights its particular importance for unified Germany. It includes the idea that because Germany continues to express remorse regarding its World War II and Holocaust crimes, it should be allowed to move beyond these admissions of guilt and to establish itself as a democratic, liberal, and tolerant nation.

Particularly the dialectical workings of Jewish humor allow Alles auf Zucker! In most discussions of Jewish humor, only one side of it is highlighted: its self-deprecating nature. Others, such as Edmund Bergler, Martin Grotjahn, and George Mikes, have supported the thesis that Jewish humor has a distinctly self-mocking and self-derogatory character, in which hostility or aggressiveness manifests itself in a masochistic way—that is, it is turned against the Jew himself. Another critical characteristic of Jewish humor, however—the other side of the coin, really—is overlooked by these and other scholars.

There are numerous instances in which Alles auf Zucker! The strict rules to which he subjects himself and his family as well during the shiva provide him with the stability and security that he lost when his relationship with his girlfriend and cousin Jana ended ten years ago. While Levy criticizes the fact that Joshua does not really lead a Jewish life, but rather uses his faith to escape from it, the film also shows the motivation for this move, which in turn evokes understanding and empathy with the character and his plight.

Along with this critique-cum-sympathy dynamic particular to Jewish humor, most scholars also mention the main topics and stock characters employed regularly in Jewish jokes. Jewish humor traditionally targets backwardness, intolerance, greed, and hypocrisy Richter All family members, in fact, join in the hypocrisy of pretending to live an orthodox Jewish life and to observe the rules of the shiva. His irate reaction to the traffic holdup is followed by a lightning flash— presumably a sign from above—and prayers from Joshua. On another occasion, when the two families say a prayer before dinner together, Joshua continues to pray after everyone else has stopped.

In addition, Alles auf Zucker! While these stock personalities appear throughout the film, the most interesting character is the protagonist, Jackie Zucker, from whose perspective the story is told. Jackie belongs to the tradition of one of the central and most constant characters in Jewish comedy: the schlemiel. One might even venture to say that he emerges as a hero of sorts, one whose persona evinces the aforementioned critical dynamics of Jewish humor.

We must thus now turn our attention to this typical Jewish prankster. In the context of complex eastern and western German and German-Jewish relations, which are often framed in terms of loser-victor and victim-perpetrator dynamics, this dialectical schlemiel protagonist becomes particularly intriguing and holds critical meaning for the understanding of this film.

How, then, does Levy paint Jackie Zucker as a schlemiel, and what implications do these schlemiel qualities have for his cinematic production? On several occasions in Alles auf Zucker! Later, while high on Ecstasy pills mistaken for aspirin, he admits again to being an idiot for having turned his back on his daughter Jana when she became pregnant and could no longer compete in athletics championships.

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Jackie thus emerges as a prime example of the fool, whose weaknesses give cause for laughter. Choosing to stay out late, gamble, and squander the family savings, he does not think about the effects his actions will have on his family. It is important to note, however, that he was born Jewish and ultimately returns to the Jewish faith at the end of the film. It is also fitting that—just like the eastern German Jackie Zucker—the schlemiel is often thought of as a character from the East Patai viii.

In fact, it can be argued that his rediscovered faith may be more genuine because it is born out of sincere internal and external struggles, rather than blind acceptance of religious and cultural traditions. Eventually, his foolishness and lies lead to his undoing, exemplified by his physical collapse, which occurs precisely at the moment in which his deceptions are about to be revealed by his wife Marlene.

Conversely, when he finally begins to open up and communicate, not just with his wife and children, but also with his brother and his extended family, his health begins to improve as well. Only after Jackie undergoes this transformation can his brother Samuel respond by expressing his understanding and willingness to help. A corresponding healing between eastern and western Germany, Levy implies in the film, will require similar efforts in opening channels of communication, recognition, and acceptance.

This organ typically refers as much to the emotional and spiritual as to the moral core of a human being. Like his forbears, Jackie, too, has a heart condition. Hast du noch eins? German and Jewish-German relations, Levy indicates that similar open conversations about the past are needed. If the Zucker mann family embodies the tension of German-German and German-Jewish relations, then the vision put forward by Levy is one of a normalized and peaceful coexistence, marked by tolerance and understanding.

But this, Levy contends, can only be achieved if all foolishness—political agendas, personal grudges, and mistrust—is set aside and all players embark on this process with honesty, forbearance, and an open mind. Just as the schlemiel Jackie reintegrates into his family, his religious community, and society as a whole by shedding his folly, so, too, can the different factions that make up a twenty-first century unified Germany also work to integrate into a society in which all constituents can flourish and have a voice.

Not only individual character traits, but also narrative perspectives are important in schlemiel fiction. One way the reader of schlemiel fiction gets to know the protagonist and his worldview is by experiencing him telling the story in his own voice. The reader, of course, is well aware of the conflicting nature of the versions told by the author and the schlemiel.

Film is a medium that is especially well-suited to presenting simultaneous, conflicting textual and visual narration of a single event. In Alles auf Zucker! Levy gives a voice to the schlemiel Jackie at the beginning and end of the film through nondiegetic commentary. This cinematic technique allows the events narrated visually by the camera to appear quite different from the way Jackie sees them and, thus, illustrates how he interprets his reality.

Though Jackie seems to be on the losing side of every conflict during the greater part of the film, it would be amiss to interpret him as a victim of historical and personal circumstances. In fact, Levy distinctly rejects the victim role for his character by treating it humorously in his film. By letting Jackie put on the victim hat whenever it serves him, Levy demonstrates the degree to which this role has become associated with the Jewish persona. He also shows, however, that Jewish identity comprises more dimensions than such narrow casting evokes, which is one of the main reasons this comedy has enjoyed such strong support from the Jewish community in Germany.

Multi-dimensional in his own right, Jackie is portrayed as a cunning, yet also naive, weak, and dreamy man, characteristic for the schlemiel figure Wisse 53, Sure enough, he cons his pool partners and lies to everyone in his family, but he does so in order to clear his debts, not out of greed. In fact, he proves his innate good-heartedness by displaying generosity toward others. To Jackie, these surroundings not only include the conformist society of socialism, but also his new capitalist reality. In contrast, Jackie stands out as someone whose actions are not dictated by considerations of economic or social status, but who genuinely cares about other people.

Thus, his weaknesses—gambling and cheating—are intimately tied to his strengths: his heart, care for others, and willingness to get himself into trouble to help those in need. This dialectic—weakness turning into strength upon close examination—is one of the most important features of the schlemiel Wisse In fact, as is the case with Jackie, once this weakness—his inclination to help others even if by questionable means—is no longer ridiculed, but recognized as a strength, it reflects badly not on the schlemiel, but rather on those who mock him, turning the erstwhile loser into a moral victor.

Thus, while the schlemiel exemplifies those negative qualities of weakness that must be exposed and ridiculed to be overcome, schlemiel fiction also sets up inversions by producing a balanced type of humor that cuts simultaneously into the character and into those who belittle him Wisse At first, they appear to be the perfect counter-image to the eastern German loser Jackie and his clan.

With his mother, wife, and two children, he led the life of an orthodox Jew, as both Jackie and Rabbi Ginsberg acknowledge. He gained status, as his doctoral title suggests, and considerable wealth. Speculation, of course, has much in common with its low-brow cousin, gambling, which Jackie enjoys. Speculation typically involves the lending of money or the purchase of assets, equity or debt but in a manner that has not been given thorough analysis or is deemed to have a low margin of safety or a significant risk of the loss of the principal investment.

The kind of activity in which Samuel Zuckermann engaged thus had little to do with respectable financial investing, but rather with imprudent risk-taking in hopes of receiving quick profits. Not only do the two brothers share the weakness of indulging in speculation or gambling, but their families are also similarly dysfunctional. Even Samuel and his wife Golda turn out to be less orthodox when it comes to financial matters. It does not take long for them to discover that the Zucker household does not adhere to Jewish customs. The latter, of course, is not easily fooled and eventually admits that he has knowingly ignored the breaking of shiva law as long as he could pretend not to be in the know.

He is aware that sitting shiva and having a conciliatory talk with his brother will require putting forth the pretense of following Jewish customs and concealing his assimilation to gentile culture, as well as his true persona. The film gradually reveals the fact that life in western Germany is not as grand as Samuel makes it out to be. In effect, Jackie gains moral superiority over his brother by refusing to pretend to be better than he actually is and by simply accepting his status as an unlucky trickster.

Presenting the dynamic of East-West relations in Germany in the framework of a schlemiel story whose plot develops as a family feud offers a new perspective on this cultural conflict. In this dynamic, western Germany is often seen as the strong, intact, and dominant force, while eastern Germans are mostly regarded as inept or naive. The schlemiel Jackie gives voice to the latter perspective, while simultaneously turning this dynamic on its head. According to Wisse, this represents the essence of the schlemiel dialectic: In fashioning the schlemiel, the Jew admits how weak and foolish he appears to those who dominate him […].

Yet […] he does not submit to self-hatred, and stands proudly on his own record. After all, so goes the inevitable dialectic, he survives. And after all, is he as foolish as he seems? And above all, who are they to judge him? At its best, the finished irony holds both the contempt of the strong for the weak and the contempt of the weak for the strong, with the latter winning the upper hand. By presenting the schlemiel as an eastern German Jew, Levy engages a potent technique of Jewish humor: he suspends the typical winner-loser dichotomy and instead promotes the notion that the winner is not necessarily he who gains the upper hand politically or economically, but rather he who admits to and accepts his weaknesses, remains true to himself, and demonstrates generosity and tolerance toward others.

Such a definition of winner status opens the door to anyone, regardless of ethnic belonging, or geographical or historical heritage, and is based solely on modes of behavior. Levy proposes, is up to the individual, each of whom possesses a free will to alter his fate. Inversions also occur in the realm of moral standing and further highlight the schlemiel character of Jackie. Through his demeanor throughout the film, the western brother leaves no doubt that he perceives himself to be the superior of the two brothers.

In this instance, the supposed loser once more proves himself morally superior by refusing to respond to insults and physical aggression with the same. In this confrontation, Jackie additionally unmasks the tendency of the West to draw attention to and exaggerate the involvement of the East German secret service, the infamous Staatssicherheit or Stasi , in every facet of life in the GDR—a stereotype that has prevailed for years after the fall of the Wall.

This play on words is amusing and its clever use of language a staple of Jewish humor. Levy conveys the moral message in this Jewish parable that inherited, historical roles need not be stagnant, but rather must adapt to an ever-changing reality. It was introduced in to bolster public investment in eastern Germany. This is done, for example, by highlighting this traditional, stereotypical discourse in scenes that provoke sympathetic laughter, and by choosing not to recast the Jews in the victim role they typically inhabit in post German films.

These roles evolve as the plot unfolds and are presented from different perspectives throughout the film. Just as Levy refuses to label one group in German society the perennial victim, his use of Jewish humor also denies any one group the attribute of winner. Discussions of the prototypical Jewish prankster, the schlemiel, have shown that this kind of humor turns such norms upside down, criticizing both the fool as well as those deriding him.

The supposed loser thereby gains the upper hand, mocking his mockers. Levy joins the postwall plea of scholars and the media in Germany and abroad for normalization in the Berlin Republic. He paints a vision of tolerance and acceptance between different social, religious, and ethnic groups. He draws on and mingles familiar stereotypes of eastern and western Germans, as well as Jews, asking his audience to look beyond these and to see the Other as a human being, sharing the same weaknesses, problems, and joys. His goal appears to be an easing of the tension-fraught relations between East and West, as well as Jew and Gentile, by means of a kind of humor that underscores commonalities.

Instead, this film serves as a plea for open and productive interactions, which can lead to a new freedom in identity formation, along with the acceptance of diverse expressions of group belonging. Levy signals that Jewish citizens living in Germany today want to leave behind their marginalized, passive position of victimhood and instead become active, equal members of German society. This resurgence of Jewish humor in postwall Germany indicates a strengthening, as well as a certain degree of emancipation, of Jewish culture there. This creates a sense of otherness that is imbued with a guilty conscience arising out of history.

Senator Film, Dani Levy. First Run Features, DVD orig. X Verleih, , released 6 Jan. Becker, Jurek. Berlin and Weimar: Aufbau, Die Blechtrommel [The Tin Drum]. Argos Films, Comedian Harmonists [The Harmonists]. Joseph Vilsmaier. Bavaria Film, Ehe im Schatten [Marriage in the Shadows]. DEFA, Hitlerjunge Salomon [Europa, Europa].

Agniezka Holland. CCC Filmkunst, Frank Beyer. Warner Home Video Germany, X Verleih, Margarethe von Trotta. Katja Riemann and Maria Schrader. Hamburg Letterbox, Gerald Frank Else. Ann Arbor: U of Michigan P, Bassewitz, Heike von, ed. Der Esel Des Propheten. Darmstadt: Wissenschaftliche Buchgellschaft, Bergler, Edmund. Laughter and the Sense of Humor. New York: Intercontinental Medical, New York: Macmillan, Biehl, Jody K.

Spiegel Online International 25 Jan. Bremer, Michael. Gisela Dachs. Bronner, Gerhard. Chase, Jefferson S. Clifford, Robin. Reeling: The Movie Review Show. Cohen, Sarah Blacher. Jewish Wry: Essays on Jewish Humor.

Downloadable Content

Detroit: Wayne State UP, Dachs, Gisela, ed. Eilbirt, Henry. What is a Jewish Joke? Northvale, NJ: Aronson, Freud, Sigmund. The Joke and Its Relation to the Unconscious. Joyce Crick. John Carey. New York: Penguin, Gilman, Sander. Goldman, Albert. Murray Mindlin and Chaim Bermant. Graham, Benjamin, and David L. New York: McGraw-Hill, Grotjahn, Martin. Werner M. Mendel and Martin Grotjahn. Los Angeles, CA: Mara, Halkin, Hillel. Hansen, Eric T. The Hollywood Reporter.

Eric T. Jauss, Hans-Robert. Wolfgang Preisendanz and Rainer Warning. Deutsche Welle. Kant, Immanuel. Critique of Judgement. Nicholas Walker. James Creed Meredith. David Ferdinand Swenson. Walter Lowrie. Princeton: Princeton UP, Knobloch, Charlotte. Goethe Institut.

Lepelmeier, Ulf. Mikes, George. English Humour for Beginners. London: Deutsch, Amsterdam and Atlanta, GA: Rodopi, Patai, Raphael. Anat Zajdman and Avner Ziv. Westport, CT: Greenwood, Pinsker, Sanford. Justin Cyril Bertrand Gosling. Oxford: Clarendon, Richter, Jens. Let there be laughter! Chicago: Spertus Museum, Rosten, Leo Calvin, and Lawrence Bush. The New Joys of Yiddish. New York: Crown, Schopenhauer, Arthur.

The World as Will and Idea. Richard Burdon Haldane and John Kemp. Spalding, Henry D. Classic Jewish Humor in America. Middle Village, NY: David, Rochester, NY: Camden House, Telushkin, Joseph. New York: Morrow, Wisse, Ruth R. The Schlemiel as Modern Hero. Chicago: U of Chicago P, Zajdman, Anat, and Avner Ziv, eds. Semites and Stereotypes: Characteristics of Jewish Humor. Ziv, Avner. Jewish Humor. New Brunswick, NJ: Transaction, Immediately following the opening of the border between East and West Germany the desire to abolish all symbols of the forced separation was overwhelming. The photographs provide insights into the daily life of GDR citizens and include a series of long-term portraits depicting children during the s in the GDR and accompanying their arrival into a new society after the upheaval Haus der Kulturen der Welt, Berlin, 14 Aug.

Anne Hector 79 humans had started was taken over by natural forces, and Mother Nature reasserted her dominion over politics, replacing the man-made border with wetlands and wildlife. At the same time, substantial efforts were made, especially in Berlin, to preserve collective memories of East German history: a double line of cobblestones was embedded in the ground to mark where the Wall once stood, and an interactive GDR Museum with several life-size dioramas opened in Many books have also been written by and about those who lived in the GDR, and this terrain is not the sole prerogative of humor and satire—the dialogue is ongoing.

However, in a parallel process that mimics Mother Nature, to some extent forty years of East German culture is being distorted and covered up as biting satire, demeaning humor, and tawdry memorializing take their toll, eating away at the memories of those who grew up there. Personal information is to be sent in the body of the email and should not appear on the paper itself. March 29, The Philosophy of Love and Affectivity. Hosted by the Marquette University. Philosophy Graduate Student Association. Milwaukee, Wisconsin. Keynote Address:. Burt Hopkins, Seattle University.

Submissions are welcome across the topics of love and affectivity. The concept of love in philosophical traditions. The relationship between reason and emotion. Philosophy as love, as encouraging love and acts of love. Explorations of affectivity in human life. Relationship between affectivity and desire. Other submissions within these broad bounds will be considered.

Please submit papers in blind-review format to mupgsa mu. Please submit a coversheet with your paper indicating your name, paper title, affiliation, email address and mailing address. Please limit your paper to words for review. Submissions are due January 15th, Decisions will be announced by February 10th, Papers are invited for presentations at the international and interdisciplinary conference:. April Papers should be accompanied by a one-page abstract, which should include name, affiliation, address, and email address.

Submitted papers will be limited to 30 minutes reading time there will be 15 minute discussion following each paper. Deadline for submissions of papers and abstracts is December 15, Notification of acceptance will be mailed by January 15, Papers should be mailed to:. Professor Predrag Cicovacki. College of the Holy Cross. Engaging Objects. Engaging Objects is an interdisciplinary conference addressing general methodological and epistemological issues in the humanities. Things in the world, objects of art and of everyday use, have functioned as core referents in contemporary cultural theory.

Since the "linguistic turn", technological devices and philosophical texts, dirty windows, typewriter-erasers, and cyber-space, have been proposed and contested as possible sites for re-encountering material reality. The ASCA International Workshop is a space open to reflect on the methodological nuances, theoretical consequences and political implications of engaging objects within the humanities.

These issues will be discussed in four panels:.

Funnels vs. Blogs vs. Websites- What's The Difference? Which Do You Need? Do You Need A Funnel?

Engaging theory, which positions theory as an object of study. Sensory disruptions, which explores the possibilities and implications of encountering objects through different senses and their interrelations. Bodily interventions, which deals with the body as an object of study, and a site for alternative modes of knowledge production.

Deadline for abstracts words : October 31, ; deadline for papers words : January 31, We are also looking for performances to be presented during the workshop that are relevant to the workshop theme of "engaging objects". Objects engage researchers: they attract our interest, involve us and position us as scholars in relation to their cultural emergence. Similarly, while engaging with objects we, as theorists, also produce them as objects of study.

We further engage with culture at large through artistic or mundane, actual or virtual objects-they work as mediators of social relationships and as translators between imaginary and lived culture. This sense of engagement can be found in the root of the verb "to engage". According to the Oxford English Dictionary, a gage is "a valued object deposited as a guarantee of good faith", as well as "a pledge, especially a glove, thrown down as a symbol of a challenge to fight".

Thus, engagement can be understood as an object's promise, its act of commitment or provocation. The concept of engagement gains its sense metaphorically, developing from a concrete action in which the object stands in for a socially charged gesture. The mediatory role of objects may also be abused, although objects are always already engaged with the world in ways that exceed our scholarly framing of them. The relationship between object and researcher is not only limited to a metaphorical promise; it is also an actual intervention.

This engagement is not with the respective parties of a relation, but with the relationship itself. Thinking of this relationship as a site where the known and the knower are partly produced, we may focus on the fractures, irregularities and inconsistencies that are constitutive of our own production of knowledge today within fields such as visual culture, literature, history, art, music, performance, anthropology, theory, and politics.

Engaging theory. This panel seeks to position theory as an object of study. In considering theory as an object, its material aspects are brought to the fore. Yet the material aspects of theory are not the same for scholars across different disciplines or schools of thought. Post-structuralist scholars, for example, might locate theory's materiality in the actual language used to construct abstract concepts. Their more Marxist-oriented critics, however, might use the term "material" to name the wider socio-cultural and political networks within which the theoretical text is inserted.

Creatively re-articulating these different traditions may make our own engagements with theory more politically and intellectually productive. This panel invites participants to think through the metaphor of the "engaging object" in order to explore theory as a literary text, as a cultural object, as a social promise and as a political act. Sensory disruptions. Sensory perception is the primary way in which we encounter objects. The senses are culturally conditioned, and each society tends to privilege certain types of sensory engagement.

Modernity has often been characterized by the dominance of visuality, which posits a distant, distinct and disembodied viewer, and as such is presumed to underlie Western epistemology and theories of subjectivity. This panel seeks to explore alternatives to this, arguably still prominent, mode of sensory engagement. How can it be disrupted through the intervention of other senses as in haptic visuality? What kinds of engagement do the other senses, and their different interrelations, bring about?

What alternative relationships between the object and the researcher do they generate e. These questions imply a change of sensibility that is both perceptual and conceptual. What are the theoretical consequences of this shift from the visual to the aural, the tactile, to kinesis and proprioception? What can be gained from thinking synaesthetically? And, more generally, what art of knowing is produced in this new, sensuous engagement?

Bodily interventions. The living body has, as Crary and Kwinter state, a "menacing and delirious concreteness" and serves as a complex and fascinating object of study in cultural theory. Especially within academic research around minority subjectivities including queer and feminist theory, disability and race studies , the body acquired an important role: it became a site for alternative modes of knowledge production. This focus on extraordinary forms of embodiment politicized certain traditions of thought. But to the extent that specifically marked bodies might feature as seductive and spectacular objects of study, it is essential to reflect on the relationship between the shape of our theories and our conceptions of embodiment.

This panel further aims to explore how a critical analysis of the "unmarked" white, male, "standard" body helps to investigate the failures of cultural theory. Where are the limitations of treating the body in theory as meaningful object? No matter what discipline we work in, when we engage with our objects of study, we are always involved in some form of comparison. With "parity" at its etymological root, comparison is usually understood as a methodology based on similarity and equality.

But comparison is a dangerous activity, one that often conceals universalist and essentialist suppositions and whose terms are never neutral. How do we decide on these terms and how do we incorporate this decision process within the practice of comparison itself? This draws attention to the necessity for scholars to acknowledge their own role in positioning objects in relation to each other and themselves. Is it possible to stand back and let objects engage with each other, or is this engagement only possible through us?

If so, how does such a mediating role affect our research position? In this panel, we would like to discuss ways of dealing with the politics of comparison and to explore how and to what extent the objects we study can affect both our terms and methodologies of comparative engagement. Confirmed keynote lecturers are:. He teaches and writes on 19th- and 20th-century European philosophy, intellectual history, aesthetics, and philosophy of contemporary music. She is a renowned gender theorist, specializing in cultural studies, queer theory and visual culture.

She writes on the literature of colonialism and imperialism, and on imperial imaginaries and postcolonial theory. Zylinska is a cultural theorist writing on new technologies and new media, ethics and feminist theory. And what is the role of Philosophy? We welcome participants from any discipline. Please e-mail or send your one-page proposal words maximum and a short biographical note by October 31, to the ASCA office: asca-fgw uva. Please indicate which panel theme out of the four mentioned above you believe your proposal would best fit in. Selected participants will be asked to send their words papers by January 31, so that papers can be distributed among participants in advance.

To allow enough time for discussion, papers will not be read during the workshop. Instead, participants are expected to give a 10 minute summary, relating their argument to that of their fellow panelists. Please send a proposal words maximum indicating duration, number of participants and technical requirements. We also require a sample of your work hard copy or electronic reference. Source: asca-fgw uva. Dates: mercredi 14 et jeudi 15 mai Pour les intervenants:.

Hoppenot paris. Milon u-paris Les communications dureront au plus 30 minutes. Nordic Society of Aesthetics. Historical and Contemporary Perpectives. Since Baumgarten coined the term in and established aesthetics as a branch of philosophy, in aesthetics as a discipline, or, rather as a loosely organized field of heterogeneous but related activities a great variety of conflicting as well as interacting theories, approaches and trends has emerged.

In the 19 th century aesthetics was predominantly conceived of as the philosophy of art, that is, aesthetics was basically an art-centered philosophical enterprise. As a reaction against the great systems of philosophy of art, interest in historical and psychological research into aesthetic phenomena, in particular art, grew and became institutionalised. The proliferation of approaches to aesthetic phenomena in a wide sense has continued and increased at the end of the 20th century and the beginning of the 21st century. There is, for example, a renewed interest in the aesthetics of nature alongside the emergence of an aesthetics of everyday life, phenomenological and conceptual analyses of art and the aesthetic compete and sometimes interact with semiotic, deconstructionist, and feminist approaches.

The arts and aesthetic phenomena are, however, not studied only by art and literary theorists and historians or philosophers. Various branches of cognitive science and evolutionary psychology also focus on art and the aesthetic. The interrelation between various approaches to aesthetics and the aesthetic raises many methodological and conceptual problems. We welcome contributions dealing with general problems in the philosophy of art and aesthetics or with particular issues in some branches of aesthetics and art research including the disciplines of art history, literature, music, theatre and film , related to the theme of the conference.

It would greatly facilitate our planning if those who wish to participate would fill in the enclosed form and send it as an attachment to the address below before 15 November Those who plan to present a paper are asked to send an abstract one page before 15 February and will be notified soon thereafter if their paper has been accepted.

Those who wish to participate without a paper will be asked to confirm their participation before 15 February Presentations can be in English or in one of the Scandinavian languages. The enclosed form should be sent to:. Aahlberg estetik. Uppsala University. O Box SE 26 Uppsala. Gnomic, speculative, penetrating, Adorno's major work on music performance occupied him throughout his life. Unfinished at his death, the copious notes and drafts have recently been collated as Towards a Theory of Musical Reproduction , Eng.

This conference will be based around readings of Adorno's text and its contexts, interpretations, and uses. Proposals are invited for papers of 20 mins. Abstracts of words should be emailed by 18 April to anthony. The programme will be available at www. Organisers: Anthony Gritten and Nicholas Baragwanath. Head of PG Studies and Research. Manchester M13 9RD. T F E anthony dot gritten at rncm dot ac dot uk. W www. This is the first conference devoted to assessing Roger Scruton's contribution to philosophical aesthetics. Invited participants: Roger Scruton.

Scruton will give responses to these papers. It will take place at the historic venue of The Castle, Durham. Postgraduate student bursaries will be available. Scruton Conference,. Andy Hamilton and Nick Zangwill,. Philosophy Department,. Publication of the submitted papers is envisaged. Details of accommodation will be given on the web page shortly:. Organizers: Andy Hamilton and Nick Zangwill.

Call for Abstracts. The Hobbit and Philosophy. Edited by Eric Bronson and Gregory Bassham. Please circulate and post widely. Apologies for Cross-posting.


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To propose ideas for future volumes in the Blackwell series please contact the Series Editor, William Irwin at wtirwin kings. Abstracts and subsequent essays should be philosophically substantial but accessible and fun, written to engage the intelligent lay reader. Contributors of accepted essays will receive an honorarium.

Possible themes and topics might include, but are not limited to, the following:. Life as an adventure; comfort vs. Submission guidelines:. Submission deadline for first drafts of accepted papers: August 15, Submission deadline for final papers October 15, Kindly submit by e-mail with or without Word attachment to:.

Gregory Bassham at ghbassha kings. Edmund Hall, Oxford. September , First Call for Papers: Deadline: May 12th. Guest Speakers. Alexander Nehamas Princeton University. Hannah Ginsborg UC Berkeley. Stephen Davies University of Auckland. Berys Gaut University of St.

Papers in philosophical aesthetics should be submitted with a word abstract and formatted for blind review author's name, etc, on separate cover page. Papers should not exceed words 30 minutes reading time. Abstracts cannot be considered in lieu of papers. Submissions should be submitted in Word format by email to Derek Matravers: D. Matravers open. Diarmuid Costello. University of Warwick. Costello Warwick. International colloquium: Character and Emotions. April 25, Salle B , Uni Bastions, Geneva. In all times, all major writers, who deal with emotions and human actions, cannot but be deeply concerned with the temperament and personality of the characters in their novels.

What can art tell us about the relations between character, personality, temperament and the emotions? Patrizia Lombardo patrizia. Stephen Mulhall Oxford. Robert Sinnerbrink Macquarie. Catherine Constable Warwick. Karin Littau Essex. Julian Baggini editor, The Philosophers' Magazine. In what ways is film philosophically informative?

What vibrant areas have developed in these fields? Topics include but are not limited to :. Film as philosophy. The ontology of cinema. Film and phenomenology. Particular philosophical approaches to film Cavell, Deleuze, Frampton etc. The Epistemology of film. Film affect. The philosophical worldview of particular directors. Subjectivity and cinema. Aesthetics and film. Political philosophy and film.

Historical developments in film-philosophy. Genre and philosophy. Cinema as thought experiment. Morality and movies. Feminist philosophy and film practice. Film making as philosophical practice. Methodologies for philosophical film analysis. Contributions are invited for panel topics, individual papers or graduate papers. Please send a word abstract by Tuesday 8 April, to:. Carel uwe. Tuck uwe. For information and to register:. NEW 31 internet source: contact eipcp. The Art of Critique. Konferenz, Moderation: Stefan Nowotny, Alice Pechriggl. Was ist Kritik?

Sicherlich nicht einfach eine Praxis des Urteilens, schon gar nicht des Aburteilens. Ort alle Veranstaltungen :. This conference brings together experts in the psychology, epistemology and metaphysics of perception to. Saint Louis University. Louis, MO Friday, April 4. Alva Noe UC Bekeley.

Commentator: John Drummond Fordham. Jerome Gellman Ben-Gurion. John Hawthorne Oxford. Saturday, April 5. Walter Sinnott-Armstrong Dartmouth. Victoria McGeer Princeton. Commentator: William Hirstein Elmhurst. Dominic Lopes British Columbia. Commentator: Chris Williams Nevada, Reno.

Christopher Peacoke Columbia. For more information, contact:. Jamie Hendrix. Other philosophical resources on the Web can be found at. The Theatre and Performance Research Association. Watt lboro. Theatre Performance and Philosophy: Mission Statement. Besides examining the oftenoverlooked historical links between philosophy and theatre in the worksand plays of given thinkers like Hegel and Sartre, of particularinterest to the TaPRA Theatre, Performance and Philosophy working groupwill be the use of theatrical metaphors in philosophy.

In examining the links between recent philosophical enquiry andtheatre and performance this working group will explore the potentialpractical and theoretical implications of such a turn. Working Methods. Dr Daniel Watt. Lecturer in English and Drama. Department of English and Drama. Loughborough University. Leicestershire LE11 3TU. Tel: Lincoln School of Performing Arts. University of Lincoln. LPAC Building,. Brayford Pool.

Lincoln LN6 7TS. Email: dmeyerdinkgrafe lincoln. NEW 34 internet source: news aesthetics-online. Final Fantasy and Philosophy. Edited by Jason P. Blahuta and Michel S. To propose ideas for future volumes in the Blackwell series please. Abstracts and subsequent essays should be philosophically substantial but accessible, written to engage the intelligent lay reader. We are interested in abstracts dealing with Final Fantasy in any media including manga. Machina; Shinra Inc. Avalanche Corporatism v.


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  8. Submission deadline for abstracts words and cv's: June 6,. Submission deadline for first drafts of accepted papers: September 1,. Jason P. Blahuta jblahuta lakeheadu. NEW 35 internet source: news aesthetics-online. Ratio Conference: University of Reading. Supported by the Mind Association and the Analysis Trust. Speakers of the day will be:.

    Aesthetic Attitude. Please direct enquiries to: Dr. Department of Philosophy University of. To register for this conference, please send a printed version of the. Numbers are. Philosophy of Literature. I wish to register for the Ratio conference on the Philosophy of. Literature on 12th April and enclose my registration fee. Saturday and refreshments. Address for. Schroeder, Department of Philosophy, University of Reading,. Please advise us if you have any special dietary requirements:. Please email to check on availability. Please note that the deadline for abstract submissions words for.

    March 31st. Esthetic History and the Knowledge of the Human. Generative Anthropology Summer Conference. Chapman University, Orange, California. Thursday 26 June Sunday. Chapman University is pleased to present the 2nd annual Generative. Anthropology Summer Conference, with the thematic focus "Esthetic. History and the Knowledge of the Human. Generative Anthropology is an ambitious, interdisciplinary way of thinking. Imagination Its current vitality is indicated by the recent. Anthropoetics, and by the robust success of the first GA weekend.

    Scholars unaware of GA may visit the Anthropoetics website for. We emphasise that Generative Anthropology will be. Researchers in the social and natural sciences with an interest in human.

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    The organizers of GASC therefore invite interested researchers to. We welcome analyses of particular literary texts, artistic works,. Preference will be given to papers that explicitly engage with ideas. However, we will also welcome submissions by scholars. Proposals, Canadian participants may send inquiries also.

    This conference is endorsed by Wilkinson College of Letters and Sciences. Hauntings: Spectres, Spectrality and Spectatorship. Philament, the peer-reviewed online journal of the arts and culture. Revised papers from the. Symposium as well as new submissions are encouraged. Possible themes.