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"Daub, Adrian"
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The Dynastic Imagination: Family and Modernity in Nineteenth-Century
Like the earlier book, The Dynastic Imagination revises a mostly canonical literary history by focusing on a master figure, this time the idea of ancestry, descent, inheritance, and lineage, in order to produce a new story. The reading of Hegel in the context of German feminism with its shifting relationship to the dynastic imagination before and after 1848 is perhaps the book's most novel contribution, as it brings Bettina von Arnim into conversation with Louise Dittmar and Henriette Goldschmidt across the year of revolutions, mapping the fates of Hegelianism in unexpected ways. While these early chapters revise our understanding of what the figure of dynasty means and does in the prenational period, Daub's virtuosic reading of Wagner includes the Ring cycle, the Wagner family and their physiognomy, Wagner's essays, Parsifal, Schopenhauer's views on marriage, and Wagner's sonin-law, Houston Stewart Chamberlain, without failing to mention the Wagnerian nose.
Journal Article
\HANNAH, CAN YOU HEAR ME?\— CHAPLIN'S \GREAT DICTATOR\, \SCHTONK,\ AND THE VICISSITUDES OF VOICE
In particular the rise of Nazism in Germany is inextricably bound up with an obstreperous vocal performance, perhaps the most recognizable in history.4 It was \"the Führer 's voice\" (much more so than his face5) that reached and thereby constituted \"the German people,\" as one propaganda slogan put it.6 Many contemporary observers suggested that it was this preponderance of Hitler's voice that accounted for his rapport with the German people - one that visual communication not only would not have sustained but would have fatally undercut. [...] the comedian's first full sound film (over a decade after the invention of the medium) has Chaplin delivering a bilingual performance, culminating in three public speeches (including one radio address), the first two in the highly comedie gibberish of dictator Hynkel and a second, sentimental one in the everyman's English of the Jewish barber.
Journal Article
The Doctor Faustus dossier : Arnold Schoenberg, Thomas Mann, and their contemporaries, 1930-1951
\"This complete edition of letters and documents between Arnold Schoenberg and Thomas Mann brings together two towering figures of twentieth-century music and literature, both of whom found refuge in Los Angeles during the Nazi era. Culminating in the famous dispute over Mann's novel Doctor Faustus, the correspondence, diary entries, and related articles provide a glimpse inside the private and public lives of these two great artists, the outstanding figures of the German-exile community in California. In the thicket of the controversy was Theodor Adorno, then a budding philosopher, whose contribution to the Faustus affair would make enemies of both families. Gathered here for the first time in English, the letters in this essential volume are complemented by rich primary source materials and an introduction by Germanic scholar Adrian Daub that contextualizes the impact the artists had on twentieth-century thought and culture\"--Provided by publisher.
BOOK
Cult of the machine : precisionism and American art
\"A fresh look at a bold and dynamic 20th-century American art style
Characterized by highly structured, geometric compositions with smooth surfaces, linear qualities, and lucid forms, Precisionism fully emerged after World War I and flourished in the 1920s and 1930s. This insightful publication, featuring more than 100 masterworks by artists such as Charles Sheeler, Georgia O'Keeffe, and Charles Demuth, sheds new light on the Precisionistaesthetic and the intellectual concerns, excitement, tensions, and ambivalences about industrialization that helped develop this important strand of early American modernism.
Essays explore the origins of the style--which reconciled realism with abstraction and adapted European art movements like Purism, Cubism, and Futurism to American subject matter--as well as its relationship to photography, and the ways in which it reflected the economic and social changes brought about by industrialization and technology in the post-World War I world. In addition to making a meaningful contribution to the resurging interest in Modernism and its revisionist narratives, this book offers copious connections between the past and our present day, poised on the verge of a fourth industrial revolution\"-- Provided by publisher.
Characterized by highly structured, geometric compositions with smooth surfaces, linear qualities, and lucid forms, Precisionism fully emerged after World War I and flourished in the 1920s and 1930s. This insightful publication, featuring more than 100 masterworks by artists such as Charles Sheeler, Georgia O'Keeffe, and Charles Demuth, sheds new light on the Precisionistaesthetic and the intellectual concerns, excitement, tensions, and ambivalences about industrialization that helped develop this important strand of early American modernism.
Essays explore the origins of the style--which reconciled realism with abstraction and adapted European art movements like Purism, Cubism, and Futurism to American subject matter--as well as its relationship to photography, and the ways in which it reflected the economic and social changes brought about by industrialization and technology in the post-World War I world. In addition to making a meaningful contribution to the resurging interest in Modernism and its revisionist narratives, this book offers copious connections between the past and our present day, poised on the verge of a fourth industrial revolution\"-- Provided by publisher.
Book
Adorno's Schreker: Charting the self-dissolution of the distant sound
Franz Schreker's opera Der ferne Klang is usually discussed using the term ‘phantasmagoria’, as a guiding thread. This article argues that this term names not one but two phenomena: as used by Theodor W. Adorno in his analysis of Wagner, the term denotes the repression of musical production in order to create a music without origin. In a lesser-known piece Adorno uses the term slightly differently, in a sense pioneered first by his friend Walter Benjamin. This second sense is interested in the repression not of musical production, but of the acoustic means of production that conspire to create a unified, synaesthetic experience (rather than an aesthetic object). This second sense, the denial of any sense data outside of the one experience to be had in an opera house, is exceedingly fruitful when applied to Der ferne Klang, since its hero is questing for the titular sound which is located in that very space the aural phantasmagoria has to pretend does not exist. Reading Schreker's opera keeping both senses of the term in mind may allow us to overcome Adorno's own somewhat negative assessment of Schreker's modernism and to locate within the opera a certain self-consciousness of phantasmagoric production.
Journal Article
The Ob-Scene of the Total Work of Art
This article examines the musical, literary, and theatrical practice of a group of early German modernists—above all Richard Strauss and Frank Wedekind. All of them turn to dance, its unmediated physicality, and its erotic charge to articulate a response to Richard Wagner's theatrical project, specifically the concept of the total work of art. Although Wagner had included a few ballet numbers in his mature operas, he treated the form (and the number as such) as a threat to a specifically operatic plenitude of sensuous meaning—dance, he feared, threatened to dance music and drama right off the stage. I argue that this allowed certain post-Wagnerians to interrogate Wagner's aesthetic through the category of obscenity—the dancer who, by dint of her brute physicality, could disturb and misalign theatrical spectacle became an important figure in their art. After a planned collaboration on a number of ballets came to naught, Strauss and Wedekind each turned to their native media to stage and interrogate balletic forms: Strauss through the medium-scrambling Dance of the Seven Veils in Salomé, Wedekind by inserting his ballet drafts into a strange novella, Minehaha, Or on the Bodily Education of Young Girls. Strauss's collaboration with Hugo von Hofmannsthal, which was to prove far more consequential and productive than the one with Wedekind, likewise began with an abortive ballet draft, and again came to reflect on dance's role in other media (opera and theater, in this case). Their reflections on the role of dance in operatic and theatrical spectacle find their expression in Elektra's final dance, which turns on its head the mysterious persuasiveness that Wagner had feared in dance and that Wedekind and Strauss had used to such effect in Salomé: a dance so expressive no one is moved by it.
Journal Article
