Explore the vast range of titles available.

Culture in the Anteroomintroduces an English-speaking readership to the full range of Siegfried Kracauer's work as novelist, architect, journalist, sociologist, historian, exile critic, and theorist of visual culture. This interdisciplinary anthology---including pieces from Miriam Bratu Hansen, Andreas Huyssen, Noah Isenberg, Lutz Koepnick, Eric Rentschler, and Heide Schlüpmann---brings together literary and film scholars, historians and art historians, sociologists, and architects to address the scope and current relevance of a body of work dedicated to investigating all aspects of modernism and modernity. The contributors approach Kracauer's writings from a variety of angles, some by placing them in dialogue with his contemporaries in Weimar Germany and the New York Intellectuals of the 1940s and '50s; others by exploring relatively unknown facets of Kracauer's oeuvre by considering his contributions to architectural history, the history of radio as well as other new media, and museum and exhibition culture.

The journalist and critic Siegfried Kracauer is best remembered today for his investigations of film and other popular media, and for his seminal influence on Frankfurt School thinkers like Theodor Adorno. Less well known is his earlier work, which offered a seismographic reading of cultural fault lines in Weimar-era Germany, with an eye to the confrontation between religious revival and secular modernity. In this discerning study, historian Harry T. Craver reconstructs and richly contextualizes Kracauer's early output, showing how he embodied the contradictions of modernity and identified the quasi-theological impulses underlying the cultural ferment of the 1920s.

Fragments of Modernity, first published in 1985, provides a critical introduction to the work of three of the most original German thinkers of the early twentieth century. In their different ways, all three illuminated the experience of the modern urban life, whether in mid nineteenth-century Paris, Berlin at the turn of the twentieth century or later as the vanguard city of the Weimar Republic. They related the new modes of experiencing the world to the maturation of the money economy (Simmel), the process of rationalization of capital (Kracauer) and the fantasy world of commodity fetishism (Benjamin). In each case they focus on those fragments of social experience that could best capture the sense of modernity.

Siegfried Kracauer was a leading intellectual figure of the Weimar Republic and one of the foremost representatives of critical theory.Best known for a wealth of writings on sociology and film theory, his influence is felt in the work of many of the period's preeminent thinkers, including his friends, the critic Walter Benjamin, and Theodor W.

This article draws on numerous archival findings together with close comparative analyses to account for a number of German philosophical and literary intertexts that have hitherto gone unnoticed by Wallace scholars. It shows how the work of numerous German writers—including Georg Buchner, Johann Wolfgang von Goethe, Peter Weiss, Siegfried Kracauer, Max Nordau, Arthur Schopenhauer, and Herman Hesse, among others—influenced Wallace's fiction, as well as exploring Wallace's fraught relationship to German language and culture more broadly. Ultimately, the essay uses such intertextual connections to bring Wallace's work into dialogue with a radically expanded set of literary and intellectual traditions.

In this text I suggest the possibility of the strategic-philosophical closeness between Husserl and Kracauer, by closely reading Husserl's Third Logical Investigation and Kracauer's essay «The Mass Ornament». Although the both thinkers come from the traditionally different and often mutually opposing philosophical schools, neither of them simply dismisses or crosses out the position they criticize. To the contrary, I propose that both thinkers exaggerate the seeming self-evidentiality of the phenomenon they analyze. In the Third Logical Investigation Husserl rearticulates the whole-part relation as it is conceived within the formal ontology and psychologistic logic. The connection between parts is available to us only as the relational tension, which is «accumulated» in the mutuality between the irreparably self-enclosed parts. Fusion is therefore a modification in the unfolding of the relation between parts, where every «term in relation» conditions another one through its own positional completion, while being conditioned by another term. The phenomenological analysis, which is conducted through the intensification of the fixity of the above-mentioned poles, is «measured» by the inability of these poles to be self-evidentially isolated and subsequently reconciled. In the second part of my essay I pay attention to Kracauer's suggestion that the vitality of the mass ornament is reflected in the contextual insignificance of its parts. Kracauer addresses the problem of mass depersonalization through the close and sarcastic inspection of the role of abstract rationality in the capitalist mode of production. This close inspection adopts the strategy of exaggeration, where the critical distance must not be considered beyond its ability to disclose the self- obscuring apparatus of the mass performances and spectacles. This disclosure, as Kracuaer suggests, must therapeutically lead through the center of the mass ornament, and not away from it.

This is the first study in English to call into question Horkheimer and Adorno's antagonism toward mathematics and to reveal and recover the lines of critical thought that it covered up.This book shows the surprising yet salient contribution of not only mathematics, but also Jewish thought to the project of critical theory.This book joins a renaissance of scholarly interest in German-Jewish intellectuals, such as Siegfried Kracauer and Gershom Scholem, offering a unique synthesis of their insights into language, messianism, and cultural critique.This book gives us a more capacious version of critical theory, providing humanists with tools to confront the digital age.The author's prose is lucid, engaging, and accessible, requiring no specialty knowledge of mathematics. This book offers an archeology of the undeveloped potential of mathematics for critical theory. As Max Horkheimer and Theodor W. Adorno first conceived of the critical project in the 1930s, critical theory steadfastly opposed the mathematization of thought. Mathematics flattened thought into a dangerous positivism that led reason to the barbarism of World War II.The Mathematical Imaginationchallenges this narrative, showing how for other German-Jewish thinkers, such as Gershom Scholem, Franz Rosenzweig, and Siegfried Kracauer, mathematics offered metaphors to negotiate the crises of modernity during the Weimar Republic. Influential theories of poetry, messianism, and cultural critique, Handelman shows, borrowed from the philosophy of mathematics, infinitesimal calculus, and geometry in order to refashion cultural and aesthetic discourse. Drawn to the austerity and muteness of mathematics, these friends and forerunners of the Frankfurt School found in mathematical approaches to negativity strategies to capture the marginalized experiences and perspectives of Jews in Germany. Their vocabulary, in which theory could be both mathematical and critical, is missing from the intellectual history of critical theory, whether in the work of second generation critical theorists such as Jürgen Habermas or in contemporary critiques of technology.The Mathematical Imaginationshows how Scholem, Rosenzweig, and Kracauer's engagement with mathematics uncovers a more capacious vision of the critical project, one with tools that can help us intervene in our digital and increasingly mathematical present.

Siegfried Kracauer has been misunderstood as a naïve realist, appreciated as an astute critic of early German film, and noticed as the interesting exile who exchanged letters with Erwin Panofsky. But he is most widely thought of as the odd uncle of famed Frankfurt School critical theorists Jürgen Habermas, Theodor Adorno, Walter Benjamin, and Max Horkheimer. Recently, however, scholars have rediscovered in Kracauer's writings a philosopher, sociologist, and film theorist important beyond his associations--and perhaps one of the most significant cultural critics of the twentieth century. Gertrud Koch advances this Kracauer renaissance with the first-ever critical assessment of his entire body of work. Koch's analysis, which is concise without sacrificing thoroughness or sophistication, covers both Kracauer's best-known publications (e.g., From Caligari to Hitler, in which he gleans the roots of National Socialism in the films of the Weimar Republic) and previously underexamined texts, including two newly discovered autobiographical novels. Because Kracauer's wide-ranging works emerge from no rigidly unified approach, instead always remaining open to unusual and highly individual perspectives, Koch resists the temptation to force generalization. She does, however, identify recurring tropes in Kracauer's lifetime effort to perceive the basic posture and composition of particular cultures through their visual surfaces. Koch also finds in Kracauer a surprisingly contemporary cultural commentator, whose ideas speak directly to current discussions on film, urban modernity, feminism, cultural representation, violence, and other themes. This book was long-awaited in Germany, as well as widely and well reviewed. Now translated into English for the first time, it will fuel already growing interest in the United States, where Kracauer lived and wrote from 1941 until his death in 1966. It will attract the attention of students and scholars working in Film Studies, German Studies, Comparative Literature, Critical Theory, Cultural Studies, Philosophy, and History.