Mechanismen der Gewalt stehen im Zentrum der in den 1920er und 1930er Jahren entstandenen Erzähltexte von Gertrud Kolmar und Anna Gmeyner. Darstellungen von Vergewaltigungen, Diskriminierungen und Suiziden machen – aus intersektional lesbarer Perspektive – die drastische Negation weiblich-jüdischer Subjektivität thematisch. Dieser Gewalt und Negation begegnen die Texte durch Erzählverfahren, in denen epistemische Dimensionen von Gewalt vorgeführt und metareflexiv durchkreuzt werden. Der Beitrag beleuchtet diese Verfahren und zeigt die subversiven Potenziale einer Metapoetik auf, die Kolmars und Gmeyners Erzählungen bestimmt.
This paper uses Rosenzweig's conception of the three elements of God, World, and Human from The Star of Redemption in a model of universal history. The model also has some relation to Rosenzweig's geopolitical essay, Globus, which is very different from the meta-historical Star. Based on a systems-theoretic schema of events and processes, the model views human history in terms of three linked processes: a primary process labelled "World" - the origin and development of human society embedded in nature, a secondary process labelled "God" - the origin and development of the Axial religions and philosophies, and a tertiary process labelled "Human" - the origin and development of modernity. The model asserts an interdependence between these processes that resembles the interdependence of the elements and relations in The Star. However, the scope of The Star extends from a Creation that is outside of time to a Redemption that is also outside of time. By contrast, the processes in the model are fully natural. Although the model is scientific in character, it affirms religious significance in history. Adopting a perspective in between the transcendence of The Star and the immanence of Globus, the model complements Rosenzweig's thought by offering a coarse-grained view of the past and of the global hazards of the present historical moment.
Mechanismen der Gewalt stehen im Zentrum der in den 1920er und 1930er Jahren entstandenen Erz & auml;hltexte von Gertrud Kolmar und Anna Gmeyner. Darstellungen von Vergewaltigungen, Diskriminierungen und Suiziden machen - aus intersektional lesbarer Perspektive - die drastische Negation weiblich-j & uuml;discher Subjektivit & auml;t thematisch. Dieser Gewalt und Negation begegnen die Texte durch Erz & auml;hlverfahren, in denen epistemische Dimensionen von Gewalt vorgef & uuml;hrt und metareflexiv durchkreuzt werden. Der Beitrag beleuchtet diese Verfahren und zeigt die subversiven Potenziale einer Metapoetik auf, die Kolmars und Gmeyners Erz & auml;hlungen bestimmt.
The engraver, draughtsman, and miniature painter Moses Samuel Lowe (1756-1831) is almost forgotten today. This essay searches for traces of his life and his artistic work. Lowe's work in the educated circles of Berlin is particularly explored. As one of the first Jewish artists to receive an academic education, Lowe was characterized by tireless creativity and inventiveness. He gained his artistic experience mainly within the sociable networks of the Berlin Enlightenment and the Prussian Haskalah, to which he remained ideologically and conceptually connected throughout his life. His portraits gave individual faces to many of the thinkers in these scholarly and literary circles. Lowe also provided illustrations for their publications, which, with their often allegorical expressiveness, served the vivid cognition of the recipients and thus contributed significantly to the educational intention of the writings.
