Primitive Renaissance: Rethinking German Expressionism

By David Pan | Go to book overview

Notes

INTRODUCTION

1. Homer, Odyssey 12.166–200.

2. Franz Kafka, “The Silence of the Sirens,” in The Complete Stories, ed. Nahum N. Glatzer, trans. Willa and Edwin Muir (New York: Schocken, 1971),430.

3. Kafka, “Silence of the Sirens,” 431.

4. Kafka, “Silence of the Sirens,” 432.

5. Max Horkheimer and Theodor Adorno, Dialectic of Enlightenment, trans. John Cumming (New York: Continuum, 1972), 34, 58–59.

6. Kafka, “Silence of the Sirens,” 431.

7. Horkheimer and Adorno, Dialectic, 35–36.

8. Horkheimer and Adorno, Dialectic, 62–67.

9. Kafka, “Silence of the Sirens,” 432.

10. Discussions of the ambivalence of expressionism include Silvio Vietta and Hans-Georg Kemper, Expressionismus (Munich: Fink, 1975), 21– 24, who describe a “‘dialectic’ of subject dissociation and renewal of humanity” (22); and Thomas Anz, “Gesellschaftliche Modernisierung, literarische Moderne und philosophische Postmoderne: Fünf Thesen” in Die Modernität des Expressionismus, ed. Thomas Anz and Michael Stark (Stuttgart: Metzler, 1994), 2–3, who notes the ambivalent position of both literary expressionism and postmodern philosophy with respect to processes of modernization. See also Jill Lloyd, German Expressionism: Primitivism and Modernity (New Haven: Yale University Press, 1992), vi-ix.

11. Since the mid-1980s a growing body of work has investigated the primitivist character of modernism. In art history the most important texts to date include Robert Goldwater's classic study, Primitivism in Modern Art (New York: Random House, 1938; Vintage Books, 1967) ; the catalog of the exhibition at the Museum of Modern Art in New York edited by William Rubin, “Primitivism” in 20th Century Art: Affinity of the Tribal and the Modern (New York: Museum of Modern Art, 1984) ; and such recent books as Karla Bilang, Bild und Gegenbild: Das Ursprüngliche in der Kunst des 20. Jahrhunderts (Stuttgart: W. Kohlhammer, 1989); Lloyd, German Expressionism; Colin Rhodes, Primitivism and Modern Art (London: Thames and Hudson, 1994) ; and Peg Weiss, Kandinsky and Old Russia: The Artist As Ethnographer and Shaman (New Haven: Yale University Press, 1995).

-189-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Project items

Items saved from this book

This book has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this book

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited page

Bookmark this page
Primitive Renaissance: Rethinking German Expressionism
Settings

Settings

Typeface
Text size Smaller Larger
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen
/ 242

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited passage

Welcome to the new Questia Reader

The Questia Reader has been updated to provide you with an even better online reading experience.  It is now 100% Responsive, which means you can read our books and articles on any sized device you wish.  All of your favorite tools like notes, highlights, and citations are still here, but the way you select text has been updated to be easier to use, especially on touchscreen devices.  Here's how:

1. Click or tap the first word you want to select.
2. Click or tap the last word you want to select.

OK, got it!

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.