Between Colonial Violence and Socialist Worldview: The Conversions of Ernst Daumig

In 1900, Ernst Däumig (1866–1922) wrote to Karl Kautsky of his ‘bitter experiences’ of violence in the French Foreign Legion and then in the Prussian military that had led to his recent ‘conversion’ to the socialist worldview. This article takes up Däumig's letters, articles and travelogues, and a drama, to explore how he recast his experiences of colonial and military violence twice, first as a writer for a German soldiers’ journal and then as an aspiring socialist journalist. As well as a burden that pushed him to critique his past, Däumig's military and colonial experiences are shown to have been his starting capital in the world of journalism and politics. The article gives particular attention to the process of conversion, through which Däumig forged a new life narrative out of the moral tales offered by the adopted worldview and the events of his own past. In addition to providing a case study of worldview conversion, this article demonstrates how biographical research can challenge assumptions about the impact of colonial violence on German metropolitan culture. At the same time, this biographical analysis sheds light on the early career of one of the key figures in the German Revolution of 1918 to 1921. As co-chairman of the Independent Social Democratic Party (USPD), Däumig led the USPD into union with the Communist Party in 1920.

Die Darstellung der Apokalypse in den ersten Werken von Ernst Jünger

Dieser Aufsatz analysiert die Darstellung der apokalyptischen Bilder in zwei frühen Werken von Ernst Jünger mit dem Ziel, ihre Ähnlichkeiten und Unterschiede zu den biblischen Apokalypse-Darstellungen zu zeigen. Untersucht werden das Kriegstagebuch 1914/1918 Ernst Jüngers, ein bislang noch unveröffentlichtes Werk des Autors, und In Stahlgewitten, das aus einer literarischen Reinterpretation der Kriegserlebnisse Ernst Jüngers, die im Kriegstagebuch aufgezeichnet wurden, beruht. Alle direkten oder indirekten Erwähnungen der Apokalypse in den untersuchten Werken beziehen sich lediglich auf die Dimension der Zerstörung, da der Autor vor allem die psychische Stärke seines Helden, der in solchen apokalyptischen Szenarien einen ständigen und erfolgreichen Kampf gegen den Tod führte, hervorheben wollte.

Ernst Jünger und der mythos des "Neuen Menschen". Eine analyse des Frühwerks

Ernst Jünger und der mythos des "Neuen Menschen". Eine analyse des Frühwerks.

Manual de selección y preparación de alimentos II [por] Marion Pohlenz Ernst [y] Beatriz Villarreal Arizpe

UANL

Ernst Schroeder and Zermelo’s Anticipation of Russell’s Paradox

Ernst Zermelo presented an argument showing that there is no set of all sets that are members of themselves in a letter to Edmund Husserl on April 16th of 1902, and so just barely anticipated the same contradiction in Betrand Russell’s letter to Frege from June 16th of that year. This paper traces the origins of Zermelo’s paradox in Husserl’s criticisms of a peculiar argument in Ernst Schroeder’s 1890 Algebra der Logik. Frege had also criticized that argument in his 1985 “A Critical Elucidation of Some Points in E. Schroeder Vorlesungen über die Algebra der Logik”, but did not see the paradox that Zermelo found. Alonzo Church, in “Schroeder’s Anticipation of the Simple Theory of Types” from 1939, cricized Frege’s treatment of Schroeder’s views, but did not identify the connection with Russell’s paradox.

Ernst Tugendhat, professor convidat de la Càtedra Ferrater Mora

Ernst Tugendhat ha estat el professor convidat per la Càtedra ferrater Mora per dirigir el seminari Cinco Conferencias dobre temas de Antropología Filosófica que s'ha impartit entre els dies 28 de maig i 1 de juny

La conquista del “otro”: en los filmes Aguirre la ira de dios y Fitzcarraldo de W. Herzog (Otros Temas)

La conquista de América fue un hecho violento de expoliación en el que, al tiempo que el conquistador tomó como objeto y pieza de trabajo al indígena, se construyó un imaginario de lo bárbaro. La sed de oro y poder del conquistador creó geografías míticas del paraíso, cuyo ejemplo más significativo es la leyenda de El Dorado, pero también se evidencia en la fiesta barroca que simboliza el desfile de poder por parte de las élites. Este artículo analiza las películas Aguirre y la ira de dios y Fitzcarraldo, de Werner Herzog, quien representó personajes y situaciones, geografías e imágenes de lo exótico.

Physicality, difference, and the challenge of representation: Werner Herzog in the Light of the new waves

This chapter looks into the gap between presentational realism and the representation of physical experience in Werner Herzog's work so as to retrieve the indexical trace – or the absolute materiality of death. To that end, it draws links between Herzog and other directors akin to realism in its various forms, including surrealism. In particular, it focuses on François Truffaut and Glauber Rocha, representing respectively the Nouvelle Vague and the Cinema Novo, whose works had a decisive weight on Herzog’s aesthetic choices to the point of originating distinct phases of his outputs. The analyses, though restricted to a small number of films, intends to re-evaluate Herzog’s position within, and contribution to, film history.