Translation of "Kulturkritik" in English

Vids Are Forms of Legitimate and Timely Cultural Criticism.

Additionally, O'Neill has written literary and cultural criticism, most regularly for The Atlantic Monthly.

Not least, the biennales have challenged the art and cultural critics.

The analysis of Kulturkritik has also taken up a large portion of my works on Nietzsche.

Monique Schneider works at the intersections of psychoanalysis, cultural critique, and philosophy.

Cultural policy bears the same relationship to cultural criticism that the culture industry bears to culture.

In addition, his works emphasize the significance of an aesthetic language as a tool for an emancipatory cultural criticism.

The crisis of literary objectiveness can be placed in a wider context of cultural criticism.

We can even say that one of the aspects that determine a culture is the choice of the satisfiers of the fundamental human needs.

In the context of Lukács's interpretation, we cannot at all underestimate the importance of this reference to Nietzsche's cultural criticism for well-known reasons.

The strong point of Boltanski and Chiapello's book is to demonstrate how the organizational figure of the network emerged to provide a magical answer to the anti-systemic cultural critique of the 1950s and 60s—a magical answer, at least for the aspirant managerial class.

It sought to convert Marxism from a theoretical and political weapon of proletarian class struggle, which Horkheimer, Adorno and Marcuse rejected, into a socially amorphous form of cultural criticism, in which the political pessimism, social alienation, and personal and psychological frustrations of sections of the middle class found expression.

The object of much of today's humanities research and cultural criticism is to demonstrate how an imaginary geography or an imagined community develops permanence and boundaries and ultimately replaces reality itself, and how this happens through identification processes in which some elements are discarded in order for that community's identity to come into being, be it Swedish, Nordic, European or global.

The unit of these four great and independent elements (phenomenological approach, critical scientism, practical commitment and cultural criticism) are making of Aurél Kolnai 's philosophizing, in a more spectular way than anything, a proper and authentical philosophical discourse, an emancipative and multiple philosophical approach, which Central-European roots can, in a trivial, rather most complex way, at no second be ignored.

In the first year the focus was on educational concepts for master programs in cultural management, cultural sciences, intercultural communication, Kulturkritik, etc.

The author does not deal with the fact that, the range of lectures represents by Nietzsche a transition from the early cultural criticism (Kulturkritik) to the coming personality idealism (Persönlichkeitsidealismus).

This also applies to Luc Boltanski/Eve Chiapello's The New Spirit of Capitalism, in which the function of critique for the renewal of capitalist accumulation strategies is debated at length, which could also be an explanation for the current cultural need for critique, but the distinction between social critique and artist critique does not seem to me to be sufficient to cover especially the uncanny forms of the critical, particularly the colorful forms of cultural critique among all political camps.

The positivism, that we considered either as a scientistic direction without any own philosophical message or as more or less a direct apology of the bourgeois society, is revealing (amongst others) also in this cultural criticism as a direction with social message.

The crisis of objectiveness in literature and literary criticism does not only offer the possibility of, but even necessitates an analysis of this development in the context of a general critique of culture (Kulturkritik) (8).

However, we must first point out, that the conservative criticism of a Spengler or of an Ortega (the differences existing between them should be again assessed at this place), the Bolshevist Messianism of a Landauer or of a Lukács, the Bauhaus standing so close to Karl Mannheim reconstruction thinking and its philosophical equivalence in the Viennese Circle, the expressionist (or in some other way avantgardist) revolt of a Brecht, of a Kokoschka, Musil or Robert MÃ1?4ller, all formulate in their way, a kind of reprimitivization or as new and often positively full new simplicity as basis of the philosophical complaint or vice versa, as expected and legitimate objective.

What the old cultural critique and Cultural Studies most essentially have in common, however, is found in their utopian impulse to resolve the tension in the relationship between politics and culture.

First, the section new institutional and cultural critique traces the outline of a new type of critique of art institutions that supersedes the self?referentiality and circularity of classical institutional critique, which was broadly assimilated as a device of institutional reproduction and renewal after its moment of strength in the late 1960s and 1970s.

I have called attention to the significance of all kinds of Kulturkritik in several works (18).

It defined its viewpoint as opposed as well to the Western capitalist system under the domination of the USA as to the bureaucratic extremely parasitic capitalism in the Soviet Union, and referred to the Third World’s upswing, to the exposure of the violent US-imperialism, to the general criticism of culture in the West, to the polemics against revisionism from the part of the CP of China and the Cultural Revolution in China, but also to the own revolutionary party traditions in Germany integrating them in a new way.

"Even the most extreme consciousness of doom threatens to degenerate into idle chatter. Cultural criticism finds itself faced with the final stage of the dialectic of culture and barbarism.

For with Blei – and this is characteristic for the second wave of the European Modern Age – his aesthetic position is deploying in front of the horizon of his criticism of the time and of the culture and this means also, that every really determining aesthetic element (from the substantialization of the own existential problematic up to the partial mimesis) must be related also to the political interpretation of the present.