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Contemporary Jewish Reality in Germany and Its Reflection in by Claudia Simone Dorchain, Felice Naomi Wonnenberg

By Claudia Simone Dorchain, Felice Naomi Wonnenberg

The thought of ""self"" and ""other"" and its illustration in paintings and literature is a crucial subject matter in present cultural sciences in addition to in our way of life in modern Western societies. in addition, the idea that of ""self"" and ""other"" and its imaginary dichotomy is gaining a growing number of political impression in a global of resurfacing ideology-ridden conflicts. The essays care for Jewish truth in modern Germany and its mirrored image in videos from the distinct standpoint of cultural sciences, political sciences, and spiritual reports. This anthology offers challengingly new insights into issues hardly ever lined, equivalent to early life tradition or humor, and at last discusses the pictures of Jewish existence as realities nonetheless to be built.

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The medieval God, the God of transcendence, is completely under the control of the subject. It is functional to the human interest in order to build the world. The God of Modernity, the God made substance by Spinoza and then pronounced dead by Nietzsche, is an independent God: it leaves us stunned, it shows itself, but it is unintelligible because of its infinite reproducibility. CSD: The conquest of images as a program has something adventurous in it, and it recalls the conquest of space. The conquest of space can be seen within a macro or a micro perspective.

Film has something morbid in itself, as Felice Naomi Wonnenberg stated. ” Therefore, we do not need to wonder why an imaginary of death, vanity, and mortality occasionally wavers around cinematography and evokes a certain uneasiness, not the Freudian uneasiness within culture, but an anthropogenic uneasiness by cultural artifacts. TS: But the cinema is also “kinema,” a rolling film, Lethe and Mnemosyne, the memory of an oneiric past, or of the present itself, if the film is boring. A Passage to Modernity 47 CSD: Mnemosyne was the mother of the muses, as the Greek mythology tells.

TS: Without specific differences and declared turns there would be no cultural debate: this disruptive force leads to the (re)-discovery of themes and topics as, for example, the role of the imaginary. What are the platonic wax tablet or Heidegger’s “In der Welt sein” if not representations and metaphorical images that encapsulate and fix conceptual insights? But it is also true... ” That is exactly the iconic turn. Modernity requires questioning the function, the structure, and the specific quality of the images in their collective use.

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