This paper aims to investigate the role of the gaze in the texts published by Musil (perhaps) when he was the editor-in-chief of the Tiroler-Soldaten-Zeitung, in the times of the First World War. It means to explore the philosopher's insight into what lies in front of everyone's eyes. But this kind of insight cannot be reduced to a sort of optical perception (the eyes's recognition). It also concerns the opportunity for soldiers to bear witness to the "great event" of war. The problem is that the experience of the battle produces a discrepancy (hiatus) between "something lived through" (Erlebnis) and the simple experience (Erfahrung). Starting from this point, and in accordance with Benjamin's thesis, the soldiers' gaze is not able to focus...
Wilhelm Klemm, Expressionist poet and military surgeon on the Western front during World War I, publ...
Alois Dwenger, writing from the front in May of 1942, complained that people forgot “the actions of ...
The essay analyzes the traumatic dimension of the images of rubble produced by German cinema and pho...
This paper aims to investigate the role of the gaze in the texts published by Musil (perhaps) when h...
The presented article is an attempt to describe in a synthetic way an own vision of a German front-l...
Through a close examination of The Man without Qualities, some of the writings contained in The Lite...
Robert Musil understood the war euphoria of 1914 as a form of escape from an outlived order that was...
Writers from both world wars, concerned with the representation of war, wrestled with the predicamen...
This paper focuses on the works De Bello Civili by Lucan, Im Westen nichts Neues by Erich Maria Rema...
During the First WorldWar Robert Musil served as an officer on the South Front. His notebooks provid...
Between the world wars, Robert Musil and Hermann Broch replied to an era of catastrophes, which they...
The article analyzes the notes that Musil made during the First World War and how he later transform...
The paper focuses on R. Weiner’s 1916 short story collection Lítice / Furies which captures his dire...
This article focuses the visual distribution of football-players' bodies in the German Kaiserreich b...
I would like to defend that in the period between the two World Wars there was a remarkable awarenes...
Wilhelm Klemm, Expressionist poet and military surgeon on the Western front during World War I, publ...
Alois Dwenger, writing from the front in May of 1942, complained that people forgot “the actions of ...
The essay analyzes the traumatic dimension of the images of rubble produced by German cinema and pho...
This paper aims to investigate the role of the gaze in the texts published by Musil (perhaps) when h...
The presented article is an attempt to describe in a synthetic way an own vision of a German front-l...
Through a close examination of The Man without Qualities, some of the writings contained in The Lite...
Robert Musil understood the war euphoria of 1914 as a form of escape from an outlived order that was...
Writers from both world wars, concerned with the representation of war, wrestled with the predicamen...
This paper focuses on the works De Bello Civili by Lucan, Im Westen nichts Neues by Erich Maria Rema...
During the First WorldWar Robert Musil served as an officer on the South Front. His notebooks provid...
Between the world wars, Robert Musil and Hermann Broch replied to an era of catastrophes, which they...
The article analyzes the notes that Musil made during the First World War and how he later transform...
The paper focuses on R. Weiner’s 1916 short story collection Lítice / Furies which captures his dire...
This article focuses the visual distribution of football-players' bodies in the German Kaiserreich b...
I would like to defend that in the period between the two World Wars there was a remarkable awarenes...
Wilhelm Klemm, Expressionist poet and military surgeon on the Western front during World War I, publ...
Alois Dwenger, writing from the front in May of 1942, complained that people forgot “the actions of ...
The essay analyzes the traumatic dimension of the images of rubble produced by German cinema and pho...