Die Rezeption Berthold Ottos in der pädagogischen Presse von 1900 bis 1914 (German Edition)

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More than years have passed since Dr. Heinrich Hoffmann's Struwwelpeter was first published in Frankfurt Germany. Although it is no longer the best known and most influential German picture book—a position it held for more than years— Struwwelpeter can still fascinate its intended audience of preschoolers and demand the attention of scholars of children's literature. Its uniqueness and importance, however, do not lie in the message but in the manner in which this message is relayed—in other words, in its formal and stylistic elements which I will concentrate on in this article.

Struwwelpeter marks the beginning of modern picture book design through its interplay of picture and text, and it displays a blend of the popular and pedagogical, typical of the modern children's book. Nothing like it had existed before it appeared on the German market in , at least not in this format and for this audience, and its immediate popularity and commercial success speaks to its extraordinariness and the timeliness of its appearance. By positioning Struwwelpeter within the framework of the time, place, and the specific circumstances of its creation and reception I will trace the innovative traits that have made it both famous and infamous.

In the mid-nineteenth century, educational messages of civility and obedience were the rule in a children's book, and in this regard Hoffmann's Struwwelpeter makes no exception. What sets Struwwelpeter apart, is the fact that the author took into consideration the mindset and desires of the young viewers and listeners as he created the book, and this fact contributed to its immense popularity. The education of his three-year-old son was the driving force behind Hoffmann's enterprise, but Hoffmann was no professional educator. He did, however, know the psyche of children well, and since he was artistically gifted and gregarious rather than pedantic by nature, he blithely disregarded traditional discursive practices in educational children's literature of his day and, as a result, radically changed the tone and format of the picture book.

Hoffmann did borrow the paradigm of the cautionary tale popular in children's literature at the time, but altered its presentation. He relied heavily on oral lore and popular culture, and he let himself be guided as much by what would fascinate the young as by what benefited them. Scholars have been able to trace most of the characters and situations portrayed in Struwwelpeter to images and stories already in circulation in the s which Hoffmann may have—wittingly or unwittingly—used as his source of inspiration, such as the boy whose hair grows uncontrollably when he gets his hands on a certain hair pomade , , the girl in flames , , Nikolaus stuffing naughty children in his sack , , or the silly hunter , , Der Struwwelpeter , By using popular culture as a source of inspiration and by applying some of its tools and means of expression to children's literature, Hoffmann created a truly popular book and brought a breath of fresh air into the somewhat stuffy environment of mid-nineteenth-century children's literature.

Like Pippi Longstocking exactly years later, Struwwelpeter was immediately embraced by its intended audience. Children appreciated the drama and child-orientation of the stories as well as their anarchic spirit and grotesque exaggeration; and in the case of Struwwelpeter parents presumably appreciated the ease with which children swallowed the nicely wrapped educational message.

In any case, both books became commercial success stories. Struwwelpeter could boast editions by and was widely translated. Both books caused initial controversy among educators and critics but went on to become touchstones of children's literature. One more feature both books have in common, which I feel deserves attention, is the fact that they were initially not intended for publication but written only for the immediate family. Just like Pippi Longstocking and Alice in Wonderland, Struwwelpeter was created in an atmosphere of relative freedom, unencumbered by considerations of current discursive practices, conventions, and expectations within children's literature.

Hoffmann thus avoided the self-censorship that might have constricted the creative process, had he intended it for publication. Incidentally, the lack of both innovation and success in the later children's books Hoffmann wrote, may have a great deal to do with this circumstance. Moreover, Hoffmann, the concerned citizen, freethinker, and man of science, created Struwwelpeter in open opposition to what the bookstores in Frankfurt had to offer before Christmas in , if we believe Hoffmann's later recollections about the impetus for the book.

Hoffmann did not like the dry, educational pamphlets that were inherited from the Enlightenment, nor did he approve of the depthless and lifeless sweet Biedermeier representations and tableau of well-behaved children in happy family settings that were popular at the time. What he found lacking in these books was the consideration of a child's ability to approach text and illustration and, especially, a child's desire for drama and action. As a result, Hoffmann created a book himself that introduced two concepts fundamental for modern children's books, namely child orientation i.

The idea of education not only through reasoning and good example alone but by touching the senses and emotions was not new. Rousseau, no friend of bookish learning for the very young, wanted his Emile to learn by observation and experience initially, then suffer the natural consequences of his actions.

Hoffmann, too, was guided by the philanthropist's urge to civilize rather than by the pedagogue's zeal to form and teach morals. In this context it is not unimportant to keep in mind that Hoffmann was a medical doctor, a dedicated scientist, and philanthropist who experienced the frailty of the human body and mind at close hand.

Hoffmann later became the head of a new, state-of-the-art insane asylum which he had backed and where he tried to introduce more modern and more humane treatments. His delight in playing with words and images, and experiences he had gathered as a medical doctor making house visits were vital for the creation of Struwwelpeter. During his examinations of terrified or restless children he had repeatedly diverted the small patients' attention by drawing figures—not unlike Struwwelpeter—letting their hairs and nails grow on paper to absurd lengths.

Thus, already from its very inception Struwwelpeter was designed to draw attention, shock, dupe, and amuse. This book could hold the young listeners' and viewers' attention and engage them emotionally because dramas of everyday life with which they could readily identify were played out in front of their eyes in stark and easy-to-follow language and imagery. Children could thus relive vicariously the misdeeds of the fictional characters and perhaps learn from their experience.

That, at least, was the intention. Moral prescriptions they cannot handle. If we take a look at the educational messages of each of the episodes, we find in them rules of civility and common sense that applied to the nineteenth century—and some still apply today. Children are taught to stay neat and clean and impose a measure of self-discipline on themselves Konrad, Zappelphilipp , they are taught not to tempt fate and be foolhearty Paulinchen, der fliegende Robert , not to discriminate and abuse their status of power Friederich, die schwarzen Buben not to waste food Suppenkasper , and generally, to pay attention and go through the world with open eyes Hans Guck-in-die-Luft.

The only episode that breaks that pattern is the hunter episode, which seems to have been written for pure amusement only. The nonsensical upside-down world of hare and hunter, in the tradition of the trickster tale, is a little out of place in this collection of cautionary tales. Yet in one regard it does fit in: The civilizational message, however, remains at the core of text and illustrations. Hoffmann simply made it more effective by popularizing it.

Just as Martin Luther had incorporated the speech patterns of the common people into his bible translation, Hoffmann incorporated topoi and narrative patterns from popular lore into his tale. Struwwelpeter is made up of a collection of stories loosely held together by Hoffmann's narrative and artistic style, in which text and drawings are of equal weight and complement each other. The story unfolds step by step with relentless causality, focused on action, and presented with great effect without lingering on detail. With their dynamic and compelling simplicity the episodes spellbind even listeners with short attention spans.

Struwwelpeter was created at the time and in the spirit of late Romanticism in which the naive, the childish, and the popular were closely linked. It was also a time in which interest in and knowledge about child development and child psyche grew and fostered new ideas on how to best educate children inspired by the works of Johann Bernhard Basedow and Heinrich Pestalozzi among others.

Struwwelpeter

The Germanic child is nothing but the Germanic people, and these national educators will barely succeed in eradicating from the people's collective consciousness and the nurseries the stories about Little Red Riding Hood who is swallowed by the wolf, or about Snow White who was poisoned by her stepmother. You cannot touch a child's soul with the absolute truth, or with algebraic or geometrical propositions; instead, you will make it waste away miserably.

Like the narrative in the Grimm's tales, Hoffmann's verse in Struwwelpeter is simple yet skillfully crafted.

It flows in a predictable, even rhythm and is easy to remember. Hoffmann was aware of its quality. In the foreword to the th edition of Struwwelpeter from he mocks proud parents who parade the cleverness of their offspring by attributing to their intelligence the ease with which their children memorized the text. The verse is designed to be read aloud, it lives through the immediacy of the oral performance and through the directness of everyday speech.

Hoffmann addresses his audience frankly and directly, pulling it into the action immediately, as he does in the Struwwelpeter tableau, which he—following popular demand—had moved from the back to the very front of the book, starting with the fifth edition: The beginning of the Konrad episode, "Konrad, sprach die Frau Mama …" seems to stick in the mind of all those who have grown up with Struwwelpeter , and, like a well-worn tune, must have rung true and sounded all too familiar to listeners and readers before the days of babysitters.

Hoffmann follows closely the natural rhythm of the vernacular while effectively engaging the listeners. He painfully avoids all traces of poetic diction and the false, superficial sweetness so popular in the Biedermeier epoch or the condescending childishness found in many children's books from the 19th and 20th centuries. In his drawings influences from popular culture can be felt as well. Hoffmann indulged in drawing social and political glosses and cartoons during his free time and became quite proficient at it.

He adopted the same techniques for Struwwelpeter and thus made the book into a forerunner of comics and cartoons for children. The exaggeration of his cartoon-like drawings added a dimension of humor and action rare in children's books at that time. This affinity to popular culture in both text and illustration and Hoffmann's penchant for parody and satire endowed Struwwelpeter with the popular appeal it enjoyed for more than years, and it inspired political satirists in Germany and abroad and illustrators of modern children's books alike.

In an interview from , Maurice Sendak acknowledges the effect Struwwelpeter had on him as a developing artist and calls it graphically "one of the most beautiful books in the world" Meek This praise from one of the great twentieth-century illustrators of children's books is to a large extent based on the expressive quality of the simple, naive drawings that conform to the emotional life of the young viewer and to Hoffmann's idiosyncrasy and originality of vision.

Praise such as this was not forthcoming in the mid-nineteenth century, when Hoffmann's illustrations were criticized. It is said, the book spoils the aesthetic sensitivity of the child. But then you must also prevent children from drawing stick figures for themselves using two circles and four straight lines in the known fashion, and enjoying themselves more in the process than by being shown the Laokoon sculpture. The billing of "drollige Geschichten" droll stories would be quite misleading were we to consider the text only.

What pushes Paulinchen or Suppen-Kaspar into the realm of the absurd and hyperreal are the drawings. These naive, minimalist drawings play with language, by making concrete metaphors and similes from the accompanying verse. The surreal element is heightened by the two red shoes untouched by fire or water. Hoffmann knew—or at least sensed—why he insisted on keeping the naive style with cartoon-like elements when his manuscript went to print if we compare his tailor scene to later ones drawn in a more naturalist style.

As Walter Sauer has shown, Hoffmann adopted the somewhat more concrete style of the illustrator of the Russian Struwwelpeter version for the fifth edition in Germany which is the standard version today, but despite the somewhat more concrete settings the illustrations still remain sufficiently in the realm of the timeless and abstract. The cartoon-like nature of the drawings helps readers keep fiction and reality apart, although some three-year-olds may still be scared rather than amused by the tailor storming in with huge scissors ready to cut off Konrad's thumbs.

In any case, these dynamic pictures definitely provide plenty of thrill and excitement for the young audience. Hoffmann scoffed at the scientific dryness of illustrations of children's books as well as at artistic pretense. Hoffmann's drawings speak to the senses instead of the intellect. In his drawings sizes are determined by the importance and emotional value invested in the figures as befits the naive style.

Exaggeration of size and gesture thus becomes an integral part of Hoffmann's technique. The whirlwind speed with which the tailor enters to cut off Konrad's thumbs and the disproportionate size of his gaping scissors leaves no doubt about the immanent danger. Hoffmann was also the first to discover the possibilities of drama and excitement for the reader or viewer that goes along with turning the page see Ries, "Der Struwwelpeter" Nothing on the previous page prepares the viewer for the impact of the giant Nikolaus, who looks like he means business and does in fact mete out the punishment with resolve.

Hoffmann was politically aware and became actively involved as a member of the Pauls Church parliament in A certain ambiguity of message is apparent in the last illustration of the Konrad episode, showing Konrad with both thumbs cut off standing underneath a smiling face that has replaced the initially frowning one above the door frame. Similarly we find it in the cowardice of the hunter or the stupid consternation of Zappelphilipp's parents when the table is suddenly cleared of china and food along with the tablecloth.

To you, German mothers, this word of warning: Why should German mothers throw out Struwwelpeter if it instructs children in civility and obedience? Why is the issue raised at all? Because indoctrination is not the whole picture. The instruction could also go in the direction of civil disobedience. Struwwelpeter and his fictional companions may incur severe consequences from their actions, but, with the exception of Konrad, they are not subdued or maimed. Their demise may be presented in gory detail, but Hoffmann does not conjure up the shame-filled, penitent, and born-again child or paragons of virtue, as did contemporary cautionary tales and many Struwwelpeter imitations during the following decades, such as Struwwelpeter's Reu und Bekehrung.

When Lieschen sneaks some cake without permission the rod is used on her by her mother after she recovers from the indigestion caused by the "debauchery. In Struwwelpeter punishment is generally not meted out by adult educators or authority figures but appears to be a natural result of the child's actions. There are however exceptions to the absence of punishing authority figures. The tailor enters the scene to cut off Konrad's thumbs and there is the equally deus ex machina appearance and action of Nikolaus in the story about the boys poking fun at the black moor because of his skin color.

At least in the case of Nikolaus the character of the punishment is not primarily vindictive but seems in line with the dictum that children should learn from experience. Dipped in ink, the boys will experience the ridicule of their surrounding and, most likely, that of the young readers as well. Whether they or the readers will be wiser and more tolerant as a consequence of their experience is left untold. In this openness and ambiguity lies the continued fascination of Struwwelpeter. The open ending of the concluding episode about Flying Robert, whom we hear will eventually bump into the sky but whose fate we can only imagine, is indicative of Hoffmann's unwillingness to subdue the protagonists' spirit of adventure with their need to conform except in the case of Konrad.

There is no doubt about the educational message on the surface and Hoffmann's desire to socialize and civilize the readers, but underneath the surface the spirit of revolt is given free range to interfere with the "official" message, since Hoffmann's fictional characters model the possibility of resistance, in the case of Suppenkaspar and Paulinchen at the cost of self-destruction.

Even Otto Gmelin, a prominent German children's literature critic of the antiauthoritarian movement after , a movement that severely condemned bourgeois disciplinarian education epitomized in Struwwelpeter , acknowledges that in Struwwelpeter the "Erziehung zum Untertanengeist" education to subservience is undermined by "Antieffekte" Gemlin The vicarious experience of resistance and rebellion has without doubt endeared Struwwelpeter to many children, and it must have had some appeal to the adults as well. After all, adults produce, edit, choose, buy, and read books for children, and their likes and approval play an important part in the equation, too.

Struwwelpeter as a frontispiece could not have been altogether out of place at a time when revolution was in the air. Struwwelpeter soon became a widely known symbolic figure connoting rebellion and was even used in this context by Heinrich Hoffmann himself. In the final analysis, the effect of Struwwelpeter is far from predictable or measurable, I believe, since the reception is contingent upon the personality, conditioning, and environment of each individual child. To the toddler who has not yet learned to distinguish fully fiction from reality, Hoffmann's characters may still present a real threat.

In an environment and a context in which children are brought up with strict discipline and the word "pfui" evokes strong feelings of shame in the reader, Struwwelpeter will be understood very differently than in today's environment of more permissive childrearing. Thus, we can safely assume that Struwwelpeter 's educational message must have been quite effective when it was read as an integral part of the strict disciplinarian upbringing many German children experienced during the latter part of the 19th and the early decades of the 20th century, regardless of the subliminal enjoyment children may have derived from its presentation.

The specific combination of qualities that Heinrich Hoffmann brought to his authorship: In a permissive society oversaturated with entertainment, where values have become relativized, behavioral codes are of lesser importance, where food is thrown away by the tons daily, dreadlocks are fashionable, and where soap and shampoo commercials have taken over the role of preachers of personal cleanliness, Struwwelpeter has become a cultural icon devoid of its original meaning, message, and connotations, ready to become part of the postmodern play of allusions.

Parodies of the original like F. In Manfred Bofinger's picture book Haps! The story number five about Frida who does not want to eat her chocolate doll is a case in point:. The translation here is rendered without rhyme. In German the jingle calls forth immediate associations with the original Struwwelpeter verse: The Little girl Frida soup, loves her chocolate doll, "I won't eat my doll, no, I won't eat it.

The image of the middle-aged Struwwelpeter from the same picture book seems symptomatic of the Struwwelpeter reception in the late twentieth century. From revolting youngster Struwwelpeter has grown into a bald family father, his loss of hair connoting his loss of wildness, revolt, and power. But the cycle of resistance and revolt is not broken, for Struwwelpeter is surrounded by his Struwwelpeter-wife and Struwwelpeter-offspring five in all instead of the six the accompanying text talks about , all adorned with long nails and wild hair crowning their heads like halos, who are still munching happily on the last hairs from their father's head that have sustained them through hard times.

Ashton, Susanna and Amy Jean Petersen. Mark Twain's Slovenly Peter. Was niemand wissen kann. Seltsame Verse und sonderbare Geschichten. Keine Denunciation, sondern eine Warnung. Kaspar Braun and Friedrich Schneider. Weinheim, Berlin and Basel: Verlag Julius Beltz, From the twenty-third edition of the celebrated German work of Dr.

Janet and Anne Grahame Johnstone. Reprint of original manuscript. Ein Brief an die Redaktion der Gartenlaube. Heinrich-Hoffmann-Museum der frankfurter werkgemeinschaft e. Heinrich Hoffmann Museum, Detlef Hoffmann and Jens Thiele. The Pattern of Children's Reading.

Ecrits et images Zur Ikonographie der 2. Museum Villa Stuck, Ever since the rise of the student movement in West Germany during the late s, there has been a growing interest in socialist children's literature. Radical students quickly recognized that the struggle against arbitrary authority as a manifestation of monopoly capitalism would be a long one and that the power of authority not only lay in the control of the government and economic process but was also deeply rooted in the control over child rearing and the education system.

The formation of socialist daycare centers, women's groups, youth centers, and university workshops led to the production of significant new studies about children's education and culture. The progress in children's education has been remarkable. Not only have there been innovative research studies exploring child psychology, literature, theater, play, and schooling, all of which have led to the development of concrete forms of emancipatory cooperation, but the new fiction that has risen has begun to alter and challenge the more conservative children's books which have dominated the market.

Since the upsurge of an expressly socialist children's literature is almost unique among Western capitalist countries, it is important that we take note of it, for the transformation of children's literature in West Germany can open possibilities for a richer children's literature in America.

Certainly it will call our traditional views into question. Since it is extremely difficult to give a complete historical picture of the far-reaching changes in West German children's literature, I shall limit myself to a discussion of three major points: The term "classical" is a difficult one to define, especially when discussing children's literature, since children do not determine what books they want to read, nor are they encouraged to evaluate and produce them. Classical children's books are essentially those standard works which have been selected by adults in part of a historical socialization process, and therefore they correspond greatly to the aesthetic tastes and moral standards of a particular adult world.

For the most part, they convey a distinct image of the world to children and foster the ideological hegemony of ruling-class interests. Looked at from a historical-materialist point of view, classical children's books are vital instruments in the formation of class consciousness, aesthetic sensibility, and character structure. It is clear that not every classical children's book serves repressive ends. Nor is there a conscious plan to produce books which nullify the potential for creativity and critical thinking in children. Every children's book must be looked at historically to determine its real aesthetic and ideological value.

Here many factors must be taken into consideration. Generally speaking, a book for children should aim to render a clear and interesting picture of an epoch or topic with all its contradictions and speak to children's problems truthfully so that they can learn to master these problems and develop their own identity. The communicative function of the language and images should help the child improve his or her learning ability and creative potential.

Restricted codes and closed reference systems should be avoided.

Each new book should try to incorporate the most recent pedagogical and psychological discoveries about education and society in order to increase the emancipatory value of the book. By this I mean that the structure and contents of a children's book should be geared, no matter how fantastic the subject matter and style, toward helping children understand how to work together to free their own individual talents and to overcome obstacles which may be preventing their free development. In this respect the entire question of book production and the reception of a book must be reconsidered to include the participation of children in the entire process.

Ultimately, if this is done, the term classical will take on another, more authentic meaning. No doubt, some classical books deserve their status because they were written to speak, and continue to speak, to children's real needs. Most have unfortunately retained classical status because they are still useful in the indoctrination of children to the standards of a ruling class and also serve the market needs of the book industry. It is from this historical-materialist perspective, then, one which corresponds to the socialist critique of the New Left in West Germany, 3 that I shall be using the term classical, and here the two books Struwwelpeter and Heidi are perfect models of the classical German children's book.

Not only have all children in German-speaking countries from the late nineteenth century to the present been predominantly influenced by these two books, but children in America as well. Struwwelpeter was written in by the physician Heinrich Hoffmann, who could not find an appropriate book for his three-year-old son and decided to write his own, based on stories he used to tell his young patients to prevent them from becoming disruptive and getting upset. Up through there have been over six hundred different German editions and numerous translations, not to mention the hundreds of imitations and parodies.

There is hardly a German adult or child who does not know that Struwwelpeter is everything one is not supposed to become, the model of the disobedient child who never cuts his fingernails and lets his hair grow wild—in short, a barbarian. The rhymed, illustrated stories which follow our introduction to him present a composite picture of Struwwelpeter: All the stories are written to frighten the young reader, and the illustrations are correspondingly gruesome and terrifying. Adults generally find them comical. Only one of the stories involves a little girl.

As always, the assumption is made that little girls are more docile and obedient than little boys, who are terrors. Hoffmann's picture of what a little boy is and how he should be treated is an accurate reflection of the general Biedermeier Victorian attitude toward children: The danger of Struwwelpeter and its imitations stems from the fact that it can be easily comprehended by children from age two on and has indeed stamped the consciousness of German children for generations.

Struwwelpeter glorifies obedience to arbitrary authority, and in each example the children are summarily punished by the adult world. No clear-cut reasons are given for the behavior or the punishment; discipline is elevated above curiosity and creativity. It is not by chance, then, that this book has retained its bestseller, classical status to the present. Whether it will be superseded by the most recent parody, Der Anti-Struwwelpeter by Friedrich Karl Waechter, will depend on the general development of the new socialist children's literature.

In addition, there have been several film versions. In , Shirley Temple played Heidi in a sentimental Hollywood production. There have also been records, an opera, and an American musical based on the book. Like Struwwelpeter, Heidi is a conservative product of the nineteenth century which has been kept very much alive in the twentieth. Spyri, a devout Christian, projects a vision of a harmonious world which can only be held together by Judeo-Christian ethics and God himself. Briefly, her story concerns a five-year-old orphan, Heidi, who is sent to live on top of a Swiss mountain with her grandfather, a social outcast.

After three years, her aunt, who works in Frankfurt, comes to fetch her so that she can become a companion to a rich little girl who is crippled. Both the aunt and the rest of the Swiss village think it will be better for Heidi, for they have a low opinion of the grandfather and feel that Heidi needs to be educated. For the grandfather, who has come to love Heidi deeply, this is a devastating blow, and he becomes more of a misanthrope. In Frankfurt, Heidi turns a wealthy bourgeois household upside down with her natural ways, which are contrasted with the artificial and decadent ways of the city people.

Nevertheless, she endears herself to the grandmother, Klara the cripple, the businessman father, and their servants. Only the governess and teacher cannot grasp her "wild" ways. Eventually, Heidi becomes homesick for the mountains, and Klara's grandmother tells her to have faith in God, who will always help her.

Indeed, as Heidi begins to wane, God interferes in the person of the doctor, who advises the businessman to return Heidi to the grandfather. When Heidi is sent back to the mountains, the grandfather is ecstatic and becomes convinced that it was an act of God which brought about the return of his granddaughter. In this sense, Heidi is God's deputy and reconciles the grandfather to the rest of the community.

Although there are abridged versions for younger children, Heidi was essentially written for the child ten and over. Quite opposite to Struwwelpeter , it concerns the experiences of a little girl, who is made into some kind of an extraordinary angel, a nature child with holy innocence, incapable of doing evil, gentle, loving, and kind. At first, she does not comprehend the world, but as she grows, everything is explained to her according to the accepted social and religious norms of the day.

Here it is important to see the pedagogical purpose of the narrative and its dependence on the traditional Bildungsroman. Heidi learns that the world is static and directed by God. Although she is disturbed that her grandfather and relatives are poor and must struggle merely to subsist, the grandmother in Frankfurt brings her to believe that God wants it that way and that material poverty is insignificant when one considers the real meaning of richness: While the simple, pious community of the Swiss village is contrasted with the false, brutal life in the city, Spyri does nothing to explain the real contradictions between city and country.

The hard life in the Swiss mountains becomes idyllic. There the people are pure and closer to God. The world of Switzerland caters to the escapist tendencies of readers who might seek release from the perplexing, difficult conditions of urban life. Heidi, too, is a figure of the infantile, regressive fantasy which desires a lost innocence that never was. Since natural equals Christian in this book, there is no way in which children can comprehend what really is a natural or socially conditioned drive.

In both instances, the classical stature of the books is closely linked to their commodity value. It is in opposition to classical books like Struwwelpeter and Heidi and in keeping with broad socialist goals that books like Waechter's Der Anti-Struwwelpeter 10 have come into existence. Since the recent production of anti-authoritarian and socialist children's literature depends heavily on the policies of collectives and publishing firms, three typical organizations and their products will serve as examples to illustrate the general tendencies in this field.

The three are Basis, Weismann, and Rowohlt. Basis Verlag, like Oberbaum and Das rote Kinderbuch, 11 developed from a collective which worked in daycare and youth centers during the late s and has continued this work, largely in Berlin. The members of Basis are socialists, who see their task as preparing the base for a new socialist society.

Their main emphasis is on the production of books for children between the ages of four and twelve, although they have also produced a comic book and photographic story for apprentices who work in factories. In they also began publishing a complementary series of theoretical studies which either demonstrate how to use their own children's books or deal with general problems such as the ideological contents of pictures and illustrations and the real meaning of comic book heroes.

The Basis books for children were developed at a time when the anti-authoritarian phase of the New Left was coming to an end in West Germany—that is, the phase when arbitrary authority was defied for the sake of defying authority. Though there are some anti-authoritarian elements in Basis books, their main goal is to demonstrate how working collectively can lead to a greater sense of oneself and the world and to the resolution of problems confronting children in their everyday lives.

Six of the works written between and will give an example of the aims and production methods of the Basis Verlag: Then we called up our friends and asked them if they would like to dress up and play a knight, poet, king, or bear. And when they all said yes, then we acted out the entire story, and Ute photographed us. Dieter and Reiner printed the pictures and the story, and in the end, the bookbinders made the book into a real book. The story concerns two poets who want to write a book for children but really don't know children all that well.

Both think up traditional stories: The two stories come together as the bear meets the knight in the woods. They decide to go play with the children in the local neighborhood set in the present instead of fishing and fighting. The poets become angry that their heroes have abandoned their traditional roles and story-lines and go searching for them. They come across some knights who, sent by the king to fight against the peasants, have been soundly defeated.

The poets complain that this normally does not happen in stories, but the knights argue that something is wrong with the usual stories since the peasants had never harmed them—that is, until the king had sent them to destroy the peasants. They all decide to turn against the king, and with the help of the bear, the loyal knight, and the children, they capture the king, stuff him, and set him up as a monument in a park as a warning to all monarchs.

The country then belongs to everyone and is renamed country of the knights, peasants, poets, bears, and children. Here the traditional manner of telling fairy tales which glorify feudalism is criticized in a novel way. The subtle use of photographs and comics adds to the Brechtian estrangement effect, which prompts children to think critically and creatively throughout the story. The main difficulty with the narrative is that the social message and aesthetic innovations are perhaps too complex for a child to understand alone. This story uses only photographs and combines elements from well-known folktales to illustrate housing problems in the city.

Four young people all in their twenties decide to live together: Schlienz, who can smell extraordinarily well; Minzl, who can hear long distances; Gorch, who can run faster than cars; and Atta, who is tremendously strong. They rent an apartment, and the landlord tries to cheat them. However, they are too smart for him, and ultimately they set up a collective household which runs smoothly until the landlord raises the rent arbitrarily.

The four decide to organize the tenants in the entire building to fight and protest the hike in rent, and they use their extraordinary talents to unite the tenants and take over the building. However, since the people come from different classes a teacher, bank clerk, metal worker, insurance inspector, and railroad worker and have different interests, the landlord is able to play upon the divisiveness in the coalition and, with the help of the police, defeat the strike. Schlienz, Minzl, Gorch, and Atta are arrested.

Nevertheless, while in prison, they reconsider their strategy and make plans so that they can be successful the next time they try to organize the tenants. The book closes with a series of newspaper articles about landlords cheating tenants. The photographs in this story combine humor with accurate depictions of housing conditions. The remarkable talents of the heroes are not so fantastic that they might lead children to have unreal expectations of their own powers. The fact that the four heroes two men and two women do not succeed shows to what extent the authors clearly understand the stage of the social struggle within the cities.

Here the emphasis is not so much on gaining a victory but on creating a sense of need for collective action. When she goes on a quest to find out the answers, information about salaries, work conditions, rents, and social classes is conveyed to her and, of course, to the readers.

This information is incorporated into the story through questions, comics, photographs, and charts. After numerous adventures, Renate and two friends come across two young factory workers who spend time with them to clarify everything and who explain that the social contradictions can only be overcome by workers who learn to trust one another and cooperate to take over the means of production.

Only through this type of action will the social disparities that confront Renate during the day be eliminated. Krach auf Kohls Spielplatz is for three-year-olds. Andrea is troubled by Theo Kohl, who controls the playground because his father is rich and owns the construction company which employs most of the parents living in the housing settlement and neighborhood.

Theo manages to bribe Joachim, the strongest boy, with candy to act as "law enforcer"—that is, until Andrea and the other children get together and unite to defeat Theo and Joachim and set up mutually beneficial rules of play. Though the book is instructive in pointing out the link between a bully and the possession of money, the language and pictures of the story are so devoid of imagination that the message will have only a minimal effect upon young readers.

This is not the case with Krokodil , written for and by five-year-olds. The book is a sort of documentary children's story, for it is based on a newspaper article about seven African children, who save one of their comrades with their bare hands from being devoured by a crocodile. When the article was read to children in a preschool class and then discussed, the children reacted positively to the manner in which the African children united to protect their friend from the crocodile at the risk of their own lives. At one point the teacher introduced the idea of doing a picture book about this story together.

The children were skeptical since they knew nothing about book production, but the teacher explained how books were put together and encouraged the children so that they realized it was possible to make their own book. After the children drew pictures and helped compose a text, they selected which pictures were to appear as illustrations.

Yet, they are not happy because all the profits go to the robbers, who use their weapons to intimidate the villagers. Finally, the children, who are also forced to labor in a manner which they dislike, devise a plan to capture the robbers. The remarkable feature of this story is that it explains the aspects of robbery stemming from capitalist production in a concrete, humorous manner without becoming heavily theoretical. The clear descriptions and explicit language of the narrative enhance the emancipatory value of this story, which is geared toward enabling young readers to understand the work process as a form of liberation.

Generally speaking, Basis books are directly related to the actual class struggles in West Germany. The major figures are from the working class, and the contents of the stories are, broadly speaking, of utmost concern to the underprivileged in society and lead to developing class consciousness. Some of the stories tend to be too didactic as if the significance of the message itself were enough to strike the imagination of children. Obviously, this is a failing which Basis of late has been attempting to rectify.

For the most part, the language of the books is vigorous and blunt; colloquialisms and curses are used because children are accustomed to hearing them in their surroundings—used to explain their surroundings.

Struwwelpeter

The authors do not talk down to the children. They employ a great deal of irony in the depictions, and the techniques of photography, comics, and montage dialectically enhance the communicability of the theory. The books are children's books in that the production is geared to a child's standpoint and in that children often participate in the production. At the same time, the books also transcend the category of "children" or "childish," for adults can learn and enjoy in producing and reading them.

The books of Weismann Verlag 15 also point in this direction. A socialist collective which is not as active as the Basis Verlag in day-care and youth centers, the Weismann group has published over ten books, mainly by teenagers. The Weismann books are not as directly concerned with immediate German social problems. One book, Herr Bertolt Brecht sagt Mr. Bertolt Brecht Says, , is a collection of anecdotes, stories, and poems by Brecht. Russische Kindheit Russian Childhood, by Arkadi Gaidar, a well-known author of children's books, is an autobiographical account of his experiences as a boy during the Russian Revolution.

Eltern Spielen, Kinder Lernen Parents Play, Children Learn, by Wolfram Frommlet, Hans Mayhofer, and Wolfgang Zacharias is a handbook mainly for adults about how to start community groups which want to create better play conditions for children. In general, the Weismann Verlag is more concerned with explaining social issues to teenagers and explicating socialist theories. The following three books are most typical of their general policy: Herhaus' book begins with a story about Poppie Hollenarsch, young daughter of an old-time Communist, who has become a drunkard and a cynic because the times are against him.

Consequently, Poppie is neglected and flounders. She decides that the only way to survive in a capitalist society is by selling oneself. So, she becomes a prostitute.

At one point she meets a radical who takes a sincere interest in her and promises to explain to her what enlightenment means and why she is a victim of capitalism. The stories and anecdotes which follow are written in a blunt, crass manner and deal with the author's attempts to write a children's book while at the same time indirectly answering Poppie's questions by showing how children themselves must think dialectically and enlighten themselves about social conditions so that they will acquire the skills and knowledge to change the social system.

Rauter is even more theoretical in his book. His major thesis is that individuals are made in schools, that is, through education which consists of the home, movies, television, theater, radio, newspapers, books, and posters. Consequently, whoever controls the instruments of information is able to control mankind's consciousness and action. Using concrete examples, Rauter explains how the media and schools produce conformists and nonthinkers. With each point he makes, he draws closer to his conclusion that we all must turn the education process around so that we can control our lives and prevent further production of passive, perverse human beings.

Wallraff is a type of Ralph Nader , with the exception that Wallraff has dealt with exposing the sordid conditions in factories and business firms by working in them. Over the past seven years often with the help of pseudonyms and disguises he has held jobs in different plants and firms throughout West Germany and has revealed the exploitative methods of capitalists. His book is a report about his activities which begins with a description in diary form of how he was maltreated by the army as a conscientious objector and how he then worked at different factories, wrote for newspapers, and was subjected to harassment by big industry and the government.

The book closes with an account of how workers took over a glass factory in Immenhausen, prevented it from going bankrupt, and now run it collectively—a model for workers' control. All three of these Weismann books are noteworthy for the respect they pay teenagers. Words are not minced. These books are written in a clear, intelligible language which makes the theory and connections drawn to the social realities comprehensible for young readers. Sparse illustrations, generally photographic montages, are used effectively to reveal existing contradictions in society. All Weismann books lay great emphasis on authenticity and documentation.

Many are limited in their appeal to a young progressive intelligentsia because of their abstract quality, but their socialist perspective and edifying aspect provide a basis within the material itself for readers of all social classes to understand the theoretical arguments. In this sense, the difficulty presented by the Weismann publications lies not so much in the books themselves as in the educational system which restricts the use of such books in the classroom. Most notably, Rowohlt Verlag, one of the largest and best houses in West Germany, has started a series called Rotfuchs Red Fox under the general editorship of Uwe Wandrey.

The series began in April , and well over sixty inexpensive paperbacks with superb artwork and photography have been published since then. Most of the authors are already well known in West Germany. It is to Wandrey's credit that he has encouraged authors and artists who normally work for the adult world only to concern themselves with children's needs. The general policy of Rotfuchs is one of cultural pluralism. That is, the series contains books which range in their critique of society from mildly reformist to socialist.

The age groups addressed are anywhere from five to fourteen. Some of the books are limited in their appeal to a distinct age group, whereas others cut across age and social class differences. Here are brief summaries of seven books which will convey an impression of the spectrum of this series. Angela Hopf's Die grosse Elefanten Olympiade The Great Elephant Olympics, , ages is a critique of the do-or-die achievement ethos of sports, especially the Olympics. With amusing, unusual illustrations of elephants competing against one another, Hopf brings out in her narrative how sports can be fun.

Here a young man invents a table cloth and a magic stick which are expropriated by a factory owner in order to intimidate the workers and hold them in his power. However, the young inventor joins with his fellow-workers, who had participated in the development of the inventions, to foil the owner's plot. In the end, they take charge of the factory and their own lives.

Here, too, the illustrations are pertinent, subtle, and comical. Waechter has also illustrated a selection of the Grimms' fairy tales, Der kluge Knecht The Smart Knave, , ages with an important afterword by Wandrey about the social content of fairy tales. After he mistakenly paints XY on people whom he suspects to be criminal, the young boy is severely punished by his parents. Consequently, he decides to run away, and he comes across a mysterious stranger in the woods who helps and comforts him.

The stranger turns out to be the wanted thief, with whom the boy decides to live until both are captured by the police. Here the illustrations are stark and photogenic. There is no preaching, but the boy learns that there is another side to criminality than that which he views on television. He has a quarrel with her, and she disappears. Helmut goes looking for her and winds up by exploring the entire city, which becomes his playground. After several hours of seeing different aspects of city life, Helmut returns home only to find that his sister had been hiding in the cellar.

Both promise not to upset their parents by telling what happened during the day. The story is filled with photos of Helmut in the city that depict social and work conditions. Helmut is pictured neither as cute nor heroic, but rather curious and alert. He responds to an emergency situation with remarkable calm and understanding. Hellmuth Costard's Herberts Reise ins Land der Uhren Herbert's Journey to the Country of the Clocks, , ages is filled with lively illustrations picturing Herbert in situations where he learns how compulsive and murderous people become under the pressure of time.

In this sense the journey is beneficial because Herbert and the young reader as well realizes that time cannot be allowed to control his life. The main intent of the stories is to demonstrate how children learn through conflict and that serious conflicts dominate their lives, which are not as rosy as most children's books portray or adults think.

The article subsequently focuses on the theoretical and practical considerations of Marcuse's dialectic, followed by a consideration of the factors that limit the possibilities for the attainment of freedom. Man's movement to freedom, a new genesis for all men, is symbolised in the end of alienation. The article concludes with some points of criticism on Marcuse's use of the dialectic, his belief in the power of destruction, and his idea of conversion.

Ideological and Socio-Historical Context," in: Heinz Ludwig Arnold ed. M H47 Spanish: The index lists pp. Maslow's journals are full of critical references to Herbert, and ambivalent to Frank whom he sees as "betraying" him at the time of Herbert's departure to San Diego but Manuel remained a friend, and delivered a eulogy at Maslow's funeral.

Maslow's biography describes Herbert's leaving of Brandeis or non-renewal of contract as a political act by its president, and Manuel's departure, along with others as one of solidarity with Marcuse. But then I see that later Manuel is professor emeritus at Brandeis, Heinz Jansohn [et al.

Joan Nordquist , Herbert Marcuse: A Bibliography Santa Cruz, Calif.: Reference and Research Services, , 60p. Introduction to social theory: Pippin, Andrew Feenberg, Charles Webel eds. Critical Theory and the Promise of Utopia Basingstoke: Michael Walzer , The company of critics: Ssocial criticism and political commitment in the twentieth century New York: Basic Books, , p. Dobson , The concepts of reason and essence in the writings of Herbert Marcuse: With special emphasis on the period , Thesis Ph.

Gvozden Flego und Wolfdietrich Schmied-Kowarzik eds. Marcuse-Symposion in Dubrovnik Giessen: Germinal, , p. Arbeiterbewegung und Gesellschaftswissenschaft, , p. Reich y Marcuse Cuernavaca, Mor.: Surrealist Subversion [Chicago] 4 , ; includes correspondence by Marcuse to the Chicago Surrealist group in as appendix pages Pauline Aweto Oghominene , Man in the technological society: Verlag , [2nd, corrected edition].

Olafson, Frederick, "Irrtum oder Verrat an der Philosophie: Cites literature up to summer Publications page, Mellen, , S. Berkeley Journal of Sociology 35 , Theorie bei Marcuse, Habermas u. Patmos, , p. Drei Studien zu Herbert Marcuse Frankfurt: Nexus, , S. Ilan Gur-Ze'ev , "Art and utopia: Friedrich Schiller and Herbert Marcuse," in: Collections for Socialist Thought. Heidegger Studies 7 , Studies in Soviet Thought Ben Agger , The Discourse of Domination: Northwestern University Press, , p. Lacour, , S.: Revised papers from a conference held in Frankfurt am Main on the occasion of the opening of the Herbert-Marcuse-Archiv.

Schmidt, Alfred, "Herbert Marcuse: Flego, Gvozden, "Erotisieren statt sublimieren. Douglas Kellner, "Marcuse in the s: Some New Textual Discoveries. Negative Responses to Technology," in: Science Fiction Studies Presses universitaires de France, , p amazon. John Abromeit , Existential Marxism: Herbert Marcuse's critical confrontation with Martin Heidegger, to and beyond Stanford Univ. Sharpe, Partial text available at Questia. Western Marxism and Soviet-Type Societies 1.

Authoritarian Socialism and the Frankfurt School 3 2. Between Apology and Critique: Marcuse's Soviet Marxism 22 3. Critical Sociology and Authoritarian State Socialism 59 4. From Western to Eastern Marxism: Rudolf Bahro 84 5. Immanent Critique and Authoritarian Socialism: Poland 9. Poland The Democratic Theory of the Polish Opposition: Normative Intentions and Strategic Ambiguities Revolution, Civil Society, and Democracy Partial text available from Questia. Bernstein's Search for an Audience, 49 Lenin: Time, Place, and Cultural Studies: Rhetoric Between System and Lifeworld: Clemens Knobloch , "'68 verweht?: Herbert Marcuse, Theoretiker der Revolte," in: Dariusz Aleksandrowicz , "Marx, Stalin, Marcuse: Die kritische Theorie in ideengeschichtlicher Sicht," in: Studies in East European Thought John Bokina and Timothy J.

University Press of Kansas, Collection of 9 essays about Marcuse's work. A Hindsight Look at Soviet Marxism. Douglas Kellner, "A Marcuse Renaissance? Pencek, formerly, Northern Arizona University, in Dec. The contributors generally seek to apply the critical, self-consciously political spirit of Marcuse's Freudian-Heideggerian-Neomarxism in the context of post-Soviet, postmodern s radical relativisms. Contributors were invited to write on topics of their choice, which the editors have divided, with inevitably mixed success, into five sections: The 14 essays and useful introduction are notably free of the jargon that characterizes contemporary theorizing, but they also rely on the reader's prior familiarity with that theoretical literature.

Moreover, this collection's unconcealed longing for intellectual and social revolution, as well as the often nostalgic view of '60s radicalism which includes, interestingly, disdain for political correctness as antipolitical and frivolous , may restrict its appeal to readers already of renascent New Left inclinations. Zvi Tauber , Befreiung und das "Absurde": Bleicher, , S. Joan Alway , Critical Theory and Political possibilities: A49 Partial access at Questia. Departures from Traditional Marxism: The Eclipse of the Emancipatory Vision 31 -- Ch.

Despair and Possibility in a Time of Eclipse 49 -- Ch. Marcuse's Search for a Subject 71 -- Ch. Reconstructing Critical Theory 99 -- Conclusion: Reconceptualizing Radical Politics Notes Works cited Guilford Press, , pages extended discussion of Aronson's encounter with Herbert in the "Marxist Itinerary" chapter as well as a coming to grips with Herbert's heritage in the final chapter. Oxford University Press, , pp. Rolf Wiggershaus , The Frankfurt School: Andrew Feenberg , "Marcuse or Habermas: Inquiry , Elmont, NY, Ivrit, , , iv p. Paul Alexander Juutilainen , Herbert's Hippopotamus: Cinema Guild, , 1 videocassette 70 min.

Philosopher and teacher, Herbert Marcuse, and the student movement of the late 's are described. Marcuse's effect on the University of California, San Diego is also explored. George Katsiaficas, "Marcuse as an Activist: Reminiscences of His Theory and Practice," in: New Political Science Moran also wrote an entry on Herbert Marcuse for "Modern Germany: An Encyclopedia of History, People and Culture, Herbert Marcuse's The Aesthetic Dimension " in: Hinman rethinks "the bourgeois subject" following Marcuse's lead.

McCarthy , Romancing antiquity: German critique of the enlightenment from Weber to Habermas Lanham: Bompiani, , p. A C65 Kletsmeier, , 86 p published on CD in Stephan Bundschuh , "Und weil der Mensch ein Mensch ist Black Hawk Hancock , After the eclipse: Theoretical Background and Political Praxis," in: Negations 3 Winter , available on-line at: Paul Alexander Juutilainen , Twilights of Paradise 2 pts. Von der Flaschenpost zum Molotowcocktail , 3 vols. Hamburger Edition, Ulf Liedke , "Freiheit: Anmerkungen zu Marcuses Lutherkritik," in: Haag und Herchen, , S.

Shapiro and Valerie Malhotra Bentz , Mindful Inquiry in Social Research Sage An introduction to research in the social sciences and humanities in which critical theory plays an important role Trudy Steuernagel, "Marcuse and Biotechnology," in: Clemens Albrecht , "Marcuse, Horkheimer und der Tod: Social Text 58 Spring, , pp. International Journal of Political Economy Leonardo Casini , Eros e utopia: Carocci, , S. Helmut Fahrenbach , "Existenzialismus und Marxismus: Zur Problematik menschlicher Emanzipation , S.

David John Farmer , "Anti-Admin: With Help from Herbert Marcuse," in: This paper selects from a longer chapter which recapitulates and extends discussions on antiadministration anti-admin from the perspective of discourse theory. First, it discusses discourse theory, explaining that the discourses of anti-admin aim toward the inclusion of marginalized or excluded perspectives. Second, it outlines some anti-admin theory. Parallel to the action of antimatter and matter, the interaction of freshly demarginalized discourse perspectives and traditional discourse can yield anti-admin resultants.

Third, the paper offers macro and micro examples of anti-admin gains in terms of problem definition and response resources. It underscores that antiadmin can recognize its affinity not only to the postmodern but also to critical theory perspectives. Peter-Erwin Jansen und Redaktion "Perspektiven" eds. Texte zu Herbert Marcuse Frankfurt: Neue Kritik, , S. He is a specialist on theories of race and ethnicity. Jorge Coelho Soares, Marcuse. Thesis, University of Minnesota. Uri Zilbersheid , Jenseits der Arbeit: Centre of Universalism, , S.

Ventil, , p. Michael Buckmiller ed. Offizin, , S. Antonino Firenze , Sapienza della natura: Psychic thermidor and the rebirth of rebellious subjectivity," in: The Frankfurt School New York: Continuum, , xx, p. This book illustrates how Marcuse's theory sheds new light on current debates in both education and society involving issues of multiculturalism, postmodernism, civic education, the "culture wars," critical thinking, and critical literacy. Reitz wrote on Apr. His notions of repressive desublimation and repressive tolerance are especially useful.

I try to defend both of these contributions in my recent book " Art, Alienation, and the Humanities: I deal there also with the latest attack on Marcuse from the academic right, that of Kors and Silverglate, whose tolerance for racism and sexism on campus is disguised as a defense of free speech. Reitz is the first to connect studies of Marcuse's concept of art with conceptions of aesthetic education and the only one who connects Marcuse's thought more broadly with the problematics of education.

The result is an original and engaging study of Marcuse's work that provides fresh insight into one of the most important thinkers of our century. Be sure to read it. Many thanks to Peter Marcuse and Harold Marcuse for making this available. It should be even more widely published. Gitai, himself a veteran of the war, has apparently followed his own experiences closely. His hero, Weinraub Liron Levo , is an earnest young bohemian who lectures his friend Ruso Tomer Ruso on Herbert Marcuse and, in the opening and closing scenes, smears paint on his girlfriend while they're making love.

The arty eroticism of these sequences stands in visual and emotional contrast to the rest of the movie, which shows men writhing in pain and covered in mud. A Bibliography Santa Cruz: See also Soares' essay on Doug Kellner's Illuminations site: Wilson, Allan Roy , One-dimensional society revisited an analysis of Herbert Marcuse's One dimensional man 34 years later Ottawa: National Library of Canada, , 3 microfiches. Kevin Floyd , "Rethinking Reification: Marcuse, Psychoanalysis, and Gay Liberation," in: Social Text , No.

Peter Wakefield , "Class in the Classroom: Engaging Hidden Identities," Metaphilosophy A seductive classroom presence, he attracted Germany's brightest young intellects during the s. Many were Jews, who ultimately would have to reconcile their philosophical and, often, personal commitments to Heidegger with his nefarious political views. Looking closely at four of the most talented of their number, Richard Wolin, with the provocative directness his readers have come to expect, argues that troubling residues remain not far beneath the surface of their influential work.

Heidegger's Children is a book that many will seek to refute, but none can ignore. Raffaele Laudani , Lo spettro della totalita: Universita degli studi di Torino, , p. Raffaella Gherardi, Andre Tosel; co-tutor: Carlo Galli Note Generali: Universita degli studi di Torino, Dottorato di ricerca in storia del pensiero politico e delle istituzioni politiche, Herbert Marcuse and the Holocaust, ," in: New German Critique 85 Winter , Matthew Sharpe , "Do universals have a reference?

On the critical theory of Herbert Marcuse," Philosophy Today The views on universals and reference of Herbert Marcuse are discussed. Topics include the critique of pure analytic reason and universality in relation to negation. Soysal, Soner, Technological rationality and one-dimensional man: Herbert Marcuse's critique of advanced industrial society.

Thesis for the degree of Master of Science in the Department of Philosophy. Richard Wolin , " ," in: Political and Social Theory from Nietzsche to Habermas. Duke University Press, , pp. Marcuse developed this idea in the context of his critique of what he called, in an eponymous essay, the "repressive tolerance" of American technological society.

Marcuse's disturbing tendency to accept despotism for the sake of his progressive ideals, according to Wolin, was in part a consequence of his intellectual indebtedness to Plato and Rousseau, but it should also be seen in the light of his interwar experience of Weimar Germany's collapse and surrender to Hitler. Marianne DeKoven , "Psychoanalysis and sixties utopianism," in: Laing's The Politics of Experience, Laing is a psychoanalyst who employs political, philosophical, and cultural discourses as, similarly, indispensable. There is a sense in both texts of a parallelism, almost an interchangeability among these discourses, as if each treats, in mutually reinforcing and mirroring ways, a crucial component of what is a unified whole.

I will also discuss very briefly the ways in which Luce Irigaray, writing at the end of what I would call the long Sixties, produces the same sort of totalizing, utopian project in Speculum of the Other Woman, For all of these projects, it is the utopian demand for reciprocal, mutually constitutive, total psychic, social, political, intellectual, and cultural change that creates this peculiar additive parallelism or intermeshing of discourses.

Hauptwerke der Ungleichheitsforschung , Opladen , Zvi Tauber , "Criticizing Totalitarian Democracy: Herbert Marcuse and Alexis de Tocqueville," in: Lisa Zanetti , "Holding Contradictions: Marcuse and the Idea of Refusal," in: He also analyses the philosophical roots of the student rebellions of the sixties. John Abromeit and W. A Critical Reader Routledge, ,. This volume is based on a conference held at UC Berkeley in , the year Herbert would have turned Elizabeth Butterfield , "Sartre and Marcuse on the relation between needs and normativity: Critical Essay 3rd paragraph: In this paper, I will investigate Sartre's claims regarding need as an element of the human condition, and I will compare them to the analysis of need found in the works of Marx and of Herbert Marcuse.

These comparisons will raise important questions, such as: Are these human needs to be considered permanent fixtures, or do they change historically? And, how might this affect their status as fundamental and truly human? Finally, is it even possible for us to recognize our real human needs, and to distinguish them from artificially created and alienated false "needs," while we exist in what Sartre identifies as the current state of subhumanity? See also Herbert's article: Todestag ," at Socialistische Positionen , www.

Franco Angeli, , p. Texts in German or Italian; Papers presented to the congress, Rome, , on the occasion of the centenary of the birth of H. Marcuse , philosopher. Maria Teresa Cardoso de Campos, Marcuse: Diego Giachetti , "Giugno Il Protagora , 4 luglio-dicembre un numero monografico dedicato a "L'immaginazione che voleva il potere. Studi e testimonianze sul '68". Monsenstein und Vannerdat, , S. Russell Rockwell , "Hegel and critical social theory: The Sociological Quarterly , Recently published archival material suggests the need to reexamine Herbert Marcuse's interpretation of Hegel's thought.

Social theory generally will benefit from reflections upon Marcuse's historical attempts to understand contemporary societal domination, including its abstract forms, and his original social "translations" of Hegel's Subjective Logic. Following sections on Being and Essence, the latter often favored by Marxists, the final part of Hegel's Science of Logic was undervalued in the development of critical social theory before Marcuse's close readings in the years Marcuse took the lead among Critical Theorists in explicating Hegel's texts.

Just as significant, Marcuse was among the first to point out the sociological relevance of key categories in the most abstract final sections of Hegel's most abstract work. The newly published materials document Marcuse's unique attempts to conceive Hegelian dialectic proper as itself a practical force of social transformations. Most important, these articles concern the relationship between theory and social practice that Marcuse investigated in Hegel's dialectic of the idea of the true and the idea of the good--the absolute idea.

Auch innerhalb der affirmativen Kultur bleibt die Kunst eine Provokation der bestehenden gesellschaftlichen Ordnung. Stephen Brookfield , "Undermining the very democracy we seek to create: Studies in Continuing Education Discussion has long held an honored place in the pantheon of lionized adult education practices. One of the most frequently venerated aspects of discussion is opening up conversation to include the widest possible diversity of perspectives and intellectual traditions.

This democratic attempt to be open and inclusive is held to represent what is best about adult education—its humanistic concern to have all voices heard, all experiences analyzed, and all viewpoints honored. Herbert Marcuse's concept of repressive tolerance stands directly against these sentiments. Marcuse argues that an alternative idea, concept or text can be inserted into a discussion of familiar, mainstream materials in such a way that serves only to underscore the normality of the center while positioning the alternatives as exotic others.

This paper explores how this process occurs and suggests how it might be countered. Andrew Feenberg , Heidegger and Marcuse: Routledge, , pages. Christian Fuchs , Herbert Marcuse, interkulturell gelesen. Interkulturelle Bibliothek Band 15 Nordhausen: Bautz, , Seiten. Christian Fuchs , Emanzipation! Technik und Politik bei Herbert Marcuse Aachen: Shaker, , Seiten. Raffaele Laudani , Oltre l'uomo a una dimensione: Il primo volume della collana raccoglie gli scritti, discorsi e lettere degli anni Sessanta e Settanta, che documentano la partecipazione e la riflessione di Marcuse sui grandi conflitti politici dell'epoca: The series, in five volumes, will publish writings, speeches and correspondence of this Frankfurt school thinker, broadly including materials from the Marcuse archives.

The topics of the volumes will range from the analysis of the movements critical of technological society, to psychoanalysis, aesthetics, feminism and environmentalism. The first volume of the series collects the writings, speeches and letters of the sixties and seventies, which document Marcuse's participation in and reflection on the great political conflicts of the age: Raffaele Laudani , Politica come movimento: Il pensiero di Herbert Marcuse Edizione del Mulino, , pages.

Teoria critica del nazionalsocialismo III. Filosofia politica del movimento: Oltre l'uomo a una dimensione: Asta, Hochschulpolitische Reihe, vol. Joshua Rayman, "Marcus e 's Metaphysics: Abstract from Telos website: The highly visible first wave of Marcuse scholarship is polarized between hostile attacks and uncritical support, especially during Marcuse's heyday in the late s and early s. By contrast, the smaller, more marginalized, second wave of Marcuse scholarship tends toward careful, sympathetic, historically-comprehensive treatments of Vegetti, Matteo , Hegel e i confini dell'Occidente: History and Utopia in the writings of Trilling, Riesman, and Marcuse, " Harvard University, , pages google books citation Richard Wolin , "Introduction: What Is Heideggerian Marxism?

Richard Wolin and John Abromeit eds. Publisher's page ; blurb: During these years, Marcuse wrote a number of provocative philosophical essays experimenting with the possibilities of Heideggerian Marxism. Ultimately, two events deterred Marcuse from completing this program: Heideggerian Marxism offers rich and fascinating testimony concerning the first attempt to fuse Marxism and existentialism. Full text and abstracts available online.

Introduction, pages Tyson Lewis. Lacan, Marcuse, and the death drive, pages Richard Kahn. Marcuse, Bloch and Freire: Groundwork for the Concept of Technique in Education: One-Dimensionality and Whiteness, pages Ajit K. Critical Theory and Information Studies: Fumbling toward a Critical Legal Pedagogy and Practice, These papers may have been the basis of the page brochure: Douglas Kellner, Tyson E.

Reviving Marcuse ," in: Review of Kellner ed. Beginning, from Telos website: The terms have been used in a variety of contexts in the political discourse, but also as more or less well-defined concepts for theoretical analysis. Although theorists have sometimes tried to keep these spheres entirely separate, such attempts have rarely been successful, since the walls between them have been porous. Clearly, the political and moral stakes have been too high to develop a purely theoretical and detached approach. The urge for a more elaborate theory, grounded Beverly James, "Teaching Marcuse," in: Journal of the European Institute for Communication and Culture This article argues that One-Dimensional Man is highly relevant to the current generation of students and provides them with theoretical concepts for understanding contemporary problems.

The trends Marcuse described in the s have accelerated, so that his basic arguments are more relevant than ever for courses in news, advertising, and contemporary culture. Marcuse relies heavily on examples to advance his arguments, and this article demonstrates for his illustrations can easily be brought up to date. Marcus Hawel und Gregor Kritidis eds. Offizin Verlag, , This essays contains a description of the information in Herbert's Stasi file East German secret service ; see pdf p. Telos Spring , It is not known when Herbert wrote this. Despite all breakthroughs out of normalcy, love belongs to the temps perdu.

It succumbs to the damning judgment directed at this world. Yet the terrible sentence about the " paradis perdus ," which are the only true paradise, avenges both itself and the lost time. The lost paradise is not the true one because somehow past desire [ Lust ] appears greater and clearer in memory than Stephen Brookfield, "Diversifying curriculum as the practice of repressive tolerance," in: Teaching in Higher Education Diversifying curriculum is often assumed to be an unequivocal good in higher education—a way of opening up an educational conversation to include the widest possible diversity of perspectives and intellectual traditions.

This democratic attempt to be open and inclusive springs from a humanistic concern to have all student voices heard, all experiences analyzed, and all viewpoints honored. Marcuse argues that an alternative idea, concept or text can be inserted into a curriculum of familiar, mainstream materials in such a way that serves only to underscore the normality of the center while positioning the alternatives as exotic others.

As a result, the attempt to diversify actually undercuts the serious consideration of diverse perspectives. This small edition of previously unpublished correspondence between Paul Tillich and Herbert Marcuse dates from late until Tillich's death in October Their common bonds Frankfurt School, proximity of Harvard to Brandeis University, and personal ties only partly bridge their perceived differences, and those of their spouses, Hannah and Inge, in a situation in which Marcuse stands as the more outspoken critic of the United States.

Geschichte und Gesellschaft Revue internationale de theorie critique 11 Spring , p. Jeremiah Beall Hendren, Two-dimensional man: Lewis, Clayton Pierce, On Marcuse: Herbert Marcuse was one of the most important and renowned philosophers of the 20th century. His thought and his involvement in global student movements played a decisive role in transforming the political landscape of the 60's and 70's in the United States.

For many he is remembered as the father of the so-called New Left, a figure who represented theoretical clarity through the fog of war, counterrevolution, and the repression of freedom in advanced industrial society. Yet how did such an influential and powerful thinker interpret the role of education during the turbulent period in which he lived? Critique, Liberation, and Reschooling in the Radical Pedagogy of Herbert Marcuse seeks to offer ground-breaking answers to this question. Despite his well known relationship with radical student activism, very little has been written on Marcuse's educational philosophy or its connection with his larger critical theory.

Drawing on never-before-published archival materials including lectures dating from , this volume presents a definitive overview of Marcuse's educational legacy and its relevance for the contemporary moment. On Marcuse systematically lays out how Marcuse continues to be an important theorist for understanding themes such as educational standardization, critical and dialectical thought, democratic schooling, and the distinction between schooling for social needs and schooling for liberation and health. By situating Marcuse's dialectical analysis of the progressive and conservative trends in schooling within an overall critique of one-dimensional society, this volume demonstrates the importance of the theme of education for Marcuse's overall critical theory and political project.

Critical theorists of education, Marcuse scholars, educators, and students will be struck by the unmistakable accuracy of Marcuse's diagnosis of education in one-dimensional society and his challenges for a democratic reconstruction of education. Hence, On Marcuse provides us with not only timely theoretical tools and concrete pedagogical strategies for combating educational sickness caused by one-dimensional society, but also hope in the revolutionary potentials of "reschooling.

On Marcuse provides us with not only timely theoretical tools and concrete pedagogical strategies for combating educational sickness caused by one-dimensional society, but also hope in the revolutionary potentials of "reschooling. Drew Milne , "Marcuse on Sartre," in: An Anthology of Theorists, Writing on Theorists , pages — Massimo Scaligero, Opere sociali.

Lotta di classe e karma Tilopa, , pages google books reference Herbert Marcuse, the prominent intellectual leader of the student movement in the s, is undoubtedly one of the greatest utopians in modern times. Marx himself seems to have retreated from this idea. Marcuse resumed the centrality of the abolition of labor in the non-exploitative society: For him, erotic activity, in a broad sense, was identical with non-instrumental activity. He viewed the pleasure principle in Freud's theory as a principle that stands for non-instrumental activities and non-instrumental society in general.

Socialism is all but turning again this principle which had also appeared in ancient hedonistic socio-philosophical streams that has been suppressed in the course of human history, into the new basis of society. Thus, productive activity would become play, or sensuous artistic activity.

Thanks to Robespierre de Oliveira for this link. Farr, Critical Theory and Democratic Vision: Not explicitly about Herbert, but according to the Telos search engine , he is mentioned several times. Christian Garland, " In-Against-and-Beyond: Negativity, Autonomy, and Class Struggle ," in Logos 8: This review of an edited collection about Adorno briefly mentions Herbert as one of the few members of the Frankfurt School who was successful, and his concept "repressive desublimation.

Paul Gottfried , Encounters: ISI Books, , pages. G68 A3 Peter-Erwin Jansen , " Etablierung im Exil: Die Frankfurter Schule und Farnkfurt: Table of Contents 1. Lacan, Marcuse, and the Death Drive by K. For a Marcusian Ecopedagogy by Richard Kahn 7. Marcuse, Bloch, and Freire: Transformative Educational Practices by Dolores Calderon A Marcusean Infusion by Ajit Pyati Toward a Critical Legal Pedagogy: Marcuse and the New Culture Wars: Herbert Marcuse and the Humanities: Giovanni Pasquali and Dzintars Kalnins: Rudi Dutschke's Way to Democracy.

The author writes the following in an email in May It is mainly based on Marcuse's thought and Dutschke's interpretation with regard to the concept of democracy and the meaning that it assumed among the student movements in the 60's and 70's. Masturbation ou prise de conscience pratique, In: Deprovincializing One-Dimensional Culture in the U. Educational Theorist for a New Generation " Italian: Luca Scafoglio, Forme della dialettica: Herbert Marcuse e l'idea di teoria critica [Forms of Dialectic. See also Luca's dissertation, above.

Martin Schwandt, Kritische Theorie: Adorno and Herbert Marcuse. It is one in a small series of introductions to political theory. Journal of Socialist Theory In the first part of the article we discussed the Marxian idea of abolition of labor, i. In his mature teachings, erotic activity, in a broad sense, is identical with non-instrumental activity.

Freud's theory of culture actually describes the rise and triumph of non-erotic, instrumental society dominated by the reality principle. Socialism would turn again the pleasure principle which also appeared in ancient hedonistic socio-philosophical streams that has hitherto been suppressed in the course of human history, into the new basis of society. Hanning Voigts, Entkorkte Flaschenpost: Herbert Marcuse, Theodor W. Adorno und der Streit um die neue Linke Munster: LIT Verlag, , pages google books preview Wheatland, The Frankfurt School in Exile [: University of Minnesota Press, In addition relevant discussions throughout the book, chapter 8 is titled "Marcuse's Mentors: Rezension von Detlev Claussen in: Eva-Maria Ziege , Antisemitismus und Gesellschaftstheorie: Die Frankfurter Schule im amerikanischen Exil Frankfurt: Suhrkamp, [ Habilitation at Potsdam University].

Ziege poses and successfully answers the question of why the Institute began to focus more on empirical studies and anti-Semitism in the s. John Abromeit , "The Limits of Praxis: Belinda Davis et al eds. G3 C Rodney Fopp , "'Repressive Tolerance': A Journal of Knowledge, Culture and Policy In the sense that he was concerned about what counted socially as tolerance, and how it was socially defended and justified, his article can helpfully be conceived as an exercise in social epistemology.

Die Ansichten zweier kontroverser Wissenschaftskritiker" Studienarbeit, , Zurich , 15 pages Grin Verlag page ; google books preview Telos Fall , We should however also ask what resonates between the hermeneutic critique of science and the hesitations on the part of religion toward the scientific worldview.

Such a connection, between religion and other critiques of science, is hardly counterintuitive. In his celebrated critique of "technological rationality," Herbert Marcuse pleads for a "new science" in which an "erotic" attitude toward nature would permit the entities of the natural world to transform in such a manner that they become free to be what they are. Following this line of reasoning in Eros and Civilization , he reaches the conclusion: This view implies a revolutionary change The Ecopedagogy Movement New York: Peter Lang, has extensive discussions of Herbert's work over 36 namings according to a google books search.

Anfang der er Jahre nimmt eine Gruppe linksintellektueller Emigranten zusammen mit ihren amerikanischen Kollegen, u. Am Anfang geht es um das nationalsozialistische Deutschland, nach Kriegsende weitet sich der Einsatz auf das gesamte Europa und die Sowjetunion aus. Die Arbeit der linken Denker findet Anerkennung, personelle Netzwerke entstehen. Jose Manuel Romero , H. Marcuse and the Origins of Critical Theory: Dialectic and Rhetoric," in: Rhetoric Society Quarterly Herbert Marcuse's relationship to the student-activists of the s not only required a different form of discourse from that of his colleague, Theodor W.

Adorno, but also indicated the range of conditions that govern political discourse in the academy. Whereas Adorno restricted his political activity almost exclusively to the pursuit of dialectical theory, Marcuse's insistence upon speaking to audiences of activists occasioned a contemporary manifestation of ancient debates over the discursive forms of rhetoric and dialectic. This essay analyzes two different kinds of discourses: Taken together, these texts reveal the dependence of the academy on more than one form of discourse and suggest that even under our contemporary circumstances, the ancient categories of rhetoric and dialectic continue to operate as counterparts.

Battista Vaccaro, Antropologia e utopia. Saggio su Herbert Marcuse Mimesis, google books page Adorno und der Streit um die Neue Linke Berlin: Lit, , pages, bib. Fink, , pages, bib. Repressive Toleranz ," in: Klassiker modernen Denkens neu gelesen: Bernd Weisbrod zum Geburtstag Wallstein, , Box, "Marcuse Was Right: The concept of one-dimensionality identified oppressive characteristics of societies in the s, suggesting that they could intensify over time until few people are able to imagine alternatives. This concept and its related body of work are largely forgotten today, associated with a time and set of circumstances that have passed.

This article argues that instead of disappearing, onedimensionality has matured and become commonplace, fulfilling Marcuse's vision of a society that lacks reflexive knowledge and capacity to change. The article describes three aspects of a onedimensional society—work, aggressiveness, and public affairs— and asks whether we are trapped in one societal dimension. Holland , "Looking Backwards: Available on the web at ErosEffect. Edipucrs, , pages. The title translates as: Marcuse and the Political Ambivalence of Art Blurb: The ambivalent political nature of art, presented by Marcuse in texts spanning five decades of intellectual production , is the object of study of this book.

The Dunayevskaya-Marcuse-Fromm Correspondence, Anderson, Russell Rockwell Lanham, Md. Lexington Books, , lix, pages, includes bibliographical references and index. M D86 Part one. The Dunayevskaya-Marcuse correspondence, The Dunayevskaya-Fromm correspondence, Political Studies Review Christian Garland , "Negating that which Negates us: Version of paper presented as part of Panel Il mulino, , pages. Original English sources in Italian translation. Malcolm Miles , Herbert Marcuse: An Aesthetics of Liberation London: Pluto, , pp. Glenn Wallis holds a Ph. He is the author of Mediating the Power of Buddhas.

Then, I will suggest ways that readers might use this analytical tool in their own encounters with x-buddhist teachers, literature, on-line sites and beyond. Hegel and the Rise of Social Theory , originally published in Joseph Cunningham, "Praxis Exiled: Herbert Marcuse and the One Dimensional University," in: Journal of Philosophy of Education As a professor, Marcuse participated in the s student movements, believing that college students had potential as revolutionary subjects. Additionally, Marcuse advocated for a college education empowered by a form of praxis that extended education outside the university into realms of critical thought and action.

However, the more pessimistic facet of his theory, best represented in the canonical One Dimensional Man, now seems to be the dominant ideology in the contemporary college experience.

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With the rise of the corporate university, knowledge is commodified and praxis is supplanted by rampant consumerism. Once a haven for critical theory, the college experience has been overtaken by capitalism, substantially limiting the revolutionary potential for college students in favour of an institutionalised, one dimensional university. Andrew Feenberg , "Marcuse's Phenomenology: Andrew Feenberg , "Heidegger and Marcuse: On Reification and Concrete Philosophy," in: This book brings together their most important intelligence reports on Nazi Germany, most of them published here for the first time.

Some of the best analysis of Nazi Germany ever written, says John Bew. August 10, Herbert Marcuse Pages: August 20, Herbert Marcuse Pages: November 26, Herbert Marcuse Pages: July 10, Herbert Marcuse Pages: September 1, Herbert Marcuse Pages: July 22, Herbert Marcuse Pages: August 1, Herbert Marcuse Pages: Google translate's version of the blurb on that site: A clear, smooth, syntactically well-made text, and the success of the writing also depends on the type of interest from which the author was solicited and which is set out clearly in the conclusion: Marcuse's thought and experience of the three main representatives of the Beat movement were focused aspects that best lend themselves to communicate such different cultures, and the different portrait of Burroughs, Kerouac and Ginsberg are well written.

Pages on bop writings, on interior jazz, are convincing, the theme of the aesthetics of spontaneity, of the inherently political vocation of art, is clearly a central focus. A good work, an example of "caught journalism", capable of restoring an overview of some important phenomena such as to urge readers to the need to know more. I imagine that for many young people today, reading a similar work would be much more profitable than that of a study with greater critical pretensions. This book is an extension and integration of her thesis. It combines the work of philosophical-historical research, which specifically engages the author the thought of Herbert Marcuse , with a passion for the literature of American beat.

Neri is currently working on a project to analyze the philosophical speculation of the young Marcuse and, specifically, his humanistic Marxism, through a critical examination of his texts from to in comparison with the works of thinkers who had the greatest impact on their formation, i. Geoff Pfeifer , "Marcuse, Herbert," in:

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