The Germany Illusion

Leonardo da Vinci (1452–1519) was one of the pre-eminent figures of the Italian Renaissance – he was also one of the most paradoxical. He spent an incredible amount of time writing notebooks, perhaps even more time than he ever held a brush, yet at the same time Leonardo was Renaissance culture’s most fanatical critic of the word. When Leonardo criticized writing he criticized it as an expert on words; when he was painting, writing remained in the back of his mind. In this book, Joost Keizer argues that the comparison between word and image fuelled Leonardo’s thought. The paradoxes at the heart of Leonardo’s ideas and practice also defined some of Renaissance culture’s central assumptions about culture and nature: that there is a look to script, that painting offered a path out of culture and back to nature, that the meaning of images emerged in comparison with words, and that the difference between image-making and writing also amounted to a difference in the experience of time.

An insightful and in-depth analysis of the state of Germany's economic and social policies and Germany's role as reluctant hegemon in Europe.

During World War II the quadriga, the impressive figure of the charioteer Victory driving four horses, on top of the Brandenburg Gate was destroyed. Later, both the East and West German au thorities agreed to replace it with a copy of the original. The former possessed the molds; the latter supplied the metal for casting. The process of negotiation and production required nearly two years. After the new quadriga was mounted, it was found that the Commu nists had made an important change: the chariot driven by Victory was placed so that it faces east and not west as in former times. The wit of the Berliners is sharp. It soon became known along the Kur fiirsten Damm (and not quite so loudly along what was then Stalin Allee) that Victory was advancing to defeat the East. The Pankow regime had unwittingly created an apparently prophetic symbol of its impending collapse.

An insightful and in-depth analysis of the state of Germany's economic and social policies and Germany's role as reluctant hegemon in Europe.

Europe is in a period of transition and there is great uncertainty about its direction. No country plays a greater role in influencing Europe's future path than Germany, which is either seen as overbearing or indecisive in its imposition of policies-and sometimes is seen as both at once. In The Germany Illusion, Marcel Fratzscher provides a distinctive corrective to common misunderstandings of Germany's domestic political economy and how it affects its European and global roles. Fratzscher's trenchant analysis sheds light on the true state of Germany's economy, which is neither as rosy as optimists believe nor as hidebound as pessimists fear. He covers the breadth of the German economy, from its deceptive employment miracle, the sources and underlying problems of its export strengths, its large investment gap, and not least the differences between east and west that continue since reunification. Understanding the domestic scene in Germany is crucial to understanding its relationships with other European countries, the European Union, and the United States. Fratzscher traces the sources and implications of the differences and conflict between Germany and its neighbors on European policymaking generally and in particular during the European economic and financial crisis, the Brexit debate, the refugee crisis, the rising populism and protectionism in the United States and in Europe, and over fundamental reforms of European institutions. The Germany Illusion is a balanced and nuanced examination of pressing and complex issues that enhances our understanding of German policies-the strengths and weaknesses, the possibilities and the limits. It also proposes a realistic path for Germany to re-engage with its European neighbors and with the United States, and to help re-build Europe's future.

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Examines Jewish-German “tropes” in Hélène Cixous's oeuvre and life and their impact on her work as a feminist, poet, and playwright. Hélène Cixous is a poet, philosopher, and activist known worldwide for her manifesto on Écriture feminine (feminine writing) and for her influential literary texts, plays, and essays. While the themes were rarely present in her earlier writings, Germany and Jewish-German family figures and topics have significantly informed most of Cixous's late works. Born in Algeria in June 1937, she grew up with a mother who had escaped Germany after the rise of Nazism and a grandmother who fled the racial laws of the Third Reich in 1938. In her writing, Cixous refines the primitive scene of a “German” upbringing in French-occupied colonial, antisemitic Algeria. Scholar and filmmaker Olivier Morel delves into the signs and influences that “Germany,” “German,” and “Osnabrück” have exerted over Cixous's work. Featuring an exclusive interview with Hélène Cixous and stills from their travel together to Osnabrück in Morel's 2018 documentary, Ever, Rêve, Hélène Cixous, Morel's The “German Illusion” examines the unique literary meditation on the Holocaust sustained throughout her later texts. Morel helps us to understand an uncannily original oeuvre that embodies the complexities of modernity's genocidal history in a new way.