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Introduction

Innocence and the Politics of Memory

Jonathan Bach and Benjamin Nienass

” and “economic miracle” established a basis for a different form of reclaiming innocence, one roundly critiqued by Theodor W. Adorno in his essay “What Does Coming to Terms with the Past Mean?” 1 In the 1980s, Chancellor Helmut Kohl's famous

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Adorno on the Airwaves: Feeling Reason, Educating Emotions

Anna Parkinson

In 1949, Jewish-German critical theorist Theodor W. Adorno, a member of the group of intellectuals now known as the Frankfurt School, returned to West Germany from exile in the USA. This article examines a lesser-known aspect of Adorno's participation in the West German public sphere: namely, his radio broadcasts around the topos of “eine Erziehung zur Mündigkeit” (a pedagogy fostering political maturity/autonomy). Adorno's critique of the medium of radio as an arm of the reified “culture industry” is well documented. What, then, are we to make of his sociopolitical contribution to the German public sphere in the form of over one hundred radio broadcasts in the late 1950s and 1960s? This article broaches the question by analyzing his now-canonical 1960 broadcast on Hessischen Rundfunk titled “Was bedeutet: Aufarbeitung der Vergangenheit?” (“What does Coming-to-Terms-with-the-Past Mean?”). Arguing for the centrality of affect for Adorno's postwar work, I demonstrate how he stages a pedagogy emphasizing the necessary relationship between reason and affect (Kant avec Freud) in achieving self-reflective thought and political autonomy. Finally, Adorno's earlier attack on music educational shows as “pseudo-democratic” (1938-1941 in Paul Lazarsfeld's Princeton Radio Research Project), complicates any straightforward elaboration of a postwar public pedagogy.

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Invoking the “Yolocaust”?

German Memory Politics, Cultural Criticism, and Contemporary Popular Arts

Ralph Buchenhorst

. It might be concluded that the scope of mass media is a decisive tool to initiate a transnational coming to terms with the past, while each nation has to find its own way to remember. Without disregarding the fact that recent developments in art and