Anson Rabinbach

Germans and Jews since the holocaust : the changing situation in West Germany

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Comments on the Method of Marx's Capital and Its Importance for Contemporary Marxist Scholarship

theorems of this work with the concrete reality of today. Precisely that, it seems to us, is the central task of contemporary Marxist economics. If our contribution has helped in any way to bring to consciousness this theoretical task, then its purpose has been fulfilled. Translated by David Bathrick and Anson Rabinbach

Science, Work, and Worktime

In the beginning was the Theory. Even before the collapse of Soviet communism, the glow of Marxism in American (and European) universities was beginning to dim. Now we look back on our own investment in Marxism, not always with satisfaction. At best, the theory did not so much fail historians, as historians, in their efforts to redress the lacunae in the theory, wrote around it to the extent that theory ultimately became marginal to their enterprise. This is hardly surprising since Marxism, having given up pretense to science by the mid-1960s, became largely a critical theory in the sense that its main sources were European thinkers Gramsci, Adorno, Foucault, Althusser who sought to repair the crumbling walls and beams remaining from the wreckage of Stalinism. The main tenets of that reconstruction were that economic determinism and sociological functionalism were intellectually bankrupt, collective consciousness and collective action required more sophisticated concepts derived from anthropology and psychology, the theory of power and hegemony had to be analyzed with greater specificity, and the epistemological foundations of ideology and modes of thought required more subtle tools of conceptualization.

Nazi-Looted Art and Its Legacies: Introduction

In early 2012 German officials investigating violations of tax law discovered a trove of mainly nineteenthand early twentieth-century European paintings and drawings in the Munich apartment and Salzburg house of Cornelius Gurlitt, the reclusive son of the prominent art dealer Hildebrand Gurlitt. The elder Gurlitt had worked for the Nazis but also counted a number of artists despised by them among his friends. Since then, the story of the Gurlitt collection has made headlines worldwide. Beyond the bizarre obsession of the aging son, who lived with and for his artworks hidden from public view, the case raises fundamental questions about the role of art dealers during and after the Third Reich, the mechanics of a largely secretive and insufficiently documented market in looted art, the complicity of art historians and business associations, the shortcomings of postwar denazification, the failure of courts and governments to adjudicate claims, and the unwillingness of museums to determine the provenance not just of Cornelius Gurlitt’s holdings but of

George L. Mosse 1919–1999: An Appreciation

I first met George Mosse in late August 1967. That summer I carried my worn copy of his book on the roots of Nazi ideology, The Crisis of German Ideology: Intellectual Origins of the Third Reich (1964), with Hubert Lanzingers bizarre painting of Hider as a German knight on the cover, to Salzburg where I studied German before going on to graduate school at the University of Wisconsin. Though I admired the book, it did not prepare me for meeting the man. In 1967 I drove out to the Midwest from New York in my VW bug. To my surprise, as soon as I arrived in Madison, someone pointed him out, sitting on the Terrace of the Wisconsin Memorial Union in his short sleeve shirt, smoking his pipe, and arguing intensely with a group of students who were planning to sit in to block the Dow Chemical Company campus recruiter in the Fall (Dow was chosen because the company was manufacturing napalm).

Writing Technologies@@@The Human Motor: Energy, Fatigue, and the Origins of Modernity

LIST OF ILLUSTRATIONS ACKNOWLEDGMENTS INTRODUCTION 1 From Idleness to Fatigue The Body Without Fatigue: A Nineteenth-Century Utopia The Disappearance of Idleness Aristocratic Idleness Idleness and Industry Work and Hygiene The Discovery of Fatigue The Poetics of Fatigue Fatigue and Society 2 Transcendenltal Materialism: The Primacy of Arbeitskraft (Labor Power) An Immense Reservoir of Energy Dematerialized Materialism From the Human Machine to the Human Motor Conservation of Energy A Universe of Arbeitskraft: Helmholtzs Popular Scientific Lectures The First Bourgeois Philosopher of Labor Power Animal Machines 3 The Political Economy of Labor Power The Social Implications of Energy Conservation The Marriage of Marx and Helmholtz The Social Physiology of Labor Power The Emergence of Labor Power in Marx Hegelian Helmholtzianism: Engels 4 Time and Motion: Etienne-Jules Marey and the Mechanics of the Body Marey and Modernism An Engineer of Life The Metaphor of the Motor go Bodies in Motion The Language of Physiological Time Motionless Bodies Do Not Exist Chronophotography: The Microscope of Time Time and Motion The Economy of Work 5 The Laws of the Human Motor Social Helmholtzianism Muscular Thermodynamics Elasticity and Efficiency: Auguste Chauveau Care and Feeding of the Human Motor The Laws of Fatigue: Angelo Mosso and the Invention of the Ergograph The Science of Ergography A Fatigue Vaccine? 6 Mental Fatigue, Neurasthenia, and Civilization Mental Fatigue Pathological Fatigue: Neurasthenia Materialism, the Will, and the Work Ethic The Law of the Least Effort: Civilization and Fatigue 7 The European Science of Work Social Energeticism Fatigue and the European Science of Work Arbeitswissenschaft: The Science of Work in Germany The German Sociology of Work Industrial Psychotechnics 8 The Science of Work and the Social Question Between Productivism and Reform Labor Power: Capital of the Nation The Personal Productivity of the Worker Industrial Experiments: Hours and Output Fatigue and Productivity The Physiological Limit and the Ten-Hour Day The Deployment of Social Energy: Military Training and Physical Education Fatigue, Knowledge, and Industrial Accidents Science Between the Classes 9 The Americanization of Labor Power and the Great War 1913--1919 The Challenge of Taylorism Taylorism in France 1913-1914 Jean-Marie Lahy: The Science of Work Against the Taylor System German Taylorism and the Science of Work Psychotechnics and the Great War The Kaiser Wilhelm Institute for Labor Physiology at War Ergonomics at the Front 1O The Science of Work Between the Wars Productivism Between the Wars The Rapprochement Between the Science of Work and Taylorism The Institutionalization of the Science of Work The Era of Psychotechnics Industrial Psychology and the Pathology of Work Social Politics in the Plant and the Romantic Philosophy of Work The National Socialist Science of Work: DINTA and Beauty of Labor Conclusion: The End of the Work-centered Society? The Legacy of the Human Motor The Obsolescence of the Body NOTES INDEX

Techno-Cosmopolitanism — French Style

Rabinows sprawling and encyclopedic French Modern is inspired by Foucaults best work, his histories of madness, medicine, and, of course, The Order of Things. Like his mentor, Rabinow believes that “the era of man began when representations ceased to provide a reliable grid for the knowledge of things,” and when man as a “social being” was conceived as a project for study and improvement. Like Foucault, Rabinow combines the informed serendipity and resourcefulness of a passionate researcher with a strong philosophical orientation. But Rabinow also retains a few of Foucaults more frustrating quirks. He qualifies to the point where he jeopardizes his claims and is enigmatic rather than assertive about the implications of his case. Fortunately, he is not quite as obsessed with power and control as was Foucault.

Social Radicalism and the Arts: Western Europe

In the half decade before World War I, the first generation of “modernist” painters proclaimed as their singular and audacious task the rediscovery of truth itself. They were perhaps the first to perceive the importance of the indivisibility of technos and logos in modern capitalism. All former systems of artistic truth — with fixed notions of time, space, nature and beauty — had suddenly become obsolete. As a result, they began a quixotic, frenetic struggle to liberate painting from the photograph and creativity from mechanical reproduction. Cezanne was the first to discover that the experienced perspective differed fundamentally from that of photographic representation. Apollinaire, who is most often credited with being the spiritual founder of modern art, remarked in his Aesthetic Meditations of 1913 that art must abandon the subject because “only photographers manufacture duplicates of nature,” and painters, like gods, can create only in their own image.