Cover -- Contents -- List of Figures -- Acknowledgments -- Notes on the Contributors -- Introduction: The Future's Past-Modernism, Critique, and the Political -- Section I: High, Low, and Other: The Politics of Music -- Hans Pfitzner and the Anxiety of Nostalgic Modernism -- Mahler, Rembrandt, and the Dark Side of German Culture -- Section II: Modernism/Antimodernism, Race and Eugenics in Scandinavia -- The Resistance to Modernism in Karl Gjellerup's Germanernes Lærling (1882) -- Knut Hamsun's "White Negro" from Ringen sluttet (1936)-Or the Politics of Race -- Eugenic Sterilization and the Role of Science-The Scandinavian Case -- Section III: Science, Technology, and German Modernism -- Reactionary Engineers? Technocracy and the Kulturfaktor Technik in Weimar Germany -- Science, Art, and the Question of the Visible: Rudolf Virchow, Hannah Höch, and "Immediate Visual Perception" -- Section IV: Architecture and Urban Planning in Weimar Modernity -- Imagining the New Berlin: Modernism, Mass Utopia, and the Architectural Avant-Garde -- Rebuilding Babel: Urban Regeneration in the Modern/Postmodern Age -- Section V: The Politics of Visual Culture: Weimar, Exile, and Postwar -- Politicizing Painting: The Case of New Objectivity -- Modernism from Weimar to Hollywood: Expressionism/New Objectivity/Noir? -- Clement Greenberg and the Postwar Modernist Canon: Minimizing the Role of Germany and Northern Europe -- Section VI: The Politics of Visual Culture in the Third Reich -- Framing Sight: Modernism and Nazi Visual Culture -- A Woman beside Herself: Art and Its Other in Nazi Movies -- Section VII: Modernist Politics Now: Critiques of Liberalism -- The Stakes of the Political According to Carl Schmitt -- Sovereignty and Its Discontents -- Works Cited -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- R -- S -- T -- U.

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