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Summer Renault-Steele Walter Benjamin once called his friend Siegfried Kracauer an "enemy of philosophy." Indeed Kracauer--disaffected relative of the Frankfurt School--has successfully repelled any definitive academic canonization to this day. Trained in architecture, philosophy, and sociology, and known for his prolific writing in film theory, cultural criticism, journalism, and fiction, Kracauer's Weimar-era work in particular confuses the basic terms of disciplinary intelligibility. Yet, it is precisely this disciplinary resistance that makes Kracauer most valuable to philosophy, especially its historically marginalized subfields and scholars. Drawing upon the tool of unrepressed philosophy developed by feminist philosopher Michèle Le Doeuff, this article demonstrates how Kracauer's heterogeneous composition style itself can be interpreted as critical feminist methodology. Siegfried Kracauer's Weimar-era work resists disciplinary classification. Particularly during his years at the Frankfurter Zeitung (192133) where he wrote for and then edited the feuilleton section of the newspaper, his work assumed a deliberately heterogeneous form.1 As Inka Mülder-Bach notes, "Here [at the feuilleton], he was offered a field for experimentation," where his thought "could be converted into styles and genres that crossed the established boundaries between scientific disciplines as well as between journalism, literature and philosophy" (9). This heterogeneity is a source of originality
philoSOPHIA – State University of New York Press
Published: May 30, 2017
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