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This paper interrogates the phenomenon of boredom at work by considering Ernst Jünger’s potential contribution. We contend that Jünger offers an important yet overlooked alternative to the dominant perspectives of boredom in Management and Organization Studies (MOS), which are largely composed of ‘simple’ psychological diagnoses and managerial prescriptions. Such studies largely understand boredom as a localised experience at work which can be overcome by targeted managerial prescriptions, techniques and interventions. In contrast we show how Jünger understands boredom from a ‘profound’ perspective as a central feature of modernity. This is premised on Jünger’s broader critique of the bourgeois values that define 20th and 21st century managerial work and organization. Jünger’s cultural-historical perspective is therefore aligned to the discrete field of Boredom Studies. By addressing how Jünger understands ‘work’ as the defining feature of the modern age, his critique situates the phenomenon of boredom at work within the broader social, institutional and cultural order of the 21st Century. While Jünger does not set out to provide a theory of boredom as such, we reconstruct such a theory through an exegesis of his writing on ‘work’ and ‘danger’. This reveals boredom and danger as phenomenologically intertwined concepts, which is an understanding of boredom that has not been considered in MOS or Boredom Studies. It is through this, we argue, that Jünger’s conception of work holds the potential for a powerful critique and understanding of boredom at work under the contemporary regime of neoliberal managerialism.

In this thesis an attempt is made to show the impression World War I made on the mind of a young German author. I have tried to interpret his outlook on war and to show how he could arrive at such a seemingly sordid statement as "living is killing". In 1920 a relatively unknown member of the Reichswehr published an account of World War I that soon became a bestseller. The book was In Stahlgewittern, its author Ernst Jünger. It was followed two years later by Der Kampf als inneres Erlebnis. Their common subject was war. The success of the two novels served to catapult Ernst Jünger from being a highly decorated officer of the war, but otherwise widely unknown, into the limelight of fame. It opened the doors for him to the intellectual and literary circles of Germany and later on of Europe. Although the subject of both works specifically pertains to World War I, almost the whole length of which the author had seen on the western front, their scope is much wider. Jünger attempts to show how he sees war in general. To make this clear he deals lengthily with the word of Heraklit of war as the father of all things. At the time that Jünger published these books which show war as a positive experience, the general literary feeling in Europe was still strongly anti-war. Nevertheless he managed not only to voice his opinion, but also to use these works especially as the starting point of an immensely successful and prolific literary career. Even though Ernst Jünger does not deny the horrors and atrocities of war, his books are an apotheosis of the subject. Paradoxically, war to him is the one thing that will serve to perpetuate the human race. This is achieved in a way that is vaguely reminiscent of Darwin's theory of the survival of the fittest. In war a new elite or new "race" is born. Just as war has fathered it, it in turn will be responsible for the following generations. Race, in Jünger's sense, is not a biological term, rather a philosophical experience. To survive, and to create the new man, the soldier has again to be made aware of his past. Only by linking his prehistoric existence with modern man and modern man's accomplishments, will he be able to form this new race. Blood, i.e. instinct rather than reasoning, originality rather than the stifling process of learning, is modern man's only means for survival. Especially with this theory Jünger came dangerously close to the world of ideas of National-Socialism. Even though Jünger was opposed to the crude ideology of the Nazis, he did little to defend his works against their use and exploitation. This, as well as his own ideas about war, has made him one of the most controversial German writers of the twentieth century.

The thesis investigates the role of technology in the formation of the artistic avant-garde, along with various forms of philosophical reflection on this development, with a particular emphasis on Heidegger. Setting out from an analysis of three paradigmatic cases in the interplay between art and technology—the invention of photography, the shift from Futurism to Constructivism, and the interpretation of technology in debates on architectural theory in the 1920s and ’30s—it proceeds to a discussion of three philosophical responses to this development, those found in Walter Benjamin, Martin Heidegger, and Ernst Jünger, all of which share a certain avant-garde sensibility and a notion of art as a response to nihilism. In Heidegger’s postwar writings we see a retreat from the positions of the mid 1930s, and in his reflections on technology a different answer emerges to the question of whether “great art” is still possible: great art is an art that exists precisely by making the founding of a world into something problematic. The fourth part confronts Heidegger’s analysis of technology with the work of an individual artist, the architect Mies van der Rohe, and asks how the “silence”—the withdrawal of language, sense, aesthetic perception, etc.—that is often understood as a precondition for the critical potential of his work should in fact be understood. By examining interpretations that draw on Heidegger via comparisons with other types of critical theory, a different understanding emerges of the relation among nihilism, art, and technology. They form a field of constant modulation, which implies that the concepts that have been the foundation of critical theory, nature, subjectivity, experience, even “being” in Heidegger’s sense, must be subjected to a historical analysis that acknowledges them as ongoing processes of construction, and that also accounts for the capacity of technologies and artistic practices to intervene in the formation of philosophical concepts. / The chapters 5, 6 and 7 in the monograph Essays, Lectures for a part of the Ph.D.thesis.

This thesis analyzes the origins and development of conceptions of the relationship between violence and politics characteristic of twentieth century fascist thought. It critiques existing approaches to fascism and fascist ideology in the interdisciplinary field of fascist studies and proposes and employs an alternate approach which centres and emphasizes the flexibility and mutability of fascist thought and denies that any particular complex of beliefs or concepts can be said to constitute an ‘essence’ or ‘heart’ of fascist ideology. Morphological studies are offered of four discursive traditions in fascist and fascist-adjacent thought with respect to violence and politics: German military theory of the late nineteenth and early twentieth centuries; the ‘new’ French nationalism of the fin-de-siècle; the genre of ‘future warfare’ around and after the First World War; and the work of Ernst Jünger and Carl Schmitt. The thesis concludes with some consideration of the continuities and discontinuities made apparent in the morphological studies, an argument that those results vindicate the initial framing, and some avenues for extending them into areas of concrete contemporary relevance. / Graduate

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Thema dieser Dissertation ist die Frage, wie sich Licht und Sehen im Zuge der Elektrifizierung veränderten, und zwar aus Sicht literarischer Erzähltexte, die zwischen 1900 und 1933 publiziert wurden. Ausgangslage der Untersuchung ist erstens die These, dass durch den Einsatz des elektrischen Lichts eine Reihe neuer Wahrnehmungsdispositive entstanden, wo trotz der Lichtstärke elektrischer Leuchtmittel zwielichtige Licht- und prekäre Sichtverhältnisse herrschten. An drei besonders markanten Zwielichtszenarien der ästhetisch-technischen Moderne – Großstadt, Kino und Schützengraben – werden anhand einer breiten Quellenbasis aus Literatur, Technik, Wissenschaft, Philosophie und Ästhetik aufgezeigt, wie die Ausdifferenzierung der lichttechnischen Infrastruktur neue Blickregime und ästhetische Weltanschauungen produzierte, die ihrerseits veränderte Techniken des Sehens evozierten. Eine weitere zentrale These lautet, dass sich angesichts der prekären Licht- und Sichtverhältnisse auch die kulturelle Semantik des Lichts veränderte: die Art und Weise, wie Licht, und damit ebenso die Vorstellungen von Wahrnehmung, Wahrheit und Wirklichkeit, vor- und dargestellt wurden. Die neuen Lichtphänomene erforderten neben aisthetischen (die sinnliche Wahrnehmung betreffende) Anpassungsleistungen auch ästhetische Bewältigungsstrategien: neue Darstellungsweisen und symbolisch-metaphorische Zuschreibungen, die das zeitgenössische Wissen über Licht und Sehen gehörig in Bewegung brachte. Es entstanden virulente neue Korrelationen ‚moderner Wahrnehmung‘ zwischen technisch erzeugtem Zwielicht, epistemischer Irritation und narrativ erzeugter Visualität. Ich hoffe, mit meiner Arbeit neue Perspektiven auf die nach wie vor relevante Frage ‚moderner Wahrnehmung‘ zu werfen, die sich seit der ‚elektrischen Moderne‘ sukzessive als immer ausgeklügelteres Zusammenspiel von (Licht-)technik, aisthesis und Ästhetik neuformiert. / This dissertation focuses on how light(ing) and seeing/ perception changed in the course of electrification, from the perspective of German literature, published between 1900 and 1933. My first claim is, that the use of electric light created a series of new perceptual dispositifs, where dubious light and precarious visual conditions prevailed despite the luminous intensity of electric lighting. Three particularly striking twilight scenarios, that play a significant role in technology and aesthetics in the early 20th century, – namely the City, the Cinema, and the Trenches of WWI – are gripping settings to demonstrate, how disruptive lighting infrastructure produced new scopic regimes and innovative aesthetic perspectives (Weltanschauungen) that changed the techniques of visual perception. Drawing from a broad base of sources from literature, technology, science, philosophy, and aesthetics, I argue that the disruptive lighting technologies did not only change light phenomena, visual conditions and perception, but also transformed the cultural semantics of light substantially. Closely tied to concepts of truth, perception and reality, the rhetoric of light and lighting are dense metaphors and symbols, deeply interconnected with the history of knowledge. The new light phenomena required aisthetic (sensory perception-related) adaptations, as well as aesthetic coping strategies, like new modes of representation and symbolic-metaphorical attributions that troubled contemporary knowledge about light and visuality. My research zooms in on the visual dispositifs of ‘electric modernity’ and thus on the new correlations between technically generated twilight, epistemic irritation, and narrative visuality. By analysing the interplay of lighting and visual technology, aisthesis, and literary aesthetics in early 20th century, I hope to shed new light on the intriguing question of ‘modern perception’ that remains relevant from the beginning of the electric age until now.