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In Precarious Times, Anne Fuchs explores how works of German literature, film, and photography reflect on the profound temporal anxieties precipitated by contemporary experiences of atomization, displacement, and fragmentation that bring about a loss of history and of time itself and that is peculiar to our current moment. The digital age places premiums on just-in-time deliveries, continual innovation, instantaneous connectivity, and around-the-clock availability. While some celebrate this 24/7 culture, others see it as profoundly destructive to the natural rhythm of day and night-and to human happiness. Have we entered an era of a perpetual present that depletes the future and erodes our grasp of the past? Beginning its examination around 1900, when rapid modernization was accompanied by comparably intense reflection on changing temporal experience, Precarious Times provides historical depth and perspective to current debates on the "digital now." Expanding the modern discourse on time and speed, Fuchs deploys such concepts as attention, slowness and lateness to emphasize the uneven quality of time around the world.

German literature --- Motion pictures --- Time in literature. --- Time in motion pictures. --- Anxiety in literature. --- Time and photography. --- Time in art. --- Anxiety in art. --- Photography and time --- Photography --- Themes, motives. --- History. --- modern time regime, temporal anxiety, digital now, presentism, precariousness, speed culture.

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German literature --- Memory in literature

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The relationship between Johannesburg's Market Theatre and the economic and political forces of South Africa's apartheid regime was both complex and somewhat ambiguous. The theatre's two founders, Mannie Manim and Barney Simon, however, from idealistic beginnings managed to steer their experimental enterprise around pitfalls ranging from censorship, boycotts and recuperation by big business to the difficulties encountered in finding black authors, let alone black audiences. If the place occupied by the Market institution in apartheid society is emphasized throughout the present study, its contribution to the aesthetic of resistance is also underlined through detailed criticism of the plays and authors dominating the theatre. Pieter-Dirk Uys, Barney Simon's workshop plays and, among others, Black Consciousness plays are subjected to various methods of theatre performance analysis. The reckoning that had to come in the early 1990s revealed itself as globally positive; the reasons for this may be found in the updated concluding part of Playing the Market , which is composed of more general essays (including one on the vibrant Junction Avenue Theatre Company) on how the theatre scene in contemporary South Africa started to change. A postscript reveals more specific aspects of the Market situation in the late 1990s when its hegemony in the New South Africa was already being questioned.

Theater --- History

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Literature

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Painting --- History --- Nederlandse school --- Spain