TY  - JOUR
A1  - Fitzi, Gregor
T1  - Max Weber’s concept of ‘modern politics
JF  - Journal of Classical Sociology
N2  - In a critical approach to Mommsen’s classical thesis, which states the dependence of Weber’s sociology on his political position, the article reconstructs the foundation of Weber’s ‘The Profession and Vocation of Politics’ on his sociological analyses of the political domain in the manuscripts for the posthumous publication of Economy and Society. The first two pages of his 1919 lecture particularly show that Weber can fall back on the definitions of State and politics that he had already developed for his political sociology. Yet, to appreciate the full extent of this theoretical contribution, it is necessary to present Weber’s entire ideal-typical analysis of the political. The article then shows that Weber provides an unlabelled definition of ‘modern politics’ that negates ante litteram Carl Schmitt’s foundation of politics on the idea of enmity. In this context, Weber’s sound plea for parliamentarism and against the fascination of civil war comes to the fore that he wanted to deliver to his audience of young revolutionaries in January 1919.
KW  - Carl Schmitt
KW  - civil war
KW  - concept of the political
KW  - Max Weber
KW  - monopoly of legitimate use of force
KW  - parliamentarism
KW  - political sociology
KW  - revolution
KW  - violence
Y1  - 2019
U6  - https://doi.org/10.1177/1468795X19851368
SN  - 1468-795X
SN  - 1741-2897
VL  - 19
IS  - 4
SP  - 361
EP  - 376
PB  - Sage Publ.
CY  - London
ER  - 
TY  - JOUR
A1  - Ungelenk, Johannes
T1  - Kiss me (not!), Cressida - or: the social touch of lips and tongue
JF  - Arcadia : international journal of literary culture
N2  - The article is dedicated to the problem of social bonds that is negotiated in Troilus and Cressida. Troilus and Ulysses embody an old, traditional order of the world that is out of joint, while Cressida's behaviour and her way of interacting indicate a different and new regime of social regulation that is about to take over. With its complex superposition of (touches of) love and war, Troilus and Cressida brings together rituals of touch, anarchic speech acts, and a gendered perspective on the world that associates touch and temporality with 'frail' femininity and temptation. With unrivalled intensity, the play puts to the spectator that the basic condition of touch, i.e. exposing oneself to another, entails an incalculable risk. Hector tragically falls for the vulnerability inherent in touch and the audience suffers with him because they share this existential precondition on which modern society is 'founded.' The gloomy, inescapable atmosphere of societal crisis that Troilus and Cressida creates emphasises the fact that the fragility of touch is not to be overcome. The fractions - no matter whether Greek, Trojan, or those of loving couples - cannot simply be reunited to form a new, authentic entity. Generating at least some form of social cohesion therefore remains a challenge.
KW  - Friedrich Nietzsche
KW  - Carl Schmitt
KW  - social cohesion
KW  - Troilus and
KW  - Cressida
KW  - touch
Y1  - 2022
U6  - https://doi.org/10.1515/arcadia-2022-9051
SN  - 0003-7982
SN  - 1613-0642
VL  - 57
IS  - 1
SP  - 25
EP  - 46
PB  - De Gruyter
CY  - Berlin
ER  -