New Frankfurt School

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“The harshest critics of the moose /
used to be some themselves”
bronze sculpture by Hans Traxler in
front of the Museum of Comic Art

The Neue Frankfurter Schule (abbreviated: NFS) is a group of writers and draftsmen who pardon the editors of the satirical magazine . After conflicts with the Pardon editor-in-chief Hans A. Nikel , the satirical magazine Titanic became the publication organ from 1979 onwards .

Members

The founding members of the NCCR include:

A number of writers and draftsmen from the Titanic circle can be counted to the second generation of the NFS, including for example Max Goldt , Gerhard Henschel , Simon Borowiak , Thomas Gsella , Ernst Kahl , Duo Rattelschneck and after the fall of the Wall Michael Rudolf (Verlag Weißer Stein, Greiz).

Origin of the name

The name Neue Frankfurter Schule is based on the philosophical Frankfurt School ( Max Horkheimer , Theodor W. Adorno and others), which founded the critical theory of society in the 1930s .

An obvious reason for choosing a name was that the city of Frankfurt am Main, where many of the members lived and where the Titanic editorial team is located, was the center of the group. On the other hand, the reference to the Frankfurt School is to be understood as satirical, and in the work of the NFS there are numerous allusions, such as the Titanic column humor criticism that appears under a (formerly alienated) Adorno portrait or Robert Gernhardt's book There is no real life in the valschen , whose title refers to a statement by Adorno .

But there are also serious connections to critical theory: Oliver Maria Schmitt sees cultural criticism at the center of the work of the NCCR, Michael Rutschky claims that the “satirical consciousness” of the NCCR is formed by the “basic idea of ​​the Old Frankfurt School”, and so does Eckhard Henscheid writes that “the pillars of the NCCR rest on those of critical theory”.

The name “Neue Frankfurter Schule” came about many years after it was founded, namely in 1981, when a catchy name was being sought for a joint exhibition of works by Gernhardt, Traxler and Waechter.

Content

Some of the sentences coined by members of the NCCR entered common usage, for example FW Bernstein's "The harshest critics of the moose // used to be some themselves" . The language and nonsense comedy, which is partly cultivated by the NFS, also contributed to the success of the comedian Otto Waalkes , for whom Bernd Eilert, Peter Knorr and Robert Gernhardt wrote texts, among others.

In their “ high comedy ”, the representatives of the NFS are concerned with undermining any meaningfulness - the systematic denial of meaning without being socially uncritical.

In 2006 the city of Frankfurt am Main acquired around 7,000 original drawings by FW Bernstein, Robert Gernhardt, Hans Traxler and Chlodwig Poth for a museum for comic art . It was opened on October 1st, 2008 as an independent department of the Historical Museum in the screen house in Frankfurt.

Starting with the Frankfurt green armadillo, designed by Robert Gernhardt in 2001 , a total of fourteen sculptures based on designs by members of the New Frankfurt School are on display across the Frankfurt green belt . The series is entitled Komische Kunst im Frankfurter Grüngürtel , a booklet-form guide published by the City of Frankfurt since 2010 serves as an “exhibition catalog”.

See also

literature

Web links

Commons : Neue Frankfurter Schule  - collection of pictures, videos and audio files

Individual evidence

  1. KC Zehrer, p. 7
  2. OM Schmitt, p. 22
  3. Michael Rutschky: Preface in WP Fahrenberg (Ed.): Die Neue Frankfurter Schule, p. 10
  4. quoted from OM Schmitt, p. 22; However, this is probably to be understood cum grano salis , if one consults Henscheid's book How Max Horkheimer Once Even Adorno (Anecdotes About Football, Critical Theory, Hegel and Chess) from 1983 for advice.
  5. OM Schmitt, p. 26
  6. Magistrate of the City of Frankfurt am Main / Regional Park Rhein-Main (ed.): Monsterspecht and fat caterpillar - comic art in the Frankfurt green belt . 52 p., Frankfurt am Main 2017