following world war ii, german antifascists and nationalists in buenos aires believed theater was crucial to their highly politicized efforts at community-building, and each population devoted considerable resources to competing against its rival onstage. competing germanies tracks the paths of several stage actors from european theaters to buenos aires and explores how two of argentina's most influential immigrant groups, german nationalists and antifascists (jewish and non-jewish), clashed on the city's stages. covered widely in german- and spanish-language media, theatrical performances articulated strident nazi, antifascist, and zionist platforms. meanwhile, as their thespian representatives grappled onstage for political leverage among emigrants and argentines, behind the curtain, conflicts simmered within partisan institutions and among theatergoers. publicly they projected unity, but offstage nationalist, antifascist, and zionist populations were rife with infighting on issues of political allegiance, cultural identity and, especially, integration with their argentine hosts.

competing germanies reveals interchange and even mimicry between antifascist and nationalist german cultural institutions. furthermore, performances at both theaters also fit into contemporary invocations of diasporas, including taboos and postponements of return to the native country, connections among multiple communities, and forms of longing, memory, and (dis)identification. sharply divergent at first glance, their shared condition as cultural institutions of emigrant populations caused the antifascist free german stage and the nationalist german theater to adopt parallel tactics in community-building, intercultural relationships, and dramatic performance.

its cross-cultural, polyglot blend of german, jewish, and latin american studies gives competing germanies a wide, interdisciplinary academic appeal and offers a novel intervention in exile studies through the lens of theater, in which both victims of nazism and its adherents remain in focus.

a groundbreaking work on how the topic of scale provides an entirely new understanding of inca material culture

although questions of form and style are fundamental to art history, the issue of scale has been surprisingly neglected. yet, scale and scaled relationships are essential to the visual cultures of many societies from around the world, especially in the andes. in scale and the incas, andrew hamilton presents a groundbreaking theoretical framework for analyzing scale, and then applies this approach to inca art, architecture, and belief systems.

the incas were one of humanity's great civilizations, but their lack of a written language has prevented widespread appreciation of their sophisticated intellectual tradition. expansive in scope, this book examines many famous works of inca art including machu picchu and the dumbarton oaks tunic, more enigmatic artifacts like the sayhuite stone and capacocha offerings, and a range of relatively unknown objects in diverse media including fiber, wood, feathers, stone, and metalwork. ultimately, hamilton demonstrates how the incas used scale as an effective mode of expression in their vast multilingual and multiethnic empire.

lavishly illustrated with stunning color plates created by the author, the book's pages depict artifacts alongside scale markers and silhouettes of hands and bodies, allowing readers to gauge scale in multiple ways. the pioneering visual and theoretical arguments of scale andthe incas not only rewrite understandings of inca art, but also provide a benchmark for future studies of scale in art from other cultures.

in the last half-century ludwig wittgenstein's relevance beyond analytic philosophy, to continental philosophy, to cultural studies, and to the arts has been widely acknowledged.

wittgenstein's tractatus logico-philosophicus was published in 1922 - the annus mirabilis of modernism - alongside joyce's ulysses, eliot's the waste land, mansfield's the garden party and woolf's jacob's room. bertolt brecht's first play to be produced, drums in the night, was first staged in 1922, as was jean cocteau's antigone, with settings by pablo picasso and music by arthur honegger. in different ways, all these modernist landmarks dealt with the crisis of representation and the demise of eternal metaphysical and ethical truths. wittgenstein's tractatus can be read as defining, expressing and reacting to this crisis. in his later philosophy, wittgenstein adopted a novel philosophical attitude, sensitive to the ordinary uses of language as well as to the unnoticed dogmas they may betray. if the gist of modernism is self-reflection and attention to the way form expresses content, then wittgenstein's later ideas - in their fragmented form as well as their "ear-opening" contents - deliver it most precisely.

understanding wittgenstein, understanding modernism shows wittgenstein's work, both early and late, to be closely linked to the modernist geist that prevailed during his lifetime. yet it would be wrong to argue that wittgenstein was a modernist tout court. for wittgenstein, as well as for modernist art, understanding is not gained by such straightforward statements. it needs time, hesitation, a variety of articulations, the refusal of tempting solutions, and perhaps even a sense of defeat. it is such a vision of the linkage between wittgenstein and modernism that guides the present volume.