Scholarlink

<p>Crises, wars and political radicalisation bring latent fears of aggression, violence and destruction to the surface. In Germany, this inevitably reactivates individual and collective traumas (and the corresponding defence mechanisms) from the Nazi era, the post-war period, and the division and reunification of Germany. The frequently used term “Brandmauer” has, in addition to its symbolic meaning in political positioning against right-wing extremism, also become an expression of an East–West phantasm that has been an established collective defence practice since the Second World War and is currently being reactivated. Through a&#xa0;deep hermeneutic analysis of scenes on TikTok on both sides of the “Brandmauer”, as well as an analogous scene, it is demonstrated that the respective others behind the “Brandmauer” serve as a&#xa0;projection surface for unwanted, split-off parts of the self and objects, as well as for unconscious feelings of guilt, shame and primitive fears. These have their origins in the conflicts of German history from the Second World War to the present day.</p>

错误：搜索内容不能为空，请输入英文关键词
错误：关键词超出字数限制，请精简
高级检索

Zwischen Erinnerung und Wiederholung

  • 期刊论文

  • 出版模式：

    开放获取

  • 发表日期：

    2025年9月26日

查看全文
  • Alexander Degel

摘要

Crises, wars and political radicalisation bring latent fears of aggression, violence and destruction to the surface. In Germany, this inevitably reactivates individual and collective traumas (and the corresponding defence mechanisms) from the Nazi era, the post-war period, and the division and reunification of Germany. The frequently used term “Brandmauer” has, in addition to its symbolic meaning in political positioning against right-wing extremism, also become an expression of an East–West phantasm that has been an established collective defence practice since the Second World War and is currently being reactivated. Through a deep hermeneutic analysis of scenes on TikTok on both sides of the “Brandmauer”, as well as an analogous scene, it is demonstrated that the respective others behind the “Brandmauer” serve as a projection surface for unwanted, split-off parts of the self and objects, as well as for unconscious feelings of guilt, shame and primitive fears. These have their origins in the conflicts of German history from the Second World War to the present day.