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  1.  1
    Eva Geulen (2014). Nachlese: Simmels Goethe-Buch und Benjamins Wahlverwandtschaften-Aufsatz. In Jonas Maatsch (ed.), Morphologie Und Moderne: Goethes >Anschauliches Denken< in den Geistes- Und Kulturwissenschaften Seit 1800. De Gruyter 195-218.
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  2.  4
    Eva Geulen (2012). Passion in Prose. Telos: Critical Theory of the Contemporary 2012 (158):8-20.
    As strategies of suspicion, skeptical philosophies are themselves suspicious. Despite of their routinely anti-systematic rhetoric, skeptics raise the suspicion of secretly playing into the hands of the ruling regime . In his book Skepticism and Epistemology: The Development and Application of the Skeptical Method in Philosophy, Tim Köhne argues at length that a stabilizing, affirmative trait in fact characterizes all argumentative strategies of radical skepticism, for in the final instance it is not doubt that motivates skepticism but instead the desire (...)
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  3.  5
    Eva Geulen (1998). Melancholy Dialectics. International Studies in Philosophy 30 (2):148-150.
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    Eva Geulen (2006). Und siehe! Apollo konnte nicht ohne Dionysos leben! Deutsche Zeitschrift für Philosophie 54 (3/2006):468-470.
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  5. Eva Geulen (2001). Mega Melancholia: Adorno's Minima Moralia'. In Peter Uwe Hohendahl & Jaimey Fisher (eds.), Critical Theory: Current State and Future Prospects. Berghahn Books 49--68.
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  6.  27
    Eva Geulen (2006). The End of Art: Readings in a Rumor After Hegel. Stanford University Press.
    Since Hegel, the idea of an end of art has become a staple of aesthetic theory. This book analyzes its role and its rhetoric in Hegel, Nietzsche, Benjamin, Adorno, and Heidegger in order to account for the topic's enduring persistence. In addition to providing a general overview of the main thinkers of post-Idealist German aesthetics, the book explores the relationship between tradition and modernity. For despite the differences that distinguish one philosopher's end of art from another's, all authors treated here (...)
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