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The German relationship to the Greeks was central to German self-understanding. It defined German identity culturally through the exclusion of democracy from the idealized image of Greece and through the emphasis on Greek originality that served to devalue the Roman, Latin and Renaissance translations of the Greek heritage. Hostility to the legacy of the Latin spirit, to legal thought and to rationality, reinforced the German rejection of French intellectual and cultural hegemony. These German fictions about the Greeks were closely linked with reflections on modernity, the death of the Christian God and a disenchanted Cartesian universe. They led Nietzsche and Heidegger to more `original' interpretations of the Greeks as the source of German rebirth.

La autora centra su argumentación alrededor de la genealogía del terror hasta dar con la acción con apego al terror como un tipo de acción no exclusiva de organizaciones o estados totalitarios como los representados por las «modernidades» nacionalsocialista y comunista, sino como un tipo de acción también susceptible de ser vehiculizada por agentes violentos no estatales. Éstos, dice contundentmente, han transmutado rasgos de los grupos activos y extremistas de los años setenta que enfrentaron al poder contenido en sus respectivos estados nacionales, bajo un nuevo programa ideológico. Sin embargo, el terrorista del tipo de Bin Laden y sus seguidores, a juicio de Heller, son parte de narrativas pantópicas y totalitarias, fundadas en la no-libertad y que discurren sobre la reunificación de mundos musulmanes. Su supuesta misión recurre a y moviliza sus recursos disponibles, «el miedo, la intimidación sin precedentes» y «la muerte indiscriminada»: «los dos significados de la palabra terror». ; The author takes into account the sociological meaning of the New Terror that rises from the 9-11-2001 as an ever recurring dark side of modernity, the sectarian, totalitarian and jacobin tendencies which are built in the political program of modernity from the very beginning in the French Revolution, and continued in the german nazi Endelösung and in the Russian and Chinese Revolutions. The New Terror reshapes the two key meanings of Terror: fear and unprecedented intimidation, on the one hand, and indiscriminate death.

This article distinguishes between two constituents of modernity which together stand for the essence of modernity. It also distinguishes between three logics or tendencies in modernity. In pursuit of these aims it concentrates on a single issue, arguing that one cannot understand modernity, particularly not its heterogeneous character, from the viewpoint of the technological imagination (the Heideggerian Gestell) alone. The article interprets modernity as a world that draws on two sources of imagination: the technological and the historical. Most of this article is devoted to discussing these two kinds of imagination, their conflicts, balances, and imbalances within each of the three logics of modernity. The article demonstrates that the balance between the two kinds of imagination is different in each of the three logics, and that the role of the historical imagination is different not only in terms of force and magnitude but also in kind.

This article distinguishes between two constituents of modernity which together stand for the essence of modernity. It also distinguishes between three logics or tendencies in modernity. In pursuit of these aims it concentrates on a single issue, arguing that one cannot understand modernity, particularly not its heterogeneous character, from the viewpoint of the technological imagination (the Heideggerian Gestell) alone. The article interprets modernity as a world that draws on two sources of imagination: the technological & the historical. Most of this article is devoted to discussing these two kinds of imagination, their conflicts, balances, & imbalances within each of the three logics of modernity. The article demonstrates that the balance between the two kinds of imagination is different in each of the three logics, & that the role of the historical imagination is different not only in terms of force & magnitude but also in kind. [Reprinted by permission of Sage Publications and Thesis Eleven Co-op Ltd, copyright 2005.]