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Explores sonic events and auditory experiences in German-speaking contexts from the Middle Ages to the digital age, opening up new understandings.

Illuminates how selected great works of literature arose, leading to deepened understanding of the works and harking back to what we still call the humanities.This monumental study seeks the roots of great literary works and the processes by which they arose. It first illuminates the process from idea and inspiration through intention, formulation, revision (and sometimes frustration) to publication and reception. The textual studies that follow range from single poems to epic and dramatic works, from the genesis of new genres to that of a whole career. T. J. Reed sets the scene by going back to Homer's epics and the Bible, refreshing familiar scholarly material with new insights. Two early modern chapters then treat Montaigne, the founder of a new self-confidence, and Shakespeare, the beginner shaped by and shaping history. In the book's second half Reed concentrates on his specialty, modern German literature: Goethe, Buchner, Thomas Mann, Kafka, Brecht, Celan, and Christa Wolf. A sense of the origins of literary meaning in each case is a firm foundation for understanding, staying close to the quick of human communication. Against the depersonalized, skeptical, theory-laden readings of literature that have been dominant in recent decades, this study harks back to what we still call the humanities. T. J. REED is Taylor Professor of German Emeritus at Oxford University.

The first scholarly English translations of thirteen vital texts that elucidate the central role mountains have played across nearly five centuries of Germanophone cultural history.Mountains have occupied a central place in German, Swiss, and Austrian intellectual culture for centuries. This volume offers the first scholarly English translations of thirteen key texts from the Germanophone tradition of engagement with mountains. The selected texts span over 450 years, ranging from the early modern period to the postmodern era, and encompass several discursive modes of the mountain experience including geographical descriptions, philosophical meditations, aesthetic deliberations, and autobiographical climbing narratives. Well-known figures covered in this translational sourcebook include Conrad Gessner, Johann Jakob Scheuchzer, G.W.F. Hegel, Alexander von Humboldt, Georg Simmel, Leni Riefenstahl, and Reinhold Messner. Each text is accompanied by a critical introduction that places the translated text within a broader cultural context. The dual translational-interpretational approach offered in this volume is intended to stimulate new international and interdisciplinary dialogue on the cultural history of mountains and mountaineering. Contributors: Paul Buchholz, Sean Franzel, Gundolf Graml, Kamaal Haque, Harald Hobusch, Dan Hooley, Sean Ireton, Jennifer Jenkins, Jens Klenner, Martina Kopf, Seth Peabody, Caroline Schaumann, Christoph Weber, Wilfried Wilms. Sean Ireton (University of Missouri) and Caroline Schaumann (Emory University) are also the editors of Heights of Reflection: Mountains in the German Imagination from the Middle Ages to the Twenty-First Century (2012).

Makes available twenty-two protest songs of the period up to and including the 1848 Revolution in Germany along with a reception history of the songs through their revival after 1945.The socially volatile period of the Vormarz (1830-1848) and the 1848 Revolution in Germany produced a wealth of political protest song. Songs for a Revolution makes available twenty-two prominent protest songs from that time, both lyrics (in German and English) and melodies. It also chronicles the songs' reception: suppressed after the revolution, they fell into obscurity, despite intermittent revivals by the workers' movement and later in the Weimar Republic, until they were appropriated as democratic cultural heritage by the folk and political song movements of East and West Germany after 1945. The songs reflect the new, oppositional political consciousness that emerged during the post-1830 period of restoration and led to the revolution. The book makes use of broadsides, songbooks, newspaper reports, and manuscripts to document the songs' transmission and shed light on the milieus in which they circulated. It also demonstrates how the appropriation of these songs by the German Liedermacher and folk scene shaped today's cultural memory of the 1848 period. It illuminates the functioning of political ideology in these reception processes, which in turn have given rise to myths that have influenced the discourse on the 1848 songs. ECKHARD JOHN is Senior Research Fellow in the Center for Popular Culture and Music at the University of Freiburg. DAVID ROBB is Senior Lecturer in Music at Queens University Belfast.

Shows German Science Fiction's connections with utopian thought, and how it attempts Zukunftsbewaltigung: coping with an uncertain but also unwritten future.Since its beginnings, German Science Fiction (or SF) has engaged with social change and technological progress, often drawing from utopian thought. The writer Kurd Lawitz challenged the authoritarian Wilhelmine order; later, filmdirector Fritz Lang provided a searing critique of Weimar society. Meanwhile utopian thinkers like Ernst Bloch and Herbert Marcuse insisted on the possibility of hope, even in the face of totalitarianism. During the Cold War, German utopian writing and filmmaking were vital both as a warning and as a creative imagining of possible futures. More recently, as rapid scientific and technological advances have continued, literary and cinematic responses have become increasingly dystopian in outlook, reflecting fears connected with globalization, advances in artificial intelligence and genetic engineering, and persistent challenges like climate change, hunger, migration, and terrorism. This book explores German SF's responses to the question how humanity can match technological advances with social, ethical, and moral progress. It surveys German utopian thought and the German SF tradition-both literary andcinematic-providing close readings of selected works that paradoxically reflect boundless optimism for the possibility of change and increasing pessimism in its likelihood. English translations are provided throughout. Building onits rich tradition but now confidently entering the mainstream, German SF attempts Zukunftsbewaltigung: coping with an uncertain but also unwritten future. Ingo Cornils is Professor of German Studies at the University of Leeds.

Weighs the value of Germanophone culture, and its study, in an age of globalization, transnationalism, and academic change.The study of German-language culture has been rapidly diversifying to express the vibrant multiplicity of what it is now possible to research, and teach, under the rubric of "e;German Studies."e; Responding to these developments, German in the World explores what happens when the geographic, linguistic, and temporal boundaries that have traditionally been used to define German-language culture are questioned, and are placed alongside more global perspectives. Chapters consider the transformation of the German-language cultural canon through its engagement with the world, trace the value of German Studies as an interdisciplinary subject practiced across different global locations, and investigate the impact of both on the work of organizations and practitioners entirely beyond the academy. In questioning where German-language culture can be found across these different "e;worlds,"e; German in the Worldthus uncovers the continued value of German Studies as a field of critical cultural discourse within a globalized public sphere, placing that culture at the heart of debates on Transnational and World Literature. Ultimately, thecontributions to this innovative volume demonstrate how attempts to locate German Studies in its wider geographic and social contexts result not in a discipline undone, but in a discipline reinvigorated and transformed.Contributors: Sai Bhatawadekar, Tobias Boes, Dirk Gottsche, James Hodkinson, Carlotta von Maltzan, Frauke Matthes, Ben Morgan, John K. Noyes, Emily Oliver, Kate Rigby, Benedict Schofield, Uwe Schutte, Carol Tully. James Hodkinson is Reader in German at Warwick University. Benedict Schofield is Reader in German at King's College London.

A major new study of Robert Musil by one of the world's leading Musil scholars. Musil's extraordinary works, the study reveals, emerged from the problem of the "e;two cultures."e;The modern era is marked by the separate life of two cultures of understanding, one derived from art and its discourses, the other from science and its practices. This "e;problem of the two cultures"e; (as coined by C.P. Snow) describes the difficulty of bringing these distinct ways of understanding the world together. The works of the Austrian author Robert Musil (1930-33) represent the most distinguished treatment of this problem in the modern era. Nevertheless, doubts persist about Musil's true intentions. Did he maintain that the separation between art and science could be resolved? Or did he rise above the problem by advocating a new order of being or "e;other condition"e; that would dispense with it altogether? Mehigan's study moves these questions to center stage. He lends new clarity to the debate about Musil's position in regard to the two cultures by shining a light on ethical questions the author ultimately wished to clarify. It is the shape of a hard-won ethics, Mehigan argues, that provides the key to an effective response to the problem of the two cultures - an ethics, in the end, that can only be put forward as a new kind of art. Tim Mehigan is Professor of German and Deputy Director of the Institute for Advanced Studies in the Humanities at the University of Queensland, Australia.

Through close readings of poems covering the span of Georg Trakl's lyric output, this study traces the evolution of his strangely mild and beautiful vision of the end of days.Like much German-language poetry of the years preceding the First World War, the poems of Georg Trakl (1887-1914) are imbued with a sense of historical crisis, but what sets his work apart is the mildness and restraint of his images of universal disintegration. Trakl typically couched his vision of the end of days in images of migrating birds, abandoned houses, and closing eyelids, making his poetry at once apocalyptic, rustic, and intimate. The argument made in this study is that this vision amounts to a unitary worldview with tightly interwoven affective, ethical, social, historical, and cosmological dimensions. Often termed hermetic and obscure, Trakl's poems become more accessible when viewed in relation to the evolution of his methods and concerns across different phases, and the idiosyncrasies of his strangely beautiful later works make sense as elements of a sophisticated system of expression committed to "e;truth"e; as a transcendental order. Through close readings of poems covering the span of his lyric output, this study traces the evolution of Trakl's distinctive style and themes while attending closely to biographical and cultural contexts. Richard Millington is Senior Lecturer in German at Victoria University of Wellington (Aotearoa New Zealand). He is the author of Snow from Broken Eyes: Cocaine in the Lives and Works of Three Expressionist Poets (2012).

This book explores how writers adhered to, played with, and subverted the formulaic precepts of educational transformation in the German Democratic Republic.Perhaps never before has a state emphasized education to citizenship more than in the new nation founded in 1949 as the German Democratic Republic. For forty years, educational and cultural policy played a pivotal role in effortsto build and sustain a socialist state on German soil. Party and state held teachers and writers responsible for demonstrating the superiority of socialism, infusing pupils and readers with a commitment to the emerging state, andproviding persuasive role models of der neue Mensch each was challenged to become. Utilizing an innovative triangular framework, this book demonstrates how mentor-protege(e) rubrics, traditionally associated with the socialist Bildungsroman, came to characterize text-external and text-internal relations within diverse narrative forms. Thus, leading writers such as Hermann Kant, Christa Wolf, Brigitte Reimann, and Christoph Hein played with the genre's patterns of transformation as they engaged with the intellectual, societal, and aesthetic dilemmas of GDR life. This book shows that understanding representations of educational transformation in GDR literature, a topic largely overlooked by critics, is central to an aesthetic appreciation of that literature more broadly. Jean E. Conacher is Senior Lecturer in German within the School of Modern Languages and Applied Linguistics atthe University of Limerick, Ireland.

The first book to offer a cutting-edge discussion of contemporary travel writing in German, Anxious Journeys looks both at classical tropes of travel writing and its connection to current debates.The rich contemporary literature of travel has been the focus of numerous recent publications in English that seek to understand how travel narratives, with their distinctive representations of identities, places, and cultures, respond to today's globalized, high-speed world characterized by the dual mass movements of tourism and migration. Yet a corresponding cutting-edge discussion of twenty-first-century travel writing in German has until now been missing. The fourteen essays in Anxious Journeys redress this situation. They analyze texts by leading authors such as Felicitas Hoppe, Christoph Ransmayr, Julie Zeh, Navid Kermani, Judith Schalansky, Ilija Trojanow, and others, as well as topics such as Turkish-German travelogues and the relationship of comics to travel writing. The volume examines how writers engage with classic tropes of travel writing and how they react to the current sense of crisis and belatedness. It also links travel to ongoing debates about the role of the nation, mass migration, and the European project, as well as to Germany's place in the larger world order. Contributors: Karin Baumgartner, Heather Merle Benbow, Anke S. Biendarra, John Blair and Muriel Cormican, Nicole Coleman, Carola Daffner, Christina Gerhardt, Nicole Grewling, Gundela Hachmann, Andrew Wright Hurley, Christina Kraenzle, Magda Tarnawaska Senel, Monika Shafi, Sunka Simon. Karin Baumgartner is Professor of German at the University of Utah. Monika Shafi is Elias Ahuja Professor of German at the University of Delaware.

The first cohesive Faust narrative in facsimile form, German transcription, and (first-ever) English translation, plus a history of Faust illustrations and an assessment of Faust's historicity.The Faust legend, which has come down to us most famously in Goethe's tragedy but also in countless other incarnations since the late sixteenth century, was first collected and presented as a cohesive narrative (in manuscript) byChristoph Rosshirt during the 1570s. Rosshirt was also the first to provide illustrations of Faust, hand-colored by Rosshirt himself. This book offers a critical edition of Rosshirt's six tales, including an introductory chapter,a facsimile of the manuscript, a transcription and first-ever English translation on facing pages, as well as a history of Faust illustrations, with Rosshirt's own illustrations and other examples up through Delacroix, the most complete survey of such illustrations to date. A final chapter rounds out the study with an assessment of Rosshirt's significance for the Faust tradition, a review of the evidence for a historical Faust, and a rejection of his historicity (because it is unprovable) in favor of his existence only in his story - a story Rosshirt helped to tell - and in our imaginations that animate that story. J. M. van der Laan is Professor Emeritus of German at Illinois State University.

Assesses the relevance of the works of Fontane, perhaps the foremost German novelist between Goethe and Mann, for the twenty-first century.Theodor Fontane remains a canonical figure in German literature, the most important representative of poetic realism, and likely the best German-language novelist between Goethe and Mann, yet scholarly attention to his works oftenlags behind his stature, at least in the English-speaking academy. This volume, coinciding with Fontane's 200th birthday in 2019, assesses the relevance of his works for us today and also draws attention to the most current English-language research. Much has changed in the last two decades in critical theory, and the volume highlights how new methodological approaches and new archival research can update our understanding of Fontane's works. Although his novels are famously rooted in the details of quotidian life in nineteenth-century Germany, they also reflect larger historical transformations that resonate with our world today (e.g., financial crisis, class conflict, changing gender roles, and migration) and so speak to contemporary critical interests. The volume's contributors draw on literary and cultural studies approaches including gender and sexuality studies, emotion studies, transnationalismand globalization, media and visual studies, rhetorical criticism, paratextual criticism, and digital humanities. Their contributions survey a wide range of Fontane's literary production in order to speak to both German and non-German audiences in the twenty-first century. Contributors: James N. Bade, Russell A. Berman, Katharina Adeline Engler-Coldren, Todd Kontje, John B. Lyon, Ervin Malakaj, Nicolas von Passavant, Lynne Tatlock, Christian Thomas, Brian Tucker, Michael J. White, Holly A. Yanacek. John B. Lyon is Professor of German at the University of Pittsburgh. Brian Tucker is Associate Professor of German at Wabash College.

Covers the major modernist literary works of Broch and constitutes the first comprehensive introduction in English to his political, cultural, aesthetic, and philosophical writings.Hermann Broch (1886-1951) is best known for his two major modernist works, The Sleepwalkers (3 vols., 1930-1932) and The Death of Virgil (1945), which frame a lifetime of ethical, cultural, political, and social thought. A textile manufacturer by trade, Broch entered the literary scene late in life with an experimental view of the novel that strove towards totality and vividly depicted Europe's cultural disintegration. As fascism took over and Broch, a Viennese Jew, was forced into exile, his view of literature as transformative was challenged, but his commitment to presenting an ethical view of the crises of his time was unwavering. An important mentor and interlocutor for contemporaries such as Arendt and Canetti as well as a continued inspiration for contemporary authors, Broch wrote to better understand and shape the political and cultural conditions for a postfascist world. This volume covers the major literary works and constitutes the first comprehensive introduction in English to Broch's political, cultural, aesthetic, and philosophical writings. Contributors: Graham Bartram, Brechtje Beuker, GiselaBrude-Firnau, Gwyneth Cliver, Jennifer Jenkins, Kathleen L. Komar, Paul Michael Lutzeler, Gunther Martens, Sarah McGaughey, Judith Ryan, Judith Sidler, Galin Tihanov, Sebastian Wogenstein. Graham Bartram retired as Senior Lecturer in German Studies at the University of Lancaster, UK. Sarah McGaughey is Associate Professor of German at Dickinson College, USA. Galin Tihanov is the George Steiner Professor of Comparative Literature at Queen Mary University of London, UK.

First representative English collection of the Sturm und Drang writer Lenz, suited for the classroom and anyone interested in German literature, the European Enlightenment, or the theory and practice of theater.Jakob Michael Reinhold Lenz (1751-1792) is, after Goethe, the most important writer of the German Sturm und Drang. Crucial in the reinvention of German literature through the reception of Shakespeare, his works contain a scathing critique of the ethical, political, and sexual regimes then prevailing in German and Eastern European territories. Both aesthetically and politically, Lenz strongly influenced later German writers - most notably Georg Buchner and Bertolt Brecht. In Germany, Lenz is still widely read and performed. Given his importance and lasting reception, it is surprising that many of his texts are not available in English. While his best-known dramas have been translated, many of his essays have not, and none of his stories or poems have been. This is especially astonishing given the growth of English-language Lenz scholarship over recent decades. This volume contains new - and, in many cases, first - English translations of Lenz's most important plays, stories, essays, and poems. It is the first representative English collection of Lenz's works. Providing reliable translations of Lenz's key writings and succinct glosses of historical and literary references, this book is a valuable resource for classroom use and for anyone interested in German literature, the European Enlightenment, or the theory and practice of theater. Martin Wagner is Assistant Professor of German at the University of Calgary. Ellwood Wiggins is Assistant Professor of German at the University of Washington.

New essays providing an up-to-date picture of the engagement of artists, philosophers, and critics with Kafka's work.The topic of "e;Kafka after Kafka"e; is a fascinating one: the engagement of artists, philosophers, and critics in dialogical exchange with Kafka's works. The present collection of new essays highlights the engagement of lesser knownartists and commentators with Kafka, and represents those who are well known, such as Arendt, Blanchot, Nabokov, and Coetzee, from new perspectives. The eleven essays contained here represent the most recent scholarly engagements with this topic. An essay on major trends in current Kafka criticism provides background for several essays on novelists, philosophers, and critics whose relationship to Kafka is not very well known. A section devoted to Kafka from an Israeli perspective includes artists not commonly known in the US or Europe (Ya'acov Shteinberg, Hezi Leskly, Sayed Kashua), as well as an essay on the recent trial in Israel regarding the fate of Kafka's literary legacy. A final section addresses important contemporary approaches to Kafka in film studies, animal studies, the graphic novel, and in postmodern culture and counterculture. Contributors: Iris Bruce, Stanley Corngold, AmirEngel, Mark H. Gelber, Sander L. Gilman, Caroline Jessen, Tali Latowicki, Michael G. Levine, Ido Lewit, Vivian Liska, Alana Sobelman. Iris Bruce is Associate Professor of German at McMaster University. Mark H. Gelber is Senior Professor and Director of the Center for Austrian and German Studies at Ben-Gurion University.

A fascinating cultural studies account of the "e;afterlife"e; of Leichhardt, revealing both German entanglement in British colonialism in Australia, and in a broader sense, what happens when we maintain an open stance to the ghosts ofthe past.After the renowned Prussian scientist and explorer Ludwig Leichhardt left the Australian frontier in 1848 on an expedition to cross the continent, he disappeared without a trace. Andrew Hurley's book complicates that view by undertaking an afterlife biography of "e;the Humboldt of Australia."e; Although Leichhardt's remains were never located, he has been sought and textually "e;found"e; many times over, particularly in Australia and Germany. He remains a significant presence, a highly productive ghost who continues to "e;haunt"e; culture. Leichhardt has been employed for all sorts of political purposes. In imperial Germany, he was a symbol of pure science, but also a bolster for colonialism. In the 20th century, he became a Nazi icon, a proto-socialist, the model for the protagonist of Nobel laureate Patrick White's famous novel Voss, as well as a harbinger of multiculturalism. He has also been put to useby Australian Indigenous cultures. Engaging Leichhardt's ghosts and those who have sought him yields a fascinating case study of German entanglement in British colonialism in Australia. It also shows how figures from the colonialpast feature in German and Australian social memory and serve present-day purposes. In an abstract sense, this book uses Leichhardt to explore what happens when we maintain an open stance to the ghosts of the past. Andrew Wright Hurley is Associate Professor in German Studies at the University of Technology Sydney. His book Into the Groove: Popular Music and Contemporary German Fiction was published by Camden House in 2015.

Traces Eisler's art songs through the political crises of the twentieth century, presenting them as a way to intervene in the nationalist appropriation of aesthetic material.Best known for his collaborations with Bertolt Brecht, composer Hanns Eisler also set nineteenth-century German poetry to music that both absorbs and disturbs the Lieder tradition. This book traces Eisler's art songs (German: Kunstlieder) through twentieth-century political crises from World War I to Nazi-era exile and from Eisler's postwar deportation from the US to the ideological pressures he faced in the early German Democratic Republic. His artsongs are presented not as an escape from the "e;dark times"e; Brecht lamented but rather as a way to intervene in the nationalist appropriation of aesthetic material. The book follows a chronological arc from Eisler's early Morgenstern songs to his Lied-like setting of Brecht's 1939 "e;To Those Who Come After"e; and his treatment of Holderlin's poetry in the 1940s Hollywood Songbook; the final two chapters focus on Eisler's Goethe settings in the early GDR, followed by his late Serious Songs recalling Brahms in their reflective approach. In its combination of textual and musicological analysis, this book balances technical and lay vocabulary to reach readers with or without musical background. The author's practical perspective as a singer also informs the book, as she addresses not only what Eisler asks of the voice but also the challenge of evoking both intimacy and distance in his politically fraught art songs. Heidi Hart holds a PhD in German Studies from Duke University. She is an instructor in the College of Humanities and Social Sciences at Utah State University.

First English translation of the memoirs of the vaunted theater producer Aufricht, providing an inside account of the late Weimar theater scene in Berlin and much else of interest.This is the first English translation of the memoirs of the great German-Jewish theater producer Ernst Josef Aufricht (in German 1966, rpt. 1998). The title alludes to Brecht and Weill's Threepenny Opera, the premiere of which was produced by Aufricht at his Theater am Schiffbauerdamm in Berlin in 1928, launching Brecht and Weill to worldwide fame. Aufricht's book is most notable for its insider's account of the Berlin theater scene from the great days of the late 1920s and early 30s. Its range, however, from school years and the military to his time as an actor and then producer, the rise of the Nazis, and finally his long years of exile in France and America, gives the picture of a complex individual with a talent for survival and a winningly understated sense of humor. The book will be of interest to an academic audience, but its reflections on a period of momentous artistic and political events will expand its appeal to a wider group: those interested in twentieth-century German history, music and theater history, as well as the general reader. A selection of photographs, some rare and many showing Aufricht's famous productions, enhances this English edition. Benjamin Bloch is a clinical psychologist who studied German and English Literature at Oberlin College. Marc Silberman is Emeritus Professor of German at the University of Wisconsin.

This book begins to recover the global history of solidarity as a principle of authorship, taking Anna Seghers (1900-1983) as an exemplar and reading her alongside prominent contemporaries: Brecht, Carpentier, and Spivak.In the twentieth century, leftist authors around the world understood their writing as an act of solidarity, but their common project was obscured by the end of the Cold War and the dismantling of socialist states. This book begins to recover the global history of solidarity as a principle of authorship, taking Anna Seghers (1900-1983), one of the most important German writers of her time, as an exemplar. Like other leftist authors in other languages and contexts, Seghers emphasized how people are implicated in global economic inequality and efforts to change it. Writing to Change the World introduces Seghers's concept of solidarian authorship by telling the story of an award, still in existence today, that she bequeathed to support East German and Latin American authors. The book then follows the history of the idea by reading Seghers alongside prominent contemporaries: the German playwright and poet Bertolt Brecht in the 1930s, the Cuban novelist Alejo Carpentier in the 1960s, and the Indian scholar and theorist Gayatri Chakravorty Spivak in the 1980s. These writers thematized and critiqued solidarity, often by depicting characters who forge connections across borders. In doing so, they also commented on the literary institutions that fostered their own work. Providing new evidence for Seghers's global relevance beyond German literature, Writingto Change the World argues for the continued significance of solidarity both as a model of global authorship and as a framework for analysis of world literature. In doing so, it refocuses attention on global structures of inequality and collective imaginings of a better world. Marike Janzen is Assistant Professor of Humanities and Courtesy Assistant Professor of Germanic Languages and Literatures at the University of Kansas.

Highlights the spirituality and cosmopolitanism of four contemporary German Muslim writers, showing that they undermine the "e;clash-of-civilizations"e; narrative and open up space for new ways of coexisting.At a time when the place of Muslims in German society is being disputed, this book explores how four contemporary German writers of Muslim backgrounds - Zafer Senocak, SAID, Feridun Zaimoglu, and Navid Kermani - point beyond identity politics and suggest new ways of thinking about religion and community. Twist highlights both the spirituality and the cosmopolitanism of these authors, bringing their thought into dialogue with the work of Jean-Luc Nancy.Nancy is critical of communities based on a single guiding principle (be it God or Reason) and thus involving a universalizing core that leads to conflicts between identity groups. He proposes alternative notions of both religious faith (a postmonotheistic version with elements of mysticism) and community (spontaneous communities requiring no shared identity). Twist relates these arguments to post-9/11 debates over cosmopolitanism and religion, illuminating how the writers under study draw upon mystical Islam's deconstructive potential, finding divine insight in love, sex, music, pain, and beauty. Such a worldly and affective spirituality dispels associations between Islam and sexual conservatism while rejecting monotheistic ideology. Thus, unlike the homogenizing drive of universalist cosmopolitanism, these writers' nonfoundational conceptualizations undermine the twenty-first century's "e;clash-of-civilizations"e; narrative and open up space for new ways of coexisting. JOSEPH TWIST is Fixed-term Lecturer in German at University College Dublin.

A reassessment of the journey Germans in East and West have taken during the past two and a half decades: even today, an open-ended, unfinished journey.On October 3, 1990, just a year after the Berlin Wall fell, the German Democratic Republic was absorbed into the Federal Republic of Germany, officially ceasing to exist. What was the GDR and how do we remember it? According to the dominant Western narrative, it was a country that brought neither unity nor justice nor freedom to its citizens. But if so, why does a virtual wall still seem to exist in Germany today between the erstwhile citizens of the GDR and FRG? The GDR very much remains in the public debate, and while political integration is well on its way, the cultural integration of the two former states has proven much more challenging. This volume analyzes the culturaltransformation - or lack thereof - that has followed political unification. The contributions are interdisciplinary: essays on history and politics provide a framework and others on art, film, literature, museums, music, and education provide specific examples. These case studies allow us to examine the state of unification beyond statistics, opinion polls, and glib generalizations. The volume, then, is a reassessment of the journey Germans in East and West have taken during the past two and a half decades. Even today, it is an open-ended, unfinished journey. But such journeys tend to be the most interesting. Contributors: Kerstin Barndt, Stephen Brockmann, Michael Dreyer, Andreas Eis, April A. Eisman, Peter Hayes, Franziska Lys, Charles S. Maier, Andreas Niederberger, Mary-Elizabeth O'Brien, Daniel Ortuno-Stuhring. Franziska Lys is Professor of German at Northwestern University. Michael Dreyer is Professor in the Institute for Political Science at the University of Jena.

Analyzes not just Muller's texts but also the theatrical events that emerged from them, showing that from the beginning of his career Muller tried to create democracy both within and outside the theater.The East German playwright Heiner Muller (1929-1995) is one of the most influential European dramatists and theater directors since Brecht. While critical literature on Muller often discusses the politics of his works, analysis tends to stop at the level of the text, neglecting the theatrical events that emerge from it and the audiences for which it was written and performed. Situating his study within Muller's interests in democracy and audience activity,Michael Wood addresses these gaps in scholarship, making an original contribution to the understanding of Muller's work as playwright and director. In 1985, Muller spoke of the importance of a "e;democratic"e; theater: one thatconfronts theatergoers with densely contradictory material that they must interpret for themselves, reflecting the complexity of material reality and encouraging them to question their participation in political life. Wood's studyshows that Muller sought to do this in his combined 1988 production of Der Lohndrucker, Der Horatier, and Wolokolamsker Chaussee IV: Kentauren, staged at a time when questions of democracy were at the forefront of East German consciousness. It also demonstrates that from the beginning of his career Muller tried to make theater that would create a form of democracy both within and outside the theater. Michael Wood is a British Academy Postdoctoral Fellow at the University of Edinburgh, where he received his PhD in 2014.

Essays showcasing Ali and Nino as particularly topical for today's readers both in and out of the classroom, and providing a number of diverse approaches to it.Ali and Nino is a novel published in German in 1937 under the alias "e;Kurban Said,"e; a love story between a Muslim man and a Christian woman set in Baku, Azerbaijan, during World War I and the country's brief independence. Itwas a major success, translated into several other languages, but was forgotten by the end of World War II. Recent research by the journalist Tom Reiss has revealed the identity of the author as Lev/Leo Nussimbaum (1905-1942), aJewish man born in Baku who converted to Islam, worked as a journalist in Berlin, and died forgotten in exile. Reiss's discovery has spurred new interest in the novel, as has the fact that the book prefigures today's perceived conflicts between East and West or Islam and Christianity, but also suggests a more peaceful model of intercultural living in multiethnic Baku's melting pot of Islam, Judaism, and Christianity. The present volume collects twelve newessays on different aspects of the text by scholars from a variety of disciplines and cultural backgrounds. It is intended to showcase the suitability of Ali and Nino for inclusion in a curriculum focused on German, world literature, or area studies, and to suggest a variety of approaches to the novel while also appealing to its fans. Contributors: Sara Abdoullah-Zadeh, Cori Crane, Chase Dimock, Christine Rapp Dombrowski, Elizabeth WeberEdwards, Anja Haensch, Kamaal Haque, Lisabeth Hock, Ruchama Johnston-Bloom, Carl Niekerk, Elke Pfitzinger, Soraya Saatchi, Daniel Schreiner, Azade Seyhan. Carl Niekerk is Professor of German with affiliate appointmentsin French, Comparative and World Literature, and Jewish Studies at the University of Illinois at Urbana-Champaign. Cori Crane is Associate Professor of the Practice and Director of the Language Program in the Department of Germanic Languages and Literature at Duke University.

"e;In the Beginning was Napoleon"e;--"e;Napoleon and no end"e;: Inspiration Bonaparte explores German responses to Bonaparte in literature, philosophy, painting, science, education, music, and film from his rise to the present.Two hundred years after his death, Napoleon Bonaparte (1769-1821) continues to resonate as a fascinating, ambivalent, and polarizing figure. Differences of opinion as to whether Bonaparte should be viewed as the executor of the principles of the French Revolution or as the figure who was principally responsible for their corruption are as pronounced today as they were at the beginning of the nineteenth century. Contributing to what had been an uneasy German relationship with the French Revolution, the rise of Bonaparte was accompanied by a pattern of Franco-German hostilities that inspired both enthusiastic support and outraged dissent in the German-speaking states. The fourteen essays that comprise Inspiration Bonaparte examine the mythologization of Napoleon in German literature of the nineteenth and twentieth centuries and explore the significant impact of Napoleonic occupation on a broad range of fields including philosophy, painting, politics, the sciences, education, and film. As the contributions from leading scholars emphasize, the contradictory attitudes toward Bonaparte held by so many prominent German thinkers are a reflection of his enduring status as a figure through whom the trauma of shattered late-Enlightenment expectations of sociopolitical progress and evolving concepts of identity politics is mediated.

Investigates the field of German life writing, from Rahel Levin Varnhagen around 1800 to Carmen Sylva a century later, from Doblin, Becher, women's WWII diaries, German-Jewish memoirs, and East German women's interview literatureto the autofiction of Lena Gorelik.In recent decades, life writing has exploded in popularity: memoirs that focus on traumatic experiences now constitute the largest growth sector in book publishing worldwide. But life writing is not only highly marketable; it also does important emotional, cultural, and political work. It is more available to amateurs and those without the cultural capital or the self-confidence to embrace more traditional literary forms, and thus gives voice to marginalized populations. Contested Selves investigates various forms of German-language life writing, including memoirs, interviews, letters, diaries, and graphic novels, shedding light on its democratic potential, on its ability to personalize history and historicize the personal. The contributors ask how the various authors construct and negotiate notions of the self relative to sociopolitical contexts, cultural traditions, genre expectations, and narrative norms. They also investigate the nexus of writing, memory, and experience, including the genre's truth claims vis-a-vis the pliability and unreliability of human memories. Finally, they explore ethical questions that arise from intimate life writing and from the representation of "e;vulnerable subjects"e; as well as from the interrelation of material body, embodied self, and narrative. All forms of life writing discussed in this volume are invested in a process of making meaning and in an exchange of experience that allows us to relate our lives to the lives of others.

The first monograph in English on the German Lohengrin, offering a new response to the challenges posed by the text.The tale of the mysterious knight carried across the water by a swan to the woman he saves and marries is one of the great narrative traditions of the Middle Ages. The version in the German Lohengrin (ca.1300) is perhaps the most striking. It captures the imagination with the appearance of the epic poet Wolfram von Eschenbach as narrator, the changing forms of the swan, and Lohengrin's appearance as a warrior alongside Saints Peter and Paul. In thepast, however, Lohengrin has been dismissed as an awkward amalgamation of earlier sources - partly due to more recent retellings of the material, such as Wagner's opera. This first monograph on Lohengrin in English presents a new response to the challenges the text poses. It is a study of how we read narrative across temporal distance, and at its heart lies the question: if a story is not held together by the chronological and causal links characteristic of modern narratives, how does it cohere? Alastair Matthews analyzes both the invocations of Wolfram that frame the text and the story of the Swan Knight that they enclose, arguing that Lohengrin is defined by a web of connections in which questions of identity and recognition are crucial, and thus that the themes at the core of the tale govern how it is told. Alastair Matthews, DPhil Oxford, is a Marie Curie ResearchFellow at the Centre for Medieval Literature, University of Southern Denmark.

New essays exploring the tension between the versions of the past in secret police files and the subjects' own personal memories-and creative workings-through-of events.The communist secret police services of Central and Eastern Europe kept detailed records not only of their victims but also of the vast networks of informants and collaborators upon whom their totalitarian systems depended. Theserecords, now open to the public in many former Eastern Bloc countries, reflect a textually mediated reality that has defined and shaped the lives of former victims and informers, creating a tension between official records and personal memories. Exploring this tension between a textually and technically mediated past and the subject/victim's reclaiming and retrospective interpretation of that past in biography is the goal of this volume. While victims' secret police files have often been examined as a type of unauthorized archival life writing, the contributors to this volume are among the first to analyze the fragmentary and sometimes remedial nature of these biographies and to examine the subject/victims' rewriting and remediation of them in various creative forms. Essays focus, variously, on the files of the East German Stasi, the Romanian Securitate (in relation to Transylvanian Germans in Romania), andthe Hungarian State Security Agency. Contributors: Carol Anne Costabile-Heming, Ulrike Garde, Valentina Glajar, Yuliya Komska, Alison Lewis, Corina L. Petrescu, Annie Ring, Aniko Szucs. Valentina Glajar is Professor of German at Texas State University, San Marcos. Alison Lewis is Professor of German in the School of Languages and Linguistics, The University of Melbourne, Australia. Corina L. Petrescu is Associate Professor of Germanat the University of Mississippi.

Essays examining representations of disaster in German and international contexts, exploring the nexus between disruption and recovery through narrative from the eighteenth century to the present.Destroying human habitat and taking human lives, disasters, be they natural, man-made, or a combination, threaten large populations, even entire nations and societies. They also disrupt the existing order and cause discontinuity in our sense of self and our perceptions of the world. To restore order, not only must human beings be rescued and affected areas rebuilt, but the reality of the catastrophe must also be transformed into narrative. The essays in this collection examine representations of disaster in literature, film, and mass media in German and international contexts, exploring the nexus between disruption and recovery through narrative from the eighteenth century to the present. Topics include the Lisbon earthquake, the Paris Commune, the Hamburg and Dresden fire-bombings in the Second World War, nuclear disasters in Alexander Kluge's films, the filmic aesthetics of catastrophe, Yoko Tawada's lectures on the Fukushima disaster and Christa Wolf's novel Storfall in light of that same disaster, Joseph Haslinger and the tsunami of 2004, traditions regarding avalanche disaster in the Tyrol, and the problems and implications of defining disaster. Contributors: Carol Anne Costabile-Heming, Yasemin Dayioglu-Yucel, Janine Hartman, Jan Hinrichsen, Claudia Jerzak, Lars Koch, Franz Mauelshagen, Tanja Nusser, Torsten Pflugmacher, Christoph Weber. Katharina Gerstenberger is Professor and Chair of the Department of Languages and Literature at the University of Utah. Tanja Nusser is DAAD Visiting Associate Professor of German at the University of Cincinnati.

Reveals Ann Tizia Leitich, American correspondent for Austrian newspapers in the 1920s and 1930s, as an important cultural mediator between the two countries.After the First World War, Vienna was overrun by jazz, Hollywood movies, and Fordism; its citizens were both fascinated and appalled by the waves of American ideas and products. To make sense of the American phenomenon, readers turned to Ann Tizia Leitich, the New York-based correspondent for Vienna's prominent daily Neue Freie Presse and other newspapers. Rob McFarland tells the story of Leitich's escape, occasioned by a personal crisis, from Austria to America in 1921, and of her rise as a journalist, cultural historian, and novelist. By the early 1930s, she had met President Coolidge, Senator Sol Bloom, the writer Upton Sinclair, and the critic H. L. Mencken. Her devotedreaders - including the novelist Stefan Zweig and the Austrian chancellor Ignatz Seipl - sought in her witty, insightful descriptions of the United States some American vitality to invigorate their own moribund culture and economy. Chronicling Leitich's career as a journalist, cultural historian, and novelist and providing close readings of her writings about America, this book reveals her as an important cultural mediator between Austria and America. Rob McFarland is Associate Professor of German at Brigham Young University.

Approaches the topic of classical music in the GDR from an interdisciplinary perspective, questioning the assumption that classical music functioned purely as an ideological support for the state.Classical music in the German Democratic Republic is commonly viewed as having functioned as an ideological support or cultural legitimization for the state, in the form of the so-called "e;bourgeois humanist inheritance."e; The largenumbers of professional orchestras in the GDR were touted as a proof of the country's culture. Classical music could be seen as the polar opposite of Americanizing pop culture and also of musical modernism, which was decried as formalist. Nevertheless, there were still musical modernists in the GDR, and classical music traditions were not only a prop of the state. This collection of new essays approaches the topic of classical music in the GDR from an interdisciplinary perspective, presenting the work of scholars in a number of complementary disciplines, including German Studies, Musicology, Aesthetics, and Film Studies. Contributors to this volume offer a broad examination of classical music in the GDR, while also uncovering nonconformist tendencies and questioning the assumption that classical music in the GDR meant nothing but (socialist) respectability. Contributors: Tatjana Bohme-Mehner, Martin Brady, Lars Fischer, Kyle Frackman, Golan Gur, Peter Kupfer, Albrecht von Massow, Carola Nielinger-Vakil, Jessica Payette, Larson Powell, Juliane Schicker, Martha Sprigge, Matthias Tischer, Jonathan L. Yaeger, Johanna Frances Yunker Kyle Frackman is Assistant Professor of Germanic Studies at the University of British Columbia. Larson Powell is Professor of German at the University of Missouri-Kansas City.