Foundational theories of epistemic justice, such as Miranda Fricker's, have cited literary narratives to support their case. But why have those narratives in particular provided the resource that was needed? And is cultural production always supportive of epistemic justice? This essay collection, written by experts in literary, philosophical, and cultural studies working in conversation with each other across a range of global contexts, expands the emerging field of epistemic injustice studies. The essays analyze the complex relationship between narrative, aesthetics, and epistemic (in)justice, referencing texts, film, and other forms of cultural production. The authors present, without seeking to synthesize, perspectives on how justice and injustice are narratively and aesthetically produced. This volume by no means wants to say the last word on epistemic justice and creative agency. The intention is to open out a productive new field of study, at a time when understanding the workings of injustice and possibilities for justice seems an ever more urgent project.

This volume analyses and historicises the memory of 1968 (understood as a marker of an emerging will for social change around the turn of that decade, rather than as a particular calendar year), focusing on cultural memory of the powerful signifier '68' and women's experience of revolutionary agency. After an opening interrogation of the historical and contemporary significance of "1968" - why does it still matter? how and why is it remembered in the contexts of gender and geopolitics? and what implications does it have for broader feminist understandings of women and revolutionary agency? - the contributors explore women's historical involvement in "1968" in different parts of the world and the different ways in which women's experience as victims and perpetrators of violence are remembered and understood. This work will be of great interest to students and scholars of protest and violence in the fields of history, politics and international relations, sociology, cultural studies, and women's studies.

This volume analyses and historicises the memory of 1968 (understood as a marker of an emerging will for social change around the turn of that decade, rather than as a particular calendar year), focusing on cultural memory of the powerful signifier '68' and women's experience of revolutionary agency. After an opening interrogation of the historical and contemporary significance of "1968" - why does it still matter? how and why is it remembered in the contexts of gender and geopolitics? and what implications does it have for broader feminist understandings of women and revolutionary agency? - the contributors explore women's historical involvement in "1968" in different parts of the world and the different ways in which women's experience as victims and perpetrators of violence are remembered and understood. This work will be of great interest to students and scholars of protest and violence in the fields of history, politics and international relations, sociology, cultural studies, and women's studies.

This volume presents and interrogates both theoretical and artistic expressions of the revolutionary, militant spirit associated with "1968" and the aftermath, in the specific context of gender. The contributors explore political-philosophical discussions of the legitimacy of violence, the gender of aggression and peaceability, and the contradictions of counter violence; but also women’s artistic and creative interventions, which have rarely been considered. Together the chapters provide and provoke a wide-ranging rethink of how we read not only "1968" but more generally the relationship between gender, political violence, art and emancipation. This work will be of great interest to students and scholars of protest and violence in the fields of history, politics and international relations, sociology, cultural studies, and women’s studies.

This volume presents and interrogates both theoretical and artistic expressions of the revolutionary, militant spirit associated with "1968" and the aftermath, in the specific context of gender. The contributors explore political-philosophical discussions of the legitimacy of violence, the gender of aggression and peaceability, and the contradictions of counter violence; but also women's artistic and creative interventions, which have rarely been considered. Together the chapters provide and provoke a wide-ranging rethink of how we read not only "1968" but more generally the relationship between gender, political violence, art and emancipation. This work will be of great interest to students and scholars of protest and violence in the fields of history, politics and international relations, sociology, cultural studies, and women's studies.

The "Routledge Handbook of German Politics and Culture" offers a wide-ranging and authoritative account of Germany in the 21st century. It gathers the expertise of internationally leading scholars of German culture, politics, and society to explore and explain

• historical pathways to contemporary Germany
• the current Berlin Republic
• society and diversity
• Germany and Europe
• Germany and the world.

This is an essential resource for students, researchers, and all those looking to understand contemporary German politics and culture."

Foundational theories of epistemic justice, such as Miranda Fricker's, have cited literary narratives to support their case. But why have those narratives in particular provided the resource that was needed? And is cultural production always supportive of epistemic justice? This essay collection, written by experts in literary, philosophical, and cultural studies working in conversation with each other across a range of global contexts, expands the emerging field of epistemic injustice studies. The essays analyze the complex relationship between narrative, aesthetics, and epistemic (in)justice, referencing texts, film, and other forms of cultural production. The authors present, without seeking to synthesize, perspectives on how justice and injustice are narratively and aesthetically produced. This volume by no means wants to say the last word on epistemic justice and creative agency. The intention is to open out a productive new field of study, at a time when understanding the workings of injustice and possibilities for justice seems an ever more urgent project.

The Routledge Handbook of German Politics and Culture offers a wide-ranging and authoritative account of Germany in the 21st century. It gathers the expertise of internationally leading scholars of German culture, politics, and society to explore and explain: historical pathways to contemporary Germany the current 'Berlin Republic' society and diversity Germany and Europe Germany and the world. This is an essential resource for students, researchers, and all those looking to understand contemporary German politics and culture.

As Nelson Mandela said, ‘a nation should not be judged by how it treats its highest citizens, but its lowest ones.’ Shadowland tells the sometimes inspiring, often painful stories of Germany’s prisoners, and thereby shines new light on Germany itself. The story begins at the end of the Second World War, in a defeated country on the edge of collapse, in which orphaned and lost children are forced to live rough, scavenging and stealing to stay alive, often laying the foundations of a ‘criminal career’. While East Germany developed detention facilities for its secret police, West Germany passed prison reform laws, which erected, in the words of a prisoner, ‘little asbestos walls in Hell’. Shadowland is Germany as seen through the lives, experiences, triumphs and tragedies of its lowest citizens.

Volume focusing on a multitude of incarnations and meanings of "masculinity" in German culture from medieval times to the present. Intended to encourage and disseminate lively and open discussion of themes pertinent to German Studies, viewed from all angles -- literary, artistic, musical, theoretical -- Edinburgh German Yearbook takes particular interest in cultural problems and issues arising out of politics and history. Each year, EGYB invites scholarly contributions on a topic of current challenge to German Studies. No other yearbook covers the entire field of GermanStudies while addressing a focused theme in each issue; by doing so, EGYB aims to encourage real debate around the issues at hand. Volume 2 examines the meanings and significance of "masculinity" in German culture, from medieval mystics to the cultural impact of young male immigrants living in Germany today. Other topics include medieval masculinity, the heroic Germanic ideal in the 16th and 17th centuries, masculinity in fairy tales, Jewishness andthe masculine, toys for boys in Wilhelmine Germany, the science of sexology, and the masculine as it appears in photography, fashion, army magazines, terrorism, and prison culture. Contributors: Peter Davies, Cordula Politis, Theresia Heimerl, Franziska Ziep, Helen Watanabe-O'Kelly, Hanne Boenisch, Antje Roeben, Laura Martin, Kristiane Gerhardt, Michael Gratzke, Martin Lucke, Stephanie Catani, Bryan Ganaway, Jason Lieblang, David James Prickett, Katie Sutton, Elisabeth Krimmer, Franz Bokel, Andrew Bickford, Ingrid Sharp, Clare Bielby, Sarah Colvin, Elke Gilson, Frauke Matthes. Sarah Colvin is Professor and Eudo C. Mason Chair of German, and Peter Davies is Senior Lecturer in German, both at the University of Edinburgh.

First specialized study of Meinhof and the RAF in English, focusing on their use of language to justify extreme violence. In 1970 Ulrike Meinhof abandoned a career as a political journalist to join the Red Army Faction; captured as a terrorist along with other members of the group in 1972, she died an unexplained death in a high-security prison in 1976. A charismatic spokesperson for the RAF, she has often come near to being idealized as a freedom fighter, despite her use of extreme violence. In an effort to understand how terrorism takes root, Sarah Colvin seeks a dispassionate view of Meinhof and a period when West Germany was declaring its own "war on terror." Ulrike Meinhof always remained a writer, and this book focuses on the role of language in her development and that of the RAF: how Meinhof came to justify violence to the point of murder, creating an identity for the RAF as resistance fighters in an imagined state of war that was reinforced by the state's adoption of what Andreas Musolff has called "war terminology."But its all-powerful identity as a fighting group eroded the RAF's empathy with other human beings -- even those it once claimed to be "fighting for." It became a closed unit, self-justifying and immobilized by its own convictionthat everything it did must be right. This is the first specialized study of Meinhof and the RAF in English -- which is remarkable given the current interest in the topic in both Europe and the U.S. Sarah Colvin is Professor and Eudo C. Mason Chair of the German Department at the University of Edinburgh, UK.

Explores both constants and changes in representations of warlike and violent women in German culture over the past six centuries. Warlike women are a recurring phenomenon in German literature and culture since 1500. Amazons, terrorists, warrior women -- this volume of essays by leading scholars from the UK and Germany analyzes ideas and portrayals of these figures in the visual arts, society, media, and scholarship, always against the backdrop of Germany's development as a culture and as a nation. The contributors look for patterns in the historical portrayal of warlike women, askingthe questions: What cultural signals are sent when women are shown occupying men's spaces by dressing as warriors or in men's clothing? What can legitimize the woman who bears arms? From what is the erotic potential of images linking women and violence derived? Have recent feminist thought and political developments changed representations of warlike women? Contributors: Bettina Brandt, Sarah Colvin, Mererid Puw Davies, Peter Davies, ChristineEifler, Ute Frevert, Kathrin Hoffmann-Curtius, Ritchie Robertson, Daria Santini, Ruth Seifert, Helen Watanabe-O'Kelly. Sarah Colvin is Eudo C. Mason Chair of German at the University of Edinburgh. Helen Watanabe-O'Kellyis Professor of German at Oxford University and Fellow and Tutor of Exeter College, Oxford.

Explores the traditional bias against women's drama and asks to what extent women playwrights have been able to overcome it. For women, according to the contemporary Austrian dramatist Elfriede Jelinek, writing for the theater is an act of transgression. The idea that drama as a grand public genre resists women writers has become established in recent scholarship. But Jelinek herself has won the Buchner Prize, the most prestigious award in German letters, and there is a wealth of dramatic work by women from the 20th century and before: both facts seem to contradict the notion ofwomen's exclusion from drama. So why has drama by women appear to have been written against the odds, and why has it, until very recently, been missing from literary histories? This book looks in detail at women's playwriting inGerman between 1860 and 1945, and at its reception by critics. Many of the works considered have never before been analyzed by modern scholarship; others, notably the plays of Marieluise Fleisser and Else Lasker-Schuler, are wellknown, but are read here for the first time in the context of earlier dramatic work by women. Sarah Colvin seeks modes of reading that do justice both to the dramatic texts as performance texts, and to the sense of "otherness" experienced by the woman writer in a male-dominated literary and theatrical environment. She concludes that an understanding of the techniques developed by women playwrights of the nineteenth and early twentieth centuries canenrich our reading not only of Fleisser and Lasker, but of contemporary dramatists such as Jelinek. If all the world's a stage, playwrights can theoretically be seen as in control of the world they create; this book asks to what extent women dramatists manage to use the space of the drama to reflect the world that they experience. Sarah Colvin is Reader in German at the University of Edinburgh.