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Interdisciplinary views of the debates over and transformation of
German cultural identity since unification. The events of 1989 and
German unification were seismic historical moments. Although 1989
appeared to signify a healing of the war-torn history of the
twentieth century, unification posed the question of German
cultural identity afresh. Politicians, historians, writers,
filmmakers, architects, and the wider public engaged in "memory
contests" over such questions as the legitimacy of alternative
biographies, West German hegemony, and the normalization of German
history. This dynamic, contested, and still ongoing transformation
of German cultural identity is the topic of this volume of new
essays by scholars from the United Kingdom, Germany, the United
States, and Ireland. It exploresGerman cultural identity by way of
a range of disciplines including history, film studies,
architectural history, literary criticism, memory studies, and
anthropology, avoiding a homogenized interpretation. Charting the
complex and often contradictory processes of cultural identity
formation, the volume reveals the varied responses that continue to
accompany the project of unification. Contributors: Pertti Ahonen,
Aleida Assmann, Elizabeth Boa,Peter Fritzsche, Anne Fuchs, Deniz
Goekturk, Kathleen James-Chakraborty, Anja K. Johannsen, Jennifer
A. Jordan, Jurgen Paul, Linda Shortt, Andrew J. Webber. Anne Fuchs
is Professor of German Literature at the University of St.Andrews,
Scotland. Kathleen James-Chakraborty is Professor of Art History at
University College Dublin, Ireland. Linda Shortt is Lecturer in
German at Bangor University, Wales.
Berlin has been the focal scene of some of the most dramatic and
formative events of the twentieth century. Through periods of
decadence, fascism, war, partition and reunification, it has seen
both extraordinary constraint and creativity. Andrew Webber
explores the cultural topography of Berlin and considers the city
as key capital of the twentieth century, reflecting its history,
its traumas and its achievements. He shows how its spaces and
buildings participate in the drama by analysing how they are
represented in literature and film. Taking his methodology from
Walter Benjamin, Webber presents bold readings of works synonymous
with Berlin, with authors from Bertolt Brecht and Franz Kafka to
Christa Wolf, and directors from Walther Ruttmann to Rainer Werner
Fassbinder and Wim Wenders. Across this range of material,
twentieth-century Berlin is seen to be as ambivalent as it is
fascinating.
This book explores urban life and realities in the cities of the
Global South and North. Through literature, film and other forms of
media that constitute shared social imaginaries, the essays in the
volume interrogate the modes of production that make up the fabric
of urban spaces and the lives of their inhabitants. They also
rethink practices that engender 'cityness' in diverse but
increasingly interlinked conglomerations. Probing 'orientations' of
and within major urban spaces of the South -Jakarta, Rio de
Janeiro, Tijuana, Delhi, Kolkata, Luanda and Johannesburg -the book
reveals the shared dynamics of urbanity built on and through the
ruins of imperialism, Cold War geopolitics, global neoliberalism
and the recent resurgence of nationalism. Completing a kind of arc,
the volume then turns to cities located in the North such as Paris,
Munich, Dresden, London and New York to map their coordinates in
relation to the South. The volume will be of great interest to
scholars and researchers of media and culture studies, city
studies, development studies, Global South studies, urban
geography, built environment and literature.
New essays by leading scholars on major aspects of the most
significant Austrian writer of the postwar generation. Since the
death of Thomas Bernhard in 1989, the literary reputation of this
complex and unique writer has risen to the point that he is now
regarded as a major European figure. Bernhard emerged in the 1960s
as one of Austria's major writers, challenging the popularity of
such established writers as Heinrich Boell and Gunter Grass on the
German literary scene. His idiosyncratic prose consists of a
tragic-comic blend of themes such as suicide, madness, and
isolation combined with highly satirical and histrionic invectives
against culture, tradition, and society. As a skillful impresario
of public scandals by means of verbal assaults upon Austrian elite
culture, Bernhard also earned himself the epithet of
UEbertreibungskunstler (artist of exaggeration). In this art of
cultural and political provocation Bernhard remains unmatched to
the present day. This volume of essays provides contributions by
well-known critics that examine the most salient aspects of
Bernhard's work, offering insights into literary strategies and
public themes that made Bernhard one of Europe's masters of modern
prose and drama. Essays examine Bernhard's complex artistic
sensibility, his impact on Austria's critical memory, his relation
to the legacy of Austrian Jewish culture, his representative value
as Austria's prime literary export, and his cosmopolitanism and its
significance forthe rapidly changing multicultural landscape of
Europe. Matthias Konzett is associate professor of German at Yale
University. He is the author of The Rhetoric of National Dissent in
Thomas Bernhard, Peter Handke, and Elfriede Jelinek (Camden House,
2000). Click here to view the introduction (PDF file 97KB)
A collection of essays -- early seminal works as well as
freshinterpretations -- on the famous German expressionist
film,Metropolis. Fritz Lang's classic 1927 film Metropolis has
justifiably become an icon for the complexities of Weimar culture.
Among the important general issues it also raises are the relation
between ideology and art, the status and authorship of the film
text in the entertainment market, the city, the construction of
gender, the relation between the human body and the machine in
modernity, and the relation between mass and high culture. This
volume provides abroad range of materials and resources for the
study of Lang's film, including both well-known, previously
published critical essays and contributions appearing for the first
time here. The editors provide a two-part introductionthat
furnishes context for what follows: Bachmann's part deals with the
genesis, production, and contemporary reception of the film, while
Minden's defines the problems posed by the text and reviews
thesolutions to these problemsas proposed by later generations of
critics.The first part of the book proper includes selected
contemporaryreviews, commentary by Fritz Lang and others involved
in the making ofthe film, and extracts from Thea von Harbou's
original novel. In the second part, eight modern scholars provide
fresh essays on the genesis, promotion, and reception of the film.
Approximately half of the material in the volume has never before
appeared in print. The volume will appealto students of German,
film, cultural and intellectual history, and social theory. Michael
Minden is University Lecturer in German at Cambridge University and
a fellow of Jesus College. Holger Bachmann received hisPh.D. from
Cambridge on Arthur Schnitzler and film.
This book explores urban life and realities in the cities of the
Global South and North. Through literature, film and other forms of
media that constitute shared social imaginaries, the essays in the
volume interrogate the modes of production that make up the fabric
of urban spaces and the lives of their inhabitants. They also
rethink practices that engender 'cityness' in diverse but
increasingly interlinked conglomerations. Probing 'orientations' of
and within major urban spaces of the South -Jakarta, Rio de
Janeiro, Tijuana, Delhi, Kolkata, Luanda and Johannesburg -the book
reveals the shared dynamics of urbanity built on and through the
ruins of imperialism, Cold War geopolitics, global neoliberalism
and the recent resurgence of nationalism. Completing a kind of arc,
the volume then turns to cities located in the North such as Paris,
Munich, Dresden, London and New York to map their coordinates in
relation to the South. The volume will be of great interest to
scholars and researchers of media and culture studies, city
studies, development studies, Global South studies, urban
geography, built environment and literature.
The Doppelgänger, or double, has been a key figure in literary representations of subjectivity since the Romantic movement. This book, based largely on psychoanalytic models, argues that the double embodies an ongoing crisis of identity in and around German culture in the nineteenth century. From the tales of Hoffmann to the Gothic revivals of early German cinema, it is seen to haunt both vision and language, representing a traumatic split between desire and knowledge.
This collection of essays by international specialists in the
literature of Berlin provides a lively and stimulating account of
writing in and about the city in the modern period. The first eight
chapters chart key chronological developments from 1750 to the
present day, while subsequent chapters focus on Berlin drama and
poetry in the twentieth century and explore a set of key identity
questions: ethnicity/migration, gender (writing by women), and
sexuality (queer writing). Each chapter provides an informative
overview along with closer readings of exemplary texts. The volume
is designed to be accessible for readers seeking an introduction to
the literature of Berlin, while also providing new perspectives for
those already familiar with the topic. With a particular focus on
the turbulent twentieth century, the account of Berlin's literary
production is set against broader cultural and political
developments in one of the most fascinating of global cities.
New essays providing an overview of the major movements, genres,
and authors of 19th-century German literature in social and
political context. This volume provides an overview of the major
movements, genres, and authors of 19th-century German literature in
the period from the death of Goethe in 1832 to the publication of
Freud's Interpretation of Dreams in 1899. Although the primary
focus is on imaginative literature and its genres, there is also
substantial discussion of related topics, including music-drama,
philosophy, and the social sciences. Literature is considered in
its cultural and socio-political context, and the German literary
scene takes its place in a wider European perspective. Following
the editors' introduction, essays consider the impact of
Romanticism on subsequent literary movements, the effectsof major
movements and writers of non-German-speaking Europe on the
development of German literature, and the impact of politics on the
changing cultural scene. The second section presents overviews of
the principal movements ofthe time (Junges Deutschland, Vormarz,
Biedermeier, Poetic Realism, Naturalism, Symbolism, and
Impressionism), and the third section focuses on the major genres
of lyric poetry, prose fiction, drama, and music-drama. The final
section provides bibliographical resources in the form of a
critical bibliography and a list of primary sources. Contributors
to the volume are distinguished scholars of German literature,
culture, and history from North America andEurope: Andrew Webber,
Lilian Furst, Arne Koch, Robert Holub, Gail Finney, Ernst
Grabovszki, Benjamin Bennett, Jeffrey Sammons, Thomas Pfau,
Christopher Morris, John Pizer, Thomas Spencer. Clayton Koelb is
Guy B. Johnson Distinguished Professor of German at the University
of North Carolina-Chapel Hill, and Eric Downing is Associate
Professor of German at the same institution.
Berlin has been the focal scene of some of the most dramatic and
formative events of the twentieth century. Through periods of
decadence, fascism, war, partition and reunification, it has seen
both extraordinary constraint and creativity. Andrew Webber
explores the cultural topography of Berlin and considers the city
as key capital of the twentieth century, reflecting its history,
its traumas and its achievements. He shows how its spaces and
buildings participate in the drama by analysing how they are
represented in literature and film. Taking his methodology from
Walter Benjamin, Webber presents bold readings of works synonymous
with Berlin, with authors from Bertolt Brecht and Franz Kafka to
Christa Wolf, and directors from Walther Ruttmann to Rainer Werner
Fassbinder and Wim Wenders. Across this range of material,
twentieth-century Berlin is seen to be as ambivalent as it is
fascinating.
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