|
Showing 1 - 4 of
4 matches in All Departments
Features a new section on the institutional settings of German
Jewish Studies, a Film Forum on Shahar Rozen's 1998 documentary
Liebe Perla, and interviews with Paul Mendes-Flohr and Barbara
Honigmann, among other contributions. Nexus is the official
publication of the biennial German Jewish Studies Workshop at the
University of Notre Dame. Together, Nexus and the Workshop
constitute the first ongoing German Jewish Studies forum in North
America. Because the locus of scholarship is never incidental,
Nexus 6 introduces a new section, "Contexts," to examine, in this
case, what it means to pursue German Jewish Studies at a Catholic
university, Notre Dame. And because research is never static, it
inaugurates a series in which scholars revisit their own prior
scholarly publications. Robert Smith launches this initiative by
revising his view of Dietrich Bonhoeffer as a source for
post-Holocaust Christian-Jewish dialogue. The volume also offers
conversations with the legendary Paul Mendes-Flohr on his
understanding of the German Jewish "legacy" and with Barbara
Honigmann on her distinctive prose style and what it means to her
to practice Judaism. The popular Film Forum section returns, this
time focusing on Shahar Rozen's 1998 documentary Liebe Perla. Nexus
6 also presents new scholarship on Babi Yar Holocaust memorials,
Freud's famous Moses essay, Primo Levi's translation of Kafka, and
an introduction to and first English translation of the
18th-century philosopher Salomon Maimon's understudied essay
History of His Philosophical Authorship in Dialogues.
Alongside the usual wide-ranging lineup of research articles,
volume 41 features an interview with Berliner Ensemble actor
Annemone Haase and an extensive special section on teaching Brecht.
Now published for the International Brecht Society by Camden House,
the Brecht Yearbook is the central scholarly forum for discussion
of Bertolt Brecht's life and work and of topics of particular
interest to Brecht, especially the politics of literature and of
theater in a global context. It includes a wide variety of
perspectives and approaches, and, like Brecht himself, is committed
to the concept of the use value of literature, theater, and theory.
Volume 41 features an interview with longtime Berliner Ensemble
actor Annemone Haase by Margaret Setje-Eilers. A special section on
teaching Brecht, guest-edited by Per Urlaub and Kristopher
Imbrigotta, includes articles on creative appropriation in the
foreign-language classroom (Caroline Weist), satire in Arturo Ui
and The Great Dictator (Ari Linden), performative discussion (Cohen
Ambrose), Brecht for theater majors (Daniel Smith), teaching
performance studies with the Lehrstuck model (Ian Maxwell),
Verfremdung and ethics (Elena Pnevmonidou), Brecht on the college
stage (Julie Klassen and Ruth Weiner), and methods of teaching
Brechtian Stuckschreiben (Gerd Koch). Other research articles focus
on Harry Smith's Mahagonny (Marc Silberman), inhabiting empathy in
the contemporary piece Temping (James Ball), Brecht's appropriation
of Kurt Lewin's psychology (Ines Langemeyer), and Brecht's
collaborations with women, both across his career (Helen Fehervary)
and in exile in Skovsbostrand (Katherine Hollander). Editor
Theodore F. Rippey is Associate Professor of German at Bowling
Green State University.
Ari Linden's Karl Kraus and the Discourse of Modernity reconsiders
the literary works of the Viennese satirist, journalist, and
playwright Karl Kraus (1874-1936). Linden reads Kraus's work both
on its own terms and alongside philosophy and critical theory,
yielding a portrait of Kraus as an irrepressible figure in the
modernist tradition. In doing so, Linden draws a more robust image
of German modernism itself. Combining close readings with
intellectual history, Linden shows how Kraus's two major literary
achievements (The Last Days of Mankind and The Third Walpurgis
Night) and a lesser-known play (Cloudcuckooland) address the
political catastrophes of the first third of Europe's twentieth
century-from World War I to the rise of fascism. Kraus's central
insight, Linden argues, is that the medial representations of such
events have produced less an informed audience than one
increasingly unmoved by mass violence. In the second part of the
book, Linden explores this insight as he sees it inflected in SOren
Kierkegaard, Walter Benjamin, and Theodor Adorno. This hidden
dialogue, Linden argues, offers us a richer understanding of the
often neglected relationship between satire and critical theory
writ large.
Ari Linden's Karl Kraus and the Discourse of Modernity reconsiders
the literary works of the Viennese satirist, journalist, and
playwright Karl Kraus (1874-1936). Linden reads Kraus's work both
on its own terms and alongside philosophy and critical theory,
yielding a portrait of Kraus as an irrepressible figure in the
modernist tradition. In doing so, Linden draws a more robust image
of German modernism itself. Combining close readings with
intellectual history, Linden shows how Kraus's two major literary
achievements (The Last Days of Mankind and The Third Walpurgis
Night) and a lesser-known play (Cloudcuckooland) address the
political catastrophes of the first third of Europe's twentieth
century-from World War I to the rise of fascism. Kraus's central
insight, Linden argues, is that the medial representations of such
events have produced less an informed audience than one
increasingly unmoved by mass violence. In the second part of the
book, Linden explores this insight as he sees it inflected in SOren
Kierkegaard, Walter Benjamin, and Theodor Adorno. This hidden
dialogue, Linden argues, offers us a richer understanding of the
often neglected relationship between satire and critical theory
writ large.
|
|