Narrative explanations are preferred over non-narrative, axiomatically, in the humanities. They are more truthful in two senses. Firstly they correspond more closely than a-narrative theories to reality. Secondly they enable, at the very least, value-loaded normative inferences. This is particularly the case when aesthetics is added to the mix. Emslie examines this argument over a wide terrain and over materials ranging from high to popular culture and from close analysis to anecdote, including Marxist Humanism, Feminist literary praxis, Freud, German idealism, discourse ethics, realist aesthetics, Brecht, and sports.

Provocative and spiced with humor, this book uses a cultural studies approach to examine the fraught relationship in German history between material reality and ideology. German history never loses its fascination. It is exceptionally varied, contradictory, and raises difficult problems for the historian. In a material sense, there have been a great many Germanies, so that it was long unclear what"Germany" would amount to geopolitically, while German intellectuals fought constantly over the idea(s) of Germany. Provocative and spiced with humor, Speculations tackles Germany's successes and catastrophes in view of this fraught relationship between material reality and ideology. Concentrating on the period from Friedrich the Great until today, the book is less a conventional history than an extended essay. It moves freely within the chosenperiod, and because of its cultural studies disposition, devotes a great deal of attention to German writers, artists, and intellectuals. It looks at the ways in which German historians have attempted to come to terms with theirown varying notions of nation, culture, and race. An underlying philosophical assumption is that history is not one dominant narrative but a struggle between competing, simultaneous narratives: like all those Germanies of thepast and of the mind, history is plural. Barry Emslie pursues this agenda into the present, arguing that there has been an unprecedented qualitative change in the Federal Republic in the quarter-century since unification. Barry Emslie lives and teaches in Berlin. He is the author of Richard Wagner and the Centrality of Love (Boydell Press, 2010) and Narrative and Truth: An Ethical and Dynamic Paradigm for the Humanities (PalgraveMacmillan, 2012).

In this book, Emslie establishes that narrative explanations are to be preferred over non-narrative in the humanities. They are more truthful in two senses. They both correspond more closely to reality and allow inference as to normative values. This is particularly the case when aesthetics are added to the mix.

Emslie's study of Wagner's creativity examines the centrality of love - and its obverse, hate - to the composer's world view. Richard Wagner and the Centrality of Love is a bold book which argues that Wagner's music dramas cannot be understood if treated separately from his essays, his life, the intellectual and artistic climate of his day, and the broader history of Germany. Wagner attempts a range of reconciliations that are radical in content and form and appear to succeed partly because he is in well-nigh complete command of the aesthetic product; not only text and music, but also production practice. Nonetheless, all the reconciliations ultimately break down, but in a manner that is illuminating. This is not a celebration of the seamless work of art, but a radical unpicking of the seemingly seamless. 'Love' is the central organising concept of the whole Wagnerian project. Love - sexual and spiritual, egotistical and charitable, love of the individual and of the race - is the key Wagnerian driving force. And therefore so is hate. Of course Wagner cannot employ love without its opposite, and it is critically significant that his anti-semitism is based upon his view that the Jews are 'loveless'. The book handles Wagner's anti-semitism (andthe ongoing row about it) in a unique way, in that it is shown to be aesthetically and intellectually productive (for him!). This leads to a radical reinterpretation of Wagner's music dramas. BARRY EMSLIE is an independent scholar who lives and teaches in Berlin.