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A much-needed look at the fiction that was actually read by masses
of Germans in the late nineteenth century, and the conditions of
its publication and reception. The late nineteenth century was a
crucial period for the development of German fiction. Political
unification and industrialization were accompanied by the rise of a
mass market for German literature, and with it the beginnings ofthe
German bestseller.Offering escape, romance, or adventure, as well
as insights into the modern world, nineteenth-century bestsellers
often captured the imagination of readers well into the twentieth
century and beyond. However, many have been neglected by scholars.
This volume offers new readings of literary realism by focusing not
on the accepted intellectual canon but on commercially successful
fiction in its material and social contexts. It investigates
bestsellers from writers such as Freytag, Dahn, Jensen, Raabe,
Viebig, Stifter, Auerbach, Storm, Moellhausen, Marlitt, Suttner,
and Thomas Mann. The contributions examine the aesthetic strategies
that made the works sucha success, and writers' attempts to appeal
simultaneously on different levels to different readers.
Bestselling writers often sought to accommodate the expectations of
publishers and the marketplace, while preserving some sense
ofartistic integrity. This volume sheds light on the important
effect of the mass market on the writing not just of popular works,
but of German prose fiction on all levels. Contributors: Christiane
Arndt, Caroline Bland, Elizabeth Boa, Anita Bunyan, Katrin Kohl,
Todd Kontje, Peter C. Pfeiffer, Nicholas Saul, Benedict Schofield,
Ernest Schonfield, Martin Swales, Charlotte Woodford. Charlotte
Woodford is Lecturer in German and Directorof Studies in Modern
Languages at Selwyn College, University of Cambridge. Benedict
Schofield is Senior Lecturer in German and Head of the Department
of German at King's College London.
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.
First comprehensive look at how today's German literary fiction
deals with questions of German victimhood. In recent years it has
become much more accepted in Germany to consider aspects of the
Second World War in which Germans were not perpetrators, but
victims: the Allied bombing campaign, expulsions of "ethnic"
Germans, mass rapes of German women, and postwar internment and
persecution. An explosion of literary fiction on these topics has
accompanied this trend. Sebald's The Air War and Literature and
Grass's Crabwalk are key texts, but there are many others; the
great majority seek not to revise German responsibility for the
Holocaust but to balance German victimhood and German perpetration.
This book of essays is the first in English to examine closely the
variety ofthese texts. An opening section on the 1950s -- a decade
of intense literary engagement with German victimhood before the
focus shifted to German perpetration -- provides context, drawing
parallels but also noting differences between the immediate postwar
period and today. The second section focuses on key texts written
since the mid-1990s shifts in perspectives on the Nazi past, on
perpetration and victimhood, on "ordinary Germans," and on the
balance between historical empathy and condemnation. Contributors:
Karina Berger, Elizabeth Boa, Stephen Brockmann, David Clarke, Mary
Cosgrove, Rick Crownshaw, Helen Finch, Frank Finlay, Katharina
Hall, Colette Lawson, Caroline Schaumann, Helmut Schmitz, Kathrin
Schoedel, and Stuart Taberner. Stuart Taberner is Professor of
Contemporary German Literature, Culture, and Society at the
University of Leeds. Karina Berger holds a PhD in German from the
University of Leeds.
First comprehensive look at how today's German literary fiction
deals with questions of German victimhood. In recent years it has
become much more accepted in Germany to consider aspects of the
Second World War in which Germans were not perpetrators, but
victims: the Allied bombing campaign, expulsions of "ethnic"
Germans, mass rapes of German women, and postwar internment and
persecution. An explosion of literary fiction on these topics has
accompanied this trend. Sebald's The Air War and Literature and
Grass's Crabwalk are key texts, but there are many others; the
great majority seek not to revise German responsibility for the
Holocaust but to balance German victimhood and German perpetration.
This book of essays is the first in English to examine closely the
variety ofthese texts. An opening section on the 1950s -- a decade
of intense literary engagement with German victimhood before the
focus shifted to German perpetration -- provides context, drawing
parallels but also noting differences between the immediate postwar
period and today. The second section focuses on key texts written
since the mid-1990s shifts in perspectives on the Nazi past, on
perpetration and victimhood, on "ordinary Germans," and on the
balance between historical empathy and condemnation. Contributors:
Karina Berger, Elizabeth Boa, Stephen Brockmann, David Clarke, Mary
Cosgrove, Rick Crownshaw, Helen Finch, Frank Finlay, Katharina
Hall, Colette Lawson, Caroline Schaumann, Helmut Schmitz, Kathrin
Schoedel, and Stuart Taberner. Stuart Taberner is Professor of
Contemporary German Literature, Culture, and Society at the
University of Leeds. Karina Berger holds a PhD in German from the
University of Leeds.
Essays shedding light on the increasingly open cultural debate on
the German past. Since unification in 1990, Germany has seen a boom
in the confrontation with memory, evident in a sharp increase in
novels, films, autobiographies, and other forms of public discourse
that engage with the long-term effects of National Socialism across
generations. Taking issue with the concept of
"Vergangenheitsbewaltigung," or coming to terms with the Nazi past,
which after 1945 guided nearly all debate on the topic, the
contributors to this volume view contemporary German culture
through the more dynamic concept of "memory contests," which sees
all forms of memory, public or private, as ongoing processes of
negotiating identity in the present. Touching on gender,
generations, memory and postmemory, trauma theory, ethnicity,
historiography, and family narrative, the contributions offer a
comprehensive picture of current German memory debates, in so doing
shedding light on the struggle to construct a Germanidentity
mindful of but not wholly defined by the horrors of National
Socialism and the Holocaust. Contributors: Peter Fritzsche, Anne
Fuchs, Elizabeth Boa, Stefan Willer, Chloe E. M. Paver, Matthias
Fiedler, J. J. Long, Dagmar C. G. Lorenz, Cathy S. Gelbin, Jennifer
E. Michaels, Mary Cosgrove, Andrew Plowman, Roger Woods. Anne Fuchs
is Professor of Modern German literature and Georg Grote is
Lecturer in German history, both at University College Dublin. Mary
Cosgrove is Lecturer in German at the University of Edinburgh.
From Goethe to Gide brings together twelve essays on canonical male
writers (six French and six German) commissioned from leading
specialists in Britain and North America. Working with the tools of
feminist criticism, the authors demonstrate how feminist readings
of these writers can illuminate far more than attitudes to women.
They raise fundamental aesthetic questions regarding, creativity,
genre, realism and canonicity and show how feminist criticism can
revitalize debate on these much-read writers. These commissioned
essays from individual specialists focus on Rousseau, Goethe,
Schiller, Hoffmann, Stendhal, Baudelaire, Flaubert, Heine, Fontane,
Zola, Kafka, Gide. The collection therefore foregrounds the major
authors taught on British university BA courses in French and
German who also shaped the dominant aesthetics, philosophy and
bourgeois culture of European letters between 1770 and 1936. on
these writers Unique in providing a comparative feminist reading of
the aesthetics of canonical male works from the literatures of
France and Germany, 1770-1936 Provides a major reassessment of some
of the literary figures most studied in French and German courses
around the world
The discourse of Heimat, meaning homeland or roots, has been a
medium of debate on German identity between region and nation for
at least a century. Four phases parallel Germany's discontinuous
history: Heimat literature as a response to modernization and to
regional tensions before World War I; the inter-war period when
Heimat divided into racist ideology, left-wing opposition, and
inner resistance to the Third Reich; a post-war dialectic between
escapist 1950s Heimat films and right-wing claims to the lost lands
in the East to which anti-Heimat theatre and films in the 1960s and
1970s were a response, with the urban Heimat in GDR films adding a
socialist twist; regionalism and green politics in the 1980s and
German identity beyond Cold War divisions. A key point of reference
in debates on German history, Heimat looks likely to continue in
postmodern and multicultural mode.
German identity has been a controversial theme throughout the modern age, especially in the wake of unification. This study explores the theme of identity between locality and nation in literature and film from the late nineteenth-century through to the present, locating key novels and films in a wider cultural context of great significance for an understanding of German history.
Elizabeth Boa's new study of Kafka relates gender to other facets of identity. The work locates Kafka's images of the male body and undermining of stereotypes such as the New Woman, the Whore, or the assimiliating Jew in the context of sexist, racist, and militaristic ideology in the early twentieth century.
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