New essays examining the complex period of rich artistic ferment that was German literary Expressionism. More than any other avant-garde movement, German Expressionism captures the aesthetic revolution of 20th-century modernity in all its contrasts and conflicts. In continuous eruptions from 1905 to 1925, Expressionism upset reigningpractices in the arts, most vividly in painting and the visual arts. In the literature, a heady intellectualism combined with dramatic gesture, graphic visions, exuberant emotions and urgent proclamations to forge forceful stylesof verbal expression. Expressionism introduced into art both visual and verbal a shockingly new intensity with many facets and many faces. This volume presents the literature of German Expressionism, which is far less known in the English-speaking world, with essays by leading scholars on Expressionism's philosophical origins, its thematic preoccupations, and its divergent stylistic manifestations by writers whose common bond is intensity and whose lineson the page read like the gouges of a woodcut: Georg Kaiser, Walter Hasenclever, and Ernst Toller in drama; Gottfried Benn, Georg Heym, Else Lasker-Schuler, and Georg Trakl in poetry; Alfred Doeblin, Carl Einstein, and Carl Sternheim in prose, to name just a few. Against the background of the journals, exhibitions, and anthologies, the cafe meeting places and public life of Expressionism, the volume's highly focused, intrinsic analyses of texts and comprehensive overviews of extrinsic contexts (and of the most up-to-date research) shows the fervor and complexity of the period and its effulgent literary formations. Neil H. Donahue is Professor of German and Comparative Literature at Hofstra University.

New essays by leading scholars on the most perplexing of modern writers, Franz Kafka. No other 20th-century writer of German-language literature has been as fully accepted into the canon of world literature as Franz Kafka. The unsettlingly, enigmatically surreal world of Kafka's novels and stories continues to fascinate readers and critics of each new generation, who in turn continue to find new readings. One thing has become clear: although all theories attempt to appropriate Kafka, there is no one key to his work. The challenge to criticshas been to present a strong point of view while taking account of previous Kafka research, a challenge that has been met by the contributors to this volume. Contributors: James Rolleston, Clayton Koelb, Walter H. Sokel, Judith Ryan, Russel A. Berman, Ritchie Robertson, Henry Sussman, Stanley Corngold, Bianca Theisen, Rolf J. Goebel, Richard T. Gray, Ruth V. Gross, Sander L. Gilman, John Zilcosky, Mark Harman James Rolleston is Professor Emeritus of German at Duke University.

Illuminates the major aspects of the works of Germany's greatest 20th-century poet. Rainer Maria Rilke (1875-1926) is the best-known German poet of his generation and is widely appreciated today by readers in Europe, the United States, and world-wide. Because of the inventiveness and musicality of his poetic language and the visionary intuition of his thinking, Rilke's influence extends well beyond poetry to include religion, philosophy, the social sciences, and the arts. His works have been widely translated into English, and new enderings of such poem cycles as The Duino Elegies and The Sonnets to Orpheus appear frequently. Critics regard Rilke's Notebooks of Malte Laurids Brigge as a seminal modern novel. The Companion to Rilke provides essential, up-to-date essays by top Rilke scholars on a wide range of the major aspects of Rilke's life and works. The volume follows the chronology of Rilke's career, emphasizing those works that have met with the greatest critical interest. Among the topics covered are: Rilke's life and thought; the writings before 1902; Das Stunden-Buch and Das Buch der Bilder; the Neue Gedichte, The Cornet and other brief narratives; Malte Laurids Brigge; The Duino Elegies; The Sonnets to Orpheus; Rilke as a poet in French; Rilke and the visual arts. Erika and Michael Metzger (SUNY Buffalo) have written extensively on various aspects ofGerman literature and have edited significant Baroque texts.

James Napier Robertson directs this drama starring Cliff Curtis. One-time Maori chess champion Genesis Potini (Curtis) battles many things on a daily basis including bi-polar disorder, prejudice and violence. When the future of his beloved chess club begins to look bleak, he vows to do everything in his power to save his home from home.

No other writer of German-language literature in the 20th century has been as fully accepted into the canon of world literature as Franz Kafka. The unsettlingly, enigmatically surreal world depicted in Kafka's novels and stories continues to fascinate readers and critics of each new generation, who in turn continue to find new readings. One thing has become wholly clear: although all theories attempt to appropriate Kafka, there is no one key to his work. The challenge to critics has been to present a strong point of view while taking account of previous Kafka research, a challenge that has been met by the contributors to this volume. The essays follow an introduction by the editor,and include: Clayton Koelb on the controversial question of Kafka editions; Walter H. Sokel on a life of reading--and writing about--Kafka; Judith Ryan on the early stories; Russell A. Berman on tradition and betrayal in `The Judgment'; Ritchie Robertson on anti-Christian elements in `The Judgment,' `The Metamorphosis,' and the aphorisms; Henry Sussman on Kafka's evolving aesthetics; Stanley Corngold on The Trial; Bianca Theisen on Kafka's use of circus motifs in the stories `Up in the Gallery' and `First Sorrow'; Rolf J. Goebel on the connection of Kafka's The Missing Person, `In the Penal Colony,' and `The Great Wall of China' to postcolonial critique; Richard T. Gray on the semiotics and aesthetics of `In the Penal Colony'; Ruth V. Gross on the `enigmatics' of the short fiction; Sander L. Gilman on Kafka's Jewishness and the story `The Country Doctor'; John Zilcosky on the colonial visionsin The Castle; Mark Harman on the variants to The Castle and what they tell us about Kafka's writing process; and Clayton Koelb on Kafka's rhetoric in the late stories `Josephine the Singer' and `The Burrow.' James Rolleston is Emeritus Professor of German at Duke University and has written widely on topics in modern German literature.

Walter Benjamin (1892-1940) was the quintessential European intellectual between the two world wars. Historian, philosopher, literary critic, student of language and culture, and journalist, the independent scholar was forever trying to define himself and his time as products of a tradition in crisis. In a very real sense, Benjamin's life and work were one--a chronicle of the modern European intellectual and mirror of an era. Bernd Witte's interpretive biography introduces Benjamin through critical thought and through topics and authors that ignited Benjamin's work. For the first time, English readers have the opportunity to survey the facts surrounding Benjamin's life and assess the interpretations of his texts. Witte's quest for Benjamin's own perspective yields a full chronology and sympathetic mastery of Benjamin's ideas. The German edition, titled Walter Benjamin: Einfiihrung in Leben und Werk, was published in 1985.

Theodor W. Adorno (1903-1969) was one of the twentieth century's most important thinkers. In light of two pivotal developments--the rise of fascism, which culminated in the Holocaust, and the standardization of popular culture as a commodity indispensable to contemporary capitalism--Adorno sought to evaluate and synthesize the essential insights of Western philosophy by revisiting the ethical and sociological arguments of his predecessors: Kant, Nietzsche, Hegel, and Marx. This book, first published in Germany in 1996, provides a succinct introduction to Adorno's challenging and far-reaching thought. Gerhard Schweppenhauser, a leading authority on the Frankfurt School of critical theory, explains Adorno's epistemology, social and political philosophy, aesthetics, and theory of culture.

After providing a brief overview of Adorno's life, Schweppenhauser turns to the theorist's core philosophical concepts, including post-Kantian critique, determinate negation, and the primacy of the object, as well as his view of the Enlightenment as a code for world domination, his diagnosis of modern mass culture as a program of social control, and his understanding of modernist aesthetics as a challenge to conceive an alternative politics. Along the way, Schweppenhauser illuminates the works widely considered Adorno's most important achievements: "Minima Moralia," "Dialectic of Enlightenment" (co-authored with Horkheimer), and "Negative Dialectics." Adorno wrote much of the first two of these during his years in California (1938-49), where he lived near Arnold Schoenberg and Thomas Mann, whom he assisted with the musical aesthetics at the center of Mann's novel "Doctor Faustus."

Theodor W. Adorno (1903-1969) was one of the twentieth century's most important thinkers. In light of two pivotal developments--the rise of fascism, which culminated in the Holocaust, and the standardization of popular culture as a commodity indispensable to contemporary capitalism--Adorno sought to evaluate and synthesize the essential insights of Western philosophy by revisiting the ethical and sociological arguments of his predecessors: Kant, Nietzsche, Hegel, and Marx. This book, first published in Germany in 1996, provides a succinct introduction to Adorno's challenging and far-reaching thought. Gerhard Schweppenhauser, a leading authority on the Frankfurt School of critical theory, explains Adorno's epistemology, social and political philosophy, aesthetics, and theory of culture.

After providing a brief overview of Adorno's life, Schweppenhauser turns to the theorist's core philosophical concepts, including post-Kantian critique, determinate negation, and the primacy of the object, as well as his view of the Enlightenment as a code for world domination, his diagnosis of modern mass culture as a program of social control, and his understanding of modernist aesthetics as a challenge to conceive an alternative politics. Along the way, Schweppenhauser illuminates the works widely considered Adorno's most important achievements: "Minima Moralia," "Dialectic of Enlightenment" (co-authored with Horkheimer), and "Negative Dialectics." Adorno wrote much of the first two of these during his years in California (1938-49), where he lived near Arnold Schoenberg and Thomas Mann, whom he assisted with the musical aesthetics at the center of Mann's novel "Doctor Faustus."

"The New Trial" is Peter Weiss's final drama, completed only months before his death in 1982 and never before published in English.""One of Europe's most important twentieth century playwrights--often considered as influential as Brecht and Beckett--Weiss is best known to American audiences as the author of the Broadway play "Marat/Sade "and the three-volume novel "The Aesthetics of Resistance, " which has elicited comparison with Joyce's "Ulysses "and Garcia Marquez's "One Hundred Years of Solitude. "Initially influenced by Franz Kafka and later by the American Henry Miller, Weiss worked to expose the hypocrisy, the deception, and the nature of aggression in the contemporary world.
A transformative "updating" of Kafka's novel "The Trial, ""The New Trial "presents a surreal, hallucinatory look at the life of "Josef K.," chief attorney in an enormous multinational firm that exploits both his idealism and his self-doubt in order to present to the world a public face that will mask its own dark and fascistic intentions. Fusing Marxist and capitalist perspectives in a manner that anticipates aspects of the current global market expansion, Weiss evokes a world in which nothing is private and everything is for sale.
This edition of "The New Trial" is designed to facilitate theatrical teaching and stage production of the play. An extensive introduction by James Rolleston and Kai Evers situates the work in the full context of Weiss's life, including his Swedish exile during the regime of the Third Reich. In addition, the play's text is followed by interviews with Weiss and his original codirector (and wife) Gunilla Palmstierna-Weiss, as well as an account of the challenges of the first English staging by director Jody McAuliffe.