Examines, then employs the metaphor of cultural impact in an effort to understand how culture works in the German-speaking world. How to gauge the impact of cultural products is an old question, but bureaucratic agendas such as the one recently implemented in the UK to measure the impact of university research (including in German Studies) are new. Impact isseen as confirming a cultural product's value for society -- not least in the eyes of cultural funders. Yet its use as an evaluative category has been widely criticized by academics. Rather than rejecting the concept of impact, however, this volume employs it as a metaphor to reflect on issues of transmission, reception, and influence that have always underlain cultural production but have escaped systematic conceptualization. It seeks to understand how culture works in the German-speaking world: how writers and artists express themselves, how readers and audiences engage with the resulting products, and how academics are drawn to analyze this dynamic process. Formulating such questions afresh in the context of German Studies, the volume examines both contemporary cultural discourse and the way it evolves more generally. It links such topics as authorial intention, readerly reception, intertextuality, andmodes of perception to less commonly studied phenomena, such as the institutional practices of funding bodies, that underpin cultural discourse. Contributors: David Barnett, Laura Bradley, Rebecca Braun, Sarah Colvin, Anne Fuchs, Katrin Kohl, Karen Leeder, Jurgen Luh, Jenny McKay, Ben Morgan, Gunther Nickel, Chloe Paver, Joanne Sayner, Matthew Philpotts, Jane Wilkinson. Rebecca Braun is Executive Dean of the College of Arts, Social Sciences, & Celtic Studies at the National University of Ireland in Galway and Lyn Marven is Lecturer in German at the University of Liverpool.

Offers readings of key contemporary trends and themes in the vibrant genre of short-story writing in Germany, Austria, and Switzerland, with attention to major practitioners and translations of two representative stories. Since the 1990s, the short story has re-emerged in the German-speaking world as a vibrant literary genre, serving as a medium for both literary experimentation and popular forms. Authors like Judith Hermann and Peter Stamm have had a significant impact on German-language literary culture and, in translation, on literary culture in the UK and USA. This volume analyzes German-language short-story writing in the twenty-first century, aiming to establish a framework for further research into individual authors as well as key themes and formal concerns. An introduction discusses theories of the short-story form and literary-aesthetic questions. A combination of thematic and author-focused chapters then discuss key developments in the contemporary German-language context, examining performance and performativity, Berlin and crime stories, and the openendness, fragmentation, liminality, and formal experimentations that characterize short stories in the twenty-first century. Together the chapters present the rich field of short-story writing in Germany, Austria, and Switzerland, offering a variety of theoretical approaches to individual stories and collections, as well as exploring connections with storytelling, modernist short prose, and the novella. The volume concludes with a survey of broad trends, and three original translations exemplifying the breadth of contemporary German-language short-story writing.

Ulrike Draesner is a prize-winning writer of novels, short stories, critical essays and poetry, and one of the foremost authors in Germany today. While a number of volumes have been published in German on her work, the current Companion offers the first volume on Draesner in English, capitalising on the interest in her work in Germany and further afield. Introducing Draesner's major novels and short stories, poetry collections and essays, as well as giving an overview of existing research focusing on migration, memory, science, gender and bodily experience, chapters by international scholars in this volume also break new ground by focussing on visual culture, poetology, nature, the posthuman and Draesner's reception of English literature and medieval culture. A comprehensive bibliography, commissioned interview and original writing by Draesner make the volume a valuable research tool for scholars and students. This will become essential reading for all those interested in Draesner, women's writing, literature and history, and contemporary German prose and poetry.

This volume is a critical companion to the works of Herta Muller, winner of the Nobel Prize in Literature in 2009. Muller (1953-) is a Romanian-German novelist, essayist and producer of collages whose work has been compared with that of W.G. Sebald and Franz Kafka. The Nobel Committee described her as a writer 'who, with the concentration of poetry and the frankness of prose, depicts the landscape of the dispossessed'. In works such as Niederungen (Nadirs), Herztier (The Land of Green Plums), Reisende auf einem Bein (Traveling on One Leg), and Atemschaukel (The Hunger Angel), all written in German but translated worldwide, Muller addresses vital contemporary issues such as dictatorship, migration, memory, and the ongoing legacy of fascist and communist rule in Europe. Her works are written in a rich, poetic language which imbues them with great power and depth. They exceed national boundaries and have universal appeal; they speak to a global audience attuned to political oppression and its lasting effects.
This volume, containing contributions by an international team of scholars, introduces the work of one of Europe's foremost contemporary writers to a world audience. Individual chapters deal with Muller's major works and her volumes of collages. Other chapters explore her poetics and the Romanian background as well as themes, such as gender and life writing, running throughout her work, and her worldwide reception through the media and the medium of translation."

Berlin Tales is a collection of seventeen translated stories associated with Berlin. The book provides a unique insight into the mind of this fascinating city through the eyes of its story-tellers. Nearly twenty years after the fall of the Berlin Wall, the stories collected here reflect on the city's fascinating recent history, setting out with the early twentieth-century Berlin of Siegfried Kracauer and Alfred Doeblin and culminating in an excellent selection of stories from the best of the new voices in the current boom in German fiction. They are chosen for their conscious exploration of the city's image, meaning, and attraction to immigrants and tourists as well as Berliners from both sides of the Wall. These stories also depict Berlin's distinct districts, not just the differences between East and West but also iconic sites such as Alexanderplatz, individual neighbourhoods (Jewish Mitte, Turkish Kreuzberg) and individual streets. There is an introduction and notes to accompany the stories and a selection of Further Reading. Each story is illustrated with a striking photograph and there is a map of Berlin and its transport system (a frequent motif). There is an introduction and notes to accompany the stories and a selection of Further Reading. The book will appeal to people who love travelling or are armchair travellers, as much as to those who love Berlin.

This book examines the relationship between representations of the body and narrative strategies in the work of three contemporary women writers from the former Eastern Bloc countries: Herta Muller, an ethnic German from Romania; Libuse Monikova, who emigrated from Czechoslovakia to West Germany and chose to write in German; and Kerstin Hensel, from the GDR.
Marven shows how the content and form of their works are interlinked, and how these challenge the hegemonic discourses within repressive socialist regimes. The introduction contextualizes the writers' socially, culturally, and historically, and outlines the theoretical basis of the approach, drawing on psychoanalysis, performativity theory, and feminist critical theory. Chapters on the individual authors offer new interpretations of the writers' works, focusing on the structures of trauma (in Muller's work), hysteria (in Monikova's) and the grotesque (in Hensel's). The images of the body analyzed in the first half of each chapter show the effects of violence; challenge the understanding of the body as natural or authentic; and raise questions about identity and gender. The analysis in the second half of each chapter covers a range of formal features, from the fantastic and collage, through parody and intertextuality, to irony, plot, and story telling. The book also traces developments in the work of all three authors, taking account of the historical changes in the Eastern Bloc countries since 1989.
Body and Narrative in Contemporary Literatures in German will be valuable for anyone researching contemporary German literatures, as well as those interested in feminist theory, minority literatures, and trauma.

Presents fifteen new German-language novelists and a close reading of an exemplary work of each for academics and the general reader alike. After the international success in the 1990s of authors such as Bernhard Schlink, Marcel Beyer, and Thomas Brussig, an impressive number of new German-language novelists are making a significant impact. Some, like Karen Duve, Daniel Kehlmann, and Sasa Stanisic, have achieved international recognition; some, like Julia Franck, have won major prizes; others, like Clemens Meyer, Alina Bronsky, and Ilja Trojanow, are truly "emerging authors" who have begun toattract attention. Between them they represent a range of literatures in German, from women's writing to minority writing (from Turkish immigrants and Eastern Europe), to "pop literature" and perspectives on the former GDR and onGermany's Nazi past. This volume devotes individual essays to fifteen such writers, examining in detail a major work of each. Translated excerpts from works by Vladimir Vertlib and Clemens Meyer round out the book, which willbe of interest not only to academics and students of English and Comparative Literature in the UK, the US, and beyond, but also to the general reader, for whom titles of texts and quotations are translated. Contributors: Lyn Marven, Stuart Taberner, Anke S. Biendarra, Stephen Brockmann, Rebecca Braun, Frauke Matthes, Brigid Haines, Julian Preece, Emily Jeremiah, Valerie Heffernan, Barbara Mennel, Heike Bartel, Kate Roy, Andrew Plowman, Sonja E.Klocke, Jamie Lee Searle, Katy Derbyshire. Lyn Marven is a Lecturer in German at the University of Liverpool. Stuart Taberner is Professor of Contemporary German Literature, Culture, and Society at the University of Leeds.

Two music producers pack up their studio - along with their dreams of ever making it in the industry - after too many bands fail to pay their bills... A woman takes up an invitation to visit an ex-lover in Arizona, only to find his apartment is no bigger than a motel room... A former drama student runs into an old classmate from ten years before, hardly recognising the timid creature he's become... Each character in Larissa Boehning's debut collection experiences a moment where they're forced to confront how differently things turned out, how quickly ambitions were shelved, or how easily people change. Former colleagues meet up to reminisce about the failed agency they used to work for; brothers-in-law find themselves co-habiting long after the one person they had in common passed away; fellow performers watch as their careers slowly drift in opposite directions. Boehning's stories offer a rich store of metaphors for this abandonment: the downed tools of a deserted East German factory, lying exactly where they were dropped the day Communism fell; the old, collected cameras of a late father that seem to stare, wide-eyed, at the world he left behind. And yet, underpinning this abandonment, there is also great resilience. Like the cat spotted by a demolition worker in the penultimate story that sits, unflinching, as its home is bulldozed around it, certain spirits abide.