Franz Xaver Kroetz -- banana-cutter, hospital orderly, fledgling actor and, more significantly, Germany's most popular contemporary dramatist of the seventies and early eighties. This study, which situates Kroetz's aesthetics in a political context, focuses on four plays that mark crisis points in his development of a political aesthetic. The breaks in otherwise very successful aesthetic models occur as Kroetz responds to changing social conditions.All those interested in Kroetz, as well as in broader aesthetic questions, will find that this book makes important breakthroughs.

Analyzes Wolf's, Drewitz's, and Weil's views of individual responsibility in history, with reference to theories of memory and feminist ethics. Christa Wolf (1929-), Ingeborg Drewitz (1923-1986), and Grete Weil (1906-1999) occupy very different positions in postwar German literature, yet all three challenge readers to consider how individuals understand their roles in history and how they negotiate their personal responsibilities based on those roles. These three are, of course, by no means the only German writers to have dealt with such questions in the wake of the Third Reich. But Wolf, Drewitz,and Weil ground their projects in the family, an institution often left out of such inquiries, giving them a different starting point for moral reflection. Before looking closely at the three writers' views of the individual's role and responsibility, the book devotes a chapter to the examination of individual and collective memory, then a chapter to how feminist ethicists view moral responsibility. Chapters on the three writers' literary approachesto the questions follow: Wolf enacts a process of historical and geographic triangulation; Drewitz constructs concentric historical and social circles; Weil seeks to repair the historical ruptures of the Holocaust, creating new historical narratives and exploring the limitations of traditional bourgeois morality. Each of the three attempts to map a geography of morals that begins within the structures of the extended family but interrogates individual responsibility in an increasingly globalized environment. Michelle Mattson is Professor of German at Rhodes College, Memphis, Tennessee.

The purpose of this thesis is to determine which form of airpower will best serve American power projection requirements as we approach the turn of the century. It examines three forms of airpower: carrier air, long-range combat air (B-2), and theater air (i.e., F-15, F-16, EF-111). The author concludes that theater aircraft are the mainstay of US airpower. Theater airpower was the decisive form of airpower in our three major conflicts since World War II (Korea, Vietnam, and Iraq) and will be in the regional conflicts of the future. It is superior in the broadest sense of the word--economically, militarily, and politically.

The purpose of this thesis is to determine which form of airpower will best serve American power projection requirements as we approach the turn of the century. It examines three forms of airpower: carrier air, long-range combat air (B-2), and theater air (i.e., F-15, F-16, and EF-111). The author concludes that theater aircraft are the mainstay of US airpower. Theater airpower was the decisive form of airpower in our three major conflicts since World War II (Korea, Vietnam, and Iraq) and will be in the regional conflicts of the future. It is superior in the broadest sense of the word-economically, militarily, and politically.