The first English translation of a presciently modern portrayal of emerging feminist sensibilities in a nineteenth-century family, by one of Germany's leading pre-First World War writers. Best known now for her involvement with Nietzsche, Rilke, and Freud, Lou Andreas-Salomé (1861-1937) first became famous for fiction and criticism that engaged provocatively with "the woman question." In recent years, the author's literary treatment of the challenges facing women in a patriarchal society has awakened renewed interest. Anneliese's House is the first English translation of her last and most masterful work of fiction, the 1921 Das Haus: Familiengeschichte vom Ende vorigen Jahrhunderts (The House: A Family Story from the End of the Nineteenth Century). Anneliese Branhardt, the book's protagonist, long ago renounced a career as a pianist to raise a family with her physician husband, Frank. She worries about her son Balduin - an aspiring poet modeled on Rilke - and about her equally free-spirited daughter Gitta. She is haunted by memories of a daughter who died in childhood and anxious about a risky, late pregnancy. With her domestic harmony threatened by her own stirrings of autonomy and her children's growing independence, Anneliese finds the future both frightening and promising. The edition is fully annotated, with a critical introduction and bibliography.

The thirty articles featured in Contested Passions: Sexuality, Eroticism, and Gender in Modern Austrian Literature and Culture are based on papers given at the MALCA conference in Edmonton, Alberta, Canada, in the Spring of 2007. They cover literary works by several Austrian authors of the nineteenth and twentieth century such as Schnitzler, Musil, Hofmannsthal, Broch, Kraus, Drach, Jelinek and also developments in the graphic arts, including works by Klimt and VALIE EXPORT; architecture - for example, Loos; film; and the popular media.

The first English translation of a presciently modern portrayal of emerging feminist sensibilities in a nineteenth-century family, by one of Germany's leading pre-First World War writers. Best known now for her involvement with Nietzsche, Rilke, and Freud, Lou Andreas-Salomé (1861-1937) first became famous for fiction and criticism that engaged provocatively with "the woman question." In recent years, the author's literary treatment of the challenges facing women in a patriarchal society has awakened renewed interest. Anneliese's House is the first English translation of her last and most masterful work of fiction, the 1921 Das Haus: Familiengeschichte vom Ende vorigen Jahrhunderts (The House: A Family Story from the End of the Nineteenth Century). Anneliese Branhardt, the book's protagonist, long ago renounced a career as a pianist to raise a family with her physician husband, Frank. She worries about her son Balduin - an aspiring poet modeled on Rilke - and about her equally free-spirited daughter Gitta. She is haunted by memories of a daughter who died in childhood and anxious about a risky, late pregnancy. With her domestic harmony threatened by her own stirrings of autonomy and her children's growing independence, Anneliese finds the future both frightening and promising. The edition is fully annotated, with a critical introduction and bibliography.

Focuses on childhood in the Age of Goethe, in addition to various other topics and works. The Goethe Yearbook, first published in 1982, is a publication of the Goethe Society of North America and is dedicated to North American Goethe Scholarship. It aims above all to encourage and publish original English-language contributions to the understanding of Goethe and other authors of the Goethezeit, while also welcoming contributions from scholars around the world. Volume 14 features a special section on childhood in the Age of Goethe,co-edited with Anthony Krupp. In addition, readers will find two essays illuminating Goethe's Triumph der Empfindsamkeit, an inspired reading of Das Marchen against the background of Goethe's critique of Newtonian science, a careful analysis of the daemonic in the poem "Machtiges UEberraschen," and essays on Egmont and Wilhelm Meisters Wanderjahre. Contributors: Kelly Barry, Paul Fleming, Edgar Landgraf, Liliane Weissberg,Angus Nicholls, Robin A. Clouser Simon J. Richter is Professor of German at the University of Pennsylvania, and book review editor Martha B. Helfer is Professor of German at Rutgers University. Anthony Krupp is Assistant Professor of German at the University of Miami.

When students and critics of the novel speak of German artist-novels and Bildungsromane, they mention works long available in translation: by Goethe, Novalis, Hoffmann, Stifter, Keller, or more recently by Mann, Kafka, Musil, Grass, and others. Yet Eduard Morike's provocatively subtitled Maler Nolten: Novelle in Zwei Teilen (Nolten the Painter: A Novella in Two Parts, 1832) has remained neglected and misunderstood, and has never been translated into English until now. This despite its obvious ties to other artist-novels and its striking modernity in playing with conventions of narrative authority and heroic identity, features that have recently begun to be realized by scholarship. Witness the subtle irony of the opening sequence, in which Morike's narrator is subverted by hints at his own clumsiness and intimations about the dire truths that lurk behind the protagonist's relationships to his male friends and to the seductive yet somehow frightening women in his life. Or the interplay between the narrator's attempts to make sense of Nolten's complex inner motivations in his loves and art and the ludicrously pompous pathos with which Nolten persists in speaking and thinking, as he concocts a heroic persona caught up in passion, intrigue, and tragedy. Fascinating, finally, is the mysterious trail of the "Grenzganger," or border-line characters, such as the Gypsy Elisabeth, the queer Wispel, the duplicitous actor Larkens, and the mysterious old Hofrat, with their hints at the dimension of "Gypsies, Tramps, and Thieves" that seems to threaten and at the same time to foster the complex unfolding of the realities of life and art that defy Nolten's all-too-artful "mastery." Raleigh Whitinger is professor in the Department of Germanic Languages, University of Alberta.

The Human Family is the first complete translation of the cycle of ten novellas that Lou Andreas-Salome (1861-1937) wrote between 1895 and 1898. This collection contributes to the rediscovery of Andreas-Salome's significance as a thinker and writer, above all with regard to her literary contribution to modern feminism and the principles of women's emancipation. Born in St. Petersburg to a German diplomat and his wife, Andreas-Salome has always been a figure of interest because of her close relationships to influential thinkers such as Friedrich Nietzsche, Rainer Maria Rilke, and Sigmund Freud. Only since the mid-1980s, however, have her prose fiction and theoretical writings been reconsidered as important documents of emerging ideas and debates in twentieth-century feminism. The ten stories of The Human Family drive home her critical perspective on feminine stereotypes. They depict a wide variety of young women as they relate to men representing different degrees of enlightenment and tolerance, struggling to express a complete and independent feminine identity in the face of the confining but often seductive roles that convention and tradition impose on female potential. The Human Family provides a subtle and nuanced perspective on European feminist writing from the turn of the last century by a woman writer who was intimately involved with the literary mainstream of her time and whose theoretical and literary works played a significant role in feminist debates of the period, prefiguring present-day feminist discourse on essentialism and constructivism. Raleigh Whitinger is a professor of German at the University of Alberta. He is the author of Johannes Schlaf and German Naturalist Drama and the translator of Eduard Morike's novel Nolten the Painter: A Novella in Two Parts.