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Why is Germany? What is its place in a newly reorganised Europe? Can there be a "new Germany"? And if so, what would it be? After the crimes of the Nazis, the Cold War and the subsequent division of Germany, and the unification of Germany and of Europe, these questions are difficult and vital.
This volume of new work is not a collection by like-minded 'usual suspects'. Instead, the editors have brought together radically different viewpoints and concerns. Richard van Weizsäcker, former President of the Federal Republic of Germany, reflects on Goethe's legacy and the process of European union, while the filmaker Monika Treut addresses the fate of German cinema and the peril of 'international oblivion'. Writing on Berlin's new Jewish Museum and other memorials, the state of multiculturalism in Germany, or the future of German culture in a unified Europe, these voices lay before us the questions that face not only Germany but anyone concerned with Germany's history and the future of Europe.
New essays by leading scholars examining today's vibrant and
innovative German crime fiction, along with its historical
background. Although George Bernard Shaw quipped that "the Germans
lack talent for two things: revolution and crime novels," there is
a long tradition of German crime fiction; it simply hasn't aligned
itself with international trends. Duringthe 1920s, German-language
writers dispensed with the detective and focused instead on
criminals, a trend that did not take hold in other countries until
after 1945, by which time Germany had gone on to produce
antidetective novels that were similarly ahead of their time.
German crime fiction has thus always been a curious case; rather
than follow the established rules of the genre, it has always been
interested in examining, breaking, and ultimately rewriting those
rules. This book assembles leading international scholars to
examine today's German crime fiction. It features innovative
scholarly work that matches the innovativeness of the genre, taking
up the Regionalkrimi;crime fiction's reimagining and transforming
of traditional identities; historical crime fiction that examines
Germany's and Austria's conflicted twentieth-century past; and how
the newly vibrant Austrian crime fiction ties in with and
differentiates itself from its German counterpart. Contributors:
Angelika Baier, Carol Anne Costabile-Heming, Kyle Frackman, Sascha
Gerhards, Heike Henderson, Susanne C. Knittel, Anita McChesney,
Traci S. O'Brien,Jon Sherman, Faye Stewart, Magdalena Waligorska.
Lynn M. Kutch is Professor of German at Kutztown University of
Pennsylvania. Todd Herzog is Professor and Head of the Department
of German Studies at the University of Cincinnati.
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.
After 1945, Jewish writing in German was almost unimaginable-and
then only in reference to the Shoah. Only in the 1980s, after a
period of mourning, silence, and processing of the trauma, did a
new Jewish literature evolve in Germany and Austria. This volume
focuses on the re-emergence of a lively Jewish cultural scene in
the German-speaking countries and the various cultural forms of
expression that have developed around it. Topics include current
debates such as the emergence of a post-Waldheim Jewish discourse
in Austria and Jewish responses to German unification and the Gulf
wars. Other significant themes addressed are the memorialization of
the Holocaust in Berlin and Vienna, the uses of Kafka in
contemporary German literature, and the German and American-Jewish
dialogue as representative of both the history of exile and the
globalization of postmodern civilization. The volume is enhanced by
contributions from some of the most significant representatives of
German-Jewish writing today such as Esther Dischereit, Barbara
Honigmann, Jeanette Lander, and Doron Rabinovici. The result is a
lively dialogue between European and North American scholars and
writers that captures the complexity and dynamism of Jewish culture
in Germany and Austria at the turn of the twenty-first century.
New essays by leading scholars examining today's vibrant and
innovative German crime fiction, along with its historical
background. Although George Bernard Shaw quipped that "the Germans
lack talent for two things: revolution and crime novels," there is
a long tradition of German crime fiction; it simply hasn't aligned
itself with international trends. Duringthe 1920s, German-language
writers dispensed with the detective and focused instead on
criminals, a trend that did not take hold in other countries until
after 1945, by which time Germany had gone on to produce
antidetective novels that were similarly ahead of their time.
German crime fiction has thus always been a curious case; rather
than follow the established rules of the genre, it has always been
interested in examining, breaking, and ultimately rewriting those
rules. This book assembles leading international scholars to
examine today's German crime fiction. It features innovative
scholarly work that matches the innovativeness of the genre, taking
up the Regionalkrimi;crime fiction's reimagining and transforming
of traditional identities; historical crime fiction that examines
Germany's and Austria's conflicted twentieth-century past; and how
the newly vibrant Austrian crime fiction ties in with and
differentiates itself from its German counterpart. Contributors:
Angelika Baier, Carol Anne Costabile-Heming, Kyle Frackman, Sascha
Gerhards, Heike Henderson, Susanne C. Knittel, Anita McChesney,
Traci S. O'Brien,Jon Sherman, Faye Stewart, Magdalena Waligorska.
Lynn M. Kutch is Professor of German at Kutztown University of
Pennsylvania. Todd Herzog is Professor and Head of the Department
of German Studies at the University of Cincinnati.
Twenty-five years have passed since the fall of the Berlin Wall and
the end of communism in Eastern Europe, and ten years have passed
since the first formerly communist states entered the EU. An entire
post-Wall generation has now entered adulthood, yet scholarship on
European cinema still tends to divide the continent along the old
Cold War lines. In East, West and Centre the world's leading
scholars in the field assemble to consider the ways in which
notions such as East and West, national and transnational, central
and marginal are being rethought and reframed in contemporary
European cinema. Assessing the state of post-1989 European cinema,
from (co)production and reception trends to filmic depictions of
migration patterns, economic transformations and socio-political
debates over the past and the present, they address increasingly
intertwined cinema industries that are both central (France,
Germany) and marginal (Romania, Bulgaria, Lithuania) in Europe.
This is a ground-breaking and essential read, not just for students
and scholars in Film and Media Studies, but also for those
interested in wider European Studies as well.
The Weimar Republic (1918-1933) was a crucial moment not only in
German history but also in the history of both crime fiction and
criminal science. This study approaches the period from a unique
perspective - investigating the most notorious criminals of the
time and the public's reaction to their crimes. The author argues
that the development of a new type of crime fiction during this
period - which turned literary tradition on its head by focusing on
the criminal and abandoning faith in the powers of the rational
detective - is intricately related to new ways of understanding
criminality among professionals in the fields of law, criminology,
and police science. Considering Weimar Germany not only as a
culture in crisis (the standard view in both popular and scholarly
studies), but also as a culture of crisis, the author explores the
ways in which crime and crisis became the foundation of the
Republic's self-definition. An interdisciplinary cultural studies
project, this book insightfully combines history, sociology,
literary studies, and film studies to investigate a topic that cuts
across all of these disciplines.
Twenty-five years have passed since the fall of the Berlin Wall and
the end of communism in Eastern Europe, and ten years have passed
since the first formerly communist states entered the E.U. An
entire post-Wall generation has now entered adulthood, yet
scholarship on European cinema still tends to divide the continent
along the old Cold War lines.
In East West and Centre the world's leading scholars in the field
assemble to consider the ways in which notions such as East and
West, national and transnational, central and marginal are being
rethought and reframed in contemporary European cinema. Assessing
the state of post-1989 European cinema, from (co)production and
reception trends to filmic depictions of migration patterns,
economic transformations and socio-political debates over the past
and the present, they address increasingly intertwined cinema
industries that are both central (France and Germany) and marginal
in Europe (Romania, Bulgaria, Lithuania).
This is a ground-breaking and essential read, not just for students
and scholars in film and media studies, but also for those
interested in wider European studies as well.
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