The almost complete disregard of the verse epic as a genre still worthy of meaningful discussion and earnest investigation is all too apparent in German literary criticism. The only attempt to view the genre in its evolution through the centuries is Heinrich Maiworm's valuable but necessarily somewhat perfunctory historical survey of the German epic which appeared in the second volume of Deutsche Philologie im Auf,iss. There is as yet, however, no literary study of the German verse epic in the nineteenth and twentieth centuries, a period which is of particular interest to such a study and indeed crucial to the genre itself, since it was during this period that the novel claimed its final and apparently irrevocable victory over its predecessor, a form which had once been hallowed but was now declared a dead genre. It is not the lack of sufficient material that could explain this neglect, for in terms of sheer quantity and, we believe, not quantity alone, there is enough material for more than one study. The prime purpose of this work, then, is to attempt, if not to fill this conspicuous gap, at least to begin narrowing it somewhat, and in so doing to determine in how far the continuing existence of this vacuum in German literary appreciation is in fact justified.
The horrors of the Nazi regime and the Holocaust still present some of the most disturbing questions in modern history: Why did Hitler's party appeal to millions of Germans, and how entrenched was anti-Semitism among the population? How could anyone claim, after the war, that the genocide of Europe's Jews was a secret? Did ordinary non-Jewish Germans live in fear of the Nazi state? In this unprecedented firsthand analysis of daily life as experienced in the Third Reich, What We Knew offers answers to these most important questions. Combining the expertise of Eric A. Johnson, an American historian, and Karl-Heinz Reuband, a German sociologist, What We Knew is the most startling oral history yet of everyday life in the Third Reich.
Nach der ¿Gesellschaft der Individuen± die ¿Gesellschaft der Organisationen±, nach der ¿Gesellschaft der Organisationen± die ¿Gesellschaft der Netzwerke±!" So beschreibt Karl-Heinz Ladeur schlagwortartig die Selbsttransformation der Gesellschaft in den westlichen Ländern der letzten hundertfünfzig Jahre. Der Untergang eines von monarchischer Repräsentationskraft bestimmten Staates führte auch in den kontinentaleuropäischen Rechtssystemen seit dem späten 19. Jahrhundert zu einer stärkeren Öffnung für eine Welt aus Relationen. Die überkommenen subjektphilosophischen Transzendentalfiguren und vertikalen Begründungsverhältnisse werden durch horizontale Beziehungen ergänzt und ersetzt, an denen zunächst primär Organisationen und Gruppen und heute mehr und mehr sich fortlaufend verändernde Netzwerke beteiligt sind. Auf diese gewandelte gesellschaftliche Situation muss sich das Recht einstellen. Es muss dazu die veränderte Rolle der Ungewissheit verarbeiten, die nicht länger im Sinne klassischer Rationalitätsvorstellungen durch die Gewinnung eines festen Grundes weitgehend beseitigt oder zumindest verdrängt werden kann. Gefordert ist die Anpassung des modernen Rechts an eine Netzwerklogik der relationalen Rationalität, die in unterschiedlichen Feldern - Rechtstheorie, Rechtsmethodologie, Staatstheorie, Verfassungstheorie, Verwaltungsrecht usw. - zu operationalisieren ist --
The almost complete disregard of the verse epic as a genre still worthy of meaningful discussion and earnest investigation is all too apparent in German literary criticism. The only attempt to view the genre in its evolution through the centuries is Heinrich Maiworm's valuable but necessarily somewhat perfunctory historical survey of the German epic which appeared in the second volume of Deutsche Philologie im Auf,iss. There is as yet, however, no literary study of the German verse epic in the nineteenth and twentieth centuries, a period which is of particular interest to such a study and indeed crucial to the genre itself, since it was during this period that the novel claimed its final and apparently irrevocable victory over its predecessor, a form which had once been hallowed but was now declared a dead genre. It is not the lack of sufficient material that could explain this neglect, for in terms of sheer quantity and, we believe, not quantity alone, there is enough material for more than one study. The prime purpose of this work, then, is to attempt, if not to fill this conspicuous gap, at least to begin narrowing it somewhat, and in so doing to determine in how far the continuing existence of this vacuum in German literary appreciation is in fact justified.
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