Precarious Figurations focuses on the reception of Shakespeare’s The Merchant of Venice in twentieth- and twenty-first-century Germany. Looking at theatrical practices and critical or scholarly discourses from the Weimar Republic to the new millennium, the book explores why the play has served simultaneously as a vehicle for the actualization of anti-Semitic tropes and as a staging ground for the critical exposure of the very logic of anti-Semitism. In particular, the study investigates how the figure of Shylock has come to be both a device in and a stumbling block for attempts to bridge the fundamental rupture in civilization brought about by the Holocaust. The careful analysis of the German reception of Merchant, and in particular of the ways of doing and reading Shylock in the context of painful German, and German-Jewish, discourses of identity and remembrance, is designed to raise fundamental questions – questions concerning not only the staging of Jewishness, the tenacity of anti-Semitism and the difficulties of Holocaust remembrance, but also the general potentials and limitations of theatrical interventions into cultural conflicts.
The Nazi Worker is the second in a three-volume project on the figure of the worker and, by extension, questions of class in twentieth-century German culture. It is based on extensive research in the archives and informed by recent debates on the politics of emotion, the end of class, and the future of work. In seven chapters, the book reconstructs the processes by which National Socialism appropriated aspects of working-class culture and socialist politics and translated class-based identifications into the racialized communitarianism of Volksgemeinschaft (folk community). Arbeitertum (workerdom), the operative term within these processes of appropriation, not only established a discursive framework for integrating proletarian legacies into the cult of the German worker. As a social imaginary, workerdom also modelled the work-related emotions (e.g., joy, pride) essential to the culture of work promoted by the German Labor Front. The contribution of images and stories in creating these new social imaginaries will be reconstructed through highly contextualized readings of the debates about workerdom, Nazi movement novels, worker’s poetry, workers’ sculpture, as well as industrial painting, photography, film, and design.
This edition of the private and scientific correspondence of Sir Rudolf Peierls gives a unique insight into the life and work of one of the greatest theoretical physicists of the 20th century. Rudolf Peierls' scientific work contributed to the early developments in quantum mechanics, and he is well known and much appreciated for his contributions to various disciplines, including solid state physics, nuclear physics, and particle physics. As an enthusiastic and devoted teacher, he passed on his knowledge and understanding and inspired the work of collaborators and students alike. As an effective administrator he was responsible, almost single-handedly, for the establishment of an outstanding successful centre of theoretical physics in Birmingham, and later contributed much to theoretical physics in Oxford.A meticulous collector of correspondence, Sir Rudolf left a fascinating collection of letters, in some cases spanning more than seven decades. This collection includes correspondence with his parents, his wife, the Russian-born physicist Genia Kannegieser, life-long friends such as Hans Bethe, and many great physicists, including Wolfgang Pauli, Niels Bohr, Werner Heisenberg, Lev Landau, and George Placzek, to name but a few.The second volume, which covers the years 1945 to 1995, contains fascinating documents from the early postwar period, when Peierls, like many of his colleagues elsewhere, attempted to rebuild academic life in the aftermath of the Second World War. Materials from the 1950s provide evidence for the significance of the research undertaken by Peierls' group at Birmingham, and for the positive impact of his determined implementation of international exchange on the development of theoretical physics. Later documents illustrate the role played by Peierls in nuclear disarmament, and as a link between East and West through his own personal contacts and within international organisations such as the Pugwash Movement. The extensive apparatus provides an invaluable background which allows the reader to put the documents into their multi-faceted social, political and scientific context.
This book depicts the life of Conrad Veidt (1893-1943), the defining German actor of Expressionist cinema in the 1920s. His legendary performance in Das Cabinet des Dr. Caligari (1919/20) earned him the epithet "Demon of the Screen" and made Veidt an international star. To this day, Veidt is considered an icon of early horror film. He showed his acting range in more than a hundred films, among them masterpieces such as The Indian Tomb (1921), Orlac's Hands (1924), The Man Who Laughs (1928), The Thief of Bagdad (1940), and Casablanca (1942). Conrad Veidt used his acting career to become socially and politically involved, starting with the film Anders als die Anderen, the first film to advocate homosexual rights, in 1919. After the Nazis came to power, he left Germany to protest anti-Semitism and Nazi rule. Along with his biography, this book provides insights into the development of filmmaking from its beginnings through the 1940s, an epoch of cinematic art marked by technical innovations like sound and color film and by world-shaking events, including two world wars.
Too often dismissed as escapist entertainment or vilified as mass manipulation, popular cinema in the Third Reich was in fact sustained by well-established generic conventions, cultural traditions, aesthetic sensibilities, social practices, and a highly developed star system—not unlike its Hollywood counterpart in the 1930s. This pathfinding study contributes to the ongoing reassessment of Third Reich cinema by examining it as a social, cultural, economic, and political practice that often conflicted with, contradicted, and compromised the intentions of the Propaganda Ministry. Nevertheless, by providing the illusion of a public sphere presumably free of politics, popular cinema helped to sustain the Nazi regime, especially during the war years. Rather than examining Third Reich cinema through overdetermined categories such as propaganda, ideology, or fascist aesthetics, Sabine Hake concentrates on the constituent elements shared by most popular cinemas: famous stars, directors, and studios; movie audiences and exhibition practices; popular genres and new trends in set design; the reception of foreign films; the role of film criticism; and the representation of women. She pays special attention to the forced coordination of the industry in 1933, the changing demands on cinema during the war years, and the various ways of coming to terms with these filmic legacies after the war. Throughout, Hake's findings underscore the continuities among Weimar, Third Reich, and post-1945 West German cinema. They also emphasize the codevelopment of German and other national cinemas, especially the dominant Hollywood model.
This is the first book to explore the cultural significance of the color yellow, showing how its psychological and aesthetic value marked and shaped many of the intellectual, political, and artistic currents of late modernity. It contends that yellow functions during this period primarily as a color of stigma and scandal. Yellow stigmatization has had a long history: it goes back to the Middle Ages when Jews and prostitutes were forced to wear yellow signs to emphasize their marginal status. Although scholars have commented on these associations in particular contexts, Sabine Doran offers the first overarching account of how yellow connects disparate cultural phenomena, such as turn-of-the-century decadence (the "yellow nineties"), the rise of mass media ("yellow journalism"), mass immigration from Asia ("the yellow peril"), and mass stigmatization (the yellow star that Jews were forced to wear in Nazi Germany). The Culture of Yellow combines cultural history with innovative readings of literary texts and visual artworks, providing a multilayered account of the unique role played by the color yellow in late nineteenth- and twentieth-century American and European culture.
Historians have long recognized that the classical heritage of ancient Rome contributed to the development of a vibrant society in Spanish South America, but was the impact a one-way street? Although the Spanish destruction of the Incan empire changed the Andes forever, the civil society that did emerge was not the result of Andeans and Creoles passively absorbing the wisdom of ancient Rome. Rather, Sabine MacCormack proposes that civil society was born of the intellectual endeavors that commenced with the invasion itself, as the invaders sought to understand an array of cultures. Looking at the sixteenth- and seventeenth-century people who wrote about the Andean region that became Peru, MacCormack reveals how the lens of Rome had a profound influence on Spanish understanding of the Incan empire. Tracing the varied events that shaped Peru as a country, MacCormack shows how Roman and classical literature provided a framework for the construal of historical experience. She turns to issues vital to Latin American history, such as the role of language in conquest, the interpretation of civil war, and the founding of cities, to paint a dynamic picture of the genesis of renewed political life in the Andean region. Examining how missionaries, soldiers, native lords, and other writers employed classical concepts to forge new understandings of Peruvian society and history, the book offers a complete reassessment of the ways in which colonial Peru made the classical heritage uniquely its own.
German National Cinema is the first comprehensive history of German film from its origins to the present. In this new edition, Sabine Hake discusses film-making in economic, political, social, and cultural terms, and considers the contribution of Germany's most popular films to changing definitions of genre, authorship, and film form. The book traces the central role of cinema in the nation’s turbulent history from the Wilhelmine Empire to the Berlin Republic, with special attention paid to the competing demands of film as art, entertainment, and propaganda. Hake also explores the centrality of genre films and the star system to the development of a filmic imaginary. This fully revised and updated new edition will be required reading for everyone interested in German film and the history of modern Germany.
Published in conjunction with the exhibition held at The Metropolitan Museum of Art, NYC, Dec. 1989-Apr. 1990. The last great private collection of the art of the School of Paris--81 paintings drawings, and bronzes by Bonnard, Braque, Dali, Dubuffet, Matisse, Miro, Picasso, and Giacometti, among others. With accompanying essays and additional illustrations (a total of 281, 95 in color). 10x121/4". Annotation copyrighted by Book News, Inc., Portland, OR
A collaborator with Warner Brothers and Paramount in the early days of sound film, the German film director Ernst Lubitsch (1892-1947) is famous for his sense of ironic detachment and for the eroticism he infused into such comedies as So This Is Paris and Trouble in Paradise. In a general introduction to his silent and early sound films (1914-1932) and in close readings of his comedies, Sabine Hake focuses on the visual strategies Lubitsch used to convey irony and analyzes his contribution to the rise of classical narrative cinema. Exploring Lubitsch's depiction of femininity and the influence of his early German films on his entire career, she argues that his comedies represent an important outlet for dealing with sexual and cultural differences. The readings cover The Oyster Princess, The Doll, The Mountain Cat, Passion, Deception, So This Is Paris, Monte Carlo, and Trouble in Paradise, which are interpreted as part of an underlying process of negotiation between different modes of representation, narration, and spectatorship--a process that comprises the conditions of production in two different national cinemas and the ongoing changes in film technology. Drawing attention to Lubitsch's previously neglected German films, this book presents the years until 1922 as the formative period in his career.
The proletariat never existed—but it had a profound effect on modern German culture and society. As the most radicalized part of the industrial working class, the proletariat embodied the critique of capitalism and the promise of socialism. But as a collective imaginary, the proletariat also inspired the fantasies, desires, and attachments necessary for transforming the working class into a historical subject and an emotional community. This book reconstructs this complicated and contradictory process through the countless treatises, essays, memoirs, novels, poems, songs, plays, paintings, photographs, and films produced in the name of the proletariat. The Proletarian Dream reads these forgotten archives as part of an elusive collective imaginary that modeled what it meant—and even more important, how it felt—to claim the name "proletarian" with pride, hope, and conviction. By emphasizing the formative role of the aesthetic, the eighteen case studies offer a new perspective on working-class culture as a oppositional culture. Such a new perspective is bound to shed new light on the politics of emotion during the main years of working-class mobilizations and as part of more recent populist movements and cultures of resentment. Aldo and Jeanne Scaglione Prize for Studies in Germanic Languages and Literatures 2018
Noncommutative differential geometry is a novel approach to geometry that is paving the way for exciting new directions in the development of mathematics and physics. The contributions in this volume are based on papers presented at a workshop dedicated to enhancing international cooperation between mathematicians and physicists in various aspects of frontier research on noncommutative differential geometry. The active contributors present both the latest results and comprehensive reviews of topics in the area. The book is accessible to researchers and graduate students interested in a variety of mathematical areas related to noncommutative geometry and its interface with modern theoretical physics.
Virtual Geographies is the first detailed study to offer a working definition of cyberpunk within the postmodern force field. Cyberpunk emerges as a new generic cluster within science fiction, one that has spawned many offspring in such domains as film, music, and feminism. Its central features are its adherence to a version of virtual space and a deconstructivist, punk attitude towards (high) culture, modernity, the human body and technology, from computers to prosthetics.The main proponents of cyberpunk are analyzed in depth along with the virtual landscapes they have created - William Gibson’s Cyberspace, Pat Cadigan’s Mindscapes and Neal Stephenson’s Metaverse. Virtual reality is examined closely in all its aspects, from the characteristic narrative constructions employed to the esthetic implications of the ‘virtual sublime’ and its postmodern potential as a discursive mode.With its interdisciplinary approach Virtual Geographies opens up fresh perspectives for scholars interested in the interaction between popular culture and mainstream literature. At the same time, the science fiction fan will be taken beyond the conventional boundaries of the genre into such revitalizing domains as postmodern architecture and literature, and into cutting-edge aspects of science and social thought.
This edition of the private and scientific correspondence of Sir Rudolf Peierls gives a unique insight into the life and work of one of the greatest theoretical physicists of the 20th century. Rudolf Peierls'' scientific work contributed to the early developments in quantum mechanics, and he is well known and much appreciated for his contributions to various disciplines, including solid state physics, nuclear physics, and particle physics. As an enthusiastic and devoted teacher, he passed on his knowledge and understanding and inspired the work of collaborators and students alike. As an effective administrator he was responsible, almost single-handedly, for the establishment of an outstanding successful centre of theoretical physics in Birmingham, and later contributed much to theoretical physics in Oxford.
The German painter Paul Klee (1879-1940) has become one of today's most popular artists. Ninety works by Klee--including drawings, watercolors, and oils, either serious, comical, capricious, or dramatic--have recently been given to the Metropolitan Museum of Art by one of the postwar era's leading art dealers and collectors, Heinz Berggruen, and are now published together in this volume for the first time. The works in the distinguished Berggruen Klee Collection, now a permanent part of the Metropolitan Museum of Art's holdings, span the career of the artist from his student days in Bern in the 1890s to his death in Muralto-Locarno in 1940. All aspects of Klee both as a draftsman and as a painter are illustrated in these ninety works. Paul Klee is not only one of today's most popular artists, but he is also one of the most written about. In an illuminating addition to the vast literature on Klee, Sabine Rewald opens this study with a candid interview with the artist's only son, Felix, which took place in Bern in February 1986. Accompanied by documentary and informal photographs of the Klee family, it gives pointed and witty insights into the artist's private life. It also offers a behind-the-scenes view of the Bauhaus, where Paul Klee taught and where Felix Klee was a student. Most of the ninety works in the Berggruen Klee Collection are reproduced in full-page colorplates, and each one is accompanied by an extensive entry. These entries incorporate biographical information and quotations from Klee's letters, the latter as yet unpublished in English. The book includes an extensive chronology and a bibliography." -- Provided by publisher
In this book a clear and structured introduction about an astrological birth chart is given. But not only that! You read about the deeper interpretations of the Zodiac circle and planets, that influences us. In other words: You learn the basics how to read and interpret a birth chart.
This edition of the private and scientific correspondence of Sir Rudolf Peierls gives a unique insight into the life and work of one of the greatest theoretical physicists of the 20th century. Rudolf Peierls' scientific work contributed to the early developments in quantum mechanics, and he is well known and much appreciated for his contributions to various disciplines, including solid state physics, nuclear physics, and particle physics. As an enthusiastic and devoted teacher, he passed on his knowledge and understanding and inspired the work of collaborators and students alike. As an effective administrator he was responsible, almost single-handedly, for the establishment of an outstanding successful centre of theoretical physics in Birmingham, and later contributed much to theoretical physics in Oxford.A meticulous collector of correspondence, Sir Rudolf left a fascinating collection of letters, in some cases spanning more than seven decades. This collection includes correspondence with his parents, his wife, the Russian-born physicist Genia Kannegieser, life-long friends such as Hans Bethe, and many great physicists, including Wolfgang Pauli, Niels Bohr, Werner Heisenberg, Lev Landau, and George Placzek, to name but a few.This first volume, which covers the years 1922 to 1945, contains much of the early family correspondence, letters exchanged between Rudolf and Genia Peierls before and after their marriage in 1931, correspondence relating to early developments in quantum physics, and interesting material relating to the development of nuclear weapons. The extensive apparatus provides an invaluable background which allows the reader to put the presented documents into their multi-faceted social, political and scientific context.
?All Power to the Imagination!? is a history of the counterculture?s immensely influential role in West German cultural and political life. Sabine von Dirke opens with an examination of nascent countercultural movements in West Germany during the 1950s. She then moves to a nuanced account of the student movement of the 1960s, describing its adaptation of the theories of Marcuse, Adorno, and Benjamin, then recounting its attack on ?bourgeois? notions of the autonomy of art and culture. She next examines the subsequent development of a radical aesthetic and the effects of left-wing terrorism on Germany?s political climate. Later chapters focus on die tageszeitung, the ecology movement, and the rise of the Green Party. ø Von Dirke concludes by asking whether the evolution that this book traces?from Marxist-influenced critiques of culture and society to more diverse, less doctrinaire left-wing positions?represents progress or a betrayal of radical ideals. An ambitious study of the German left, this book is an important contribution to our understanding of postwar European history.
Of the many medical specializations to transform themselves during the rise of National Socialism, anatomy has received relatively little attention from historians. While politics and racial laws drove many anatomists from the profession, most who remained joined the Nazi party, and some helped to develop the scientific basis for its racialist dogma. As historian and anatomist Sabine Hildebrandt reveals, however, their complicity with the Nazi state went beyond the merely ideological. They progressed through gradual stages of ethical transgression, turning increasingly to victims of the regime for body procurement, as the traditional model of working with bodies of the deceased gave way, in some cases, to a new paradigm of experimentation with the “future dead.”
In Topographies of Class, Sabine Hake explores why Weimar Berlin has had such a powerful hold on the urban imagination. Approaching Weimar architectural culture from the perspective of mass discourse and class analysis, Hake examines the way in which architectural projects; debates; and representations in literature, photography, and film played a key role in establishing the terms under which contemporaries made sense of the rise of white-collar society. Focusing on the so-called stabilization period, Topographies of Class maps out complex relationships between modern architecture and mass society, from Martin Wagner's planning initiatives and Erich Mendelsohn's functionalist buildings, to the most famous Berlin texts of the period, Alfred Döblin's city novel Berlin Alexanderplatz (1929) and Walter Ruttmann's city film Berlin, Symphony of the Big City (1927). Hake draws on critical, philosophical, literary, photographic, and filmic texts to reconstruct the urban imagination at a key point in the history of German modernity, making this the first study---in English or German---to take an interdisciplinary approach to the rich architectural culture of Weimar Berlin. Sabine Hake is Professor and Texas Chair of German Literature and Culture at the University of Texas at Austin. She is the author of numerous books, including German National Cinema and Popular Cinema of the Third Reich. Cover art: Construction of the Karstadt Department Store at Hermannplatz, Berlin-Neukölln. Courtesy Bildarchiv Preeussischer Kulturbesitz / Art Resource, NY
The improvements in the technology, artistry, and distribution of motion pictures coincided with the traumas of modern Germany. It is hardly to be wondered that filmmakers frequently turned their cameras on Germany's social and political problems that propagandists regularly sought to manipulate them, that entrepreneurs tried to exploit them, and that German thinkers brooded upon the relationship between German society, politics, and the films that represented them all. From these tangled motives a rich discourse on film emerged that paralleled or anticipated discourses in the other film centers of the world. The Cinema's Third Machine reproduces the diversity of perspectives and the intensity of controversies of early German film within the broad context of German social and political history, from the aesthetic rapture of the first years to the institutionalization of film by the national socialist state. Many texts have been rediscovered and are now presented to modern scholars for the first time. Hake treats all aspects of the medium: production, promotion, education, journalism, aesthetics, and political activism, following throughout the various forms criticism assumed.
Imperial ceremony was a vital form of self-expression for late antique society. Sabine MacCormack examines the ceremonies of imperial arrivals, funerals, and coronations from the late third to the late sixth centuries A.D., as manifest in the official literature and art of the time. Her study offers us new insights into the exercise of power and into the social, political, and cultural significance of religious change during the Christianization of the Roman world.
The search for the defining qualities of narrative has produced an expansive range of definitions which, largely unconnected with each other, obscure the notion of “narrativity” rather than clarifying it. The first part of this study remedies this shortcoming by developing a graded macro model of narrativity which serves three aims. Firstly, it provides a structured overview of the field of narrative elements and processes. Secondly, it facilitates the classification of narratological approaches by locating them on different stages of narrativity. Finally, it focuses attention on narrative dynamics as interpretative processes by which readers seek to produce narrative coherence. The second part of this study identifies three different narrative dynamics which characterise Laclos’s "Dangerous Connections," Kafka’s "Castle" and Toussaint’s novels. Wagner bases her analyses of these dynamics not only on the texts themselves but also on the ways in which literary scholars imbue the texts with narrative coherence. This book provides a long overdue systematisation of the jumbled field of theories of narrativity and opens new perspectives on the difficult relationship between narrative theory and interpretation.
A chronological collection of speeches, television addresses, essays, treaties, and statements documenting the circumstances and events surrounding German unification, from the grassroots movements in the GDR to the merger of the two states in October 1993. Incorporates the official political positi
Running and Clicking examines how Future Narratives push against the confines of their medium: Studying Future Narratives in movies, interactive films, and other electronic media that allow for nodes, this volume demonstrates how the dividing line between film and game is progressively dissolved. Focused on traditional mass media, transitional media, and new media, it also touches on transmedial storytelling and virtual reality and offers a discussion of the political power of the imaginary and the twilight of Future Narratives in the post-human hegemony of the simulated real.
Arnold Schoenberg was a polarizing figure in twentieth century music, and his works and ideas have had considerable and lasting impact on Western musical life. A refugee from Nazi Europe, he spent an important part of his creative life in the United States (1933-1951), where he produced a rich variety of works and distinguished himself as an influential teacher. However, while his European career has received much scholarly attention, surprisingly little has been written about the genesis and context of his works composed in America, his interactions with Americans and other émigrés, and the substantial, complex, and fascinating performance and reception history of his music in this country. Author Sabine Feisst illuminates Schoenberg's legacy and sheds a corrective light on a variety of myths about his sojourn. Looking at the first American performances of his works and the dissemination of his ideas among American composers in the 1910s, 1920s and early 1930s, she convincingly debunks the myths surrounding Schoenberg's alleged isolation in the US. Whereas most previous accounts of his time in the US have portrayed him as unwilling to adapt to American culture, this book presents a more nuanced picture, revealing a Schoenberg who came to terms with his various national identities in his life and work. Feisst dispels lingering negative impressions about Schoenberg's teaching style by focusing on his methods themselves as well as on his powerful influence on such well-known students as John Cage, Lou Harrison, and Dika Newlin. Schoenberg's influence is not limited to those who followed immediately in his footsteps-a wide range of composers, from Stravinsky adherents to experimentalists to jazz and film composers, were equally indebted to Schoenberg, as were key figures in music theory like Milton Babbitt and David Lewin. In sum, Schoenberg's New World contributes to a new understanding of one of the most important pioneers of musical modernism.
The bi-lingual book describes the results of case studies about the history of social work in Eastern Europe between 1900 and 1960 in eight countries: Bulgaria, Croatia, Hungary, Latvia, Poland, Romania, Russia, and Slovenia. In diesem zweisprachigen Buch geht es um die Zusammenfassung der Ergebnisse eines Forschungsprojekts über die Geschichte der Sozialen Arbeit in Osteuropa in den Jahren zwischen 1900 und 1960, an dem acht Länder beteiligt waren: Bulgarien, Kroatien, Lettland, Polen, Rumänien, Russland, Slowenien und Ungarn.
OUT OF THE DARKNESS is the story of Else Winter, a German girl born in 1921 in the rural Eifel region. Her childhood years with delightful episodes of seaside holidays and bicycle trips all over Germany are over-shadowed by the rise of the Nazi regime in 1933 and its impact on every detail in her life. Her dreams of going to university and training to be a pharmacist have to take second place to Labour Service. Then the war begins with all its hardship and tragic loss
This volume presents 50 peer-reviewed papers presented at the Sixth Annual Conference of the Construction History Society held at Queens' College Cambridge from 5-7 April 2019 which cover a wide variety of topics on aspects of construction history with a section devoted entirely to papers on water engineering.
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