Widerstand ist ein großes Wort. Gerade im Film. Sind die Organisationsformen hierzulande, ist das Koproduktionseuropa nicht zu sehr auf Kompromiss gebaut, sind die Institutionen nicht verdammt dazu, sich selbst fortzusetzen, verwalteter Film, Verwaltungsfilm, Gremienkino? Ist nicht jeder Widerstand deshalb zwecklos, weil er vereinnahmt wird, bevor er auch nur einen Zuschauer gefunden hat? Die Werbung sagt „radikal”, damit es niemand sonst sein muss, und schon gar nicht der Film? Und doch: was übrig bleibt, im Kopf, nach dem Film, das ist der Blick, das Schnalzen der Zunge, der Splitter, der überschüssig, außer Kontrolle, widerständig war. Für und gegen den Zuschauer zugleich.
Seminar paper from the year 2000 in the subject German Studies - Modern German Literature, grade: A-, University of Connecticut (German), language: English, abstract: Texts do not come out of the blue. This could be the motto of those literary theorists that apply the method of the "new historicism", a procedure for interpreting texts that has become popular in the 1980s. New historicism aims at revealing power relations that are reflected but hidden in texts. Alll texts are considered products of specific historical conditions and therefore imbued with cultural, social and political elements. Such a complex dialogue between text and history can be clearly seen in Deutschland. A Winter's Tale by Heinrich Heine. His motto, when he was writing the travel story in 1844, could have been: dreams do not come out of the blue either. One may wonder why the four dreams, which make up a comparatively small part of the whole text, are of such importance. From the point of view of a new historicist, however, all texts sorts should be regarded equal and inter-dependent. Accepting the historicity of all texts, new historicists work with sources from a variety of disciplines and discourses for the analysis of a piece of literature. Furthermore, this approach even justifies an application of discourses that have come into existence before or after the work in question - as long as they can contribute to its interpretation and evaluation. For the interpretation of the dreams in Heine's Deutschland. A Winter's Tale I will make use of this methodological advantage and apply various sources that range from ancient times up to the 20th century.
Twin polymerization is a novel approach where two distinct polymers are produced from a single source monomer, thus being an excellent tool for the synthesis of hybrid materials. The author introduces the principles of various twin polymerization processes, their classification and practical use. The book is supplied with numerous individual examples, demonstrating the potential of this strategy in materials synthesis.
Popular archaeology is a heterogeneous phenomenon: Focusing on the German archaeologist Heinrich Schliemann, Egyptian mummies, and the ruin complex Great Zimbabwe in fictional and factual texts, Susanne Duesterberg analyses the popular reception of archaeology in Victorian and Edwardian Britain. She offers an interdisciplinary and comparative view on the reception of the different archaeologies, reflecting contemporary sociocultural concerns in connection with identity formation. With its focus on popular culture as well as identity and memory studies, the book appeals to both a general public and experts from various disciplines.
This is a book of family stories, of pioneers who immigrated to central Illinois from a variety of locations in Germany. They dared to leave the Old World and seek their fortune in the New World and strove every day of their lives to improve the quality of life for their children and descendants. They left a part of Europe, Germany, comprising a radius of about a hundred miles, and settled in America, in central Illinois, within a radius of about twenty-five miles. Between 1845 and 1869, some came as families, some as individuals , but they all chose to inhabit the villages of Danvers, Minier, Petersburg, or the surrounding farmland. Of the pioneer generation, there were sixteen people whose stories are like little jewels embroidered onto the warp and woof of the historical tapestry of their time. The second-, third-, and fourth-generation folks are likewise described within the context of their times and always leading in a straight line of lineage to Mary and Bill Oehler, the authors parents. Every life has a story. It has been a pleasure to delineate these thirty-one lives.
Seminar paper from the year 2000 in the subject German Studies - Modern German Literature, grade: A-, University of Connecticut (German), language: English, abstract: Texts do not come out of the blue. This could be the motto of those literary theorists that apply the method of the "new historicism", a procedure for interpreting texts that has become popular in the 1980s. New historicism aims at revealing power relations that are reflected but hidden in texts. Alll texts are considered products of specific historical conditions and therefore imbued with cultural, social and political elements. Such a complex dialogue between text and history can be clearly seen in Deutschland. A Winter's Tale by Heinrich Heine. His motto, when he was writing the travel story in 1844, could have been: dreams do not come out of the blue either. One may wonder why the four dreams, which make up a comparatively small part of the whole text, are of such importance. From the point of view of a new historicist, however, all texts sorts should be regarded equal and inter-dependent. Accepting the historicity of all texts, new historicists work with sources from a variety of disciplines and discourses for the analysis of a piece of literature. Furthermore, this approach even justifies an application of discourses that have come into existence before or after the work in question - as long as they can contribute to its interpretation and evaluation. For the interpretation of the dreams in Heine's Deutschland. A Winter's Tale I will make use of this methodological advantage and apply various sources that range from ancient times up to the 20th century.
This is a book of family stories, of pioneers who immigrated to central Illinois from a variety of locations in Germany. They dared to leave the Old World and seek their fortune in the New World and strove every day of their lives to improve the quality of life for their children and descendants. They left a part of Europe, Germany, comprising a radius of about a hundred miles, and settled in America, in central Illinois, within a radius of about twenty-five miles. Between 1845 and 1869, some came as families, some as individuals , but they all chose to inhabit the villages of Danvers, Minier, Petersburg, or the surrounding farmland. Of the pioneer generation, there were sixteen people whose stories are like little jewels embroidered onto the warp and woof of the historical tapestry of their time. The second-, third-, and fourth-generation folks are likewise described within the context of their times and always leading in a straight line of lineage to Mary and Bill Oehler, the authors parents. Every life has a story. It has been a pleasure to delineate these thirty-one lives.
This text examines the activities of a network of 19th century intellectuals in Britain who were engaged in the rendering of German texts into English. It establishes a series of cultural implications of the process of translation in an inter-and intra-lingual context and explores cross-currents between translation and gender studies, art history, philology, historiography and travel writing.
Popular archaeology is a heterogeneous phenomenon: Focusing on the German archaeologist Heinrich Schliemann, Egyptian mummies, and the ruin complex Great Zimbabwe in fictional and factual texts, Susanne Duesterberg analyses the popular reception of archaeology in Victorian and Edwardian Britain. She offers an interdisciplinary and comparative view on the reception of the different archaeologies, reflecting contemporary sociocultural concerns in connection with identity formation. With its focus on popular culture as well as identity and memory studies, the book appeals to both a general public and experts from various disciplines.
Since Germany became a colonial power relatively late, postcolonial theorists and histories of colonialism have thus far paid little attention to it. Uncovering Germany’s colonial legacy and imagination, Susanne Zantop reveals the significance of colonial fantasies—a kind of colonialism without colonies—in the formation of German national identity. Through readings of historical, anthropological, literary, and popular texts, Zantop explores imaginary colonial encounters of "Germans" with "natives" in late-eighteenth- and early-nineteenth-century literature, and shows how these colonial fantasies acted as a rehearsal for actual colonial ventures in Africa, South America, and the Pacific. From as early as the sixteenth century, Germans preoccupied themselves with an imaginary drive for colonial conquest and possession that eventually grew into a collective obsession. Zantop illustrates the gendered character of Germany’s colonial imagination through critical readings of popular novels, plays, and travel literature that imagine sexual conquest and surrender in colonial territory—or love and blissful domestic relations between colonizer and colonized. She looks at scientific articles, philosophical essays, and political pamphlets that helped create a racist colonial discourse and demonstrates that from its earliest manifestations, the German colonial imagination contained ideas about a specifically German national identity, different from, if not superior to, most others.
From Schmelt Camp to “Little Auschwitz”: Blechhammer’s Role in the Holocaust is the first in-depth study of the second largest Auschwitz subcamp, Blechhammer (Blachownia Śląska), and its lesser known yet significant prehistory as a so-called Schmelt camp, a forced labor camp for Jews operating outside the concentration camp system. Drawing on previously untapped archival documents and a wide array of survivor testimonies, the book provides novel findings on Blechhammer’s role in the Holocaust in Eastern Upper Silesia, a formerly Polish territory annexed to Nazi Germany in the fall of 1939, where 120,000 Jews lived. Established in the spring of 1942 to construct a synthetic fuel plant, the camp’s abhorrent living conditions led to the death of thousands of young Jews conscripted from the ghettos or taken off deportation convoys from Western Europe. Blechhammer was not only used for selecting parts of the Jewish ghetto population for Auschwitz, but also for killing pregnant women and babies. As an Auschwitz satellite, Blechhammer became the scene of brutal executions and massacres of prisoners refusing to go on the Death March. This microhistory unearths the far-reaching complicity of often overlooked perpetrators, such as the industrialists, factory guards, policemen, and “ordinary” civilians in these atrocities, but more importantly, it focuses on the victims, reconstructing the prisoners’ daily life and suffering, as well as their survival strategies.
In Making Manslaughter, Susanne Pohl-Zucker offers parallel studies that trace the legal settlement of homicide in the duchy of Württemberg and the imperial city of Zurich between 1376 and 1700. Killings committed by men during disputes were frequently resolved by extrajudicial agreements during the late Middle Ages. Around 1500, customary strategies of dispute settlement were integrated and modified within contexts of increasing legal centralization and, in Württemberg, negotiated with the growing influence of the ius commune. Legal practice was characterized by indeterminacy and openness: categories and procedures proved flexible, and judicial outcomes were produced by governmental policies aimed at the re-establishment of peace as well as by the strategies and goals of all disputants involved in a homicide case. See inside the book.
Modern theories of meaning usually culminate in a critique of science. This book presents a study of human intelligence beginning with a semantic theory and leading into a critique of music. By implication it sets up a theory of all the arts; the transference of its basic concepts to other arts than music is not developed, but it is sketched, mainly in the chapter on artistic import. Thoughtful readers of the original edition discovered these far-reaching ideas quickly enough as the career of the book shows: it is as applicable to literature, art and music as to the field of philosophy itself. The topics it deals with are many: language, sacrament, myth, music, abstraction, fact, knowledge--to name only the main ones. But through them all goes the principal theme, symbolic transformation as the essential activity of human minds. This central idea, emphasizing as it does the notion of symbolism, brings Mrs. Langer's book into line with the prevailing interest in semantics. All profound issues of our age seem to center around the basic concepts of symbolism and meaning. The formative, creative, articulating power of symbols is the tonic chord which thinkers of all schools and many diverse fields are unmistakably striking; the surprising, far-reaching implications of this new fundamental conception constitute what Mrs. Langer has called philosophy in a new key. Mrs. Langer's book brings the discussion of symbolism into a wider general use than criticism of word meaning. Her volume is vigorous, effective, and well written and will appeal to everyone interested in the contemporary problems of philosophy.
This book brings together dance and visual arts scholars to investigate the key methodological and theoretical issues concerning reenactment. Along with becoming an effective and widespread contemporary artistic strategy, reenactment is taking shape as a new anti-positivist approach to the history of dance and art, undermining the notion of linear time and suggesting new temporal encounters between past, present, and future. As such, reenactment has contributed to a move towards different forms of historical thinking and understanding that embrace cultural studies – especially intertwining gender, postcolonial, and environmental issues – in the redefinition of knowledge, historical discourses, and memory. This approach also involves questioning canons and genealogies by destabilising authorship and challenging both institutional and direct forms of transmission. The structure of the book playfully recalls that of a theatrical performance, with both an overture and prelude, to provide space for a series of theoretical and practice-based insights – the solos – and conversations – the duets – by artists, critics, curators, and theorists who have dealt with reenactment. The main purpose of this book is to demonstrate how reenactment as a strategy of appropriation, circulation, translation, and transmission can contribute to understanding history both in its perpetual becoming and as a process of reinvention, renarration, and resignification from an interdisciplinary perspective.
Today, a multiplicity of feminist approaches has become an integral part of the fields of German literary and cultural studies. This comprehensive reference provides a much needed synthesis of the contribution women have made to German literature and culture. In entries for more than 500 topics, the volume surveys literary periods, epochs, and genres; critical approaches and theories; important authors and works; female stereotypes; laws and historical developments; literary concepts and themes; and organizations and archives relevant to women and women's studies. Each entry offers a concise identification of the term, a discussion of its significance, and a bibliography of works for further reading. Today, a multiplicity of feminist approaches has become an integral part of the fields of German literary and cultural studies. While biographical works on women writers exist, this is the first reference to synthesize the wealth of feminist scholarship in German studies. While existing reference works focus exclusively on women authors, this volume contains numerous topical entries and covers the role of women in German literature and culture from the Middle Ages to the present day. Included are alphabetically arranged entries on more than 500 topics. While some entries are provided for important women writers and other individuals, the bulk of the volume provides information on literary periods, epochs, and genres; critical approaches and theories; female stereotypes; laws and historical developments; literary concepts and themes; and organizations and archives relevant to women and women's studies. Each entry includes a brief identification of the subject, a discussion of feminist thought on the topic, and a brief bibliography. Entries are written by numerous contributors and reflect a range of critical/theoretical approaches.
Actors and the Art of Performance: Under Exposure combines the author's two main biographical paths: her professional commitment to the fields of both theatre and philosophy. The art of acting on stage is analysed here not only from the theoretical perspective of a spectator, but also from the perspective of the actor. The author draws on her experience as both a theatre actor and a university professor whose teachings in the art of acting rely heavily on her own experience and also on her philosophical knowledge. The book is unique not only in terms of its content but also in terms of its style. Written in a multiplicity of voices, the text oscillates between philosophical reasoning and narrative forms of writing, including micro-narratives, fables, parables, and inter alia by Carroll, Hoffmann and Kleist. Hence the book claims that a trans-disciplinary dialogue between the art of acting and the art of philosophical thinking calls for an aesthetical research that questions and begins to seek alternatives to traditionally established and ingrained formats of philosophy.
Through a close reading of novels by Ulrike Kolb, Irmtraud Morgner, Emine Sevgi Özdamar, Bernhard Schlink, Peter Schneider, and Uwe Timm, this book traces the cultural memory of the 1960s student movement in German fiction, revealing layers of remembering and forgetting that go beyond conventional boundaries of time and space. These novels engage this contestation by constructing a palimpsest of memories that reshape readers’ understanding of the 1960s with respect to the end of the Cold War, the legacy of the Third Reich, and the Holocaust. Topographically, these novels refute assertions that East Germans were isolated from the political upheaval that took place in the late 1960s and 1970s. Through their aesthetic appropriations and subversions, these multicultural contributions challenge conventional understandings of German identity and at the same time lay down claims of belonging within a German society that is more openly diverse than ever before.
A history of the agricultural sciences in Nazi Germany is presented in this book. The book analyzes scientific practice under the Nazi regime, Nazi agricultural policy and autarkic strategies, and the expansion policy in Eastern Europe. It offers new insights into the Auschwitz concentration camp and new perspectives on the cooperation between German elite scientists and the Nazi regime. The book goes on to dismiss the assumption that "Arian physics" were typical for Nazi Germany.
Wege der Schriftauslegung - Ways of Interpreting the Scripture Kongress für Theolog*innen aus dem Ostseeraum - Congress for Theologians from the Baltic Sea region, Religions & Gender Band 1
Wege der Schriftauslegung - Ways of Interpreting the Scripture Kongress für Theolog*innen aus dem Ostseeraum - Congress for Theologians from the Baltic Sea region, Religions & Gender Band 1
Diese Buch dokumentiert die Beitrage des Kongregesses für Theolog*innen aus dem Ostseeraum „Wir haben selber gehört und erkannt“ (Joh 4,42). Wege der Schriftauslegung, der vom 14. bis 15. Mai 2018 in der Marienkirche in Lübeck durchgeführt wurde. In den Vorträgen und Impulsen der Referentinnen werden vielfältige hermeneutische Ansätze aus unterschiedlichen Kontexten zur Sprache gebracht. This book documents the contributions of the Congress for Theologians from the Baltic Sea region, „We have heard for ourselves, and we know“ (Joh 4:42). Ways of Interpreting the Scripture held from 14th to 15th May, 2018 at St. Mary´s Church in Lübeck. In the lecturtes and inputs of the speakers, a wide range of hermeneutical approaches from differnet contexts were raised.
Architects of Annihilation follows the activities of the demographers, economists, geographers and planners in the period between the disorderly excesses of the November 1938 pogrom and the fully-effective operation of the gas chambers at Auschwitz in summer 1942. The authors, both journalists and historians, argue that this group of intellectuals, often combining academic, civil service and Party functions, made an indispensable contribution to the planning and execution of the Final Solution. More than that, in the economic and demographic rationale of these experts, the Final Solution was only one element in a far-reaching programme of self-sufficiency which privileged the German Aryan population.
In Editing Turgenev, Dostoevsky, and Tolstoy, Susanne Fusso examines Mikhail Katkov's literary career without vilification or canonization, focusing on the ways in which his nationalism fueled his drive to create a canon of Russian literature and support its recognition around the world. In each chapter, Fusso considers Katkov's relationship with a major Russian literary figure. In addition to Turgenev, Dostoevsky, and Tolstoy, she explores Katkov's interactions with Vissarion Belinsky, Evgeniia Tur, and the legacy of Aleksandr Pushkin. This groundbreaking study will fascinate scholars, students, and general readers interested in Russian literature and literary history.
This book examines the Kaiser Wilhelm Institutes under Hitler, illustrating the cooperation between scientists and National Socialists in service of autarky, racial hygiene, war, and genocide.
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