Bøger i Edinburgh German Yearbook serien i rækkefølge

Volume focusing on a multitude of incarnations and meanings of "masculinity" in German culture from medieval times to the present.

Fresh perspectives on the cultural history of the German Democratic Republic, exploring the nation's dialogue with the German past.Established, commissioned, and edited by the Department of German at the University of Edinburgh, Edinburgh German Yearbook encourages and disseminates lively and open discussion of themes pertinent to German Studies, viewed from all angles but with particular interest in problems arising out of politics and history. No other yearbook covers the entire field while addressing a focused theme in each issue. Coinciding with the twentieth anniversary of the fall of the Berlin Wall, volume 3 re-directs current debates on memory and tradition, opening up fresh perspectives on the cultural history of the GDR and exploring how the nation's cultural discourses entered into a productive but often problematic dialogue with the values of the past and with the German cultural inheritance. Topics include the compositional engagement with musical heritage; industrial design and cultural politics; the establishment of antifascist monuments and their use as sites of resistance; constructions of a cultural heritage in architecture; the influence of cultural politics on literary scholarship; continuities and breaks with tradition in visualand literary culture; and engagement with the past in the works of Konrad Wolf, Irmtraud Morgner, and Anna Seghers. Contributors: Leonie Beiersdorf, Julian Blunk, Dara Bryant, Helen Finch, Carola Hahnel-Mesnard, StacyHartman, Elaine Kelly, Heather Mathews, Katharina Pfutzner, Matthew Philpotts, Larson Powell, Tim Rei, Marianne Schwarz-Scherer, Laura Silverberg. Matthew Philpotts is Lecturer in German at the University of Manchester, and Sabine Rolle is Lecturer in German at the University of Edinburgh.

Brecht's activities in the GDR, the regime's marginalizing response and posthumous appropriation of his legacy, and creative responses in the GDR and after.

Investigates the function and meaning of sadness in German, Austrian, and Swiss literature and culture from the 18th century to the present.

Building on a long tradition in German-language literature and culture, this volume focuses on contemporary engagements with ethical concerns in literary texts, essays, and films.

New perspectives on the relationship - or the perceived relationship - between the German language and the causes, nature, and legacy of National Socialism and the Shoah.There is seemingly no escaping the association of the language of Goethe with the language of Hitler: the two leaden cliches seem to be inseparable, suggesting a Sonderweg between enlightened sophistication and subtle beauty on the one hand and linguistic barbarism on the other. Victor Klemperer suggested that the Lingua Tertii Imperii was a perversion of German that needed to be purged from the language, but does the notion of "e;Nazi language"e; as an identifiably separate entity really hold water, or does it only reflect a desire to construct a clear demarcation line between "e;Germans"e; and "e;Nazis"e;? What new linguistic, literary, or historical perspectives are availableon the functioning of language during and after the Third Reich? Must German always be the "e;language of the perpetrators,"e; entailing a constant state of heightened self-awareness or vigilance against contamination, or is neutral,objective speech about National Socialism possible in German? This collection provides new perspectives on the relationship - or the perceived relationship - between the German language in all its manifestations and the causes, nature, and legacy of National Socialism and the Shoah. Contributors: Ian Biddle and Beate Muller, Mary Cosgrove, Peter Davies, Sylvia Degen, Andrea Hammel, Geraldine Horan, Teresa Ludden, Dora Osborne, Marko Pajevic, James Parsons, Simone Schroth, Arvi Sepp, Simon Ward, Jenny Watson. Peter Davies is Professor of Modern German Studies at the University of Edinburgh. Andrea Hammel is Senior Lecturer in German at Aberystwyth University.

Explores the changing relationship between memory and the archive in German-language literature and culture since 1945.

Contributions exploring the representation and reality of LGBTQ+ individuals and issues in historical and contemporary German-speaking culture.The German-speaking lands have a long history of engagement, ranging from celebratory to horrific, with non-normative genders and sexualities, including through cultural output, language, and politics. Queering German Culture, volume 10 of the Edinburgh German Yearbook, foregrounds this via new analyses of a variety of LGBTQ+ cultural artifacts - archives both physical and digital, literature in the form of novels and periodicals, and film both narrative and documentary - to consider a spectrum of gender and sexual identities. Individual chapters employ a range of lenses, including psychoanalysis, feminism, and postcolonial and queer theory, to analyze work by ThomasMann, Thomas Brussig, Jenny Erpenbeck, Terezia Mora, Rainer Werner Fassbinder, and Fatih Akin, among others. Contributors: Nicholas Courtman, Leanne Dawson, Kyle Frackman, Sarra Kassem, Lauren Pilcher, John L. Plews, Gary Schmidt, Cyd Sturgess. Leanne Dawson is Lecturer in German and Film Studies at the University of Edinburgh.

New essays exploring the resurgence of the theme of romantic relationships and love in German literature since around the turn of the millennium.While sociologists have long agreed that the problems of modern and contemporary subjectivity crystallize in the issue of romantic relationships and love (e.g., Luhmann, Illouz, Beck, etc.), the theme of love, so crucial to the foundational text of modern German literature, Goethe's Werther, all but disappeared from German prose literature in the second half of the twentieth century. Yet over the past fifteen years German-language literature has witnessed an explosion of novels with "e;Liebe"e; in their titles as well as novels that centrally focus on intersubjective erotic and emotional relationships. A number of major contemporary writers (Treichel, Walser, Kermani, Ortheil, Maron, Zaimoglu, Genazino) have written Liebesromane or novels in which significant sociohistorical questions are refracted through the love relationships of their protagonists. German film likewise has increasingly thematized love relationships under postromantic conditions, e.g. in the films of the Berlin school. Simultaneously, the development of both feminist and LGBTQ politics over the past decades has exploded the heteronormative discourses ofdesire in a way that has both expanded and enriched the lovers' discourse, while recent developments of urban (hetero)sexuality have expanded the previously available models of expressing erotic relationships in ways that are reminiscent of the utopian ending of Goethe's first version of Stella. The present collection offers a wide-ranging set of essays on these developments. Contributors: Esther K. Bauer, Sven Glawion, Silke Horstkotte,Sarra Kassem, Maria Roca Lizarazu, Helmut Schmitz, Angelika Vybiral. Helmut Schmitz is Reader in German at the University of Warwick. Peter Davies is Professor and Head of German at the University of Edinburgh.

In essays that examine particular non-canonical works and writers in their wider cultural context, this volume "e;repopulates"e; the German Enlightenment.German literature and thought flourished in the eighteenth century, when a culture considered a European backwater came to assert worldwide significance. This was an age in which repeated attempts to reform German literary and philosophical culture were made - often only to be overtaken within a few decades. It ushered in generations of exceptionally gifted poets and thinkers including Klopstock, Lessing, Goethe, Kant, and Schiller, whose names still dominate our understanding of the German Enlightenment. Yet the period also brought with it new means of accessing and disseminating culture and a rapid increase in cultural production. The leading lights of eighteenth-century German culture operated against the backdrop of a yet more diverse and vivid cast of literary and philosophical figures since consigned to the second tier of German culture. Through essays that examine particular non-canonical works and writers in their wider cultural context, this collection repopulates the German Enlightenment with these largely forgotten movements, writers, and literary circles. It offers new insights into the development of genres such as thenovel, the fable, and the historical drama, and assesses the dynamics that led to individual authors, circles, and schools of thought being left behind in their time and passed over or inadequately understood to this day.Contributors: Johannes Birgfeld, Stephanie Blum, Julia Bohnengel, Kristin Eichhorn, Sarah Vandegrift Eldridge, Jonathan Blake Fine, J. C. Lees, Leonard von Morze, Ellen Pilsworth, Joanna Raisbeck, Ritchie Robertson, Michael Wood. Michael Wood is British Academy Postdoctoral Fellow in German at the University of Edinburgh. Johannes Birgfeld teaches Modern German Literature at the University of the Saarland.

Volume 13 deals with the interaction of music and politics, considering a broad range of genres, authors, composers, and artists in Germany since the nineteenth century.A particularly iconic image of German Reunification is that of Mstislav Rostropovich playing from J. S. Bach's cello suites in front of the Berlin Wall on November 11, 1989. Thirty years on, it is timely to reconsider the cross-fertilization of music and politics within the German-speaking context. Frequently employed as a motivational force, a propaganda tool, or even a weapon, music can imbue a sense of identity and belonging, triggering both comforting and disturbing memories. Playing a key role in the formation of Heimat and "e;Germanness,"e; it serves ideological, nationalistic, and propagandistic purposes conveying political messages and swaying public opinion. This volume brings together essays by historians, literary scholars, and musicologists on topics concerning the increasing politicization of music, especially since the nineteenth century. They cover a broad spectrum of genres, musicians, and thinkers, discussing the interplay of music and politics in "e;classical"e; and popular music: from the rediscovery and repurposing of Martin Luther in nineteenth-century Germany to the exploitation of music during the Third Reich, from the performative politics of German punk and pop music to the influence of the events of 1988/89 on operatic productions in the former GDR - up to the relevance of Ernst Bloch in our contemporary post-truth society.

Examines the heightened role of politics in contemporary German and Austrian cultural productions and institutions and what it means for German Studies.As debates about Europe, migration, resurgent nationalism, and neoliberalism intensify in Germany and Austria, politics has gained particular prominence in cultural production and cultural institutions. How does this development affect German Studies as a discipline and a practice? Volume 14 of Edinburgh German Yearbook examines political or politicized aspects of contemporary life that have become increasingly significant for culture today. The contributions gathered here offer engaging readings of contemporary literary texts (including work by Sasa Stanisic, Anke Stelling, and Timur Vermes), films (by Fatih AkA n, Ruth Beckermann, and Andreas Dresen), and other forms of cultural intervention (the polemics of Max Czollek and Oliver Polak, and the activism of the left-feminist group Burschenschaft Hysteria). These encourage us to consider how communities are being (re)shaped by current political and social crises, antagonisms around memory cultures, questions of European identity, as well as challenges to the status of an assumed Leitkultur and the discourse of integration.

Reconsidering the German tendency to define itself vis-a-vis an eastern "Other" in light of fresh debate regarding the Second World War, this volume and the cultural products it considers expose and question Germany's relationship with its imagined East.