German Literature and Culture

Schweiz schreiben. Zu Konstruktion und Dekonstruktion des Mythos Schweiz in der Gegenwartsliteratur

by Valerie Heffernan

co-edited with Jurgen Barkhoff
Tübingen: De Gruyter, 2010

This volume examines how historically and culturally effective Swiss myths have been re-formed and continued, handed... more This volume examines how historically and culturally effective Swiss myths have been re-formed and continued, handed down and criticised especially in more recent Swiss-German literature since the Second World War. With contributors including Adolf Muschg, Peter von Matt and German scholars from Ireland and Great Britain, this volume reflects on important literary contributions to historical and present-day processes of identity-creation, including Switzerland's role in the Second World War, its attitudes towards Europe, Switzerland as a multicultural entity or the many myths about this country.

Archival Bodies. A Particular History of Historical Imagination. (In German) Constance: KUP 2012.

by Mario Wimmer

Bach and the Riddle of the Number Aiphabet

by Ruth Tatlow

ISBN 0 521 36191 5
Cambridge: CUP, 1991

ISBN-10: 0-521-02801-9
Paperback: Cambridge: CUP, 2006.

ISBN-978-4-7917-6587-4
Japanese translation by Natsuki Mori
Bach no Ango: Kazu to Sozo no Himitsu: Tokyo: Seidosha, 2011

Reviews:
Bach-Jahrbuch 78 (1992), 139-140;
Music & Letters 73 (1992), 105-107;
JAMS 45 (1992), 349-352;
The Times Higher Education Supplement, 22 March 1991;
Times Literary Supplement, 19 July 1991;
Early Music News 151 (April, 1991), 13
Notes 49 (September 1992), 97-99
Musical Times 133 (1992), 26
Journal of English and German Philology 93 (1994), 88-91

In 1947 the theologian and musicologist Friedrich Smend published a study which claimed that J. S. Bach regularly... more In 1947 the theologian and musicologist Friedrich Smend published a study which claimed that J. S. Bach regularly employed the natural-order number alphabet (A=1 to Z=24) in his works. Smend provided historical evidence and music examples to support his theory which demonstrated that by this means Bach incorporated significant words into his music and provided himself with a symbolic compositional scheme. Since then many people have taken up Smend's theory, interpreting numbers of bars and notes in Bach scores according to the natural-order alphabet. By presenting a thorough survey of different number alphabets and their uses in seventeenth- and eighteenth-century Germany, Dr Tatlow investigates the plausibility of Smend's claims. Her new evidence fundamentally challenges Smend's conclusions and the book sounds a note of caution to all who continue to use his number-alphabet theory. Dr Tatlow's painstaking research will fascinate all those with an interest in the music of J. S. Bach and German Baroque Culture, and will be of particular importance for music historians and analysts

Terror und Form / Terror and Form, ed. by Franz-Josef Deiters, Axel Fliethmann, Birgit Lang, Alison Lewis, and Christiane Weller, Freiburg i. Br./Berlin/Vienna: Rombach Verlag, 2011 (= Limbus – Australisches Jahrbuch für germanistische Literatur- und Kulturwissenschaft / Australian Yearbook of German Literary and Cultural Studies 4)

by Franz-Josef Deiters

A Companion to German Cinema

by Terri Ginsberg

http://media.wiley.com/product_data/excerpt/67/14051943/1405194367-40.pdf

A Companion to German Cinema offers a wide-ranging collection of essays demonstrating state-of-play scholarship on... more A Companion to German Cinema offers a wide-ranging collection of essays demonstrating state-of-play scholarship on German cinema at a time during which cinema studies as well as German cinema have once again begun to flourish.

* Offers a careful combination of theoretical rigor, conceptual accessibility, and intellectual inclusiveness

* Includes essays by well-known writers as well as up-and-coming scholars who take innovative critical approaches to both time-honored and emergent areas in the field, especially regarding race, gender, sexuality, and (trans)nationalism

* Distinctive for its contemporary relevance, reorienting the field to the global twenty-first century

* Fills critical gaps in the extant scholarship, opening the field onto new terrains of critical engagement

L’immagine dell’Italia nei Diari e nell’Autobiografia di Paul Heyse (settembre 1852 – agosto 1853)

by Roberto Bertozzi

Firenze, Olschki, 2011 (in corso di stampa)

Paul Heyse (Berlino 1830 – Monaco di Baviera 1914) tenne in modo sistematico e annotò quasi quotidianamente 28 diari,... more Paul Heyse (Berlino 1830 – Monaco di Baviera 1914) tenne in modo sistematico e annotò quasi quotidianamente 28 diari, a tutt’oggi inediti, che ricoprono pressoché l’intera sua vita. Essi sono costituiti da circa 7.700 pagine.
Non si tratta di documenti segreti scritti per divenire pubblici in sede postuma pertanto, nell’intenzione dell’autore, non rappresentano nemmeno la sua ultima opera, quella che gli avrebbe permesso di prendere la parola dopo la morte, costringendo gli altri ad ascoltare. Difatti sarebbe stato Heyse stesso a servirsi, ancora in vita, di questi ‘appunti’, per costellarne la sua vasta produzione letteraria: 216 novelle in prosa e in versi, 74 opere drammatiche, 8 romanzi, liriche (una sorta di diario in versi), memorie, ecc.
Heyse si servirà dei primi due, nei quali pare abbia preso appunti anche per scrivere un manuale di Storia dell’Arte, per riassumerli, 47 anni dopo, in forma narrativa, nell’opera autobiografica Jugenderinnerungen und Bekenntnisse («Ricordi giovanili e confessioni») sotto la voce Ein Jahr in Italien («Un anno in Italia»), qui presentata in una nuova veste traduttiva.
Nei primi due diari che qui si presentano, scritti durante il suo primo soggiorno in Italia (21 settembre 1852 – 30 agosto 1853), s’intuisce come Heyse abbia organizzato il viaggio sulle orme della tipica Bildungsreise («viaggio d’istruzione»), ripercorrendo le tappe di un itinerario di matrice sostanzialmente romantica. Essi rappresentano l’occasione – se non la metafora – di un’autoesplorazione e il resoconto che il giovane fornisce non è già una relazione geografica e artistico-culturale, ma un diario privato, un autoritratto.
La vocazione a indagare aspetti quotidiani della vita attraverso il popolo, vivendo e mescolandosi con esso, ispirò nel giovane studioso un atteggiamento che gli sarebbe servito non solo a definire il senso profondo di questa esperienza onirica e odeporica, ma anche a riconoscere quei valori che, secondo lui, avrebbero concorso alla sua maturazione culturale e al suo arricchimento umano.
Dopo un’intensa attività di novelliere, drammaturgo, poeta e traduttore, Paul Heyse fu insignito, nel 1910, del Premio Nobel per la Letteratura, il primo conferito a uno scrittore tedesco.

Πρακτικά της Ημερίδας "Αφιέρωμα στη Γερμανική, Ιταλική και Ισπανική γλώσσα". [Actas de la "Jornada dedicada a la lengua alemana, italiana y española"]

by Eleni Leontaridi

ΛΕΟΝΤΑΡΙΔΗ Ε., Ε. ΜΠΑΛΑΣΗ & Κ. ΣΠΑΝΟΠΟΥΛΟΥ (επιμ.) (2006), Πρακτικά της Ημερίδας "Αφιέρωμα στη Γερμανική, Ιταλική και Ισπανική γλώσσα", Αθήνα: Focus on Health (ISBN: 978-960-6608-73-5). [LEONTARIDI E., E. BALASSI & K. SPANOPOULOU (eds.) (2006), Actas de la "Jornada dedicada a la lengua alemana, italiana y española", Atenas: Focus on Health].

Στις 22 Μαΐου 2004, το Διδασκαλείο Ξένων Γλωσσών του Πανεπιστημίου Αθηνών και ο Σύνδεσμος Φιλίας Εθνών οργάνωσαν... more Στις 22 Μαΐου 2004, το Διδασκαλείο Ξένων Γλωσσών του Πανεπιστημίου Αθηνών και ο Σύνδεσμος Φιλίας Εθνών οργάνωσαν ταυτόχρονες Ημερίδες με τίτλο «Αφιέρωμα στη γερμανική, ιταλική και ισπανική γλώσσα». Ο κοινός τόμος Πρακτικών (την επιμέλεια έκδοσης του οποίου ανέλαβαν η Ε. Μπαλάση, η Ε. Λεονταρίδη και η Κ. Σπανοπούλου για τη γερμανική, ισπανική και ιταλική γλώσσα αντίστοιχα), συμπεριέλαβε 47 ανακοινώσεις. Συγκεκριμένα για την ισπανική, επιλέχθηκαν να δημοσιευθούν 16 εργασίες.

El 22 de mayo de 2004, el Centro de Lenguas Extranjeras de la Universidad de Atenas y la Asociación de Amistad entre las Naciones organizaron Jornadas paralelas con el título «Jornada dedicada a la lengua alemana, italiana y española». El volumen común de las Actas de la Jornada (cuya edición corrió a cargo de E. Balassi, K. Spanopoulou y E. Leontaridi para la lengua alemana, italiana y española respectivamente), incluyó 47 comunicaciones. Para la lengua española en concreto fueron elegidos a publicarse 16 trabajos.

Paul Heyse: La vedova di Pisa. Die Witwe von Pisa

by Barbara Delli Castelli

B. Delli Castelli (a cura di), Milano, LED, 2011

SOMMARIO: PARTE PRIMA: Paul Heyse: collocazione storico-culturale - Paul Heyse, mediatore culturale fra Italia e... more SOMMARIO: PARTE PRIMA: Paul Heyse: collocazione storico-culturale - Paul Heyse, mediatore culturale fra Italia e Germania - Paul Heyse, traduttore e autore tradotto - Traduttore e testo letterario - Riferimenti bibliografici - PARTE SECONDA: Die Witwe von Pisa: considerazioni critiche - La vedova di Pisa - Die Witwe von Pisa.

Paul Heyse (Berlino 1830 - Monaco di Baviera 1914) fu insignito, nel 1910, del Premio Nobel per la Letteratura, il primo conferito a uno scrittore tedesco. Scrisse 216 novelle in prosa o in versi, 74 opere drammatiche, 8 romanzi, liriche (una sorta di diario in versi), memorie, tradusse in tedesco numerose opere di poeti e scrittori italiani, compose fiabe, canti popolari e tenne, infine, un carteggio immenso, del quale è stata pubblicata a tutt’oggi solo la parte ritenuta letterariamente più importante. Le novelle di Heyse, universalmente lodate, scritte sia durante il soggiorno in Italia, sia durante la lunga vita in Germania, mostrano il rispetto per le leggi della natura, fuori dalle quali nulla è bello e nulla è buono. Una notevole parte di tali novelle è di argomento italiano: italiani i protagonisti, italiano il paesaggio, oppure tedeschi i protagonisti, ma camuffati e trasportati nell’ambiente italiano, di cui Heyse ben conosceva gli aspetti esteriori e di cui credeva di conoscere non pochi segreti. Nella novella La vedova di Pisa, di cui si presenta la prima traduzione italiana, Heyse prende le distanze da storie di tragici amori e da figure di donne orgogliose, dai sentimenti profondi e travolgenti. Lucrezia, la protagonista, è, difatti, una vedova da farsa, un’Eva cui piace mordere, tratto tratto, il pomo del peccato.

Narrative der Arbeit / Narratives of Work, ed. by Franz-Josef Deiters, Axel Fliethmann, Birgit Lang, Alison Lewis, and Christiane Weller, Freiburg i. Br./Berlin/Vienna: Rombach Verlag, 2009 (= Limbus – Australisches Jahrbuch für germanistische Literatur- und Kulturwissenschaft / Australian Yearbook of German Literary and Cultural Studies 2)

by Franz-Josef Deiters

Passagen. 50 Jahre Germanistik an der Monash Universität / Passages. 50 Years of German Studies at Monash University, ed. by Franz-Josef Deiters, Axel Fliethmann and Christiane Weller. St. Ingbert: Röhrig Universitätsverlag, 2010 (= Transpositionen/Transpositions – Australische Studien zur deutschen Literatur, Philosophie und Kultur / Australian Studies in German Literature, Philosophy and Culture 1)

by Franz-Josef Deiters

Auf dem Schauplatz des" Volkes": Strategien der Selbstzuschreibung intellektueller Identität von Herder bis Büchner und darüber hinaus. Freiburg i.Br./Berlin/Wien: Rombach Verlag, 2006

by Franz-Josef Deiters

Groteske Moderne – Moderne Groteske. Festschrift für Philip Thomson / Festschrift for Philip Thomson, ed. by Franz-Josef Deiters, Axel Fliethmann and Christiane Weller. St. Ingbert: Röhrig Universitätsverlag, 2011 (= Transpositionen/Transpositions – Australische Studien zur deutschen Literatur, Philosophie und Kultur / Australian Studies in German Literature, Philosophy and Culture 3)

by Franz-Josef Deiters

Geschichtserfahrung im Spiegel der Literatur. Festschrift für Jürgen Schröder zum 65. Geburtstag, ed. by Cornelia Blasberg and Franz-Josef Deiters, Tübingen: Stauffenburg Verlag, 2000 (= Stauffenburg Festschriften)

by Franz-Josef Deiters

Transformations of the German Novel: Simplicissimus in 18th-Century Adaptations

by Monique Rinere

At the beginning of the eighteenth century, the German literary establishment considered the novel the contemptible... more At the beginning of the eighteenth century, the German literary establishment considered the novel the contemptible entertainment of the uneducated. By the end of the century, the novel had eclipsed the epic poem as the most appropriate genre for depicting humankind and its preoccupations. The story of the novel's emergence as a respected and productive artistic genre is intimately bound up with the vicissitudes of the most popular of all German baroque works, Hans Jacob Christoffel von Grimmelshausen's (1621/22-1676) Der abentheurliche Simplicissimus: Teutsch (1668/69). Between 1756 and 1785, Simplicissimus quietly found its way into bookshops three times in radically different forms, in adaptations that were not, as critics have asserted, arbitrary, but quite purposeful. This investigation discusses the ways in which this canonical text was reworked to reflect the thinking of leading - and warring - Enlightenment aestheticians. At the genre war's end, the novel emerged triumphant and Simplicissimus adaptations had been instrumental in securing the victory; the multi-faceted Simplicissimus had served as a vehicle for reifying theoretical positions in the conflicts. For, as the social and aesthetic climate shifted radically, Grimmelshausen's work not only survived, but took on new life in the most important literary campaign of the century.

A 4 mãos. Schumann, Eichendorff e outras notas, Lisbon, Imprensa Nacional - Casa da Moeda, 2005.

by Mario Vieira de Carvalho

Co-authored with Fernandp Gil

Philosophy of Music - Music and Literature - Th. W. Adorno - Eichendorff - Schummann's 'Liederzyklus' op. 39 Philosophy of Music - Music and Literature - Th. W. Adorno - Eichendorff - Schummann's 'Liederzyklus' op. 39

Imagined Germany. Richard Wagner’s National Utopia

by Hannu Salmi

German Life and Civilization, Vol. 29. General editor: Jost Hermand (New York: Peter Lang, 1999)

Richard Wagner (1813-1883) has often been regarded as a symbol of "Germanness." Despite this view, few... more Richard Wagner (1813-1883) has often been regarded as a symbol of "Germanness." Despite this view, few studies have been undertaken regarding his nationalistic thinking. Imagined Germany focuses on Wagner's idea of Deutschtum, especially during the unification of Germany, 1864-1871. Salmi discusses how Wagner defined Germanness, what stereotypes, ideas, and sentiments he attached to it, and what kind of state could realize Wagner's natural ideals.

"Salmi lays forever to rest the myth, propagated by some of Wagner's older apologists and by many of his more recent critics, that there existed a communality of interests between Wagner and Bismarck, as well as between the new 'Reich' and the Wagnerian cultural enterprise. Salmi shows, more clearly than anyone has done thus far, how Wagner at first styled himself as the 'most German of Germans' only to realize, in the end, that he had been crucified 'am Kreuz des deutschen Gedankens'." -- Hans Rudolf Vaget, Smith College

"Salmi makes an important contribution to our understanding of one of the most fascinating artistic figures in German politics and culture, particularly his political role." -- Michael Meyer, California State University, Northridge

Wagner and Wagnerism in Nineteenth-Century Sweden, Finland, and the Baltic Provinces: Reception, Enthusiasm, Cult

by Hannu Salmi

Eastman Studies in Music (Rochester: University of Rochester Press, 2005)

Wagner and Wagnerism in Nineteenth-Century Sweden, Finland, and the Baltic Provinces explores how Wagner's operas were... more Wagner and Wagnerism in Nineteenth-Century Sweden, Finland, and the Baltic Provinces explores how Wagner's operas were performed and received in the theaters of Stockholm and other cities of the region and how excerpts from them were arranged for amateur performances in private homes. Wagner's music and his polemical writings aroused lively discussion around the Baltic, as they did everywhere else in the Western world.

"Wagner's connections with Scandinavia and the Baltic countries are more far-reaching than generally supposed, and Hannu Salmi's exhaustively researched study throws fascinating light on the contemporary reception of his works and ideas in that part of the world.
        --Barry Millington, Wagner Scholar and author of Wagner, editor of The Wagner Compendium, and co-editor of Selected Letters of Richard Wagner

"Hannu Salmi adds significantly to our knowledge, . . . [using] material in languages inaccessible to most readers, and with attention to [Wagner's] effect on domestic music-making and his impact in the opera house. A wide-ranging and highly readable book that fills a genuine gap in Wagner studies, and does so with distinction."
        --Dr. John Warrack, University of Oxford and author of German Opera from the Beginnings to Wagner

Cultural Impact in the German Context: Studies in Transmission, Reception, Influence

by Lyn Marven

co-ed. with Rebecca Braun

How to gauge the impact of cultural products is an old question, but bureaucratic agendas such as the one recently... more How to gauge the impact of cultural products is an old question, but bureaucratic agendas such as the one recently implemented in the UK to measure the impact of university research (including in German Studies) are new. Impact is seen as confirming a cultural product's value for society -- not least in the eyes of cultural funders. Yet its use as an evaluative category has been widely criticized by academics. Rather than rejecting the concept of impact, however, this volume employs it as a metaphor to reflect on issues of transmission, reception, and influence that have always underlain cultural production but have escaped systematic conceptualization. It seeks to understand how culture works in the German-speaking world: how writers and artists express themselves, how readers and audiences engage with the resulting products, and how academics are drawn to analyze this dynamic process. Formulating such questions afresh in the context of German Studies, the volume examines both contemporary cultural discourse and the way it evolves more generally. It links such topics as authorial intention, readerly reception, intertextuality, and modes of perception to less commonly studied phenomena, such as the institutional practices of funding bodies, that underpin cultural discourse.

Contributors: David Barnett, Laura Bradley, Rebecca Braun, Sarah Colvin, Anne Fuchs, Katrin Kohl, Karen Leeder, Jürgen Luh, Jenny McKay, Ben Morgan, Gunther Nickel, Chloe Paver, Joanne Sayner, Matthew Philpotts, Jane Wilkinson.

Il museo degli errori. Thomas Bernhard e gli Antichi Maestri

by micaela latini

AlboVersorio, Milano 2011

BRECHTS ERBE

by Clemens Ruthner

Germanistische Mitteilungen
Zeitschrift für Deutsche Sprache, Literatur und Kultur
Heft 48 (1998)
Hrsg. von Roland Duhamel, Luk Van den Dries und Clemens Ruthner.

INHALT

> Bernhard Beutler: Grußwort
> Vivian Liska: Zum Geleit - Brecht und Kafka
> Jan... more INHALT

> Bernhard Beutler: Grußwort
> Vivian Liska: Zum Geleit - Brecht und Kafka
> Jan Knopf: Brecht als Produzent
> Michel Vanhelleputte: Brechts Weltbejahung. Zu einer Konstante seiner geistigen Haltung
> Albrecht Betz: "Der Text ist primär und die Musik nicht sekundär". Über Brecht und Eisler
> Roland Duhamel: Metaliterarische Diskurse bei Brecht
> Bart Philipsen: Das Zaudern der Macht. Tragödie & Demokratie im ‘Antigonemodell 1948’
> Luk Van Den Dries: Heiner Müller. Brechts erster Erbe
> Kurt Vanhoutte: Mimesis, Technologie und Gestus. Das Erbe Brechts
> Clemens Ruthner: Germanisten am toten Mann. Ein (belgisches) Nachspiel mit Jelinek
> Kurt Palm: bertolt. du! du! dich. John Fuegi, Brecht und die Frauen

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