German-language Literature Research Articles

The shifting politics of public health in Germany between the 1890s and 1920s

ABSTRACT Since the 1970s, social historians have published on the history of public health and the welfare state in Germany. Many scholars have focused on the social security measures installed during the German Empire, while others concentrated on welfare in Germany in the 1920s and the expansion of the welfare state. These studies were often part and parcel of long-running debates discussing the rise of Nazism and the extent to which it was rooted in Wilhelmine and Weimar (mis)developments. Building on these studies of welfare relief, social security and public health, this article focuses on welfare and public health in Imperial Germany. It evaluates the extant German-language literature and proposes that we understand welfare in imperial Germany as a mixture of transfer payments and services developed to improve the living conditions of the working poor, as well as a set of biopolitical public health measures used to influence the behaviour of the poor. After framing the social context of public health in the last decades of the nineteenth century, the article focuses at first on the medical police and public health measures initiated by the Imperial Health Office, the highest medical authority in Germany. Second, it describes the role of Statutory Health Insurance and its effects on public health; and, third, it summarizes local welfare and public health institutions that had to execute public health measures. Finally, it analyses the ways in which the politics of public health changed between 1870 and the early 1920s.

Reflets oulipiens et approches parallèles dans la littérature germanophone

What is the impact of the Oulipo on German-language literature? To answer this question I have submitted a questionnaire to a dozen contemporary Germanophone writers known in the field of “writing under constraint.” It emerges that Oulipian texts are, of course, read and influential; but most of the authors also see themselves as anchored in the German-language tradition of experimental poetry, and especially inspired by the works of Ernst Jandl. This article will explore the Oulipian impact but also highlight Jandl’s poems under constraint and reflect on parallels and differences between his playful, performance-oriented approach and the Oulipian practice of constrained writing.

Is There Still a German IR Discourse? Investigations in the Semi-Periphery of an Academic Discipline

Abstract In non-English-speaking countries, international relations (IR) scholars often face considerable pressure to publish in international journals and address international debates. At the same time, they are expected to cater to national publics, politicians, and funding agencies. In this article, we investigate how German IR scholars navigate this terrain and whether a national IR discourse still exists in Germany. To answer this question, we analyze citation patterns and the formulation of the puzzle in twenty-five volumes of the Zeitschrift für Internationale Beziehungen, the German flagship journal of IR. We find that two-thirds of scholarly works cited in those articles are written in English. References to German-language literature cluster in articles written by authors without disciplinary affiliation in IR. The majority of research puzzles are also situated firmly in international discourses, while only a minority really target German debates. We conclude that not much of a distinctively German conversation over matters of IR is left, at least in academia. What is still there revolves around German foreign policy, theory issues, and, to some extent, European studies. On most other issues, authors link up directly to international debates even when addressing their German colleagues in German.

Three undiscovered utopias in German-language literature from the Czech periphery: Moravian Wallachia and Zlín

This study examines three literary utopias from the margins of German literature, namely German-language literature from Eastern Moravia. The works chosen for analysis are the dramatic cycle The City of People (Die Stadt der Menschen) by Moravian-born Austrian writer and visionary Susanne Schmida (1894–1981), the novel The Imperial City (Die Kaiserstadt) by the Austrian writer and diplomat Paul Zifferer (1879–1929), and the text “The City of the Future” (“Die Stadt des Kommenden”) by the German-speaking Czechoslovak author Walter Seidl. In all the texts examined, the model of urban landscape is used as the location of utopia: the prototype of an abstract futuristic city (Schmida), Vienna as an exemplar of political utopia (Zifferer), and Zlín as a fully realized social utopia (Seidl). These three sites show a complementary gradation in the sense of the (potential) realization of utopian ideas, i.e. the belief that, put simply, “it was once good” (Zifferer), “it is good” (Seidl), and “it will be good” (Schmida).

Vasyl Stefanyk and the German Literature (on the question of typology of translations and original short story heritage of the Ukrainian writer)

Aim. The idea of the article stems from an insufficient number of scientific investigations that would help to better understand the creative engagement in the German literature of the young Ukrainian master of narrative V. Stefanyk, who had a deep understanding of the problem of mutual enrichment of aesthetic perception by means of translation as one of important aspects of literary relations. He himself creatively perceived other writers’ achievements, thus placing the Ukrainian literature on an adequate pan-European spiritual level. The purpose of this research is to supplement the existing explorations with the studies of German parallels in V. Stefanyk’s creative work. Methods. For comparative analysis, a number of scientific research methods have been applied, such as the historical-literary, typological and biographical approaches. Results. For translation, a translator usually selects those creative works that are closest to him, that correspond to his aesthetic preferences, and are consonant with the author’s mood. Though V. Stefanyk’s German-language literature translation heritage is scarce, it nevertheless witnesses the Ukrainian short-story writer’s awareness of the world literary process, his constant search for creative works close to his own literary sentiments, in particular works on peasant topics, which raise complex moral and social issues. Therefore, his translation activity, though indirectly, contributed to the development of creative literary manner and original unique writing style. Scientific novelty. By means of comparative juxtaposition, the authors analyze the comparative-typological features in creative works of V. Stefanyk and some selected representatives of the German-language literature. Practical significance. Key outcomes of the research can be applied in further investigation of the common motives in short stories and their translations.

GOOD BAD TIME

The article discloses the axiological potential of the qualitative metaphor of time on the example of emotive prose and poetry of German-speaking authors. Time as an abstract notion is rendered metaphorically. Metaphor, taken as an image, is a universal pattern that is used to form emotional and evaluative categories. It encompasses an image representation, evaluation information and attitude expression, both positive and negative. There is an attempt to assess the correlation between ameliorative and pejorative evaluation of time in poetry and emotive prose discourse in the German-language literature. However, besides positive and negative modes, evaluation may also have some other semantic features, which can contribute to its more detailed classification. We analyzed the possibility of using the classification by N.D. Arutyunova to identify and distribute these semantic features among the suggested sets.

Zeugma as a Method of Pragmatic Focusing in a Literary Text (Based on the Material of the German Language)

Introduction.The article analyses the specifics of the functioning of the zeugma in artistic speech. Despite the popularity of this rhetorical figure since ancient times and its use in various spheres of communication, there is still no complete clarity about the essence of this linguistic phenomenon.Methodology and sources.The article considers various interpretations of the zeugma, determines its place in the circle of other rhetorical figures, conducts a structural analysis of zeugmatic constructions, identifies its syntactic and morphological variations, analyzes the stylistic potential. As an empirical material, lyrical and prose texts of German-language literature of the XIX–XX centuries are used, including works by H. Heine, A. Döblin, G. Trakl, G. Benn, K. Edschmid, H. Böll and other authors.Results and discussion.As a rhetorical figure, zeugma is built on the conflict of syntax and semantics, representing several syntactically homogeneous, but semantically heterogeneous elements. Zeugma, as a rule, has a nuclear word in its composition, in which, in conjunction with various actants, different meanings/shades of meanings are actualized, although “non-nuclear” zeugmas are also found. The role of the reference element is most often a verb-predicate, less often the core of the construction becomes an adjective, participle, adverb, noun. The elements of the paratactic series are usually nouns (homogeneous subjects, additions, circumstances), but the analysis also reveals cases of illogical combinations represented by other parts of speech, as well as examples with heterogeneous morphological forms within the same zeugmatic construction. The functional analysis of the zeugma demonstrates the rich stylistic potential of this rhetorical figure, which acts as a means of humor and satire in literary texts, serving to convey emotional states, semantic saturation of the utterance, and the increment of new meanings.Conclusion. Zeugma acts as a significant method of pragmatic focusing in a literary text, being especially widely represented in modernist literature, characterized by semantic multilayering and intensity of artistic expression.

Functional business valuation – The theoretical foundation of argumentation value and its underlying function

Functional business valuation is the prevailing doctrine in the theoretically well-founded German-language literature, because the value of a company is primarily dependent on the purpose (function) of the valuation. This paper deals with one of the three main functions of business valuation: the argumentation function. This is where the argumentation value of the business is determined. The argumentation function is the function that has been the least theoretically developed and accepted to date, but is probably the most commonly used one in the real world. This article shows for the first time in the English-language literature the core ideas of the theoretical foundation of this function.

Modernidade e indeterminação em “O lobo da estepe”

Dada a posição excêntrica de Hermann Hesse dentro da literatura de língua alemã no século XX, quase como um “outsider” retrógrado, o objetivo do presente artigo é tentar situar O lobo da estepe (1927) nas discussões sobre a “modernidade literária”. Para esse fim, serão realizadas considerações que demonstram como o livro representa um sujeito no contexto do mundo moderno dos anos 1920 e como o romance adota uma estrutura multiperspectiva que reflete os novos modos de representação que começaram a ser explorados na forma literária moderna. Essa estrutura será analisada com base nas categorias narratológicas propostas por Genette (1995), apontando as três diferentes perspectivas sobre o protagonista Harry Haller presentes no livro: a do “Prefácio do editor”, “As Anotações de Harry Haller” e o “Tratado do lobo da estepe”. A partir da análise, discutir-se-á a possibilidade de entender os acontecimentos narrados nas “Anotações” como frutos da imaginação ou como depoimento autobiográfico do protagonista. No primeiro caso, o livro se encaixaria na categoria do realismo, no segundo, na literatura fantástica. Por fim, serão comparadas as diversas edições do livro – que apresentam diferenças significativas – de modo a evidenciar como a estrutura narrativa pode favorecer a classificação do romance como fantástico.

Psychotherapy of anxiety disorders: state of the art

Alongside depression, anxiety disorders are the most frequent reason for consulting apsychotherapist. This article describes the recent progress in understanding basic learning processes in anxiety treatment, the resulting therapeutic procedures, the current state of knowledge on the efficacy of the various psychotherapeutic procedures and on the moderators of the success of treatment. The English and German language literature was reviewed and compiled, with an emphasis on the last 10years. Cognitive-behavioral therapy (CBT) achieves the best and broadest level of evidence across all anxiety disorders. Initial studies have also provided emerging evidence for the efficacy of manualized short-term psychodynamic treatment. The most discussed mechanism of action is that of inhibitory learning. Augmentation strategies and personalized treatment approaches are gaining in relevance. Current models of inhibitory learning are rooted in basic research and foster adeeper understanding of the underlying neurobiological mechanisms. In order to optimize success of exposure treatment in vulnerable subgroups of patients, many procedural, device-based and pharmacological augmentation strategies are currently under investigation, whereby the latter are mostly still in the stage of (pre)clinical testing.

Order of Nature–Order of Love: Arguments against a Naturalistic (Mis-)Interpretation of Humanae Vitae

Order of Nature–Order of Love:Arguments against a Naturalistic (Mis-)Interpretation of Humanae Vitae Andrzej Kuciński The Problem: Naturalistic (Mis-)Interpretation On May 13, 2010, during the second Ecumenical Church Convention in Munich, Margot Käßmann, the former Chair of the Protestant Church in Germany, praised the "birth control pill" as a "gift from God" while speaking at the Catholic Cathedral of Our Lady in Munich. Her rationale was that "it is about the preservation of life, of freedom, which doesn't have to immediately degenerate into pornography, as much as the sexualization of our society is, of course, a problem."1 In contrast, the encyclical letter Humanae Vitae, authored by Paul VI, states: "Similarly excluded is any action which, either before, or at the moment of, or after sexual intercourse, is specifically intended to prevent procreation—whether as an end or as a means."2 This conclusion is based on the natural law and the Church's teaching that "each and every marital act must of necessity retain its intrinsic relationship to the procreation of human life."3 These positions represent two contradictory views: On the one hand "life and freedom," which claims to reflect the attitude toward life of today's European mainstream, and on the other hand, supposedly restrictive and moralizing rules and judgments, which appear out of step with reality. The serious challenge the encyclical letter was to the mainstream attitude [End Page 21] toward life, was demonstrated by the sharp protests which followed with unprecedented vehemence the publication of the papal letter, particularly in northern European countries. The encyclical letter became a genuine symbol of contradiction. One allegation that stood out among the various points of criticism was that of naturalism or biologism, according to which the Pope had translated biological laws into moral imperatives. In German-language literature, the opposition to the encyclical letter was seen as, among other things, a symptom of a departure from the neo-Scholastic approach to natural law theory with its focus on objective beings. The precepts of natural law in matters relating to contraception were criticized for defending a reactionary concept of nature, which had allegedly been adopted from times gone by, irrespective of later developments in science and society.4 In addition, general doubts were expressed with regard to the competence of the magisterium in matters relating to sexual morality. It was therefore argued that: "The encyclical Humanae vitae, which is based on a crude, to some extent virtually biologistic concept of nature, has contributed to discrediting the precepts of natural law in the Catholic sphere, as well."5 The Pope's reference to the physiological processes relating to the transmission of human life led to the fixation on the biological perspective: "If reference is made to the 'laws written into the actual nature of man and of woman' (Paragraph 12) and to something 'repugnant to the nature of man and of woman' (Paragraph 13) or to the 'natural cycles immanent in the reproductive system' (Paragraph 16), this is clearly of a biological [End Page 22] nature; on this basis, birth control through artificial means is condemned as an intrinsically immoral act."6 However, if a conclusion deduced from biology is applied to ethics, the encyclical letter can be criticized for using the naturalistic fallacy that an "is" necessarily leads directly to an "ought." However, suggestions that the content of the encyclical is naturalistic, which consequently leads to a rejection of the precepts of natural law on which the encyclical hinges, must be emphatically rejected in the name of common sense (and all the more if the Church's teachings are to be dealt with in good faith). If something which had previously been incorrectly defined is later rejected, then this is an inevitable consequence of this erroneous premise. This would mean attributing an interpretation to the positions of the Church's teachings that the Church itself, in fact, does not advocate, simply for the sake of questioning said positions and eliminating them as legitimate courses of action. The fallacy of biologism, I would argue, results from a flawed analysis of the concept of nature on which Humanae Vitae is based. This essay...

Precarious Times: Temporality and History in Modern German Culture by Anne Fuchs

MLR, .,   character who speaks. Chapter  examines the difficulties of conveying the shis in tone and situation that this rich polymetric verse marks in the original. Jeffs examines the opening stanzas of the four plays that were staged in the Swan to exemplify the kinds of decisions that were taken to preserve some sense of the original verse structure. Chapter  augments the analysis of these decisions with respect to characterization, while Chapter  analyses the deployment of metatheatrical moments, particularly with respect to the play-within-the-play sequences, ceremonies, and role-play. ese two chapters offer a wealth of individual case studies of how the texts were explored in rehearsal and how they worked in performance. e final chapter considers the impact that the RSC’s Golden Age season has had on subsequent productions in the US, Spain, and, more centrally, the UK until . Apart from briefly considering two American stagings of e Dog in the Manger, it traces Boswell’s subsequent comedia productions, first in Madrid with Rakatá (El perro del hortelano in – and Fuente Ovejuna in , both performed in Spanish) and then in Bath. As Artistic Director of the Ustinov Studio in the latter city, he produced e Phoenix of Madrid (a reworking of No hay burlas con el amor) by Calderón in , and then a three-play season in : A Lady of Little Sense (La dama boba) by Lope de Vega, Don Gil of the Green Breeches (Don Gil de las calzas verdes) by Tirso de Molina, and Punishment without Revenge (El castigo sin venganza) by Lope de Vega. Jeffs’s book is a stimulating and hugely detailed account of the making of the landmark RSC’s Spanish Golden Age season. It analyses the challenges of working on the interface between two very different dramatic traditions and languages, displaying rigorous linguistic, cultural, and scholarly awareness of the processes of translation and adaptation. is book proposes a model to foster more widespread production of these plays, a kind of collaborative toolbox to revive Spanish comedias for modern English-speaking audiences in the twenty-first century. We can only hope that theatre practitioners and producers may draw inspiration from Jeffs’s painstaking work to revive more of the hidden treasures of Spain’s rich dramatic heritage. U  L J A. P D Precarious Times: Temporality and History in Modern German Culture. By A F. Ithaca, NY, and London: Cornell University Press. . xx+ pp. $.. ISBN ––––. Precarious Times takes as its starting point fundamental shis in the temporal conditions of the twenty-first century brought about by the interconnected forces of digitization, globalization, and accelerated capitalism. As Anne Fuchs observes, much recent criticism on these matters is imbued with ‘temporal anxieties’ (p. ) and pervaded by a crisis narrative that paints present-day experiences of time as stagnant, flat, disembedded, or atomized. Wary of such ‘monolithic and deterministic ’ (p. ) perspectives, Fuchs turns to the realm of culture to draw a more  Reviews multifaceted picture of our contemporary timescapes. Engaging with a remarkable collection of authors and genres, ranging from the late nineteenth to the early twenty-first century and focusing on German-language literature and culture in particular, Fuchs interrogates the alarmism underpinning much of the recent temporal diagnostics. She convincingly illustrates that temporal anxieties and complexities ‘are part and parcel of the complicated story of modernity’ (p. ) and hence not solely a problem of the here and now. Moreover, she emphasizes that artistic practice has since modernity provided opportunities for questioning dominant time regimes, allowing for the exploration of alternative temporal trajectories and the recuperation of Eigenzeit (pp. –). Fuchs is careful, though, not simply to celebrate art as a panacea for modern culture’s continuing struggles with time. While contemporary art in particular is deeply committed to the possibility of alternative experiences of time, oen accompanied by more attentive relationships with the world and others, these attempts oen remain fleeting and precarious. e book’s first chapter introduces key theoretical engagements with time in the era of digitization, including seminal accounts by Hartmut Rosa, Byung-Chul Han, John Tomlinson, Hans Ulrich Gumbrecht, David Harvey, and Robert Hassan. Fuchs identifies...

Verbalised stereotypic beliefs about Ruthenians in the German-language literature of Austrian Galicia and its Ukrainian translations

This article presents the ways to verbalise the stereotypic beliefs about Ruthenians, considering linguistic and extralinguistic factors. The study is based on the German-language literature, namely of works of Alexander von Guttry, Salcia Landmann, Leopold von Sacher-Masoch and Karl Emil Franzos written during the period of the Kingdom of Galicia and Lodomeria (1772–1918), or simply Austrian Galicia. The selection of works was carried out according to the following criteria: German-language source text, time of writing the work, its plot, existence of Ukrainian translation in the postmodern era. The stereotypes about Ruthenians were singled out using the keywordsRuthene, ruthenisch, Ukrainer, ukrainisch, рycuн, рycuнсьκuŭ, yκраїнеųь, yκраїнcьκuŭ. The stereotypes themselves are considered as simplifying ideas about the character, appearance, daily life, habits and traditions of a certain social group, in this case – the Ruthenians as one of the largest ethnic groups in Austrian Galicia. The implementing of Ruthenians stereotyping are represented on the level of lexis and grammar, context and discourse. The research results show that stereotypes about Ruthenians tend to have negative connotations, which is primarily due to their miserable situation in the Empire. However, the authors fondly described the positive qualities of the Ruthenians’ character, such as hospitality, talent for singing, kindness. Within the framework of a cultural approach in translation studies, which takes into account the cultural, social and historical factors of writing the source and target texts, the ways of verbalising the Ruthenians stereotyping in modern translation are examined.

German-language literature in the policy realities of the National Socialist regime: aspects of critical perception

German-language literature in the policy realities of the National Socialist regime: aspects of critical perception

What Remains? The Post-Holocaust Archive in German Memory Culture by Dora Osborne, and: Holocaust Representations in History: An Introduction by Daniel H. Magilow and Lisa Silverman, and: Renegotiating Postmemory: The Holocaust in Contemporary German-Language Jewish Literature by Maria Roca Lizarazu

What Remains? The Post-Holocaust Archive in German Memory Culture by Dora Osborne, and: Holocaust Representations in History: An Introduction by Daniel H. Magilow and Lisa Silverman, and: Renegotiating Postmemory: The Holocaust in Contemporary German-Language Jewish Literature by Maria Roca Lizarazu

Protest und Verweigerung/Protest and Refusal: Neue Tendenzen in der deutschen Literatur seit 1989/New Trends in German Literature since 1989 ed. by Hans Adler and Sonja E. Klocke

Reviewed by: Protest und Verweigerung/Protest and Refusal: Neue Tendenzen in der deutschen Literatur seit 1989/New Trends in German Literature since 1989 ed. by Hans Adler and Sonja E. Klocke Doris McGonagill Hans Adler and Sonja E. Klocke, editors. Protest und Verweigerung/Protest and Refusal: Neue Tendenzen in der deutschen Literatur seit 1989/New Trends in German Literature since 1989. Wilhelm Fink, 2018. 293 pp. Paper, $90.00. This collection of essays examines politically engaged German literature of the post-Wall period. Such an endeavor, as ambitious as it is topical, must necessarily remain limited to a few selective trends, topics, genres, authors, and approaches. Hans Adler and Sonja Klocke’s anthology offers the broad overview it promises: the volume includes many strong contributions that purposefully respond to current debates and discuss—with great sensitivity, theoretical acumen, and ethical verve—a comprehensive selection of contemporary texts and contexts and the relationship between the two. The diverse perspectives on littérature engagée range from a discussion of Mediterranean “boat refugee narratives” (a term coined by April Shemak) in Faye Stewart’s discussion of texts by Merle Kröger and Reinhard Kleist to environmentally engaged thrillers, Öko-Krimis, in Sabine Gross’s analysis of this popular German-language genre. Gender studies and feminist theory are not a particular focal point of the collection. One essay chooses gender and another the body as a lens: Melissa Sheedy analyzes Kerstin Hensel’s transformation of the fairy-tale genre into a critique of patriarchal structures and sexualized violence, and Simone Pfleger employs body theory in the context of a larger critique of hierarchical societal structures in her approach to Antje Rávic Strubel’s [End Page 111] novel Kältere Schichten der Luft (2007; Colder layers of air). More engagement with gender in this volume would be desirable. What else does the anthology offer? Concise, circumspect, historically conscious, and theoretically informed discussions of works by Navid Kermani, Ulrich Peltzer, Ilija Trojanow, and Juli Zeh—and, by way of a conservative outlier, Uwe Tellkamp. The emphasis, as the introduction informs us, is on texts that engage critically, not affirmatively, with dominant social paradigms and power relations. The quality of the contributions is uniformly impressive, but several stand out for their scope, theoretical rigor, and well-developed methodologies, including Claudia Breger’s proposal of “engaged realism” as a way of transcending traditional discursive fault lines (such as realism versus formalism). Breger uses Kermani’s Einbruch der Wirklichkeit (2016; Incursion of reality) to demonstrate an engagement with social reality that is grounded “in an aesthetics of careful, multi-perspectival mediation” (24). Katharina Gerstenberger masterfully argues that Trojanow’s blending of fictional and nonfictional registers facilitates new perspectives for literary engagement. And Klocke’s contribution traces the subtle perpetuation of Soviet-style power structures and totalitarian nomenclature through the prism of texts by Trojanow and Strubel. Providing a solid but conventional analytical framework, the twenty-page introduction is subdivided into three short sections dedicated to generic and historical categories. The editors dutifully touch on Horace, Hegel, and numerous loci classici. Although it stumbles a bit at first (with many negatives, double negatives, and learned mannerisms), the prolegomenon includes a helpful overview of engaged German-language literature since the Enlightenment, an overview of the “ethical turn” in contemporary literature, and the assertion that the unifying aspect of all contributions lies in their shared belief in fictional literature’s particular aptitude for deliberating political content. The editors’ programmatic premises ultimately adhere to a traditional genre typology that many of the individual essays transcend. The collection’s bilingual title suggests broad accessibility to the essays collected in this volume, but the anthology addresses itself to academic audiences conversant in both German and English. The ten contributions are equally divided between essays in English and German, but the editors’ introduction is exclusively in German, as is the overall layout of the book, its content headings, and the format of its footnotes and indexes. [End Page 112] As if to counteract the linguistic lopsidedness, the short contributor profiles are solely in English. This collection builds on earlier scholarship, notably models of political authorship developed by Sabrina Wagner in Aufklärer der Gegenwart...

Writing the Self, Creating Community: German Women Authors and the Literary Sphere 1750–1850 ed. by Elisabeth Krimmer, Lauren Nossett

 Reviews it as a second-rate exercise for his talents. Indeed, when, amazingly, in August  d’Annunzio finally managed to send a dra of his article to Olschki, he half apologized for the long delay, implying the impossibility for him (or anyone) of compressing into a small compass anything new concerning the grandeur of Dante. More immediately, however, creditors had formed noisy queues outside the gates of his baronial mansion, the Capponcina, where auction sales of his goods, including all furnishings and ornaments, were organized for the beginning of  June. Melosi shows how preoccupied the nervous Passerini became in his analysis of the mood in Florence, where, he reported to d’Annunzio, bets were being laid on whether or not he would accept the contract. Disdain and discomfort forced d’Annunzio to take refuge in flight using the temporary pseudonym of Gerard d’Argan. He continued on to Genoa and then to Paris, where he stayed for six months on the fourth floor of the Meurice, in Rue de Rivoli (fellow guests in the hotel were Guglielmo Marconi and the Italian Ambassador Tittoni). In secrecy, and under another assumed name, Guy d’Arbes, d’Annunzio le Paris for Arcachon. U  O J W Writing the Self, Creating Community: German Women Authors and the Literary Sphere –. Ed. by E K and L N. Rochester, NY: Camden House. . viii+ pp. £. ISBN –– ––. In this varied and accessible collection of essays, conventional period boundaries are subordinated to the steady rise of women writers and readers to become signi- ficant factors in German-language literature for the first time. While not ignoring canonical literary movements or the persistent opposition to women’s authorship during these years, its contributors concentrate on exploring and celebrating the roles—both historical and imagined—that women of letters were able to create for themselves and the networks in which they participated. A good balance is struck between well-known figures (Sophie von La Roche, Karoline von Günderrode) and investigation of largely forgotten authors; the fascinating Polyxene Büsching, for instance, whose brief stint as literary confidante of Catherine the Great is analysed by Ruth P. Dawson, together with her letters to fellow poet Johanna Charlotte Unzer as a female community of practice (pp. –). Variety as a characteristic of the collection also applies to its methodological approaches and the appeal its essays will have for readers. Some will be particularly useful as teaching resources as they provide introductions to the history of reading, women’s education, and the overall social and political context as well as to the author in question (for example, the two opening articles by Monika Nenon and Lauren Nossett on La Roche). Others are more speculative and aimed at a more specialist audience in their detailed focus on individual texts or re- MLR, .,   search paradigms. Angela Sanmann contributes a stimulating discussion of the anonymous  French translation of La Roche’s Die Geschichte des Fräuleins von Sternheim, attributed to Marie-Elisabeth de La Fite, herself an author of moral tales for children (pp. –). Sanmann reflects on what the alterations and additions tell us about La Fite’s progressive views of womanhood and her understanding of her dual role as writer and translator; she also reconsiders the relationship between this first French translation and Joseph Collyer’s  English version. Further examples of more specialist essays include Amy Jones’s comparative analysis of vampirism as a metaphor for authorship in the writings of Günderrode and Clemens von Brentano. Jones inspires with a persuasive combination of Motivgeschichte and close readings, made all the more valuable as she decisively breaks with autobiographical readings of Günderrode’s poetry (pp. –). Also inspiring is Sara Luly’s essay on ‘Ghostwriters’ (pp. –), which for the first time brings together texts by Benedikte Naubert and Sophie Albrecht to consider how their spectral protagonists represent not only the dilemmas faced by women writers of the day (self-censorship!), but also possible solutions (self-Othering). In an important addition to the volume’s predominant focus on individual writers and/or works, Julie L. J. Koehler examines uses of the ‘Märchenoma’ tradition as a strategy for legitimizing women’s claims to literary authorship...

Niepokojący wizerunek konia na wybranych przykładach literatury niemieckojęzycznej – symbolika i znaczenie

Literature usually represents a horse as a loyal companion of a man, a noble and intelligent animal. The image of a horse in some works, however, relies on their mystery, it evokes anxiety, fear. It symbolizes an internal unease or a drive to escape. Sometimes a horse is equated to the messenger of death; it personifies dark, incomprehensible forces that cannot be understood by a human mind. This aspect of the unexplored equine nature in Germanlanguage literature is addressed in this study.

Трагедія буковинського єврейства у рецепції Мозеса Розенкранца

. In recent years, there has been an increasing scientific interest in the German-language literature of Bukovyna, which until the 1980s, for various reasons, remained out of sight of literary critics and became a kind of "virgin land" for Ukrainian scientists. The reason for this interest was translations of works by Paul Celan, Rosa Auslander, Zelma Meerbaum-Eisinger, Alfred Gong, Gregor von Rezzori, Georg Drozdowski, etc., which appeared in Chernivtsi publishers. Ukrainian translations of the works of the German-language writer of Jewish origin Moses Rosenkrantz, done by the Chernivtsi scholar and translator Peter Ryhlo, were included in the collections "The Lost Harp. Anthology of German-Language Poetry of Bukovyna" (2002, 2008) and "German-Language Poetry of Bukovyna. Time of the Phoenix " (2008). Most Bukovinian German-speaking authors during the Second world war experienced the horrors of the Holocaust, which led to the almost total extermination of the Jewish community in Bukovyna. They lost their relatives in those terrible times, or they became victims of the bloody Nazi machine. Those who remained alive tried to convey the terrible images of the Disaster and express their own experiences in their works. This article attempts to analyze the poetic reflection of the tragedy of the Holocaust in Bukovyna in the lyrical works of M. Rosenkrantz. The writer created several poems dedicated to the theme of the extermination of Jews. For the research, we selected poetry included in the collections "Visionen" ("Visions") (2007), "Bukowina. Gedichte 1920-1997" ("Bukovina. Poems 1920-1997") (1998) and "The Lost Harp" (2008), where the writer vividly depicted the terrible pictures of Shoah that he had to go through, his own emotions and impressions of what he saw: "Eine Allee" ("Alley"), "Klage" ("Complaint"), "Ausklang" ("Last Chord"), "Die Blutfuge" ("Bloody Fugue"), "Ein Ungeborener" ("Unborn"), "Angst" ("Fear"), "Dorfpogrom/Östlich" ("Rural Pogrom"), "Mein Amt" ("My Duty").

„Schilf wächst darüber, Schilf wächst immer darüber“ Heimatliche Donaulandschaften in den deutschsprachigen Literaturen Südosteuropas nach 1945

Abstract Danubeland scapes have been a recurrent topic in the German-language literature of Southeastern Europe, especially in German literature from Romania, which was the only one to survive the end of the Second World War in the Eastern Bloc. They developed different forms on both-sides of the Iron Curtain. In the West, the Danubeservedas a frame work for the consolidation of a common identity of many disparate groups of former German minorities from Southeastern Europe under the collective name “Danube Swabians”. Additionally, writers from Romania who emigrated to the West recalled in their works bothwonderful and frightening images of the lower Danube. In Romania, Danube landscapes are to be seen as attempts to negotiate the concept of homeland from a contemporary perspective after its appropriation by the patriotic literature of the court literati. They emergedas a stage for projecting new sensitivities: the suffering of isolation, economic misery and environmental pollution. Subversively narrated landscapes also set hidden signs of the memory of the isolated detention camps on the periphery of the country. The transformation of Danube landscapes is analysed by using literary examples after 1945.