298 Reviews Though it is unlikely that readers would necessarily be engaged by every article, the sheer range of material will offerinsights into many aspects of drama and theatre. Japanese theatre, opera and musical theatre, a range of production analyses, and in? terpretations of familiar and less well-known texts festoonthe pages. And there is also a stimulating interview with Elfriede Jelinek (conducted by Anke Roeder). Seasoned academies of German Theaterwissenschaft such as Erika Fischer-Lichte (a compar? ative performance analysis of acting practice around 1900), Hans-Thies Lehmann (Heiner Miiller's Der Horatier), and Christopher Balme (orientalism and South Pa? cific) give bravura performances as one would expect, and the three editors acquit themselves admirably, along with many other contributors. The only problem, perhaps, with the Festschrift is that it does not really fulfilthe ambitions of its very saleable title. One may expect to read of the many and various ways in which the category of theatre has been expanded not only in recent decades but earlier in theatre history,yet there is little in the collection that deals with theatricality beyond the theatre or radical redefinitions of the institution. While the quality of scholarship and research is mainly very high, the methodologies and parameters are largely traditional. Admittedly, many of the writers are involved in Germanistik, yet the tendency to remain with the text, not to consider its dramaturgy or scope for performance, and to treat plays in a literary way contradicts the promise of the col? lection's title. Essays by Michael Gissenwehrer (the performativity of an ornamental garden in Cornwall), Elmar Buck (theatricality in the business of buying and selling), or Birgit Wiens (gender studies in intercultural theatre studies) are three of the few examples which manage to tread less orthodox paths. That said, there is almost something for everyone with an interest in modern theatre in this volume, irrespective of whether it actually discusses 'Theater ohne Grenzen'. Minority subjects such as contemporary Polish drama and the history of Jewish theatre groups rub shoulders with analyses of more established figures such as Wedekind and Diirrenmatt or topics such as choreography and the contemporary performance ofthe classics. The editors' effortshave helped produce a collection that offersmuch to fascinate the casual reader and to enlighten the dedicated scholar. University College Dublin David Barnett Literatur und Journalismus: Theorie, Kontexte, Fallstudien. Ed. by Bernd Blobaum and Stefan Neuhaus. Wiesbaden: Westdeutscher Verlag. 2003. 341pp. ?34.90. ISBN 3-531-13850-2. This attempt to tackle grey areas between social science and literary studies is based on a series of self-contained lectures held in summer 2001 at Bamberg University, and still reads very much as such. Starting from the infancy of print media, and by no means limited to German phenomena, its wealth of contributors and approaches well reflects the complex relationship between journalism and literature, constantly reminding the reader that the dividing-lines are debatable and historically determined. As compared to the volume as a whole, the editors' introductory chapters feel very schematic and show how difficultit is to theorize these issues without dogmatism. They propose apolitical, idealized definitions: 'literature' as the timeless, fictional product of free,creative individuals and journalism as professionalized, neutral newsreporting . Nevertheless, this opening formsa necessary, generalized framework which is then amply challenged and nuanced by the case studies that follow. At firstglance, the chapter headings seem to suggest a traditional approach concentrating on individual author-journalists?the inevitable Kisch, Kastner, Heine, Handke, Grass, Martin Walser?but, although tailored to the figures in question, MLR, ioi.i, 2006 299 there is still plenty of discussion of sponsors, publishers, editors, and press organs. The analyses of specific writers also give rise to wider-ranging analyses of cross-over genres such as the review, feuilleton, or war report; Stefan Neuhaus and Andreas Meier provide good coverage of literary criticism in the contemporary German press. To a great extent, therefore,despite its emphasis on the individual, the volume fulfils the self-appointed task of presenting its subject as part of an interconnected cultural, financial, and symbolic system. This is especially true of the chapters on the media thriller (H. J.Kleinstuber) and New Journalism (Heiner Bus). Cecilia von Studnitz...