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This book undertakes an investigation of European literary multilingualism in the 19th century, particularly the period from 1800 to 1880. It covers writers and works from a broad range of linguistic and geographic contexts, going from France to Russia, from Finland to Italy, and beyond. Cet ouvrage se propose d’explorer le plurilinguisme littéraire dans l’Europe du XIXe siècle, notamment durant la période allant de 1800 à 1880. Il traite d’écrivains et d’œuvres littéraires provenant de divers contextes linguistiques et géographiques, de la France à la Russie, de la Finlande à l’Italie et au-delà.
This book features four essays that illuminate the relationship between American and Soviet film cultures in the 20th century. The first essay emphasizes the structural similarities and dissimilarities of the two cultures. Both wanted to reach the masses. However, the goal in Hollywood was to entertain (and educate a little) and in Moscow to educate (and entertain a little). Some films in the Soviet Union as well as in the United States were conceived as clear competition to one another – as the second essay demonstrates – and the ideological opponent was not shown from its most advantageous side. The third essay shows how, in the 1980s, the different film cultures made it difficult for the Soviet director Andrei Konchalovsky to establish himself in the US, but nevertheless allowed him to succeed. In the 1960s, a genre became popular that tells the story of the Russian Civil War using stylistic features of the Western: The Eastern. Its rise and decline are analyzed in the fourth essay.
This study of contemporary German poetry represents the first attempt to examine comprehensively and at some length the lyric response to the unification period. It sets out to investigate, by means of close textual analysis, whether the German ‘Wende’ was also a turning-point for poetry, exploring how GDR poets responded both to the revolutionary events of 1989 and subsequently to the new, united Germany. An introductory chapter considers what is distinct about poetry as a genre, especially under censorship or amid historic change, as well as outlining the post-unification ‘Literaturstreit’. The following chapter offers a survey of the poet’s role in the GDR from 1949 until 1989. ...
This study examines the nihilistic basis of Bernhard's writing, and traces developments in the author's nihilistic stance throughout his career. In the first period of his prose fiction (1963-1975), nihilism is reluctantly accepted by Bernhard's fictional characters as a necessary response to a world perceived as meaningless. Various possible sources of transcendence are explored, and rejected. The autobiographical texts (1975-1982) then represent a sustained attempt by the author himself to transcend his own essentially nihilistic state. The apparent success of this attempt is quickly revealed to be illusory in the prose fiction of the second period (1978-1986), and it becomes apparent that nihilism is a no less necessary response to Austrian social reality than to the (more purely) personal problems which first motivated Bernhard's writing.
Bertolt Brecht, one of the most influential European playwrights of the twentieth century, was also a poet of distinction. This volume is the first comprehensive study devoted to his most important collection of political poetry, the Svendborg Poems. The contributors analyse Brecht's work critically and historically, discussing it in relation to questions of poetics, political commitment, exile, propaganda, rhetoric, and the scope and limitations of political poetry. Links are also drawn with the work of German, Soviet and English poets of the period, and with later Germany poets.
Die IBOHS verzeichnet jährlich die bedeutendsten Neuerscheinungen geschichtswissenschaftlicher Monographien und Zeitschriftenartikel weltweit, die inhaltlich von der Vor- und Frühgeschichte bis zur jüngsten Vergangenheit reichen. Sie ist damit die derzeit einzige laufende Bibliographie dieser Art, die thematisch, zeitlich und geographisch ein derart breites Spektrum abdeckt. Innerhalb der systematischen Gliederung nach Zeitalter, Region oder historischer Disziplin sind die Werke nach Autorennamen oder charakteristischem Titelhauptwort aufgelistet.
Annually published since 1930, the International bibliography of Historical Sciences (IBOHS) is an international bibliography of the most important historical monographs and periodical articles published throughout the world, which deal with history from the earliest to the most recent times. The works are arranged systematically according to period, region or historical discipline, and within this classification alphabetically. The bibliography contains a geographical index and indexes of persons and authors.
This book is the fullest and most detailed study yet published in English of Ernst Toller's plays and their most significant productions. In particular the productions directed by Karl-Heinz Martin, Jurgen Fehling and Erwin Piscator are closely analyzed and the author demonstrates how, brilliant though they were, they obscured or even distorted Toller's intentions. The plays are seen as eminently stage-worthy while worth lies in Toller's use of language, both in prose and inverse. The neglected puppet-play The Scorned Lovers' Revenge is analyzed from a new perspective in the light, both of its language and its sexual theme, so important in Toller's writings as a whole. The reader is led to appreciate why Toller was regarded as the most outstanding German dramatist of his generation until, after his death in 1939 his reputation was overlaid by that of Brecht. This book should do much to restore Toller to his proper place in theatre history.
This book develops a theory of aesthetic fiction’s impact on social identities. Throughout five case studies, the author develops the argument that social identities are nurtured by and may even emerge through the conflict between different aesthetic expressions. As it creates affective structures, narrative fiction enables the development and formation of political and cultural identities. This work is part of a field of research that deals with the aesthetics of the everyday and the idea of social aesthetics. It argues for a central role for the arts in the creation and formation of modern society. Social identities emerge in response to aesthetic-sensual patterns of perception. Focusing on five West German public debates in the years 1950 to 1990, this work sheds light upon the transformation of social reality through the discursive adaption of art.