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Fragments of My Life
Growing up in Poland in the 1930s, Rita Braun had many hopes and dreams for the future. When she was nine years old, however, World War II touched her once-idyllic life, transforming paradise on earth into an indescribable hell. In Fragments of my Life, Braun tells her storyfrom her birth in 1930 to living in Brazil today, where she works to ensure no one forgets the more than six million Jewish people who lost their lives during the Holocaust. Including many photos, Fragments of my Life provides firsthand insight into the horrors of the war. As a nine-year old on her school vacation, Braun watched as military aircraft streaked across the skies above her parents farm. She never imagined they...
A Past Without Shadow
In this controversial study of postwar German's children's books, Zohar Shavit reveals a troubling perspective on the German understanding of the Holocaust.
Inventing Luxembourg
The grand duchy of Luxembourg was created after the Napoleonic Wars, but at the time there was no 'nation' that identified with the emergent state. This book analyses how politicians, scholars and artists have initiated and contributed to nation-building processes in Luxembourg since the nineteenth century, processes that as this book argues are still ongoing. The focus rests on three types of representations of nationhood: a shared past, a common homeland and a national language. History was written so as to justify the country's political independence. Territorial borders shifted meaning, constantly repositioning the national community. The local dialect initially considered German variant was gradually transformed into the 'national language', Luxembourgish.
National Union Catalog
Includes entries for maps and atlases.
Contested Commemorations
This innovative study of remembrance in Weimar Germany analyses how experiences and memories of the Great War were transformed along political lines after 1918. Examining the symbolism, language and performative power of public commemoration, Benjamin Ziemann reveals how individual recollections fed into the public narrative of the experience of war. Challenging conventional wisdom that nationalist narratives dominated commemoration, this book demonstrates that Social Democrat war veterans participated in the commemoration of the war at all levels: supporting the 'no more war' movement, mourning the fallen at war memorials and demanding a politics of international solidarity. It describes how the moderate Socialist Left related the legitimacy of the Republic to their experiences in the Imperial army and acknowledged the military defeat of 1918 as a moment of liberation. This is the first comprehensive analysis of war remembrances in post-war Germany and a radical reassessment of the democratic potential of the Weimar Republic.
Modernism - Dada - Postmodernism
This new collection updates, integrates, and contextualizes Richard Sheppard's essays on the historical avant-garde. Sheppard examines responses of modernist writers, artists, and philosophers to a changed sense of reality and human nature. With its combination of previously published and new essays and its perspective on the theoretical avant-garde-modernism debate in the U.S., the volume provides the specialist and the general reader insight into European scholarly discourse on this hotly debated subject.
Nijhoff, Van Ostaijen, "De Stijl"
FRANCIS BULHOF "What was Modernism?" That is the title of an address delivered in June of 1960 by the eminent comparatist Harry Levin at Queen's University in King ston, Ontario.1 Apparently, more than a decade ago, in the eyes of this per ceptive analyst of literature and the arts, the modernist movement had become a thing of the past. Having acquired full citizenship in the republic of letters, modernism had outlived itself. The title of Harry Levin's lecture bears an obvious resemblance to that of Fritz Martini's book-length essay Was war Expressionismus?,2 which dealt exclusively with the German variant of the expressionist movement. In the case of German expressionism there is much dispute concerning the precise moment of its decline and fall, but the political conditions provide at least a crucial dividing line in the year 1933. The end of modernism, however, a far more comprehensive movement which was not just limited to one country, is not so easy to determine. And there is also still much discussion about its roots.
