Product Description
German literature in all genres and from all historical periods has exerted an enormous influence on the history of western thought. From Martin Luther, Frederick Schiller, and Johann Wolfgang von Goethe to Karl Marx, Sigmund Freud, Thomas Mann, Bertolt Brecht, and Gunter Grass, Germany has produced an impressive number of great writers and great works. In German Literature: A Very Short Introduction, Nicholas Boyle illuminates the particular character and power of German literature and explores its impact on the larger cultural world. Boyle presents an engrossing tour of German literature from the Middle Ages to the 20th century, focussing especially on the last 250 years. He examines key themes like idealism, modernism, materialism, trauma and memory, showing how they have imbued the great German writers with such distinctive voices. Indeed, this brief introduction offers broad coverage of German literature, revealing the links between German literature and the German nation, examining the literary and philosophical responses of German writers to social, political, and economic change, and seeking out the connections between Germany's intellectual traditions and its often violent and tragic history. ... Read more

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Dense with information
Boyle, the author of the most thorough and insightful biography of Goethe in the last century, has composed an excellent introduction to German literature. It's ideal for someone who would like to understand the connections between German history and literary expression. However, the book is complex and it treats the literature in the context in which it was written, not according to modern standards. It might be heavy going for a casual reader, but for someone who wants to think seriously about the topic, Boyle's book is ideal.

A strongly biased introduction
This book was disappointing in several aspects, none of which were related to brevity. We can all forgive authours for oversimplifying movements and works, and skipping past things that are important, because in a short introduction, some things simply must go. However, the authour betrays his religious views on literature throughout this book. For example, Martin Luther is treated with great reverence, yet nothing is mentioned of his raving anti-Semitism, misogyny, or his devotion to ignorance through approaching everything by means of Scripture. Luther did indeed help open the doors to challenge the autocracy of the Catholic Church, but he would not give an inch when it came to critical thinking about the Bible, and he became a papist in his own right when the Lutheran church was established, refusing to allow even the tiniest modifications to the Augsburg Confession of Faith. He sternly rebuked his fellow Lutheran Philip Melanchthon, the principal authour of said confession, because of Luther's extremely fundamentalist position on trivial theological matters, such as the Lord's Supper.

I have not read Boyle's famous work on Goethe, but it is clear to me that he exaggerates the faith in many authours, including Goethe. Romantic writers all over the world showed a positive lack of faith, and a very critical view of the very idea of God, yet Goethe comes across as a good Christian. Immanuel Kant is treated as a great moral philosopher, which he was considered to be, but his thorough critique of religion is barely glanced at. If Boyle could dedicate entire pages to his theistic views, then he had room also for the atheistic ones. Materialism is treated only as an economic factor and used synonymously with coveting, which is a total misrepresentation, since it is, in fact, a great step forward in philosophy and science. Boyle again betrays his onesidedness by trying to attribute all technological advances to other issues, such as Bismarck's reforms.

Boyle also freely employs terms like `Darwinian' and `Nietzschean' only in a negative and parodic manner. They are used to portray nihilism and cut-throat avarice, and the positive and liberating aspects of their thought systems are completely skipped over. Both World Wars are treated only inasmuch as they left a negative impact on the German economy and self-image; no mention is made of Nazi literature and sympathizers. You can't have an account of the 20th century in Germany, however brief, without an account of Nazism. The generations following World War II had, as their central preoccupation, how to deal with what their parents and grandparents did, yet Boyle implies that the only concern was to build a strong economy again through technological development. This is at best a half-truth.

The only strength of the book, indeed, the only value it has, is as an expedient reference work, a gateway to which authours and works to look up. I intend to do so, but I also intend to get myself a better work on German literature, because this work was a great deception.
... Read more

Product Description
Literary fiction in Germany has long been a medium for contemplation of the 'nation' and questions of national identity. From the mid-1990s, in the wake of heated debates on the future direction of culture, politics and society in a more 'normal', united country, German literature has become increasingly diverse and seemingly disparate - at the one extreme, it represents the attempt to 'reinvent' German traditions, at the other, the unmistakable influence of Anglo-American forms and pop literature. A shared concern of almost all of recent German fiction, however, is the contemporary debate on globalisation, its nature, impact and consequences for 'local culture'. In its engagement with globalisation the literature of the Berlin Republic continues the long-established practice of reflection on what it is to be 'German'.

This book investigates literary responses to the phenomenon of globalisation. The subject is approached from a wide range of thematic and theoretical perspectives in twelve chapters which, taken together, also provide an overview of German fiction from the mid-1990s to the present. The book serves both as an introduction to contemporary German literature for university students of German and as a resource for scholars interested in culture and society in the Berlin Republic. ... Read more

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"

Contributors include: Amy M. Hollywood on medieval women mystics, Jan-Dirk Müller on Gutenberg, Marion Aptroot on the Yiddish Renaissance, Emery Snyder on the Baroque novel, J. B. Schneewind on Natural Law, Maria Tatar on the Grimm brothers, Arthur Danto on Hegel, Reinhold Brinkmann on Schubert, Anthony Grafton on Burckhardt, Stanley Corngold on Freud, Andreas Huyssen on Rilke, Greil Marcus on Dada, Eric Rentschler on Nazi cinema, Elisabeth Young-Bruehl on Hannah Arendt, Gordon A. Craig on Günter Grass, Edward Dimendberg on Holocaust memorials.

The revolutionary spirit that animates the culture of the Germans has been alive for at least twelve centuries, far longer than the dramatically fragmented and reshaped political entity known as Germany. German culture has been central to Europe, and it has contributed the transforming spirit of Lutheran religion, the technology of printing as a medium of democracy, the soulfulness of Romantic philosophy, the structure of higher education, and the tradition of liberal socialism to the essential character of modern American life.

In this book leading scholars and critics capture the spirit of this culture in some 200 original essays on events in German literary history. Rather than offering a single continuous narrative, the entries focus on a particular literary work, an event in the life of an author, a historical moment, a piece of music, a technological invention, even a theatrical or cinematic premiere. Together they give the reader a surprisingly unified sense of what it is that has allowed Meister Eckhart, Hildegard of Bingen, Luther, Kant, Goethe, Beethoven, Benjamin, Wittgenstein, and Sebald to provoke and enchant their readers. From the earliest magical charms and mythical sagas to the brilliance and desolation of 20th-century fiction, poetry, and film, this illuminating reference book invites readers to experience the full range of German literary culture and to investigate for themselves its disparate and unifying themes.

Customer Reviews (2)

A Dubious Work
No matter what the editors' & contributors' intent was or wasn't with this "New History", it has failed and disqualified itself by ignoring the following writers, to name only those that loom largest: Angelus Silesius, Johannes Beer, Hoffmann v. Hoffmannswaldau, Hebel, Lenau, Platen, Morgenstern, Lasker-Schueler, Robert Walser, Tucholsky, Arno Schmidt, Wolfgang Koeppen, Doderer, Erich Kaestner, Strittmatter, Aichinger, Bobrowski. Women writers are largely absent, as well as the literature of exile.
Is one to find solace for these omissions by noting 26 references for Hitler in the index? No, this is not a 'new' history, this is not a 'history' at all.

An Invaluable Collection, but not a History
This is the second of the Harvard University Press' avowedly "new" versions of literary history, having been preceded by a "New History of French Literature." It stands in marked contrast to the traditional banal historical surveys, which often read like annotated bibliographies rearranged in chronological order, which give the reader no flavor for actual literature.It is also different from an ideosyncratic synthetic history which presents the viewpoint of one critic, glossing over certain periods and authors in order to dwell on others, merely because the author finds them more interesting or in better conformity with his thesis.Instead, this book is a compilation of essays written by over 150 specialists in different periods and aspects of German literature, each essay concentrating upon a particular work, or a particular moment in German literary history.
In some respects, it works amazingly well, seeing 1200 years of Germanic literature through a series of epiphanies.The quality of the essays is extremely high, and there are enough of them that the reader does get a notion of the richness and breadth of literary creation in the German language.Best of all, the essays are such that they tend to create a hunger to read many of the works reviewed.The reader can browse through the book, following one of the many threads provided by the diverse assembly of critics, jumping from one essay and epoch to another, noting along the way many works of which he may never have heard, accumulating a rich mine of future reading.
But the History's chief success is also its chief failing:such a book can never be catholic enough to serve as a reference with which to place in its historical or literary context any book which one has read, or of which one has heard.Some significant minor authors are omitted altogether, as well as a few major ones, and especially as we approach more recent times the selection has to become ever more arbitrary and limited.The greatest names in German literature are inevitably slighted due to the format, as they are given only slightly greater treatment than the lesser figures which each also command at least one essay.Goethe's Faust, most notably, does not really loom as the immensely important monument which it is, nor does it receive the kind of elaborate explication it deserves.To those tired of grazing solely on the highest treetops who might be tempted to say 'Good riddance,' one must point out that this is supposed to be a general history, and not an eclectic selection of good books the uninitiated might not otherwise have read. Another defect is that by focusing exclusively on individual works, and on the moments in history which have witnessed their birth, there are no general essays which cover the broad and pervasive literary movements such as Romanticism or Expressionism, nor are there any extended discussions of such recurrent literary genres and themes as the Bildungsroman, or the fantastic novel.In short, this is a superb anthology of essays, which deserves to be put on the shelf next to a more traditional history.The inclusion of some thematic essays, and an extended narrative to bridge the gaps and tie the essays together would partially remedy this defect at the expense of making a fat book even fatter, but I am afraid that without turning it into an encyclopedic reference of at least two volumes, a book of this structure cannot fully realize its ambition to become a "new history" which transcends the traditional model.Nonetheless, for its sheer readability, and especially given the ignorance which even most educated English-speaking readers now have of literature in German, it is a worthy acquisition for any lover of literature. ... Read more

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Focussing on individual authors from Heinrich Boll to G3~nther Grass, Hermann Lenz to Peter Schneider, The Language of Silence offers an analysis of West German literature as it tries to come to terms with the Holocaust and its impact on postwar West German society.

Exploring postwar literature as the barometer of Germany's unconsciously held values as well as of its professed conscience, Ernestine Schlant demonstrates that the confrontation with the Holocaust has shifted over the decades from repression, circumvention, and omission to an open acknowledgement of the crimes. Yet even today a "language of silence" remains since the victims and their suffering are still overlooked and ignored. Learned and exacting, Schlant's study makes an important contribution to our understanding of postwar German culture. ... Read more

Customer Reviews (4)

If you are serious...
I've read most of the novels in Dr. Schlant's book. Yet when I turned the last page of LANGUAGE, I knew that one of my next projects will have to include re-reading them.

She rightly isolates the lone voices who dared speak up from 1945 - 1960 or so, especially Karl Jaspers. Perhaps if we ask, she will write a sequel on the individuals she does identify as positive role models in an era when they were few. [Note: I think I disagree with her assessment of Werner Bergengruen's works, as he was widely read by the small numbers involved in German resistance, and was a special friend of the White Rose. In fact, he manually duplicated some of their leaflets not knowing he knew the authors, an action that could have met with death. But I will not quibble.]

Even if she never gets around to a follow-up work, this one will have accomplished something few others have dared to speak aloud, namely boldly proclaiming that the world has not expected too much of Germany, that there have not been too many books about the Holocaust, that in fact those who chant "there's no business like Shoah business" are the worst informed of the lot.

For what she says is true -- Germany must figure out how to mournthe dead. Once the nation is willing to collectively grieve (and not sate its conscience by buying Magen David necklaces and swelling the numbers at klezmer concerts), then perhaps the writing of books about the Holocaust can end. But not before then.

Thank you, Dr. Schlant.

literature as the seismograph of a people's unconscious
At a recent book party for Ernestine Schlant (a.k.a. Mrs. Bill Bradley), I was particularly struck with Ms. Schlant's statement that "literature is the seismograph of a people's unconscious".

Ms.Schlant and I both grew up in Germany.She was nine years old at the end of WWII, I was six.We both live in the US and have a foot in both worlds.I attended schools where "former" Nazi teachers made sure that I didn't know about the atrocities committed by my people, was surrounded by a thick wall of impenetrable silence and like many young Germans of my generation, including Schlant, didn't find out about the Holocaust until I ventured abroad as a young adult and was confronted with its horror.

It can safely be said that the official silence of the first twenty postwar years has long since given way to debates, discussions, the publication of many non-fiction books, documentaries, and so forth.While German authors like Heinrich Böll (who received the Nobel prize in 1972), Günter Grass (one of last year's nobelists), Wolfgang Borchert, Siegfried Lenz, and others have written eloquently about the horrors and the madness of war and our misery because of it, literature by non-Jewish Germans depicting and addressing the suffering of fellow German-Jewish citizens continues to be virtually nonexistent. We saw our world as shattered by WWII and its aftermath, Jews disappeared - while the language with which we describe our own suffering is rich in nuance and texture, the language we use to describe the fate of Jews is abstract and devoid of emotional resonance.

In my own research, I have found that many of my countrymen believe that there is in fact an abundance of literature written by German gentiles which deals with the plight of European Jews in general and German Jews in particular.In reality, there is a distinct absence of Holocaust victims as protagonists in literature written by German gentiles.Many if not most Germans seem to consider literature about their own suffering during WWII and the chaos of the postwar years, and condemnation of the Hitler regime as synonymous with writing about Holocaust victims.It doesn't strike them as extraordinary that there are almost no books written by them about our former Jewish fellow citizens, who had lived in Germany for hundreds of years, had contributed to our culture and society, had been our neighbors, our class-mates, our colleagues, our acquaintances, our friends and our relatives.As Ms. Schlant brilliantly demonstrates in her book, even after WWII , when it was perfectly safe to do so, almost no books were written by Germans, which explored their feelings about the forced emigration or deportation to a sure death of their Jewish fellow citizens.Not even by the roughly half a million German gentiles who had acquired Jewish relatives through marriage. One could expect that at least a handful of those might have felt compelled to write about the emotional fallout of the tragedies of their Jewish in-laws, aunts, uncles, nieces, nephews, or cousins.

In my first collection of narrative poetry TALES FROM A CHILD OF THE ENEMY (so far only published in the US) the stories of holocaust victims and survivors whom I met in Brooklyn during the sixties, figure prominently. I have returned to Germany regularly to share my work with students and others. Several Germans involved in creating Holocaust teaching curricula, have criticized my inclusion of Holocaust victims in my writing and have suggested that `I should write about my experience, and Holocaust survivors should write about theirs'.

To this day, German Jews are referred to as Jews, hardly ever as German citizens, thereby continuing their marginalization in German consciousness.Not surprisingly, young Germans are generally unaware that German Jews had been fully integrated and assimilated into German society prior to the Holocaust.

Yes, German gentiles visit Israel; some young Germans pick weeds on kibbutzim during their holidays; others join Action Reconciliation and perform lowly tasks in Jewish nursing homes. But to this day we Germans have failed by and large to incorporate the fates, the sorrow and the suffering of our fellow German-Jewish citizens into our literature.

What then does the seismograph of the unconscious as reflected in German literature, say about The New Germany?

A great accomplishment
A great analytic work in which Schlant adds meaning to that which is omitted or left unsaid in post-war German literature about Nazi crimes against the Jews and thereby lifts analytic writing to a new and higherlevel.In analyzing the post-war german literature, Schlant explains,clarifies and puts into context complex metaphors for those of us who wouldotherwise be led onto wrong paths and conclusions.Due to its intensityand perception, this book is hard to put down.

Passau was my hometown, too
I would love to write one. In particular, I would love to read it: A few weeks ago, my own (7th) book about the all powerful silence in Passau came out, as well: "Out of Passau", Herder Verlag, Germany.How can Iget in touch with the author? ... Read more

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Theodor Fontane, Hermann Hesse, Thomas Mann, Franz Kafka, Gunther Grass, and Patrick SÜskind are among the writers examined in this comprehensive introduction to the development of the German novel in the late nineteenth and early twentieth centuries. Including a chronology and guide to further reading, the Companion conveys the vitality and complexity of the modern German novel, and the debates surrounding it. ... Read more

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This is the first book to provide a complete German literary history up to the Unification of Germany in 1990. It is a history for our times: well-known authors and movements are set in a wider literary, cultural and political context, standard judgments are reexamined where appropriate, and a new prominence is given to writing by women. The book is designed for the general reader as well as the advanced student; titles and quotations are translated, and there is an extensive bibliography. ... Read more

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Presents, in an immensely readable yet profoundly scholarly account, the history of German literature from the Reformation and Renaissance to the late twentieth century, in the wider context of Germanic culture, over the whole German-speaking area of Europe. ... Read more

Customer Reviews (1)

A truly amazing and magnificent achievement.
An absolutely invaluable resource for anyone interested in German literature. I thoroughly recommend it. ... Read more

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This book was converted from its physical edition to the digital format by a community of volunteers. You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery. ... Read more

Product Description
This book was converted from its physical edition to the digital format by a community of volunteers. You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery. ... Read more

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This book was converted from its physical edition to the digital format by a community of volunteers. You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery. ... Read more

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Heller examines the sense of values embodied in the works of key German writers and thinkers from Goethe to Kafka, particularly the consciousness of life's depreciation. ... Read more

Customer Reviews (1)

The Plight of the West
Nihilism flickers with its black fire throught out the pages of this book and godlessness attends it as Erich Heller attempts to provide a spiritual physiognomy for the age.

Goethe is the major figure of Heller's meditations and Nietzsche who tries to forge a new soul in a world where Goethe's project to head off rationalism and scientism has failed.Heller spends much useful time in explaining the reasons for Goethe's attempt to found an anti-newtonian science.Fittingly, the name of William Blake makes a brief appearance.

Goethe saw the inhuman dimensions of the scientific project and where it was going with its inevitable war on poetic language and the construction of humane truths.

Rilke and Yeats are also stars of the book, particularly Rilke who creates Nietzschean poetry, poetry that exalts a radical inwardness against a god-free world.

I cannot diagram in this review the myriads of ideas and observations that make this book, The Disinherited Mind, so relevant to our own story. Erich Heller was one of the great titan critics of a century full of so many - Ernst Robert Curtius,Erich Auerbach, Theodor Adorno, Walter Benjamin, and so many more.Heller read literature within a massive scope of historical awareness.His exegis is never dull but always as pertinent and relevant as the details in great adventure fiction. ... Read more

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Over a dozen classic works in one collection with an active table of contents.

Works include:
Johann Wolfgang von Goethe:
Autobiography
Egmont
Erotica Romana
Faust
Hermann and Dorothea
Iphigenia in Tauris

E.T.A. Hoffmann:
The Deserted House
The Sand-Man

Immanuel Kant:
The Critique of Practical Reason
The Critique of Pure Reason
Fundamental Principals of the Metaphysic of Morals
The Metaphysical Elements of Ethics

Philip Melanchthon:
Apology of the Augsburg Confession

Theodore W. Storm:
Immensee
The Rider on the White Horse

Ludwig Tieck:
The Old Man of the Mountain ... Read more

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The Age of Enlightenment, an intellectual and social reform movement, was based on the use of reason, common sense, and "natural law," and was paralleled by an emphasis on feelings and the emotions in religious, especially Pietist circles. Progressive thinkers in England, France, and later in Germany began to assail the absolutism of the state and the orthodoxy of the Church; in Germany the line led from Leibniz, Thomasius, and Wolff to Lessing and Kant, to the advocacy of religious toleration, the demand for the emancipation of the bourgeois individual, and the rise of an educated upper middle class. Literary developments encompassed the emergence of a national theater, literature, and a common literary language. This became possible in part because of advances in literacy and education, especially among bourgeois women, and the reorganization of book production and the book market. This major new reference work provides a fresh look at the major literary figur!es, works, and cultural developments from around 1700 up to the late Enlightenment in new scholarly essays that trace the eighteenth-century literary revival in German-speaking countries: from occasional and learned literature under the influence of French Neoclassicism to the establishment of a new German drama, religious epic and secular poetry, and the sentimentalist novel of self-fashioning. The volume includes the new, stimulating works of women, a chapter on music and literature, chapters on literary developments in Switzerland and in Austria, and a chapter on major reactions to the Enlightenment from the nineteenth century to the present. The recent revaluing of cultural and social phenomena affecting literary texts informs the presentations in the individual chapters and allows for the inclusion of hitherto neglected but important texts such as essays, travelogues, philosophical texts, and letters.Contributors: Kai Hammermeister, Katherine Goodman, Helga Brandes, Ros!marie Zeller, Kevin Hilliard, Francis Lamport, Sarah Colvin, Anna Richar. ... Read more

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Undisputedly a canonical work, Goethe's Faust is also the key to understanding its author, one of European civilization's most complex figures. Written over several decades, the work spans both Goethe's life and an age of enormous social, political, philosophical, and artistic change -- even revolution. In this volume, Goethe scholars and experts from Europe and North America explore major aspects of this fascinating work, offering a cutting-edge guide to both reader and scholar.Contributors: Ritchie Robertson, Martin Swales, Alberto Destro, Osman Durrani, Ellis Dye, John R. Williams, Anthony Phelan, Franziska Schöler, Peter D. Smith, Cyrus Hamlin, R.H. Stephenson, David Luke, Robert David McDonaldPaul Bishop teaches German language and literature at the University of Glasgow. ... Read more

Customer Reviews (1)

really good, but has untranslated german quotes
This is a rich resource for the study of Goethe and Faust, but it seems to be aimed at the pure german lit scholar in that there are a lot of german quates with no translations - footnotes or otherwise.
So if you don't speak german like me it can get a little frustrating.
but for what you can glean... very good. ... Read more

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Since the appearance of the first edition in 1979, A History of German Literature has established itself as a classic work and basic reference source for those interested or in contact with German literature.

In this book, the subject of German literature is treated as a phenomenon firmly rooted in the social and political world from which it has risen. Literary works are assessed according to their relation to the human condition. Social forces and their interrelation with the artistic avant-garde are an organizing theme of this history, which traces German literature from its first beginnings in the Middle Ages to the present day. This latest edition has been updated to cover the reunification of Germany, and its consequent events.

Readable and stimulating, A History of German Literature makes the literature of the past as vital and engaging as the works of the present, and will prove a valuable tool. ... Read more

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This book was converted from its physical edition to the digital format by a community of volunteers. You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery. ... Read more

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Both reference work and general overview, this volume provides a comprehensive survey of medieval German literature from the 8th through the early 15th century. The authors concentrate on the works of the late 12th and early 13th centuries--a high peak of the literature--and examine late-medieval German lyric poetry in detail. ... Read more

Customer Reviews (1)

A Compact Thorough Survey
I bought this volume to have an inexpensive guide to the literature of medieval Germany. It covers Old High German, early Middle High German, the Medieval German lyric, and post "Classical" literature. In addition to historical backgrounds, which are very much appreciated, there are short summaries of works as well as complete guides to further study.

Most interesting to me in all of these periods are the works of Wolfram von Eschenbach ("Parzival"), and the anonymous "Nibelungenlied." As much historical information as possible is included, and most helpfully, information on extant manuscripts is included. (I was shocked to find out that some of the more popular medieval German works come to us from only one or two complete manuscripts and perhaps a few fragments.)

The last chapter is a chapter titled, "Literature of the Late Middle Ages: Innovations and Continuing Trends." This chapter gives an overview of legal literature, chronicles, specialist literature (science and nature, medicine and geography, et al.), didactic literature (religious and otherwise), and works on Mysticism. The book is valuable enough without the last chapter- with the last chapter I find it indispensable in my studies of German medieval lit.

Recommended for those in the early stages of the study of this period looking for a roadmap, or for those whom would like a general outline with a solid bibliography on their bookshelves. ... Read more

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This book was converted from its physical edition to the digital format by a community of volunteers. You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery. ... Read more

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Coming to terms with the past has been a preoccupation within German culture and German Studies since the Second World War. In addition, there has been a surge of interest in adaptation of literary works in recent years. Numerous volumes have theorized, chronicled, or analyzed adaptations from novel to film, asking how and why adaptations are undertaken and what happens when a text is adapted in a particular historical context. With its focus on adaptation of twentieth-century German texts not only from one medium to another but also from one cultural moment to another, the present collection resides at the intersection of these two areas of inquiry. The ten essays treat a variety of media. Each considers the way in which a particular adaptation alters a story - or history - for a subsequent audience, taking into account the changing context in which the retelling takes place and the evolution of cultural strategies for coming to terms with the past. The resulting case studies find in the retellings potentially corrective versions of the stories for changing times. The volume makes the case that adaptation studies are particularly well suited for tracing Germany's obsessive cultural engagement with its twentieth-century history. Contributors: Elizabeth Baer, Rachel Epp Buller, Maria Euchner, Richard C. Figge, Susan G. Figge, Mareike Hermann, Linda Hutcheon, Irene Lazda, Cary Nathenson, Thomas Sebastian, Sunka Simon, Jenifer K. Ward. ... Read more