The past decade has seen renewed interest in Grass, occasioned by his 1999 Nobel Prize, his treatment of German wartime suffering in Im Krebsgang (2002), the belated revelation of his participation ...in the Waffen-SS, and the subsequent publication of his memoir Beim Häuten der Zwiebel (2006). Thorough yet concise, the essays Uluminate the development of themes across Grass's prose fiction as well as his poetry, graphic art, drama, cinematic collaborations, and poütical engagement.
Born on October 29, 1929, in the then-German province of Lower Silesia to a lower middle-class family, Mahlendorf paints a luscious picture of place without sentimentality and describes in rich ...detail her childhood, youth, and early adulthood during tumultuous times and the long-lasting effects of the traumatic events she experienced. Following her family's fall into poverty in the Weimar Republic and her father's membership in the NSDAP, her father 's death in 1 935, her mother 's struggle to support her family with her meager earning as a seamstress, the author does not fail to question her memory regarding the Jewish population of Strehlen (now Strzelin) and she honestly reflects on her participation and rise to leadership positions in the Hitler Youth.
According to Braun, references to this ambiguity have been lacking in much secondary literature devoted to Grass, and throughout her monograph she refutes scholar after scholar in making her central ...argument. In her discussion of Ein weites Feld and Im Krebsgang in Chapter 6, Braun interprets the various new narrative voices that Grass has introduced into these later works as attempts to place "at the heart of authorship an ironic aesthetics of replacement" that critiques readers' reduction of them to the essence of their writings and thus to figures whose works can be emulated ( 1 75) . Because Grass's latest autobiographical text, Beim Häuten der Zwiebel, was published while Braun was revising her dissertation into this monograph, it unfortunately only receives cursory treatment in the Conclusion.
The first section, documenting media reactions to the novel prior to and upon the occasion of its publication, contains some of the more notorious assessments, such as the joint characterization of ...the novel by eminent critics Marcel Reich-Ranicki and Hellmuth Karasek, presented on the ZDF television program Literarisches Quartett just days before the book's release, as "ein 'schlechtes' und 'unmenschlich langweiliges Buch' ohne eine Spur handwerklichen Könnens" (qtd. 26). Labroisse's reading of the novel is distinguished from others by his close analysis of its complex narrative structure, his careful attention to its collective narrative voice - a shifting group of coworkers in the Fontane Archive which Labroisse calls the "Archiv-Wir," and his sensitivity to Grass's critique of the Treuhand, the agency formed in 1990 to bring about the privatization of East German industry and business.
In 1978, an international team of scholars began working on German critical editions of Kakfa's works, based on painstaking research into Kafka's original manuscripts and notes. In addition to adding ...sub-titles reflecting Kafka's original title, Der Verschollene, both Hofmann and Harman made corrections in details of spelling and wording, restored Kafka's long paragraphs, cut Brod's added chapter titles and divisions, and added the amusing missing segment "Brunelda's Departure," which, in an extreme concern for accuracy, both concluded with the unfinished sentence, "She ..."
... viewing Berlin Dada works through the cyborg reveals that this movement, generally understood as destructive, can be viewed as a constructive exploration of new forms of hybrid identity and not ...simply an aesthetic dismantling of authoritarian figures and other familiar targets. ... Biro's analysis of the cyborg successfully allows him to make the claim that avant-garde art did not do away with the contextual meanings of its individual parts.
In his virtuosic introduction, Norton exemplarily shows that depictions of Bertram's book as the template for fascism's appropriation of Nietzsche were based on basic errors: in actual fact, the book ...is thoroughly researched (a feature on which, Norton emphasizes, George insisted) and sources are quoted from standard editions (albeit without exact references; Norton provides them now in his valuable Notes); Bertram is aware of the fragmentary nature of Nietzsche's philosophy and situates every quote in its proper context. ... this is an important book and a masterful translation.
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Taken together, Leipelt-Tsai's close readings of these poems reflect a painstakingly thorough deconstructionalist approach, in which the author reads single words and lines of each poem against ...theory, biblical and mythical tradition, canonical German works, and other works by each respective poet. In Lasker-Schüler's "Lauter Diamant. . .," Leipelt-Tsai dispels assumptions that lyrical aggression is to be found within the domain of male authors alone, locating in the poem both violations of the Ekelverbot, as well as auto-aggressive overtones that share in the aggression discourse engaged by her fellow poets.
Furthermore, Schonfield proposes that Felix Krull contains in nuce Mann's Goethe and Tolstoi essay from 1921-25 and his first steps toward a humanistic orientation before the outbreak of World War I. ...The second and central chapter of Schonfield's dissertation, Art and the Notation of Community, interprets Felix Krull as a watershed in terms of Mann's perception of the relations between art, society, and politics. Chapter Three, "Narrative Performance inFelix Krull," explores Mann's blending of diverse genres such as autobiography, the Bildungsroman and the picaresque novel, resulting in "a democratic cohabitation of genres" (140) and signifying a reconciliation of different human experiences, and of the individual and society.
