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Theresa M. Ganter investigates Heiner Muller's use of the Geschichtsdrama as a tool in his search for post-World War II and post-reunification German identity in 'Germania Tod in Berlin' (1956/1971) and 'Germania 3 Gespenster am Toten Mann' (1996), respectively.
The Women’s Movement is usually referred to as if it were a constant, global phenomenon. There are women’s movements in Europe, North and South America, Africa, the Middle East, India, Japan and Australia, and many women and men assume that they are regional manifestations of the same thing, and share a common core. Susan Bassnett has lived and been involved in the struggles of the women’s movement in the United States, Italy and the United Kingdom, and has had extensive contacts with feminists in the German Democratic Republic. On the basis of her personal experiences and study of women’s history and literature in these countries she is able to present a striking picture of the variety of feminist aims, tactics and priorities in the four countries, and of the character of the women’s movement in four very different cultures. In Italy, she focuses on the violence of the women’s movement – its intellectualism and energy. In analysing the American women’s movement she dwells on its roots in the past, and its faith in pragmatic solutions. The GDR presents completely different questions, hinging on the relationship between state socialism and feminism. In the UK, Susan Bassnett finds herself returning to that all-pervasive aspect of British life – class, and its importance for feminists. Throughout, the author writes with a double commitment: first, to furthering our understanding of the diversity of aims of women’s movements and their common ground – the no-man’s land of female existence; second, to making her book as accessible as possible to all feminists, through drawing on her own personal experience of countries in which she has lived, worked, travelled, and made friends.
Traces the development of the state-sponsored company (DEFA), which was primarily responsible for film production in East Germany from 1946 to 1992. Most of the 16 essays were presented at a conference in Reading, England, at an unspecified date. Looking at specific films and scriptwriters, they analyze the representation of fascism and anti-fascism in the 1940s and 1950s, conflicts between the state and film makers in the 1960s, and social-political criticism of the 1970s and early 1980s. Paper edition (unseen), $25. Annotation copyrighted by Book News, Inc., Portland, OR
Addresses literary theory and criticism, comparative studies in terms of theme, genre movement and influence, and interdisciplinary perspectives.