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This volume of new essays represents a collective, academic, and activist effort to interpret German literature and culture in the context of the international #MeToo movement, illustrating and interrogating the ways that rape cultures persist.
The soldiers who occupied Germany after the Second World War were not only liberators: they also brought with them a new threat, as women throughout the country became victims of sexual violence. In this disturbing and carefully researched book, the historian Miriam Gebhardt reveals for the first time the scale of this human tragedy, which continued long after the hostilities had ended. Discussion in recent years of the rape of German women committed at the end of the war has focused almost exclusively on the crimes committed by Soviet soldiers, but Gebhardt shows that this picture is misleading. Crimes were committed as much by the Western Allies – American, French and British – as by the members of the Red Army. Nor was the suffering limited to the immediate aftermath of the war. Gebhardt powerfully recounts how raped women continued to be the victims of doctors, who arbitrarily granted or refused abortions, welfare workers, who put pregnant women in homes, and wider society, which even today prefers to ignore these crimes. Crimes Unspoken is the first historical account to expose the true extent of sexual violence in Germany at the end of the war, offering valuable new insight into a key period of 20th century history.
The present volume seeks to contribute some studies to the subfield of Empirical Translation Studies and thus aid in extending its reach within the field of translation studies and thus in making our discipline more rigorous and fostering a reproducible research culture. The Translation in Transition conference series, across its editions in Copenhagen (2013), Germersheim (2015) and Ghent (2017), has been a major meeting point for scholars working with these aims in mind, and the conference in Barcelona (2019) has continued this tradition of expanding the sub-field of empirical translation studies to other paradigms within translation studies. This book is a collection of selected papers presented at that fourth Translation in Transition conference, held at the Universitat Pompeu Fabra in Barcelona on 19–20 September 2019.
Berlin is home to Europe’s largest Palestinian diaspora community and one of the world’s largest Israeli diaspora communities. Germany’s guilt about the Nazi Holocaust has led to a public disavowal of anti-Semitism and strong support for the Israeli state. Meanwhile, Palestinians in Berlin report experiencing increasing levels of racism and Islamophobia. In The Moral Triangle Sa’ed Atshan and Katharina Galor draw on ethnographic fieldwork and interviews with Israelis, Palestinians, and Germans in Berlin to explore these asymmetric relationships in the context of official German policies, public discourse, and the private sphere. They show how these relationships stem from narratives surrounding moral responsibility, the Holocaust, the Israel/Palestine conflict, and Germany’s recent welcoming of Middle Eastern refugees. They also point to spaces for activism and solidarity among Germans, Israelis, and Palestinians in Berlin that can help foster restorative justice and account for multiple forms of trauma. Highlighting their interlocutors’ experiences, memories, and hopes, Atshan and Galor demonstrate the myriad ways in which migration, trauma, and contemporary state politics are inextricably linked.
Contributions by Donald L. Anderson, Brian Brems, Eric Brinkman, Matthew Edwards, Brenda S. Gardenour Walter, Andrew Grossman, Lisa Haegele, Gavin F. Hurley, Mikel J. Koven, Sharon Jane Mee, Fernando Gabriel Pagnoni Berns, Émilie von Garan, Connor John Warden, and Sean Woodard The giallo (yellow) film cycle, characterized by its bloody murders and blending of high art and cinematic sleaze, rose to prominence in Italy in the 1960s and 1970s. Beginning with Mario Bava’s The Girl Who Knew Too Much (1963) and Dario Argento’s The Bird with the Crystal Plumage (1970), giallo films influenced the American slasher films of the 1980s and attracted an increasingly large fandom. In Bloodstained Narratives: The Giallo Film in Italy and Abroad, contributors explore understudied aspects of gialli. The chapters introduce readers to a wide range of films, including masterpieces from Argento and overlooked gems, all of them examined in close detail. Rather than understanding giallo as focalized exclusively in Italy in the 1970s, this collection explores the extension of gialli narratives abroad through different geographies and times. This book examines Italian gialli of the 1970s as well as American neo-gialli, French productions, Canadian horror films of the 1980s, and Asian rewritings of this “yellow” cycle of crime/horror films. Bloodstained Narratives also features interviews with two giallo film directors, including cult favorite Antonio Bido. Rather than fading from the cinematic stage, gialli serves as a precursor and steady accomplice to horror-thriller films through the twenty-first century.
This volume casts a critical light on one of Germany’s bestselling and most controversial authors. Juli Zeh’s literary work is not only widely read in Germany, but also featured on high school and college syllabi both in Germany and abroad. In recent years and in the wake of the Covid 19 lockdowns, Zeh’s output has only increased, though her most recent work, Unterleuten (2016), Über Menschen (2021), and Zwischen Welten (2023; co-written with Simon Urban), has evolved away from the literary and philosophical thought that informed her more nuanced earlier work and towards a more conservative representation of contemporary social dynamics. While her work continues to garner prestigious awards, Zeh herself, who is an honorary judge at the Brandenburg constitutional court and a seemingly omnipresent public intellectual, has taken increasingly libertarian positions in recent political debates -- whether about Germany’s public health measures in response to the pandemic, or the country’s role in the Ukraine war. This volume traces the development and broad impact of Zeh’s writing while reflecting on the responsibility of the scholars who read and teach it to confront her ambiguous and sometimes troubling politics.
A bold, honest and unflinching look at the way we talk and think about rape Thanks to Title IX cases, #MeToo, and #Times Up, the issue of rape seems to be constantly in the news. But our thinking on the subject has a long history, one that cultural critic Mithu Sanyal elegantly reconstructs. She narrates a history spanning from Lucretia—whose legendary rape and suicide was said to be the downfall of the last Roman king—to second-wave feminism, Tarzan, and Roman Polanski. Sanyal demonstrates that the way we understand rape is remarkably (and alarmingly) consistent across the ages, even though the world has changed beyond recognition. It is high time for a new and informed debate about sexual violence, sexual boundaries, and consent. Mithu Sanyal shows that our comprehension of rape is closely connected to our understanding of sex, sexuality, and gender. Why is it that we expect victims to be irreparably damaged? When we think of rapists, why do we think of strangers rather than uncles, husbands, priests, or boyfriends? And in the era of #MeToo, what should “justice” look like? Rape: From Lucretia to #MeToo examines the role of race and the recurrent image of the black rapist, the omission of male victims, and what we mean when we talk about “rape culture.” Sanyal takes on every received opinion we have about rape, arguing with liberals, conservatives, and feminists alike.
Our main words defining emotional states suggest that we have clarity about them: expressions like "love," "hatred," "anxiety," or "sorrow" seem clear enough. The reality, however, tends to be more complicated. We are often faced with gestures and utterances that are difficult to interpret; we thus find ourselves wondering about the affective force of what has just been said: "Was that an insult?" "Flirtation?" "Aggression?" Ambiguous Aggression in German Realism and Beyond looks at three interlocking forms of social violence--flirtation, passive aggression, and domestic violence. In order to understand their circulation, it traces their literary-historical genealogy in German realism and modernism--in scenes from Annette von Droste-Hülshoff, Adalbert Stifter, Theodor Storm, Theodor Fontane, Robert Walser, and Franz Kafka, covering a historical period from the middle of the 19th century to the early decades of the 20th century. Reading realist and modernist literature through 21st-century affect theory and vice versa, the analyses collected in this book show the deep literary history of our current cultural predicaments and predilections.
Munich 1919 is a vivid portrayal of the chaos that followed World War I and the collapse of the Munich Council Republic by one of the most perceptive chroniclers of German history. Victor Klemperer provides a moving and thrilling account of what turned out to be a decisive turning point in the fate of a nation, for the revolution of 1918-9 not only produced the first German democracy, it also heralded the horrors to come. With the directness of an educated and independent young man, Klemperer turned his hand to political journalism, writing astute, clever and linguistically brilliant reports in the beleaguered Munich of 1919. He sketched intimate portraits of the people of the hour, including Erich Mühsam, Max Levien and Kurt Eisner, and took the measure of the events around him with a keen eye. These observations are made ever more poignant by the inclusion of passages from his later memoirs. In the midst of increasing persecution under the Nazis he reflected on the fateful year 1919, the growing threat of antisemitism, and the acquaintances he made in the period, some of whom would later abandon him, while others remained loyal. Klemperer's account once again reveals him to be a fearless and deeply humane recorder of German history. Munich 1919 will be essential reading for all those interested in 20th century history, constituting a unique witness to events of the period.
Political communication has fundamentally transformed as digital technologies have become increasingly important in everyday life. Technology platforms have become powerful political instruments for world leaders, campaigns, social movements, journalists, and non-governmental organizations. Moreover, they are essential to how people communicate about politics, encounter and share political information, and take action to pursue their political goals. This is the first textbook to center digital platforms in understanding political communication. With global examples beyond the context of Western democracies, the text reveals how digital technologies such as social media and search engines are increasingly shaping political communication in countries around the world. It shows how the core processes of political communication are being reshaped by platforms, from how elections are contested to how issues make it onto policymaking agendas. Topics covered include public opinion, journalism, strategic communication, political parties, social movements, governance, disinformation, propaganda, populism, race, ethnicity, and democratic backsliding. Full of lively examples and pedagogical features, Platforms, Power, and Politics offers an exciting and innovative new approach to political communication. It is essential reading for students of political communication and an important resource for scholars, journalists, and policymakers.