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Every 3rd issue is a quarterly cumulation.
Ulrich Weisstein's collection of 21 essays offers a comparative study of Expressionism as a Modernist movement whose dynamic core lay in Germany and Austria-Hungary, but which transformed artistic practices in other European countries. The focus, Weisstein argues, “must be strictly and sharply aimed at a specific body of works and opinions—a relatively dense core surrounded by a less clearly defined fringe zone—indigenous to the German speaking countries.” The volume spans an “Expressionist” period extending from roughly 1910 to 1925. Weisstein himself contributes two introductory chapters on problems of definition and a thoughtful analysis of English Vorticism. An ample context is set by comparative essays concerned with international movements such as Futurism that had an impact on German Expressionist drama, prose, and poetry, together with essays on the adaptation of Expressionist forms in countries such as Poland, Russia, Hungary, South Slavic nations and the United States. These essays call attention to representative authors and artists, as well as to periodicals and artistic circles. Reviewers have praised not only the presentation of “literary links and interaction” among national cultures, but especially the “most rewarding” interdisciplinary essays on Dada and on Expressionist painting, music, and film.
Much attention has been directed to the pivotal debates of the 1930s amongst four luminaries of German Marxist culture -- between George Lukacs and Bertolt Brecht, which focused on realism in literature, and between Walter Benjamin and Theodor Adorno, which dealt with avant-garde and mass culture in capitalist society. "Marxism and Modernism" gives these wide-ranging controversies their most intensive treatment to date, analyzing them in terms of the major challenge to a Marxist aesthetics in this century: the interpretation of the formal and historical meaning, and social value, of cultural modernism. The intellectual developments of each of these four influential writers are examined, along with their responses to fascism and Stalinism, and their varying relations to the many strands of Marxist thought and modernist aesthetics. -- From publisher's description.
In this definitive study, David Bathrick examines East German culture both before and after the fall of the Berlin Wall in November 1989. Bathrick argues that dissident East German writers were unique among East European literary intellectuals in that they attempted “to open up alternative spaces for public speech from within [the] framework” of Marxism and state socialism. According to Bathrick, “the fact that some of them had been censored, hunted, questioned, and ridiculed does not belie the fact that they were also—and sometimes even simultaneously—privileged, nurtured, courted, and coddled. . . . It was precisely their function on ‘both sides’ of the power divide, as official and nonofficial voices within the whole, which defined a particular kind of intellectual in the GDR.” Bathrick applies his insights into this “particular kind of intellectual” to a wide range of topics. He compares oppositional culture in East Germany to radical cultures elsewhere, examines the complex political and cultural relations of East and West Germany, traces the anguished history of the East German avant-garde, and describes the troubled effort to develop a revolutionary theatrical tradition in East Germany. The book also includes nuanced insights into the collapse of the East German political order in the late 1980s and more recent revelations about the collaboration of allegedly oppositional writers with the Stasi (state police). In his treatment of these and other issues, Bathrick enters hotly contested territory. Yet he brings clarity and scrupulous fairness to these issues that are still very much alive in Germany—and elsewhere—today.
In this work David C. Durst explores the development of modernism in the philosophy, politics, and culture of the first German Republic between 1918 and 1933. Through a reasoned critique of various Weimar intellectual figures such as Ernst Bloch, Martin Heidegger, and Theodor Adorno, Durst offers clarity and insight into the various aesthetic postures of the interwar period. From the cultural vibrancy of the early Weimar period to the eventual decay towards fascism and Nazi rule, Weimar Modernism provides a new and coherent way to examine this important era, which has often been presented in a fragmented manner