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Articles 1 - 3 of 3
Full-Text Articles in German Literature
Postkoloniale Solidarität: Alltagsleben Von Ddr-Bürgern In Mosambik, 1979-1990, Katrin Bahr
Postkoloniale Solidarität: Alltagsleben Von Ddr-Bürgern In Mosambik, 1979-1990, Katrin Bahr
Doctoral Dissertations
My dissertation examines the everyday life and work of development workers[1] and their families sent by the German Democratic Republic (GDR) to Mozambique between 1979 and 1990. I investigate the issues of state and individual solidarity and the interactions of Germans and Mozambicans within the development projects. Since the GDR did not see itself as a colonial power or an heir to Germany's colonial past, it acquitted itself of the charge of being an exploitative imperialist in its foreign policy. From its perspective, it stood side by side in “solidarity” (Solidarität) with its “brother states” (Bruderstaaten) …
Pessimism In Progress: Hermann Sudermann And The Liberal German Bourgeoisie, Jason Doerre
Pessimism In Progress: Hermann Sudermann And The Liberal German Bourgeoisie, Jason Doerre
Doctoral Dissertations
Once ranked among the most internationally read authors at the turn of the nineteenth century, the name Hermann Sudermann (1857–1928) today has been all but forgotten. This dissertation frames the life and work of this once famous author in the context of the liberal German bourgeois milieu. Not only was Sudermann a liberal bourgeois, his works reflected the preferred styles, attitudes, and worldview of this social class. I argue that the rise and fall of Hermann Sudermann’s career, as it was inextricably connected to the fortunes of the liberal German bourgeoisie, mirrors the trajectory thereof. As the appeal of bourgeois …
Insurgent Spectacles: Spring Awakening, Woyzeck, Mother Courage And The ‘New’ Broadway Spectacle, Noah Porter Soltau
Insurgent Spectacles: Spring Awakening, Woyzeck, Mother Courage And The ‘New’ Broadway Spectacle, Noah Porter Soltau
Doctoral Dissertations
This dissertation explores the political and ideological work done by what I call "insurgent spectacles," which comprised a historical episode of American theater occurring primarily from 2006 to 2008. The spectacles had liberatory and redemptive potential not in spite of their identity as mass culture, but indeed precisely because of it. They functioned in a contested political and ideological space within the schema of mass culture. The insurgent spectacle is so-called because it superficially resembled other bits of Broadway fluff with its glitziness, over-production, and ham-fistedness that allow the audience to be intellectually disengaged. During this episode, it persisted (often …