Open Access. Powered by Scholars. Published by Universities.®
German Language and Literature Commons™
Open Access. Powered by Scholars. Published by Universities.®
- Discipline
-
- History (2)
- African History (1)
- Comparative Literature (1)
- Cultural History (1)
- Feminist, Gender, and Sexuality Studies (1)
-
- French and Francophone Language and Literature (1)
- French and Francophone Literature (1)
- German Literature (1)
- History of Art, Architecture, and Archaeology (1)
- Holocaust and Genocide Studies (1)
- Islamic World and Near East History (1)
- Italian Language and Literature (1)
- Jewish Studies (1)
- Modern Art and Architecture (1)
- Modern Literature (1)
- Other German Language and Literature (1)
- Other Italian Language and Literature (1)
- Theatre and Performance Studies (1)
- Translation Studies (1)
- Women's Studies (1)
- Keyword
-
- Comparative literature (2)
- comparative literature (2)
- Adaptation (1)
- Agency (1)
- Andre Gide (1)
-
- Audience and readership studies (1)
- Auto/biography (1)
- Citizenship (1)
- Colonialism (1)
- Comparative cultural studies (1)
- Comparison of marginalities and culture (1)
- Comparison of primary texts across languages and cultures (1)
- Cultural studies (1)
- Documenta (1)
- Epistemic violence (1)
- Exhibition studies (1)
- Fascism (1)
- Franz Kafka (1)
- Holocaust (1)
- Jean-Louis Barrault (1)
- Jewish identity (1)
- Literary theory (1)
- Nationalism (1)
- New works and authors in a comparative context (1)
- Novel (1)
- Post-war era (1)
- Social engagement (1)
- Theater (1)
- Translation (1)
- Translation studies (1)
Articles 1 - 3 of 3
Full-Text Articles in German Language and Literature
Beyond Nationalism? Blank Spaces At The Documenta 1955 – The Legacy Of An Exhibition Between Old Europe And New World Order, Mirl Redmann
Beyond Nationalism? Blank Spaces At The Documenta 1955 – The Legacy Of An Exhibition Between Old Europe And New World Order, Mirl Redmann
Artl@s Bulletin
Was the first documenta really beyond nationalism? documenta 1955 has been widely regarded as conciliation for the fascist legacy of the exhibition “Degenerate Art” (1937), and as an attempt to reintegrate Germany into the international arts community. This article employs published and archival sources in order to understand if and how documenta was impacted by the legacy of nationalism in post-fascist Germany. A biographic sketch of Antonio Corpora (1909-2004) shows how the purportedly “universalist” selection criteria employed by documenta erased cultural specificity and solidified nationalist conceptions of center and periphery.
Vicarious Victimhood As Post-Holocaust Jewish Identity In Erica Fischer's Auto/Biography Aimée And Jaguar, Anne Rothe
Vicarious Victimhood As Post-Holocaust Jewish Identity In Erica Fischer's Auto/Biography Aimée And Jaguar, Anne Rothe
CLCWeb: Comparative Literature and Culture
In her article "Vicarious Victimhood as Post-Holocaust Jewish Identity in Erica Fischer's Auto/Biography Aimée and Jaguar" Anne Rothe reads the Austrian-Jewish journalist's interview-based dual biography in autobiographical terms. Taking recourse to such para-texts as the preface and epilogue, in which Fischer reflects on her own subject position, in addition to the auto/biographical narrative itself, Rothe critiques the notion of constructing secular Jewish identity based on the notion of vicarious or hereditary Holocaust victimhood. This provocative new reading reveals that the biography Fischer wrote constitutes a counter-narrative to the story her main collaborator, Lilly Wust, told the author about her …
Agency And Political Engagement In Gide And Barrault's Post-War Theatrical Adaptation Of Kafka's The Trial, Yevgenya Strakovsky
Agency And Political Engagement In Gide And Barrault's Post-War Theatrical Adaptation Of Kafka's The Trial, Yevgenya Strakovsky
CLCWeb: Comparative Literature and Culture
In her article, "Agency and Political Engagement in Gide and Barrault's Post-war Theatrical Adaptation of Kafka's The Trial" Yevgenya Strakovsky considers the political themes of André Gide and Jean-Louis Barrault's Le Procès (The Trial, 1947), the first theatrical adaptation of Franz Kafka's Der Prozess (The Trial, 1914). Strakovsky demonstrates that Le Procès, written and staged in the immediate aftermath of World War II, levels a critique against the passive complicity of citizens in unjust persecution in both its script and its staging. The paper also considers the elements of Kafka's prose that lend themselves to …