... for the historical precursors of Nazism, beginning with the Great War–besotted children of his own generation, now hungering for another dose of public excitement, and moving back to the mistaken nationalism of Bismarck’s 1871 Reich. Haffner’s general view of German character as incapable of democracy, reliant...

... poy! My yong friendt! . . . Idt is Passil Marge—not zo? . . . It sheers my hardt to zee you” (79).18 Lindau is a significant character, but every time he speaks, his German-inflected English is rendered in full typographic detailing of his consonant system, in which voiced and unvoiced stops...

... . Behler Ernst . 1988 . “ The Theory of Irony in German Romanticism .” In Romantic Irony , edited by Garber Frederick . Amsterdam : John Benjamins Publishing Company . Benjamin Walter . 1994 . The Correspondence of Walter Benjamin: 1910–1940 . Translated by Jacobson M. R...

...- cific work cited in the original language, followed immediately by a service- able translation (German in the original Mimesis, first published in Bern in 1946; English in most of his subsequent work), out of which a detailed explication de texte unfolds at a leisurely and ruminative pace...

... the last serious attempt to think through the materiality and spatiality of the earth as a whole in philosophical terms, a project whose early character Goethe’s lines captured quite well, the ele- mentalism of the German and English romantic project being an expression of a newly globalized...

... . Austerlitz . Paris : Les Films d’ici . Remmler Karen . 2005 . “ ‘On the Natural History of Destruction’ and Cultural Memory: W. G. Sebald .” German Politics and Society 23 , no. 76 : 42 – 64 . Ricoeur Paul . 2006 . Memory, History, Forgetting . Translated by Blamey Kathleen...

.... But that was only the starting point: from there he sailed on to characters he had invented, to stories utterly different from his own. It is impossible to detach the force of his style from the residues of World War II. The German past pursued him and his prose. He asked the reader to trust his autobiographical...

... of the Walsungs ( Waelsungenblut [1906 The story portrays the situation of a nouveau riche Jewish family, the Aaren- holds. They have assimilated to traditional German culture to such a degree that they name their identical (lookalike fraternal) twins Siegmund and Sieglinde after characters in Wagner s opera...

... of this finds its way into Nine Rivers from Jordan. Instead, the Johnston character betrays certain patterns of behavior that echo de Valera’s pub- lic persona to a remarkable degree. There is, for example, the obsessive observation of ‘‘protocol’’ with regard to the Germans and the refusal to be swayed...

... of the same period. By showing the essay’s affinity to such texts as “The Task of the Translator,” the essay on Goethe’s Elective Affinities, and the “Epistemo-­critical Preface” to The Ori- gin of German Trauerspiel, we can test the exactitude of this reading. There has been disagreement about...

... is a daunting juggernaut of critical exegesis, augmented by the consider- able body of scholarship penned in German, French, Spanish, and Ital- ian. So much has been written about Sebald so quickly, and by so many, that statements about general trends in the criticism are by now simply impossible. But even...

... consists largely of English loanwords prefaced with le and la , that are “translated” into “German” words that are actually the same English loanwords prefaced with der, die, das —is well described as “translingual.” Thanks to such translingual pedagogy, my daughter thinks French isn't worth learning...

... we have lived until now.”4 When Mehmet Selik’s translation from the German of the first volume of Das Kapital was published in 1966, a review essay by the prominent critic and translator Selahattin Hilâv dwelled similarly on its belatedness.5 Selik’s translation had followed Hikmet...

... the driving force of his own intellectual endeavors, especially the last clause: “less literature but more care for the letter.” The German word Buchstabe used by Heidegger designates (grammata) and can be rendered in English by “letter,” “character,” “type,” and “alphabetic sym- bol.” It has...

...: it was a large and unwieldy aggregate of Poles, Jews, Ukrainians, Germans, Lithuanians, Belorus- sians, Ruthenians, and other minorities, speaking several languages, and affiliated with a variety of faiths and churches as well as agnostics and atheists. Many Poles subscribed...

... assured, were fully grounded in historical fact. This claim, misleading as we now know, helped elevate Andersch to a position of moral and literary authority in German postwar literature. Sebald s withering attack which in part took the form of yet another vicious character assassination arose from his...

... during the rest of the century involved reworking classical theories in order to save genre theory, and especially the notion of tragedy, by developing alterna- tive approaches to the problem. Emil Staiger, a now almost forgotten figure in German critical theory, is a major representative...

... obviously be an inquiry into the relation between German baroque drama and Leibnizian metaphysics, for Leibniz was a Lutheran (not a Calvinist), and he, like Andreas Gryphius, traveled through Italy at the height of an art-historical period that would later be characterized as baroque. Leibniz...

... : Harcourt . Benjamin Walter . 1977a . Gesammelte Schriften . Vol. 2 . Edited by Tiedemann Rolf Schweppenhäuser Hermann . Frankfurt : Suhrkamp . ———. 1977b . The Origin of German Tragic Drama . Translated by Osborne John . London : Verso . ———. 1989 . Gesammelte...

... a language just as foreign to the German narrator as it is to the non- German title character. But to subsume Einwaggonieren under the text s emphasis on the linguistic dimensions of Nazi persecution Agáta: Really, the way these people write! (176) would be incorrect, for the simple reason that Ein...