...Ofer Ashkenazi Both during the Weimar years and in the early decades of the Cold War, in the wake of national catastrophes, Heimat imagery had played a vital role in the German identity discourse. This article analyzes how German Jewish filmmakers appropriated conventional Heimat imagery...

...Ulrich Schönherr The year 1960 marks the point of departure for Edgar Reitz's twenty-five-hour movie Die zweite Heimat ( The Second Homeland ), which tries to reconstruct ten years of German history from the selective perspective of young avant-garde artists in Munich. In contrast to critics who...

...Friederike Eigler The German concept of Heimat carries a rich set of cultural and ideological connotations that combine notions of belonging and identity with affective attachment to a specific place or region. At a time when regional realms have regained significance not only in sociopolitical...

... Sommers ( With the Speed of the Summer , 2009). Cosgrove argues that both works subvert the rural idyll of Heimat to produce a critical perspective on the postunification present and on the twentieth-century German past. Place in both novels is temporalized space, in which all characters are creaturely...

...Axel Goodbody This article considers the human-nature relationship in modern Heimat (homeland) discourse and its depiction in literary representations of Heimat . The first part examines the environmental turn in thinking on Heimat in the 1970s and shows how it was part of a wider shift...

... and ruptures of modern German history than the conventional and highly commercial Blauen Bücher, published by Karl Robert Langewiesche starting in 1907. Die Schöne Heimat , first published in 1915, was the series’ best-selling title. By 1971, and the 619,000th copy, Germany had changed fundamentally, yet...

... unprecedentedness, has become a pervasive qualifier of the postwar ruin.22 This has meant that provincial safe harbors (i.e., Heimat in its most traditional definition), as W. G. Sebald reminds his readers at the opening of his influential On the Natural History of Destruction, have been remembered...

... between the two circumstances. From inside a unit that the preeminent postwar psychoanalyst and critic Alexander Mitscherlich helped plan for the developer Neue Heimat Städtebau in Emmertsgrund, outside Heidelberg in Germany’s southwest, it articulates a critique of his pedagogical foray into mass housing...

... in the Federal Republic of Germany. In doing so, it asks implicit questions about who has the right to speak a language as a nonethnic subject, and to remember a “national” past as both a noncitizen and a nonresident. ethnolinguistic belonging Heimat multidirectional memory integration politics Once...

... for identity and a language in which to express it. Furthermore, her discussion considers Hilbig's treatment of the loss of Heimat in his portrayal of material things in a state of transition between presence and absence, material experience and the aesthetic moment. Finally, Pye examines how, through...

... of these aspects of Weimar culture. In focusing on mode rather than on generic definitions, Fisher attributes this trend to a diverse body of works, including within the most popular genre of the time, the Heimat film. Ofer Ashkenazi examines a different aspect of the Heimat film, which highlights...

..., particularly in New Subjectivity texts and in contemporary pop novels. If Tykwer identifies the shortcomings of German selfhood across seemingly antithetical epochs, he also sketches the contours of a Heimat -inflected but hybrid identity. © 2010 by New German Critique, Inc. 2010 Somnolent Selfhood...

... horror a mode within a generic frame- work and thereby hybridizing it, Lorre makes the connection between vio- lence in individuals, the horror of humans, and the way that the Nazis bridled and steered it at the most quotidian levels. Horror Techniques in the Heimat: Rosen blühen auf dem Heidegrab...

... positions that expose the phantasmagoric function of nationhood and Heimat. By exploring the transformation of German cultural identity from the center and the periphery, they highlight the fractured nature of historical experience and the emergence of multiple dislocations since 1989. Political...

... – 12 . Cambridge : Cambridge University Press . Behr Manfred . 1959 . Keine Angst um wilde Tiere: Fünf Kontinente geben ihnen Heimat . Munich : Verlagsgesellschaft . Boes Tobias . 2013 . “Political Animals: Serengeti Shall Not Die and the Cultural Heritage of Mankind...

... a few years, when the exiled Max Horkheimer and Adorno took up the concept of the place of home—that is, of Heimat (homeland)—in Dialectic of Enlightenment , they considered it within a constellation of nature, history, nomadic wandering, and settlement, the latter of which of course transforms...

... and Badiou a fundamen- tally open relationship between the concrete and the abstract in the Hegelian sense of the syntagmatic whole. In Bloch this takes the form of a still unimag- inable idea and reality of Heimat or home as utopia in that the return to home is not one of an eternal return to some...

... his Heimat again, and it also refl ects, in accordance with the fi lm’s spatial-cum-architectural symbolism, his gradual recovery from psychological trauma.3 The fi lm’s gender divide is also evident visually: Susanne is a luminous fi gure. In close- ups she is lit with a strong frontal light...

... own marketing of the film he describes it as an urban Heimatfilm, appropriating as genre designation what had once only been used to describe the rural and bucolic. Historically the term Heimatfilm has designated a sentimental film with a regional background. Heimat, home, is typically...

... mother, who, not unlike Ludin’s sisters, has long ignored her father’s past but now claims that she is willing to confront it. The process of encountering this past, however, turns into an encounter with the traumatic loss of her childhood Heimat (home), from which she and her mother fled during...