...Kate Rigby New German Critique, Inc. 2007 Tragedy, Modernity, and Terra Mater: Christa Wolf Recounts the Fall Kate Rigby In his pioneering work of “literary ecology,” The Comedy of Survival (1972), Joseph W. Meeker castigates...

...Andrea Orzoff Abstract The poet and singer-songwriter Wolf Biermann was a member of the East German chapter of PEN International, a UNESCO-affiliated global literary association. Unlike other East German literary organizations, DDR PEN members and leaders tried at least occasionally to protect...

... Medea in Christa Wolf’s novel, Medea: Stimmen —shows that her actions, which have no means at their disposal, are effective in that they exercise a form of active apathy: Medea acts by withdrawing from the effects of the patriarchal order, especially in her refusal of the affects that are expected from...

...Cristina Cuevas-Wolf The German photomontagist John Heartfield visualized Willi Münzenberg's antifascist position in the Communist Party as early as 1932 and became famous for antifascist photomontages, published exclusively in the Arbeiter-Illustrierte-Zeitung (AIZ) from 1929 to 1938. Heartfield...

...Cristina Cuevas-Wolf This essay posits that the tactical alliance in the mid-1920s between Willi Münzenberg and John Heartfield shaped the imagery of a united political front for the Communist International (Comintern). The collaboration between the Comintern's minister of propaganda for western...

... of Focus: The Question of Mediation in Wölf in Zeynep Çelik Alexander The baroque, it has been noted many times, hovers precariously between exis- tence and nonexistence.1 An invention of Enlightenment aesthetics, the term was used retroactively...

...” and “sense of belonging.” The similarities in the appropriation of Heimat imagery between Wei- mar and the GDR suggest an alternative framework for analyzing the works of renowned filmmakers such as Ernst Lubitsch, Richard Oswald, and, in par- ticular, Konrad Wolf. I argue that more than works...

... , no. 3 . Rasch William Wolfe Cary , eds. 1995 . “The Politics of Systems and Environments, Part I.” Special issue. Cultural Critique , no. 3 . ———, eds. 1995 . “The Politics of Systems and Environments, Part II.” Special issue. Cultural Critique , no. 3 . ———, eds. 2000...

... . . . . . . . . . . . . . . . . . . . . . . . . . . 133 Maria Gough Montage as Weapon: The Tactical Alliance between Willi Münzenberg and John Heartfi eld . . . . . . . . . . . . . . . . . . . . . . . . . . 185 Cristina Cuevas-Wolf Gender and Terror in Gerhard Richter’s October 18, 1977 and Don DeLillo’s “Baader-Meinhof...

... Bernhard . 1952 . Flug ins Schimpansenland: Reise durch ein Stück Afrika von heute . Stuttgart : Franckh . ———. 1954 . Kein Platz für wilde Tiere . Munich : Kindler . ———. 1955 . Wolf Dschingis: Neue Erlebnisse, Erkenntnisse und Versuche mit Tieren . Stuttgart : Franckh . ———. 1956...

... and parable in literature aimed at expressing some uni- versal human condition of alienation and thus served an apologetic memory politics in a context that required facing specific guilt and responsibility for one of the most murderous regimes of human history. In addition to Wolf- gang Staudte’s...

..., and decontextualized the generic Heimat imagery in order to negotiate an alternative notion of modern German identity. The second part of the article argues that Konrad Wolf, one of the German Democratic Republics’s most prominent (Jewish) filmmakers, had engaged in a similar endeavor in his his- torical films...

... subjective. Speer’s nephew Wolf, for his part, acts as a fi lm-internal representative of the viewer: during visits with him to key sites, information is not directed at the camera but addressed to him. He is also repeatedly cast as a skeptic, not convinced of Speer’s shared responsibil- ity...

... became one document among many to be classified, labeled, placed in Doegen’s “Museum of Voices,” and more or less forgotten. But as long as a document exists, it retains the potential to speak when commanded and reveal narratives hitherto tucked away. As Nicole Wolf remarks in response to Scheffner’s...

... Eike , translated by Jephcott Edmund , 254 – 69 . New York : Continuum . Cuevas-Wolf Cristina . 2009 . “John Heartfield's Insects and the ‘Idea’ of Natural History.” In Elective Affinities: Testing Word and Image Relationships , edited by MacLeod Catriona Schoell-Glass...

... to the late 1980s. She initiated the journal’s projects on Bertolt Brecht and Heiner Müller and translated some of Müller’s most important plays. Helen was instrumental in editing NGC ’s first special feminist issue (no. 13) and also contributed essays on Christa Wolf and Ingeborg Bachmann. At The Ohio State...

...: Christa Wolf Recounts the Fall. . . . . . . . . . . . . . . . . . 115 Kate Rigby “Only in the 1990s Did I Become East German”: A Conversation with Ingo Schulze about Remembering the GDR, Simple Storys, and 33 Moments of Happiness; with an Introduction to His Work. . . . 143 Dagmar...

... the 1990s reveal a postwar Schuldkultur (guilt culture) still very much in currency. The much-documented witch hunt against prominent East German writers, notably Christa Wolf; Walser’s 1998 Friedenspreisrede des deutschen Buchhandels (acceptance speech when awarded the peace prize of the German...

... and Old-Age Style in Günter Grass, Ruth Klüger, Christa Wolf, and Martin Walser: The Mannerism of a Late Period (Rochester, NY: Camden House, 2013), esp. 1–10. The German Center for Gerontology in Berlin has comprehensive holdings on aging in Germany. See Deutsches Zentrum für Altersfragen...

....42 Cary Wolfe follows Jacques Derrida in suggesting that we “attend to that thing called ‘the human’ with greater specificity,greater attention to its embodiment, embeddedness, and materiality, and how these in turn shape and are shaped by consciousness, mind, and so on.”43 For him, human...