Arnold Schoenberg and Thomas Mann, two towering figures of twentieth-century music and literature, both found refuge in the German-exile community in Los Angeles during the Nazi era. This complete edition of their correspondence provides a glimpse inside their private and public lives and culminates in the famous dispute over Mann’s novel Doctor Faustus. In the thick of the controversy was Theodor Adorno, then a budding philosopher, whose contribution to the Faustus affair would make him an enemy of both families. Gathered here for the first time in English, the letters in this essential volume are complemented by diary entries, related articles, and other primary source materials, as well as an introduction by German studies scholar Adrian Daub that contextualizes the impact these two great artists had on twentieth-century thought and culture.

In the 1930s and '40s, LA became a cultural sanctuary for a distinguished group of German artists and intellectuals - including Thomas Mann, Theodor W. Adorno, Bertolt Brecht, Fritz Lang, and Arnold Schoenberg - who were fleeing Nazi Germany. This book is the first to examine their work and lives.

Speechsong is a work of imaginative musicology that addresses the engimas of Schoenberg and Gould, of singing and speaking, of Moses und Aron, of technology and being. Its point of departure is Gould's last public performance, given at the Wilshire Ebell Theatre in Los Angeles, where a number of Schoenberg's works were performed during his California exile. It is here, after that last performance, that Gould encounters a spectral Schoenberg in a staged conversation that explores Schoenberg's travails in rethinking the fundamentals of Western music. This first part of Speechsong recalls Schoenberg's operatic masterpiece, Moses und Aron, in which the divinely inspired Moses seeks the help of his brother to relate his vision: Moses speaks and Aron sings. Written as a twelve-tone composition, the opera produces an involution of harmonics that was Schoenberg's response to Richard Wagner's diatribes about synagogue noise. For Gould, Schoenberg's is a formalist revolution; Schoenberg's life, however, suggests that it was a search for personal and political freedom.The second half of Speechsong is a critical essay in twelve "moments" that re-articulates the staged conversation as an inquiry into the intersections of music and mediation. Gould's turn to the recording studio emerges as a post-humanist inquiry into recorded music as a repudiation of the virtuoso tradition and a liberation from unitary notions of selfhood. Schoenberg's exodus from musical tradition likewise takes his twelve-tone invention beyond musical performance, where it emerges, along with Gould's soundscapes, as a prototype of acoustic installations by artists such as Stephen Prina and Cory Arcangel. In these works, music abandons the concert hall and the exigencies of harmony for an acoustic space that embraces at once the recordings of Gould and the performances of Schoenberg that have found their home on the internet. Richard Cavell has written extensively on Marshall McLuhan and on media theory generally. He is the co-founder of the Media Studies program at the University of British Columbia and the curator of the website Spectres of McLuhan. Speechsong, his second critical performance piece, was preceded by Marinetti Dines with the High Command (2014).

In I THINK I AM: PHILIP K. DICK, Laurence A. Rickels investigated the renowned science fiction author's collected work by way of its relationship to the concept and condition of schizophrenia. In GERMANY: A SCIENCE FICTION, he focuses on psychopathy as the undeclared diagnosis implied in flunking the empathy test. The switch from psychosis to psychopathy as an organizing limit opens the prospect of a genealogy of the Cold War era, which Rickels begins by examining Dick's THE SIMULACRA and follows out with readings of SIMULACRON 3, FAHRENHEIT 451, THE DAY OF THE TRIFFIDS, THIS ISLAND EARTH and GRAVITY'S RAINBOW, among many other genealogical stations. Nazi Germany hosted the first season of the realization of science fantasy with the rocket at the top of this arc. After World War II, the genre had to delete the recent past and start again within the new Cold War opposition. Certainly the ancestral prehistory was still intact (in the works of, for instance, Jules Verne and H. G. Wells). At the bulk rate of its generic line of production, however, science fiction would thereafter become a native to the Cold War habitat. This study addresses the syndications of the missing era in the science fiction mainstream, the phantasmagoria of its returns, and the extent of the integration of all the above since some point in the 1980s. Rickels works through the preliminaries of repair that must be met in a world devastated by psychopathic violence before mourning can even be a need. While I THINK I AM was the endopsychic allegory of Dick's corpus, GERMANY takes the corpus as a point of context for the endopsychic genealogy of the post-WWII containment and integration of psychopathy.

Das Buch ist eine Analyse von Aufstieg und Fall des sowjetischen Herrschaftssystems in dem Gebiet, das zur Zeit des Kalten Krieges "Osteuropa" genannt wurde, und der Rolle, die das Deutschlandproblem dabei gespielt hat. Gestützt auf die Auswertung neuer Quellen aus den Partei- und Staatsarchiven ehemals kommunistischerer Länder rekonstruiert es die folgende Entwicklung: die Teilung Deutschlands und dabei die Rolle der Sowjetunion unter Stalin; das eiserne Festhalten seiner Nachfolger an der Teilung; ihr zunehmendes Bewusstsein der hohen Kosten, welche die Aufrechterhaltung des imperialen Systems in Ostmitteleuropa verursachte; der Fehlschlag ihrer Anstrengungen, die wachsende wirtschaftliche und finanzielle Abhängigkeit der DDR von der Bundesrepublik zu verhindern; und schließlich die Gründe dafür, warum Gorbatschow die Auflösung des sowjetischen Herrschaftsbereichs in Ostmitteleuropa hinnahm und sogar der Mitgliedschaft des wiedervereinigten Deutschlands in der Nato zustimmte."Angesichts der russischen Okkupation der Krim, der anhaltenden Krise in der Ostukraine und der dadurch ausgelösten Gegenreaktionen von NATO und EU scheint sich der Kalte Krieg in Europa zurückgemeldet zu haben. Geeigneter kann der Zeitpunkt für die überarbeitete Neuauflage des sich inzwischen zu einem Standardwerk entwickelten Buches von Hannes Adomeit nicht sein. Seine profunde Kenntnis und Auseinandersetzung mit sowjetischer und russischer Politik seit fünf Jahrzehnten und sein Zugang zu neuem russischen Archivmaterial qualifiziert ihn zu einem der besten und erfahrensten Experten auf internationaler Ebene. Wer die sowjetische Politik nach dem II. Weltkrieg bis zur Wiedervereinigung Deutschlands und ihre Implikationen für die letzten 25 Jahre verstehen will, kommt an Adomeits Buch und seiner analytischen Brillanz nicht vorbei". Prof. Dr. h.c. Horst Teltschik, September 2015 "Of all of the analyses of the fall of the Soviet Union and reunification of Germany, Hannes Adomeit's 1998 classic, "Imperial Overstretch", has stood the test of time. Its re-publication here by Nomos, with some modest updates by the author, will be welcomed by scholars, students, the policy community, and the informed public, as a trenchant interpretation of what happened to the 'Soviet bloc', but also as an introduction to the assertive imperial politics of Vladimir Putin and the Russian Federation." Norman M. Naimark, Stanford University, November 2015