Speaking the Unspeakable in Postwar Germany is an interdisciplinary study of a diverse set of public speeches given by major literary and cultural figures in the 1950s and 1960s. Through close readings of canonical speeches by Hannah Arendt, Theodor W. Adorno, Ingeborg Bachmann, Martin Buber, Paul Celan, Uwe Johnson, Peter Szondi, and Peter Weiss, Sonja Boos demonstrates that these speakers both facilitated and subverted the construction of a public discourse about the Holocaust in postwar West Germany. The author's analysis of original audio recordings of the speech events (several of which will be available on a companion website) improves our understanding of the spoken, performative dimension of public speeches.While emphasizing the social constructedness of discourse, experience, and identity, Boos does not neglect the pragmatic conditions of aesthetic and intellectual production—most notably, the felt need to respond to the breach in tradition caused by the Holocaust. The book thereby illuminates the process by which a set of writers and intellectuals, instead of trying to mend what they perceived as a radical break in historical continuity or corroborating the myth of a "new beginning," searched for ways to make this historical rupture rhetorically and semantically discernible and literally audible.

In this an interdisciplinary study of a diverse set of public speeches given by major literary and cultural figures in the 1950s and 1960s, Sonja Boos demonstrates that these speakers both facilitated and subverted the construction of a public discourse about the Holocaust in postwar West Germany.

This volume consists of a series of essays, written by leading scholars within the field, demonstrating the types of inquiry that can be pursued into the transnational realities underpinning German-language culture and history as these travel right around the globe. Contributions discuss the inherent cross-pollination of different languages, times, places and notions of identity within German-language cultures and the ways in which their construction and circulation cannot be contained by national or linguistic borders. In doing so, it is not the aim of the volume to provide a compendium of existing transnational approaches to German Studies or to offer its readers a series of survey chapters on different fields of study to date. Instead, it offers novel research-led chapters that pose a question, a problem or an issue through which contemporary and historical transcultural and transnational processes can be seen at work. Accordingly, each essay isolates a specific area of study and opens it up for exploration, providing readers, especially student readers, not just with examples of transnational phenomena in German language cultures but also with models of how research in these areas can be configured and pursued. Contributors: Angus Nicholls, Anne Fuchs, Benedict Schofield, Birgit Lang, Charlotte Ryland, Claire Baldwin, Dirk Weissmann, Elizabeth Anderson, James Hodkinson, Nicholas Baer, Paulo Soethe, Rebecca Braun, Sara Jones, Sebastian Heiduschke, Stuart Taberner and Ulrike Draesner.

How the Holocaust is depicted and memorialized is key to our understanding of the atrocity and its impact. Through 18 case studies dating from the immediate aftermath of the genocide to the present day, Holocaust Representations in History explores this in detail. Daniel H. Magilow and Lisa Silverman examine film, drama, literature, photography, visual art, television, graphic novels, memorials, and video games as they discuss the major themes and issues that underpin the chronicling of the Holocaust. Each chapter is focused on a critical debate or question in Holocaust history; the case studies range from well-known, commercially successful works about the Holocaust to controversial examples which have drawn accusations of profaning the memory of the genocide. This 2nd edition adds to the mosaic of representation, with new chapters analysing poetry in the wake of the Holocaust and video games from the here and now. This unique volume provides an unmatched survey of key and controversial Holocaust representations and is of vital importance to anyone wanting to understand the subject and its complexities.

This collection features original essays that examine Walter Benjamin’s and Theodor Adorno’s essays and correspondence on literature. Taken together, the essays present the view that these two monumental figures of 20th-century philosophy were not simply philosophers who wrote about literature, but that they developed their philosophies in and through their encounters with literature. Benjamin, Adorno, and the Experience of Literature is divided into three thematic sections. The first section contains essays that directly demonstrate the ways in which literature enriched the thinking of Benjamin and Adorno. It explores themes that are recognized to be central to their thinking—mimesis, the critique of historical progress, and the loss and recovery of experience—through their readings of literary authors such as Baudelaire, Beckett, and Proust. The second section continues the trajectory of the first by bringing together four essays on Benjamin’s and Adorno’s reading of Kafka, whose work helped them develop a distinctive critique of and response to capitalism. The third and final section focuses more intently on the question of what it means to gain authentically critical insight into a literary work. The essays examine Benjamin’s response to specific figures, including Georg Büchner, Robert Walser, and Julien Green, whose work he sees as neglected, undigested, or misunderstood. This book offers a unique examination of two pivotal 20th-century philosophers through the lens of their shared experiences with literature. It will appeal to a wide range of scholars across philosophy, literature, and German studies.

The Emergence of Neuroscience and the German Novel: Poetics of the Brain revises the dominant narrative about the distinctive psychological inwardness and introspective depth of the German novel by reinterpreting the novel’s development from the perspective of the nascent discipline of neuroscience, the emergence of which is coterminous with the rise of the novel form. In particular, it asks how the novel’s formal properties—stylistic, narrative, rhetorical, and figurative—correlate with the formation of a neuroscientific discourse, and how the former may have assisted, disrupted, and/or intensified the medical articulation of neurological concepts. This study poses the question: how does this rapidly evolving field emerge in the context of nineteenth century cultural practices and what were the conditions for its emergence in the German-speaking world specifically? Where did neuroscience begin and how did it broaden in scope? And most crucially, to what degree does it owe its existence to literature?