Women in German Yearbook is a refereed publication that presents a wide range of feminist approaches to all aspects of German literary, cultural, and language studies, including pedagogy. Each issue contains critical studies on the work, history, life, literature, and arts of women in the German-speaking world, reflecting the interdisciplinary perspectives that inform feminist German studies.

Each volume of Women in German Yearbook includes a wide variety of feminist essays on German literature and culture. In volume 14 John M. Jeep focuses on women's friendships in an anonymous twelfth-century paraphrase and commentary on the Song of Songs, Albrecht Classen examines a sixteenth-century songbook, and Mara R. Wade documents the importance of the contributions of three seventeenth-century Saxon sisters.Melanie Archangeli draws attention to the contributions of Charlotte von Hezel. Gail K. Hart explores Friedrich Schiller's Die Jungfrau von Orleans. Lisa C. Roetzel reads Die G_nderode as a documentation of Bettine von Arnim's subversive notions of female genius.Muriel Cormican analyzes the vacillation between submission and self-assertion of the female protagonist in Lou Andreas-Salomä's Das Haus. Inca Rumold reads Else Lasker-Sch_ler's Der Malik as a pacifist response to World War I. Friederike Emonds investigates the concepts of Heimat and Vaterland in Frau Emma kÜmpft im Hinterland. Catherine C. Marshall sees the alternative society created in Ilse Langner's KlytÜmnestra as a feminist response to the rhetoric of war.Dagmar C. G. Lorenz explores the concepts "man" and "animal" in the works of Jewish writers. Hannelore Mundt focuses on the narrator's preoccupation with Katherine Mansfield in a recent novel by Christa Moog, and Sabine Wilke analyzes the cruel woman in the works of Monika Treut against the background of earlier depictions by Leopold von Sacher-Masoch and the marquis de Sade.Sara Friedrichsmeyer is a professor in and chair of the Department of Languages and Literatures at the University of Cincinnati. Patricia Herminghouse is a professor of German at the University of Rochester.

Women in German Yearbook is a refereed publication that presents a wide range of feminist approaches to all aspects of German literature, culture, and language, including pedagogy. Reflecting the interdisciplinary perspectives that inform feminist German studies, each issue contains critical studies involving gender and other analytical categories to examine the work, history, life, literature, and arts of the German-speaking world.Ruth-Ellen Boetcher Joeres is a professor of German at the University of Minnesota. Marjorie Gelus is a professor of German at California State University at Sacramento.

Capturing the history of thousands of German women recruited to colonize Southwest Africa between the 1890s and 1940s, The Servants of Empire engages a radical nationalist history of German efforts to prevent interracial unions and establish permanent white settlement. As colonists, sponsored women often supported or even helped perpetrate extreme patterns of racist violence and vigilantism in Namibia, which linked them inextricably to marked atrocities such as the Herero and Nama Genocides. Navigating the intersections of German attitudes toward race, class, ethnicity, gender, and nation, this revealing study traces the German settler community’s gossip and rumors to uncover how the many poor white female settlers in Southwest Africa disrupted bourgeois race and gender relations and contributed to the trenchant sexual and racial violence in the territory.

The present volume contains thirteen articles based on work presented at the “XX. Century Conference: If This Is A Woman” at Comenius University Bratislava in January 2019. The conference was organized against anti-gender narratives and related attacks on academic freedom and women’s rights currently all too prevalent in East-Central Europe. The papers presented at the conference and in this volume focus, to a significant extent, on this region. They touch upon numerous points concerning gendered experiences of World War II and the Holocaust. By purposely emphasizing the female experience in the title, we encourage to fill the lacunae that still, four decades after the enrichment of Holocaust studies with a gendered lens, exist when it comes to female experiences.

A Companion to German Cinema A Companion to German Cinema regards the shifting terrain of German filmmaking and film studies against their larger social contexts with twenty-two newly commissioned essays by well-established and younger scholars in the field. While several of these focus on classic topics such as Weimar cinema, Fifties cinema, New German Cinema and its legacy, and Holocaust film, the collection is distinguished by its focus on new developments and the innovative light they may shed on earlier practices. A Companion to German Cinema includes essays on Berlin Film, Neue Heimat Film, New Comedy, post-Wall documentaries, the post-Wende RAF genre, and Rabenmutter imagery, as well as on the persistently overlooked and under-theorized Indianerfilme, post-AIDS documentaries, sexploitation films, and new multicultural and transnational films produced in Germany under the auspices of the European Union. Organized into three “movements” representing the significance of these developments for their aesthetic theorization, A Companion to German Cinema challenges its readers to address critical gaps in the field with the aim of opening it further onto new terrains of intellectual engagement.

This collection of new essays examines third-generation Holocaust narratives and the inter-generational transmission of trauma and memory. This collection demonstrates the ways in which memory of the Holocaust has been passed along inter-generationally from survivors to the second-generation—the children of survivors—to a contemporary generation of grandchildren of survivors—those writers who have come of literary age at a time that will mark the end of direct survivor testimony. This collection, in drawing upon a variety of approaches and perspectives, suggests the rich and fluid range of expression through which stories of the Holocaust are transmitted to and by the third generation, who have taken on the task of bearing witness to the enormity of the Holocaust and the ways in which this pronounced event has shaped the lives of the descendants of those who experienced the trauma first-hand. The essays collected—essays written by renowned scholars in Holocaust literature, philosophy, history, and religion as well as by third-generation writers—show that Holocaust literary representation has continued to flourish well into the twenty-first century, gaining increased momentum as a third generation of writers has added to the growing corpus of Holocaust literature. Here we find a literature that laments unrecoverable loss for a generation removed spatially and temporally from the extended trauma of the Holocaust. The third-generation writers, in writing against a contemporary landscape of post-apocalyptic apprehension and anxiety, capture and penetrate the growing sense of loss and the fear of the failure of memory. Their novels, short stories, and memoirs carry the Holocaust into the twenty-first century and suggest the future of Holocaust writing for extended generations.