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 Germanistik. This year's volume focuses on German literature and culture in the seventeenth, eighteenth, and nineteenth centuries.

The tenth volume of Women in German Yearbook offers new perspectives on issues of gender and sexual identity. Richard McCormick analyzes, through a reading of G. W. Pabst's film Geheimnisse einer Seele, social anxieties about gender identity in Weimar popular culture. Elizabeth Mittman discusses Christa Wolf and Helga K”nigsdorf as different "embodiments" of the drastically altered eastern German public sphere in 198990. Ruth-Ellen B. Joeres suggests that the homosocial content of letters by early nineteenth-century German women writers created a social sphere distinct from those usually identified as public or private.Marjorie Gelus analyzes the obsessive focus on sex and gender in three of Kleist's stories. Gail Hart argues that Kleist's defeminization of "Anmut" in his "Marionettentheater" essay reinforces the exclusivity of a male homosocial universe. The relationship of masochism to female erotic desire is the subject of Brigid Haines's examination of Lou Andreas-Salomä's Eine Ausschweifung. Silke von der Emde investigates Irmtraud Morgner's use of postmodern strategies to promote feminist goals. Susan Anderson rereads Monika Maron's Die _berlÜuferin, analyzing the self-emancipatory effects of fantasy.A cluster of articles providing feminist perspectives on the Holocaust is introduced by Ruth Kl_ger's "Dankrede zum Grimmelshausen-Preis." Karen Remmler discusses the relationship between memory and the portrayal of female bodies in two recent Holocaust narratives. Suzanne Shipley examines the significance of exile in the autobiographies of two women who fled Austria for New York. Sigrid Lange introduces Marie-Therese Kerschbaumer's Der weibliche Name des Widerstands, a challenge to Austria's attempts to minimize its role in Nazi persecutions. Miriam Frank provides an overview of lesbian literature and publishing practices in Germany, and Luise Pusch reports on a recent attempt at language censorship in the German parliament. The volume closes with the editors' look at Women in German after twenty years.Jeanette Clausen is an associate professor of German at Indiana UniversityPurdue University at Fort Wayne. She is coeditor of German Feminism and since 1987 has coedited the Women in German Yearbook.Sara Friedrichsmeyer is a professor of German at the University of Cincinnati, Raymond Walters College, and author of The Androgyne in Early German Romanticism. She has been coeditor of the Women in German Yearbook since 1990.

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 that employ gender and other analytical categories to examine the work, history, life, literature, and arts of the German-speaking world.Marjorie Gelus is a professor of German at California State University at Sacramento. Helga W. Kraft is a professor of Germanic studies at the University of Illinois at Chicago.

This collection draws from scholars across different languages to address and assess the scholarly achievements of Tawada Yōko. Yōko, born in Japan (1960) and based in Germany, writes and presents in both German and Japanese. The contributors of this volume recognize her as one of the most important contemporary international writers. Her published books alone number more than fifty volumes, with roughly the same number in German and Japanese. Tawada’s writing unfolds at the intersections of borders, whether of language, identity, nationality, or gender. Her characters are all travelers of some sort, often foreigners and outsiders, caught in surreal in-between spaces, such as between language and culture, or between species, subjectivities, and identities. Sometimes they exist in the spaces between gendered and national identities; sometimes they are found caught between reality and the surreal, perhaps madness. Tawada has been one of the most prescient and provocative thinkers on the complexities of travelling and living in the contemporary world, and thus has always been obsessed with passports and trouble at borders. This current volume was conceived to augment the first edited volume of Tawada’s work, Yōko Tawada: Voices from Everywhere, which appeared from Lexington Books in 2007. That volume represented the first extensive English language coverage of Tawada’s writing. In the meantime, there is increased scholarly interest in Tawada’s artistic activity, and it is time for more sustained critical examinations of her output. This collection gathers and analyzes essays that approach the complex international themes found in many of Tawada’s works.

German film is diverse and multi-faceted; its history includes five distinct German governments (Wilhelmine Germany, the Weimar Republic, the Third Reich, the Federal Republic of Germany, and the German Democratic Republic), two national industries (Germany and Austria), and a myriad of styles and production methods. Paradoxically, the political disruptions that have produced these distinct film eras, as well as the natural inclination of artists to rebel and create new styles, allow for the construction of a narrative of German film. While the disjuncture generates distinct points of separation, it also highlights continuities between the ruptures. Outlining the richness of German film, The A to Z of German Cinema covers mainstream, alternative, and experimental film from 1895 to the present through a chronology, introductory essay, appendix of the 100 most significant German films, a bibliography, and hundreds of cross-referenced dictionary entries on directors, actors, films, cinematographers, composers, producers, and major historical events that greatly affected the direction and development of German cinema. The book's broad canvas will lead students and scholars of cinema to appreciate the complex nature of German film.

Challenges the notion that Weimar Jews sought to be invisible or indistinguishable from other Germans by "passing" as non-Jews

The history of postwar German cinema has most often been told as a story of failure, a failure paradoxically epitomized by the remarkable popularity of film throughout the late 1940s and 1950s. Through the analysis of 10 representative films, Hester Baer reassesses this period, looking in particular at how the attempt to 'dismantle the dream factory' of Nazi entertainment cinema resulted in a new cinematic language which developed as a result of the changing audience demographic. In an era when female viewers comprised 70 per cent of cinema audiences a 'women's cinema' emerged, which sought to appeal to female spectators through its genres, star choices, stories and formal conventions. In addition to analyzing the formal language and narrative content of these films, Baer uses a wide array of other sources to reconstruct the original context of their reception, including promotional and publicity materials, film programs, censorship documents, reviews and spreads in fan magazines. This book presents a new take on an essential period, which saw the rebirth of German cinema after its thorough delegitimization under the Nazi regime.