The concept of the generation in today's German culture and literature, and its role in German identity. In the debates since 1945 on German history and culture, the concept of generations has become ever more prominent. Recent and ongoing shifts in how the various generations are seen -- and see themselves -- in relation to historyand to each other have taken on key importance in contemporary German cultural studies. The seismic events of twentieth-century German history are no longer solely first-generational lived experiences but are also historical moments seen through the eyes of successor generations. The generation, seen as a category of memory, thus holds a key to major shifts in German identity. The changing generational perspectives of German writers and filmmakers not onlyreflect but also influence these trends, exposing both the expected differences between generational views and unexpected continuities. Moreover, as younger artists reframe recent history, older generations like the 1968ers are also contributing to these shifts by reassessing their own experiences and cultural contributions. This volume of new essays applies current discourse on generations in German culture to contemporary works dealing with major sociohistorical events since the Nazi period. Contributors: Svea Bräunert, Laurel Cohen-Pfister, Friederike Eigler, Thomas C. Fox, Katharina Gerstenberger, Erin McGlothlin, Brad Prager, Ilka Rasch, Susanne Rinner, Caroline Schaumann, Maria Stehle, Reinhild Steingröver, Susanne Vees-Gulani. Laurel Cohen-Pfister is Associate Professor of German at Gettysburg College, and Susanne Vees-Gulani is Assistant Professor of German and Comparative Literature at Case Western Reserve University.

The complex nexus between masculinity and national identity has long troubled, but also fascinated the German cultural imagination. This has become apparent again since the fall of the Iron Curtain and the turn of the millennium when transnational developments have noticeably shaped Germany’s self-perception as a nation. This book examines the social and political impact of transnationalism with reference to current discourses of masculinity in novels by five contemporary male German-language authors. Specifically, it analyses how conceptions of the masculine interact with those of nationality, ethnicity, and otherness in the selected texts and assesses the new masculinities that result from those interactions. Exploring how local discourses of masculinity become part of transnational contexts in contemporary writing, the book moves a consideration of masculinities from a "native" into a transnational sphere.

The book offers a collection of papers that draw on contemporary developments in cultural studies in their discussions of postmillennial trends in works of Anglophone literature and media. The first section of the book, “Addressing the Theories of a New Cultural Paradigm”, comprises ten essays that present, respectively, performatist, metamodernist, digimodernist, and hypomodernist readings of selected texts in order to test the usefulness of recent theories in explorations of the new paradigm in literary, media and food studies. The papers cover a wide variety of genres, including the novel, the film, the documentary, the cookbook, the food magazine, and the food commercial, and present a number of themes which shed light on the nature of the new paradigm. The second part of the volume, “Mapping the Dynamics of a New Sensibility”, offers a wider perspective and presents seven papers that search for evidence of a new sensibility in selected examples of postmillennial texts. These contributions move beyond the frameworks of the theories explored in the first part in order to offer new perspectives in the contributors’ respective fields of interest.

Emerging Trends in Third-Generation Holocaust Literature offers fresh approaches to understanding how grandchildren of Holocaust survivors and perpetrators treat their traumatic legacies. The contributors to this volume present a two-fold perspective: that the past continues to live in the lives of the third generation and that artistic responses to trauma assume a variety of genres, including film, graphic novels, and literature. This generation is acculturated yet set apart from their peers by virtue of their traumatic inheritance. The chapters raise several key questions: How is it possible to negotiate the difference between what Daniel Mendelson terms proximity and distance? How can the post-post-memorial generation both be faithful to Holocaust memory and embrace a message of hope? Can this generation play a constructive educational role? And, finally, why should society care? At a time when the lessons and legacies of Auschwitz are either banalized or under assault, the authors in this volume have a message which ideally should serve to morally center those who live after the event.

Examines how German-Jewish writers from Eastern Europe who migrated to Germany during or after the Cold War have widened European cultural memory to include the traumas of the Gulag.

“Literature of the Holocaust” courses, whether taught in high schools or at universities, necessarily cover texts from a broad range of international contexts. Instructors are required, regardless of their own disciplinary training, to become comparatists and discuss all works with equal expertise. This books offers analyses of the ways in which representations of the Holocaust—whether in text, film, or material culture—are shaped by national context, providing a valuable pedagogical source in terms of both content and methodology. As memory yields to post-memory, nation of origin plays a larger role in each re-telling, and the chapters in this book explore this notion covering well-known texts like Night (Hungary), Survival in Auschwitz (Italy), MAUS (United States), This Way to the Gas (Poland), and The Reader (Germany), while also introducing lesser-known representations from countries like Argentina or Australia.

Explores the changing relationship between memory and the archive in German-language literature and culture since 1945.