Dea Loher:
Saved in:
| Format: | Book |
|---|---|
| Language: | German |
| Published: |
Madison, WI
Univ. of Wisconsin Press
2007
|
| Series: | Monatshefte für deutschsprachige Literatur und Kultur
99,3 : Special issue |
| Subjects: | |
| Online Access: | Inhaltsverzeichnis |
| Item Description: | Einzelaufnahme eines Zeitschr.-H. - Text dt. - Zsfassungen in engl. Sprache. - NT: Special issue: Dea Loher |
| Physical Description: | VIII S., S. 269 - 439 Ill. |
Staff View
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| 264 | 1 | |a Madison, WI |b Univ. of Wisconsin Press |c 2007 | |
| 300 | |a VIII S., S. 269 - 439 |b Ill. | ||
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| 490 | 0 | |a Monatshefte für deutschsprachige Literatur und Kultur |v 99,3 : Special issue | |
| 500 | |a Einzelaufnahme eines Zeitschr.-H. - Text dt. - Zsfassungen in engl. Sprache. - NT: Special issue: Dea Loher | ||
| 600 | 1 | 4 | |a Loher, Dea <1964-> |x Criticism and interpretation |
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| 943 | 1 | |a oai:aleph.bib-bvb.de:BVB01-016148693 | |
Record in the Search Index
| _version_ | 1813872099801956352 |
|---|---|
| adam_text |
onatsliefte
für deutschsprachige Literatur und Kultur
Volume XCIX ·
Number
3 · 2007
Contents
SPECIAL
ISSUE:
DEA
LOHER
ARTICLES
Birgit Haas 269
Dea
Loher: Vorstellung
Bibliograpie
Dea
Loher 277
Birgit Haas 280
Die Rekonstruktion der Dekonstruktion in
Dea
Lohers Dramen,
oder: Die Rückkehr des politischen Dramas
Pitting
Lohers
aesthetics of theatre against Hans-Thies Lehmann's view of the
postdramatic, this essay examines the various ways in which Loher overcomes
the postdramatic theatre. Drawing on a vast range of examples from her work,
the essay clarifies Loher's position in regard to mimesis. Whilst postmodernism
features as a theme in Loher's
uvre,
the form of her plays denies the idea of
the radicalized V-effect that is typical of postmodern performances. As far as
the dramatic form is concerned, Loher's plays do not adhere to a postmodern-
postdramatic style. By contrast, Loher harks back to the tradition of the political
theatre of Sartre and
Brecht.
This does not mean, however, that she merely rep¬
licates their aesthetics. Mimesis means that she employs both Brecht's "not-but"
and Sartre's engaged theatre, thus distancing herself from the idea of radicalized
Brechtian (i.e., postmodern) theatre. In this sense, her theater is derived from
modernist ideas, namely the focus on the individual in an increasingly mech¬
anized environment; an individual who
—
in contrast to the two-dimensional
іу
Contents
figures
of the post-dramatic
—
is still open to communication with others through
language, thus being able to negotiate his/her position. Loher does not teach her
audience what to think; yet she offers a dramatic framework for the struggle of
the individual. (BH; in German)
Sebastian Wogenstein 298
"Meine Nachahmung eine Neuerschaffung" — Aneignung
utíä
Ent-Stellung in
Dea
Lohers Manhattan
Medea
The question how to situate
Dea Loher's
drama Manhattan Medea in the Medea
reception serves as a point of departure for a discussion of imitation, originality,
and the act of copying. In their dialogues, the characters Medea, as in Eurip¬
ides' tragedy a refugee, and Velazquez, a security guard, reflect on originality
and imitation. The article explores the theoretical and self-referential aspects
evoked by these discussions and links them with a more general inquiry into
the dimensions of interpretation in the arts. The question of originality and ap¬
propriation is expanded and problematized through focusing on radical social
criticism voiced among others by the drag queen Deaf Daisy. In this context the
article also examines the potential of performative signification encountered
in Medea's deadly bridal gift, especially in light of
Marj
orie
Garber's
remark
that "[w]hat gets married is a dress." Transgressive in its form too, Manhattan
Medea combines tragic elements and those characteristic of comedy. (SW; in
German)
Stephanie
Caiani
316
Vom Anfang und Ende des Mythos.
Medea
bei Christa Wolf und
Dea
Loher
Literary texts treating mythological subjects fulfil a myth-making function, as
Horkheimer/Adorno and
Blumenberg
have shown in their theories of myth.
As it deals with mythological pretexts, literature acts mythopoetically. This
implies a self-reflexive criticism of myths. In view of its overwhelming num¬
ber of literary adaptations throughout cultural history, the myth of Medea can
be seen as a literary "work on myth." On the basis of
Christa
Wolf's novel
Medea.
Stimmen
on the one hand and
Dea
Loher's play Manhattan Medea on
the other, the paper analyzes the mythopoetic dimension of literature with the
goal of exhibiting the critical tendencies in the examined texts, and showing at
the same time their decisive differences. In Wolf's novel, myth returns to its
beginnings in such a way that its problematic creative processes are expounded.
Furthermore, critical reflections on myth are developed by processes of
a collective memory which become relevant for the production of myths.
In doing so, the novel clearly refers to the current debate on literature as a
'storage' of a collective memory. The paper concludes that
Dea
Loher's
Manhattan Medea radicalizes the criticism of myth that is present in Wolf's
novel: Loher's play questions the literary work on myth. Thus Loher denies the
myth's innovative potential and brings the Medea myth to a preliminary end.
(SC; in German)
Contents
v
Michael Börgerding 333
"I'm just blue"
—Der Regisseur Andreas Kriegenburg und seine
Auseinandersetzung mit den Texten der Dramatikerin
Dea
Loher
The article describes the working relationship between the theater director An¬
dreas
Kriegenburg
and the playwright
Dea
Loher
from their first co-operation
in
1995
to the current day. It also serves as an introduction to central aspects
of Loher's and
Kriegenburg
's
aesthestics. Kriegenburg's first interpretation of a
play by Loher
—"Fremdes Haus" in 1995—
set the tone of their co-operation.
He treated her work like he would have treated a classic
—
with respect but
without exaggerated reverence. Although some critics saw a lack of faithfulness
to the original text in his approach,
Dea
Loher felt that she could trust Kriegen-
burg to direct the first performances of other works as well, such as Adam
Geist
and
Olgas Raum.
Later co-operations on
Magazin des Glücks (2001), Unschuld
(2003), Das Leben auf der
Praça
Roosevelt
(2004)
and Quixote Material
(2005)
showed a defining principle in their relationship
—
mutual overtaxation or sim¬
ply expecting too much of each other. For the experiment of
Magazin des Glücks
Loher sent a text to
Kriegenburg
every six weeks
(!)
that he would put on stage
within three weeks, while she was supposed to respond to his production with a
new text. They ended up with a set of seven very diverse texts and productions.
But overtaxation also refers to Loher's increasingly non-dramatic,
monologic
and improbable dramas.
Das Leben auf
der Praça
Roosevelt
—
based on Loher's
experience in Sao Paulo
—
works with
monologic
authentic stories from Latin
America. Like most of her new plays it asks the basic question of how they can
be put on stage at all. (MB; in German)
Andreas Gürtler /
Angela M. C.
Wendt
346
Höllische Paradiese.
Moralisches (?) Theater bei Friedrich Schiller und
Dea
Loher
In an interview, Loher
refers to Schiller's early concept of the "theatre as a moral
institution." Yet this
cliché
is problematic since it has been decontextualised.
This essay argues that Loher is concerned with the aesthetics of the late Schil¬
ler, and it draws attention to the fact that Schiller never put his idea of a moral
institution into practice.
(AG, AMCW;
in German)
Christine
Künzel 360
"Vielleicht kommt die Gewalt von innen":
Dea
Lohers Poet(h)ik
der Gewalt
Almost all of
Dea
Loher's
plays deal with violence in one way or another. But
Loher's scenarios do not seem to follow a certain concept of violence. On the
one hand violence seems to "come from inside," like an irresistible drive; on
the other hand it is presented as a stroke of fate
—
which might be a reference
to Greek tragedy. Also, the difference between victim and perpetrator is blurred
in Loher's plays. This shows that Loher questions concepts of violence which
insist on a strict separation of the positions of victim and perpetrator. At the
same time the problem emerges that the experience of violence can no longer
vi
Contents
be associated with certain agents, e.g., with persons or institutions. In the worst
case, violence cannot be related to anything at all. Loher's treatment of violence
is characterized above all through its uncanny omnipresence that leads to a natu¬
ralization of violence. All in all, Loher presents violence as an opaque phenom¬
enon oscillating between an essentialist model which comprehends violence
as an anthropological constant and a mythico-metaphysical concept suggesting
that violence was and is always already there. (CK; in German)
Julian Preece
373
Die
Terroristin als
alter ego in
den "bleiernen Zeiten" und andere
umgewandelte Motive in
Dea
Lohers Zeitstück
Leviathan
Leviathan is the only literary work which depicts the leading figures of the RAF
without interpreting their actions through their bloody end and failure. Loher
draws on the obvious sources but diverges from them by apparently giving the
decision in
1970
to launch an armed struggle against Western governments a
political purpose and chance of success which it never had. Like numerous other
authors Loher gives her main 'terrorist' character (Marie, based on
Utóké
Mein¬
hof)
an alter ego (her sister Christine) from whose perspective the ethics and effi¬
cacy of political violence are judged. She follows the structure of Margarethe
von
Trotta
's
film Die
bleierne Zeit (1981)
which charts the lives of two sisters, based
on
Gudrun
and
Christiane Ensslin,
who share a set of fundamental political be¬
liefs and objectives, but differing in the methods they chose: one picks up a gun,
the other campaigns as a journalist. In Leviathan, neither Christine's motives for
alleviating suffering through her work as a nurse nor her wish to join her sister
at the El Fatah training camp in Jordan are politically motivated. This in turn
highlights the personal motivation of all the major characters in the play, based on
Ulrike Meinhof, Gudrun Ensslin, and Andreas Baader. (JP; in
German)
Artur
Petka
389
Das Theater als "lebendiges soziales Forum":
Dea
Lohers Dramen
auf polnischen Bühnen
As early as the
mid-1990s,
Polish theater critics called Loher the "most promis¬
ing author." Local stages discovered her in
2001. Pawel
Miśkiewicz
staged her
play Claras
Verhältnisse in
Wrocław
shortly after the Vienna world premiere.
This young stage director discovered an extremely suitable formula for a stage
realization of this play which became a huge success. That success was the
reason why other stage directors put on this play, for example the famous direc¬
tor
Krystian
Lupa.
Only a short time after that productions of
Tätowierung
and
Blaubart—Hoffnung der Frauen
followed all over Poland. The best 'interpreter'
of Loher's plays is still
Miśkiewicz.
This became obvious in the Cracow stag¬
ing of
Unschuld
and Claras
Verhältnisse,
both of which were very successful.
The attraction of Loher's works for the Polish theater people lies in their socio-
critical and philosophical content, as the theater critics constantly point out.
(AP; in German)
Contents
vii
BOOK REVIEWS 399
Bohm,
Arnd,
Goethe's
Faust
and European Epic: Forgetting the Future (Franz R.
Kempf)
.411
Downing, Eric, After images: Photography, Archaeology, and Psychoanalysis
and the Tradition of
Bildung (Ulrike
Peters Nichols)
.427
Dunker, Axel,
Hrsg.,
(Post-)Kolonialismus
und
Deutsche
Literatur.
Impulse
der angloamerikanischen Literatur- und Kulturtheorie (Todd
Kontje)
.432
Finney,
Gail,
ed., Visual
Culture in Twentieth-Century Germany: Text as
Spectacle
(Eric
Jarosinski)
.433
FiTZON, Thorsten, Reisen in das befremdliche Pompeji. Antiklassizistische
Antikenwahrnehmung deutscher Italienreisender 1750 -1870 (Jeff Morrison) . 407
Fricke, Hannes, Das hört NICHT auf. Trauma,
Literature
und
Empathie
(Carl Pietzcker).400
Hasty,
Will, ed.,
German Literature of the High Middle Ages (Stephen Mark
Carey)
.405
Horstkotte,
Silke Und Karin Leonhard, Hrsg., Lesen ist wie Sehen. Inter¬
mediale Zitate in Bild und Text (Sabine Groß).434
Кон,
Maeng-im, Mythos und Erzählen im Werk von Anna Seghers (Jennifer
Marston William).429
Krimmer, Elisabeth, In
the
Company
of Men: Cross-Dressed Women around
1800
(Catriona MacLeod)
.415
Lindner, Burkhardt,
Hrsg., Unter Mitarbeit Von Thomas Küpper Und
Timo
Skrandies, Benjamin-Handbuch. Leben—Werk—Wirkung (Rolf J. Goebel) . .399
MOMMSEN, MOMME, UNTER MITARBEIT VON KATHARINA MOMMSEN, Die
Entstehung von Goethes Werken in Dokumenten. Band
I
(Abaldemus—Byron)
(Hans Adler).408
Mommsen, Momme, Unter Mitarbeit Von Katharina Mommsen, Die Entste¬
hung von Goethes Werken in Dokumenten. Band
II
(Cäcilia—Dichtung und
Wahrheit) (Hans Adler).409
Mommsen, Momme, Fortgeführt Und Herausgegeben Von Katharina
Mommsen, Die Entstehung von Goethes Werken in Dokumenten. Band
III
(Diderot-Entoptische Farben) (Hans Adler).409
Nübel, Birgit, Robert
Musil.
Essayismus als Selbstreflexion der Moderne
(Thomas Sebastian).425
Reginster, Bern ard, The Affirmation
of
Life: Nietzsche
on Overcoming Nihilism
(Ivan Soll).420
RoBbach,
Nikola,
Theater über Theater. Parodie und Moderne 1870-1914
(Alan Lareau). .423
Sammons, Jeffrey L., Heinrich Heine: Alternative
Perspectives
1985-2005
(Robert
C. Holub)
.417
Schütte, Uwe, Die Poetik des Extremen. Ausschreitungen einer Sprache des
Radikalen (Thomas
Freeman)
. 437
Stephan-chlustin, Anne, Artuswelt und Gralswelt im Bild. Studien zum
Bildprogramm der illustrierten Parzival-Handschriften
(Salvatore Calomino)
.403
viii Contents
Taberner,
Stuart And Paul Cooke,
eds.,
German Culture, Politics, and
Literature into the Twenty-First Century: Beyond Normalization (Michelle
Mattson)
.430
Ward, Margaret E., Fanny Lewald: Between Rebellion and Renunciation
(Jeffrey L. Sammons)
.419
Wurst, Karin,
Fabricating Pleasure: Fashion, Entertainment, and Cultural
Consumption in Germany
1780—1830
(Helen G. Morris-Keitel)
.413 |
| adam_txt |
onatsliefte
für deutschsprachige Literatur und Kultur
Volume XCIX ·
Number
3 · 2007
Contents
SPECIAL
ISSUE:
DEA
LOHER
ARTICLES
Birgit Haas 269
Dea
Loher: Vorstellung
Bibliograpie
Dea
Loher 277
Birgit Haas 280
Die Rekonstruktion der Dekonstruktion in
Dea
Lohers Dramen,
oder: Die Rückkehr des politischen Dramas
Pitting
Lohers
aesthetics of theatre against Hans-Thies Lehmann's view of the
postdramatic, this essay examines the various ways in which Loher overcomes
the postdramatic theatre. Drawing on a vast range of examples from her work,
the essay clarifies Loher's position in regard to mimesis. Whilst postmodernism
features as a theme in Loher's
œuvre,
the form of her plays denies the idea of
the radicalized V-effect that is typical of postmodern performances. As far as
the dramatic form is concerned, Loher's plays do not adhere to a postmodern-
postdramatic style. By contrast, Loher harks back to the tradition of the political
theatre of Sartre and
Brecht.
This does not mean, however, that she merely rep¬
licates their aesthetics. Mimesis means that she employs both Brecht's "not-but"
and Sartre's engaged theatre, thus distancing herself from the idea of radicalized
Brechtian (i.e., postmodern) theatre. In this sense, her theater is derived from
modernist ideas, namely the focus on the individual in an increasingly mech¬
anized environment; an individual who
—
in contrast to the two-dimensional
іу
Contents
figures
of the post-dramatic
—
is still open to communication with others through
language, thus being able to negotiate his/her position. Loher does not teach her
audience what to think; yet she offers a dramatic framework for the struggle of
the individual. (BH; in German)
Sebastian Wogenstein 298
"Meine Nachahmung eine Neuerschaffung" — Aneignung
utíä
Ent-Stellung in
Dea
Lohers Manhattan
Medea
The question how to situate
Dea Loher's
drama Manhattan Medea in the Medea
reception serves as a point of departure for a discussion of imitation, originality,
and the act of copying. In their dialogues, the characters Medea, as in Eurip¬
ides' tragedy a refugee, and Velazquez, a security guard, reflect on originality
and imitation. The article explores the theoretical and self-referential aspects
evoked by these discussions and links them with a more general inquiry into
the dimensions of interpretation in the arts. The question of originality and ap¬
propriation is expanded and problematized through focusing on radical social
criticism voiced among others by the drag queen Deaf Daisy. In this context the
article also examines the potential of performative signification encountered
in Medea's deadly bridal gift, especially in light of
Marj
orie
Garber's
remark
that "[w]hat gets married is a dress." Transgressive in its form too, Manhattan
Medea combines tragic elements and those characteristic of comedy. (SW; in
German)
Stephanie
Caiani
316
Vom Anfang und Ende des Mythos.
Medea
bei Christa Wolf und
Dea
Loher
Literary texts treating mythological subjects fulfil a myth-making function, as
Horkheimer/Adorno and
Blumenberg
have shown in their theories of myth.
As it deals with mythological pretexts, literature acts mythopoetically. This
implies a self-reflexive criticism of myths. In view of its overwhelming num¬
ber of literary adaptations throughout cultural history, the myth of Medea can
be seen as a literary "work on myth." On the basis of
Christa
Wolf's novel
Medea.
Stimmen
on the one hand and
Dea
Loher's play Manhattan Medea on
the other, the paper analyzes the mythopoetic dimension of literature with the
goal of exhibiting the critical tendencies in the examined texts, and showing at
the same time their decisive differences. In Wolf's novel, myth returns to its
beginnings in such a way that its problematic creative processes are expounded.
Furthermore, critical reflections on myth are developed by processes of
a collective memory which become relevant for the production of myths.
In doing so, the novel clearly refers to the current debate on literature as a
'storage' of a collective memory. The paper concludes that
Dea
Loher's
Manhattan Medea radicalizes the criticism of myth that is present in Wolf's
novel: Loher's play questions the literary work on myth. Thus Loher denies the
myth's innovative potential and brings the Medea myth to a preliminary end.
(SC; in German)
Contents
v
Michael Börgerding 333
"I'm just blue"
—Der Regisseur Andreas Kriegenburg und seine
Auseinandersetzung mit den Texten der Dramatikerin
Dea
Loher
The article describes the working relationship between the theater director An¬
dreas
Kriegenburg
and the playwright
Dea
Loher
from their first co-operation
in
1995
to the current day. It also serves as an introduction to central aspects
of Loher's and
Kriegenburg
's
aesthestics. Kriegenburg's first interpretation of a
play by Loher
—"Fremdes Haus" in 1995—
set the tone of their co-operation.
He treated her work like he would have treated a classic
—
with respect but
without exaggerated reverence. Although some critics saw a lack of faithfulness
to the original text in his approach,
Dea
Loher felt that she could trust Kriegen-
burg to direct the first performances of other works as well, such as Adam
Geist
and
Olgas Raum.
Later co-operations on
Magazin des Glücks (2001), Unschuld
(2003), Das Leben auf der
Praça
Roosevelt
(2004)
and Quixote Material
(2005)
showed a defining principle in their relationship
—
mutual overtaxation or sim¬
ply expecting too much of each other. For the experiment of
Magazin des Glücks
Loher sent a text to
Kriegenburg
every six weeks
(!)
that he would put on stage
within three weeks, while she was supposed to respond to his production with a
new text. They ended up with a set of seven very diverse texts and productions.
But overtaxation also refers to Loher's increasingly non-dramatic,
monologic
and improbable dramas.
Das Leben auf
der Praça
Roosevelt
—
based on Loher's
experience in Sao Paulo
—
works with
monologic
authentic stories from Latin
America. Like most of her new plays it asks the basic question of how they can
be put on stage at all. (MB; in German)
Andreas Gürtler /
Angela M. C.
Wendt
346
Höllische Paradiese.
Moralisches (?) Theater bei Friedrich Schiller und
Dea
Loher
In an interview, Loher
refers to Schiller's early concept of the "theatre as a moral
institution." Yet this
cliché
is problematic since it has been decontextualised.
This essay argues that Loher is concerned with the aesthetics of the late Schil¬
ler, and it draws attention to the fact that Schiller never put his idea of a moral
institution into practice.
(AG, AMCW;
in German)
Christine
Künzel 360
"Vielleicht kommt die Gewalt von innen":
Dea
Lohers Poet(h)ik
der Gewalt
Almost all of
Dea
Loher's
plays deal with violence in one way or another. But
Loher's scenarios do not seem to follow a certain concept of violence. On the
one hand violence seems to "come from inside," like an irresistible drive; on
the other hand it is presented as a stroke of fate
—
which might be a reference
to Greek tragedy. Also, the difference between victim and perpetrator is blurred
in Loher's plays. This shows that Loher questions concepts of violence which
insist on a strict separation of the positions of victim and perpetrator. At the
same time the problem emerges that the experience of violence can no longer
vi
Contents
be associated with certain agents, e.g., with persons or institutions. In the worst
case, violence cannot be related to anything at all. Loher's treatment of violence
is characterized above all through its uncanny omnipresence that leads to a natu¬
ralization of violence. All in all, Loher presents violence as an opaque phenom¬
enon oscillating between an essentialist model which comprehends violence
as an anthropological constant and a mythico-metaphysical concept suggesting
that violence was and is always already there. (CK; in German)
Julian Preece
373
Die
Terroristin als
alter ego in
den "bleiernen Zeiten" und andere
umgewandelte Motive in
Dea
Lohers Zeitstück
Leviathan
Leviathan is the only literary work which depicts the leading figures of the RAF
without interpreting their actions through their bloody end and failure. Loher
draws on the obvious sources but diverges from them by apparently giving the
decision in
1970
to launch an armed struggle against Western governments a
political purpose and chance of success which it never had. Like numerous other
authors Loher gives her main 'terrorist' character (Marie, based on
Utóké
Mein¬
hof)
an alter ego (her sister Christine) from whose perspective the ethics and effi¬
cacy of political violence are judged. She follows the structure of Margarethe
von
Trotta
's
film Die
bleierne Zeit (1981)
which charts the lives of two sisters, based
on
Gudrun
and
Christiane Ensslin,
who share a set of fundamental political be¬
liefs and objectives, but differing in the methods they chose: one picks up a gun,
the other campaigns as a journalist. In Leviathan, neither Christine's motives for
alleviating suffering through her work as a nurse nor her wish to join her sister
at the El Fatah training camp in Jordan are politically motivated. This in turn
highlights the personal motivation of all the major characters in the play, based on
Ulrike Meinhof, Gudrun Ensslin, and Andreas Baader. (JP; in
German)
Artur
Petka
389
Das Theater als "lebendiges soziales Forum":
Dea
Lohers Dramen
auf polnischen Bühnen
As early as the
mid-1990s,
Polish theater critics called Loher the "most promis¬
ing author." Local stages discovered her in
2001. Pawel
Miśkiewicz
staged her
play Claras
Verhältnisse in
Wrocław
shortly after the Vienna world premiere.
This young stage director discovered an extremely suitable formula for a stage
realization of this play which became a huge success. That success was the
reason why other stage directors put on this play, for example the famous direc¬
tor
Krystian
Lupa.
Only a short time after that productions of
Tätowierung
and
Blaubart—Hoffnung der Frauen
followed all over Poland. The best 'interpreter'
of Loher's plays is still
Miśkiewicz.
This became obvious in the Cracow stag¬
ing of
Unschuld
and Claras
Verhältnisse,
both of which were very successful.
The attraction of Loher's works for the Polish theater people lies in their socio-
critical and philosophical content, as the theater critics constantly point out.
(AP; in German)
Contents
vii
BOOK REVIEWS 399
Bohm,
Arnd,
Goethe's
Faust
and European Epic: Forgetting the Future (Franz R.
Kempf)
.411
Downing, Eric, After images: Photography, Archaeology, and Psychoanalysis
and the Tradition of
Bildung (Ulrike
Peters Nichols)
.427
Dunker, Axel,
Hrsg.,
(Post-)Kolonialismus
und
Deutsche
Literatur.
Impulse
der angloamerikanischen Literatur- und Kulturtheorie (Todd
Kontje)
.432
Finney,
Gail,
ed., Visual
Culture in Twentieth-Century Germany: Text as
Spectacle
(Eric
Jarosinski)
.433
FiTZON, Thorsten, Reisen in das befremdliche Pompeji. Antiklassizistische
Antikenwahrnehmung deutscher Italienreisender 1750 -1870 (Jeff Morrison) . 407
Fricke, Hannes, Das hört NICHT auf. Trauma,
Literature
und
Empathie
(Carl Pietzcker).400
Hasty,
Will, ed.,
German Literature of the High Middle Ages (Stephen Mark
Carey)
.405
Horstkotte,
Silke Und Karin Leonhard, Hrsg., Lesen ist wie Sehen. Inter¬
mediale Zitate in Bild und Text (Sabine Groß).434
Кон,
Maeng-im, Mythos und Erzählen im Werk von Anna Seghers (Jennifer
Marston William).429
Krimmer, Elisabeth, In
the
Company
of Men: Cross-Dressed Women around
1800
(Catriona MacLeod)
.415
Lindner, Burkhardt,
Hrsg., Unter Mitarbeit Von Thomas Küpper Und
Timo
Skrandies, Benjamin-Handbuch. Leben—Werk—Wirkung (Rolf J. Goebel) . .399
MOMMSEN, MOMME, UNTER MITARBEIT VON KATHARINA MOMMSEN, Die
Entstehung von Goethes Werken in Dokumenten. Band
I
(Abaldemus—Byron)
(Hans Adler).408
Mommsen, Momme, Unter Mitarbeit Von Katharina Mommsen, Die Entste¬
hung von Goethes Werken in Dokumenten. Band
II
(Cäcilia—Dichtung und
Wahrheit) (Hans Adler).409
Mommsen, Momme, Fortgeführt Und Herausgegeben Von Katharina
Mommsen, Die Entstehung von Goethes Werken in Dokumenten. Band
III
(Diderot-Entoptische Farben) (Hans Adler).409
Nübel, Birgit, Robert
Musil.
Essayismus als Selbstreflexion der Moderne
(Thomas Sebastian).425
Reginster, Bern ard, The Affirmation
of
Life: Nietzsche
on Overcoming Nihilism
(Ivan Soll).420
RoBbach,
Nikola,
Theater über Theater. Parodie und Moderne 1870-1914
(Alan Lareau). .423
Sammons, Jeffrey L., Heinrich Heine: Alternative
Perspectives
1985-2005
(Robert
C. Holub)
.417
Schütte, Uwe, Die Poetik des Extremen. Ausschreitungen einer Sprache des
Radikalen (Thomas
Freeman)
. 437
Stephan-chlustin, Anne, Artuswelt und Gralswelt im Bild. Studien zum
Bildprogramm der illustrierten Parzival-Handschriften
(Salvatore Calomino)
.403
viii Contents
Taberner,
Stuart And Paul Cooke,
eds.,
German Culture, Politics, and
Literature into the Twenty-First Century: Beyond Normalization (Michelle
Mattson)
.430
Ward, Margaret E., Fanny Lewald: Between Rebellion and Renunciation
(Jeffrey L. Sammons)
.419
Wurst, Karin,
Fabricating Pleasure: Fashion, Entertainment, and Cultural
Consumption in Germany
1780—1830
(Helen G. Morris-Keitel)
.413 |
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| title | Dea Loher |
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