This book offers a thorough examination of the novels of Irmtraud Morgner (1933-1990), one of the most talented, compelling and overlooked writers within East German feminist and avant-garde circles. Using a combination of theoretical approaches - including Adorno's aesthetic theories and Bakhtinian analyses of dialogism and the carnivalesque - the author traces Morgner's engagement with postmodernist aesthetic strategies back to her efforts, beginning in the early 1970s, to pose questions about effective political practices. Morgner's work sheds new light on the fraught relationship between GDR intellectuals and the state, a hotly debated topic that marks most recent attempts to understand literary culture in the German Democratic Republic. Situating Morgner's fiction at the intersection of postmodern and feminist theory, this study also offers new evidence for viewing literature from the GDR as significantly more complex and aesthetically interesting than has been previously assumed.

Lyrical narratives that chronicle a long marriage, rich with wit, dark irony, and poignancy. In her long-awaited second volume, Mary Stewart Hammond chronicles a long marriage with sharp wit, dark irony, and poignancy. As James Merrill says of Hammond’s poems, they “brim with what the whole world knows.” Entering History opens on a middle-aged couple, modern-day travelers in an ancient setting. The collection follows their relationship through time and place, combining the personal and the historical in stories of the family—siblings, a daughter, and the very different marriage of the poet’s parents. The marriage poems share the intimacy, erotic playfulness, irritations, worries, and angers that are part of an enduring love and a long marriage. In “Portrait of My Husband Reading Henry James,” the poet paints her husband using syntax and language that evoke James’s. In “Venasque,” the wintry village, perched on the edge of a cliff, serves as a metaphor for the existential crisis facing the couple. “Lines composed at Beaufort, South Carolina, a few miles above Parris Island,” about the poet’s brother, moves back and forth between the Civil War and the preparations of troops for today’s wars. In “Jacob and Esau with Sister,” two brothers, in a transaction as old as oral history, highlight its consequences in the twenty-first century. “Anniversary” is a heartbreaking elegy for a third brother who kills himself. Hammond reaches into the past and present of the American family, closing Entering History where it began, with the couple in bed, now older, harkening back to the bed they shared when they were newlyweds. These powerful, beautifully crafted, lyrical narratives give depth to an examination of life—its joys, sorrows, laughter, and tragedies.

Until now it has been impossible to read the full story of the relationship between Albert Camus and Jean-Paul Sartre. Their dramatic rupture at the height of the Cold War, like that conflict itself, demanded those caught in its wake to take sides rather than to appreciate its tragic complexity. Now, using newly available sources, Ronald Aronson offers the first book-length account of the twentieth century's most famous friendship and its end. Albert Camus and Jean-Paul Sartre first met in 1943, during the German occupation of France. The two became fast friends. Intellectual as well as political allies, they grew famous overnight after Paris was liberated. As playwrights, novelists, philosophers, journalists, and editors, the two seemed to be everywhere and in command of every medium in post-war France. East-West tensions would put a strain on their friendship, however, as they evolved in opposing directions and began to disagree over philosophy, the responsibilities of intellectuals, and what sorts of political changes were necessary or possible. As Camus, then Sartre adopted the mantle of public spokesperson for his side, a historic showdown seemed inevitable. Sartre embraced violence as a path to change and Camus sharply opposed it, leading to a bitter and very public falling out in 1952. They never spoke again, although they continued to disagree, in code, until Camus's death in 1960. In a remarkably nuanced and balanced account, Aronson chronicles this riveting story while demonstrating how Camus and Sartre developed first in connection with and then against each other, each keeping the other in his sights long after their break. Combining biography and intellectual history, philosophical and political passion, Camus and Sartre will fascinate anyone interested in these great writers or the world-historical issues that tore them apart.

This unique and original study analyzes Foucault's interaction with the history of ideas, undertaking a genealogy of the subject that subverts conventional philosophical history to develop a distinctly Foucauldian intellectual history. Through a detailed account of Foucault's work and its relation to the history of ideas, Philip Barker shows how that history can be usefully reconceptualised using Foucault's concepts of genealogy and archaeology. Locating the emergence of self-reflexive consciousness in twelfth century philosophy, and elaborating upon autobiography as a philosophical persona, Barker argues that this extremely productive approach can be used to analyze the relationship between the history of philosophy, psychoanalysis and the transparent subject.

The final volume in the acclaimed Foundations of Contemporary Interpretation series, this book deals with these crucial questions: Is the Bible a history book? What do we mean by 'history' anyway? In what sense is biblical historicity important for faith? Why is there so much scholarly disagreement over historical issues relating to the Bible?

It is a sign of the accepted evidentiary status of photographs that historians regularly append them to their accounts, Amos Morris-Reich observes. Very often, however, these photographs are treated as mere illustrations, simple documentations of the events that transpired. Scholars of photography, on the other hand, tend to prioritize the photographs themselves, relegating the historical contexts to the background. For Morris-Reich, however, photography exists within reality; it partakes in and is very much a component of the history it records. Morris-Reich examines how photography affects categories of history and experience, how it is influenced by them, and the ways in which our understanding of the relationship between history and photography can be theorized and reoriented. Morris-Reich here turns to five twentieth-century cases in which photography and Jewish history intersect: Albert Kahn’s utopian attempt to establish a photographic archive in Paris in order to advance world peace; the spectacular failed project of Helmar Lerski, the most prominent photographer in British Mandate Jewish Palestine; photography in the long career of Eugen Fischer, a Nazi professor of genetics; the street photography of Robert Frank; and the first attempt to introduce photography into the study of Russian Jewry prior to World War I, as seen from the post-Holocaust perspective of the early twenty-first century. Illustrated with nearly 100 images, Photography and Jewish History moves beyond a focus on Jewish photographers or the photographic representation of Jews or Jewish visibility to plumb the deeper and more significant registers of twentieth-century Jewish political history.

The Cambridge History of Terrorism provides a comprehensive reference work on terrorism from a distinctly historical perspective, offering systematic analyses of key themes, problems and case studies from terrorism's long past. Featuring expert scholars from across the globe, this volume examines the phenomenon of terrorism through regional case studies, largely written by local scholars, as well as through thematic essays exploring the relationship between terrorism and other historical forces. Each of the chapters - whether thematic or case-study focused - embodies new, research-based analysis which will help to inform and reshape our understanding of one of the world's most challenging problems.

This handbook examines the history of Trinitarian theology and reveals the Nicene unity still at work among Christians today despite ecumenical differences and the variety of theological perspectives. The forty-three chapters are organized into the following seven parts: the Trinity in Scripture, Patristic witnesses to the Trinitarian faith, Medieval appropriations of the Trinitarian faith, the Reformation through to the 20th Century, Trinitarian Dogmatics, the Trinity and Christian life, and Dialogues (addressing ecumenical, interreligious, and cultural interactions). The phrase 'Trinitarian faith' can hardly be understood outside of reference to the Councils of Nicaea and Constantinople and to their reception: the doctrine of the Trinity is indissociably connected to the reading of Scripture through the ecclesial and theological traditions. The modern period is characterized especially by the arrival of history, under two principal aspects: 'historical theology' and 'philosophies of history'. In contemporary theology, the principal 'theological loci' are Trinity and creation, Trinity and grace, Trinity and monotheism, Trinity and human life (ethics, society, politics and culture), and more broadly Trinity and history. In all these areas, this handbook offers essays that do justice to the diversity of view points, while also providing, insofar as possible, a coherent ensemble.

This volume brings together scholars from across Europe to critically examine TV history programming in a period of political, economic and cultural change. They look at links between programming and national identity, consider the representation of minorities, and explore a range of televisual genres and techniques.