Preliminary Material -- Encounters Over the Border: The Shaping of Colonial Identities in Neighbouring British and German Colonies in Southern Africa /Ulrike Lindner -- The Colonial Order Upside Down?: British and Germans in East African Prisoner-of-War Camps During World War I /Michael Pesek -- Jack, Peter, and the Beast: Postcolonial Perspectives on Sexual Murder and the Construction of White Masculinity in Britain and Germany at the Turn of the Twentieth Century /Eva Bischoff -- Decolonization of the Public Space?: (Post)Colonial Culture of Remembrance in Germany /Joachim Zeller -- “Setting the Record Straight”?: Imperial History in Postcolonial British Public Culture /Elizabeth Buettner -- (Trans)National Consumer Cultures: Coffee as a Colonial Product in the German Empire /Laura Julia Rischbieter -- Transcultural Tea Times: An Overview of Tea in Colonial History /Christine Vogt-William -- Döner Kebab and West German Consumer (Multi-)Cultures /Maren Möhring -- A Cultural Politics of Curry: The Transnational Spaces of Contemporary Commodity Culture /Peter Jackson -- Knowledges of (Un)Belonging: Epistemic Change as a Defining Mode for Black Women's Activism in Germany /Maureen Maisha Eggers -- “I ain't British though / Yes you are. You're as English as I am”: Staging Belonging and Unbelonging in Black British Drama Today /Deirdre Osborne -- Muslims, the Discourse on (Failed) Integration in Britain, and Kenneth Glenaan's Film Yasmin /Silke Stroh -- The Current Spectacle of Integration in Germany: Spatiality, Gender, and the Boundaries of the National Gaze /Markus Schmitz -- Works Cited -- Notes on Editors and Contributors -- Index.

With the end of the First World War, Germany became a "post-colonial" power. The Treaty of Versailles in 1919 transformed Germany's overseas colonies in Africa and the Pacific into League of Nations Mandates, administered by other powers. Yet a number of Germans rejected this "post-colonial" status, arguing instead that Germany was simply an interrupted colonial power and would soon reclaim these territories. With the Nazi seizure of power in 1933, irredentism seemed once again on the agenda, and these colonialist advocates actively and loudly promoted their colonial cause in the Third Reich. Examining the domestic activities of these colonialist lobbying organizations, Empire in the Heimat demonstrates the continued place of overseas colonialism in shaping German national identity after the end of formal empire. In the Third Reich, the Deutsche Kolonialgesellschaft and the Reichskolonialbund framed Germans as having a particular aptitude for colonialism and the overseas territories as a German Heimat. As such, they sought to give overseas colonialism renewed meaning for both the present and the future of Nazi Germany. They brought this message to the German public through countless publications, exhibitions, rallies, lectures, photographs, and posters. Their public activities were met with a mix of occasional support, ambivalence, or even outright opposition from some Nazi officials, who privileged the Nazi regime's European territorial goals over colonialists' overseas goals. Colonialists' ability to navigate this obstruction and intervention reveals both the limitations and the spaces available in the public sphere under Nazism for such "special interest" discourses.

The Jazz Republic examines jazz music and the jazz artists who shaped Germany’s exposure to this African American art form from 1919 through 1933. Jonathan O. Wipplinger explores the history of jazz in Germany as well as the roles that music, race (especially Blackness), and America played in German culture and follows the debate over jazz through the fourteen years of Germany’s first democracy. He explores visiting jazz musicians including the African American Sam Wooding and the white American Paul Whiteman and how their performances were received by German critics and artists. The Jazz Republic also engages with the meaning of jazz in debates over changing gender norms and jazz’s status between paradigms of high and low culture. By looking at German translations of Langston Hughes’s poetry, as well as Theodor W. Adorno’s controversial rejection of jazz in light of racial persecution, Wipplinger examines how jazz came to be part of German cultural production more broadly in both the US and Germany, in the early 1930s. Using a wide array of sources from newspapers, modernist and popular journals, as well as items from the music press, this work intervenes in the debate over the German encounter with jazz by arguing that the music was no mere “symbol” of Weimar’s modernism and modernity. Rather than reflecting intra-German and/or European debates, it suggests that jazz and its practitioners, African American, white American, Afro-European, German and otherwise, shaped Weimar culture in a central way.

Postcolonial studies is a well-established academic field, rich in theory, but it is based mostly on postcolonial experiences in former West European colonial empires. This book takes a different approach, considering postcolonial theory in relation to the former Soviet bloc. It both applies existing postcolonial theory to this different setting, and also uses the experiences of former Soviet bloc countries to refine and advance theory. Drawing on a wide range of sources, and presenting insights and material of relevance to scholars in a wide range of subjects, the book explores topics such as Soviet colonality as co-constituted with Soviet modernity, the affective structure of identity-creation in national and imperial subjects, and the way in which cultural imaginaries and everyday materialities were formative of Soviet everyday experience.

Europe after Empire is a pioneering comparative history of European decolonization from the formal ending of empires to the postcolonial European present. Elizabeth Buettner charts the long-term development of post-war decolonization processes as well as the histories of inward and return migration from former empires which followed. She shows that not only were former colonies remade as a result of the path to decolonization: so too was Western Europe, with imperial traces scattered throughout popular and elite cultures, consumer goods, religious life, political formations, and ideological terrains. People were also inwardly mobile, including not simply Europeans returning 'home' but Asians, Africans, West Indians, and others who made their way to Europe to forge new lives. The result is a Europe fundamentally transformed by multicultural diversity and cultural hybridity and by the destabilization of assumptions about race, culture, and the meanings of place, and where imperial legacies and memories live on.

For at least a decade, university foreign language programs have been in decline throughout the English-speaking world. As programs close or are merged into large multi-language departments, disciplines such as German studies find themselves struggling to survive. Transverse Disciplines offers an overview of the current research on the humanities and the academy at large and proposes creative and courageous ideas for the university of the future. Using German studies as a case study, the book examines localized academic work in Australia, Canada, the United Kingdom, and the United States in order to model new ideas for invigorated thinking beyond disciplinary specificity, university communities, and entrenched academic practices. In essays that are theoretical, speculative, experimental, and deeply personal, contributors suggest that German studies might do better to stop trying to protect existing national and disciplinary arrangements. Instead, the discipline should embrace feminist, queer, anti-racist, and decolonial academic practices and commitments, including community-based work, research-creation, and scholar activism. Interrogating the position of researchers, teachers, and administrators inside and outside academia, Transverse Disciplines takes stock of the increasingly tenuous position of the humanities and stakes a claim for the importance of imagining new disciplinary futures within the often restrictive and harmful structures of the academy.

The first comprehensive account of the memory of colonialism in Germany from 1919 until the present day.

Rules -- Meat -- Slaughter -- Intoxicants -- Business -- Standards -- Manufactured products -- Wholesome -- Cuisine -- Eating out

Black British Drama: A Transnational Story looks afresh at the ways black theatre in Britain is connected to and informed by the spaces of Africa, the Caribbean and the USA. Michael Pearce offers an exciting new approach to reading modern and contemporary black British drama, examining plays by a range of writers including Michael Abbensetts, Mustapha Matura, Caryl Phillips, Winsome Pinnock, Kwame Kwei-Armah, debbie tucker green, Roy Williams and Bola Agbaje. Chapters combine historical documentation and discussion with close analysis to provide an in-depth, absorbing account of post-war black British drama situated within global and transnational circuits. A significant contribution to black British and black diaspora theatre studies, Black British Drama is a must-read for scholars and students in this evolving field.

Germany developed a large colonial empire over the last thirty years of the 19th century, spanning regions of the west coast of Africa to its east coast and beyond. Largely forgotten for many years, recent intense debates about Africa's cultural heritage in European museums have brought this period of African and German history back into the spotlight. German Colonialism in Africa and its Legacies brings much-needed context to these debates, exploring perspectives on the architecture, art, urbanism, and visual culture of German colonialism in Africa, and its legacies in postcolonial and present-day Namibia, Cameroon, and Germany. The first in-depth exploration of the designed and visual aspects of German colonialism, the book presents a series of essays combining formal analyses of painting, photography, performance art, buildings, and space with the discourse analysis approach associated with postcolonial theory. Covering the entire period from the build-up to colonialism in the early-19th century to the present, subjects covered range from late-19th-century German colonial paintings of African landscapes and people to German land appropriation through planning and architectural mechanisms, and from indigenous African responses to colonial architecture, to explorations of the legacies of German colonialism by contemporary artists today. This powerful and revealing collection of essays will encourage new research on this under-explored topic, and demonstrate the importance of historical research to the present, especially with regards to ongoing debates about the presence of material legacies of colonialism in Western culture, museum collections, and immigration policies.