An innovative, critical, historically informed, yet accessible reassessment of writers who remained in Nazi Germany and Austria yet expressed nonconformity - even dissent - through their fiction.

In this discourse history, W J Dodd analyses the ‘unquiet voices’ of opponents whose contemporary critiques of Nazism, from positions of territorial and inner exile, focused on the ‘language of Nazism’. Individual chapters review ‘precursor’ discourses; Nazi public discourse from 1933 to 1945; the testimonies of ‘unquiet voices’ abroad, and in private and published texts in the ‘Reich’; attempts to ‘denazify the language’ (1945-49), and the legacies of the Nazi past in a retrospective discourse of ‘coming to terms’ with the Nazi past. In the period from 1945, the book focuses on contestations of ‘tainted language’ and instrumentalizations of the Nazi past, and the persistence of linguistic taboos in contemporary German usage. Highly engaging, with English translations provided throughout, this book will provide an invaluable resource for scholars of discourse analysis, sociolinguistics, and German history and culture; as well as readers with a general interest in language and politics.

Jeanne Mammen's watercolour images of the gender-bending 'new woman' and her candid portrayals of Berlin's thriving nightlife appeared in some of the most influential magazines of the Weimar Republic and are still considered characteristic of much of the 'glitter' of that era. This book charts how, once the Nazis came into power, Mammen instead created 'degenerate' paintings and collages, translated prohibited French literature and sculpted in clay and plaster-all while hidden away in her tiny studio apartment in the heart of Berlin's fashionable west end. What was it like as a woman artist to produce modern art in Nazi Germany? Can artworks that were never exhibited in public still make valid claims to protest? Camilla Smith examines a wide range of Mammen's dissenting artworks, ranging from those created in solitude during inner emigration to her collaboration with artist cabarets after the Second World War. Smith's engaging analysis compares Mammen's popular Weimar work to her artistic activities under the radar after 1933, in order to fundamentally rethink the moral complexities of inner emigration and its visual culture. The examination of Mammen's life and work demonstrates the crucial role women artists played as both markers and agents of German modernity, but the double marginalisation they have nonetheless encountered as inner émigrés in recent history. It will be of interest to students of German studies, art history, literature, history, gender studies and cultural studies.

The Second World War went beyond previous military conflicts. It was not only about specific geographical gains or economic goals, but also about the brutal and lasting reshaping of Europe as a whole. Theatre in Europe Under German Occupation explores the part that theatre played in the Nazi war effort. Using a case-study approach, it illustrates the crucial and heavily subsidised role of theatre as a cultural extension of the military machine, key to Nazi Germany’s total war doctrine. Covering theatres in Oslo, Riga, Lille, Lodz, Krakau, Warsaw, Prague, The Hague and Kiev, Anselm Heinrich looks at the history and context of their operation; the wider political, cultural and propagandistic implications in view of their function in wartime; and their legacies. Theatre in Europe Under German Occupation focuses for the first time on Nazi Germany’s attempts to control and shape the cultural sector in occupied territories, shedding new light on the importance of theatre for the regime’s military and political goals.

A comparative study of "inner" and "territorial" forms of literary exile under Nazism and Francoism, proposing an integrative model of exile that emphasizes common approaches and themes rather than division.

For over two decades, Clues has included the best scholarship on mystery and detective fiction. With a combination of academic essays and nonfiction book reviews, it covers all aspects of mystery and detective fiction material in print, television and movies. As the only American scholarly journal on mystery fiction, Clues is essential reading for literature and film students and researchers; popular culture aficionados; librarians; and mystery authors, fans and critics around the globe.

Tibetan Subjectivities on the Global Stage: Negotiating Dispossession explores the many ways Tibetans are reimagining their cultural identity since the communist takeover of Tibet in the 1950s. Focusing on developments taking place in Tibet and the diaspora, this collection of essays addresses a wide range of issues at the heart of Tibetan modernity. From the political dynamics of the exiled community in India to the production of contemporary Tibetan literature in the PRC, the collection delves into various aspects of current significance for the Tibetan community worldwide such as the construction of Bon identity in exile, the strategic use of the discourse of development or the issue of cultural and linguistic purity in an increasingly hybrid and globalized world. Moving away from the preservationist paradigm that regards Tibetan culture as an endangered and precious object, the essays in this book portray Tibetan identities in motion, as lived subjectivities that travel, change and creatively reimagine themselves on various global stages. Even if recent Tibetan history is marked by imposed transitions and a sense of dispossession, this collection highlights the ways Tibetans have not only managed traumatic historical events but also become agents of change and reinventors of their own traditions.

This book examines the pioneering radio broadcasts and television documentaries about the United States made in the 1950s by the influential West German journalist Peter von Zahn. Part intellectual biography, part analysis of significant debates in West Germany, part study of an intensive encounter with the United States, the book helps explain the transformation of postwar West Germany. As a soldier in the Wehrmacht in World War II, Zahn held the militantly elitist views typical of young men in Germany’s educated middle class. He reconsidered these positions in his postwar broadcasts. At the same time he coldly assessed the capacity of the United States to win the Cold War. His broadcasts examined McCarthyism, the African-American civil rights movement, and numerous aspects of American culture and politics. Zahn’s broadcasts were one important voice in West German debates about the defects and virtues of modern democratic societies and especially of the United States, debates whose intensity reflected recent German experiences with the failure of the Weimar Republic and with Nazism. Zahn’s analyses of the United States remain startlingly relevant today.

Wild Visionary reconsiders Maurice Sendak's life and work in the context of his experience as a Jewish gay man. Maurice (Moishe) Bernard Sendak (1928–2012) was a fierce, romantic, and shockingly funny truth seeker who intervened in modern literature and culture. Raising the stakes of children's books, Sendak painted childhood with the dark realism and wild imagination of his own sensitive "inner child," drawing on the queer and Yiddish sensibilities that shaped his singular voice. Interweaving literary biography and cultural history, Golan Y. Moskowitz follows Sendak from his parents' Brooklyn home to spaces of creative growth and artistic vision—from neighborhood movie palaces to Hell's Kitchen, Greenwich Village, Fire Island, and the Connecticut country home he shared with Eugene Glynn, his partner of more than fifty years. Further, he analyzes Sendak's investment in the figure of the endangered child in symbolic relation to collective touchstones that impacted the artist's perspective—the Great Depression, the Holocaust, and the AIDS crisis. Through a deep exploration of Sendak's picture books, interviews, and previously unstudied personal correspondence, Wild Visionary offers a sensitive portrait of the most beloved and enchanting picture-book artist of our time.

Shows that while the GDR is generally seen as - and mostly was - an oppressive and unfree country, from late 1989 until autumn 1990 it was the "freest country in the world" the dictatorship had disappeared while the welfare system remained. Stephen Brockmann's new book explores the year 1989/1990 in East Germany, arguing that while the GDR is generally seen as - and was for most of its forty years - an oppressive and unfree country, from autumn 1989 until the autumn of 1990 it was the "freest country in the world," since the dictatorship had disappeared while the welfare system remained. That such freedom existed in the last months of the GDR and was a result of the actions of East Germans themselves has been obscured, Brockmann shows, by the now-standard description of the collapse of the GDR and the reunification of Germany as a triumph of Western democracy and capitalism. Brockmann first addresses the culture of 1989/1990 by looking at various media from that final year, particularly film documentaries. He emphasizes punk culture and the growth of neo-Nazism and the Antifa movement - factors often ignored in accounts of the period. He then analyzes three later semiautobiographical novels about the period. He devotes chapters to dramatic films dealing with German reunification made relatively soon after the event and to more recent film and television depictions of the period, respectively. The final chapter looks at monuments and memorials of the 1989/1990 period, and a conclusion considers the implications of the book's findings for the present day.