Ossi Wessi includes the proceedings of the fourteenth annual Interdisciplinary German Studies Conference at the University of California, Berkeley (2006), which explored issues surrounding the Berlin Wall, both pre- and post-reunification, in language, literature, and visual media. The collected articles discuss the situation of the Berlin Wall, describing its portrayal as both a dividing and uniting boundary, and often discussing the continued existence of the Wall in the minds of Germany’s citizens. The multi-disciplinary range of approaches contained in this volume reveals how diverse the portrayals of the history of the Wall have been, as well as how controversial the division of Germany remains today. Topics covered in this collection include Wende Literature and film, linguistic changes and attitudes since 1989, the complicated history of the Neo-Nazis, and the visual arts. Although Ossi Wessi is by no means a comprehensive reference work, each of its essays serve as a though provoking springboard for further research.

This examines a significant aspect of contemporary social life: cultural identities and our linguistic means of constructing them. It combines a theoretical re-assessment of processes of identification with case studies of the discourses of three-generation families living in split-border communities along the former 'Iron Curtain'.

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Germany has one of the liveliest and well-developed punk scenes in the world. However, punk in this country is not just a style-based music community. This book provides an anthropological examination of how punk reflects the larger changes and contradictions in post-reunification Germany, such as social segmentation, east-west tensions and local politics. Punk in eastern Germany is a reaction to the marginalization of the working class. As a cultural, social and economic niche, punks create their own controversial “substitute society” to compensate for their low status in mainstream society.

The gripping story of a collective passion for freedom that shook the world. In August 1989, a group of Hungarian activists organized a picnic on the border of Hungary and Austria. But this was not an ordinary picnic—it was located on the dangerous militarized frontier known as the Iron Curtain. Tacit permission from the highest state authorities could be revoked at any moment. On wisps of rumor, thousands of East German “vacationers” packed Hungarian campgrounds, awaiting an opportunity, fearing prison, surveilled by lurking Stasi agents. The Pan-European Picnic set the stage for the greatest border breach in Cold War history: hundreds crossed from the Communist East to the longed-for freedom of the West. Drawing on dozens of original interviews—including Hungarian activists and border guards, East German refugees, Stasi secret police, and the last Communist prime minister of Hungary—Matthew Longo tells a gripping and revelatory tale of the unraveling of the Iron Curtain and the birth of a new world order. Just a few months after the Picnic, the Berlin Wall fell, and the freedom for which the activists and refugees had abandoned their homes, risked imprisonment, sacrificed jobs, family, and friends, was suddenly available to everyone. But were they really free? And why, three decades since the Iron Curtain was torn down, have so many sought once again to build walls? Cinematically told, The Picnic recovers a time when it seemed possible for the world to change. With insight and panache, Longo explores the opportunities taken—and the opportunities we failed to take—in that pivotal moment.

The New York Times–bestselling author examines the borders that shape our world in “an incisive, meticulous survey of humanity’s physical barriers” (Booklist, starred review). The globe has always been a world of walls, from the Great Wall of China to Hadrian’s Wall to the Berlin Wall. But a new age of isolationism is upon us, as evidenced by Britain’s Brexit, and growing support for a US/Mexico border wall. China holds back Western culture with the great Firewall, while European countries erect barriers against immigrants, terrorism, and currency issues. In fact, more than a third of the world’s nation-states have barriers along their borders. In The Age of Walls, Tim Marshall examines how walls and borders have been shaping our political landscape for hundreds of years and how they figure in the diplomatic relations and geo-political events of today. Written in his brisk, inimitable style, he draws on his real life experiences as a reporter from hotspots around the globe, and provides an engaging context that is often missing from political discussion.

Since German reunification in 1990, there has been widespread concern about marginalized young people who, faced with bleak prospects for their future, have embraced increasingly violent forms of racist nationalism that glorify the country's Nazi past. The Management of Hate, Nitzan Shoshan’s riveting account of the year and a half he spent with these young right-wing extremists in East Berlin, reveals how they contest contemporary notions of national identity and defy the clichés that others use to represent them. Shoshan situates them within what he calls the governance of affect, a broad body of discourses and practices aimed at orchestrating their attitudes toward cultural difference—from legal codes and penal norms to rehabilitative techniques and pedagogical strategies. Governance has conventionally been viewed as rational administration, while emotions have ordinarily been conceived of as individual states. Shoshan, however, convincingly questions both assumptions. Instead, he offers a fresh view of governance as pregnant with affect and of hate as publicly mediated and politically administered. Shoshan argues that the state’s policies push these youths into a right-extremist corner instead of integrating them in ways that could curb their nationalist racism. His point is certain to resonate across European and non-European contexts where, amid robust xenophobic nationalisms, hate becomes precisely the object of public dispute. Powerful and compelling, The Management of Hate provides a rare and disturbing look inside Germany’s right-wing extremist world, and shines critical light on a German nationhood haunted by its own historical contradictions.

In recent years the revival of the far right and anti-Semitic, racist and fascist organizations has posed a significant threat throughout Europe. Mapping the Extreme Right in Contemporary Europe provides a broad geographical overview of the dominant strands within the contemporary radical right in both Western and Eastern Europe. After providing some local and regional perspectives, the book has a series of national case studies of particular countries and regions including: Austria, Belgium, Bosnia-Herzegovina, Croatia, Eastern Europe, France, Germany, Greece, Italy, Malta, Portugal, Romania, Scandinavia, Serbia, Spain, Switzerland, Turkey, Ukraine and the United Kingdom. A series of thematic chapters examine transnational phenomena such as the use of the Internet, the racist music scene, cultural transfers and interaction between different groups. Drawing together a wide range of contributors, this is essential reading for all those with an interest in contemporary extremism, fascism and comparative party politics.

The fourteen chapters in this anthology feature original analyses of contemporary German-language literary texts, films, political cartoons, cabaret, and other types of performance. The artworks display a wide spectrum of humor modes, such as irony, satire, the grotesque, Jewish humor, and slapstick, as responses to unification with the accompanying euphoria, but also alienation and dislocation. Kerstin Hensel’s Lärchenau, Christoph Hein’s Landnahme, and vignette collections by Jakob Hein (Antrag auf ständige Ausreise und andere Mythen der DDR) and Wladimir Kaminer (Es gab keinen Sex im Sozialismus) are interpreted as examples of the grotesque. The popular films Lola rennt, Sonnenallee, Herr Lehmann, NVA, Alles auf Zucker!, and Mein Führer—Die wirklich wahrste Wahrheit über Adolf Hitler are reexamined through the lens of traditional and more recent humor or comic book theories. The contributors focus on how each artwork enriches four prominent postwall German cultural trends: post-unification identity reconstruction, Vergangenheitsbewältigung (including Hitler humor), New German Popular Literature (Christian Kracht’s ironic subtexts), and immigrant perspectives (a “third voice” in the East-West binary reflected here pointedly in Eulenspiegel cartoons). To date, no other scholarly work provides as comprehensive an overview of the diverse strategies of humor used in the past two decades in German-speaking countries.