Includes Part 1, Books, Group 1, Nos. 1-155 (March - December, 1934)

This book explores the poetic articulations of a shift from a transcendent to an immanent worldview, as reflected in the manner of evaluation of body and soul in Goethe’s Faust and Ḥāfiẓ’ Divan. Focusing on two lifeworks that illustrate their authors’ respective intellectual histories, this cross-genre study goes beyond the textual confines of the two poets’ Divans to compare important building blocks of their intellectual worlds.

Primitivism versus modernity: the expressionist dilemma - Politics of primitivism - Brucke bathers: back to nature - Max Pechstein's visionary ideas - Emil Nolded.

This book, the first full critical overview of the film avant-garde, ushers in a new approach—and in the process creates its own subject. While many books have studied particular aspects of the European film avant-garde of the 1920s and 1930s, Moving Forward, Looking Back provides a much-needed summary of the theory and practice of the movement, while also emphasizing aspects of the period that have been overlooked. Arguing that a European perspective is the only way to understand the transnational movement, the book also pioneers a new approach to the alternative cinema network that sustained the avant-garde, paying particular attention to the emergence of film culture as visible in screening clubs, film festivals, and archives. It will be essential to anyone interested in the influential movement and the film culture it created.

For centuries the Hebrew Bible has been the fountainhead of the Judeo-Christian tradition. Today, however, the entire biblical tradition, including its historical veracity, is being challenged. Leading this assault is a group of scholars described as the "minimalist" or "revisionist" school of biblical studies, which charges that the Hebrew Bible is largely pious fiction, that its writers and editors invented "ancient Israel" as a piece of late Jewish propaganda in the Hellenistic era. In this fascinating book noted Syro-Palestinian archaeologist William G. Dever attacks the minimalist position head-on, showing how modern archaeology brilliantly illuminates both life in ancient Palestine and the sacred scriptures as we have them today. Assembling a wealth of archaeological evidence, Dever builds the clearest, most complete picture yet of the real Israel that existed during the Iron Age of ancient Palestine (1200 600 B.C.). Dever's exceptional reconstruction of this key period points up the minimalists' abuse of archaeology and reveals the weakness of their revisionist histories. Dever shows that ancient Israel, far from being an "invention," is a reality to be discovered. Equally important, his recovery of a reliable core history of ancient Israel provides a firm foundation from which to appreciate the aesthetic value and lofty moral aspirations of the Hebrew Bible.

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.