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This year's volume is highlighted by a special section on Goethe's narrative events in addition to a range of other articles from emerging and established scholars.

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New essays exploring the surging field of experimental film in today's Germany and Austria.

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Offers not only an analytical study of the films of Herzog, perhaps the most famous living German filmmaker, but also a new reading of Romanticism's impact beyond the nineteenth century and in the present.

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Scholars have debated the role of the occult in Nazism since it first appeared on the German political landscape in the 1920s. After 1945, a consensus held that occultism - an ostensibly anti-modern, irrational blend of pseudo-religious and -scientific practices and ideas - had directly facilitated Nazism's rise. More recently, scholarly debate has denied the occult a role in shaping the Third Reich, emphasizing the Nazis' hostility to esoteri...

On the assumption that John Updike was correct when he asserted, in a 1978 letter to Joyce Carol Oates, that "Nobody can read like a writer, " Why I Like This Story presents brief essays by forty-eight leading American writers on their favorite short stories, explaining why they like them. The essays, which are personal, not scholarly, not only tell us much about the story selected, they also tell us a good deal about the author of the essay, ...

The first cohesive Faust narrative in facsimile form, German transcription, and (first-ever) English translation, plus a history of Faust illustrations and an assessment of Faust's historicity.

Views adaptations as a way in which Germany seeks to come to terms with its past.

A comprehensive survey of German literary writers' political writing and involvement since 1945.

The topic of "Kafka after Kafka" is a fascinating one: the engagement of artists, philosophers, and critics in dialogical exchange with Kafka's works. The present collection of new essays highlights the engagement of lesser knownartists and commentators with Kafka, and represents those who are well known, such as Arendt, Blanchot, Nabokov, and Coetzee, from new perspectives. The eleven essays contained here represent the most recent scholarly ...

Maria von Trapp, watching the final scene of The Sound of Music for the first time as "her" family escaped into Switzerland, exclaimed, "Don't they know geography in Hollywood? Salzburg does not border on Switzerland!" Hadshe thought about the beginning of the film, which transports viewers to "Salzburg, Austria in the last Golden Days of the Thirties, " when the country was in fact suffering from extreme political and social unrest, she might...