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The essays in this volume also address a variety of general questions, concerning - for example -  authorship and textuality; the nature of Brecht’s Marxism in relation to his understanding of modernity, science and Enlightenment reason; Marxist aesthetics; radical cultural politics; and feminist performance theory.","brand":"WoB","offers":[{"title":"GB \/ VERY_GOOD \/ INTERNAL","offer_id":49556567589137,"sku":"GOR013399200","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/904200309X.jpg?v=1768560996"},{"product_id":"nation-of-victims-book-helmut-schmitz-9789042022096","title":"A Nation of Victims?","description":"The re-emergence of the issue of wartime suffering to the fore of German public discourse represents the greatest shift in German memory culture since the Historikerstreit of the 1980s. The (international) attention and debates triggered by, for example, W.G. 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This shift in German memory culture from a focus on responsibility for the Holocaust to a focus on wartime suffering has attracted a lot of critical attention over the past decade, in both Cultural and Literary Studies and History. This volume brings together British, German, Dutch and American scholars from the fields of Cultural Studies, History and Sociology to address the national and international significance of discourses of 'German wartime suffering' in post-war and contemporary Germany. The focus of this interdisciplinary volume is both on the historical roots of the 'Germans as victims' narratives and the forms of their continuing existence in contemporary public memory and culture. The first three sections of this volume explore the conditions of German victim discourses in a variety of media and public arenas from historiography, sociology, literature and film to monuments, civil defence bunkers and local public memory. 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The cultural memory of the RAF past is a useful device to disentangle the complex relationship between terror and the arts. This bond has become a particularly pressing matter in an era of a new, so-called global terrorism when the culture industry is obviously fascinated with terror.  Fourteen scholars of visual cultures and contemporary literature offer in-depth investigations into the artistic process of engaging with West Germany’s era of political violence in the 1970s. The assessments are framed by two essays from historians: one looks back at the previously ignored anti-Semitic context of 1970s terrorism, the other offers a thought-provoking epilogue on the extension of the so-called Stammheim syndrome to the debate on the treatment of prisoners in Guantánamo Bay. 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It explores the diversity of art produced in the state and contests the long-held perception that socialist realism and artistic innovation were mutually exclusive. Crucially, the collection puts art itself to the fore; GDR art is considered not simply as a political by-product, as is so often the case, but as an entity of innovation and aesthetic value in its own right.","brand":"WoB","offers":[{"title":"GB \/ NEW \/ INGRAM","offer_id":52333012877585,"sku":"NLS9789042033412","price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/9789042033412.jpg?v=1768559899"},{"product_id":"german-text-crimes-book-tom-cheesman-9789042036901","title":"German Text Crimes","description":"German Text Crimes offers new perspectives on scandals and legal actions implicating writers of German literature since the 1950s. 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Köhler’s return to the Odyssey takes place under the sign of a grammatical shift, from ‘er’ to ‘sie’, from the singular hero to a plurality of female voices – Nausicaa, Circe, Calypso, Ino Leucothea, Helen and Penelope herself – with implications for thinking about identity, power and knowledge, about gender and relationality, but also about the corporeality and  multivocality which underlies the ‘virtual reality’ of the printed text. 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