Hystericizing Germany

The essays in this book trace the origins of ongoing heated debates regarding trauma.

"Repp combines detailed case studies of Adolf Damaschke, Gertrud Baumer, and Werner Sombart with an innovative prosopography of their milieu to show how leading reformers enlisted familiar tropes of popular nationalism, eugenics, and cultural pessimism in formulating pragmatic solutions that would be at once modern and humane."--BOOK JACKET.

Rainer Werner Fassbinder's fourteen-part Berlin Alexanderplatz, broadcast on German television in 1980, is a pivotal work in the artist's oeuvre. The 1929 novel by Alfred Döblin, a subproletarian apocalypse set in the Weimar Republic, provided Fassbinder with material to historicize the avant-garde of the 1920s and redetermine the relationship between utopianism and popular address. While Döblin created his protagonist to be a hysteric, Fassbinder wanted to hystericize the viewer. In this work, along with others from the same period, Fassbinder established a Jewish-German mirror rotating on the axis of the Holocaust. In Hystericizing Germany, Manfred Hermes provides an excursive analysis of the potential of narration within the paradoxes of cinematic representation, with Fassbinder's miniseries forming both beginning and end point.

Around 1900, German and Austrian actresses had allure and status, apparent autonomy, and unconventional lifestyles. They presented a complex problem socially and aesthetically, one tied to the so-called Woman Question and to the contested status of modernity. For modernists, the actress's socioeconomic mobility and defiance of gender norms opened space to contest social and moral strictures, and her mutability offered a means to experiment with identity. For conservatives, on the other hand, female performance could support antifeminist convictions and validate masculine authority by positing woman as nothing but a false surface shaped by productive male forces. Influential male-authored texts from the period thereby disavowed female subjectivity per se by equating "woman" and "actress." S. E. Jackson establishes the actress as a key figure in a discursive matrix surrounding modernity, gender, and subjectivity. Her central argument is that because the figure of the actress bridged such varied fields of thought, women who were actresses had a consequential impact that resonated in and far beyond the theater - but has not been explored. Examining archival sources such as theater reviews and writing by actresses in direct relation to canonical aesthetic and philosophical texts, The Problem of the Actress reconstructs the constitutive role that womenplayed on and off the stage in shaping not only modernist theater aesthetics and performance practices, but also influential strains of modern thought.

In German Cinema – Terror and Trauma Since 1945, Thomas Elsaesser reevaluates the meaning of the Holocaust for postwar German films and culture, while offering a reconsideration of trauma theory today. Elsaesser argues that Germany's attempts at "mastering the past" can be seen as both a failure and an achievement, making it appropriate to speak of an ongoing 'guilt management' that includes not only Germany, but Europe as a whole. In a series of case studies, which consider the work of Konrad Wolf, Alexander Kluge, Rainer Werner Fassbinder, Herbert Achterbusch and Harun Farocki, as well as films made in the new century, Elsaesser tracks the different ways the Holocaust is present in German cinema from the 1950s onwards, even when it is absent, or referenced in oblique and hyperbolic ways. Its most emphatically "absent presence" might turn out to be the compulsive afterlife of the Red Army Faction, whose acts of terror in the 1970s were a response to—as well as a reminder of—Nazism’s hold on the national imaginary. Since the end of the Cold War and 9/11, the terms of the debate around terror and trauma have shifted also in Germany, where generational memory now distributes the roles of historical agency and accountability differently. Against the background of universalized victimhood, a cinema of commemoration has, if anything, confirmed the violence that the past continues to exert on the present, in the form of missed encounters, retroactive incidents, unintended slippages and uncanny parallels, which Elsaesser—reviving the full meaning of Freud’s Fehlleistung—calls the parapractic performativity of cultural memory.

Taking a broad approach to a wide variety of Latin@ and Latin American music traditions, Experimentalisms in Practice challenges traditional notions of what has been considered experimental, and provides new points of entry to reevaluate modern and avant-garde music studies.

From intimate portrayals of ordinary Germans and Nazi leaders to immersive spectacles of war and defeat, this study argues that, since 1990, German film has focused on portraying the Nazi past from within.

The Nazis never won a majority in free elections, but soon after Hitler took power most people turned away from democracy and backed the Nazi regime. Hitler won growing support even as he established the secret police (Gestapo) and concentration camps. What has been in dispute for over fifty years is what the Germans knew about these camps, and in what ways were they involved in the persecution of 'race enemies', slave workers, and social outsiders. To answer these questions, and to explore the public sides of Nazi persecution, Robert Gellately has consulted an array of primary documents. He argues that the Nazis did not cloak their radical approaches to 'law and order' in utter secrecy, but played them up in the press and loudly proclaimed the superiority of their system over all others. They publicized their views by drawing on popular images, cherished German ideals, and long held phobias, and were able to win over converts to their cause. The author traces the story from 1933, and shows how war and especially the prospect of defeat radicalized Nazism. As the country spiralled toward defeat, Germans for the most part held on stubbornly. For anyone who contemplated surrender or resistance, terror became the order of the day.