Literature And Censorship In Restoration Germany

The effects -- both inhibitory and creative -- of the 1819-1848 censorship on German-language literary writing. In 1819, the German Confederation promulgated the infamous "Carlsbad Decrees," establishing censorship standards aimed at thwarting the political aspirations of post-Napoleonic Germany's rapidly emerging public sphere. This most comprehensive system of state censorship to that point in German lands remained in place until the revolutions of 1848, and is widely acknowledged to have had a profound influence on public discourse. However, although censorship during the period has been the object of much scholarly interest, little is known about its precise effects on literary writing. This book redresses that situation through detailed studies of six works composed and published in different parts of the Confederation by three prominent writers: Christian Dietrich Grabbe, Heinrich Heine, and Franz Grillparzer. By analyzing successive versions of these works, the study illustrates the thematic, linguistic, and aesthetic constraints censorship placed upon their writing, as well as the variety of literary evasion strategies that it stimulated. It demonstrates that while censorship inhibited and distorted German literary writing, it also led to the emergence of distinctively complex and inventive modes of literary expression that came to mark the epoch. Katy Heady received her PhD in German from the University of Sheffield in 2007.

Imperial Germany's governing elite frequently sought to censor literature that threatened established political, social, religious, and moral norms in the name of public peace, order, and security. It claimed and exercised a prerogative to intervene in literary life that was broader than that of its Western neighbors, but still not broad enough to prevent the literary community from challenging and subverting many of the social norms the state was most determined to defend. This study is the first systematic analysis in any language of state censorship of literature and theater in imperial Germany (1871-1918). To assess the role that formal state controls played in German literary and political life during this period, it examines the intent, function, contested legal basis, institutions, and everyday operations of literary censorship as well as its effectiveness and its impact on authors, publishers, and theater directors.

In Censorship in Colonial Indonesia, 1901–1942 Nobuto Yamamoto traces the institutionalization of print censorship in the Netherlands Indies, specifically the interplay between the emergent nationalist movement and the censoring apparatus put in place to contain it.

Few people associate law books with humor. Yet the legal world--in particular the American legal system--is itself frequently funny. Indeed, jokes about the profession are staples of American comedy. And there is actually humor within the world of law too: both lawyers and judges occasionally strive to be funny to deal with the drudgery of their duties. Just as importantly, though, our legal system is a strong regulator of humor. It encourages some types of humor while muzzling or punishing others. In a sense, law and humor engage a two-way feedback loop: humor provides the raw material for legal regulation and legal regulation inspires humor. In Guilty Pleasures, legal scholar Laura Little provides a multi-faceted account of American law and humor, looking at constraints on humor (and humor's effect on law), humor about law, and humor in law. In addition to interspersing amusing episodes from the legal world throughout the book, the book contains 75 New Yorker cartoons about lawyers and a preface by Bob Mankoff, the cartoon editor for the New Yorker.

This volume has its starting point in the veritable explosion of serialized formats in all of forms representation, from painting to printing, beginning in the mid nineteenth century and the well-known fascination with series in biology, mathematics, music, art, or literature. The new media culture of the late nineteenth century, very much shaped by these serialized formats, sees itself confronted with questions of truthfulness in new and profound ways, just as perhaps the accelerated rhythm, anonymity, and broadened accessibility of new media today have created new possibilities for the dissemination of misinformation and, conversely, give us cause to interrogate anew our notions of truthfulness. By examining both the formal operations of both aesthetic and scientific objects in a series form, and the historical context of their publication or presentation, the contributions in this volume examine the often strained, but yet immensely productive relationship between the way in which a series negotiates questions of truthfulness: both by reference to the rules established in its series form or by means of its serial format. This volume provides ten detailed cases of the series form from the history of science and journalism, and the history of painting, photography, and literature as well.

German colonialism is a thriving field of study. From North America to Japan, within Germany, Austria and Switzerland, scholars are increasingly applying post-colonial questions and methods to the study of Germany and its culture. However, no introduction on this emerging field of study has combined political and cultural approaches, the study of literature and art, and the examination of both metropolitan and local discourses and memories. This book will fill that gap and offer a broad prelude, of interest to any scholar and student of German history and culture as well as of colonialism in general. It will be an indispensable tool for both undergraduate and postgraduate teaching. .

Germany's Rude Awakening depicts the rise and fall of censorship in the age of the Brothers Grimm and Prince Metternich. Focusing on the Grimm's homeland of Hesse-Cassel, Frederik Ohles illustrates how censorship first awakened to the challenge posed by new political forces and literary forms, then lost its effectiveness as more and more Germans read and wrote what they wanted, finding ways to evade both censors and police. Ohles examines actual practices, looking beyond the legislation of the German Confederation and the pronouncements of Prince Metternich. He explores the effects of the laws on the censors' work, analyzes the political influence of Prussia and Austria on the Principality of Hesse (situated at the crossroads of the German Confederation), and interprets the results of censorship on literature, politics, the book trade, and public and private life. In telling the story of a momentous struggle between old and new views of politics and literature, he shows that while censorship became a public issue in eighteenth-century Germany, it failed as a policing institution. Ohles's extensive research includes police archives, early issues of the bookdealers' gazette published in Marburg, recollections of the Brothers Grimm, the Hessian collection of artistic and scholarly memoirs, and travelers' accounts. The result is a work that will appeal to specialists in nineteenth-century German history and literature as well as historians of censorship, publishing, and German political culture. It also complements current historical debates about communications, public culture, and the modernization of bureaucracy.

Develops a holistic and gender-aware understanding of Clara Schumann as pianist, composer and teacher in nineteenth-century Germany.