Total Work of Art

David Imhoof is Associate Professor of History at Susquehanna University in Selinsgrove, Pennsylvania. His book, Becoming a Nazi Town: Culture and Politics in Goettingen between the World Wars, appeared with University of Michigan Press in 2013. He has published on sports, film, and sharpshooting in interwar Germany. He directs the Music and Sound Studies Network for the German Studies Association.Margaret Eleanor Menninger is NEH Distinguished Teaching Professor in the Humanities and Associate Professor of History at Texas State University. She has published articles on the history of cultural philanthropy in both the United States and Germany, and was a contributor to The Cambridge Wagner Encyclopedia.Anthony J. Steinhoff is Associate Professor of History at the Universite du Quebec a Montreal. A specialist in modern German and French cultural and social history, he is the author of The Gods of the City: Protestantism and Religious Culture in Strasbourg, 1870-1914 (Brill, 2008).

"Contributors are deft in negotiating and teasing out how aspects of the Gesamtkunstwerk shaped the German cultural landscape and at the same time mirrored the changing nature of politics and consumerism. This collection will prove to be an invaluable resource for historians interested in all aspects of German culture." Choice

• List of IllustrationsList of TablesForewordCelia ApplegateAcknowledgementsIntroductionMargaret Eleanor MenningerPART I: FOUNDATIONSChapter 1. The Play's the Thing: Schiller, Wagner, and GesamtkunstwerkNicholas VazsonyiChapter 2. From the Gesamtkunstwerk to the Music DramaSanna PedersonChapter 3. Richard Wagner, Parsifal, and the Pursuit of GesamtkunstwerkAnthony J. SteinhoffPART II: ARTICULATIONSChapter 4. Epic GesamtkunstwerkJoy H. CalicoChapter 5. Gesamtkunstwerk, Gestaltung, and the Bauhaus StageMelissa TriminghamChapter 6. Exposing the Political Gesamtkunstwerk: Hanns Eisler's Nuit et BrouillardAmy Lynn WlodarskiChapter 7. Reconciling the "Three Graceful Hellenic Sisters": Wagner, Dance, and "Song-Ballets", Set to Richard Strauss's Vier letzte LiederWayne Heisler, Jr.PART III: INSPIRATIONSChapter 8. The "Translucent (Not: Transparent)" GesamtglaswerkJenny AngerChapter 9. Quiet Audience, Roaring Crowd: The Aesthetics of Sound and the Traces of Bayreuth in Kuhle Wampe and Triumph of the WillTheodore F. RippeyChapter 10. The Will to Heal: Gesamtkunstwerk and Memorial Music since 1945Julia Goodwin and Margaret Eleanor MenningerChapter 11. Consuming Voices: Musical Film and the Gesamtkunstwerk of Mass CultureDavid ImhoofAfterword: Gesamtkunstwerk as Epistemic SpaceKevin S. AmidonBibliographyIndex