Anne Fuchs – författare

First Published in 1997. Can South African theatre continue to maintain its autonomy and exercise its critical role? Can one rethink form and find new content? Can a concept of post-protest theatre be developed? How might theatre contribute to post-apartheid soceity?  These are just of the questions addressed in this book. The real and present difficulties South Africian theatre is facing, as well as possible future orientations, are clearly shown, at one of the most complex moments of political transition in the history of the South African society.  The authors include contributions from playwrights, actors, visual artists, poets, directors, administrators, critics and theatre academics. Their comments and thoughts portray the active process of reflection and reappraisal, redefining their artistic and political aims, searching for new and vital theatrical forms.

First Published in 1997. Can South African theatre continue to maintain its autonomy and exercise its critical role? Can one rethink form and find new content? Can a concept of post-protest theatre be developed? How might theatre contribute to post-apartheid soceity?  These are just of the questions addressed in this book. The real and present difficulties South Africian theatre is facing, as well as possible future orientations, are clearly shown, at one of the most complex moments of political transition in the history of the South African society.  The authors include contributions from playwrights, actors, visual artists, poets, directors, administrators, critics and theatre academics. Their comments and thoughts portray the active process of reflection and reappraisal, redefining their artistic and political aims, searching for new and vital theatrical forms.

Time in German Literature and Culture, 1900 – 2015 is an interdisciplinary volume that explores the social, psychological, and historical impact of acceleration through the medium of culture. New interpretations of modernist and contemporary works of literature, visual art, architecture, film and popular culture highlight the wide range of cultural responses to social acceleration. In so doing, they call into question dominant theories of acceleration, which can be excessively totalising and pessimistic.The volume includes original readings of works by classic modernist authors Franz Kafka, Thomas Mann, Robert Musil, Peter Altenberg and Robert Walser; contemporary writers Angela Krauss, Clemens Meyer, Wolfgang Herrndorf and Karen Duve; filmmaker Christian Petzold; artists Wassily Kandinsky and Umberto Boccioni; and photographers Umbo, Gyorgy Kepes and Paul Schuitema. This exciting volume shows that cultural expressions of and responses to acceleration are varied, and offer the spaces of resistance to the ongoing onward rush of our twenty-first-century lives.

Framing Ageing, available open access, addresses scholars from across the Humanities and Social Sciences who want to approach the urgent topic of old age in their work, mapping the intellectual state of the field and putting the most salient concepts in action.Bringing together established and emerging scholars of old age from the humanities and social sciences as well as gerontologists and medical practitioners, this open access book showcases new scholarship and provides new methods and terms for ongoing conversations about old age as an object of analysis in contemporary culture.Cultural policy makers and scholars alike regularly describe a “visibility crisis” of old age, a consistent erasure or repression of images of older people from public view. Co-edited by an art historian and two literary scholars with a shared interest in memory, Framing Ageing examines the in/visibility of old age from a range of disciplinary angles, including philosophy, social history, comparative literature and anthropology. In addition to examining literary texts, this volume includes a chapter in graphic form and carries out innovative analyses of film, the built environment, fine art and commercial images.The ebook editions of this book are available open access under a CC BY 4.0 licence on bloomsburycollections.com. Open access was funded by The Wellcome Trust.

Framing Ageing, available open access, addresses scholars from across the Humanities and Social Sciences who want to approach the urgent topic of old age in their work, mapping the intellectual state of the field and putting the most salient concepts in action.Bringing together established and emerging scholars of old age from the humanities and social sciences as well as gerontologists and medical practitioners, this open access book showcases new scholarship and provides new methods and terms for ongoing conversations about old age as an object of analysis in contemporary culture.Cultural policy makers and scholars alike regularly describe a “visibility crisis” of old age, a consistent erasure or repression of images of older people from public view. Co-edited by an art historian and two literary scholars with a shared interest in memory, Framing Ageing examines the in/visibility of old age from a range of disciplinary angles, including philosophy, social history, comparative literature and anthropology. In addition to examining literary texts, this volume includes a chapter in graphic form and carries out innovative analyses of film, the built environment, fine art and commercial images.The ebook editions of this book are available open access under a CC BY 4.0 licence on bloomsburycollections.com. Open access was funded by The Wellcome Trust.

In Precarious Times, Anne Fuchs explores how works of German literature, film, and photography reflect on the profound temporal anxieties precipitated by contemporary experiences of atomization, displacement, and fragmentation that bring about a loss of history and of time itself and that is peculiar to our current moment.The digital age places premiums on just-in-time deliveries, continual innovation, instantaneous connectivity, and around-the-clock availability. While some celebrate this 24/7 culture, others see it as profoundly destructive to the natural rhythm of day and night—and to human happiness. Have we entered an era of a perpetual present that depletes the future and erodes our grasp of the past?Beginning its examination around 1900, when rapid modernization was accompanied by comparably intense reflection on changing temporal experience, Precarious Times provides historical depth and perspective to current debates on the "digital now." Expanding the modern discourse on time and speed, Fuchs deploys such concepts as attention, slowness and lateness to emphasize the uneven quality of time around the world.

Fresh articles about a much neglected genre, fiction from and about the Jewish ghetto.Throughout the 19th and early 20th centuries ghetto fiction played an important part in the expression of a particularly German-Jewish quest for identity. The volume Ghetto Writing takes the occasion of the 150th anniversary of the publication of Leopold Kompert's collection of ghetto stories Aus dem Ghetto (1848) to fill a gap and give testimony to an important genre that has been unduly silenced in the literary histories of the post-war period. The volume presents some 15 articles by scholars from Scandinavia, Germany, Great Britain, and Ireland whose contributions offer new analyses of ghetto writing by well known authors such as Heinrich Heine and Joseph Roth, andcompletely new material on forgotten ghetto writers who deserve to be rediscovered, such as Alexander Granach. The articles cover various types of ghetto writing, ranging from ghetto fiction in the tradition of Leopold Kompert and Karl Emil Franzos, to diaries, travelogues, autobiography, and even contemporary German HipHop and Rap lyrics.

Essays shedding light on the increasingly open cultural debate on the German past.Since unification in 1990, Germany has seen a boom in the confrontation with memory, evident in a sharp increase in novels, films, autobiographies, and other forms of public discourse that engage with the long-term effects of National Socialism across generations. Taking issue with the concept of "Vergangenheitsbewältigung," or coming to terms with the Nazi past, which after 1945 guided nearly all debate on the topic, the contributors to this volume view contemporary German culture through the more dynamic concept of "memory contests," which sees all forms of memory, public or private, as ongoing processes of negotiating identity in the present. Touching on gender, generations, memory and postmemory, trauma theory, ethnicity, historiography, and family narrative, the contributions offer a comprehensive picture of current German memory debates, in so doing shedding light on the struggle to construct a Germanidentity mindful of but not wholly defined by the horrors of National Socialism and the Holocaust. Contributors: Peter Fritzsche, Anne Fuchs, Elizabeth Boa, Stefan Willer, Chloe E. M. Paver, Matthias Fiedler, J. J. Long, Dagmar C. G. Lorenz, Cathy S. Gelbin, Jennifer E. Michaels, Mary Cosgrove, Andrew Plowman, Roger Woods.Anne Fuchs is Professor of Modern German literature and Georg Grote is Lecturer in German history, both at University College Dublin. Mary Cosgrove is Lecturer in German at the University of Edinburgh.

Interdisciplinary views of the debates over and transformation of German cultural identity since unification.The events of 1989 and German unification were seismic historical moments. Although 1989 appeared to signify a healing of the war-torn history of the twentieth century, unification posed the question of German cultural identity afresh. Politicians, historians, writers, filmmakers, architects, and the wider public engaged in "memory contests" over such questions as the legitimacy of alternative biographies, West German hegemony, and the normalization of German history. This dynamic, contested, and still ongoing transformation of German cultural identity is the topic of this volume of new essays by scholars from the United Kingdom, Germany, the United States, and Ireland. It exploresGerman cultural identity by way of a range of disciplines including history, film studies, architectural history, literary criticism, memory studies, and anthropology, avoiding a homogenized interpretation. Charting the complex and often contradictory processes of cultural identity formation, the volume reveals the varied responses that continue to accompany the project of unification.Contributors: Pertti Ahonen, Aleida Assmann, Elizabeth Boa,Peter Fritzsche, Anne Fuchs, Deniz Göktürk, Kathleen James-Chakraborty, Anja K. Johannsen, Jennifer A. Jordan, Jürgen Paul, Linda Shortt, Andrew J. Webber. Anne Fuchs is Professor of German Literature at the University of St.Andrews, Scotland. Kathleen James-Chakraborty is Professor of Art History at University College Dublin, Ireland. Linda Shortt is Lecturer in German at Bangor University, Wales.

Memory and culture are terms which are now fashionable, if not over-used, but they need careful handling. This book explores their use in a variety of contexts: in European creative writing, in the spheres of national celebration, mourning, and administration of the arts, and in concepts of translation and history. The editors’ introduction maps the surrounding theoretical terrain, and each of the following twenty-two essays explores related issues within the specific brief of a local context, whether in France, Germany, Ireland, Italy or Spain, organized under five thematic lines of enquiry: Memory as Counter-History, Narrativity and Remembering, Locating Memory, Remembering and Renewal, Remembering as Trauma.Coming into prominence after the Holocaust and the fall of European dictatorships, studies in Cultural Memory have been fuelled by the works of Walter Benjamin, Aby Warburg, the rediscovery of Maurice Halbwachs, and more recently by Pierre Nora’s notion of ‘sites of memory’. Furthermore, they have benefited from the reflections of a range of contemporary theorists in this area, including Paul Ricœur, Michel de Certeau and Jan Assman. The studies in this volume, however, go beyond the present to show how, in earlier times, the devices of memory and commemoration were exploited both for and against the state. Within the sphere of the present, the expression of memory in narrative is shown to be an essential source of inspiration for the creative writer, discovering renewal in a sense of loss.

Seminar paper from the year 2002 in the subject English Language and Literature Studies - Linguistics, grade: 1,3, Ruhr-University of Bochum, language: English, abstract: In 1967 Eric Heinz Lenneberg established his groundbreaking work "e;Biological Foundations of Language"e; in which he tries to push the biological view on language forward. One important point that is discussed is "e;language in the context of growth and maturation"e;. The Critical Period Hypothesis (CPH) is the essence of this considerations. Lenneberg tries to find evidence for his theory in the study of retarded, aphasic or deaf children and in neurological studies. But at this time the most striking proof for the CPH, Genie, was still imprisoned in a small room in her parents home. Three years after Lenneberg published his work on the CPH, 13 years-old Genie was recovered by an eligibility worker and her case rapidly aroused the interest of neurologists, psychologists and linguists. Susan Curtiss, a graduate student of the UCLA Linguistic Department got the possibility to work with Genie for the years to come. Her work Genie - A Psycholinguistic Study of a Modern-Day 'Wild Child' compiles her experiences on working with Genie added by a detailed case history. What Susan Curtiss found out about Genie's linguistic development seems to be the evidence for the existence of a critical phase for first language acquisition. This paper gives a brief definition of Lenneberg's Critical Period Hypothesis, summarizes the case history and the data of Genie's linguistic development and, according to Susan Curtiss, relates Genie's case directly to the CPH. Over and above that, it tries to explain, why Genie developed a certain amount of language and with this proved the 'strong' version of Lenneberg's hypothesis as wrong.

Seminar paper from the year 2004 in the subject English Language and Literature Studies - Literature, grade: 2,3, Ruhr-University of Bochum, language: English, abstract: Why did I choose Mitchell's story? Superficially because it's very easy to get into the story and entertaining to go on, not only because of the colloquial style but also because of the exciting plot, which casts a spell over the reader - but in the final analysis, it was because there hides a complex story under the trivial appearing surface in David Mitchell's 'The January Man'. In this assignment I release the view on the hidden characteristics and special qualities of this story by first interpreting it within the individual paragraphs, then by examining the aspects relevant for the whole story to categorize David Mitchell's story on the basis of my insights and in relation to Modernist, Postmodernist and Contemporary Short Stories.

First Published in 1997. Can South African theatre continue to maintain its autonomy and exercise its critical role? Can one rethink form and find new content? Can a concept of post-protest theatre be developed? How might theatre contribute to post-apartheid soceity?  These are just of the questions addressed in this book. The real and present difficulties South Africian theatre is facing, as well as possible future orientations, are clearly shown, at one of the most complex moments of political transition in the history of the South African society.  The authors include contributions from playwrights, actors, visual artists, poets, directors, administrators, critics and theatre academics. Their comments and thoughts portray the active process of reflection and reappraisal, redefining their artistic and political aims, searching for new and vital theatrical forms.