Julian Preece – författare

Franz Kafka''s writing has had a wide-reaching influence on European literature, culture and thought. The Cambridge Companion to Kafka, offers a comprehensive account of his life and work, providing a rounded contemporary appraisal of Central Europe''s most distinctive Modernist. Contributions cover all the key texts, and discuss Kafka''s writing in a variety of critical contexts such as feminism, deconstruction, psycho-analysis, Marxism, Jewish studies. Other chapters discuss his impact on popular culture and film. The essays are well supported by supplementary material including a chronology of the period and detailed guides to further reading, and will be of interest to students of German, European and Comparative Literature, Jewish Studies.

Franz Kafka's writing has had a wide-reaching influence on European literature, culture and thought. The Cambridge Companion to Kafka, offers a comprehensive account of his life and work, providing a rounded contemporary appraisal of Central Europe's most distinctive Modernist. Contributions cover all the key texts, and discuss Kafka's writing in a variety of critical contexts such as feminism, deconstruction, psycho-analysis, Marxism, Jewish studies. Other chapters discuss his impact on popular culture and film. The essays are well supported by supplementary material including a chronology of the period and detailed guides to further reading, and will be of interest to students of German, European and Comparative Literature, Jewish Studies.

Franz Kafka's writing has had a wide-reaching influence on European literature, culture and thought. The Cambridge Companion to Kafka, offers a comprehensive account of his life and work, providing a rounded contemporary appraisal of Central Europe's most distinctive Modernist. Contributions cover all the key texts, and discuss Kafka's writing in a variety of critical contexts such as feminism, deconstruction, psycho-analysis, Marxism, Jewish studies. Other chapters discuss his impact on popular culture and film. The essays are well supported by supplementary material including a chronology of the period and detailed guides to further reading, and will be of interest to students of German, European and Comparative Literature, Jewish Studies.

Franz Kafka''s writing has had a wide-reaching influence on European literature, culture and thought. The Cambridge Companion to Kafka, offers a comprehensive account of his life and work, providing a rounded contemporary appraisal of Central Europe''s most distinctive Modernist. Contributions cover all the key texts, and discuss Kafka''s writing in a variety of critical contexts such as feminism, deconstruction, psycho-analysis, Marxism, Jewish studies. Other chapters discuss his impact on popular culture and film. The essays are well supported by supplementary material including a chronology of the period and detailed guides to further reading, and will be of interest to students of German, European and Comparative Literature, Jewish Studies.

Sex has always been cinema’s most contested territory. Adapting Sex on Screen traces that battle through three once scandalous source texts: Leopold von Sacher-Masoch’s Venus in Furs (1870), Arthur Schnitzler’s La Ronde (1900), and Frank Wedekind’s Lulu plays (1895–1904), following the history of their reception from fin de siècle Central Europe to the USA in the twenty-first century, with a focus on their screen adaptations.Julian Preece shows how directors such as Max Ophüls, G. W. Pabst, and Roman Polanski tested understanding of transgression, whether in the Weimar Republic, under the Hays Production Code, or in the shadow of AIDS and the wake of second-wave feminism. His broad international corpus ranges from heritage cinema to arthouse and exploitation to Hollywood, allowing him to explore the contradictions between commodification and critique, and chart evolving attitudes towards alternative sexualities and minorities. Preece blends adaptation and translation studies with transatlantic cultural history to show how filmmakers have both reflected and shaped social change, from the first Lulu film made in Germany in 1917 to the most recent La Ronde, made in New York precisely one hundred years later.

Sex has always been cinema's most contested territory. Adapting Sex on Screen traces that battle through three once scandalous source texts: Leopold von Sacher-Masoch's Venus in Furs (1870), Arthur Schnitzler's La Ronde (1900), and Frank Wedekind's Lulu plays (1895 1904), following the history of their reception from fin de si cle Central Europe to the USA in the twenty-first century, with a focus on their screen adaptations.Julian Preece shows how directors such as Max Oph ls, G. W. Pabst, and Roman Polanski tested understanding of transgression, whether in the Weimar Republic, under the Hays Production Code, or in the shadow of AIDS and the wake of second-wave feminism. His broad international corpus ranges from heritage cinema to arthouse and exploitation to Hollywood, allowing him to explore the contradictions between commodification and critique, and chart evolving attitudes towards alternative sexualities and minorities. Preece blends adaptation and translation studies with transatlantic cultural history to show how filmmakers have both reflected and shaped social change, from the first Lulu film made in Germany in 1917 to the most recent La Ronde, made in New York precisely one hundred years later.

Sex has always been cinema's most contested territory. Adapting Sex on Screen traces that battle through three once scandalous source texts: Leopold von Sacher-Masoch's Venus in Furs (1870), Arthur Schnitzler's La Ronde (1900), and Frank Wedekind's Lulu plays (1895 1904), following the history of their reception from fin de si cle Central Europe to the USA in the twenty-first century, with a focus on their screen adaptations.Julian Preece shows how directors such as Max Oph ls, G. W. Pabst, and Roman Polanski tested understanding of transgression, whether in the Weimar Republic, under the Hays Production Code, or in the shadow of AIDS and the wake of second-wave feminism. His broad international corpus ranges from heritage cinema to arthouse and exploitation to Hollywood, allowing him to explore the contradictions between commodification and critique, and chart evolving attitudes towards alternative sexualities and minorities. Preece blends adaptation and translation studies with transatlantic cultural history to show how filmmakers have both reflected and shaped social change, from the first Lulu film made in Germany in 1917 to the most recent La Ronde, made in New York precisely one hundred years later.

“Brisk [and] forceful.” Sight & Sound"Lucidly argued.” Total FilmMargarethe von Trotta and Volker Schlöndorff’s The Lost Honour of Katharina Blum (1975) was a pivotal film for the New German Cinema movement. Julian Preece considers what makes Katharina Blum new and radical, in particular in respect of women’s cinema and its portrayal of the ordeal of its female lead in a world run by men. Drawing on archival material including drafts of the screenplay, brochures and props, reviews and interviews, Preece traces the conception of the film and its development from Heinrich Böll’s original novel.Preece analyses how the film continues to resonate with our contemporary moment and has influenced film-makers from the German-Turkish director Fatih Akin to the British screenwriter Peter Morgan.

“Brisk [and] forceful.” Sight & Sound"Lucidly argued.” Total FilmMargarethe von Trotta and Volker Schlöndorff''s The Lost Honour of Katharina Blum (1975) was a pivotal film for the New German Cinema movement. Julian Preece considers what makes Katharina Blum new and radical, in particular in respect of women''s cinema and its portrayal of the ordeal of its female lead in a world run by men. Drawing on archival material including drafts of the screenplay, brochures and props, reviews and interviews, Preece traces the conception of the film and its development from Heinrich Böll''s original novel.Preece analyses how the film continues to resonate with our contemporary moment and has influenced film-makers from the German-Turkish director Fatih Akin to the British screenwriter Peter Morgan.

“Brisk [and] forceful.” Sight & Sound"Lucidly argued.” Total FilmMargarethe von Trotta and Volker Schlöndorff''s The Lost Honour of Katharina Blum (1975) was a pivotal film for the New German Cinema movement. Julian Preece considers what makes Katharina Blum new and radical, in particular in respect of women''s cinema and its portrayal of the ordeal of its female lead in a world run by men. Drawing on archival material including drafts of the screenplay, brochures and props, reviews and interviews, Preece traces the conception of the film and its development from Heinrich Böll''s original novel.Preece analyses how the film continues to resonate with our contemporary moment and has influenced film-makers from the German-Turkish director Fatih Akin to the British screenwriter Peter Morgan.

Andreas Dresen is a leading European filmmaker whose œuvre now spans three decades and includes some of the most acclaimed German films of recent times, such as Halbe Treppe (Grill Point, 2002), Sommer vorm Balkon (Summer in Berlin, 2005) and Halt auf freier Strecke (Stopped on Track, 2011). The essays collected in this volume by leading scholars from the USA, UK and Ireland place him in the tradition of auteur cinema while emphasising his roots in the pre-1990 film industry of DEFA in the GDR. Dresen works with an established team of performers, technicians and scriptwriters, uses improvisation and non-professional actors, and makes music and song an integral component of many of his films. He is a scholar-filmmaker who pushes at the boundaries of his chosen modes and genres (documentary, neo-realism, films about films or literary adaptation); he is socially committed, casting a Brechtian eye on interpersonal encounters in neoliberal environments; and he is always interested to tell universal stories from the localities he knows best, the working-class milieus of Germany’s east.

In German-speaking Europe, as in other parts of the western world, questions of religious identity have been discussed with sudden urgency since the attacks of ‘9/11’. Nowhere was this clearer than in the heated controversy over the building of a mosque in the city of Cologne, which is the subject of Michael Hofmann’s contribution to this volume. Turkish Germans have also found themselves defined by the religious background of their parents. For different reasons German Jews have faced pressure to reconnect with a religion that their forbears cast off sometimes more than a century ago. At the same time religious belief among the nominally Christian majority has been in retreat. These changes have generated poetry, drama, and fiction as well as a number of films by both well-known and emerging authors and filmmakers. Their works sometimes reflect but more often challenge debates taking place in politics and the media. The essays in this volume explore a range of genres which engage with religion in contemporary Germany and Austria. They show that literature and film express nuances of feeling and attitude that are eclipsed in other, more immediately influential discourses. Discussion of these works is thus essential for an understanding of the role of religion in forming identity in contemporary multicultural German-speaking societies. This volume contains eight chapters in English and six in German.

In the year that Europe commemorates the centenary of the outbreak of World War I and the European Union faces a crisis of legitimacy, the national question is once again being posed across the Continent. This volume assesses how contemporary German-language writers and filmmakers have approached this troubled question over the last decade. It addresses whether the collective entity known as Germany should more properly be conflated with the Federal Republic, with its successful sixty-five-year history (‘the best Germany we have ever had’), rather than the ‘nation’ with all its tainted connotations and corrupted concepts such as ‘Vaterland’. Contemporary Germany is a product not only of its history up to 1945 but also of the process of understanding that history and acting upon that understanding since the defeat of National Socialism. Each of the sixteen essays collected here illuminates a different segment of a bigger picture, whose shape and shades are themselves evolving. Presented as a whole their purpose is to provoke further discussion among observers of the contemporary German-speaking scene.In dem Jahr, in dem Europa den 100. Jahrestag des Ausbruchs des Ersten Weltkriegs begeht, und die Europäische Union eine Legitimitätskrise durchmacht, stellt sich in ganz Europa wieder einmal die ‘nationale Frage’. Dieser Band zeigt Antworten von deutschsprachigen Autoren und Filmemachern aus den letzten zehn Jahren. Es wird gefragt, ob es nicht passender wäre, das unter dem Namen ‘Deutschland’ firmierende Kollektiv als ‘Bundesrepublik’ zu erfassen, und somit die Idee der ‘Nation’ mit all seinen Brüchen – bis hin zum verpönten ‘Vaterland’ – zu verabschieden. ‘Das beste Deutschland, das es je gegeben hat’ zeichnet immerhin eine Erfolgsgeschichte seit 65 Jahren. Das heutige Deutschland ist ohne Zweifel ein Produkt seiner Geschichte bis 1945, aber auch von Prozessen des Verstehens und der Verständigung über diese Geschichte seit dem Ende des Nationalsozialismus. Jeder der sechzehn Beiträge in diesem Band beleuchtet ein Fragment eines größeren Bilds, das selbst ständig im Umbruch ist. Als Ganzes sollen diese Beiträge die Debatte unter Beobachtern der heutigen deutschsprachigen Welt anregen.

Most of the chapters in this volume were delivered as papers at a conference on the same theme held at the University of Kent in April 2002. The essays collected here, by scholars from the UK, Ireland, Germany, and the US, address a topic of fundamental concern across all the disciplines engaged with the study of contemporary Germany: the evolving relationship between urban and rural space, the metropolitan centre and the provincial Heimat. The volume identifies and investigates a number of recent trends: the emergence of ‘eco-literature’, the renaissance of writing – in prose and verse – inspired by the new Berlin, the realignment of regional sensibilities, which is complicated by the troubled tradition of Heimat in all its literary manifestations, and the continuing disjunctions between East and West. Individual essays engage with the work of established writers (Günter de Bruyn, Hubert Fichte, Peter Handke, WG Sebald, Siegfried Lenz, Martin Walser, and Elfriede Jelinek) and emerging talents (Georg Klein, Christof Hamann, Ludwig Laher, and Arnold Stadler).

Dieser Band enthält eine Einführung in die 1992 erschienene Erzählung Unkenrufe von Günter Grass, die auf die Hauptthemen und erzählerische Vorbilder aufmerksam macht, ausführliche Stellenkommentare zu den literarischen Quellen und zur deutsch-polnischen Zeitgeschichte liefert und ausgewählte Materialien, wie Gespräche, Korrespondenzen und Tagebucheinträge, zur Entstehung und Rezeption des Werkes abdruckt.

Unkenrufe erschien im Mai 1992 und war die erste literarische Veröffentlichung von Günter Grass nach dem Zusammensturz des Kommunismus in Osteuropa und der darauffolgenden Wiedervereinigung Deutschlands, der Grass der Politiker stets skeptisch gegenüberstand. Tatsächlich rundet die Erzählung eine Schaffensperiode ab, die im Kalten Krieg ihre Wurzeln hat und mit der Rättin einen Höhepunkt fand. Unkenrufe, die im November 1989 anfängt, spielt gröβtenteils im polnischen Gdańsk und der umliegenden Kaschubei und kreist um das Thema der deutsch-polnischen Beziehungen in der ehemaligen Hansestadt, die früher überwiegend von Deutschen bewohnt war. Die Hauptfiguren, von Idealen getrieben und der Geschichte traumatisiert, wollen zur Versöhnung beitragen, stiften aber nur Unheil an. Ihre in die Irre geleiteten Bemühungen werden von einem anonymen, ihnen kritisch abgeneigten Erzähler anhand einer Ansammlung von Dokumenten und eigener Recherchen vor Ort ironisch rekonstruiert.

Dieser Band enthält eine Einführung in die Erzählung, die auf die Hauptthemen und erzählerische Vorbilder aufmerksam macht, ausführliche Stellenkommentare zu den literarischen Quellen und zur deutsch-polnischen Zeitgeschichte und Materialien zur Entstehung und Rezeption des Werkes.

A fresh, nuanced view of Veza Canetti's literary career and its relationship to that of her famous husband.The Viennese playwright, novelist, and short-story writer Veza Canetti was born in 1897 into a mixed Sephardic-Ashkenazi Jewish family and died in 1963 in London. Part of the avant garde in 1920s Vienna (where she met her future husband and Nobel Prize winner, Elias Canetti), from 1932 she wrote radical short stories drawn from everyday life for the Vienna Arbeiter-Zeitung. After censorship under the so-called Corporate State reduced her opportunities for publication, she disguised her critique in irony and humor, but from then on published little. Until 1990, when her first novel, Yellow Street, was finally published, Veza was known only as her husband's muse and literary assistant. As more of her writings appeared, critics became convinced that it was he who was responsible for her decline into obscurity, notwithstanding his protestations of support and admiration. This biography tells a more nuanced story, presenting Veza's literary career against the background of her troubled times, drawing on Elias's unpublished papers to assess their literary partnership, showing how their early writings constituted a private dialogue on topics as diverse as feminism and Jewish identity and how several key themes in his work are anticipated in hers.Julian Preece is Professor of German at the University of Wales, Swansea.