Katharina Hall – författare

Esther Dischereit is a Berlin-based, Jewish-German author, who has played a prominent literary and cultural role in Germany since the 1980s. Through a series of academic articles in English and German this volume examines Dischereit's explorations of female Jewish-German identity in her numerous novels, poems, plays and essays, as well as how she views her own, sometimes conflicted position as a Jewish-German writer in the post-Holocaust Germany of today. The volume also includes previously unpublished work by Dischereit, and an in-depth interview with the author, held during her period as writer-in-residence at the Centre for Contemporary German Literature, Swansea University in July and September 2003.

Crime Fiction in German is the first volume in English to offer a comprehensive overview of German-language crime fiction from its origins in the early nineteenth century to its vibrant growth in the new millennium. As well as introducing readers to crime fiction from Germany, Austria, Switzerland and the former East Germany, the volume expands the notion of a German crime-writing tradition by investigating Nazi crime fiction, Jewish-German crime fiction, Turkish-German crime fiction and the Afrika-Krimi. Other key areas, including the West German social crime novel, women’s crime writing, regional crime fiction, historical crime fiction and the Fernsehkrimi (TV crime drama) are also explored, highlighting the genre’s distinctive features in German-language contexts.The volume includes a map of German-speaking Europe, a chronology of crime publishing milestones, extracts from primary texts, and an annotated bibliography of print and online resources in English and German.ContentsMap of German-speaking areas in EuropeCrime Fiction in German Chronology1. Crime Fiction in German: Key Concepts, Developments and Trends, Katharina Hall:Der Krimi; The pioneers (1828–1933); Crime fiction under National Socialism (1933–45); Post-war crime narratives (1945–59) and East German crime fiction (1949–70); The West German Soziokrimi (1960–) and further East German crime fiction (1971–89); Turkish-German crime fiction and the Frauenkrimi (1980–); Historical crime fiction, regional crime fiction and the rise of the Afrika-Krimi (1989–); Crime fiction of the new millennium and the lacuna of Jewish-German crime fiction (available Open Access at Swansea University)2. The Emergence of Crime Fiction in German: An Early Maturity, Mary Tannert3. Austrian Crime Fiction: Experimentation, Critical Memory and Humour, Marieke Krajenbrink4. Swiss Crime Fiction: Loosli, Glauser, Dürrenmatt and Beyond, Martin Rosenstock5. Der Afrika-Krimi: German Crime Fiction in Africa, Julia Augart6. Der Frauenkrimi: Women's Crime Writing in German, Faye Stewart7. Historical Crime Fiction in German: The Turbulent Twentieth Century, Katharina Hall8. Der Fernsehkrimi: A Short History of Television Crime Drama in German, Katharina HallAnnotated Bibliography of Resources on German-language Crime Fiction, Katharina Hall‘Katharina Hall’s knowledge of and enthusiasm for crime fiction in translation is prodigious, but (crucially) it is matched by her nonpareil analytic skills. This combination, when focused on her particular speciality of genre fiction from Germany, makes her the perfect editor for and contributor to Crime Fiction in German: Der Krimi. The book becomes at a stroke the definitive modern guide to the subject – scholarly, lively and accessible.’Barry Forshaw, author of Euro Noir and Nordic Noir

Crime Fiction in German is the first volume in English to offer a comprehensive overview of German-language crime fiction from its origins in the early nineteenth century to its vibrant growth in the new millennium. As well as introducing readers to crime fiction from Germany, Austria, Switzerland and the former East Germany, the volume expands the notion of a German crime-writing tradition by investigating Nazi crime fiction, Jewish-German crime fiction, Turkish-German crime fiction and the Afrika-Krimi. Other key areas, including the West German social crime novel, women’s crime writing, regional crime fiction, historical crime fiction and the Fernsehkrimi (TV crime drama) are also explored, highlighting the genre’s distinctive features in German-language contexts.The volume includes a map of German-speaking Europe, a chronology of crime publishing milestones, extracts from primary texts, and an annotated bibliography of print and online resources in English and German.ContentsMap of German-speaking areas in EuropeCrime Fiction in German Chronology1. Crime Fiction in German: Key Concepts, Developments and Trends, Katharina Hall:Der Krimi; The pioneers (1828–1933); Crime fiction under National Socialism (1933–45); Post-war crime narratives (1945–59) and East German crime fiction (1949–70); The West German Soziokrimi (1960–) and further East German crime fiction (1971–89); Turkish-German crime fiction and the Frauenkrimi (1980–); Historical crime fiction, regional crime fiction and the rise of the Afrika-Krimi (1989–); Crime fiction of the new millennium and the lacuna of Jewish-German crime fiction (available Open Access at Swansea University)2. The Emergence of Crime Fiction in German: An Early Maturity, Mary Tannert3. Austrian Crime Fiction: Experimentation, Critical Memory and Humour, Marieke Krajenbrink4. Swiss Crime Fiction: Loosli, Glauser, Dürrenmatt and Beyond, Martin Rosenstock5. Der Afrika-Krimi: German Crime Fiction in Africa, Julia Augart6. Der Frauenkrimi: Women's Crime Writing in German, Faye Stewart7. Historical Crime Fiction in German: The Turbulent Twentieth Century, Katharina Hall8. Der Fernsehkrimi: A Short History of Television Crime Drama in German, Katharina HallAnnotated Bibliography of Resources on German-language Crime Fiction, Katharina Hall‘Katharina Hall’s knowledge of and enthusiasm for crime fiction in translation is prodigious, but (crucially) it is matched by her nonpareil analytic skills. This combination, when focused on her particular speciality of genre fiction from Germany, makes her the perfect editor for and contributor to Crime Fiction in German: Der Krimi. The book becomes at a stroke the definitive modern guide to the subject – scholarly, lively and accessible.’Barry Forshaw, author of Euro Noir and Nordic Noir

Crime Fiction in German is the first volume in English to offer a comprehensive overview of German-language crime fiction from its origins in the early nineteenth century to its vibrant growth in the new millennium. As well as introducing readers to crime fiction from Germany, Austria, Switzerland and the former East Germany, the volume expands the notion of a German crime-writing tradition by investigating Nazi crime fiction, Jewish-German crime fiction, Turkish-German crime fiction and the Afrika-Krimi. Other key areas, including the West German social crime novel, women’s crime writing, regional crime fiction, historical crime fiction and the Fernsehkrimi (TV crime drama) are also explored, highlighting the genre’s distinctive features in German-language contexts.The volume includes a map of German-speaking Europe, a chronology of crime publishing milestones, extracts from primary texts, and an annotated bibliography of print and online resources in English and German.ContentsMap of German-speaking areas in EuropeCrime Fiction in German Chronology1. Crime Fiction in German: Key Concepts, Developments and Trends, Katharina Hall:Der Krimi; The pioneers (1828–1933); Crime fiction under National Socialism (1933–45); Post-war crime narratives (1945–59) and East German crime fiction (1949–70); The West German Soziokrimi (1960–) and further East German crime fiction (1971–89); Turkish-German crime fiction and the Frauenkrimi (1980–); Historical crime fiction, regional crime fiction and the rise of the Afrika-Krimi (1989–); Crime fiction of the new millennium and the lacuna of Jewish-German crime fiction (available Open Access at Swansea University)2. The Emergence of Crime Fiction in German: An Early Maturity, Mary Tannert3. Austrian Crime Fiction: Experimentation, Critical Memory and Humour, Marieke Krajenbrink4. Swiss Crime Fiction: Loosli, Glauser, Dürrenmatt and Beyond, Martin Rosenstock5. Der Afrika-Krimi: German Crime Fiction in Africa, Julia Augart6. Der Frauenkrimi: Women's Crime Writing in German, Faye Stewart7. Historical Crime Fiction in German: The Turbulent Twentieth Century, Katharina Hall8. Der Fernsehkrimi: A Short History of Television Crime Drama in German, Katharina HallAnnotated Bibliography of Resources on German-language Crime Fiction, Katharina Hall‘Katharina Hall’s knowledge of and enthusiasm for crime fiction in translation is prodigious, but (crucially) it is matched by her nonpareil analytic skills. This combination, when focused on her particular speciality of genre fiction from Germany, makes her the perfect editor for and contributor to Crime Fiction in German: Der Krimi. The book becomes at a stroke the definitive modern guide to the subject – scholarly, lively and accessible.’Barry Forshaw, author of Euro Noir and Nordic Noir

Crime Fiction in German is the first volume in English to offer a comprehensive overview of German-language crime fiction from its origins in the early nineteenth century to its vibrant growth in the new millennium. As well as introducing readers to crime fiction from Germany, Austria, Switzerland and the former East Germany, the volume expands the notion of a German crime-writing tradition by investigating Nazi crime fiction, Jewish-German crime fiction, Turkish-German crime fiction and the Afrika-Krimi. Significant trends, including the West German social crime novel, women’s crime writing, regional crime fiction, historical crime fiction and the Fernsehkrimi television crime drama are also explored, highlighting the genre’s distinctive features in German-language contexts.This volume includes a map of German-speaking Europe, a chronology of key crime publishing milestones, primary texts and trends, as well as an annotated bibliography of print and online resources in English and German.

This study extends the long-established notion of Grass’s ‘Danzig Trilogy’ to that of the ‘Danzig Quintet’ – a literary project of epic proportions, which explores the evolution of Germany’s relationship to its Nazi past over a period of forty years. The interlocking stories of Die Blechtrommel (1959), Katz und Maus (1961), Hundejahre (1963), örtlich betäubt (1969) and Im Krebsgang (2002) are mediated by the memory and language of seven first-person narrators. Using the dual conceptualisation of memory developed by Freud and Lacan – ‘reliving’ versus ‘recollecting’ the past – the author shows how these narrators’ accounts assert the reality of the Holocaust (as well as German wartime suffering), while highlighting the reluctance of ordinary Germans to admit their involvement in the Nazi regime. This delineation of the complex relationship of three generations to their history is deepened by the intertextual nature of the quintet. Using the theory of Peter Brooks, Umberto Eco, Shoshana Felman and Hayden White, the study explores how Grass’s textual strategies encourage the reader to view all five works as one overarching narrative, while simultaneously avoiding any literary or historical closure. In the process, the study places each book in the context of its moment of production, and also considers the implications of Grass’s belated admission, in August 2006, that he served with the Waffen-SS during the final months of World War Two.