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In the aftermath of total war and unconditional surrender, Germans found themselves receiving instruction from their American occupiers. It was not a conventional education. In their effort to transform German national identity and convert a Nazi past into a democratic future, the Americans deployed what they perceived as the most powerful and convincing weapon-movies.

In a rigorous analysis of the American occupation of postwar Germany and the military’s use of “soft power,” Jennifer Fay considers how Hollywood films, including Ninotchka, Gaslight, and Stagecoach, influenced German culture and cinema. In this cinematic pedagogy, dark fantasies of American democracy and its history were unwittingly played out on-screen. Theaters of Occupation reveals how Germans responded to these education efforts and offers new insights about American exceptionalism and virtual democracy at the dawn of the cold war.

Fay’s innovative approach examines the culture of occupation not only as a phase in U.S.–German relations but as a distinct space with its own discrete cultural practices. As the American occupation of Germany has become a paradigm for more recent military operations, Fay argues that we must question its efficacy as a mechanism of cultural and political change.

Jennifer Fay is associate professor and codirector of film studies in the Department of English at Michigan State University.

In almost every area of production, German theatre of the past forty years has achieved a level of distinction unique in the international community. This flourishing theatrical culture has encouraged a large number of outstanding actors, directors, and designers as well as video and film artists. The dominant figure throughout these years, however, has remained the director. In this stimulating and informative book, noted theatre historian Marvin Carlson presents an in-depth study of the artistic careers, working methods, and most important productions of ten of the leading directors of this great period of German staging.

Beginning with the leaders of the new generation that emerged in the turbulent late 1960s—Peter Stein, Peter Zadek, and Claus Peymann, all still major figures today—Carlson continues with the generation that appeared in the 1980s, particularly after reunification—Frank Castorf, Anna Viebrock, Andrea Breth, and Christoph Marthaler—and concludes with the leading directors to emerge after the turn of the century, Stefan Pucher, Thomas Ostermeier, and Michael Thalheimer. He also provides information not readily available elsewhere in English on many of the leading actors and dramatists as well as the designers whose work, much of it for productions of these directors, has made this last half century a golden age of German scenic design.

During the late twentieth century, no country produced so many major theatre directors or placed them so high in national cultural esteem as Germany. Drawing on his years of regular visits to the Theatertreffen in Berlin and other German productions, Carlson will captivate students of theatre and modern German history and culture with his provocative, well-illustrated study of the most productive and innovative theatre tradition in Europe.

This book is about the intersection of two evolving dance-historical realms—theory and practice—during the first two decades of the eighteenth century. France was the source of works on notation, choreography, and repertoire that dominated European dance practice until the 1780s. While these French inventions were welcomed and used in Germany, German dance writers responded by producing an important body of work on dance theory. This book examines consequences in Germany of this asymmetrical confrontation of dance perspectives.

Between 1703 and 1717 in Germany, a coherent theory of dance was postulated that called itself dance theory, comprehended why it was a theory, and clearly, rationally distinguished itself from practice. This flowering of dance-theoretical writing was contemporaneous with the appearance of Beauchamps-Feuillet notation in the Chorégraphie of Raoul Auger Feuillet (Paris, 1700, 1701). Beauchamps-Feuillet notation was the ideal written representation of the dance style known as la belle danse and practiced in both the ballroom and the theater. Its publication enabled the spread of belle danse to the French provinces and internationally. This spread encouraged the publication of new practical works (manuals, choreographies, recueils) on how to make steps and how to dance current dances, as well as of new dance treatises, in different languages.

The Rechtschaffener Tantzmeister, by Gottfried Taubert (Leipzig, 1717), includes a translated edition of Feuillet’s Chorégraphie. Theory and Practice in Eighteenth-Century Dance addresses how Taubert and his contemporary German authors of dance treatises (Samuel Rudolph Behr, Johann Pasch, Louis Bonin) became familiar with Beauchamps-Feuillet notation and acknowledged the Chorégraphie in their own work, and how Taubert’s translation of the Chorégraphie spread its influence northward and eastward in Europe. This book also examines the personal and literary interrelationships between the German writers on dance between 1703 and 1717 and their invention of a theoria of dance as a counterbalance to dance praxis, comparing their dance-theoretical ideas with those of John Weaver in England, and assimilating them all in a cohesive and inclusive description of dance theory in Europe by 1721.

Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.

Theory as Practice was first published in 1997. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.

In light of recent, dramatic revisions in criticism of European-particularly German-Romanticism, this anthology brings together key texts of the movement, especially those written in the last quarter of the eighteenth century by a small, influential circle centered at Jena.

In their introductory essays, the editors locate writings by Fichte, Schelling, Novalis, August Wilhelm Schlegel, and Friedrich Schlegel, among others, in this context. The selections include extensive excerpts from the correspondence of the Jena Romantics, their commentaries on each other's work, their most pertinent essays, fragments, and dialogues as well as diary entries and reviews. These works, together with the editors' articulation and elaboration of their significance, provide a new perspective on the provenance of postmodern thought and literary theory.

Jochen Schulte-Sasse is professor of German and comparative literature at the University of Minnesota and coeditor (with Wlad Godzich) of the Theory and History of Literature series at the University of Minnesota Press. Haynes Horne (University of Alabama), Andreas Michel (Indiana University), Assenka Oksiloff (New York University), Elizabeth Mittman (Michigan State University), Lisa C. Roetzel (University of Rochester), and Mary R. Strand each received a Ph.D. from the University of Minnesota.

First published in 1955, They Thought They Were Free is an eloquent and provocative examination of the development of fascism in Germany. Mayer’s book is a study of ten Germans and their lives from 1933-45, based on interviews he conducted after the war when he lived in Germany. Mayer had a position as a research professor at the University of Frankfurt and lived in a nearby small Hessian town which he disguised with the name “Kronenberg.” “These ten men were not men of distinction,” Mayer noted, but they had been members of the Nazi Party; Mayer wanted to discover what had made them Nazis.

“What happened here was the gradual habituation of the people, little by little, to being governed by surprise; to receiving decisions deliberated in secret; to believing that the situation was so complicated that the government had to act on information which the people could not understand, or so dangerous that, even if the people could not understand it, it could not be released because of national security. And their sense of identification with Hitler, their trust in him, made it easier to widen this gap and reassured those who would otherwise have worried about it.”--from Chapter 13, “But Then It Was Too Late”

The classic, chilling account of how fascism took over Germany—and of the constant danger of complacency

“When this book was first published it received some attention from the critics but none at all from the public. Nazism was finished in the bunker in Berlin and its death warrant signed on the bench at Nuremberg.”
 
That’s Milton Mayer, writing in a foreword to the 1966 edition of They Thought They Were Free. He’s right about the critics: the book was a finalist for the National Book Award in 1956. General readers may have been slower to take notice, but over time they did—what we’ve seen over decades is that any time people, across the political spectrum, start to feel that freedom is threatened, the book experiences a ripple of word-of-mouth interest.
 
They Thought They Were Free is an eloquent and provocative examination of the development of fascism in Germany. Mayer’s book is a study of ten Germans and their lives from 1933-45, based on interviews he conducted after the war when he lived in Germany. Mayer had a position as a research professor at the University of Frankfurt and lived in a nearby small Hessian town which he disguised with the name “Kronenberg.” “These ten men were not men of distinction,” Mayer noted, but they had been members of the Nazi Party; Mayer wanted to discover what had made them Nazis. His discussions with them of Nazism, the rise of the Reich, and mass complicity with evil became the backbone of this book, an indictment of the ordinary German that is all the more powerful for its refusal to let the rest of us pretend that our moment, our society, our country are fundamentally immune.
 
A new foreword to this edition by eminent historian of the Reich Richard J. Evans puts the book in historical and contemporary context. We live in an age of fervid politics and hyperbolic rhetoric. They Thought They Were Free cuts through that, revealing instead the slow, quiet accretions of change, complicity, and abdication of moral authority that quietly mark the rise of evil.

As German Jews emigrated in the nineteenth and early twentieth centuries and as exiles from Nazi Germany, they carried the traditions, culture, and particular prejudices of their home with them. At the same time, Germany—and Berlin in particular—attracted both secular and religious Jewish scholars from eastern Europe. They engaged in vital intellectual exchange with German Jewry, although their cultural and religious practices differed greatly, and they absorbed many cultural practices that they brought back to Warsaw or took with them to New York and Tel Aviv. After the Holocaust, German Jews and non-German Jews educated in Germany were forced to reevaluate their essential relationship with Germany and Germanness as well as their notions of Jewish life outside of Germany.
 
Among the first volumes to focus on German-Jewish transnationalism, this interdisciplinary collection spans the fields of history, literature, film, theater, architecture, philosophy, and theology as it examines the lives of significant emigrants. The individuals whose stories are reevaluated include German Jews Ernst Lubitsch, David Einhorn, and Gershom Scholem, the architect Fritz Nathan and filmmaker Helmar Lerski; and eastern European Jews David Bergelson, Der Nister, Jacob Katz, Joseph Soloveitchik, and Abraham Joshua Heschel—figures not normally associated with Germany. Three-Way Street addresses the gap in the scholarly literature as it opens up critical ways of approaching Jewish culture not only in Germany, but also in other locations, from the mid-nineteenth century to the present.

 

How does a young German who has been a member of the Hitler Youth and has competed in Nazi-organized athletic competitions become, over the span of two years, an eighty-pound, tuberculosis-stricken concentration camp escapee?

In this larger-than-life memoir, Walter Meyer leads readers from one harrowing moment to the next as he recounts his experiences during and after Hitler's reign. As a teenager, Meyer refused to conform to institutional rules. While serving in the Hitler Youth, he rebelled by joining a subversive group that focused its efforts on pranks against the youth organization. During World War II, Meyer was arrested, interrogated, and beaten for stealing shoes, but he received a sentence of one to four years, as opposed to the standard penalty for looting—death.

The sixteen-year-old Meyer's refusal to conform to prison regulations and his foiled escape attempts resulted in solitary confinement on several occasions. His fiery spirit eventually landed him in a Nazi work camp. Unbeknownst to his family, Meyer became a concentration camp prisoner. Transported to Ravensbrueck, he was forced to work under grueling conditions in a quarry. He struggled to reach his daily work quota so he could dine on watery broth and bits of bread. In these subhuman conditions, Meyer developed tuberculosis. Knowing he would soon die in the camp, he again plotted his escape. This time he succeeded.

Upon returning home to Duesseldorf, Meyer despaired at the destruction of his hometown. He lamented the pallor that had spread throughout the town and the country itself. After recovering his health, he regained his youthful lust for adventure. His postwar travels began with his infiltration of the Russian-occupied zone of Germany to retrieve his family's possessions. Meyer then began a whirlwind odyssey, ducking into train cars and stowing away on ships, occasionally landing in jail for traveling without a passport—from France to Spain, Belgium to Holland, and finally to South America--in pursuit of something other than the aftermath of war.

Meyer's memoir gives insight into the climate in Germany during World War II and in the defeated nation after the war. His experience as a non-Jewish survivor of the Nazi concentration camps provides an enlightening and varied perspective to the Holocaust dialogue.

In Topographies of Class, Sabine Hake explores why Weimar Berlin has had such a powerful hold on the urban imagination. Approaching Weimar architectural culture from the perspective of mass discourse and class analysis, Hake examines the way in which architectural projects; debates; and representations in literature, photography, and film played a key role in establishing the terms under which contemporaries made sense of the rise of white-collar society.

Focusing on the so-called stabilization period, Topographies of Class maps out complex relationships between modern architecture and mass society, from Martin Wagner's planning initiatives and Erich Mendelsohn's functionalist buildings, to the most famous Berlin texts of the period, Alfred Döblin's city novel Berlin Alexanderplatz (1929) and Walter Ruttmann's city film Berlin, Symphony of the Big City (1927). Hake draws on critical, philosophical, literary, photographic, and filmic texts to reconstruct the urban imagination at a key point in the history of German modernity, making this the first study---in English or German---to take an interdisciplinary approach to the rich architectural culture of Weimar Berlin.

Sabine Hake is Professor and Texas Chair of German Literature and Culture at the University of Texas at Austin. She is the author of numerous books, including German National Cinema and Popular Cinema of the Third Reich.

Cover art: Construction of the Karstadt Department Store at Hermannplatz, Berlin-Neukölln. Courtesy Bildarchiv Preeussischer Kulturbesitz / Art Resource, NY

I recall the long solo journeys when I would think about my father: the Oberfeldarzt (Retired), the Reichsamtsleiter in the SS, the adjutant to Heinrich Himmler, the author of New Foundations for Racial Research, the man described by the chief prosecutor in the Eichmann trial as a 'desk murderer,' the man I knew: my father.

In 1979 Sigfrid Gauch published the groundbreaking Vaterspuren, (Traces of My Father), the first of the so-called father books about the relationships of postwar Germans with their parents. It inspired a new genre in German literature. Ever since, such writings have contributed greatly to Germany's ongoing struggle to overcome its own past.

This autobiographical novel is Gauch's attempt to come to terms with his father, Hermann Gauch, a physician who had joined the National Socialists in the 1920s, wrote six books of "race research" as a member of the SS, and to his dying day remained an unrepentant Nazi. The story alternates between the images of the elder Gauch's death and burial and the author's memories of childhood and adolescence.

Unlike many of the father books, however, Traces of My Father is less a political attack than a personal journey. Gauch, though honest about his father's monstrous actions and ideas, does not shirk their shared emotional bond. The result is a poignant attempt by a son to relive his father's notorious life and in doing so free himself from the man's influence.

Tragic Effects: Ethics and Tragedy in the Age of Translation confronts the peculiar fascination with Greek tragedy as it shapes the German intellectual tradition, with particular focus on the often controversial practice of translating the Greeks. Whereas the tradition of emulating classical ideals in German intellectual life has generally emerged from the impulse to identify with models, the challenge of translating the Greeks underscores the linguistic and historical discontinuities inherent in the recourse to ancient material and inscribes that experience of disruption as fundamental to modernity.

Friedrich Hölderlin’s translations are a case in point. Regarded in his own time as the work of a madman, his renditions of Sophoclean tragedy intensify dramatic effect with the unsettling experience of familiar language slipping its moorings. His attention to marking the distances between ancient source text and modern translation has granted his Oedipus and Antigone a distinct longevity as objects of discussion, adaptation, and even retranslation. Cited by Walter Benjamin, Martin Heidegger, Bertolt Brecht, and others, Hölderlin’s Sophocles project follows a path both marked by various contexts and tinged by persistent quandaries of untranslatability.

Tragedy has long functioned as a cornerstone for questions about ethical life. By placing emphasis on processes of translation and adaptation, however, Tragic Effects approaches the question of ethics from a perspective informed by recent discourse in translation studies. Reconstructing an ancient text in this context requires negotiating the difficult tension between comprehending the distant past and preserving its radical singularity.

In the years that followed World War II, both the United States and the newly formed West German republic had an opportunity to remake their economies. Since then, much has been made of a supposed “Americanization” of European consumer societies—in Germany and elsewhere. Arguing against these foggy notions, Jan L. Logemann takes a comparative look at the development of postwar mass consumption in West Germany and the United States and the emergence of discrete consumer modernities.

 

In Trams or Tailfins?, Logemann explains how the decisions made at this crucial time helped to define both of these economic superpowers in the second half of the twentieth century. While Americans splurged on private cars and bought goods on credit in suburban shopping malls, Germans rebuilt public transit and developed pedestrian shopping streets in their city centers—choices that continue to shape the quality and character of life decades later. Outlining the abundant differences in the structures of consumer society, consumer habits, and the role of public consumption in these countries, Logemann reveals the many subtle ways that the spheres of government, society, and physical space define how we live.

The East German uprising of 1989 was not a male revolution. Indeed, one of the most significant aspects of the fall of East Germany, compared to that of other East European nations, was the presence of women demanding a political role in the newly emerging social order. As one slogan proclaimed, "Without Women There Is No State."

Yet despite the determination of these women--and of West German feminist groups--to help shape the future of the German state, their influence remained, in the end, very limited. In Triumph of the Fatherland, political scientist Brigitte Young draws on in-depth interviews, archival sources, newspapers, and her own observations from 1989 to 1991 to study the goals, strategies, and eventual fate of the German women's movements during this tumultuous period.

Young focuses on the relationship between the state and its citizenry, outlining the mobilization of women in four states: the East German and West German states before unification; the "stateless state" in East Germany after the collapse of the Wall, and the West German state during unification. Ultimately she finds that the political opportunity structures opened during the "stateless state" closed again with unification, resulting in what Young calls "double gender marginalization."

Brigitte Young is Associate Professor, Department of Political Science, Otto-Suhr-Institute, Free University Berlin, Germany.

The integration of immigrants into a larger society begins at the local level. Turkish Berlin reveals how integration has been experienced by second-generation Turkish immigrant women in two neighborhoods in Berlin, Germany. While the neighborhoods are similar demographically, the lived experience of the residents is surprisingly different.

Informed by first-person interviews with both public officials and immigrants, Annika Marlen Hinze makes clear that local integration policies—often created by officials who have little or no contact with immigrants—have significant effects on the assimilation of outsiders into a community and a society. Focusing on the Turkish neighborhoods of Kreuzberg and Neukölln, Hinze shows how a combination of local policy making and grassroots organizing have contributed to one neighborhood earning a reputation as a hip, multicultural success story and the other as a rougher neighborhood featuring problem schools and high rates of unemployment. Aided by her interviews, she describes how policy makers draw from their imaginations of urban space, immigrants, and integration to develop policies that do not always take social realities into consideration. She offers useful examples of how official policies can actually exacerbate the problems they are trying to help solve and demonstrates that a powerful history of grassroots organizing and resistance can have an equally strong impact on political outcomes.

Employing spatial theory as a tool for understanding the complex processes of integration, Hinze asks two related questions: How do immigrants perceive themselves and their experiences in a new culture? And how are immigrants conceived of by politicians and policy makers? Although her research highlights the German–Turk experience in Berlin, her answers have implications that resonate far beyond the city’s limits.

Joel Agee, the son of James Agee, was raised for twelve years in East Germany, where his stepfather, the novelist Bodo Uhse, was a member of the privileged communist intelligentsia. This is the story of how young Joel failed to become a good communist, becoming instead a fine writer.

"A wonderfully evocative memoir. . . . Agee evoked for me the atmosphere of postwar Berlin more vividly than the actual experience of it—and I was there." —Christopher Lehmann-Haupt, New York Times

"One of those rare personal memoirs that brings to life a whole country and an epoch." —Christopher Isherwood

"Twelve Years consists of a series of finely honed anecdotes written in a precise, supple prose rich with sensual detail." —David Ghitelman, Newsday

"By turns poetic and picturesque, Agee energetically catalogues his expatriate passage to manhood with a pinpoint eye and a healthy American distaste for pretension. . . . Huckleberry Finn would have . . . welcomed [him] as a soulmate on the raft." —J. D. Reed, Time

"A triumph. . . . Unfettered by petty analysis or quick explanations, a story that is timeless and ageless and vital." —Robert Michael Green, Baltimore Sun