21st Century German Literature

Seit der Uraufführung 2012 in der Box des Deutschen Theaters begeistert das collagenhafte Kammerspiel deutschlandweit das Theaterpublikum. Drei Generationen jüdischer Frauen verhandeln in hitzigen Gesprächsfetzen und persönlichen Brief-Monologen ihre unterschiedlichen Haltungen zur deutsch-jüdischen Geschichte und den eigenen familiären Traumata: Großmutter Lin (Ursula Werner) ist Holocaust-Überlebende und ehemalige DDR-Kommunistin, ihre Tochter Clara (Anastasia Gubareva) distanziert sich vom Judentum, identifiziert sich aber mit Deutschland, und Claras Tochter Rahel (Alexandra Sinelnikova) ist fest entschlossen, aus der mütterlichen Umklammerung auszubrechen, um im jüdischen New York zu studieren. Diese Dreierstruktur offenbart die generationenübergreifenden Auswirkungen traumatischer Erfahrungen, setzt sich mit Fragen der Erinnerungskultur auseinander und erprobt insbesondere mittels der queeren Rahel die Möglichkeit zur Neubelebung säkularer jüdischer Stimmen in Deutschland.

Beginning in the mid-1980s, and especially after the reunification of Germany, a new wave of German-Jewish literature began to emerge. Written primarily by second-and third-generation self-identified Jewish authors, most of whom were immigrants who had moved to Germany or Austria from the former Soviet Union, this literature was characterized by self-reflexivity regarding questions of Jewish identity in post-Holocaust German society. Drawing increasing attention from both readers and critics, it soon came to be regarded as a Jewish literary "renaissance," or even "rebirth" (Garloff, 26). As Maxim Biller, one of this wave's prominent representatives, put it, it is perhaps the close proximity to the perpetrators and their descendants that not only kept the memory of the Holocaust alive in the minds of these authors, but also demanded that they constantly rethink and problematize their place within German society, culture, and literary tradition. This arena of unrelenting tension and unease, of exploration and defiance, is the backdrop for Katja Garloff's impressive study. Revolving around the concept of founding, Garloff's work probes deeply into the different literary strategies used by contemporary German-Jewish authors to constitute their own Jewish identity and contemplate traumatic memorythat of the Holocaust but also that of their own experience as immigrants, as well as the memory of other traumaswhile still seeking to emplace themselves within German society and culture. German-Jewish literature of the past three decades, Garloff convincingly argues, is preoccupied with its own preconditions , possibilities, and limitations; it is a self-reflexive, metaliterary project, constantly meditating upon its means and ends. This attribute is testament not only to its authors' heterogeneity, but also to the "transnational, transcultural, translingual, exterritorial, and cosmopolitan character" of these works (5). Garloff's discussion stems directly from the tension between the attempt to form a continuity with the German-Jewish literature tradition prior to World War II, despite the ontological cut created by the Holocaust, and the aspiration for a new beginning, for a sort of Jewish Stunde Null [zero hour]. Addressing the often-voiced argument that "there is no such thing as Jewish literature" in the sense of a monolithic heuristic category that can be applied a-priori to a given assemblage of texts, Garloff suggests viewing the works of the German-Jewish authors on which her study is focused not as a site for the representation of Jewish identity, but as a site in which such identity is formed, examined, evaluated, deconstructed, and put together in new ways (7). These German-Jewish authors of the late 1990 s and early

What does it mean to be human in the 21st century? This profound question lies at the heart of Austrian author Olga Flor’s blog-novel "Ich in Gelb" (2015, "Me in Yellow"), a light-hearted yet intricately composed narrative about a media-savvy, socially critical fashion model in contemporary Vienna. While previous critics have mostly addressed this scarcely known text from media- and gender-theoretical perspectives, the present article takes an ecocritical approach. It foregrounds a hitherto underexplored plot component that places the novel in dialogue with current advances in ecoimmunology and microbiomics: helminth therapy. This experimental and controversial type of immunotherapy – the injection of parasitic worms to mitigate autoimmune diseases – emphasizes the human body’s vital collaboration with microbial symbionts, thus spurring a broader “probiotic turn” (J. Lorimer) in the life sciences. With its vision of an affectively charged human–helminthic relationship, Flor’s novel explores the cultural-anthropological implications of this revolutionary biomedical shift. The article seeks to show that "Ich in Gelb" eschews traditional notions of the human as an individual entity and projects instead a posthuman chimeric self deeply entangled in microbial and planetary health. Contextualized within new materialist and ecofeminist theory, the novel can be read as an advocate for “multispecies justice” (D. Haraway, U. Heise) and a “transspecies ethics” (G. Schwab) in the age of anthropogenic mass extinction.

This article analyzes Sasha Marianna Salzmann’s debut novel "Außer sich" (2017) from a postidentitarian and intersectional approach. In particular, it examines how the text challenges and deconstructs traditional concepts of subjectivity and belonging – such as ethnicity, nationality, religion, mother tongue, gender, and sexuality – through the layering of complex themes and the use of highly innovative narrative and linguistic strategies. By focusing on central topics of the novel such as migration, multilingualism, and gender fluidity, the article shows to what extent Salzmann develops a narrative that resists binary or authoritative classifications, promoting a postmigrant perspective that questions contemporary debates on mobility and belonging.

Der Beitrag präsentiert Bodo Kirchhoffs Annäherung an eine dokumentarische Schreibweise in seinem autobiographischen Roman Dämmer und Aufruhr. Roman der frühen Jahre (2018). Im Zentrum des Interesses steht seine experimentelle Herangehensweise im Umgang mit verschiedenen Erinnerungsräumen sowie die Frage, wie er sein Schreiben durch den Rückgriff zur Fotografie an der Grenze zwischen Referentialität und autonomer Sprachlichkeit verortet.
Schlüsselwörter: Dokumentarisches Schreiben, Neuer Realismus, fotografische Narrative

The article deals with Bodo Kirchhoff’s documentary writing style in his autobiographical novel Dämmer und Aufruhr. Roman der frühen Jahre (2018). The focus is on his experiment with different memory spaces and photographic narratives. This approach sets his writing style on the border between factuality and fictionality.
Keywords: Documentary writing, New realism, photographic narratives

Exactitude and Truth between Science and Literature : Norm and Critique of Late 18 th Century Dialectics in Daniel Kehlmann's Die Vermessung der Welt (2005) • This research examines the relationship between scientific and humanistic thought in Daniel Kehlmann's (1975) Die Vermessung der Welt (2005) in light of the dialectic tension between the principles of chaos ('critique') and form ('norm') ; within the context of the contemporary German language literature landscape, the aforementioned tension becomes the origin point of the late Illuministic gnoseologic-scientific paradigm upheaval pertaining to logical-factual 'objectivity' and analytical 'measurability'. These are exemplified, in the text, by the presence of the naturalist Alexander von Humboldt (1769-1859) and the mathematician Carl Friedrich Gauß (1777-1855). After highlighting the subtle strategies of the profiling and staging of Kehlmann's scholarly self within the context of contemporary Literaturbetrieb, and stemming from the intertextual character of the work, our attention is focused on the formula of 'broken realism' through which the writer, edged on by the more all-encompassing aesthetic-poetic principle of Ironie der Haltung, gives a specific and ambivalent meta-fictionality to the romance literature narrative. On the one hand, it causes the reader to question the validity of the diegetic structure of the work, while on the other it ensures the conscious integration of the Unreal within the higher order of a universe which, despite everything, tends towards rational rules. Through the ironic desecration of the empirical method (Humboldt) and the mathematical-deductive method (Gauß)-achieved through the use of the paradox, the 'subjunctive i' (Konjunktiv i) and a pervasive metaphorical-allegorical perspective-Kehlmann intends to relativize and demystify the supra-individual value system of the present and of the contextual linguisticliterary coding practices. Finally, he aims at identifying the authentic element of compensation in the mimetic-inventive capacity of literature with respect to the limits uncovered by knowledge and by the current contemporary scientific evolution, also in terms of environmental sustainability.

In the last two decades, flight and expulsion have emerged as critical topics in contemporary German literature and culture, with authors exploring narrative modes in literary texts that open transnational perspectives. Reinhard Jirgl’s Die Unvollendeten (2003) and Sabrina Janesch’s Katzenberge (2010) are examples of such texts, dealing with traumatic experiences of displacement in the aftermath of the Holocaust and Second World War, while challenging exclusionary narratives. Both novels employ the railway journey, including places and objects associated with it such as the platform and the station, tracks and railcars, as a central motif. In the following, I will show the degree to which this motif allows for “multidirectional” (Rothberg) modes of “postmemory” (Hirsch) that transcend national borders and memory discourses. The railway provides a link between generations in both of the texts discussed. However, it also interlinks the traumatic displacement of ethnic Germans and Poles at the end of the Second World War with the experience of Holocaust victims. Can modes of postmemory in Jirgl and Janesch therefore be read as multidirectional, or do they simply equate distinct experiences, blurring distinguishing features of different groups’ suffering and historical contexts?

Alle Rechte vorbehalten. Das Werk einschließlich aller seiner Teile ist urheberrechtlich geschützt. Jede Verwertung außerhalb der engen Grenzen des Urheberrechtsgesetzes ist ohne Zustimmung des Verlages unzulässig und strafbar. Das gilt insbesondere für Vervielfältigungen, Übersetzungen, Mikroverfilmungen und die Einspeicherung und Verarbeitung in elektronischen Systemen. Schwerpunkt: Literatur und Digitalisierung Matthias Beilein, Claudia stoCkinger-Literatur und Digitalisierung. Editorial 233 Friederike sChruhl-Literaturwissenschaftliche Wissensproduktion unter dem Einfluss der Digitalisierung 239 seBastian BöCk-Die Seele lesen. Anregungen zu einer doppelten Lektüre von Literaturausstellungen 261 elisaBeth Böker, niCole gaBriel, lena lang-Formen der (digitalen) Literaturvermittlung am Beispiel des Medienphänomens "Harry Potter" 282 Julian ingelMann, k a i MatuszkiewiCz-Autor schafts-und Literaturkonzepte im digitalen Wandel 300 Constanze BauM-Digital gap oder digital turn? Literaturwissenschaft und das digitale Zeitalter 316

Über die Bedeutung des geistigen Erbes von 68 wird 50 Jahre später trefflich gestritten. Mögen die politischen Ideen des Aufbruchs und das daran anknüpfende Handeln heute für Kontroversen sorgen, so erfreut sich hingegen der Sound der Revolution, der damals zum Ärger orthodoxer Kommunisten ganz klar von der Rockmusik dominiert wurde, einer nahezu ungebrochenen Begeisterung: Das "»Weiße Album" der Beatles, "Electric Ladyland" von Jimi Hendrix oder "Beggars Banquet" von den Rolling Stones, alle 68 erschienen, werden heute mehr denn je bewundert. Im Zeichen einer grassierenden "Retromania" (Simon Reynolds) gewinnt der mit Mythen und Heldengeschichten aufgeladene Sound der Vergangenheit mit zunehmendem zeitlichen Abstand sogar noch an Bedeutung. In ihrer Frühphase ist die Popmusik noch ein Wettstreit verschiedener Stile, Techniken und auch Bands. Ihre steigende gesellschaftliche Akzeptanz lässt aber spätestens in den 70er Jahren Zweifel laut werde...

The essay attempts to point out the benefits of reading Peter Sloterdijk's works from the perspective of German studies. In the course of the paper, Sloterdijk is introduced in his various individual roles. First, his early steps in German studies are described, followed by an assessment of the influence of his German-studies works on the formulation of philosophical problems and stances. After that, Sloterdijk is presented as an exponent of certain typical development, as a diagnostician of problems that postwar Germany faced in its transformation into a civic society. The final part consists of reflections on his observational abilities in descriptions of interdisciplinary misunderstandings and in the creation of transdisciplinary analogies.

The article investigates the solidarity between minority groups as a catalyst of literary capital. Tomer Gardi’s novel Broken German (2016) was viewed enthusiastically by literary critics as a bold political statement, since it entertains that immigrants may hold an affinity towards each other based on their exclusion from German culture. However, the novel also alerts us to the hierarchical consideration of immigrants in Germany, complicating the parallel between minority groups that diverge from each other starkly on economic terms. The novel thus forestalls the debates sparked by its publication, which approached its disjointed
language as a gimmick and questioned its literary quality.

Die Pandemie hat die performativen Künste grundlegend verändert: Theatersäle wurden umgebaut, digitale und hybride Performance-Formate erfunden, Konzerte gestreamt, Quarantäne-Videos produziert und neue Möglichkeiten der Zuschauerpartizipation entwickelt. Der Band  geht diesem dramaturgischen, räumlichen und institutionellen Wandel der letzten Jahre nach und fragt nach der postpandemischen Zukunft von Theater und Performance. Die Beiträge aus Theater-, Literatur- und Medienwissenschaft  sowie drei abgedruckte Gesprächsrunden mit Theaterschaffenden skizzieren ein umfassendes Bild des Wandels und debattieren dabei auch Fragen von Nachhaltigkeit, gesellschaftlicher Teilhabe und Inklusion.

The present paper examines the innovative narrative strategies and forms of intertextuality in the novel Selbst (2016) by Suhrkamp pop author Thomas Meinecke. After briefly presenting the plot, the character interactions and narrative perspectives in the novel, it focuses on the literary technique described by previous research as sampling. Based on the close reading of a relevant passage in the novel the paper argues that the way Meinecke employs sampling is not only indebted to his belonging to the DJ-culture and the use of techniques like remixing and scratching but also induced by the need to provide theoretical foundation for the process of archiving contemporary discourses. Pointing at the way the main characters read and interpret the texts quoted in the novel and then use the results as a criterion for choosing what to read next, the article suggests an analogy between Meinecke´s literary sampling and theoretical sampling as a method in qualitative research. Thus the originality of Meineckes writing resides in his creating a new hybrid genre (termed here as theoretical sampling fiction) which activates the reader´s critical capacities in order to compensate for the scarcity of the plot.

de Greeff, Amour et crimes d'amour. 12 Vgl. die Darstellung bei Mendelsohn, Origin of Victimology, wonach er bereits 1937 bei seiner anwaltlichen Tätigkeit in Rumänien viktimologische Studien angestellt haben will. Biographisches zu Mendelsohn ist äußerst schwierig zu finden. Vgl. bislang nur Hoffman, What Did Mendelsohn Really Say?; Kirchhoff, Laudatio for Benjamin Mendelsohn.

La lectura de la literatura clásica en los niveles de Educación Secundaria Obligatoria y de Bachillerato es un tema que se viene tratando desde hace mucho tiempo y sobre el que han expresado su opinión, a favor o en contra, los diferentes docentes de Lengua Española y Literatura. La discusión se centra en torno a la obligatoriedad de este tipo de obras, desde el momento en que los alumnos, a la hora de enfrentarse a obras pertenecientes a la literatura clásica, pueden haber tenido una mala experiencia al no comprenderlas y, sin embargo, tener que leerlas de forma obligatoria porque supone una calificación en la asignatura. Sin embargo, también es cierto que no se puede llegar a la Universidad sin haber conocido ciertos títulos imprescindibles para nuestra cultura. Las posibilidades son muy numerosas, pues hay muchos libros de literatura juvenil que forman parte del canon literario y cumplen las características que todo docente cree necesarias para aproximar a los estudiantes a este ...

Verfahren, die Menschen anwenden, um eigenes wie fremdes Verhalten zu lenken, zu führen und zu regieren (Foucault), sind eng an die Subjektkonstitution sowie an Sprache, Diskurse und Leiterzählungen geknüpft. Die Studie analysiert die Basis dieser machtvollen Regierungstechniken in Rede und Narration: Sie lotet das Verhältnis von zeitgenössischem Erzählen und flexibler, unternehmerischer (Selbst-)Führung an Romanen von Marlene Streeruwitz (Jessica, 30.), Thomas Meinecke (Hellblau) und Terézia Mora (Alle Tage) aus. Gefragt wird, wie die Gegenwartsliteratur ihr breit gestreutes Regierungswissen in ökonomischen, biopolitischen und gegenderten Subjektivierungsprozessen figuriert. Ansätze der Governmentality Studies perspektivieren zudem Erzählverfahren wie den Bewusstseinsstrom, Genres wie chick lit und Bildungsroman sowie Netzwerkpoetiken machtpolitisch, um die narrative Verfasstheit des Regierens zu erhellen. Dabei zeigt sich, dass die Romane ihre Erzählkünste als ambige Regierungskünste, ja als poetische Technologien des Selbst erproben. So kehrt Literatur nicht nur die Wirkmacht des Erzählens für das Regieren und umgekehrt hervor. Vielmehr übt sie, von der histoire über den discours bis hin zur Autorfunktion, eine eigenständige kritische Praxis im diskursiven Gefüge der Gegenwart aus.

Marking the end of the East German state and a turning point in German history, the events of 1989 and 1990 have provided an opportunity for taking a critical look at research results in literature scholarship and other disciplines. During the '90s, most scholars, both East and West German, agreed that typical approaches to East German literature needed reconsideration and that new methods and criteria had to be established in order to transition from a one-sided, political approach to a more literary one. However -in my opinion -these considerations most often lead to a one-sided accentuation of aesthetics and, subsequently, a neglect of all other factors, as I would like to demonstrate using the example of Christa Wolf.

The 32nd bibliography of 724 volumes added to Washington University Libraries' Mike Lützeler Contemporary German Literature Collection. All published in 2018, these acquisitions include novels, poetry, short story collections, essays, autobiographical works, and literary and cultural periodicals from publishers in Germany, Austria, and Switzerland. Organized by author or editor, the bibliography includes local call numbers as well as subject and genre descriptors. This Collection serves as the research arm for the Department of Germanic Languages and Literature's Max Kade Center for Contemporary German Literature. A bibliography of items added the previous year is compiled each year by Washington University's Department of Germanic Languages and Literatures in cooperation with the University Libraries.

The 31st bibliography of 828 volumes added to Washington University Libraries' Contemporary German Literature Collection. All published in 2017, these acquisitions include novels, poetry, short story collections, essays, autobiographical works, and literary and cultural periodicals from publishers in Germany, Austria, and Switzerland. Organized by author or editor, the bibliography includes local call numbers as well as subject and genre descriptors. This Collection serves as the research arm for the Department of Germanic Languages and Literature's Max Kade Center for Contemporary German Literature.

This article discusses images of a "European" or "Wild" East in German poetry after 1989, specifically the work of Gerald Zschorsch, Kurt Drawert and Brigitte Oleschinski. Do their texts confirm or challenge a dichotomy with a long tradition in German and Western European thought, by juxtaposing "Germany" or "Europe" and this "East", or by aesthetically transcending such a dichotomy? How do their aesthetics open perspectives on inter-or transcultural movement beyond existing ideas of regional, national and European identities in an increasingly globalized world? Focusing on place, space and movement, the article addresses Centre-Periphery dynamics from a new angle. While there has been a growing body of research on narrative texts in contemporary German "migrant literature" offering transcultural perspectives on ideas of "East" and "West", poetryparticularly of non-migrant writershas been largely overlooked here, despite its potential for transcending boundaries through language because of its complex aesthetics.

In der deutschsprachigen Literatur der Gegenwart findet das zuvor tabuisierte Thema ‚neurodegenerative Erkrankungen‘, das den globalen demografischen Wandel indiziert, nach der Jahrtausendwende insbesondere als Demenz-Erzählung Beachtung. Im Jahr 2015 thematisiert dann Richard Wagner in seinem Roman Herr Parkinson ganz prominent die zweithäufigste degenerative Erkrankung des Nervensystems, Morbus Parkinson. Sein Roman spricht die Erkrankung erstmals aus der Perspektive eines selbst Betroffenen an und bricht mit den Konventionen des literarischen Diskurses. Wagner adressiert unterschiedliche Phasen der Erkrankung von der Diagnose bis zum Ausfall des Bewegungsapparats. Seine Erzähltechnik bedient sich dabei verschiedenster raffinierter Spiele, die eine Dechiffrierung verlangen. Es fragt sich: Weshalb wurde die Parkinsonerkrankung zuvor tabuisiert? Wie werden in Wagners Roman Autobiografie und Fiktion verflochten? Auf welche poetologische Reflexion wird in Herr Parkinson verwiesen? Wagner setzt in seinem Text das Sprechen als Parkinsonerkrankter bzw. dessen Unmöglichkeit performativ in Szene. Spiele erscheinen dabei als Motiv, im Verfahren des Sprachspiels und der Anspielung sowie als komplexe Verschränkung des Maskenspiels, welches Symptome der Erkrankung auch als Bewusstseinsspaltung entfaltet. Die Parkinsonerkrankung scheint surreal-anachronistische Halluzinationen zu produzieren und stellt die Identität des Selbst in Frage.

This article discusses images of a "European" or "Wild" East in German poetry after 1989, specifically the work of Gerald Zschorsch, Kurt Drawert and Brigitte Oleschinski. Do their texts confirm or challenge a dichotomy with a long tradition in German and Western European thought, by juxtaposing "Germany" or "Europe" and this "East", or by aesthetically transcending such a dichotomy? How do their aesthetics open perspectives on inter-or transcultural movement beyond existing ideas of regional, national and European identities in an increasingly globalized world? Focusing on place, space and movement, the article addresses Centre-Periphery dynamics from a new angle. While there has been a growing body of research on narrative texts in contemporary German "migrant literature" offering transcultural perspectives on ideas of "East" and "West", poetryparticularly of non-migrant writershas been largely overlooked here, despite its potential for transcending boundaries through language because of its complex aesthetics.

Sally Perel is a German-Jewish author and Holocaust survivor. During WW2, he tried to protect himself by camouflaging as an 'Arian' member of the Hitler Youth, thereby leading a double life as a perpetrator and victim in one person. In Perel, these two identities got along like fire and water and were still present in the same body. This article explores Perel's autobiography entitled Ich war Hitlerjunge Salomon, focusing on the representation of life experiences and the depiction of National Socialist mechanisms through the eyes of a contemporary witness. Based on theories by Theodor W. Adorno, this study analyzes Perel's text as an example of the resistance against forgetting and the conscious memorization of atrocities. Thus, Perel's text is regarded against the backdrop of Adorno's theories, such as Erziehung zur Entbarbarisierung, Erziehung zur Mündigkeit, Erziehung nach Auschwitz and Aufarbeitung der Vergangenheit. Subsequently, it is investigated with focus on the (im)possibility of existence. In other words, Perel's opposing life as a member of the Hitler Youth and a Jew but also his identification with those ethnicities are illustrated in the given paper.

This paper asks what has become of the distinctive tradition of GDR landscape poetry since reunification. It examines the representation of the physical changes which have come over the East German landscape in the work of older and younger poets, and considers the extent to which they provide objective correlatives for the socio-political and cultural changes experienced since 1989. The role played by landscape poetry in identity construction is also discussed. The past, travel and Heimat are themes associated with a new critical regionalism in the new Länder founded on personal and collective, local and East German experience. The principal focus is on the poems of Volker Braun, Heinz Czechowski, Wulf Kirsten and Thomas Rosenlöcher, but reference is also made to texts by younger contemporaries such as Kurt Drawert, Durs Grünbein and Michael Wüstefeld. 1. The Landscape Poem as a genre articulating responses to social transformation 'Veränderte Landschaft' was the title of an anthology of GDR landscape poetry published by the Insel Verlag in 1979. Its editor, Wulf Kirsten, paid tribute to his former teacher at the Johannes R Becher Literature Institute in Leipzig, Georg Maurer, by opening the volume with Maurer's poem 'Veränderte Landschaft', which expressed the feeling of a new beginning at the end of the Second World War, and adopting the phrase to denote a poetic programme celebrating the transformation of society in the GDR under socialism. This new 'socialist nature poetry' focused on the working and shaping of the natural environment; the landscape is witness to the process of human self-realisation through interaction with nature, in agriculture and industry. While not himself a particularly distinguished poet, Maurer was a perceptive essayist and an influential teacher, who grounded a generation of East German writers in poetic tradition. The 'landscape poetry' of what has become known as the 'Sächsische Dichterschule', a loose grouping whose members included Volker

Professor in the Humanities. The Center promotes teaching and research of modern German literature through the University Libraries' Contemporary German Literature Collection. The largest of its kind in North America, this distinctive collection of monographs and literary journals is housed in the call number range PT2660-PT2728 on level A of the John M. Olin Library. Collection materials are made available to scholars at other universities via interlibrary loan. In addition, faculty, students, and the general public can utilize collection materials in person in Olin Library. Each year, Washington University's Germanic Languages and Literatures Department, in cooperation with the University Libraries, compiles a bibliography of items added the previous year. Organized by author or editor, entries include local call numbers as well as subject and genre descriptors. Additional information can be found in the Libraries' Catalog (http://catalog.wustl.edu). Current and past issues of the bibliography are available at http://german.wustl.edu/kade/bibliography. This 28th issue of the Bibliography includes entries for over 560 volumes published in 2014. These acquisitions include novels, poetry, short story collections, essays, autobiographical works, and literary and cultural periodicals mainly from publishers in Germany, Austria, and Switzerland. A small number of items published in Italy and Luxembourg were also added.

The Max Kade Center for Contemporary German Literature was founded in 1984 at Washington University in St. Louis by Paul Michael Lützeler, Rosa May Distinguished University Professor in the Humanities. The Center promotes teaching and research of modern German literature through the University Libraries' Contemporary German Literature Collection. The largest of its kind in North America, this distinctive collection of monographs and literary journals is housed in the John M. Olin Library on level B in the call number range PT2660-PT2728. Collection materials are made available to scholars at other universities via interlibrary loan. In addition, the Collection can be utilized in person. Each year, Washington University's Germanic Languages and Literatures Department, in cooperation with the University Libraries, compiles a bibliography of items added the previous year. Organized by author or editor, entries include local call numbers as well as subject and genre descriptors. Additional information, including links to summaries and reviews, can be found in the Libraries' Catalog (http://catalog.wustl.edu). Current and past issues of the bibliography are available at http://german.wustl.edu/kade/bibliography.

The new Jahrbuch der Gesellschaft für Kinder-und Jugendliteraturforschung (Yearbook of the German Children's and Young Adult Literature Research Society) is online! It succeeds the print annual journal Kinder-und Jugendliteraturforschung, published from 1995 to 2015. In response to the rapid development of digital culture(s) and to reflect its open, democratic attitude towards dealing with knowledge resources, the German Children's and Young Adult Literature Research Society (GKJF) decided, at its General Meeting in 2016, to publish the new Yearbook as an online journal (open access) from 2017 on. The undersigned were elected as editors for the first two issues, and elections will be regularly held for editors of subsequent editions. Each issue has a thematic focus, to be approached from various angles. This inaugural issue addresses the historical and current dimensions of flight and migration in children's and young adult media. The articles examine the manifold implications of this topic from theoretical and subject-oriented perspectives in different medial forms (picturebooks, comics, graphic novels, children's and young adult novels, children's radio plays), and discuss these in the context of their significance for today's child and young adult culture. This thematic focus is accompanied by fundamental theoretical and historical articles, placed at the beginning of the Yearbook. In this issue we are delighted to feature a guest contribution by Mavis Reimer, Deanna England, Melanie Dennis Unrau and Nyala Ali, which presents a comprehensive account of current research on series and seriality. Sebastian Schmideler offers a historical perspective in his piece on emerging nonfiction or informational literature for children at the end of the 17th century. To ensure transparency and quality, proposals are invited via a call for papers, and all contributions undergo an anonymous peer review process. For this purpose, the editors appointed a scientific advisory board of renowned representatives of German and international children's and young adult media research (see list on p. 3). Book reviews, thanks to the positive response of the members of the GKJF, make up a large proportion of this year's Yearbook. In total, over forty new publications from the past two years are discussed in the form of individual and collective reviews. The Bibliography of Children's and Young Adult Literature Research, compiled by the Bibliothek für Jugendbuchforschung (Library of Children's and Young Adult Literature Research) at the Goethe University Frankfurt, is now also available online. The database is linked with the homepage of the GKJF: http://141.2.185.24:8060/alipac?BASE=B-TIC. The Yearbook, as an elaborate undertaking, would not have been possible without additional help and support. Our thanks go to Simone Fischer (Berlin) for the finely-tuned con ception and implementation of the overall design, to Agnes Blümer and Oxane Leingang (Köln) for their responsible and reliable organization of the review section, and to Anna Stemmann (Frankfurt am Main) for her quality editorial support. We wish all readers of the Yearbook an inspiring read and welcome your feedback. We would also be grateful if you could contribute to the success of the Yearbook, be it by forwarding the link to anyone who might be interested, or by submitting a contribution yourself to one of the future issues.

It is my firm belief that the period in which an author lived is of crucial importance 1 Heinrich Böll was born in Cologne on 21 December 1917, the youngest of six children. The German Kaiser was still in power, the First World War was raging and Konrad Adenauer, later to become German Chancellor, was mayor of Cologne. The Bölls were a lower middle-class family. According to family tradition their ancestors had emigrated from England several centuries previously, preferring emigration to Henry VIII's state religion. 2 Heinrich's father, Viktor Böll, was born in 1870 in Essen as one of nine children. After the early death of his first wife Katharina, he married Maria Hermanns in 1906. Among Viktor's brothers were a successful architect and a priest; Viktor himself followed in the footsteps of his father Heinrich Böll, who was a master-joiner, and specialised in wood-carvings for churches. He had a great appreciation of art history and shared this with his children, while teaching them 'to honour God and not to fear earthly rulers'. 3 Maria Böll was by all accounts a very generous and intelligent person. Her son would write about her that she was a great and wonderful woman, 1 [Ich glaube folgendes: daβ man sehr genau unterscheiden muß, aus welcher Zeitbiographie ein Autor stammt.] 'Ich habe nichts über den Krieg aufgeschrieben'

The essay demonstrates how the narratological theories developed in the field of literary studies can accomplish a better comprehension of journalistic narratives. As they have to accommodate the principles of journalism, these narratives have to be true, topical and impartial. From this point of view storytelling and the inverted-pyramid principle prove themselves as two complementary approaches of journalistic narration, whose stories are all constructed on the basis of real world occurrences and the ideologies of the diverse societies. Storytelling is enabling the communication of individual experience and the inverted-pyramid principle is supporting the narrative construction of future-open macro stories. Der Aufsatz zeigt am Beispiel der Zeitungsberichterstattung über die Guttenberg-Affäre 2011, wie die literaturwissenschaftliche Erzähltheorie zum besseren Verständnis des journalistischen Erzählens beitragen kann. Da dieses Erzählen den Anforderungen des Journalismus Rechnung t...

Journées d’étude jeunes chercheur.e.s à l’École normale supérieure Paris les 21 et 22 mai 2021 avec le soutien financier du DAAD (Office allemand d’échanges universitaires).

Merci d’envoyer vos propositions de contribution (environ 300 mots) ainsi qu’une notice biographique avant le 21 février 2021. Le français et l’allemand sont les langues de travail. La maîtrise au moins passive des deux langues est requise.

Andreas Altmann fa parte della generazione dei poeti tedeschi che ha visto la caduta del muro e ha messo piede nel secondo millennio. Nasce nel 1963 a Hainichen, in Sassonia, vicino a Lipsia dove si trasferisce a metà degli anni ottanta per poi passare a Berlino all'inizio degli anni novanta. A Berlino pubblica il suo primo libro di poesie nel 1996. Aveva fatto diversi mestieri, dal compositore tipografico al netturbino. Terminata la formazione socio pedagogica si dedica al lavoro sociale in un istituto per ritardati mentali. Questo lavoro continua tuttora ad esercitarlo. Non ha scritto molte raccolte di poesie, ma per contro ha ricevuto moltissimi premi e riconoscimenti. È un poeta di poche parole. L'abbiamo intervistato per mail e lo ringraziamo pubblicamente per la sua disponibilità.

Maxim Biller schreibt seit dreißig Jahren an einem Werk, dessen Vielstimmigkeit in der deutschsprachigen Literatur nach 1945 ohne Vorbild ist. Sein bisheriges Werk umfasst diverse Gattungen, Stil- und Tonlagen – vom großen Zeitroman über die psychologisch komplexe Erzählung und das kritische Gegenwartstheater bis zur harten, streitbaren Intervention. Unterschiedlichste Traditionen versammeln sich zu einem weltliterarischen Gespräch: Philip Roth und Saul Bellow begegnen Jaroslav Hašek und Franz Kafka, Schreibweisen der internationalen Moderne vereinigen sich mit der literarischen Ästhetik der Nachkriegszeit, die große Weimarer Ära der jüdischen Kritik trifft auf die Schule des New Journalism. Der Band berücksichtigt das Werk in sämtlichen Facetten und vereint selbst vielfältige Ansätze aus Wissenschaft, Journalismus, Literatur. Um Billers Stil geht es genauso wie um die großen Themen, die sein Werk umkreist: um die langen Schatten der deutschen Vergangenheit und der stalinistischen Gewaltherrschaft, um Familiengeheimnisse und das Schicksal der eigenen Biografie. Es ist ein Buch für alle, die Maxim Billers Werk schätzen, aber auch für jene, die einen ersten Einstieg in seine literarische Welt suchen.