Scott D. Denham Jonathan Petropoulos Irene Kacandes
The German-speaking world has spawned some of the most extreme contrasts between products of culture--the endlessly fascinating, if cliched, Beethoven-Hitler dichotomy--and thus provokes compelling questions about culture and identity. A User's Guide to German Cultural Studies is an invitation to explore the rapidly expanding scholarship in cultural studies within the German context. This collection brings together more than twenty-five essays from top-notch scholars and astute cultural critics who examine diverse questions in both broad outlines and specific instances. A literary...
The German-speaking world has spawned some of the most extreme contrasts between products of culture--the endlessly fascinating, if cliched, Beethoven...
Everywhere you turn today, someone (or something) is talking to you the television, the radio, cell phones, your computer. If you think some of the novels and stories you read are talking to you too, you're not alone, and you're not mistaken. In this innovative, multidisciplinary work, Irene Kacandes reads contemporary fiction as a form of conversation and as part of the larger conversation that is modern culture.Within a framework of talk as interaction, Kacandes considers texts that can be classified as "statements," that is, texts that wholly or in part ask for their readers to react to...
Everywhere you turn today, someone (or something) is talking to you the television, the radio, cell phones, your computer. If you think some of the no...
Can the story be told? Jorge Semprun asked after his liberation from Buchenwald. The question is addressed from many angles in this volume of essays on teaching about the Holocaust. In their introduction, Marianne Hirsch and Irene Kacandes argue that Semprun's question is as vital now, and as difficult and complex, as it was for the survivors in 1945.
The thirty-eight contributors to Teaching the Representation of the Holocaust come from various disciplines (history, literary criticism, psychology, film studies) and address a wide range of issues pertinent to the teaching of...
Can the story be told? Jorge Semprun asked after his liberation from Buchenwald. The question is addressed from many angles in this volume of essay...
When she was very young, Irene Kacandes knew things about her father that had no plot, no narrator, and no audience. To her childhood self these things resembled beings who resided with her family, like the ancestresses who d thrown themselves off cliffs rather than be taken by the Turks, or the forefathers who d fought the Trojans. For decades she thought of these cohabitants as Daddy s War Experiences and tried to stay away from them. When tragedy touched the adult life she had constructed for herself, however, she realized she had to confront her family s wartime past. Kacandes begins...
When she was very young, Irene Kacandes knew things about her father that had no plot, no narrator, and no audience. To her childhood self these thing...