Among the Jewish academics and intellectuals expelled from Germany and Austria during the Nazi era were many specialists in German literature. Strangely, their impact on the practice of Germanistik in the United States, England, and Canada has been given little attention. Who were they? Did their vision of German literature and culture differ significantly from that of those who remained in their former homeland? What problems did they face in the American and British academic settings? Above all, how did they help shape German studies in the postwar era? This unique and important symposium,...

Thomas Mann was the first writer since Goethe to attract a large international audience to stories written in German, bringing German fiction into the mainstream of European literature. His second major work, The Magic Mountain (1924), explores the heady intellectual culture of the chaotic and broken Germany that emerged from the First World War, and, along with the earlier Buddenbrooks, earned him a Nobel Prize for literature in 1929. Mann himself considered The Magic Mountain to be his greatest novel, and few in his own day doubted the preeminence of this modernist classic; however, many...

Kafka's final, unfinished novel, The Castle, remains one of the most celebrated yet most impenetrable masterpieces of modernist fiction, and a focus of literary criticsm and theory. In this chronological survey of the critical attention it has attracted, both academic and non-academic, Professor Dowden emphasises the acts of critical imagination which have shaped our image and understanding of Kafka and the novel. He explores the historical and cultural milieus of criticism, from the Weimar Era of Max Brod and Walter Benjamin to Lionel Trilling's Cold War to postmodern multiculturalism and...

The many catastrophes of German history have often been described as tragic. Consequently, German literature, music, philosophy, painting, and even architecture are rich in tragic connotations. Yet exactly what -tragedy- and -the tragic- may mean requires clarification. The poet creates a certain artful shape and trajectory for raw experience by -putting it into words-; but does putting such experience into words (or paintings or music or any other form) betray suffering by turning it into mere art? Or is it art that first turns mere suffering into tragic experience by revealing and...