Illustrations

Total Page：16

File Type：pdf, Size：1020Kb

Illustrations 1. Wassily Kandinsky, On White II (1923). © Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / Image Centre Pompidou, MNAM-CCI. 2. A watercolor painting allegedly by Adolf Hitler. Adrian Sherratt / Alamy Stock Photo. 3. A portrait of composer Carl Orff (1920). Lebrecht Music & Arts / Alamy Stock Photo. 4. A portrait of actress Hansi Burg (1926). Ullstein bild Dtl. / Getty Images. 5. Carola Neher, Rudolf Forster, and Valeska Gert on the set of the film The Threepenny Opera (1931). Glasshouse Images / Alamy Stock Photo. 6. Nazi Party officials at a gymnastic exhibition in Stuttgart (1933). Everett Collection Historical / Alamy Stock Photo. 7. A charcoal drawing of Adolf Hitler by H. Oloffs. Universal History Archive / Getty Images. 8. A photograph of Bertolt Brecht (1930s). Chronicle / Alamy Stock Photo. 9. Hubert Lanzinger, The Standard Bearer (1934). 10. The front page of Nuremberg Gauleiter Julius Streicher’s anti-Semitic weekly Der Stürmer. Special issue (May 1, 1934). PRISMA ARCHIVO / Alamy Stock Photo. 11. A reproduction of Arnold Schoenberg, Self Portrait (1935). SPUTNIK / Alamy Stock Photo. ix illustrations 12. Adolf Hitler, Willy Liebel, and Albert Speer at the Nuremberg Reich Party rally site (c. 1936). ImageBROKER / Alamy Stock Photo. 13. Marlene Dietrich and Erich Maria Remarque in Paris (1937). Everett Collection Historical / Alamy Stock Photo. 14. The cover of the exhibition guide to the Nazi “Degenerate Art” show in Munich ( July 1937). Author’s archive. 15. The cover of the exhibition guide to the Nazis’ “Degenerate Music” show in Düsseldorf (May 1938). Author’s archive. 16. A page from the exhibition guide to the Nazis’ “Degenerate Music” show in Düsseldorf (May 1938). Author’s archive. 17. Elk Eber, Thus was the SA (1938). The Picture Art Collection / Alamy Stock Photo. 18. A poster for the German film Wunschkonzert, starring Ilse Werner (1940). Ullstein bild Dtl. / Getty Images. 19. Ferdinand Marian in the Nazi propaganda film Jud Süss (1940). Photo 12 / Alamy Stock Photo. 20. The cover for Ernst Hiemer, The Mongrel and Other Thought-Provoking Tales (1940). Author’s archive. 21. A painting of Erwin Rommel by Wolfgang Willrich (1940–1). Ullstein bild Dtl. / Getty Images. 22. A photograph of a Luftwaffe correspondent handing his film reels to a motorcyclist (c. 1941). INTERFOTO / Alamy Stock Photo. 23. A photograph of Gerhart Hauptmann being modeled by Arno Breker, October 26, 1942. The Print Collector / Alamy Stock Photo. 24. Franz Eichhorst, The Memory of Stalingrad (1943). History and Art Collection / Alamy Stock Photo. 25. Hans Albers in the film Baron Münchhausen (1943). World History Archive / Alamy Stock Photo. 26. Nobel laureate Thomas Mann making an anti-Nazi broadcast in Los Angeles (1943). Pictorial Press Ltd / Alamy Stock Photo. 27. A portrait of film actress Margot Hielscher (1950s). INTERFOTO / Alamy Stock Photo. 28. Gustaf Gründgens as Mephisto in Goethe’s drama Faust II (1959). Dpa picture alliance / Alamy Stock Photo. 29. A portrait of composer Werner Egk (May 1981). Keystone Pictures USA / Alamy Stock Photo. 30. A portrait of author Ernst Jünger (1986). INTERFOTO / Alamy Stock Photo. x.

Copy Link

Recommended publications

Literature and Film of the Weimar Republic (In English Translation) OLLI@Berkeley, Spring 2019 Mondays, April 1—29, 2019 (5 Weeks), 10:00 A.M
Instructor: Marion Gerlind, PhD (510) 430-2673 • [email protected] Literature and Film of the Weimar Republic (in English translation) OLLI@Berkeley, Spring 2019 Mondays, April 1—29, 2019 (5 weeks), 10:00 a.m. — 12:30 p.m. University Hall 41B, Berkeley, CA 94720 In this interactive seminar we shall read and reflect on literature as well as watch and discuss films of the Weimar Republic (1919–33), one of the most creative periods in German history, following the traumatic Word War I and revolutionary times. Many of the critical issues and challenges during these short 14 years are still relevant today. The Weimar Republic was not only Germany’s first democracy, but also a center of cultural experimentation, producing cutting-edge art. We’ll explore some of the most popular works: Bertolt Brecht and Kurt Weill’s musical play, The Threepenny Opera, Joseph von Sternberg’s original film The Blue Angel, Irmgard Keun’s bestseller The Artificial Silk Girl, Leontine Sagan’s classic film Girls in Uniform, Erich Maria Remarque’s antiwar novel All Quiet on the Western Front, as well as compelling poetry by Else Lasker-Schüler, Gertrud Kolmar, and Mascha Kaléko. Format This course will be conducted in English (films with English subtitles). Your active participation and preparation is highly encouraged! I recommend that you read the literature in preparation for our sessions. I shall provide weekly study questions, introduce (con)texts in short lectures and facilitate our discussions. You will have the opportunity to discuss the literature/films in small and large groups. We’ll consider authors’ biographies in the socio-historical background of their work.
[Show full text]
Core Reading List for M.A. in German Period Author Genre Examples
Core Reading List for M.A. in German Period Author Genre Examples Mittelalter (1150- Wolfram von Eschenbach Epik Parzival (1200/1210) 1450) Gottfried von Straßburg Tristan (ca. 1210) Hartmann von Aue Der arme Heinrich (ca. 1195) Johannes von Tepl Der Ackermann aus Böhmen (ca. 1400) Walther von der Vogelweide Lieder, Oskar von Wolkenstein Minnelyrik, Spruchdichtung Gedichte Renaissance Martin Luther Prosa Sendbrief vom Dolmetschen (1530) (1400-1600) Von der Freyheit eynis Christen Menschen (1521) Historia von D. Johann Fausten (1587) Das Volksbuch vom Eulenspiegel (1515) Der ewige Jude (1602) Sebastian Brant Das Narrenschiff (1494) Barock (1600- H.J.C. von Grimmelshausen Prosa Der abenteuerliche Simplizissimus Teutsch (1669) 1720) Schelmenroman Martin Opitz Lyrik Andreas Gryphius Paul Fleming Sonett Christian v. Hofmannswaldau Paul Gerhard Aufklärung (1720- Gotthold Ephraim Lessing Prosa Fabeln 1785) Christian Fürchtegott Gellert Gotthold Ephraim Lessing Drama Nathan der Weise (1779) Bürgerliches Emilia Galotti (1772) Trauerspiel Miss Sara Samson (1755) Lustspiel Minna von Barnhelm oder das Soldatenglück (1767) 2 Sturm und Drang Johann Wolfgang Goethe Prosa Die Leiden des jungen Werthers (1774) (1767-1785) Johann Gottfried Herder Von deutscher Art und Kunst (selections; 1773) Karl Philipp Moritz Anton Reiser (selections; 1785-90) Sophie von Laroche Geschichte des Fräuleins von Sternheim (1771/72) Johann Wolfgang Goethe Drama Götz von Berlichingen (1773) Jakob Michael Reinhold Lenz Der Hofmeister oder die Vorteile der Privaterziehung (1774)
[Show full text]
Carl Und Gerhart Hauptmann – Jahrbuch
Carl und Gerhart Hauptmann – Jahrbuch Bd. VII 2013 Carl und Gerhart Hauptmann - Jahrbuch Redaktion Prof. Dr. Krzysztof A. Kuczyński Katedra Badań Niemcoznawczych \ Lehrstuhl für Deutschlandstudien Uniwersytet Łódzki \ Universität Lodz ul. Narutowicza 59 a, PL 90- 131 Łódź Tel.\Fax. 0048 -42 – 66 55 401 E-Mail: [email protected] Herausgeber der Reihe „Carl und Gerhart Hauptmann – Jahrbuch“ Prof. Dr. Krzysztof A. Kuczyński Herausgeber des Bandes VII, 2013 Prof. Dr. Grażyna Barbara Szewczyk Gutachter: Prof. Dr. Marek Hałub Uniwersytet Wrocławski \ Universität Wrocław Wissenschaftlicher Beirat: Prof. Dr. Mirosława Czarnecka, Universität Wrocław Prof. Dr. Marek Hałub, Universität Wrocław Prof. Dr. Peter Sprengel, FU Berlin Prof. Dr. Anna Stroka, Universität Wrocław Prof. Dr. Grażyna Szewczyk, Universität Katowice ISSN 2084-2511 Vertrieb des Carl und Gerhart Hauptmann-Jahrbuchs Państwowa Wyższa Szkoła Zawodowa we Włocławku / Staatliche Fachhochschule Włocławek Wydawnictwo Naukowe PWSZ we Włocławku Wissenschaftlicher Verlag der Staatlichen Fachhochschule in Włocławek PL 87-800 Włocławek, ul. 3 Maja 17 Fax: 0048 54 321 43 52 E-Mail: [email protected] * Für unverlangt eingesandte Materialien wird keine Haftung übernommen Skład, druk i oprawa Partner Poligrafia Białystok, ul. Zwycięstwa 10; tel. 85 653-78-04; [email protected] Lehrstuhl für Deutschlandstudien der Universität Łódź Gerhart-Hauptmann-Museum Erkner Carl und Gerhart Hauptmann – Jahrbuch Bd. VII Wissenschaftlicher Verlag der Staatlichen Fachhochschule in Włocławek
[Show full text]
The Plays in Translation
The Plays in Translation Almost all the Hauptmann plays discussed in this book exist in more or less acceptable English translations, though some are more easily available than others. Most of his plays up to 1925 are contained in Ludwig Lewisohn's 'authorized edition' of the Dramatic Works, in translations by different hands: its nine volumes appeared between 1912 and 1929 (New York: B.W. Huebsch; and London: M. Secker). Some of the translations in the Dramatic Works had been published separately beforehand or have been reprinted since: examples are Mary Morison's fine renderings of Lonely Lives (1898) and The Weavers (1899), and Charles Henry Meltzer's dated attempts at Hannele (1908) and The Sunken Bell (1899). More recent collections are Five Plays, translated by Theodore H. Lustig with an introduction by John Gassner (New York: Bantam, 1961), which includes The Beaver Coat, Drayman Henschel, Hannele, Rose Bernd and The Weavers; and Gerhart Hauptmann: Three Plays, translated by Horst Frenz and Miles Waggoner (New York: Ungar, 1951, 1980), which contains 150 The Plays in Translation renderings into not very idiomatic English of The Weavers, Hannele and The Beaver Coat. Recent translations are Peter Bauland's Be/ore Daybreak (Chapel HilI: University of North Carolina Press, 1978), which tends to 'improve' on the original, and Frank Marcus's The Weavers (London: Methuen, 1980, 1983), a straightforward rendering with little or no attempt to convey the linguistic range of the original. Wedekind's Spring Awakening can be read in two lively modem translations, one made by Tom Osbom for the Royal Court Theatre in 1963 (London: Calder and Boyars, 1969, 1977), the other by Edward Bond (London: Methuen, 1980).
[Show full text]
Author, Title Price Notes
Contact: Suriya Prabhakar [email protected] Hey Germanists/Linguists, I’m Suriya, a recent German graduate from Teddy Hall, and I’m looking to sell most of my books that I bought firsthand during my degree. All the books are in extremely good condition, and some of them barely used. You may find the occasional annotation but it will be in pencil and easily erasable (except poetry books where specified). All these prices are half the original price or less (based on Amazon), so I can guarantee you will be saving loads of money (unlike me in first year) on books that you probably won’t use after your degree! They will be sold on a first come first served basis – all you need to do is email me as soon as you’ve decided which ones you want! I’m happy to answer any questions you may have, and am willing to provide details/photos of books if needed. Do get in touch at: [email protected] All the best, Suriya Author, Title Price Notes Georg Kaiser, Von morgens bis 50p Prelims mitternachts (Reclam) Frank Wedekind, Frühlings Erwachen 50p Prelims Arthur Schnitzler, Liebelei (Reclam) 50p Prelims Deutsche Lyrik (Eine Anthologie) £4 Prelims; pencil annotations on set poems Mann, Mario und der Zauberer (Fischer) £3 Prelims Brecht, Die Maßnahme £2 Prelims Erich Maria Remarque, Im Westen nichts £3 Prelims Neues Hartmann von Aue, Gregorius (Reclam) £2 Prelims/Medieval Wolfram von Eschenbach, Parzival £7 VI/IX Medieval; very slight tear on Band 1 + 2 (Reclam) front cover of Band 1 (does not impact text) Parzival Translation (Penguin
[Show full text]
(Student Performance Objectives) Ccos
COURSE OUTLINE : GRMN 012 Last Revised and Approved: 10/23/2008 CURRICULUM Subject Code and Course Number: GRMN 012 Division : Languages Course Title : GERMAN LITERATURE IN TRANSLATION Summarize the need/purpose/reason for this proposal German 12 appeals to the general college population as well as students already enrolled in German language classes. Since the German program cannot offer literature courses in German at this point, reading major works in translation is the next best thing. Furthermore, a survey of German literary movements enhances students' understanding of the history and culture of the German-speaking countries and complements the popular German Civilization course. Beyond that, studying works of German literature that represent different historical periods and cultural contexts will challenge students to analyze broader issues and ideas and make connections with global themes addressed in other courses in the Languages, English, and Social Sciences Divisions. Finally, Literature in Translation is already well established in the Languages Division in these foreign language classes: Chinese 12, Japanese 12, Spanish 12, and Italian 12. SLOs (Student Learning Outcomes) 1. Recognize and discuss key characteristics of major periods of German literature. 2. Compare and contrast dominant themes, relevant topics, and stylistic conventions in representative works. SPOs (Student Performance Objectives) 1. Describe core characteristics of major movements in German literature 2. Demonstrate a basic knowledge of the geography, history and culture of Germany 3. Analyze individual works of literature in their historical, socio-economic and philosophical context 4. Identify elements of style and structure in different genres of literature 5. Relate German literary themes and traditions to prevalent trends in world literature CCOs (Course Content Outline) Note: This outline lists all topics of interest.
[Show full text]
5. Calling for International Solidarity: Hanns Eisler’S Mass Songs in the Soviet Union
From Massenlieder to Massovaia Pesnia: Musical Exchanges between Communists and Socialists of Weimar Germany and the Early Soviet Union by Yana Alexandrovna Lowry Department of Music Duke University Date:_______________________ Approved: ___________________________ Bryan Gilliam, Supervisor ___________________________ Edna Andrews ___________________________ John Supko ___________________________ Jacqueline Waeber Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2014 i v ABSTRACT From Massenlieder to Massovaia Pesnia: Musical Exchanges between Communists and Socialists of Weimar Germany and the Early Soviet Union by Yana Alexandrovna Lowry Department of Music Duke University Date:_______________________ Approved: ___________________________ Bryan Gilliam, Supervisor ___________________________ Edna Andrews ___________________________ John Supko ___________________________ Jacqueline Waeber An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2014 Copyright by Yana Alexandrovna Lowry 2014 Abstract Group songs with direct political messages rose to enormous popularity during the interwar period (1918-1939), particularly in recently-defeated Germany and in the newly- established Soviet Union. This dissertation explores the musical relationship between these two troubled countries and aims to explain the similarities and differences in their approaches to collective singing. The discussion of the very complex and problematic relationship between the German left and the Soviet government sets the framework for the analysis of music. Beginning in late 1920s, as a result of Stalin’s abandonment of the international revolutionary cause, the divergences between the policies of the Soviet government and utopian aims of the German communist party can be traced in the musical propaganda of both countries.
[Show full text]
Volume 6. Weimar Germany, 1918/19–1933 Max Brod, “Women and the New Objectivity” (1929)
Volume 6. Weimar Germany, 1918/19–1933 Max Brod, “Women and the New Objectivity” (1929) This essay by writer and critic Max Brod (1884-1968) was included in the publication Die Frau von Morgen, wie wir sie wünschen [The Woman of the Future as We Wish Her to Be] (1929), a collection of writings by exclusively male authors on the changing role and image of women. Today, Brod is perhaps best remembered as Franz Kafka’s literary executor and editor. In the excerpt below, Brod describes his conception of the role women should play in “The New Objectivity” movement; his text is broadly representative of contemporary male attitudes towards the “New Woman.” Women and the New Objectivity [Neue Sachlichkeit] [ . ] Recent literature has taken on an increasingly hard, cold, masculine tone. Exactly the same as modern music, which sounds anti-romantic, anti-sentimental. It is unacceptable either to sing or to speak of love. It is incompatible with “objectivity,” the supreme postulate of the present. This remarkable change of mind is a consequence of the following: since the beginning of the nineteenth century the times have assumed a hard and mechanical form, but writers have adopted a position of protest. Flaubert certainly recognized the mercilessly sober mechanical nature of our epoch, but his heroes (Bovary, like the sentimental Frédéric) grate against the time, for they cannot make themselves conform to the machine. This was in essence the fundamental posture of the writer for decades. He secretly remained the enemy of modern development, of Americanism. The problem arises: have the new writers submitted to it? Have they given up their struggle in the name of the spirit? Has the sober era triumphed once and for all over the last remaining protest? Love, the desire for love, used to mean a glimpse into the deeper meaning of existence.
[Show full text]
The Meaning of War, 1914- 1918,” in Horne (Ed.), State, Society and Mobilization, 21-38
A War of Words The Cultural Meanings of the First World War in Britain and Germany Mark Hewitson To the critic Alfred Kazin, conflicts before the Second World War had regularly been described in ‘traditional literary ways’.1 Likewise, for the historian Jay Winter, it was only Hiroshima and Auschwitz that had – in Julia Kristeva’s words – ‘undermined the very symbols through which meaning – any meaning – could be attached to the “cataclysm” of war’.2 Before that point in time, religious or spiritual redemption had appeared possible, present even in the anti-war novels of Henri Barbusse, Ernest Hemingway and Erich Maria Remarque.3 The heroic tropes of nineteenth-century art and literature helped some contemporaries to contextualize, explain and justify the Great War.4 For others, although heroism had been discredited, writing seemed to allow combatants and civilians to look for meaning and make sense of the conflict. Whereas silence was associated with a transfixed state of fear, meaninglessness or mourning, words offered solace and signification. Here, I examine the ways in which written accounts of war, rather than visual images, served to challenge popular expectations and break taboos.5 Since the mid-nineteenth century, various means had been used to bring ‘news’ of conflicts to public attention. Newspaper reports had been eagerly awaited by readers – above all in the educated, middling strata of towns – during the Revolutionary and Napoleonic Wars.6 Their readership had increased markedly in size during the nineteenth century. War
[Show full text]
Traum Und Abgrund Das Leben Der Schauspielerin Carola Neher Von Marianne Thoms
SWR2 MANUSKRIPT ESSAYS FEATURES KOMMENTARE VORTRÄGE SWR2 Wissen Traum und Abgrund Das Leben der Schauspielerin Carola Neher Von Marianne Thoms Carola Neher, eine Lieblingsschauspielerin Bert Brechts, flieht vor den Nazis nach Moskau, gerät in stalinistischen Terror und stirbt, nach fünf Jahren Lagerhaft, entkräftet an Typhus. Sendung: Freitag, 28. September 2012, 8.30 – 8.58 Uhr Wiederholung, Donnerstag, 02.08.2018 Redaktion: Udo Zindel Regie: Andrea Leclerque Produktion: SWR 2012 Bitte beachten Sie: Das Manuskript ist ausschließlich zum persönlichen, privaten Gebrauch bestimmt. Jede weitere Vervielfältigung und Verbreitung bedarf der ausdrücklichen Genehmigung des Urhebers bzw. des SWR. MANUSKRIPT Regie: Musikblende Klaviermusik Chopin, darüber sprechen: Carola: Man nehme eine beliebige schöne Frau und lasse sie über die Bühne gehen. Sie wird über ihre eigenen Beine und Gedanken stolpern. Sie ist aus ihrem Element gekommen, ein Fisch auf dem Land. Aber wir Schauspielerinnen sind erst auf der Bühne in unserem Element – wir stolpern nur im Leben. Ansager.: Traum und Abgrund – Das Leben der Schauspielerin Carola Neher, 1900 bis 1942. Eine Sendung von Marianne Thoms. Sprecherin: 1 Die gebürtige Münchnerin ist schön, intelligent und hochbegabt. Schon als Kind träumt sich Carola Neher in die Welt des Theaters. Niemand kann sie aufhalten – weder ihr herrschsüchtiger Vater, ein Musiker, noch die besorgte Mutter, eine Gastwirtin. Ihr Bruder Josef sagt über sie: Zitator: Die wäre in jedem Fall Schauspielerin geworden. Und wenn sie im nächsten Jahr daran gestorben wäre. Sprecherin: Mit hemmungslos vitaler Darstellungslust erobert Carola Neher ab ihrem 20. Lebensjahr Bühne für Bühne: Baden-Baden, Nürnberg, München, Breslau – immer zielstrebig mit dem Blick auf Berlin. Mit frechem Vergnügen nutzt sie auch ihre Anziehungskraft auf Männer.
[Show full text]
Literaturwissenschaft)
Technische Universität Braunschweig Seminar für deutsche Sprache und Literatur BA Germanistik Leseliste (Literaturwissenschaft) I. Deutsche Literatur vom Mittelalter bis zum Barock 1. Hildebrandslied 2. Pfaffe Konrad: Rolandslied 3. Heinrich von Morungen: Minnesang 4. Hartmann von Aue: Erec 5. Hartmann von Aue: Iwein 6. Nibelungenlied 7. Wolfram von Eschenbach: Parzival 8. Gottfried von Straßburg: Tristan 9. Walther von der Vogelweide: Minnesang 10. Walther von der Vogelweide: Politische Spruchdichtung 11. Neidhart: Minnesang 12. Johannes von Tepl: Der Ackermann aus Böhmen 13. Sebastian Brant: Das Narrenschiff 14. Thüring von Ringoltingen: Melusine 15. Hermann Bote: Till Eulenspiegel 16. Hans Sachs: Meisterlieder 17. Hans Sachs: Fastnachtspiele 18. Martin Luther: Von der Freiheit eines Christenmenschen 19. Faustbuch 20. Grimmelshausen: Der abentheuerliche Simplicissimus Teutsch 21. Volker Meid (Hg.): Lyrik des Barock 22. Andreas Gryphius: Papinian II. Deutsche Literatur von der Aufklärung bis zur Klassik 23. Johann Gottfried Schnabel: Die Insel Felsenburg 24. Christian Fürchtegott Gellert: Leben der Schwedischen Gräfin von G. 25. Friedrich Gottlieb Klopstock: Oden 26. Christoph Martin Wieland: Geschichte des Agathon 27. Gotthold Ephraim Lessing: Minna von Barnhelm 28. Gotthold Ephraim Lessing: Emilia Galotti 29. Gotthold Ephraim Lessing: Nathan der Weise 30. Gotthold Ephraim Lessing: Hamburgische Dramaturgie 31. Johann Joachim Winckelmann: Gedanken über die Nachahmung der griechischen Original-Werke 32. Johann Gottfried Herder: Kritische Wälder 33. Johann Gottfried Herder: Journal meiner Reise 1769 34. Jakob Michael Reinhold Lenz: Der Hofmeister 35. Jakob Michael Reinhold Lenz: Die Soldaten 36. Karl Philipp Moritz: Anton Reiser 37. Johann Wolfgang Goethe: Die Leiden des jungen Werthers 38. Johann Wolfgang Goethe: Götz von Berlichingen 39. Johann Wolfgang Goethe: Wilhelm Meisters Lehrjahre 40.
[Show full text]
'Stimulating Our Literature and Deepening Our Culture'
Quærendo 47 (2017) 222-251 brill.com/qua ‘Stimulating our Literature and Deepening our Culture’ Translated Books as Book-of-the-Month Club Selections, 1926 to 1973 Corinna Norrick-Rühl Gutenberg-Institut für Weltliteratur und schriftorientierte Medien Johannes Gutenberg-University Mainz, Germany [email protected] Abstract One of the most prominent book clubs in the US was the Book-of-the-Month Club, established in 1926. The Book-of-the-Month Club marketed books as commodities for consumption, promoting leisurely reading among the growing middle class. But the Book-of-the-Month Club also claimed to be ‘stimulating our literature and deepening our culture’, and in fact, dozens of selected authors went on to receive the Pulitzer Prize or the Nobel Prize for Literature. The body of research on the Book-of-the-Month Club includes Janice A. Radway’s well-known multi-method study A Feeling for Books (1997). But translations among Book-of-the-Month Club selections have not yet been considered. Focusing in particular on books translated into English from German, this paper will present new data on originally foreign-language books that were selected by the Book-of-the-Month Club judges, thereby guaranteeing European authors maximum visibility and exorbitant sales in the US market, which was (and is) usually considered difficult to tap into for non-Anglophone writers. Keywords book sales clubs – Book-of-the-Month Club – translation(s) – German literature Worldwide, millions of readers have accessed their reading material and enter- tainment media through mail-order book sales clubs like Círculo de Lectores, the Nederlandse Boekenclub, Bertelsmann Club or the Book-of-the-Month © koninklijke brill nv, leiden, 2017 | doi 10.1163/15700690-12341383Downloaded from Brill.com09/25/2021 08:08:03PM via free access ‘Stimulating our literature and deepening our culture’ 223 Club.
[Show full text]