GERMANIC REVIEW最新文献

{"title":"Lyrical Touch: Paul Celan and Yunus Emre in the Poetry of Zafer Şenocak","authors":"Kristin Dickinson","doi":"10.1080/00168890.2023.2256017","DOIUrl":"https://doi.org/10.1080/00168890.2023.2256017","url":null,"abstract":"AbstractThis article reads Zafer Şenocak’s German- and Turkish-language poetry as a multifaceted site of relation, within which the themes and concerns of Paul Celan and Yunus Emre’s poetry come to touch. In doing so, it develops the concept of lyrical touch or the sensual experience of connecting with others in and through lyrical language. Celan and Yunus Emre touch in Şenocak’s writing in part through his negotiation of each author’s very different conception of the body. Through this process of negotiation, Şenocak sets into motion an interpretive movement not unlike Celan’s theory of the meridian. Connecting the path of Celan’s poems to Yunus Emre’s physical peregrinations as a wandering dervish, Şenocak counters recurrent accusations of hermeticism in Celan’s more pared-down late poetry, pointing instead to his conception of the addressee as a living, breathing, mortal body that is itself in motion.Keywords: embodied experiencePaul Celansufi mysticismthe bodytouchtranslationYunus EmreZafer Şenocak Notes1 Zafer Şenocak, “Berühren oder Begegnen?,” in Zungenentfernung (Berlin: Babel, 2001), 62–63.2 Zafer Şenocak, “Zwischen Herz und Haut,” in Atlas des tropischen Deutschland (Berlin: Babel, 1993), 98–99.3 Zafer Şenocak, “Zwischen den Büchern,” in Das Land hinter den Buchstaben: Deutschland und der Islam im Umbruch (Berlin: Babel, 2006), 211.4 For more on this conception of haptic writing see Laura Marks, Touch: Sensuous Theory and Multisensory Media (Minneapolis: University of Minnesota Press, 2002), ix.5 Michael André Bernstein, “In the End Was the Word,” New Republic, 213, no. 18 (October 30, 1995): 39.6 Mark Anderson, “A Poet at War With His Language,” The New York Times, December 31, 2000, http://www.nytimes.com/books/00/12/31/reviews/001231.31anderst.html.7 Ruth Franklin, “How Paul Celan Reconceived Language for a Post-Holocaust World,” The New Yorker, November 16, 2020, https://www.newyorker.com/magazine/2020/11/ 23/how-paul-celan-reconceived-language-for-a-post-holocaust-world.8 For an excellent summary of these debates see Kurt Beals, “Alternatives to Impossibility: Translation as Dialogue in the Works of Paul Celan,” Translation Studies 7, no. 3 (2014): 285–86. For more on depictions of Celan’s poetry as “difficult,” “self referential,” “veiled,” and “hermetic” during his lifetime, see also Joanna Klink, “You. An Introduction to Paul Celan,” Iowa Review 30, no.1 (2000): 1–2.9 Grace Smith, The Poetry of Yunus Emre (Berkeley: University of California Press, 1993), 1–3.10 Abdülbaki Gölpınarlı, Yunus Emre: Hayatı ve Bütün Şiirleri, (Istanbul: Altın Kitaplar Yayınevi, 1991), 32–36.11 Ibid., 37–47.12 İlhan Basgöz, Yunus Emre Araştırma ve Şiirlerinden Güldeste (Bloomington: Indiana University Press, 1990), 5–6.13 Michael Pifer, Kindred Voices: A Literary History of Medieval Anatolia (New Haven: Yale University Press, 2021), 107.14 Ibid., 111.15 Zafer Şenocak, “Einen anderen Duft als den der Rose: Über türkische Volks- und Divandichtung,” Der ","PeriodicalId":54022,"journal":{"name":"GERMANIC REVIEW","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135902613","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Tales That Touch: Migration, Translation, and Temporality in Twentieth- and Twenty-First-Century German Literature and Culture <b> <i>Tales That Touch: Migration, Translation, and Temporality in Twentieth- and Twenty-First-Century German Literature and Culture</i> </b> , by Bettina Brandt and Yasemin Yildiz eds. Berlin: DeGruyter, 2022, 354 pp., $114.99, ISBN 9783110778236.","authors":"Didem Uca","doi":"10.1080/00168890.2023.2262200","DOIUrl":"https://doi.org/10.1080/00168890.2023.2262200","url":null,"abstract":"Click to increase image sizeClick to decrease image size Notes1 Rebecca Walkowitz, Born Translated: The Contemporary Novel in an Age of World Literature (New York: Columbia University Press, 2015), 3.","PeriodicalId":54022,"journal":{"name":"GERMANIC REVIEW","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135902612","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Remembrance Undisciplined: Reading Paul Celan with Max Czollek","authors":"Simone Stirner","doi":"10.1080/00168890.2023.2262084","DOIUrl":"https://doi.org/10.1080/00168890.2023.2262084","url":null,"abstract":"AbstractTaking Walter Benjamin’s critique of history’s “disciplining” nature as a starting point, this article reads Paul Celan in dialogue with the contemporary German-Jewish poet, playwright, and essayist Max Czollek to consider the undisciplining of remembrance in both their poetry. The article highlights two sites where poetry makes an undisciplined sense of the past felt: language and historical perception. Readings of Celan’s “Lila Luft” and “Mapesbury Road” and Czollek’s “von der wiederkehr” and “nachrichten aus marathon” show how both poets draw on the resources of poetry to produce perceptual openings toward the pervasive reverberations of the national socialist past in the present. In doing so, they convey a sense of time in the aftermath of National Socialism that recent debates around memory in Germany—drawing on theoretical accounts of postcolonial aftermaths—described as “post-national socialist.” Reading Celan with Czollek renders visible to what extent Celan resonates with this contemporary discourse, while also highlighting the historical specificity of remembering in the wake of the Nazi genocide.Keywords: CelanCzollekairremembranceundisciplinedpost-national socialist Notes1 Walter Benjamin, The Arcades Project, trans. Howard Eiland and Kevin McLaughlin (Cambridge, MA and London: Belknap/Harvard University Press, 2002), 631 [W 7,4]; see also Howard Eiland and Kevin McLaughlin, “Translator’s Foreword,” in The Arcades Project, by Walter Benjamin (Cambridge, MA and London: Belknap/Harvard University Press, 2002), xi. The epigraph is taken from: Benjamin, The Arcades Project, 545 [S1a, 3]; The German reads “Die Konstruktionen der Geschichte sind militärischen Ordres vergleichbar, die das wahre Leben kuranzen und kasernieren.” An early note uses the phrasing “kommandieren und kasernieren.” Walter Benjamin, Gesammelte Schriften VI, ed. Rolf Tiedemann and Hermann Schweppenhäuser (Frankfurt am Main: Suhrkamp, 1991), 677, 1014.2 Walter Benjamin, “On the Concept of History,” in Selected Writings 4, ed. Howard Eiland and Michael W. Jennings (Cambridge, MA: Belknap, 2006), 395.3 Benjamin, “Concept of History,” 390.4 Tobias Menely, “Antropocene Air,” Minnesota Review 83 (2014): 93.5 Sanders Isaac Bernstein, “Shall We Not Revenge?,” JewishCurrents (blog), March 3, 2023, https://jewishcurrents.org/shall-we-not-revenge.6 Max Czollek, “5 Fragen an…Max Czollek,” 2023, https://www.hanser-literaturverlage.de/buch/versoehnungstheater/978-3-446-27609-3/.7 https://www.gorki.de/en/celan-mit-der-axt/2018-01-26-2000.8 Bernstein, “Shall We Not Revenge?”9 Max Czollek, De-Integrate: A Jewish Survival Guide for the 21st Century, trans. Jon Cho-Polizzi (Brooklyn, NY: Restless Books, 2023), 132.10 Marjorie Perloff, “‘Sound Scraps, Vision Scraps’: Paul Celan’s Poetic Practice,” in Reading for Form, ed. Susan J. Wolfson and Marshall Brown (Seattle: Univ. of Washington, 2006), 177; Marjorie Perloff, “A Poet’s Hope,” Boston Review (blog), November 1, 2005, https:/","PeriodicalId":54022,"journal":{"name":"GERMANIC REVIEW","volume":"89 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135902618","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"German Philosophy and the First World War <i>German Philosophy and the First World War</i> . Nicolas de Warren. Cambridge, UK: Cambridge University Press, 2023, 426 pp., $45.95, ISBN 9781108423496","authors":"André Flicker","doi":"10.1080/00168890.2023.2262199","DOIUrl":"https://doi.org/10.1080/00168890.2023.2262199","url":null,"abstract":"Click to increase image sizeClick to decrease image size Notes1 Henri Barbusse, Le Feu (Paris: Ernest Flamarion, 1926), reference to p. 350f.2 Walter Benjamin, “The Storyteller: Reflections on the Work of Nikolai Leskov,” in Walter Benjamin: Illuminations, edited by Hannah Arendt, transl. by Harry Zohn (New York: Schocken Books, 2007): 83-109, here 84.","PeriodicalId":54022,"journal":{"name":"GERMANIC REVIEW","volume":"85 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135902614","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Protest and the Opacity of Literature: James Baldwin and Paul Celan","authors":"Matthew Johnson","doi":"10.1080/00168890.2023.2256016","DOIUrl":"https://doi.org/10.1080/00168890.2023.2256016","url":null,"abstract":"This article analyzes Paul Celan’s translation of James Baldwin’s “Everybody’s Protest Novel” and considers the connections between the poetics of these two writers. In addition to their shared preoccupation with and rearticulation of terms such as human, creature, and darkness, the translation reveals how they explored the relationship between literature and reality at early and transitional moments in their careers. While rejecting regnant modes of realism, Baldwin and Celan insisted, in different but related ways, on the bearing of the world on their writing, which they understood as a response to historical catastrophes that resisted inherited categories and hegemonic language. This article demonstrates how reading Baldwin’s essay and Celan’s translation together can help us understand their peculiar realism anew, and it elucidates how this aspect of their work continues to feel urgent today, with specific reference to the writing of Claudia Rankine.","PeriodicalId":54022,"journal":{"name":"GERMANIC REVIEW","volume":"155 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135902623","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Reading Celan Today","authors":"Natalie Lozinski-Veach, Jason Groves","doi":"10.1080/00168890.2023.2257853","DOIUrl":"https://doi.org/10.1080/00168890.2023.2257853","url":null,"abstract":"The recent venerations of Paul Celan on the occasion of his centenary invite further reflection on how his poems reach across time. As immersed as they are in their own here and now, Celan’s poems demonstrate a remarkable capacity to touch on others’ histories and experiences and to be touched by them in turn. Drawing on the elaborations of touch in transnational German studies, and the ways in which touch apprehends relations that fall outside of the purview of comparison, opposition, reception, and encounter, this introduction sketches out a framework for appreciating the connections that his poetry facilitates. The essays that follow offer connective readings of Celan that range from the 13th-century Anatolian mystic Yunus Emre to the contemporary American poet Claudia Rankine.","PeriodicalId":54022,"journal":{"name":"GERMANIC REVIEW","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135902758","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"“Wutpilger-Streifzüge.” Celans Wörter, aus dem Netz gefischt","authors":"Barbara Wiedemann","doi":"10.1080/00168890.2023.2260061","DOIUrl":"https://doi.org/10.1080/00168890.2023.2260061","url":null,"abstract":"AbstractPaul Celan is present on the Internet not only where knowledge of his work might still be expected—in poetry, music, and visual art. Celan references can also be found in song lyrics and album titles of various bands, crime novels, and fantasy prose. He seems to provide users on Twitter and other social media the material for their account names, and companies not only in German-speaking countries use his poems for their names. This article provides an overview of these references that helps us understand the status of Celan’s vocabulary in the context of current appropriations. A special focus of this essay is the role of references to his famous poem “Todesfuge” on political pages and in song lyrics.Keywords: Compound wordscultural communicationcultural memory\"Death Fugue\"new mediareception theorysong-lyrics Notes1 Paul Celan, Die Gedichte. Neue kommentierte Gesamtausgabe in einem Band. Mit den zugehörigen Radierungen von Gisèle Celan-Lestrange, hg. und kommentiert von Barbara Wiedemann (Berlin: Suhrkamp, 2018).2 Paul Celan, Die Gedichte. Kommentierte Gesamtausgabe in einem Band, hg. und kommentiert von Barbara Wiedemann (Frankfurt am Main: Suhrkamp, 2003).3 Simon Krauss, “Schneepart, gebäumt bis zuletzt,” Die Presse, Wien, 14. Juli 1971.4 Günter Blöcker, ”Gedichte als graphische Gebilde,” Tagesspiegel, Berlin, 11. Oktober 1959.5 Peter Rühmkorf, “Die unterkühlte Romantik des Lyrikers Paul Celan,” Die Welt, Hamburg, 16. Mai 1959. Meine Einschätzung der Formulierung als antisemitisch innerhalb meiner Dokumentation Paul Celan – Die Goll-Affäre. Dokumente zu einer Infamie (Frankfurt am Main: Suhrkamp, 2000), 664, war seinerzeit nicht unumstritten.6 Curt Hohoff, Geist und Ursprung. Zur modernen Literatur (München: Ehrenwirt, 1954), 242.7 Siehe den Brief Celans an Max Rychner vom 3. November 1946 aus Bukarest, in Paul Celan, ”etwas ganz und gar Persönliches”. Briefe 1934-1970, ausgewählt, hg. und kommentiert von Barbara Wiedemann (Berlin: Suhrkamp, 2019), 25–27, hier 27.8 Siehe Martin Haslpelmath, Ekkehard König, Wulf Oesterreich, Wolfgang Raible, Sprachtypologie und sprachliche Universalien. Ein internationales Handbuch, 1. Halbband (Berlin, New York: Walter de Gruyter, 2001), 716f.9 Geburtsdaten zwischen den frühen 1970er und den frühen 1980er Jahren konnten bei den Inhabern der Konten aufgefunden werden.10 Paul Celan, Die Gedichte aus dem Nachlaß, hg. von Bertrand Badiou, Jean Claude Rambach und Barbara Wiedemann, Anmerkungen von Barbara Wiedemann und Bertrand Badiou (Frankfurt am Main: Suhrkamp, 1997).11 David Fuchs, an Verf., 7. August 2021. Ich danke ihm und allen anderen, die mir auf meine Fragen ausführlich geantwortet haben. “Lichtzwang” erscheint auf den verschiedenartigsten Plattformen als Nutzername, auch auf der Blogging-Plattform Tumblr.12 https://www.turnusdoc.at/de/news/wir-sind-wichtige-nebenfiguren-in-den-lebensgeschichten-unserer-patientinnen-am-puls-ausgabe-07/ (Zugriff 10. August 2021).13 Franz Kratochwil, an Verf., 6. Au","PeriodicalId":54022,"journal":{"name":"GERMANIC REVIEW","volume":"89 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135902762","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Über lyrische Sprache, Gedenken und historische Erfahrung: Paul Celan, gelesen mit José F.A. Oliver","authors":"Linda Maeding","doi":"10.1080/00168890.2023.2255915","DOIUrl":"https://doi.org/10.1080/00168890.2023.2255915","url":null,"abstract":"Paul Celan is a central figure in the work of José F.A. Oliver, a multilingual poet who emerged from the context of the so-called migration literature. This article shows the extent to which Celan stands for Oliver’s development into a self-reflexive poet who examines the possibilities of contemporary poetry and memory within the poem itself. For Oliver, the poem results from a process of condensation, a reflective and inward movement. At the same time, however, his “extensive” poetry integrates various places and languages. Celan’s role within this field of tension—in fernlautmetz (2000) and fahrtenschreiber (2010), for instance—exceeds that of an intertextual reference. This idiosyncratic reception goes far beyond quotation and points back to an openness inherent in Celan’s work itself. The extent to which historical experience and memory are transferable in the poem is an issue that Oliver also tackles on a meta-lyrical level.Footnote1","PeriodicalId":54022,"journal":{"name":"GERMANIC REVIEW","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135902625","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Low Tide, Black Shoals: Toward Offshore Formations in Celan Studies","authors":"Jason Groves","doi":"10.1080/00168890.2023.2255916","DOIUrl":"https://doi.org/10.1080/00168890.2023.2255916","url":null,"abstract":"AbstractWhile Paul Celan’s lyrical commemoration of the Holocaust has been recognized for its multidirectionality, commentators have not acknowledged his engagement with other colonial and imperial histories contemporaneous with his writing. Celan’s advocacy for reading words “with the acute accent of the present” calls for a reading of his poetry that is attentive to its evocations of, and silence around, multiple histories of racial violence. Recognizing how the longue durée of transatlantic slavery is mediated through oceanic archives and the element of water, this article reads the fraught nearshore landscapes in Sprachgitter for their commemoration of the unresolved unfolding of Auschwitz and, if inadvertently, the unresolved unfolding of the Middle Passage. The reading focuses on “Niedrigwasser,” a poem ostensibly about a coastal landscape that is also about the formation and deformation of that landscape through ecological processes that used materials transported by genocidal violence. The multiple temporalities of the poem move between human time and geologic time in order to grasp the legacy of Auschwitz. In unsettling attempts to contain the spatial and temporal scale of genocide, this and other poems evidence their receptivity to and implicatedness in distant, but not entirely unrelated, histories of violence.Keywords: AnthropoceneCelanHolocaustmemoryMiddle Passage Notes1 Rachel Zolf, No One’s Witness: A Monstrous Poetics (Durham: Duke University Press, 2021), 5.2 Zolf, No One’s Witness, 5.3 Paul Celan, Gesammelte Werke in fünf Bänden, ed. Beda Alleman and Stefan Reichert with Rudolf Bücher, vol. 3 (Frankfurt am Main: Suhrkamp, 1983), 190. All following citations from this edition will be abbreviated GW followed by volume and page number. Christina Sharpe, In the Wake: On Blackness and Being (Durham: Duke University Press, 2016), 14.4 Sharpe, In the Wake, 109.5 Ibid., 19.6 Astrida Neimanis, “The Weather Underwater: Blackness, White Feminism, and the Breathless Sea,” Australian Feminist Studies 34, no. 102 (2019): 490–508.7 Tiffany Lethabo King, The Black Shoals (Durham: Duke University Press, 2019), 19.8 Michael Rothberg, Multidirectional Memory: Remembering the Holocaust in the Age of Decolonization (Stanford: Stanford University Press, 2009), 20.9 Ibid., 23.10 See Charlotte Ryland, Paul Celan’s Encounters with Surrealism: Trauma, Translation and Shared Poetic Space (London: Legenda, 2012), 71–91.11 Zolf, No One’s Witness, 5.12 Paul Celan, Die Gedichte, ed. Barbara Wiedemann (Frankfurt am Main: Suhrkamp, 2020), 766.13 GW, 1:187.14 Marlies Janz, Vom Engagement absoluter Poesie. Zur Lyrik und Ästhetik Paul Celans (Frankfurt am Main: Syndikat, 1976), 75, 223.15 Michael Rothberg, Multidirectional Memory: Remembering the Holocaust in the Age of Decolonization (Stanford: Stanford University Press), 2009, xiii. Simon L. Lewis and Mark A. Maslin, The Human Planet (New Haven: Yale University Press, 2018), 18.16 Heather Davis and Zoe Todd, “On","PeriodicalId":54022,"journal":{"name":"GERMANIC REVIEW","volume":"226 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135902761","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Christian Petzold: Interviews <b> <i>Christian Petzold: Interviews</i> </b> <b>,</b> by Marco Abel, Aylin Bademsoy, and Jamey Fisher eds.Jackson: University Press of Mississippi, 2023, 266 pp., $30.95, ISBN 9781496846112.","authors":"Olivia Landry","doi":"10.1080/00168890.2023.2262198","DOIUrl":"https://doi.org/10.1080/00168890.2023.2262198","url":null,"abstract":"\"Christian Petzold: Interviews.\" The Germanic Review: Literature, Culture, Theory, 98(4), pp. 480–481 Notes1 Paige Sarlin, “Between We and Me: Filmed Interviews and the Politics of Personal Pronouns,” Discourse 39, no. 3 (2017): 319–37, 320.","PeriodicalId":54022,"journal":{"name":"GERMANIC REVIEW","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135902759","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}