Heidegger's interpretations of the poetry of Hlderlin are central to Heidegger's later philosophy and have determined the mainstream reception of Hlderlin's poetry. Gosetti-Ferencei argues that Heidegger has overlooked central elements in Hlderlin's poetics, such as a Kantian understanding of aesthetic subjectivity and a commitment to Enlightenment ideals. These elements, she argues, resist the more politically distressing aspects of Heidegger's interpretations, including Heidegger's nationalist valorization of the German language and sense of nationhood, or Heimat.In the context of Hlderlin's poetics of alienation, exile, and wandering, Gosetti-Ferencei draws a different model of poetic subjectivity, which engages Heidegger's later philosophy of Gelassenheit, calmness, or letting be. In so doing, she is able to pose a phenomenologically sensitive theory of poetic language and a new poetics of Dasein,or being there.

Germans have been one of the most mobile and dispersed populations on earth. Communities of German speakers, scattered around the globe, have long believed they could recreate their Heimat (homeland) wherever they moved, and that their enclaves could remain truly German. Furthermore, the history of Germany is inextricably tied to Germans outside the homeland who formed new communities that often retained their Germanness. Emigrants, including political, economic, and religious exiles such as Jewish Germans, fostered a nostalgia for home, which, along with longstanding mutual ties of family, trade, and culture, bound them to Germany. The Heimat Abroad is the first book to examine the problem of Germany's long and complex relationship to ethnic Germans outside its national borders. Beyond defining who is German and what makes them so, the book reconceives German identity and history in global terms and challenges the nation state and its borders as the sole basis of German nationalism. Krista O'Donnell is Associate Professor of History, William Paterson University. Nancy Reagin is Professor of History, Pace University. Renete Bridenthal is Emerita Professor of History, Brooklyn College of the City University of New York.

In this compelling study, Damani J. Partridge explores citizenship and exclusion in Germany since the fall of the Berlin Wall. That event seemed to usher in a new era of universal freedom, but post-reunification transformations of German society have in fact produced noncitizens: non-white and "foreign" Germans who are simultaneously portrayed as part of the nation and excluded from full citizenship. Partridge considers the situation of Vietnamese guest workers "left behind" in the former East Germany; images of hypersexualized black bodies reproduced in popular culture and intimate relationships; and debates about the use of the headscarf by Muslim students and teachers. In these and other cases, which regularly provoke violence against those perceived to be different, he shows that German national and European projects are complicit in the production of distinctly European noncitizens.

The placein the title of Claudia Brodsky's remarkable new book is the intersection of language with building, the marking, for future reference, of material constructions in the world. The referentBrodsky describes is not something first found in nature and then named but a thing whose own origin joins language with materiality, a thing marked as it is made to begin with. In the Place of Language: Literature and the Architecture of the Referent develops a theory of the referentthat is thus also a theory of the possibility of historical knowledge, one that undermines the conventional opposition of language to the real by theories of nominalism and materialism alike, no less than it confronts the mystical conflation of language with matter, whether under the aegis of the infinite reproducibility of the image or the identification of language with Being.Challenging these equally naive views of language - as essentially immaterial or the only essential matter - Brodsky investigates the interaction of language with the material that literature represents. For literature, Brodsky argues, seeks no refuge from its own inherently iterable, discursive medium in dreams of a technologically-induced freedom from history or an ontological history of language-being. Instead it tells the complex story of historical referents constructed and forgotten, things built into the earth upon which history takes placeand of which, in the course of history, all visible trace is temporarily effaced. Literature represents the making of history, the building and burial of the referent, the present world of its oblivion and the future of its unearthing, and it can do this because, unlike the historical referent, it literally takes no place, is not tied to any building or performance in space. For the same reason literature can reveal the historical nature of the making of meaning, demonstrating that the shaping and experience of the real, the marking of matter that constitutes historical referents, also defers knowledge of the real to a later date. Through close readings of central texts by Goethe, Plato, Kant, Heidegger, and Benjamin, redefined by the interrelationship of building and language they represent, In the Place of Language analyzes what remains of actions that attempt to take the place of language: the enduring, if intermittently obscured bases, of theoretical reflection itself.

Offers a clear introduction to a fascinating, yet little known, phenomenon in Nazi Germany, whose very existence will be a surprise to the general public and to historians. Easily blending general history with musicology, the book provides provocative yet compelling analysis of complex issues. ---Michael Meyer, author of The Politics of Music in the Third Reich "Hirsch poses complex questions about Jewish identity and Jewish music, and she situates these against a political background vexed by the impossibility of truly viable responses to such questions. Her thorough archival research is complemented by her extensive use of interviews, which gives voice to those swept up in the Holocaust. A Jewish Orchestra in Nazi Germany is a book filled with the stories of real lives, a collective biography in modern music history that must no longer remain in silence." ---Philip V. Bohlman, author of Jewish Music and Modernity "An engaging and downright gripping history. The project is original, the research is outstanding, and the presentation lucid." ---Karen Painter, author of Symphonic Aspirations: German Music and Politics, 1900-1945 The Jewish Culture League was created in Berlin in June 1933, the only organization in Nazi Germany in which Jews were not only allowed but encouraged to participate in music, both as performers and as audience members. Lily E. Hirsch's A Jewish Orchestra in Nazi Germany is the first book to seriously investigate and parse the complicated questions the existence of this unique organization raised, such as why the Nazis would promote Jewish music when, in the rest of Germany, it was banned. The government's insistence that the League perform only Jewish music also presented the organization's leaders and membership with perplexing conundrums: what exactly is Jewish music? Who qualifies as a Jewish composer? And, if it is true that the Nazis conceived of the League as a propaganda tool, did Jewish participation in its activities amount to collaboration? Lily E. Hirsch is Assistant Professor of Music at Cleveland State University.

Scholarly, objective, insightful, and analytical, Jews, Turks, and Other Strangers studies the causes of prejudice against Jews, foreign workers, refugees, and emigrant Germans in contemporary Germany. Using survey material and quantitative analyses, Legge convincingly challenges the notion that German xenophobia is rooted in economic causes. Instead, he sees a more complex foundation for German prejudice, particularly in a reunified Germany where perceptions of the "other" sometimes vary widely between east and west, a product of a traditional racism rooted in the German past. By clarifying the foundations of xenophobia in a new German state, Legge offers a clear and disturbing picture of a conflicted country and a prejudice that not only affects Jews but also fuels a larger, anti-foreign sentiment.

The Journal of Austrian Studies is an interdisciplinary quarterly that publishes scholarly articles and book reviews on all aspects of the history and culture of Austria, Austro-Hungary, and the Habsburg territory. It is the flagship publication of the Austrian Studies Association and contains contributions in German and English from the world's premiere scholars in the field of Austrian studies. The journal highlights scholarly work that draws on innovative methodologies and new ways of viewing Austrian history and culture. Although the journal was renamed in 2012 to reflect the increasing scope and diversity of its scholarship, it has a long lineage dating back over a half century as Modern Austrian Literature and, prior to that, The Journal of the International Arthur Schnitzler Research Association.

"In Kafka's Jewish Languages David Suchoff quite persuasively argues that the Germanic interplay between high and low (Yiddish) languages and the rise of modern Hebrew account for far more of the plays and innovations of Kafka's writing than has previously been acknowledged. Suchoff's diligent, innovative, and supremely intelligent work adds significantly to Kafka scholarship and Judaic studies."--Henry Sussman, Yale University After Franz Kafka died in 1924, his novels and short stories were published in ways that downplayed both their author's roots in Prague and his engagement with Jewish tradition and language, so as to secure their place in the German literary canon. Now, nearly a century after Kafka began to create his fictions, Germany, Israel, and the Czech Republic lay claim to his legacy. Kafka's Jewish Languages brings Kafka's stature as a specifically Jewish writer into focus. David Suchoff explores the Yiddish and modern Hebrew that inspired Kafka's vision of tradition. Citing the Jewish sources crucial to the development of Kafka's style, the book demonstrates the intimate relationship between the author's Jewish modes of expression and the larger literary significance of his works. Suchoff shows how "The Judgment" evokes Yiddish as a language of comic curse and examines how Yiddish, African American, and culturally Zionist voices appear in the unfinished novel, Amerika. In his reading of The Trial, Suchoff highlights the black humor Kafka learned from the Yiddish theater, and he interprets The Castle in light of Kafka's involvement with the renewal of the Hebrew language. Finally, he uncovers the Yiddish and Hebrew meanings behind Kafka's "Josephine the Singer, or the Mouse-Folk" and considers the recent legal case in Tel Aviv over the possession of Kafka's missing manuscripts as a parable of the transnational meanings of his writing. David Suchoff is Professor of English at Colby College.