Project MUSE®: Monatshefte - Latest Articles
https://muse.jhu.edu/journal/359
Project MUSE®: Latest articles in Monatshefte.daily12026-05-11T00:00:00-05:00text/htmlen-USVol. 99 (2007) through current issueLatest Articles: MonatshefteTWOProject MUSE®Monatshefte1934-28100026-9271Latest articles in Monatshefte. Feed provided by Project MUSE®Hundert Jahre Hörspiel. Geschichte und Geschichten by Günter Peters (review)
https://muse.jhu.edu/article/988740
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The Hörspiel, or radio drama, has a long and fascinating history in German-speaking Europe. Although typically translated as "radio drama" in English, Hörspiel has long since transcended the technology of the analog receiver. Today we perceive it as a capacious genre, encompassing works that draw from a variety of narrative, poetic, and performative forms but that reimagines them in a work created purely through sound and experienced solely through the ear. Over the course of the past century, the genre has been at the center of critical debates in Germany about mass media and its role in public life, listening, and democracy, as well as art and cultural memory. The Hörspiel has been a meeting point of rich
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/359/image/coversmallHundert Jahre Hörspiel. Geschichte und Geschichten by Günter Peters (review)2026-04-30text/htmlen-USHundert Jahre Hörspiel. Geschichte und Geschichten by Günter Peters (review)2026-04-302026TWOProject MUSE®99742026-05-11T00:00:00-05:002026-04-30The Afterlives of Weimar Berlin: Twenty-First-Century Literature, Media, and Visual Culture by Jill Suzanne Smith (review)
https://muse.jhu.edu/article/988741
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As contemporary representations of Weimar Berlin have increased in both number and popularity over the past few years, their critical scholarly examination has started to gain ground as well. Recently, for example, two edited volumes focusing entirely on Babylon Berlin have appeared, one co-edited by Jill Suzanne Smith. In her new book, The Afterlives of Weimar Berlin, by contrast, Smith turns her attention to multiple contemporary cultural works. Through intertextual reading, Smith devotes chapters to the usual suspects Babylon Berlin and the book it was based on, Volker Kutscher's Der nasse Fisch, alongside the novels Die Mittagsfrau by Julia Franck and Christian Kracht's Die Toten, as she sets out to examine how
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/359/image/coversmallThe Afterlives of Weimar Berlin: Twenty-First-Century Literature, Media, and Visual Culture by Jill Suzanne Smith (review)2026-04-30text/htmlen-USThe Afterlives of Weimar Berlin: Twenty-First-Century Literature, Media, and Visual Culture by Jill Suzanne Smith (review)2026-04-302026TWOProject MUSE®94162026-05-11T00:00:00-05:002026-04-30Narrative der Grenze. Die Etablierung und Überschreitung von Grenzen ed. by Anna Pastuszka und Jolanta Pacyniak (review)
https://muse.jhu.edu/article/988742
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Seit den 1980er und 90er Jahren haben die rasant fortschreitende Globalisierung und neue politische Grenzziehungen—ausgelöst insbesondere durch das Ende des Kalten Krieges—zu einem gesteigerten wissenschaftlichen Interesse an Grenzen geführt. Als Folge bildete sich die Grenzforschung (border studies) als eigenständiges und multidisziplinäres Forschungsfeld heraus, über dessen Entwicklung, Theorien und Richtungen beispielsweise der Band Grenzforschung. Handbuch für Wissenschaft und Studium, herausgegeben von Dominik Gerst, Maria Klessmann und Hannes Krämer (Nomos, 2021) einen hilfreichen Überblick verschafft. Auch die Literatur- und Kulturwissenschaften haben grundlegend zu dieser neueren Grenzforschung beigetragen
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/359/image/coversmallNarrative der Grenze. Die Etablierung und Überschreitung von Grenzen ed. by Anna Pastuszka und Jolanta Pacyniak (review)2026-04-30text/htmlen-USNarrative der Grenze. Die Etablierung und Überschreitung von Grenzen ed. by Anna Pastuszka und Jolanta Pacyniak (review)2026-04-302026TWOProject MUSE®120112026-05-11T00:00:00-05:002026-04-30Socialist Yiddishlands: Language Politics and Transnational Entanglements between 1941 and 1991 ed. by Miriam Chorley-Schulz and Alexander Walther (review)
https://muse.jhu.edu/article/988743
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Recent scholarship in the field of Yiddish studies has broadened our understanding of postwar Yiddish culture and the teleological assumption of its precipitous decline. Much of that attention has focused on the continued development of Yiddish culture, whether Haredi or veltlekh (secular), in the United States or Israel. Miriam Chorley-Schulz and Alexander Walther's captivating and erudite volume, Socialist Yiddishlands: Language Politics and Transnational Engagements between 1941 and 1991, pushes readers to reexamine the history of postwar Yiddish precisely in the places where WWII was fought—in what is today Germany, Poland, Romania, and Russia. Their work examines some of the same locations and figures analyzed
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/359/image/coversmallSocialist Yiddishlands: Language Politics and Transnational Entanglements between 1941 and 1991 ed. by Miriam Chorley-Schulz and Alexander Walther (review)2026-04-30text/htmlen-USSocialist Yiddishlands: Language Politics and Transnational Entanglements between 1941 and 1991 ed. by Miriam Chorley-Schulz and Alexander Walther (review)2026-04-302026TWOProject MUSE®116342026-05-11T00:00:00-05:002026-04-30Occupied Words: What the Holocaust Did to Yiddish by Hannah Pollin-Galay (review)
https://muse.jhu.edu/article/988744
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In Occupied Words: What the Holocaust Did to Yiddish, a groundbreaking and provocative book, Hannah Pollin-Galay addresses the transformation of the Yiddish language and the emergence of a sociolect she calls "Khurbn Yiddish" during and after the Holocaust. (Khurbn is a loshn-koydesh [Hebraic] term meaning "destruction," often used in Yiddish to refer to the events of the Holocaust and to the destruction of the First and Second Temples, as well as to certain pogroms or other violent events.) In so doing, Pollin-Galay turns attention to a topic of paramount importance that, perhaps surprisingly (or even scandalously), has been relatively neglected. The linguist Neil Jacobs has estimated that "[o]f the 6 million Jews
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/359/image/coversmallOccupied Words: What the Holocaust Did to Yiddish by Hannah Pollin-Galay (review)2026-04-30text/htmlen-USOccupied Words: What the Holocaust Did to Yiddish by Hannah Pollin-Galay (review)2026-04-302026TWOProject MUSE®162382026-05-11T00:00:00-05:002026-04-30Common Scents: Poetry, Modernity, and a Revolution of the Senses by Jonas Rosenbrück (review)
https://muse.jhu.edu/article/988745
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"Odor and poetry," Jonas Rosenbrück claims in his sophisticated philosophical-poetical triangulation between poetry, modernity, and the senses, "are juxtaposed in their shared marginalization in the modern world of prose" (4). Against this marginalization, Common Scents argues that olfactory sense-making lets appear the fact that "all terrestrial life, human and nonhuman alike, shares an openness to the element that is common to all"—air (2). And, like odor, air is all-encompassing. Rosenbrück notes the twinned nature of air and odors in that "air enters into aesthesis, into the realm of the senses and of sense" via smell (2) but is, "in fact, differently distributed among various populations" (1). This is a
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/359/image/coversmallCommon Scents: Poetry, Modernity, and a Revolution of the Senses by Jonas Rosenbrück (review)2026-04-30text/htmlen-USCommon Scents: Poetry, Modernity, and a Revolution of the Senses by Jonas Rosenbrück (review)2026-04-302026TWOProject MUSE®129932026-05-11T00:00:00-05:002026-04-30Re-Viewing the Canon: Feminist Readings of German Literature from the Age of Goethe to the Present by Elizabeth Boa (review)
https://muse.jhu.edu/article/988746
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Re-Viewing the Canon is an apt title for this intriguingly nonlinear retrospective of Elizabeth Boa's scholarly œuvre. Boa's book is the fifteenth entry in Legenda's "Selected Essays" book series, which has regularly published collections of essays by major humanities scholars in a variety of fields since 2017. Each of these volumes offers a panoramic look at a scholar's entire career through a collection of essays that have previously been published in disparate anthologies and journals. Boa, who received her education at the University of Glasgow, held a position at the University of Nottingham until her retirement, save for a two-year stint at the University of Manchester. As she vividly recounts in the
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/359/image/coversmallRe-Viewing the Canon: Feminist Readings of German Literature from the Age of Goethe to the Present by Elizabeth Boa (review)2026-04-30text/htmlen-USRe-Viewing the Canon: Feminist Readings of German Literature from the Age of Goethe to the Present by Elizabeth Boa (review)2026-04-302026TWOProject MUSE®97772026-05-11T00:00:00-05:002026-04-30Deutsch-türkischer Divan. Fragen und Antworten eines literaturwissenschaftlichen Gastarbeiters by Norbert Mecklenburg (review)
https://muse.jhu.edu/article/988747
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Norbert Mecklenburg's Deutsch-türkischer Divan. Fragen und Antworten eines literaturwissenschaftlichen Gastarbeiters—a work that is equal parts literary memoir and erudite study—is the final volume in a philological trilogy of intercultural studies. The earlier two volumes focus on "Germanistik als interkulturelle Literaturwissenschaft" and on Goethe's "inter- und transkulturelle poetische Spiele," respectively, while this final volume is dedicated to the Turkish German Resonanzraum in which the author is professionally and privately engaged (7). Indeed, the term "Resonanzraum" is a fitting descriptor for the field of Turkish German Studies, a subdiscipline that has long struggled to define itself, often provoking
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/359/image/coversmallDeutsch-türkischer Divan. Fragen und Antworten eines literaturwissenschaftlichen Gastarbeiters by Norbert Mecklenburg (review)2026-04-30text/htmlen-USDeutsch-türkischer Divan. Fragen und Antworten eines literaturwissenschaftlichen Gastarbeiters by Norbert Mecklenburg (review)2026-04-302026TWOProject MUSE®91062026-05-11T00:00:00-05:002026-04-30Karl Kraus und seine späte „Sprachlehre". Kontext, Edition und Erläuterung zu Texten aus dem Nachlass by Isabel Langkabel (review)
https://muse.jhu.edu/article/988748
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Karl Kraus was a severe critic of cliché and careless usage, as recorded in the satirical glosses of his journal Die Fackel (The Torch) from 1903 on. In the Karl Kraus-Handbuch (Berlin 2022), Isabel Langkabel usefully related the rubric "Zur Sprachlehre" (c. 1921) to the continuous language critique in Die Fackel and to the posthumous volume Die Sprache (Wien 1937). Her new critical edition from the Karl Kraus Archive supplements those investigations with seventeen unpublished fragments and essay drafts from the twenties and thirties, which dissected grammatical errors and syntactical confusion; (e.g., how co-ordination of transitive and intransitive verbs unintentionally turns an accusation that Marxists had
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/359/image/coversmallKarl Kraus und seine späte „Sprachlehre". Kontext, Edition und Erläuterung zu Texten aus dem Nachlass by Isabel Langkabel (review)2026-04-30text/htmlen-USKarl Kraus und seine späte „Sprachlehre". Kontext, Edition und Erläuterung zu Texten aus dem Nachlass by Isabel Langkabel (review)2026-04-302026TWOProject MUSE®102992026-05-11T00:00:00-05:002026-04-30Konstellationen österreichischer Literatur: Ilse Aichinger ed. by Christine Frank und Sugi Shindo (review)
https://muse.jhu.edu/article/988749
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Dieser Band widmet sich dem Werk der österreichischen Autorin Ilse Aichinger (1921–2016). Ihr Werk, das sich über sechs Jahrzehnte erstreckt und seinen Ursprung im Zeugnis der Deportationen jüdischer Bürger_innen Wiens über die Schwedenbrücke im Mai 1942 findet, bildet den „Fixpunkt" von über vierzig essayistischen Konstellationen (die Herausgeberinnen haben jeweils vier bzw. zwei der Aufsätze beigesteuert), in denen es im Kontext anderer Autor_innen Österreichs beleuchtet wird. Die sich über zwei Jahrhunderte erstreckenden Gruppierungen österreichischer Literatur stellen Aichingers Werk dementsprechend in Beziehung zu „väterlichen" Figuren wie Franz Grillparzer, Adalbert Stifter und Stefan Zweig sowie mit ihrem
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/359/image/coversmallKonstellationen österreichischer Literatur: Ilse Aichinger ed. by Christine Frank und Sugi Shindo (review)2026-04-30text/htmlen-USKonstellationen österreichischer Literatur: Ilse Aichinger ed. by Christine Frank und Sugi Shindo (review)2026-04-302026TWOProject MUSE®146142026-05-11T00:00:00-05:002026-04-30Max Stirner and Nihilism: Between Two Nothings by Tim Dowdall (review)
https://muse.jhu.edu/article/988750
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Mention the nineteenth-century philosopher Max Stirner and invariably the specter of nihilism will appear. The two are so closely linked that it has effectively become a truism. But is the association of Stirner with nihilistic thought justified? Tim Dowdall's Max Stirner and Nihilism: Between Two Nothings seeks to reevaluate this relationship through a refreshingly readable account of a thinker who has for the most part lurked in the shadows in the history of philosophy.Dowdall's central claim is that the nihilism label fails to accurately reflect Stirner's philosophy. Rather than anchoring Stirner in a fixed ideological position, Dowdall explores how the notoriously slippery label of "nihilism" has been projected
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/359/image/coversmallMax Stirner and Nihilism: Between Two Nothings by Tim Dowdall (review)2026-04-30text/htmlen-USMax Stirner and Nihilism: Between Two Nothings by Tim Dowdall (review)2026-04-302026TWOProject MUSE®92302026-05-11T00:00:00-05:002026-04-30Adalbert Stifter. (Ver-)Führung der sanften Gewalt by Benjamin Dinkel (review)
https://muse.jhu.edu/article/988751
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Benjamin Dinkels überarbeitete Fassung seiner Dissertation widmet sich Formen der Gewalt und (Ver-)Führung im Werk Adalbert Stifters. Die bereits in ihrem Umfang beeindruckende Arbeit untersucht diesen Motivkomplex in acht übergeordneten Kapiteln. In diesen spürt der Autor der Frage nach gewaltigen/gewalttätigen Führungsfiguren und -formen im Werk des österreichischen Schriftstellers nach und nimmt dabei eine paradoxe Verklammerung von Gewalt und Führung an.Identifiziert werden dabei gleich mehrere Dimensionen der Gewalt: Diese tritt in den literarischen Werken Stifters nicht nur in Form außergewöhnlicher Naturereignisse sowie im Kontext des Politischen auf. Auch wird die Gewalt bei Stifter im Zusammenhang mit
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/359/image/coversmallAdalbert Stifter. (Ver-)Führung der sanften Gewalt by Benjamin Dinkel (review)2026-04-30text/htmlen-USAdalbert Stifter. (Ver-)Führung der sanften Gewalt by Benjamin Dinkel (review)2026-04-302026TWOProject MUSE®104552026-05-11T00:00:00-05:002026-04-30Formationen des Populären. Semantik und Poetik des ‚Volkes' um 1800 by Niels Penke (review)
https://muse.jhu.edu/article/988752
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This volume provides a comprehensive analysis and overview of popular Enlightenment literature in German-speaking Europe in the 1770s and 1780s. The primary works under investigation are the following: Johann Gottfried Herder, Alte Volkslieder (1773); Gottfried August Bürger, Lenore (1773); Johann Heinrich Pestalozzi, Lienhard und Gertrud. Ein Buch für das Volk (1781–87); and Rudolph Zacharias Becker, Noth- und Hülfsbüchlein für Bauersleute (1788). Penke's commentary on each of these works is framed by summary analyses of other works by each author, especially their respective theoretical contributions to the topic of popular culture and/or popular literature. What characterizes this new epoch of popular
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/359/image/coversmallFormationen des Populären. Semantik und Poetik des ‚Volkes' um 1800 by Niels Penke (review)2026-04-30text/htmlen-USFormationen des Populären. Semantik und Poetik des ‚Volkes' um 1800 by Niels Penke (review)2026-04-302026TWOProject MUSE®109662026-05-11T00:00:00-05:002026-04-30Abenteuer. Imagination und Wissensformation zwischen Fortschrittseuphorie und Kolonialismuskritik
https://muse.jhu.edu/article/988753
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Im Jahr 2004 erschienen zum ersten Mal vollständig zwei große Werke von Alexander von Humboldt in deutscher Sprache: Ansichten der Kordilleren und Monumente der eingeborenen Völker Amerikas und Kosmos. Entwurf einer physischen Weltbeschreibung, beide herausgegeben von Ottmar Ette und Oliver Lubrich und eindrucksvoll ausgestattet in der „Anderen Bibliothek" des Eichborn Verlags.1 Das Jahr 2004 kann somit als die Geburtsstunde der Wiederentdeckung des berühmtesten deutschen Naturforschers angesehen werden. Neu entfacht wurde nicht nur die Begeisterung für den Weltreisenden Alexander von Humboldt, sondern auch ein intensives Forschungsinteresse an Forschungsreisen und ihren Verheißungen, Risiken, Entdeckungen und
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/359/image/coversmallAbenteuer. Imagination und Wissensformation zwischen Fortschrittseuphorie und Kolonialismuskritik2026-04-30text/htmlen-USAbenteuer. Imagination und Wissensformation zwischen Fortschrittseuphorie und Kolonialismuskritik2026-04-302026TWOProject MUSE®848422026-05-11T00:00:00-05:002026-04-30Creatures of Attention: Aesthetics and the Subject before Kant by Johannes Wankhammer (review)
https://muse.jhu.edu/article/988754
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Since Jonathan Crary's Techniques of the Observer (MIT Press, 1990), devoted to the construction of vision in the eighteenth and nineteenth centuries, attention has increasingly become an object of historiographic and theoretical interest. Crary's subsequent book Suspensions of Perception (MIT Press, 1999) historicizes human perception and focuses on the process through which attention has defined subjectivity and perception since the late nineteenth century. Attention—a function of the biological being that is subject to the conscious will—is located at the intersection of control and media of stimulation such as art, literature, and cinema. Through these studies, attention has increasingly appeared to define the
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/359/image/coversmallCreatures of Attention: Aesthetics and the Subject before Kant by Johannes Wankhammer (review)2026-04-30text/htmlen-USCreatures of Attention: Aesthetics and the Subject before Kant by Johannes Wankhammer (review)2026-04-302026TWOProject MUSE®107792026-05-11T00:00:00-05:002026-04-30Multidirectional Memory in Navid Kermani's Entlang den Gräben (2018) / [Multidirektionales Gedächtnis in Navid Kermanis Entlang den Gräben (2018)]
https://muse.jhu.edu/article/988755
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Navid Kermani's books display both a formal emphasis on genre fluidity and a desire to cross geographic and intellectual boundaries. Especially his travelogues, retracing the routes of refugees today, are written from the perspective of someone in the margins, not the center. These texts show the fragmented nature of our world, in a style that may at first sight seem fragmentary. Borders and the importance of overcoming them are central to his writings. Similarly, Kermani tries to bridge borders stylistically. He describes himself generally as a "Schriftsteller" in many genres. While he is astutely aware of the distinctions between literary, scientific, and journalistic writing, he states provocatively in an
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/359/image/coversmallMultidirectional Memory in Navid Kermani's Entlang den Gräben (2018) / [Multidirektionales Gedächtnis in Navid Kermanis Entlang den Gräben (2018)]2026-04-30text/htmlen-USMultidirectional Memory in Navid Kermani's Entlang den Gräben (2018) / [Multidirektionales Gedächtnis in Navid Kermanis Entlang den Gräben (2018)]2026-04-302026TWOProject MUSE®871032026-05-11T00:00:00-05:002026-04-30Remembering and Narrating the "Bloodlands" in Josef Haslinger's Jáchymov (2011) / [Die "Bloodlands" in Josef Haslingers Jáchymov (2011) erinnern und erzählen]
https://muse.jhu.edu/article/988756
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Austria's culture has long been seen as peripheral to and (entirely or partially) dependent on cultural developments of Germany, its much larger geographical neighbor. This happened to such an extent that in the public perception Austrian culture was categorized as part of German culture and a composer like Mozart was seen as a representative of German culture (Haslinger, "Die Vernichtung des Österreichischen" 137–143). However, Austria's past as a multi-ethnic and multi-lingual state, the Austro-Hungarian Double Monarchy (1867–1918), made it possible to conceptualize Austrian culture in ways very different from that of its bigger neighbor. Austrian authors have long exhibited a political but also literary interest
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/359/image/coversmallRemembering and Narrating the "Bloodlands" in Josef Haslinger's Jáchymov (2011) / [Die "Bloodlands" in Josef Haslingers Jáchymov (2011) erinnern und erzählen]2026-04-30text/htmlen-USRemembering and Narrating the "Bloodlands" in Josef Haslinger's Jáchymov (2011) / [Die "Bloodlands" in Josef Haslingers Jáchymov (2011) erinnern und erzählen]2026-04-302026TWOProject MUSE®747792026-05-11T00:00:00-05:002026-04-30The Bloodlands in Katja Petrowskaja's Vielleicht Esther (2014): War Stories / [Die "Bloodlands" in Katja Petrowskajas Vielleicht Esther (2014). Kriegsgeschichten]
https://muse.jhu.edu/article/988757
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Katja Petrowskaja (born 1970) describes her acclaimed autobiographical debut, Vielleicht Esther (2014), as based on two primary experiences: "(Aus)Wanderung und Rückkehr nach Hause" (Wolting 371). Born and raised in Kyiv (Soviet Ukraine), Petrowskaja left her hometown in 1986 to study literature in Tartu, Estonia, the United States, and later in Moscow, where she earned her doctorate in 1998. Since 1999, she has lived in Berlin, working as a journalist for Russian and German media, notably as the writer of the column "West-östliche Diva" for the Frankfurter Allgemeine Sonntagszeitung. In Vielleicht Esther, Petrowskaja's literary "return home" takes her to sites of extreme violence in World War Two, including
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/359/image/coversmallThe Bloodlands in Katja Petrowskaja's Vielleicht Esther (2014): War Stories / [Die "Bloodlands" in Katja Petrowskajas Vielleicht Esther (2014). Kriegsgeschichten]2026-04-30text/htmlen-USThe Bloodlands in Katja Petrowskaja's Vielleicht Esther (2014): War Stories / [Die "Bloodlands" in Katja Petrowskajas Vielleicht Esther (2014). Kriegsgeschichten]2026-04-302026TWOProject MUSE®835812026-05-11T00:00:00-05:002026-04-30Language and Implication in Sasha Marianna Salzmann's Essay "Der Große Hunger und das lange Schweigen" (2023) / [Sprache und Implikation in Sasha Marianna Salzmanns Aufsatz "Der Große Hunger und das lange Schweigen" (2023)]
https://muse.jhu.edu/article/988758
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Two days after Russia's full-scale invasion of Ukraine on February 24, 2022, the Neue Zürcher Zeitung published an essay by Sasha Marianna Salzmann, titled "Der Grosse Hunger und das lange Schweigen," a slightly revised version of which ("Der Große Hunger und das lange Schweigen") was shortlisted for the 2023 WORTMELDUNGEN prize awarded by the Crespo Foundation for "kritische Kurztexte."1 Highlighting the general invisibility of the "short critical text" as a genre, the award invites young authors to grapple critically with socially relevant themes through this time-sensitive medium—one that is uniquely suited to respond to current events, yet one that almost inevitably ends up getting lost in the slow-moving
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/359/image/coversmallLanguage and Implication in Sasha Marianna Salzmann's Essay "Der Große Hunger und das lange Schweigen" (2023) / [Sprache und Implikation in Sasha Marianna Salzmanns Aufsatz "Der Große Hunger und das lange Schweigen" (2023)]2026-04-30text/htmlen-USLanguage and Implication in Sasha Marianna Salzmann's Essay "Der Große Hunger und das lange Schweigen" (2023) / [Sprache und Implikation in Sasha Marianna Salzmanns Aufsatz "Der Große Hunger und das lange Schweigen" (2023)]2026-04-302026TWOProject MUSE®1079442026-05-11T00:00:00-05:002026-04-30Ulrike Draesners Sieben Sprünge vom Rand der Welt (2014) und Die Verwandelten (2023) zwischen Eugenik und Erinnerungskultur / [Ulrike Draesner's Sieben Sprünge vom Rand der Welt (2014) and Die Verwandelten (2023) between Eugenics and a Culture of Remembrance]
https://muse.jhu.edu/article/988759
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Am 13. September 2023 eröffnete das Literaturhaus Stuttgart Ulrike Draesners Ausstellung Zur Sprache bringen. Vom Missbrauch weiblicher Körper zu Zwecken des Krieges—einen Kommentar zu ihrem Roman Die Verwandelten (2023). Ausstellung und Roman thematisieren die Instrumentalisierung weiblicher Körper im Krieg. Der Roman Sieben Sprünge vom Rand der Welt (2014) hingegen richtet den Blick auf männliche Erfahrungen: Die Autorin bezeichnet den Text als „eine vorwiegend männliche Geschichte" („Wie schreibt man Krieg"). Alle drei Projekte sind im von Timothy Snyder als „Bloodlands" beschriebenen Raum verortet, in einer Region also, die im zwanzigsten Jahrhundert durch die extrem gewaltsamen Verbrechen des
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/359/image/coversmallUlrike Draesners Sieben Sprünge vom Rand der Welt (2014) und Die Verwandelten (2023) zwischen Eugenik und Erinnerungskultur / [Ulrike Draesner's Sieben Sprünge vom Rand der Welt (2014) and Die Verwandelten (2023) between Eugenics and a Culture of Remembrance]2026-04-30text/htmlen-USUlrike Draesners Sieben Sprünge vom Rand der Welt (2014) und Die Verwandelten (2023) zwischen Eugenik und Erinnerungskultur / [Ulrike Draesner's Sieben Sprünge vom Rand der Welt (2014) and Die Verwandelten (2023) between Eugenics and a Culture of Remembrance]2026-04-302026TWOProject MUSE®973812026-05-11T00:00:00-05:002026-04-30Multidirectional Memory as an "Ongoing Negotiation" of Competing Memories in Saša Stanišić's Writing / [Multidirektionales Gedächtnis als „fortwährende Aushandlung" konkurrierender Erinnerungen im Schreiben von Saša Stanišić]
https://muse.jhu.edu/article/988760
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Nestled in between two mountains and a limestone plateau, two headwater streams, the Tara and the Piva, meet at the border between Montenegro and Bosnia-Herzegovina where, crossing northbound into the latter, the river Drina originates. Having reached its full length of 346 kilometers, the Drina joins its big sibling, the river Sava, flowing into it as one of its tributaries. The Sava, in turn, happily takes on the Drina's water and carries it to Serbia's capital, Belgrade, where the Sava, too, takes on the role of tributary as it feeds Europe's second-longest river, the Danube. At this point, however, the Drina has long passed its perhaps best-known landmark, the Mehmed Paša Sokolović Bridge in the city of
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/359/image/coversmallMultidirectional Memory as an "Ongoing Negotiation" of Competing Memories in Saša Stanišić's Writing / [Multidirektionales Gedächtnis als „fortwährende Aushandlung" konkurrierender Erinnerungen im Schreiben von Saša Stanišić]2026-04-30text/htmlen-USMultidirectional Memory as an "Ongoing Negotiation" of Competing Memories in Saša Stanišić's Writing / [Multidirektionales Gedächtnis als „fortwährende Aushandlung" konkurrierender Erinnerungen im Schreiben von Saša Stanišić]2026-04-302026TWOProject MUSE®856432026-05-11T00:00:00-05:002026-04-30Multidirectional, Transnational, and Postauthoritarian Memories and the Literatures of Europe's Eastern Borderlands (from the Baltic to the Caucasus) / [Einleitung: Multidirektionale, transnationale und postautoritäre Erinnerungen und die Literaturen der “Borderlands” Osteuropas (vom Baltikum zum Kaukasus)”]
https://muse.jhu.edu/article/988761
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In his 2022 Tales from the Borderlands, Omer Bartov proposes the term "borderlands" to come to a better understanding of the political and cultural specifics of the geographical part of Europe that has long been called its "East."1 It is an area the history of which, so Bartov shows, has been shaped by both a great cultural diversity and frequent political upheavals during which, in particular in the early modern period, empires "expanded, overlapped, clashed, and disintegrated" (Borderlands ix). The long history of upheaval in this part of Europe that interests Bartov can at least in part be explained by these countries being situated between, and adjacent to, the large and much more powerful German
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/359/image/coversmallMultidirectional, Transnational, and Postauthoritarian Memories and the Literatures of Europe's Eastern Borderlands (from the Baltic to the Caucasus) / [Einleitung: Multidirektionale, transnationale und postautoritäre Erinnerungen und die Literaturen der “Borderlands” Osteuropas (vom Baltikum zum Kaukasus)”]2026-04-30text/htmlen-USMultidirectional, Transnational, and Postauthoritarian Memories and the Literatures of Europe's Eastern Borderlands (from the Baltic to the Caucasus) / [Einleitung: Multidirektionale, transnationale und postautoritäre Erinnerungen und die Literaturen der “Borderlands” Osteuropas (vom Baltikum zum Kaukasus)”]2026-04-302026TWOProject MUSE®372872026-05-11T00:00:00-05:002026-04-30