An apparently nomadic diaspora nation of Indian provenance, the Gypsies are present with notable frequency in Germanic literatures from Wolzogen and Brentano to Stifter, Keller, Storm, Raabe, Jensen, Saar and Thomas Mann. Against the background of the still officially unacknowledged Romany Holocaust, Saul analyses in a series of close interpretations the stations of the literary construction of the Gypsy prior to the human disaster. The book's synthesis of scholarship in cultural, social and institutional history, the history of ideas and literary history will appeal to the scholarly community across traditional disciplinary boundaries, and will also serve as a valuable introduction for students from diverse fields.

A much-needed look at the fiction that was actually read by masses of Germans in the late nineteenth century, and the conditions of its publication and reception. The late nineteenth century was a crucial period for the development of German fiction. Political unification and industrialization were accompanied by the rise of a mass market for German literature, and with it the beginnings ofthe German bestseller.Offering escape, romance, or adventure, as well as insights into the modern world, nineteenth-century bestsellers often captured the imagination of readers well into the twentieth century and beyond. However, many have been neglected by scholars. This volume offers new readings of literary realism by focusing not on the accepted intellectual canon but on commercially successful fiction in its material and social contexts. It investigates bestsellers from writers such as Freytag, Dahn, Jensen, Raabe, Viebig, Stifter, Auerbach, Storm, Möllhausen, Marlitt, Suttner, and Thomas Mann. The contributions examine the aesthetic strategies that made the works sucha success, and writers' attempts to appeal simultaneously on different levels to different readers. Bestselling writers often sought to accommodate the expectations of publishers and the marketplace, while preserving some sense ofartistic integrity. This volume sheds light on the important effect of the mass market on the writing not just of popular works, but of German prose fiction on all levels. Contributors: Christiane Arndt, Caroline Bland, Elizabeth Boa, Anita Bunyan, Katrin Kohl, Todd Kontje, Peter C. Pfeiffer, Nicholas Saul, Benedict Schofield, Ernest Schonfield, Martin Swales, Charlotte Woodford. Charlotte Woodford is Lecturer in German and Directorof Studies in Modern Languages at Selwyn College, University of Cambridge. Benedict Schofield is Senior Lecturer in German and Head of the Department of German at King's College London.

In early eighteenth-century texts, the gypsy is frequently figured as an amusing rogue; by the Victorian period, it has begun to take on a nostalgic, romanticized form, abandoning sublimity in favour of the bucolic fantasy propagated by George Borrow and the founding members of the Gypsy Lore Society. Representations of the Gypsy in the Romantic Period argues that, in the gap between these two situations, the figure of the gypsy is exploited by Romantic-period writers and artists, often in unexpected ways. Drawing attention to prominent writers (including Wordsworth, Austen, Clare, Cowper and Brontë) as well as those less well-known, Sarah Houghton-Walker examines representations of gypsies in literature and art from 1780-1830, alongside the contemporary socio-historical events and cultural processes which put pressure on those representations. She argues that, raising troubling questions by its repeated escape from the categories of enlightenment discourses which might seek to 'know' or 'understand' in empirical ways, the gypsy exists both within and outside of conventional English society. The figure of the gypsy is thus available to writers and artists to facilitate the articulation of dilemmas and anxieties taking various forms, and especially as a lens through which questions of knowledge and identity (which is often mutable, and troubling) might be focussed. .

Decadence and Orientalism in England and Germany, 1880-1920 examines the Orientalist portrayal of Middle Eastern cultures in Decadent Literatures in England and Germany at the turn of the century. This book argues that the role of Orientalism in literary Decadence uniquely exposes its paradoxical engagement with other cultures. In bringing together two fin-de-siècle European literatures, this comparative study makes a case for the transnational, if not imperial, nature of Decadence. The East emerges as an 'indispensable' mediator between various versions of European Decadence. The book examines the role of the East with specific reference to selected English and German authors: starting from Oscar Wilde's Victorian vision of Egypt and Arthur Symons's and Violet Fane's image of Constantinople, it moves to Paul Scheerbart's and Else Lasker-Schüler's Decadent Babylon and Assyria and concludes by turning to Stefan George's exclusion of the East from his poetic practice. The geographical reach of the East focuses on regions of the Eastern Mediterranean and Northern Africa. The cultural translation of specifically the Middle East into different European national contexts gains new—sometimes oppositional—meanings, avoiding a one-sided representation of both the East and the two national literatures that absorbed it. In arguing for a Decadent cosmopolitanism as a model of heterogeneous inclusivity that reaches beyond the binaries established by Edward Said's Orientalism, the present book brings twenty-first century theories of cosmopolitanism into dialogue with art history and literature to uncover striking synergies and interdependences between the different manifestations of Decadence in England and Germany.

In Interrogations of Evolutionism in German Literature 1859-2011 Nicholas Saul offers the first representative account of German literary responses to Darwinian evolutionism from from Raabe and Jensen via Ernst Jünger and Botho Strauß to Dietmar Dath.

Bridges the gap between Plutarch Studies and Achaemenid Studies through analysis of key texts.

A profoundly original philosophical detective story tracing the surprising history of an anecdote ranging across centuries of traditions, disciplines, and ideas Red Sea-Red Square-Red Thread is a work of passages taken, written, painted, and sung. It offers a genealogy of liberty through a micrology of wit. It follows the long history of a short anecdote. Commissioned to depict the biblical passage through the Red Sea, a painter covered over a surface with red paint, explaining thereafter that the Israelites had already crossed over and that the Egyptians were drowned. Clearly, not all you see is all you get. Who was the painter and who the first teller of the tale? Designed as a philosophical detective story, Red Sea-Red Square-Red Thread follows the extraordinary number of thinkers and artists who have used the Red Sea anecdote to make so much more than a merely anecdotal point. Leading the large cast are the philosophers, Arthur Danto and Søren Kierkegaard, the poet and playwright, Henri Murger, the opera composer, Giacomo Puccini, and the painter and print-maker, William Hogarth. Strange companions perhaps, until their use of the anecdote is shown as working its extraordinary passage through so many cosmopolitan cities of art and capital. What about the anecdote brings Danto's philosophy of art into conversation with Kierkegaard's stages on life's way, with Murger and Puccini's la vie de bohème, and with Hogarth's modern moral pictures? Lydia Goehr explores these narratives of emancipation in philosophy, theology, politics, and the arts. What has the passage of the Israelites to do with the Egyptians who, by many gypsy names, came to be branded as bohemians when arriving in France from the German lands of Bohemia? What have Moses and monotheism to do with the history of monism and the monochrome? And what sort of thread connects a sea to a square when each is so purposefully named red?

Gypsies, Egyptians, Romanies, and—more recently—Travellers. Who are these marginal and mysterious people who first arrived in England in early Tudor times? Are claims of their distant origins on the Indian subcontinent true, or just another of the many myths and stories that have accreted around them over time? Can they even be regarded as a single people or ethnicity at all? Gypsies have frequently been vilified, and not much less frequently romanticized, by the settled population over the centuries. Social historian David Cressy now attempts to disentangle the myth from the reality of Gypsy life over more than half a millennium of English history. In this, the first comprehensive historical study of the doings and dealings of Gypsies in England, he draws on original archival research, and a wide range of reading, to trace the many moments when Gypsy lives became entangled with those of villagers and townsfolk, religious and secular authorities, and social and moral reformers. Crucially, it is a story not just of the Gypsy community and its peculiarities, but also of England's treatment of that community, from draconian Elizabethan statutes, through various degrees of toleration and fascination, right up to the tabloid newspaper campaigns against Gypsy and Traveller encampments of more recent years.

Sounding Authentic considers the intersecting influences of nationalism, modernism, and technological innovation on representations of ethnic and national identities in twentieth-century art music. Author Joshua S. Walden discusses these forces through the prism of what he terms the "rural miniature": short violin and piano pieces based on folk song and dance styles. This genre, mostly inspired by the folk music of Hungary, the Jewish diaspora, and Spain, was featured frequently on recordings and performance programs in the early twentieth century. Furthermore, Sounding Authentic shows how the music of urban Romany ensembles developed into nineteenth-century repertoire of virtuosic works in the style hongrois before ultimately influencing composers of rural miniatures. Walden persuasively demonstrates how rural miniatures represented folk and rural cultures in a manner that was perceived as authentic, even while they involved significant modification of the original sources. He also links them to the impulse toward realism in developing technologies of photography, film, and sound recording. Sounding Authentic examines the complex ways the rural miniature was used by makers of nationalist agendas, who sought folkloric authenticity as a basis for the construction of ethnic and national identities. The book also considers the genre's reception in European diaspora communities in America where it evoked and transformed memories of life before immigration, and traces how many rural miniatures were assimilated to the styles of American popular song and swing. Scholars interested in musicology, ethnography, the history of violin performance, twentieth-century European art music, the culture of the Jewish Diaspora and more will find Sounding Authentic an essential addition to their library.

Lycanthropy in German Literature argues that as a symbol of both power and parasitism, the human wolf of the Germanic Middle Ages is iconic to the representation of the persecution of undesirables in the German cultural imagination from the early modern age to the post-war literary scene.