GERMAN STUDIES REVIEW: Volume XXIX, Number 2 (May 2006)
    Aby Warburg's (1866-1929) Dots and Lines:
    Mapping the Diffusion of Astrological Motifs in Art History

    Dorothea McEwan
    The Warburg Institute, University of London

    The art theorist and intellectual historian Aby Warburg made it his life's goal to research the "Wanderstraßen der Kultur," conceived as the pathways of the mind. As "image historian" he traced the metamorphoses of ideas as translated into art, literature, and music over time and space, to probe what it meant to orient oneself in space. The Mnemosyne Atlas, a compilation of photographs to chart the development of particular symbols and images, is one such well-known tool of orientation. Less widely known is his quest, presented here, to understand astrological motifs and their shifting place in an evolving intellectual world view.
    Kellers Roman Der grüne Heinrich: Ein Vexierspiel zwischen "Ruhe" und "Begeisterung"

    Sylvain Guarda
    United States Naval Academy

    Has Gottfried Keller in the novel The Green Henry (1855) subscribed to the Goethean stance of "psychological-moral stillness" that leads to acceptance into the social order? Mark Roche's claim is reevaluated in light of Heinrich Lee's demonic father figure as well as Ludwig Feuerbach's statements on religion, ethics and politics. Detailed analysis of the tension between the protagonist's desire for inner peace and inherited religiosity allows for a new understanding of his personal struggle and, more importantly, of his "puzzling" death at the end of the novel.
    Romantic Images of Africa: Paradigms of German Colonial Paintings

    Sabine Wilke
    University of Washington

    The German colonial painters Fritz Behn, Wilhelm Kuhnert, and Ernst Vollbehr were sent on expeditions to Africa during the first three decades of the twentieth century to capture the essence of the black continent in their paintings. Their mission was to record the beauty of the lost colonies and, through the exhibition of their work, make a case for colonial revisionism. These painters situated themselves within the romantic tradition of landscape painting. An image of a romantic Africa, depicted with a longing eye, emerges from their art—an Africa that which never existed, but still lingered in European fantasies of the other.
    Rilke and Historical Discourse or the "Histories" of Malte Laurids Brigge

    Derek Hillard
    Kansas State University

    Avoiding both linear-teleological narratives and an exclusive focus on a single individual, locality, event, or family, Rilke's novel departs from established models of historical writing. While Malte prefers medieval historical forms such as the chronicle, it does not attempt to narrate historical actors as if either historical writing or the novel could fulfill the fantasy to represent the totality of a life lived. Instead, Rilke uses a historiographical approach in Malte that falls between three models: the annals and chronicle, history understood in anonymous terms, and teleological approaches.
    Germany's Crisis and Struggle for Political Self-Reinvention: The 2005 Federal Election in Context

    Ludger Helms
    University of Göttingen and Humboldt University, Berlin

    The Schröder years were marked not only by a persistent economic crisis, but also by an increasingly limited room for the government to maneuver. The early federal election of 2005 and the subsequent formation of a grand coalition ended the much-condemned state of "divided government." However, the significantly enhanced leverage of the new government alone does not guarantee any more lasting breakthrough in political and economic reform. In order to make a real difference, and to balance the obvious negative implications of grand coalition government for transparency and accountability, more serious reform efforts will be needed.
    The Ethnic "Straight Jacket":
    Bilingual Education and Grassroots Agency in the Soviet Occupied Zone and German Democratic Republic, 1945-1964
    * * * Winner of the DAAD Article Prize * * *

    Cora A. Granata
    California State University, Fullerton

    Between 1952 and 1964, communist leaders of the German Democratic Republic championed Sorb culture and language in the region of Lusatia. Ironically, the state's promotion of bilingual education in German and Sorbian met with grassroots opposition from Sorbs and non-Sorbs alike. By emphasizing Sorb cultural difference from other Germans, the state's efforts to promote Sorb identity unintentionally fueled ethnic German nationalism. This opposition, largely neglected by existing scholarship, led the state to reverse its bilingual education policies. Based on oral histories and archival sources, this article demonstrates the power of popular ethnic sentiments to shape state policy in East Germany.
    "If only family unity can be maintained": The Witten Protest and German Civilian Evacuations

    Julia S. Torrie
    St. Thomas University, Canada

    The Witten protest of October 1943 was one of a very small number of popular protests against the Nazi regime. It was motivated by citizens' disapproval of anti-air raid evacuation measures, and in particular, the effects of these measures on family life. The protest succeeded because the participants were mainly "Aryan" women, wives of workers in essential industries, whose morale was important to the war effort. Like the Bavarian crucifix campaign, or the Rosenstraße protest, events at Witten show that Germans' low-level opposition could constrain the regime's exercise of power-in this case, leading to greater flexibility in evacuation policies.
    East Germany's Werkstatt Zukunft: Futurology and the Science Fiction Films of defa-futurum

    Sonja Fritzsche
    Illinois Wesleyan University

    East Germany produced a number of science fiction films, many of which came from Joachim Hellwig's group defa-futurum (1971-1980). Hellwig was a proponent of Prognostik, East Germany's version of futurology, and applied this cybernetic-based theory to cinema, dubbed the Werkstatt-Zukunft Prinzip. Unusual in film production, this creative principle was the driving force of Hellwig's film group and functioned as a programmatic experiment based on the cooperative efforts of artists, cultural functionaries, scientists, and viewers. With one exception, defa-futurum was responsible for all GDR science fiction films produced after 1972, including the feature film Im Staub der Sterne (Kolditz, 1976).
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