Seán Allan Bücher

This is a new and accessible study of the plays of Kleist (1777-1811), an important and much-studied author whose work has been highly influential in contemporary German writing. Seán Allan examines Kleist's critique of the aspirations of both Enlightenment and Romantic metaphysics, and offers resolutions of a number of long-running controversies in Kleist criticism. The book contains summaries of the state of research on all the plays. All quotations are given in both German and English, and full references are given to published English translations of Kleist's works as well as to the German originals.

With internationalist aspirations and wide-ranging historical perspectives, East German films about artists and their work became hotly contested spaces in which filmmakers could look beyond the GDR and debate the impact of contemporary cultural policy on the reception of their pre-war cultural heritage. Spanning newsreels, documentaries, and features, Screening Art is the first full-length investigation into a genre that has often been overlooked in studies of DEFA, the state-owned Eastern German film studio. As it shows, “art films” in fact played an essential role in the development of new paradigms of socialist art in postwar Europe.

New and insightful interpretations of the controversial stories of Heinrich von Kleist.The fascinating and controversial German writer of dramas and novellas Heinrich von Kleist (1777-1811) is one of the most interesting objects of analysis for scholars of German literature even today, nearly two centuries after hisdeath by suicide. In recent years, disagreements among Kleist scholars have been so extreme that some have suggested that his work subverts the very process of interpretation. Seán Allan challenges this view and the related one of Kleist as a profound pessimist. He argues that the focus on Kleist's uninterpretability has obscured important elements of social criticism present in his 'moral stories.' To correct the widely-held view of Kleist as a 'poet without a society,' Allan approaches the stories via investigation of four thematic justice and revenge; revolution and social change; education and the nature of evil; and art and religion. Allan holds that the perspectiveendorsed by the Kleistian narrator is designed to reflect the assumptions and prejudices of the members of the dominant class of Kleist's time (authoritarian and male-dominated as it was), and finds that by the end of the storiesit is precisely this perspective that has been profoundly called into question.Seán Allan is lecturer in German at the University of Warwick, UK.