Bøker av K. Scott Baker

Germans are often accused of failing to take responsibility for Nazi crimes, but what precisely should ordinary people do differently? Indeed, scholars have yet to outline viable alternatives for how any of us should respond to terror and genocide. And because of the way they compartmentalize everyday life, our discipline-bound analyses often disguise more than they illuminate. Written by a historian, literary critic, philosopher, and theologian, The Happy Burden of History takes an integrative approach to the problem of responsible selfhood. Exploring the lives and letters of ordinary and intellectual Germans who faced the ethical challenges of the Third Reich, it focuses on five typical tools for cultivating the modern self: myths, lies, non-conformity, irony, and modeling. The authors carefully dissect the ways in which ordinary and intellectual Germans excused their violent claims to mastery with a sense of 'sovereign impunity.'They then recuperate the same strategies of selfhoodfor our contemporary world, but in ways that are self-critical and humble. The book shows how viewing this problem from within everyday life can empower and encourage usto bear the burden of historical responsibility and be happy doing so.

This monograph details Gutzkow¿s recurring use of performance-within-the-play as a means of encouraging an active, political response by the audience. He incorporates an internal audience viewing a performance on stage in order to model an ideal of dramatic reception for the audiences of his own play. Gutzkow structures the narrative contextualization of these performances as reflections of specific issues in the German states of the Vormärz. Beginning with an overview of theoretical and literary texts from the 1830s, this study traces Gutzkow¿s transferral of self-reflexive structures from his novels of this decade into his first staged play, Richard Savage (1839), and on through Das Urbild des Tartüffe (1844) and Uriel Acosta (1845). It concludes by portraying Der Königsleutnant (1849) as a transitional work that shows Gutzkow¿s decision to return to the novel as a consequence of the failure of his plays to attain the reception he intended. By using the coherency of the communicated message instead of fealty to aesthetic norms as the evaluative criteria for discussing Gutzkow¿s plays, the book exposes an innovative mode of specifically literary social criticism in these works that complements their traditional assessment as documentation of the cultural history of Liberalism in this period.