Podcast appearances and mentions of camden house

"Herta Müller should share her Nobel with the Securitate." This comment by a former officer in the Romanian secret police, or Securitate, was in reaction to hearing that Müller, a German writer originally from Romania, had won the 2009 Nobel Prize for Literature. Communist Romania's infamous secret police was indeed a protagonist in Müller's work, though an undesired and dreaded one: most of her writings are deeply and explicitly anchored in Ceaușescu's Romania and her own traumatic experiences with the Securitate. Müller's file traces her surveillance from 1983 until after she emigrated to West Germany in 1987. She has written extensively in reaction to reading her file, but primarily addresses its gaps, begging the question what information the file does in fact contain. The Secret Police Dossier of Herta Müller: A "File Story" of Cold War Surveillance (Camden House, 2023) is an in-depth investigation of Müller's file, and engages with other related files, including that of her then-husband, the writer Richard Wagner. Valentina Glajar treats the files as primary sources in order to re-create the story of Müller's surveillance by the Securitate. In such an intrusive culture of surveillance, surviving the system often meant a certain degree of entanglement: for victims, collaborators, and implicated subjects alike. Veiled in secrecy for decades, these compelling and complex documents shed light on a boundary between victims and perpetrators as porous as the Iron Curtain itself. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

"Herta Müller should share her Nobel with the Securitate." This comment by a former officer in the Romanian secret police, or Securitate, was in reaction to hearing that Müller, a German writer originally from Romania, had won the 2009 Nobel Prize for Literature. Communist Romania's infamous secret police was indeed a protagonist in Müller's work, though an undesired and dreaded one: most of her writings are deeply and explicitly anchored in Ceaușescu's Romania and her own traumatic experiences with the Securitate. Müller's file traces her surveillance from 1983 until after she emigrated to West Germany in 1987. She has written extensively in reaction to reading her file, but primarily addresses its gaps, begging the question what information the file does in fact contain. The Secret Police Dossier of Herta Müller: A "File Story" of Cold War Surveillance (Camden House, 2023) is an in-depth investigation of Müller's file, and engages with other related files, including that of her then-husband, the writer Richard Wagner. Valentina Glajar treats the files as primary sources in order to re-create the story of Müller's surveillance by the Securitate. In such an intrusive culture of surveillance, surviving the system often meant a certain degree of entanglement: for victims, collaborators, and implicated subjects alike. Veiled in secrecy for decades, these compelling and complex documents shed light on a boundary between victims and perpetrators as porous as the Iron Curtain itself. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

"Herta Müller should share her Nobel with the Securitate." This comment by a former officer in the Romanian secret police, or Securitate, was in reaction to hearing that Müller, a German writer originally from Romania, had won the 2009 Nobel Prize for Literature. Communist Romania's infamous secret police was indeed a protagonist in Müller's work, though an undesired and dreaded one: most of her writings are deeply and explicitly anchored in Ceaușescu's Romania and her own traumatic experiences with the Securitate. Müller's file traces her surveillance from 1983 until after she emigrated to West Germany in 1987. She has written extensively in reaction to reading her file, but primarily addresses its gaps, begging the question what information the file does in fact contain. The Secret Police Dossier of Herta Müller: A "File Story" of Cold War Surveillance (Camden House, 2023) is an in-depth investigation of Müller's file, and engages with other related files, including that of her then-husband, the writer Richard Wagner. Valentina Glajar treats the files as primary sources in order to re-create the story of Müller's surveillance by the Securitate. In such an intrusive culture of surveillance, surviving the system often meant a certain degree of entanglement: for victims, collaborators, and implicated subjects alike. Veiled in secrecy for decades, these compelling and complex documents shed light on a boundary between victims and perpetrators as porous as the Iron Curtain itself. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/german-studies

"Herta Müller should share her Nobel with the Securitate." This comment by a former officer in the Romanian secret police, or Securitate, was in reaction to hearing that Müller, a German writer originally from Romania, had won the 2009 Nobel Prize for Literature. Communist Romania's infamous secret police was indeed a protagonist in Müller's work, though an undesired and dreaded one: most of her writings are deeply and explicitly anchored in Ceaușescu's Romania and her own traumatic experiences with the Securitate. Müller's file traces her surveillance from 1983 until after she emigrated to West Germany in 1987. She has written extensively in reaction to reading her file, but primarily addresses its gaps, begging the question what information the file does in fact contain. The Secret Police Dossier of Herta Müller: A "File Story" of Cold War Surveillance (Camden House, 2023) is an in-depth investigation of Müller's file, and engages with other related files, including that of her then-husband, the writer Richard Wagner. Valentina Glajar treats the files as primary sources in order to re-create the story of Müller's surveillance by the Securitate. In such an intrusive culture of surveillance, surviving the system often meant a certain degree of entanglement: for victims, collaborators, and implicated subjects alike. Veiled in secrecy for decades, these compelling and complex documents shed light on a boundary between victims and perpetrators as porous as the Iron Curtain itself. Learn more about your ad choices. Visit megaphone.fm/adchoices

"Herta Müller should share her Nobel with the Securitate." This comment by a former officer in the Romanian secret police, or Securitate, was in reaction to hearing that Müller, a German writer originally from Romania, had won the 2009 Nobel Prize for Literature. Communist Romania's infamous secret police was indeed a protagonist in Müller's work, though an undesired and dreaded one: most of her writings are deeply and explicitly anchored in Ceaușescu's Romania and her own traumatic experiences with the Securitate. Müller's file traces her surveillance from 1983 until after she emigrated to West Germany in 1987. She has written extensively in reaction to reading her file, but primarily addresses its gaps, begging the question what information the file does in fact contain. The Secret Police Dossier of Herta Müller: A "File Story" of Cold War Surveillance (Camden House, 2023) is an in-depth investigation of Müller's file, and engages with other related files, including that of her then-husband, the writer Richard Wagner. Valentina Glajar treats the files as primary sources in order to re-create the story of Müller's surveillance by the Securitate. In such an intrusive culture of surveillance, surviving the system often meant a certain degree of entanglement: for victims, collaborators, and implicated subjects alike. Veiled in secrecy for decades, these compelling and complex documents shed light on a boundary between victims and perpetrators as porous as the Iron Curtain itself. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/eastern-european-studies

"Herta Müller should share her Nobel with the Securitate." This comment by a former officer in the Romanian secret police, or Securitate, was in reaction to hearing that Müller, a German writer originally from Romania, had won the 2009 Nobel Prize for Literature. Communist Romania's infamous secret police was indeed a protagonist in Müller's work, though an undesired and dreaded one: most of her writings are deeply and explicitly anchored in Ceaușescu's Romania and her own traumatic experiences with the Securitate. Müller's file traces her surveillance from 1983 until after she emigrated to West Germany in 1987. She has written extensively in reaction to reading her file, but primarily addresses its gaps, begging the question what information the file does in fact contain. The Secret Police Dossier of Herta Müller: A "File Story" of Cold War Surveillance (Camden House, 2023) is an in-depth investigation of Müller's file, and engages with other related files, including that of her then-husband, the writer Richard Wagner. Valentina Glajar treats the files as primary sources in order to re-create the story of Müller's surveillance by the Securitate. In such an intrusive culture of surveillance, surviving the system often meant a certain degree of entanglement: for victims, collaborators, and implicated subjects alike. Veiled in secrecy for decades, these compelling and complex documents shed light on a boundary between victims and perpetrators as porous as the Iron Curtain itself. Learn more about your ad choices. Visit megaphone.fm/adchoices

"Herta Müller should share her Nobel with the Securitate." This comment by a former officer in the Romanian secret police, or Securitate, was in reaction to hearing that Müller, a German writer originally from Romania, had won the 2009 Nobel Prize for Literature. Communist Romania's infamous secret police was indeed a protagonist in Müller's work, though an undesired and dreaded one: most of her writings are deeply and explicitly anchored in Ceaușescu's Romania and her own traumatic experiences with the Securitate. Müller's file traces her surveillance from 1983 until after she emigrated to West Germany in 1987. She has written extensively in reaction to reading her file, but primarily addresses its gaps, begging the question what information the file does in fact contain. The Secret Police Dossier of Herta Müller: A "File Story" of Cold War Surveillance (Camden House, 2023) is an in-depth investigation of Müller's file, and engages with other related files, including that of her then-husband, the writer Richard Wagner. Valentina Glajar treats the files as primary sources in order to re-create the story of Müller's surveillance by the Securitate. In such an intrusive culture of surveillance, surviving the system often meant a certain degree of entanglement: for victims, collaborators, and implicated subjects alike. Veiled in secrecy for decades, these compelling and complex documents shed light on a boundary between victims and perpetrators as porous as the Iron Curtain itself. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day

With the passing of those who witnessed National Socialism and the Holocaust, the archive matters as never before. However, the material that remains for the work of remembering and commemorating this period of history is determined by both the bureaucratic excesses of the Nazi regime and the attempt to eradicate its victims without trace. Dora Osborne's book What Remains: The Post-Holocaust Archive in German Memory Culture (Camden House, 2020) argues that memory culture in the Berlin Republic is marked by an archival turn that reflects this shift from embodied to externalized, material memory and responds to the particular status of the archive "after Auschwitz." What remains in this late phase of memory culture is the post-Holocaust archive, which at once ensures and haunts the future of Holocaust memory. Drawing on the thinking of Freud, Derrida, and Georges Didi-Huberman, this book traces the political, ethical, and aesthetic implications of the archival turn in contemporary German memory culture across different media and genres. In its discussion of recent memorials, documentary film and theater, as well as prose narratives, all of which engage with the material legacy of the Nazi past, it argues that the performance of “archive work” is not only crucial to contemporary memory work but also fundamentally challenges it. Lea Greenberg is a scholar of German studies with a particular focus on German Jewish and Yiddish literature and culture; critical gender studies; multilingualism; and literature of the post-Yugoslav diaspora. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

With the passing of those who witnessed National Socialism and the Holocaust, the archive matters as never before. However, the material that remains for the work of remembering and commemorating this period of history is determined by both the bureaucratic excesses of the Nazi regime and the attempt to eradicate its victims without trace. Dora Osborne's book What Remains: The Post-Holocaust Archive in German Memory Culture (Camden House, 2020) argues that memory culture in the Berlin Republic is marked by an archival turn that reflects this shift from embodied to externalized, material memory and responds to the particular status of the archive "after Auschwitz." What remains in this late phase of memory culture is the post-Holocaust archive, which at once ensures and haunts the future of Holocaust memory. Drawing on the thinking of Freud, Derrida, and Georges Didi-Huberman, this book traces the political, ethical, and aesthetic implications of the archival turn in contemporary German memory culture across different media and genres. In its discussion of recent memorials, documentary film and theater, as well as prose narratives, all of which engage with the material legacy of the Nazi past, it argues that the performance of “archive work” is not only crucial to contemporary memory work but also fundamentally challenges it. Lea Greenberg is a scholar of German studies with a particular focus on German Jewish and Yiddish literature and culture; critical gender studies; multilingualism; and literature of the post-Yugoslav diaspora. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

With the passing of those who witnessed National Socialism and the Holocaust, the archive matters as never before. However, the material that remains for the work of remembering and commemorating this period of history is determined by both the bureaucratic excesses of the Nazi regime and the attempt to eradicate its victims without trace. Dora Osborne's book What Remains: The Post-Holocaust Archive in German Memory Culture (Camden House, 2020) argues that memory culture in the Berlin Republic is marked by an archival turn that reflects this shift from embodied to externalized, material memory and responds to the particular status of the archive "after Auschwitz." What remains in this late phase of memory culture is the post-Holocaust archive, which at once ensures and haunts the future of Holocaust memory. Drawing on the thinking of Freud, Derrida, and Georges Didi-Huberman, this book traces the political, ethical, and aesthetic implications of the archival turn in contemporary German memory culture across different media and genres. In its discussion of recent memorials, documentary film and theater, as well as prose narratives, all of which engage with the material legacy of the Nazi past, it argues that the performance of “archive work” is not only crucial to contemporary memory work but also fundamentally challenges it. Lea Greenberg is a scholar of German studies with a particular focus on German Jewish and Yiddish literature and culture; critical gender studies; multilingualism; and literature of the post-Yugoslav diaspora. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/genocide-studies

With the passing of those who witnessed National Socialism and the Holocaust, the archive matters as never before. However, the material that remains for the work of remembering and commemorating this period of history is determined by both the bureaucratic excesses of the Nazi regime and the attempt to eradicate its victims without trace. Dora Osborne's book What Remains: The Post-Holocaust Archive in German Memory Culture (Camden House, 2020) argues that memory culture in the Berlin Republic is marked by an archival turn that reflects this shift from embodied to externalized, material memory and responds to the particular status of the archive "after Auschwitz." What remains in this late phase of memory culture is the post-Holocaust archive, which at once ensures and haunts the future of Holocaust memory. Drawing on the thinking of Freud, Derrida, and Georges Didi-Huberman, this book traces the political, ethical, and aesthetic implications of the archival turn in contemporary German memory culture across different media and genres. In its discussion of recent memorials, documentary film and theater, as well as prose narratives, all of which engage with the material legacy of the Nazi past, it argues that the performance of “archive work” is not only crucial to contemporary memory work but also fundamentally challenges it. Lea Greenberg is a scholar of German studies with a particular focus on German Jewish and Yiddish literature and culture; critical gender studies; multilingualism; and literature of the post-Yugoslav diaspora. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

With the passing of those who witnessed National Socialism and the Holocaust, the archive matters as never before. However, the material that remains for the work of remembering and commemorating this period of history is determined by both the bureaucratic excesses of the Nazi regime and the attempt to eradicate its victims without trace. Dora Osborne's book What Remains: The Post-Holocaust Archive in German Memory Culture (Camden House, 2020) argues that memory culture in the Berlin Republic is marked by an archival turn that reflects this shift from embodied to externalized, material memory and responds to the particular status of the archive "after Auschwitz." What remains in this late phase of memory culture is the post-Holocaust archive, which at once ensures and haunts the future of Holocaust memory. Drawing on the thinking of Freud, Derrida, and Georges Didi-Huberman, this book traces the political, ethical, and aesthetic implications of the archival turn in contemporary German memory culture across different media and genres. In its discussion of recent memorials, documentary film and theater, as well as prose narratives, all of which engage with the material legacy of the Nazi past, it argues that the performance of “archive work” is not only crucial to contemporary memory work but also fundamentally challenges it. Lea Greenberg is a scholar of German studies with a particular focus on German Jewish and Yiddish literature and culture; critical gender studies; multilingualism; and literature of the post-Yugoslav diaspora. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Find out how terrifying sighting of a Cavalier ghost in the 1930s links to Biggleswade's mysterious tunnels. I explore the cellar below where the phantom was seen, discover hidden passageways, bricked up tunnel entrances, and much more. I take you on a trip down the river, and to the Camden House school room, we explore the history of Biggleswade's brewing industry, and I visit the Bedfordshire archives all in an effort to solve the riddle of what these tunnels were built for, and why they were bricked up.  Join me on this journey if you dare! You can see images and further links on the blog at Weirdinthewade.blog  Join Team Weird and support the show at Patreon: patreon.com/WeirdintheWade Or at Ko-fi: https://ko-fi.com/weirdinthewade Find Weird in the Wade on social media at: https://linktr.ee/weirdinthewade You can also vote for Weird in the Wade at the British  Podcast Awards listeners choice here: https://www.britishpodcastawards.com/voting   Weird in the Wade is researched, written, presented and produced by Nat Doig Theme music by Tess Savigear Camelot Monastery Gregorian Chant by Darren Curtis All additional sound effects and music by Epidemic Sound    

Today's episode follows a ghost story over three centuries. We start in the 1880s with school children terrified by a ghost in a garden. Then we explore a newsagents bothered by paranormal activity in the 1960s. In the present day we discover a secret tunnel entrance and hear rumours of a helpful spirit where the garden once bloomed. Linking all these hauntings is the building of Camden House. Once a Victorian school, then a newsagents for over 50 years, more recently it has been a succession of takeaways and restaurants.  I also had a last minute breakthrough which filled in a missing piece of the puzzle. I've added this towards the end of the episode so don't believe me early on when I say I can find no evidence of a tragic Edwardian school teacher who could be haunting the old school! Listen on and find out what I discovered. And yes this is the first part of an exploration of the Biggleswade tunnels. Check out the show blog for a map identifying tunnel entrances and town centre hauntings at: weirdinthewade.blog  If you want more from Weird in the Wade join Team Weird on our Patreon and get bonus episodes every month. Find out more here: patreon.com/WeirdintheWade  You can find links to our shop for Weird in the Wade merch, as well as how to donate to the show through Ko-fi and links to all our socials here: https://linktr.ee/weirdinthewade A show transcript is also available on our blog: https://weirdinthewade.blog/ Weird in the Wade is researched, written, presented and produced by Nat Doig Theme music by Tess Savigear All additional music and sound effects by Epidemic Sound  

From the earliest days of the Third Reich through the end of the war, there were organized efforts to rescue Jewish children from the Nazis.  Perhaps as many as 10,000 were rescued in this way, but without their parents.  They ended up in a variety of countries and had diverse set of experiences.   In addition, the story of the Kindertransport has worked its way into the cultural memory of the Holocaust, particularly in the United Kingdom.  In this episode, I spoke with Amy Williams about the incredibly complex history of these operations and the ways in which they have been commemorated. Dr. Amy Willams is currently a fellow at the Zolberg Institute on Migration and Mobility at The New School, New York. For the past two years she was the module leader of the undergraduate module “Holocaust and Genocide” at Nottingham Trent University. Her new co-authored book with Prof. Bill Niven “Memory of the Kindertransport in National and Transnational Memories: Exhibitions, Memorials, and Commemorations” has recently been published by Camden House. She is working on her next co-authored book with Bill for Yale University Press on the transnational history of the Kindertransport, due to be published in 2026. Her third book for Mitteldeutscher Verlag entitled “Kindertransport: Eine Spurensuche” or “In Search of the Kindertransport” is a testimony book based on 150 interviews. Williams, Amy and William Niven. National and Transnational Memories of the Kindertransport: Exhibitions, Memorials, and Commemorations (2023)Follow on Twitter @holocaustpod.Email the podcast at holocausthistorypod@gmail.comThe Holocaust History Podcast homepage is hereYou can find a complete reading list with books by our guests and also their suggestions here.

This week on Cannesversations, Eliana and Patrick discuss Valeska Grisebach's self-described "dance with the Western genre," the 2017 Cannes Un Certain Regard film Western. Considered by some to be part of the second generation of the Berlin School and by others to be one of the distinct voices of the New Austrian Cinema, Grisebach distinguishes herself through her filmmaking approach by favoring a collaborative process with her actors in the conceptualization of scenes.Strangely enough, this does not take away from her directorial signature style, yet rather establishes her as one of the leading filmmakers of world cinema concerned with narrative realism. Western implements documentary-style filmmaking techniques to speak to the subsisting undercurrent themes of colonization and masculinity with contemporary panache and vigilant subtlety.Credit/ Resources:Marco Abel. The Counter-Cinema of the Berlin School, Camden House, 2013.Martine Floch. „Western, de Valeska Grisebach (2017).” Histoire Politique, https://doi.org/10.4000/histoirepolitique.5350.Codruța Morari. European Auteurs Revisit the Western: Thomas Bidegain's Les Cowboys and Valeska Grisebach's Western.New German Critique: An Interdisciplinary Journal of German Studies. 2019;46(3 [138]):11-34.Tony Pipolo. Small Talk. “Tony Pipolo on Valeska Grisebach's Western.” Artforum, February 2018.Peter Scheinpflug. „Western (Valeska Grisebach, 2017). Home is here the horse is, oder: Valeska Grisebachs respektvolle Demontage des Westernhelden.”Lola, Toni, Yella und die anderen: Der deutsche Film nach 1990, Brill | Fink, 2023, pp. 417-434.Victoria Steiner. „Der deutsche Weste(r)n zu Valeska Grisebachs WESTERN (2017) – unter anderem.“ Medienobservationen, pp. 1-20.Peter Verstraten “Valeska Grisebach's Western: An Unacknowledged Remake of Samuel Fuller's ‘Run of the Arrow.'” Senses of Cinema, Issue 87, June 2018.Catherine Wheatly. “Not Politics but People: The ‘Feminine Aesthetic' of Valeska Grisebach and Jessica Hausner.” New Austrian Film, Berghahn Books, 2011, pp. 136-147.Sound:EFF Open Audio License for Le Carnaval des Animaux (Saint-Saëns, Camille - Aquarium) by Neal O'Doan (Piano) Nancy O'Doan (Piano), and Seattle Youth Orchestra Pandora Records/Al Goldstein ArchiveInterview: https://www.youtube.com/watch?v=iKAPNjgkNS4

In the game of chess, the queen is the most powerful piece on the board. But it wasn't until the 1500s that she gained these advantages. Two-time U.S. Women's Chess Champion Jennifer Shahade shares the history of chess with Racquel Williams and our Philadelphia-based panel of young, female chess players. She says chess became a better game after the queen's role changed, and she is working to make top level chess more inclusive. Then, we check in about the fire damage to Camden's MLK House with Pastor Amir Khan. The owner and founder of the non-profit is confident that they will rebuild the structure where Martin Luther King, Jr. was staying when his civil rights movement work was inspired, while studying at the now-closed Crozer Theological Seminary. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

With the passing of those who witnessed National Socialism and the Holocaust, the archive matters as never before. However, the material that remains for the work of remembering and commemorating this period of history is determined by both the bureaucratic excesses of the Nazi regime and the attempt to eradicate its victims without trace. Dora Osborne's book What Remains: The Post-Holocaust Archive in German Memory Culture (Camden House, 2020) argues that memory culture in the Berlin Republic is marked by an archival turn that reflects this shift from embodied to externalized, material memory and responds to the particular status of the archive "after Auschwitz." What remains in this late phase of memory culture is the post-Holocaust archive, which at once ensures and haunts the future of Holocaust memory. Drawing on the thinking of Freud, Derrida, and Georges Didi-Huberman, this book traces the political, ethical, and aesthetic implications of the archival turn in contemporary German memory culture across different media and genres. In its discussion of recent memorials, documentary film and theater, as well as prose narratives, all of which engage with the material legacy of the Nazi past, it argues that the performance of “archive work” is not only crucial to contemporary memory work but also fundamentally challenges it. Lea Greenberg is a scholar of German studies with a particular focus on German Jewish and Yiddish literature and culture; critical gender studies; multilingualism; and literature of the post-Yugoslav diaspora. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

With the passing of those who witnessed National Socialism and the Holocaust, the archive matters as never before. However, the material that remains for the work of remembering and commemorating this period of history is determined by both the bureaucratic excesses of the Nazi regime and the attempt to eradicate its victims without trace. Dora Osborne's book What Remains: The Post-Holocaust Archive in German Memory Culture (Camden House, 2020) argues that memory culture in the Berlin Republic is marked by an archival turn that reflects this shift from embodied to externalized, material memory and responds to the particular status of the archive "after Auschwitz." What remains in this late phase of memory culture is the post-Holocaust archive, which at once ensures and haunts the future of Holocaust memory. Drawing on the thinking of Freud, Derrida, and Georges Didi-Huberman, this book traces the political, ethical, and aesthetic implications of the archival turn in contemporary German memory culture across different media and genres. In its discussion of recent memorials, documentary film and theater, as well as prose narratives, all of which engage with the material legacy of the Nazi past, it argues that the performance of “archive work” is not only crucial to contemporary memory work but also fundamentally challenges it. Lea Greenberg is a scholar of German studies with a particular focus on German Jewish and Yiddish literature and culture; critical gender studies; multilingualism; and literature of the post-Yugoslav diaspora. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day

With the passing of those who witnessed National Socialism and the Holocaust, the archive matters as never before. However, the material that remains for the work of remembering and commemorating this period of history is determined by both the bureaucratic excesses of the Nazi regime and the attempt to eradicate its victims without trace. Dora Osborne's book What Remains: The Post-Holocaust Archive in German Memory Culture (Camden House, 2020) argues that memory culture in the Berlin Republic is marked by an archival turn that reflects this shift from embodied to externalized, material memory and responds to the particular status of the archive "after Auschwitz." What remains in this late phase of memory culture is the post-Holocaust archive, which at once ensures and haunts the future of Holocaust memory. Drawing on the thinking of Freud, Derrida, and Georges Didi-Huberman, this book traces the political, ethical, and aesthetic implications of the archival turn in contemporary German memory culture across different media and genres. In its discussion of recent memorials, documentary film and theater, as well as prose narratives, all of which engage with the material legacy of the Nazi past, it argues that the performance of “archive work” is not only crucial to contemporary memory work but also fundamentally challenges it. Lea Greenberg is a scholar of German studies with a particular focus on German Jewish and Yiddish literature and culture; critical gender studies; multilingualism; and literature of the post-Yugoslav diaspora. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/genocide-studies

With the passing of those who witnessed National Socialism and the Holocaust, the archive matters as never before. However, the material that remains for the work of remembering and commemorating this period of history is determined by both the bureaucratic excesses of the Nazi regime and the attempt to eradicate its victims without trace. Dora Osborne's book What Remains: The Post-Holocaust Archive in German Memory Culture (Camden House, 2020) argues that memory culture in the Berlin Republic is marked by an archival turn that reflects this shift from embodied to externalized, material memory and responds to the particular status of the archive "after Auschwitz." What remains in this late phase of memory culture is the post-Holocaust archive, which at once ensures and haunts the future of Holocaust memory. Drawing on the thinking of Freud, Derrida, and Georges Didi-Huberman, this book traces the political, ethical, and aesthetic implications of the archival turn in contemporary German memory culture across different media and genres. In its discussion of recent memorials, documentary film and theater, as well as prose narratives, all of which engage with the material legacy of the Nazi past, it argues that the performance of “archive work” is not only crucial to contemporary memory work but also fundamentally challenges it. Lea Greenberg is a scholar of German studies with a particular focus on German Jewish and Yiddish literature and culture; critical gender studies; multilingualism; and literature of the post-Yugoslav diaspora. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

With the passing of those who witnessed National Socialism and the Holocaust, the archive matters as never before. However, the material that remains for the work of remembering and commemorating this period of history is determined by both the bureaucratic excesses of the Nazi regime and the attempt to eradicate its victims without trace. Dora Osborne's book What Remains: The Post-Holocaust Archive in German Memory Culture (Camden House, 2020) argues that memory culture in the Berlin Republic is marked by an archival turn that reflects this shift from embodied to externalized, material memory and responds to the particular status of the archive "after Auschwitz." What remains in this late phase of memory culture is the post-Holocaust archive, which at once ensures and haunts the future of Holocaust memory. Drawing on the thinking of Freud, Derrida, and Georges Didi-Huberman, this book traces the political, ethical, and aesthetic implications of the archival turn in contemporary German memory culture across different media and genres. In its discussion of recent memorials, documentary film and theater, as well as prose narratives, all of which engage with the material legacy of the Nazi past, it argues that the performance of “archive work” is not only crucial to contemporary memory work but also fundamentally challenges it. Lea Greenberg is a scholar of German studies with a particular focus on German Jewish and Yiddish literature and culture; critical gender studies; multilingualism; and literature of the post-Yugoslav diaspora. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

With the passing of those who witnessed National Socialism and the Holocaust, the archive matters as never before. However, the material that remains for the work of remembering and commemorating this period of history is determined by both the bureaucratic excesses of the Nazi regime and the attempt to eradicate its victims without trace. Dora Osborne's book What Remains: The Post-Holocaust Archive in German Memory Culture (Camden House, 2020) argues that memory culture in the Berlin Republic is marked by an archival turn that reflects this shift from embodied to externalized, material memory and responds to the particular status of the archive "after Auschwitz." What remains in this late phase of memory culture is the post-Holocaust archive, which at once ensures and haunts the future of Holocaust memory. Drawing on the thinking of Freud, Derrida, and Georges Didi-Huberman, this book traces the political, ethical, and aesthetic implications of the archival turn in contemporary German memory culture across different media and genres. In its discussion of recent memorials, documentary film and theater, as well as prose narratives, all of which engage with the material legacy of the Nazi past, it argues that the performance of “archive work” is not only crucial to contemporary memory work but also fundamentally challenges it. Lea Greenberg is a scholar of German studies with a particular focus on German Jewish and Yiddish literature and culture; critical gender studies; multilingualism; and literature of the post-Yugoslav diaspora. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

With the passing of those who witnessed National Socialism and the Holocaust, the archive matters as never before. However, the material that remains for the work of remembering and commemorating this period of history is determined by both the bureaucratic excesses of the Nazi regime and the attempt to eradicate its victims without trace. Dora Osborne's book What Remains: The Post-Holocaust Archive in German Memory Culture (Camden House, 2020) argues that memory culture in the Berlin Republic is marked by an archival turn that reflects this shift from embodied to externalized, material memory and responds to the particular status of the archive "after Auschwitz." What remains in this late phase of memory culture is the post-Holocaust archive, which at once ensures and haunts the future of Holocaust memory. Drawing on the thinking of Freud, Derrida, and Georges Didi-Huberman, this book traces the political, ethical, and aesthetic implications of the archival turn in contemporary German memory culture across different media and genres. In its discussion of recent memorials, documentary film and theater, as well as prose narratives, all of which engage with the material legacy of the Nazi past, it argues that the performance of “archive work” is not only crucial to contemporary memory work but also fundamentally challenges it. Lea Greenberg is a scholar of German studies with a particular focus on German Jewish and Yiddish literature and culture; critical gender studies; multilingualism; and literature of the post-Yugoslav diaspora. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/german-studies

In her book, Bernhard Heisig and the Fight for Modern Art in East Germany (Camden House, 2018), April Eisman examines one of East Germany's most successful artists as a point of entry into the vibrant art world of the "other" Germany. In the 1980s, Bernhard Heisig (1925-2011) was praised on both sides of the Berlin Wall for his neo-expressionist style and his commitment to German history and art. Chancellor Helmut Schmidt chose him to paint his official portrait, major museums collected his work, and in 1989 he had a major solo exhibition in West Germany. After unification, Heisig was a focal point in the Bilderstreit, a virulent debate over what role East German art should play in the new Germany. Challenging current understandings of Heisig and East German art, this book focuses on Heisig's little-known fight for modern art in East Germany. Examining major debates of the 1960s, it shows the key role he played in expanding the country's art from the limits of Soviet-style socialist realism to a socialist modernism that later gained recognition in the West. Such an investigation allows us to see that socialist realism in East Germany was more than a simple propagandistic style, it was a position that entailed exciting, but also potentially perilous new prospects for artists as they navigated the debates surrounding their responsibilities to the Socialist society and its people. The book which results captures the complexity of this era and stands to profoundly affect art historical understandings of this controversial period in artmaking. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices

In her book, Bernhard Heisig and the Fight for Modern Art in East Germany (Camden House, 2018), April Eisman examines one of East Germany's most successful artists as a point of entry into the vibrant art world of the "other" Germany. In the 1980s, Bernhard Heisig (1925-2011) was praised on both sides of the Berlin Wall for his neo-expressionist style and his commitment to German history and art. Chancellor Helmut Schmidt chose him to paint his official portrait, major museums collected his work, and in 1989 he had a major solo exhibition in West Germany. After unification, Heisig was a focal point in the Bilderstreit, a virulent debate over what role East German art should play in the new Germany. Challenging current understandings of Heisig and East German art, this book focuses on Heisig's little-known fight for modern art in East Germany. Examining major debates of the 1960s, it shows the key role he played in expanding the country's art from the limits of Soviet-style socialist realism to a socialist modernism that later gained recognition in the West. Such an investigation allows us to see that socialist realism in East Germany was more than a simple propagandistic style, it was a position that entailed exciting, but also potentially perilous new prospects for artists as they navigated the debates surrounding their responsibilities to the Socialist society and its people. The book which results captures the complexity of this era and stands to profoundly affect art historical understandings of this controversial period in artmaking. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices

In her book, Bernhard Heisig and the Fight for Modern Art in East Germany (Camden House, 2018), April Eisman examines one of East Germany's most successful artists as a point of entry into the vibrant art world of the "other" Germany. In the 1980s, Bernhard Heisig (1925-2011) was praised on both sides of the Berlin Wall for his neo-expressionist style and his commitment to German history and art. Chancellor Helmut Schmidt chose him to paint his official portrait, major museums collected his work, and in 1989 he had a major solo exhibition in West Germany. After unification, Heisig was a focal point in the Bilderstreit, a virulent debate over what role East German art should play in the new Germany. Challenging current understandings of Heisig and East German art, this book focuses on Heisig's little-known fight for modern art in East Germany. Examining major debates of the 1960s, it shows the key role he played in expanding the country's art from the limits of Soviet-style socialist realism to a socialist modernism that later gained recognition in the West. Such an investigation allows us to see that socialist realism in East Germany was more than a simple propagandistic style, it was a position that entailed exciting, but also potentially perilous new prospects for artists as they navigated the debates surrounding their responsibilities to the Socialist society and its people. The book which results captures the complexity of this era and stands to profoundly affect art historical understandings of this controversial period in artmaking. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices

In her book, Bernhard Heisig and the Fight for Modern Art in East Germany (Camden House, 2018), April Eisman examines one of East Germany's most successful artists as a point of entry into the vibrant art world of the "other" Germany. In the 1980s, Bernhard Heisig (1925-2011) was praised on both sides of the Berlin Wall for his neo-expressionist style and his commitment to German history and art. Chancellor Helmut Schmidt chose him to paint his official portrait, major museums collected his work, and in 1989 he had a major solo exhibition in West Germany. After unification, Heisig was a focal point in the Bilderstreit, a virulent debate over what role East German art should play in the new Germany. Challenging current understandings of Heisig and East German art, this book focuses on Heisig's little-known fight for modern art in East Germany. Examining major debates of the 1960s, it shows the key role he played in expanding the country's art from the limits of Soviet-style socialist realism to a socialist modernism that later gained recognition in the West. Such an investigation allows us to see that socialist realism in East Germany was more than a simple propagandistic style, it was a position that entailed exciting, but also potentially perilous new prospects for artists as they navigated the debates surrounding their responsibilities to the Socialist society and its people. The book which results captures the complexity of this era and stands to profoundly affect art historical understandings of this controversial period in artmaking. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices

In her book, Bernhard Heisig and the Fight for Modern Art in East Germany (Camden House, 2018), April Eisman examines one of East Germany's most successful artists as a point of entry into the vibrant art world of the "other" Germany. In the 1980s, Bernhard Heisig (1925-2011) was praised on both sides of the Berlin Wall for his neo-expressionist style and his commitment to German history and art. Chancellor Helmut Schmidt chose him to paint his official portrait, major museums collected his work, and in 1989 he had a major solo exhibition in West Germany. After unification, Heisig was a focal point in the Bilderstreit, a virulent debate over what role East German art should play in the new Germany. Challenging current understandings of Heisig and East German art, this book focuses on Heisig's little-known fight for modern art in East Germany. Examining major debates of the 1960s, it shows the key role he played in expanding the country's art from the limits of Soviet-style socialist realism to a socialist modernism that later gained recognition in the West. Such an investigation allows us to see that socialist realism in East Germany was more than a simple propagandistic style, it was a position that entailed exciting, but also potentially perilous new prospects for artists as they navigated the debates surrounding their responsibilities to the Socialist society and its people. The book which results captures the complexity of this era and stands to profoundly affect art historical understandings of this controversial period in artmaking. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices

Andrew Wright Hurley talks about the life and afterlife of the Prussian explorer Ludwig Leichhardt, a man whose reputation has shifted to reflect the changing cultures of Australia and Germany over the past 160 years. Hurley is an associate professor in the Faculty of Arts and Social Sciences at the University of Technology, Sydney. He's the author of Ludwig Leichhardt's Ghosts: The Strange Career of a Traveling Myth (Camden House, 2018). After the renowned Prussian scientist and explorer Ludwig Leichhardt left the Australian frontier in 1848 on an expedition to cross the continent, he disappeared without a trace. Andrew Hurley's book complicates that view by undertaking an afterlife biography of "the Humboldt of Australia." Although Leichhardt's remains were never located, he has been sought and textually "found" many times over, particularly in Australia and Germany. He remains a significant presence, a highly productive ghost who continues to "haunt" culture. Michael F. Robinson is professor of history at Hillyer College, University of Hartford. He's the author of The Coldest Crucible: Arctic Exploration and American Culture (University of Chicago Press, 2006) and The Lost White Tribe: Scientists, Explorers, and the Theory that Changed a Continent (Oxford University Press, 2016). He's also the host of the podcast Time to Eat the Dogs, a weekly podcast about science, history, and exploration. Learn more about your ad choices. Visit megaphone.fm/adchoices

Andrew Wright Hurley talks about the life and afterlife of the Prussian explorer Ludwig Leichhardt, a man whose reputation has shifted to reflect the changing cultures of Australia and Germany over the past 160 years. Hurley is an associate professor in the Faculty of Arts and Social Sciences at the University of Technology, Sydney. He’s the author of Ludwig Leichhardt’s Ghosts: The Strange Career of a Traveling Myth (Camden House, 2018). After the renowned Prussian scientist and explorer Ludwig Leichhardt left the Australian frontier in 1848 on an expedition to cross the continent, he disappeared without a trace. Andrew Hurley's book complicates that view by undertaking an afterlife biography of "the Humboldt of Australia." Although Leichhardt's remains were never located, he has been sought and textually "found" many times over, particularly in Australia and Germany. He remains a significant presence, a highly productive ghost who continues to "haunt" culture. Michael F. Robinson is professor of history at Hillyer College, University of Hartford. He's the author of The Coldest Crucible: Arctic Exploration and American Culture (University of Chicago Press, 2006) and The Lost White Tribe: Scientists, Explorers, and the Theory that Changed a Continent (Oxford University Press, 2016). He's also the host of the podcast Time to Eat the Dogs, a weekly podcast about science, history, and exploration. Learn more about your ad choices. Visit megaphone.fm/adchoices

Andrew Wright Hurley talks about the life and afterlife of the Prussian explorer Ludwig Leichhardt, a man whose reputation has shifted to reflect the changing cultures of Australia and Germany over the past 160 years. Hurley is an associate professor in the Faculty of Arts and Social Sciences at the University of Technology, Sydney. He’s the author of Ludwig Leichhardt’s Ghosts: The Strange Career of a Traveling Myth (Camden House, 2018). After the renowned Prussian scientist and explorer Ludwig Leichhardt left the Australian frontier in 1848 on an expedition to cross the continent, he disappeared without a trace. Andrew Hurley's book complicates that view by undertaking an afterlife biography of "the Humboldt of Australia." Although Leichhardt's remains were never located, he has been sought and textually "found" many times over, particularly in Australia and Germany. He remains a significant presence, a highly productive ghost who continues to "haunt" culture. Michael F. Robinson is professor of history at Hillyer College, University of Hartford. He's the author of The Coldest Crucible: Arctic Exploration and American Culture (University of Chicago Press, 2006) and The Lost White Tribe: Scientists, Explorers, and the Theory that Changed a Continent (Oxford University Press, 2016). He's also the host of the podcast Time to Eat the Dogs, a weekly podcast about science, history, and exploration. Learn more about your ad choices. Visit megaphone.fm/adchoices

Andrew Wright Hurley talks about the life and afterlife of the Prussian explorer Ludwig Leichhardt, a man whose reputation has shifted to reflect the changing cultures of Australia and Germany over the past 160 years. Hurley is an associate professor in the Faculty of Arts and Social Sciences at the University of Technology, Sydney. He’s the author of Ludwig Leichhardt’s Ghosts: The Strange Career of a Traveling Myth (Camden House, 2018). After the renowned Prussian scientist and explorer Ludwig Leichhardt left the Australian frontier in 1848 on an expedition to cross the continent, he disappeared without a trace. Andrew Hurley's book complicates that view by undertaking an afterlife biography of "the Humboldt of Australia." Although Leichhardt's remains were never located, he has been sought and textually "found" many times over, particularly in Australia and Germany. He remains a significant presence, a highly productive ghost who continues to "haunt" culture. Michael F. Robinson is professor of history at Hillyer College, University of Hartford. He's the author of The Coldest Crucible: Arctic Exploration and American Culture (University of Chicago Press, 2006) and The Lost White Tribe: Scientists, Explorers, and the Theory that Changed a Continent (Oxford University Press, 2016). He's also the host of the podcast Time to Eat the Dogs, a weekly podcast about science, history, and exploration. Learn more about your ad choices. Visit megaphone.fm/adchoices

Andrew Wright Hurley talks about the life and afterlife of the Prussian explorer Ludwig Leichhardt, a man whose reputation has shifted to reflect the changing cultures of Australia and Germany over the past 160 years. Hurley is an associate professor in the Faculty of Arts and Social Sciences at the University of Technology, Sydney. He’s the author of Ludwig Leichhardt’s Ghosts: The Strange Career of a Traveling Myth (Camden House, 2018). After the renowned Prussian scientist and explorer Ludwig Leichhardt left the Australian frontier in 1848 on an expedition to cross the continent, he disappeared without a trace. Andrew Hurley's book complicates that view by undertaking an afterlife biography of "the Humboldt of Australia." Although Leichhardt's remains were never located, he has been sought and textually "found" many times over, particularly in Australia and Germany. He remains a significant presence, a highly productive ghost who continues to "haunt" culture. Michael F. Robinson is professor of history at Hillyer College, University of Hartford. He's the author of The Coldest Crucible: Arctic Exploration and American Culture (University of Chicago Press, 2006) and The Lost White Tribe: Scientists, Explorers, and the Theory that Changed a Continent (Oxford University Press, 2016). He's also the host of the podcast Time to Eat the Dogs, a weekly podcast about science, history, and exploration. Learn more about your ad choices. Visit megaphone.fm/adchoices

Andrew Wright Hurley talks about the life and afterlife of the Prussian explorer Ludwig Leichhardt, a man whose reputation has shifted to reflect the changing cultures of Australia and Germany over the past 160 years. Hurley is an associate professor in the Faculty of Arts and Social Sciences at the University of Technology, Sydney. He’s the author of Ludwig Leichhardt’s Ghosts: The Strange Career of a Traveling Myth (Camden House, 2018). After the renowned Prussian scientist and explorer Ludwig Leichhardt left the Australian frontier in 1848 on an expedition to cross the continent, he disappeared without a trace. Andrew Hurley's book complicates that view by undertaking an afterlife biography of "the Humboldt of Australia." Although Leichhardt's remains were never located, he has been sought and textually "found" many times over, particularly in Australia and Germany. He remains a significant presence, a highly productive ghost who continues to "haunt" culture. Michael F. Robinson is professor of history at Hillyer College, University of Hartford. He's the author of The Coldest Crucible: Arctic Exploration and American Culture (University of Chicago Press, 2006) and The Lost White Tribe: Scientists, Explorers, and the Theory that Changed a Continent (Oxford University Press, 2016). He's also the host of the podcast Time to Eat the Dogs, a weekly podcast about science, history, and exploration. Learn more about your ad choices. Visit megaphone.fm/adchoices

Andrew Wright Hurley talks about the life and afterlife of the Prussian explorer Ludwig Leichhardt, a man whose reputation has shifted to reflect the changing cultures of Australia and Germany over the past 160 years. Hurley is an associate professor in the Faculty of Arts and Social Sciences at the University of Technology, Sydney. He’s the author of Ludwig Leichhardt’s Ghosts: The Strange Career of a Traveling Myth (Camden House, 2018). After the renowned Prussian scientist and explorer Ludwig Leichhardt left the Australian frontier in 1848 on an expedition to cross the continent, he disappeared without a trace. Andrew Hurley's book complicates that view by undertaking an afterlife biography of "the Humboldt of Australia." Although Leichhardt's remains were never located, he has been sought and textually "found" many times over, particularly in Australia and Germany. He remains a significant presence, a highly productive ghost who continues to "haunt" culture. Michael F. Robinson is professor of history at Hillyer College, University of Hartford. He's the author of The Coldest Crucible: Arctic Exploration and American Culture (University of Chicago Press, 2006) and The Lost White Tribe: Scientists, Explorers, and the Theory that Changed a Continent (Oxford University Press, 2016). He's also the host of the podcast Time to Eat the Dogs, a weekly podcast about science, history, and exploration. Learn more about your ad choices. Visit megaphone.fm/adchoices

Though Germany was convulsed by violent unrest in the weeks following the end of the First World War, one of the few places where a new republican government was established peacefully was Munich. Central to this was Kurt Eisner, for whom this was among his proudest achievements. As Albert Earle Gurganus explains in Kurt Eisner: A Modern Life (Camden House, 2018), the success of this transition and the framework for the government he led in the months following the deposition of the Bavarian monarchy reflected his firm commitment to the long-held principles that defined his politics. The son of a merchant who provided military uniforms for the Prussian court, as a student Eisner abandoned his studies for a life as a journalist. His writings soon earned him both admiration and a term of imprisonment for lèse majesté. Yet Eisner’s time in prison did nothing to dampen his career prospects, and upon his release he soon rose to become the chief editor of the Social Democratic Party’s leading newspaper. Though ideological struggles led to his dismissal from his position as editor in 1905, he remained a leading critic and commentator until his opposition to Germany’s involvement in the First World War constrained his opportunities. As Gurganus explains, his idealism was both key to his sudden ascent to his power in November 1918 and his downfall three months later, when he was assassinated while on his way to deliver his government’s resignation. Learn more about your ad choices. Visit megaphone.fm/adchoices

Though Germany was convulsed by violent unrest in the weeks following the end of the First World War, one of the few places where a new republican government was established peacefully was Munich. Central to this was Kurt Eisner, for whom this was among his proudest achievements. As Albert Earle Gurganus explains in Kurt Eisner: A Modern Life (Camden House, 2018), the success of this transition and the framework for the government he led in the months following the deposition of the Bavarian monarchy reflected his firm commitment to the long-held principles that defined his politics. The son of a merchant who provided military uniforms for the Prussian court, as a student Eisner abandoned his studies for a life as a journalist. His writings soon earned him both admiration and a term of imprisonment for lèse majesté. Yet Eisner’s time in prison did nothing to dampen his career prospects, and upon his release he soon rose to become the chief editor of the Social Democratic Party’s leading newspaper. Though ideological struggles led to his dismissal from his position as editor in 1905, he remained a leading critic and commentator until his opposition to Germany’s involvement in the First World War constrained his opportunities. As Gurganus explains, his idealism was both key to his sudden ascent to his power in November 1918 and his downfall three months later, when he was assassinated while on his way to deliver his government’s resignation. Learn more about your ad choices. Visit megaphone.fm/adchoices

Though Germany was convulsed by violent unrest in the weeks following the end of the First World War, one of the few places where a new republican government was established peacefully was Munich. Central to this was Kurt Eisner, for whom this was among his proudest achievements. As Albert Earle Gurganus explains in Kurt Eisner: A Modern Life (Camden House, 2018), the success of this transition and the framework for the government he led in the months following the deposition of the Bavarian monarchy reflected his firm commitment to the long-held principles that defined his politics. The son of a merchant who provided military uniforms for the Prussian court, as a student Eisner abandoned his studies for a life as a journalist. His writings soon earned him both admiration and a term of imprisonment for lèse majesté. Yet Eisner’s time in prison did nothing to dampen his career prospects, and upon his release he soon rose to become the chief editor of the Social Democratic Party’s leading newspaper. Though ideological struggles led to his dismissal from his position as editor in 1905, he remained a leading critic and commentator until his opposition to Germany’s involvement in the First World War constrained his opportunities. As Gurganus explains, his idealism was both key to his sudden ascent to his power in November 1918 and his downfall three months later, when he was assassinated while on his way to deliver his government’s resignation. Learn more about your ad choices. Visit megaphone.fm/adchoices

Though Germany was convulsed by violent unrest in the weeks following the end of the First World War, one of the few places where a new republican government was established peacefully was Munich. Central to this was Kurt Eisner, for whom this was among his proudest achievements. As Albert Earle Gurganus explains in Kurt Eisner: A Modern Life (Camden House, 2018), the success of this transition and the framework for the government he led in the months following the deposition of the Bavarian monarchy reflected his firm commitment to the long-held principles that defined his politics. The son of a merchant who provided military uniforms for the Prussian court, as a student Eisner abandoned his studies for a life as a journalist. His writings soon earned him both admiration and a term of imprisonment for lèse majesté. Yet Eisner’s time in prison did nothing to dampen his career prospects, and upon his release he soon rose to become the chief editor of the Social Democratic Party’s leading newspaper. Though ideological struggles led to his dismissal from his position as editor in 1905, he remained a leading critic and commentator until his opposition to Germany’s involvement in the First World War constrained his opportunities. As Gurganus explains, his idealism was both key to his sudden ascent to his power in November 1918 and his downfall three months later, when he was assassinated while on his way to deliver his government’s resignation. Learn more about your ad choices. Visit megaphone.fm/adchoices

Though Germany was convulsed by violent unrest in the weeks following the end of the First World War, one of the few places where a new republican government was established peacefully was Munich. Central to this was Kurt Eisner, for whom this was among his proudest achievements. As Albert Earle Gurganus explains in Kurt Eisner: A Modern Life (Camden House, 2018), the success of this transition and the framework for the government he led in the months following the deposition of the Bavarian monarchy reflected his firm commitment to the long-held principles that defined his politics. The son of a merchant who provided military uniforms for the Prussian court, as a student Eisner abandoned his studies for a life as a journalist. His writings soon earned him both admiration and a term of imprisonment for lèse majesté. Yet Eisner’s time in prison did nothing to dampen his career prospects, and upon his release he soon rose to become the chief editor of the Social Democratic Party’s leading newspaper. Though ideological struggles led to his dismissal from his position as editor in 1905, he remained a leading critic and commentator until his opposition to Germany’s involvement in the First World War constrained his opportunities. As Gurganus explains, his idealism was both key to his sudden ascent to his power in November 1918 and his downfall three months later, when he was assassinated while on his way to deliver his government’s resignation. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Musical Novel: Imitation of Musical Structure, Performance, and Reception in Contemporary Fiction (Camden House, 2014; a new paperback edition has recently come out (Boydell and Brewer, 2018)) examines a variety of music and literature interconnections. Readers are invited to ask what these collaborations that arise at the crossing points of various fields offer for engaging in reading and writing. Relying on an extensive overview of theoretical works that substantiate the overlapping of disciplines, Emily Petermann’s research provides additional coordinates for the definition of intermediality that underpins her examination of novels that embrace music. As the title of the book suggests, Petermann considers multiple ways in which music is incorporated in literature: structure, performance, and reception. An extensive segment of this research is devoted to the discussion of musical structures that writers bring to their texts. In this regard, Petermann takes a step forward in the examination of music and literature collaborations. By emphasizing the significance of the musical structural component that informs a literary text, the book suggests a more profound dialogue between music and literature. The Musical Novel offers a detailed discussion of jazz elements that turn out to be effective for the organization of literary texts. Although this aspect has been previously discussed by scholars, Petermann focuses on the structural overlapping, drawing attention to improvisation elements. In this interview, Petermann specifies that despite the temptation to draw parallels between jazz and textual structuring, improvisation in literary texts, however, should be perceived as a metaphor. This comment invites the consideration of how musical and literary works affect both performance and reception. The Musical Novel contains a few chapters and subchapters that delve into a detailed analysis of Bach’s Goldberg Variations: Bach’s masterpiece appears rather productive for literary borrowings and variations at many levels, including structure and content. These chapters are particularly illuminating in terms of the dialogical opportunities that music and literature offer and welcome. Emily Petermann’s book offers an opportunity to explore new ways not only for reading and writing but also for teaching: one of the questions that this interview raises is how musical novel can be read and taught. The Musical Novel welcomes the expansion of the territory of interdisciplinary borrowings and collaborations. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Musical Novel: Imitation of Musical Structure, Performance, and Reception in Contemporary Fiction (Camden House, 2014; a new paperback edition has recently come out (Boydell and Brewer, 2018)) examines a variety of music and literature interconnections. Readers are invited to ask what these collaborations that arise at the crossing points of various fields offer for engaging in reading and writing. Relying on an extensive overview of theoretical works that substantiate the overlapping of disciplines, Emily Petermann’s research provides additional coordinates for the definition of intermediality that underpins her examination of novels that embrace music. As the title of the book suggests, Petermann considers multiple ways in which music is incorporated in literature: structure, performance, and reception. An extensive segment of this research is devoted to the discussion of musical structures that writers bring to their texts. In this regard, Petermann takes a step forward in the examination of music and literature collaborations. By emphasizing the significance of the musical structural component that informs a literary text, the book suggests a more profound dialogue between music and literature. The Musical Novel offers a detailed discussion of jazz elements that turn out to be effective for the organization of literary texts. Although this aspect has been previously discussed by scholars, Petermann focuses on the structural overlapping, drawing attention to improvisation elements. In this interview, Petermann specifies that despite the temptation to draw parallels between jazz and textual structuring, improvisation in literary texts, however, should be perceived as a metaphor. This comment invites the consideration of how musical and literary works affect both performance and reception. The Musical Novel contains a few chapters and subchapters that delve into a detailed analysis of Bach’s Goldberg Variations: Bach’s masterpiece appears rather productive for literary borrowings and variations at many levels, including structure and content. These chapters are particularly illuminating in terms of the dialogical opportunities that music and literature offer and welcome. Emily Petermann’s book offers an opportunity to explore new ways not only for reading and writing but also for teaching: one of the questions that this interview raises is how musical novel can be read and taught. The Musical Novel welcomes the expansion of the territory of interdisciplinary borrowings and collaborations. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Musical Novel: Imitation of Musical Structure, Performance, and Reception in Contemporary Fiction (Camden House, 2014; a new paperback edition has recently come out (Boydell and Brewer, 2018)) examines a variety of music and literature interconnections. Readers are invited to ask what these collaborations that arise at the crossing points of various fields offer for engaging in reading and writing. Relying on an extensive overview of theoretical works that substantiate the overlapping of disciplines, Emily Petermann’s research provides additional coordinates for the definition of intermediality that underpins her examination of novels that embrace music. As the title of the book suggests, Petermann considers multiple ways in which music is incorporated in literature: structure, performance, and reception. An extensive segment of this research is devoted to the discussion of musical structures that writers bring to their texts. In this regard, Petermann takes a step forward in the examination of music and literature collaborations. By emphasizing the significance of the musical structural component that informs a literary text, the book suggests a more profound dialogue between music and literature. The Musical Novel offers a detailed discussion of jazz elements that turn out to be effective for the organization of literary texts. Although this aspect has been previously discussed by scholars, Petermann focuses on the structural overlapping, drawing attention to improvisation elements. In this interview, Petermann specifies that despite the temptation to draw parallels between jazz and textual structuring, improvisation in literary texts, however, should be perceived as a metaphor. This comment invites the consideration of how musical and literary works affect both performance and reception. The Musical Novel contains a few chapters and subchapters that delve into a detailed analysis of Bach’s Goldberg Variations: Bach’s masterpiece appears rather productive for literary borrowings and variations at many levels, including structure and content. These chapters are particularly illuminating in terms of the dialogical opportunities that music and literature offer and welcome. Emily Petermann’s book offers an opportunity to explore new ways not only for reading and writing but also for teaching: one of the questions that this interview raises is how musical novel can be read and taught. The Musical Novel welcomes the expansion of the territory of interdisciplinary borrowings and collaborations. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Musical Novel: Imitation of Musical Structure, Performance, and Reception in Contemporary Fiction (Camden House, 2014; a new paperback edition has recently come out (Boydell and Brewer, 2018)) examines a variety of music and literature interconnections. Readers are invited to ask what these collaborations that arise at the crossing points of various fields offer for engaging in reading and writing. Relying on an extensive overview of theoretical works that substantiate the overlapping of disciplines, Emily Petermann’s research provides additional coordinates for the definition of intermediality that underpins her examination of novels that embrace music. As the title of the book suggests, Petermann considers multiple ways in which music is incorporated in literature: structure, performance, and reception. An extensive segment of this research is devoted to the discussion of musical structures that writers bring to their texts. In this regard, Petermann takes a step forward in the examination of music and literature collaborations. By emphasizing the significance of the musical structural component that informs a literary text, the book suggests a more profound dialogue between music and literature. The Musical Novel offers a detailed discussion of jazz elements that turn out to be effective for the organization of literary texts. Although this aspect has been previously discussed by scholars, Petermann focuses on the structural overlapping, drawing attention to improvisation elements. In this interview, Petermann specifies that despite the temptation to draw parallels between jazz and textual structuring, improvisation in literary texts, however, should be perceived as a metaphor. This comment invites the consideration of how musical and literary works affect both performance and reception. The Musical Novel contains a few chapters and subchapters that delve into a detailed analysis of Bach’s Goldberg Variations: Bach’s masterpiece appears rather productive for literary borrowings and variations at many levels, including structure and content. These chapters are particularly illuminating in terms of the dialogical opportunities that music and literature offer and welcome. Emily Petermann’s book offers an opportunity to explore new ways not only for reading and writing but also for teaching: one of the questions that this interview raises is how musical novel can be read and taught. The Musical Novel welcomes the expansion of the territory of interdisciplinary borrowings and collaborations. Learn more about your ad choices. Visit megaphone.fm/adchoices

Sexy Parents, Annie and the Rev, continue their sexy times all over the Camden House as Family Movie Night takes a raunchy turn. Ruthie earns her title as Queen Ruthie when a school assignment takes an interesting turn. Mary has dinner at Johnny and Frankie's place and the rift between the Rev and Mary grows even wider as they don't see eye to eye when Johnny and Frankie get arrested.

Stephen Brockmann’s The Writers’ State: Constructing East German Literature, 1945-1959 (Camden House, 2015) introduces readers to a specific atmosphere–political, cultural, and historical–that accompanied the emergence of East German literature from 1945-1959. Covering almost fifteen years, the research presents insightful observations of the literary process that happened to be intricately connected with the political turbulence. As Stephen Brockmann puts it, literature in East Germany was never about “just” literature: “It was always also about collective identity and the path toward a better future–however imaginary and illusive that future may be (7).” In the post-war Germany that happened to go through a division process, literature, culture affairs in general, appeared to be involved in the state making and identity construction. In the GDR in particular, literature was employed as a tool to re-direct national identity and memory. In this process, politicians and functionaries were shaping the cultural affairs through a close collaboration with writers and artists. It would be unfair to say that the officials were particularly eager to encourage artists to participate in the construction of a new state–the GDR-0that was, in fact, based on the historical and cultural past of Germany. In post-Nazi Germany, writers were taking an initiative to come to terms with the Nazi past, offering ways to move forward, putting the tragic past behind, and produce new history. While engaging with the memory of the past, writers were responding to the contemporary political developments, shaping the understanding of the present and outlining routes for the future. Brockmann narrates a detailed account of the cultural and political developments, successfully illustrating the intersections of the political and the cultural. Alongside the analyses of the exemplary works of East German writers (Anna Seghers, Bertolt Brecht, etc.), Brockmann presents a vast collection of historical data confirming the collaboration of the politicians and artists in the matters of state and nation construction. Particular attention is given to the official organizations, which functioned to secure a certain development of the cultural affairs and that were extensively supported and governed by the functionaries. Brockmann’s research also includes an insightful investigation of the cooperation of GDR and the USSR, particular in terms of constructing an ideological foundation for the East Germany sector. While extensively incorporating German literary traditions into their endeavors to construct new literature, East German writers were also engaging with the influences exercised by Soviet propaganda and Soviet literature. The Writers’ State is an attempt to re-evaluate the 1940s and the 1950s in the history of German culture and literature. Brockmann challenges a cliche according to which this time period is rather uneventful in terms of cultural developments and re-discovers intriguing nuances of the East German literary landscape. Stephen Brockmann is Professor of German in the Department of Modern Languages at Carnegie Mellon University (Pittsburgh, PA). Dr. Brockmann also has courtesy appointments in the departments of English and History. Learn more about your ad choices. Visit megaphone.fm/adchoices

Stephen Brockmann’s The Writers’ State: Constructing East German Literature, 1945-1959 (Camden House, 2015) introduces readers to a specific atmosphere–political, cultural, and historical–that accompanied the emergence of East German literature from 1945-1959. Covering almost fifteen years, the research presents insightful observations of the literary process that happened to be intricately connected with the political turbulence. As Stephen Brockmann puts it, literature in East Germany was never about “just” literature: “It was always also about collective identity and the path toward a better future–however imaginary and illusive that future may be (7).” In the post-war Germany that happened to go through a division process, literature, culture affairs in general, appeared to be involved in the state making and identity construction. In the GDR in particular, literature was employed as a tool to re-direct national identity and memory. In this process, politicians and functionaries were shaping the cultural affairs through a close collaboration with writers and artists. It would be unfair to say that the officials were particularly eager to encourage artists to participate in the construction of a new state–the GDR-0that was, in fact, based on the historical and cultural past of Germany. In post-Nazi Germany, writers were taking an initiative to come to terms with the Nazi past, offering ways to move forward, putting the tragic past behind, and produce new history. While engaging with the memory of the past, writers were responding to the contemporary political developments, shaping the understanding of the present and outlining routes for the future. Brockmann narrates a detailed account of the cultural and political developments, successfully illustrating the intersections of the political and the cultural. Alongside the analyses of the exemplary works of East German writers (Anna Seghers, Bertolt Brecht, etc.), Brockmann presents a vast collection of historical data confirming the collaboration of the politicians and artists in the matters of state and nation construction. Particular attention is given to the official organizations, which functioned to secure a certain development of the cultural affairs and that were extensively supported and governed by the functionaries. Brockmann’s research also includes an insightful investigation of the cooperation of GDR and the USSR, particular in terms of constructing an ideological foundation for the East Germany sector. While extensively incorporating German literary traditions into their endeavors to construct new literature, East German writers were also engaging with the influences exercised by Soviet propaganda and Soviet literature. The Writers’ State is an attempt to re-evaluate the 1940s and the 1950s in the history of German culture and literature. Brockmann challenges a cliche according to which this time period is rather uneventful in terms of cultural developments and re-discovers intriguing nuances of the East German literary landscape. Stephen Brockmann is Professor of German in the Department of Modern Languages at Carnegie Mellon University (Pittsburgh, PA). Dr. Brockmann also has courtesy appointments in the departments of English and History. Learn more about your ad choices. Visit megaphone.fm/adchoices

Stephen Brockmann’s The Writers’ State: Constructing East German Literature, 1945-1959 (Camden House, 2015) introduces readers to a specific atmosphere–political, cultural, and historical–that accompanied the emergence of East German literature from 1945-1959. Covering almost fifteen years, the research presents insightful observations of the literary process that happened to be intricately connected... Learn more about your ad choices. Visit megaphone.fm/adchoices

Stephen Brockmann’s The Writers’ State: Constructing East German Literature, 1945-1959 (Camden House, 2015) introduces readers to a specific atmosphere–political, cultural, and historical–that accompanied the emergence of East German literature from 1945-1959. Covering almost fifteen years, the research presents insightful observations of the literary process that happened to be intricately connected with the political turbulence. As Stephen Brockmann puts it, literature in East Germany was never about “just” literature: “It was always also about collective identity and the path toward a better future–however imaginary and illusive that future may be (7).” In the post-war Germany that happened to go through a division process, literature, culture affairs in general, appeared to be involved in the state making and identity construction. In the GDR in particular, literature was employed as a tool to re-direct national identity and memory. In this process, politicians and functionaries were shaping the cultural affairs through a close collaboration with writers and artists. It would be unfair to say that the officials were particularly eager to encourage artists to participate in the construction of a new state–the GDR-0that was, in fact, based on the historical and cultural past of Germany. In post-Nazi Germany, writers were taking an initiative to come to terms with the Nazi past, offering ways to move forward, putting the tragic past behind, and produce new history. While engaging with the memory of the past, writers were responding to the contemporary political developments, shaping the understanding of the present and outlining routes for the future. Brockmann narrates a detailed account of the cultural and political developments, successfully illustrating the intersections of the political and the cultural. Alongside the analyses of the exemplary works of East German writers (Anna Seghers, Bertolt Brecht, etc.), Brockmann presents a vast collection of historical data confirming the collaboration of the politicians and artists in the matters of state and nation construction. Particular attention is given to the official organizations, which functioned to secure a certain development of the cultural affairs and that were extensively supported and governed by the functionaries. Brockmann’s research also includes an insightful investigation of the cooperation of GDR and the USSR, particular in terms of constructing an ideological foundation for the East Germany sector. While extensively incorporating German literary traditions into their endeavors to construct new literature, East German writers were also engaging with the influences exercised by Soviet propaganda and Soviet literature. The Writers’ State is an attempt to re-evaluate the 1940s and the 1950s in the history of German culture and literature. Brockmann challenges a cliche according to which this time period is rather uneventful in terms of cultural developments and re-discovers intriguing nuances of the East German literary landscape. Stephen Brockmann is Professor of German in the Department of Modern Languages at Carnegie Mellon University (Pittsburgh, PA). Dr. Brockmann also has courtesy appointments in the departments of English and History. Learn more about your ad choices. Visit megaphone.fm/adchoices

Stephen Brockmann’s The Writers’ State: Constructing East German Literature, 1945-1959 (Camden House, 2015) introduces readers to a specific atmosphere–political, cultural, and historical–that accompanied the emergence of East German literature from 1945-1959. Covering almost fifteen years, the research presents insightful observations of the literary process that happened to be intricately connected with the political turbulence. As Stephen Brockmann puts it, literature in East Germany was never about “just” literature: “It was always also about collective identity and the path toward a better future–however imaginary and illusive that future may be (7).” In the post-war Germany that happened to go through a division process, literature, culture affairs in general, appeared to be involved in the state making and identity construction. In the GDR in particular, literature was employed as a tool to re-direct national identity and memory. In this process, politicians and functionaries were shaping the cultural affairs through a close collaboration with writers and artists. It would be unfair to say that the officials were particularly eager to encourage artists to participate in the construction of a new state–the GDR-0that was, in fact, based on the historical and cultural past of Germany. In post-Nazi Germany, writers were taking an initiative to come to terms with the Nazi past, offering ways to move forward, putting the tragic past behind, and produce new history. While engaging with the memory of the past, writers were responding to the contemporary political developments, shaping the understanding of the present and outlining routes for the future. Brockmann narrates a detailed account of the cultural and political developments, successfully illustrating the intersections of the political and the cultural. Alongside the analyses of the exemplary works of East German writers (Anna Seghers, Bertolt Brecht, etc.), Brockmann presents a vast collection of historical data confirming the collaboration of the politicians and artists in the matters of state and nation construction. Particular attention is given to the official organizations, which functioned to secure a certain development of the cultural affairs and that were extensively supported and governed by the functionaries. Brockmann’s research also includes an insightful investigation of the cooperation of GDR and the USSR, particular in terms of constructing an ideological foundation for the East Germany sector. While extensively incorporating German literary traditions into their endeavors to construct new literature, East German writers were also engaging with the influences exercised by Soviet propaganda and Soviet literature. The Writers’ State is an attempt to re-evaluate the 1940s and the 1950s in the history of German culture and literature. Brockmann challenges a cliche according to which this time period is rather uneventful in terms of cultural developments and re-discovers intriguing nuances of the East German literary landscape. Stephen Brockmann is Professor of German in the Department of Modern Languages at Carnegie Mellon University (Pittsburgh, PA). Dr. Brockmann also has courtesy appointments in the departments of English and History. Learn more about your ad choices. Visit megaphone.fm/adchoices

Stephen Brockmann’s The Writers’ State: Constructing East German Literature, 1945-1959 (Camden House, 2015) introduces readers to a specific atmosphere–political, cultural, and historical–that accompanied the emergence of East German literature from 1945-1959. Covering almost fifteen years, the research presents insightful observations of the literary process that happened to be intricately connected with the political turbulence. As Stephen Brockmann puts it, literature in East Germany was never about “just” literature: “It was always also about collective identity and the path toward a better future–however imaginary and illusive that future may be (7).” In the post-war Germany that happened to go through a division process, literature, culture affairs in general, appeared to be involved in the state making and identity construction. In the GDR in particular, literature was employed as a tool to re-direct national identity and memory. In this process, politicians and functionaries were shaping the cultural affairs through a close collaboration with writers and artists. It would be unfair to say that the officials were particularly eager to encourage artists to participate in the construction of a new state–the GDR-0that was, in fact, based on the historical and cultural past of Germany. In post-Nazi Germany, writers were taking an initiative to come to terms with the Nazi past, offering ways to move forward, putting the tragic past behind, and produce new history. While engaging with the memory of the past, writers were responding to the contemporary political developments, shaping the understanding of the present and outlining routes for the future. Brockmann narrates a detailed account of the cultural and political developments, successfully illustrating the intersections of the political and the cultural. Alongside the analyses of the exemplary works of East German writers (Anna Seghers, Bertolt Brecht, etc.), Brockmann presents a vast collection of historical data confirming the collaboration of the politicians and artists in the matters of state and nation construction. Particular attention is given to the official organizations, which functioned to secure a certain development of the cultural affairs and that were extensively supported and governed by the functionaries. Brockmann’s research also includes an insightful investigation of the cooperation of GDR and the USSR, particular in terms of constructing an ideological foundation for the East Germany sector. While extensively incorporating German literary traditions into their endeavors to construct new literature, East German writers were also engaging with the influences exercised by Soviet propaganda and Soviet literature. The Writers’ State is an attempt to re-evaluate the 1940s and the 1950s in the history of German culture and literature. Brockmann challenges a cliche according to which this time period is rather uneventful in terms of cultural developments and re-discovers intriguing nuances of the East German literary landscape. Stephen Brockmann is Professor of German in the Department of Modern Languages at Carnegie Mellon University (Pittsburgh, PA). Dr. Brockmann also has courtesy appointments in the departments of English and History. Learn more about your ad choices. Visit megaphone.fm/adchoices

2006/04/27. Share about work in area of ecology and how Christians should be caring for the environment. Shane Claiborne, Author and founding partner, The Simple Way Community. Residents of The Camden House.