EDGE - A Graduate Journal for German and Scandinavian Studies

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<p>Edge was founded in spring 2008 with the intention to provide an opportunity for graduate students to gain professional experience in publication as book or film reviewers, referees, editors and authors. After several discussions with the ScholarWorks team at the W.E.B. DuBois Library at the University of Massachusetts Amherst and faculty and graduate students in the German and Scandinavian Studies program at UMass, Edge was established as an online, open-access journal. The graduate students involved in the creation of Edge include Delene Case White (founding Editor-in-Chief), Maureen Gallagher (founding Managing Editor), Victoria Lenshyn (founding Film and Book Review Editor), Diane Liu, Rachael Salyer, Juliette Brungs, Ute Bettray, Evan Torner, Tim Dail, Kyle Frackman, Laurie Taylor and Allie Merley Hill.</p>
<h3>Aims</h3> <p>Edge is written, edited, managed and reviewed by graduate students. All authors retain ownership of their work published on Edge.</p> <p>Opportunity. Edge was founded to create more opportunities for scholarly publishing and professional development for graduate students engaging in German and Scandinavian Studies.</p> <p>Open Access. Edge strives to make the best scholarly work by graduate students in German and Scandinavian Studies accessible and available to an unlimited audience.</p> <p>On the Cutting Edge. Edge seeks out and publishes research that utilizes the latest methodologies and content in the field of German and Scandinavian Studies. In particular, the journal emphasizes research culled from both the unexplored edges of the discipline, and from the edges where fields such as literature, philology, cultural studies, history, film and media studies overlap.</p> <h3>Scope</h3> <p>Edge welcomes scholarly articles regarding philology, cultural studies, literature, comparative literature, and history of Germany, Austria, Switzerland, Sweden, Norway, Finland, Greenland, Iceland, and Denmark. The journal has no restrictions regarding time periods, unless stated in a particular call for papers.</p>
<h2>Final Manuscript Preparation Guidelines for <em><macro publication.title></em></h2> <div id="styleguide"> <p>This document provides details on typesetting and layout requirements pertaining to final manuscript submission to <em><macro ir_journal.title encode='html'></em>.</p> <h3>Formatting Requirements</h3> <ul> <li>Do not include a title page or abstract. (Begin the document with the introduction; a title page, including the abstract, will be added to your paper by the editors.)</li> <li>Do not include page numbers, headers, or footers. These will be added by the editors.</li> <li>Submit your manuscript, including tables, figures, appendices, etc., as a single file (Word, <magic if test="my.AUTO_CONVERT_WORDPERFECT_FILE">WordPerfect, </magic><acronym title="Rich Text Format">RTF</acronym>, or <acronym title="Portable Document Format">PDF</acronym> files are accepted).</li> <li>Page size should be 8.5 x 11-inches.</li> <li>All margins (left, right, top and bottom) should be 1.5 inches (3.8 cm), including your tables and figures.</li> <li>Single space your text.</li> <li>Use one space after periods.</li> <li>Use a single column layout with both left and right margins justified.</li> <li>Font: <ol><li>Main Body&amp;#8212;12 pt. Times or the closest comparable font available</li> <li>Footnotes&amp;#8212;10 pt. Times or the closest comparable font available</li> </ol> </li> <li>If figures are included, use high-resolution figures, preferably encoded as encapsulated PostScript (eps).</li> <li>Copyedit your manuscript.</li> <li>When possible, there should be no pages where more than a quarter of the page is empty space.</li> </ul> <h3>Additional Recommendations</h3> <h4>Indenting, Line Spacing, and Justification</h4> <p><strong>Indent all paragraphs except those following a section heading.</strong> An indent should be at least 2 em-spaces.</p> <p>Do not insert extra space between paragraphs of text with the exception of long quotations, theorems, propositions, special remarks, etc. These should be set off from the surrounding text by additional space above and below. </p> <p>Don't "widow" or "orphan" text (i.e., ending a page with the first line of a paragraph or beginning a page with the last line of a paragraph).</p> <p>All text should be <strong>left-justified</strong> (i.e., flush with the left margin&amp;#8212;except where indented). Where possible, it should also be right-justified (i.e., flush with the right margin). "Where possible" refers to the quality of the justification. For example, <a href="http://www.latex-project.org" title="LaTeX project: LaTeX &amp;ndash; A document preparation system">LaTeX</a> and <a href="http://www.tug.org/" title="TeX Users Group (TUG) home page">TeX</a> do an excellent job of justifying text. Word does a reasonable job. But some word processors do a lousy job (e.g., they achieve right justification by inserting too much white space within and between words). We prefer flush right margins. However, it is better to have jagged right margins than to have flush right margins with awkward intra- and inter-word spacing. Make your decision on whichever looks best. </p> <h4>Language &amp;amp; Grammar</h4> <p>Submissions are accepted in either English or German. When writing in either language, please use the accepted, standard rules for spelling, punctuation and grammar.</p> <p><em>The Elements of Style</em> by William Strunk, Jr. and E. B. White (now in its fourth edition) is the "standard" guide for English grammer and style, but other excellent guides (e.g., <em>The Chicago Manual of Style</em>, University of Chicago Press) exist as well.</p> <h4>Article Length</h4> <p>Because this journal publishes electronically, page limits are not as relevant as they are in the world of print publications. We are happy, therefore, to let authors take advantage of this greater "bandwidth" to include material that they might otherwise have to cut to get into a print journal. This said, authors should exercise some discretion with respect to length.</p> <h4>Colored text</h4> <p>Set the <strong>font color to black</strong> for the majority of the text. We encourage authors to take advantage of the ability to use color in the production of figures, maps, etc., however, you need to appreciate that this will cause some of your readers problems when they print the document on a black &amp;amp; white printer. For this reason, you are advised to avoid the use of colors in situations where their translation to black and white would render the material illegible or incomprehensible.</p> <p>Please ensure that there are no colored mark-ups or comments in the final version, unless they are meant to be part of the final text. (You may need to "accept all changes" in track changes or set your document to "normal" in final markup.) </p> <h4>Emphasized text</h4> <p>Whenever possible use <em>italics</em> to indicate text you wish to emphasize rather than underlining it. The use of color to emphasize text is discouraged.</p> <h4>Font faces</h4><p>Except, possibly, where special symbols are needed, use Times or the closest comparable font available. If you desire a second font, for instance for headings, use a sans serif font (e.g., Arial or Computer Modern Sans Serif). </p> <h4>Font size</h4> <p>The main body of text should be set in 12pt. Avoid the use of fonts smaller than 6pt.</p> <h4>Foreign terms</h4> <p>Whenever possible, foreign terms should be set in <em>italics</em> rather than underlined.</p> <h4>Headings</h4> <p><strong>Headings</strong> (e.g., start of sections) should be distinguished from the main body text by their fonts or by using small caps. Use the same font face for all headings and indicate the hierarchy by reducing the font size. There should be space above and below headings.</p> <h4>Main text </h4> <p>The font for the <strong>main body</strong> of text must be black and, if at all possible, in Times or closest comparable font available. </p> <h4>Titles</h4> <p>Whenever possible, <strong>titles of books, movies, etc.</strong>, should be set in <em>italics</em> rather than underlined.</p> <h4>Footnotes</h4> <p><strong>Footnotes</strong> should appear at the bottom of the page on which they are referenced rather than at the end of the paper. Footnotes should be in 10 pt. Times or closest comparable font available, they should be single spaced, and there should be a footnote separator rule (line). Footnote numbers or symbols in the text must follow, rather than precede, punctuation. Excessively long footnotes are probably better handled in an appendix. All footnotes should be left and right-justified (i.e., flush with the right margin), unless this creates awkward spacing.</p> <h4>Tables and Figures</h4> <p>To the extent possible, <strong>tables and figures</strong> should appear in the document near where they are referenced in the text. Large tables or figures should be put on pages by themselves. Avoid the use of overly small type in tables. In no case should tables or figures be in a separate document or file. All tables and figures must fit within 1.5" margins on all sides (top, bottom, left and right) in both portrait and landscape view.</p> <h2 id="bibliography">References</h2> <p>It is the author's obligation to provide complete references with the necessary information. <em>Edge</em> uses MLA citation style; Please visit the OWL at Purdue for an excellent introduction to MLA style, including compiling the works cited list, in text citation and formatting quotations: <a href="http://owl.english.purdue.edu/owl/resource/557/02/">http://owl.english.purdue.edu/owl/resource/557/02</a>.</p> <h4>Articles in scholarly journals:</h4> <p>Author(s). "Title of Article." <em>Title of Journal</em> Volume.Issue (Year): pages.</p> <h4>Books:</h4> <p>Lastname, Firstname. <em>Title of Book</em>. Place of Publication: Publisher, Year of Publication.</p> <h4>Chapters in collections or anthologies:</h4> <p>Lastname, First name. "Title of Essay." <em>Title of Collection</em>. Ed. Editor's Name(s). Place of Publication: Publisher, Year. Pages.</p> <h4>Other works:</h4> <p>Please visit the OWL at Purdue for more examples of MLA citation style: <a href="http://owl.english.purdue.edu/owl/resource/557/06/">http://owl.english.purdue.edu/owl/resource/557/06</a>.</p> </div>

Search Results

Now showing 1 - 10 of 24
  • PublicationOpen Access
    Review of Sag Mal: An Introduction to German Language and Culture
    (2014-04-01) Olson, Sally S
    This is a review of Sag Mal: An Introduction to German Language and Culture, 1st Edition, Instructor's Annotated Edition.
  • PublicationOpen Access
    On the difficulties of letting the other speak: The German-Polish relationship in Christoph Hochhäusler’s "Milchwald".
    (2011-10-20) Polak- Springer, Katrin
    This article seeks to interpret Christoph Hochhäusler’s 2003 film Milchwald (This Very Moment), associated with the contemporary German film movement Berliner Schule. At the beginning of the 21st century, the German-Polish relationship, despite all efforts at European integration, remains a deeply emotional matter, overshadowed by the mental consequences of the population politics and destruction carried out by Germans during National Socialism. In my reading, Milchwald reveals that diplomacy can only be successful, if it engages the agents of intercultural exchange, people in their daily interactions with one another, on an emotional level. The imagery of the EU as "family", and the altruistic rhetoric surrounding European integration, cover up the fundamentally materialist motivations at the basis of the German-Polish relationship around the time of the film's release. Milchwald ultimately points to the dangerous consequences of such purely economic interests between two countries with a traumatic common past.
  • PublicationOpen Access
    Paradigmenwechsel in der Antikenrezeption durch Nietzsche und Freud am Beispiel von Goethes Iphigenie auf Tauris und Hofmannsthals Elektra
    (2009-10-01) Reidy, Julian K.
    This article deals with the paradigmatic shifts in the perception and the artistic treatment of antiquity caused by the writings of Freud and, especially, Nietzsche in his Geburt der Tragödie. It achieves this goal by comparing two literary works from each phase and analyzing the stylistic, narratological and ideological discrepancies between these works. The “pre-Nietzschean” is represented by Goethe’s Iphigenie auf Tauris and the “post-Nietzschean” by Hofmannsthal’s Elektra. The article also criticizes some scholarly contributions on the subject of gender in Iphigenie. The conclusion of the article argues that Goethe’s approach to antiquity is marked by an unburdened imaginative creativity that had already become impossible to imitate when Hofmannsthal wrote his play. Therefore, Iphigenie auf Tauris makes a lasting impact, while Elektra was and remains a work of its time.
  • PublicationOpen Access
    United Germany: Debating Prospects and Processes
    (2014-01-01) Mostert, Charly
    Review of the book United Germany: Debating Processes and Prospects edited by Konrad H. Jarausch.
  • PublicationOpen Access
    Postwall German Cinema: History, Film History, Cinephilia
    (2014-01-01) Watzke, Petra
    Review of the book Postwall German Cinema: History, Film History, Cinephilia by Mattias Frey.
  • PublicationOpen Access
    Scaling the Barricade: DIY and Technology in the West German Punk Movement
    (2011-10-20) Sikarskie, Matthew J
    In this paper, I argue that the West German punk movement of the late 1970s represented a participatory engagement with cultural production that, for most of the 20th century, had been impossible due to the control of the culture industry and high cost of production equipment. With the advent of the photocopier and spread of copy shops across Germany along with the availability of recording equipment and recording media (both the cassette and the LP), punks were able to create a voice for themselves using the same technologies that previously had prevented the entrance of the amateur into the realm of mass cultural production. A result of great anger at and boredom with West German society, punk utilized these technologies in an attempt to break down walls of cultural and social conformity while simultaneously creating an independent cultural space free from, and opposed to, the established media. By redefining the use of these technologies to serve new communicative and participatory functions, punk heralded a new engagement with culture and technology that has not ceased to this day.
  • PublicationOpen Access
    The Shameless Little Man: Narrative Obstruction in Feridun Zaimoğlu’s Liebesbrand
    (2013-01-01) Aja, Bryan
    The inscription of desire into a narrative is paradigmatic of narration itself: The narrator acts together with the implied reader in an exchange of wants – the desire to tell and the desire to witness – toward the formation of an ordered series of events. The narrator of Feridun Zaimoğlu’s 2008 novel Liebesbrand desperately seeks a certain person, who may stand for the person herself or, more prosaically, for his own personal fulfillment. The reader is invited to link the novel to the German Romantic tradition due to the protagonist’s exotic quest, the neologistic title, and the author’s own declaration: “[I]ch selbst fühle mich der deutschen Romantik zugehörig” (2008b). Researchers Margaret Littler and Frauke Matthes convincingly relate the work to German Romanticism in order to read Zaimoğlu’s novel as part of German-language literary history. However, looking at the various forms the search for a partner takes in Liebesbrand, how this theme is represented, and the dynamic it generates, I do not find a quest befitting the label of Romanticism alone. The protagonist is not sentimental or sensitive in the Romantic tradition; he has no interest in nature or scenery, and his story has no magic or humor. He is, however, neurotic in the Victorian sense, keen on objectifying women and habitually concerned with his position relative to them. The protagonist’s disdain of the everyday and ordinary, as well as his ability to disregard the concerns of women, verges on a posture whose expressions of disillusionment with life are suited to the malaise found at the turn of the century on the Viennese stage. In order to place Zaimoğlu’s work within the genealogy of German literary history, it need not only be rooted in German Romanticism. From its neurotic narrator to its melodramatic title and much in between, Liebesbrand should be considered a natural continuation of the tradition of Viennese Modernism.
  • PublicationOpen Access
    Counter Images: GDR-Underground Films 1983-1989 The Nonconformist Super-8 Scene
    (2009-10-01) Sheffer, Amanda
    This review explores the DVD Counter Images: GDR Underground Films 1983-1989 and the documentary "The Subversive Camera." By exploring the complexities of GDR society, the 1980 punk and new wave movements and the importance of the images, this review suggests the shocking images run counter to mainstream cinema. This has applications to the classrooms studying the political / historical context of the GDR and cinema studies. It raises the larger question if films made in the GDR must always be studied within their political system.
  • PublicationOpen Access
    Dialogues between Faith and Reason: The Death and Return of God in Modern German Thought
    (2013-10-01) Cain, Jennie
    Review of the book Dialogues between Faith and Reason: The Death and Return of God in Modern German Thought by John H. Smith.
  • PublicationOpen Access
    The Cinematic Defeat of Brecht by Artaud in Peter Brook’s Marat/Sade
    (2009-10-01) Torner, Evan M
    In this work, I analyze Peter Brook's film interpretation of Peter Weiss' modernist drama Die Verfolgung und Ermordung Jean-Paul Marats dargestellt durch die Schauspielgruppe des Hospizes zu Charenton unter Anleitung des Herrn de Sade (Marat/Sade, 1964-5) in terms of the dialectical aesthetic of the latter. Weiss had intended Marat/Sade to be a literal, figurative and aesthetic debate on equal footing between the dramatic theories of Bertolt Brecht and Antonin Artaud, portrayed respectively through the figures of the French revolutionary Jean-Paul Marat and the epicurean cynic Marquis de Sade. Techniques of Brechtian distanciation are also employed within the written play alongside contradictory Artaudian elements of grotesquerie and horror, each grappling with the other in an unresolved dialectic. Yet Brook's filmed version of his stage production unintentionally transgresses against Weiss' play-without-a-resolution, primarily siding with Sade, Artaud and the "theater of cruelty." Though the French and German New Wave movements in cinema, which questioned the artifice of film production using Brechtian alienation techniques, were contemporary with Brook's film in 1966, the film appears not to have taken these movements into account while trying to portray Weiss' dialectic in its cinematography and mise en scène. I contend that the violence portrayed within Brook's Marat/Sade is broadcast as a spectacle to be consumed by an omnipresent viewer, whereas Weiss cogently intertwines such brutality with a concrete understanding of its mechanical function within society. This begs the question of how one can filmically portray cruelty both as spectacle and as socio-political reality.