Description:MLN pioneered the introduction of contemporary continental criticism into American scholarship. Critical studies in the modern languages (Italian, Hispanic, German, French) and recent work in comparative literature are the basis for the articles and notes in MLN. The journal publishes four single-language issues and one comparative literature issue.
Coverage: 1962-2012 (Vol. 77, No. 1 - Vol. 127, No. 5)
The "moving wall" represents the time period between the last issue available in JSTOR and the most recently published issue of a journal. Moving walls are generally represented in years. In rare instances, a publisher has elected to have a "zero" moving wall, so their current issues are available in JSTOR shortly after publication.
Note: In calculating the moving wall, the current year is not counted.
For example, if the current year is 2008 and a journal has a 5 year moving wall, articles from the year 2002 are available.
- Terms Related to the Moving Wall
- Fixed walls: Journals with no new volumes being added to the archive.
- Absorbed: Journals that are combined with another title.
- Complete: Journals that are no longer published or that have been combined with another title.
Subjects: Language & Literature, Humanities
Collections: Arts & Sciences I Collection, JSTOR Essential Collection, Language & Literature Collection
Käthe Kollwitz was the first comprehensive treatment of this influential artist to be written in English, although other publications, primarily lists of her works or reproductions of her prints, did appear before 1972. The book was not intended only for youthful audiences or for students of biography, as it is a significant contribution to the history of German art from the beginning of the twentieth century to 1945, but the clear, accessible writing and Kollwitz’s exemplary life give the work great appeal for young readers. It can be used by students in several areas of the curriculum and deserves study especially because of the moral stance adopted by the artist throughout her life.
The narrative describes Kollwitz’s social background, taking a traditional psychological approach to the role of her maternal grandfather, father, and closest female sibling in the formation of the artist’s attitudes. Throughout her life, Kollwitz was a solitary, taciturn person, sufficiently fulfilled by her relationships to close family members and by artistic expression. Her father was disappointed that she was a girl: He believed that her obvious talent would go unnoticed because she was supposed to be destined for marriage. Indeed, her sister Lina’s interest in art—as considerable as Küthe’s, according to reports—was abandoned at the time of her early marriage.
Kollwitz, who had met her future husband at the age of seventeen, did not marry until many years later. The authors relate in some detail how, under the tutelage of a single teacher and then at art schools in Berlin and Munich, she attempted to perfect her technique—not as a painter but as...
(The entire section is 687 words.)