In the following excerpt, Nicholls focuses on the elements of linguistic and sexual violence in the poetry and drama of the Expressionist period.

In the following essay, Weisstein describes some of the significant differences and dichotomies inherent in the various strands of German Expressionism.

In the following excerpt, Murphy explores the revolutionary tendency of many Expressionist poets, citing their use of such techniques as irony, skepticism, and manipulation of the signifier in language.

In the following essay, Weisstein considers the question of whether scholars should evaluate Expressionism primarily as a literary style, or whether they need to take into account its social and political dimensions as well.

In the following essay, Freedman discusses the Expressionist technique of blurring the contours of ordinary objects in order to explore the relationship between human consciousness and the real world.

In the following excerpt, Krispyn presents an overview of “expressionist” writers in Germany, emphasizing that their goals and style diverged too widely to fit under the umbrella of Expressionism.

In the following excerpt, Waller comments on criticism leveled against Expressionist writers by five contemporary critics: R. M. Rilke, Thomas Mann, Georg Lukács, Stefan George (through Friedrich Gundolf), and Robert Musil.

In the following essay, Furness presents an overview of Expressionist drama and its treatment of religion, noting that its main theme may be summed up as “the revolt of the spirit against reality.”

In the following excerpt, Krispyn examines the trait of pathos, or the desire to awaken an emotional response in the reader, as one of the main characteristics of Expressionist literature.