The Doppelgänger Part I: The Doppelgänger in Painting Beyond the Self Seers: Egon Schieles Double Self Portraiture as Theoretical Experimentation Lori Felton Bryn Mawr College From Double Burden to Double Vision: the Doppelgänger in Doris Zieglers Paintings of Women in East Germany April Eisman Iowa State University Part II: The Doppelgänger in Performance Art Jean Paul at the Bauhaus: Oskar Schlemmers Doppelgängers Paul Monty Paret University of Utah Seeing Double: the Doppelgänger in two interpretations of the ballet classic the Nutcracker by John Neumeier and Marco Goecke Deborah Ascher Barnstone University of Technology Sydney Body doubles: the Puppe as Doppelgänger in Fin de siècle Viennese Visual culture Nathan J. Timpano University of Miami Part III: The Doppelgänger in Film The Re make as Double: Michael Hanekes Funny Games Isa Murdock Hinrichs UC San Diego Materiality Melodrama and the Mirror: the Double in the Films of Douglas Sirk and Todd Haynes Tom Haakenson and Andrew Felicilda Part IV: The Doppelgänger as Metaphor Silks Double: Kunstseide in Weimar Germany Maria Makela California College of the Arts X ray images as the Bodys Double: From the Magic Mountain by Thomas Mann to the Holy Mountain in Life and Death of Christoph Schlingensief Brigitte Marschall University of Vienna The doppelgänger the double twin mirror image or alter ego of someone else is an ancient and universal theme that can be traced at least as far back as Greek and Roman mythology but is particularly associated with two areas of study: psychology and German literature and culture since the Romantic movement. Although German language literature has been a nexus for writing on the doppelgänger there is a paucity of scholarly work treating a broader selection of cultural products from the German speaking world. The essays in this volume explore the phenomenon of the double in multiple aspects of German visual culture from traditional art forms like painting and classical ballet to more contemporary ones like film photography and material culture and even puppet theater. New ways of understanding the doppelgänger emerge from analyses of various media and time periods such as the theme of the double in a series of portraits by Egon Schiele the doubling of silk by rayon in Weimar Germany and its implications for class distinctions in Germany and the use of the x ray as a form of double in Thomas Manns Magic Mountain and Christoph Schlingensiefs performance art.