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This article compares a selection of recent German literary representations of cycling in the context of contemporary discourses of slow travel, with a particular focus on themes of happiness and emotional authenticity. It seeks to expand the framework of discussions of slow travel with a comparative focus on four novels: Der Mann auf dem Hochrad ('The Man on the Penny Farthing', 1984) by Uwe Timm, Im Sommer wieder Fahrrad ('I'll Cycle Again in the Summer', 2016) by Lea Streisand, Im Feld ('In the Field', 2018) by Joachim Zelter and Neujahr ('New Year', 2018) by Juli Zeh. The article surveys the cultural history of cycling, and pays attention to the status of cycling in German society and culture. Drawing on the work of John Day, Valeria Luiselli, Erling Kagge and Mihaly Csikszentmihalyi, it presents a reading of the texts' treatment of cycling as performance within a broader reflection upon slow travel as a nonfunctional, affective and authentic practice is experienced as a contrast to everyday life. Keywords cylcing, cycling in Germany, cycling in literature, German literature, travel writing, slow travel, Uwe Timm, Lea Streisand, Joachim Zelter, Juli Zeh, history of sport, history of leisure, tourism in literature, emotions in literature, happiness in literature, psychology and literature, This article compares a selection of recent German literary representations of cycling, a form of transport that, I shall argue, deserves a place in contemporary discourses of slow travel. As [...]

This article comparatively assesses the representation of workers' leisure in Berlin in three significant examples of experimental German cinema from the late Weimar Republic: Mutter Krausens Fahrt ins Glück (Mother Krause's Journey to Happiness, dir. Piel Jutzi, 1929), Menschen am Sonntag (People on Sunday, dir. Robert Siodmak, Edgar G. Ulmer, 1930), and Kuhle Wampe oder Wem gehört die Welt? (Kuhle Wampe or Who Owns the World?, dir. Slatan Dudow, 1932). There are distinct thematic and formal parallels between this set of nearly contemporaneous, generically hybrid films, and the article assesses the inter-related functions of time and space in the films' depiction of leisure experiences in Berlin. Focal points include the depiction of urban space, especially the tenement block and the 'semi-public' space of the courtyard; the Freibad or lakeside bathing resort; the worker sports movement; and the comparative relevance of the work of the Berlin artist Heinrich Zille. The article approaches the films in the historical context of the workers' movement and working-class culture, and is further informed by insights into urban space developed within the sociological discipline of leisure studies. [ABSTRACT FROM AUTHOR]