This course will examine the changing status of the individual subject under the political, social, and cultural pressures of the Weimar Republic. The course will engage with the competing intellectual and political discourses surrounding the rise of European fascism generally and National Socialism in particular. Readings and discussion will be in English.
Scandinavian Women's Literature. This is a survey course of literature by Scandinavian women writers. We begin with a novel from the s when women were struggling to make their voices heard in an overwhelmingly patriarchal society, and then we move to the near present when women hold substantial political power.
- Read e-book Auguries of Innocence.
- Lodeur de la nuit (French Edition).
- Der Monolog in Friedrich Schillers: Willhelm Tell (German Edition).
- NanoBiosensing: Principles, Development and Application (Biological and Medical Physics, Biomedical Engineering)?
We examine how feminist issues and themes in the texts reflect the changes of the past years. Readings in English. Enlightenment Fantasies. In the vein of Adorno and Horkheimer's critique of the dialectic of the enlightenment the seminar will provide an introduction to this historical period and cultural movement by examining and deconstructing the myths and metaphors it fashions about its project's paradoxes and aporias.
Before the advent of the process that is problematically termed "secularization" narrating beginnings was the domain of religion. We will thus have to look how patterns and figures of theological thining haunt and infiltrate enlightenment discourse. Art in Berlin. From — Berlin was a site for major artistic developments and extraordinary political shifts. This course will trace the diverging artistic developments in East and West Berlin and will track points of artistic contact, exchange, and reunification.
Reading knowledge of German welcome, but not essential. In this seminar we will focus on Kafka's three unfinished novels: the so-called "Amerika" novel, "The Trial," and "The Castle. German not required, but a separate discussion section in German will be available. This course examines a series of filmic, dramatic, literary, and site-specific commemorative works which engage the conjunction of narrative representation, historical catastrophe, and political as well as aesthetic resistance. Our consideration of these works will be augmented by a series of critical essays on the limits of representation, the problematics of mediation and aesthetic adequation, the possibilities of commemoration, and the promises of aesthetic resistance.
In addition, we will consider a number of theoretical works on the operations of cinematic identification and narrative comprehension that are important to an understanding of the formal operations of film, theater, and poetry. The course will be conducted in English and no fluency in German or the languages of cultural and film criticism is required. Winter , David Levin. Kafka as a Storyteller.
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In this course, we will read Kafka's tales, excerpts from the diaries and some of his fragments and aphorisms with special respect to narrative techniques and Kafka's qualities as a storyteller. The course is designed for advanced undergraduate students with some knowledge of German, and it is also conceived as an introduction to the elementary techniques and problems of literary interpretation.
Primary readings will be in German, secondary readings and discussion in German and English. Term papers can be written in either German or English. Kleist's "Invisible Theater. The seminar takes as its starting point Goethe's remark about Kleist's play "Der Zerbrochne Krug" that it is "unsichtbares Theater," i.
The critical tenor of this paradoxical formulation suggests further that Kleist's dramatic and theatrical project sets itself apart from the aesthetics of Goethe's Weimar court theater as well as from the aesthetics of the contemporary bourgeois theater - and thus was 'ahead' of its time. Therefore, our close readings of Kleist's 'invisible' dramas will need to be contextualized within the dominant theatrical cultures around As marks the year anniversary of Kleist's untimely death, the department will orgainze and host an international conference with the same thematic focus as our seminar.
The conference will take place Dec. Texts in German; possible discussion session in German. Fall , Christopher Wild. Topics include: the tragic, pessimism and affirmation, nihilism, antiquity and modernity, philosophical psychology, the critique of morality, the interpretation of Christianity. The primary instructor of the course will be David Wellbery, but James Conant and Robert Pippin will also join the class to discuss certain aspects of Nietzsche's philosophy.
Fall , David Wellbery. Spring , Kimberly Kenny. Major Works of Modernism. This course is centered on several canonical works of German modernism, including poetry and prose from Hofmannsthal, Kafka, Walser, Mann, and Rilke, and essays from Benjamin and Musil, among others.
Throughout the course we shall examine how these authors responded in various ways to the cultural changes we have come to call modernity. In German. Spring , Robert Ryder. Introduction to Narratology. The first part of this course is designed as an overview of some major theories of narrative. A special emphasis will lie on different narrative representations of consciousness, in free indirect speech Flaubert , the stream of consciousness Joyce , or narrative styles that try to render more visual forms of consciousness Musil.
Acting Fundamentals: Ibsen and Practice. The goal of this class is to integrate academic and practical approaches in the study of the great Norwegian playwright, Henrik Ibsen. Students will be required to compose short papers and to contribute to a group project. Winter , Kimberly Kenny and Pamela Pascoe. This course will examine the often overlooked but rich tradition of the German radio play.
In this seminar, we will read—and listen to—numerous plays from these and other radio dramatists, including radio plays being heard in Germany today. The final project will consist of writing and producing our own radio plays. Winter , Robert Ryder. In English. Three generations of Modernism in poetry: Benn as one of the grandfathers, Bishop and Herbert as representatives of the middle generation, C.
The idea of the class is to read poems closely and to discuss them in the class. A discussion section for German majors will be arranged fort his course. Fall , David Wellbery and Adam Zagajewski. This course will explore not only how machines have been modeled in the image of man, but also the ways in which mechanical devices and machines have served as models to gain a deeper understanding of the human being. Fall , Robert Ryder. Caligari's Shadows in Hollywood?
During the s and s, Hollywood saw a conspicuous number of films dealing with crime, broken heroes and dangerous seductresses, featuring nocturnal city streets, dramatic lighting and distorted camera angles. Not only was the visual style of these "films noir" obviously evocative of the s German cinema, in many cases the directors were in fact European immigrants who had only recently escaped Nazi Germany.
A coincidence? Did filmmakers such as Billy Wilder, Fritz Lang and Otto Preminger bring the anguish, shadows, doppelgangers and weird visual compositions of German expressionist cinema as their "duty-free excess luggage" Alfred Appel to Hollywood, where the tradition of German silent film subsequently shaped film noir? This course will explore this fascinating and much-disputed linage.
Proceeding from films commonly considered quintessentially "noir", such as Double Indemnity Billy Wilder, , Phantom Lady Robert Siodmak, , The Woman in the Window Fritz Lang, and Out of the Past Jacques Tourneur, , we will work out salient narrative and stylistic characteristics of film noir. Subsequently, we will seek to trace these features in some of the most influential films made in Weimar Germany, most notably The Cabinet of Dr. Finally, we will consider other important literary and cinematic precursors to film noir, including hard-boiled fiction, French poetic realist cinema and American horror and gangster films of the early s.mohamedbessaies.com/includes/2020-08-21/2845.php
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Summer , Katharina Loew. This seminar examines Richard Wagner's importance to 19th-century theater history. Proceeding from an understanding of the state of opera in 19th-century Germany, France and Italy, we will discuss the extent to which Wagner's influence can properly be considered ground-breaking. Readings and discussion in German and English.
- Giftkuss: Die Arena Thriller: (German Edition)!
- East/West Dichotomy: Russian and German Influences.
- Staging Act 5 of Schiller's Wilhelm Tell!
- The Devils Fire: A Pirate Adventure Novel.
- Big data, 18th century style?
Spring , Clemens Risi. His tales were widely read in the 19th century and are still acclaimed for their sensitive descriptions of nature and a simple and beautiful harmony between man and nature. In this course we will read selected Stifter tales with regard to their contribution to the emergence of esthetic modernity. The course will be given in German. Winter , Susanne Luedemann.
Nietzsche and Literary Modernism.
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