Newsletter –Spring 2009 – Issue 111

Transcription

Newsletter –Spring 2009 – Issue 111
In this Issu e:
New C onf erence Sit e
Guest Speaker D ragica Raji
Book Reviews
Filmogra phy
Eu ropea n News
And more…
Wome n in Ge rma n Ne wsle tte r 111 ( Sp ring 20 09 ): 1
Women i n German Newsletter
Spri ng 2009
~~~~~ Table of Contents ~~~~~
About WiG
3
About the WiG Newsletter
4
Dear Readers
5
WiG Dissertation Prize
6
WiG Best Article Prize
7
News on the Zantop Travel Fund
8
Zantop Travel Award
9
WiG 2009 Conference Site
10
WiG 2009 Guest Dragica Raji
11
Conference Reports
12
Book Reviews
14
Books by Members
21
WiG Filmography
22
Calls for Papers of Interest to WiG
28
European News
31
Women in German Newsletter 111 (Spring 2009): 2
Spri ng 2009
~~~~About WiG~~~~
The Coalition of Women in German is an allied organization of the MLA. Students, teachers, and all others
interested in feminism and German studies are welcome! Subscription and membership information is on the last
page of this issue.
Mission Statement of the Coalition of Women in German
Women in German (WiG) provides a democratic forum for all people interested in feminist approaches to German
literature and culture or in the intersection of gender with other categories of analysis such as sexuality, class, race,
and ethnicity. Through its annual conference, panels at national professional meetings, and the publication of the
Women in German Yearbook, the organization promotes feminist scholarship of outstanding quality. Women in
German is committed to making school and college curricula inclusive and seeks to create bridges, cross boundaries,
nurture aspirations, and challenge assumptions while exercising critical self–awareness. Women in German is
dedicated to eradicating discrimination in the classroom and in the teaching profession at all levels.
Women in German President: Nora M. Alter, University of Florida, president@womeningerman.org
Vice-President and President-Elect: Barbara Kosta, bkosta@u.arizona.edu
Women in German Steering Committee: steering@womeningerman.org
Mareike Herrmann, College of Wooster (2007-2009), mherrmann@wooster.edu
Allie Merley Hill, Williams College (2007-2009), allie.m.hill@gmail.com
Rick McCormick, University of Minnesota (2008-2010), mccor001@umn.edu
Denise Della Rossa, University of Notre Dame (2008-2010), dellarossa.1@nd.edu
Lisa Hock, Wayne State University (2009-2011), aj6784@wayne.edu
Margarete Lamb-Faffelberger, Lafayette College (2009-2011), lambfafm@lafayette.edu
Treasurer: Waltraud Maierhofer, University of Iowa, membership@womeningerman.org
Yearbook Editors: Katharina Gerstenberger, University of Cincinnati, and Patricia Simpson, Montana State
University – Bozeman, yearbook@womeningerman.org
Conference Organizers (2006-2008): Liz Mittman, Michigan State University (lead organizer, site and
transportation), Denise Della Rossa, Notre Dame University (online conference registration), Jennifer Redmann,
Kalamazoo College (conference program), conference@womeningerman.org
Membership Coordinator: Helga Thorson, University of Victoria, helgathorson@gmail.com
Webeditors: Beverly Weber, University of Colorado at Boulder; Kyle Frackman, University of Massachusetts
Amherst, webeditor(AT)womeningerman.org
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Women in German Newsletter 111 (Spring 2009): 3
Spring 2 009
~~~~About the WiG Newsletter~~~~
The WiG Newsletter, published online three times a year, contains information about the organization,
announcements of upcoming conferences, plans for conferences, news from abroad, personal news about members,
conference reports, a bibliography, reviews of online resources, and selected items culled from the WiG-L list.
Periodically a list of members is published. Reviews from past issues of the WiG Newsletter are available on the
“Publications” page of the Women in German Website, www.womeningerman.org
Subscription: The WiG Newsletter is automatically part of WiG membership. All issues are e-publications and each
new issue is available on a password-protected area of the Women in German website. Members receive notification
by email (which includes access information and passwords) when a new issue is out.
Submissions: Students, teachers, and all others interested in feminism and German studies are encouraged to submit
relevant material to the WiG Newsletter. Please email your submission to the appropriate section editor (see list
below). General questions should be addressed to the co-editors.
Submission Deadlines: for the winter (January) issue, December 15; for the spring (March) issue, February 15; for
the summer (June) issue, May 30.
Co-Editors: Rachel Freudenburg, Boston College, and Maria Stehle, University of Tennessee Knoxville
newsletter@womeningerman.org
Section Editors:
Calls for Papers: Elizabeth Mittman, Michigan State University, mittman@msu.edu
Conference Reports: Michelle Stott James, Brigham Young University, michelle_james@byu.edu
European News: Tanja Nusser, Universität Bielefeld, tanja.nusser@uni-bielefeld.de and Carrie Smith-Prei, National
University of Ireland, Maynooth, carrie.smith-prei@nuim.ie
Personal News: Karen R. Achberger, St. Olaf College, krach@stolaf.edu
Fascinating Clicks: Jennifer Askey, Kansas State University, jaskey@ksu.edu
Bibliography: Jennifer Hosek, Queens University, jhosek@post.queensu.ca, and Sarah McGaughey, Dickinson
College, mcgaughs@dickinson.edu
Book Reviews: Laurie Taylor, University of Massachusetts, Amherst, lktaylor@german.umass.edu
Newsletter Editorial Assistants:
Zsuzsanna Rothne Zadori, University of Tennessee Knoxville, zrothne@utk.edu, Patricia Pernes, Boston College,
pernes@bc.edu
Note: Rachel Freudenburg and Maria Stehle are the co-editors for the WiG Newsletter. Do not send them texts or
materials which should be sent to a section editor as listed above.
To join WiG and subscribe to the WiG Newsletter, visit us at: http://womeningerman.org
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Spring 2 009
~~~~ Dear Readers! ~~~~
We are very pleased to introduce this Spring issue of the Newsletter, which contains information
on fast-approaching deadlines for the WiG Dissertation Prize and Best Article Prize! Jeanette Clausen
gives us an update on her continued efforts to raise money for the endowment of the Zantop Travel
Award.
We hope you will all consider attending this year’s conference. A description of the new
conference site in beautiful Augusta Michigan, and an introduction to WiG’s guest author for 2009,
Dragica Raji, are included to assist you in making your plans for the fall. The summer issue will contain
the conference program and registration information.
Summaries of papers presented within the context of one WiG-sponsored panels at the MLA are
found on page 12. We are, of course, eager to report on papers presented for other WiG-sponsored panels!
If your talk has not yet been included in the WiG Newsletter, please send a summary to Michelle James,
or to us.
It is with great pride that we present, for the second year in a row, WiG Book Reviews—books by
Wiggies, evaluated by Wiggies! In order to make them available to a broader readership, the reviews will
also be published on the website and links to them will be sent out via the H-German listserve. A list of
additional books available for review is included on page 14 as well as in the “Books by Members”
column on page 21. Please let Laurie Taylor (Book Review Editor) know if you are interested in
reviewing one of these works; and please don’t forget to send Sarah McGauhey (editor of “Books by
Members”) information on your new book publications!
Sarah McGauhey has supplied us with an extensive list of films released in Germany, Austria and
Switzerland in the past 12 months—a truly fabulous resource for those of us trying to keep abreast of film
trends in German-speaking Europe while also tending to many other things.
Finally, Liz Mittman has supplied a list of Calls for Papers that are sure to be of interest to WiG
members and Carrie Smith-Prei informs us of many important conferences, new graduate programs,
publication projects, and scholarship opportunities in Europe.
As always, please feel free to contact us with any suggestions or questions you might have. In the
meantime, we wish you a pleasant spring!
Rachel Freudenburg, Boston College
Maria Stehle, University of Tennessee Knoxville
newsletter@womeningerman.org
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Spring 2 009
~~~~ WiG Dissertation Prize ~~~~
Deadline Exte nde d!! A pply or Nominate Now!!
The Award
Every year Women in German issues a call for dissertations by WIG members to be considered for the Women in
German Dissertation Prize of $500. The 2008 award will be conferred at the 2009 WiG conference. The recipient's
name will be published in the Women of German Newsletter and on the web site.
Who Is Eligible
We invite submission of dissertations by WiG members filed during the calendar year beginning January 1, 2008
and ending December 31, 2008. For information on how to join WiG, and for a list of previous winners, visit our
home page: http://www.womeningerman.org.
Criteria for Selection
We are looking for dissertations that
• reflect the values of the Women in German Mission Statement;
• make a substantial contribution to the current dialogue in the given area;
• demonstrate solid and innovative scholarship.
How to Apply
You may either apply yourself, or be nominated. The application package must include:
• a cover letter (either by the author or by a nominator) describing the strengths of the dissertation and
any other reasons why it deserves consideration for the award;
• three hard copies of the dissertation, each with an abstract, plus an electronic version (in both
Microsoft Word and as pdf on a CD-Rom);
• the applicant's mailing and email addresses and phone numbers.
Mission Statement
Women in German provides a democratic forum for all people interested in feminist approaches to German
literature and culture or in the intersection of gender with other categories of analysis such as sexuality, class, race,
and ethnicity. Through its annual conference, panels at national professional meetings, and through the publication
of the Women in German Yearbook, the organization promotes feminist scholarship of outstanding quality. Women
in German is committed to making school and college curricula inclusive and seeks to create bridges, cross
boundaries, nurture aspiration, and challenge assumptions while exercising critical self-awareness. Women in
German is dedicated to eradicating discrimination in the classroom and in the teaching profession at all levels.
Send the application to the Chair of the Dissertation Prize Selection Committee:
Birgit Tautz
Department of German
7700 College Station, Bowdoin College
Brunswick, ME 04011-8477
Postmark Deadline: May 6, 2009
Spring 2 009
~~~~ WiG Best Article Prize ~~~~
Women in German invites nominations for our Best Article award. The purpose of this award is to
recognize excellent research and scholarship in the field of feminist German studies. The prize is
conferred anually and was awarded for the first time in 2004. For a list of past winners, see the Women in
German Website.
The author of the article selected will receive a $500 cash award and a certificate of recognition.
Eligibility:
•
•
•
The article must be published in a journal issue or collection with a 2008 publication date.
The work must present original new research that makes a significant contribution to the field
of feminist German studies.
The author must be a current WiG member.
Articles may be written in either German or English. Send 3 copies of the article to:
Prof. Barbara Mennel
Department of English
4008 Turlington Hall
University of Florida
P.O. Box 117310
Gainesville, FL 32611-7310
Deadline: May 1, 2009
The award will be formally announced at the 2009 WiG Conference. Questions may be addressed to
Barbara Mennel (mennel AT ufl EDU) or to the WiG President, Nora Alter (president AT
womeningerman ORG).
Spring 2 009
~~~ News on the Zantop Travel Fund ~~~
Zantop Travel Endowment Campaign – Update, 15 April 2009
In the fall of 2008, the Coalition of Women in German launched a campaign to endow the Zantop Travel
Fund and appointed Jeanette Clausen as fundraising coordinator.
Plan Overview
Goal: To raise $25,000 in gifts and pledges over a period of three years, the sum that will make WiG
eligible to receive $25,000 in matching funds from a private donor.
Year one:
$10,000
Year two:
$ 7,500
Year three:
$ 7,500
The funds collected, along with the donor’s match, will be invested at the best interest rate we can find, in
order to grow an endowment. The amount of $3,000 annually will be set aside for graduate student travel
grants.
At this time, the Campaign is both ahead of schedule and slightly behind schedule.
Ahead: we already have $10,000 in the bank from gifts from WIG members and their supporters. Thus,
our fundraising goal for the first year, which began in September 2008, has already been reached.
Behind: The fundraising coordinator is behind on making contacts with potential donors during spring
2009. However, spring 2009 isn’t over yet.
Bottom line: we are ahead of where we said we’d be at this point and we are moving in the right
direction.
YOUR gift to the Zantop Travel Endowment Campaign is welcome at any time!
Jeanette Clausen
ZTEC coordinator
jxclausen@ualr.edu
Spring 2 009
~~~~ Zantop Travel Award ~~~~
Zantop Travel Award for Graduate Students: New Procedures and Award Amounts
Inspired by the work of Susanne Zantop, Women in German established an award in her honor to help nurture and
sustain research and publication in feminist cultural studies. The Zantop Travel Award has supported work on more
than a dozen dissertations since it was established in 2002. We are happy to announce that progress on WiG's
current campaign to endow this fund makes it possible to establish new award amounts, beginning in 2009: Each
year WiG will now grant up to two awards, each in the amount of $1500.
Eligibility:
Graduate students who have not yet completed the Ph.D. Applicants must be WiG members with a dissertation
project approved by a faculty advisor for research on a topic in feminist German cultural studies that requires travel
to consult specific archives, libraries, cultural centers, or authors.
Criteria:
1. We seek proposals that address a significant topic with demonstrated relevance to German Studies from an
approach informed by feminist cultural studies, that is, an approach that engages the intersections of gender with
other relevant categories such as sexuality, class, race, citizenship, and ethnicity. In addition, we encourage
proposals that further the project of rethinking German Studies along transnational lines.
2. The proposed research travel must be for the purpose of obtaining access to materials or information not
accessible by other means.
3. The materials or information sought must be central to the success of the dissertation project.
4. The research plan must be feasible within the proposed time period.
5. The request for funding must be supported by a letter from a major professor (dissertation advisor or committee
member).
Proposal Guidelines:
To the student: In a statement of no more than 750 words, describe your dissertation project and explain why travel
to the specified site(s) is necessary. In addition, please include the following information (required):
• a timetable
• contact information for the people or institutions you will be working with
• a one-page budget statement listing the projected cost of travel to the site
• the amount requested from WiG, and support anticipated from other sources (if any).
To the faculty member: Please address the quality and significance of the project, the importance of the research
travel, and the applicant’s ability to see the project the project through to completion.
Deadline: February 1st of each year. The Zantop Award Committee, consisting of the WiG president and two other
WiG members, will consider applications and send notifications in March.
Recipient Responsibility: As soon as is feasible after implementing the award, recipients are to present a report on
research results at the poster session of the WiG annual conference. Acknowledgment of the award in the
dissertation would be appreciated.
Submit all materials electronically to:
Nora Alter, WiG President
president(AT)womeningerman(DOT)org
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Spring 2 009
~~~~ Wi G 2 009 Conference Site ~~~~
Brook Lodge Hotel and Conference Resort
Augusta, Michigan
Conference dates for 2009: October 22-25
Site:
Brook Lodge is located on the former summer of estate of Upjohn founder, Dr. W. E. Upjohn. Affiliated with
Michigan State University, it occupies an elegant site with extensive gardens in a woodsy retreat setting, and serves
primarily as a corporate retreat and conference center. Amenities include jogging and nature trails, tennis, volleyball,
and basketball courts, driving range and putting green. A paddle boat, rowboat, fishing equipment (!) and bicycles
are readily available.
For more details on amenities and a photo gallery, go to:
http://www.hfs.msu.edu/brooklodge/index.html
Location/transportation:
Brook Lodge is located about 20-25 minutes northeast of
the Kalamazoo/Battle Creek International Airport (AZO).
Four major airlines serve AZO: Northwest, Comair/Delta
Connection, American Eagle, and United Express, with
frequent flights to/from Detroit, Chicago, Minneapolis
and Cincinnati. Conference participants who prefer to fly
to Detroit and rent a car can drive to the conference site in
under 2 hours. Shuttle service will be provided to and
from Kalamazoo/Battle Creek airport.
This part of Michigan has much natural beauty (of the
rolling hills and forest variety), and there are nature
centers, bird sanctuaries, and the like in the immediate
vicinity. For a group outing, possibilities include tours of
area wineries (approx. hour’s drive) or even Lake
Michigan (approx. 1 hour away).
Housing and conference fees:
Conferees will have the choice of housing either in
cottages at Brook Lodge or rooms at Gull Lake Inn
(http://www.gulllakeinn.com/new/), which is a threeminute drive from Brook Lodge. For those staying at Gull
Lake Inn, shuttles will run at regular intervals in the
morning and evening between the two sites. Rooms at
both sites cost $79-$89; Gull Lake Inn rooms are doubles
that allow for sharing; those at Brook Lodge are mostly
singles (one queen bed).
Per person conference fees will be approximately $200, and thus slightly less expensive than Snowbird.
Conference Organizers:
Liz Mittman, Michigan State University: lead organizer, site and transportation (mittman@msu.edu)
Denise Della Rossa, Notre Dame University: online conference registration (Denise.M.DellaRossa.1@nd.edu)
Jennifer Redmann, Kalamazoo College: conference program (jennifer.redmann@kzoo.edu)
Spring 2 009
~~WiG 2009 Guest: Dragica R aji~~
Dragica Raji has emerged as an innovative female
voice in Swiss-German transnational literature. The Croatianborn author, a resident of Switzerland since fleeing war in her
homeland in 1991, has received numerous awards for her poetry,
including the Adelbert von Chamisso Prize and the Meran
Poetry Prize in 1994. In addition to writing poetry, Raji
founded the journal "Glas Kastela" and has written short prose
works, essays, and plays. She is currently working on a novel
focusing on the life and work of Hermann Broch. Praised for its
sharp irony and cutting insight, Raji's poetry artfully
deconstructs the reality it circumscribes. Heimat, she claims, is
in language, not any place defined by geographical boundaries,
and her breakthrough style in poetic experimentation,
epitomized by its "broken German," exemplifies her artistic
credo. Defiant of the linguistic rules of grammar prescribed by
High German, Raji's German revels in its foreignness, in its
ability to comment and critique, precisely because it stands
outside the realm of the familiar and expected. Aesthetically,
Raji's poetry resists the social, political, and personal
absurdities and injustices faced by those at the margin. Raji's
position is therefore that of the oppositionist: as a woman in
patriarchy, both in Croatia and in Switzerland; as an antiwar
activist horrified by territorial aggression; and as a so-called
migrant writer of a minor and minority literature. This
contemporary writer emerges as a singular voice in Germanlanguage transnational literature and as a champion of poetic
expression against limitations.
Dragica Raji's works include:
The Plays:
Ein Stück Sauberkeit (1993)
Auf Liebeseen (2000)
The Poetry Collections:
Halbgedichte einer Gastfrau, St. Gallen (1986)
Lebendigkeit Ihre zurück, Zürich (1992)
Nur Gute kommt ins Himmel, Zürich (1994)
Post bellum, Zürich (2000)
Buch von Glück, Zürich (2004)
Dragica Raji’s appearance at WiG is being coordinated by Karin Baumgartner, University of Utah,
(karin.baumgartner@utah.edu). Both Karin Baumgartner and Erika Nelson contributed to this biographical sketch.
WiG 2010 Conference Guest: Ulrike Ottinger
Ulrike Ottinger’s trip to the 2010 Women in German Conference will be organized by Nora Alter, University of
Florida (nma@ufl.edu)
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Spring 2 009
~~~~ Conference Re ports ~~~~
Women in German Panel, MLA 2008, San Francisco
GETTING (BACK) INTO PLACE:
LITERARY EMBODIMENTS OF LANDSCAPE AND THE NATURAL WORLD
Co-organizers: Julie Klassen, Carleton College and Caroline Schaumann, Emory University
For this panel we sought contributions that explore the relationship of language, place, nature and culture. We
welcomed a range of topics, including literary representations of natural phenomena and/or environmental issues,
the interrelationship of wilderness or natural history to cultivated nature, or other aspects of the ways humans
perceive, interact with, and represent the non-human world. We were pleased that the three presentations
complemented each other in their intercultural and interdisciplinary approaches.
Three Rivers and the American West: German Visions of Landscape
Barton Byg, University of Massachusetts Amherst
American painter Thomas Moran (Green River Cliffs, 1874), American filmmaker John Ford (The
Searchers, 1956) and German filmmaker Wim Wenders (Don't Come Knocking, 2005) all depict the same subject as
a background for their metaphoric confrontations with "the West." The three rivers of the title, the Rhine (JMW
Turner, Hoelderlin, Heine), the Connecticut (Thomas Cole), and the Hudson (Frederic Edwin Church) trace the
biographical and cultural influence of German visions on the framework through which we still view the North
American landscape. Background to the paper are philosophical considerations of landscape and the otherness of
Nature, leading to the thesis that concepts of landscape of the Hudson River School, which these artists and their
heirs quickly and influentially transferred to the American West, derived directly and indirectly from the cultural
history of depictions of the Rhine. Ultimately, the contemporary and environmental implications of this cultural
history arise from the question of the "otherness" of nature – whether perceived in the presence or absence of God(s)
or in the role attributed to indigenous people for whom the supposed "wilderness" was a cultivated home. And
contemporary artists such as Straub/Huillet (Cezanne) or Marine Hugonnier (Ariane) underscore the otherness
of Nature by subverting the conventions of the landscape image itself.
“Die Deutschen im brasilianischen Urwald”: Nineteenth-Century Cultivations of German Identity
Gabi Kathöfer, University of Denver
This paper examines discussions of German settlements in Brazil in nineteenth-century newspaper articles,
novels, and autobiographical reports; more precisely, it analyzes the idea of Brazilian wilderness envisioned by
German conquerors, cultivators, or victims as a political, educational, and aesthetic manifestation of the German
struggle for identity. Using approaches derived from studies in nationalism, cultural studies and postcolonial theory,
it then interpreted the Brazilian Urwald as an important imaginary breeding ground for the invention of German
cultural roots in the nineteenth century.
Nineteenth-century German mass emigration to Brazil was the consequence of a) the enormous political
and economic crisis in the German states, and b) Brazil’s need to populate uninhabited regions; the Brazilian
government tried to attract European settlers by promising free land and better living-conditions in their country.
Soon, the Brazilian wilderness became not only a desired travel destination, but also a popular political and literary
subject; poets, politicians, economists, journalists, and emigrants wrote about (un-)successful endeavors to transform
the Brazilian Urwald into a new German Heimat.
But Is There Hope? Climate Change and the Quest for a Democratic Future
Peter Morris-Keitel, Bucknell University
During the last third of the 20th century, many authors in Germany, as well as in a number of other
countries, have made environmental issues a central idea in their works. While such narratives first concerned
themselves with pollution, degradation, and deforestation, authors influenced by the accelerating process of
globalization and the increase in scientific warnings about climate change since the late 1980s, have also addressed
such topics in their novels. The result has been a sharp shift in aesthetics. While authors in the 1970s and 1980s
mostly concerned themselves in their works with positive aspects in regard to economic, social, and political change,
such visions have almost exclusively been replaced by dystopian visions of the future. Nonetheless, these authors
have not simply joined the growing number of cynics in their false assumption that it is too late to act, but instead
Spring 2 009
have renewed their quest for a democratic future, based on the enlightenment principles of liberty, fraternity, and
equality.
In my paper, I discuss the importance of such concepts in the works, “Werdet arm!” (1991) by Gudrun
Pausewang; Der Planet schlägt zurück. Ein Tagebuch aus der Zukunft (1993) and Der Mann von IDEA. Berlin 33
Jahre nach der Klimakatastrophe (1995) by Karl-Heinz Tuschel; and Tödliches Klima (2000) by Till Bastian. I
addressed the following questions: How do the authors address the problem of globalization and climate change? Do
these works, directly or indirectly, offer solutions to environmental problems? What political consequences can be
drawn from these works? Is there hope for a just and democratic society in the future?
Response: Caroline Schaumann, Emory University
Barton Byg’s paper “Three Rivers and the American West: German Visions of Landscape” illustrates quite
beautifully how rivers in the past and present, both in Germany and the United States, have inspired art and
philosophical traditions from Romanticism to American transcendentalism. Gabi Kathoefer in her intriguing paper
“Die deutschen im brasilianischen Urwald: Nineteenth-Century Cultivations of German Identity” elucidates how
Germans came to Brazil in order to create a better Germany. And Peter Morris-Keitel’s provocative paper, “Is there
Hope? Climate Change and the Quest for a Democratic Future,” contrasts the relative innocence of the ecological
movement in the 1970s and 80s with the bleak attitudes of the 1990s and 2000s.
The collective thread between these papers seems to revolve around notions of romanticized nature, and
indeed the ideals of Romanticism itself: Byg connects Rhine Romanticism and the Hudson River school using JMW
Turner as a link. Kathoefer depicts the Brazilian jungle as a site for a German representation of nature, imagination
of the nation, and colonial fantasy. Morris-Keitel, finally, locates a more hopeful (or romantic) attitude towards
nature in the somewhat recent past, with the early environmental movement in the 1980s, a movement that first
attacked the Waldsterben with romanticized notions of the German forest. Yet he is more concerned with the
disillusionment that follows when hope cannot be sustained, a grim yet perhaps fitting progression and culmination
of the ideals expressed in the early 1800s.
In an attempt to honor the sponsor of our session, Women in German, I invited our panelists to address the
role of gender. Questions of gender figure into each paper: Water and in particular rivers are often denoted as a
female space; the Brazilian jungle, as Kathoefer recognizes, becomes feminized; and finally, the question arises as to
whether male and female authors represent climate change differently through genre, topic, or perspective.
Conference Reports are collected and edited by Michelle Stott James, michelle_james@byu.edu
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Spring 2 009
~~~~ Book Re views ~~~~
We are proud to include these reviews, which showcase the outstanding, feminist research conducted by our
members in the WiG Newsletter. Each year, we publish lists of books by WiG members in the Newsletter and solicit
appropriate reviewers for them at our annual conference. Reviews are published once a year in the Spring issue of
the WiG Newsletter and are also available on our website. A link to the online reviews is sent out to the H-German
mailing list. A few volumes up for review this year are still awaiting evaluators:
Allert, Beate. Comparative Cinema. How American University Students View Foreign Films. The Edwin
Mellen Press, 2008.
Durão, Fabio A. and Dominic Williams, eds. Modernist Group Dynamics. The Politics and Poetics of
Friendship. Newcastle: Cambridge Scholars Publishing, 2008.
Hammerstein, Katharina von, and Katrin Horn, eds. Sophie Mereau. Verbindungslinien in Zeit und Raum.
Heidelberg: Winter Universitätsverlag, 2008.
Mathäs, Alexander. Narcissism and Paranoia in the Age of Goethe. Newark: University of Delaware Press,
2008.
If you are interested in reviewing one of these books, please contact us at newsletter@womeningerman.org. For
more information please contact the WiG Book Review Editor, Laurie Taylor, University of Massachusetts,
Amherst, lktaylor@german.umass.edu.
Schaumann, Caroline. Memory Matters: Generational Responses to Germany’s Nazi Past in Recent Women’s
Literature. (Interdisciplinary German Cultural Studies Vol. 4.) Berlin/New York: Walter de Gruyter, 2008.
346 pp. ISBN: 3110202433 hardcover, $98.00.
The recent explosion of autobiographical, semi-autobiographical, and fictional works that look back at and
remember the Nazi past has garnered much attention in the German feuilletons, on television talk shows, and in
recent scholarship. Schaumann’s book, in which insightful close readings of literary texts and broad cultural analysis
converge, adds much depth and a new angle to the debate on memory. It brings familiar works and newer pieces in
dialogue, juxtaposes unusual perspectives of both victims and co-perpetrators and their descendants, and grounds the
readings in a thoroughly researched discussion of a variety of theories of memory. In the process, Schaumann offers
a comprehensive, feminist reading of the evolution of the discourse on Vergangenheitsbewältigung in post-war and
post-unification Germany, bringing women’s voices into the foreground of the often male-dominated debate. At the
center of her study are the questions, how do memories of survivors and perpetrators intersect, how are
personal/cultural memory of Nazism and the Holocaust transmitted to succeeding generations of women, and how
do intergenerational conflict, silence, as well as the creative, imaginative process, shape memory and the production
of texts?
Making an important contribution to the fields of feminist studies, memory studies, autobiography studies,
German literary studies, and Holocaust studies, Schaumann’s book bridges the divide between victim and (co)perpetrator literature without smoothing over differences. It juxtaposes texts by six women who, because of their
different designations as East or West German, Austrian, Jew, non-Jew, or generational belonging, have not been
read together or against one another. By bringing the different perspectives into dialogue with each other,
Schaumann succeeds in her goal of pointing out “their relatedness” (5) while emphasizing the distinct features of
their experiences, as well as unique narrative strategies. She points out common gendered attributes of these texts,
e.g., a focus on everyday details, the interweaving of past and present, of “reconstruction and reflection” (315), and
investigations of mother-daughter/granddaughter or father-daughter/granddaughter relationships.
The three sections of the volume are organized around the distinct generational (or, as Schaumann calls it,
genealogical) status of the writers, beginning with two writers who crafted innovative forms to narrate their own
experiences of the Nazi era, the one, Ruth Klüger (born 1931), as a victim, the other, Christa Wolf (born 1929), as a
young girl whose family profited from and participated in National Socialism. The close reading of Kindheitsmuster
(1976) and weiter leben (1992) reveals common narrative strategies, particularly the interruption of the
reconstruction of the past with present reflections and the ensuing refusal to ‘fix’ the past in a neat, rigid frame, and
appeals to the readers’ active engagement with their own pasts, but it also points to differences, e.g., the genres of
the texts – Klüger’s an unabashed autobiographical testimony, the other an autobiographical novel. In the
discussion, Schaumann also points out how certain images that have recently been used to denote the impossibility
of keeping down the past in autobiographical writings by well-known male German authors, such as Günter Grass,
appeared much earlier in Wolf’s deliberations on the same topic.
Spring 2 009
The second section deals with the writings of daughters who work through their parents’ past, as well as
their own present identities. Reading them through the lens of Marianne Hirsch’s concept of postmemory,
Schaumann examines different texts by the writer Barbara Honigmann (born 1949), who grew up in East Germany
with assimilated Jewish parents who were committed to the socialist state, and journalist/writer Wibke Bruhns (born
1938), the West German daughter of a once committed Nazi who was later executed as a co-conspirator/confidant in
the July 20, 1944 assassination attempt on Hitler. Both of these writers are in a way prompted by their families’
silence about their past. Honigmann, whose earlier texts (Roman von einem Kinde, 1986, and Eine Liebe aus Nichts,
1991) deal with the narrator’s construction of an independent, German-Jewish identity for herself in France,
eventually writes herself into her family’s past by reconstructing her father’s and grandfather’s pasts and
investigating the secrets of her mother’s and grandmother’s pasts. In her narrative, she uses ideals and images from
German Romanticism, filling in the missing pieces with her own subjective reflections. Bruhns, in a similar act of
simultaneous preservation of family history and “replacement of the patriarchal perspective with a female one”
(178), deals with her father’s legacy by emphasizing contradictions while staying away from judgment, seeking to
find understanding for her father’s life.
The third section brings together the post-unification writings of two women whose narratives represent
granddaughters’ investigations of their grandparents’ experiences under National Socialism, Monika Maron’s
Pawels Briefe (1999) and Tanja Dückers’s Himmelskörper (2003). She situates this discussion in the changing postunification discourse on the Nazi past, which tends to represent Germans as both perpetrators and victims of war. As
was true for the daughters in the previous section, both of these writers appropriate their family histories by reframing them, as happens literally in Maron’s use of photographs that complement and often contradict the written
text. The writing of family history for her is not an act of reconstruction, but rather, in the absence of remembered or
passed-on knowledge, a creative, imaginative act. While Maron replaces the idea of accessing “memory” with a
claim to what is “memorable” to her, Dückers, the youngest of the authors (born 1968), develops what she calls
“sensual historiography” to tell pieces of her own and her grandparents’ stories in fictional form. Highlighting the
intangible, fragmented nature of the family memories her characters try to uncover, the text represents a desire for
intergenerational dialogue and, at the same time, an acknowledgment of the elusiveness of its fulfillment.
The changes Schaumann highlights between the different generations of writers include a move away from
investigations into the reasons for and origins of the Nazis’ coming to power towards a preoccupation with how
memories of this past are dealt with, or contained, in the decades following the demise of the NS regime. Although
each writer is ultimately preoccupied with distinct motivations and approaches in telling the past, Schaumann notes
that all of them “acknowledge the ambiguity of ‘gray zones’” (318). The author ends her study with a fascinating
retelling of the blurry lines between suffering and opportunism in her own family’s history. There, as in the texts she
examines, we are reminded of how much and why memory matters to subsequent generations.
Mareike Herrmann, The College of Wooster
Bergmann, Franziska, Jennifer Moos, and Claudia Münzing. queere (t)ex(t)perimente. Freiburg:
Fördergemeinschaft Wissenschaftlicher Publikationen von Frauen, 2008. 167 pp. ISBN: 978-3-939348-13-9
paperback, 19.90.
In her essay “Sex mit un/an/geeigneten Anderen: Wer fickt hier eigentlich wen?” published in the
collection queere (t)ex(t)perimente, Caroline Günther states: “Dieser Text ruft zu Widerstand und Reflexionen auf”
(93). Undeniably, this collection of essays, poetry, collages, position papers, definitions, and academic analyses
inspires contention and reflection and poses many questions without offering any simple “answers.” It is neither
coherent nor consistent, neither academically rigorous, nor theoretically sound while at the same time it is all of the
above and more; it contains articles that offer cutting-edge theoretical and academic interventions, it includes art and
poetry, contains “self help” as well as political slogans; it is queer.
To foster further thinking and research about how to live queer politics and make political interventions in
the 21st century, this review reads queere (t)ex(t)perimente with a “queer eye.” As various texts in the volume point
out, queer defines itself against and in constant negotiation with the “norm” as a political and strategic intervention
that sometimes requires the (re)construction of a binary that it set out to dissolve. Therefore, it is important to
consider the consequences of this intervention, even if that means to struggle with contention, contingencies, and
one’s own social, historical, and political positioning.
Some of the articles and art pieces published in queere (t)ex(t)perimente allude to the connections between
(queer) sexualities, economies, class, and race, but the collection as a whole fails to address any “queer” intervention
concerning the racialized body, global economic change, or class transgressions in greater detail. The first article
defines queer politics in the tradition of the feminist slogan that “the personal is political.” Claudia Münzing’s
Spring 2 009
thought-provoking essay ties theoretical positions to a personal search for meaning, identity, and vision. She stresses
the need to emphasize individual difference as a basis for queer politics. This leads Münzing to call for a
“systematische Wiederbelebung der Sorge um sich selbst” (15), without exploring the centrality of the construction
of the “self” in heteronormative Enlightenment discourses and philosophies. From Münzing’s perspective,
deconstruction produces multiple truths (19) and while she values Foucault’s interventions, she also deems them
problematic since they fail to offer a vision or a positive message (22).
Münzing’s definition of queer politics and theory does not remain uncontested in the collection. Quite the
contrary, other articles not only offer a different interpretation of what “queer” means but deconstruct the idea that
“queer politics” could and should have a “vision” and produce any “truths.” The collection is theoretically and
politically most productive when it emphasizes the disruptive, political, and subversive agenda of queer politics, for
example Nora Filipp’s discussion of pregnant men in literature and Kathrin Tordasi’s essay “Walking Barefoot:
Women’s Sexuality on the Liminal Beach.” This subversive positioning of queer politics becomes evident in Laurie
Taylor’s reading of Elfriede Jelinek’s play “Krankheit oder Moderne Frauen.” Taylor uses Lee Edelman’s text No
Future: Queer Theory and the Death Drive to emphasize the threat to conventional social orders that queerness
poses. She argues convincingly that the play’s queerness is not found in its depiction of lesbianism, but in its
disruption of the gendered reproductive order by featuring “sick” and deadly female vampires that merge into a
child-eating “Doppelgeschöpf.” Along similar lines, Kyle Frackman uses Judith Halberstam’s In a Queer Time and
Place to read the German film Zurück auf Los (2000). His reading places emphasis on the transient and contingent
character of “queer” lives and life stories and constitutes this queer temporality and spatiality as an intervention
against heteronormative assumptions.
Franziska Bergmann’s article “‘Mann was sind wir hart’ – eine queer feministische ANALyse geschlechtsdifferenzierter Körpergrenzen” also aims to initiate a rethinking of binary gendered “Körpergrenzen” (63). Her
discussion of the politics surrounding an essay published in the German paper die taz that advocated the pleasures of
anal penetration for straight men is playful, provocative, and funny. Bergmann mentions that the more conservative
paper DIE ZEIT refused to publish the essay due to its “pornographic” content without pursuing this reasoning
further; but this side note poses an interesting question: how does this discourse around pornography produce and/or
silence queer voices and interventions? This question becomes even more pertinent in Susanne Jung’s discussion of
the “postpornographic.” In her analysis of the film Shortbus and of sexually explicit “fanfiction” she fails to
historicize the discussion of pornography, pleasure, and the “obscene” and their histories of political (queer?)
intervention. At the end of the article she defines the postpornographic as the “privileging of pleasure and of bodily
and somatic forms of knowledge”(84) and as rendering “visible what has culturally been abjected or cloaked by past
and present regimes of reglementation policing the boundaries of the decent and the indecent: the myriad forms
human desire can and does take” (84). Jung’s definitions, however, not only describe what she defines as
postpornographic but also “political” pornography, a genre that constitutes the origins of modern-day pornography
starting with Marquise De Sade and Sacher-Masoch. What precisely makes the narratives and representations Jung
discusses “postpornographic”? Do they escape the commercialism of the pornography market or do they fill a niche
within it? How does the marketability of a certain kind of “queerness” play a role in these discussions? In
connection with Bergmann’s discussion, who can and wants to publish, sell, and buy what kind of “queerness” and
why?
The final essay by Jim Baker “Ausschluss der Richtigen—Überlegungen zu einem noch immer aktuellen
Thema” calls for a less divisive politics within the “queer” communities and struggles with questions of difference
and sameness in minority cultures. Again, should a queer analysis not include a critical discussion of where division
and difference comes from in the first place? What role does technology, marketing, mobility, class structure, race,
religion, and education play in producing difference and sameness? Caroline Günther’s essay raises similar
questions when she defines queer theory “neben ihrer akademischen Fundierung vorallem auch als
Lebens(abschnitts)führungskonzept” (95) and contends that “die wissenschaftliche Theorie hinkt weit hinter den
Szenendiskursen her” (96). Does it not become easy, then, to “fit” queerness into a heteronormative development
schema when it might be considered a life-phase? Who is this “scene” and where do its “discourses” come from if
not from theoretical considerations?
Queer positionings and politics set out to question the binaries between practice and theory, between
difference and sameness, between lives and “life-phases.” In the global marketplace that has found a way to target a
“queer” audience and market a certain kind of “queerness,” for some people, for a certain time and in a certain place,
queer theory and practice can only offer political interventions by insisting on the de(con)structive potential and the
radical negation that identifies it as “queer.”
Maria Stehle, University of Tennessee Knoxville
Spring 2 009
Pusch, Luise F. Die Eier des Staatsoberhaupts und andere Glossen. Göttingen: Wallstein Verlag, 2008. 144 pp.
ISBN 978-3-8353-0280-8. Paperback, 9.90.
Luise Pusch, who has been writing about women and language for some 25 years now, has not lost her
edge. Die Eier des Staatsoberhaupts und andere Glossen contains a selection of her work produced between 1999
and 2007. Most of the Glossen—brief critiques usually inspired by a striking usage, statement, or event—treat the
erasure or misrepresentation of women in everyday language, still an issue worthy of our attention despite progress
over the years (some of us remember when German textbooks did not include activities to practice feminine
pronouns or teach the formation of feminine nouns—I am not making this up). In the book’s foreword, Pusch
recalls her debut publication of this genre in the feminist magazine Courage in 1982, with a Glosse titled “Die
Menstruation ist bei jedem ein bißchen anders,” an incisive and hilarious analysis of the supposedly generic
masculine pronoun (jedem) in the text of a tampon package insert. That piece, together with essays and other
Glossen from the Courage years, can be found in her book Das Deutsche als Männersprache (Frankfurt/M.:
Suhrkamp, 1984).
One might think that such startling examples of incongruence between grammatical and biological gender
would be few and far between, but one would be mistaken—see, for example, Pusch’s discussion of “Jeder, der
selbst ein Kind bekommen hat” (p. 21— the quoted phrase is from a book review). Anyone who doubts that nouns
not overtly marked for gender are assumed to be masculine should read “Jüngere Geliebte” (pp. 86-87), which
explores the unintended consequences of a personal ad (“Frau sucht jüngere Geliebte”)—quite a few men answered
the woman’s ad, to her consternation. Gender-specific assumptions are embedded in electronic search engines too:
read “Der Duft von Männern—nicht gefragt” (pp. 100-102) to learn what caused ads for “Getragene Unterwäsche”
to pop up in Pusch’s e-mail (hint: she uses gmail). The subject of the piece that gave the collection its title, “Die
Eier des Staatsoberhaupts,” is not what you are thinking—unless you’ve guessed that the Staatsoberhaupt in this
instance is a woman and the issue is the terminology for non-identical twins.
The Glossen are grounded in Pusch the linguist’s knowledge of how languages work (and can change!) and
infused with humor, making them both convincing and memorable. She has a scholar’s flair for tracking down littleknown facts to support her theories, as in “Ärztinhelfer und Garderobenmann” (pp. 13-14). Here, a talk-show host’s
question about traditional roles in professions (“Warum gibt es eigentlich keine Arzthelfer?”) has prompted the
author to ask instead “Warum gibt es eigentlich keine Ärztinhelfer?” I leave it to you to find out why she concludes
that “’Traditionelle Frauenberufe’ orientieren sich . . . an einem Übersetzungsfehler [Martin] Luthers” (p. 14). More
seriously, she delves into the history of the term “Kinderfreunde” used by organizations or clubs for educators in the
early decades of the twentieth century. Photographs of the predominantly female club members and accompanying
captions that identify only the male club members give a pretty clear picture of what the term signified. Pusch also
has an unerring eye for projects that are passed off as woman-friendly but are in fact a means of once more
marginalizing, co-opting, or overlooking women—see, for example, “Doch nicht so alternativ? 10 Jahre Alternative
Bank Schweiz (ABS)—ein feministischer Kommentar” (pp. 47-51). She is equally compelling when writing about
attitudes toward differences among women, as in the pieces on aging, especially “In alter Frische” (pp. 55-58) or
exploring the question of who is deemed worthy of being commemorated on a postage stamp (“Goethes Christiane
und Luthers Käthe: Noch ein Beitrag zum Goethe-Jahr,” pp. 115-117).
This is not a book to read from beginning to end, but to browse and savor the pieces that interest you. The
table of contents is organized by topic (e.g., Beruf, Familie, Gesundheit, Heim und Herd, Paare, etc.) and there is an
alphabetical list of the titles of the individual Glossen at the end of the book. A few more of my favorites are “Die
Männer der Brentanos,” a reaction to the publication of “Die Frauen der Brentanos” in 2006 (pp. 19-21); “Damen
auf der documenta,” a humorous meditation on a curated exhibit in which a significant number of the artists
represented are women—and nobody mentions that fact (pp. 82-85); “Heidi und Klara im Heu,” a lesbian rereading
of the “Heidi” books on the 100th anniversary of Johanna Spyri’s death (pp. 117-121); and “Hillary and Barack,” an
analysis of the media’s differential treatment of male and female candidates for office (pp. 123-126). I intend to
share some of these Glossen with my German classes and encourage you to do the same. They are fun, erudite, and
great conversation-starters.
Jeanette Clausen, University of Arkansas at Little Rock
Spring 2 009
Becker-Cantarino, Barbara. Meine Liebe zu Büchern. Sophie von La Roche als professionelle Schriftstellerin.
Heidelberg: Universitätsverlag Winter, 2008. 251 pp. ISBN: 978-3-8253-5382-7 hardcover, 35.00.
In this 2008 book, preeminent scholar of the social and cultural significance of German women writers,
Barbara Becker-Cantarino turns her attention to Sophie von La Roche (1730-1807), the celebrated author of
Geschichte des Fräuleins von Sternheim, as well as numerous other works. As Becker-Cantarino makes clear in her
introduction, she does not want to engage in theoretical debates about how La Roche’s texts relate to the aesthetics
of Classicism and Romanticism, but rather wishes to employ an historically accurate approach that will reveal the
true cultural significance of La Roche’s oeuvre. Her book, as she writes, ”beleuchtet La Roches wichtige Stellung
im literarischen Feld ihrer Zeit” (7).
After the introduction follow five chapters that focus chronologically on La Roche’s development as a
woman writer in a society that was careful to differentiate what was deemed acceptable or unacceptable for women.
In chapter one Becker-Cantarino describes how societal suspicions during the 18th century concerning women as
readers, as well as women’s education, led to the ideal of a well-educated woman becoming eclipsed by the ideal of
an emotional, sensitive woman. She shows how La Roche, who at an early age had been given free access to her
father’s extensive library, was implicated in these debates yet navigated them successfully in the sense that, while
she never lost sight of her own desire for knowledge and love of reading, she always framed these proclivities in a
way that was deemed acceptable by 18th century society.
The second chapter traces in great detail the fascinating and at times confounding relationship Sophie von
La Roche had with the famous Enlightenment author Christoph Martin Wieland. Becker-Cantarino offers an
insightful analysis of the life-long correspondence between the two writers, who early on were even engaged for a
short time. The image of Wieland that emerges is decidedly unflattering—while early on in the relationship he used
the heightened emotional language of their correspondence as inspiration for his own poetry without ever really
being serious about their relationship (Becker-Cantarino calls it his “empfindsames Liebesspiel” p. 46), after
Sophie’s marriage to George La Roche, Wieland’s own self-centeredness emerges as he writes to her about his
erotic feelings for other women. Becker-Cantarino outlines Wieland’s overbearing and condescending editorial
practices as he oversaw the publication of La Roche’s first novel, Die Geschichte des Fräulein von Sternheim, as
well as the growing distance between the two, mainly on his part, as La Roche became more autonomous as a writer,
while simultaneously suffering social decline. During the 1790s he even refused her plea to be taken in just as
Frankfurt was about to be occupied by the French, and when she did finally visit him much later on in Weimar, he
became infatuated with her daughter, Sophie Brentano, and was irritated by her presence.
Becker-Cantarino also addresses how La Roche’s relationship to her writing changed as her social standing
became less stable. On the one hand, La Roche realized that she needed to write in order to make money, yet she had
to be careful not to publicly acknowledge that fact, since to do so would have meant violating the parameters within
which most women lived their lives during the last decade of the 18th century.
Chapter three begins with a detailed and nuanced analysis of La Roche’s Sternheim novel, and suggests
that at the end of that novel patriarchal society has dissolved into a quasi-utopian world inhabited mainly by women.
(“Die feudale, patriarchale Gesellschaft ist wie traumhaft aufgeweicht und durchdrungen von der in Sophie
Sternheim verkörperten ‚weiblichen‘ Welt“ 103). Becker-Cantarino proceeds to describe the content and cultural
significance of Sophie von La Roche’s later works in an informative and entertaining manner. She traces the subtle
changes in La Roche’s work that indicate her growing dissatisfaction with the fact that women were naturally
expected to find fulfillment and contentment in making others (predominantly men and their own families) happy:
“La Roche kritisierte den übersteigerten Tugendanspruch der Zeit, dass Frauen das eigene Glück im
Glücklichmachen anderer suchen sollten und hinterfragte nun diesen Anspruch” (119).
Becker-Cantarino does an excellent job of making it clear how much more there is to La Roche’s oeuvre
than the Sternheim novel. Her works proved to be exceptionally popular with her predominantly female readership,
in part because of an eighteenth-century predilection for identificatory reading. La Roche took advantage of her
popularity when she began publishing her own literary journal in 1783: Pomona (für Teutschlands Töchter). La
Roche’s own interest in pursuing knowledge and educating women was at the heart of this project, as BeckerCantarino makes clear. Even after she stopped publishing Pomona La Roche continued writing and her works
became more openly advice-driven and less purely fictional. These later works (including Briefe an Lina and the
sequel Briefe an Lina als Mutter) were full of practical knowledge concerning the running of a household, but they
also emphasized reading and the acquisition of knowledge as desirable pursuits for women. The second half of the
fourth chapter describes Sophie von La Roche’s travels through Europe as well as her collected writings about these
travels. Becker-Cantarino offers lively descriptions of these works, which still seemed to find a wide readership
among the cultural elites of German-speaking Europe.
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The final chapter offers insight into the financially more modest living situation of the older, widowed La
Roche in Offenbach, where she still managed to write and correspond until her death in 1807. Becker-Cantarino
describes how La Roche was able to keep her fictional work fresh by remaining interested in the literary productions
of a younger generation of relatives and friends. Karoline von Günderrode had her Geschichte eines Brahminen
published in La Roche’s penultimate work Herbsttage and, as Becker-Cantarino points out there are a number of
parallels in the work and personality of La Roche and her granddaughter Bettina Brentano von Arnim.
This easy to read and informative work represents an important contribution to previous scholarly work on
La Roche in that it adds nuance to what seems to be still a rather one-sided and clichéd understanding of this
colorful and complex eighteenth-century personality. The book will be of interest to anyone desiring to learn more
about the significant cultural contributions of one of the earliest best-selling female authors in German-speaking
Europe.
Catherine Grimm, Albion College
Seghers, Anna. “Ich erwarte Eure Briefe wie den Besuch der besten Freunde:” Briefe 1924–1952
(Werkausgabe, V/1.) Edited by Christiane Zehl Romero and Almut Giesecke. Berlin: Aufbau-Verlag, 2008.
747 pp. ISBN: 9783351034733 hardcover, 36.00.
This beautiful and sophisticated volume is the first major edition of Seghers’s letters, presented as the first
of two volumes of correspondence within the highly acclaimed critical edition of works by the German-Jewish
writer Anna Seghers. Finally the multifaceted letters by Seghers become accessible, although a large number of
them has not been preserved, and the correspondence with family members is still closed to publication (except for
very few early exceptions). With a highly readable concise introductory essay, meticulous commentary (that often
takes into account letters which are not included), an annotated index of names and works, as well as translations of
letters originally in English, French, and Spanish, and a detailed timeline, the volume lives up to the highest
standards of scholarly editing. The letters are important documents about this quarter century, even if direct
commentary about political and other events is rare. They are a fascinating and engaging read, both on their own or
supplementing primary works and biography; and the two volumes will prove invaluable for scholarship on Seghers
and the complex publishing conditions for exile writers. Among Seghers’s correspondents are Hans Henny Jahnn,
Stephan Hermlin, Johannes R. Becher, Georg Lukács, Helene Weigel, Bertolt Brecht and many other prominent
figures, although there is no regular exchange with other authors on aesthetic issues; publishing her ideas and
thoughts was much more important and pressing for Seghers.
Christiane Zehl Romero (Tufts University) is a pre-eminent Seghers scholar who has written a
comprehensive two-volume account of Seghers’s life (Berlin: Aufbau, 2000 and 2003) as well as an introduction to
her life and works (Reinbek: Rowohlt, 2001), and has edited Seghers’s 1924/5 diary (Berlin: Aufbau, 2003). In the
edition of the letters she was assisted by Almut Giesecke, main editor for Seghers’s works with Aufbau-Verlag.
(Seghers was one of this publisher’s flagship anti-Fascist authors from its founding in East Berlin in 1945.) For this
volume they selected 251 letters (out of more than 600 extant ones; the selection criteria are explicated, 733): the
first one in the collection was written by Seghers to her husband-to-be László Radványi in July 1924; the last one, to
Brecht in November 1952, is an important document about the Berliner Ensemble adaptation of her radio play
Jeanne d'Arc zu Rouen 1431. Few letters are from the early years; the bulk is from the time when Seghers lived in
exile in Paris and Mexico City and the years in between when she was desperately waiting for her visa to leave
Europe, living in uncertainty. Much of the urgency, worry and despair she suffered during this era entered her
famous novel Transit. Her impressions of “kaputte Menschen” and a “verhexte[s] Land” (247) upon her return to the
Eastern part of Germany in 1947 are well represented, as is her growing socialist conviction and appropriation of
SED politics during the next several years.
“Ich erwarte Eure Briefe wie früher den Besuch der besten Freunde,” she wrote in 1940 to the Prague-born
fellow writer and èmigrè Franz Carl Weiskopf (435). Staying in contact with her friends through letters was an
urgent need, not a literary exercise or idle pastime for Seghers. Through the “Rettungsseil” (665) of pleading letters
she had been able to bring herself and her family to a safe place overseas and also arrange for help for others. The
writer’s changing living situations and her various ways of relating to others are always immediately apparent in her
correspondence. She readily adapted her style to the addressee. She is most vivid when writing to her best friends—
on occasion with the coffeemaker nearby, chatting as if sitting in a café, as she writes to Weiskopf in May 1940
(441)— or arguing. She sounds very professional contacting other authors, writes encouragingly to young writers
such as Brigitte Reimann, comforts readers who seek her advice, is level-headed and diplomatic in the extensive
selection of correspondence with publishers and literary agents. She skillfully organizes projects and conferences
with other writers. She is often concerned about her writing and placing her works with publishers and translators,
Spring 2 009
making them known.
In her highly readable introductory essay, Romero outlines major differences and groups in Seghers’s
correspondence over the course of time and the major stations of her life. She takes a non-challenging, moderately
feminist approach and summarizes: “ Sie schrieb als Betroffene, die als Frau, Mutter, Autorin, Freundin und
politisch engagierte deutsche Jüdin in der ersten Hälfte des zwanzigsten Jahrhunderts überleben und ihren Weg
machen musste. Und sie [die Briefe] erlauben Einblicke in die Persönlichkeit einer komplexen, widersprüchlichen
Frau und Autorin, die zugleich phantasievoll und praktisch war, verletzlich und zäh, die Kinder und Mann liebevoll
umsorgte und ihr Talent sehr ernst nahm. Schreiben war ihr Verpflichtung und Halt” (675-6). In evaluating
Seghers’s place in the early years of the GDR, Romero is careful, emphasizing the returned èmigrèe’s interest in
new directions and initial non-identification with the Germans (668). Seghers was elected president of the Deutscher
Schriftstellerverband in May 1952. Her role in rebuilding Germany as expressed in many letters to party officials
could, however, also be read as the almost uncanny taming of a free spirit into an uncritical member of the SED
party who supported censorship and criticized the Berliner Ensemble adaptation of her work for its sympathy with
the executioner of Joan of Arc.
On January 29, 1951 Seghers wrote to Maxim Lieber: “Es ist erstaunlich, was hier ueberhaupt fuer
ungeheure [sic] grosse Ausgaben moeglich geworden sind. Die Menschen saugen Buecher auf wie trockener Boden
das Wasser” (382; Seghers wrote with a typewriter that had no Umlaute). Similarly, this impressive, meticulous
edition of her letters, supported by Berlin’s Archiv der Akademie der Künste and universities in Germany and the
U.S., might have amazed Anna Seghers as well. This reviewer wishes it many eager readers.
Waltraud Maierhofer, University of Iowa
Hertz, Deborah. How Jews Became Germans: The History of Conversion and Assimilation in Berlin. New
Haven: Yale University Press, 2008. 288 pp. ISBN: 9780300110944, $38.00 cloth.
This cultural and social history by Deborah Hertz investigates the motivations, incentives, and difficulties
encountered by the Berlin Jewish social elite from 1645-1833, focusing on the Napoleonic era. It is an outgrowth of
her first book: Jewish High Society in Old Regime Berlin, in which she portrayed salon life and intermarriages,
relying on the evidence provided by the Judenkartei compiled during the Third Reich. This book also made use of
the Judenkartei, as well as numerous published resources. Hertz consciously avoids reading the history of this
period through the lens of the Holocaust. Her narrative explains why individuals and families decided to convert to
Protestantism or to remain Jewish. The biographical portraits show sympathy, pity, and compassion for the difficult
situation of the social elite in Berlin before legal emancipation. Hertz, however, does not equate conversion with
emancipation, but through her examination of individuals’ lives and choices, she explains how complicated these
decisions were, rather than just relying of pat assertions of conversion in order to marry or to secure a job. Her
analysis centers on the desire to integrate culturally and nationally into an emerging German identity that was itself
defined in terms of ethnicity rather than geography. Hertz also considers how some who remained Jewish tried to
reform religious practice and were thwarted by the Prussian authorities, devoting considerable space to the reform
synagogue at the home of Amalie Beer.
The book is organized chronologically and uses the life of Rahel Varnhagen as a narrative thread. The
stories of prominent Berlin Jewish families and their most famous members are told: the Mendelssohns (from Moses
to Felix), Liebmanns, Itzigs, Ephraims, Isaacs, Friedländers, and Beers. The later chapters include famous figures
such as Ascher, Börne, Gans, and Heine. Larger historical developments are framed by their personal histories,
sometimes at the expense of a more detailed historical analysis. This is true of her presentation of the March 1812
Edict that granted Jews a limited civil emancipation. Portions of this were rescinded very quickly. Hertz
overestimates the positive impact it had on Jewish life in Prussia by stressing the psychological boost it offered. In
combining both social and cultural history, this short book relies more on biographical portraits than detailed
analysis of specific policies and philosophies. This format also excludes considerations of the vast majority of Jews
who were poor. By concentrating on a limited number of prominent families, Hertz gives due consideration to
women and to their influence as hostesses and salonnières–women such as Henriette Herz, Sara Levy, and especially
Amalie Beer. Her book always distinguishes between opportunities available to men and those closed to women.
The musical talents of the Beers, Mendelssohns, and Sara Levy are highlighted.
The book’s style indicates that Hertz is interested in appealing to general readers as well as specialists. The
introduction to the book is quite personal and Hertz discusses how she came to undertake this project and the
difficulties she encountered. Her frank assessment of the project is a welcome breath of fresh air in historical
studies. The epilogue is more than just a conclusion, but is rather a reflection upon how we might incorporate the
history of the Berlin Jews into our post-Holocaust assessment of German history. While the personal note is
Spring 2 009
welcome, the book’s sometimes chatty style can seem a bit forced. The reader is too often included in the narrator’s
“we.” Most infelicitous and sometimes confusing is her tendency to refer to individuals by their first names. While
Rahel Varnhagen is generally known as Rahel, her husband Karl August Varnhagen was never referred to as Karl.
The numerous Friedrichs also cause confusion. She refers to Börne as Ludwig, but Heine remains Heine.
There is a good index, but it does not include secondary literature. Statistical charts are provided in an
appendix. Overall, this relatively short book provides a lively history of the Berlin Jewish elite from 1645-1833. It
will appeal to students and to all readers interested in the cultural history of Berlin and German Jews.
Marjanne E. Goozé, The University of Georgia
Published with the Permission of The German Quarterly
~~~~ Books by Members ~~~~
“Books by members” is a list of recent publications edited or authored by WiG members. WiG members create this
list! Please submit your title with MLA bibliographic information to Sarah McGaughey (mcgaughs@dickinson.edu)
to be included in the next WiG Newsletter.
Leonhard, Sigi. STIMMEN. Cadolzburg: ars vivendi verlag, 2009.
Mahlendorf, Ursula. The Shame of Survival: Working through a Nazi Childhood. Pennsylvania
State UP: University Park, PA, 2009.
Mennel, Barbara. Cities and Cinema. London: Routledge, 2008.
Pusch, Luise F. Der Kaiser sagt Ja und andere Glossen. Göttingen: Wallstein, 2009.
Sieg, Katrin. Choreographing the Global in European Cinema and Theater. New York: Palgrave
Macmillan, 2008.
Return to ToC
Spring 2 009
~~~~ WiG Filmography ~~~~
This is a list of Austrian, German, and Swiss films produced and/or released from 2008 to date. Some films
produced and released in 2008 are not included here, because they were in the previous list of films in the Spring
2008 WiG Newsletter.
For this edition of the filmography, I have made some changes. The films are listed alphabetically by
German-language title. Each title is linked to its database entry, or if unavailable, then to the official film site. If
possible, I provide English International Title or note that the title is a TV production. To the extent that I can
identify the original language of the film, this list is only of German-language films, unless otherwise noted.
Director(s) and country of origin/production are also included. To generate this filmography, I used three primary
sources:
http://www.afc.at/
http://www.german-films.de/
http://www.swissfilms.ch/
I compiled this list, and the omissions, repetitions, and mistakes are my own. Jennifer Hosek remains responsible for
the bibliography on secondary literature in subjects of importance to members. The Summer newsletter will contain
a bibliography of primary fiction in German. My thanks to many WiGgies, notably Beverly Weber, Lisabeth Hock,
Carrie Smith-Prei, and our fearless instigator, Sara Lennox.
Sarah McGaughey, Dickinson College
Title
1 km Zürich Hardbrücke
7 More Minutes
7 oder Warum ich auf der Welt bin
9to5 – Days in Porn
10 Sekunden (10 Seconds)
12 Meter Ohne Kopf (13 Paces Without a Head)
13 Semester (13 Semesters)
24 h Berlin – Ein Tag im Leben (24 h Berlin – A Day in the Life)
(TV)
24 Stunden Schlesisches Tor
66/67
88 – pilgern auf japanisch (88 – pilgrimage in japanese)
510 Meter über dem Meer
Abnegation
Adems Sohn (Adem’s Son)
Ai-Mei
Alle Anderen (Everyone Else)
Alter und Schönheit (Age and Beauty)
Am Galgen (TV)
Anonyma - Eine Frau in Berlin (A Woman in Berlin)
Architekt, Der (The Architect)
Auge in Auge – Eine deutsche Filmgeschichte (Eye to Eye – All
About German Film)
Augenblick Freiheit, Ein (For a Moment, Freedom)
Ayla
Baader Meinhof Komplex, Der (The Baader Meinhof Complex)
bachab (TV)
Bahrtalo! Good Luck!
bärenstarke Liebe, Eine (TV)
Berlin Calling
Director
Luc Gut
Izabela Plucinska
Antje Starost
Hans-Helmut Grotjahn
Jens Hoffmann
Nicolai Rohde
Sven Taddicken
Frieder Wittich
Volker Heise
Eva Lia Reinegger
Anna de Paoli
Carsten Ludwig
Jan-Christoph Glaser
Gerald Koll
Kerstin Polte, Anina Gmür
Elias Amari
Hakan Savas Mican
Monika Treut
Maren Ade
Michael Klier
Pascal Beramin
Max Faerberboeck
Ina Weisse
Michael Althen
Hans Helmut Prinzler
Arash T. Riahi
Su Turhan
Uli Edel
Ulrich Schaffner
Robert Lakatos
Mike Eschmann
Hannes Stoehr
Country
Switzerland
Germany
Germany
Germany
Germany
Germany
Germany
Germany
Germany
Germany
Germany
Switzerland
Switzerland
Germany
Germany
Germany
Germany
Switzerland
Germany
Germany
Germany
Austria
Germany
Germany
Switzerland
Austria
Switzerland
Germany
Spring 2 009
Besuch der alten Dame, Der (TV)
Besucherin, Die (Days In Between)
Beyond Farewell (TV)
Bienen, Die – Tödliche Bedrohung (Killerbees) (TV)
bill – das absolute augenmass (TV)
Nikolaus
Lola Randl
Susanna Hübscher
Michael Karen
Erich Schmid
Bonzenkarren (Yuppy Cars)
Buddenbrooks (Buddenbrooks – The Decline of a Family)
Cash & Marry
Champions von Morgen (TV)
Chandani – Die Tochter des Elefantenflüsterers (Chandani – The
Daughter of the Elephant Whisperer)
Chantal Michel – Körper als Inszenierung und Irritation
Cheeese…hope dies last
Chrigi (TV)
Daniel Käfer: Die Schattenuhr (TV)
Deutschland 09 (Germany 09)
Lothar Herzog
Heinrich Breloer
Atanas Georgiev
Theo Stich
Arne Birkenstock
Defamation (Defamation)
Dem kühlen Morgen entgegen (Into the Cold Dawn)
Desert Flower
Deutschland nervt (Made in Deutschland)
Distanz (Distance)
Domaine
Dorfpunks
DWK 5 - Die Wilden Kerle 5 (The Wild Soccer Bunch 5)
Echte Wiener
Effi Briest
Eine von acht
Endsieg (Everything Changes In One Shot)
Endstation der Sehnsüchte
Entdeckung der Currywurst, Die (The Invention of Currywurst)
Entsorgte Väter (Firewalled Fathers)
Erbe der Napola, Das (The Heritage Of The Napola)
erste Tag, Der (TV)
Es kommt der Tag (The Day Will Come)
Europolis – Die Stadt des Deltas (Europolis – The Town of the
Delta (in Romanian)
Exitus (TV)
Fall des Lemming, Der (Lemming’s First Case)
Farbtest.6 (Colour Test.6)
Finnischer Tango (Finnish Tango)
Flowerpots
Fräulein Stinnes fährt um die Welt (Fräulein Stinnes Travels the
World)
Fräuleinwunder, Das (TV)
Freche Mädchen (Cheeky Girls)
Fremde, Die (The Stranger)
Fremde in mir, Das (Stranger in Me, The)
Friedliche Zeiten (Peaceful Times)
Austria
Germany
Switzerland
Germany
Switzerland
Germany
Germany
Germany
Austria
Switzerland
Germany
Alain Godet
Hüseyin Tabak
Anja Kofmel
Julian R. Pölsler
Fatih Akin
Wolfgang Becker
Sylke Enders
Dominik Graf et al.
Yoav Schamir
Oliver Becker
Katharina Bruner
Sherry Hormann
Hans-Erich Viet
Thomas Sieben
Patric Chiha
Lars Jessen
Joachim Masannek
Kurt Ockermüller
Hermine Huntgeburth
Sabine Derflinger
Niccolò Castelli
Daniel Casparis
Sung-Hyung Cho
Ulla Wagner
Douglas Wolfsperger
Eduard Erne
Andreas Prochaska
Susanne Schneider
Kostadin Bonev
Switzerland
Austria
Switzerland
Austria
Germany
Germany
Germany
Germany
Austria
Austria
Germany
Austria
Thomas Roth
Nikolaus Leytner
Gerd Conradt
Buket Alakus
Rafael Sommerhalder
Erica von Moeller
Austria
Austria
Germany
Germany
Switzerland
Germany
Sabine Boss
Ute Wieland
Feo Aladag
Emily Atef
Neele Leana Vollmar
Switzerland
Germany
Germany
Germany
Germany
Austria
Germany
Austria
Germany
Germany
Austria
Germany
Germany
Austria
Germany
Austria
Switzerland
Friendship!
From Somewhere to Nowhere – On the Road in China with
Photographer Andreas Seibert (TV)
Gangs
Gangster Girls
Ganz nah bei Dir
Geduldeten, Die (We Came, We Stayed, We Got Deported)
Gegenschuss - Aufbruch der Filmemacher (Reverse Shot Rebellion of the Filmmakers)
Geheimnis von Murk, Das (TV)
Gehrig kommt!
Geliebte Clara (Clara)
Geschichte mit Hummer, Eine
Geschichte von Brandner Kaspar, Die
Gestern in Eden (The Other Day in Eden)
Giardino, Il
Giù le mani (TV)
Gladys Reise – Im Herzen waren wir Indonesier (TV)
Going against Fate -- -- David Zinman und das TonhalleOrchester Zürich zur Einspielung von Gustav Mahlers 6. Sinfonie
(TV)
Granit (TV)
große Glück sozusagen, Das
große Kater, Der
Grozny Dreaming (TV)
Gurbet – In der Fremde (Gurbet – Away from Home)
Handwerker Gottes, Die (God’s Craftsmen)
Hangtime
Happy New Year (TV)
Hard(ys) Life – Blicke ins Leben eines MundHandwerkers (TV)
Harlan – Im Schatten von Jud Süss (Harlan – In the Shadow of
the Jew Suess)
Haus und Kind (House and Child) (TV)
Heilerin 2, Die (TV)
Heldin der Lüfte (TV)
Henri Vier (Henry of Navarre)
Herzausreisser – Neues vom Wienerlied (Tearing your Heart
Apart)
Hilde
Himmel und mehr - Dorothea Buck auf der Spur (Sky and
Beyond, The - On the Trail of Dorothea Buck)
Hinter Kaifeck (Kaifeck Murder)
Hitler vor Gericht (TV)
Hot Spot
House, The
Hunkeler macht Sachen (TV)
Ich träume nicht auf Deutsch (in Bosnian)
Ich will da sein – Jenny Gröllmann (The Ballad of Jenny G.)
Im Bazar der Geschlechter (In the Bazaar of the Sexes)
Im Jahr des Hundes (In the Year of the Dog)
Im Winter ein Jahr (A Year Ago in Winter)
In 3 Tagen bist du tot 2 (Dead in 3 Days – The Sequel)
Spring 2 009
Markus Goller
Villi Hermann
Germany
Switzerland
Rainer Matsutani
Tina Leisch
Almut Getto
Natascha Breuers, Ralf Jesse
Laurens Straub
Dominik Wessely
Sabine Boss
Marc Schippert
Helma Sanders-Brahms
Simon Nagel
Joseph Vilsmaier
Jan Speckenbach
Michael Ester
Danilo Catti
Stéphane Kleeb
Christa Miranda
Viviane Blumenschein
Germany
Austria
Germany
Germany
Germany
Switzerland
Switzerland
Germany
Switzerland
Germany
Germany
Germany
Switzerland
Switzerland
Switzerland
Fabian Eder
Alexander Stecher
Wolfgang Panzer
Fulvio Mariani
Mario Casella
Kenan Kiliç
Siegmar Warnecke
Wolfgang Groos
Christoph Schaub
Rolf Lyssy
Felix Moeller
Austria
Austria
Germany
Switzerland
Andreas Kleinert
Holger Barthel
Mike Huber
Jo Baier
Karin Berger
Germany
Austria
Switzerland
Germany
Austria
Kai Wessel
Alexandra Pohlmeier
Germany
Germany
Esther Gronenborn
Bernd Fischerauer
Michael Seeber
Milan Hofstetter
Markus Fischer
Ivana Lalovic
Petra Weisenburger
Sudabeh Mortezai
Ursula Scheid
Caroline Link
Andreas Prochaska
Germany
Germany
Austria
Switzerland
Switzerland
Switzerland
Germany
Austria
Germany
Germany
Austria
Austria
Germany
Germany
Switzerland
Switzerland
Germany
In Berlin
In die Welt (Into the World)
In jeder Sekunde (At Any Second)
In Limbo
Isa Hesse-Rabinovitch – Das grosse Spiel Film (TV)
Jack V. Koby
Jerichow
Jimmie (TV)
John Rabe
Kenan (TV)
Kiesler Projektionen (Kiesler Projections)
Kindersuche (TV)
Kleine Fische (Small Fish)
Knochenmann, Der (The Bone Man)
Krabat
Kronos
La Bohème
Lauf um Dein Leben - Vom Junkie zum Ironman (Run for Your
Life - From Junkie to Ironman)
Laura
Let’s make MONEY
Liebe ein Traum, Die (TV)
Liebeslied
Lila, Lila
Lippels Traum (Lippel’s Dream)
Little Alien
Loos Ornamental
Lourdes
Love, Peace & Beatbox
Luftbusiness (TV)
Mädchen mit den gelben Strümpfen, Das (The Girl with the
Yellow Stockings)
Madonnen (TV)
Magie aus der Dunkelkammer – Der Fotograf René Groebli (TV)
Manfred
Männersache (A Man’s World)
Maria, ihm schmeckt’s nicht! (Maria, He Doesn’t Like It)
Marianne von Werefkin - Ich lebe nur durch das Auge (Marianne
von Werefkin - I Live What I See)
Ma’rib
Maurus, Nadia, Flurina – (Ün on al convict) (TV)
Mein halbes Leben
Mein Robodad (My Robodad)
Memory Books
Mich Gerber – Klangmagier mit Kontrabass (TV)
Michelle – zwischen Wunden und Wunder (TV)
Mikado
Mister Karl. Karlheinz Böhm. Wut und Liebe
Mitte Ende August (Sometime in August)
Mond und andere Liebhaber, Der (Moon and Other Lovers, The)
Morphus-Geheimnis, Das (Mystery of Morphus)
Spring 2 009
Michael Ballhaus
Ciro Cappellari
Constantin Wulff
Jan Fehse
Michelle Ettlin
Anka Schmid
Anita Blumer
Christian Petzold
Tobias Ineichen
Florian Gallenberger
Eric Andreae
Heinz Emigholz
Miguel Alexandre
Marco Antoniazzi
Wolfgang Murnberger
Marco Kreuzpaintner
Olav F. Wehling
Robert Dornhelm
Germany
Adnan G. Koese
Austria
Germany
Switzerland
Switzerland
Switzerland
Germany
Switzerland
Germany
Switzerland
Austria
Germany
Austria
Austria
Germany
Germany
Austria
Germany
Germany
Ben Verbong
Erwin Wagenhofer
Xaver Schwarzenberger
Anne Høegh Krohn
Alain Gsponer
Lars Buechel
Nina Kusturica
Heinz Emigholz
Jessica Hausner
Volker Meyer-Dabisch
Dominique de Rivaz
Grzegorz Muskala
Germany
Austria
Austria
Germany
Germany
Germany
Austria
Austria
Austria
Germany
Switzerland
Germany
Maria Speth
Phil Dänzer
Daniel Zwimpfer
Gernot Roll, Mario Barth
Neele Leana Vollmar
Stella Tinbergen
Switzerland
Germany
Switzerland
Switzerland
Germany
Germany
Germany
Rainer Komers
Ivo Zen
Marko Doringer
Markus Dietrich
Christa Graf
Annina Furrer
Gabrielle Antosiewicz
Silvia Zeitlinger
Kurt Mayer
Sebastian Schipper
Bernd Boehlich
Karola Hattop
Germany
Switzerland
Austria
Germany
Germany
Switzerland
Switzerland
Germany
Austria
Germany
Germany
Germany
Music Machines
Mutig in die neuen Zeiten. Alles anders (TV)
Nachgift (TV)
Nachglühen (TV)
Nacht vor Augen (A Hero’s Welcome) (TV)
Narrenspiel (Fool’s Game)
No More Smoke Signals (TV)
NoBody’s Perfect
Novemberkind (November Child)
Oifn Weg – Ein Portrait über Cioma Schönhaus
Palermo Shooting
Parkour
Pausenlos (TV)
Peace Mission
pereSTROIKA - umBAU einer Wohnung (pereSTROIKA reCONSTRUCTION of a flat)
Perlmutterfarbe, Die
Pfad des Kriegers, Der (The Way of a Warrior)
Phantomschmerz (Phantom Pain)
Pink Taxi
Planet Carlos
Polar (TV)
Poll
Prison and The Priest, The – Peter Meienberger In Nairobi (TV)
Remarque – Sein Weg zum Ruhm (Erich Maria Remarque)
Résiste - Aufstand der Praktikanten (Resist - Rebellion of the
Trainees)
Retouches (TV)
Rimini
Robert Zimmermann wundert sich ueber die Liebe (Robert
Zimmermann Is Tangled Up In Love)
Rodakis
Romy (TV)
Rote Punkt, Der (Red Spot, The)
Sankt Pauli! Rausgehen - Warmmachen - Weghauen (Sankt
Pauli! Run Out - Warm Up - Score Off)
Schattenmenschen
Schattenwelt (Long Shadows)
schiefe Bahn, Die (Rat Train Robbery, The)
Schläft ein Lied in allen Dingen (Sleeping Songs)
Schönheiten des Alpsteins
Schottentor
Schwerkraft (Gravity)
Second Me
Seemannstreue (Sea Dog’s Devotion)
Sex Toys Stories (TV)
Schimmelreiter, Die (Sheep and Chips)
Short Cut to Hollywood
Signalis (TV)
Sneaker Stories
Sommer (Summer)
Sommersonntag (Summer Sunday)
Spring 2 009
Jonas Meier
Harald Sicheritz
Remo Legnazzi
Lisa Blatter
Brigitte Maria Bertele
Markus F. Adrian
Fanny Bräuning
Niko von Glasow
Christian Schwochow
Sarah Horst
Wim Wenders
Marc Rensing
Dieter Gränicher
Dorothee Wenner
Christiane Buechner
Switzerland
Austria
Switzerland
Switzerland
Germany
Germany
Switzerland
Germany
Germany
Switzerland
Germany
Germany
Switzerland
Germany
Germany
Marcus H. Rosenmueller
Andreas Pichler
Matthias Emcke
Uli Gaulke
Andreas Kannengiesser
Michael Koch
Chris Kraus
Armin Menzi, Ivo Kummer
Hanno Bruehl
Jonas Grosch
Germany
Germany
Germany
Germany
Germany
Switzerland
Germany
Switzerland
Germany
Germany
Georges Schwizgebel
Peter Jaitz
Leander Haussmann
Switzerland
Austria
Germany
Olaf Nicolai
Torsten C. Fischer
Marie Miyayama
Joachim Bornemann
Germany
Germany
Germany
Germany
Darioush Shirvani
Connie Walther
Jim Lacy, Kathrin Albers
Andreas Struck
Thomas Rickenmann
Caspar Pfaundler
Maximilian Erlenwein
Anna Thommen
Anna Kalus
Anne Deluz, Béatrice Guelpa
Lars Jessen
Marcus Mittermeier
Jan Henrik Stahlberg
Adrian Flückiger
Katharina Weingartner
Mike Marzuk
Sigi Kamml
Fred Breinersdorfer
Germany
Germany
Germany
Germany
Switzerland
Austria
Germany
Switzerland
Germany
Switzerland
Germany
Germany
Switzerland
Austria
Germany
Germany
Spring 2 009
Soul Kitchen
Sound of Insects, The – Record of a Mummy (TV)
Standesbeamtin, Die (TV)
Standesgemäß (Noble Commitments)
Station
Staub (TV)
Fatih Akin
Peter Liechti
Micha Lewinsky
Julia von Heinz
Christina Benz
Hartmut Bitomsky
Sturm (Storm)
Summertime Blues
Tag am Meer (TV)
Tandoori Love (TV)
Tangerine
Tannöd
Hans-Christian Schmid
Marie Reich
Moritz Gerber
Oliver Paulus
Irene von Alberti
Bettina Oberli
Tausend Ozeane (TV)
Teil von mir, Ein (Piece of Me, A)
This is Love
Tränen meiner Mutter, Die (My Mother's Tears)
Transfer
Trip to Asia - Die Suche nach dem Einklang (Trip to Asia - The
Quest for Harmony)
Trouble - Teatime in Heiligendamm
Tür, Die
U-900
UmDeinLeben (LifeTimeShort)
Unter Bauern (Among Farmers)
Unter Strom (Live Wire)
Upstream Battle
Vandalen (TV)
Vaterspiel, Das (Kill Daddy Good Night)
Vergissmeinnicht – ne m’oubliez pas (TV)
Luki Frieden
Christoph Roehl
Matthias Glasner
Alejandro Cardenas-Amelio
Damir Lukacevic
Thomas Grube
Vorstadtkrokodile (Suburban ’Gators)
Waffenstillstand (Ceasefire)
weiße Band, Das
Welle, Die (The Wave)
Werther (TV)
wilden Hühner 3, Die (Wild Chicks 3)
Wo ist Max?
Wolke 9 (Cloud 9)
wundersame Welt der Waschkraft, Die (The Wondrous World of
Laundry)
Ya Sharr Mout (TV)
Zara
Zarte Parasiten (Tender Parasites)
Zimmer (Rooms)
Zum Auftakt Rossini
Zum Dritten Pol (To the Third Pole)
Mind Pirates
Anno Saul
Sven Unterwaldt
Gesine Danckwart
Ludi Boeken
Zoltan Paul
Ben Kempas
Simon Steuri
Michael Glawogger
Jean-François Amiguet
Willy Rohrbach
Christian Ditter
Lancelot von Naso
Michael Haneke
Dennis Gansel
Uwe Janson
Vivian Naefe
Juri Steinhart
Andreas Dresen
Hans-Christian Schmid
Germany
Germany
Germany
Germany
Germany
Germany
Germany
Switzerland
Austria
Switzerland
Sabine Gisiger
Ayten Mutlu Saray
Switzerland
Austria
Switzerland
Germany
Germany
Switzerland
Germany
Zum Vergleich
Field Recordings
Michael Dreher
Christian Labhart
Andreas Nickel
Jürgen Czwienk
Harun Farocki
Zweier ohne (Coxless Pair)
Zwerg Nase (TV)
Jobst Christian Oetzmann
Felicitas Darschin
Germany
Switzerland
Switzerland
Germany
Switzerland
Switzerland
Germany
Germany
Germany
Switzerland
Switzerland
Germany
Germany
Switzerland
Switzerland
Germany
Germany
Germany
Germany
Germany
Germany
Germany
Austria
Germany
Germany
Germany
Switzerland
Germany
Germany
Austria
Germany
Germany
Germany
Return to ToC
Spring 2 009
~~~ Calls for Papers of Interest to Wi G ~~~
Gesundheit! Medicine in German Literature
South Atlantic MLA (SAMLA) 2009 Convention; 6-8 November 2009 in Atlanta, GA
This session welcomes paper proposals on any aspect of medicine in German literature in the eighteenth,
nineteenth, and early twentieth centuries. Possible topics might include literary representations of physicians,
patients, or diseases; narratives of illness or recovery; representations of medical technologies, remedies, or
therapies; ancient and modern medical theories in literature; the construction of disease as metaphor; the
pathologization of behaviors, groups, or individuals; literary and medical intertextuality; or writers and disease.
Other topics dealing with medicine in literature are also welcome.
By May 1, 2009, please send one-page abstracts by email to ep75@msstate.edu or via post to Edward T.
Potter, Department of Foreign Languages, Mississippi State University, P. O. Box FL, 300 Lee Hall, Mississippi
State, MS 39762. For more information on the SAMLA Convention, please visit http://samla.gsu.edu/index.htm
Northeast Modern Language Association / 2010 Annual Convention
Montreal, Quebec; 7-11 April 2010
Experience the lively and intimate exchange that NeMLA offers at its 41st annual convention in downtown
Montreal, sponsored by McGill University.
Sessions on any aspect of German-language culture, literature, and film are encouraged; we also welcome
cross-disciplinary and comparative panels. Sessions can be proposed electronically through NEMLA’s website:
http://www.nemla.org. Deadline for panel proposals: April 15, 2009 The full Call for Papers will be available
online in June 2009. The abstract deadline for most sessions will be September 30, 2009.
Early Modern Women: An Interdisciplinary Journal (EMWJ) invites submission of essays related to
women and gender covering the years 1400 to 1700. EMWJ is the only journal devoted solely to the
interdisciplinary and global study of women and gender during the years 1400 to 1700. The editors encourage
submissions that appeal to readers across disciplinary boundaries. Essays may cover but are not limited to such
topics as literature, history, art history, history of science, music, politics, religion, theater, cultural studies, and any
global region.
Editors will accept submissions on a continuous basis, and are now soliciting submissions for Volume 4.
For manuscript submissions, please send an electronic copy to emwjournal@umd.edu and five paper copies
addressed to:
Editors, Early Modern Women: An Interdisciplinary Journal
Center for Renaissance & Baroque Studies
Taliaferro Hall 0139
University of Maryland
College Park, MD 20742-7727
All manuscripts must be printed double-spaced (including documentation), on one side of letter-size paper, and
should not exceed 35 pages (8750 words) including notes. Documentation should appear as endnotes without
bibliography upon first submission, and MUST follow Chicago Manual of Style, 15th edition (2003), chapters 16
and 17 (NOT author-date style).
For a brief guide to the appropriate notation style for EMWJ manuscript submissions, please visit our
website. www.emwjournal.umd.edu. All manuscripts are subject to editorial modification.
Bearing Witness to Our Lives as Mothers in Academia
Mari Castañeda and Kirsten Isgro, Editors. As more women enter academia as students and intellectual
workers, universities are being challenged to rethink policies in order to ensure a greater balance between family life
and academic life as well as recognize the ways in which women are reshaping the cultural and intellectual
dynamics of higher education. Despite emerging changes, mothers continue to struggle for a voice in an academic
landscape that privileges students and scholars who are able to commit countless hours to their areas of study.
This volume aims to give voice to women who are or have been mothers as undergraduates, graduate
students, administrators, and professors in order to bare witness to their success and the strategies they employed in
their efforts to grapple with motherhood while in academia. In addition to testimonios (testimonial accounts) of
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women's lives as mothers in academia at various stages, the book will also include chapters that discuss theoretically
and empirically the material conditions of working mothers in a moment when higher education is becoming more
laborious. As the political economy of academic institutions shifts towards corporate-based models of teaching, in
both blatant and subtle ways, it's critical to ascertain how women's lives in the academy, and by extension by their
families, will be affected these structural-cultural changes. We welcome essay proposals that address one of the
following areas:
• Being a Mom as a traditional or non-traditional Undergraduate Student
• Balancing Graduate School and Motherhood
• Parenting While on the Higher Education Administrator and/or Professorial Track
• Policies that Support Mothers in Academia
Please send a 300-word ABSTRACT by April 15, 2009 to mari@comm.umass.edu and isgrok@plattsburgh.edu.
Complete manuscripts will be solicited after abstracts are fully reviewed. Please don't hesitate to contact us for
further information:
EDITORS:
Dr. Mari Castañeda, Associate Professor, Dept. of Communication, University of Massachusetts Amherst,
413-545-1307
Dr. Kirsten Isgro, Visiting Assistant Professor, Dept. of Communication, State University of New York
Plattsburgh, 518-564-2407
AATG-German Quarterly Graduate Student Paper Award
The American Association of Teachers of German announces an award for the best research paper by a
graduate student on any topic related to German Studies. A selection committee (including members of the German
Quarterly editorial board) will choose the winning paper, which will be published in the German Quarterly. The
award recipient will be announced at the 2009 AATG Annual Meeting in San Diego.
Eligibility: Any student enrolled in an M.A. or Ph.D. program at the time of submission is eligible to submit
one previously unpublished paper, either in English or in German. Papers should be between 3,500 and 9,000 words
in length (including endnotes).
Submission procedures: An electronic version of the paper should be submitted to James Rolleston, editor of
German Quarterly, as an e-mail attachment (german.quarterly@duke.edu). Deadline for submissions is August 15,
2009. Please include a cover sheet with author's name, institutional affiliation, contact information, title of the
paper, and word count. A faculty endorsement of the paper submission must also be submitted via e-mail.
Call for participation: “Audre Lorde in Berlin - On and Off Stage” (working title)
Dagmar Schulz thought newsletter readers might be interested in her work on the following project. In
many ways the project chronicles Audre Lorde's last years, seeking to celebrate Audre Lorde's energy and
enthusiasm as well as the special connection she had to the feminist community in Berlin.
Dagmar is still seeking additional funding - please contact her at the address at the bottom of this project
description for more information or if you have ideas for her. A film based on videos taken in Berlin in 1991/92
combined with photos, some video material of earlier years and present-day interviews (ca. 60 minutes, English
language, PAL and NTSC DVD). Examples of scenes for “Audre Lorde in Berlin - On and Off Stage”:
- reading at the America House in Berlin in 1984
- reading at Orlanda Publishing’s 15th anniversary in 1989
- Audre Lorde's last reading in the apartment of Ika Hügel-Marshall and Dagmar Schultz, where she was
staying for several months each in 1991 and 1992. Lorde devoted the reading to the South African women.
- Audre's last dance party (with Gloria Joseph and with Black German women of several generations) in the
same apartment.
- Audre shopping in the city, talking with street vendors; on the market talking about her childhood;
enjoying sausage and ice cream at a lake...
- Audre macromeing; cutting beets and talking about her mother, about other authors...; arranging flowers
on the balcony while talking about older women/lesbians
- discussions with the women of Orlanda Publishers about her books, the process of revising poems, and
about a new book of poetry. (Lorde selected 42 poems during her last summer in Berlin which Orlanda
published posthumously as a bilingual edition).
- talks with Black German women and men
- interview with Dagmar Schultz
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- encounters/personal and political conversations with women (authors) from other countries (Ellen
Kuzwayo from South Africa; Gloria Wekker and Tania Leon from Amsterdam; Cathy Dunsford, author
from Aoteora; Lisette Lobato Mendonca from Brazil)
- talk with Lorde’s naturopath Manfred Kuno about test results
The scenes include lots of laughter, sensual experiences, political insights. In addition I will use photos of which I
have many. In parts where the sound is not good, we will use voiceover of poetry and some subtitles.
Dagmar Schultz Dagschultz1@aol.com
“Reading Female Happiness in Eighteenth- and Nineteenth-Century German Literature: Texts
and Contexts”
Call for a Special Theme Issue of Seminar: A Journal of Germanic Studies. Guest Editors: Alan Corkhill
(The University of Queensland, Australia) and Katharina von Hammerstein (University of Connecticut, USA).
Submissions are sought for a special theme issue of Seminar focusing on representations of female happiness in
German fiction, drama, poetry, and autobiographical writings from the Enlightenment to the Fin de Siècle. The aim
of this collection of essays is to contribute to a cultural and intellectual history of happiness and add fresh
perspectives to the existing body of literary scholarship on German-speaking authors and their work during the
period under review. Contributions are particularly welcome that address one or more of the following topics: -the
extent to which historical and current philosophical/theological, sociological, political/ideological, and pedagogical
theories/models of female happiness are reflected in literary texts; -the role of happiness in constructions of
femininity; happiness and sexual politics; happiness and women’s education and/or profession; -the particular
emphasis given to issues of female happiness and well-being (e.g., domestic/conjugal ‘bliss’ and philanthropy) in
the popular subgenres Frauenroman and Eheroman; -the female creative process as self-fulfillment and/or a catalyst
for self-determination. Additional topics on happiness discourse and various theoretical approaches will be taken
into consideration. Contributors might wish to consider whether there is such a thing as gendered felicity, and, if so,
how male/female happiness is variously defined, differentiated, and culturally mediated by writers of both sexes.
The Editors ask that manuscripts not exceed 6000 words including Works Cited. They may be submitted in
German
or
English
and
must
conform
to
the
Seminar
guidelines
(www.humanities.ualberta.ca/Seminar/submissions.htm or consult the Editor: rwhiting@ualberta.ca). Enquiries
should be directed to the Guest Editors, Alan Corkhill (The University of Queensland; a.corkhill@uq.edu.au) and/or
Katharina von Hammerstein (University of Connecticut; von.hammerstein@uconn.edu). Submission due date:
December 1, 2009. Earlier submissions are welcome.
Submissions Policy: Calls for Papers welcomes announcements that are of interest to WiG members. Liz Mittman Michigan
State University, mittman@msu.edu.
Return to ToC
Spring 2 009
~~~~ European News ~~~~
Call for Articles: Disability in German Literature, Film and Theatre
The editors of the fourth volume of the Edinburgh German Yearbook (2010) would like to invite
contributions on the subject of 'Disability in German Literature, Film and Theatre'.
Like Gender Studies, Postcolonialism and Queer Theory, Disability Studies is part of the broader
discussion of difference and 'otherness,' and is largely situated within debates about the politics of identity, social
processes, human rights, ethics and discrimination. As a critical resistance strategy, Disability Studies has sought to
retrieve the silenced voices of disabled figures from their cultural locations in literature, film and theatre, and discuss
their position in relation to the counterpoint of normalcy. During the last decade, Disability Studies has explored the
binary construction of 'able' and 'disabled,' exclusion strategies, and the ways in which the disabled body has been
decentred, marginalized, and has suffered under the surveillance of controlling social and medical structures and
mechanisms that practice power over the individual. Disability Studies in now entering a phase of positive (self-)
reflection and is starting to address the ontological politics of disability. In the light of this turning point, this volume
sets aside the division between 'able' and 'disabled' bodies, and moves away from the politics of the social and
medical models of reaction to disability, and from viewing the disabled subject as representative of the postmodern
condition of fragmentation. It focuses instead on cultural (re-)presentations of disabilities that raise questions about
'the humane gaze,' and seeks to establish disability as a condition that historically has been at the heart of the
discussion of humanity, modernity, and the issues of social and moral behaviour in literature, film and theatre in the
German Language.
Suggested points of focus include the humanizing and (de-)humanizing gazes; the experience of the
modern condition and the discourse of disability; the construction, performance and (re-)presentations of the
dis/abled body; the ableist and disabled gazes; the effects of inclusion and exclusion strategies; and present and
future heterotopias of disability.
Abstracts for proposed contributions should be submitted to both editors by email in English or German
(100-200 words) by 30th March 2009*: Dr Eleoma Joshua eleoma.joshua@ed.ac.uk and Dr Michael Schillmeier
m.schillmeier@lmu.de. Publication will be in the autumn of 2010, and the deadline for finished contributions will be
30 January 2010. The papers must be in English or German.
EGY is an annual publication in German Studies, published by Camden House. It intends to encourage
lively and open discussions of themes pertinent to German Studies, viewed from a wide variety of perspectives
inside and outside the conventional boundaries of the discipline.
Contact: Dr. Eleoma Joshua, German Section, School of Literatures, Languages, and Cultures, University
of Edinburgh, David Hume Tower, Room 10.09, George Square, Edinburgh, EH8 9JX, Tel:0131 650 3627
Call for Articles: AUSTRIAN STUDIES 18 (2010) Austria and the Alps: Landscape, Culture and National
Identity
For scholars with an interest in Austria, the capital, Vienna, has tended to occupy centre stage. Whilst this
is entirely understandable, it is slightly at odds with a widespread perception of Modern Austria as an 'Alpine'
country, shaped both geographically and culturally by her mountainous landscapes. Although the Alps, stretching
west and east of Austria's modern borders, transcend and resist all 'national' claims, Austria's relationship to the
mountains is in many ways unique. With the dissolution of the Austrian-Hungarian empire and the reduction of
Austria to its German-speaking 'rump', a mountain range that had enjoyed only regional significance in the context
of a much larger state came to occupy a more significant, symbolic position in the redrawn 'Austria', comparable in
some ways to neighbouring Switzerland's close identification with the Western Alps. As such, the rich cultural
history of the Alpine region took on new significance for Austria, which, even in its much reduced form, remained a
diverse and in some respects contradictory state. For many citizens the blurring of regional and national identities
remains problematic, as do tensions between overlapping practical, political, scientific and aesthetic conceptions of
the Alps, and ongoing perceptions of the cultural distance between the capital and rest of the country.
For Volume 18 of Austrian Studies (2010) we invite proposals for articles on the resultant multi-faceted
cultural responses to the Austrian Alps, on their historical and cultural (re)constructions, and on the complex
discourses of identity, aesthetics, nature, and nationhood in which the mountains continue to play a role.
Interdisciplinary contributions are very welcome, as are papers focused on specific historical periods. Proposals
relating to any of the following thematic areas would be particularly welcome:
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1.
Cultural responses to and representations of the Austrian Alps in, for example, prose fiction, poetry,
autobiography, visual arts, film
2.
The mountain as topos, symbol and motif in Austrian culture and society
3.
Romantic conceptions of nature and of 'space'
4.
The Alpine between tradition and modernity
5.
Conceptions of 'Heimat' and the Austrian Alps
6.
The Alps and 'Austrianness'
7.
Urban versus regional culture(s) and identities; Vienna and the Alps
8.
The Alps as borderland; transnational Alpine identities
9.
The Alps as site for tourism, sport and leisure
10. The Alps in the context of discourses of health and the 'natural'
11. Winter sports and national identity
12. The Alps and youth culture
13. Gender identities and the Alps
14. Alpinism and heroic configurations of the mountaineer
15. Claiming the Alps: Alpine Exploration and Imperialism; the history of the Alpenvereine
16. Rationalist agendas and the Austrian Alps
17. Mountains, kitsch and popular culture
18. Science and the Alps
Brief proposals should be sent to Dr Jon Hughes (jon.hughes@rhul.ac.uk) by 1 May 2009. It is anticipated that the
deadline for completed articles will be January 2010. Dr Jon Hughes, Senior Lecturer in German, School of Modern
Languages, Literatures and Cultures, Royal Holloway University of London, Egham, Surrey TW20 0EX, Tel. +44
(0)1784 443200
Call for Articles: A Critical Guide to Bauhaus Theatre and Performance
Edited by Birgit Haas (Drama Dept, Exeter)
This collection of essays seeks to close a significant gap in the research field, as the Bauhaus hosted one of
the most innovative and artistically significant artistic groupings before its closure by the Nazis in 1933. Research
on the Bauhaus published in English focuses mainly on the visual arts. In contrast to these approaches, this
collection of essays will shed light on the practical performance work at the Bauhaus. Furthermore, it will provide
an insight on the self-reflexive practice through looking at the theoretical writings by practioners. This book wants
to bring together scholars from Drama, Performing Arts, German, and Visual Arts in order to revise and re-examine
the theatre and performance at the Bauhaus (e.g. Oskar Schlemmer, Walter Gropius, Lazlo Moholy-Nagy, Johannes
Itten, and Vassily Kandinsky). The main objective of this book is to present an overview of both the practical and
theoretical implications of the Bauhaus. Looking at both practice and theory of major artists that worked at the
Bauhaus, this book’s aim is to provide a critical approach to their work. Contributions to the following areas are
invited:
Part I. Context, Places and Lives
Part II. Practitioners and Practices (e.g. Gropius, Hirschfeld-Mack, Itten, Moholy-Nagy, Kandinsky,
Schlemmer, Schreyer, Weininger)
Part III. Theoretical Writings
Deadline for abstracts (300 words): 30 May 2009. Deadline for chapters (in English) (6-7000 words): 30 October
2009. Email submissions to: b.h.haas@ex.ac.uk, Dr Birgit Haas, Dept of Drama, Director of UG Studies, Thornlea,
New North Rd, Exeter EX4 4LA, Tel 0044 1392 262426.
CfP: Phono-Graphien. Akustische Wahrnehmung in der deutschsprachigen Literatur
24. – 26. September 2010, Germanistisches Seminar der Universität Heidelberg
Seit Platon steht die europäische Kultur unter dem Primat des Auges. Doch schon die alltägliche Erfahrung
zeigt, dass neben dem Sehen in besonderer Weise der Hörsinn zu den Grundkonstituenten von Wahrnehmung
gehört. Der Mensch als „lautproduzierendes Wesen“ (Plessner) partizipert an der ‚polyphonen Partitur‘ der
Welt ebenso wie Schallphänomene zur Erschließung von Welt als präzisem „Bewandtnis-zusammenhang“
(Heidegger) beitragen. Insofern Literatur Welt abbildet, deutet oder schafft, rekurriert auch sie auf akustische
Phänomene. Sie verschriftlicht sie und verleiht ihnen – nun als Grundkonstituenten ihrerTextwelten –
Zeichencharakter. Damit wird Literatur zur „Phono-Graphie“, der Leser zum ‚Tonabnehmer‘. Die Germanistik hat
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die akustische Dimension von Texten aber bislang nicht systematisch untersucht. Der Tagung geht es daher
darum, phonographische Phänomene deutschsprachiger Epik, Dramatik und Lyrik mit Schwerpunkt auf der Zeit
ab 1800 in ihren Traditionen und Paradigmen zu beschreiben. Dabei sollen Historizität, Kul-turalität und
Poetizität des Auditiven erfasst, seine narrative, lyrische bzw. symbolische Relevanz profiliert und literarische LautSchriften decodiert werden.
Themen bzw. Leitfragen können sein: Was sind historische, anthropologische, philosophische, begriffsund kulturgeschichtliche Implikationen akustischer Wahrnehmung (etwa: Hierarchien der Sinne, Geräusche des
technischen Fortschritts, des Films und Hörspiels, Philosophie akustischer Wahrnehmung, der Schrift, der Stimme
und der Musik)? Was ist ihre jeweilige Relevanz für eine phonographische Poetik der Moderne?
Ferner sind Beiträge zur ästhetisch-akustischen bzw. musikalischen Qualität von Dichtung (Metrik,
Rhythmus, Reim, Onomatopoiesis) sowie zum Gegensatz von Oralität und Literalität (Derrida, Kittler) und
von Natur- und Kunstpoesie wünschenswert. Insofern die Phono-Graphie außenweltliche oder innersubjektive
Geräusche in einen Text
transponiert, können außerdem literarische Schall-Räume (z. B. Stadt,
Land,
belebte/unbelebte Natur, Technik, Musik, Körper und Krieg) untersucht werden. Was sind ihre Stereotypen und
Kategorien (kurioser/komischer, phantastisch-satirischer, grotesker, unheimlicher, halluzinativ-visionärer,
mythischer sowie erotischer Raum), welches die auf ihnen beruhende Psychologie der akustischen
Wahrnehmung? Welche phonographischen Epochenprofile, welche Diachronie der einzelnen Schall-Räume lassen
sich beobachten, welche Schallprofile
handelnder Figuren sich als Mittel – auch gendertypologischer
Charakterschilderung erkennen?
Ebenso gilt es in anderer Hinsicht, der Relevanz des Hörsinns im Spannungsfeld von Immanenz und
Transzendenz nachzugehen. Anhand der Themen von Stimme, Sprechen und Schweigen können in
phonographischer Perspektive einerseits Paradigmen und Bruchstellen selbstbezüglicher und sozialer Beziehungen
aufgezeigt werden (z. B. Aporien der Identität, Gehorchen und Hörigkeit als autoritäre Strukturen). Andererseits
wäre das Hören auf eine jenseitige Kunde als Grenzüberschreitung zu explizieren, anhand dessen die
Grundlinien einer phonographischen Poetik des Heiligen und der Transzendenz sowie akustische Epiphanien in
der säkularen Moderne ausgewiesen werden können.
Abschließend soll Raum für Einzelinterpretationen phonographischer Leittexte zur Verfügung stehen. Ein
Text wird zu diesem Zweck als Leittext definiert, wenn er in Handlungsverlauf, Figurencharakter, Setting,
Symbolik, Selbstreferentialität oder Poetizität von mindestens einem akustischen Phänomen abhängt. Aus der
Perspektive von Literatur als Phono-Graphie kann hier vor allem der symbolischen Relevanz des Auditiven
Rechnung getragen werden.
Die Tagung richtet sich an Germanisten, Komparatisten,
Kulturwissenschaftler, Anthropologen,
Philosophen und Medienwissenschaftler, explizit auch an Nachwuchswissenschaftler. Sie wird vom 24. – 26.
September 2010 im Germanistischen Seminar der Universität Heidelberg stattfinden. Eine finanzielle Förderung
ist angestrebt. Beiträge sollen eine Länge von 25 Minuten nicht überschreiten, ausreichend Zeit für eine Diskussion
wird eingeplant. Tagungssprache ist Deutsch. Bitte senden Sie Ihre Exposés (max. 400 Worte) sowie eine biobibliographische Skizze bis zum 31. März 2009 an marcel.krings@gs.uni-heidelberg.de
Kontakt: Dr. Marcel Krings, Germanistisches Seminar der Universität Heidelberg, Hauptstr. 207-209, 69177
Heidelberg, Tel.: +49 (0)6221-543228, Web: http://www.gs.uni-heidelberg.de
CfP: At the Crossroads between Magic and Positivism: Walter Benjamin and Anthropology
An International Symposium at the University of Oxford, 1-3 September 2009
‘Der unmittelbare Rückschluss von der Weinsteuer auf [Baudelaires] “L'Ame du vin” schiebt den
Phänomenen eben jene Art von Spontaneität, Handgreiflichkeit und Dichte zu, deren sie im Kapitalismus sich
begeben haben. In dieser Art des unmittelbaren, fast möchte ich wiederum sagen, des anthropologischen
Materialismus steckt ein tief romantisches Element […]. [S]o könnte man sagen, die Arbeit sei am Kreuzweg von
Magie und Positivismus angesiedelt.’ (Adorno, Benjamin, Briefwechsel, 368) ‘The direct connection drawn between
the wine tax and [Baudelaire’s] “L’Ame du vin” ascribes to phenomena the very spontaneity, tangibility, and density
that capitalism has stripped from them. In this kind of unmediated – I would almost say anthropological –
materialism lurks a deeply Romantic element […]. [O]ne might say that [your] work has situated itself at the cross
roads of magic and positivism.’ (Benjamin, Selected Works, Vol. 4, 101-2) As Theodor Adorno’s response to
Walter Benjamin’s Paris of the Second Empire in Baudelaire implies, anthropology plays a complex role in
Benjamin’s writings, where it is situated between such divergent forces as materialism and romanticism, positivism
and magic. This anthropological dimension of Benjamin’s approach is frequently cited or evoked; ‘What is the
effect of industrial- capitalist technology on the organization of the human senses, and how does it affect the
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conditions of experience and agency, the ability to see connections and contradictions, remember the past, and
imagine a (different) future?’ (Miriam Hansen). However, the possible roots and implications of this method still
merit more detailed attention. To what extent was Benjamin (as a reviewer and researcher) familiar with current
anthropological debates? What was the focus of his engagement, and how did it influence his own writings and
methodology? Does Benjamin’s interest in the discipline change in line with his increasing focus on political
questions, or does anthropology, on the contrary, provide a sense of continuity between the ‘early’ Benjamin and his
later works? What role did anthropology play in contemporary political and intellectual debates, and to what extend
did Benjamin participate in and contribute to such discussions? The symposium, part of the Oxford-Princeton
Research Partnership BENJAMIN ENCOUNTERS, will pursue the links between Benjamin and anthropology from
three connected points of view: in addition to the function and development of anthropology in Benjamin’s own
writings, it will also enquire into the impact of anthropological research on Benjamin’s wider context (e.g., the
Frankfurt School), as well as into Benjamin’s own contributions to ongoing anthropological debates. To enable a
broad and interdisciplinary discussion, we invite proposals from researchers working in literary studies, philosophy
and anthropology, but also in fields such as history, politics, art history, cultural and media studies. Possible
questions to be addressed include: - Benjamin’s anthropological materialism - anthropology and collecting: in search
of the object - Benjamin as a commentator on the history of anthropology - anthropology at the crossroads of magic
and positivism - the anthropological foundations of language - the child, toys and education - the roots of civilisation
- an anthropology of literature, arts and the media - political anthropology: Benjamin’s Marxism - anthropology and
religion.
The deadline for proposal is April 27, 2009. Proposals for 30-minute papers (in English) should be sent to Carolin
Duttlinger (carolin.duttlinger@wadh.ox.ac.uk) or Tony Phelan (anthony.phelan@keble.ox.ac.uk), who can also
provide further information.
7th Landau-Paris Symposium on the Eighteenth Century: Touch and Taste (and Smell)
22-24 October 2009 in Landau
As an interdisciplinary venture, the Landau-Paris-Symposia of the past years have focused on the
exploration of the relations between TASTE and the senses. The 5th annual meeting, held in Landau in 2007, was
dedicated to the study of sight, while last year’s 6th meeting in Paris tackled smell and hearing and their impact on
taste in literature, music and art, with an occasional glance at philosophical dimensions. The third meeting on taste
and the senses, to be held in Landau this year, will continue the three-year series on this fascinating topic with
papers on the last two senses of touch and taste. As the papers proposed on smell in 2008 were very stimulating but
few, the organizers will also consider new proposals on that sense.
We therefore invite proposals for papers (English or French) on important aspects of the relations between
touch, smell and taste, and TASTE in the long eighteenth century (European literatures, art, philosophy, music, and
drama). Interdisciplinary papers are especially welcome. Please send your abstracts (about 100 words) to both
Frèdèric Ogèe frederic.ogee@univ-paris-diderot.fr AND Peter Wagner: wagner@uni-landau.-de The deadline is
April 30, 2009.
The organizers are hoping to host a final, concluding meeting in 2010, which will gather all the participants
in the programme and aim at drawing conclusions and bringing forward new questionings that will open new ground
for further research. The best papers from all the symposia will be published by WVT in volume 3 of the LAPASEC
series (see the website: http://www.uni-landau.de/anglistik/LAPASEC/index.htm).
CfP: Die Figur des Zeugen. Interdisziplinäre Perspektiven auf eine soziale Institution des Wissens
Internationale Graduiertentagung des Instituts für Philosophie der FU Berlin. Prof. Sybille Krämer am Institut für
Philosophie der Freien Universität Berlin, 09.07.2009-11.07.2009, Clubhaus der FU Berlin. Deadline: 30.04.2009.
Ein Großteil dessen, was wir wissen, basiert auf Information durch Worte anderer. Die Figur des Zeugen,
der von einem vergangenen Ereignis berichtet und es damit anderen zugänglich macht, verkörpert eine für die
menschliche Lebenswelt fundamentale Wissenspraxis - sei es der Mittler von Alltagswissen, der Augenzeuge vor
Gericht, der Zeit- bzw. Überlebenszeuge in der Historiographie, der wissenschaftliche Experte und schließlich auch
der Glaubenszeuge, der durch sein Leben oder seinen Tod für seine Religion zeugt und sie tradiert.
Umso erstaunlicher, dass Philosophen dieses Thema lange Zeit sehr eindimensional erörtert haben: Das
Phänomen der Zeugenschaft wurde lediglich unter der erkenntnistheoretischen Frage diskutiert, ob das Wissen
durch Zeugen überhaupt wirkliches Wissen sei. Doch ist das Problem des Zeugnisablegens damit erschöpft? Das
Ziel der internationalen Graduiertentagung ist, die Figur des Zeugen als soziale Institution des Wissens zu
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untersuchen und dabei nicht nur den Informationscharakter, sondern auch ethische, politische und kulturelle
Dimensionen in den Blick zu nehmen. Eine rechtshistorische und phänomenologische Analyse des Gerichtszeugen,
der als Prototyp dieser Wissensinstitution betrachtet werden kann, soll als Ausgangspunkt dienen, um weitere
Spielarten des Phänomens Zeugenschaft in Religionswissenschaft, Geschichtsschreibung, Philosophie,
Naturwissenschaft, Literatur und Kunst zu untersuchen. Zu unterscheiden wird dabei sein, wovon hier jeweils
Zeugnis abgelegt wird, und ob es um den Transfer eines positiven Wissens geht oder um das Zeugnisablegen selbst
als ethisch-politischen Akt.
Die Praxis des Zeugnisablegens hat mannigfaltige Erscheinungsformen und, so kann man mit Renaud
Dulong sagen, ist ein universales Element menschlicher Kultur. Zeugenschaft ist eine soziale Praxis, sie findet stets
zwischen Sprecher und Publikum statt - als Zeuge gilt nur jemand, der als solcher von einer Zuhörerschaft
akkreditiert wird, der als glaubwürdig gilt. Allerdings zeigen schon ältere Rechtsordnungen, dass der Zeuge stets
einer gewissen Skepsis ausgesetzt ist - bevor seine Aussage als Beweis gelten kann, muss seine Glaubwürdigkeit
und persönliche Integrität auf den Prüfstand. Es gehört zum charakteristischen Dilemma des Zeugen, dass er seine
eigene Vertrauenswürdigkeit nicht bezeugen kann. "Durch zweier Zeugen Mund/ wird allewegs die Wahrheit kund"
schreibt Goethe im "Faust" (I, Vers 3013) und zitiert damit eine klassische juridische Regel, die in älteren
Rechtsordnungen bestimmend für den Umgang mit Zeugen war: Eine Zeugenaussage musste von mindestens einem
weiteren Zeugen bestätigt werden, um als voller Beweis zu gelten. Heute ist die Beweiskraft von Zeugen vor Gericht
zusätzlich in Frage gestellt: Studien der experimentellen Aussagepsychologie belegen, dass die Aussage eines
Zeugen - selbst wenn dieser nach bestem Wissen und Gewissen aussagt - ungenau, unzuverlässig und folglich kaum
beweiskräftig sind. "Konkurrenz" bekommt der Augenzeuge auch durch den verbreiteten Gebrauch von
Videokameras, deren Objektive dem Paradigma des objektiven Sehens besser entsprechen. Während der Zeuge sich
immer zuerst als integre Person bewähren muss, vermitteln technische Aufnahmen sofort eine gewisse Evidenz, wie
Susan Sontag und Roland Barthes in ihren Essays zur Fotografie geschrieben haben (Roland Barthes: Die helle
Kammer. Frankfurt a.M. 1985; Susan Sontag: Über Fotografie. Frankfurt a. M. 1980). Sprache verfügt nicht über
diese Evidenz: Der, der sie benutzt, kann immer auch lügen. Darin, so schreibt Barthes, "liegt das Übel (vielleicht
aber auch die Wonne) der Sprache: dass sie für sich selbst nicht bürgen kann" (Barthes 1985, S. 96).
Dieses von der Experimentalpsychologie konstatierte Defizit des Zeugen lässt sich aber positiv zu der
Frage wenden: Was macht die Singularität des Zeugnisses im Gegensatz zur Aufnahme eines technischen
Registriergeräts aus? Worin besteht die spezifische Wahrheit des Zeugnisses und seine Bedeutung für die
Vermittlung und Erzeugung von Wissen?
Mögliche Fragestellungen sind
- Welche Rolle spielen Zeugen vor Gericht und für die rechtliche Verfassung einer Gesellschaft? Ist der
Gerichtszeuge paradigmatisch für andere Phänomene der Zeugenschaft
- Welche Bedeutung haben Zeugen im religiösen Kontext - wie wird ihre Rolle im Judentum,
Christentum oder Islam bestimmt?
- Welchen Status haben Zeugen bei der Aufarbeitung von Geschichte? Der Historiker Herodot
bezeichnete sich selbst als histor, was auch Zeuge bedeutet. Zugleich scheint aber eine klare Trennung
zwischen Historiker und Zeitzeuge notwendig für eine sachliche Aufarbeitung der Geschichte.
- Ist das Zeitzeugnis Wissensquelle, Indiz, Spur der Vergangenheit? Was ist mit Zeugnissen, die von
einem traumatischen Erlebnis berichten und singuläre Bedeutung haben, wie etwa
Überlebendenzeugnisse der Shoah?
- Ist Zeugenschaft ein ethisches Problem?
- Welche Funktion tragen Zeugen für die politische und kulturelle Identität einer Gemeinschaft? Haben
Zeugen politische Macht - oder sind "Tatsachensprecher" nicht vielmehr dadurch gekennzeichnet, dass
sie außerhalb des politischen Diskurses stehen? (vgl. Hannah Arendt)
- Welche Rolle spielen Zeugen im Spannungsfeld von Wissenschaft, Wahrheit und politischer
Öffentlichkeit?
- Welche Rolle spielen Zeugen in der Wissenschaft? In den empirischen Wissenschaften der Neuzeit
tauchen Zeugen immer wieder als Boten und Bürgen des Wissens auf - seien es die Zeugen in der
Geschichte, in der Geographie, und die "Zeugen" physikalischer Experimente (vgl. Shapin und
Schaffer) - sie sind Mittler von Wissen, das man nicht selbst in Erfahrung bringen kann. Welche Rolle
spielen Wissen durch Worte anderer und Vertrauen im heutigen wissenschaftlichen Diskurs?
- Inwiefern sind Kunst und Literatur Zeugnisse? Sind Dichter Zeugen? Was bezeugen sie? Vermitteln
sie Evidenz?
Spring 2 009
Schließlich: Wie verändern die technischen Medien unser Verständnis von Zeugenschaft? Machen
allgegenwärtige Videokameras den Augenzeugen überflüssig? Machen Live-Sendungen im Fernsehen
uns zu Zeugen eines entfernten Ereignisses?
Die Graduiertenvorträge sollten jeweils nicht länger 20 bis 30 Minuten dauern. Offizielle Tagungssprachen sind
Deutsch und Englisch. Bitte schicken Sie uns Ihr Abstract (etwa 500 Wörter) und ein kurzes CV bis zum 30. April
an Barbara Janisch: janischb@gmail.com oder Sibylle Schmidt: sibylle.schmidt@fu-berlin.de. Unsere Internetseite
finden Sie unter http://userpage.fu-berlin.de/babascha.
-
CFP: Figuren der Konversion, 2. Tagung der Friedrich Schlegel-Gesellschaft 8.-10. April 2010
Am 16. April 1808 konvertierte Friedrich Schlegel mit seiner Frau Dorothea in Köln zum katholischen
Glauben. Das Ereignis, das bei den Zeitgenossen, die im Verfasser der Lucinde vor allem den Freigeist und Ironiker
gesehen hatten, eine Art Schock auslöste, markiert eine Wende, die sich im Denken Schlegels bereits seit der
Jahrhundertwende mit zunehmender Deutlichkeit abgezeichnet hatte. Auch wenn für das genaue Datum dieser
Wende in der Forschung verschiedene Vorschläge gemacht worden sind, ist man sich weitgehend darüber einig,
dass durch sie ein ,früher‘ von einem ,späten‘ Schlegel unterscheidbar wird. So werden der Pantheist im Gefolge
Spinozas und der Gott, Mensch und Natur trennende Theist; der Bewunderer der französischen Revolution und der
Verfechter eines hierarchischen Ständestaats; der Autor und Mitherausgeber des Athenaeums, der literarische
Formen wie das Fragment, die Ironie oder die Polemik favorisiert, und der Verfasser erbaulicher Vorträge sowie
gelehrter philosophie- und literarhistorischer Vorlesungen, die literarische Kommunikation nur mehr von außen
beobachten statt selbst an ihr teilzunehmen, einander gegenüber gestellt. Die Germanistik hat dabei bis heute ihre
Aufmerksamkeit und Wertschätzung ganz überwiegend dem Frühwerk Schlegels entgegen gebracht, ungeachtet der
wiederholt – vor allem von Editorenseite – vertretenen Auffassung, dass die Beschäftigung auch mit einzelnen
Werkteilen ein Verständnis des ,ganzen‘ Schlegel voraussetzt.
Die Logik der Schlegelschen Konversion, sofern sie sich in seinen Texten reflektiert, muss deshalb, trotz
einiger Ansätze vor allem in der geistesgeschichtlichen Forschung der 1920er Jahre, bis heute als unzureichend
erforscht gelten. Ob die Entwicklung dieses Denkens einem Bruch unterlag oder doch kontinuierlich verlief, ist
umstritten. Die Tagung möchte zur Klärung der hiermit verbundenen Fragen beitragen. Worin genau bestehen die
Veränderungen in Schlegels Werk, in seinen Ansichten ebenso wie seinem Denk- und Schreibstil? Gibt es vom
Frühwerk bis ins Spätwerk sich durchhaltende Konstanten? Erlaubt es die Figur der Konversion, das Schlegelsche
Werk in seiner Ganzheit zu konstruieren? Sind die Gründe für die Wende eher interner, in der Konsequenz des
Denkens selbst liegender, oder externer Art? Lassen sich die Transformationen beschreiben, ohne zwangsläufig
entweder für den frühen oder den späten Schlegel Partei zu ergreifen?
Der engen Interdependenz von Fragen der Literatur und der Kunst, der Philosophie, der Religion, aber auch
der Politik und Geschichte bei Friedrich Schlegel soll von der Tagung Rechnung getragen werden. Liegt so der
Schwerpunkt auf dem Werk Schlegels, soll der Horizont allerdings nicht auf es beschränkt bleiben. So kann in einer
über diesen Autor hinausgehenden Perspektive gefragt werden, inwiefern die Schlegelsche Wende für die
Selbstbegründungsproblematik des philosophischen Idealismus und den Übergang von der Früh- zur Spätromantik
insgesamt signifikant ist. Zu diesem Zweck sind vergleichende Referate zu den Konversionen eines Adam Müller
oder Zacharias Werner, zur Bedeutung des Katholizismus bei Wackenroder, Tieck, Novalis, Brentano, Görres,
Eichendorff u. a., aber auch zum Übergang von der negativen zur positiven Philosophie (der Mythologie und der
Offenbarung) bei F. W. J. Schelling wünschenswert.
In einer zweiten Erweiterung der Perspektive kann gefragt werden, welche Beziehungen zwischen den
romantischen Konversionen, insbesondere derjenigen Schlegels, und anderen Konversionen bestehen, wie sie später
vor allem im Umkreis des europäischen Ästhetizismus zu beobachten sind und die von dem Versuch einer radikalen
Selbstbegründung und Verabsolutierung der Kunst zur (Wieder-)Entdeckung der Religion, aber auch der Tradition
oder des Nationalen führen. Hier bieten sich Autoren wie Stefan George, Hugo von Hofmannsthal, Ernst Robert
Curtius, Hugo Ball, Joris-Karl Huysmans, Maurice Barrès, Gerard Manley Hopkins, W. B. Yeats oder T. S. Eliot für
komparatistische Studien an.
Nicht zuletzt: Figuren der Konversion können auch in der Gegenwart untersucht werden. Erwünscht sind
stärker verallgemeinernde Fallgeschichten zur Konversion als eine insbesondere von der Rhetorik (conversio,
Antimetabole) wie dem Ökonomischen (convertieren, umtauschen) ausgehende Denk- und Diskurstechnik von
Intellektuellen.
Neben literaturwissenschaftlichen und philosophischen Ansätzen sind auch soziologische,
ideengeschichtliche und religionswissenschaftliche Untersuchungen willkommen.
Interessenten werden gebeten, ihren Themenvorschlag zusammen mit einem Abstract von ca. 400-500
Spring 2 009
Wörtern bis zum 31. Juli 2009 an die Organisatoren der Tagung, Winfried Eckel (eckel@uni-mainz.de) und
Nikolaus Wegmann (nwegmann@Princeton.EDU), zu schicken. Bewerbungen von Nachwuchswissenschaftlern
sind erwünscht. Eine Publikation der Tagungsbeiträge ist vorgesehen.
CfP Summer-Course: Raumkonzepte - Raumwahrnehmungen – Raumnutzungen
Deutsches Historisches Institut Paris / Institut historique allemand Paris; Université Paris I, Panthéon-Sorbonne,
Paris 14.06.2009-17.06.2009, DHI Paris, 8 rue du Parc-Royal, 75003 Paris
Projektbeschreibung: Räume, mit denen wir auch im Alltag auf verschiedenen Ebenen (vom konkreten
Wohnraum bis zum virtuellen Internet, Facebook oder Second Life) konfrontiert werden, sind in den letzten Jahren
ins Zentrum des Interesses der historischen Wissenschaften gerückt. In der kantischen Tradition oft als vorsubjektive Gegebenheit (miss-)verstanden, wurde Raum auf Dreidimensionalität reduziert und insbesondere bei
Historikern lange als natürliche Gegebenheit oder Behältnis betrachtet. Doch Räume sind nicht einfach nur die Orte,
an denen Ereignisse stattfinden. Sie werden vielmehr imaginiert, konstruiert, auf unterschiedliche Weise
wahrgenommen und vielfältig genutzt. Auch beeinflussen sie die Ereignisse und Ereignisverläufe in nicht
unerheblicher Weise und sind ein entscheidender Faktor zur Strukturierung der Gesellschaft. Anders als früher die
politische Geographie, die ältere Landesgeschichte oder auch nach wie vor existierende ,territorial' konzipierte
Raum-Ansätze schlagen wir vor, ,Raum' in erster Linie als analytische Kategorie zu fassen. Dies eröffnet die
Chance, verschiedene Ebenen von Räumlichkeiten zu unterscheiden und die Prozesse ihrer Konstruktion zu
verfolgen. Erst so wird die Möglichkeit der Gleichzeitigkeit mehrerer Räume an einem Ort erfassbar: nahe und
ferne, konkrete und imaginäre Welten, parallele und teils völlig unterschiedliche oder unvorhergesehene Nutzungen
derselben Lokalität. Dies ist das analytische Potential einer Auffassung des Raumes als Produkt der
Wahrnehmungen und Handlungen der Akteure. Um diese Akteursperspektive zu stärken, muss schließlich auch
nach den Kenntnissen der Zeitgenossen, jedenfalls nach deren Möglichkeiten des Wissens über Raum und nach
deren Raumvorstellungen gefragt werden.
Der Sommerkurs soll vor allem Doktoranden und Doktorandinnen, die mit raumbezogenen Fragestellungen
arbeiten, die Möglichkeit geben, ihre laufenden Projekte vorzustellen und sie mit senior scholars und anderen
Doktoranden und Doktorandinnen im interdisziplinären, internationalen Kontext des DHIP, der Universität Paris I
(Panthéon-Sorbonne) und eingeladener Expertinnen und Experten aus verschiedenen Fachgebieten zu diskutieren.
Senior Scholars:
Wolfgang Kaiser (Université Paris I Panthéon-Sorbonne, École des Hautes Études en Sciences Sociales):
Historiker. Forschungsschwerpunkte: Geschichte der Frühen Neuzeit, Mobilität und interkultureller
Austausch im Mittelmeerraum, Stadtgeschichte, Geschichte und soziale Praktiken der Grenze
Christine Lebeau (Université Paris I Panthéon-Sorbonne): Historikerin. Forschungsschwerpunkte: Politik-,
Sozial- und Kulturgeschichte des Heiligen Römischen Reiches deutscher Nation, insbesondere des
österreichischen Habsburg, Geschichte der öffentlichen Finanzen, Wissensgeschichte
Jacques Lévy (École Polytechnique Fédérale de Lausanne): Geograph. Forschungsschwerpunkte:
Epistemologie des Raumes, Kartographie, politischer Raum, Stadt/Stadtplanung, Europa, Welt,
Globalisierung
Jean-Marie Moeglin (Université Paris XII-Val de Marne, École Pratique des Hautes Études): Historiker.
Forschungsschwerpunkte: Geschichte des Mittelalters, politische Strukturen und Mentalitäten,
Konstruktionen von Staat und Nation in Frankreich und in Deutschland, Diplomatiegeschichte,
Ritualgeschichte, Geschichte der Geschichtsschreibung vom Mittelalter bis in die Neuzeit
Susanne Rau (Deutsches Historisches Institut Paris): Historikerin. Forschungsschwerpunkte: Geschichte
der Frühen Neuzeit, Geschichte und Kulturen der Räume, Stadtgeschichte, Soziabilität, Historiographie,
Erinnerungskultur, Reformation und religiöse Gruppenbildungen in der Frühen Neuzeit
Elisabeth Tiller (Technische Universität Dresden): Vergleichende Literaturwissenschaftlerin.
Forschungsschwerpunkte: diskursanalytische Kulturgeschichte, Stadtdiskurse der frühen Neuzeit,
Stadtutopien und imaginäre Städte, Raumtheorie, Wissensgeschichte
Zielgruppe: Doktoranden und Doktorandinnen (in Ausnahmefällen auch angehende Doktoranden und PostDoktoranden) der Geschichts- und Kulturwissenschaften; auch der Naturwissenschaften, wenn das Projekt historisch
angelegt ist.
Konferenzsprachen: Deutsch, Französisch, Englisch
Bewerbungen enthalten: tabellarischer Lebenslauf, ggf. Verzeichnis der Publikationen, Exposé des eigenen
Projekts (max. 2 Seiten, ca. 10 000 Zeichen) und kurze Begründung der Bewerbung, 1 akademisches
Empfehlungsschreiben, Nachweis über gute Kenntnisse in mind. 2 der 3 Konferenzsprachen, Kostenvoranschlag
Spring 2 009
oder Einschätzung der Reisekosten. Bitte versehen Sie den Umschlag oder Ihr Anschreiben bzw. die Betreffzeile der
Email mit dem Stichwort "Sommerkurs 2009".
Kostenübernahme: Reisekosten (bis max. 300.- EUR) werden erstattet, Kosten für Übernachtung,
Frühstück und gemeinsame Verpflegungen werden übernommen.
Bewerbungen bitte bis zum 15. März 2009 an die Direktorin des DHIP: Prof. Dr. Gudrun Gersmann,
Deutsches Historisches Institut Paris, 8 rue du Parc-Royal, 75003 Paris, Frankreich. Bewerbungen sind vorab auch
per Email möglich: sommerkurs2009@dhi-paris.fr
Auswahlverfahren: Unter den Bewerbern und Bewerberinnen werden 20 Personen unter Berücksichtigung
ihrer Projekte und der Diskutanten ausgewählt. Sie erhalten bis spätestens zum 15. April 2009 eine Zu- oder Absage.
Bis zum 15. Mai 2009 werden Sie um Einsendung einer ausführlichen Darstellung Ihres Projekts (ca. 10 Seiten, 5060 000 Zeichen) gebeten, die für die anderen Teilnehmer und Teilnehmerinnen auf der Internetseite des DHIP in
einem kennwortgeschützten Bereich zum Download bereitgestellt wird.
Ablauf des Kurses: Einführung in neuere Forschungen und Ansätze zum Thema Raum in disziplinär
vergleichender Perspektive. Mündliche Vorstellung der Projekte, die von einem senior scholar und einem anderen
Doktoranden kommentiert und im Plenum diskutiert werden. Jede/r Teilnehmer/in stellt somit sein/ihr eigenes
Projekt vor und kommentiert ein anderes kritisch. Zusätzlich wird eine individuelle Beratung mit den seniors
angeboten. Nach Ende der Sommerschule besteht die Möglichkeit, die Projektpapiere zu überarbeiten und sie auf
Perspectivia.net, der Publikationsplattform der deutschen geisteswissenschaftlichen Auslandinstitute
(www.perspectivia.net), zu veröffentlichen.
Für Rückfragen (zur Bewerbung, zum Ablauf oder zu anderen inhaltlichen oder organisatorischen Fragen)
wenden Sie sich bitte an Susanne Rau: sommerkurs2009@dhi-paris.fr. Susanne Rau, Deutsches Historisches
Institut Paris, 8 rue du Parc-Royal, 75003 Paris, +33 1 44 54 23 80 sommerkurs2009@dhi-paris.fr
CfP Summer-Course: IFK, Wien 23.08.2009-29.08.2009, Maria Taferl (NÖ)
Deadline: 15.03.2009
Von 23.-29. August bietet das IFK NachwuchswissenschafterInnen die Möglichkeit, sich mit den diversen
Formen des "Bösen" auseinanderzusetzen: Kriminologie, die Bösen von Hollywood, Spuren des Bösen in Literatur
und Film oder der Physiognomie des Bösen sind die Themen der IFK_Akademie 2009. Dem IFK ist die
Nachwuchsförderung ein besonderes Anliegen. Es bietet mit der Akademie die Möglichkeit zur intensiven
Auseinandersetzung zwischen jungen und namhaften WissenschafterInnen. Das Stipendium beinhaltet Unterkunft,
Verpflegung und die Bereitstellung von Arbeitsunterlagen.
23.-29. August 2009, Maria Taferl (Niederösterreich). IFK faculty: Leitung: Helmut Lethen (IFK, Wien)
Weitere Mitglieder: Peter Becker (Johannes Kepler Universität Linz), Elisabeth Bronfen (Universität Zürich),
Michael Hagner (ETH Zürich), Eva Horn (Universitäten Basel und Wien)
Rahmenthema: Spuren und Archive des "Bösen". Die historische Spannbreite der Akademie erstreckt sich
von der Physiognomik, frühen Kriminologie und Kriminalanthropologie im 18. und 19. Jahrhundert (Lavater,
Lombroso, Gross u. a.), den Rassen- und Dekadenztheorien des Fin de Siècle und den ersten Verbrecherdateien
(Fotos, Fingerabdrücke) bis hin zur Gegenwart. Archäologisch sollen die Vorgänger der modernen Kriminalistik,
Rasterfahndung und biometrischen Verfahren zur Personenfeststellung analysiert werden, die gegenwärtig im
"Kampf gegen den Terror" und gegen das Verbrechen eingesetzt werden. Ziel der Akademie ist es, die Diskurse
über Normalität, soziale Devianz und Verbrechen und die Verfahren der Datenerhebung bzw. -speicherung von der
Daktyloskopie und Fotografie bis hin zum so genannten "genetischen Fingerabdruck" und der elektronischen
Iriserkennung nachzuzeichnen und in ihren jeweiligen historischen Kontexten zu verorten. Dabei soll das enge
Wechselspiel von Wissenschaft, Politik und Gesellschaft in der kulturellen Festlegung, der sozialen Definition und
der polizeilichen wie juristisch-institutionellen Einhegung, Kontrolle und Verfolgung des "Bösen" untersucht
werden.
Subthemen: Spuren der Bösen: Kriminologie, Kriminalpolitik und Kriminalistik aus dispositivanalytischer
Sicht (Peter Becker); Hollywood und Krieg (Elisabeth Bronfen); Der Körper des "Bösen" (Michael Hagner); Spuren
lesen - das Indizien-Paradigma (Eva Horn); Die Physiognomie des "Bösen" in Literatur, Grafik und Fotografie
(Helmut Lethen)
TeilnehmerInnen: Vorzugsweise DoktorandInnen und PostdoktorandInnen, die zum Stichtag 15.03.2009 nicht älter
als 35 Jahre sind und ein zentrales Interesse am Projekt der Kulturwissenschaften und Cultural Studies haben.
Österreichische BewerberInnen oder solche, die an österreichischen Wissenschaftseinrichtungen arbeiten, werden
besonders zur Antragsstellung ermutigt.
Spring 2 009
Auswahl der TeilnehmerInnen: Die Verständigung über die erfolgreiche Bewerbung zur IFK_Akademie
erfolgt Anfang Mai 2009. Anschließend nehmen die Mitglieder der IFK_faculty mit den StipendiatInnen Kontakt
auf, um die einzelnen Beiträge für die Akademie sowie die weitere Vorgangsweise zu vereinbaren.
Stipendienumfang: Alle ausgewählten BewerberInnen, insgesamt maximal 20 Personen, erhalten vom IFK
ein Stipendium, das die Unterbringung im Einzelzimmer und Verpflegung sowie die Bereitstellung der
Arbeitsunterlagen beinhaltet. Die Reisekosten sind selbst zu tragen. Im Anschluss an die Verständigung über die
erfolgreiche Bewerbung werden auch die organisatorischen Details bekannt gegeben. Anmeldeschluss 15. März
2009.
Die IFK_Akademie 2009 wird finanziert durch das Sonderprogramm "Exzellenzinitiative
Kulturwissenschaften" aus Finanzmitteln der Forschungsoffensive III des Bundesministeriums für Wissenschaft und
Forschung. Edith Wildmann, IFK, Reichsratsstraße 17, 1010 Wien, Österreich, 0043-1-5041126, 0043-1-5041132,
ifk@ifk.ac.at, Homepage www.ifk.ac.at
13th annual Summer Institute on Sexuality, Amsterdam 2009
http://www.ishss.uva.nl/SummerInstitute/
We are proud to announce the 13th annual Summer Institute on Sexuality, Culture and Society to be held at
the Graduate School of Social Sciences, Universiteit van Amsterdam from July 5 - July 30th, 2009.
Students and professionals are invited to participate in courses, seminars and dialogues in Amsterdam on
the cultural and social dimensions of human sexuality. The Summer Institute is an intensive four-week summer
programme, which focuses on the study of sexuality across cultures and is taught by an international faculty team.
We are proud to introduce our new 2009 faculty:
The summer institute Research Seminar is led by Diane di Mauro. Examples of other courses are Sexuality in
Muslim Societies taught by Pinar Ilkkaracan, Young Sexualities taught by Deevia Bhana and Heterosexualities
taught by Katherine Frank.
Topics addressed during the course on the Netherlands led by Laurens Buijs include: sexwork, the city as
former gay capital, adolescent sexuality and the campaigns for safe sex. This course will include site visits. The
Prostitution Information Center and the Gender Team are just two examples of the many places the programme
visits. We are updating our website on a regular basis, since many more guest lecturers are lined up.
This highly specialised programme is for advanced students, primarily Ph.D. and MA students in the sociocultural sciences and professionals working for NGO's.
The institute was founded in 1995, and since then, students from more than 40 countries have participated
in our courses. Nearly a quarter of the participants have been professionals working for NGO's. The other
participants came from such diverse educational backgrounds as the social sciences (anthropology, sociology),
psychology, women's studies, history, public health and human sexuality studies. Statements of former students can
be found on the website.
On the site under the link 'application' you will find the official application form. You can print this out, fill
it in and send it back to us. The application deadline is April 15, 2009. SummerInstitute-ishss@uva.nl
http://www.ishss.uva.nl/SummerInstitute/
Conference Announcement: Expressionism and Gender Conference
Thursday, 19 and Friday, 20 March 2009, Programme (abbreviated)
Co-ordinator: Frank Krause (Goldmiths, University of London),Institute of Germanic & Romance Studies Senate
House, Malet Street, GB- London WC1E 7HU
Thursday, 19 March 2009
10.45 Katharina Sykora (Brunswick): 'XXY. The Sex of the City. Structuring and Gesturing Gender in
Ernst Ludwig Kirchner's Berlin Street Scenes'
11.30 Andreas Kramer (London): 'The Traffic of Gender in Expressionist Prose'
14.15 Elza Adamowicz (London): 'Dada's Masks: Beyond Gender?'
15.00 Richard Murphy (Sussex): 'Expressionist Film and Gender'
16.30 Christiane Schönfeld (Galway): 'The Prostitute in Expressionist Literature and Visual Arts'
Friday, 20 March 2009
10.45 Ulrike Zitzlsperger (Exeter): 'Die (Ohn-)Macht der Frauen: Heinrich Manns "Der Untertan" und
"Professor Unrat"'
11.30 Christine Kanz (Los Angeles/Marburg): 'Gebärphantasien von Männern in Kunst, Literatur und Film
Spring 2 009
zur Zeit des Expressionismus'
14.15 Günter Rinke (Flensburg): 'Geschlechtersymbolik in Ernst Tollers Revolutionsdramen'
15.00 Frank Krause (London): 'Gerettete Mütterlichkeit: Ambivalente Geschlechter-Inszenierungen bei von
Unruh, Brenck-Kalischer, Kaiser und Kokoschka'
To obtain full programme, further information and register, contact Jane Lewin (tel: 020 7862 8966; email:
jane.lewin@sas.ac.uk).
Registration form:
http://igrs.sas.ac.uk/fileadmin/documents/events/conference/Expressionism_GenderRegistrationForm_01.pdf
Conference Announcement: A New College Symposium: Figuring Lateness
A one day interdisciplinary Symposium organized by Professor Karen Leeder, to be held in the McGregor
Matthews Room at New College, Oxford on Monday, 30 March 2009 from 10:00 am to 6:15 pm. Further details
and registration form can be obtained by contacting Maggie Davies (email maggie.davies@new.ox.ac.uk) or tel.
01865 279552.
Professor Anne Fuchs, University College, Dublin: “Defending Lateness: or what is the ‘right time’ in
cultural memory?”
Professor Ann Jefferson, New College, Oxford: “Too late for genius”
Professor Gordon McMullan, Kings College London: “The invention of late style: Shakespeare in the
discourse of Lateness”
Professor Sam Smiles, University of Plymouth: “Recapitulation and Recension: J.M.W.Turner’s Liber
Studiorum in the 1840s”
Dr Peter Thompson, University of Sheffield: “Lateness and the Philosophy of Being and Time”
This New College Symposium will examine issues related to the idea of ‘Lateness’. Our contemporary fascination
with ‘lateness’ stems from the fact that the self- exploration prompted by aging, illness or the proximity to death is
often as deeply human as it is surprising. The privileged place that late work occupies in the critical imagination
does not only rest on its biographical force, however, but rather on a more complex relationship between the artist or
thinker and his or her era. Equally, late thoughts do not necessarily conform to the expectations that have developed
around the myth of ‘late style’ (or ‘Spätstil’), to borrow Adorno’s term. Edward Said’s On Late Style (2006), while
challenging conventional understandings of late work, also offers a very particular vision and leaves open many
questions such as those of gender, genius, illness, and old-age-style. Gordon McMullan’s Shakespeare and the Idea
of Late Writing. Authorship in the Proximity of Death (2007) interrogates society’s investment in a constructed
‘discourse of lateness’ as a transhistrical, transcultural phenomenon over time and usefully brings the idea of art in
the ‘proximity of death’ into play. This symposium will draw on these pivotal approaches to the question of lateness
but also attempt to open up debate in new ways beyond the question of an individual’s ‘late-style’: by exploring, for
example, the relationship between the idea of lateness and genius; lateness and gender; lateness and early death,
lateness and philosophies of time or constructions of cultural memory and the link between biographical and epochal
lateness or belatedness.
Conference Announcement: CUTG Meeting
Conference of University Teachers of German in Great Britain and Ireland. The seventy-second Meeting
will take place 6-8 April 2009 and will be held at: The University of Ulster
This year, to mark the upcoming sixtieth anniversary of the founding of the German Democratic Republic
and the twentieth anniversary of the Wende, the lead panel will focus on the GDR and will comprise three sessions,
plus a reading by Volker Braun and a plenary session with live music from David Robb. Other panels will be
Critical Theory, Linguistics, History and Remembrance, Medieval and Early Modern Studies, 18th Century, 19th
Century and 20th Century Studies, Language Learning and Technology, and Gender and German Studies.
To register for the conference, please visit the Conference Website at http://www.cutg.ac.uk/cutg2009.htm
DRAFT PROGRAMME (abbreviated)
Monday 6 April
14.00-14.30 Opening business (Conor Lecture Theatre)
14.30-16.00 (parallel sessions)
Lead Panel 1 (Pól Ó Dochartaigh) (82A02)
Andrew Evans (Sheffield), ‘The Last Gasp of Socialism: Economics and Culture in 1960s East Germany’
Laura Bradley (Edinburgh), ‘GDR Theatre Censorship: the role of the audience’
Wome n in Ge rma n Ne wsle tte r 111 ( Sp ring 20 09 ): 4 0
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Matthias Uecker (Nottingham), ‘Between Conformism and Subversion: The GDR as Performance
Society?’
19th Century Studies (Peter Davies) (82A01)
Susanne Kord (UCL), ‘Why is Friederike Kempner Funny? On Laughter Communities, Literary
Hierarchies, and the Rules of Fiction’
Elystan Griffiths (Birmingham), “‘Ach, nur einen Tropfen Vergessenheit, und mit Wollust würde ich
katholisch werden”: Religious Performances in the Work of Heinrich von Kleist’
Anja Peters (RHUL), ‘“Eine reine Geldangelegenheit”? 19th-century writers’ correspondences with the
Morgenblatt für gebildete Stände
History and Remembrance 1 (Anna Saunders) (82A02)
Rachel MagShamhráin (University College Cork), ‘Guido Knopp’s Die Deutschen (2008): The Creation of
New National Identity through Historical Event Television’
Anna Saunders; Debbie Pinfold; Silke Arnold de Simine; Owen Evans (AHRC Network): ‘After the Wall:
Reconstructing and Representing the GDR’
20th century and contemporary studies 1 (Debbie Pinfold) (82A01)
Julian Preece (Swansea), ‘Expectation and Disappointment in Writing: Herzzeit: Ingeborg Bachmann–Paul
Celan. Der Briefwechsel (2008)’
Beate Müller (Newcastle), ‘Agency Lost and Found: Child Figures as Catalysts in Holocaust Fiction’
Sarah Colvin (Edinburgh), ‘Distance and Empathy? What Writing by Prisoners Might Tell Us about
Writing, Prisoners, and the Capacity for Change’
18.00-19.00 Reading by Volker Braun (Conor Lecture Theatre)
Tuesday 7 April
9.00-10.00 Plenary (Conor Lecture Theatre)
Susanne Kalina-McMahon (Ulster), ‘“... zerfurcht, durchpflügt, zerrissen!” – Joseph Roth und Deutsch-Österreich’
Manya Elrick (Ulster), ‘...und Deutschland und Österreich und Israel und...’
10.00-10.30 Reports (Conor Lecture Theatre), Report by DAAD, Reports from other organisations
Linguistics (Nils Langer) 82A02
Martin Durrell, Richard J. Whitt, Paul Bennett, Silke Scheible, ‘The GerManC Project: A Representative
Corpus of Early Modern German (1650-1800)’
Clive Earls (Limerick), ‘Setting the Catherine Wheel in Motion: “Englishisation” of the German Higher
Education System and a Further Decline in the Status of German Internationally?’ Melani Schröter
(Reading), ‘Silence in the Heart of Political Scandal: “Waterkantgate” and “Schubladenaffäre”’
Critical theory (Angus Nicholls) (82A01)
Panel on the work of Hans Blumenberg
Language Learning and Technology (Michael Maerlein) (82A02)
Eimear Kelly (Athlone), ‘Vorsprung durch Technik? Using an Iteractive Witeboard to Enhance the
Teaching and Learning of German Grammar’
Helen O’Sullivan, Gillian Martin, Breffni O’Rourke (TCD), ‘Telecollaborative Learning in Critical
Cultural Awareness: The Example of SpEakWise’
Berit Carmesin, Doris Devilly, Michelle Tooher (NUI Galway), ‘WikiLingua.ie: Using Web 2.0
Technologies in Language Learning and Teaching’
Elizabeth Andersen, Eva Knopp , Sonja Altmüller, ‘Ensuring the future of German in the UK’
Medieval and Early Modern Studies (Sabine Rolle) (82A01)
Kenneth Fockele (Cambridge), ‘Minnesang and Taboo’
Sarah Bowden (Cambridge), ‘Rother-Dietrich: Names and Disguise in König Rother’
Timothy Jackson (TCD), ‘The Resurrection of the Body in German Medieval Literature’
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Lead panel 2 (Ian Connor) (82A02)
Katja Warchold (Galway), ‘“Ich wollte eine Distel im sozialistischen Rosengarten sein”: autobiographische
Texte von zwei DDR-Jugendgenerationen’
Gerrit-Jan Berendse (Cardiff), ‘Freundschaftsbund Sächsische Dichterschule? Eine literatursoziologische
Fallstudie’
Karen Leeder (Oxford), ‘“Nachleben”: The Death and Afterlife of the GDR’
20th century and contemporary studies 2 (Debbie Pinfold) (82A01)
Rebecca Braun (Liverpool), ‘Authorship and Literary Celebrity in the Context of the Nobel Prize’
Allyson Fiddler (Lancaster), ‘A Novel Form of Resistance: Recent Austrian Protest Writing’
Helen O’Sullivan (Dublin), ‘The Pursuit of ‘Mündigkeit’ and the Production of Language Learner
Narrative in Contemporary German Literature’
17.15-18.15
Business meeting (Conor Lecture Theatre)
20.30 Plenary (Nick’s Warehouse)
David Robb (QUB), ‘1848 Ballads in the GDR’ (with live music)
Wednesday 8 April
Gender and German Studies (Renate Rechtien) (82A02)
Annie Ring (Cambridge), ‘The Stasi as Father: Daughterly Rage, Daughterly Love?’
Kim Richmond (Edinburgh), ‘The GDR Prison Narrative: Authenticity, Character Development and
Incorrigibility in Elisabeth Graul's Die Farce’
Áine McMurtry (Oxford), ‘Writing the Body: Ingeborg Bachmann's poetic drafts of the 1960s’
History and remembrance 2 (Anna Saunders) (82A01)
Andrew Liston (Justus Liebig Universität, Gießen): ‘Swiss-Style Vergangenheitsbewältigung’
Ines Brunhart (University of Limerick): ‘The Return of the Counter-Memories: Erich Hackl’s Memorial
Literature’
Helen Finch (University of Liverpool): ‘Hugo Hamilton’s Disguise and W.G. Sebald’s Austerlitz:
Constructed Memories, Imagined Identities’
Lead panel 3 (Gerrit-Jan Berendse) (82A02)
Holger Briel (Nicosia), ‘Divided We Write: Recent Texts on Divided Countries’
Pól Ó Dochartaigh (Ulster), ‘Language of Denial: The Terminology of Partition in Ireland and Germany’
Peter Thompson (Sheffield), ‘Wir sind das Volk! The GDR and the Universalism of the Definite Article’
18th century studies (Dan Wilson) (82A01)
Hilary Brown (Swansea), ‘The Gottscheds and English Literature’
Kevin Hilliard (Oxford), ‘The Problem of Satire: Wieland, Wezel and Schiller’
Stefan Hajduk (Limerick), ‘Exzentrik und Doppelmord: Zur Poetik der Stimmung in Ludwig Tiecks Der
Abschied’
12.30-13.00
Closing Business (Conor Lecture Theatre)
Conference Announcement: The Tradition of the German Bestseller (1848–1910)
Jesus College, Cambridge, UK, April 17-18, 2009.
Supported by the Tiarks Fund, Department of German, University of Cambridge
We are pleased to announce that registration is now open for the conference “The Tradition of the German
Bestseller (1848-1910)” to be held at Jesus College, Cambridge, UK, from the 17-18 April 2009. Please find below
the Conference Programme and details of how to register for the event. Should you have any further queries, please
contact: Benedict Schofield bks25@cam.ac.uk, Charlotte Woodford cw268@cam.ac.uk
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Conference Programme (abbreviated):
Friday 17 April
Session 1:
2.30pm: Michael Minden (Cambridge): ‘Introduction: The Tradition of the Bestseller’ followed by a brief
discussion.
3pm: Todd Kontje (University of California, San Diego), ‘History as Melodrama in Felix Dahn’s Ein
Kampf um Rom’
Session 2: 4.30-6.30 pm:
- Elizabeth Boa, ‘Taking Sex to Market: Josefine Mutzenbacher, Lebensgeschichte einer Wiener Dirne and
Margarete Böhme, Tagebuch einer Verlorenen’
- Nicholas Saul (Durham), ‘Wilhelm Jensen: Literary Value, Evolutionary Aesthetics, and Competition in
the Marketplace’
- Peter Pfeiffer (Georgetown), ‘Balduin Möllhausen’s Travel Writing and Popular Novels’
Saturday 18 April:
Session 3: 9am:
- Anita Bunyan (Cambridge), ‘The Battle for Readers: Political and Religious Contexts of the NineteenthCentury Bestseller’
- Barbara Burns (Glasgow), ‘Morality, Gender and Politics in the Historical Fiction of Louise von
François’
- Caroline Bland (Sheffield), ‘Clara Viebig between Heimatkunst and Grossstadtroman’
Session 4: 11.15:
- Martin Swales, ‘Heimatliteratur for Children: The Case of Stifter’s Bergkristall’
- Christiane Arndt (Queen’s University, Canada), ‘“Einen tüchtigen Kerl zum Nachtgespenst machen”:
Schauerrealismus in Der Schimmelreiter’
Session 5: 2 pm:
- Katrin Kohl (Oxford), ‘E. Marlitt [Eugenie John] and the Poetics of Popular Romantic Fiction in the Age
of German Realism’
- Charlotte Woodford (Cambridge), ‘“Alles Asche. Und doch gebunden”: The sentimental double bind in
Irrungen Wirrungen’
- Ernest Schonfield, ‘Buddenbrooks as Bestseller’
Session 6: 4.15–5.45pm
- Christine Achinger (Warwick), ‘Realism, Antisemitism and Reconciled Modernit in Gustav Freytag’s
Soll und Haben’
- Benedict Schofield (King’s College London), ‘Politics, Aesthetics and the Literary Market: Conflicting
Tendencies in Gustav Freytag’s Soll und Haben’
Conference Fees: £40 Conference Fee for the two days (including lunch on the Saturday), £30 for the Conference
Dinner on Friday night. A limited number of rooms are available at Jesus College for an overnight stay on the Friday
night priced at £59.50. Could those wishing to stay at Jesus College please register an interest as soon as possible to
secure accommodation. To register for the conference or for further information please contact: Benedict Schofield
bks25@cam.ac.uk and Charlotte Woodford cw268@cam.ac.uk
Conference Announcement: Die 10. Silser Hesse-Tage (25.6.2009-28.6.2009)
Sie stehen unter dem Titel 'Politik des Gewissens'. Sie setzen sich mit verschiedenen Formen des
Engagements eines Schriftstellers und Intellektuellen im 20. Jahrhundert auseinander. 'Mir liegt alles Politische
nicht, sonst wäre ich längst Revolutionär', sagte Hermann Hesse einmal. Was das im wilhelminischen Deutschland,
in der Zeit des Nationalsozialismus und des Kalten Kriegs bedeutete, wird von prominenten Fachleuten aus
verschiedenen Blickwinkeln beleuchtet. Ausserdem werden Vergleiche mit zwei ganz gegensätzlichen Autoren
angestellt, nämlich Ernst Jünger und Peter Weiss. Den Eröffnungsvortrag hält der Theologe Eugen Drewermann,
und die Tagung wird mit einem Referat des Autors und Literaturwissenschaftlers Adolf Muschg beschlossen.
Donnerstag, 25.6.2009
17.00 Eröffnungsvortrag: Eugen Drewermann
21.00: Helga Abret: Literatur und Politik: Der Dialog Hermann Hesse – Conrad Haußmann in der Endphase des
Deutschen Kaiserreichs
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Freitag, 26.6.2009
10.00 Beat Mazenauer: Von Montagnola nach Lusitanien – Peter Weiss’ politische Bewusstwerdung
14.00-16.00 Gruppengespräche unter Einbezug junger Forschender, Moderation Henriette Herwig.
17.00 Andreas Solbach: Hesses „Glasperlenspiel“: Utopie, Geschichte und Verstehen
21.00 Ingo Cornils: Hermann Hesses Verhältnis zu den Medien
Samstag, 27.6.2009
10.00 Volker Michels: Zwischen Duldung und Sabotage: Hermann Hesse und der Nationalsozialismus.
14.00-16.00 Gruppengespräche über die Referate
17.00 Thomas Feitknecht: Krieg und Frieden: Hesse, die Schweizer Flüchtlingspolitik und der Kalte Krieg
21.00 Abendprogramm: Helmut Vogel und Graziella Rossi: Hermann Hesse und die Politik
Sonntag, 28.6.2009
10.00 Schlussvortrag: Adolf Muschg
Kontakt und Anmeldung: Sils Tourist Information, 7514 Sils-Maria, Tel.: +41 81 838 50 50, E-mail:
sils@estm.ch, http://www.engadin.stmoritz.ch/region/sils/news_events/topevents/rm2.topevents/id.12/
Graduate Program: Masterstudiengang „Germanistik“
Der Masterstudiengang „Germanistik“ an der Ruprecht-Karls-Universität Heidelberg ist ein zweijähriger
Masterstudiengang, der – je nach Schwerpunktsetzung – vertiefte Kenntnisse in den Fachgebieten Germanistische
Linguistik, Neuere deutsche Literaturwissenschaft bzw. Sprache und Literatur des Mittelalters und der Frühen
Neuzeit vermittelt. Eingebunden in den Kontext eines traditionsreichen, exzellent vernetzten Forschungsumfelds,
gilt der Masterstudiengang der Auseinandersetzung mit zentralen Fragen aktueller germanistischer Forschung in
einer interdisziplinären und internationalen Perspektive.
Zugangsvoraussetzungen sind ein abgeschlossenes BA-Studium oder ein
anderer gleichwertiger
germanistischer Hochschulabschluss mit einem Studienanteil von mindestens 50 Prozent.
Bewerbungsschluss: 15.07.09 Kontakt: Dr. Sandra Kluwe, Germanistisches Seminar Heidelberg, E-Mail:
sandra.kluwe@gs.uni-heidelberg.de
Graduate Program: Internationales Masterprogramm Deutsche Gegenwartsliteratur. Rezeption Vermittlung – Kontext (H2TLK)
Universität Göteborg. Institut für Sprachen und Literaturen / Deutsch, Institut für deutsche
Gegenwartsliteratur und Deutschlandstudien (DGD). Leitung und Information: Prof. Dr. Edgar Platen
(edgar.platen@tyska.gu.se). Bewerbungsschluss: 31.3.2009. Beginn des Programms: September 2009.
1. Profil. Im Zentrum des internationalen Göteborger Masterprogramms Deutsche Gegenwartsliteratur.
Rezeption - Vermittlung - Kontext steht die deutsche Gegenwartsliteratur, die - dies bestimmt das Profil des
Studienganges - in ihrem internationalen und intermedialen Zusammenhang gesehen wird. Anhand des
Arbeitsfeldes der deutschen Gegenwartsliteratur werden literatur- und kulturwissenschaftliches Wissen sowie eine
praxisorientierte Vermittlungskompetenz erworben, die sich auf einen internationalen Dialograum richtet. Das
Programm fokussiert also nicht die deutsche Gegenwartsliteratur isoliert, sondern zielgerichtet in Hinblick auf ihre
Rezeption, Vermittlung und ihren internationalen Kontext. Neben fachlichen Qualifikationen bietet sich den
Studierenden die Möglichkeit, ihr Wissen und ihre Fähigkeiten in internationalen Konstellationen zu erproben und
zu erweitern. Durch diese Kompetenz sind die Studierenden auf unterschiedlichste Berufsfelder im Bildungs-,
Kultur- Literatur- und Wissenschaftssektor innerhalb eines sich ständig verändernden internationalen
Arbeitsmarktes vorbereitet.
Das Programm richtet sich an Studierende mit einem besonderen Interesse an der deutschen
Gegenwartsliteratur und an literatur- sowie kulturtheoretischen Fragestellungen. Angesprochen sind damit
Studierende aus den deutschsprachigen Ländern und Schweden, aber auch aus anderen Ländern (siehe
"Zulassungsvoraussetzungen"). Entsprechend dem Profil des Programms erwerben die Studierenden Fachwissen in
den Bereichen:
- Literatur- und Kulturtheorie,
- Ästhetik und Medientheorie,
- Angewandte Literaturwissenschaft.
Dabei qualifizieren sich die Studierenden durch folgende literatur- und kulturwissenschaftlichen Kompetenzen:
Spring 2 009
- problemorientiertes Analysevermögen in Hinblick sowohl auf konkrete Texte als auch auf inter- bzw.
transkulturelle Zusammenhänge,
- schriftliche und mündliche Vermittlung literarischer Texte und kultureller Phänomene,
- Kommunikations- und Kooperationsfähigkeiten in interkulturellen und transnationalen Zusammenhängen.
Alle Lehrveranstaltungen innerhalb des Programms (nicht notwendigerweise die wahlfreien Bereiche) finden in
deutscher Sprache statt.
2. Zulassungsvoraussetzungen. Voraussetzung für die Studienzulassung ist ein abgeschlossenes BAStudium oder ein gleichwertiges innerhalb der Geisteswissenschaften, wobei mindestens 60 ECTS im Bereich der
Germanistik erworben sein müssen. Die Sprachkenntnisse des Deutschen müssen mindestens der Stufe C1 des
europäischen Referenzrahmens entsprechen und sind gegebenenfalls über eine schriftliche und mündliche Prüfung
nachzuweisen. Über Ausnahmen im Zulassungsverfahren entscheidet die Zulassungskommission.
3. Akademischer Abschluss. Nach erfolgreich bestandenem Studium des gesamten Programms (120 ECTS)
kann auf Antrag des Studierenden ein Zeugnis über die Erlangung des Master-Grades ausgestellt werden: Master
phil. in germanistischer Literaturwissenschaft (Degree of Master (Two Years) in German Literary Studies) innerhalb
des Programmes Deutsche Gegenwartsliteratur. Rezeption - Vermittlung – Kontext an der Universität Göteborg.
4. Studienverlaufsplan. Die in den jeweiligen Bereichen angebotenen Lehrveranstaltungen (Seminare,
Vorlesungen, Gruppenübungen, Selbststudien) werden mitsamt ihren "Kursplänen" spätestens zwei Monate vor dem
jeweiligen Semesterbeginn bekannt gegeben. Auslandsstudien und Praktika im In- und Ausland können (bei
vorheriger Absprache) angerechnet werden und sind ausdrücklich erwünscht. Bei der Vermittlung und Finanzierung
kann das Programm unterstützend mithelfen.
5. Sonstiges. Der Studiengang ist für die Studierenden gebührenfrei
Es können maximal 25 Studierende aufgenommen werden. Die Programmleitung behält sich vor, bei einer zu
geringen Anzahl von Bewerbungen den Programmbeginn zu verschieben.
Nach Absprache besteht die Möglichkeit, das Programm nach zwei Studiensemestern mit einem
schwedischen "fil. Magister" abzuschließen.
Kontakt: Prof. Dr. Edgar Platen - edgar.platen@tyska.gu.se, Universität Göteborg, Institutionen för språk
och litteraturer – tyska, Lundgrensgatan 7, 40530 Göteborg, ++ 31 7864595
Graduate Program: University of St Andrews, Four PhD studentships for fees and maintenance in modern
languages
The School of Modern Languages at the University of St Andrews is pleased to announce that four School
scholarships will be available for four students beginning their PhDs in 2009/10.
Three scholarships cover home fees for a UK or EU student, or a contribution of around £3,315 per annum
towards overseas fees. A fourth scholarship will cover living expenses of £6,000 per annum. Candidates are
expected to apply for funding to the AHRC, ORSAS or other appropriate bodies, too.
There is no separate application form for these scholarships. All new School of Modern Languages PhD
applicants who have firmly accepted a place at St Andrews by 30 April 2009 (by returning the required firm
acceptance form to PG Admissions) will be considered for an award.
St Andrews is a top-rated but friendly university, with excellent results in the Research Assessment
Exercise 2008. It offers PhD supervision in French, German, Italian, Russian, Spanish, as well as a number of
interdisciplinary areas.
PhD dissertations can be written in English or in the language studied. For further information see www.standrews.ac.uk/modlangs/postgraduate_study.php
Dr Bettina Bildhauer, Department of German, University of St Andrews, St Andrews, KY16 9PH, 0044
1334 463663. Founding member, St Andrews Institute of Mediaeval Studies www.st-andrews.ac.uk/saims. The
University of St Andrews is a charity registered in Scotland : No SC013532
Graduate Program: University of Sussex, MA Gender Studies
The Sussex MA in Gender Studies is designed to provide students with advanced grounding in feminist
theories and methodologies and the opportunity to specialise through a range of options and individually chosen
dissertation topics. The programme is intrinsically interdisciplinary: contributing colleagues come from departments
such as Sociology, Media & Film, Anthropology, Law, English Literature and International Relations. The student
cohort is diverse, including women and men seconded from international NGOs, recent home and international
graduates, and mature students keen to return to academic study. A large number of Sussex faculty are engaged in
Spring 2 009
research on a variety of gender-related topics, including sexualities and sexual violence, nationalism and citizenship,
women's history and literature, education and work, and reproductive politics. This gives the programme broad
optionality and expert supervision for student dissertations. Part-time study is available for home and EU students,
and applications from candidates with varied qualifications and backgrounds are strongly encouraged.
Sussex University is a top teaching and research institution located in the vibrant and cosmopolitan coastal
city of Brighton. It has a reputation for political radicalism and innovative teaching and learning, and as such is an
ideal environment in which to study gender. The campus is located in the South Downs, an area of outstanding
natural beauty, and London is just an hour away.
For more information on the MA in Gender Studies, please visit www.sussex.ac.uk/gender/postgrad
or Email Dr Alison Phipps, Director of Gender Studies, at a.e.phipps@sussex.ac.uk. Dr Alison Phipps, Director of
Gender Studies, Lecturer in Sociology, Arts D322, Falmer Campus, University of Sussex, Brighton BN1 9SN, t:
+44 (0)1273-877689, f: +44 (0)1273-673563, w: www.sussex.ac.uk/gender
Graduate Program: Kunsthistorisches Institut der Universität Zürich, MA History of Art and Photography
with Technical Studies
Bewerbungsschluss: 31.03.2009. Spezialisierter Masterstudiengang Geschichte der Kunst und Fotografie
mit technischen Studien. (Master of Arts in History of Art and Photography with Technical Studies)
Der neue spezialisierte Masterstudiengang am Kunsthistorischen Institut der Universität Zürich bietet eine
forschungs- und praxisorientierte Ausbildung zum Erwerb einer doppelten Kompetenz im Bereich der Kunst- und
Fotografiegeschichte. Das Programm fördert Exzellenz im Studium und in den Abschlüssen für besonders begabte
und motivierte Studierende. - Zu den Ausbildungszielen zählen insbesondere:
- Vertiefte Kenntnisse von Kunst und Fotografie in ihren ästhetischen, technischen, historischen und
inhaltlichen Wechselwirkungen
- Kritische Analyse des Verhältnisses von Technik-, Material- und Ideengeschichte des Bildes.
- Fähigkeit kritischer und komparativer Analyse künstlerischer, wissenschaftlicher und
dokumentarischer Bildmedien im Verhältnis zu sozialen und politischen Diskursen sowie Praktiken
der Distribution (Ausstellung, Museum, Kunsthandel, öffentliche Medien).
Das Studienprogramm bietet spezifische Lehr- und Forschungskooperationen am Standort Zürich sowie
internationale Kooperationen mit Partnerinstitutionen. Neben einer spezialisierten Lehre werden Sommerschulen,
Workshops und Mobilitätsprogramme für Studierende und Dozierende angeboten.
Zulassungsregelungen (Vorbehaltlich): Zugelassen werden Studierende, die mit einem nachweislichen
Schwerpunkt in der Technik- und Mediengeschichte der Künste oder visuellen Kultur im Umfang von mindestens
12 ECTS ein B.A.-Studium in den Fächern Kunstgeschichte, Fotografiegeschichte, Geschichte, Filmwissenschaft,
Ethnologie, Populäre Kulturen, Literaturwissenschaften, Publizistikwissenschaft oder in vergleichbaren Disziplinen
an einer Universität oder an einer Kunsthochschule bzw. Fachhochschule absolviert haben. In begründeten Fällen
können auch Absolventen mit Diplomabschluss oder vergleichbaren Abschlüssen künstlerischer, museologischer
oder kunsttechnologischer Ausbildungsgänge zugelassen werden. Zusätzlich werden ein Praktikum im Technikund/oder Kulturbereich im Umfang von mindestens 2 ECTS sowie in der Regel eine Seminararbeit im Teilgebiet
Kunstgeschichte oder Fotografiegeschichte, im Umfang von mindestens 6 ECTS mit der Mindestnote 5,5, verlangt.
Darüber hinaus sind Sprachkenntnisse in Englisch (über Maturaniveau B2) und einer weiteren lebenden Sprache
(über Maturaniveau B2) nachzuweisen. Ausserdem wird ein Motivationsschreiben gewünscht.
Die Auswahl erfolgt durch die Programmdirektoren, die "sur dossier" entscheiden und mit den Bewerbern
der engeren Auswahl Gespräche führen.
Bewerbung mit Lebenslauf und Motivationsschreiben (ca. 3000 Zeichen) werden erbeten bis zum 31. März
2009, per Email oder in Papierform, an: Universität Zürich, Kunsthistorisches Institut, Rämistr. 73, CH-8006 Zürich
Email: admin@khist.uzh.ch
Bei Rückfragen kontaktieren Sie
bitte den Studienberater des Kunsthistorischen Instituts, Prof. Dr. Wolfgang Kersten (wkersten@khist.uzh.ch),
Rämistr. 73, 8006 Zürich, +41446342829, +41446344914. Weitere Informationen über Lehre und Forschung am
Institut finden Sie unter: http://www.khist.uzh.ch/Studium.html.
Graduate Program: Newcastle University, PhD and Master Scholarships in German Studies
For the coming academic session (2009-10), the School of Modern Languages at Newcastle University
invites applications for Masters and PhD awards http://www.ncl.ac.uk/sml/postgrad/.
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A variety of bursaries http://www.ncl.ac.uk/sml/postgrad/funding/ are available for UK, EU and overseas
candidates. In addition to AHRC funding and Newcastle Faculty funding, the School is offering 8 bursaries (6 at
Masters level and 2 at PhD level). One 3-year PhD studentship offered by the School is reserved exclusively for
German Studies, and all the general funding opportunities of the School of Modern Languages are also open to
candidates wishing to pursue German Studies. This can be either in one of the taught MA programmes or in a
research degree (MLitt or PhD).
The following MA-programmes can be studied with a focus on German:
MA in Professional Translating for European Languages (http://www.ncl.ac.uk/sml/postgrad/european/)
MA in International Film (http://www.ncl.ac.uk/sml/postgrad/film/)
MA in Linguistics and Language acquisition (http://www.ncl.ac.uk/sml/postgrad/linguist/index.htm)
MA in Linguistics of European Languages (http://www.ncl.ac.uk/sml/postgrad/linguistics_euro/index.htm)
For research degrees (MLitt and PhD) we are happy to supervise in the following areas
German Linguistics http://www.ncl.ac.uk/sml/german/#German4
Medieval German Studies http://www.ncl.ac.uk/sml/german/#German4
Modern German Literature http://www.ncl.ac.uk/sml/german/#German4
Bursary applications should include:
1. A letter of application stating the programme for which the bursary is sought and outlining how this
relates to your previous academic work.
2. A curriculum vitae
3. The names and contact details of two referees who can comment on your academic performance.
4. Applications for research programmes should include a copy of the candidate's research proposal.
Proposals should be written according to the University's guidelines available at
www.ncl.ac.uk/hss/postgrad/studentships. The closing date for completed applications that wish to be considered for
AHRC-funding is 27 February 2009. The School bursaries' deadline is 30 June 2009. Informal enquiries may be
directed to Prof. Henrike Lähnemann: henrike.laehnemann@ncl.ac.uk, (Director of Postgraduate Studies), Chair of
German Studies http://ncl.ac.uk/sml/german, School of Modern Languages, Newcastle University, GB - NE1 7RU
Newcastle upon Tyne, Tel.: 0044 191 2227513, email: henrike.laehnemann@ncl.ac.uk, Website
http://www.staff.ncl.ac.uk/henrike.laehnemann/ * Medingen
http://research.ncl.ac.uk/medingen/ project * Medieval and Early Modern Studies, http://research.ncl.ac.uk/mems
Graduate Stipends: Ludwig-Maximilians-Universität München. 20 Research Fellowships open to all
disciplines
Ludwig-Maximilians-Universität (LMU) München awards 20 Research Fellowships as of 1 July 2009.
These fellowships are open to excellent postdocs in all disciplines. Applicants must have completed their doctoral
studies in any field, having graduated no more than three years ago with outstanding results. Candidates must be
able to design a research project and successfully carry it through to completion. The project must be supported by a
professor of LMU Munich. The fellows will also be associated with the Center for Advanced Studies and be able to
make use of its services.
The fellowships come with an attractive award (of up to 60,000 per year). For carrying out a research
project at LMU Munich, an additional 25,000 may be applied for as start-up funding, as well as up to 10,000 per
year as material and travel expenses. Also, in the first two years following completion of their research stay, the
fellows may be provided with up to 5,000 for continuation of cooperative efforts with LMU Munich.
The fellowships are initially limited to two years. An extension of two years may be granted upon a
positive academic evaluation.
You will find all information about the conditions of application at: www.lmu.de/excellent/researchfellowships. Closing date for applications is April 15, 2009. Contact Info: Prof. Dr. Bernd Huber, President of
Ludwig-Maximilians-Universität München, Geschwister-Scholl-Platz 1, 80539 Munich, Germany. email:
excellent@lmu.de Website: http://www.lmu.de/excellent/research-fellowships
Gisela Shaw Conference Bursary 2009
The Gisela Shaw Conference Bursary is an annual award made to postgraduate students working in the
field of German studies instituted by the Association for Modern German Studies in honour of Professor Gisela
Shaw on her retirement and in gratitude for her valuable contribution to the work of the Association over many
years.
Spring 2 009
1. The Association for Modern German Studies (AMGS) is offering 2 bursaries of up to £250 to
postgraduate students in the field of German studies who wish to present a paper at a national or international
conference. The panel will decide which applicants should reserve the award based on the submission of an abstract
and a costed set of conference and travel arrangements. The key criterion will be the quality of the abstract but value
for money will also be a consideration.
2. All inquiries relating to this competition are to be addressed to Dr Carol Tully, School of Modern
Languages, Bangor University (c.tully@bangor.ac.uk). The deadline for receipt of entries is 31 March 2009. Entries
must be submitted electronically to Dr Tully.
3. Entries are invited from all students registered for a Higher Degree in the UK at the deadline, including
students on PGCE courses in German. (Evidence of status is required, e.g. written confirmation from supervisor).
The topic of the paper/conference can emanate from any aspect of German studies, including teaching methodology.
4. Papers may be written and delivered in any language.
5. The winner of the Gisela Shaw Conference Bursary will be selected by a jury which will consist of
AMGS members. The jury will be appointed annually by the Convenor of the Association, and will normally consist
of four members. The composition of the jury will reflect the interdisciplinary nature of the Association's activities
and its intended bridging function between the school and the further and higher educations sectors.
6. The winner will be selected by 1 May 2009 and will be notified as soon as possible thereafter.
7. The judges' decision is final. The Association reserves the right to withhold the prize if no papers of
sufficient quality are submitted.
Doktorandenkolloquium der Lessing-Akademie (Herbst 2009)
Die Lessing-Akademie Wolfenbüttel veranstaltet vom 2. bis 4. Oktober ein Doktorandenkolloquium für
junge Wissenschaftler, die an einer Dissertation zu Lessing oder zu einem übergreifenden, in enger Verbindung mit
Lessing stehenden Thema arbeiten. Sie sollen unter der Leitung der Lessing-Forscher Prof. Hugh Barr Nisbet
(Cambridge) und Dr. Thomas Martinec (Regensburg) die Möglichkeit zur Diskussion ihrer Arbeiten erhalten.
Das Kolloquium möchte junge Lessing- und Aufklärungsforscher zusammenbringen, den
wissenschaftlichen Austausch fördern sowie durch den Austausch von Literaturempfehlungen, Hilfsmitteln der
Forschung, spezifischen Bibliographien, Registern usf. Arbeitserleichterungen schaffen. Ein weiterer Ertrag könnte
die deutlichere Profilierung des eigenen Forschungsvorhabens sein.
Interessenten wenden sich bitte bis zum 31. Juli 2009 an die Lessing-Akademie: c/o Herzog August
Bibliothek, Schloßplatz 2, 38304 Wolfenbüttel, e-mail: l-a@lessing-akademie.de
Erbeten werden:
1. Ein Exposé des Dissertationsvorhabens (1 bis max. 1 Seiten);
2. ein kurzgefaßter Lebenslauf;
3. ein Empfehlungsschreiben des Betreuers der Dissertation.
Das Kolloquium soll zwei Arbeitstage umfassen; die Vorstellung der Einzelvorhaben ist auf 30 Minuten
begrenzt. Zwei Übernachtungen sowie Reisekosten bis max. 200 werden von der Lessing-Akademie gezahlt.
Bei Interesse mehrerer Teilnehmer kann eine gemeinsame Führung durch die Herzog August Bibliothek organisiert
werden.
Submissions Policy: European News welcomes announcements of events in the fields of German and Women’s studies taking
place in Europe. Tanja Nusser, Universität Bielefeld, tanja.nusser@uni-bielefeld.de and Dr. Carrie Smith-Prei, National
University of Ireland, Maynooth, carrie.smith-prei@nuim.ie.
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Newsletter –Spring 2009 – Issue 111

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