Enchanted Worlds: Fantasy, the Fantastic, and the Supernatural in Classicism, Romanticism, and Realism
16:470:670 (meets with 01:470:390)
M 4:30pm - 7:10pm , AB 4050
This course explores how fantasy, the fantastic, and the supernatural function as a site of cultural and aesthetic critique in German Classicism, Romanticism and Realism. Readings include immensely creative and influential masterpieces of world literature. Meet devils and doppelgänger, sandmen and spider women, elf kings and alchemists, magicians, and marble statues that come to life! Emphasis placed on developing critical reading and writing skills. This course is taught in English.
Reading list (tentative):
Johann Wolfgang von Goethe: Faust, Part One; “Dedication”; “Erl-King”
Novalis: Heinrich von Ofterdingen
Ludwig Tieck: “Fair-Haired Eckbert,” “Rune Mountain”
E.T.A. Hoffmann: “The Sand Man,” The Golden Pot
Heinrich von Kleist: “Earthquake in Chili,” “The Foundling”
Joseph von Eichendorff: “The Marble Statue”
Annette von Droste-Hülshoff: “The Jews’ Beech Tree”; “In the Moss”; “The Mirror Image”
Jeremias Gotthelf: The Black Spider
Adalbert Stifter: Rock Crystal
Theodor Storm: Rider on a White Horse
Cross-listed with Comparative Literature 16:195:609:01
T2,3 9:50am - 12:30pm, AB 1252
Although the Weimar Republic (1919-1933) was characterized by economic depression, political instability and class conflict, it also witnessed the emergence of a vibrant art scene—especially in film. In this course we will look at seminal works by Robert Wiene, Fritz Lang, F.W. Murnau, G.W. Pabst, Josef von Sternberg, Erich von Stroheim, Lotte Reininger, Leontine Sagan, Robert Siodmak, and Billy Wilder. We will discuss questions relating to the emergence of mass media, horror, melodrama, shock, sound, gender, genre, and politics; we will also look at the afterlife of Weimar in film history. Taught in English.
Paul Celan and Ingeborg Bachmann are two of the most important German authors of the second half of the 20th century. Almost exact contemporaries, they made significant contributions to the development of the literature of the Federal Republic, and their longstanding personal relationship can at least partially explain the aesthetic similarities between their works.
The goal of the seminar is to gain familiarity with the two authors’ works, by means of intensive close readings, as well as with theoretical writings. Selections of Celan’s poetry from ‘Der Sand aus den Urnen’ to ‘Schneepart’ will be discussed along with poems from Bachmann’s poetry collections ‘Die gestundete Zeit’ and ‘Anrufung des Grossen Bären’, her short prose fiction (e.g., ‘Simultan’), her radio play ‘Der gute Gott von Manhattan’ and the novel ‘Malina’. Selections from their respective theoretical works (Bachmann’s ‘Frankfurter Vorlesungen’ and Celan’s speeches upon accepting the Bremen and Büchner literary prizes) will also be considered. Letters and firlms will shed light on the biographical background and illustrate relationships to other writers. The course will, then, not only study the works (and letters) of the two authors, but also offer new insights into their position in German literature of the 20th Century. Taught in German.
Required Texts: Paul Celan: Ausgewählte Gedichte / Zwei Reden. Nachwort Beda Allemann. Suhrkamp Verlag; Ingeborg Bachmann: Gedichte, Erzählungen, Hörspiel, Essays. Pieper Verlag; Wolfgang Emmerich: Paul Celan (rororo Monographien), Rowohlt Verlag; Hans Höller: Ingeborg Bachmann (rororo Monographien), Rowohlt Verlag; Ingeborg Bachmann – Paul Celan: „Herzzeit“. Briefwechsel (Taschenbuch) Suhrkamp Verlag; Ingeborg Bachmann: Malina (Taschenbuch), Suhrkamp Verlag