Courses

Fall 2022

For all meeting days and times please see the Online Schedule of Classes.

Reading and Composition Courses
Readings and discussions in English. Fulfills the second half of the university’s Reading & Composition Requirement (equivalent to English 1B, Comp. Lit. 1B, etc.).

German R5A. Reading and Composition (4)

Section 3: Schierenberg, B.

“It’s all a question of organization” – Women at Work in German Film & Literature

In this course you will get to know a range of writers, filmmakers, and theorists based in Germany who investigate the topic of work in their artistic practice. Their texts, poems and films will introduce you to strategies of reading and the craft of writing in college. The materials you are going to read, discuss, and write about in this class are presenting specific experiences of working women and they do so in different ways. We may talk about the worlds we see represented and the transformations they dream of, for example regarding a film’s plot or a novel’s historical context or poem’s political drive. We may also begin to wonder why that is a poem and what else it could be or try to describe the role sound plays in this film or think about the effect of the novel being written as a diary.

All readings will be in English, and no prior knowledge of the materials is required. 

This course offers a survey of modern German literary, cultural, and intellectual currents, as well as an introduction to argumentation and analysis. Students will examine numerous issues and questions central to defining the complexity of modern German culture. R5A satisfies the first half of the Reading and Composition requirement, and R5B satisfies the second half.
 

Section 4: Sacia, L.

“Gender Equality in Germany”

This course will focus on the recent history of gender equality in Germany from the second half of the 20th century to the present day. We will examine traditional gender roles in postwar Germany, differences in expectations of women in the German Democratic Republic and the Federal Republic of Germany, second wave feminism, changes that came about after the reunification, LGBTQ rights, and women’s current representation in the government and workforce

This course offers a survey of modern German literary, cultural, and intellectual currents, as well as an introduction to argumentation and analysis. Students will examine numerous issues and questions central to defining the complexity of modern German culture. R5A satisfies the first half of the Reading and Composition requirement, and R5B satisfies the second half.


German 39P (4) Freshman Seminar. Tang

“Law and Literature”. For many people, law is the subject of law school, while literature belongs to the humanities. In this seminar, we will see that law and literature, professional school and the humanities are in fact closely related. We will read some great authors in world literature (including Aeschylus, Sophocles, Shakespeare, Melville, Kleist, Kafka), watch a number of classic films, and discuss how they engage with the key issues of law – legitimacy and legality, justice and equity, rights and obligation, crime and punishment. At the same time, we will read legal texts and see how law operates by telling stories. This seminar may be used to satisfy the Arts and Literature or Philosophy and Values breadth requirement in Letters and Science.


German 112 (4) “Martin Luther, the Bible, and the Reformation”.  Largier
With his radical intervention, Martin Luther changed the understanding of the Bible, the way Christians read the Bible, and the way people understand the church and salvation. In this course, we will discuss some of the key writings of Luther, their historic significance, and their impact in early modern times and on the formation of modern cultures since the 16th century.


German 160A (4) Century of Extremes. Lenhard

“POLITICS AND CULTURE IN 20TH-CENTURY GERMANY: A CENTURY OF EXTREMES”

 This lecture will explore Germany’s political and cultural history from 1914 to the reunification of the two German states in 1990. This period was marked by the rise and fall of the first German democracy during the Weimar Republic, the First and the Second World War, the rise of extreme ideologies, the Cold War, and the fall of the Iron Curtain. Against the background of these developments we will focus on continuities and ruptures in German society during the Weimar Republic, National Socialism, the two Republics after 1949 (FRG and GDR), and the (unified) Federal Republic of Germany. By comparing the various dimensions and characteristics of Germany’s radical transformations this course introduces students to major political, social, and cultural changes, emphasizing questions of gender, class, religious identities and milieus; the impact of total war; and the roots of dictatorship and democracy. Course materials will include primary sources in translation and state-of-the-art scholarship on German history, self narratives, as well as contemporary literature, popular images, music and films. Taught in English.


German 184 (4) “Documentary Cinema”– Gokturk

This course surveys the history, theory and practice of the genre called documentary cinema in a transnational horizon. We will explore what this amorphous and vague term means and examine the ways its forms and ethics have changed from the beginning of cinema to recent digital production and online exhibition. Major modes of documentary filmmaking will be covered, including cinema verité, direct cinema, investigative documentary, ethnographic and travel film, agit-prop and activist media, autobiography and the personal essay as well as recent post-modern forms that question relationships between fact and fiction such as docudrama, archival film, and “mockumentary.” Through formal analysis, we will examine the “reality effects” of these works, focusing on narrative structures, visual style, and audience address. We will ask: How do these films shape notions of truth, reality, and point of view? What are the ethics and politics of representation? Who speaks for whom when we watch a documentary? Who stages whom for whom and to what end? What do documentaries make visible or conceal? What, if anything, constitutes objectivity? And by the way, just what is a document anyway?  Note: This course has a film screening section please check with Instructor.