Courses

Courses in English for Spring 2019

German R5B- Reading and Composition Courses (4 units): Feldman in charge
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 R5B Section 1: Staff
TBA

German R5B Section 2: Staff
TBA

German R5B Section 3: Staff
TBA

German R5B Section 4: Staff
TBA


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 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 course satisfies breath requirements in Arts and Humanities, as well as in Philosophy and Values.  Readings and Discussions in English.


 

German 160C (4) Cold War Stories.  Balint

What was the Cold War? How does contemporary literature remember the conflict between East and West? Why does the battle between socialism and capitalism matter today?  While the political landscape of the world has changed drastically since the fall of the Berlin Wall, the Cold War and state socialism have been popular objects of artistic production. Examining literary and filmic narratives from Germany and countries of the former “East,” the course offers an in-depth study of the socialist period through its remembrance. Our attention will be dedicated to forms of memory and modes of historical storytelling. We will also ask how these fictional works engage larger issues such as social justice and utopia; ideas of individualism, freedom and community; state violence and repression; as well as possibilities of revolt and resistance. Authors include: Herta Müller, Ingo Schulze, László Krasznahorkai, Wioletta Greg, Jenny Erpenbeck. No German required. Readings, discussion, coursework in English.


German 173 (4) Phonetics and Phonology in Modern German.  Shannon
This course is designed for students who want to improve their pronunciation and gain an understanding of the sound structure of modern standard German. The course will focus on basic principles of phonetics, the phonological system of German—compared and contrasted with English—sound and symbol mapping, and phonetic transcription. We will practice the production of sounds as well as learn to discriminate between sounds. In addition, we will consider briefly variation in German. By the end of the semester you will be familiar with the sound structure of German and how these sounds relate to various German varieties. There are no prerequisites for this class and no prior experience with linguistics is presupposed. However, an advanced knowledge of German (at least German 4 level) is expected. Lectures will be conducted in German or English, as the class prefers. Grades are based on the regular homework assignments, a midterm, and a final, plus class participation. Readings will include: Christopher Hall, Modern German pronunciation: An introduction for speakers of English.


German 186 (4) Transnational Cinemas: Situating Spectatorship in the Digital Era. Gokturk
This course explores possibilities and pitfalls of empathy in cinema and other audiovisual media. Focusing on cinematic framings of migration and visualizations of global connection, it analyzes how movement, borders, and settlement figure in different genres and formats. Case studies based on weekly screenings, mostly of contemporary productions form German and European cinema, range from ethnographic documentary to globetrotting adventure films, from diasporic cinema to the international avantgarde, from fringe productions to mainstream popular cinema as well as new forms of presentation such as video installations and online video streaming. Scrutinizing labels such as “national cinema,” “transnational cinema,” “interzone,” “European cinema,” “foreign film,” or “world cinema,” students acquire a vocabulary of analysis that enables them to read cinematic geography in correspondence with the formation of social space and practice. Language contact and translation constitute a crucial aspect in unpacking cross-border collaborations and interactions. Raising questions about location, circulation, and audience, the course combines film analysis and theoretical readings with an element of research and fieldwork that enables students to report on material of their own choice such as a film festival, digital platform, or audience experience.  Readings and Discussions in English.